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ハワイから伝来したスライド・ギターだが、すでにインドでは古典音楽との融合が図られ、ラーガの演奏に取り入れられてから半世紀以上の時が経った。今作は、インド古典音楽の最も有名なスライド・ギタリストの一人、Brij Bhushan Kabraの最も再発が望まれていた作品。Reissue of one of the most in demand Brij Bhushan Kabra LPs finally available. Remastered. In the 1920s, Tau Moe (pronounced "mo-ay"), a Hawaiian musician, arrived in India and introduced Hawaiian music to the sub-continent. After settling in Calcutta in the early 1940s, Moe and his family performed, taught and introduced Hawaiian music by building and selling guitars to the local musicians. Indian filmmakers and composers quickly fell under the spell of these instruments and sounds and made them suitable for playing ragas, the melodic patterns and modes in traditional Indian compositions. Soon these hot-rod guitars were accepted as legitimate instruments for performing Indian classical music, and a new breed of virtuosos emerged to write yet another chapter of the guitar's unpredictable evolution. Brij Bhushan Kabra was one of the Indian musicians who heard the steel guitar's siren call, but his vision went beyond adapting Hawaiian sounds to popular music. Instead, he saw the instrument's potential for playing ragas. To pursue this dream, Kabra began studying with Ali Akbar Khan, whose fretless sarod offered a sonic example for Kabra to emulate with his lap-slide guitar. Kabra's instrument was a Gibson Super 400, modified with a drone string and a high nut to raise the strings off the fretboard like a lap steel. Seated on the floor in the traditional style of Indian musicians, Kabra played his guitar horizontally, using a fingerstyle plucking technique and a bar to contact the strings. His approach set the standard for virtually all Indian slide guitarists. He is rightfully considered a master musician and regarded as one of Indian Classical music's most renowned ambassadors to the rest of the world.

インド古典音楽の最も有名なスライド・ギタリストの一人であるBrij Bhushan Kabraなど、当時まだ若手だった伝説的奏者たちが1967年、伝統的であると同時に革新的なコンセプト・アルバムを発表。カシミール地方の羊飼いの1日を、時間帯ごとに異なるラーガでドラマチックに物語るという組曲となっており、もし初心者がインド古典音楽を1枚だけ買うとしたら、という問いに対する回答となる名盤。Shivkumar Sharma, the guitarist Brij Bhushan Kabra, and flutist Hariprasad Chaurasia were all aged about 30 when they made Call of the Valley. Shivkumar Sharma, who had made his first solo album in 1960, was responsible for establishing and popularizing the instrument in Hindustani classical circles. Kabra was also having to prove himself because of the guitar's Western and Indian popular music associations Chaurasia's problem was the wide popularity of the bansuri -- a bamboo transverse flute -- and his need to establish himself with the instrument. In 1967, the concept behind this album was as revolutionary as it was traditional. Conceived as a suite, they used their instruments to tell the story of a day in the life of a shepherd in Kashmir using ragas associated with various times of the day to advance the dramatic narrative. If the newcomer buys only one Indian classical recording, it should be Call of the Valley. Call of the Valley is considered Kabra's most beloved recording. It is certainly his most popular globally. Newly remastered for this edition. Limited edition pressing.

1920年代にインドへと到着したハワイアン・ミュージック。それに伴い伝わったスティール・ギターを用いインド古典音楽のラーガへと転用したミュージシャン Brij Bhushan Kabra の名盤3タイトルがリマスターされアナログ・リイシュー。こちらは1985年盤。In the 1920s, Tau Moe (pronounced mo-ay), a Hawaiian musician, arrived in India and introduced Hawaiian music to the Sub Continent. After settling in Calcutta in the early 1940’s, Moe and his family performed, taught and introduced Hawaiian music by building and selling guitars to the local musicians. Indian filmmakers and composers quickly fell under the spell of these instruments and sounds and made them suitable for playing ragas— the melodic patterns and modes in traditional Indian compositions. Soon these hot-rod guitars were accepted as legitimate instruments for performing Indian classical music, and a new breed of virtuosos emerged to write yet another chapter of the guitar’s unpredictable evolution.Brij Bhushan Kabra was one of the Indian musicians who heard the steel guitar’s siren call, but his vision went beyond adapting Hawaiian sounds to popular music. Instead, he saw the instrument’s potential for playing ragas. To pursue this dream, Kabra began studying with Ali Akbar Khan, whose fretless sarod offered a sonic example for Kabra to emulate with his lap-slide guitar. Kabra’s instrument was a Gibson Super 400, modified with a drone string and a high nut to raise the strings off the fretboard like a lap steel. Seated on the floor in the traditional style of Indian musicians, Kabra played his guitar horizontally, using a fingerstyle plucking technique and a bar to contact the strings. His approach set the standard for virtually all Indian slide guitarists. He is rightfully considered a master musician and regarded as on of Indian Classical music’s most renowned ambassadors’ to the rest of the world.Lure of the Desert presents Brij Bhushan Kabra's exploration of the folk music of Rajasthan. Hypnotic rhythms and snaking guitar compositions with almost percolating percussion makes this LP one of his later masterpieces. Released in 1985 it is one of the peaks in a discography that is an embarrassment of riches. Newly remastered, limited edition pressing.

1920年代にインドへと到着したハワイアン・ミュージック。それに伴い伝わったスティール・ギターを用いインド古典音楽のラーガへと転用したミュージシャン Brij Bhushan Kabra の名盤3タイトルがリマスターされアナログ・リイシュー。こちらはタブラの巨匠ザキール・フセインと録音した1982年盤。In the 1920s, Tau Moe (pronounced mo-ay), a Hawaiian musician, arrived in India and introduced Hawaiian music to the Sub Continent. After settling in Calcutta in the early 1940’s, Moe and his family performed, taught and introduced Hawaiian music by building and selling guitars to the local musicians. Indian filmmakers and composers quickly fell under the spell of these instruments and sounds and made them suitable for playing ragas— the melodic patterns and modes in traditional Indian compositions. Soon these hot-rod guitars were accepted as legitimate instruments for performing Indian classical music, and a new breed of virtuosos emerged to write yet another chapter of the guitar’s unpredictable evolution.Brij Bhushan Kabra was one of the Indian musicians who heard the steel guitar’s siren call, but his vision went beyond adapting Hawaiian sounds to popular music. Instead, he saw the instrument’s potential for playing ragas. To pursue this dream, Kabra began studying with Ali Akbar Khan, whose fretless sarod offered a sonic example for Kabra to emulate with his lap-slide guitar. Kabra’s instrument was a Gibson Super 400, modified with a drone string and a high nut to raise the strings off the fretboard like a lap steel. Seated on the floor in the traditional style of Indian musicians, Kabra played his guitar horizontally, using a fingerstyle plucking technique and a bar to contact the strings. His approach set the standard for virtually all Indian slide guitarists. He is rightfully considered a master musician and regarded as on of Indian Classical music’s most renowned ambassadors’ to the rest of the world. Guitar and Tabla was originally released in 1982. Another essential LP by Brij Bhushan Kabra featuring Zakir Hussain on Tabla.Newly remastered, limited edition pressing.

1920年代にインドへと到着したハワイアン・ミュージック。それに伴い伝わったスティール・ギターを用いインド古典音楽のラーガへと転用したミュージシャン Brij Bhushan Kabra の名盤3タイトルがリマスターされアナログ・リイシュー。こちらは1976年盤。In the 1920s, Tau Moe (pronounced mo-ay), a Hawaiian musician, arrived in India and introduced Hawaiian music to the Sub Continent. After settling in Calcutta in the early 1940’s, Moe and his family performed, taught and introduced Hawaiian music by building and selling guitars to the local musicians. Indian filmmakers and composers quickly fell under the spell of these instruments and sounds and made them suitable for playing ragas— the melodic patterns and modes in traditional Indian compositions. Soon these hot-rod guitars were accepted as legitimate instruments for performing Indian classical music, and a new breed of virtuosos emerged to write yet another chapter of the guitar’s unpredictable evolution.Brij Bhushan Kabra was one of the Indian musicians who heard the steel guitar’s siren call, but his vision went beyond adapting Hawaiian sounds to popular music. Instead, he saw the instrument’s potential for playing ragas. To pursue this dream, Kabra began studying with Ali Akbar Khan, whose fretless sarod offered a sonic example for Kabra to emulate with his lap-slide guitar. Kabra’s instrument was a Gibson Super 400, modified with a drone string and a high nut to raise the strings off the fretboard like a lap steel. Seated on the floor in the traditional style of Indian musicians, Kabra played his guitar horizontally, using a fingerstyle plucking technique and a bar to contact the strings. His approach set the standard for virtually all Indian slide guitarists. He is rightfully considered a master musician and regarded as on of Indian Classical music’s most renowned ambassadors’ to the rest of the world. Scaling New Horizons With Guitar is considered by many one of Kabra's masterpieces. Released in 1976 and out of print for over 45 years, this is the first reissue in any format. Newly remastered for this edition. Limited edition pressing.

98年作/ガザール人歌手(インド)