There are few things finer on this perpetually spinning planet than a compilation dedicated to musical rediscoveries originally grooved into shellac, particularly when the bountiful selections are reissued on 2LP. That’s exactly what Sublime Frequencies has done with Indian Talking Machine Part Two: Instrumental Gems From The 78rpm Era; it’s a collection 26 tracks deep with all the contents recorded in India.
Produced by Robert Millis of Climax Golden Twins, with selections drawn from his personal collection, this follow-up extends the magnificence of the first volume, released in 2016 and also produced by Millis. It’s available March 20.
The first volume of Indian Talking Machine is a truly deluxe release, collecting 46 tracks on two compact discs and combining them with a book loaded with over 300 photographs, track notes, and an essay from producer Robert Millis. The kicker is that the first set was issued as a solitary edition of 1,000. That means when someone elects to sell their copy, it goes for some considerable scratch. But the music is available digitally, which is nice for listeners on a budget.
This second installment comes a decade later, this time on double vinyl with fewer selections but still quite generous with a 12-page booklet insert. The musicians utilize a variety of instruments, including shehnai, tabla, pakhawaj, violin, kashta-tarang, sarangi, clarinet, jalatarang, been, sundri, Saraswati vina, dilruba, sarod, kazoo, piano, vichitra vina, flute, nadaswaram, and whistle. The recording dates span over half a century, from 1904 to 1959.
If more succinct, volume two offers an appealing blend of intensities, predominantly from Hindustani and Carnatic classical and various folk styles. Of course, the sitar is in evidence and straightaway in the set’s opening track by Indranil Bhattacharya. Of particular interest is the earliest recording of a sitarist, Imdad Khan, the piece dating back to 1904, the oldest selection included on the set.
But as detailed in the list of instruments above, the sitar isn’t overrepresented here. Interestingly, Ravi Shankar’s teacher, Allauddin Khan, is part of the lineup, but he’s playing the sarod, a similar instrument, but fretless. Those familiar with Indian music of a more recent vintage will not necessarily be surprised by what’s heard, except for the consistent levels of powerful execution by the musicians, and that’s even the case with the Imdad Khan track cutting through the surface noise from 122 years ago.
Getting to hear instruments one wouldn’t automatically associate with India, such as the harmonium, played by Mehta Braham Das, and the banjo-mandolin, plucked by Mr. K Arumuga Mudaliar, heard consecutively on side four across a span of two decades (1909–1929) is a total treat. Millis doesn’t take a chronological approach; instead, it sequences for contrast and general flow, and that’s smart.
If substantial, Indian Talking Machine Part Two: Instrumental Gems From The 78rpm Era is still easily digestible in one continuous listen. It’s yet another gem from the insatiable diggers at Sublime Frequencies headquarters.
GRADED ON A CURVE:
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