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14. Juni 2014

Ajdin Asllan – Valle Devollice rec. 1930? ein albanischer Multiinstrumentalist in NYC

Ajdin Asllan – Valle Devollice rec. 1930? ein albanischer Multiinstrumentalist in NYC

Ajdin Asllan – Valle Devollice

The piece, a duet featuring clarinet and lute (quite probably the Albanian llaute) is “Valle Devollice Me Gérneté” which
translates in English to “Dance from Devoll, with clarinet.” The Devoll River runs through southeastern Albania, very close to the Greek border, and through the Devoll District. The style of clarinet playing you’ll hear on this piece, played by Mr. Asllan, is very similar to the style of playing in Epirus, the mountainous, sparsely populated, northern region of Greece which borders Albania. The boundaries of classical Epirus originally contained parts of southern Albania, so therefore it’s no surprise to hear a direct similarity. In fact, the primary instrument in Epirotic folk music is the clarinet. In Greek Epirus, in turn, there’s a strong history of vocal polyphony, similar to the kind associated with Albania. This is further proof, if we needed any, that political boundaries are so often meaningless when it comes to folkloric, musical traditions. In the case of “Valle Devollice,” the interesting rhythms played on the llaute by an uncredited musician sound distinctly Albanian, not Greek-Epirotic. It’s a jam, plain and simple.

Ajdin Asllan (1895-1976) had a long history as a multi-instrumentalist (clarinet, oud, llaute/lauto), an instructor, and an independent label owner in the US. As the label indicates, he was originally from the town of Leskovik, in southeastern Albania, just to the west of the Greek border (“Leskoviku” may also have been his nickname). He was most well-known for being part of the Turkish, Greek, Armenian, and Albanian nightclub scene on 8th Avenue in New York City in the mid-20th century, through the 1960s. However, this release, and other releases on the short-lived Mi-Re label appear to be among his earliest recordings. When this recording was made is difficult to say. The origins of the label are unknown. Asllan may have owned or co-owned it, but perhaps not. Only 4 or 5 releases on this label are known to exist. A prominent discography lists it being recorded ca. 1930. Robert Crumb has posited online that the label may have been pressed by the famous Marsh Laboratories of Chicago – the very first record company to make electric recordings with microphones. However, there is no outward indication that it was pressed by Marsh (a logo or number, for instance). Whatever the case, this record is yet another example of how immigrants in the New York area created and independently marketed music for their communities.

In the early 1940s, Asllan started the popular Balkan record label, which released music by oud virtuoso Marko Melkon, Sephardic singer Victoria Hazan, and a host of fine musicians and singers. His Balkan Phonograph Record Store was at 42 Rivington Street in the Lower East Side, and eventually moved to 27th Street, between 7th and 8th Avenues. While simultaneously offering Greek, Turkish, Armenian, and Sephardic music on the Balkan label, Asllan was behind at least one Albanian-American record label during the mid-20th century (Me-Re, with an ‘e’ – and possibly a label called Rekorde Shqiptare). His career lasted well into the LP era.mehr


14. Juni 2014

Mahanojaus Lietuviška Mainerių Orkestra – Storo Yono – eine litauische Polka rec. 1928

Mahanojaus Lietuviška Mainerių Orkestra – Storo Yono - eine litauische Polka rec. 1928

Here’s a terrific polka by a Lithuanian band of actual anthracite coal miners, from central-eastern Pennsylvania, specifically Mahanoy City. The Mahanoy City Lithuanian Miner’s Band began recording in 1928 for Victor, and their last sessions appear to have been around March of 1933 for Columbia, when this disc, one of their last, was recorded in New York. The musicians on this particular track (I hear two violins, brass, bass, clarinet, and trumpet, at least) are not all known, but we do have some names from this session: Frank Yotko (usually credited as the leader of the band), Adomas Šaukevičius, J. Zack, and A. Shuck (possibly the same as Šaukevičius). According to the liner notes from Spottswood’s out-of-print New World LP Old Country Music in a New Land: Folk Music of Immigrants of Europe and the Near East, the Manahoy band were crucial participants in worker’s rights at the time, as they would let miners know when a strike was declared by traveling from one mine entrance to another, and playing in front of them.
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14. Juni 2014

Įdainavo Karalienes Aniolu Parapijos Choras – aus Brooklyn – Loja Šunes Ant Kiemo – litauisches Volkslied rec. 1917

Įdainavo Karalienes Aniolu Parapijos Choras - aus Brooklyn – Loja Šunes Ant Kiemo - litauisches Volkslied rec. 1917
in this Lithuanian Folk Song, recorded acoustically (and distantly) by Columbia in New York City ca. 1917, and performed by Brooklyn’s own Įdainavo Karalienes Aniolu Parapijos Choras. I had some difficulty translating the title, but I believe it’s something to the effect of “Dogs Barking on the Farm.”
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13. Juni 2014

A. Kevorkian – Gigo rec. 1929 – trad. armenische Musik

A. Kevorkian - Gigo rec. 1929 in Los Angeles / Label Pharos New York

Mr. Kevorkian sang this track in January of 1929 in Los Angeles, and is accompanied by violin, oud, and Mesrob Takakjian on clarinet. Takakjian must have been well-known in the 1920s, as I’ve found his presence on several Armenian, New York City-based labels around that time. (Pharos records, in particular. Sohag was another short-lived label associated with Pharos.) Other recordings from this session were released by Columbia.
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12. Juni 2014

Pawel Humeniok – ein ukrainischer Meisterfiedler – trad. Aufnahme in der USA – Ukrainska Orchestra Pawla Humeniuka – Kozak-Trepak

Pawel Humeniok - ein ukarinischer Meisterfiedler in einer historischen Aufnahme von 1927 aus der USA
Ukrainska Orchestra Pawla Humeniuka – Kozak-Trepak


A fiddle masterpiece by a master fiddler.

Pawlo Humeniuk was born ca. 1884 in Pidvolochys’k, in the Ukraine, immigrated to the United States around 1902, and began recording for Okeh records in late 1925. Legend has it that Humeniuk was in the store of Myron Surmach, a sheet music and record retailer, when an Okeh records representative came in to query Surmach on whether he knew of anyone who could play “village music,” whereupon Surmach immediately introduced Humeniuk. After several sides for Okeh, Humeniuk and his group of musicians (most of whom are anonymous, still) moved to Columbia Records for a stint that lasted about 10 years, until 1936. He made a few more records in 1940 and his career on records was over. Humeniuk died in 1965, leaving an amazing legacy of early Ukrainian folk music.

Today’s track is a combination of a kozachok (or kozak) and a trepak. The kozachok is derived from the word “Cossack” – and both dances are classically in 2/4 time. In other words, they can be raucous, uptempo numbers for social dancing! Besides Humeniuk’s outstanding fiddling, what makes this track particularly interesting is the addition of the cymbalom, a hammered dulcimer (played by one Ivan Lysechko, the only other known player besides Humeniuk on these sessions).
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