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Her name is Sevara Nazarkhan.  She’s Uzbeki (Uzbekistan).  The first two are for my bro, who plays, taught, and repairs violins.   I thought he and his wife (who concertizes, and teaches violin at the college level) would get a kick out of the technique used by the musician on the right.   Doesn’t sound like a perfectly ordinary Western violin, but that’s obviously what it is.  The third one is for me.  I think she has a fabulous voice. She does “jazz” and more modern stuff, but I don’t like it nearly as much as the traditional music she does with the accompaniment played on traditional instruments.

A people’s traditional music is a brilliant jewel in the crown of its cultural heritage and so much of that cultural heritage is being lost, gobbled up by “modern” culture.  Thank goodness people like her are making recordings of their musical traditions.  Music, by its very nature is ephemeral, a thing of the moment, one of those you have to be there.  A sound recording of a piece of music is not the same as hearing it live, watching it be born out of the musicians’ talent, skill and soul, no more than a photograph is the same as the moment in time it captures, the brief, glancing glimpse of what the world was like in that place, at that time.   They’re like a sight or sound sensation captured in a bottle that can be shared with someone in a different time and place, that can be taken out and enjoyed again and again.

And, yeah.  I like the “weird stuff.”  I must have been Middle Eastern in another life.   Those camel-walking rhythms stoke me up bigtime, and I love the flexibility of their voices, the way they glide from pitch to pitch and “bend” the notes like hot licks on a dobro or a realio trulio bluegrass fiddle

Three of Sevara Nazarkhan’s CD’s are available on Amazon, and payday is Wednesday. I’ll very likely do what I always do, cull out the songs I like best and burn them on a blank CD, and upload them to my Rhapsody library.

And here’s one more for me.

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