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1. MAN MOTORGAI HAE NANG MAEW 2. NAMOIY THAMMALANGKA LAM YAI LAM POON 3. SURASAK DONCHAI PHIN SOLO "TRANSCENDTAL TECHNIQUE" 4. MIKE PIROMPORN LERK DAI LERM BOR DAI 5.SIRIPORN AUMPIAPONG RANG JAI RAI WAN 6. THAI ELEPHANT ORCHESTRA SWAN SONG 7. CHAWIWAN DAMNOEN MOO LAM "LAM TEAI" 8. POL PAN LAO AMAZING ISAAN 9. CHINA DOLLS OH OH OH 10. ANAND JAIDEE ROOP KHAO KRAPAO AEI 11. JIEB BENJAPORN MA KOR THO TAI 12. FONG NAM THE NANG HONG SUITE FOR DOUBLE PIPHAT ENSEMBLE 13. EKACHAI SRIVICHAI SIENG SOONG WAO SAO 14. SAO SOMPARN KATIKAR HUAJAI 15. KRUSALA TAM HA KUJEE 16. BENJARONG THANAKOSET THE SAD KING 17. SORN SHINCHAI SAO NOONG SAN 18. PAIJIT AKSORNNARONG SAO NA SANG FAN 19.CHAGKACHAN PONG LANG ENSEMBLE, PONG LANG DANCE Thailand may be one of Asias most popular tourist destinations, but very few of its five million visitors bother to get to grips with the local music. An undiscovered beach, is more likely to be on the average tourists mind, than the undiscovered music. Which is a shame, because Thailand offers some of Asias most pulsating sounds. Without having to try youre likely to encounter some local music. Some might stumble across a small classical combo in a hotel or a Bangkok restaurant. If youre really lucky, you might even hear a traditional ensemble at a Buddhist temple, or more likely a tape that an orange robed Buddhist monk will gladly sell you. The traditional music can be spellbinding, and rather eerie, played on a variety of melodic and rhythmic percussion instruments, stringed and wind instruments. Walk into most record stores, especially away from the tourist areas, and the shelves are filled with lukthung, the central region country music. You might even hear the emotionally charged vocals of lukthung from the back of a taxi, if youre driver is tuned into one of the lukthung stations, or catch a concert on the TV by one of the big stars. Meanwhile, Thai girl and boy bands compete with their western and Japanese counterparts, blasting from speakers outside the local KFC. Its the sounds however, from an area that very few visitors venture to, the northeast, Isaan, that is the hotbed of Thai music. Morlam is the traditional Laotian music, in its modern form rhythmically powerful and vocally dynamic. Morlam, in its various styles, is popular throughout Thailand with the many migrant workers from this poor arid region, in Bangkok and other centres of population. All these styles of music and more can be heard on this album, the vast majority available outside Thailand for the first time. What is present day Thailand, has been inhabited by the Thai people since the end of the thirteenth century. The Thai meaning free were originally indigenous exiles from northern China who settled in the south of China about 2000 years ago. Over the following six hundred years, the Thai and the Chinese had considerable contact. When Chinese from the north fled south with the Mongul invasion around the beginning of the tenth century, the Thai had even stronger contact with cultural elements from the north, and the similarities between Thai and Chinese music can probably be traced back to this time. As it became clear the Monguls would eventually conquer the whole of China, the Thai migrated south spreading into Laos, northern Vietnam and present day Thailand. By 1450, the Thai had put an end to the Khmer kingdom after capturing Sukhotai from the Khmer, and eventually the capital city, Angkor (now in Cambodia after they were forced to cede this area in 1907 to France). Much of the Khmer culture was absorbed by the Thai, it being said that while the Thai conquered the Khmer, the Khmer civilized the Thai. Although little is known of the music of the Khmer, it is believed it contained early remnants of early Indian music, and possibly Javanese music too. The non-Chinese elements in Thai music are therefore likely to have derived through the Khmer. With the creation of the kingdom of Sukhotai in 1257, a stronger Thai identity was forged and throughout the Ayuthaya period (1360-1767), musical styles, compositions, ensembles and instruments all emerged. The two stringed bowed lute, the so-duang (track 16) was a common instrument in various ensembles from toward the end of this period until today in classical and court music. Born in 1917, the female performer on this track Benjarong Thanakoset, is from a musical family, and was already teaching by the age of sixteen. She is now considered Thailands greatest player of bowed string instruments. Other instruments are believed to have originated with the Thai themselves, including the double reed instrument the pi. The pi phat, consisting of the pi together with melodic and rhythmic percussion instruments, is one of the earliest types of ensemble, represented on this album by Fong Nam (track 12). Under the guidance of American Bruce Gaston, Fong Nam are both the custodians of rare classical pieces, and known for modernizing the traditions in experimental styles. The Hong Nang ...
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