Lalgudi G. Jayaraman: Singing Violins, and: U. Srinivas: Mandolin Melodies (review)

then as they do here as aide-memoire of the wonderful, longer, musically and poetically expansive, live performances that still exist in Middle Eastern musical culture. As Mitchell points out, Les Artistes Arabes Associés’ Cafés Chantants du Caire, Volume 2 Les Almées, off ers a good companion recording as does Women of Istanbul (Traditional Crossroads 1998, CD 4280). Th e latter presents recordings of Turkish female stars across a relatively broad spectrum of musical entertainment; and we must bear in mind that women of Cairo and Istanbul traveled to one another’s cities (and regions) with some frequency to perform. At the risk of self promotion, I would like to mention that an old article of my own broadens the context of this recording (Danielson 1991).