In recent years the Jew’ harp has experienced a wave of interest in many parts of the world. No wonder: this tiniest of instruments lends itself to a vast variety of genres and styles, from traditional to experimental fusion.

    Jew’s harp technique, however, is elusive. Because of its, literally speaking, hidden nature it is hard to transmit. This may be one reason why some of the more advanced traditional techniques are rarely heard today. Add to this the lack of close contact between older, experienced players and new generations of players as well as the lack of good recordings of master, and it is relatively easy to understand the reasons for the profusion of styles we encounter today, especially in the Western world. Unfortunately, not of all of these styles carry on the knowledge of former generations of players and tend to be more restricted in their technical repertoire.

    It is interesting to note that significant changes in Jew’s harp style are not a typical Western phenomenon. In Rajasthan in Northwestern India, for instance, few players today are motivated by the old Jew’s harp style and techniques. Instead, the fashionable style among many professional players seems to be inspired by South Indian styles rather than the local Rajasthani style.

    Luckily, there are exceptions. One such is Malaram Govaria, who developed an incredible style based on this old Rajasthani style hinerited from Sindh.

    Sylvain Trias, the collector and editor of this CD, is himself a great Jew’s harp player with an understanding of the properties and possibilities of the instrument that is hard to match. He is currently working on his thesis – a study of the Jew’s harp as a ”biological instrument” – at the Department of Folk Art and Folk Music, Telemark University College in Rauland, Norway. Thanks to his efforts these valuable and fascinating field recordings are now available to the general public. All I actually need to say is: Enjoy!

You can order a CD by sending me a mail at : ethno.trias@gmail.com