Sevdah (third part) and beyond

Yes, dear reader, its again that time where I am on vacation and finally enjoying the luxury of having all the time in the world to relax, sleep and engage in pottering around with pleasant hobbies like taking walks, playing with dog and listening all sorts of music. Perhaps because for the past few months I was on the other side of planet, I have found great comfort in listening ancient folk recordings from another time - I noted here on this blog how Bosnian Sevdah was completely alien music form during my upbringing, since culturally, geographically and psychologically it was very far removed from the urban surroundings around me, however I grew to enjoy it very much and with time somehow managed to get acquainted with greatest Sevdah artists from the bygone era. Carried away with enthusiasm, I have actually bought and downloaded majority of these from digital archives of former "Jugoton" (now "Croatia Records") and it seems that it took me a lifetime to finally discover this kind of music - maybe I had to go so far like China and Japan to embrace something that grew in my own neighbourhood.

"Emina/Hasanagin sevdah" by Himzo Polovina (1964)

This is quite a classic, recorded by incomparable Himzo Polovina who sounds like other-worldly nightingale. Where some other guys relied on strong, booming voices, Polovina was all about tenderness and yearning - this is very seductive art, naturally completely soaked in Ottoman times and culture that Turks brought with them when they arrived in Bosnia centuries ago 

Both "Emina" and "Hasanagin Sevdah" seems to have been ancient folk songs, thought somehow inexplicably, record cover suggest that lyrics were written by great poet Aleksa Šantić so I am not exactly sure what's going on here, is this traditional folk or what (Šantić himself died in 1920s) in any case its clear that lyrics are luminous and absolutely enchanting, both of these are love songs about unrequited love and Polovina does pure magic with crooning them softly, lulling the listener into a daydream about some other times. Thought both songs are very well known, "Hasanagin Sevdah"got a new life when in 1980s gentle acoustic folkie Jadranka Stojaković recorded it on her album and it became forever associated with her, under title "Što te nema" - one of these very rare occasions where seemingly untouchable classic got beautiful new treatment, without compromising spirit of original work.

"Zaim Imamović" by Zaim Imamović (1971)

Decades after his death, the name of Zaim Imamović is still mentioned with respect, reverence and awe - he was one of undisputed titans of Sevdah and pillar of the whole music genre. One can even accept that his name grew into byword for Sevdah itself. Strangely enough, for artist of such calibre, his voice was actually fairly small and he always kept thing decidedly simple, with minimum ornamentation one expect in this music.

The first time I encountered Imamović was on delicious 1962. EP recording "Pjesme iz Bosne" where he shared spotlight with his protégé Safet Isović - now, Isović was not only some two decades younger but he also possessed voice of impossible beauty and luminosity, so singing duets with him is quite unfair task because he will always eclipse everybody around - still, when they joined harmonies for "Zelen lišće goru kiti" results were seismic. Blinded with Isović, initially I didn't pay much attention to his older colleague, to be honest I liked his songs more than voice itself. This is not  coincidence, since Imamović was in music since 1945 and had amassed huge wealth of material, not only traditional but also written specifically for him. Little by little, with time I grew to warm up to his idiosyncratic sound, that mournful "cri de cœur" so essential to Sevdah (it was also a lesson that in this music its all about the feeling and not vocal acrobatics).

This LP recording was released at the start of 1970s, when "Jugoton" still preferred to play safe and released compilations of greatest artists - it serves as nice introduction to Imamović and his previous work until that point, as it collects some of his most beloved recordings in one place. The material is fairly divided between traditional folk music and some new songs written for him, all of them brilliant examples of what is best in Sevdah and performed with this artist's distinctive restraint - Imamović made art of understatement  and often his singing appears deceptively easy. At this point I became so well acquainted with his sound that I can recognise him instantly, I perfectly understand why he was so beloved - by all accounts he was lovable, modest man, real folk artist. 

"Omer Beže Na Kuli Sjeđaše" by Nada Mamula (1964)

It seems that all those classic Sevdah studio recordings were created in the early 1960s, which in itself its not coincidence as country was enjoying post-WW2 prosperity and for the first time, audiences could afford record players. Radio itself created music stars who first had to go trough rigorous auditions before they were given chance to perform, the best example being Nada Mamula who auditioned for Radio Sarajevo in 1946. Now, there is a commonly accepted dogma that Sevdah - being music form created in Bosnia - is something that only Bosnians can really feel and understand, so it comes as paradox that first lady of Sevdah and the main female artist of the genre is not Bosnian at all. 

Stately and majestic Nada Mamula was in fact, born in Belgrade and arrived in Sarajevo trough marriage. Quickly recognised for her talent and deep, soulful feeling for the music of her new location, she embraced Bosnia and was embraced by Bosnians everywhere - it is forgotten now, but it would be interesting to speculate who were her idols and predecessors, because artists are usually inspired by people who came before them. By 1964. she was already recognised as the main female artist in a genre and this is when she finally recorded "Omer Beže"  that would forever be associated with her name - it is extremely difficult piece of singing, where long phrases are contrasted with lively accordion background. "Niz Polje Idu Babo Sejmeni" on the other hand, is mournful lament for all the children kidnapped by Turkish janissaries who took them to Istanbul. 

As new generation of rural population moved to big cities, looking for jobs and opportunities, they cherished records like these. By completely unexpected link of events, one of these young couples relocated in Zagreb owned and often played this record, where their little daughter carefully listened. She will grow into biggest prima donna of rock in Croatia but despite excelling in completely different genre, just for the love of music itself Josipa Lisac would record both "Omer Beže" and "Niz Polje Idu Babo Sejmeni" exactly decade after this original recording. Her version, individual as it is, is completely faithful in spirit to wonderful Nada Mamula who was our own Mahalia Jackson - to this day, there are people who regret that Lisac never explored the genre further. 

"Mehmed Paša" by Safet Isović (1964)

Another classic Sevdah recording created in the early 1960s, when economy was apparently booming and post-WW2 prosperity resulted with easily affordable record players - for the first time everybody could purchased them and some of yesterday's radio stars found themselves popular on notional level. What is the most interesting is how recording companies catered to different listeners - casual glance at the list of releases show classical music nesting next to schlagers, earliest rockers rubbing shoulders with traditional folk artists, there was a place for everybody. And very probably, just like today, there were critics who bemoaned over this avalanche and complained that in their times people knew their place. 

Than 28 years old Safet Isović was crowned prince of Sevdah, than in the first flush of youth, vocal power and total control of his magnificent instrument. Naturally, he wasn't the only great singer around (he was protégé of older Zaim Imamović) but I dare you to find anybody even close to Isović who embodied all that is best in this music genre - not only that he possessed naturally beautiful, luminous voice but he also had a presence and complete understanding of what works best for the song - just listen his "Mehmed Paša" and how he plays with dynamics, going from impressive, long phrases to a soft whisper that makes listener stop and pay attention. Almost everything that he recorded in the 1960s is recommended listening, because his voice was so darn attractive back than (later in life it became much heavier, still fascinating sound but never again as light). On this beautiful, little EP he performs three traditional folk song and one newly composed ("U Baštici Ruža Vene") while tucked at the end is the real dessert, "Evo Ovu Rumen Ružu" already celebrated by his buddy Imamović. This record left such deep mark that songs from it are still covered and performed in 2018. 

"Moj Behare" by Rade Mladenović (1964)

The 1964. must have been one of the most exceptional years for Sevdah genre, because there were just so many classic recordings created at this time. I know next to nothing about Rade Mladenović who recorded few EP recordings back in 1960s and disappeared without a trace, but what he left behind is thrilling discovery - here is the only voice that comes close to undisputed prince Safet Isović, equally beautiful but much softer: where Mladenović particularly excels is soft crooning, this is someone who seductively croons right in your ear without breaking a sweat, real artist of the microphone as opposed to other singers in the genre who would use different approach and bulldoze trough melody on the sheer lung power.

Because he only left three or four EP recordings, its difficult to spotlight particular favourite - I have chosen this simply because it starts with hypnotic "Moj Behare" which, coming from him is a sheer daydream. However, in the same year he also recorded "S one strane Plive" and "Tebi majko, misli lete" on another recording, so its really a tough call since they are all magnificent, his relaxed manner still sounding fantastic today like all these years ago. Its really a mystery why this guy didn't record much more, specially because he was obviously spotted by the biggest recording company in the country. The way he carefully uses his beautiful tenor voice is actually very close in spirit to great Zaim Imamović (same kind of restraint) but I dare to say his was much more radiant sound. 

"Pjesme Iz Bosne" by Zehra Deović (1962)

Like the best Sevdah songs usually do, "Tebi Majko Misli Lete" floored me the very first time I heard it and still does to this day - its also a perfect example of newly composed Sevdah as opposed to public domain material that Bosnians treasured for generations, from times of Ottoman invasion centuries ago. Its completely in style of ancient mournful ballads but lyrics completely current, as they deal with nostalgic yearning from someone who works far away in the foreign world and thinks about family and mother left behind. "Will I ever see you again?" ask the protagonist and it definitely strikes a note with all Bosnians spread around the world in search of better possibilities, back than and now.

It is a man's song but it didn't faze Zehra Deović who possessed beautiful, clear and strong voice that soars trough grieving lyrics. That first generation of really important 1960s Sevdah artists didn't care for such things and would often sing anything as long as the song was good - hence Safet Isović singing "Čudila se aman ja" from girl's perspective. Deović left only a handful of recordings behind so everything she recorded is very recommended. 

"Tebi majko misli lete" by Nedeljko Bilkić (1963)

Exactly a year after version by Zehra Deović "Tebi Majko Misli Lete" was recorded by young Nedeljko Bilkić and it makes much more sense to have these lyrics sung by man - protagonist is the son who nostalgically muses about mother left behind as he works somewhere far away. Not only that song now have different meaning but young singer's voice is truly beautiful: at 22, Bilkić had just right combination of youthful tenderness and eagerness, for his very first step in the studio he really got some good material (the rest is traditional folk music).

I heard few more 1960s recordings by Bilkić and this is by far my favourite of all, not only because I really love the title song but also because his voice back than was truly magnificent, very tender and soulful, in my opinion he's right up there with Rade Mladenović as contender behind untouchable Safet Isović as one of the best voices in Sevdah. It's not really a matter of contest anyway, but in my book Isović comes first and foremost, than everybody else behind him.

"Splet pesama iz Srbije i Bosne" by Predrag Gojković Cune (1975)

This wonderful Serbian singer is almost completely forgotten now, but when I was growing up he had totemic status as true giant of traditional folk music. It is possible that audience today simply don't want to be reminded of stars successful during previous political regime, although in this particular case its their loss as artist in question is outstanding.

Predrag Gojković Cune had very interesting professional path as in the beginning we can find him singing popular schlager music and cha cha cha novelties before he completely switched to traditional folk. His was really unique, instantly recognisable sound, extremely tender and flexible, capable of tackling absolutely any music genre - as for traditional music, he simply loved to sing and would approach anything as long as it appealed to him, hence recordings with music from various parts of the country. It seems that his heart was really in Serbian folk and particularly those from Vranje (which are magical) but you could throw absolutely anything at him and he would sound like a dream. If I remember correctly, he was the one invited on occasions when foreign politicians would visit and than everybody would swoon. 

By the 1970s his voice - as expected - gained much deeper colour, although it was still seductive as ever. On this particular recording Gojković sings several medleys consisting of traditional music from Serbia and Bosnia, including some pieces from "Koštana" - its all extremely beautiful and delicate, and he simply soars where others would get stuck with seemingly impossibly long phrases. When you hear "Niz Polje Idu Babo Sejmeni" you would swear this is the best voice ever. I idolised Gojković for the longest time, until I discovered Staniša Stošić who (to my biggest surprise) actually surpasses him. 

"Stojanke Bela Vranjanke " by Staniša Stošić (1966)

Perhaps everything happen in the right time, as it was meant to be. When I was kid growing up in the 1970s, you would never get me to listen traditional folk music because my head was in the different place and besides, in order to fit with your little crowd of friends, you need to know current pop charts. Lifetime later, as a grown up and mature individual who actively avoids socialising as completely tiresome activity, I had discovered beauty of this music and went head on into researching what it is - with the same zest previously shown with anything that got me swooning.

The region of Vranje in southern Serbia must have some of the most enchanting melodies I have ever encountered - this music is extremely melancholic and seductive, demanding expressive, strong voices with ability to hold on to almost operatically long phrases and its power is such that I firmly believe it transcends language barriers, its just too beautiful for words and as sophisticated as anything by Puccini. It is traditional Balkan folk music, but I can easy imagine Odysseus sailors being distracted from their course with it, as they sailed towards Ithaca.

Previously I have considered Predrag Gojković Cune nr.1 in my book and for the longest time I was familiar only with his versions of this music - I still have high opinion of Gojković, but everything changed once I stumbled upon Staniša Stošić who embodies what is the best about music from Vranje. You wouldn't know it from the photos on his recordings, where too often he appears as hamster with a hangover, but this guy had spectacularly beautiful tenor that surpasses anything I heard so far. Give him any of this incredibly difficult pieces where voice softly floats forever and he will just floor you. On this recording he sings four ancient songs from Vranje and they are all magical, this incredibly radiant sound just washes over you like a wave, its pure sensual experience. Strangely enough, there's no trace of rough-hewn sound one usually expect from traditional folk music, Stošić really gives it such elegant treatment that in my mind he is the closest I can think of as mythical Orpheus , someone who would enchant wild beasts on his way to underworld.