Jintara Poonlarp - Live in London 2003 скачать в хорошем качестве

Jintara Poonlarp - Live in London 2003

In 2003, one of the great stars of Thai morlam and lukthung styles, Jintara Poonlarp performed in London, at the Porchester Hall in Bayswater, a striking Victorian building. The show was put on primarily for London’s Thai community. I can’t remember even how I heard about it, as it was not promoted in the local London press at all. The tickets were sold exclusively from a west London Thai supermarket. Jintara Poonlarp, born in 1971 in the Isaan region in the northeast of the country, is one of Thailand’s best known singers, having released around about 50 albums. The concert at times felt more like a ‘meet and greet’ with fans, as throughout she was presented with flowers, garlands and money and everybody wanted their photo taken with her. She didn’t really have much chance to stand up and sing. Although 90% of the audience were Thai, there was a smattering of locals or ‘farangs’ as we are called. One or two, like myself, were there for the music, but mostly were husbands or boyfriends of Thai women, who looked rather bemused at what was going on. There was lots of Thai food being served and people eating on tables in the hall, so it even felt a bit like a wedding at times. As far as I know Jintara Poonlarp has not returned to London, although she has performed in other European countries. http://www.farsidemusic.com/acatalog/...   / 226120764081883     / farsidemusic   Morlam is the traditional Laotian music, in its modern form rhythmically powerful and vocally dynamic. In its various styles, the music is popular throughout Thailand with the many migrant workers from this poor arid region, in Bangkok and other centres of population. The term morlam derives from two words in the Isaan dialect, ‘mor’, meaning expert, and ‘lam’ meaning song. The Isaan dialect is not understood by most Thais, who speak central Thai. The Isaan dialect spoken in northeastern Thailand and Lao is essentially the same language and although some morlam is sung in Thai, a significant amount is sung in Isaan (Lao). Aside to providing entertainment, morlam is important for the transmission of culture from one generation to the next. It is not known when morlam first emerged, it’s birth linked to the belief in the power of spirits, the perpetuation of folk tales and allurement of the opposite sex. There are as many as fifteen forms of traditional morlam. The most important instruments are the bamboo mouth pipe organ, the khaen, and the phin, a stringed lute, somewhat similar to the guitar, with between two and four strings, but typically three. Today, the traditional instruments in morlam are augmented or replaced by electronic keyboards, electric bass, and a western-style drum-set. The keyboard is set up to emulate the sound of a 1960s organ. Large travelling shows had become popular from the 1960s, and continue to this day, as the big stars spend most of the year on the road. The 1970s saw the rise in the popularity of a modern style, when the Isaan people migrated to Bangkok in increasing numbers as Thailand became industrialized and the economy grew. Morlam has proved to be a unifying force for the Isaan people, far from their villages back home, which are gripped by poverty, and limited economic opportunity. Isaan workers, with a generally low standard of education, have become Bangkok’s construction labourers, street cleaners, bar girls and prostitutes. Morlam elements are commonly mixed with Thai country music, lukthung, a bit of Western pop, and occasionally kantrum to produce a kind of all embracing Thai roots music, all normally grouped by the Thai record industry under the term lukthung.