MARCH 10′
DUETS FROM INDIA: VILAYAT KHAN, SITAR AND BISMILLAH KHAN, SHEHNAI
Inauspicious as this record appears (note the ‘FREE’ cut-out on the corner), it features mind blowing shehnai playing by the great Bismillah Khan, combined with the masterful sitar of Ustad Vilayat Khan. A devout Muslim, Bismillah furthered a delightful hybrid sound within Indian classical music that was part of a tradition his father helped establish. Our man on sitar, the fierce Ustad Vilayat Khan (purported to have been rivals with Ravi Shankar), worked closely with instrument makers to customize his sitars as an attempt to push the traditional sound, and liked to perform without a tanpura drone, instead, filling out the silence with strokes to his chikari strings.
The thee tracks on this record are totally lush and amazing, carrying a distinct palette that’s indebted to Bismillah’s colophon. The tune “Chaiti-Dhun” is one of the finest Indian classical cuts I’ve heard, as the two giants provide a wonderful call and response interplay that’s both wistful and lighthearted.
Capitol Records, ST 10483, 1967
Side One:
1. Duetto (Jugalbandi) (24′48)
Side Two:
1. Chaiti-Dhun (12′56)
2. Bhairavee-Thumree (13′21)
G.S. SACHDEV, FLUTE: TWO MOODS
Full of feeling, this dreamy workout features flautist G.S. Sachdev, as well as the inimitable Zakir Hussain on trademark tabla. Also in attendance were Jessica Skala, tanpura; and Ilene Marder, swar-peti. Master of the ancient bansuri flute (made of a lone stick of bamboo), Sachdev is not as prolific or well known as some of his contemporaries, but he nevertheless still records and performs today. Zakir Hussain studied classically, but went on to record with East/West rockers like John McLaughlin (among others), and provides a solid foundation to the ragas on this LP, floating in and around the two cycles with effortless rhythm. Recorded in 1981 for Chandi Productions, this is contemplative stuff - so grab your hot beverage in the morning and listen to side A, and when you return in the evening, grab your peace pipe for side B and call it a day!
From Sachdev’s website: “Unlike many musicians, he has shied away from fusion, finding great pleasure and a sense of immense satisfaction with the rigors of infinite exploration within traditional pure classical Indian music. Beyond his worldwide live performances, Sachdev’s music is thoroughly enjoyed in yoga studios, meditation ashrams, massage rooms, spiritual centers and homes everywhere imaginable. His music is considered an antidote to stress, fatigue and cynicism.”
Chandi Productions, CP 102, 1981
Side One:
1. Raga Kaushik Dhwani (Morning Raga) (25′52)
Side Two:
1. Raga Purya-Kalyan (Evening Raga) pt.1 (13′22)
2. Raga Purya-Kalyan (Evening Raga) pt.2 (12′00)
CARNATIC MUSIC OF SOUTH INDIA: THE VOICE OF K.V. NARAYANSWAMY
Here’s another burner that’s sure to please, featuring the lilting, bright and perfected voice of the great Kollengode Viswanatha Narayanaswamy (don’t know if there’s an alternate spelling, but everything I find differs from how it’s printed on the record). The LP features V.V. Subramaniam, violin; Paighat Raghu, mridangam; Alla Rakha, tabla; and Amiya Das Gupta, tamboura. In addition to the vocal workouts, the record emphasizes the great Alla Rakha’s drumming, providing ample room for his flourishes on side two, while side one features meaty sections of V.V. Subramaniam’s violin hooks. If you like the southern tradition, then turn this up, open your Pañcaratra, light the match, and float your way right into Sriman Narayan’s lap just in time for sunset tea.
“KVN’s concert career spanned over 40 years. He delighted listeners all over India and abroad with his immense classicism and sweet voice. He had a wide repertoire and was capable of extensive variations both of his concert fare and the technical make-up of the concert. He serves as a model musician, who has paid attention to every aspect of music carnatic musicians strive for, be it lyrical purity in various languages, gifted adherence to shruti, vast repertoire and innovative aspects.”
World Pacific Stereo, WPS 21450, 1968
Side One:
1. Ragam Todi (23′54)
Side Two:
1. Ragam Kambhoji (16′52)
2. Ragam Purnchandrika (Tillana) (3′57)
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SHANKAR FAMILY & FRIENDS
Moving on, yet down a circuitous path, this oddball record is definitely a departure from the pure representations above, offering a slightly curious hybrid of style, mood, and approach. Nevertheless, it contains contributions from a chunk of the above performers, and with repeated listens, showcases the delightful genius of Ravi Shankar’s songwriting. This was a 1974 release on producer George Harrison’s Dark Horse Records out of Hollywood, all of which was written, composed and arranged by Ravi Shankar (with the exception of “I Am Missing You” which George arranged).
Unfortunately, the version I have contains no inner sleeve with details, but I do know the record included Klaus Voorman, bass; Ray Pizzi, bassoon; Kamala Charavarty, backing vocals; Sharad Kumar, flute; Ashish Khan, sarod and zither; Shivkumar Sharma, santur and vocals; Shubho Shankar, sitar; Ravi Shankar, surbahar, sitar, voice, and synthesizer [Moog]; Lakshmi Shankar, zither [swarmandal], vocals; Hari Georgeson, electric guitar, acoustic guitar; W. Webb, ersaj; G. Sachdev, flute; Tom Scott, flute, handclaps; Hari Chaurasia, flute, cowbell; Al Casey, mandolin; Billy Preston, organ; Fred Teague, organ; Pranesh Khan, dholak; Nodu Mullick, kartal; Alla Rakha, tabla; Nicky Hopkins, piano; Ronald Cohen, sarangi; Malcom Cecil, synthesizer [Moog]; Paul Beaver, synthesizer [Moog]; Robert Margouleff, synthesizer [Moog]; Vinny Poncea, Tambourine; Fakir Muhammad, tambura; L. Subramaniam, violin; Bobby Bruce, violin [electric]; Gordon Swift, violin [electric]; Jitendra Abhisheki, vocals; and Harihar Rao, dholak, voice. That’s a lot of talented friends!
*Side two has no logical breaks, and was recorded as one continuous track.
A&M/Dark Horse Records, SP-22002, 1974
Side One:
1. I Am Missing You (sung by Lakshmi Shankar) (3′39)
2. Kahan gayelava Shyam salone (sung by Lakshmi Shankar) (2′52)
3. Supane me aye preetam sainya (sung by Lakshmi Shankar) (4′14)
4. I am Missing You (Reprise) (sung by Lakshmi Shankar) (3′59)
5. Jaya Jagadish Hare (sung by jitendra Abhisheki and Chorus) (4′55)
Side Two:
(Dream, Nightmare & Dawn - Music for a Ballet by Ravi Shankar) (29′06)
Overture
Part One, Dream
Festivity & Joy
Love - Dance Ecstacy
Part Two, Nightmare
Lust (Raga Chandrakauns)
Dispute & Violence
Disillusionment & Frustration
Despair & Sorrow (Raga Marwa)
Part Three, Dawn
Awakening
Peace & Hope (Raga Bhatiyar)
THE HABIBIYYA: IF MAN BUT KNEW
If the above is a surreal hybridized departure, then this is even farther afield, yolked as it is in musical traditions that transcend its component parts. Michael Evans, Ian Whiteman, Roger Powell, Conrad Archuletta, and Susan Archuletta comprised this lineup, performing a host of compositions that channel mainly Middle Eastern vibes, but transverse Japan and India, landing somewhere back on the British Isles. The core members Evans and Powell were Brits from an underground outfit called “Mighty Baby” who got to traveling to, among other places, Morocco, where they were influenced by Sufism. Having been profoundly affected both spiritually and musically by the tradition, they became converts, enlisting other members for their musical troupe, thus yielding this their only release from 1972. Although re-issued in the last couple years, I thought I’d post my crusty copy since the re-issue contains extra tracks not found here, plus extensive liner notes that flesh out the rest of their story. This is really beautiful and authentic stuff, a folk-psyche phantasmagoria that should float you into a devotionally purple-haze in no time.
Matthew Amundsen for Brainwashed: “The musicians fasted for three days prior to recording, and then they began each session with an hour of meditation. Their methods paid off, for the music is clear and stunning in their attempts to channel the divine. Using no overdubs, drums often set the tone while the other instruments swirl around them in distinct layers. Tranquil but never boring, these songs are enchanting spiritual explorations that reach to trance-inducing heights. While several songs are instrumentals, when the group does sing, their harmonies are a transcendent pleasure. Further entwining themselves with Ibn al-Habib, the lyrics they sing are actually the master’s own words.”
Island Records, SW-9305, 1972
Side One:
1. Two Shakuhachis (1′41)
2. Koto Pice (4′57)
3. The Eye-Witness (8′16)
4. Mandola (5′48)
Side Two:
1. If Man But Knew (9′00)
2. Fana-Fillah (9′55)
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THREE MUSICIANS: MUSIC FROM THE ROCHESTER FOLK ART GUILD
Moving deeper into the zone of culturally hybridized multi-instrumental music, this curiosity yields some really gorgeous stuff, mixing flute, dulcimer, cymbalon, tenor recorder, dombak, dholak, daff, voice, bells and gongs, with some deft craftsmanship and playful arrangements. The songs vary in influence from Middle Eastern, Indian, Greek, Celtic, English minstrel, and North American folk/blues, with only one vocal bit on “The Twenty-third Psalm” which is just that, the singing of the Psalm (to a gorgeous cymbalon backdrop) - It all works. Funny thing about the record, though, no information seems to exists on it (that I could find), and the LP itself doesn’t list any of the personnel - it only says stuff like:
“Where does this music come from? The three come together. They come from their workshops and from the fields. What is created is more than the music of the three who play the instruments. It grows out of the life and work of the Rochester Folk Art Guild, part of the same process that takes place in the workshops and kitchens, in the gardens and fields. We are beginners, or rather, trying to be beginners, looking as we can for the root and branches of the craft of music. This recording reflects our present work. Come listen with us.”
Rochester Folk Art Guild, RFAG 1 Stereo, 1977
Side One:
1. Santori Tuning (3′39)
2. Duet 1 (1′35)
3. Lydian Improvisation (2′58)
4. Brook in the Valley (2′45)
5. Phrygian Waltz (2′42)
6. Twenty-third Psalm (4′34)
7. Merengue (2′22)
Side Two:
1. Up to the Wind (4′18)
2. Duet 2 (1′30)
3. Village Dance (1′25)
4. Phrygian Improvisation (7′32)
5. Muted Meter (3′33)
6. Easter Song (5′31)
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THE SKYGREEN LEOPARDS: CHILD GOD IN THE GARDEN OF IDOLS
My favorite Skygreen Leopards album, this was a limited 2005 LP on Jagjaguwar, housed in a delicate paper folded cover with its illustrations glued directly on top. Part instrumental, part field recording, part ballad (and boundless mixtures thereof), the album plays like a sonic vineyard; the tunes moving through themselves like the essential cohesive residue of thick detritus covering ancient forest floors. The music was “received” by Glenn Donaldson and Donovan Quinn, who’s impish improvisations and deeply creative spirit transcends the post post post folk revivalism and neo-punk highroads set forth by a current generation of fashionistas. With most any Jewelled Antler offering you get something else, something new, something unexpected and purely of the moment - if not for the sake of going in another direction where the light is usually better anyway.
Jagjaguwar, 2005
Side One:
1. Parasols Thro’ The Moors (2′50)
2. The Butterfly Dance (4′42)
3. Hill-Dwelling Bride (3′06)
4. The Orchard Daughter (2′59)
5. Christ-Child Dances (5′18)
Side Two:
1. Hobo Sparrow’s Dream (3′05)
2. The Woodsman’s Dance (4′10)
3. Parallel Shadows (Part II)/Mad Loin (Part VII) (4′21)
4. Child God (4′08)
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