Poland – Indialucía (CM Records, 2005) is a musical project, which fuses two fascinating styles of music: Indian and Flamenco music. The album expresses both the human and musical fusion of these cultures, which could have had a common ancestor. Improvisation and rhythm are the common elements in both styles and are essential to the continued existence of this music. The recordings were made between 1999 and 2004 mostly in India and Spain. Many great artists from the two continents performed. This album is the result of the years of work, which for the first time demonstrates the common elements of flamenco and its Indian roots fused into one art form. Around the 9th Century, for reasons unknown, thousands of inhabitants of the northwestern part of India began to emigrate west. They set out from the territories now known as the Punjab and Pakistan. In Persia they split, and some
traveled via Palestine, Egypt and Morocco and through the Strait of Gibraltar, finally arriving, known already as Gypsies, in the south of Moorish Spain. In this region, previously known as Al-Andalus, various cultures co-existed for hundreds of years. That was perhaps the only place where Gypsies, Jews, Christians and Muslims lived peacefully together for a many years. Each group had its own customs, music’s and instruments. After many years, in the beginning of the 19th Century, due to mutual influences and the mingling of their musical expressions, a mysterious and expressive type of music emerged. Today, it is know as Flamenco.
The Middle East and Asia, specifically India, was a cradle of the culture and language of most of Europe. Inhabitants of its northern regions together with Egypt, Mesopotamia, and China constituted the oldest civilizations in the world. It was there, in the Indus river valley, where the first religions, first laws and first instruments and musical notations appeared. This musical culture also influenced other countries. Indian Brahmins introduced it to Persia and Arabia, and from there it was disseminated through the West. Simultaneously, Arab music entered Andalusia, then ruled by the Moors. Banished from their native country these Indians wandered slowly further west, absorbing facets of the cultures of the countries through which they passed. When they reached Spain they were no longer the same people. Although they looked similar, in terms of culture, language, customs as well as music they had considerably changed. Unfortunately, they did not record their music; we do not know how it sounded, or how much of it has survived. And do not know what mark it has left, if any, on the flamenco and which of its elements are rooted in India and which in Andalusia. But even if both these fascinating genres cannot be proved to be closely related, listening their emotionality, expression, rhythm, depth and sensitivity must convince the listener that related they must be.
The musicians who participated in the album are: Miguel Czachowski – flamenco
guitars, percussion, palmas and all arrangements; Pierluca Pineroli –
percussion, konnakol, choirs; Avaneendra Sheolikar – sitar; and Sandesh Popatkar
– tabla. There are guest appearances by Prasad Khaparde – vocal; Giridhar Udupa
– ghatam, morsing, konnakol; Domingo Patricio – traverse flute; Carlos Troya –
zapateado, jaleo; Yrvis Mendez – fretless bass guitar; Sagar Jarel – dholak;
Maria Pomianowska – sarangi; Tomasz Pala – piano; Adam Głośnicki – bass guitar;
Ireneusz Wyrobek – palmas, voice; Barbara Czachowska – choirs; Members of “Aukso” Chamber Orchestra: Marta Huget-Skiba – violin; Natalia Walawska – violin; Anna
Grzybała – viola; Aleksandra Steczek- cello.
1. “Raag ‘n’ Olé” 5’22” (rumba)
2. “Nagpur” 4’08” (sevillanas/dhun)
3. “Herencia Hindú” 6’42” (solea por bulerias)
4. “Taliquete” 3’26” (jaleo)
5. “Mohabbat Ka Khazana” 5’16” (tangos/qawwali)
6. “Gujari Todi” 8’05” (raga)
7. “Kyabathe” 6’37” (bulerias)
8. “Indialucía” 2’15” (intro)
9. “Indialucía” 5’15” (zambra)
10. “Amanecer” 2’53” (martinete)
Total time: 50’05”
More info at www.indialucia.com.