Sheila Chandra – Out on my own (Indipop, 1984, reissued by Narada//EMI in 2000)
This is a slender album by today’s standards, with 10 tracks just stretching over 40 minutes. But it is an important milestone in the musical path of Sheila Chandra, leading UK-based Indian-origin fusion artist from the 1980s.
As the liner notes explain, this was Sheila
Chandra’s declaration of independence from pressure from her first label, after
scoring a U.K. hit with the group Monsoon and the song, “Ever So
Tablas, keyboards, guitar and sitars provide the backing for her strong experimental vocals. Our picks include the title track and the ambient ‘Prema;’ also check out the dreamy ‘From a Whisper.’
The Sol Creation Records release Poranguí is where fantastical rhythms rise from the earth, where vocals dive off cliffs to be buffeted by didgeridoos and flutes and where electronica seeps through the air like mist. Part shamanic ritual and part sonic wonderland Porangui is where listeners can find their rooted place on earth, fly along with the birds and perhaps on the edge of firelight dance just a little wildly.
Following up on the releases of the original motion picture soundtrack Ayahuasca and Ayahuasca Remixed, the live looping artist, musician and educator with an ethnomusicology background from Duke University, Porangui shows listeners and live audiences with way with meditative sounds and dance grooves with addictive results.
“Everything I do live is steeped in improvisation, in spontaneous sound. A lot of the work I do musically is about connecting to what’s happening in the moment in a given space with a given group of listeners,” says Poranguí. “I try to get a feel for what is in the seen realm and the unseen realm, really tuning into the energetics of the space. That’s where the magic is.”
Recorded at an opening ceremony for Lightning in a Bottle and at the Espiritu stage at Santa Fe’s Unify Fest, Porangui Live opens with an electronica and chant combination on “Ganesha,” and the magic musical carpet ride just takes off from there. The sound of frogs opens “Tonantzin” but is quickly taken over by the twangy goodness of didgeridoo wrapped around some tightly packed rhythms and soaring vocals. Just as wonderful is the delicate and dreamy “Oxum” with its birdsong, water sounds and silky vocals before the rhythms ramp up deliciously.
Porangui notes, “Music isn’t entertainment for me, as the goal is transformation. It’s a bridge to the heart, to a space where we can begin to imagine our best selves. This is crucial as our planet needs humans to upgrade themselves. For me, it’s coming into contact to our role as fire keepers. Technology is merely a different form of the fire we came to master long ago. We have a choice: to burn ourselves and everything around us with the fire of technology or to use it to illuminate the way.”
And, Porangui Live illuminates the way with offering of a percussion and mouth harp combo as a sort of invitation to play with the coyotes that can be heard in the distance on “Otorongo” or the flute lines along with rattles that sound like old bones against a thrum of percussion before evolving into a call to the night sky on “Danza Del Viento.” Closing with a kind of celestial lullaby on “Stardust,” Porangui lets us return to earth and revel in the night sky with loving vocals against dreamy electronica.
Snaring a little nature, riding waves of soaring vocals and hypnotic electronica and letting the mind of the listener slide from track to delicious track, Porangui Live is a kind of sonic sanctuary where listeners might just heal what ails them.
Back in the closing years of the 20th century, when the Buena Vista Social Club ruled the international roost, Cuban music was all the rage. Now, two decades on, an Australian musician/producer is not only following the footsteps of the great American facilitator Ry Cooder, who guided that collective’s high-selling Havana-recorded album, award-winning documentary and sell-out overseas tour, but he’s also taking an extra bound by blending son, salsa and rumba with reggae, dancehall and dub from Cuba’s Caribbean island neighbour, Jamaica.
In what is a mighty musical and logistical achievement that he’s claiming as a world-first, Melburnian Jake “Mista” Savona has amassed a star-studded cast that includes both lauded Buena Vista players and reggae royalty. His Havana Meets Kingston concept has already yielded an album and several world tours.
Surprisingly, Savona says no master plan is involved, and he insists it is all the better for that. “To be honest, the whole project hasn’t been quite as pre-meditated as it may seem from the outside … and I believe this is actually what makes it so special. It evolved step-by-step over many years. The seeds were planted well before I had even envisioned the possibility of bringing together Jamaican and Cuban musicians in Havana.”
The project had its genesis back in 2004 when Savona made his inaugural visit to Jamaica to record Melbourne Meets Kingston, the first album-length collaboration between Australian musicians and Jamaican vocalists. That led to a series of return trips between 2004 and 2013 for further recordings.
He says the turning point came after a friend returned from a 2014 trip to Havana with some persuasive photos, and he realised a visit to Cuba was well overdue. “When I looked at the map I couldn’t believe how close the two islands are — literally only a few hundred miles apart. I was heading to Jamaica in April that year for a quick promotional trip, so I decided to visit Cuba for ten days or so.”
Savona fell in love with the people, music and culture. “Towards the end of the trip, I was sitting in a cafe in Havana, a great place called Chanchurello. They were playing a CD of traditional Cuban rumba, mainly percussion based. I was daydreaming and imagining how the sounds of Nyabinghi drums from Jamaica would sound mixed with the rumba. I realized it would be very special to mix the two styles, and wondered if it had ever been done before.”
After returning to Kingston a few days later, he bumped into the veteran Jamaican percussionist Bongo Herman, who convinced him to setup a recording session that night at Tuff Gong, Bob Marley’s studio in Kingston. Drummer Sly Dunbar was there, of the world-famous rhythm section, Sly & Robbie. They ended up recording until sunrise. “He loved my piano playing, and I, of course, was amazed by his musicianship.”
Following some research on his return to Australia, Savona realised there had never been a project bringing Jamaican musicians into Cuba or vice versa. “I started to think how it could be done. I called Sly and he loved the idea, and he gave me Robbie’s phone number in Miami.” He also called Bongo Herman and Winston ‘Bopee’ Bowen, one of his favourite Jamaican guitarists. “Everyone was saying ‘yes’ without hesitation, and it just felt like a project that wanted and needed to happen.” So Savona started to look at how it might be organised.
A year later — in June 2015 — the
producer flew seven Jamaican musicians into Havana. They had 10 days booked at
the famous Egrem Studios, where the Buena Vista Social Club recorded their
“It was an incredible 10 days,” he recalls. “I hoped to record one or two tracks a day to complete a fifteen-track album, but we actually recorded enough material in that time for almost three albums. The energy and inspiration was incredible. I had prepared sketches for all the songs, and these master musicians took the arrangements into hyperspace.”
Havana Meets Kingston has continued to exceed Savona’s expectations. “This project is so much bigger now than just my initial vision. It’s a joyful celebration of Caribbean music and culture that’s opening new doors for everyone involved. With our introductory music video going viral earlier this year, it’s also inspiring a lot of new tourism to the Caribbean.”
Looking back at the logistics of the exercise, Savona says the knowledge he gained from previous trips to survey Kingston’s music scene gave him the confidence to organize the Jamaican side of things. With his Cuban experience limited, he enlisted the help of Melbourne percussionist Javier Fredes, a master conga player, who, having lived in Cuba, had a deep knowledge of the musical landscape there.
“I couldn’t have organized the sessions in Havana without his help,” Savona admits. “The biggest unknown for me was Cuban immigration, which is somewhat of a mystery. Did we have the right visas for the Jamaican musicians? Would Cuban customs mind that we were bringing so much musical and studio equipment into Havana? Thankfully, this side of things went smoothly, and once we had everyone safely in Havana, I knew we were good to go.”
The only real issue that Savona encountered in the studio was that the Jamaicans didn’t speak Spanish, and the Cubans had very little English. However, once the musicians were sitting with their instruments, he says the language barrier simply melted away.
When the Jamaican musicians returned to Kingston, there were more sessions in both Havana, Santiago de Cuba and later on in Kingston to complete the recording. Savona also later travel led to London to record with one of his favorite reggae artists, singer Randy Valentine.
The project leader spent close to a year on the arrangements and mix downs, utilizing this time to also find the right record labels for his album. “Although at times I realized I was working quite slowly, I didn’t want to rush anything. Now, I have no regrets because we needed this time to actually fit all the right pieces of the puzzle together.”
All up just over 60 musicians were used on Havana Meets Kingston. “Famous older legendary musicians are playing alongside young new talent, some of who had never been in a recording studio before,” he points out.
“I had no idea in the beginning that I would be able to work with such legends as [Jamaican guitarist] Ernest Ranglin, or Barbarito Torres of Buena Vista fame. Recording at Egrem Studios, he says, gave his album some of the same unique, “warm woody-room sound” that helped the eponymous Buena Vista Social Club release to become a huge seller around the world in the late 1990s.
Savona strongly refutes any notion that
revamping songs such as ‘Chan Chan’, ‘El Cuarto de Tula’ and ‘Candela’from the revered Buena Vista album with
beats, raps and manifestations of reggae amounts to any disrespect.
“That album is incredible; it was recorded over twenty years ago but stands the test of time. However, roam the streets of Old Havana today and all you’ll hear are Cuban bands in the bars and hotels mostly rehashing the ‘same old’ classics. Although this is what many tourists want to hear, it’s not great for the evolution of Cuban music. Music will lose its relevance and passion if it’s frozen in time. We made the Havana Meets Kingston album with so much respect for the roots music of both islands, involving many of the same legends that play on these old classic recordings.”
In order to blend together rhythms as
diverse as Jamaican reggae/dancehall and Cuban son/rumba, Savona prepared
sketches of all the songs, focusing on what he describes as interesting chord
changes and strong funky riffs.
“I left them quite open, rather than preparing overly complicated charts. This, in hindsight, is the best thing I could have done, because it meant the musicians could really get inside these songs and breathe, rather then being glued to the written music. It also meant they could easily imbue the music with their own style and touch.” As a result, he says, the songs evolved quickly and came alive in unexpected and exciting ways.
One goal was to bring the sounds of Jamaican soundsystem culture together with the virtuosic Afro-Cuban jazz traditions. “Robbie Shakespeare’s incredible rolling bass lines made this possible,” says Savona. “His playing mixed with the Cuban percussion of Yaroldy Abreu, Oliver Valdés and Changuito to really bring the sounds of the Kingston and Havana streets together in a way never heard before.”
Savona reports that both Sly and Robbie were fantastic to work with: “They’re very relaxed and confident in the studio. They were happy to take my musical direction, and at the same time bring their own style and sound to my arrangements. They’re an integral part of the album for so many reasons — no one plays like them.”
The first Havana Meets Kingston album, which comprises predominantly fresh original compositions, presents a bona fide mix of musical cultures that’s relatively free of studio artifice. As Savona says: “It’s all about the performances, and less about the post-production, which I’ve kept as simple and natural as possible. You could argue that contemporary music is becoming increasingly sterile, with the focus in pretty much all genres now on post-production and auto-tuned, synthesised vocal performances, which I believe actually stifle and repress deeper human expression. For me music should be about uplifting people, not brainwashing them.”
What Aussie festivalgoers saw on stage
at WOMADelaide and elsewhere on the 2018 tour was the core band that played on
the initial Havana sessions. Besides key vocalists, English-Jamaican Randy
Valentine and Cuban Francisco ‘Solis’ Robert and Brenda Navarette, one of
Cuba’s rising singers, the 15-piece line-up in Adelaide included Sly &
Robbie, Jamaican guitarist Bopee, the legendary Cuban percussionists Yaroldy
Abreu and Oliver Valdés and the great trumpeter Julito Padrón. Laud player Barbarito
Torres and virtuoso pianist Rolando Luna of Buena Vista fame were other world-renowned
Cuban musicians in the line-up.
Savona is justifiably proud of the fact that it was his stewardship that facilitated Jamaican musicians flying into Cuba to record and collaborate with Cuban musicians for the first time. He says a combination of political, social, economic and linguistic reasons conspired to prevent that in the past. “Additionally, both islands have such potent and unique music scenes that they’re really captivated by their own music to a large degree. Until two years ago, there were no exchange programs between the islands. Jamaica’s music industry is its biggest export, and yet the government still doesn’t invest in it properly. There’s not even a museum in Jamaica dedicated to their incredible contributions to the world’s music.”
The financing of such an expensive and ambitious project as Havana Meets Kingston was problematic: “As a full-time musician, with a variable income to say the least, there was no way I could have financed this on my own,” he concedes. “But, I was very fortunate to have so much assistance along the way to bring this dream to life.” Savona managed to submit what turned out to be a successful application for an Australia Council ‘International Pathways’ grant in the nick of time. That, he indicates was pivotal. A Kickstarter campaign raised funds to take a film and photographic crew to document the project in Havana. “A few generous friends of mine were also happy to lend me money to help with the final mixing and mastering stages later on.”
Savona concedes there are still some outstanding debts from Havana Meets Kingston, but he’s confident in time that his project will become fully self-sufficient. He plans to tour the live show elsewhere around the world, including free outdoor concerts in Jamaica and Cuba. The second volume of the album is on the drawing board, along with a documentary, and a third installment of the record is expected to follow at a later date.
“What amazes me about this project,” says Savona “are the synchronicities that kept happening, again and again. Looking back, I can see these countless little miracles that happened along the way that made it all possible. It just felt like an idea that wanted to happen, a project that wanted to be born. And all these great musicians loved the idea of the project. That’s what made it all possible.”
While there’s understandable pride in local music circles that an Australian is behind a project as bold as Havana Meets Kingston, Jake Savona stresses that it’s first and foremost an international collaboration. “This is an album by Jamaican and Cuban musicians, and it is an album for the people of Jamaica and Cuba, first and foremost. This is the real strength of the project.”
• The above interview first appeared in Rhythms, Australia’s only dedicated roots music magazine.
Voy is the third album by the multifaceted Eme Alfonso. She is one of the most extraordinary young artists in Cuba. She’s a singer-songwriter and composer that grew up in one of the most influential music families in Cuba. Her parents founded Síntesis, a highly innovative band that started as progressive rock band that brought together classic English progressive rock and Cuban music. Síntesis evolved into a formidable group that mixed Afro-Cuban music and jazz-rock and Eme grew up listening to this band and later joined it as a very young singer and keyboardist.
Eme has been involved in the celebration of the Cuban melting
pot, a cultural diversity project called “Para Mestizar, where she celebrates
Cuba’s African and Spanish roots and other influences.
Voy was recorded in Havana (Cuba) and Sao Paulo (Brazil). The
recording includes some of the finest musicians in the Cuban music scene and a superb
Masterfully-crafted and elegant, Voy showcases the talent of
a groundbreaking artist that incorporates roots music which is not nostalgic, and
looks forward, creating an edgy sound that injects captivating Afro-Cuban and
Afro-Brazilian percussion, rock, soul, jazz and European music elements.
Eme Alfonso writes beautiful, charming poetic songs that
hook you in. Her exceptionally
expressive vocals are primarily in Spanish although she also adds Yoruba
chants with choruses provided by her parents, who are regarded are the best
chorus singers in Cuba.
Personnel: Eme Alfonso on vocals; Jorge Aragón on piano and
keyboard; Harold López-Nussa on piano; Roberto Luis Gómez on electric and acoustic guitar
and banjo; Alain Ladrón de Guevara on
drums; Julio César González on electric bass; Yaroldi Abreu on Cuban percussion;
Luizhino Do Jeje on Brazilian percussion; Ruy Adrián López-Nussa on drums;
Yandi Martinez on acoustic bass; Carlos Alfonso, Ele Valdés and Carlos Angel
Valdés on choruses; Arístides Porto on clarinet; Aylin Pino on violin; Benda
Chávez Aguiar on violin; Maria Angélica Pérez on viola; and Claudia Carrillo on
Legendary rock guitarist Carlos Santana has announced the release of a new album titled Africa Speaks, on Concord Records. The new album includes the song “Los Invisibles” that features acclaimed Spanish singer Buika.
German-Spanish musician Amir-John Haddad, better known as El Amir, was born in 1975 in Freiburg im Breisgau, Germany. He moved to Spain in 1997.
El Amir is a multi-instrumentalist, composer, arranger, musical director, and producer. He‘s considered one of the best concert guitarists in today‘s Spanish scene, defined by his personality, maturity, sound and style.
El Amir has been playing flamenco guitar and the Arabic oud since he was seven years old, and has been performing on stage for 30 years. In addition to his extensive career, he has learned how to play traditional Mediterranean instruments including the Greek bouzouki and Turkish saz, being a virtuoso in all of them.
El Amir has collaborated with a long list of artists including Radio Tarifa, Chambao, Marcus Miller and Juno Reactor.
In 2010, Amir-John presented his show “From East to West,” combining all the instruments he plays, Arabic lute, Turkish saz, Greek bouzouki, flamenco guitar and the triple-necked electric guitar to expose a wide range of traditional music. A trip through several regions of the Mediterranean, through different instruments and original compositions mixed with modern and contemporary sounds, fired through effects processors.
Amir-John Haddad was part of a Madrid-based world music superband called Zoobazar. Group members included El Amir on oud and saz; La Musgaña’s fiddler, Diego Galaz on fiddle and mandolin; La Shica’s and Eliseo Parra’s drummer and percussionist, Pablo Martin Jones on drums and percussion; and the bassist of rock band GN3, Hector Tellini.
Zoobazar’s debut album, Uno (2011), was a mesmerizing journey across the musics of the Mediterranean countries, including Iberian folk music, Turkish, Balkan, Greek, Middle Eastern and North African grooves and tunes combined with rock, funk and jazz.
In 2017, Amir John Haddad played Vivaldi’s Concerto in C major for Mandolin for the first time on Greek bouzouki. The debut took place on the 6th of November at the National Auditorium of Music in Madrid accompanied by outstanding musicians from the Spanish National Orchestra.
Another project in 2017 was a collaboration with Paco de Lucia’s nephew, José María Bandera. The two guitarists performed material from Paco’s last album, Canción Andaluza, including María de la O, Señorita, I have to love you while you live, Chiquita Piconera, Romance of Valentía and Ojos Verdes, by Quintero, León and Quiroga and other great composers. The show also featured Josemi Garzón on double bass and Israel Katumba on percussion.
El Amir was one the featured solo artists of the Hans Zimmer’s Tour performing flamenco guitar, electric guitar, Greek buzuki and ukulele. “The World of Hans Zimmer – A Symphonic Celebration” presents the composer’s works arranged for a live symphony orchestra. Zimmer spent months working on transforming his soundtracks into opulent concert suites. interpreting a very special selection of soundtracks from the most famous films such as Pirates of the Caribbean, Gladiator, Mission Impossible, The Holiday or Madagascar.
Nsimbi – Nsimbi (Imara Records / Baboon Forest, 2018)
Nsimbi brings together American world fusion vocalist Miriam Tamar and Ugandan singer-rapper and spoken word artist GNL Zamba. With the help of superb East African musicians, multi-instrumentalist Jaja Bashengezi and percussionist Herbert Kinobe, Nsimbi combines East African melodies and a wide-range of pan-African beats with exquisite electric and acoustic guitar and western vocals techniques.
The album includes vocals in various languages, including English,
Swahili, Luganda and Lingala.
Anoushka Shankar was born on June 9, 1981 in London, England. Anoushka is the daughter of the late Indian sitar master Ravi Shankar, and she is the first and only sitarist in the world trained completely by him.
Growing up in London, New Delhi and, later, Encinitas, California, Anoushka at first resisted the legacy of the sitar, a complex and ancient instrument with between 17 and 21 strings. Anoushka learned her first Indian songs and dances from her mother, Sukanya, and she became her father’s student at the age of nine. Her initial dislike of the specially built “baby sitar” on which she cut her musical teeth gave way to a love of the instrument and the music. She made her performing debut at age 13.
Ravi Shankar guided his daughter through her emergence as a performer and as a recording artist, writing and producing the five works she plays on Anoushka, her debut album. For Anourag, her second recording, Anoushka once again performed music written and produced by her father. This time, Ravi Shankar also joined Anoushka as performer.
When Ravi Shankar’s friend and protégé George Harrison first worked with Anoushka in 1997 — when she conducted on the Chants of India album — he saw that she had inherited not only her father’s virtuosity but also his musical soul. “Most people are musicians simply because they play a certain instrument when they play that instrument, the music appears,” Harrison said. “But Ravi — to me, he is the music; it just happens to be that he plays the sitar. And it’s like that with Anoushka. She just has that quality. She could play the banjo, and it wouldn’t matter – she is the music.”
The release of Anourag coincided with the extensive “Full Circle” tour of the United States, in which Anoushka and Ravi Shankar performed together in concert in celebration of Ravi’s 80th birthday and the 70th anniversary of the beginning of his career in music. On August 15th, India’s Independence Day, Anoushka performed alone in New York at Summerstage in Central Park. Throughout the tour, she shared the stage with her father, performing his Sitar Concerto No. 1 and conducting master classes.
Anourag continued the Shankar family’s extraordinary presence in the world of Indian classical music. The recording’s six tracks feature traditional ragas that reflect Ravi Shankar’s influence on both the composition and performance of sitar music. In his first new recording as performer in several years, Ravi Shankar joined Anoushka on “Pancham Se Gara,” the final track on Anourag. In addition to her father, Anoushka was joined on the recording by Bikram Gosh on tabla and mridangam, Tanmoy Bose on tabla.
After graduating from high school with high honors in 1999, Anoushka decided to delay her entry to college to tour the world once again with her father. Highlights of their 1999 schedule included performances together at London’s Barbican Theatre and at the Evian Festival in France, where Anoushka joined the world-renowned cellist Mstislav Rostropovich in playing the world premiere of a new work for cello and sitar by Ravi Shankar.
In 1998, the British Parliament presented Anoushka with a House of Commons Shield in recognition of her artistry and musicianship — at 17, she was the youngest as well as the sole female recipient of this honor. She toured extensively with Ravi throughout her cultural homeland of India, as well as Europe, Asia and the United States. In 1998, Anoushka played at Peter Gabriel’s WOMAD Festival in Seattle, at Carnegie Hall and in a special concert at New York’s Town Hall. Anoushka also joined her father in London in March 1997 for a historic performance of his Concerto No. 1 for Sitar and with Zubin Mehta conducting the London Symphony Orchestra.
Rise, Anoushka Shankar’s fourth album for Angel Records, marked a defining moment in the career of the young musician in 2005. Having previously recorded strictly in the classical tradition, Anoushka emerged as a potent creative force. “It’s very much my own music and my journey and who I am right now,” said Anoushka, who turned 24 in June of 2005 “I felt that on a personal level, Rise signifies growth.“
On Rise-which was composed, produced and arranged by Anoushka-she collaborated with a select crew of virtuoso Eastern and Western musicians wielding a variety of both acoustic and electronic instruments often engaging in unexpected ways to create tantalizing new sounds.
Having toured almost non-stop since her adolescence, in addition to attending school until her graduation from high school in 1999, Anoushka felt that she needed a break and elected to take 2004 off. But her vacation quickly became a working one as concepts were planted for the album that ultimately became Rise.
“I was going to go disappear for a while but wouldn’t you know it, I made an album,” she says “The sabbatical gave me the space to take risks. It was really an organic, natural experience. I was traveling from India to the States and meeting friends and adding people along the way. It was really beautiful.”
From the first notes of “Prayer In Passing,” which opens Rise, it becomes instantly clear that Anoushka is on to something inspiring and uncommon here. The track features Vishwa Mohan Bhatt, a renowned Indian slide guitarist alongside the flamenco-style piano of Ricardo Miño, Pedro Eustache’s bansuri flute and duduk (a Middle Eastern wind instrument) and Anoushka’s sitar. “This one’s very languid,” says Anoushka. “It’s just nice and dreamy-it’s set in a morning raga that’s very moody and simple. It was lovely to have so many different things that shouldn’t go together but seemed to flow really nicely.”
“Red Sun,” the second track, features Anoushka on keyboards and is highlighted by the percussive Indian “bol” vocalizing of Bikram Ghosh and Tanmoy Bose, her longtime tabla players. “We’ve always incorporated that into my shows when they play with me, and I definitely wanted to feature that-they’re improvising on that,” says Anoushka.
“Mahadeva” is based on a four-line song by Ravi Shankar that was re-composed and arranged by Anoushka. “He never developed it into a piece of music,” Anoushka explains. “It was just something that I sang as a kid and it came into my head while we were in Calcutta recording. It started developing into a really strong rhythmic, dark-feeling track, which I was really excited about. Mahadeva is another name for Shiva, and one aspect of Shiva is that he’s the destroyer. This sort of brings out that feeling of anger and insanity.“
“Naked” turns the mood around completely-Anoushka, all alone, on sitar and keyboards. “It was a very conscious decision to add a little pretty track with sitar being the focus,” she says. “We’d gone very mysterious and heavy and it seemed nice to have something light.”
“Solea” was co-written by Anoushka and pianist Ricardo Miño. The luminous background sounds, Anoushka explains, were all created on the piano. “I’m holding the piano strings muted while he’s playing one of the other background synth sounds. It was really creative and fun for me, and very physical, too, because of the rhythm, the flamenco approach.”
The album’s other sitar-less track, “‘Beloved,'” says Anoushka, “was my first experience writing lyrics from scratch and fitting it to a melody. It was flute-focused and I thought it would be nice to have it be about Krishna because he’s always associated with the flute. The lyrics are from the viewpoint of Radha, who’s his eternal lover. She’s searching for him everywhere and then she understands that the reason she hasn’t been able to find him is because she’s not looking within herself.”
The intriguingly titled “Sinister Grains,” like “Prayer In Passing,” is another instance where Anoushka juxtaposed seemingly incongruous ingredients, here using Indian shehnai and vocals, didjeridoo, South American vocal percussion, bass and electronic elements, including her sitar which was fed through a filter to create some of the track’s ambient effects. “It’s just a funky little mysterious track,” she says. “The song is in a Sufi-sort of mood where he’s talking about the pain of living, and the music is also very moody.”
Anoushka compares “Voice Of The Moon,” which matches the Western cello and violin to the Eastern sitar, tabla and santoor, to her father’s collaborations with the late violinist Yehudi Menuhin. “It’s very much composed within an Indian raga yet the fact that the cello is there gives it a smoothness,” she says. The Indian percussion is amended with an electronic HandSonic drum pad as well, “to give it a little more depth,” Anoushka explains.
Finally, “Ancient Love,” the longest track on Rise is “my favorite one by far,” says Anoushka. “This is the one closest to my heart. It was also the easiest track because it constantly flowed. Every time someone added to this track, it would get more beautiful. We ended up taking out a lot, too, to retain a bit of simplicity. It’s got a nice mix of the electronics and several flavors.”
The sequencing of the tracks on Rise, adds Anoushka, is hardly random. “Each one is in a certain raga, and it flows from morning to evening through the course of the album, which is a pretty unique feature. It’s not something that happens very often or that can be made to work, but if you do believe that ragas have moods and have significance it does enhance the overall flow.”
In 2007, Anoushka collaborated with world music innovator Karsh Kale, combining Indian classical music with electronica and other influences.
After releasing several experimental, fusion and crossover albums, Anoushka released Home in 2015. It’s a pure Indian classical album that showcases the meditative and virtuosic qualities of the Indian raga. Home includes two ragas, one of which is a creation of Ravi Shankars.
Land of Gold (2016) is Anoushka Shankar’s whole-hearted response to the trauma and injustice experienced by refugees and victims of war. The music was inspired by recent news images of people fleeing civil war, oppression, poverty and agonizing hardship. “The seeds of Land of Gold originated in the context of the humanitarian plight of refugees,” Anoushka recalls. “It coincided with the time when I had recently given birth to my second child. I was deeply troubled by the intense contrast between my ability to provide for my baby, and others who desperately wanted to provide the same security for their children but were unable to do so.”
Hang virtuoso and co-writer of many of the album’s ten pieces Manu Delago joined Anoushka Shankar. Other guests included Sanjeev Shankar, a master of the spellbinding Indian reed instrument, the shehnai, who studied with Anoushka’s father Ravi Shankar.
Land of Gold also includes guest appearances by singer-songwriter Alev Lenz, jazz bassist Larry Grenadier, dancer Akram Khan, cellist Caroline Dale, rapper and refugee advocate M.I.A., and actress and political activist Vanessa Redgrave. All-girl children’s choir Girls for Equality makes its debut on the album’s closing song, “Reunion.”
“Everyone is, in some way or another, searching for their own “Land of Gold”: a journey to a place of security, connectedness and tranquility, which they can call home,” said Anoushka. “This journey also represents the interior quest that we all take to find a sense of inner peace, truth and acceptance – a universal desire that unites humanity.”
“My instrument,” comments Anoushka, “is the terrain in which I explore the gamut of emotional expression – evoking shades of aggression, anger and tenderness, while incorporating elements of classical minimalism, jazz, electronica and Indian classical styles.”
In 2019, Anoushka Shankar released Reflections, a compilation featuring including Anoushka’s favorite tracks, with pieces from Land of Gold, Traces of You, Rise and other albums.
This is a superb Indo-Swedish fusion band,
not quite in the league of Shakti, but with a more diverse range of sounds.
Calling itself a “fusion of Nordic ice with
Indian spice,” there’s a good mix of funky percussion, scatting vocals, slick
guitar and soaring sax.
The two-disc set includes a CD and DVD. The
Swedish lineup features Santiago Jimenez (violin), Max Åhman (guitar),
Sebastian Printz-Werner (percussion) and Christian Paulin (bass). They are well
matched by Fazal Qureshi (tabla) and Shankar Mahadevan (vocals).
The 15 tracks are culled from 5 previous albums. Each track is terrific, you must get this album!
Vince Maccarone and Los Variants – O Passeio (2018)
Canadian drummer and composer Vince Maccarone joins some of Canada’s finest musicians on O Passeio. The album is a fascinating and groovalicious rhythmic ride through Afrobeat, reggae, Indian music, Afro-Latin, Middle Eastern, Argentine, flamenco and jazz traditions.
Personnel: Vince Maccarone on drums and percussion; Justin gray on bass and bass veena; Michael Occhipinti on guitar; Kevin Turcotte on trumpet; Tico Souza on organ; Luis Orbegoso on percussion; Kobe Aquaa-Harrison on vocals; Paul Metcalfe on saxophones; Todd Pentney on keyboards; Mario marques on drums; Nick Korneluk on piano and synthesizers; Ana Lia Arias Garrido on vocals; Benjamin Barille on guitar; Louis Simao on accordion; Ravi Naimpally on tabla; Liv Johnson on vocals; Mariem Hussan Tollar on vocals; Ernie Tollar on reeds and flutes; Waleed Abdulhamid on percussion; Patrick O’Reilly on guitars; Sean O’Conner on tenor saxophone; Brian O’Kane on trumpet; Dominic Mancuso on vocals and acoustic guitar; Natalie C. Morris on vocals; Markus Moses Jackman on vocals; Fernando Gallego Torres on vocals and palmas; Yogwon Cho on acoustic bass; Bartek Milczarczyk on nylon string guitar; Paul Ormandy on percussion; and Spencer Murray on flute.
Your Connection to traditional and contemporary World Music including folk, roots and various types of global fusion