A Gorgeous, Groundbreaking East-West Collaboration
What if you could blend the hypnotic otherworldliness of classical Indian music with the lush melodicism of European classical music? That possibility comes to life on the new album Samaagam, a groundbreaking collaboration between Indian sarod virtuoso Amjad Ali Khan and the Scottish Chamber Orchestra conducted by David Murphy. For those unfamiliar with the instrument, the sarod (sort of) is to the sitar what the mandolin is to the guitar – it has less resonance, with more emphasis on the upper register. Amjad Ali Khan is one of the world’s great masters (his website is sarod.com); on this album, he begins with three abbreviated versions of classical Indian ragas, followed by the epic title suite. The ragas set the stage, each of them clocking in at a relatively brief seven minutes or so: the first an apertif of sorts, the second more aggressive with insistent staccato passages and the last the most complex and suspenseful.
The title piece, meaning “village meeting” in Sanskrit, is a concerto for sarod and chamber orchestra with terse, even minimal tabla rhythm, a fascinating and richly beautiful mix of Indian and Western melodies. Much of it evokes earlier Western music inspired by the sounds of India, specifically the late 60s rock of the Grateful Dead and Moody Blues. Rather than an integral suite, it’s actually a pastiche of new and older material: for example, the first two sections debuted in Indian in 1992, the third in 1964. Throughout the work, the orchestra shifts through rhythms that probably have never been attempted before with a Western orchestra, but Murphy leads them seamlessly, whether on their own or in tandem with the sarod. Likewise, they switch between the melismas of Indian music and the crisp Western dynamics with equal aplomb.
A quote from Also Sprach Zarathustra opens it playfully before Khan enters. They shift down to a quiet, plaintive arrangement, the sarod in and out as the orchestra swirls, moving to a rapt, pianissimo call-and-response passage between the sarod and the ensemble with a familiar melody that’s been appropriated by many western outfits over the years. Flute features prominently in the quiet, gentle sections that follow before it picks up with a rustic sway, a swirl of cadenzas with wordless vocals from Khan. The last three segments are traditional raga themes: the first ironically sounding like a Haydn arrangement of a south Indian melody, the second a brisk overture and the third a popular theme traditionally played as a “morning raga,” i.e. to wind up a concert in the wee hours. It’s the showstopper here, both poignant and boisterous, an echo chamber where the sarod and then the orchestra engage in a dizzying conversation that finally goes doublespeed and out with a bright, unexpected ending. An apt way to conclude this warmly beautiful, groundbreaking album, just out on World Village Music.
CD Review: V.M. Bhatt & Matt Malley – Sleepless Nights
Irony of ironies – this is what we use at naptime at Lucid Culture HQ. Hypnotic but often blisteringly intense, it’s equal parts fret-burning power and soothing ambience, and completely psychedelic either way. It’s like what you might hear in the NYC subway, an innovative, Grammy-awardwinning Indian musician who’s modified his guitar to sound like a sitar, and his younger protege on an old vintage synthesizer. Only in New York – except that this was recorded in India. Like most South Indian music, the new album by V.M. Bhatt and Matt Malley is pretty much sans chord changes – it’s all in the dynamics and the sometimes subtle, sometimes striking melodic embellishments, more innovative than you would think after hearing this once. Remember – that’s not a sitar. That’s a guitar, “furnished with 14 additional strings and calling for perfect assimilation of sitar, sarod and veena techniques” as Bhatt’s label explains.
Count this as Matt Malley’s great shining moment, atoning for any association with 90s frat-rock atrocity Counting Crows. Malley plays keys; he pretty much stays out of the way. Bhatt, a Ravi Shankar disciple, is a fiery and virtuosic player who plays sitar lines on an open-tuned guitar he designed himself, which he calls a mohan veena (to distinguish itself from the Indian veena). His 1994 album with Ry Cooder, A Meeting by the River, made some waves internationally and won the two a Grammy. Imagine the great Indian guitarist Debashish Bhattacharya fingerpicking instead of playing with a slide and you’re on the right track.
The album opens with what sounds like an Indian rewrite of Church in the Wildwood, a swinging bluegrass tune but with South Asian flourishes. It’s the only moment of Americana on the album. The aptly titled second track, Sleepless Nights could be the frenetic, concluding section to a sitar raga but with a sharper sonic focus, Bhatt’s incisive fingerwork taking the place of a sitar’s dense, twangy layers of overtones. Slow and swooping, The Eternal Wait is a study in tension-building, fading majestically rather than taking any kind of crescendo over the top. The most rock-inflected piece here is The Scalding Rain (a song for the global warming era if there ever was one), alluding masterfully to a catchy central hook that teases the listener but never quite coalesces.
Another aptly titled composition, Languid with Longing has Malley’s electric piano following Bhatt’s first movement, ghostly and otherworldly – the juxtaposition between the guitar’s rustic tone and the creepy techno feel of the synthesizer might sound jarring but it works, in a horror-movie soundtrack kind of way. Ditto the concluding track, Silent Footsteps, a mini-suite that ranges from plaintive to eerie to frenetic. You can get completely lost in this. It’s out now on World Village Music.
