CD Review: Tom Teasley's 'Dreams Of India'

Tom Teasley
Dreams Of India
T & T Music

The DC-area percussion king, Tom Teasley, pounds out beat after beat of incredible instrumental mastery incorporating world percussion and some contemporary electronic embellishments on his latest release, Dreams Of India. The pulsating tracks showcase diverse percussive stylings produced by instruments such as doumbek, alto melodica, tabla, konnakol, bamboo flute, wavedrum, cajon, udu, hang, glockenspiel, cymbal, shakers, kalimba, riq, snare, kanjira, bodhran, and a few others. The mix of wind instruments and percussion instruments provides a great balance between light, dreamy sounds and heavier percussive beats. Still, the music is never over-produced and the sounds are a mix of fusion, new age, and jazz. Yes, there are South Asian influences, but there is also an experimental vein bringing in North American styles to a point. Tom's vocal scat is another percussive instrument that is utilized on a few tracks. Overall, there are cinematic moments, dreamy qualities, and entrancing tunes that are both nostalgic and contemporary. Dreams Of India is the best dream anyone can have! ~ Matthew Forss

CD Review: Randy Armstrong & Volker Nahrmann's 'Beyond Borders'

Randy Armstrong & Volker Nahrmann
Beyond Borders
UMP Records

Beyond Borders is beyond the ordinary when it comes to the musical explorations of Randy Armstrong and Volker Nahrmann. Upon listening to the first track, "Ciao Bella," one can easily discover the nod to groovy, South American and Brazilian brilliance with sweeping vocals, breezy percussion, and smooth rhythms punctuated with bass, guitars, and other instruments. The percussive sounds heat up on "Fear Not Fear" in a sort of instrumental jazz vein. "Shanti Om" is dedicated to Ravi Shankar and George Harrison, so you know it is going to be a good one. In fact, it contains trance-inducing sitar amidst a plethora of instrumentation that flows from one chord to another, while truly exemplifying the genre of world music. Eleven tracks are included for your listening pleasure. Travel the world through the sounds on Beyond Borders. ~ Matthew Forss

2-CD Review: Shujaat Khan/Abhiman Kaushal/Katayou Goudarzi/Ajay Prasanna's 'Spring'

Khan/Goudarzi/Kaushal/Prasanna
Spring [2-CD]
Self-Release

The two-disc set, Spring, is a combination of Persian vocals and Indian instrumentation that promises to be an adventurous and mesmerizing ride. Both discs contain the same musicians with their respective instruments and vocals. Shujaat Husain Khan plays sitar and provides vocals, Ajay Prasanna plays flute, Katayoun Goudarzi provides vocals, and Abhiman Kaushal plays tabla. The music combines Persian vocals, Indian melodies, and South Asian rhythms that are fresh and classical. Each disc contains five different songs that follow the same musical influences. The instrumental portions are very dreamy, engaging, and vibrant. You can almost smell the incense in the air when the tracks resound with blissful notes of heaven. ~ Matthew Forss

CD Review: Bombay Dub Orchestra's 'Tales From The Grand Bazaar'

Bombay Dub Orchestra
Tales From The Grand Bazaar
Six Degrees

The Bombay Dub Orchestra is project of composers Garry Hughes and Andrew T. Mackay. The nine track release contains a plethora of instruments, including sitar, sarangi, bansuri, qanun, baglama, oud, strings, synth, keys, table, santoor, sarod, French horn, guitars, cello, kalimba, harpsichord, and others. The music ambulates along with many instruments shining and glimmering with sparkling tones, filmic undertones, and traditional elements. The music is contemporary with floating vocals used at times. The music is very dreamy and instrumental with a strong Indian presence, but filmic ambiance, too. The music is slightly electronic with some dance elements, but this is primarily a groovy album with atmospheric washes, cultural instruments, and a sonic beat. Fans of Six Degrees albums will love it and anyone with a passion for Indian fusion. ~ Matthew Forss

CD Review: Gao Hong's 'Quiet Forest, Flowing Stream'

Gao Hong
Quiet Forest, Flowing Stream
Innova

Pipa master, Gao Hong, is a Chinese lute player with a knack for creating beautiful melodies and scintillating songs. On Quiet Forest, Flowing Stream, Gao enlists the help of acclaimed-veena player and vocalist, Nirmala Rajasekar, Michelle Kinney on cello, Biplab Bhattacharya on table, David Hagedorn on percussion, Shubhendra Rao on sitar, Joseph Schad on piano, and Kenny Endo on taiko drum. The galloping melodies are steeped in an Indo-China medley of song elements that work quite well together. The instrumental work is full of spritely melodies that represent a little Inner Asian influences, such as Mongolian folk songs. There are some vocals on "Butterfly" and "Celebration," but they are primarily used for an aural accompaniment. Fans of South Asian, Chinese, and Central Asian folk music should add Gao Hong to their collection. ~ Matthew Forss

CD Review: Pooja Goswami Pavan's 'How Shall I Say?'

Pooja Goswami Pavan
How Shall I Say?
Innova

A prominent educator, composer, and scholar of Hindustani classical music in Minnesota, USA, Pooja Goswami Pavan present us with seven long vocal tracks. Each track is rich with North Indian classical influences and instrumentation that includes tabla, harmonium, sarangi, and tanpura. The strings are dreamy, trance-inducing, and highly-textured. The vocals reverberate with classical veins and a commanding voice. The tabla blurts out thuds that are fast and precise. The droning harmonium and sarangi fill in the melodies with a brighter tone overall. The vocals nor instrumentation are particularly catchy, but that is not the point of Hindustani music. The music should be enjoyed for its arrangements, vocals, and sounds that represent hundreds of years of practice and performance. The album runs over one-hour, which is perfect for anyone trying to immerse oneself in Hindustani musical culture. Give yourself a dose of Hindustani reality with Dr. Pooja Goswami Pavan's How Shall I Say?. ~ Matthew Forss 

CD Review: Debashish Bhattacharya's 'Madeira'

Debashish Bhattacharya
Madeira
Tridev Music India

Madeira is an album that explores the lighter side of Indian classical music with a mix of slow-paced ragas, upbeat rhythms, and semi-classical compositions. The album is a family affair with Debashish Bhattacharya being joined by his daughter, Anandi Bhattacharya on vocals and Subhasis Bhattacharya, Debashish's brother, on tabla. There are five tracks in all. "Madeira" is a sixteen-minute tune showcasing Raga Lalit (aalap on Chaturangui), "Morning Gait" on Raga Kaunsi Bhairav (composition in vilambit teentaal), "Jhoom" on Raga Kaunsi Bhairav (composition and jhala in med. and fast tempo), "Colours Of Love" on Raga Manj Khamaj (chaiti), and "O My Beloved!" on Raga Pilu (thurmi). As the tracks play out, each one brings in a little more percussion, vocals, and/or sitar. Anandi's vocals are sweet and light with a slight huskiness that seems to add more maturity to the mix. At any rate, fans of Debashish Bhattacharya will love the new recording, as well as fans Indian classical music in a slightly contemporary setting. ~ Matthew Forss 

CD Review: David Starfire's 'Ascend'

David Starfire
Ascend
Six Degrees Records

The adventurous fusion of electronica and Indian music is the basic source of inspiration on the newest release, Ascend. There are heady, urban elements that are littered with electronica connotations that are electro-rock-infused. David has enlisted the help of fellow musicians, Natacha Atlas, Afrika Bambaataa, Cheb i Sabbah, iCatching, and Sheila Govindarajan. The upbeat percussion, electronica, and South Asian-influenced songs incorporate a variety of vocals, rhythms, and styles that are anything but boring. The dancefloor medleys are exciting and innovative, while contemplative at the same time. The world fusion elements are especially intriguing. Fans of electronica fused with world music and a side of South Asian character will love David Starfire's latest release. Ascend rises to the occasion. ~ Matthew Forss

CD Review: Vandana Vishwas' 'Monologues'

Vandana Vishwas
Monologues
Self-Release

The Indo-Canadian roots of Vandana Vishwas are clearly evidenced on her sophomore release, Monologues. Contrary to the initial tone of the title, there are songs on the album with good vocalizations and the same songs steeped in Hindustani classical music, Persian melodies, and Urdu poetic masterpieces. The upbeat music is driven by tabla drums, but the unmistakable drone of the sitar is also present, along with sax, flute, guitar, piano, and keyboard. The floating vocals are classical and contemporary in the same vein. It seems Lata Mangeshkar comes to mind on the vocals, but in a much more contemporary way. However, the music is not Hindi pop/dance music. It is influenced by global wanderings and a rich, South Asian heritage in the musical arts. The scintillating melodies and dreamy percussion tracks are outstanding. Nothing is questionable here. ~ Matthew Forss

CD Review: Imani Uzuri's 'The Gypsy Diaries'

Imani Uzuri
The Gypsy Diaries
Self-Release

The opening sitar sounds on the first track, 'Beautiful,' followed by the bluesy, gospel vocals of Imani Uzuri, offers a glimmer of what brilliant--and varied--delicacies are found on The Gypsy Diaries. The multi-influential work encompasses Indian, blues, gospel, Afro-pop, Eastern European, and East Asian elements that bring a sense of class, soul, and dignity to the world of music. The diverse vocals match the diverse instrumentation. The English vocals are a little lower in tone than Zero 7's earlier work. Still, the album features a good mix of melodies, instruments, rhythms, and Afro-pop magnificence for audiences of all ages and locations. This is world music at its best! ~ Matthew Forss

CD Review: Dotschy Reinhardt's 'Pani Sindhu'

Dotschy Reinhardt
Pani Sindhu
Galileo Records

The music of the Roma and Sinti peoples bridge the social and cultural link between German and Indian/Pakistan music. Thankfully, Dotschy Reinhardt's enthusiastic release, Pani Sindhu, traverses the spectrum of musical genres, from classic Brazilian, flamenco, Portuguese, Spanish, jazz, improvisational, and traditional Indian music. The tabla and sitar make an appearance on several tracks. However, the music is mixed with equal doses of Dotschy's jazz standard vocals, piano, and lounge club percussion. Dostchy's sweet and tender vocals are in the Romanes language. The throwback to the 1960s or 70s South American jazz tunes are not particularly far-fetched on Pani Sindhu. The addition of Indian/Pakistani musical and instrumental elements makes Pani Sindhu exciting for fans of South American jazz, improvisational music, Indian music, and European notions. The result is a new form of music cleverly-defined as Rom-Indo music. ~ Matthew Forss 

CD Review: Hariharan's 'Lahore Ke Rang, Hari Ke Sang'

Hariharan
Lahore Ke Rang, Hari Ke Sang
Sachal Music

Hariharan is a playback singer and composer of contemporary Hindi music who has won numerous awards for singing and songwriting. Born in Mumbai, Hariharan studied Carnatic music and later on, ghazals (love poems). On this release, Hariharan celebrates the music of Lahore, Pakistan. A few of the composers are included, such as Wazir Afzal, Nazar Hussain, and Qadir Shaggan. Lyricists include Amir Khusro, Bulleh Shah, Majeed Amjad, Hasrat Mohani, Mushtaq Soofi, Tajjamul, Adeen Taji, and Nasir Kazmi. The instrumentation is characteristically filmic; with symphonic strings, tabla, sitar, and floating vocals that coalesce into a wonderful musical medium. The contemporary arrangements should intrigue young and old alike. The ten tracks run almost one-hour in length. Buy it today! ~ Matthew Forss

CD Review: Ustad Fateh Ali Khan's 'Bandish: Classical Compositions Re-Interpreted'

Ustad Fateh Ali Khan
Bandish: Classical Compositions Re-Interpreted
Sachal Music

Born in Pakistan, Ustad Fateh Ali Khan showcases his classical voice for eight different ragas that are re-interpreted with The Orchestra of the Great Musicians of Lahore. The raga compositions are similar in tone to Indian ragas. The instrumentation is similar, notably the sitar, table, dholak, mrdang, violin, santur, shehnai, mandolin, sarangi, sarod, viola, assorted percussion, and more contemporary instruments, including the Spanish guitar, keyboards, and bass guitar. The rich instrumentation and Ustad Fateh’s classic voice gives the music very high marks with limited outside influence. Specifically, the music may be re-interpreted, but it still retains its Punjabi charm. Every track is great. If you are into classical Punjabi or Indian music, then Bandish… is right for you! ~ Matthew Forss

CD Review: Various Artists - 'Sachal Jazz: Interpretations of Jazz Standards & Bossa Nova'

Various Artists
Sachal Jazz: Interpretations of Jazz Standards & Bossa Nova
Sachal Music

The Pakistani and Indian contexts are mixed with jazz standards and South American bossa nova to create a rousing mix of mostly instrumental pieces. Dave Brubeck and Paul Desmond's "Take Five" is a great, instrumental medley of South Asian proportions without losing any of its initial charm. "Desafinado" originally composed by Antonio Carlos Jobim and Newton Mendonca is brought to life in a laid-back, Bollywood sort of way. There is a fine sense of Brazilian charisma and ambiance throughout. Dave Grusin’s “Mountain Dance” is perfectly suited for the table and sitar. “Garota de Ipanema,” or “Girl From Ipanema,” is another Antonio Carlos Jobim track familiar to bossa nova fans everywhere. This is the first time it has been adapted for Indian music and the result is a winner. Producer Izzat Majeed does a fine job bringing together these original and jazzy standards for a new audience and culture. Fans of bossa nova and Indian music with a jazz undertone will love Sachal Music's latest addition. ~ Matthew Forss 

CD Review: Prem Joshua & Band

Prem Joshua & Band

Luminous Secrets

White Swan Records

Prem Joshua was born in Germany with an extensive travel history through Turkey, Iran, Greece, India, Afghanistan, and Pakistan. As a master sitarist, Bansuri flutist, saxophonist, and vocalist, Prem incorporates the musical spices of Central and South Asia into an electric stew of delectable tracks. The Hindi vocals are used sporadically throughout the mostly instrumental recording. A variety of instruments are used, including the harp, electric guitar, Bulgarian bagpipes, bass, bells, tabla, darbouka, cajon, congas, bendir, castanets, djembe, keyboards, kalimba, berimbao, and others. The overall effect is a form of South Asian world-beat music with a hint of everything else. The music is not a continuous dance-beat album, but an album of serene beauty with melodies and vocals that seem to float effortlessly through the air from continent to continent. At times, the music is funky, jazzy, folksy, and trance-inducing. At any rate, Prem Joshua & Band is a fascinating group with good music. ~ Matthew Forss

CD Review: Grammy-nominated Chandrika Krishnamurthy Tandon

Chandrika Krishnamurthy Tandon

Om Namo Narayanaya: Soul Call

Soul Chants

A recent Grammy-nominated album, Om Namo Narayanaya: Soul Call, is a delicious journey of ancestral significance that draws upon ancient syllabic chants to formulate songs with different Indian ragas. A classically trained Indian vocalist, Chandrika K. Tandon, brings a soothing and intriguing voice backed by incredible instruments including sarod, sitar, esraj, violin, tabla, and various drums and flutes. Each track begins with a relatively slow pace with limited instrumentation and vocal accompaniment, but every song satisfies the soul by picking up the pace after a short time. The classical compositions are relatively modern in form and do not follow the typical raga pattern of solo sitar and vocal accompaniment. Chandrika K. Tandon's vocals are never grating or unwarranted. The Sanskrit chants and modern instrumentation strike a perfect balance between old and new without resorting to pulsating dance music or a boring and dry solo sitar and voice performance. However, a faster paced "Basanth Mukhari" might border on a Bollywood anthem with some flamenco and Central Asian elements thrown in. Overall, Soul Call is an excellent soundtrack for hope and peace in the New Year. ~ Matthew Forss

CD Review: Shweta Jhaveri's Classical Voice of India

Shweta Jhaveri

Prabandh: Classical Vocal Forms of North India

21st Century Cosmos

North Indian classical vocalist Shweta Jhaveri presents listeners with a deeply meaningful and harmoniously moving selection of traditional vocal ragas. Prabandh can be translated as a structured vocal composition for raga and tala (rhythm). As with most traditional Indian music albums, the drone of the sitar and the muted sounds of the tabla drums are iconic fixtures of South Asian musical repertoires. The sarangi, harmonium, pakhavaj, swarmandal, and tanpura are also used. However, in this case, Shweta's emotive vocals fit superbly with the background instrumentation. Shweta's vocals are suprisingly indicative of Sheila Chandra or Kiran Ahluwalia. Liner notes contain information on various Hindustani, or North Indian classical vocal forms with track listing. Prabandh is a richly composed album of expert musicianship, serene vocals, and a great introduction into the world of North Indian classical music. ~ Matthew Forss

CD Review: Sacred Music of India

Various Artists
Sacred Music of India
Silk Road Communications

This recording is a collection of live performances recorded during the Global Event of the World Festival of Sacred Music in Bangalore, India from April 9-16, 2000. The event was organized by Tibet House, Cultural Center of H.H. the Dalai Lama. In fact, a short foreword and speech by H.H. the Dalai Lama is included in the liner notes. Unfortunately, the speech is not on the CD. Yet, nearly 50 pages of text accompanies the CD in an attractively-illustrated, hardbound package. 12 tracks feature contemporary and traditional instrumental and vocal music from Sri Lanka in the South to Tibet in the North. The usual instrumentation of Indian music is present, including, tabla, tala, harmonium, sarangi, dholak, ektara, flute, and more. All liner notes are in English. The vocals are superb and very lively at various points. If you want to experience a live recording of the best sacred music from india, then sit back and enjoy the engaging melodies traditional Indian music. ~ Matthew Forss