The day after a moving performance with Ravi Coltrane, Reggie Workman, Jeff Tain Watts an other giants of Jazz, we hung out at home with Jay Gandhi! After our short conversation he shares a special live performance.
Jay is an artist who dedicated to the Hindustani tradition and is also bringing his instrument, the bansuri, into new territory.
The nineteenth set of the historic, Ragas Live Festival 2016, live at Pioneer Works. Samarth Nagarkar (vocal), Meghashyam Keshav (tabla), Rohan Prabhudesai (harmonium). This is a great to chance to experience music created for the sunrise. It was performed as the first rays broke through the evening sky.
Samarth Nagarkar is a Hindustani classical vocalist, known for his captivating performances and richly traditional music.
Samarth features in prominent music festivals and venues in India and the US including The ITC Sangeet Sammelan, Kolkata; Chhandayan All Night Concert, The International Fringe Festival and The Drive East Festival, NYC; Maverick Concerts, Woodstock; Ali Akbar College of Music and Basant Bahar, San Francisco; The APAP Showcase at Rockwood Music Hall, NYC; The Kashinath Bodas Music Festival, Pheonix; The Gandharva Festival in New Jersey and Universities like Stanford, UPenn, UPitt and PSU.
He has two albums titled ‘Pranali’ and ‘Pravah’ and a book, ‘Raga Sangeet’ to his credit.
He has also composed music for major international films and conventions.
Samarth is a recipient of the President’s Award for winning the All India Radio’s National Music Competition and a Fellowship from the Ministry of Culture, Government of India.
He was formerly head of the K. K. Kapoor Sangeet Research Academy in Lucknow and currently teaches at two prominent music schools in New York, and also teaches adjunct lectures and master-classes at schools/universities like MSM and NYU.
He is a former scholar of the prestigious ITC Sangeet Research Academy, Kolkata and has trained extensively in the strict guru-shishya parampara under two renowned gurus and top ranking musicians – Pandit Ulhas Kashalkar and Pandit Dinkar Kaikini.
Pursuing a full-fledged career as a performer, composer, teacher and author, Samarth is described by critics as one of today’s most prolific performers and a torchbearer of the traditions he represents.
In this incredible episode we capture Innov Gnawa performing the “Sebatayin” repetoire, Gnawa music performed traditionally in Morrocco for the Jewish Community. They performed this for the end of Passover at Greenwich House Music School as part of the UNCHARTED concert series.
The Jewish presence in Morocco dates back to over 2,500 years ago and upon interaction with the gnawa community, a bond formed over appreciation for gnawa music and its healing powers. Gnawa music pre-dates Islam and originally centered around animistic, spiritual, mystical concepts sung in sub-Saharan languages such as Bambara, Fulani and Sudani. Upon embracing Islam, gnawa songs began to incorporate Arabic language and themes around the Muslim prophets. Sebitiyin, meaning The Saturdays in Moroccan Arabic, is the collection of songs that grew out of the gatherings hosted by the Jewish community for the revered gnawa maalems whom they deeply respected. Themes of these songs still include the original elements of spirits and the natural world, and later came to incorporate shared saints from their Abrahamic traditions. Today, it is still rare to find a maalem that knows this full repertoire so we are especially lucky to have Maalem (Master) Hassan Ben Jaafer, son of the late Abdallah Ben Jaafer, lead us through a powerful moment of unity in music.
Maalem (Master) Hassan Ben Jaafer – vocals and sintir
Samir Langus – vocals and qraqeb (castanets)
Amino Belyamani- vocals and qraqeb (castanets)
Ahmed Jeriouda- vocals and qraqeb (castanets)
Nawfal Atiq- vocals and qraqeb (castanets)
Said Bourhana- vocals and qraqeb (castanets)
David Lizmi – vocals and qraqeb (castanets)
Uncharted is a concert series featuring New York-based artists premiering new projects or meeting with new collaborators for the first time on stage that has consistently drawn the attention of tastemakers and curators from across the city over the past three years. The Uncharted season delivers eclectic excellence in a broad selection of musical genres representing New York City’s diverse artistic community, including Mexican folkloric, ragtime, classical, electronic, jazz, ancient Moroccan devotional and contemporary R&B.
This was one of my favorite early episodes. Cosmas Magya is a master of the Mbira ( a type of thumb piano) from the Shona tribe in Zimbabwe. Here he performs and explains the way the instrument is used in ceremonies to contact ancestors. We’ll also hear a track he recorded with another powerful Mbira player and vocalist Beauler Dyoko. (Rebroadcast from 2011)
We get to hang at home with LADAMA! We recorded some songs and chat with Mafer Bandola (bandola llanera), Lara Klaus (percussion, drums), Daniela Serna (percussion) Sara Lucas (voice, guitar) and Pat Swoboda (bass).
LADAMA is an ensemble of women musicians (joined by Pat for this session) who combine the rhythms and traditional instrumentation of frevo and maracatu from Pernambuco, Brazil; joropo songs from the high plains of Venezuela; cumbia, gaita and champeta from the Colombian coast and contemporary strains of American pop and jazz.
Members of LADAMA specialize in, among other instruments, the bandola llanera from Venezuela, the tambor alegre from Colombia, and the pandeiro and zabumba from Northeast Brazil. Their performances include original compositions and traditional songs sung in Spanish, Portuguese and English combining disparate elements into a cohesive whole. The result is a sonic experience through which we can view our future as a world that communicates across continents and cultures, with sound and story.
Last September, we got sit down and hang with Vieux Farka Toure, talk to him and record a little acoustic music…AND record his entire live set at Le Poisson Rouge in Manhattan with his moking band! Many thanks to World Music Institute and Le Poisson Rouge for making that happen.
Often referred to as “The Hendrix of the Sahara”, Vieux Farka Touré was born in Niafunké, Mali in 1981. He is the son of legendary Malian guitar player Ali Farka Touré, who died in 2006. Ali Farka Touré came from a historical tribe of soldiers, and defied his parents in becoming a musician. When Vieux was in his teens, he declared that he also wanted to be a musician. His father dissaproved due to the pressures he had experienced being a musician. Rather, he wanted Vieux to become a soldier. But with help from family friend the kora maestro Toumani Diabaté, Vieux eventually convinced his father to give him his blessing to become a musician shortly before Ali passed.
Vieux was initially a drummer / calabash player at Mali’s Institut National des Arts, but secretly began playing guitar in 2001. Ali Farka Touré was weakened with cancer when Vieux announced that he was going to record an album. Ali recorded a couple of tracks with him, and these recordings, which can be heard on Vieux’s debut CD, were amongst his final ones. It has been said that the senior Touré played rough mixes of these songs when people visited him in his final days, at peace with, and proud of, his son’s talent as a musician. He know tours internationally with many acclaimed records to his name.