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No New Abnormal

Tag: Shiva Ghoshal

The Darkest, Most Magical Hours of Last Weekend’s 24-Hour Raga Marathon

Arguably the most stunning moment at last weekend’s 24-hour raga marathon staged by the Brooklyn Raga Massive happened at about 6:30 in the morning. Sarod player Camila Celin was about halfway into a relatively rare late-night raga, choosing her spots with grace and restraint. Before her set, she’d told the audience – most of them sprawled out on the floor – that this wasn’t the first time she’d played a show after staying up all night. She marveled at the kind of life-changing “wedge of light” a performer can access when running on fumes and no sleep. Meanwhile, tabla player Hiren Chate provided kinetic, intricate contrast while Celin hung back, eyes closed, clearly in the place she’d wanted to find.

Then Chate responded to a couple of gently bending sarod riffs with a sudden, steady stream of emphatic eighth notes. Beyond simple contrast, tabla players simply don’t do that. Celin smiled but didn’t respond immediately – the crowd had to wait until she picked up the pace from a lingering poignancy to a tersely triumphant crescendo out.

That wasn’t the only deliciously unexpected moment during prime time. Because the Indian raga repertoire is associated with specific times of day, the marathon offered a rare opportunity to see material that’s seldom performed, especially here in the U.S. So the wee hours were especially enticing, even with the question of whether there would be trains to get the audience there (as it turned out, there basically weren’t). For those who might wonder what after-hours bar would stay open after daybreak to get the rest of this show in, all this happened at the downstairs auditorium at the Rubin Museum of Art in Chelsea.

Through the rest of the night and into the morning, there was imaginative interplay, unorthodox instrumentation and innovative arrangements of centuries-old melodies, which makes sense considering that the Brooklyn Raga Massive’s agenda is to take Indian classical music to new places. The heavy hitters they’d brought in from India played during the day: this was the kids’ table, the place all the big paradigm shifts are going to come from.

Alto saxophonist Aakash Mittal’s Awaz Trio played the 4 AM set, which was all about camaraderie and calm, purposeful exploration. Guitarist Rez Abbasi – the marathon’s most marathon performer- took his time with lingering, frequently uneasy lines while Mittal wove flurries of postbop jazz, then the two would switch roles, giving each other plenty of space. Meanwhile, drummer Alex Ritz used the whole of the kit, slicing and dicing tabla riffs on his snare or his hardware. It was a prime example of how fertile terrain Indian music can be for great creative musicians.

Trumpeter Aaron Shragge was the first to get a wee-hours raga, often characterized by the biting, chromatic confluence of Indian music and the Middle East. He began his set with an uneasily modulated shakuhachi solo before Abbasi joined him, again alternating between similarly tremoloing, terse, moody phrases and more complex clusters. Switching to trumpet, Shragge hinted at a fanfare – or a call to arms – but never quite went there, leveraging the suspense with Amir ElSaffar-class intensity.

As the first rays of sun beamed gently on the horizon, bansuri flutist Eric Fraser and tabla player Ehren Hanson evoked friendly birdsong and then a warmly cantabile, legato greeting to the day. As the Sunday sun rose in the sky, santoor player Deepal Chodhari spun perfectly executed, endlessly circling phrases while tabla player Shiva Ghoshal chose his spots: it was the reverse image of what Celin and Chate had done a couple of hours earlier. There seemed to be more original composition in her hour onstage: cell-like Philip Glassine phrases and a long, Japanese-tinged interlude. There was still an hour to go after that, but these days, a New Yorker has to seize every moment available while the trains are actually running.

The Brooklyn Raga Massive, whose rotating cast of members includes most of these artists, play every Wednesday at Art Cafe, 884 Pacific St.(at Washington Ave) in Ft Greene; cover is $15, and the closest train is the 2 to Bergen St. This week’s show, on Nov 1 at 8:30 PM features singer Vignesh Ravichandran with violinist Bala Skandan and mridungam player Sriram Raman, followed by the Massive’s legendary jam session. You never know who’s going to turn up.

Radical Cross-Pollination From Amir ElSaffar and the Brooklyn Raga Massive at Lincoln Center

The waves of melody slowly massing, leaping and often caressing the walls at Lincoln Center Friday night were less radical than they were a natural, spontaneous new invention. The premise: to mash up two often haunting, otherworldly traditions, Arabic maqam and Indian ragas, into a sometimes serene, sometimes turbulent, ultimately transcendent new element. Fresh off European tour, trumpeter/santoorist/singer Amir ElSaffar joined forces with violinist Arun Ramamurthy and another five of the world’s leading creative musicians in Indian classical music and beyond, for a dynamic, characteristically epic performance. As far as single-band concerts in New York in 2017 are concerned, this might have been the best of them all.

There’s far less of a stylistic gap between Arabic music and its counterparts from the Hindustani subcontinent than some might assume. Both traditions are highly improvisational and rely on overtones outside the western scale. Among many other things, this performance underscored how closely the most chromatic Indian modes resemble those of the Middle East, and how resonantly hypnotic Middle Eastern music can be.

“We’re going to experience Indian music in a radical new way!” grinned Lincoln Center’s Meera Dugal.  Ramamurthy enthused about how this show was an attempt to connect the “parallel lives” and shifting modes of Middle Eastern maqam with the Indian tradition’s slow upward trajectories, along with a heavy dose of improvisation.

The five-part suite hit a counterintuitive peak during the night’s first really lighthearted moment, a lively raga-based number fueled by tabla player Shiva Ghoshal’s increasingly animated beats. But even that grew overcast and wary to match the nebulous, distantly ominous sensibility that had pervaded the evening up to that point. Then sitarist Abhik Mukherjee took a gracefully bounding solo that was just short of imploring – and then Ramamurthy jumped in. This was too good to not be a part of. Everybody wanted a piece of it.. Bansuri flutist Jay Gandhi, cellist Naseem Alatrash and finally the bandleader himself followed, building a bracing, acerbic mist with his trumpet..

As a composer, ElSaffar’s genius is how translucent and irresistibly catchy his themes are: he is to this era what Miles Davis was to the late 50s. Likewise, Ramamurthy is taking carnatic  themes to places no one ever imagined – like this. From the allusively angst-fueled opening theme and variations that rose on an ashen tide of sound, to the concluding number – built around a familiar riff that the Grateful Dead famously appropriated – these elegant, often wounded melodies lingered long after the show. Yet ElSaffar’s most electrifying moments here were not on trumpet, but on vocals and then santoor, methodically and incisively rippling and pinging, once in exquisitely pointillistic tandem with kanun player Firas Zreik. Perhaps the most haunting, stunning solo of all was Alatrash’s somber, intense pavane right after the first movement finally coalesced. 

And the audience was treated to a fullscale spectacle that went beyond the music. Mukherjee opened the show with a brief creation-myth narration that set the stage for the night’s looming, enveloping introductory sonic cocoon. Meanwhile, intricate, tectonically shifting projections by Nitin Mukul played on the screen over the stage. Depending on the music, or the individual tableau – a mudpuddle, planes in the clouds, mandala-like images – he’d slowly pour water into each slide for a kaleidoscopically dissolving effect. And midway through the set, ElSaffar read a passage from Rumi about how after humans are long gone from this planet, invisible instruments will still be playing. For that we can only hope.

Much as it’s going to be hard to top this, that’s the game plan for Lincoln Center’s new series Outside India, a collaboration with the Brooklyn Raga Massive and the India Center Foundation, which seeks to radicalize and transform the Indian classical tradition for all sorts of innovations. Future artists who will be joined by Massive members here include adventurous Afro-Cuban drummer Román Diaz on Nov 10, and Malian singer Awa Sangho on Feb 9.

Meanwhile, the Brooklyn Raga Massive return to their weekly 8:30 PM Wednesday residency this month at Art Cafe, 884 Pacific St.  (at Washington Ave) in Ft. Greene. There’s a special guest every week, followed by a raga jam. Cover is $15; the closest train is the 2 to Bergen St.

Visionary Trumpeter Amir ElSaffar Explores Indian Themes at a Familiar Lincoln Center Haunt

Amir ElSaffar’s Two Rivers Ensemble played the most epic, richly ironic show of 2017. Deep in the wicked heart of the financial district, completely unprepared for a frequent drizzle that threatened to explode overhead, they swept through a vast, oceanic suite largely based on Arabic modes in the shadow of a building festooned with the most hated name in the English language. That the visionary trumpeter/santoorist/singer’s mighty, heavily improvisational orchestra would be able to pull off such a darkly majestic, ultimately triumphant feat under such circumstances is reason for great optimism.

While this monumental suite, Not Two, references an Indian vernacular on occasion, that isn’t a major part of the work. However, ElSaffar has an auspicious concert coming up this Friday, September 8 at 7:30 PM at the Lincoln Center atrium space on Broadway just north of 62nd St., where he’ll be leading a septet much deeper into Indian-inspired themes. Fans of the most deliciously rippling sounds imaginable should be aware that this band will feature both the Egyptian kanun and the Iraqi santoor. The show is free, and ElSaffar’s previous performance here sold out: it can’t hurt to get here early.

Another great irony is that this mid-June performance of Not Two featured lots of pairings between instruments. ElSaffar’s title reflects how few questions can be answered in black-and-white terms, and how manichaean thinking gets us in trouble every time. This is a profoundly uneasy, symphonic work with several themes: the two that jumped out the most at this show were a cynical fanfare of sorts and a swaying, anthemic Egyptian-influenced melody and seemingly endless variations.

The most poignant and plaintive duet was between ElSaffar, who played both santoor and trumpet, and his similarly talented sister Dena (leader of brilliant Indiana Middle Eastern band Salaam) on viola. Playing a spinet piano retuned to astringent microtones, Aruan Ortiz calmly found his footing, then lept a couple of octaves and circled animatedly while vibraphonist Jason Adasiewicz, at the opposite edge of the stage, maintained a warier, more lingering presence.

As the suite rose and fell, Ole Mathisen’s desolate microtonal tenor sax and Mohamed Saleh’s oboe emerged and then receded into the mist. Three of the night’s most adrenalizing solos were pure postbop jazz: ElSaffar’s cyclotronic Miles-at-gale-force trumpet swirls, baritone saxophonist Josh Sinton’s artfully crescendong development of a moody circular theme, and finally alto saxophonist Aakash Mittal’s rapidfire, surgically slashing foreshadowing of the coda. Many of the rest of the players got time in the spotlight, ranging from cautious and ominous to an intensity that bordered on frantic, no surprise in an era of deportations and travel bans. For this distinguished cast, which also comprised cellist Naseem Alatrash, oudists/percussionists Zafer Tawil and Georges Ziadeh, multi-reedman JD Parran, guitarist Miles Okazaki, buzuq player Tareq Abboushi, bassist Carlo DeRosa, percussionist Tim Moore and drummer Nasheet Waits, it was the show of a lifetime.

ElSaffar has a similarly stellar lineup for the September 8 show: Alatrash on cello plus Firas Zreik on kanun; Arun Ramamurthy on violin; Abhik Mukherjee on sitar; Jay Gandhi on bansuri flute, and Shiva Ghoshal on tabla. What’s more, this show is the first in Lincoln Center’s new series Outside India, a collaboration with the Brooklyn Raga Massive and the India Center Foundation. The game plan is to “disrupt the hierarchical nature of many Indian music collaborations and position Indian classical music as a space for inclusion and conversation in an innovative and radical new way.” Artists who will be joined by Massive members at future concerts include adventurous Afro-Cuban drummer Román Diaz on Nov 10, and Malian singer Awa Sangho on Feb 9.