IMC – India meets Classic presents … the single all years radio programme for Indian (Music) Culture … monthly on air since April 2005

IMC – India meets Classic + Indian E-music:

Welcome to the Blog site of IMC OnAir – IMCRadio.Net, a broadcasting show on radio (cable/antenne + internet/mobile radio + podcast) as the single all years programme for Indian (Music) Culture in the whole German language area – with both German and international formats in English language.

During the phase of development and onging maintenance of this new blog, don’t hesitate to follow our webpages in traditional form:

IMC ONAir, two language website (English / German) …
– standard format “Raga CDs of the Months” (DE)
– special feature “From India to Europe … Festivalreport” (DE)
– special feature “StudioTalk” (DE/ENG)

promotion initiative IMC – India meets Classic (German site) …

TablaGroup Hamburg (German download site)

Indian Classical Music (ICM) …

The origins of Indian classical music can be found from the oldest of scriptures, part of the Hindu tradition, the Vedas. Samaveda, one of the four Vedas, describes music at length. Indian classical music has its origins as a meditation tool for attaining self realization. All different forms of these melodies (Ragas) are believed to affect various “chakras” (energy centers, or “moods”) in the path of the “Kundalini”. [read full text…]

Carnatic – karṇāṭaka sangītam (South Indian Classic)

Carnatic music, also known as karṇāṭaka sangītam is one of the two styles of Indian classical music, the other being Hindustani music. The present form of Carnatic music is based on historical developments that can be traced to the 15th – 16th centuries CE and thereafter. From the ancient Sanskrit works available, and the several epigraphical inscriptional evidences, the history of classical musical traditions can be traced back to about 2500 years. [read full text…]

Hindustani (North Indian Classical Music)…

Hindustani Classical Music is an Indian classical music tradition that took shape in Northern India in 13th and 14th centuries AD from existing religious, folk, and theatrical performance practices. The origins of Hindustani classical music, the classical music of India, can be found from the oldest of scriptures, part of the Hindu tradition, the Vedas. Samaveda, one of the four Vedas, describes music at length. The Indian classical music has its origin as a meditation tool to attain self realization. [read full text…]

CH – Raga CDs of the Months (05/2023): They define the tone! – The Drones in Indian Classics.

IMC OnAir – IMCRadio.Net of the promotion initiative “IMC – India meets Classic” presents in May 2023 the topic “They define the tone! – The Drones in Indian Classical Music“.

In the musical world the term “drone” describes a harmonic effect and a musical accompaniment, in which a note or a chord is sounding steadily during the period of a music piece, repeating and constantly on a continuous pitch.

IMC OnAir presents examples of original Indian Classical music, with the Swarmandal and Tanpura, the Bauls (Indian bards) on the Ektar and Dotar, the vocal styles Dhrupad, Khyal (Hindustani) and Thumri of Indian light classics.

date of broadcasting…

22nd May 2023 – 04:00 p.m. EST (10:00 pm MESTZ) @ Radio RaSA (CH)
(premiere: 7th Oct. 2008 – 09:00 pm MESTZ @ Tide Radio 96.0 FM)
InternetStream (Web & Mobile Radio) | PodCasting | broadcasting plan

In Indian music the drones are used “functionally”. A tonality is set by these instruments on which a musical work (e.g. raga-s) is based, creating a relationship between sound, notes and chords.

To identify the Tonika (basic tone / 1st pitch) in the modal structure of Indian Raga-s is almost impossible for the human ear without existing chords (intervals) of whole and half-tone steps. For a raga interpretation the drones take over this function. The structure of a raga scale will be more understandably and with this reference (melodious orientation) complex modes can be developed.
This important effect of the drones can be led back on an acoustic phenomenon of the harmonics. Different levels of consonances and dissonances arise, a result of the physical interaction of the melody (raga scale) with the sound of the drones.

The drones in Indian Classics exist in different designs of construction, equally in music of North India same of South India. A multiplicity of different drones is used. There is the tanpura (or tambura), ottu, single stringed ektar, two stringed dutar (dotar or doutar), surpeti, the swarmandal (or surmandal) and shank, a snail shell.

The simplest drones only have a single note (e.g. one stringed ektar) only, which is constantly repeated. The tone is tuned on the 1st pitch of the piece of music or Raga scale, the SA (Shadaj). With two notes (e.g. two stringed dotar) harmonious and more complicated effects can be produced. In the singing of North Indian Classics (Hindustani Sangeet) same in South India (Carnatic Sangeet) the tuning is on 1st and 5th pitch (SA – PA).

Ektar and Dotar both can be understood as drones and as rhythm instruments, illustrating in their design and playing techniques both functions. Referring music and percussion instruments the number of pure drones (e.g. tanpura or surpeti) is smaller than those which can cover both functions.

In Indian Classics the tanpura (or tambura) is the dominating drone. – It’s the instrument, which defines the tone!

Typically for North Indian Classics the Tanpura is made in the Miraj style. It’s deep sound embodies the male and is used to accompany male vocalists. One finds the smaller execution in South Indian Classics in the Tanjore style as Tambura (lute with a length of approx. 3-5 foot). Due to their higher pitch the tambura-s are preferred accompanying female singers.
The smallest design is the Tamburi. Nowadays the tamburi with a length of 2-3 foot is very popular as drone. With four, five or six strings (even with more) it can be played instrumentally.

Regularly the tanpura is four stringed and can be tuned very differently. Male vocalists tune the tonika as 1st pitch “SA” corresponding to C# (C sharp). Female singers are tuned around 1/5 more highly. For all regular raga-s one further string is tuned on the 5th pitch “Pa” (G). The remaining two strings are resonating to the Tonika one octave more highly (Pa – sa – sa – Sa).

For raga-s without 5th pitch in the tuning of the tanpura the “Pa” it is replaced by the 4th pitch “Ma” (Ma – sa – sa – Sa). In the following example 2 tuned “D” as tonica.

hearing example 1: basic tone (pitch) C# | Pa – sa – sa – Sa (G – C#’ – C#’ – C#) by Calgary Sikhs on Tanpura

hearing example 2: basic tone (pitch) D | Ma – sa – sa – Sa (F – D’ – D’ – D) by Ravi Jyapu on Tanpura

Even some of the Indian percussion instruments are tuned in a way to strengthen a drone effect. With the play on the Mridangam and Tabla continuously the tonica is resonating.

The drones are used also in Indian folk music, in Filmi Sangeet (songs of Hindi films), in Indian Light Classics, in Maharati or Rabindranath Sangeet, thus the songs in the Indian Federal State Maharastra and compositions of India’s universal genius Rabindranath Tagore.

IMC’s special feature: “INDIAN CLASSICAL ON VINYL” … a Record Store Day special @ TIDE Radio (DE, Hamburg)

IMC – India meets Classic presents the special “INDIAN CLASSICAL ON VINYL” for the Intern. Record Store Day (annually every 3rd Saturday of April).

Today on Monday, 15th May 2023 you can take the chance for listening (via webradio) at 03:00-04:58 pm EST / 09:00-10:58 pm CET …

Come in and enjoy the finest Indian classical music on Vinyl records @ TIDE.radio (click webstream here).

@ Facebook: https://www.facebook.com/events/1413233695651742/

CH – Raga CDs of the months (04/2023): RAGAS & SAX … Indian Saxophonists

Out of the series “Ragas on Western Instruments” the promotion initiative IMC – India meets Classic presents in April 2023 @ Radio RaSA via IMC OnAir – IMCRadio.Net the topic Ragas & Indian saxophone players.

In our shows of the past already two instruments of the West were presented, which have found a firm place in (South) Indian Classics: the Harmonium as accompaning instrument and the Violin. This bowed instrument is a component of each performance of the South Indian Classical music (Carnatic). The violin is established as solo main instrument in the North Indian Classical music (Hindustani).

Originally the saxophone was dedicated for symphonic orchestras. It was invented of the Belgian Adolphe Sax in the year 1840 and patented in France.

date of broadcasting…

24th April 2023 – 10:00-10:58 p.m. CEST (04:00 p.m. EST) @ Radio RaSA (CH)
(premiere: 5th August 2008 – 09:00 pm CET @ Tide Radio 96.0 FM)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

With the arising of Jazz music the triumphant advance of this instrument began in its most different remarks: as Alto, Tenor, Soprano, Baritone or Bass saxophone…

With the implementation of African, Eastern and also Indian influences the Jazz Avantguardist John Coltrane expressed his spiritual attitude in his quartet.

IndoJazz as new genre was justified of the Indian composer John Mayer with the Quintett IndoJazzFusions in the 60’s (20th century). This formation considerably had a major influence onto the establishment of the saxophone in India.

f.l.t.r.: Dr. Kadri Gopalnath, Rudresh Mahanthappa, Prasant Radhakrishnan

..

Particularly the concerts of Prasant Radhakrishnan in India with compositions in a slow tempo and a controlled demonstration of the ornaments of Indian Ragas (e.g. gamaka-s) have contributed that the image of the saxophone in India has changed as a loud and fast instrument, which is suitable at best to practise technical exercises.

The connection between Jazz and Indian Classical music, the interpretation of raga scales on an instrument which is typical for Jazz, lies in the modal structure. To cite the German music journalists and producer Joachim Ernst Berendt (1922-2000), internationally known as ‘Jazz Pope‘:

“What all these musicians play – the Asian like the Western – differ of the traditional European music by the fact that it is ‘modal’. This means: it is not based on the constantly changing Accordgerists, which is dominating our occidental music, more it is set up on a scale, a ‘mode’ – finally on only one chord… Want to say: It is much more calmly, very less nervous…“

[Book Source: “Die Welt ist Klang – Nada Brahma” (vollst.: Die Landschaft des Bewusstsein”), 1988 ]

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Our listening examples: Indian Jazz musician Rudresh Mahanthappa (sax) together with Dr. Kadri Gopalnath (sax) in the Dakshina Ensemble, Dr. Kadri Gopalnath & Pravin Godkhindi (Bansuri – Indian bamboo flute), Prasant Radhakrishnan (sax), the Indian composer John Mayer (violin), John Coltrane (sax), Charlie Mariano (sax) & Indian singer/composer R.A. Ramamani (founder of JazzYatra).

A – Raga CDs of the Month (04-05/2023): ANGA – Location of a Raga (part 1 and 2)

The promotion initiative IMC – India meets Classic presents its monthly radio programme (and worldwide as webradio) monthly every 2nd and 4th Sunday @ Radio FRO with the topic: “ANGA – Location of a Raga“.

In one of our previous programs, we dealt with the ornamentation of the ragas, ” Alankaras – 10 Types of Raga Ornaments “. The Alankara-s are the core for the development and beauty of a raga. While in modern classical music of the West is the ornament of the decorate the melody line, an Indian music maestro will improvise on the ornaments of a raga. It is a steady flow of the music bending the swara-s (notes) together. This kind of glissando is known as Meend (Alankara type). The oldest written documents with description of 33-s Alankara are being dated back to 100-200 years BC, such as the Natya Shastra of sage Bharata. In the 17th century describes the Sangeet Parijat (written by Ahobal) 63 and 68 types of Alankaras. Until as recently (100-150 years back) it became Shabdalankar as the latest Alankara classification.

dates of broadcasting…

part 1 : 23rd April 2023 – 06:00 – 06:58 EST (11:00-11:58 pm CEST) Radio FRO (A)

part 2 : 14th May 2023 – 06:00 – 06:58 EST (11:00-11:58 pm CEST) Radio FRO (A)

broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

Other classification criteria for the identification of raga-s are the so called Pakad-s. The term Pakad describes the identification of a Raga scale. Pakad should not be confused with the German concept of music leitmotif (guiding motif) or (melodic) phrasing.

Raag Deepak, in Ragamala by Sahibdin 1605 (source: wikipedia.org)

The Pakad-s describe patterns and salient features of each Raga form. This grammar is used in Indian classical music of North and South India not for the technical execution, it is much more an aesthetic description, like a Raga performance always has focus onto a singular emotional expression (rasa). You should refer to IMC’s former radio show “Nava Rasa-s – the 9 moods of the ragas” in our media archive: www.imcradio.net/onlinearchive .

The parameters of Pakad-s include the term Anga. Functionally Anga is the “location of a raga”. In the translation Anga means: A portion of a whole. In Indian classical music with reference to the octave of main seven (7) notes the principal notes are divided into two segments = two Angas. There is the deeper segment of a lower tetrachord* (= poorvanga) … and an overlying tetrachord (= uttaranga) in the higher octave, each with three small musical intervals.
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*) In general a tetrachord is of four (4) notes. This term derives from the Greek. The meaning of the word tetrachord means just: four (4) strings … (Rec.: In relation to the ancient Greece harp-like instruments). The interstices of a tetrachord are formed by three intervals. In a Ragaskala these are for the deeper tetrachord from the first four main grades: Sa-Re, Re-Gha and Gha-Ma. In the Western notiation it matches: the first and 2nd pitch: C-D, the 2nd-3rd and 3rd-4th pitch: D-E and E-F. The overlying, second tetrachord begins on the 5th pitch: Pa-Dha, Dha-Ni and Ni-Sa’ accordingly: G-A, A-B, B-C’.

DE – Raga CDs of the Month (04/2023): Alankaras – 10 Types of Raga Ornaments

IMC OnAir’s monthly radio show being broadcasted in April 2023 @ TIDE.radio (and worldwide as webradio) is concerning the Alankar-s. They can be grouped in four main types (with 10 different characters).

The Indian term Alankar or Alankara originates from Sanskrit, the old science language of India. The meaning is various: decoration (jewelry), literary embellishment or decoration. As Sabda Alankara it designates as ornaments by sound, decorative use of sound or use of decorating words. The last classification in Indian Classics before approx. 100-150 years was known also as Shabdalankar.

dates of broadcasting…

17th April 2023 – 3:00 – 4:58 pm EST (09:00 – 10:58 pm CEST) @ TIDE.radio (DE / Hamburg)
(premiere @ radio multicult.fm: 17th August/21st Sept 2009 (10:00 pm CET))
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

Compared with the earlier classification Shabdalankar, in that the Indian schools of music (Gharana-s) exhibited substantial differences. In our current times it is reduced as common clustering to the treatment of the Indian notes, the swara-s. There is:

1. Asthai Alankar – the return to the initial note,
2. Arohi Alankar – a note sequence in the ascending scale,
3. Amrohi Alankar – a note sequence in the descending scale and
4. Sanchari Alankar as a combination of type 1-3.

In the baroque area of Western classics the ornaments served mainly for the decoration of melody lines. Vocalists improvised with the ornaments like we know it till this day from the Irish music tradition. Indian notes are “not static”, here briefly played Staccato notes (in Italian staccare means “tears off”) or single notes played “stand alone” are not audible.

4 examples of Alankara-s (Source: Sitar Technique in Nibaddh Forms (written by Stephen Slawek, 1987))

The Swara-s are located in constant connection to each other. Each note is linked with the previous one and following. Such ”grace notes“ – Kan-Swara-s – are the basis for each form of ornaments, the Alankara-s. They are the core for the development and beauty of Ragas.

The earliest reference to this term can be found in the Natyashastra with 33 Alankars, an elementar work to the visual arts of acient India written by the sage “Bharata”. It is dated between 200 BC and 200 AC. Further important treatises for the classification of the Alankars are the Sangeet Ratnakar of Sharangdev in 13th century and the Sangeet Parijat of Ahobal in 17th Century, in which 63 and 68 types of Alankars are described.

• see IMC OnAir’s show of June 2012 (premiere: November 2008):
  Microtones in Hindustani Sangeet – the Microtonal Structure of Indian Ragas.

Alankars Technique for the Sitar (video tutorial @ eHow)
by Amelia Maciszewski (Ph.D. in Ethnomusicology) – www.sangeetmillennium.org.com

Kan-Sawra-s in a Classic Raag Bhairavi
by violinist Milind Raikar – www.violinmilind.com

17th World Congress of Music Therapy (24-29/07/2023)

The World Federation of Music Therapy (WFMT) is excited to announce it’s next World Congress. Within a total time frame of six years (pre-)planning it will be held in Vancouver, Canada from July 24th till 29th, 2023 in partnership with the Canadian Association of Music Therapists (CAMT).

The World Congress of Music Therapy is held every three years. Music therapy professionals and experts in related fields from around the world gather at the congress to share ideas, experiences, trends, and research outcomes. 

The World Congress of Music Therapy is hosted by a WFMT organizational member in conjunction with a local host. The site of each congress is determined by a bid process undertaken by the WFMT Council six years in advance. The Federation makes an effort to circulate the location of the congresses among the eight regions.

Anita Swanson, president of the World Federation of Music Therapy, invites us to the 17th world congress of music therapy in Vancouver, Canada – July 24th to the 29th!

Visit https://t.co/dVlw8KDeGf for more info#MusicTherapy #WCMT2023 #KeyToYourHealth pic.twitter.com/7MZsQv3g3I

— CAMT – ACM (@CAMTACM) March 15, 2023

Official website: http://wcmt2023.org

CH – Raga CDs of the months (04/2023): Surs(h)ringar… pathfinder of the Sarode

Sursringar, behind this “exotic term” is an Indian instrument of the family Tata Vadya, so called chordophones*. Tata is derived from “Tan“, in it’s meaning “pulled on tension“.
The Indian violin, the Sarangi, Indian lutes (Veenas), Sitar and Sarod, Santoor, Surbahar (Bassitar), Tanpura or the Sursringar belong all together to the group of Tata Vadya.

The origin of the Sursringar is remarkable. This stringed instrument roots back to Afghan origin. – The instrument of the Pashtuns is the Rabab. The Pashtuns are East Iranian people living all over South and Central Asia. Before approx. 2500 years the Rabab was introduced to Afghanistan. In India the Rabab (Seni Rabab) was used since the 16th century, during the Mogul regency of Akbar.

dates of broadcasting…

10th April 2023 – 04:00 pm EST (10:00 pm CET) @ radio RaSA (CH)
(premiere: 2nd Sept. 2008 – 09:00 pm MESTZ @ Tide Radio)
InternetStream | PodCasting | broadcasting plan

After the use at Akbar’s court the Rabab was modified at round about 1830 by Jafar Khan, a descendant of Tansen, who was a famous musician at the court of Akbar. The play on the Rabab covered with gut strings was particularly in the monsoon time of India problematic in it’s tuning.
Javar added a metallic finger board, a wooden head, metal strings of steel and bronze and a bridge similarly the Sitar. 6 play strings and 2 strings for the rhythm run over a flat horn bridge. It is positioned on the sounding body which is closed with a timber cover.

The Sursringar is developed from three different instruments. Beside the Afghan Rabab there is the Mahati Veena and Kachhapi Veena. – The Veenas, the Indian lutes are one of the oldest instruments of India.

The small gourd as resonator and the string anchorage at the neck are elements of the Mahati Veena. The flat sounding body made of a horizontal cut opened gourd is similarly to the Kachhapi Veena (popular called as Kachhapi Sitar).

All modifications of Jafar Khan became well known as Sursringar and remind very much of the Sarod. The Sursringar is understood today as the forerunner (pathfinder) of the Sarod and named as Bass sarode. The tonal quality of the Sarod on it’s own was improved in recent time by modifications of the living legend Ali Akbar Khan.

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*) Chordophones are with strings configured instruments. They can be bowed, picked by fingers or a plektrum, or the chords can be stroken by a kind of hammer or pair of sticks.

A – Raga CDs of the months (03-04/2023): Ragamala-s – Miniature Paintings (part 2 of 2)

R A G A M A L A (part 1 & 2)
poetry – picture – music … the spoken image of raga paintings.

Beside extraordinary music compositions of North Indian Classic (Hindustani) and South Indian music (Carnatic) the art work on the sub continent is documented by impressive palaces and monumental painting e.g. the frescos from the cave temples of Ajanta, dated back to the 2nd till 1st century. A unique painting art had been developed, too. The hand writing illumination and the Indian miniature paintings, the so called >raga mala-s< were established correlating with the Indian music and corresponding with the raga form directly.

dates of broadcasting…

Sunday, 26th March 2023 (part 1) – 05:00 pm EST (11:00 p.m. CET) @ Radio FRO (A)

Sunday, 9th April 2023 (part 2) – 05:00 pm EST (11:00 p.m. CET) @ Radio FRO (A)
(premiere: 6th March & 3rd April 2007 @ Tide Radio 96.0 FM)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

Many hundred of years before the >raga mala-s< each raga got its counterpart by a ragini, the female form of a raga, basically male and a form of psyche (rupa). Rupa manifestates itself in two different profiles. By the music scientists of India they have been differentiated as nadamaya-rupa, the pure sound structure of melodies and devatamaya-rupa, the hidden prototype of the devine wisdom. The Indian miniature paintings belong to the second category. They shall awake in the viewers mind and his imagination a kind of „harmony, corresponding with the picture motives. Painted ragas work similar as a Yantra to realise a spiritual status, comparable with the results of Yoga exercises.

Ragini Kamodini Raga Lalita Ragini Danashre Raga Hindol Indian miniature paintings ragamala-s

In its origin meaning the painting art of miniatures have a religious character. The performance get an illustration of handwritings, less to express the enjoy of art than more to aquire religious earnings.

The music inspired Indian miniature paintings are unique, a complex form of art, nowhere else in any art form of the world to be met. They had their bloom time around the regency of Akbar, one of four rulers of the Moghul time beside Jehangir, Shah Jehan and Aurangzeb, who all have been very important for India. The Mughul style of the raga mala-s is dated between 1556 and 1605.

The period of this kind of painting ended in 1658. Future generations owe to the miniature painting a demonstration with all details of the religious, spiritual and materialistic cultures of that time. Very late the meaning of the illustrations as a music inspired painting has been understood very late. The manuscript of Kalpasutra (Jinacaritra) became public in 1956. It is dated to the end of the 15th century.

The IMC broadcasting show „RAGAMALA … poetry – painting – music … the spoken image of raga paintings is referring to the Western painting style. The Eastern one expired in India when the Bhuddism was destroyed by the Islamic conquest of North India in the 13th century … and survived only in some few schools for painting in Nepal and Tibet.

Whats the interesting aspect of these little formats nowadays ? – As a first impression of Indian miniature paintings, most viewer from Western world experience the raga mala-s with a kind of strangeness. The beauty is locked at first sight by a specific code. For the modern man of the 21st century raga mala-s are fascinating by their shining colours, presented strictly seperated from each other. Red, blue, white, green and black occur mainly.

Radio multicult.fm enters into insolvency on 1st April 2023 …

… seit 03/2006 bis einschliesslich 30.03.2023 beliefert die Förderinitiative IMC – India meets Classic Sender in Hamburg (Tide.radio), Österreich (radio fro / Linz) und der Schweiz (radio rasa / Schaffhausen). Über den 31.03.2023 hinaus werden die diversen Formate (India meets Classic, Indian E-music) dort unverändert und monatlich mit festen Sendeplätzen ausgestrahlt.  

Bedauerlicherweise tritt am 01.04.2023 radio multicult.fm in die Regelinsolvenz ein durch den gerichtlich eingesetzten Insolvenzverwalter mit Freistellung aller Mitarbeiter. – Mit der Einstellung des Sendebetriebs am 31.03.2023 entsprechend dem Insolvenzantrag vom 01.02.2023 beim Amtsgericht Charlottenburg geht damit vorläufig auch für die Förderinitiative IMC – India meets Classic (Hamburg) die Berlin-Ära zu Ende.

Entsprechend bestehendem Vertrag seit 10/2011 und Sendestart am 01.12.2011 in der Markthalle in Kreuzberg (Berlin) sind mit dem letzten Sendtermin auf radio multicutfm in den zurückliegenden 11 Jahren und 4 Monaten kontinuierlich mehr als 700 Sendetermine beliefert worden.

Wir bedauern die Zwangsstillegung von radio multicult.fm besonders für die HörerInnen im Grossraum Berlin mit einer Gesamt-Einwohnerzahl von zirka 6,2 Millionen.

Die nächsten Sendetermine (CEST – Euorpäische Sommerzeit):

• 7. April 2023 – jeden 1. Freitag, um 21:00 Uhr auf radio rasa: Indian E-music … the right mix of Indian vibes.
• 9./23. April 2023 – jeden 1. und 2. Sonntag, 23:00 Uhr auf Radio Fro: IMC – India meets Classic.
• 10./24. April 2023 – jeden 2. und 4. Montag, 22:00 Uhr auf radio rasa: IMC – India meets Classic.
• 14. April 2023 – jeden 2. Freitag, 21:00 Uhr auf Tide.radio: Indian E-music … the right mix of Indian vibes.
• 17. April 2023 – jeden 3. Montag, 21:00-23:00 Uhr auf Tide.radio: IMC – India meets Classic.

… since March 2006 and to this day, the promotion initiative IMC – India meets Classic has been supplying broadcasters in Hamburg (Tide.radio), Austria (radio fro / Linz) and Switzerland (radio rasa / Schaffhausen). Beyond March 31, 2023, the various formats (India meets Classic, Indian E-music) will be broadcast there unchanged and monthly with fixed broadcast slots.

On April 1st, 2023, radio multicult.fm will enter into the state of regular insolvency through the by court appointed insolvency administrator with release of all employees. – With the cessation of broadcasting operations on March 31, 2023 in accordance with the insolvency application from February 1, 2023 at the district court of Charlottenburg, the Berlin era is also coming to an end for the time being for the promotion initiative IMC – India meets Classic (Hamburg).

According to the existing contract since 10/2011 and the start of broadcasting on December 1st, 2011 in the market hall, today’s last broadcast date on radio multicult.fm has continuously supplied more than 700 broadcast dates over the past 11 years and 4 months.

We regret the closure especially for the listeners in the region of Berlin with a total population of about 6.2 million.

Next broadcasting dates (CEST – Central European Summer Time):

• April 7, 2023 – every 1st Friday at 9:00 p.m. on radio rasa: Indian E-music … the right mix of Indian vibes.
• 9./23. April 2023 – every 1st and 2nd Sunday, 11:00 p.m. on Radio Fro: IMC – India meets Classic.
• 10./24. April 2023 – every 2nd and 4th Monday, 10:00 p.m. on radio rasa: IMC – India meets Classic.
• April 14, 2023 – every 2nd Friday at 9:00 p.m. on Tide.radio: Indian E-music … the right mix of Indian vibes.
• April 17, 2023 – every 3rd Monday, 21:00-23:00 on Tide.radio: IMC – India meets Classic.

special feature “Miles from India” @ radio multicult.fm (03/2023): StudioTalk with John McLaughlin (documentary of a backstage talk with Shakti/Mahavishnu founder)

The promotion initiative IMC – India meets Classics and it’s media production IMC OnAir (IMCRadio.Net) enjoyed that the great fusion and Rock Jazz guitarist John McLaughlin followed the invitation for a unique BackStageTalk in May 2008. The production goes back to the 1st pre-plannings during John’s Hamburg visit in July 2007 with “Remember Shakti” and together with Zakir Hussain (Tabla) for a Dalai Lama charity concert.

dates of broadcasting…

 30th March 2023 – 3:00 EST (09:00 pm CET) @ radio multicult.fm (DE/Berlin)
(premiere: 2nd January 2010 – 3:00-3:58 pm  CET @ Tide Radio)
broadcasting calendar | streaming (Internet radio & mobile radio) | podCast

The 58 minutes special “Miles from India” being rebroadcasted on 30th March 2023 @ radio multicult.fm and worldwide as webradio documents the fully talk. (Rec.: The 28 minutes TV special was broadcasted on 7th July 2008 – 08:30 pm (MEST) )

The BackStage Talk refers to John’s project in India “Floating Point” which was released in April 2008 and his composition of the titel song for the double CD “Miles from India” with world premiere in NewYork on 9th May 2008.

John’s time schedule of his European Concert tour 2008 with his formation “4th dimension” since 9th May “on the road” required to set the interview beside John’s concert on 28th May 2008 in the culture and communication centre FABRIK (Hamburg-Altona), Germany’s most famous hot spot (since 1971) for unique concerts in (Rock) Jazz, Blues, Fusion, Cross over and World Music…

screen splashs out of the TV production shortly documenting the “John McLaughlin Backstage Talk“

Thank’s to all supporters…

CD: Miles from India (2008)

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MILES FROM INDIA concert produced by Yusuf Gandhi and Bob Belden

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Miles From India (Encore Part 1) Montreal July 4, 2009

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Miles From India (Encore Part 2) Montreal July 4, 2009

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