New StudioTalk: Arun Ghosh (clarinetist, composer) – photo docu (29th May 2010)

photo documentary (pre-selection) – PDF download of following gallery: picture 1-19

Eljay Arem

Tonight: Elbjazz Festival 2010 m. Trilok Gurtu – Elbphilharmonie Richtfest

NDR Bigband, feat. Trilok Gurtu with special guest Simon Phillips
im Rahmen des Elbphilharmonie Richtfests in Kooperation mit ELBJAZZ 2010

Fr, 18:00 / Hafencity / Marco-Polo-Terrassen
Veranstalter: Elbphilharmonie Konzerte

Wenn die achtzehn Ausnahmemusiker der NDR Bigband auf den Percussion-Guru Trilok Gurtu und den Drum-Boliden Simon Phillips treffen, sind mitreißende Rhythmen garantiert. Mehr noch: »Die Musik wird tanzbar sein – für Jazz- und Pop-Leute – und auch klassisch indisch«, verrät Gurtu.

Die NDR Bigband ist ein hochkarätiges Jazzsolistenensemble, und die Liste der Künstler, die mit ihr aufgetreten sind, liest sich wie ein »Who’s Who« des Jazz. Lionel Hampton sagte nach dem ersten gemeinsamen Konzert, mit diesem Orchester wolle er gerne auf Tournee gehen. Chet Baker, der zwei Konzerte mit der Band gespielt und auf CD veröffentlicht hat, gestand seinem Publikum, die Konzerte mit der NDR Bigband seien für ihn wirklich etwas Außergewöhnliches gewesen. Al Jarreaus Kommentar war kurz und knapp: »… diese Band ist einfach fabelhaft«, und Paquito D’Rivera wollte die Band gleich mit nach Hause nehmen.

Der Name Trilok Gurtu steht für eine Welt-Musik im wahrsten Sinn des Wortes: Jazz mischt sich hier mit Einflüssen aus Afrika, Brasilien, Zentralasien und dem Mittelmeerraum. »Meine Wurzeln liegen in Indien«, sagt Gurtu, »aber ich spiele überall in der Welt. Ich kenne keine Barrieren – nur Brücken.« Der Percussionist lebt im Großraum Hamburg – wenn er nicht gerade auf internationalen Tourneen unterwegs ist. In den vergangenen Jahren zum Beispiel mit Jan Garbarek, dem John McLaughlin Trio und zuletzt mit seinem eigenen Projekt »Massical«.

Im Projekt mit der NDR Bigband startet Trilok Gurtu musikalisch in seiner Wahlheimat Hamburg und bricht zu neuen Ufern auf. »Viele Leute haben schon ›East meets West‹-Projekte gemacht«, sagt er, »Ravi Shankar zum Beispiel mit Philip Glass und mit Yehudi Menuhin. Aber ich kenne beide Sprachen, ich mische sie und lasse etwas Neues entstehen.« Voller Vorfreude verspricht er ein besonderes Erlebnis für Musiker und Publikum: »Die NDR Bigband ist genauso motiviert wie ich. Wir wollen die Hörer dazu inspirieren, alle Arten von Musik zu lieben!«

(Quelle: www.elbphilharmonie.de)

Simon Phillips…

Trilok Gurtu & Simon Phillips…

Trilok Gurtu Project…

Moderation Script (05/2010): SWARA-S (Indian Notes) – Mother Nature (Raga CDs of the Months)

View this document on Scribd

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Raga CDs of the months (05/10): Indian Swara-s – Mother Nature.

IMC OnAir’s new broadcasting “Indian Swara-s – Indian notes & Mother nature” purchase to our latest shows “music & language” in March and April where physiological aspects of listening music (part of 1) and the sociology of music (part of 2) have been lit up accousticaly and related our Western music culture with Indian classics.

Hereby we focused as priority onto the physical structure of music without the spirital dimension (reference: you can find the show”music & language” in our online archive.)

date of broadcasting…
18th May 2010 – 09:00 p.m. (MESTZ)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

Listening to Indian Ragas can only be understood by giving attention some aspects of Hinduism to which on average more than 80% of all Indians belong. In study of Indian government in the year 2001 nevertheless approx. 1.03 billion Indians had been counted.

In Hindu mythology the seven (7) main notes of which a fully Raga scale can consist in its ascending and descending form are derivated from animal sounds and bird tweets. It is characteristic for the close bondage of Indian arts, music and dance with spiritualism.

Nature sounds gave inspirations for the ancient Raga compositions, not only as an interpretation of the sound environment of humans, who still felt embedded totally into nature differently than in our modern times. – Also this sound imitation made it possible for the listeners to proof the artists by a critical examination of the vocal qualities and instrumental skills and their exactness.

The seven so called Swara-s, in short form Sa, Re, Ga, Ma, Pa, Dha and Ni have the same tonal sound equivalent of the Western octaves and comply with Do, Re, Mi, Fa, Sol, La and Si developed by Guido of Arezzo in the 11th century for the designation of the musical tones for singing (so called somalisation).

. 1st Sa (Shadja)	2nd Re (Rhishaba)		3rd Ga (Gandhara)		4th Ma (Madhyama)
howl of the peacock	moo of the cow for her calf or the chataka (bird kind animal)		the baa of a wild mountain goat or a sheep		call of the heron*
5th Pa (Panchama)		6th Dha (Dhaivata)		7th Ni (Nishada)
singing of the Indian nightingale (or kokila)		croak of the frog in Indian Monsoon / horse‘s wickering		trumpeting of an elephant
.					(sources: Wikipedia)

The Ragas of North and South India which are presented today by the music maestros instrumentally or vocally consists of at least 5, 6 or 7 swara-s (see exception: broadcasting “5 minus 1: Raga Malashree” on 21st December 2009).
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*) Ma (Madhyama) is the basic sound of nature, beside Aum (OM) as the eternal sound of the infinite universe.

Raga CDs des Monats (05/10): die indischen Noten (Swaras) – Mutter Natur

IMC OnAir’s Sendung, “Indian Swara-s – die indische Noten & Mutter Natur” nimmt Bezug auf unser zurückliegendes Thema “Musik & Sprache“, in dem wir physiologische Aspekte des Hörens (Teil 1) gleichsam die Soziologie der Musik im gesellschaftlichen Zusammenhang (Teil 2) akkustisch beleuchteten, und dabei auch die Beziehung unserer westlichen Musikkultur zur indischen Klassik hergestellt haben.

Dafür hatten wir die spirituelle Dimension weitestgehend aussen vorgelassen, um der physikalischen Struktur von Musik Vorrang gegeben. (Hinweis: Sie finden die Sendung “Musik & Sprache” in unserem Online-Archiv.)

Sendetermin…
18. Mai 2010 – 21:00 Uhr (MESTZ)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

Indische Ragas im Hören zu begreifen, geht nicht ohne Verständnis für den Hinduismus, zu dem sich im Schnitt etwas mehr als 80% aller Inder bekennen. In einer Erhebung der indischen Regierung im Jahre 2001 waren dies immerhin ca. 1,03 Mrd. Inder.
Die sieben (7) Hauptnoten, aus denen eine Ragaskala in der auf- und absteigenden Skale bestehen kann, leiten sich nach der hinduistischen Mythologie aus Tierstimmen und Vogelrufen ab. Es ist auch kennzeichnend für die enge Verbindung der indischen Künste, von Musik und Tanz mit dem Spirituellen.

Für die antiken Ragakompositionen bediente man sich der Naturklänge, nicht nur zur Interpretation der klanglichen Umgebung des Menschen, der sich anders als in unserer Moderne noch in die Natur eingebettet fühlte. – Auch dem Zuhörer ermöglichte diese Klangimitation gleichsam eine kritische Prüfung der sängerischen Qualitäten und der Instrumentalisten, ihrer Genaugikeit des Instrumentes oder der menschlichen Stimme.
Die sieben s.g. Swara-s, in der Kurzform Sa, Re, Ga, Ma, Pa, Dha und Ni entspechen im Tonumfang der in der westlichen Musik bekannten Oktave, und dem von Guido von Arezzo im 11. Jhdt. entwickelten Verfahren zur Benennung der musikalischen Töne für das Singen: Do, Re, Mi, Fa, Sol, La und Si (s.g. Somalisation).

. 1. Sa (Shadja)	2. Re (Rhishaba)		3. Ga (Gandhara)		4. Ma (Madhyama)
Schrei des Pfaus	Muhen der Kuh nach ihrem Kalb o. der Chataka (vogelähnliches Tier)		Meckern einer wilden Bergziege / Blöken eines Schafes		Ruf des Fischreihers*
5. Pa (Panchama)		6. Dha (Dhaivata)		7. Ni (Nishada)
Lied der indischen Nachtigall (o. des Kuckuks = Kokila)		Quaken des Frosches im indischen Monsoon / Wiehern des Pferdes		Trompeten des Elephantes
.					(Quellen: Wikipedia)

Die indischen Ragas der nord- und südindischen Klassik, die heute von den Musikmaestros instrumental oder im Gesang präsentiert werden, bestehen aus wenigstens 5, 6 oder 7 Hauptnoten (s. Ausnahme: Sendung “5 minus 1: Raga Malashree” v. 21. Dezember 2009).
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*) Ma (Madhyama) ist der Grundton der Natur, neben Aum (OM) als der ewige Klang des unendlichen Universums.

India in Cuba ??? – Indian Musical Instruments in Havanna now

May 15, 2010

Indian Musical Instruments in Cuba – Musical instruments from India at Havana’s Asia Museum.

By Yusimi Rodriguez

HAVANA TIMES, May 15 — My plans for last Thursday afternoon consisted of going to a Vedado Cinema to see the movie “Fifty Dead Men,” starring Ben Kingsley. However, a few days prior I found out that at 3:00 that same afternoon an exhibition of traditional musical instruments of India was going to open at the Asia Museum here in Havana.

(Exhebition: Musical instruments from India at Havana’s Asia Museum. photo: Irina Echarry)

It was a difficult choice. On one hand there was the only showing of this movie based on a literary work and in which was performing one of my favorite actors; on the other hand was my interest in eastern philosophies and cultures, especially those of India, with its history, its traditions and its food.

Then too there was its music, which along with that country’s dance constitutes one of the most important elements and attractions in many of that country’s cinematographic productions, such as in the movie Lagaan, which I’ve seen four times.

Logic pointed to going to the cinema that afternoon and seeing the exhibition later, since it would be at the Asia Museum for the whole month of May. However, had I not gone to the opening I wouldn’t have found out that this exhibit commemorates two important anniversaries: the 50th annual celebration of the establishment of diplomat relations between Cuba and India, and the 149th birthday of Indian national poet Rabindranath Tagore, who is also the author of the words of that country’s national anthem.

(Exhebition: Musical instruments from India at Havana’s Asia Museum. photo: Irina Echarry)

Another interesting detail I found out during that opening was that Tagore, in addition to being a great poet, had deep musical knowledge and founded a school of music in India.

Once inside and among the instruments, I could appreciate flutes of different sizes and styles; the Sitar, an instrument of traditional strings; and the harmonium, an instrument possessing a sound similar to that of the accordion and which was introduced by the British during the colonization of northern India.

This center, located on Mercaderes St., in Old Havana, was founded 1997 with the aim of promoting the cultures of Asian countries through exhibitions, courses, conferences and workshops.

I visited this institution for the first time in 1999. It was here that I attended a conference on spiritual leader Jiddu Krishnamurti, a seminar on Yoga and another one on Mahatma Gandhi during the India Week, which took place in January of that year.

Coincidently, the very same day I attended the conference on Gandhi, they showed the movie about him on television that evening; in fact, it too starred Ben Kingsley.

In this facility exists the Rabindranath Tagore Specialized Library, and courses are taught on Hindi, Japanese and Persian languages.

(Source: 05/2010 – Havanna Times)

Click on the tumbnails below to view all the photos in this gallery (photos: Irina Echarry)

(Exhebition: Musical instruments from India at Havana’s Asia Museum. photo: Irina Echarry)

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Anjuman: Indian/Afro-Cuban Ensemble | Rumba meets Raga | CD Baby Music Store.

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New York trio picks up Germany’s first Echo Award for jazz

The German Echo Awards, like the Grammys, are among the world’s most prestigious music prizes. On May 5, the first-ever Echo for jazz is awarded to the Vijay Iyer Trio from New York.

It’s the first time the German record industry will present the Echo distinctions – until now monopolized by the pop and classical sectors – for jazz, a genre which has been growing in popularity over the past few years.

The Vijay Iyer Trio, with Stephan Crump on bass, Marcus Gilmore on drums and bandleader Vijay Iyer on piano, rocked the jazz scene last fall with their new album “Historicity“. It was hailed by critics on both sides of the Atlantic as the best jazz CD of 2009.

Still, the band was surprised to be selected for the Jazz Echo Award just months later. They weren’t only selected by an expert jury, but also by the music-loving public as reflected in record and down-load sales.

“It’s nice to know that there is both a critical embrace and an audience embrace sort of working together,” said Iyer.

From math to music

Band founder Vijay Iyer is multi-talented. Born the son of Indian immigrants to the US, he grew up playing classical violin. He studied mathematics and physics at Yale University and graduated from the University of California at Berkeley with a doctorate in arts and technology.

During his student days he started playing piano, jammed in jazz clubs, and began exploring composition. For him, music became the powerhouse of creativity and the means of self-expression that he had been searching for. But the mathematician in the musician remained.

“Anything that’s put together with care and precision involves measurement and that’s also true in music,” said Iyer. “You have measurements of time and measurements of frequency or pitch, to perceive music is to perceive order in sound, so when you’re talking about mathematics in music, you’re talking about ordering events.”

The trio’s album combines mathematical with spiritual and emotional elements – which Iyer said don’t contradict each other but have always coexisted in music.

The bedrock of jazz

This synthesis of mathematical perfection and deep spirituality has underpinned Vijay Iyer’s works since the late 1990s. He has composed for orchestras and string quartets and written ballet scores and movie soundtracks, but his heart belongs to jazz in general and his Echo-Award-winning trio in particular.

For Iyer, the genre of the piano trio has been an elemental force in the development of jazz music.

“It’s something so deeply explored by so many masters, especially the pianist-composers like Duke Ellington or Herbie Nichols – people who had a vision of how music can sound,” said Iyer. “I’m not caught up in displaying my own virtuosity but I’m interested in projecting a unity of intent and that’s something the trio can offer.”

That “unity of intent” may be difficult to define but is highly apparent when listening to the trio’s music. Vijay Iyer is the composer and frontman, but when the band performs, he does not regard himself as a conductor in the classical sense. Improvisation is the life-blood of jazz, he said, but this has to be given a structure created by the composer.

“Most of the time, when I’m composing, I’m setting up a situation for things to happen, so it’s more like architecture, in the sense that I want people to move around in it,” said Iyer, “I want people to live and stretch out and be free inside of the space that I’ve created.”

The audience as a creative force

When the Vijay Iyer Trio takes the stage Wednesday evening in Bochum to pick up the first-ever Echo for the best international jazz ensemble, the band says it will be sharing the award with a huge though nameless creative force that has always been behind it: its audiences on both sides of the Atlantic.

Vijay Iyer highlighted that the trio is not making music for itself in an aesthetic vacuum, but aims above all to connect with the listeners.

“This is something I think is inherent to jazz in particular because there’s so much improvisation involved, there’s really a sense that the music is being created just for that moment and not just for its own sake but for the force of communication and connection,” said the musician.

“The more we get back from the audience, the more it impels us to push ourselves and explore and create.”

Author: Peggy Graham-Sechtem
Editor: Kate Bowen

(Source: 5th May 2010 – DW-World.de)

Vijay Iyer Trio @ ECHO Jazz Award 2010 (live performance)

(Source: Vijay Iyer @ Twitter – Image: © 2010 BVMI – Monique Wuestenhagen)

vijay iyer trio: about “historicity”