This album is a distinctive, spontaneous collaboration between Swedish jazz bassist Jonas Hellborg, the famous sarangi maestro Ustad Sultan Khan, and Indian percussionist Fazal Qureshi. The whole album has a dark, groovy funk element with Indian styles incorporated in a truly experimental way that's never been heard before. Surely, an album like this can give way to more improvisational music with musicians collaborating across boundaries.
Emotional depth, virtuosic instrumental skills, and a passion for melody have been combined through the music of sarangi player Sultan Khan. Taught the rudiments of the sarangi by his father, Ustad Gulab Khan, Khan has continue to evolve as an instrumentalist. Performing his debut concert at the age of 11 at the All-Indian Conferences, Khan is a two-time winner of the prestigious Sangeet Natya Academy Award. He also received the gold medal award of Moharashtra and an American Academy of Artists award in 1998.
If ever there were a recording that should be played in small doses, it's this one! Alan Hovhaness' serene, metaphysical, meditative music can send you into a near trance-state or, depending on the work, into a rage. Working with the principles of oriental art and mysticism, Hovhaness creates musical cells of exquisite beauty and then, coming from that same paradigm, repeats them seemingly endlessly.
This much-awaited recording, where Canadian singers Marie-Nicole Lemieux and Karina Gauvin perform some of the most beautiful arias composed by Handel showcases outstanding and conniving talent. This project was born from a collaboration with Alan Curtis and his Complesso Barocco, one of the most famous and renowned ensembles in the baroque music field. The 15 arias, performed in solo or in duet, are jewels from 9 oratorios that use material from the Bible and provide a large overview of Handel's genius to depict each emotion, from tenderness to fury.
Unfortunately, Alan Shorter didn't get the chance to lead very many sessions. The limited commercial potential of his music – coupled with a rather unhealthy lifestyle – limited him to only a couple of titles under his own name and a dozen or so as a sideman. Like perhaps Eric Dolphy or Albert Ayler, though, the dates upon which he only played a supporting role still heavily bear his stylistic stamp. On this, the last of his leader dates, Shorter's compositions employ relatively vague stutter-step heads and then quickly dive right into free improvisation without looking back. What follows is free jazz along the lines of many BYG or ESP releases from the same era.