"This heady blend of instrumental pop covers, fuzzed-up guitars and sitar is a kitsch blast from start to finish. Featuring the cream of LA's session players alongside sitar virtuoso Harihar Rao (Ravi Shankar's senior disciple), it was originally released in 1966 and makes its long-overdue CD debut here, showing itself to be the first and best ‘sitarsploitation’ album ever recorded."
Excellent addition to any prog rock music collection.
Although admittedly a posthumous release, I was very surprised at the rather dismissive tenor of many of the reviews of this album to date. Hopefully this record will be reappraised soon as being a release worthy of anyone's consideration as I feel it does enhance an already rich legacy left behind by this very fine and innovative band. (So what if Charisma wanted to ride the slipstream of the lucrative ELP juggernaut?)
This text is an introduction to Hindustani ragas, the melodic basis for the classical music of northern India, Pakistan, Nepal and Bangladesh. It is the modern reference work for listeners and connoisseurs, students and scholars. 4 CD's 320kbps / Total playing 5 hous 15 minutes…
In classical Indian music, ragas are the melodic foundations for improvisation and composition. Similar to scales in Western music, ragas consist of a specific series of notes (in some cases differing in ascent and descent) but they also call for characteristic musical motifs and embellishments.
The music of the Raga Bop Trio is an organic blend of jazz, rock, funk, afro-caribbean and Indian classical music. In this music there is the strong influence of western harmony and melody as well as U.S. grooves and Euro-jazz atmospheric feels. From the Indian side, George Brooks brings his expertise in north Indian Hindustani music and Prasanna - being from Chennai, India - is an expert in south Indian Carnatic music. I grew up with the U.S. jazz/groove concept and starting in 2002 I’ve incorporated north and south Indian rhythms into my playing. For me, the distinctive quality of the Raga Bop Trio is that the writing and playing employ a seamless amalgamation of all the individual components.