Ali Akbar Khan - Halfmoon - 1982
Two lesser played ragas with strict scale limitations. From the strict limitations comes the freedom in these ethereal pieces. Co-Produced by Henry Kaiser and David Karp. Metalanguage ML-122. Berkeley, CA.
[from the liner notes]
Rag Chhayant Alap was recorded on July 23, 1982 at the Bach Dancing and Dynamite Society, Half Moon Bay, CA.
Rag Malashri was record on Sept 19, 1982 at Fort Mason Center, San Francisco, CA.
The album was recorded digitally using a Song PCM F-1 digital converter, on Betamsx tape, with a Sony SLO-323 VTR. High frquency phase correction was accomplished using a Meyer Sound Labs filter network. The Sound was recorded with a Calrec Soundfield Microphone in stereo mic configuration.
In this rendering of Alap and Jor in Chhayanat, Ali Akbar Khan dwells on the subtle microtonal variations in pitch that are found in the sixth note (Dha), making a 'blue note' by mixing it with a flatted seventh. This performance also features the maestro's astounding use of meend, the sliders which, with one right hand pluck of the strings, produce fice to ten notes phrases of exquisite proportion.
Ali Kabar Khan and Swappan Chaudhuri, here expound Malashri in two speeds of teental (a sixteen beat rhythmic cycle). Khanashib make very subtle use use a hidden fourth degree to ornament the third; a raised fourth to ornament the fifth; and the seventh to ornament the tonic. With his starting rhythmic command he keeps the joyous mood inspired and sparkling.
get it here
Two lesser played ragas with strict scale limitations. From the strict limitations comes the freedom in these ethereal pieces. Co-Produced by Henry Kaiser and David Karp. Metalanguage ML-122. Berkeley, CA.
[from the liner notes]
Rag Chhayant Alap was recorded on July 23, 1982 at the Bach Dancing and Dynamite Society, Half Moon Bay, CA.
Rag Malashri was record on Sept 19, 1982 at Fort Mason Center, San Francisco, CA.
The album was recorded digitally using a Song PCM F-1 digital converter, on Betamsx tape, with a Sony SLO-323 VTR. High frquency phase correction was accomplished using a Meyer Sound Labs filter network. The Sound was recorded with a Calrec Soundfield Microphone in stereo mic configuration.
In this rendering of Alap and Jor in Chhayanat, Ali Akbar Khan dwells on the subtle microtonal variations in pitch that are found in the sixth note (Dha), making a 'blue note' by mixing it with a flatted seventh. This performance also features the maestro's astounding use of meend, the sliders which, with one right hand pluck of the strings, produce fice to ten notes phrases of exquisite proportion.
Ali Kabar Khan and Swappan Chaudhuri, here expound Malashri in two speeds of teental (a sixteen beat rhythmic cycle). Khanashib make very subtle use use a hidden fourth degree to ornament the third; a raised fourth to ornament the fifth; and the seventh to ornament the tonic. With his starting rhythmic command he keeps the joyous mood inspired and sparkling.
get it here
posted by Sean at 1:30 PM
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