A night of Indian fusion

“Charismatic music mesmerizes audience.” - Toronto Star

In association with No Mans|Land Promotions

“A pulsating, lively energy, that radiates with inner fire and creative vigor.” (Gulf News, Dubai)

Irshad Khan ranks among the finest young sitarists in the world and its foremost player of surbahar (bass sitar). Internationally renowned as a classical musician, as a fusion artist, his sound encompasses modern grooves and textures in a resonant blend of new and old. For this special night, he’s joined by Brian Lagare on guitar, Kiran Morarji on tabla, and special guests.

As one of the foremost representatives of a musical heritage unprecedented in India and the torchbearer of the younger generation of the Imdadkhani Etawa Gharana (school), Irshad Khan is internationally recognized as one of the greatest sitar players and as the leading surbahar (bass sitar) exponent of his generation. Irshad Khan’s individual stamp in both these instruments ascends from the distinctiveness of his technique and mental prowess. His style is followed and inspired by many formative and professional sitar players of his generation. His dedication to the subtleties of the raga is in bringing out its essence in rendering its pure form of feelings and expressions. His phenomenal control of the intricate “gayaki-ang”(vocal) and “tantra-ang”(instrumental) styles makes Irshad Khan one of the world’s most dynamic musicians of today. Whether he is performing pure classical, folk, or worldbeat/newage, audiences are stunned by his supreme virtuosity and musicality. This remarkable versatility allows Irshad Khan to transcend cultural barriers and turn each performance into a spellbinding and unforgettable experience for audiences everywhere.

Having emerged as a child prodigy, Irshad Khan gave his first public performance at the age of seven. His international debut was at the Queen Elizabeth Hall in London, England when he was only 13. At 18, he made history by becoming the youngest soloist to perform at one of the most prestigious international music festivals held in London, known as the Indian All Night concert at the Proms. Since then he has played in over 30 nations that include performances in various music festivals and conferences throughout India, Europe, the Middle East, Russia, the Far East, and North America

LEGENDARY, DARING, EXOTIC VOCAL ENSEMBLE

“…when they open their voices, out come timeless melodies and rich, strange harmonies that make every hair on your body stand on end” – TIME OUT New York

Not many groups are so selective that they can boast an eighteen-year waiting list, but since 1990, this has been the case with Le Mystère des Voix Bulgares. With only one new member among their ranks, the carefully auditioned and rigorously rehearsed group of female folk singers returns this spring for their eighth North American tour.

Conductor Dora Hristova is familiar with longevity, since she’s been directing the group for two decades. During that time, she says, the group has become like a family. They rehearse together, live together in the Bulgarian capital of Sofia, and they tour together, celebrating birthdays and other special occasions on the road. While cramped quarters like these could test the patience of even the closest of families, Hristova insists “we never miss the opportunity to be together. Our lives become the life of the choir.”

Created fifty years ago, as the Bulgarian State Radio and Television Female Vocal Choir, the group’s goal was to enrich the heritage of the Bulgarian solo folk song with harmonies and arrangements that highlighted its beautiful timbres and irregular rhythms. They transform sounds into exotic vocal colors as if something other than the human voice. They jubilate, shout, ornament, form fast and perfect glissandos, let one crazy rhythm follow another and make their voices build the most daring chords. And suddenly the folk cliché does not apply any more. A listener believes he has heard ‘an archaic world of sounds from times long ago’, another ‘the marriage of avant-garde and the middle ages.

Featuring:
Fazal Qureshi; tabla and kanjira
Taufiq Qureshi; percussion
Niladri Kumar; sitar
Abbos Kosimov; doyra
Ram Kishan; nagada
Dilshad Khan; sarangi
Vijay Chauhan; folk drums

Tabla master Zakir Hussain’s Masters of Percussion is one of the most
spectacular experiences in contemporary Indian music; a breathtaking
display of rhythm, melody and movement. Combining forces with the world’s
preeminent tabla player are four additional percussionists, two masters of
melodic instruments and the dazzling dancing drummers of Manipur. The
concert will feature the traditional repertoire of North Indian drumming
on tabla in solo and combinations as explorations of the frontier between
traditional and contemporary, folk and classical.

Zakir Hussain’s remarkable list of projects and collaborations include:
Shakti, which he founded with John McLaughlin and L. Shankar; Planet Drum
with Mickey Hart, and Tabla Beat Science. He has recorded and performed
with artists as diverse as George Harrison, Joe Henderson, Van Morrison,
Pharoah Sanders, Billy Cobham, and the Kodo drummers.

Tasa is a world music ensemble that performs original repertoire inspired
by the traditions of India as well as contemporary jazz. Tasa was created
in 1999 by tabla player Ravi Naimpally a musician deeply committed to a
vision that of a new musical form combining the many cultures of Canada.
Blending instruments and musical motifs from several world traditions Tasa
is able to create a rich and seamless tapestry of sound.

Monsoon is a modern Indo-Jazz ensemble that features original
compositions, and blends aspects of Indian Classical music with elements
of modern jazz. Monsoon was created by co-founders Justin Gray, Andrew Kay
and Jonathan Kay during a trip to India where they were studying North
Indian classical music with their Guru, Shantanu Bhattacharya. Adding to
Monsoon’s appeal is a cross-generational dynamic, with the founders’
youthful energy enhanced by the virtuoso musicianship of renowned players
such as Ravi Naimpally of Tasa, and string virtuoso George Koller on bass.

This intimate evening of North Indian classical music and dance features
Sarod by Steve Oda, Tabla by Vineet Vyas and Kathak dance by Bageshree
Vaze; reminiscent of India’s royal court (darbar) era. These performers
have studied with some of India’s legendary musical masters, such as Ustad
Ali Akbar Khan, Pandit Kishan Maharaj and Pandit Birju Maharaj.

Bageshree Vaze is one of Canada’s rising “new-generation” talents. In
2004, MTV India named her an ‘Ubbharta Sitara’ (rising star), and the
video of her song “Deewana” won the 2006 ReelWorld award for Outstanding
Canadian Music Video. Produced by husband and tabla virtuoso Vineet Vyas,
her 2007 release “Tarana” combines dance rhythms and melodies with the
instrumentation of the tabla, flute, piano, sarod, sarangi and guitar; the
first of its kind to feature an Indo-Canadian singing the music for her
own choreography.

www.la-nef.com

LA NEF: ‘Deserts’ – new journeys into the heart of early music

‘Deserts’ is an innovative production inspired by the deserts of the world that unfolds in three parts: Deserts of the Americas, Deserts of Asia, Deserts of Africa. This daring project is a collaboration between Claire Gignac, contralto, multi-instrumentalist and co-director of La Nef, with Alla Francesca members, virtuoso flutist Pierre Hamon and tambourine specialist Carlo Rizzo. They are joined by multi-percussionist Patrick Graham and Andrew Wells-Oberegger on strings.

Together, these master players bring to life a spectacular union of sounds, as they traverse vast sonic territory inspired by the beauty and courage of exceptional people, cultures and landscapes. Deserts offers audiences a unique opportunity to hear traditional instruments from around the world arranged in unfamiliar ways. In addition to evocative original and improvised compositions, the concert will feature an exclusive version of Claude Vivier’s Pulau dewata from the renowned SMCQ series, as an hommage to the great composer.

La Nef was founded in 1991 by Sylvain Bergeron, Claire Gignac, and Viviane LeBlanc, and seeks to bring audiences of all ages to new understandings of Early, Classical and World Music. La Nef offers innovative, poetic, and frequently dramatic performances. The group’s musical repertoire spans the Middle Ages and the Renaissance, and also embraces various oral traditions of Mediterranean heritage.

La Nef’s unique sound stems from the interaction of a core group of twenty performers of different musical backgrounds (early, classical, and world music), who unite in various iterations for diverse productions.

A signature quality of La Nef presentations is the rare ability to weave wonderfully disparate elements around themes and concepts and present them with brilliant, vibrant, charismatic performers in startling, original contexts.

La Nef has made over 500 appearances to date, many in prestigious venues throughout North and South America, Europe, and Asia, to rave reviews by audiences and critics alike. They have been involved in several series and international festivals: Hokutopia International Music Festival (Tokyo), Early Music Now (Milwaukee), Festival Internacional Cervantino (Mexico), Festival de Flandres (Bruxelles), Festival de Musica El Hatillo (Caracas).

The musicians:

Claire Gignac (artistic director, contralto, flutist, composer)

Pierre Hamon (cofounder of Alla Francesca ensemble in France, ethnic flutess: colombian kuisi, chinese hulusi, Radjasthani satara, bansuri)

Carlo Rizzo (member of Alla Francesca ensemble, Italian tambourines, percussion, traditional Italian vocals)

Patrick Graham (percussion)

Andrew Wells-Oberegger (saz, bouzouki, percussion)

~ with DJ medicineman

http://www.otrosaires.com
http://myspace.com/otrosaires

Otros Aires have released 2 full length albums and have appeared on countless neotango and ethnotronic compilations, including the legendary Buddha Bar series - and in the past 2 years have outsold all other tango CDs. Like wildfire, last year in Poland, they sold over 700 tickets to a show within 24 hours after a local radio station interviewed them and played their tunes. Since their inception in Barcelona in 2003, Otros Aires have created one of the most unique and compelling audiovisual live shows in contemporary global fusion.

Mixing traditional tango and milonga records from the beginning of the last century with modern electronic sequences, melodies and beats, their sensual, infectious grooves continue to push the neotango scene forward. Accompanied by a stream of choreographed video images, their performances have propelled Otros Aires into the ranks of the top rated touring groups of Europe - playing to packed houses wherever they travel.

Otros Aires is the brainchild of architect/musician Miguel de Genova, who formed the group while living in Barcelona, Spain in 2003. Influenced at first by the style known as ‘mestizaje’, de Genova, returned to Argentina to record the self-titled first Otros Aires album which was launched in 2004, known as ‘Tango Day” in Argentina.

After performing in Argentina and Uruguay for a year, Otros Aires embarked on their first European tour to Germany and the Netherlands and then returned for a second tour to Istanbul, Athens, Warsaw. In 2007 Otros Aires released their second album ‘Dos’, and then spent the next year in Europe performing to bigger and bigger houses.
The Otros Aires tour of Canada, where they perform in Montreal, Toronto and Quebec City, is their first visit to North America.

Richard ‘medicineman’ Martin is no stranger to the tangotronic tune. He’s been dropping these sensual beats into his mixes for almost a decade and is among Toronto’s highly respected global fusion tastemakers. He hosts “No Man’s Land”, one of the most popular and long-running shows on CIUT 89.5 FM, airing Wednesdays from 12-2 pm. He is also the resident ethnogroovologist for Toronto’s premier independent world music presenter Small World Music.
Show downloads and playlists available at: http://myspace.com/medicinemanradio

www.salilbhatt.com
www.dougcox.org

“When roots guitarist Cox sat on the floor mats of a studio barn in
British Columbia to perform with three Indian classical musicians -
Salil Bhatt, on satvik veena (a 20-string instrument, played with a
metal bar); Salil’s father, V.M. Mohan, master of the 19-string mohan
veena (on two songs); and tabla player Ramkumar Mishra - he engaged
in an act of liberation from the conventions of the blues. The
Canadian lost himself in the details and dvelopments of his lines and
in the overlaps and intersections with the the others’ virtuosic
patterns. Five non-categorizable instrumentals, each inventive and
thrilling, make the Cox blues “Beware of the Man” and curry-spiced
treatments of two old country blues numbers (Cox sings these three)
sound like pleasant nothings.” ~ Frank John Hadley, Downbeat Magazine<br><br>

One of Canada’s foremost slide guitarists, Doug Cox has teamed up
with one of India’s best slide instrumentalists, Salil Bhatt, to
create a breathtaking fusion of blues and Indian music. “Slide To
Freedom” (NorthernBlues) is the result of a year’s worth of
collaboration between Cox and Bhatt. The time and care put into this
effort is obvious from the beginning. Cox’s specialty is the dobro, a
fairly conventional instrument present in many blues recordings;
Bhatt’s instrument, the satvik veena, has 20 strings, and will be a
new sound to many blues fans. The interplay between Bhatt and Cox is
both haunting and beautiful as they give a completely new look to old
blues classics like Mississippi John Hurt’s “Pay Day,” and Blind
Willie Johnson’s “Soul Of A Man.”<br><br>

Salil V. Bhatt represents the tenth generation of the famous Bhatt
lineage, where music has been flowing for more than five hundred
years. Salil is the son of legendary slide player and Grammy-award
winner Padmashree Pt. Vishwa Mohan Bhatt.Pt. Bhatt is the creator of
the mohan veena, a revolutionary instrument in the annals of Indian
classical music.<br><br>

Salil has been mastering the Mohan Veena for more than twenty years.
He is the foremost disciple of Pt. Vishwa Mohan Bhatt and one of the
youngest and most promising exponents of the instrument. His soulful
and vibrant music is receiving accolades worldwide from listeners and
the press alike.

www.debashishbhattacharya.com

“This is a chance to hear one of the world’s great guitarists using
three incredible hybrid instruments to mine a deep seam of
spirituality within a 1,000-year-old tradition. Deeply moving and
must for anyone with a passion for Indian music.” ~ Songlines

“Using the centuries-old raga tradition, Bhattacharya takes the
listener to a place of deep emotional expression beyond the
boundaries of time.” ~ Acoustic Guitar Magazine

Debashish Bhattacharya is a winner of the 2007 BBC Radio 3 Award for
World Music. Now 43, and officially a Pandit (master musician) since
turning 40, he is widely acknowledged as one of the world’s greatest
slide guitarists, and has invented his own ‘Trinity of Guitars’. His
Chaturangi has 22 strings, which enable it to suggest the timbres of
violin, sitar, sarod and veena. The Ghandarvi is a 14-stinged guitar
that can sound like a veena, sarangi, saz or flamenco guitar, and the
tiny 4-stringed Anandi is basically a slide ukulele. He also has his
own three-fingered style of playing which gives him an edge over
others when it comes to speed and dexterity.

The Jesuit maxim ‘Give me the child until he is seven and I will show
you the man’ could just have easily have been coined in India, where
the tradition of immersing children in music from birth is a natural
result of them growing up within musical dynasties. In fact,
Debashish Bhattacharya learnt to sing in the Gwailor classical vocal
style his parents were steeped in even before he could talk. Oddly,
the instrument he was first drawn to as a three-year-old was a
Hawaiian lap steel guitar left lying around the house. As he
recalls, “it was love at first touch.”

His notable early recordings include: “Guitar: Raga Ahir
Bhairav” (1993); “Call Of The Desert” (with Brij Bhushan Kabra); and
“Hindustani Slide Guitar” (2000). He has toured and recorded with
John McLaughlin’s group Shakti; and in 2003, recorded the fusion
project Mahima with the ubiquitous Bob Brozman, his sister Sutapa on
vocals and brother Subhashis on tabla. His most recent release is the
inspired 3: “Calcutta Slide Guitar”, which showcases the sounds of
his inventions over the course of three ragas.

feat. Sundar Viswanathan and Bryan Vargas
with Shakshuka and DJ medicineman

www.sundarmusic.com

It is a huge honour to present this special 10-year reunion concert of Ensemble Uniqua, a a stunning NYC-Toronto global fusion collaboration. The band includes: the luminous Indo-Canadian saxophonist, vocalist and composer Sundar Viswanathan; co-founder/artistic director and worldwide festival favourite Antonio Dangerfield on trumpet; the singular 6-string bass artistry of Rich Brown; guitarist Bryan Vargas of Ya Esta!, also an original member of Antibalas; violinist and showman extraordinaire Michael Lawson; and drummer Matt Baranello of Bryan Vargas + Ya Esta!
From Turkey to Ghana to Brazil to India to Puerto Rico and beyond, expect to hear one of the most diverse global musical journeys one could ever hope to be taken on by a single evening.

Opening this show will be another band in which Viswanathan plays Shakshuka; whose infectious mix of Middle Eastern jazz, funk and traditional influences we are proud to welcome back for the second year of the Series.