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ECM; www.ecmrecords.com.
The clever, contemplative performances of Kayhan Kalhor andalso Shujaat Husain Khac khau, performing below the political name Ghazal, seamlessly fuse 2 distinct yet traditionally overlapping traditions. Their devicesthe kamancheh (spike fiddle) andalso the sitarare basic to their respective traditions (Persian andalso North Indian classical music), yet within the palms andalso improvisations of those 2 masters, they talk a {single} bearing ears with. Recorded in {concert} in Bern, Switzerland, in 2001, The Rain includes 3 prolonged items.
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Accompanied by younger tabla virtuoso Sandeep Das, Kalhor andalso Khac khau mix a distinct Indian andalso Persian mode on each bit, their collaborative explorations of musical themes steadily constructing in depth via “Fireplace” andalso “{Dawn}” to the climactic fury within the last moments of “Eternity.” Khac khau plucks sitar runs during which the records chew andalso snap yet by no means rip via their silken tone. The longer records that Kalhor bows on his kamancheh are uncooked andalso splintery in texture, yet he spins them into elegantly formed melodic strains. With Sandeep’s percussion offering effervescent undercurrents, the 2 meanings of ghazalan causing trouble but earthy operating of Persian poetry andalso a semiclassical Indian love grace balladmeld right into a singular fusion of sensibilities, without delay {passionate}, sensual, andalso soothing.
Derk Richardson is a YJ contributing editor that likewise writes about common society. for SFGate (www.sfgate.com) andalso Acoustic Guitar journal.
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