The remote region of Tuva, one of the new countries formed with the dissolution of the U.S.S.R., has produced one of the world's most unusual vocal groups, Huun-Huur-Tu. Masters of the throat singing style of xoomei, in which a vocalist produces two or three notes simultaneously, the group has been warmly by an international following. According... [+] Read More

The remote region of Tuva, one of the new countries formed with the dissolution of the U.S.S.R., has produced one of the world's most unusual vocal groups, Huun-Huur-Tu. Masters of the throat singing style of xoomei, in which a vocalist produces two or three notes simultaneously, the group has been warmly by an international following. According to Jazz Times, "a rustic joyousness and unadulterated expresiveness come out of these musicians". Analyzing Huun-Huur-Tu's music, The Chicago Tribune, wrote, 'it is unfamiliar yet very accessible, an other-worldly but deeply spiritual music that is rooted in the sound of nature". Dirty Linen took a similar view, claiming, "this music is both very spiritual and down to earth, grounded in a strong sense of place, yet its appeal is universal." In addition to recording their own albums, the members of Huun-Huur-Tu have contributed their unique vocals to albums and/or performances by Frank Zappa, The Chieftains, Johnny "Guitar" Watson, The Kronos Quartet and L. Shankar and Ry Cooder's soundtrack of the film, Geronimo. Their on-going collaboration with Angelite, the Bulgarian Woman's Choir under the direction of Mikhail Alperin, has yielded two memorable albums -- Fly, Fly My Sadness in 1994 and Mountain Tale in 1998. Although its name translates literally as "sun propeller", Huun-Huur-Tu represents much more. In a 1994 interview, founding percussionist Alexander Bapa explained, "(the name of the band refers to) the vertical seperation of light rays that are often seen on the grasslands just after sunrise or just before sunset". Initially named "Kungurtuk", Huun-Huur-Tu came together, in 1992, to play "the old and forgotten songs". Founding members Sasha and Sayan Bapa and Kaigalool Khovalyg had previously performed a state-sanctioned ensemble during the Soviet regime. Although Tuvan music had traditionally been performed by a solo singer or instrumentalist, the group sound of Huun-Huur-Tu set them apart. Huun-Huur-Tu has experienced several personnel changes. Original member Anatoli Kuular left to form a new band, Yat-Kha, in late 1993, and was replaced by Anatoli Kuular, a master of the borbangnadyr style of singing and a virtuosic player of the mouth harp (xomuz) and byzanchi. Percussionist Alexander Bapa left, in 1995, to become a producer in Moscow, and was replaced by Alexander Siraglar, a sygyt singer, string player and precussionist. ~ Craig Harris, All Music Guide [-] Hide

Ustad Shujaat Khan stands at the head of a long line of master musicians and is today's leading proponent of the Imdadkhani gharana (tradition) of sitar playing. Seventh in a continuous thread of distinguished instrumentalists, Ustad Shujaat Khan's legacy includes many of the most venerable figures in Indian classical music: great-great... [+] Read More

Ustad Shujaat Khan stands at the head of a long line of master musicians and is today's leading proponent of the Imdadkhani gharana (tradition) of sitar playing. Seventh in a continuous thread of distinguished instrumentalists, Ustad Shujaat Khan's legacy includes many of the most venerable figures in Indian classical music: great-great grandfather Ustad Sahabdad Khan, great-grandfather Imdad Khan, grandfather Inayat Khan, and father Vilayat Khan. From Ustad Sahabdad Khan's important addition of the tarab (sympathetic strings) to the sitar, to Vilayat Khan's development of the gayaki ang (vocal playing style) and brilliant melding of technical, melodic, compositional, improvisational, and rhythmic artistry, Ustad Shujaat Khan's family legacy is undeniably impressive.

In line with the ancient concept of khandan, whereby a father's status is passed down to the first born male, Ustad Shujaat Khan was groomed for success by his father and guru, Vilayat Khan. At the age of three, Ustad Shujaat Khan began playing on a custom made mini-sitar under the expert tutelage of his father. By the age of six the child prodigy was giving highly successful public concerts. Since that time, Ustad Shujaat Khan has gone on to perform in the world's most important venues, Royal Albert Hall and Carnegie Hall among them. In accordance with the Imdadkhani Gharana founded by his great-grandfather and the gayaki ang innovated by his father, Ustad Shujaat Khan is celebrated for his elegant use of meend (glissando), lyrical sensibility, mastery of technique, and euphonious tone. Ustad Shujaat Khan was a visiting professor in the Ethnomusicology Department at UCLA. ~ John Vallier



, All Music Guide [-] Hide

[-] Hide

[-] Hide

Born in 1930 in Hissar (Haryana), Pandit Jasraj is one of the best-known classical vocalists. He belongs to the Mewati gharana, as did his father, Pandit Motiram. One of the joys of Jasraj's music is his depiction of the unusual. He has recorded extensively, especially since the late '80s, for a number of the leading companies specializing in... [+] Read More

Born in 1930 in Hissar (Haryana), Pandit Jasraj is one of the best-known classical vocalists. He belongs to the Mewati gharana, as did his father, Pandit Motiram. One of the joys of Jasraj's music is his depiction of the unusual. He has recorded extensively, especially since the late '80s, for a number of the leading companies specializing in Indian classical music including Chhanda Dhara, EMI India, Magnasound/OMI, Moment and Navras. ~ Ken Hunt, All Music Guide [-] Hide

In the sleeve notes Bally Sagoo boldly states that since 1994 the entire world has asked for a new Bollywood Flashback. Speaking in second person and calling himself the Messiah, he goes on to point out that music history has just been made -- again. Okay, some of it may be ironic, but there is nothing revolutionary in Bollywood Flashback, Pt.... [+] Read More

In the sleeve notes Bally Sagoo boldly states that since 1994 the entire world has asked for a new Bollywood Flashback. Speaking in second person and calling himself the Messiah, he goes on to point out that music history has just been made -- again. Okay, some of it may be ironic, but there is nothing revolutionary in Bollywood Flashback, Pt. II. It is possible that the first record, six years earlier, cleared some new paths, but in 2001, laid-back club beats over Eastern instruments is not unique within India. For a Western audience some of the songs, like "Noorie," sound like pleasant lounge-house, and the last track, "Chura Liya," gives a sample of Indian rap, with the beautiful melody skillfully used in the remix. Bollywood Flashback, Pt. II could also serve as an exotic excursion into modern Indian club music, still pretty unknown to most people in the West even after the hype of bhangra. But while the combination of high-pitched female vocals and modern rhythms is interesting, the techno and dub beats that fill up much of the album feel somewhat primitive. All of the album's tracks are old Bollywood songs, rewritten, re-recorded, and with loops added, and it is possible to find some of the originals on other Bollywood compilations, or even on the original soundtracks. ~ Lars Lovén, All Music Guide [-] Hide

[-] Hide

[-] Hide

The idea of a religious singer whose ecstasy-inducing opuses commonly run over 20 minutes having "greatest hits" borders on the hilarious. But when you consider the fanatical following the Pakistani qawwali star has gained around the world, the top-of-the-charts concept becomes less far-fetched. Upon hearing the great qawwal in person,... [+] Read More

The idea of a religious singer whose ecstasy-inducing opuses commonly run over 20 minutes having "greatest hits" borders on the hilarious. But when you consider the fanatical following the Pakistani qawwali star has gained around the world, the top-of-the-charts concept becomes less far-fetched. Upon hearing the great qawwal in person, Pakistanis in foreign cities were known to bang their heads against the stage until they bled. This set of four pieces was released in 1997, the year Nusrat died. By the time the world discovered Nusrat in the late '80s, he had produced literally hundreds of recordings, so whether you consider these archival selections "hits" or not, they are significant and worthwhile additions to his catalog. "Haq Ali Ali" is the only one of these to appear on any of Nusrat's nine Real World releases, but the short version on Devotional Songs is only a warm-up for this expansive, 25-minute rendition. Nusrat's sound remained fairly constant throughout his career. He changed his instrumental backing some before settling on harmonium as his backing instrument of choice, and his voice gathered some ragged edges in the '90s, but other than that, there was no overarching progression in his music, only side trips. None of those side trips are represented here (although 1990's Mustt Mustt really was a hit, electrifying Pakistani youth with its crossover sound). Still, there are some unusual sonic textures among the older tracks here. "Data Ke Ghulamon Ko" begins like a processional hymn, the harmonium hanging on long, organ-like chords. And "Mangte Hail Karim" uses the qanun (a hammer dulcimer) and a clarinet-like reed instrument to set up its 3/4 feel. ~ Banning Eyre, All Music Guide [-] Hide

Dawn Raga is a beautifully executed release that musically translates the mood and setting of dawn. Appropriately, the recording took place from 4:30 to 6:30 a.m., with the musicians facing the sun in Peter Gabriel's Real World studio. Inner peace and day's awakening are embodied by the sound of U. Srinivas' mandolin, accompanied by K.... [+] Read More

Dawn Raga is a beautifully executed release that musically translates the mood and setting of dawn. Appropriately, the recording took place from 4:30 to 6:30 a.m., with the musicians facing the sun in Peter Gabriel's Real World studio. Inner peace and day's awakening are embodied by the sound of U. Srinivas' mandolin, accompanied by K. Murugaboopathi on mridangam, E. M. Subramaniam on ghatam, and Master U. Rajesh also on mandolin as the group moves through Srinivas' arrangements of three traditional pieces and two originals. Dawn Raga is a warm, meditative, and fulfilling listen. ~ Joslyn Layne, All Music Guide [-] Hide