Short studio time @ Shardo Studios while on the finishing steps of "Mother of Souls" album completion with few sound engineers and a princess invisibly lying on the couch the "Introspection" track was born. One can look at it this way:"Introspection is the examination of one's own conscious thoughts and feelings. In psychology, the process of introspection relies exclusively on observation of one's mental state, while in a spiritual context it may refer to the examination of one's soul. Introspection is closely related to human self-reflection and is contrasted with external observation." (WIkipedia)
In the year 2012, Zola Dubnikova a dear heart, a visionary dancer and workshop facilitator, had a vision musically and visually to share those practices she offers (especially for women) to remember the sacredness of their bodies and the power of their expression.For more then 3 years the recorded track “Roots” hasn’t been published. While Zola did use it for her practices, we still had to wait for the right moment to capture it.In 2015, while working on the “Mother of Souls” album completion, the decision came to film Zola’s work with other women who have trusted to be filmed during deep meditative practices.We are grateful for such exceptional opportunity.
Few Years ago this session took place in Dresden. The group of musicians joining one by one created the atmosphere of jam which can not be repeated yet again. At the same night different events took place in France which should never be repeated again. Let there will be love and peace in our hearts.
Artist Sessions @ Gewandhaus Hotel, Dresden 2015
Estas Tonne, Attila Manju, Kilian Forster, Jan-Einar Groh, Tichina Vaughn, Mathis Nicolaus
Sound: Mastered by Leon Galperin (SoundPro Studios)
E.Gayathri Veena Music - Carnatic Instrumental - Ennaallu Oorake:
~Songs ~
00:03 – Ennallu
Ragam – Subhapanthuvarali Talam – Misrachapu
06:24 – Ramakatha
Ragam – Madhyamavathi Talam – Adi
18:-34 – Nandha Nandhana Venu
Ragam – Abheri Talam - Adi
Veena:
The veena , also spelled as vina or beena or bina, comprises a family of chordophone instruments of the Indian subcontinent. Ancient musical instruments evolved into many variations, such as lutes, zithers and arched harps. The many regional designs have different names such as the Rudra veena, the Saraswati veena, the Vichitra veena and others.
E.Gayathri:
Echampati Gayathri (née Gayathri Vasantha Shoba), popularly known as "Veena Gayathri"(born November 9, 1959), is a veenaexponent of the traditional Carnatic music. She was appointed by the Chief Minister of Tamil Nadu, J.Jayalalithaa, as the first Vice Chancellor of Tamil Nadu Music and Fine Arts University in November, 2013. E.Gayathri received the Sangeet Natak Akademi Award in 2002, the "Kalaimamani" award from Dr. M. G. R. on behalf of the Government of Tamil Nadu in 1984 and a Lifetime Achievement Award from the Rotary Club, Madras East in 2011. The Chief Minister of Tamil Nadu, J. Jayalalithaa, appointed E. Gayathri as Honorary Director of Tamil Nadu Government Music Colleges in Chennai, Thiruvaiyaru, Madurai and Coimbatore in 2011. E.Gayathri has been honoured with a Doctorate by the World Tamil University in the year 2017.
In this tabla solo set in the cycle of sixteen beats, Ojas Adhiya displays a dazzling array of his talent, training, creativity and tonality.
Ojas Adhiya
Ojas, is a musical prodigy born in Chikhli, Maharashtra. Ojas at the age of 5 was sent through Shri Kalyanji to one of Kalyanji's close family friend Shri Mridangraj ji, for Ojas to learn tabla playing including accompaniment. He became the Gandaa Bandh Shaagird (Disciple) of Shri Mridangraj ji at the age of 5.
Today Ojas is a world traveler and a much loved and respected accompanist as well as a prolific solo performer. Ojas’s mission as he says himself is to excel in performance of this great art form at every opportunity he gets.
We are honoured to have had Ojas in the 1st Season of 'HCL Maestros in Studio Live at The Peninsula Studios', Ojas is accompanied on harmonium by Tanmay Deochake.
Curators: Kaushiki Chakraborty & Arunabha Deb (Hindustani) and Anil Srinivasan (Carnatic)
Produced by: Subroto Chattopadhyay & Sita Raina
Project Management for The Peninsula Studios: Avinash Chordia & Narinder Tawakley
Ο φλάουτο Σίβα είναι καλλιτέχνης από την Οττάβα του Καναδά. Ο ιδιοκτήτης του άλμπουμ "Cine Jewels on Flute" από την Saregama (HMV, Ινδία). Το 2ο άλμπουμ στούντιο κυκλοφόρησε το 2014 Το Kadhal Glitz είναι διαθέσιμο σε όλα τα καταστήματα μουσικής online! Συνδεθείτε με το FLUTE SIVA για τακτικές ενημερώσεις: Facebook: http://www.facebook.com/flute.siva Twitter: http://www.twitter.com/flutesiva (@flutesiva) Instagram: @flutesiva Ιστοσελίδα: http://www.flutesiva.com Email: flutesiva@yahoo.com Σχετικά με τον Andrew Robillard: https://www.andrewrobillard.com/
Laggis are lilting rhythmic designs and patterns which are traditionally performed towards the conclusion of a semi Classical vocal rendition be it Thumri, Dadra, Chaiti, Kajri or Hori. In this piece, Ishaan presents some rare Laggis which were performed by landmark Tabla legends including the great Ustad Ahmed Jan Thirakwa.
He also presents few Laggis of his father Pandit Nayan Ghosh who, in modern times is termed as the 'Doyen of Laggi Playing.'
In Season 1 of HCL Maestros in Studio Live @The Peninsula Studios Ishaan is accompanied on harmonium by Tanmay Deochake.
Ishaan Ghosh
An exceptionally gifted child-prodigy with a mature and sensitive musical thought process much belying his age, young Ishaan Ghosh, born in 2000, took to Tabla naturally and gave his first brief solo tabla performance at the age of 2-1/2. An inheritor of the music of a few generations in his family, he is the grandson of Tabla-Guru, Padmabhushan Pandit Nikhil Ghosh and the grand-nephew of the legendary pioneer flautist Pannalal Ghosh. Ishaan has received focused ‘Taleem’ in traditional Tabla from his father, Pandit Nayan Ghosh, who is regarded as one of India’s front-ranking Tabla and Sitar maestros.
In 2008, Ishaan played Tabla Jugalbandi concerts with his father in Switzerland, France and Spain representing India at International Music Festivals.
At 9, he was invited to perform alongwith his father in the Indo-Occidental Symbiosis “Jugalbandi Festival” at the Kala Mandir in Kolkata and the Sangeet Natak Akademi-organized “Tabla Samaroha” in Kolhapur. He has regularly performed at famed venues both in India and abroad such as the NCPA in Mumbai, MIT-Boston, The Institute of Culture in New York, the Stanford University, the Gerogia-Tech University in Atlanta, the World Music Institute in Chicago and the RIOJAFORUM in Spain among number of others.
In 2014, Ishaan was blessed to be invited by the Kathak legend Pandit Birju Maharaj for a Tabla solo recital at New Delhi’s Kamani Auditorium, on the maestro’s 75th birthday.
A busy performing artiste, besides accompanying his father’s sitar concerts, he has also performed with landmark figures in the field of Indian Classical Music like Sangeet Martand Pt. Jasraj, Sarod stalwarts Padmabhushan Pt Buddhadev Dasgupta and Ustad Aashish Khan, Pt. Tejendra Narayan Majumdar, violin legend Dr. N Rajam and Dr. Sangeeta Shankar, Purbayan Chatterjee, Ramakant Gaikwad, S Akash, Dilshad Khan.
He has regularly collaborated with musicians of various other genres like Jazz Guitarist Max Clouth of Germany, Mohammad Rasouli and Percussionists Fakhroddin Ghaffari and Hamidreza Rahbaralam of Iran, Hoo Eouling of China and Raho Langsepp of Estonia.
He has received the BABA ALLAUDDIN KHAN YUVA PURASKAR, a silver plaque after his performance at 150th Birth Celebrations of Ustad Allauddin Khan at Maihar, MP, in December 2013
In 2016, he was specially invited (along with his father) by the President of the United States President Jimmy Carter to give a benefit concert for the ‘HABITAT FOR HUMANITY’ project and felicitated by the President himself.
Curators: Kaushiki Chakraborty & Arunabha Deb (Hindustani) and Anil Srinivasan (Carnatic)
Produced by: Subroto Chattopadhyay & Sita Raina
Project Management for The Peninsula Studios: Avinash Chordia & Narinder Tawakley
Teental is a North Indian Rhythmic Cycle of 16 beats and is most commonly performed by artistes, be it instrumental, vocal or dance.More often than not, it is the cycle chosen for a Tabla Solo recital.
Here, young Ishaan Ghosh performs a short Solo in Teental in its most authentic form, presenting a variety of expandable as well as fixed compositions such as Peshkar, Kayda, Rela, Tukdas and Chakradaars.All of these are rare works of prolific composers over the last 150 years which, 17 year old Ishaan presents with impressive tonality, dexterity and virtuosity.
In Season 1 of HCL Maestros in Studio Live @The Peninsula Studios Ishaan is accompanied on harmonium by Tanmay Deochake.
Ishaan Ghosh
An exceptionally gifted child-prodigy with a mature and sensitive musical thought process much belying his age, young Ishaan Ghosh, born in 2000, took to Tabla naturally and gave his first brief solo tabla performance at the age of 2-1/2. An inheritor of the music of a few generations in his family, he is the grandson of Tabla-Guru, Padmabhushan Pandit Nikhil Ghosh and the grand-nephew of the legendary pioneer flautist Pannalal Ghosh. Ishaan has received focused ‘Taleem’ in traditional Tabla from his father, Pandit Nayan Ghosh, who is regarded as one of India’s front-ranking Tabla and Sitar maestros.
In 2008, Ishaan played Tabla Jugalbandi concerts with his father in Switzerland, France and Spain representing India at International Music Festivals.
At 9, he was invited to perform alongwith his father in the Indo-Occidental Symbiosis “Jugalbandi Festival” at the Kala Mandir in Kolkata and the Sangeet Natak Akademi-organized “Tabla Samaroha” in Kolhapur.
He has regularly performed at famed venues both in India and abroad such as the NCPA in Mumbai, MIT-Boston, The Institute of Culture in New York, the Stanford University, the Gerogia-Tech University in Atlanta, the World Music Institute in Chicago and the RIOJAFORUM in Spain among number of others.
In 2014, Ishaan was blessed to be invited by the Kathak legend Pandit Birju Maharaj for a Tabla solo recital at New Delhi’s Kamani Auditorium, on the maestro’s 75th birthday.
A busy performing artiste, besides accompanying his father’s sitar concerts, he has also performed with landmark figures in the field of Indian Classical Music like Sangeet Martand Pt. Jasraj, Sarod stalwarts Padmabhushan Pt Buddhadev Dasgupta and Ustad Aashish Khan, Pt. Tejendra Narayan Majumdar, violin legend Dr. N Rajam and Dr. Sangeeta Shankar, Purbayan Chatterjee, Ramakant Gaikwad, S Akash, Dilshad Khan.
He has regularly collaborated with musicians of various other genres like Jazz Guitarist Max Clouth of Germany, Mohammad Rasouli and Percussionists Fakhroddin Ghaffari and Hamidreza Rahbaralam of Iran, Hoo Eouling of China and Raho Langsepp of Estonia.
He has received the BABA ALLAUDDIN KHAN YUVA PURASKAR, a silver plaque after his performance at 150th Birth Celebrations of Ustad Allauddin Khan at Maihar, MP, in December 2013
In 2016, he was specially invited (along with his father) by the President of the United States President Jimmy Carter to give a benefit concert for the ‘HABITAT FOR HUMANITY’ project and felicitated by the President himself.
Curators: Kaushiki Chakraborty & Arunabha Deb (Hindustani) and Anil Srinivasan (Carnatic)
Produced by: Subroto Chattopadhyay & Sita Raina
Project Management for The Peninsula Studios: Avinash Chordia & Narinder Tawakley
One evening, a few years ago in Bahia, Brazil, the PFC crew and I were waiting for an 80-year-old cuica player to perform on a Song Around The World. I remember it seemed to take forever for him to make it down the hill, as he would stop off in every bar along the way for a drink and some conversation. As we waited I looked and saw a Rastaman walking across the street with his acoustic guitar in hand. I waved to him and he came over to see what we were doing with all our equipment. I told him about Playing For Change and he agreed to play a song for us while we were waiting. The result was an incredible, spontaneous performance of Dennis Brown’s “Rasta Children.” His voice reminded me of Peter Tosh and he sang with so much soul that we realized this could be an amazing Song Around The World. Just one man and his guitar playing on the street set the tone for this song and we added a worldwide band of roots musicians around him. “I and I deal with humanity…”
Playing For Change (PFC) is a movement created to inspire and connect the world through music, born from the shared belief that music has the power to break down boundaries and overcome distances between people. The primary focus of PFC is to record and film musicians performing in their natural environments and combine their talents and cultural power in innovative videos called Songs Around The World. Creating these videos motivated PFC to form the Playing For Change Band—a tangible, traveling representation of its mission, featuring musicians met along their journey; and establish the Playing For Change Foundation—a separate 501(c)3 nonprofit organization dedicated to building music and art schools for children around the world. Through these efforts, Playing For Change aims to create hope and inspiration for the future of our planet.
nana music "nana" - a place where you can express yourself with music and be connected with anyone, anywhere...From beginners to professional, "nana" is a borderless music social platform for all the music lovers in the world!
2seas SessionsCurated by a collective of music lovers, 2Seas Sessions film and record stripped down live sets performed by talented artists, bands, and songwriters. With no borders, the 2Seas Sessions platform is dedicated to discovering as well as showcasing music and people that inspire.
Audio-Technica—Audio pioneer in high-performance sound design
Established in 1962, Audio-Technica is a worldwide group of companies devoted to the design, manufacture, marketing and distribution of problem-solving audio equipment. Initially known for state-of-the-art phonograph cartridges, A-T now creates high-performance microphones, headphones, wireless systems, mixers and electronic products for home and professional use.
GuayakiOur mission is to steward and restore 200,000 acres of South American Atlantic rainforest and create over 1,000 living wage jobs by 2020 by leveraging our Market Driven Regeneration business model. Our vision holds that yerba mate culture will power our Market Driven Regeneration business model to regenerate ecosystems and create vibrant communities.
TM Krishna continues his performance with a Thyagaraja composition entitled Nadopasana in Raga Begada. Akkarai Subhalakshmi joins in on violin, as does Arunprakash Krishnan on mridangam, Guru Prasad on ghatam and Swaminathan Selvaganesh on kanjira. The highlight of this performance is a stunning Thani Avarthanam by Vikku Vinayakram on ghatam and later he invites the other percussion players to join in.
The ney (Persian: نی / نای), is an end-blown flute that figures prominently in Middle Eastern music. In some of these musical traditions, it is the only wind instrument used. The ney has been played continuously for 4,500–5,000 years, making it one of the oldest musical instruments still in use.
The Persian ney consists of a hollow cylinder with finger-holes. Sometimes a brass, horn, or plastic mouthpiece is placed at the top to protect the wood from damage, and to provide a sharper and more durable edge to blow at. The ney consists of a piece of hollow cane or giant reed with five or six finger holes and one thumb hole. Modern neys may be made instead of metal or plastic tubing. The pitch of the ney varies depending on the region and the finger arrangement. A highly skilled ney player, called neyzen, can reach more than three octaves, though it is more common to have several "helper" neys to cover different pitch ranges or to facilitate playing technically difficult passages in other dastgahs or maqams.
In Romanian, the word nai is also applied to a curved pan flute while an end-blown flute resembling the Arab ney is referred to as caval.
Le shakuhachi, cette flûte au son si particulier d'origine chinoise, sert aux moines komusōs non pas pour simplement faire de la musique, mais pour méditer. En effet, au lieu de pratiquer le Zazen (la position assise de méditation) et réciter des sutras, les komusōs jouaient de la flûte et pratiquaient ainsi le Zen du souffle.
Les komusōs ont perduré jusqu'à la restauration Meiji en 1868, mais l'un de ces moines, nomme Kinko Kurosawa, parvient à répertorier 36 de ces honkyoku (morceaux de flûte joués par les komusōs) avant qu'ils ne tombent dans l'oubli.
Dans cet album, le grand musicien Teruhisa Fukuda nous propose six morceaux de ce répertoire à la richesse musicale et historique incroyable.
