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Chords & Notes
Rhythmscape
Sony Music, Rs. 65
BIKRAM GHOSH'S Rhythmscape stands out as a perfect example of meaningful fusion. This reminds one of yet another of those rare-to-come-by fusion albums, Rhydhun by Taufiq Qureshi. Rhtyhmscape is not fusion for market reasons, but fusion born out of genuine passion for sounds and rhythm patterns from various corners of the globe. It's clear that there is a thinking mind that is constantly trying to juxtapose one's own traditional sound patterns with that of various other traditions from across the globe — Japanese, African, and so on.
Bikram Ghosh is one of the leading tabla players of the country. He has not only provided saath to Indian greats such as Pandit Ravi Shankar, Ustad Ali Akbar Khan, Balamurali Krishna, and Karaikudi Mani, but has also jammed with several Western musicians such as George Harrison, Mstilav Rostropovich, and others.
Interestingly, the album has a subtle, yet apparent Carnatic flavour to it and that comes from Bikram Ghosh's training in mridanga, under the renowned player, S. Shekhar. While he tries to weave in Japanese electronic handrums, djembe, darboukka, and rainsticks into his compositions, the source material is Indian classical music. And so what we have is a grand tradition and an imaginative mind interpreting it. Various styles and genres integrate into the overall structure, leaving no rough edges.
The opening piece of the album, "Rhythm Speaks", has a long, slow, opening passage of tabla bols that almost sound like someone is talking to you. The extremely evocative, soft bols that have the feel of an alaap, rain drops in the backdrop, the manner in which guitar slips in, the gushing violins — it is sheer poetry. The bols blend beautifully with mridanga. The violins that play Indian melody (sounds like notes of Kirvani) on the mridanga culminate in a Western flourish and over the tabla. There is great ease in this transformation and is very unanticipated. Parthasarathy on Carnatic vocals is outstanding.
There are some lovely calm-inducing Kalavathi phrases on piano and guitar. It builds up into something poignant, romantic, and grand and then suddenly it bursts into happy violins and rhythms. The mood of the piece suddenly becomes chirpy. Bikram Ghosh offers an explanation: "The number enters a typical New York jazz bar kind of atmosphere which was my tribute to the Zinc Bar."
You can see Bikram's Carnatic influence in the Bhairavi piece. It has a brilliant take off, and the mandolin graces are lovely. The stresses on what sounds like the tamate heightens the experience. But when the western violins take over, it kind of disrupts all the build up.
There is a frenzy in "Tandav" and bells in the background sound good. The Carnatic improvisations seem contrived in places. "The Gypsy Rain" piece has a distinct folk flavour based on that lovely Maand piece, "Padharo Maaro Des".
There is something new, something fresh about every composition, despite making use of time-tested melodies. Bikram Ghosh is remarkable on the tabla. His clarity even at that break-neck speed is amazing. In fact, it is torrential. What stands out in the album is the way he blends different styles, and effortlessly at that. Probably, Bikram Ghosh does a lot of re-recordings too. The long melodic phrases, and the way he blends various instruments gives one that feel.
DEEPA GANESH
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