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 01. "Pay day" 02. "Bhoopali dance" 03. "Arabian night" 04. "Soul of man" 05. "Fish pond" 06. "Father kirwani" 07. "Beware of the man (who calls you Bro)" 08. "Meeting by the river"
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1 |
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| | Description: | 'A Stunning, groundbreaking marriage of the blues and Indian Classical music.' -Quote by Dave Rubin, Guitar Player Magazine 'This cross-culture pairing is an exhilarating blend of ragas and Delta blues forms. Never forced, Slide to Freedom is a bracing and inviting hybrid, flowing as naturally as the waters that connect distant lands to one another.' -David Greenberger, Amazon.com Conceived after a year of collaboration, here is an enlightening fusion of Indian classical and slide guitar blues rendered with an unorthodox palette of resophonic guitar, tabla and veena. The latter, a 20 string variation on the sitar created over 20 years ago by Ravi Shankar disciple Vishwa Mohan Bhatt guesting on this album. Although primarily a Dobro player, Doug Cox's weathered vocals and steely resophonic add some vintage authenticity to the blues infusion, but the balance is tipped in favour of entrancing ragas and soulful, lyrical instrumentals. McLaughlin and Shakti admirers take note; Doug Cox has struck a remarkable and spiritual three-way conversation. -Jazz & Beyond 'Every once in a great while a visionary artist will create a new, progressive fusion between American blues and another culture's musical traditions. Taj Mahal's Kulanjan, an ambitious project that melded Delta blues with traditional African music, is one of the finest examples. Close on the heels of that record is this new project from Doug Cox, one of Canada's premier slide guitarists, who teamed with Indian artist Salil Bhatt and his famed father, the Grammy-winning Vishwa Mohan Bhatt. Bhatt senior is a master musician in the classical Indian tradition, and known for his invention of the 19-string mohan veena. Together the three men, along with tabla player Ramkumar Mishra, offer an inspired eight-song set of classical Indian Delta blues. The album is done so well that it's often difficult to tell where the blues ends and the Indian rhythms begin (always the mark of a good fusion record!). More than half of the tracks clock in at over seven minutes, giving the artists plenty of room to tell their story. My favorite songs were "Arabian Night" (3) and "Meeting by the Liver" (8). Both are hauntingly beautiful.' -Roger Gatchet - Freelancer and DJ for KVRX in Austin, TX. 3 1/2 stars '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 This is brilliant! Can you imagine a fusion of country-blues with Indian classical music? Well, something like it has been tried before, and I've got several examples in my collection, eg most recently the famed Waterlily Acoustics titles from the 1990s where slide maestro Vishwa Mohan Bhatt teamed up with a series of blues/roots celebrities such as Ry Cooder or Taj Mahal. VM's instrument was the 19-string mohan veena, which in effect he invented by a redesign of the western Hawaiian guitar - to which he added drone and sympathetic strings to enable the assimilation of sitar, sarod and veena techniques. VM's son Salil here plays the 20-stringed satvik veena, which allows him to incorporate both vocal (gayaki) and instrumental (tantrakari) representations from Indian classical music within his dynamic and exhilarating playing style. But we're eased in gently with a version of Mississippi John Hurt's Pay Day, where Salil's instrument is introduced gradually - yet once his presence is established in the aural picture nothing could sound more natural working in with Doug's resonator guitar (dobro to you and me!) and the scintillating tabla rhythms provided by Ramkumar Mishra. The disc contains two further examples of blues-type pieces given the gentle-spirited fusion treatment: Blind Willie Johnson's Soul Of A Man (some fine syncopated drumming here too) and Doug's own determinedly wry composition Beware Of The Man: both are a triumph for the participants, who are clearly getting high on the interplay and spark a real sense of enjoyment alongside the obvious empathy they have as musicians. Salil's veena, with it's characteristic insistent tone and method of attack would appear to contradict the essentially laid-back character of the dobro, but the contributions (and personalities) of the two instruments are heard to have more in common than might at first be suspected. The remainder of the disc comprises a selection of more obviously Indian-inspired items, mostly joint exercises in composition by the three musicians. Arabian Night, despite it's title, seems to take the form of a brief raga, with veena and guitar taking the call-and-response roles from the introductory a lap through to the ensuing exposition, whereas Bhoopali Dance is more akin to an impressionistic episode and the dobro harmonics positively gleam and glisten, and the disc's finale, Meeting By The Liver, includes a tabla solo that ushers in a suitably aroused conclusion to the proceedings. Father Kirwani, a composition by VM Bhatt, sees Doug's instrument take the lead in the call-and-response a lap, yet there are times when it's hard to tell which musician is playing, so close and sincerely imitative are their individual contributions. The dance the musicians lead is even more vital on this track and Soul Of A Man due to the guest presence of VM himself adding another intricate layer to the richly detailed texture, with which the recording copes superbly (as throughout, in fact). This is a record filled with virtuoso playing, sure, but one that should give enormous pleasure to anyone prepared to open their ears to the possibilities it's completely natural musical fusion affords - listener or practising musician alike. Slide to Freedom encompasses the very heart of the counterculture of late sixties San Francisco and more. Just think of it. A CD produced by 'everyone involved'. Music created by musicians who are in every sense of the term brothers under the skin. Brotherhood breathing life through speakers until you actually believe that a better future is possible, if only... If only you had lived during Ralph J. Gleason's days at Rolling Stone, you would understand. Even if you didn't, understand this. When Doug Cox, Salil Bhatt, Ramkumar Mishra and Vishwa Mohan Bhatt created Slide to Freedom, they created a blend of Mississippi blues and Indian music which transcends genre because sometimes, just sometimes, music is everything. From the beautiful slide work kicking off Mississippi John Hurt's Pay Day to the communal laughs and chatter at the conclusion of the jam Meeting By the Liver you hear it. These sessions were special. Pay Day is the perfect opener. Doug Cox has a voice not unlike those born in the Delta, slightly rough and wavering yet in tune with the music. Interplay between Cox's resonator guitar and Bhatt's Satvik Veena is simple but magic. There could hardly be a better introduction to the acoustic blues. Blind Willie Johnson's Soul of a Man and Cox's Beware of the Man (Who Calls You Bro) step a bit further into the intricacies of the acoustic blues without overstepping the bounds. Beware, with it's choogling rhythm and classic R&B feel, even creeps toward the edge of rock (just plug the instruments in and you're there). The inclusion of Vishwa Mohan Bhatt's Father Kirwani is the one purely Indian-influenced piece. Driven by Mishra's masterful and | | | No. of tracks: |
8 |
| | Manufacturer No.: |
CDNBM39 |
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