A Night in Bombay

Disc: 1

1. Oh Sahibaa (Joy) - Shankar Mahadevan

2. Kannaalaney - A.R. Rahman

3. Taal Pe Jab - Sonu Nigam,

4. Ri Gujaria

5. Rasika - A.R. Rahman

6. Beyond the Last Wandering Dune (Raga Gauri) - Brij Bhushan Kabra

7. Main Te Mahi Injh Jurh

8. Khaike Paan Banarswala - Kishore Kumar

9. Tumhe Aaj Maine Jo Dekha - Shankar Mahadevan

10. Antha Arabikkadaloram - A.R. Rahman

See all 12 tracks on this disc

Disc: 2

1. Bombay Theme Music - A.R. Rahman

2. Mann Ki Lagan - Rahat Fateh Ali Khan

3. Bahut Pehle Se un Qadmon Ki Aahat Jaan Lete Hain - Singh Jagjit, Chitra Singh

4. Bhoop Ghara (Dadra) - Hariprasad Chaurasia, Brij Bhushan Kabra,

5. Kuch Naa Kaho - Sadhna Sargam, Shaan

6. Ek Ladki Ko Dekha - Kumar Sanu

7. River - Ananda Shankar

8. Chura Liya Hai Tum Ne - Asha Bhosle, Mohd. Rafi

9. Maye Ni Maye - Lata Mangeshkar

10. Baat Meri Suniye to Zara - Shankar Mahadevan,

See all 12 tracks on this disc

Tracks:

Luki
Shringar
Giriraj Sudha
Bell'Alla

Amazon.com

Guitarist McLaughlin and tabla drummer Zakir Hussain first joined together as Shakti in 1975 to fuse together the rhythmic and improvisational energies of jazz and the classical music of northern India. Regrouping in the late '90s, the two have since raised the level of the synthesis significantly in a quartet with the extraordinary young mandolin player U. Shrinivas and percussionist V. Selvaganesh. These recordings come from December 2000, when Remember Shakti was playing concerts in Bombay at the end of a world tour. It's clearly the occasion for celebration, with the group expanding to include several guests, but it's distinguished by the same quality that has graced their live performances and the previous CD, The Believer: a hypnotic luminosity that enfolds flights of extraordinary virtuosity and sustained dialogue into a tranquil whole. That mood is further enhanced here by the setting, the layered polyrhythms of multiple drummers, and the singing of Shankar Mahadevan. The wedding of East and West is most apparent in McLaughlin's sprightly "Luki," with the guitarist's harmonies specifically invoking jazz. "Shringar," nearly 27 minutes long, is played by a quartet, with its composer Shiv Kumar Sharma on santur, a Persian zither. Beginning in a sustained meditative stillness, it eventually builds to one of McLaughlin's most brilliant solos. As they have in the past, McLaughlin and Hussain again give new meaning and possibilities to the idea of "world music." --Stuart Broomer

Customer Reviews:

A different sound from an augmented band........2005-04-22

"Saturday Night in Bombay" was recorded during a "Shakti Festival" of sorts-- John McLaughlin and Zakir Hussain's Remember Shakti project, featuring U. Srinivas and V. Selvagenesh were further augmented by a host of guest Indian musicians. The result is something quite interesting, the music gains a density of performance and an element of looseness at the same time.

Opener "Luki", with its funky rhythms, call-and-response, and infectious beats, is a good example of the sort of density element-- with no less than seven additional musicians contributing, is a thing of pure beauty, where the augmented percussion never overwhelms, never even threatens to overwhelms, but rather, everything works.

This is followed up by quite the opposite, with Shrinivas laying out and santur (a sort of tuned metallic percussion instrument that I'm afraid I'm largely unfamiliar with) player Shiv Kumar Sharma taking his place in a quartet setting, "Shringar" has a lot of open space and looseness about it that often can get lost in McLaughlin and Shrinivas' blazing runs. Space is critical in this piece, and it takes its time in developing. Space also becomes readily apparent in vocal-driven "Girraj Sudha", with its start-stop rhythms, odd pauses, and echoed patterns-- its sort of a hard to describe piece, but its definitely my favorite on the record, no doubt in part because of a fantastic vocal from Shankar Mahadevan. But what's interesting about these three cuts and the closer, "Bell'Alla", there's a sort of ambient haze beneath everything that makes even the loosest pieces seem somewhat more dense. "Bell'Alla" is actually a spectacular closer, with a building churning percussion including a kit drum that helps it build to a massive conclusion.

If there's a complaint though, its the presence of the extra guests breaking up the focus of the group-- the music is great, don't get me wrong, but that sort of psychic interplay you get used to with Remember Shakti is dimished. Still, an excellent recording, recommended.

"Creative intelligence, beauty and power.".......2002-11-10

That's what the word Shakti apparently means, and you can't help but hear it in everything they play. This is an enchanting blend of Indian style & sensibility with the dynamic improvisation of American jazz - THIS is what 'fusion' really means. The original group emerged with a phenomenal debut in 1976 (also an excellent choice by the way), split up after two more albums, and stayed dormant for 20 years until the energence of Remember Shakti in the late 1990s. We can only wonder what they might have done with all that time if they'd stayed together, but no matter: founder John McLaughlin and his trademark hyper guitar are present as always. He's also joined again by original rhythm master Zakir Hussain, who makes a simple tabla pulse, cry and sing with his masterful rhythmic touch. The basic sound is expanded with the addition of U. Shrinivas (a virtuoso on the mandolin) and V. Selvaganesh, who plays kanjira (a smaller percussion instrument). Saturday Night in Bombay marked the end of a very successful tour for the reformed group, recorded over a couple nights where several distinguished guests were able to drop in. Their names probably won't ring a bell for anyone not familiar with Indian music already (they didn't for me), but the music is what's important. The sound everyone makes together is exotic yet familiar, worldly yet intimate, and the group interaction is nothing short of phenomenal.

McLaughlin's electric (I think) guitar slides and sings through the notes like quicksilver, having left behind that acoustic twang found in Shakti's earlier work. Even the couple times he plays with some echo and slight effects (there's one point in "Giriraj Sudha" where I could swear he's quoting Rush's "Xanadu"), it never sounds contrived. Everything we hear is about joining things together: eastern and western musical traditions, the electric and the acoustic, performers and audience. That first '76 release, Shakti With John McLaughlin, is usually recommended as a prime choice since it's the one that started it all. Anyone curious to hear more probably won't be disappointed with any of them, and I wholeheartedly recommend Saturday Night in Bombay.

Grammy nominee !!.......2002-01-17

This album is a collector's jewel !! Eventhough I would not rate the music from this album as the best of Shakti, this is definitely good. Especially, the last three. The first track (Luki), in my opinion, is not very good. Bell'Alla (track 4) is great and for those of you who love music made in carnatic arrangements, Giriraj Sudha (track3) is great !!

And nice thing is that, I heard, this album is nominated for Grammy !!

Some more "goals beyond".......2001-08-15

This record is a beautiful remainder of something that Mr. McLaughlin stated in one of his prior works "all is bliss". For these great musicians, is easy to return us to that great energy that they have been inspiring to us all and all through these years of performance. This album is "a must have" for all music lovers (not just jazz or fusion or world or Indian music). Undoubtedly, performance on this record will transport you to some of the "goals beyond" that Mr. McLaughlin patented many, many years ago, a five stars record without any doubt.

Saturday Night in Bombay - Remember Shakti.......2001-08-03

From the very opening few licks of this new album, straight away you get the feeling that this is a more buoyant lyrical music than the intense, introspective investigations that we were treated to with Remember Shakti and The Believer. It's funky, bursting with melody, and it's going to make you dance, for joy. Remember how Natural Elements felt after A Handful of Beauty? Well, here we go again.
Each incarnation of Remember Shakti produces a sound very much reflective of it's musicians. The original 1997 tour conjured aural visages of desert's dawn, all was peace, all was calm. Hariprasad Chaurasia's winged bansuri flew us beyond the clouds to dream palaces in the mind. Then The Believer burnt our wings with the concert pyrotechnics that had us, the global audience, stunned throughout the subsequent touring, made us clamour for encore after encore, and never sent us home disappointed. Now Saturday Night In Bombay celebrates Shakti's return with a very special recording indeed - this IS history, shared over 2 nights, in a very fitting place, by a very lucky audience.

This time a festival of music in Mumbai presented a new source of musical influence for tapping. Keep the time nurtured relationship, the Shakti core that has opened our ears each time they lay hands on guitar, tabla, mandolin, kanjira, ghatam, mridangam, but add to this recipe a little more spice, a broader palate, a little more fire. Bring in the permeating vocals of Shankar Mahadevan to give a sense of folk. Bring in the slide guitar of Debashish Bhattacharya for some frenetic tradeoffs. Bring in the santur of Shiv Kumar Sharma to woo our jiggle-weary limbs and unveil yet hidden depths in this heady mixture. But augment that rhythm with an extraordinary array of drums and percussion, lest the tops of our heads fly off to transcend this mortal dwelling.

There are 4 tracks on the album running a generous total of 62:01 minutes. To start JM's Luki (5:39), the guitar sets the rhythm, calling the other ten players to the banquet. The percussion glides and Shankar Mahadevan makes the reply. The full rhythmic section slots in and soon we're bubbling, rocking along, always reciting the opening phase. This is more song-like than the raga-derived pieces of previous albums. It's a catchy foot-tapping opener with a "standard" western drum kit helping to drive the beat.

The group is slimmed back down for Shiv Kumar Sharma's lengthy Shringar (26:38) which highlights the santur, played with an eerie sensitivity that wafts the tune into consciousness. Soon the guitar assists and finally swaps places to take turns in painting the textural backdrop. The lilting theme is stated strongly at over seven minutes into the piece defining the pace of this longer investigation, a measured cadence providing space enough for flurries of short but exquisite guitar solos inter-played with longer multi-layered explorations by santur. All this is underpinned by precocious rhythm, later tempted into a heavier thunder by the exciting guitar phrasing and a choice punctuating of the theme by santur. Unified they rise to the close, santur and kanjira blazing, then engulfed by understandably rapturous applause.

Again guitar and voice draw us gently into U. Shrivinas' Giriraj Sudha (10:45), before the mandolin interrupts to declare the playful melody and the song takes off with a dense percussive rhythm now strengthened with tavil. It is predominantly a vocal piece, guitar echoing voice to provide a choral feel whilst the mandolin anchors the central melody, exploring some solo territory, but never venturing too far.

Mandolin and Hindustani slide guitar set the delicate tones for Zakir Hussain's Bell'Alla (18:48), before JM's guitar enters to broaden the spectrum, a few carefully placed notes that summarise the sound that he has developed since resurrecting this divine project. The slide guitar lulls us with sitar-like cascades, the guitar tone is warm and gentle. Entering now, four minutes in, a pulsation, a hypnotic phrase on mandolin, picked up by tabla and percussion and thrown full-bodied to unanimity. The re-introduction of the drum kit solidifies the foundations for short climbing phrases from the stringed instruments, before more open sections for solo exploration, each undersigned with a dense restating of the main figure. The slide guitar playing is astonishing but JM takes the greatest risk here in the next solo spot, pushing the limits of the piece, searching for something new, the rhythm section in tow, riding a funky backbeat to that purer phrase, a clearer musical statement. The kanjira and tabla solos are not as extended as audiences have experienced previously plus they are kept separate with no echoed runs. The remaining drums and percussion now rejoin to really beat it out until the whole re-enter to drive the piece to a climax. The last note is met with wild exclamation and fades out to stage introductions and appreciation for all that has passed.

The inclusion of the great guest musicians robs us of the usual magical communication heard between the core members, but we have plenty of that documented, and the extra depth and ideas make this not so much another Shakti album but the capture of an excellent historic concert. It could only have been sensible for JM to fit into this mixture in the way that he did. Any more pronounced and he would have been conspicuous in the concerts' context. Any less and he would have disappeared. As is, he skilfully employs his sound to define a niche in the soloing space, to sit alongside the other soloists. He underplays this comping so as not to force his volume, thereby obliterating the myriad of textures provided in the rhythm.

The vocal pieces bring a whole dimension not previously experienced from Shakti recordings other than konnakol. The guitar, mandolin and Hindustani slide guitar complement to form the harmonious middle whilst the rhythm section continues to be breathtaking. The use of a western style drum set has a profound effect on the bass dynamics and perhaps clouds some of the detail, particularly from Hussain's dagga. However, tasteful underplaying along with some brilliantly interspersed snare shots does more than just amplify the other drums, moreover positively driving the beat, perhaps even inspiring JM's rocking solo heard on the final track.

Alas, no visual media is provided with Saturday Night In Bombay as was with the special edition of The Believer, however, the occasion was filmed and perhaps greater plans are afoot. The album has a subtle cover design in the vein of it's predecessor albums but with a noticeable return to the original Shakti script. Unfortunately, although informative and enthusiastic, the liner notes are poor, possibly loosing something in translation from the author's native French, and no photographs are included that are recognisable as being from the concerts. Perhaps because of the live setting, the recording quality is a little thin, accentuating some percussive taps in the high register, and the bass a little dull, don't expect the tabla sound achieved on The Believer. The sound is not an impediment and there is a slight improvement when listening with headphones (see below for a commentary on how it really sounded and the live experience).

Tracks:

Impresiones Intimas: Secreto
Buleria De Las Golondrinas
Prld No. 3
Yasmeen
Conc in G: Adagio Assai
The Winding Road/La primavera
The Call
Premiere Gymnopedie
Morning Arrival in Goa
Pavane Pour Une Infante Defunte
Bombay
Gianni Schicchi: 'O Mio Babbino Caro'

Amazon.com

Synonymous with the New Age-approved "nouveau flamenco" genre he spawned, Liebert takes an ambitious turn on Leaning, performing a set of works by Satie, Villa-Lobos, Ravel, and Puccini with a full orchestra under the direction of Brazilian guitar maestro Oscar Castro-Neves. Liebert's no classical ace--as he'll gladly admit--but the same well-meaning audacity that turned his watered-down flamenco technique into music of nevertheless universal appeal serves him well here. Though he lacks the technical command of a Christopher Parkening, his round tones and sure delivery work well against Castro-Neves's epic arrangements, resulting in exactly the kind of trancelike romanticism Liebert has established as his trademark. --James Rotondi

Customer Reviews:

Weak Orchestral Arrangements + Not Ottmar's Best.......2004-12-30

I am a fan of Ottmar's work so I did not hesitate when I found a copy of this album for sale. Though not a terrible record it is not what your average Ottmar fan has come to expect. The orchestral arrangements are clumsy or forgettable at best - inappropriate and dischordant at worst. Ottmar's guitar work is mostly relegated to plinking along - sometimes in a slightly dissonant fashion - on top of the orchestral arrangements. None of it is horrible, and a few cuts are even interesting, but my guess is that the typical Ottmat Leibert fan won't be listening to this CD more than once or twice. There are FAR better choices for anyone who likes Ottmar's work. Stick with his more popular stuff and save having to trade this in for somethign else (as I will be doing).

A must for any collection.......2002-04-30

This is simply one of the best CD's I have in my collection of approximately 2000. Incredibly beautiful, accessable, and seems to get better with every listen. Anyone who likes Jazz/New Age/Classical type guitar music cannot go wrong with this CD.

Surprisingly good.......2001-09-06

Ottmar Liebert is surprisingly graceful, restrained and subtle on this sincere and authentic ode to classical Spanish guitar. Liebert succeeds in exploring the subtly colored emotions of classical Spanish guitar music. There is a light flavouring of New Age in this CD, but in the very positive sense of authentically vulnerable tenderness rather than sappy sentimentality. It is clear that Liebert is treading new ground for himself here, and he does so with a refreshing and charming openness. A very pleasant CD that grows on you, and that can be played either in the foreground or the background.

Ottmar's finest work.......1998-09-02

I first found Ottmar when his Nouveau Flamingo CD was playing in a gift shop on the Cape Fear River in Wilmington, NC in 1993. Since then, I have found his music to be some of the best of New Age Jazz. But this album. WOW! No matter what style of music one prefers, this is simply one of the most beautiful albums I have ever heard. Incredibly powerful! Thank you, Ottmar!

Average customer rating:

Let's Celebrate Ravi!
Good Overview Ravi Shankar's Career
captivating
good mix of stuff, but NOT AT ALL for Hindustani purists
This record shows that Ravi Shankar is a genius!

In Celebration

Manufacturer: Angel Records
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

India | India & Pakistan | International | Styles | Music

General | India & Pakistan | International | Styles | Music

General | International | Styles | Music

General | Reggae | International | Styles | Music

General | Far East & Asia | International | Styles | Music

General | Opera & Vocal | Styles | Music
ASIN: B000002SM5
Release Date: 1996-02-20

Tracks:

Charu Keshi
Bhatiyer
Adarini
Marwa
Dhun Kafi

Tracks:

V 71/2
Jait
Sandhya Raga
Ghanashym
Tilak Shyam

Tracks:

Sitar And Violin Duet
2nd Movement Sitar Concerto No.1
3rd Movement Sitar Concerto No. 1
Morning Love
Indo - Japan Finale
Enchanted Dawn
4th Movement Raga Mala (Sitar Concerto No. 2)

Tracks:

Vandana
Hey Nath
Pather Panchali
Supaney Mein Aye
West Eats Meat
Oh Bhagawan
Friar Park
Tana Mana
I Am Missing You
Ta Na Tom
Fire Night
Sanwarey, Sanwarey
Dispute And Violence
Shanti Mantra

Customer Reviews:

Let's Celebrate Ravi!.......2007-06-14

In the history of recorded music, few "artists"- if any- have brought the world such a wide variety of material over such a long period of time as Ravi Shankar. He has been with us now, as it were, for over eighty years, and during his 75th year on earth, around 1995/96, this item, a set entitled "Ravi: In Celebration", was released to the public. The purpose was to "show the different aspects of Ravi's music" in the words of the late George Harrison, ex-Beatle, Ravi friend and fan, and among the compilers of the set. I aquired the set sometime later (I came to this man's music a bit later than 1996) and am now here to review it. So... In a word: WOW! Firstly, I don't know of many western artists who have even been honored with a boxed set like this, IF they make it to 75, which seems to be a big if these days. Secondly, what a wide array of wonderful material this set presents us with. The catagories are split for ways (in accordance with the number of discs) as follows: Disc 1- Classical Sitar, Disc 2- Orchestral and Ensembles, Disc 3- East-West collaborations, and Disc 4- Vocal and Experimental. Currently discs 1 and 4 are my favorites, but I will give an overview of each, as briefly as possible. Disc 1: This is probably the CD that will sound most like the Ravi Shankar you've heard before, especially if you've bought any other Shankar CDs. It consists of 5, ragas (that is, traditional India pieces; I don't really know any technical info here), each of lengthy duration, for the westerner anyhow. Each is enjoyable in its own uinque way: the first two have an exhilerating, playful atmosphere about them (especially the first, Charu Keshi), while the third is an interesting, if simple, piece composed by Ravi by his daughter, who plays sitar on it, the remainder is fairly enjoyable, great ragas really, although for those unprepared, track four is an evening raga, and is VERY slow for the most part, it is still enjoyable if, and only if, you really take the time to sit down and listen. 5/5 for disc 1. Disc 2: I know I've already said that disc 1 will be most like the Ravi you've heard, but if, on the other hand Arpan is all you've heard before coming to this compilation, these tracks will sound more familiar. All the orchestral tracks, the first two for me especially, are enjoyable and fiarly vibrant and varient, sonically. Overall highlights here include: V 7 1/2, and a track played entirley by an ensemble of Ravi and his sitar students. A solid 4.5/5 for this disc, not the strongest around. Disc Three: Here we beging the spectacular East-West collaborations. Starting off with a violin/sitar duet, and carrying through several movements of Ravi's various Sitar Concertos, an even stopping for an incredible live track, Indo-Japan Finale, this disc never seems to let up. These are just awe-enspiring collaborations. Highlights include: Sitar and Violin Duet, the second and third movements from Ravi's Sitar Concerto number one, as well as the afformentioned Indo-Japan Finale. Also of note is a beatiful track called Morning Love, in which Ravi duets with a classical flutist. 5/5
Disc 4: OK. First off, I've read some reviews here, claiming that this disc often sounds "dated and contrived". Well, I'm here to tell you that its neither. This disc is a favorite of mine, and unless you fall into the catagory of "Hindustani Purist", or easly see things as dated or the like, there is no reason not to open your mind to this disc. For starters, Friar Park is an absolutley GORGEOUS track recorded at George Harrison's mansion; behold how autoharp, sitar, and marimba mix, soncially. Then I suggest a huge favorite of mine, the funky West East Meat (what a title!) In it Ravi, and a few other Indian musicians basically jam with jazz bassist and the result is fun, and oftne weird (lookout for Ravi's utterances of random fraises in Bengali.) Fire Night is brilliant piece sure to win over jazz lovers, and Dispute and Violence, another hug favorite, starts off with unaccompanied vocals but quickly evolves into catch piece with with a brilliant hook. Tracks like Tana Mana are relaxing, in an almost hypnotic way, while the vocal offering, I am Missing You, sung in English by Ravi's sister-in-law, Lakshmi, is gorgeous in different sort of way than the other tracks: lyrically it emulates emotion and innocence and, despite arguable over-prodcution, still comes across as something fresh and different. In short, the open-minded will appreciate it most.Other material on this disc, such as the vocal offerings many of which have beautiful lyrical interpretations, will grow on you. 5/5 for disc 4, easily.
Finally, the sound qaulity is very good (except for a track or two where Gramaphone Company of India, Ltd, seems to have preserved material poorly), the mixes, and instruments crystal clear (you can really hear those tablas), and there is a booklet sewn into the package, so you won't be loosing it easily. The booklet offers a biography of Ravi, photos, and info on all the tracks, including Ravi's own notes, from which I draw much of the information for this review, and more. Also, lookout for George Harrison's brief introduction, which I quoted during this review. Overall, a wonderful music, wonderful sound, wonderful booklet= wonderful package. 5/5- A+. Let's celebrate Ravi!

Good Overview Ravi Shankar's Career.......2001-08-10

This box set is a good overview of Ravi Shankar's career. The classical Cd is especially good. Perhaps the set should have been at least 6 cd's with the additional discs being pure classical since R.S does constantly insists he is a purely classical musician.

I find parts of the East-West and Vocal and Experimentation disc to be dated and contrived ,not too interesting after a few listenings and as a result I rarely play these discs.

Listening to this set will enhance your appreciation for Indian classical music and for Pandit Ravi Shankar.

The accompanying booklet is quite nice , although I would suggest R. Shankars book Raga-Mala. I also think that the current remastered Angel CD 's are a good value. For those looking for good overview of Hindustani music check out the Raga Guide: Survey 74 Hindustani Ragas .

captivating.......1999-08-05

It's true, the quality of the music varies greatly from disc to disc and sometimes from track to track, but that's a concomitant of the fun, part of the exploring. My favorite piece is the Yehudi Menuhin collaboration. (Mr. Menuhin reveals in his autobiography he never learned to improvise, but you couldn't tell it by this: he plays with conviction and spontaneity.) The "classical" disc is consistently good; the movements for sitar and orchestra are fascinating; the pop song "I Am Missing You" is amusing. The set is attractively packaged and includes a lengthy biography of Ravi Shankar with historically significant photographs.

Also recommended (for sitar players too): PENTATONIC SCALES FOR THE JAZZ-ROCK KEYBOARDIST by Jeff Burns.

good mix of stuff, but NOT AT ALL for Hindustani purists.......1999-05-28

Initially this set was the jewel of my Hindustani collection, but overtime, some of the experimental music gets tiresome (especially disc 4) The classical sitar CD is excellent and shows Pandit Shankar in his prime with the masterful accompaniment of tabla player, Ustad Alla Rakha. The ensemble disc is really nice too, getting to experiment with the likes of south Indian players like violinist Dr. L. Subramaniam. The east/west disc is exhilarating at first, but the more familiar one becomes with the music, the sillier some of these collaborations seem. OFten what happens with the east meets west things is that one of the musicians leads with the other following/immitating (often blindly and lost). I do want to emphasize though, that the easterner is not always the leader or the one with superior understanding of how to collaborate. Anyway, this set serves well to introduce people to north Indian classical music, but some of it is too fabricated to stand the test of time. For pure sitar playing, I would suggest Nikhil Banerjee's "raga S.KHamaj/Manomanjari" double disc on the Raga label.

This record shows that Ravi Shankar is a genius!.......1999-02-25

All the records that I heard of Ravi Shankar's performances are masterpieces. Thanks to Ravi Shankar, I learned that good music does not mean only Western music.