In spring 1972, after the disbandment of the legendary band Quintessence, two of its members, Shiva and Maha Dev funded the short-lived outfit Kala. Beset by bizarre personnel issues, and in the hands of a record label which somehow found defeat in the jaws of what should have been a victory for all concerned, Kala nevertheless managed to release one overlooked gem of an album and a couple of blistering live tracks during its brief existence. The album featured some titles which were in a similar vein to Quintessence, with others nodding towards the popular boogie and country-rock of contemporaries like the Faces…
10 to 11 is the story of a passionate collector Mithat and the concierge of the building, Ali. For Mithat Istanbul is as vast as his collections and for Ali is nothing more than a few blocks around the building. When the neighbors decide to have the building rebuilt with the fear of earthquake and the wish for a more valuable house, Mithat's most challenging struggle to save his collections begins. The building becomes the common destiny of these two men living alone. Their relationship that begins with the collaboration to save the continuity of the collections changes track with Mithat's handing Istanbul over to Ali and ends when they involuntarily change each other's fate.
Far from any and all African folklore cliché, Kala Jula is a hymn to interbreeding. Purely instrumental, thirteen rooms are all stories of travel and meetings and offer certainly one of the most exciting developments and the most successful in the art of guitar Mandingo's all there, the roots of the blues tradition Sahel.
This is a collection of music that was composed around rhythm rather than the melody, allowing the tonal and emotional center of the music to be established by the percussion and rhythm. Once the rhythms were complete, I brought in the other musicians who helped to reveal the natural form of each piece. The musicians who took part in this project all have a deep respect for rhythm and the interplay of the melodic instruments with the percussion. Many times I abandoned my initial ideas as new elements - beats and instruments - were added. I didn't want the music to be forced into any pre-conceived images I might have had and confining it to one reference point. That is why I decided to bypass conventional titles for any of the pieces. I want the listener to start in a neutral space of his or her own experience."Greg Ellis