Wizardly percussionist Trilok Gurtu knows more than most musicians about the true meaning of fusion. It's not a dirty word or an empty style posture for Gurtu, but a way of being, for a musician trained in classical tradition but happily flung into a wide world of jazz, rock, and sundry western influences. Kathak (Mintaka 1073; 46:37), from Trilok Gurtu and his group, The Glimpse, is all over the map, in a kindly, mostly musical way. Gurtu has no compunctions about crossing over idiomatic borders
Another great recording that fuses Indian music and jazz by the fantastic drummer Trilok Gurtu. Some amazing players on this album including sax maestro Jan Garbarek.
ndian percussionist Trilok Gurtu, the son of vocalist Shobha Gurtu, who had played with Don Cherry (1976), with Oregon (1984) and with John McLaughlin (1989), perfected a technique that draws equally from Indian tabla and dhol drums, from jazz music (cymbals, hi-hats) and from other ethnic cultures (gongs, congas, cowbells, snares). He even dipped resonating instruments in buckets of water to produce sounds that he could not produce with traditional instruments. He began his mission with the intense mixture of Indian music, jazz-rock and world-music of the CD Usfret (1988), featuring the likes of trumpeter Don Cherry, guitarist Ralph Towner, Indian violinist Lakshminarayana Shankar, Swedish bassist Jonas Hellborg, French keyboardist Daniel Goyone and his own mother, vocalist Shobha.
This collaboration between electronic music whiz Robert Miles and percussionist Trilok Gurtu is its own curiosity piece. Full of lush, meandering soundscapes that employ everything from chilled-out jungle vistas to breakbeat and trip hop, from groove and creative jazz to the deep layering of traditional and popular Indian melodies from that country's classical, folk, and Bollywood traditions. Yet this set is hardly a mishmash: each of the record's 13 tracks are compositions as well as collaborations. Dynamics, textures, melodies, themes, and variations are all closely tailored for maximum effect…
Call it an aggregation of some of the best contemporary percussionists: Trilok Gurtu, Zakir Hussain, and Asian Underground star Talvin Singh combine under the sonic washes of producer Bill Laswell to show the possibilities of Indian percussion. It's definitely a beatfest, but one of subtlety, where what is being said isn't as important as the way it's being stated, and the dialogue between hands includes a lot of silences. Gurtu comes from a more jazz tradition, Hussein a classical background, and Singh represents the brash young things of the dance floor. Mostly Laswell leaves it to them to provide the sonic entertainment, which is as it should be with delicate swathes of sound barely intruding, just coloring the proceedings. While it's not for everyone, those who love Indian percussion in all its forms will find this album a complete joy.
Percussionist Trilok Gurtu comes from a long line of respected Indian classical musicians, but he's best known for his genre-blending fusions of world music and jazz. Crazy Saints is one of his most complex and challenging releases to date, enlisting the aid of jazz legends like guitarist Pat Metheny and Joe Zawinul to create a thoroughly modern sound that moves from razor sharp ensemble work to dizzying solos. The most effective songs are those that mine Gurtu's myriad world music influences, including "Manini" and "Blessing in Disguise," both of which are blessed with the haunting vocal ululations of Indian music legend Shobha Gurtu, the drummer's mother.
Song For Everyone heralds the return of the groove in Shankar's East-West-minded music, with former Shakti colleague Zakir Hussain on tabla, Trilok Gurtu on percussion, and Shankar's own manipulation of a drum machine tending to the rhythms. The result is a brighter, more outgoing record than its predecessor Vision, veering between Western acoustic and electric grooves and the complex beats churned out by the tabla. Jan Garbarek again shines beams of light on soprano and tenor, engaging Shankar's 10-string double-necked electric violin in some complex interplay on the title track.
As a producer and sideman, Bombay-born percussionist and singer Trilok Gurtu has become something of a godfather to London's emerging Asian Underground movement (his relationship with Asian Dub Foundation having earned him particularly strong street credibility in recent years), but he's also been quietly releasing solo albums for the last decade. The latest finds him teamed up with bassist Kai Eckhardt de Camargo (good luck sorting out the ethnicity of that name), guitarist Jaya Deva, sitar player Ravi Cherry, and several high-profile guests (including Neneh Cherry, who sings a touching tribute to Ravi's and her late stepfather) for a program of cross-cultural jamming. Worldbeat fusion is always a dicey prospect, and while this album has many attractive moments, it never really comes into focus.
An unusual meeting of minds: German jazz pianist Matthias Frey and Indian pioneering world music percussionist Trilok Gurtu. Surely this is going to be an ethno fusion album then? No, not at all! Seems like Herr Frey had been listening to a lot of John Cage prepared piano works, or maybe Peter Michael Hamel, and Trilok also tends to do as much noise and clatter as he does rhythms! As with "Ohrjazzter" this is Matthias Frey trying to be anything but a jazzer.