Traditional Indian vocal music for yoga, meditation and ceremony. This collection, dedicated to the divine sun, begins with the full set of mantras for the hatha yoga practice of sun salutations.
The ragas explored are gunkali and bhatiyar, with an alap meditations and two traditional compositions.
Throught the Heart of Night
Recorded in India in early 2016, this album features the nocturnal raga darbari kanada, plus three compositions of bhakti poetry in faster dhrupad style (including verses by Kabir and Naamdev). I had the pleasure of working with pakhawaj player Roman Das, from the Dhrupad Sansthan in Bhopal, a disciple of Akhilesh Gundecha. The session was captured in the Bhopal apartment of my dear friends Igino and Virginia.
Through the Heart of Night represents my second album of entirely traditional dhrupad singing, as I learned it from my gurus, and so places my small flame at the alter of this ancient and magical form of music.
Remembering the Stars
This album of over 2.5 hours of Dhrupad vocal music presents four morning ragas, Lalit, Asavari, Bhairav and Bhairavi. It is the first in a series dedicated to the music's origins as a nada yoga or spiritual practice based on sound.
The sessions were recorded in the Dhrupad Sansthan in India in January 2015. Pakhawaj was played by my guru-brothers Dnyaneshvara Deshmukh and AteeqUr Rehman.
Some of the verse is attributed to famous singers and bhakti saints (Kabir, Guru Arjan, Mian ki Tansen), and the full text with translations can be found at the link below.
The title 'Remembering the Stars' was inspired by the idea that we are all made from celestial material, and that our soul remembers the vastness of its origins.
This album was produced in 2011in collaboration with didjeridoo player Sanshi Saegusa. It reveals the deep affinity between the modal music of India, and traditional Australian didjeridoo music. There are three original songs in English and two traditional songs in old Hindi. The ragas used are Bhairav, Asavari and Jog.
The native Australian instrument, the yidaki (didjeridoo), was traditionally used as an accompaniment to male song. I began singing with this instrument many years ago and that experience inspired me to focus on modal vocal music, so this project was an exciting return to my artistic roots. I don’t think of it as a ‘fusion’, since I don't sense any joins.