Ragmala: A Garland of Ragas

Globe-trotting master percussionist , creator of , , and , has long composed his works by the practice of process itself. This has been true to varying degrees in his work not only with his own groups but in his collaborations with artists as diverse as . The double-length is a collaboration between his and the large , a modern ensemble dedicated to the various creative expressions of Indian classical music. This is a deeply attractive, aesthetically accessible, yet extremely complex tapestry of sounds, hues, and aural sensations. There are more than 40 musicians at work here. Among them are and , and dozens more. This massive work of 20 tracks creates both structured and improvisational interplay between instruments and voices -- ranging from tamboura, violins, keyboards, tablas, trumpet, string quartet, bells, throat singing, electric guitars, basses, and all manner of drums -- speaking to, around, and through each other in grooves and elaborate melodic patterns with extended harmonics, dynamics, and drama. 's compositional approach exists on three self-developed, strategic pillars: a host of intervallic forges employed to establish particular harmonic colors and rhythmic textures; his concept of "ostinatos of circularity" (combinatory polyrhythms that are the engines of musical force and motion); and an individual, idiosyncratic system of conduction signals that create a flexible platform for structured and free improvisation, whether between various groupings of players or the entire ensemble. The "score" is minimal, the execution is largely instinctive, 's hand directions presume the considerable improvisational ability of his players -- and they don't disappoint. To this end, the addition of in jams such as "Savannahs" -- with droning tambouras, reeds, winds, voices, and layers of drums -- becomes indispensable. This group is trained in the centuries-old formal oral tradition of performance; they took to his system naturally and quickly, creating a foundation for the players. Initially, "Lamentations" sounds like a freely improvised chamber piece, but it unfolds along very deliberate lines of texture, space, and tone. "Dialectic" juxtaposes Afro-Cuban hand drums with sitar, a spectral Rhodes piano, and electronics. "Turiya," is a lithe exercise in blues-inflected jazz-funk with tambouras, sitars, and 's haunted violin in deeply emotional exchanges. At just under two hours, requires a real-time commitment to absorb it in a single sitting. While that's rewarding, it's not, strictly speaking, necessary. It can be enjoyed with considerable impact in any number of ways. 's massive catalog is chock-full of sophisticated and fascinating records. , however, is his opus, a major work that establishes the ground for infinite possibilities in improvisational interaction for an ensemble, as well giving flesh to an expansive musical language that edifies players and listeners equally. ~ Thom Jurek