SPRING FLOWERS

Especially, famous "Hindustani" will be sure to have been a very important generally base as the classics music of India for the musician who had intensively learnt the method of the theory and the performance in India.

There was a flow from which the charm situation had been told to classic music that a lot of musicians existed in Africa and India since the latter half of the 60's with an original interpretation by uniting well in the West. There might have been a role to give width and transmission to the work that each musician created by studying exactly classic music and the music scale.

Sitar and Tabla will be able to be enumerated in musical instruments used well for creating classic music that exists in India. These musical instruments and making the sound are known general and well. Played musical instruments are musical instruments that are called "Sarod". He is learning playing musical instruments from the specialist's "Alllauddin Khan" for "Hindustani" transmitted as classics music of India.

Vasant Rai appears in India in 1942. He has died as a result in the apartment in New York in 1985. He tried exactly to be classic musical of India, to learn of the technology concerning Sarod, and to act about the spread through life till then. It was done to try for music to spread in Colombia large w in 1973. His activity establishes his existence and the position as Sarodist by advancing the activity of the birch and the lecture at the same time. And, he has the exchange with a variety of Jazz musicians for the 1980's. It will be able to discover the glimpse and a technical part to have already been included in this album.

"Sarod" that Vasant Rai chiefly uses to perform is one of the most famous musical instruments in the provinces in north India as well as Sitar. Sitar can gently produce the mellifluous vocable if it compares it with Sitar. The sound of Sarod creates a deep and looked sound on the other hand. It looks like the sound of an acoustic guitar overall. However, the part where the line is a little thin is a feature in the sound in the high pitched sound part. There is a theory that says that it transmitted from Persia Sarod. Chiefly using and performing Grissando because Fred in the part of Neck doesn't exist become centers.

It will be a work in this album where atmosphere and the technology of Sarod that Vasant Rai exactly acquired appear strongly. A technology and a transparent feeling are made to challenge while following traditional music by an overwhelming idea. Appointment of Gren Moore, Paul McCandless, and Collin Walcott known well as member of "Oregon". And, it is partial where Jerry Goodman known by Mahavishnu Orchestra was arranged by the tune. Ralph Towner doesn't participate. However, the sound of Sarod shines further emphatically by freely giving the part of the melody to the guitar player. The wind instrument that emphasizes atmosphere also contributes. The creation of Vasant Rai that doesn't stay in simple classics music is opened attended with all musical instruments.

"Smile Of Goddes Sarasvati" shifts from Violin to the part of the guitar and an expression of feelings theme extends at once. The part of the technology of "Shakti" is reminiscent as the impression. Part of complete Solo of Violin. And, it is partial of Solo of Sarod that tells the impression of the tune. The unison of the theme and the technology of the percussion instrument are complete.

"Distang Village" creates the melody of classics that the flute and Sitar are complete. The piano melody that Gren Moore performs expands the width of the tune. And, Vasant Rai can play an acoustic guitar. A transparent feeling joins the melody of classics in the member of "Oregon" participating. The player performs a fresh in union melody.

"Spring Wind" advances with the dash feeling that Tabla is complete. An expression of feelings melody by Sarod and Oboe is complete. A creation each other is emphasized in each member's taking charge of Solo. The flow that shifts from Oboe to Solo of Violin continues a transparent feeling and the tension. And, Solo of Sarod is complete. The explosion of the part of Coda and the progress of Chord are also complete. It might be one of the highlights of this album.

"Guitarist From Unjha" starts by the melody of an expression of feelings guitar. And, the obbligati of gentle Sitar that doesn't obstruct the melody flows. A divine sound in which the sound of the extra is excluded expands the width of the work.

A bright melody of "Septak" by the guitar and Sarod is impressive. The performance that the guitar player who is called Dilip Naik does makes a sweet, graceful sound. There is a flow that this tune is reminiscent of the directionality of "Shakti", too. Part of graceful Solo of Violin and technical Solo of Sarod. The tune consistently gives the listener a graceful part and the sense of security.

It is possible to listen to the flavor of Sarod that "Leaving Home" is complete. The technology that follows the sound of classics and the tradition and learns appears enough in the tune. The melody of gentle Violin gives a pastoral impression. It might be a tune with a unique melody.

"Midnight Meditation" is a tune of which player's taste has gone out exactly. Melody of graceful Oboe. And, it is partial of the sound of Sarod that grips the atmosphere of the tune. The performance combines including the percussion instrument. The intersection of the sound of Sarod and Oboe creates one space. It is a tune with a very graceful melody and composition consistently.

There are not too much a lot of works that can listen to the performance of Vasant Rai. However, activity as Sarodist might be exactly straightening of Vasant Rai. It is an album of which individuality went out very much.

One of the great Indian music masters primarily known for his virtuosic performances on the Indo-Afghan instrument called the sarod, which is a 25-string fretless lute in the same family as the sitar. VASANT was in fact a multi-instrumentalist and started his journey as a musician at the age of seven and eventually became proficient on not only the sarod but also the sitar, violin and flute. His life was short having died at the age of 43 in 1985 but RAI lived through the era when the interest in Indian music by the Western world had flourished.

RAI was the real deal, a glutton for all things music and studied and practiced at the house of Hindustani classical musician Ustad Allauddin Khan for eight years! Add to that he became a professor at not only the Alam School of Indian Music in NYC but was decorated with about every honor that could be bestowed upon him during the 1960s when oriental musical forms were becoming the fascination of many Westerners and increasingly incorporated into rock and other popular forms of music.

VASANT RAI released a number of albums during his short life in the 3D Earth plane but perhaps the best known and appreciated by Westerners is this 1976 collaboration with the American jazz-fusion band Oregon which featured a classic East meets West duality riding in the wake of the success of virtuosic performers like John McLaughlin and his Mahavishnu Orchestra that took the fusion possibilities to the masses in the early 1970s and later culminated with McLaughlin's Indo-raga prowess with Shakti. SPRING FLOWERS falls somewhere in between the purity of unadulterated Hindustani classical music and the all out assault of the senses that McLaughlin introduced with the rock energy heft in Shakti.

This album featured RAI on sarod, flute and tambura as well as guitar. Joining him was fellow Indian Dalip Naik on guitar along with Glen Moore (piano, bass), Paul McCandless (oboe, French horn) and Collin Walcott (tabla, congas, percussion, sitar, bass) of the US band Oregon. To add the connection with the great Mahavishnu Orchestra, Jerry Goodman played violin. This was certainly one of RAI's most colorful displays of musicality in his entire career with a set of seven tracks to match the bright bold beauty of the album cover art. Unfortunately the public's appetite for crossover Indian music had pretty much waned by the late 1970s and this little gem of East meets West was never re-issued after its initial 1976 release.

This is a beautiful album that falls more on the Indian side of the fusion equation but with all these excellent virtuoso musicians on board, you know you're in for a compelling journey into the world of classical Indian music with the crossover appeal that falls more into the world of jazz than rock however for whatever reason, these types of albums get tagged raga rock :/ This one is all instrumental much in the way most of Shakti's works were but this one is less frenetic than McLaughlin's works and is much more sensual and authentically connected to the traditions of Indian from a real Indian musician who spent most of his life studying the art form.

While the sounds on board are firmly rooted in traditional Indian music, the bass is what seems to connect this album to the West as it crafts a groove that connects it to the most progressive styles of rock up to the point. The wind instruments seem to evoke the world of jazz which makes sense considering Oregon was very much on the jazz side of its fusion equation. What's beautiful about this album is that it is a true gentleman's club of each musician complementing the other. There are no instruments that dominate the soundscape but rather a beautiful surrender to the source material inspired by RAI himself. What's called raga rock varied greatly from drug infused jamming sessions to this exquisite convening of master musicians. For my tastes i prefer these brilliant performances that allowed every musician to live up to his potential without derailing the music's authentic connection to the master plan.