More of this set will be posted soon, so check back, or find us on facebook.
We had an awesome time performing on Aug 10th at the 2013 Mystery Street Music Festival. There were several venues involved in the event, including The Elbo Room and Rotofugi.This wonderful opportunity came by way of our friend Joe Tesonne, owner and manager of Mystery Street. It was a great vibe, and the festival was also a fundraising venture for Jail Guitar Doors.
Our set was at the Seven Ten Lounge. This was our second live performance in about a year. Both have happened within the last 3 weeks. We made a decision some time back to work more on our traditional influences, with the shared experience that the zone we get into when improvising is enhanced and facilitated by the journey of combining the styles. This is the only reason why we use the term post-modern sometimes–we’re combining traditions that would not be played together in their classical contexts.
We’re now meshing a lot together in our sets, but we’re much more interested in making our influences more clear, both in performance and in discussion. There’s a cross-cultural bridge that we can help maintain by doing so.
For this show, we incorporated a morning raga, along-side a poly-rhythmic North-African percussive approach, reminiscent of Aissawa music. There was also the ever-present Arabic darbouka style and looping/layering. The North Indian raga is a “Hindustani Classical heptatonic (Sampurna) Raag of Bhairavi Thaat.” Traditionally it is a morning raga, peaceful, serious, and occasionally carries a sad mood.
Another new influence we’re throwing in is good ‘ol western folk music. The song we’ve been fond of lately is by Ewan McColl. It’s called Legal Illegal, and it has an interesting history–as does Ewan.
For more on the the tradition of Bhairavi see this Wikipedia page: