tag:blogger.com,1999:blog-50025697197588906342024-03-14T06:40:56.647-04:00Tabla MontrealThe blog of tabla player / percussionist Shawn Mativetsky, including tabla and Indian classical music news from in and around Montreal (Quebec, Canada).Shawnhttp://www.blogger.com/profile/05508249542256049681noreply@blogger.comBlogger135125tag:blogger.com,1999:blog-5002569719758890634.post-7466955778800460162014-07-21T16:06:00.000-04:002014-07-21T16:06:00.423-04:00ground / terre : In Concert with Xenia Pestova<div style="text-align: justify;">
This past February 15, <a href="http://www.xeniapestova.com/" target="_blank">Xenia Pestova</a> and I presented the inaugural concert of our new duo at the Chapelle Historique du Bon Pasteur, as part of the <a href="http://innovationsenconcert.ca/" target="_blank">Innovations in Concert</a> series. The concert, titled <i>ground / terre</i> combined practices of North Indian classical music and new music. Our goal was to create an intimate, embodied experience, deeply influenced by the warmth and intimacy of Indian music. The performance included commissioned work, improvisations, and traditional music.</div>
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Innovations in Concert recorded this short promo video, where we discussed the concepts behind the event.<br />
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The idea for the duo began when we collaborated for the recording of <a href="http://www.nicolelizee.com/" target="_blank">Nicole Lizée</a>'s <i>Metal Jacket</i>, for tabla and harmonium, for my album, <i><a href="http://www.shawnmativetsky.com/html/discography/cycles/" target="_blank">Cycles</a>. </i>Xenia has done a lot of work with toy piano, and I thought that since both the harmonium and toy piano are played seated on the ground, that, in additional to their complementary sonic palettes, they would work really well with tabla.</div>
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The programme included the world premieres of <i>The Migration of Their Materials, </i>for toy piano and tabla, by Tina Pearson and <i>Something to Say</i>, by Tawnie Olson. <i>Migration </i>combines composed and improvised aspects, and has us focus on our breathing to set the pacing. I play tabla, with some extended techniques, while Xenia plays toy piano, in addition to her voice and the use of combs to imitate bird sounds. <i>Something to Say</i> is a provocative piece for tabla and fixed media. In it, the tabla plays English text, much like how the tabla plays Sanskrit and Hindi in traditional <i>bol paran</i> compositions. Here, the <i>bols</i> are in English, and I try as best as possible to have the tabla 'speak' the words. (It's the words themselves that are provocative...)<br />
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We also performed the piece that started it all, Nicole Lizee's <i>Metal Jacket</i>, for harmonium and tabla (one baya and 4 dahinas!)<i>;</i> a duo improvisation, which we named <i>terre, </i>making use of all our instruments<i>;</i> and I played a traditional tabla solo in <i>Teentaal</i>, accompanied by Xenia on harmonium. Xenia also played some solos to round out the programme: <i>Three Liturgies </i>by Carlos D. Perales, <i>Gothic, </i>by Ed Bennett, <i>Sonata in D minor K10</i>, by Domenico Scarlatti, and <i>Étude d’après Scarlatti, </i>by Patricia Alessandrini.<br />
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Before the concert, I took some shots of our beautiful setup, while Xenia was practicing:<br />
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And here are some concert photos by Nick Hyatt of Innovations in Concert:<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdGnOHtQkX5qCovNDosP-yA7fM2sejJTY_uP5zKEkVw_VJ4-xybWdRc2CHwpfpdshZ_IsyQJnpMApl1lDmHrFv1Q5YS9Km_Y8fy7xi33O_k6VdTABs3xLMJOPKL3J6lE6EHy1D7WZGUlf9/s1600/DSCF6690.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdGnOHtQkX5qCovNDosP-yA7fM2sejJTY_uP5zKEkVw_VJ4-xybWdRc2CHwpfpdshZ_IsyQJnpMApl1lDmHrFv1Q5YS9Km_Y8fy7xi33O_k6VdTABs3xLMJOPKL3J6lE6EHy1D7WZGUlf9/s1600/DSCF6690.JPG" height="213" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Performing Nicole Lizée's <i>Metal Jacket</i></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvni8vHkV4JmH4PnTgRKcv3f0hdFWetdNs9ZIzmjM4c05CCnAcenUIab6_K-qRvOfqzT0MpDQWXJqwMps0hfYdBzY0Hc3tZ6gJo1ICnlx4IeGkkC5Fq8l72NFzwJTZVEhnBtU25inUgnY1/s1600/DSCF6702.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvni8vHkV4JmH4PnTgRKcv3f0hdFWetdNs9ZIzmjM4c05CCnAcenUIab6_K-qRvOfqzT0MpDQWXJqwMps0hfYdBzY0Hc3tZ6gJo1ICnlx4IeGkkC5Fq8l72NFzwJTZVEhnBtU25inUgnY1/s1600/DSCF6702.JPG" height="213" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">With composer Tawnie Olson</td></tr>
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This concert was just the first of many to come. There will certainly be more tabla + harmonium + toy piano coming your way!<br />
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Shawnhttp://www.blogger.com/profile/05508249542256049681noreply@blogger.com0tag:blogger.com,1999:blog-5002569719758890634.post-10854319882347769902014-07-18T11:58:00.000-04:002014-07-18T12:01:16.947-04:00Mini Connecticut Tour<div style="text-align: justify;">
A couple of weeks after returning from <a href="http://tablamontreal.blogspot.ca/2014/07/short-tabla-residency-in-bangor-wales.html">Bangor</a>, I headed out on a small tour of Connecticut, centred around New Haven. Many thanks to composer <a href="http://www.tawnieolson.com/" target="_blank">Tawnie Olson</a>, without whom this tour would not have been possible.</div>
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The first stop was the Educational Center for the Arts, in New Haven, where I presented a workshop on North Indian rhythm, followed by a lecture/recital on tabla in new music. I spoke about some of the existing repertoire and issues of notation, and performed a few pieces, including the US premiere of <a href="http://www.tawnieolson.com/" target="_blank">Tawnie Olson</a>'s provocative new piece, <i>Something to Say</i>, for tabla and fixed media.</div>
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The next day, we were off to The Hartt School, at the University of Hartford, where I presented a tabla masterclass for the percussion students, hosted by Prof. Benjamin Toth.</div>
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The tour wrapped up with a lecture at Yale, organized by Reena Esmail and the Yale Raga Society.</div>
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Thank you to <a href="http://www.carolinetabah.com/" target="_blank">Caroline Tabah</a> for the photos!</div>
Shawnhttp://www.blogger.com/profile/05508249542256049681noreply@blogger.com0tag:blogger.com,1999:blog-5002569719758890634.post-53406223918869478292014-07-18T10:35:00.000-04:002014-07-18T11:13:21.942-04:00Short Tabla Residency in Bangor, Wales<div style="text-align: justify;">
This past March, I was invited to perform a tabla recital in <a href="https://www.pontio.co.uk/" target="_blank">Pontio</a>'s Music@Bangor series, in Bangor, Wales, UK. I was in residence at Bangor University for a few days, where I rehearsed with local musicians Andrew Woolley and Josephine Wilkin in preparation for the recital. I also gave tabla workshops at the Pontio shop, at Bangor University, and at Ysgol Friars school.<br />
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I have to say that Bangor is a beautiful city (feels more like a town), with amazing mountain and coastal views. Everyone was so friendly and welcoming, and my time there just flew by.</div>
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My first activity was an Indian rhythm workshop at the Bangor University School of Music. My goal here was to rhythmically challenge the students, and to provide them with some strategies and solutions for approaching complex rhythm. All using concepts from tabla, of course.<br />
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I also gave a 'Taste of Tabla' demonstration at the Pontio shop. The shop is Pontio's publicly accessible office space, on Bangor's high street. The shop will often host small, intimate events, as a way of publicizing upcoming concerts, and as a way for performers and audience to interact. It's a great idea, that more arts organizations should imitate.<br />
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For the tabla recital, I performed a number of works for tabla by Canadian and American composers. As I typically do, I opened the recital with a traditional tabla solo in Teentaal, as a way of showing the tabla in its traditional setting, and showing the depth and beauty of the repertoire. Something different this time around was the accompaniment, since no harmonium was available locally, I was accompanied by Andrew Woolley on an old electric organ! In the context of this concert of new music, it worked quite well. I then followed with Bruno Paquet's <i>Les arbres célestes</i>, for tabla and fixed media, inspired by Quebec's ice storm of 1998, and then Payton MacDonald's <i>Alap</i>, for solo tabla.</div>
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The second half began with Paul Frehner's <i>Ke-Te</i> for solo tabla, followed by the UK premieres of my composition, <i>Bol</i>, which is based on traditional <i>bol paran</i> compositions, and Tawnie Olson's provocative new piece, <i>Something to Say</i>, for tabla and fixed media. The concert concluded with Jim Hiscott's <i>Shadow Play</i>, for which I was joined by talented flautist, Josephine Wilkin.</div>
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On my last day, I gave a second 'Taste of Tabla' workshop, for a small group of very enthusiastic music students at Ysgol Friars high school. They had an excellent sense of time, and clapped <i>taal</i> quite expertly!<br />
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Many thanks to <a href="http://www.xeniapestova.com/" target="_blank">Xenia Pestova</a> and Pontio for having invited me to Bangor. I hope to return soon!<br />
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Also, special thanks to the Conseil des arts et des lettres du Québec for its financial support.<br />
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Thank you to <a href="http://www.carolinetabah.com/" target="_blank">Caroline Tabah</a> for the photos! For additional photos, please visit the <a href="https://www.facebook.com/media/set/?set=a.10152155377031360.1073741857.139069326359&type=1" target="_blank">Facebook album</a>.</div>
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Shawnhttp://www.blogger.com/profile/05508249542256049681noreply@blogger.com0tag:blogger.com,1999:blog-5002569719758890634.post-274330406770271152014-07-01T12:24:00.002-04:002014-07-01T12:24:14.666-04:00Fourth Annual Summer Tabla Workshop<div style="text-align: justify;">
This year's intensive <a href="http://www.shawnmativetsky.com/html/tabla/annual-summer-tabla-workshop/" target="_blank">summer tabla workshop</a> took place from June 23 through to June 29 at the Schulich School of Music of McGill University. There were students who came from as far away as Ottawa, New York, Michigan, and Massachusetts. A big thank you to this year's wonderful participants, who made it such an enjoyable week!<br />
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As always, there were group classes, daily group practice sessions, listening/video sessions, and we ended with a touching Guru Puja. A few of the students got together to make malas (flower garlands), and all brought fruits and sweets for the puja. We talked about the history of the Benares <i>gharana</i> as I introduced the participants to the legendary artists that make up Guruji's family tree. It was really nice having everyone pay homage to Guruji and his family, and I think that everyone really enjoyed the cultural experience. It's so important to honour our teachers, and the rich history of the <i>gharana</i>.</div>
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The week just flew by; I can't believe it's over already. Already thinking about next year, which will be the fifth edition!</div>
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Thanks to <a href="http://www.carolinetabah.com/" target="_blank">Caroline</a> for the photos! For more photos, please visit the <a href="https://www.facebook.com/media/set/?set=a.10152125408001360.1073741853.139069326359&type=1" target="_blank">Facebook album</a>.</div>
Shawnhttp://www.blogger.com/profile/05508249542256049681noreply@blogger.com2tag:blogger.com,1999:blog-5002569719758890634.post-29985807696768868942014-01-08T19:17:00.001-05:002014-01-08T19:17:33.156-05:00CD Launch of Deepchandi bleu, Ragleela's New Album<div style="text-align: justify;">
In the making for over a year, <a href="http://www.ragleela.com/" target="_blank">Ragleela</a>'s new CD, <i>Deepchandi bleu</i>, is finally ready for release! While the in-store and online release will actually take place some time in January, the band played a couple of pre-release concerts to celebrate the album's arrival. The first took place on November 27 in Val David, and the second was at the Sala Rossa in Montreal, on December 11. At both occasions, we performed all the tunes of the CD to a packed house. We couldn't have hoped for a better turnout!</div>
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For the Val David show, we played as a quartet with Uwe Neumann on sitar, Jean-Marc Hébert on guitar, Guillaume Bourque on clarinet, and with myself on tabla. At the Sala Rossa, we were joined by Cedric Dind-Lavoie on bass. Here are some photos:</div>
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Really looking forward to the online and in-store release. Soon! In the meantime, there are some short samples here: <a href="https://soundcloud.com/sitaruwe">https://soundcloud.com/sitaruwe</a> and there are some more photos posted on <a href="https://www.facebook.com/media/set/?set=a.10151812340526360.1073741850.139069326359&type=1" target="_blank">Facebook, here</a>.</div>
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A week after the Montreal launch, we also played a concert in the Parc des Compagnons Saint-Laurent, on the Montreal Plateau. It was quite a bizarre experience, playing in this heated cabin, with the audience freezing outside, huddled around a fire (which was quite far from the stage). Since we were separated from the audience by these plexiglass windows, we couldn't hear the audience's applause. The feeling was similar to playing in a recording studio; we could hear each other just fine, but no connection with the audience, unfortunately, except for through our microphones. Strange, but fun nonetheless!</div>
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Thanks to <a href="http://www.carolinetabah.com/" target="_blank">Caroline Tabah</a> for the photos!</div>
Shawnhttp://www.blogger.com/profile/05508249542256049681noreply@blogger.com0tag:blogger.com,1999:blog-5002569719758890634.post-71015164437510463932013-11-26T20:10:00.003-05:002014-01-14T13:40:07.290-05:00Tabla at the Percussive Arts Society International Convention 2013<div style="text-align: justify;">
From November 12-17, I was in Indianapolis for the <b><a href="http://www.pas.org/pasic" target="_blank">Percussive Arts Society International Convention</a></b>. And what a great time it was! I arrived in Indy on the Tuesday afternoon, and met percussionist <a href="http://neerajmehta.com/" target="_blank">Neeraj Mehta</a> at the airport. We were soon picked up by <a href="http://music.wisc.edu/faculty/bio?faculty_id=21" target="_blank">Tony DiSanza</a>, who had driven in from Wisconsin, and off we were to Butler University to meet up with <a href="http://www.jonathanovalle.com/" target="_blank">Jonathan Ovalle</a> and <a href="http://www.danpiccolo.com/" target="_blank">Dan Piccolo</a> to begin rehearsals for Saturday's clinic/performance. We rehearsed throughout the week, and played a run-through for the students at Butler before the official premieres at PASIC.</div>
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The Saturday concert, Neeraj's brainchild, was a trio of concertos for world percussion instruments and percussion ensemble. The first piece on the program was <b>Tony DiSanza's <i>Time's Arc: 2nd Concerto for Darabukka</i></b>, with Tony as the soloist, accompanied by Neeraj, Dan, and Jonathan on percussion. The piece opens with a duo <i>alap</i> on slide whistle, which is quite something to behold. The piece showcases the darabukka in a variety of settings, and blends music of the middle East with flavours of samba! Tony had quite a collection of darabukkas on stage, and brought out many subtle nuances of tone and timbre.</div>
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<tr><td class="tr-caption" style="text-align: center;">Tony in rehearsal with Dan Piccolo, Jonathan Ovalle, and Neeraj Mehta.</td></tr>
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Next was the premiere of <b>Payton MacDonald's </b><i><b>4th Concerto for Tabla and Percussion Quartet</b>. </i>I have a long history of performing Payton's music, and am so happy that he wrote this new concerto especially for this occasion (the <i>1st</i>, <i>2nd</i>, and <i>3rd Concertos</i> are all available on our CD, <i><a href="http://www.shawnmativetsky.com/html/discography/works-for-tabla/" target="_blank">Works for Tabla</a></i>). Many thanks to Neeraj, Tony, Jonathan, and Dan for their excellent accompaniment on marimba, vibraphone, and multi-perc setup. I especially enjoyed the interaction with Dan (who also has training on tabla), doubling the <i>tukras</i> on bongos and tom-toms. Throughout the opening <i>bant</i> improvisation, I had some great exchanges with Tony, who was holding down the fort so to speak, playing eighth notes, over which I improvise in 3:2 and 7:4 before finally arriving at the <i>dugun </i>(double speed)<i> </i>of the <i>bant </i>(somewhat unusual that in this concerto, Payton decided to omit the <i>thah</i>, or single-speed exposition of the <i>bant</i>). Lots of tension there! A highlight for me was Payton's pre-recorded intro (Payton could not attend, as he is in India studying dhrupad with the Gundecha brothers), which made me smile and also provided me with a C tanpura to tune to while he introduced the piece. :)</div>
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<tr><td class="tr-caption" style="text-align: center;">Lots of baya!<br />
Photo credit: Ken Porter, PASIC 2013</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Always smiling! :)<br />
Photo credit: Ken Porter, PASIC 2013</td></tr>
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UPDATE: Here's a video clip of the performance!<br />
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<iframe allowfullscreen="" frameborder="0" height="225" src="//www.youtube.com/embed/OazBX8hDDGE?rel=0" width="400"></iframe></center>
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The concert concluded with Neeraj playing solo conga on <b>Jonathan Ovalle's <i>Three Movements for Conga Soloist and Percussion Trio</i></b>. Neeraj really rocked the congas, in what was a very virtuosic and energetic performance. The piece references a number of Latin music traditions, and brings them together in a percussion ensemble context. It's a very exciting piece, and a wonderful way to end the concert.</div>
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<tr><td class="tr-caption" style="text-align: center;">Neeraj Mehta rocking the congas! With Dan Piccolo, Jonathan Ovalle, and Tony DiSanza.<br />
Photo credit: Caroline Tabah</td></tr>
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Later that afternoon, another idea of Neeraj's came to fruition: the world percussion panel discussion, with the topic of <b>Practice to Performance: Taking World Percussion Traditions from the Field to the Ensemble Concert</b>. Moderated by Neeraj, the panel was made up of <a href="http://nexuspercussion.com/members/russell-hartenberger/" target="_blank">Russell Hartenberger</a>, <a href="http://bmichaelwilliams.com/" target="_blank">B Michael Williams</a>, <a href="http://www.michaelspiro.com/" target="_blank">Michael Spiro</a>, all legends in the world of percussion... and me! It was truly an honour to have been invited to participate. Each panelist represented various world music traditions, and I was involved because of my experience with North Indian classical music and the McGill Tabla Ensemble. Numerous relevant and throught-provoking subjects were brought up. The common thread revolved around how we can present world music cultures authentically, and with respect for the source cultures, without compromising the integrity of the music, or the cultural context in which it is found. It was unanimously felt that cultural education is as vital as musical education, and that one should not happen without the other. The session was extremely well attended, which is rare for panel discussions; especially for ones taking place at 4pm on the last day of the convention! </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBNjcaNoUmxVSuV-_cEGf7cfbo03-7lu3YOYlgS-RMuTMwQ-ji9BqY9id3fDknzRzV5CGDGKQZecJtTgwl9VHSwF-BxpQCRp3GsXMdW9ycjCEVRHhqibivm-Sn8rmu7udA7H5mGer7rEC1/s1600/DSC09527.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBNjcaNoUmxVSuV-_cEGf7cfbo03-7lu3YOYlgS-RMuTMwQ-ji9BqY9id3fDknzRzV5CGDGKQZecJtTgwl9VHSwF-BxpQCRp3GsXMdW9ycjCEVRHhqibivm-Sn8rmu7udA7H5mGer7rEC1/s320/DSC09527.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Neeraj Mehta, Russell Hartenberger, B Michael Williams, Shawn Mativetsky, Michael Spiro<br />
Photo credit: Brian Diehl, PASIC 2013</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgb5svgz7FDPNNi1NBz4oD2SU0MWtEXg98IR7srM6qR_Ql7j8kA8HRpSVkmPW11RS8JGSwcHHApd2k675FX7xEsaEEwA_ne8fdhGsR-KqjvTS6JObfk2x8OEAMeVgR2x01mban085UbDdwZ/s1600/DSC09528.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgb5svgz7FDPNNi1NBz4oD2SU0MWtEXg98IR7srM6qR_Ql7j8kA8HRpSVkmPW11RS8JGSwcHHApd2k675FX7xEsaEEwA_ne8fdhGsR-KqjvTS6JObfk2x8OEAMeVgR2x01mban085UbDdwZ/s320/DSC09528.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Neeraj Mehta, Russell Hartenberger, B Michael Williams, Shawn Mativetsky, Michael Spiro<br />
Photo credit: Brian Diehl, PASIC 2013</td></tr>
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Many thanks to Neeraj Mehta for these two great ideas, making them a reality, and for having involved me in both of them!</div>
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During PASIC, I also had a chance to meet David Yovino for the first time. David is the inventor of the <a href="http://vnodne.com/transtabla/" target="_blank">TransTabla</a>, which is a new tuning system for tabla. I have one, and use it quite a bit with Ragleela. It's especially handy in the wintertime (which is soon upon us), when I need to detune my tabla before going outside, and then quickly retune again once inside. David actually redesigned the mechanism somewhat since the early version that I had purchased, and offered to upgrade mine. The new version is even easier to turn, and it's a real pleasure to use. Thanks, David! It was also a great chance to see and try out some of David's other innovations, such as his new <a href="http://vnodne.com/tablatool/" target="_blank">tuning hammer</a> and <a href="http://vnodne.com/tabladome/" target="_blank">plexiglass screen</a> for playing tabla in high-volume situations.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAXOVKTehd38uK7GP-GK_HHJkSYmG__bja_L18eCArnX3EqyLdn7HxiuwLU5USvL3w3b7pk8FhAA3Y9WHrCAtZmHLWFvKDoX36if4JLNqRkq1qs7Cd1WwrD236FSsXLWWri8x5gmW9j77_/s1600/0476.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAXOVKTehd38uK7GP-GK_HHJkSYmG__bja_L18eCArnX3EqyLdn7HxiuwLU5USvL3w3b7pk8FhAA3Y9WHrCAtZmHLWFvKDoX36if4JLNqRkq1qs7Cd1WwrD236FSsXLWWri8x5gmW9j77_/s320/0476.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Chatting with David Yovino.<br />
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A great week, full of wonderful interactions and enriching musical experiences. Until the next one!</div>
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<tr><td class="tr-caption" style="text-align: center;">Photo credit: Caroline Tabah</td></tr>
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If you'd like to see more photos, please check out my <a href="https://www.facebook.com/media/set/?set=a.10151722948771360.1073741847.139069326359&type=1" target="_blank">Facebook album</a>.</div>
Shawnhttp://www.blogger.com/profile/05508249542256049681noreply@blogger.com0tag:blogger.com,1999:blog-5002569719758890634.post-18661746867373513062013-10-26T21:04:00.001-04:002013-10-26T21:04:20.137-04:00The Return of the Attar Project<div style="text-align: justify;">
You may have noticed that since the release of <i><a href="http://www.cdbaby.com/cd/AttarProject" target="_blank">The Road Ahead</a></i>, and a few launch concerts in the Toronto area, the Attar Project has unfortunately been somewhat quiet. Parmela (Attariwala; violinist) was completing work on her PhD, and so had limited time available for performing. Now that she has completed her PhD (congrats!), we're back in action! Last Wednesday, we performed a concert of Canadian works for violin and tabla at the Espace Cercle Carré in Old Montreal.</div>
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First on the program was Paul Frehner's <i>Oracle</i>, composed for violin with congas and bongos, which I'm not sure the piece has actually ever been played on! When I first heard the piece premiered by violinist Nadia Francavilla, with D'Arcy Gray on percussion, D'Arcy played the piece on frame drum. That's what gave me the idea that the piece might work well on tabla, and it does! It's a high energy, technically difficult piece (especially the violin part), which works really nicely as an overture of sorts.</div>
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Next was Meiro Stamm's <i>The Melody of Rhythm. </i>This piece combines aspects of Mozart's style, with North Indian tabla drumming vocabulary. Yes; Mozart and tabla! The multi-movement work presents variations on the principal theme, through varying time signatures - 2, 3, 5, and 7. We then followed this with Nicole Rampersaud's <i>The Road Ahead... </i>which is principally improvised, via conceptual instructions and fixed structure with certain melodic and harmonic motives being specified by the composer.<br />
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We ended the first half with Christien Ledroit's <i>Never the Twain Shall Meet</i>, for violin, tabla, and fixed media (pre-recorded electronics). The composer's alter-ego as a punk guitarist is certainly evident in this piece, as <i>kaida-palta</i> in <i>Jhaptaal </i>are accompanied by distorted guitars and other processed sounds. A nice way to end the first half with a bang! Coincidentally, all the pieces in the first part appear on our CD, <i><a href="http://www.cdbaby.com/cd/AttarProject" target="_blank">The Road Ahead</a></i>.</div>
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Parmela opened the second half with her solo dance piece, <i>Frank, </i>in which she dances while playing the violin, accompanied by a very subtle, eerie backing track of bowed temple bowls and crotales. Her movements are slow and deliberate, swaying back and forth like a blade of grass.</div>
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I then followed with a short tabla solo in <i>Teentaal</i>, perhaps around 10 minutes long. I opened with <i>uthaan</i>, and played a famous Benarsi bant through subdivisions of 4-5-6-7-8, and then into a rela. I concluded with a few of my favourite tukras. I'm definitely looking forward to playing a more extended solo, hopefully some time soon!</div>
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We ended the concert with the now classic <i>LA</i>, by Robert Rosen. Fortunately for us, Robert now lives in Ottawa, and so was able to attend the concert. It's always a pleasure to have one of the composers in the audience, and especially one so enthusiastic about our performance of his music! </div>
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Looking forward to the next concert!</div>
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Thanks to <a href="http://www.carolinetabah.com/" target="_blank">Caroline</a> for the photos!</div>
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Shawnhttp://www.blogger.com/profile/05508249542256049681noreply@blogger.com3tag:blogger.com,1999:blog-5002569719758890634.post-31060847158747079282013-10-13T19:19:00.001-04:002013-10-13T19:23:23.092-04:00Musica Masala II in Quebec City<div style="text-align: justify;">
This past October 5, I had the great pleasure to perform in <a href="http://erreurdetype27.com/" target="_blank">Erreur de Type 27</a>'s production <b><i>Musica Masala II</i></b>, a concert of new music inspired by India. The concert took place at the Salle d'Youville, in Quebec City's beautiful Palais Montcalm, which is quite a prestigious hall, along the lines of Montreal's Place des Arts.<br />
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The concert program was made up of works by mostly Canadian composers, with varying levels of inspiration from Indian music and culture. We opened up with <a href="http://paytonmacdonald.com/" target="_blank">Payton MacDonald</a>'s <i>Farmaishi</i>, which is a sort of tabla concerto, accompanied by flute, clarinet, marimba, and contrabass. The tabla materials are traditional, based on a famous Benarsi <i>farmaishi tukra</i>, and also including <i>Benarsi theka</i>, and some famous Benarsi <i>kaidas/bants</i>. Next was the world premiere of <i>Courants</i>, for flute, clarinet, tabla, marimba, and contrabass; a new piece by <a href="http://www.lautrebooking.ca/" target="_blank">Pierre-Olivier Roy</a>, commissioned by E27 especially for this occasion. Here, the tabla writing is not at all traditionally-inspired. Still, the tabla (along with the bass) takes on the traditionally timekeeping role, grooving along through quickly changing metric structures.</div>
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The next piece was a special arrangement of a traditional Carnatic piece, <i>Mokshamu Galada</i>, for cello, accompanied by myself on tabla, along with drones provided by bowed vibraphone and contrabass. I'm not really used to accompanying Carnatic music, so we took more of a North-South fusion approach to the materials, with Gabriel Dharmoo playing in traditional Carnatic fashion, and me playing in a more typical Hindustani accompaniment style, with the addition of tabla tihais at the ends of sections, as a mridangam player might do.<br />
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I then performed a solo tabla piece, <i>Frictions</i>, written for me by Quebec composer Patrick Saint-Denis. It is a particularly challenging piece to play, as it does not make use of any of the usual phrasings found in Indian classical tabla playing. The 'friction' is the use of the tabla in this very 'non-tablaistic' (or non-idiomatic) way. Though I find the piece to be extremely challenging, the piece got an excellent reaction from the audience.</div>
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We ended the first half with <a href="http://www.christienledroit.ca/" target="_blank">Christien Ledroit</a>'s <i>Elementalities</i>, for flute, vibraphone, and tabla. This is a piece that I have played numerous times since having commissioned it in 2000. It is truly an excellent piece; one that I believe is quite significant in the contemporary tabla repertoire. It is actually the opening piece on my latest CD, <i><a href="http://www.shawnmativetsky.com/html/discography/cycles/" target="_blank">Cycles</a>.</i><br />
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After the intermission, the concert continued with Gabriel Dharmoo's <i>Ainthu Miniyeccars</i> for flute, vibraphone, and tabla. This was only our second time playing the piece, the last time being its premiere during the first edition of Musica Masala back in 2011. This was followed by the only piece that I did not play on: an improvisation led by Gabriel Dharmoo, inspired by the nine <i>rasas</i>. The concert concluded with a new arrangement of Pandit Ravi Shankar's <i>Aube Enchantée</i>, which is normally performed on flute and harp (or guitar, or marimba). We came up with our own arrangement for flute, clarinet, marimba, contrabass, and tabla; a combination that works really, really well.</div>
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And what a great gang of musicians to collaborate with - Marie-Hélène Breault and Geneviève Savoie on flute, Marie-Julie Chagnon on clarinet, Etienne Lafrance on contrabass, Isabelle Tardif on marimba and vibraphone, and Gabriel Dharmoo on cello.</div>
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I was extremely happy to see that the hall was absolutely full. It's not easy to fill the hall for contemporary music concerts! The team at Erreur de Type 27 did a great job in spreading word of the concert, and Marie-Hélène Breault did an exceptional job in coming up with the concept and the programming. <b>For those of you who missed the concert, we'll be presenting it again twice in Montreal, on December 10 and 13 at the Maisons de la culture Cote-des-Neiges and Plateau Mont-Royal!</b><br />
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<tr><td class="tr-caption" style="text-align: center;">Marie-Hélène being congratulated for her years of work as Artistic Director of Erreur de Type 27</td></tr>
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In preparing for the concert, aside from numerous rehearsals in the month leading up to the concert, we were very fortunate to be in residence at the Salle d'Youville for a couple of days before the concert. During this time in Quebec, I was very happy to present a tabla masterclass at the Conservatoire, graciously hosted by percussion instructor Anne-Julie Caron and the conservatory's director Louis Dallaire. Quebec City is such a lovely city; not at all a bad way to spend a few days!<br />
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Thanks to <a href="http://www.carolinetabah.com/" target="_blank">Caroline</a> for the photos! I have posted many more on my <a href="https://www.facebook.com/media/set/?set=a.10151639572061360.1073741844.139069326359&type=1" target="_blank">Facebook page</a>.</div>
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Shawnhttp://www.blogger.com/profile/05508249542256049681noreply@blogger.com0tag:blogger.com,1999:blog-5002569719758890634.post-9346265919690005242013-09-08T22:32:00.000-04:002013-09-08T22:56:09.363-04:00Elsiane at the Cabaret du Mile End<div style="text-align: justify;">
This past Saturday, September 7, I had the great pleasure of playing with one of my favourite bands, <a href="http://www.elsiane.ca/" target="_blank">Elsiane</a>, at the Cabaret du Mile End in Montreal. Elsiane is made up of Elsieanne Caplette, who is an amazingly talented singer and composer, and drummer Stephane Sotto, who has a super-solid groove, and loads of serious creativity in his playing. I highly recommend checking out their website, and having a listen to their two albums.</div>
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I was invited to be the opening act, and then later to play with the band as a guest musician. Other guests were violinist Stéphanie Caplette, oboist Annick Beauvais, and bassist Patrice Agbokou.</div>
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For the opening tabla set, I wanted to do something completely different from my usual tabla solos, and something that would fit with the Elsiane sound. Elsieanne generously composed two amazing backing tracks for my opening tabla set. The first was an elaborately textured drone, over which I played introductory materials, including <i>Benarsi theka</i>, followed by <i>angrusthana</i>. The second track had a drum groove in a medium 12-beat cycle, which I matched with an improvisation in Ektaal. This then transitioned into a duet with Stephane, which we had great fun in creating and in performing! We were eventually joined by Elsieanne and her <i>quijada </i>(a percussion instrument made of a donkey's jaw; the ancestor of the modern vibraslap), and began the Elsiane portion of the show with their song, <i>Paranoia</i>. I got a serious baya workout with the groove that we worked out for this tune, which has got to be one of my favourites that we collaborated on.</div>
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<tr><td class="tr-caption" style="text-align: center;">Tabla solo!</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Elsieanne</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Stephane </td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Stéphanie, Annick, Elsieanne, Stephane, Shawn</td></tr>
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I re-joined the band at different points in the set to play tabla on <i>Distance, Underhelped</i>, and <i>In the Shadows</i>. The tabla fits their music so well, so naturally. I'm sincerely looking forward to more collaborations with the band in the near future!</div>
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I was really impressed with how dedicated Elsieanne and Stephane are to their music, and the incredible team that they work with. Rob Heaney making everything sound so good, amazing lighting and stage design by Karine Gauthier, and also people helping out with hair and makeup (for those with hair, hahah!). When Elsiane puts on a show, it's not just a concert; it's an experience.</div>
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Thanks to <a href="http://www.carolinetabah.com/" target="_blank">Caroline</a> for the photos!</div>
Shawnhttp://www.blogger.com/profile/05508249542256049681noreply@blogger.com0tag:blogger.com,1999:blog-5002569719758890634.post-19202830793875051822013-08-30T19:08:00.002-04:002013-08-30T19:16:09.005-04:00Kirtan at the Wanderlust Festival in Mont-Tremblant<div style="text-align: justify;">
<a href="http://www.tremblant.ca/" target="_blank">Mont-Tremblant</a> is a beautiful ski resort in the Laurentians, about 90 minutes north-west of Montreal. When I think of Tremblant, I think of outdoor sports, like skiing, showshoeing, hiking, mountain biking, and so on. But yoga? Not really. But somehow, it happened. This past weekend, the <a href="http://tremblant.wanderlustfestival.com/" target="_blank">Wanderlust Festival</a> was in full swing. The village itself was the same, but rather than seeing the usual mountain bikers and hikers, the pedestrian streets were full of people with yoga mats strapped to their backs. There were vendors with coconut water, kombucha, fresh juices, yoga clothes, etc. The whole vibe of the village was quite different from the usual. Tremblant was most definitely transformed.</div>
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<tr><td class="tr-caption" style="text-align: center;">Big yoga class outside!</td></tr>
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I was there to accompany <a href="http://www.lealongo.com/" target="_blank">Lea Longo</a> for a kirtan, along with Rad Crasto on guitar, Marcelo on bass, and Genevieve on backing vocals. Though there were numerous yoga classes and activities going on all around, when I walked out in my white kurta-pyjama (traditional Indian clothing) for the kirtan, I could feel that many curious eyes were upon me. I was definitely feeling somewhat out of place, as no one else was wearing Indian-style clothing (aside from a couple of Indian families that joined in the kirtan), but rather, athletic-style yoga clothing was the primary outfit of choice. Aside from the few odd looks I received, people were very open-minded, and there was a very strong sense of community at the festival. During the soundcheck, people started to gather around, and once we started, more and more people came and joined in. After about 30 minutes, I'm sure that there were at least 150 people around the stage, with most of them singing along. Not bad!</div>
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<tr><td class="tr-caption" style="text-align: center;">Taking advantage of the silence to set up and tune! :)</td></tr>
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We had fun, and people enjoyed! Until the next time!<br />
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Thanks to <a href="http://www.carolinetabah.com/" target="_blank">Caroline</a> for the photos!Shawnhttp://www.blogger.com/profile/05508249542256049681noreply@blogger.com0tag:blogger.com,1999:blog-5002569719758890634.post-9584708630840520232013-08-28T19:55:00.003-04:002013-08-28T19:55:46.746-04:00Bansuri Concert with Chloé Bennett at H-OM<div style="text-align: justify;">
Before <a href="https://sites.google.com/site/chloebennettmusic/biography" target="_blank">Chloé</a> headed back home to India, we decided to organize a second concert for her (<a href="http://tablamontreal.blogspot.ca/2013/08/bansuri-concert-with-chloe-bennett.html" target="_blank">you can read about our first concert, at Sivananda Yoga, here</a>), this time at <a href="http://www.homyogacenter.com/" target="_blank">H-OM Yoga</a> in Vaudreuil-Dorion, just West of the island of Montreal. We were warmly welcomed by Heleen in her spacious yoga studio. We played acoustically, which surprisingly doesn't happen that often! The space has a very clean acoustic, with not much reverb. You can really hear every detail of the sound.</div>
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If I remember correctly, the raags included <i>Puriya Kalyan</i> in Jhaptaal and Teentaal, and <i>Desh </i>in Rupak.</div>
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I really enjoyed these two concerts with Chloé, and looking forward to her next visit to Montreal!<br />
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Thanks to <a href="http://www.carolinetabah.com/" target="_blank">Caroline</a> for the photos!</div>
Shawnhttp://www.blogger.com/profile/05508249542256049681noreply@blogger.com0tag:blogger.com,1999:blog-5002569719758890634.post-16354385105902930952013-08-21T19:06:00.000-04:002013-08-21T19:06:41.921-04:00Ragleela in Verchères for Musique sur le Fleuve<div style="text-align: justify;">
This past Sunday, I made the trip to Verchères for the first time. Verchères is a small town, just south-east of Montreal, about a 30-40 minute drive. Ragleela (this time, as a quintet) performed in the <a href="http://www.musiquesurlefleuve.com/" target="_blank">Musique sur le Fleuve</a> series, organized by Suzie Auclair. Our noon-hour concert was really well attended, with about 350 people onsite. With the perfect weather and waterfront views, there's no wonder that this festival attracts a lot of people...</div>
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We played a 75-minute set, mostly made up of tunes from the upcoming album (yes, it is coming soon!). It was nice to have a few of the old favourites included as well, most notably <i>Camp in Town</i>, which opens with a tabla solo. No complaints here! :)</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_fOwBXdf7ModHwPSulK1m_3Dj1A9XkK3w2DpkjJcZOppBLy_AzMVFQaIq0Z6GM_ileeGswhQcdvtrhm8FIswl8JTeiWsbsP85DM6Z-IG4-hM0t-7fBv6lxByAsIw6X4RovBjfVDAIN2lA/s1600/9551.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="209" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_fOwBXdf7ModHwPSulK1m_3Dj1A9XkK3w2DpkjJcZOppBLy_AzMVFQaIq0Z6GM_ileeGswhQcdvtrhm8FIswl8JTeiWsbsP85DM6Z-IG4-hM0t-7fBv6lxByAsIw6X4RovBjfVDAIN2lA/s320/9551.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Left to right: Mathieu Deschenaux (bass), me (tabla), Uwe Neumann (sitar),<br />
Jean-Marc Hébert (guitar), Eric Breton (percussion)</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Uwe on sansa, for <i>Sansonica</i>!</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Time for an encore, I think!</td></tr>
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We all had a really fun day, and looking forward to the next time! Thank you to Suzie and the whole team for the warm (and very professional) welcome!<br />
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Thanks to <a href="http://www.carolinetabah.com/" target="_blank">Caroline</a> for the photos!Shawnhttp://www.blogger.com/profile/05508249542256049681noreply@blogger.com0tag:blogger.com,1999:blog-5002569719758890634.post-16967804310236839092013-08-20T21:27:00.001-04:002013-08-20T21:27:22.404-04:00Ragleela at Heartroot Farm<div style="text-align: justify;">
This past Saturday, the <a href="http://www.ragleela.com/" target="_blank">Ragleela</a> trio played at <a href="http://heartroot.com/" target="_blank">Heartroot Farm</a>, in Audet, QC (a little past Lac-Megantic, near to the Maine border). It is a community farm, quite isolated, in a beautiful spot in the countryside. Run by Dawn Bramadat, the farm is a place where people connect with nature, through a combination of hard work, simple living, organic food, and spiritual practice. We were really well received, and it was a pleasure to share our music with those in attendance. We played in what I think used to be a barn, converted into a concert space, complete with stage and sound system. The space was very open, allowing the outside air to flow through, and providing us with panoramic views.</div>
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There was a short impromptu opening set by Dawn's daughter, <a href="http://www.kyras.net/" target="_blank">Kyra</a> (vocals, guitar) and her friend Steve on kora. Their music was calm and serene, and was perfect to set the mood. We went on to play two sets, combining pieces from the new album, as well as some older favourites. :)</div>
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Thank you to <a href="http://www.carolinetabah.com/" target="_blank">Caroline</a> for the photos!<br />
<br />Shawnhttp://www.blogger.com/profile/05508249542256049681noreply@blogger.com0tag:blogger.com,1999:blog-5002569719758890634.post-58766814391770573292013-08-05T18:06:00.001-04:002013-08-05T18:06:58.791-04:00Kirtan in the Park<div style="text-align: justify;">
On Friday, July 26, I had the pleasure of accompanying <a href="http://www.lealongo.com/" target="_blank">Lea Longo</a> and Rad Crasto for a kirtan in Westmount Park. The session was really well attended, by both kirtan regulars and people just passing by in the park (who were very surprised to see this type of participatory singing taking place). The session was filmed by Radio Canada for the show, <i>Second Regard</i>. I will post again once I know the broadcast schedule.</div>
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Thanks to <a href="http://www.carolinetabah.com/" target="_blank">Caroline</a> for the photos!</div>
Shawnhttp://www.blogger.com/profile/05508249542256049681noreply@blogger.com0tag:blogger.com,1999:blog-5002569719758890634.post-56363332345355079042013-08-04T22:17:00.000-04:002013-08-04T22:17:00.446-04:00Bansuri Concert with Chloé Bennett<div style="text-align: justify;">
This past Saturday, August 3, I accompanied bansuri player <a href="https://sites.google.com/site/chloebennettmusic/biography" target="_blank">Chloé Bennett</a> for her Indian music début in her hometown of Montreal. She has been living in India for the past five years, studying with legendary bansuri maestro, Pandit Hariprasad Chaurasia. She is currently in town for a few weeks, visiting her family, and so we took this opportunity to set up a couple of concerts for her.</div>
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This first concert took place at the Sivananda Yoga Centre in downtown Montreal. The concert was really well attended, as many of Chloé's friends and family have never heard her play Indian music before. It was a very special occasion and Chloé did really well, engaging the audience with both her words and her music. She opened with raag <i>Malkauns</i>, with an alap-jor, followed by compositions in Jhaptaal and Teentaal. I particularly enjoyed the Jhaptaal composition; it's one of those that really sticks in your head, even hours after the performance. The Teentaal was a bit odd, as the melody began on khali, and so had a feeling of being flipped around backwards (this is not unusual). She then followed with raag <i>Bageshri </i>in Rupak, a thumri in <i>Pilu</i>, and then a Bengali folk song to conclude.<br />
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We were accompanied by flutist and bansuri player <a href="http://www.mariesaintonge.net/" target="_blank">Marie Saintonge</a>, which was a very welcome surprise for me.<br />
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<tr><td class="tr-caption" style="text-align: center;">Chloé on bansuri, with Marie on tanpura.</td></tr>
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If you missed this concert, there is still another chance to hear Chloé before she heads back to India. We will be playing at H-OM Yoga in Vaudreuil-Dorion (3187 Harwood), on Friday, August 23 at 8pm.</div>
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I am really looking forward to it, and hope to see many of you there! For those of you in Montreal, it will be worth the trip! Here is a <a href="https://www.facebook.com/events/187452728090939/" target="_blank">link to the Facebook event page</a>, for those of you on Facebook.<br />
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As usual, thank you to <a href="http://www.carolinetabah.com/" target="_blank">Caroline Tabah</a> for the photos!<br />
<br />Shawnhttp://www.blogger.com/profile/05508249542256049681noreply@blogger.com0tag:blogger.com,1999:blog-5002569719758890634.post-80758285525226585702013-08-04T15:55:00.003-04:002013-08-04T15:55:33.906-04:00Three Concerts at OpenMind Festival<div style="text-align: justify;">
This past week, I had the pleasure of accompanying three different artists over the course of three days at the OpenMind Festival in La Patrie, Quebec. OpenMind Festival is a music festival, bringing people together in a celebration of diversity and sound ecological practices. The festival takes place every two years, and in a different location that is always very isolated (no cell phone coverage this year!) and very beautiful. You may remember my <a href="http://tablamontreal.blogspot.ca/2012/01/openmind-festival-with-sitarist-uwe.html" target="_blank">performance with Uwe Neumann from the last OpenMind Festival</a>, in 2011.</div>
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My first performance at this year's festival was an early evening concert with sitarist <a href="http://www.sitaria.com/sitaria.html" target="_blank">Uwe Neumann</a>. I accompanied him in raag <i>Kirwani</i>, in Sitarkhani, followed by another raag in Rupak, the name of which has slipped my mind, and lastly, a <i>Bhairavi</i> in Teentaal. We concluded with Uwe's customary finale - an improvised piece on sansa.</div>
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<tr><td class="tr-caption" style="text-align: center;">A view of the stage and surrounding stunning views!</td></tr>
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Next was a noon concert, accompanying santoor player <a href="http://www.samskara.ca/en/biographies/jonathan-voyer" target="_blank">Jonathan Voyer</a>. Our outdoor performance was quickly rained out (Jonathan didn't even get to finish his alap), even though Jonathan had specifically decided NOT to play raag <i>Megh </i>(a monsoon raga, which would have been appropriate, considering the OpenMind theme of the day was water), and instead opted for <i>Bhimpalasi</i>. Well, raag <i>Megh</i> or not, the rain came down hard! The tech crew quickly scrambled to move us and all the equipment into ... how to explain ... an enormous, inflated white ball, with carpets and pillows laid out on the inside. It was a really nice, intimate setting for the music, but also incredibly hot! Jonathan wrapped up his alap, and we moved on to compositions in Rupak and Teentaal. It must have been 40 degrees (C) in there, no exaggeration. Nevertheless, we brought full energy (and lots of sweat!) to the performance, and the audience was extremely receptive.</div>
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Photo from soundcheck. No more photos from the outdoor stage, as it soon started to rain!</div>
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Inside the big inflated white ball. The stage was unfortunately placed behind an altar, as you can see here.</div>
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<tr><td class="tr-caption" style="text-align: center;">The ball!</td></tr>
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Last, but not least, was a sitar performance with Toronto-based musician, <a href="http://beyondbordersmusic.com/" target="_blank">Prosad</a>. This was actually our first time meeting and playing together. Prosad has studied with musicians in both the Vilayat Khan style and Ali Akbar Khan style of playing, and so his approach was quite different from the Montreal-based musicians that I usually play with. It was great fun to follow and see where he might lead me. Lots of fun rhythmic interplay and intricate tihais!</div>
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Again, in the ball, and hidden behind the altar!</div>
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Overall, a great three days of tabla accompaniment! Thanks to <a href="http://www.carolinetabah.com/" target="_blank">Caroline Tabah</a> for most of the photos, aside from the few cellphone shots. :)</div>
Shawnhttp://www.blogger.com/profile/05508249542256049681noreply@blogger.com2tag:blogger.com,1999:blog-5002569719758890634.post-33135015775473173752013-07-10T20:29:00.000-04:002013-07-10T20:29:00.293-04:00Percussion Duo Concert with Marla Leigh Goldstein<div style="text-align: justify;">
Just before the start of my summer tabla workshop, I had the pleasure of working with talented Californian frame drummer, <a href="http://marlaleigh.com/" target="_blank">Marla Leigh Goldstein</a>. We have known each other for a number of years, but never had the chance to play together in concert! She had organized a frame drum workshop in Ottawa, and so was able to come over to Montreal to visit for a few days, before heading off to the Cooperman Drum factory in Vermont. We performed at <a href="http://www.timpano-percussion.com/" target="_blank">Timpano Percussion</a> on Friday, June 28, and then she gave two workshops the following day.</div>
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For this special occasion, I composed two new tabla / frame drum duets. <i>Bol</i>, inspired by traditional <i>bol paran</i> repertoire, and <i>Dancing Hands</i>, inspired by the kathak dance tradition. Marla also brought in some of her compositions, for frame drum and flute. We had a blast putting this concert together, and hopefully we'll be able to present it again sometime soon!</div>
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<tr><td class="tr-caption" style="text-align: center;">Having fun in rehearsal, before the concert.</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Marla on flute.</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">In concert!</td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><i>Bol</i> exchange!</td></tr>
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<br />Shawnhttp://www.blogger.com/profile/05508249542256049681noreply@blogger.com0tag:blogger.com,1999:blog-5002569719758890634.post-55840789116200605942013-07-09T22:21:00.000-04:002013-07-09T22:21:17.534-04:00Annual Summer Tabla Workshop 2013!Wow, this past week just flew by so quickly! As I have for the past three years, I held my annual summer tabla workshop during the first week of July, at the Schulich School of Music of McGill University. This year, the participants all came from the Montreal area. I had two groups - one of pure beginners, who had no prior experience with tabla, and an intermediate group of students with a few years of experience. Each group had four 90-minute classes, spread throughout the week, and both groups joined together daily for a two-hour group practice session. We also met for two video-viewing sessions, where I showed videos of concerts by some of the great maestros, and as always, we concluded the workshop with a Guru Puja.<br />
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The participants this year had such great enthusiasm and energy. We were also joined by two guests from the UK, Caroline (my Gurubahen) and her partner Neil. Neil participated in the beginner class, while Caroline helped out with some of the teaching.<br />
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This year, for the intermediate class, I decided to follow an 'accompaniment' theme, and so for one of the classes, I invited my santoor buddy <a href="http://www.samskara.ca/" target="_blank">Jonathan Voyer</a> to come, and be accompanied by the students in Rupaktaal, Sitarkhani, and Teentaal. The following class, Neil sang some bhajans, which gave the students a chance to accompany in Kaherva, Dadra, and Bhajani theka. The experiment was a great success, and I will surely integrate this type of activity again in the future.<br />
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<tr><td class="tr-caption" style="text-align: center;">One of the many group practice sessions.</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Lighting the incense for Guru Puja.</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Marc doing puja. This is his third year at the workshop!</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Kai getting his offerings, walking around everyone's tabla. </td></tr>
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In case you would like to see more, I have posted <a href="https://www.facebook.com/media/set/?set=a.10151472701501360.1073741834.139069326359&type=1" target="_blank">many more photos on Facebook</a>.<br />
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Until next year! Thank you to <a href="http://www.carolinetabah.com/" target="_blank">Caroline Tabah</a> for the photos!<br />
<br />Shawnhttp://www.blogger.com/profile/05508249542256049681noreply@blogger.com0tag:blogger.com,1999:blog-5002569719758890634.post-23761903367163016742013-07-08T21:21:00.000-04:002013-07-08T21:21:54.164-04:00One More Show with Kiran!<div style="text-align: justify;">
Just a few days before bansuri artist Kiran Hegde returned to India, Marie Saintonge organized one last concert, at an art gallery in Saint-Hyacinthe. The show was really well attended, and the gallery had quite an exceptional acoustic! Kiran and I were joined by special guest Ziya Tabassian, who is an excellent percussionist, specializing in Persian tombak. The trio format was a nice change of pace, and the tombak/frame drum and tabla work really well together!</div>
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It was sad to have Kiran leave, as it was a great two months of musical adventures together. Looking forward to his return to Canada next year!</div>
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<tr><td class="tr-caption" style="text-align: center;">Ziya accompanying Kiran during the <i>jor</i>.</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Yes! The tihai came on sam! :)</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Tabla - bansuri - tombak trio!</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">With Kiran, after the concert.</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">The whole gang!</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Marie and Caroline!</td></tr>
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Thank you to Caroline Tabah for the photos!<br />
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<br />Shawnhttp://www.blogger.com/profile/05508249542256049681noreply@blogger.com0tag:blogger.com,1999:blog-5002569719758890634.post-86593723024423087152013-06-17T17:34:00.001-04:002013-06-17T17:50:46.803-04:00Accompanying Bansuri Player Kiran Hegde on his First Canadian Tour<div style="text-align: justify;">
My friend Marie Saintonge recently spent six months in India, studying the bansuri with Kiran Hegde, himself a student of legendary violinist N Rajam. Marie has since invited him to Canada, where he is currently spending two months performing and teaching. I am very happy to be accompanying him for all his Canadian concerts and workshops.</div>
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Kiran has a very sweet sound, and plays in a very vocal style, though is not shy to bring out the more 'instrumental' aspects of bansuri playing as well, from the slowest vilambit ektaal, to a blazing fast drut.</div>
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Our first concert took place at the Grande Bibliotheque in Montreal on May 11.</div>
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The next day, I accompanied Kiran for a hands-on raga workshop that he gave at Timpano Percussion. Quite a few musicians came, and we had singers, flutists, a saxophonist, and even a fretless electric guitarist!</div>
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<tr><td class="tr-caption" style="text-align: center;">Marie, during the workshop.</td></tr>
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A couple of weeks later, we headed to Toronto, for a concert graciously hosted by Joanna de Souza and Ritesh Das from M-DO/Toronto Tabla Ensemble, at the lovely St-Stephens-in-the-Fields church. Here, we were joined by longtime collaborator, and Kiran's Guru-bhai, Jake Charkey, for a rare bansuri-cello jugalbandi. Jake and I have performed numerous times before in Montreal, before he headed out to Mumbai to study with N Rajam. He has been there for the last three years, and so it was great to be playing together again, and to hear the progress he has made in all this time.</div>
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<tr><td class="tr-caption" style="text-align: center;">Kiran's solo, with Joanna on tanpura.</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Here with Jake, for the bansuri-cello jugalbandi.</td></tr>
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The next morning, we hit the road, and were back in Quebec for a concert at the beautiful Sivananda Ashram, in Val Morin.</div>
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We also performed a house concert last week, but I unfortunately don't have any photos of that occasion. There is yet one more concert to take place on this tour, on June 26 at an art gallery in Ste-Hyacinthe. Please see <a href="http://www.shawnmativetsky.com/">my website</a> for more details...</div>
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Thank you to <a href="http://www.carolinetabah.com/" target="_blank">Caroline Tabah</a> for the photos!</div>
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Shawnhttp://www.blogger.com/profile/05508249542256049681noreply@blogger.com2tag:blogger.com,1999:blog-5002569719758890634.post-65773643560576950752013-06-17T17:05:00.002-04:002013-06-17T17:05:34.522-04:00Tribute to Pandit Ravi Shankar<div style="text-align: justify;">
This past April 27, I took part in a concert in honour of the late Pandit Ravi Shankar, organized by Hindustani vocalist Vinay Bhide, in Ottawa. The evening concert took place at the Centrepointe Studio Theatre in Ottawa. The concert included performances by vocalist Vinay Bhide, Aditya Verma (sarod; Montreal), Bageshree Vaze (kathak dance; Toronto), Jonathan Voyer (santoor; Montreal), and Tara Krishnan (Bharatanatyam dance), and Kiran Morarji (Toronto) and myself on tabla.</div>
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I accompanied Jonathan Voyer for his set, as well as Vinay Bhide for his, followed by a concluding piece with the Ottawa Ensemble, joined by some of the other artists.</div>
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It was a beautiful evening, and it was a pleasure to have participated. I really enjoy these types of concerts, where many artists get together and collaborate. Pt. Ravi Shankar was such an important artist of our time, having influenced and inspired so many musicians around the world.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjuHB69BpcPLe4KJBBcVE6FtNSuqXlaCvskeZKgfl8chWXUn0mGK5sFe7pxXECKjuHf5j1Z5vlx9iggQ2ZyL3_Mkd_A6C9vC3wolppcOcBN6K_LZ6EPxy2sU_9Rms8fGg-acEBbulhduq_/s1600/RS5533.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjuHB69BpcPLe4KJBBcVE6FtNSuqXlaCvskeZKgfl8chWXUn0mGK5sFe7pxXECKjuHf5j1Z5vlx9iggQ2ZyL3_Mkd_A6C9vC3wolppcOcBN6K_LZ6EPxy2sU_9Rms8fGg-acEBbulhduq_/s320/RS5533.jpg" width="320" /></a></div>
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<tr><td class="tr-caption" style="text-align: center;">Accompanying santoor player, Jonathan Voyer</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Accompanying vocalist Vinay Bhide, with his son Udit on harmonium.</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">All artists on stage for the final bhajan, composed by Pt. Ravi Shankar.</td></tr>
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Thank you to <a href="http://www.carolinetabah.com/" target="_blank">Caroline Tabah</a> for the photos!</div>
Shawnhttp://www.blogger.com/profile/05508249542256049681noreply@blogger.com0tag:blogger.com,1999:blog-5002569719758890634.post-26492308987160616622013-04-23T17:49:00.000-04:002013-04-23T17:49:53.263-04:00Ragleela in the StudioThis past January, <a href="http://www.ragleela.com/" target="_blank">Ragleela</a> went into the studio to record the group's third album (my first with the group), <i>Third Ear</i>, which will be released this fall. On the album is Uwe on sitar and sansa, Jean-Marc on 7-string guitar, Eric on percussion, Cédric on contrabass, Guillaume on clarinet and bass-clarinet, and with myself on tabla and some other percussion as well.<br />
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We recorded at Studio Frisson (Montreal), with Don on sound and Michel producing. I have recorded at Frisson numerous times in the past, with composers Nicole Lizée and Ram Borcar, but this was my first time at the new Frisson space in the east-end of the city. It's an old church that has been converted; very spacious!<br />
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Everything was recorded live, with everyone in the same space. Dividers were placed between us in order to isolate the sound of each instrument as much as possible.<br />
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Since the album won't be out for quite a while (patience, patience...), here are some photos in the meantime! :)<br />
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<tr><td class="tr-caption" style="text-align: center;">Cedric, deep in concentration.</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Percussionists on lunch break!</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Creative discussions in progress!</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Jean-Marc in the hot seat.</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Percussive exchanges!</td></tr>
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Thanks to <a href="http://www.carolinetabah.com/" target="_blank">Caroline</a> for the photos!<br />
<br />Shawnhttp://www.blogger.com/profile/05508249542256049681noreply@blogger.com0tag:blogger.com,1999:blog-5002569719758890634.post-56277314835418196002013-04-14T19:51:00.001-04:002013-04-14T19:51:54.808-04:00Saturday Matinee with Ragleela<div style="text-align: justify;">
Yesterday, <a href="http://www.ragleela.com/" target="_blank">Ragleela</a> performed an afternoon concert at the Salle de Diffusion Parc-Extension in Montreal. We didn't know what to expect from a concert at 4pm, but the hall was completely full to capacity (overflowing, in fact)! I suppose it helps that the concert was free. :)</div>
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As some of you may have seen in previous posts, the Ragleela ensemble is somewhat variable in instrumentation. For this concert, the group was made up of Uwe on sitar (and sansa), Jean-Marc on guitar (his custom 7-string, and gourd guitar), Cédric on contrabass, Guillaume on clarinet (and bass-clarinet), and myself on tabla (with my new tabla-percussion kit that includes two Tablatones and a couple of cymbals).</div>
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Aside from the opening tune, <i>View of the Green Valley</i>, all the pieces we played were from Ragleela's upcoming CD. This was also the concert premiere of <i>Open Horizons </i>and <i>Sansala</i>, both of which were composed mainly by Jean-Marc, making them oddities in our repertoire (most of Ragleela's music is principally composed by sitarist Uwe).<i> Open Horizons</i> is in drut Teentaal, and features some lovely melodies, and virtuosic solos exchanges between the sitar and the guitar. <i>Sansala</i> features some haunting melodies on bass clarinet, with the tabla and sansa providing a relentless groove in three. Unfortunately, I can't post any samples until the CD is released!</div>
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The next Ragleela concerts are set for July 21 in Sainte-Therese, and August 18 in Vercheres. The new album should be out this fall!</div>
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Please visit my <a href="https://www.facebook.com/media/set/?set=a.10151339321291360.1073741828.139069326359&type=3" target="_blank">Facebook page for even more photos</a>!</div>
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Thank you to <a href="http://www.carolinetabah.com/" target="_blank">Caroline</a> for capturing these musical moments.</div>
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Shawnhttp://www.blogger.com/profile/05508249542256049681noreply@blogger.com0tag:blogger.com,1999:blog-5002569719758890634.post-73632208515644082082013-03-27T19:21:00.000-04:002013-03-27T19:21:05.427-04:00The Inaugural Calgary Tabla Workshop<div class="separator" style="clear: both; text-align: justify;">
While in Calgary to <a href="http://tablamontreal.blogspot.ca/2013/03/kathak-and-tabla-in-calgary.html">accompany kathak dancer Sudeshna Maulik</a>, I was also fortunate to present a small tabla workshop, organized by my percussionist friends <a href="http://www.rhythmmastery.com/" target="_blank">Malcolm</a> and Kyle. During the first half of the workshop, I gave a hands-on introduction to the tabla and basic techniques. For the second part, the focus was on North Indian rhythmic concepts, which we explored using clapping and bol recitation.</div>
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I ended the workshop with a short tabla solo. The participants all did a great job of keeping taal! I had a wonderful time, and I think that all the participants had great fun too. I'm always very happy to share my love for tabla and Indian classical music, and the time just flew by! Many thanks to Malcolm for organizing, and to Kyle for being such a gracious host.</div>
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<tr><td class="tr-caption" style="text-align: center;">Even the fish seemed to want to know more. :)</td></tr>
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Keeping taal during the solo.</div>
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<tr><td class="tr-caption" style="text-align: center;">The whole gang!</td></tr>
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As always, thanks to <a href="http://www.carolinetabah.com/" target="_blank">Caroline Tabah</a> for the photos!</div>
<br />Shawnhttp://www.blogger.com/profile/05508249542256049681noreply@blogger.com0tag:blogger.com,1999:blog-5002569719758890634.post-36341500585614240652013-03-26T16:46:00.001-04:002013-03-26T16:46:58.865-04:00Kathak and Tabla in CalgaryThis past March 1, I had the great pleasure of accompanying kathak dancer extraordinaire, <a href="http://www.sudeshnakathak.com/" target="_blank">Sudeshna Maulik</a>, for a performance at the University Theatre in Calgary. We have performed together many times in the Montreal area, but this was the first time that we'd travelled so far to perform. Our performance was presented by the <a href="http://www.ragamala.ca/" target="_blank">Calgary Raga Mala</a>, who gave us a really warm welcome.<br />
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Sudeshna opened the evening with an invocation piece dedicated to Lord Shiva. Afterwards, sarodiya Raja Bhattacharya (who also travelled with us from Montreal) opened with a short alap in Madhukauns, which was coupled with recitation of Sanskrit poetry by local poet, Prabir Chandra. I then performed a short introductory solo in vilambit Dhammar taal, using a tabla tuned one-octave below the usual C tabla, to give a pakhawaj-like flavour. Sudeshna then joined us, and we performed a full segment of Dhammar taal compositions and improvisations.<br />
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After a short break, we resumed with Raja's Kirwani solo in Vilambit Teentaal. Sudeshna then returned to the stage, and we continued with the kathak recital through Madhya and Drut Teentaal. It was a full evening of kathak, punctuated by musical interludes and poetic verses.<br />
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More photos are available in my <a href="https://www.facebook.com/media/set/?set=a.10151313365826360.1073741826.139069326359&type=1" target="_blank">Facebook album</a>.<br />
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Thank you to <a href="http://www.carolinetabah.com/" target="_blank">Caroline Tabah</a> for the photos!Shawnhttp://www.blogger.com/profile/05508249542256049681noreply@blogger.com0