Seq - Artist - Song Title - Album - Country - Label
1 - Marta Topferova - Semana Azul - La Marea - Czech Republic/USA - World Village
2 - Howe Gelb - Paradise Here Abouts - 'Sno Angel Like You - USA - Thrill Jockey
3 - Lili Boniche - Ana Fil Houb - Essential Guide to Arabia - Algeria/France - Union Square
Radio Ping Pong with Nitin Sawhney (*)
4 * - Gotan Project - Triptico - Buddha Bar III - France/Argentina - George V
5 - Blue Asia - Sao Chumpae Pae Rak - Hotel Bangkok - Japan/Malaysia/Thailand - King
6 * - Shakti with John McLaughlin - Mind Ecology - Natural Elements - India/UK - Sony/Columbia
7 - Nitin Sawhney - Dead Man - Philtre - UK - V2
8 * - Nusrat Fateh Ali Khan - Mustt Mustt (Massive Attack Remix) - Mustt Mustt - Pakistan - Real World
9 - Amira Saqati - Sabra Dima - Destination Halal - Morocco - Barbarity
10 * - Simbad - El-Hoggar - Eastern Drum & Breaks - UK - Nasha Records
11 - Balkan Beat Box - Adir Adirim (feat Victoria Hanna) - Balkan Beat Box - Bulgaria - Essay
12 * - Nitin Sawhney - Noches En Vela (Part 1) - Philtre - UK - V2
13 * - Nitin Sawhney - Noches En Vela (Part 2) - Philtre - UK - V2
14 - Oumou Sangare - Djorelen (feat Nitin Sawhney) - Oumou - Mali - World Circuit
Live in London:
15 - Ludovico Einaudi & Ballaké Sissoko - Laissez Moi en Paix - Diario Mali - Italy/Mali - Ponderosa
16 - Horace X - She Want - Strategy - UK - Horace X
17 - Samba Mapangala & Orchestre Virunga - Siku Ya Mwisho - Song & Dance - Kenya/Congo - Virunga
18 - Scritti Politti - The Sweetest Girl - 7" single - UK - Rough Trade
19 - Amparanoia - Ven - La Vida Te Da - Spain - Wrasse
20 - Rodrigo Y Gabriela - Tamacun - Rodrigo Y Gabriela - Ireland/Mexico - Rubyworks
It is currently Sat May 18, 2013 8:40 pm
2006 - 18 Mar - Nitin Sawhney
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2006 - 18 Mar - Nitin Sawhney
by Con Murphy » Sun Mar 19, 2006 2:46 pm
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Nitin Sawhney - the bulletin
by Charlie » Mon Mar 20, 2006 12:45 pm
Q: What do the following have in common?
The Spencer Davis Group, Manfred Mann, Harold Melvin and the Blue Notes and Nitin Sawhney.
A: They are all music projects featuring singers, named after a leader who is not the vocalist.
As such, they constitute a rare species in modern popular music, but it’s likely that there will be more, not less, of them over the next ten years or so.
As I mentioned to Nitin Sawhney at the start of tonight’s programme, back in the 1930s and ‘40s, band leaders like Tommy Dorsey and Harry James were the featured attractions, their vocalists named in small print on the record labels. But after Frank Sinatra, Peggy Lee and others were signed up in their own right, for the next fifty years the names that mattered were those of the singers.
And while pop is still mostly about the brave ones who stand at the microphone and face the crowd, there’s a growing number of projects led from the back by producers, musicians and DJs, who feature vocalists in much the same way as those big band leaders used to. In many ways, the precursor of this trend was Blue Lines, Massive Attack’s first album in 1991, and tonight Nitin confirmed that this was the template and inspiration for him to make a record using similar methods.
A classically-trained piano player and guitarist based in South London, Nitin Sawhney released his first album on his own label in 1993, and has made six more since, three for Outcaste and three for V2. Philtre, the most recent, won the Boundary Crossing category at this year’s BBC Radio 3 Awards for World Music, and he’ll be playing with a trio at the Awards event on 7th April at the Brixton Academy. Later in the month, Nitin presents his newly composed score commissioned by the Barbican for the 1928 silent Indian film The Throw of the Dice, performed by the London Symphony Orchestra augmented by guest musicians from India.
I confess that before tonight I had never quite come to grips with who Nitin Sawhney is, or what he has been aiming to do with his music. By the end of the hour’s ping pong, I had a much better sense of his approach and his achievement. I already liked ‘Dead Man’ on Philtre, but enjoy it even more since Nitin pointed out the intricate relationship between the three singers and drew attention to the harmony vocal that the young Bengali singer Reena Bhardwaj learned despite not speaking the same language as Javanta Bose.
Before each of his choices, Nitin made apt comments, directing our ears to details that we might have missed. His ears wide open to music he had not heard before, Nitin is a very rare musician who has managed to bring together a formidable range of influences and interests, embracing the classical traditions of both European and Indian music while keeping track of what makes people dance in clubs and enlisting help from anyone and everyone who catches his ear.
Most of the members of Ojos de Brujo feature on Nitin’s selection from Philtre, ‘Noches En Vela’, while Nitin in turn makes a guest appearance on their new album. He has regularly guested on other people’s records, and I ended the ping pong with ‘Djoleren’ by Oumou Sangare, a six-minute lament on which Nitin played a telepathically sympathetic accompaniment on acoustic guitar. Having recorded it in 1996, Nitin had not heard it for some time, and remembered that the guitar had seemed to play itself, as if guided by Oumou’s magical delivery.
Around this time of year, the selection process for my annual compilation of music starts to come into sharp focus, and at least five songs played tonight are likely contenders for the 2006 edition: ‘Dead Man’ by Nitin, the songs by Amira Saqati, Blue Asia and Marta Topferova, and ‘Paradise Here Abouts’ by Howe Gelb. A baritone from Nevada whose voice brings to mind Lou Reed and Leonard Cohen, Howe recorded his latest album in Canada with a local gospel group, Voices of Praise. I’m looking forward to them all coming to play live in our studio in May, ahead of their gig at LSO St Lukes.
The Spencer Davis Group, Manfred Mann, Harold Melvin and the Blue Notes and Nitin Sawhney.
A: They are all music projects featuring singers, named after a leader who is not the vocalist.
As such, they constitute a rare species in modern popular music, but it’s likely that there will be more, not less, of them over the next ten years or so.
As I mentioned to Nitin Sawhney at the start of tonight’s programme, back in the 1930s and ‘40s, band leaders like Tommy Dorsey and Harry James were the featured attractions, their vocalists named in small print on the record labels. But after Frank Sinatra, Peggy Lee and others were signed up in their own right, for the next fifty years the names that mattered were those of the singers.
And while pop is still mostly about the brave ones who stand at the microphone and face the crowd, there’s a growing number of projects led from the back by producers, musicians and DJs, who feature vocalists in much the same way as those big band leaders used to. In many ways, the precursor of this trend was Blue Lines, Massive Attack’s first album in 1991, and tonight Nitin confirmed that this was the template and inspiration for him to make a record using similar methods.
A classically-trained piano player and guitarist based in South London, Nitin Sawhney released his first album on his own label in 1993, and has made six more since, three for Outcaste and three for V2. Philtre, the most recent, won the Boundary Crossing category at this year’s BBC Radio 3 Awards for World Music, and he’ll be playing with a trio at the Awards event on 7th April at the Brixton Academy. Later in the month, Nitin presents his newly composed score commissioned by the Barbican for the 1928 silent Indian film The Throw of the Dice, performed by the London Symphony Orchestra augmented by guest musicians from India.
I confess that before tonight I had never quite come to grips with who Nitin Sawhney is, or what he has been aiming to do with his music. By the end of the hour’s ping pong, I had a much better sense of his approach and his achievement. I already liked ‘Dead Man’ on Philtre, but enjoy it even more since Nitin pointed out the intricate relationship between the three singers and drew attention to the harmony vocal that the young Bengali singer Reena Bhardwaj learned despite not speaking the same language as Javanta Bose.
Before each of his choices, Nitin made apt comments, directing our ears to details that we might have missed. His ears wide open to music he had not heard before, Nitin is a very rare musician who has managed to bring together a formidable range of influences and interests, embracing the classical traditions of both European and Indian music while keeping track of what makes people dance in clubs and enlisting help from anyone and everyone who catches his ear.
Most of the members of Ojos de Brujo feature on Nitin’s selection from Philtre, ‘Noches En Vela’, while Nitin in turn makes a guest appearance on their new album. He has regularly guested on other people’s records, and I ended the ping pong with ‘Djoleren’ by Oumou Sangare, a six-minute lament on which Nitin played a telepathically sympathetic accompaniment on acoustic guitar. Having recorded it in 1996, Nitin had not heard it for some time, and remembered that the guitar had seemed to play itself, as if guided by Oumou’s magical delivery.
Around this time of year, the selection process for my annual compilation of music starts to come into sharp focus, and at least five songs played tonight are likely contenders for the 2006 edition: ‘Dead Man’ by Nitin, the songs by Amira Saqati, Blue Asia and Marta Topferova, and ‘Paradise Here Abouts’ by Howe Gelb. A baritone from Nevada whose voice brings to mind Lou Reed and Leonard Cohen, Howe recorded his latest album in Canada with a local gospel group, Voices of Praise. I’m looking forward to them all coming to play live in our studio in May, ahead of their gig at LSO St Lukes.
- Charlie
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