Customer Reviews

Miles Gurtu

5 star:		(6)
4 star:		(2)
3 star:		(2)
2 star:		(0)
1 star:		(0)

 

 

The not unrelated worlds of futuristic jazz, electronica, and world beat have been engaged in a rather elaborate courtship dance for at least two decades. One thinks of some of Jan Garbarek's discs (I Took up the Runes, Legend of the Seven Dreams, Khomsa, Madar), and, especially, his latest, In Praise of Dreams. Then there are Matthew Shipp's Blue Label experiments (e.g., William Parker's Eloping with the Sun, Guillermo Brown's Soul at the Hands of the Machine, and Craig Taborn's Junk Magic), some of Bill Frisell's stuff (esp. his latest, Unspeakable), Mylab, almost anything involving Tucker Martine, Eyvind Kang's Nade stuff, as well as his altogether remarkable though hard to find solo disc Sweetness of Sickness, Josh Roseman's Treats for the Nightwalker, Dave Douglas's Freak In, Rita Marcotulli's spectacular Koine, Chris Gestrin's noteworthy Stillpoint, Susie Ibarra's startling work, both in her solo discs and with Mephista, Steve Beresford's two wonderful Cue Sheets discs, and Nicholas Payton's Sonic Trance, to name only a few.

Astute readers will notice that the above list comes primarily from the jazz side. Not that the world beat side is unrepresented. We have, for example, Karsh Kale's Liberation, Numerous Bill Laswell experiments, Frazer Fifield's spectacular disc, Honest Water, Tabla Beat Science, Dhafer Youssef's incredible disc Digital Prophecy, Claude Chalhoub's fabulous eponymous recording, Toufic Farroukh's two magnificent discs, Ali on Broadway and Drab Zeen, Omar Sosa's transcendent Free Roots and Sentir, not to mention his staggeringly brilliant duo disc with Adam Rudolph, Pictures of Soul.

Electronica-generated world-beat/jazz discs are rarer. It's not that the trance/dance/breakbeat/deep house/DJ scene doesn't generate anything along these lines (one thinks of Book M by Secret Chiefs 3, for example); it's just that they're not usually interested in incorporating authentic world-beat/jazz instrumentation into their projects.

All that changes with this disc. Robert Miles, the electronica-genius/soundscape-crafter here meets Trilok Gurtu, a kind of world-jazz prophet with numerous distinguished recordings to his credit. My own view, coming primarily from the jazz side, is that it is a very significant, perhaps even watershed, accomplishment. These guys have done the seemingly impossible: they've retained the integrity and uniqueness of their separate musics while creating something that has probably never existed before (at least not in this exact configuration)--improvised electronic world jazz. It's pretty obvious from the other reviews at this site that not everyone is going to get on board. Electronica/trance/dance/DJ freaks may feel that there's just not enough rhythmic drive happening; jazzers, not enough improv. My own view is that each genre retains the core of its genius while their meeting generates something that is larger than the sum of its parts.

Highly recommended.

Got this one on spec being familiar with both Miles and Gurtu though only owning some Miles albums.

First things first though. This is not a Robert Miles album per se. Trilok Gurtu plays a big role here in terms of his presence and influence. His favoured percussive instruments and musical style have coloured Miles often simplistic but intense melodies.

In the end it is much more a jazz style with Indian/Asian flavour. The electronic component is well buried within the mix and works mainly to support the percussion and double bass which form the backbone of the tracks. Samples are almost absent from this album but when they're used they're far from intrusive.

At times very musical, at other times quite jarring and discordant, even at times quite laid back (even sleepy, perhaps a bit boring)it is an album that might not appeal to many especially Miles fans from way back. If you couldn't get "Organik" then forget about this one and if you don't favour jazz styles then walk away.

But for the rest of us, this is a quiet triumph for variety by a pair of established artists

A slightly bizarre pairing of two regarded musicians, in the form of pianist turned electronic composer "Robert Miles", and celebrated percussionist "Trilok Gurtu", have (on paper at least) nothing in common with each other musically. But here they are collaborating on a joint effort that encompasses everything from creative Jazz, to melodic electronic breakbeat. The dynamics behind this are relatively simple.....Miles provides the musician soundspaces, keyboards, melodies, breaks and string arrangments, and Gurtu provides his quite staggeringly array of tabla, snare, drums, clay pot & percussive beats either, over the top or subtly texturing the sound with compelling rhythms. (with the help of various artists such as `Nitin Sawhney' on guitar & `Adrian Bradbury' on Cello).

First track "Golden Rust" eases the listener in with deep cello grooves and a sensual keyboard arrangement, not unlike something that'd be heard in a smoky late night live jazz club. It's late night feel and seductive jazz tones feels more akin to Gurtu's multicultural arrangements, and although it doesn't sound like a radical electronic/ Percussion crossover, its still highly accomplished nonetheless, that bodes incredibly well for the rest of the album.

"Wearing Masks" is more relative to the work of Robert Miles, and his trance-like melodic passages are given ample room to morph into something more electronic and expansive sounding, negating thudding beats in favour of something more organic and contemplative, with a prominent piano arrangement the focal instrument in this track. Gurtu's percussion is subdued and understated, and focuses more on Miles' contribution to the track. And thus it's a strangely earthy sound that feels like a loose electronic arrangement, but stunningly beautiful in composition.

"Languages of Conscious Thought" is something that could have been lifted directly from Trilok's own "Glimpse" album, it's the rhythmic tabla that he made his name by, with the improvisational & Worldbeat influence jazz that earmarks his best albums. Complex tabla and clay pot rhythms are the order of the day here, and its hard not to be impressed, at how proficiently Trilok makes the execution of his playing, so superbly compelling. Miles' contribution here, is to subtly texture the music with keyboard hums & gentle samples, and appears to be helped with an additional musician that lends slight bass guitar.

"Inductive" is interesting for it use of warm synthesizers & samples, that evoke memories of prime era `Brian Eno'. Its a lush melodic effort that impresses with beautifully integrating the electronic and percussive elements of the two main artists involved, which has that balance of beautiful tension and organic percussion, all in one, that although nothing new, is brilliantly implemented and essentially taken the rich and time-honoured tradition of the tabla, and fused it with contemporary electronic studio wizardry, which feels like an reinterpretation of hypnotic Indian classical music, and more than justifies the (slightly unexpected) collaboration between these two artists.

It should also be noted that between the majority of these incredibly worthwhile tracks, these are punctuated with some truly gorgeous instrumental pieces that range from neo-classical, to soothingly detached ambient moments that are so good that it's feels incredibly short sighted not the flesh these interludes into full compositions. (Think: "Harold Budd/Brain Eno's - The Pearl").

This is a record that although having the cross over appeal to incite fans of both musicians is neither entrenched firmly with either musician. Instead its more of a even contribution from both artists, so those expecting an album or just electronica or India fusion persuccion will be disappointed, as it has its foot in both camps and makes no concession to either. What you should realise is this is an album of beautifully realised compositions and songs of undulating space and sophistication, its an album that in theory isn't restricted to musical trends, and therefore has the potential for substantial longevity. (provided you give ample time between listens), it works as elegant mood/seductive chilli music to have playing whilst you work or study. Or music that you can really lose yourself in, whilst listened to uninterrupted. Fans familiar with both artists should seek this out immediately, and those that aren't, should be aware that this is geared towards an eclectic listening audience, although it has to power to seduce new audiences.

I was in the mood for something different than the usual electronica/trance/smooth jazz that I listened to in years past. As it so happened, I accidently stumbled upon this album at a used store a few weeks ago.

After reading some of the blurb on the album and also being a fan of Miles "Dreamland", I purchased the album on the spot.

I was very surprised at the quality of the album. There was just "something" to the album that made it good to listen to. Unlike the other reviewers, I didn't really notate any of the names of the tracks.

The album as a whole is good and it is difficult to know where one song starts and ends. For those in the mood for something different than some of recycled music that exists out there, give this album a spin.

Once again, Robert Miles has transformed into an even more amazing artist and musician. This album is the natural progession of a true talent. The first track, "Golden Rust" is evidence enough that two artists from different times with different backgrounds can collaborate to create something truly inventive and original. For those of you who think Robert Miles is just about dance music, think again and definitely buy this album. You will not be let down...

The sticker on the cellophane says 'Two masters of music combine to produce a rich blend of electronica, nu-jazz and world music'. The liner notes describe Robert Miles (whose real name seems to be Roberto Concina) as 'studio wiz of international renown, pan-continental leftfield dj, eclectic radio producer and undisputed progenitor of electric dream music'. So there you are. I'm not sure why Miles is 'undisputed' and 'pan-continental' in the manner of a heavyweight champion, but he would seem to be one of those modern types who are forever flying around the world working on 'projects', and who manage to be famous and anonymous all at once. Whatever happened to four or five blokes being in a band? Trilok Gurtu is a virtuoso genre-busting percussionist who has taken Indian percussion (he plays 'mainstream' too) into jazz with people like John McLaughlin and Pat Metheny. The album also includes Mike Patto, which had me scurrying to Google, because I remembered him from the eponymous Patto (a jazzy rock band that never quite made it) of my youth, and thought he was dead. Well, he is - this is his son, which is kind of nice. Nithin Sawnhey pops up to play some acoustic guitar. An intriguing prospect then, and an opportunity to go into an area of music that is otherwise too nebulous for me to grasp (if it doesn't get a section to itself in a record shop I don't know what it is).

Well, it's very nice. Cool jazzy mood music - the aural equivalent of artfully-lit modern interiors. I like chilled music, but only when it's like this - when jazz colours and a touch of improvisation add some depth and intelligence to the moods. Double-bass tethers it all to the ground and gives it a fallible, human dimension, allowing the electronics to go off on little dreamy excursions. The percussion too, is a result of people hitting things, which is so much better than the programmed sort. The ghost of Miles Davis appears, as so often in this sort of thing, in muted trumpet epigrams. Occasional speech samples suggest a filmic ambience. The signature sound though, is the spacey reverberant tone of the Fender Rhodes electric piano. Odd that this once dated instrument sounds modern again. You can let the music drift by, you can listen to it, or you can do a bit of both. There's a sense of it not amounting to much (in a Chinese meal kind of way), and it does 'stop' rather than 'end', but that's probably in the nature of the ambient beast. File alongside St Germain, Lars Danielsson, Bugge Wesseltoft and Laurent De Wilde in the 'intelligent jazzy mood music' section. Now, if record shops had a section like that it would save me an awful lot of time.

I have never heard any of Robert Miles' stuff, but I am a Trilok fan, seeing him play live many times. This album jams. The whole thing is like one long piece. I think this is a very original album and the music really does not fall into any classification. There is a lot of electronic stuff going on, but the live bass and drums give the record a very organic feel.

A great journey on a MUZIK train that starts with you leaving your favorite chair at home to taking a sit on a train speeding away to the new horizons...

1. Allow time. Listen to the recording straight from the beginning to the end without interruption. Its 42:19 should tolerate you to take the break.
2. Be open-minded. Imagine. Some may hear a train approaching and passing by, others may picture a starship. This much depends whether you enjoy the current moment or are up to the future.
3. Second half of the recording is a bit too over-electronics'ed which you may like or don't..
4. The recording is not well-rounded at the end and stops neither with a question nor with an open end.
5. This recording will definitely not be background music. It can also hardly be listened to in a random mode.
6. You are lucky if you listen to Miles_Gurtu on an advanced audio as you will be able to grasp all those small details that add to the music and create its atmosphere.
7. What kind of music is Miles_Gurtu by genre? That is not another blend of Anglo- sax (Roberto Concina is from Italy) and Indian music (Trilok Gurtu is a famous percussionist originating from Indian).It is nicely put in the linear notes: "Improvised? Partly. A new kind of jazz? Maybe. The sound of surprise? Most definitely." To me, the recording is a logically developed creative nu-muzik.
8. Sit in your chair and enjoy.

I admit, I was very skeptical about this album. Being a fan since the early days before Dreamland, this was a step back. I started learning this is a good thing. Robert has never recording a album which sounded the same as the last. I found this album to be a mix of 23AM's tranciness and Organik's pure quality.
The production is flawless, down right, chill-out music. Great for a quiet night at home.

I've been a fan of Robert Miles since around 1995 (before Dreamland made it's big splash). I've been there at the record store on the first day of release on each of Miles' albums. However, this CD had no impression on me at all.

I've listened to the entire CD once each night (since it's release). I have yet to find a song that I really like. I wasn't expecting anything like his other CD's (since this is a collaboration with Trilok Gurtu) but I was sorely disappointed. The 3 stars are only given because I've been a fan for over 9 years. I highly recommend that you sample the CD somewhere before you buy it.