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Forty decades after George Harrison first twanged a sitar, Indian crossover is still going strong. Sanjay Mishra said that growing up in India he tried to be like Harrison, and he's been doing that since his debut,
Blue Incantations, 11 years ago. On that album, Mishra had Jerry Garcia as a guest on three tracks, some of the last music the Grateful Dead guitarist would record. Jerry's gone, but Sanjay is still here with his fourth CD. More than Harrison, Mishra follows in the tradition of John McLaughlin's influential east-west fusion group, Shakti. Mishra, however, mixes in more western elements, playing his fretless guitar in raga modes atop rhythms that are sometimes free alaps and other times minimal electronica grooves. While most of the music is Indian-derived, he brings his classical background to bear on the counterpoint of Enrique Granados's "Oriental" and jumps into some jamming funk on "The Gateless Gate" with Steve Gorn blowing bluesy bansuri flute over a walking bass line. Some of
Chateau Benares is a little jammy and aimless, especially the tracks with looped grooves like "Loop 4 Alternate." Mishra works best on more heavily arranged tracks like the guitar-synth chamber piece, "Oslo," and "The Bells of Heaven Ring," where Mishra weaves his guitar between the rivulets of Barun Pal playing the hansa veena, a sitar-like lute.
Chateau Benares is an album of intoxicating elegance and ruminative graces--check in and you won't want to leave.
--John Diliberto
Product Description
Thanks in no small part to "Blue Incantation," a highly regarded collaboration with fellow guitarist Jerry Garcia released in 1995, Sanjay Mishra has developed a reputation for creating imaginative, cross-cultural soundscapes. "Chateau Benares," in which East again coalesces with West in ways that sometimes border on the hypnotic, follows suit.
The Indian-born, Virginia-based Mishra draws on a wide variety of guests this time around, including tabla player Samir Chatterjee and turntablist DJ Logic, to create a path that extends from traditional microtonalism to contemporary hip-hop grooves and electronica. Yet even when exploring more contemporary tacks, Mishra likely will not disappoint longtime followers. DJ Logic's contributions on "Logical Journey," for instance, are clearly designed to complement the guitarist's melodic flair and the album's ambient thrust.
Still, nothing rivals the mostly acoustic ballads as far as sheer lyricism is concerned. Particularly enjoyable is the pairing of "The Ladywith the Flowers" -- featuring Barun Kumar Pal on hansa veena , an Indian slide guitar -- and "Since Then," distinguished by Steve Gorn's soulful flute. Another charmer, albeit a more courtly one, is "Oriental," a sparkling weave of melody and countermelody.
Given a little airplay, "Chateau Benares" should attract a lot of newcomers. It's easy to imagine fans of John McLaughlin, Michael Hedges and Kaki King being drawn to "The Gateless Gate," which finds Mishra vibrantly teamed with guitarist Keller Williams and percussionist Chatterjee. Whatever the album's commercial fate, Mishra's artistry and vision certainly deserve the exposure.
Mike Joyce, Wahington Post