CD - Track Listing
1 Sufi call 5:31
2 Paani Barsan 5:52
3 Tu ne kaha 5:01
4 Sajjan 4:40
5 Fariyaad 6:11
6 Kaaga 5:33
7 Iss Jahan Mai 5:10
8 Naa jaa - Don’t go 5:29
9 Future Child 4:11
10 Divaani 5:39
11 Indian Morning 4:52
Description
Produced by Serge Glanzberg and recorded in Paris, this is Najma’s 7th album solo album. Musicians from very diverse cultures and backgrounds were used adding even more multiculturalism to the flavour of Najma’s past works. Paris was selected to record the project because Najma felt that, at that time, Paris was the cultural hybrid melting pot of World Music. She says, “Its charisma and aura”, the availability of musicians and a general good vibe made it the right choice. In this album Najma's soulful, semi-classical Indian voice is the centrepiece, enveloped by music that continues to cross over to the jazz world but this time incorporating semi-acoustic Mediterranean influences and instruments. The songs remain earthy, grounded and consistent with her past recordings. For Najma, it was extremely important to keep the same integrity of her previous recordings. Najma surrounds herself with some remarkable musicians, including Steve Coleman (saxophone), Olivier Louvel (guitarist and Saaz player) and Felix Sabaleco (drums). Najma, easily, switches back and forth between the slightly western vocal ideas for example, the short Staccato breathier phrases to the long dreamy notes of Raags, she has managed to go full circle.
The result is a recording that Najma says, "Is a bit more daring, in terms of opening the doors to a more modern, semi- acoustic, experimental and adventurous journey into Indian World Music.
‘’This time we had the opportunity as well as the maturity in our collaboration to be able to go all the way in our common and respective eclecticisms, to rediscover ourselves in a reincarnation on several different levels. With ‘Fariyaad’, Najma wanted to be surprised by a music that emanated from the confrontation of her origins with her desires. Daring confluence, newness, doubt, liberty, she wanted to take the road already walked with and for others, but this time to inverse the relationship of exoticism. To consider jazz, rock, drum ‘n’ bass, etc., as exotic elements from the point of view of her tradition and to be the one who invites.
Thus, it was necessary to weave around Najma’s compositions, a new language where several musical universes could find their place and reveal the richness of her influences without them being diluted.
In this album the predominance of Mediterranean instruments distils an impression of India, liberating interpretation from the constraints of tradition. It was, as if, with each respiration, a new breath caused Indian music to vibrate anew. By integrating Ghazal and elements of Indian semi-classical vocals with harmony lines that are more or less contemporary, we have also sought to reincarnate the psychedelic spirit and aesthetic as near as possible to the personality and aspirations of Najma. ‘Fariyaad’, therefore stands as another unique and ground-breaking album from Najma Akhtar’’.
CD - Track Listing
1 Sufi call 5:31
2 Paani Barsan 5:52
3 Tu ne kaha 5:01
4 Sajjan 4:40
5 Fariyaad 6:11
6 Kaaga 5:33
7 Iss Jahan Mai 5:10
8 Naa jaa - Don’t go 5:29
9 Future Child 4:11
10 Divaani 5:39
11 Indian Morning 4:52
Description
Produced by Serge Glanzberg and recorded in Paris, this is Najma’s 7th album solo album. Musicians from very diverse cultures and backgrounds were used adding even more multiculturalism to the flavour of Najma’s past works. Paris was selected to record the project because Najma felt that, at that time, Paris was the cultural hybrid melting pot of World Music. She says, “Its charisma and aura”, the availability of musicians and a general good vibe made it the right choice. In this album Najma's soulful, semi-classical Indian voice is the centrepiece, enveloped by music that continues to cross over to the jazz world but this time incorporating semi-acoustic Mediterranean influences and instruments. The songs remain earthy, grounded and consistent with her past recordings. For Najma, it was extremely important to keep the same integrity of her previous recordings. Najma surrounds herself with some remarkable musicians, including Steve Coleman (saxophone), Olivier Louvel (guitarist and Saaz player) and Felix Sabaleco (drums). Najma, easily, switches back and forth between the slightly western vocal ideas for example, the short Staccato breathier phrases to the long dreamy notes of Raags, she has managed to go full circle.
The result is a recording that Najma says, "Is a bit more daring, in terms of opening the doors to a more modern, semi- acoustic, experimental and adventurous journey into Indian World Music.
‘’This time we had the opportunity as well as the maturity in our collaboration to be able to go all the way in our common and respective eclecticisms, to rediscover ourselves in a reincarnation on several different levels. With ‘Fariyaad’, Najma wanted to be surprised by a music that emanated from the confrontation of her origins with her desires. Daring confluence, newness, doubt, liberty, she wanted to take the road already walked with and for others, but this time to inverse the relationship of exoticism. To consider jazz, rock, drum ‘n’ bass, etc., as exotic elements from the point of view of her tradition and to be the one who invites.
Thus, it was necessary to weave around Najma’s compositions, a new language where several musical universes could find their place and reveal the richness of her influences without them being diluted.
In this album the predominance of Mediterranean instruments distils an impression of India, liberating interpretation from the constraints of tradition. It was, as if, with each respiration, a new breath caused Indian music to vibrate anew. By integrating Ghazal and elements of Indian semi-classical vocals with harmony lines that are more or less contemporary, we have also sought to reincarnate the psychedelic spirit and aesthetic as near as possible to the personality and aspirations of Najma. ‘Fariyaad’, therefore stands as another unique and ground-breaking album from Najma Akhtar’’.
Renowned vocalist takes us down The Ganges, Niger, Thames, Shannon, Mississippi with ‘Five Rivers’. Exploring synergies
between the ancient poetic art form of the Indian Ghazal and Western song traditions.
CollaboratIons with world-class artists, diverse as Jah Wobble, Jimmy Page & Robert Plant, Andy Summers, Basement Jaxx, Jethro Tull, Philip Glass, Gary Lucas (Captain Beefheart) and more....more
Connecting with local musicians, Swedish musician Karl-Jonas Winqvist combines traditional Sengalese sounds with daring experimentation. Bandcamp Album of the Day Mar 2, 2021
