| Indo jazz | |
|---|---|
| Stylistic origins | Jazz,classical,Indian classical music,raga |
| Cultural origins | Mid–1950s |
| Typical instruments | Saxophone,guitar,bass,drums,violin,sitar,tabla and otherIndian classical instrumentations |
| Other topics | |
| Folk jazz,jazz fusion,minimalism,serialism,twelve-tone technique | |
Indo jazz is a musical genre consisting ofjazz,classical andIndian influences. Its structure and patterns are based on Indian music with typical jazz improvisation overlaid. While the term itself may be comparatively recent, the concept dates at least to the mid-1950s. Musicians includingJohn Coltrane,Yusef Lateef and others reflect Indian influences.
The Mahavishnu Orchestra might be an early example of a jazz group with Indian influences asJohn McLaughlin at that time was a devotee ofSri Chinmoy. Others found the improvisational elements already in someIndian music to fit well with jazz. AlthoughJohn Mayer andJoe Harriott are perhaps the most important influences in the movement. In additionAlice Coltrane is also known for relational work.[1]
In the early 1970s,L. Subramaniam pioneered a new movement of Indo-jazz fusion, which he called "neo-fusion". It became very popular especially after the release of his albums such asFantasy Without Limits (1979),Blossom (1981),Spanish Wave (1983),Conversations (1984),Indian Express (1985), andMani and Co. (1986), in which he collaborated with musicians includingStephane Grappelli,George Duke,Stanley Clarke,Tony Williams,Herbie Hancock,Larry Coryell,Emil Richards among others.
In America, Broto Roy,tabla percussionist, began composing and recording his brand of "Raga-Jazz" with his debut CDAmerican Raga (1998), which was taken aboard and played on theInternational Space Station whenDennis Tito (America's first space tourist) blasted off into space.EMI India released it in India. His second CD,Total Immersion – Live at the Kennedy Center, is only the second CD authorized for public release by theKennedy Center (the first was byPavarotti). His Quartet has released two CDs:Ancient Algorithms (2015) andAll Barriers Fall (May 15, 2018).
One of the most innovative Indo-jazz experiences comes from Bombay nativeAshwin Batish. Although classically trained in North Indian music by his father PanditShiv Dayal Batish, Ashwin's growing up in the West, first UK, then USA, gave him a unique insight into the world of Western music. His frequent sit-ins with jazz musicians[2] and his exposure to western musicians such as his father's collaboration withGeorge Harrison for theBeatles movieHelp!,[3] sparked in him a desire to stretch his classical music roots into the world of jazz and fusion. Ashwin has, for the past 35 years, been at the forefront of combining his classical sitar music with rock, pop and jazz. He has received critical acclaim from jazz and world music writers and audiences. His latest release,Jazz Is Where Is, is with his "fiery sitar power trio" (Nigel Wood, Ear To The Globe, Ireland).
Batish is presently on the faculty of the University of California, Santa Cruz[4] where he teaches Indian music percussion theory and practice. Upon the invitation of the university, Ashwin will be teaching a five-week 2020 Summer intensive calledRaga Jazz – an application of Indian music to Western Instruments.[5]
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"Mayer is very definite about that distinction, as only someone could understand who grew up in Calcutta studying Indian music with Sanathan Mukherjee whilst simultaneously learning Western music with Melhi Mehta. 'Indian music is basically built around a linear technique', he says. 'There's no harmony in the Western sense, just one extended melodic line accompanied by a drone. The absence of harmony is compensated for by very complex rhythms. As I found out more about Western music, I realised that there are similarities with the techniques ofserialism. In serialism you are dealing with anatonal sequence, and inragas, the Indian scale system, you are dealing with atonal sequence, but one which goes up one way and down another, what's called the aroha-avaroha. In most of the music we play in Indo-Jazz Fusions, the music is all scored. I don't believe in too much improvisation, and when there is space for improvising, this is done in a format which reminds the player of the notes of the raga. [...]' [...] Indo-Jazz Fusions is just such proof of the folly of labels. It isn't a question of the music being jazz, or Indian, or classical; it is a thoroughly satisfying blend of ingredients into something genuinely new, original and forward looking."[6]
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