Periods of Light, Periods of Darkness

As a child I grew up to appreciate natural light as a scarse commodity to be valued and cherished, since much of the time one had to be content with a dark playground and mere artificial light. When I opened my eyes in the morning to see daylight pouring in through the curtains a sense of aliveness and joy pervaded my whole being as I watched the specks of dust dancing in the sunbeams with a pure sense of wonder at and appreciation of nature’s miracles.  This is probably the case with most children all around the world but I do like to think that those of us born and raised on the shores of the cold northern seas develop a special relationship with darkness and light.

The summers stand out like oasis’s filled with light-wonder, but most living in Finland takes place when light is retrograde and the absence of it spreads like a cool protective sheet over the land. Protective because despite all his or her complaining the northern person feels quite at home when the bright lights have been dimmed on nature’s stage and one can brood upon things quietly in solitude. The melancholic, nostalgic feelings aroused by this form of contemplation are the source of much that has come to be considered of high artistic value in Finland.

The inner spirit and culture of a land cannot remain unaffected by the various proportions of light and dark that nature has ordained upon its denizens. The alternations of shadow and light scribe the code of the self to a degree, just like genes and upbringing. Finland might well be the place where the senses are sharpened to notice the infinitely subtle words that nature speaks to us through its Morse-code of light and darkness.

I guess one cannot speak of Finland and light without eventually mentioning Aurora Borealis. When I first saw the Northern Lights as a child somewhere on a cold winter night in central Finland I felt I was put in touch with something larger than myself. I stood there taking in the cold crisp air, feeling the ancient darkness spreading in all four directions, and witnessing it being broken by a display of such grandeur that for a moment I felt outside of time and space, or like time and space were inside me, rather than me inside them. I did not say a word to anyone as these things are not discussed in our culture, at least not anymore. Maybe in the past people did, but I have my doubts as silence has pervaded this land since the beginning of time. Occasionally poets, painters and composers have attempted to break the silence by conveying these things through their art. The best attempts having become embedded in the Finnish psyche as national archetypes.

A feeling of awe towards nature may well be the first religious-spiritual feeling a person of the north comes to know. This may sound archaic but still holds true in most cases, even for urban dwellers. The cities in Finland are too small to isolate one completely from nature as it breaks through concrete and stone and the ancient gods and goddesses still lend their names to many places.

As a teenager born and raised in the southern city of Helsinki, the rite of passage to the tundra’s of Lapland was inevitable at some point.

I took off from a hotel with all its securities and modern conveniences and headed for the barren wilderness, which has been inhabited for millennia mainly by tribal descendants of Eurasian nomads who found their home here after the ice age had passed. Rock paintings can still be found in many places dating back to those primordial times.

On my way to the borders of the National Park I passed by an African-American man who was there enjoying the view with his son. The son said to the father, “look, he’s going into the wilderness! Why can’t we?” to which the father replied, “he is one of the local tribal people, he knows the forest”. There I was, a city-boy who knew not much about the wilderness, striding with pride in my chest after this compliment that I knew not to be quite accurate but which made me feel confident nevertheless. I was a Finn and on my way to a meeting with the midnight sun. Life couldn’t be better!

I hiked deep into the woods that day, or at least that’s how it felt, until I found the ideal camping place, set up my tent and built a fireplace. The scenery around me was breathtaking and I was utterly and completely seduced by this ancient landscape. The once proud and ancient mountains that stood as high as the Himalayas when the earth was young are now just heaps of rock looking like a giant had hammered them down to hills of rubble a few kilometers high. Even so they are of such ethereal beauty that I could not take my eyes off them.

I decided to climb to the top of the hill to wait for nightfall from where I watched the endless wilderness bathed in the most serene and surreal light I have ever witnessed, as the ‘night that is not really night’ started descending upon me and my non-human companions. Close to me was a Seita, a little mound of rocks worshipped in these parts since ancient times and a pagan practice that still survives to this day.  I said a little prayer to the nature spirits who inhabit these sacred objects and felt blessed.

It was like witnessing the world going into suspended time and where it’s difficult to say where you end and the world begins. All the animals including the birds became perfectly quiet even though all was light around. The sun never fully fell below the horizon but was sending light that was so overwhelmingly different from anything that I had witnessed before, that it almost made we want to weep. Okay, I admit I wept. Such is the effect of the phenomena on one’s state of mind. I sat there transfixed until I realized that the whole night had passed and the night-light was turning into daylight once again. I had witnessed something sacred and wanted more.  Eventually I would venture on a whole two-week march away from civilization. I had never before experienced such solitude as during those days basking in the midnight sun and almost completely losing my sense of time. The world and its goings on seemed distant and even insignificant in that new realm I had discovered.

On my way back to civilization I camped just outside the National Park before crossing the border. A group of German tourists saw me gathering firewood and got excited seeing a genuine “tribal” emerge out of the woods. I did not have the heart to tell them the truth and posed for their cameras thinking that it was maybe not too far from the truth.

The opposite of this day-night is the night-day of the winter season.  Nowhere is it as extreme as within the Arctic Circle.  I had the privilege to live in the extreme north of Finland with an elder from the Sami tribe for a period after his wife had died and it was during this time that I had my first experience of the Kaamos as this dark period is called. During Kaamos period the sun peeks hardly at all above the horizon and even then only partly and soon sends the northern tundra back into the womb of arctic darkness. This lasts for two months.

Unto was the name of my Sámi friend, and he was the real thing. While casually beheading a reindeer he asked me if I would like some of it for dinner after my skiing trip to the hills. I shyly told him of my vegetarianism to which he laughed kindly and with real amusement. And then decided that fish was vegetarian enough to which I had no choice but to agree.

When the little light that nature was generous enough to release was dawning I would put on my skis and head off to the hills. Soon after however the light would start to fade behind the snow-clad hills and darkness would descend over everything leaving only the luminous snow to light my way. I stood there transfixed, watching the silhouettes of reindeer herds against the darkening backdrop. What an exhilarating experience to be completely and utterly immersed in that luminous darkness!

Sometimes my friend Unto had to drive out on his ski-do to look for me as I had wondered too far into the hills. He would throw me a rope and holding onto it I would hitch a ride back through the darkness to the safety of his hut, where we would indulge in a glass of Vodka while watching the news about a world that seemed so distant. We never really talked, but nevertheless felt comfortable in each other’s presence. That is the way of northern people.

There is nothing quite like the endless snows of Lapland and the enveloping darkness of Kaamos. A strange longing for something that is difficult to express in words grips the soul of anyone new to this experience. And who knows, maybe it does that even to the old and seasoned reindeer herders. Along with the darkness comes the silence. Not just normal silence but silence that is devastating on some level yet strangely rejuvenating at the same time. To the urban person the immensity of it can be slightly disconcerting. One will never be quite the same after experiencing it.

I loved every moment of my stay with Unto but at the same time was glad to make my way back south. Some years later Unto came for a visit to Helsinki, which he did not relate to very well. A few years later he passed away.

Walking down Helsinki’s Aleksanterinkatu after a shower of autumn rain, the air was clear and rays of sunshine were breaking through the clouds. I headed towards the harbor to watch fishermen bringing in their harvest from the sea.  Light was playing in the waves and reflecting from the boat windows creating a joyous mood while the fishermen touted their catch to passersby. The adjacent market place was filled with people of remarkable diversity. More and more people of various backgrounds and ethnicity are bringing their own color and life to this melancholy seaside port. Maybe they will eventually succumb to the arctic nostalgia too, or who knows, maybe they will pull us kicking and screaming out of this isolation and silence to finally join the rest of the world.

CD Review: Miles From India

I placed the first disc of this album in my player with some trepidation wondering to myself if this indeed was the long awaited holy grail of Indo-American jazz fusion. Here two streams of musical tradition dear to me come together; namely Jazz and Indian classical. The album at hand is essentially a recreation of music by Miles Davis ranging from his 50′s quintet to the late 60′s and early 70′s fusion period with most emphasis on tracks from Kind of Blue and Bitches Brew sessions.  The project has been realized by pianist/arranger Louiz Banks from India and Bob Belden from America, known for his work on the Miles Davis boxed sets for Sony-Columbia.

To quote an interview* with Bob Belden, ”Yusuf Gandhi, who heads Times Square Records, and I have had conversations about doing this for the past several years. Yusuf had the connection to India and an understanding of Indian classical music along with an appreciation for jazz and also fusion music. So we had some mutual interests there. At some point we were talking about potential projects and I was just in the process of doing the On The Corner boxed set. Of course, Miles incorporated tabla and sitar on those sessions from 1972, so I suggested revisiting Miles’ Indian influenced music using some of those guys from On The Corner along with some Indian classical musicians and calling it Miles…From India. Yusuf said, ‘Perfect,’ and that was it.”

“We used the internet a lot in dealing with file sharing sites. And I was also able to use skype to produce two sessions at the same time in different locations from my apartment. For ‘It’s About That Time’ I had Ndugu Chancler playing drums on the West Coast and Robert Irving in Chicago playing Hammond B-3 organ, and we were all connected in a video conference via skype. They were playing back their parts, suggesting stuff, conversing back and forth with me producing back in my New York apartment. In fact, you can make a whole record that way. You leave less carbon footprints that way.”

Like Belden stated in the above interview Miles had used electric bass and guitar before, but with On the Corner he had introduced tabla and sitar into the sound palate and that is the thread that is picked up by Miles From India. The line up on this record is nothing short of an east-west-all-star ensemble despite the fact that many of the tracks were layed down in separate sessions, on separate continents.

Some of the Indian musicians on these sessions like Louiz Banks for example have long been associated with jazz but many are mostly from the classical side, both Carnatic and Hindustani. Louiz (anyone know why the s has changed into z over the years?)  is acknowledged as India’s premier jazz pianist as well as a prolific composer of soundtracks for both stage and screen. As a positive surprise to me is the presence of my favorite Hindustani violinist Kala Ramnath on this album. And she never lets me down, this album being no exception. Her purely classical playing sits in perfectly in this eclectic jazz setting.

While the Indian musicians recorded their tracks in Mumbai and Chennai, the Miles alumni went about recording their respective parts in New York, after which everything was digitally pasted into a coherent whole. I guess technology does sometimes actually unite the world, as the cliché saying goes. If this album is what we can come up with, I raise no objections. The end result sounds surprisingly organic and natural, not “cut and paste” in any way as might be the case with such projects.

The album commences with the classic Spanish Key, following very much in the footsteps of the original departing mainly with Shankar Mahadevan’s vocals and Selva Ganesh’s khanjira (frame drum) bringing in a strong South-Indian flair. The track begins with a subdued duet between Roney and Banks which intensifies as Banks switches to Fender Rhodes (I think) and Roney whacks on the mute. As with the original we get treated to a near 20 minute trance-inducing acid trip across space and time.

All Blues (click here to listen) happily switches trumpet to sitar, starting with Ravi Chary’s brief sitar solo before giving way to Banks’ personal take at Bill Evans’ classic solo while a delightful alto sax duet by Rudresh Maranthappa and Gary Bartz awaits around the corner. The first version of Ife is taken at fast tempo with Kala Ramanath taking center stage with her violin fireworks. The track maintains momentum right trough and takes one back to the heyday of jazz fusion in the 70′s not least when Pete Cosey (Agartha & Pangea) rips at his electric guitar with no energy lost since back in the day.

It’s About That Time (click here to listen) is again a very funky track akin to the original yet given new wind by the driving violin of Kala Ramnath contrasted with Gary Bartz’s horn solos in an almost jugalbandi-like way. Just for this it is worth listening to the album. Next in line we have  the electric bass heavy Jean Pierre that has a grounding and solid feel to it, but nevertheless remains my least favorite track.

So what features Banks on Rhodes again and Chick Corea on piano. The 50′s material is given somewhat of an electro-Indian flavor and I find no misery in that, though I suspect someone might. Miles Runs the Voodoo Down is exactly the delightful chaos one would expect it to be and perhaps most true to the original among all the tracks. The track features a workhorse of a rhythm section including Michael Henderson, Lenny White and percussionists Sivamani and Vikku Vinayakram.

Blue in Green is a touchingly beautiful version with east and west mingling in an unheard of way; Shankar Mahadevan’s vocals, Ramnath’s violin and Roney’s trumpet create an ethereal soundscape over the rhythmic bedrock of Miles veterans Jimmy Cobb and Ron Carter. On Great Expectations Marcus Miller’s bass clarinet drives the tune, accented by Chary’s sitar and Wallace Roney’s trumpet. The slow version of  Ife witnesses saxophonists Dave Liebman and Gary Bartz and original tabla player Badal Roy in a On the Corner reunion that leaves none cold. The album ends with a nostalgic elegy specifically commissioned and written for this project by John McLaughlin.

In summary one can say that the “electric period” tracks are more faithful to the originals whereas the acoustic ones off Kind of Blue supply the most startling departures, but all in all this is a breathtaking collaborative effort and a very inspiring tribute to Miles’ music serving as a testament to his musical expansiveness and global influence. This is unpretentious and inspired jazz fusion and will certainly appeal to fans on Miles’ music and might even serve as an introduction to his music for someone yet unacquainted. For Indian musicians and connoiseursthis is an absolute must. Never come and tell me you haven’t heard this one.

Full track list is as follows:

Disc 1
1 Spanish Key 19:44
2 All Blues 9:21
3 Ife (Fast) 8:41
4 In a Silent Way 2:33
5 It’s About That Time 10:00
6 Jean Pierre 11:36

Disc 2
1  So What 8:09
2 Miles Runs the Voodoo Down 9:03
3 Blue in Green 13:07
4 Great Expectations 8:39
5 Ife (Slow) 14:11
6 Miles from India 6:53

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The personnel who appeared on original Miles recordings: saxophonists Dave Liebman (1972-74) and Gary Bartz (1970-71), guitarists Mike Stern (1981-84), Pete Cosey (1973-76) and John McLaughlin (1969-72), bassists Ron Carter (1963-69), Michael Henderson (1970-76), Marcus Miller (1981-1984), Benny Rietveld (1987-91), keyboardists Chick Corea (1968-72), Adam Holzman (1985-87) and Robert Irving III (1980-88), drummers Jimmy Cobb (1958-63), Leon ‘Ndugu’ Chancler (1971), Lenny White (1969) and Vince Wilburn (1981, 1984-1987) and tabla player Badal Roy (1972-3)

The Indian contingent is represented by keyboardist Louiz Banks, drummer Gino Banks, alto saxophonist Rudresh Mahanthappa, sitarist Ravi Chari, Vikku Vinayakram (a charter member of Shakti) on ghatam, V. Selvaganesh (a member of Shakti and Remember Shakti) on khanjira, U. Shrinivas (from Remember Shakti) on electric mandolin, Brij Narain on sarod, Dilshad Khan on sarangi, Sridhar Parthasarathy on mridangam, Taufiq Qureshi and A. Sivamani on percussion, Kala Ramnath on Carnatic violin, Rakesh Chaurasia on flute and Shankar Mahadevan & Sikkil Gurucharan on Indian classical vocals.

*This interview has appeared elsewhere before

Something old, something new

The past year has been one of travel, photography and new schemes. A wealth of photographic material awaits to be posted along with musings on the myriad phases of the Byzantine Empire and it’s traces in modern Istanbul. Finally I got to walk among the ruins of it’s past glory and at the same time fall in love with Istanbul’s bustling yet friendly and approachable Eurasian ways. A place I will return to sooner than later.

Chennai – The Underestimated Metropolis

Walking down Marina Beach with the sea breeze bringing in uncannily familiar and soothing olfactory sensations, I cannot help thinking to myself how this city perched on the shore of the Bay of Bengal has managed to make itself dear to me in a relatively short time. Maybe it is my fascination for seaports, maybe the calm and happy people, or perhaps the long history of Madras as a major urban center with a revolving door for traders, seafarers, explorers and religious mendicants to pass through.