THE SECOND BEATLES-RELATED THING I'VE EVER CARED ABOUT

On Tuesday (10/19), Rhino is releasing a limited-edition boxed set (three CDs, one DVD) of Ravi Shankar's collaborative albums with George Harrison. From the press release:

The DVD is a rare concert performance of Ravi Shankar’s Music Festival From India recorded at London’s Royal Albert Hall in 1974. The albums include the acclaimed Chants Of India (1997), The Ravi Shankar Music Festival From India (studio version 1976) and Shankar Family & Friends (1974). The 56-page book includes a foreword by Philip Glass, a history of George and Ravi “in their own words” and rare photographs from both family archives.

The personal and musical friendship between Ravi Shankar and George Harrison has been known and well documented for decades now. It was a friendship that was powerful enough to make an impact on the large, musical life of the late nineteen sixties and it reverberates, as clearly, even today – from the Foreword by Philip Glass

In 1973 George Harrison signed Ravi Shankar to his Dark Horse Records label. The first joint recording project between George Harrison and Ravi Shankar, Shankar Family & Friends brought together renowned Indian classical musicians such as Ustad Alla Rakha, Lakshmi Shankar, and Shivkumar Sharma alongside Western jazz and rock musicians including George, Ringo Starr, Tom Scott, Klaus Voormann, Jim Keltner and Billy Preston. One half of the album comprises instrumentals and songs, while the second half is a thematic ballet to a yet un-staged performance.

Ravi Shankar’s Music Festival From India (live from the Royal Albert Hall) was the first artistic event organized and sponsored by George Harrison’s Material World Charitable Foundation, bringing together a 17-piece Indian classical ensemble as well as a solo sitar performance by Ravi Shankar accompanied on tabla by Alla Rakha.

In 1997 George Harrison and Ravi Shankar again collaborated on an album. This time Ravi created music for ancient Sanskrit chants with the challenge of maintaining the authenticity of the ancient verses. Released in 1997, Chants Of India are timeless, Vedic verses chanted for the well being of man and mankind.

I'm most interested in the Shankar Family & Friends album, because it's a weird, somewhat kitschy blend of Indian music and prog-rock. (In that way, it sort of reminds me of Carlos Santana's weird, mystical albums from 1973-75—Love Devotion Surrender with John McLaughlin and Illuminations with Alice Coltrane in particular, but also Welcome—which have always been among my favorite parts of his catalog, right next to the triple-vinyl/double-CD live disc Lotus. To be honest, I really don't have much use for anything Santana did after 1975.) The songs on its first side are nice, but it's the second side, which is taken up with the score for a never-produced devotional ballet, that's the real hot stuff. The mix of sitar, tabla and harmonium with flute, horns, analog synths and occasional guitars all swirls together into something that sounds like a lost Popol Vuh soundtrack to an imaginary, never-produced, Indian-set Werner Herzog/Klaus Kinski movie. When people describe something as "so '70s," they usually mean it in a scornful, disco-era-Bee Gees way. But this music is totally '70s in a stoned-but-totally-earnest way that yes, screams 1974, but that's a good thing. I've said many times that I'll take music from 1969-75 over music from 1964-68 without blinking. You wait: before the end of the year, Madlib or someone similar will be sampling "Nightmare: Lust" from this album.

I get the feeling that even on Chants of India, the one on which he got co-billing, Harrison's role on the records compiled here was basically that of patron, producer and fan. And that's a good thing, as far as I'm concerned. I was never a Beatles fan, nor a fan of the various members' solo work. (See the title of this post? The only other Beatles-related thing I care about is Live Peace In Toronto, the John Lennon/Yoko Ono album, and I really only like the screechy second half, not the rockabilly covers that kick it off.)

By the way, the packaging on this box is fucking glorious. I'm not kidding at all; the last thing I got that was even half this awesome was the Revenant Albert Ayler box, Holy Ghost, and this doesn't have that thing's annoying aspects, like the pressed flower and all the other stuff. It's just an incredibly beautifully printed hardcover book, some oversized sleeves for the CDs (with poster-ish liner notes) and a magnificent outer case. Plus a "certificate of authenticity" 'cause it's a limited edition. But it's just fantastic to look at. Click the image at the top of this post to see a blown-out picture of the whole thing.

GRAPPLING WITH THE ORGAN

I'm not a big fan of organ jazz. Never have been. I tried really hard to like Larry Young some years ago, because I was informed by well-regarded critics that I should, but very little of his output did a thing for me. The Princeton University library had his Mosaic Records boxed set, so I had someone who worked there get it for me and I dutifully explored its contents (six albums under his leadership and three credited to guitarist Grant Green), ultimately being bored by almost everything except a few isolated tracks from Of Love and Peace and Mother Ship, the latter of which wasn't even released in Young's lifetime, I don't think. I also picked up Lawrence of Newark when that was reissued, and though some of its spacey Afro-psych-drone stuff is interesting, I still prefer Pharoah Sanders's and Alice Coltrane's contemporaneous work.

I've heard even less by Jimmy Smith - only two of his Blue Note albums, House Party and The Sermon!, and nothing else. I have a Mosaic Select three-CD set by Big John Patton, and that's got a few enjoyable cuts, especially ones from the latter half of the Sixties when he got a little trippy/adventurous, but overall I just have the same aversion to the Hammond B-3 that I do to straightahead jazz guitar. It's too limited, and most of those limits are self-imposed.

All this is to say that I've heard two organ albums in the last month or so that have surprised the hell out of me.

The first is the latest release from Norwegian avant-improv ensemble Supersilent, simply titled 9. I wrote about it here, and like I said in that review, it's not jazzy or even particularly musical; it's an hour or so of dark, throbbing, sputtering, humming ambient music, best understood as a kind of tribute to early, classic Tangerine Dream. It's really too bad that a) Supersilent never give their albums titles, and b) Coil already took Music to Play in the Dark, because that's what 9 is, really - the best late-night listening since Disc Two of Miles Davis's Pangaea, Neil Young's Dead Man soundtrack or Godflesh's "Pure II," none of which sound anything like it. 9 is one of the most unique pieces of music I heard last year - my favorite Supersilent release, in fact.

The other organ-centered album I've been digging is Decoy's Vol. 1: Spirit, a free improv session featuring Alexander Hawkins at the keys, John Edwards on bass and Steve Noble on drums. I'd previously heard that rhythm section on NEW's Newtoons, where they were backing extremely electric guitarist Alex Ward in a live racket that reminded me of Raoul Björkenheim sometimes and Dick Dale other times. I'd also heard Noble in duet/single-combat with Derek Bailey on an awesome disc called Out of the Past, recorded in 1999 but only released last year. Both Newtoons and Out of the Past made my Top Ten list for the Village Voice's jazz critics' poll, and I'm wondering now if I'd heard Spirit earlier, if it might not have joined them up there. Hawkins is a thoroughly assaultive player, definitely rooted in free jazz but exploring a powerful riffing style closer to Iron Butterfly or Deep Purple's Jon Lord than Smith, Young or Patton, and the Edwards/Noble team is as crushing as ever, seemingly trying to dismantle their instruments as much as play them. The disc has six tracks ranging from just under three minutes to just over fourteen, and every one is unremittingly intense and thoroughly awesome. (There's already a second release, Vol. 2: The Deep, with five more tracks, but that one's vinyl-only, and limited to 300 copies. Luckily, Forced Exposure's PR guy sent me a CD-R, and I'm very much looking forward to checking it out.)

And speaking of Deep Purple...