Rakesh Chaurasia

Zakir Hussain & Rakesh Chaurasia preview: a conversation in concert

Kalakendra brings one of the world's greatest percussionists and a bamboo flute master to perform traditional Hindustani music

In my thirty-odd years as a lover of all kinds of music, I have seen Zakir Hussain perform live four times: twice with Remember Shakti, and twice with Masters of Percussion. On every occasion, the California-based tabla titan has astounded me with the depth and breadth of his musical intelligence: not only his fine attention to detail and his willingness to be a supportive accompanist, nor his wide-ranging curiosity and generosity with international collaborators such as John McLaughlin and fancy-pants Steve Smith, nor his exuberance and pedagogical approach to performance (sometimes giving mini-lessons mid-concert).

What really stayed with me was that Hussain, one of the world’s most renowned musicians, was always trying something new, whether it was some advanced technique or a unique instrument. And of course the global collaborations and conversations continue, most recently with a bunch of my own kin.

Zakir Hussain & Rakesh Chaurasia perform Sunday in Portland.

At this Sunday’s concert at First Congregational Church in downtown Portland, Hussain performs Hindustani classical music with bansuri master Rakesh Chaurasia, nephew of the world-famous bansuri player Hariprasad Chaurasia, with whom Hussain has been playing for decades. Like Hussain, Rakesh has augmented his pursuit of classical excellence with a modern musician’s taste for cross-cultural collaboration. He has recorded with Greek composer Alexandros Hahalis (have a listen to “Firebird”) and a ton of Indian musicians, and even has his own fusion group, Rakesh and Friends (have a listen to their 2013 debut, with its Yes-like closer in seven). His classical playing is, of course, impeccable.

In a phone interview with Hussain and email exchange with Chaurasia, we discussed how they plan a performance, how newcomers might best approach listening to Indian music, and how a concert is really a conversation.

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MusicWatch Weekly: celebrations and appreciations

This week's Oregon concerts celebrate a famous composer's centennial, an Oregon professor's creative  work, early Italian baroque, female composers, and American jazz

The adventurous Portland/Seattle ensemble Sound of Late premieres Book of the Dark by American composer Alan Shockley at their Saturday night informal, hour-long show at Portland’s New Expressive Works. The chamber music score incorporates references to James Joyce’s Finnegan’s Wake, moody English composer John Dowland’s darkly compelling Lachrimae, occult symbolism, and more.

Sound of Late performs at Portland’s N.E.W. studios Saturday

The intriguing program also includes the still-startling solo flute showcase Diaphonic Suite #1 by one of America’s first great female composers, Ruth Crawford (who later added a husband and a surname, Seeger), a chamber ensemble arrangement of Arvo Part’s choral classic Summa, Argentine composer Adriana Verdié’s Confluencia and Michigan composer Alexander Miller’s Short Stanzas.

Lisa Neher performs Sunday at Lewis & Clark College.

As we noted in the previous MusicWatch, last weekend saw three Portland concerts that featured new music by female composers. This Sunday afternoon, a free recital at Lewis & Clark College’s Agnes Flanagan Chapel offers another. Her Songs: A Recital of Music by Women, features composer, mezzo-soprano and L&C alumna Lisa Neher and pianist Stephanie Thompson performing songs by early 20th century French composers Germaine Tailleferre and Lili Boulanger, California’s Gabriela Lena Frank, Broadway composer / lyricist / conductor Georgia Stitt, and Neher herself.

Since graduating from Lewis & Clark, Neher has built a career as choral performer and vocal recitalist and created One Voice Project, a one-woman performance combining contemporary poetry and new musical works for unaccompanied voice chosen through a call for scores and teaches college in Iowa.

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