La Fusion

Sea of Rhythms
Le Bain D'Or
1992

Tracks:

1. Le Bain d'Or, Pt. 1
2. Po Mwin Bondye
3. Le Bain d'Or, Pt. 2
4. Le Loup

Personnel:

From Reunion Island:

Filip Barret: Bass

Danyel Waro: Vocals

From Tamil Nadu:

S.Balachandran: Vocals

A.R.P.Ganesan: Nadaswaram

M.S.Kalyanasundaram: Tavil

G.Muralikrishan:Tabla, Konnokol

V.Muruganandan: Violin

S.Sakthivel:Mridangam

S.Sethuraman: Kanjira

J.Sowrirajan: Morsing

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ.

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

 

The somewhat obscure CD by Filip Barrett and Danyel Waro's Sea of Rhythms ensemble, Le Bain d'Or, combines Indian nadaswaram flutes, electric bass, tavil, tabla and mridangam drums with vocals and violin for another example of highly dynamic, melodic music. Again, it was only the music which was present in the room and one needed just a little imagination to sit in the half circle of musicians playing there right in front of us on the floor.

source 

 The essential bastard nature of La Reunion is something that Waro endorses with insistent zeal throughout our various conversations. The island is without doubt a miniature rainbow ‘nation’ with a scrabble-ready collection of richly hued Creole words to describe its various ‘tribes’; kaf (black African, from Arabic kafir meaning ‘unbeliever’), Malbar (anyone of central Asian descent, after the Malbar coast, where the first Indian arrivals on the island came from), yab or ti blan (small time poor white farmer), Malgache (anyone from Madagascar), Komor (anyone from the Comoros), Sinwa (Chinese), Zarabe (Arab or Muslim) and Zoreil (wealthier French landowning or administrative class).  The fact that all these ethnic groups coexist on their tiny island in relative peace, each with their own faiths, rituals, feast days, music and food, at times separate, at times combining and mingling, is astonishing. It reveals a shared sense of belonging and destiny that Danyel Waro holds in deep affection and praises in his music time and again.

source 

 Filip Barret:

♥

The Nadaswaram

Nadaswaroopam G. Ramesh
Reverberations Vol 3
2006

Tracks:

01. Mallari
02. Sri Chakraraja
03. Govardhana
04. Bhagyada Lakshmi
05. Maname Kanamum
06. Raghupathy
07. Abheri - Fusion
08. Thamarai pootha
09. Nadabindu
10. Brahmamokate
11. Harivarasanam

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ.

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

Mr.  Nadaswaroopam G. Ramesh is from Chennai, so he knows how to play the Nadaswaram very well. His music is not classical carnatic music. They call it fusion. And I am posting it for the sound of the Nadaswaram which I love. If you like it too go check one of these many classical Indian blogs... : )

  

The nadaswaram, nagaswaram, nadhaswaram or nathaswaram, (Tamil: நாதஸ்வரம்) is one of the most popular classical musical instruments in Tamil Nadu and the world's loudest non-brass acoustic instrument. It is a wind instrument similar to the North Indian shehnai but much longer, with a hardwood body and a large flaring bell made of wood or metal.

In South Indian Hindu culture, the nadaswaram is considered to be very auspicious, and it is a key musical instrument played in almost all Hindu weddings and temples of the South Indian tradition. It is part of the family of instruments known as mangala vadya (lit. mangala ["auspicious"], vadya ["instrument"]). The instrument is usually played in pairs, and accompanied by a pair of drums called thavil; it can also be accompanied with a drone from a similar oboe called the ottu.

Construction

The nadaswaram contains three parts namely, kuzhal, thimiru, and anasu. It is a double reed instrument with a conical bore which gradually enlarges toward the lower end. The top portion has a metal staple (mel anaichu) into which is inserted a small metallic cylinder (kendai) which carries the mouthpiece made of reed. Besides spare reeds, a small ivory or horn needle is attached to the instrument, and used to clear the reed of saliva and other debris and allows free passage of air. A metallic bell (keezh anaichu) forms the bottom end of the instrument.

Traditionally the body of the nadaswaram is made out of a tree called aacha although nowadays bamboo, sandalwood, copper, brass, ebony and ivory are also used. For wooden instruments, old wood is considered the best, and sometimes wood salvaged from demolished old houses is used.

The nadaswaram has seven finger-holes, and five additional holes drilled at the bottom which can be stopped with wax to modify the tone. The nadaswaram has a range of two and a half octaves, similar to the Indian bansuri flute, which also has a similar fingering. Unlike the flute where semi and quarter tones are produced by the partial opening and closing of the finger holes, in the nadaswaram they are produced by adjusting the pressure and strength of the air-flow into the pipe. Due to its intense volume and strength it is largely an outdoor instrument and much more suited for open spaces than indoor concerts.

wiki

and a big hello to Chennai : )

♥