talbert st.claire wrote:
I once heard a Celtic/East Indian fusion years ago before I recorded my own album, and while the music seemed ok what was really lacking was that I noticed right away, that the instrumentation was just thrown in the mix without a real relationship between the other players. I must admit that if the cd had a bit of passion thrown in there I would have purchased the album. I found myself listening to the blend but the relationship was not at all there. This was a rhythm recording and the players were quite skilled.
Yes, I like the way you have expressed this. It's not purism to have such a view. It is, no doubt, driven by your perceptions and taste. I think that relationship, as you say, is salient feature of successful fusion.
The relationship can be there at different levels - like how the players interact techinically or passionately, between the moods or the themes being fused, the ambience that each tradition brings and so on.
For instance, if I were fusing Raag Malkauns, a pentatonic raaga with notes tonic+minor 3rd+4th+minor 6th+minor 7th, I would do so with a B tonic and fuse it with a celtic piece in G major pentatonic. This would make both pentatonics relative. But the FEELING of Malkauns is particularly problematical for fusion with Celtic IMO. A better relative pentatonic would be Raag Durga (Bilaawal's Durga) with D tonic both in feeling and the mutuality of resolution (ie in this particular case: Celtic G tonic with the Indic D tonic - power chord relationship/primary harmonic).
I think I will need to audio clip to demonstrate. For that I must wait.
I hope there is something meaningful for someone here.