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The group “3, 14” with Efren López, Ciro Montanari and Jordi Prats hails from Spain, but this album focuses its attention further to the east. Bombyx Mori is a musical Silk Road that ranges freely from India through to the Middle and Near East. “Bombyx Mori” is in fact the botanical name of the silk moth featured on the cover.
While a fusion, the music is firmly routed in the classical traditions along the road. The instruments on show are the sarod (Prats) and tabla (Montinari) both from India, and the rubab (López) which is an Afgan instrument similar to the sarod, but often bowed rather than plucked. Tonally the album draws on the classical Indian ragas as well as the modal musical traditions like those of Egypt, Iran, Turkey, Azerbaijan and Afghanistan.
While a fusion, the music is firmly routed in the classical traditions along the road. The instruments on show are the sarod (Prats) and tabla (Montinari) both from India, and the rubab (López) which is an Afgan instrument similar to the sarod, but often bowed rather than plucked. Tonally the album draws on the classical Indian ragas as well as the modal musical traditions like those of Egypt, Iran, Turkey, Azerbaijan and Afghanistan.
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This album could be considered easy listening because the dynamic range is quite contained. The tracks merge into each other rather easily. The music does not require full focus to be enjoyed. There is however no shortage of complex musical interest, should you wish to give it your full attention. For example the track “Qazzaz” has sudden unexpected modulations, and “3000 feet”, features some reciting bols, the Indian version of our spoken French time names. These bols are taken to an artistic level, perfectly appropriate for inclusion into the performance. The tabla and bala are ever rhythmically sophisticated and there is frequent syncopation in the melodic instruments.
There are clearly many coordinated melodies and rhythms, but the feel of the album has the freedom of improvisation that plays such a major part in both Indian and Middle Eastern music.
The musicians present a huge range of moods, from the peaceful revery of the title track to the rather fast and furious “Resham”, and full texture and driving rhythm of the enigmatically named “A. A. A. A. A. A. A.”.
This Album is a pleasure to listen to and I will return to it many times. The warm, generosity of spirit and impressive musical ability of the trio are a delight and have all the delicacy, lightness and beauty of the silk fabric to which they elude.
I heartily recommend this album to you when it is released
Album Release: 2 October 2020 via Worlds Within Worlds
There are clearly many coordinated melodies and rhythms, but the feel of the album has the freedom of improvisation that plays such a major part in both Indian and Middle Eastern music.
The musicians present a huge range of moods, from the peaceful revery of the title track to the rather fast and furious “Resham”, and full texture and driving rhythm of the enigmatically named “A. A. A. A. A. A. A.”.
This Album is a pleasure to listen to and I will return to it many times. The warm, generosity of spirit and impressive musical ability of the trio are a delight and have all the delicacy, lightness and beauty of the silk fabric to which they elude.
I heartily recommend this album to you when it is released
Album Release: 2 October 2020 via Worlds Within Worlds
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A little background on Worlds Within Worlds, a relatively new Australian record label.
“Our mission is to promote Eastern classical music, with a particular focus on instrumental music from India, Iran and Afghanistan.
While we are deeply inspired by the great masters of these traditions from the last century – Pandit Nikhil Banerjee and Ustad Ali Akbar Khan in India, Ustad Mohammad Omar and Ustad Rahim Khushnawaz in Afghanistan, Ustad Mohammad Reza Lotfi and Ustad Jalil Shahnaz in Iran – our aim is to provide a platform for younger, emerging artists who, while being grounded in classical teachings, are bringing new life to music in the 21st century.”
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Sydney-sider Lachlan Dale launched the label in 2010 he says, “As a diverse and multicultural country, I can see an opportunity for Australia to play a role in championing these artists. I find it odd that there seem to be so few opportunities for artists like these to perform in Australia, particularly outside of diaspora communities. At times, the opportunities that exist require musicians to conform to a fairly rigid notion of how they should present themselves (as culturally Other), which I don’t think fairly represents the identities or experiences of first or second generation migrants. Many of the artists I worked with express a desire to have their work represented beyond these limiting pre-conceptions. There is a social dimension to this work that I am still trying to understand and articulate, and I will continue to reflect and learn from the artists and communities – but broadly, I want to do what I can do to knit connections between cultural and musical communities, and help musicians be represented on their own terms.
But I see us primarily engaging with a global and geographically diverse audience. My own work (both with the label and outside of it) is grounded in digital-first principles. In fact my primary professional interest is working as a digital strategist who helps humanitarian organisations undertake digital transformation and flourish in this new climate. I am interested in how digital technologies are making new music industry models possible (though, of course, the impact of technology on the commercial value of music is far from rosy), and am actively seeking out new opportunities that emerge in this digital era.”
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Across Worlds Within Worlds and his more established label Art As Catharsis, Lachlan has worked with a range of emerging younger artists including Zela Margossian (whose debut album we released, and who was nominated for Best World Music release at the 2019 Arias), Hamed Sadeghi, Alam Khan (son of the great Ustad Ali Akbar Khan), Qais Essar, Josh Feinberg and Efren Lopez.
“I have a pretty deep humanitarian streak, and can think of nothing more enriching than learning from other cultures and traditions. The chance to take this a step further, and actively help promote the music of different cultural contexts, is an honour.”
Read more about Lachlan and his projects in this article from classikON in 2019
“I have a pretty deep humanitarian streak, and can think of nothing more enriching than learning from other cultures and traditions. The chance to take this a step further, and actively help promote the music of different cultural contexts, is an honour.”
Read more about Lachlan and his projects in this article from classikON in 2019
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