Track Listing

1. Raga Bhimpalasi
2. Tabla Solo in Ektal
3. Dhun (Dadra and Fast Teental)

Product Details

• Amazon Sales Rank: #46782 in Music
• Released on: 1998-10-20
• Number of discs: 1
• Formats: Live, Original recording reissued, Original recording remastered
• Dimensions: .21 pounds

Customer Reviews

Rolling Energy!!!!
The first time I heard this album I liked it. I had seen the Monterey movie and I connected with the performance, so when I saw this I snatched it up fairly quickly. Fantastic Record! Eventually I put it down and went about listening to other musicians, musicians such as John Coltrane, a musician I have loved for a very long time, and had read of the influence he found from Shankar's music. I would later return to this album and, WOW. Not only did I rediscover more than ever how great the record is, I saw the obvious influence he had on Coltrane (listen to Trane's work and tell me if you don't hear the drone). Raga Bhimpalasi is a very peaceful efficent way to start a record, it really gets you in the mood. The six minute tabla solo is a very fun way to continue. You can really tell the crowd is amazed by the talent they are witnessing. To close the "recital" they use Dhun (Dadra and Fast Teental), this is the highlight of the disc. This is one of the most impressive statements of music I have ever heard in my entire life. Here is this man from India, and from he and his colleagues flows this powerful energy. Shankar just seems to very easily control all this power, with little glances or quick words. You really feel as if you are apart of something special, because you are apart of something special. I have since bought other Shankar recordings and they are great, but I will always come back to this one, especially for Dhun. Come in with an open mind, and you will soon have something you will never be able to put down!

3.8 stars, but please hear me out.
There are two ways to consider this performance/album. 1) It's impact at the time, and 2) It's musical value within the context of comparing it to other Hindustani artists/performances/recordings.

By the first standard, this performance is a 5. Hindustani LPs had been coming out in the USA since 1955, and some people were listening. Consider that John Coltrane and Ravi Shankar had been corresponding at least as early as 1961... more like '59 or '60 if memory serves. This was not widespread music here though, and the Beatles only used Ravi and the sitar as sound effects in the "Ooooh that is trippy and groovey, man" sort of way. For many people in the USA this performance/album was their first exposure to the music of Northern India, and as such, of course it holds a special place in the history of this music.

By the 2nd standard though... holding this up next to other Bhimpalasi performances, and or other recordings/performances of other ragas by other artists, this is more like a 3.8 performance. It's not that it isn't good, but let's face it, there is alot of stiff, brilliant competition in the world of Hindustani music. Ravi's affiliation with the Beatles, and Harrison's constant (for decades) hyperbole as to Ravi's status and ability within that world have hyped Ravi up to a level to which he does not actually stand. Were you to believe Harrison's constant blathering, you'd think the Hindustani world is Ravi bathed in light on the mountain top while all the other musicians gaze up at his artistry, hoping one day to attain half his brilliance. That is absolutely not the case, though. Of course proving this to people is often difficult because many of the people who believe Ravi to be The One & Only have never heard any other sitarists. They just took Harrison's word for it and left it at that.

I don't want anyone to just take my word for it. If you like or love this disc, particularly the alap, jor, and jhalla in Raga Bhimpalasi, I strongly recommend that you search "Nikhil Banerjee". Then scroll through his recordings until you reach the "Afternoon Ragas" disc. There you get Rags Bhimpalasi and Multani. There is no comparison between Nikhil's rendering and Ravi's. On this disc, Ravi's alap is not much to speak of, and it is almost just a time-killer until the jor and jhalla. Nikhil's alap is a masterwork. He plays some phrases that unfold around you and crawl right into your heart... his melodic brilliance singing to you from the alap through the gats.

I think for most people, the highlight of Ravi at Monterey is actually the dhun. Again I would point you to Nikhil and Kanai Dutta's gats in Bhimpalasi and Multani. The tone, and melodic genius of Nikhil cannot be denied, and as for the style and explosive dexterity of Kanai Dutta, I feel his playing serves as more of a precursor to Zakir Hussain's playing style than did Zakir's own father, Alla Rakha (Ravi's accompanist here, on tabla). In truth, Ravi was not even Allauddin Khan's (Ali Akbar Khan's father) best sitar student, much less the all-time greatest sitarist of the 20th Century.

If you need more proof, look no further than Amjad Ali Khan (sarod) and/or Debashish Bhattacharya's (slide guitar) incredibly powerful renderings of Bhimpalasi. Ravi's performance here is by no means bad, but it generally only stands out as a masterpiece to those who have yet to check out anyone else in the world of Hindustani music.

Having said all this, this performance is easily the highlight of the entire Monterey Pop festival.

Incredible Energy
Of all Ravi Shankar recordings I have heard (7-8) this is definitely the most "festive." I find few very quiet, personal moments on this CD (I mean this in a positive way.) This is a live recording and the crowd is very much a part of the mix without interfering with the musical quality. You can feel the energy and dialogue between Ravi, Alla Rakha, and the crowd. Very bright and vibrant. This is the Ravi Shankar disc I play when I want to awaken, move quickly, smile, go out in the bright sun. I find it less appropriate for late evening introspection and quietness. One does not have to be a trained listener of Raga to understand that Ravi specifically chose these ragas for the outdoor Monterey Pop Festival. This recording is a real treat from the percussion end as well, as Alla Rakha is truly explosive on the tabla here.