Sacred Indian Chants S
Chants of India is an album by Indian musician Ravi. One of the most uplifting and musically engaging recordings of sacred music. Harrison's production. Loopmasters present Sacred Indian Chants – a serene collection of world music vocals, performed and recorded in the heart of India. Loopmasters have once again.
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Seven Songs are included at tempos between 60-110BPM, making Sacred Indian Chants perfect for your Ambient, Chillout, Downtempo tracks, as well as Chilled House, Electronica and more. In detail expect to find 2.48GB of content with 297 individual 24 Bit Wav files. 7 Themes are included with 297 samples in total with 108 Aalap Loops, 40 Chant Loops, 22 Tarana Loops, 19 Humm Loops, 12 Lala Loops, 9 Lullaby Loops,7 Love Theme Loops, 7 Jumakajum Loops, 6 Thomtana Loops,6 Sargam Loops, 6 Chamcham Loops, 4 Ooh Loops, 4 Mantra Loops,4 Tumri Loops, 4 Tananumtham Loops,4 Tanathom Loops,4 Ohoh Loops, 4 Jathi Loops,4 Tribal Loops, 3 Love Pathos Loops, 2 Thomnana Loops, 2 Tanana Loops, 2 Zuzu Loops, 2 Zumzum Loops 2 Happy Mood Loops, 2 Hoolala Loops, 2 Thillana LOops, 2 Tananam Loops, 2 Chakacham Loops,2 Ahah Loops.
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Chants of India by Released 6 May 1997 Recorded January–August 1996 Studio Sruthilaya Media Artists Studio,;, Oxfordshire, Length 63: 33 chronology (1996) 1996 Chants of India (1997) Chants of India is an album by Indian musician released in 1997 on. Produced by his friend and sometime collaborator, the album consists of and other sacred prayers set to music, marking a departure from Shankar's more familiar work in the field of. The lyrical themes of the recorded chants are peace and harmony among nature and all creatures. Sessions for the album took place in the Indian city of and at Harrison's home in, Oxfordshire, following his work on (1995)., and are among the many musicians who contributed to the recording. Chants of India was well received by reviewers; author Peter Lavezzoli describes it as 'a quiet masterpiece' and 'the most fully realized collaboration' by Shankar and Harrison.
Shankar considered it to be among the best works of his 60-year career. In 2010, the album was reissued as part of the box set, which combined various projects undertaken by the two artists, beginning in 1973. Chants of India was the last formal collaboration between Shankar and Harrison, who was diagnosed with cancer shortly after its release. At the in November 2002, Shankar incorporated some of the selections from Chants of India, including the album-closing 'Sarve Shaam', in a set performed by daughter Anoushka as a tribute to Harrison. Contents. Background and content Having maintained a close friendship in the decades since their last official collaboration in 1974, and began working together in 1995 on projects to celebrate Shankar's 75th birthday. Harrison first produced a four-disc career retrospective issued on 's, (1996), which also included unreleased recordings made by the pair, before serving as editor on Shankar's second autobiography,.
When compiling In Celebration, Shankar and Harrison discussed with Angel Records the possibility of making an album of chants and other set to music. According to Shankar, the record company were hoping to repeat the commercial success of a recording by 'those Spanish monks' – an album of featuring a contemporary. Author Simon Leng describes the Chants of India project as a 'back to the roots' exercise for Harrison, after his production of and his own releases such as ' and ' in the 1970s. As far as the words are concerned, they are open now after 40 years, but the tune I had to give, or add a slight orchestration in the background, was with this very thought that it should match this old sentimental, old spiritual context that it has. At the same time, not be too much, you know? Or sound very ritualistic or fundamentalist or anything like that. – Ravi Shankar, 1997 Shankar had grown up in the Hindu holy city of, where the public chanting of Vedic hymns 'awakened his passion for music', author Reginald Massey writes, and as a young man during the 1940s he had embraced the concept of Nada (meaning 'Sound is God'), under the strict tutelage of music.
In his liner notes to Chants of India, Shankar nevertheless describes the undertaking as 'one of the most difficult challenges in my life, as a composer and arranger'. Shankar noted the precedents for such a venture: ' chants from the Vedas, and other scriptures have been recorded by many in India and elsewhere, either in its original form by the Traditional Scholars. Or sung within forms by eminent musicians with accompanying instruments. Some have even attempted to make them more popular by using a semi-classical and commercial approach.
I wanted to make a version different from all these, but still maintain the tremendous spiritual force, and purity of the, and, and at the same time make it universally appealing.' Shankar consulted a Dr Nandakumara of the in London, regarding the interpretation of the Sanskrit texts. Aside from adapting these ancient texts, Shankar composed new selections for the album – 'Prabhujee', 'Mangalam', 'Svara Mantra' and 'Hari Om' – and, as he put it, 'tuned them in the same spirit'. Peter Lavezzoli, author of The Dawn of Indian Music in the West, writes of the album's themes: 'The record begins with the traditional invocation to, continuing through a series of traditional Hindu prayers and chants from the, Upanishads, and.' Harrison biographer describes the songs' focus, following the opening invocations, as 'peace, love, ecology, and social harmony'. Chants of India reunited Shankar and Harrison with English musician and arranger. Barham provided Western annotation of Shankar's melodies, a role he had first supplied for Shankar at the in 1966, when the Indian virtuoso had duetted with.
Conducted the musicians at the sessions, having made her European performance debut in July 1995 at an official concert to celebrate her father's 75th birthday, held at the in London. Recording.
The Chants of India recording was somewhat complicated by the fact that the record company wanted to release an album of 'spiritual' music that would go to number one. Neither George nor Ravi intended to commercialize it to anything like that extent. The album is strictly a Ravi Shankar classical Indian record. –, discussing Shankar and Harrison's vision for Chants of India, 2003 The first recording sessions were held in the south Indian city of in January 1996, at Sruthilaya Media Artists Studio.
After a second set of dates there, in April, Shankar and Harrison decided to move the project to Harrison's recording facility at, his home in, Oxfordshire. According to Tillery, Madras had been chosen in order to 'cultivate authenticity', being a music capital of the South Asian region, yet the atmosphere at Sruthilaya 'seemed too secular for the aura of spirituality they wanted to create'. A large cast of local musicians contributed to the recording in Madras, on instruments such as, violin, flute, cello, and, while the chorus singers (divided into 'Indian' and 'Western' groups on the sleeve credits) numbered 21. While in India in April, Harrison visited the holy city of with his Radha Krishna Temple friends and Shyamasundar Das. The pilgrimage inspired him in his current work with Shankar, author Joshua Greene writes, just as a 1974 visit to Vrindavan had been the catalyst for staging Shankar's revue and their joint North American tour that year.
In July 1996, Shankar and Harrison reconvened at Friar Park, after Harrison had recorded a contribution for ' album. The Friar Park sessions for Chants of India took place in the house's drawing room, with cables fed through from the studio area above – the same arrangement under which Harrison had produced the studio album, in summer 1974. I like producing Ravi's music, because for me it's educational as well as a joy to work with. It's actually soothing to your soul, and it helps you to focus or transcend. – George Harrison, 1997 From 7 July, sessions ran intermittently through to late August. Shankar later told magazine that he wrote 'Mangalam' at this time: 'Mangalam' came to me while I was walking in Friar Park, George's place, where we were recording. I was looking at the trees and the sky, and feeling very elated all of a sudden, wishing everything should be good for everyone, and it just came to me.'
Among the participating musicians at Friar Park were Shankar's occasional player, along with , ( flute) and Jane LIster (harp). While operating mainly in the role of producer, Harrison responded to Shankar's requests to perform on the recordings; Harrison contributed on acoustic guitar, bass, and percussion, as well as supplying backing vocals. Shankar's wife Sukanya, a trained singer in the tradition, was also among the vocalists during what the album sleeve lists as the 'London sessions'.
The recording and remix engineer was John Etchells. Tillery describes the making of Chants of India as a 'labor of love' for Harrison following his participation in ' project, and Barham similarly recalls it as having been 'a pleasure working on this beautiful record'. In Shankar's recollection, following a playback of some of the tracks, Harrison was so moved that he 'embraced me with tears in his eyes and simply said, 'Thank you, Ravi, for this music.' ' According to Lavezzoli, the album was one of Shankar's 'personal favorite works'.
Release Angel Records issued Chants of India on 6 May 1997 in America, with a UK release following on 1 September. The album was marketed as a collaborative work, and Harrison joined Shankar in promoting the release. These activities included television appearances in New York and Paris, one of which, for America's network, aired on 24 July as George & Ravi – Yin & Yang. In what would turn out to be Harrison's final performance on a TV show, he and Shankar discussed the album and their shared experiences, such as (1971). Harrison then accepted an acoustic guitar from host and performed songs including the just-released 'Prabhujee', sung with Ravi and Sukanya Shankar. Reception Professional ratings Review scores Source Rating 'Spotlight' A– Chants of India was critically well-received, while commercially it peaked at number 3 on magazine's Top World Music Albums chart.
On release, Josef Woodard of labelled the album 'enchanting' and added: 'Unlike Shankar's classical raga recordings, Chants of India is a set of short, colorfully arranged pieces, enjoyable for neophytes and devotees alike. Another jewel from a humble world-music superstar.' Described it as 'a surprisingly colorful and accessible set of 16 pieces'. In his review for Billboard, Paul Verna commented that 'the project possesses a hypnotic quality reminiscent of the label's enormously popular Gregorian chant recordings' and concluded: 'Chants of India' represents a creative milestone in the life of a veteran artist whose contributions to traditional Indian music cannot be overestimated.' Peter Lavezzoli writes of the album: ' Chants of India is a quiet masterpiece, one of the most uplifting and musically engaging recordings of sacred music.
Harrison's production created the ideal setting for each chant, all of which are exquisitely sung, and the album remains the most fully realized collaboration between both artists.' Jim Brenholts of similarly praises the work, writing: 'Shankar's style and diversity allow him to open doors that are closed to other musicians. Shankar's compositional and sound-design styles add atmosphere. Harrison's deft touch allows the music to develop and maintain its own integrity. Among records of this nature, this one is special.' Author and former editor considers it to be 'perhaps the very best introduction to the enduring creative friendship between the Bengali classical master and the scruff from Liverpool's back streets'.
Harrison biographer describes Chants of India as a 'thoroughly diverting production' that 'balances sung lyrics as succinct as and instrumental passages of a quirky complexity vaguely reminiscent of '. Writing in magazine in 2010, Gillian Gaar described the album as 'a sound that's akin to ', and 'especially soothing and relaxing' due to the devotional nature of the words.
Anastasia Tsioulcas of includes Chants of India in her list of Shankar's five 'essential' works, and writes: 'Shankar took Hindu prayers, mantras and scriptural texts and framed them within larger musical settings, incorporating both Indian and European instruments along with voices. The results are transporting – and very beautiful.' Legacy and reissue. The personal and musical friendship between Ravi Shankar and George Harrison. Was powerful enough to make an impact on the large, musical life of the later nineteen sixties and it reverberates, as clearly, even today. I would go as far as to say that today there can scarcely be a musician or composer virtually anywhere in the world that is not aware of, nor been touched by, the fruits of the remarkable encounter between these two. – Composer, 2010 Chants of India was the last formal musical collaboration between Shankar and Harrison.
During promotion for the album in summer 1997, Harrison was diagnosed with cancer, a condition he was then thought to have beaten until a near-fatal stabbing by a deranged fan, on 30 December 1999, encouraged its return. On 29 November 2002, a year after his death at the age of 58, Shankar included selections from Chants of India in the opening, Indian music portion of the, held at the in London. Anoushka Shankar performed the set, as sitarist and conductor, backed by some of the musicians and singers who had contributed to the Friar Park sessions in 1996, including Sukanya Shankar, Chandrashekhar, M.
Balachandar and Lister. The album-closing 'Sarve Shaam' appears at the start of 's documentary film (2003), played as Harrison's widow lights commemorative candles on stage. As part of Ravi Shankar's 90th birthday celebrations in 2010, reissued Chants of India in a four-disc box set titled.
A project overseen and produced by Olivia Harrison, the box set also included the albums (1974) and Ravi Shankar's Music Festival from India (1976), together with previously unreleased film of the Music Festival's debut performance in September 1974, directed. Track listing All songs are traditional, adapted by Ravi Shankar, except where noted. In the 1969–70 recordings credited to Radha Krishna Temple (London), the first UK branch of the, Harrison had helped popularise the and, in the case of 'Govinda', what is reputed to be the world's first poem, taken from the.
'My Sweet Lord' also includes part of the maha mantra and a prayer in praise of one's, the Guru Stotram, while in his song 'It Is 'He', Harrison adapted the words of a that he, Shankar and others had sung in a temple at in February 1974. Author Keith Badman writes that Shankar and Harrison used a second location in the city during April – Swara Laya Studio. During the sessions, Harrison recorded Ghosh and Lister's contributions to the Indian segment of his song ', released posthumously on his 2002. In another release to mark the start of Shankar's tenth decade, reissued the long-unavailable 1971 documentary on Shankar,. As well as appearing in the film, Harrison produced its soundtrack album and provided finance through.
References. ^ Lavezzoli, p. Allison, p. ^ Tillery, p. Lavezzoli, pp., (retrieved 21 October 2013). The Editors of Rolling Stone, p. Clayson, p.
^ Lavezzoli, p. ^ Al Weisel, 15 May 1997 (retrieved 26 November 2013)., (retrieved 24 October 2013). The Editors of Rolling Stone, pp. Greene, pp.
Allison, p. Greene, pp. George Harrison, pp.
Tillery, pp. Ravi Shankar, in Collaborations, p. Ken Hunt, (retrieved 24 November 2013). Reginald Massey, 12 December 2012 (retrieved 24 November 2013).
Lavezzoli, pp. Shankar, My Music, My Life, pp. ^ Ravi Shankar's liner notes, Chants of India CD (Angel Records, 1997; produced by George Harrison). Lavezzoli, pp. ^ Tillery, p.
^ Album credits, Chants of India CD (Angel Records, 1997; produced by George Harrison). Lavezzoli, pp. ^ Badman, p. Tillery, pp. Greene, pp. Olivia Harrison, p. Tillery, pp.
^ Madinger & Easter, p. Collaborations, p. Lavezzoli, pp. Huntley, p. Lavezzoli, pp. The Editors of Rolling Stone, p.
^ Lavezzoli, p. Shankar, Raga Mala, p. Tillery, pp. Allison, pp. Badman, pp. 568, 569, 571.
Clayson, pp. Badman, pp. Madinger & Easter, p.
Huntley, p. ^ Jim Brenholts, (retrieved 8 August 2014). ^ Paul Verna, 7 June 1997, p. 77 (retrieved 11 August 2014). ^ Josef Woodard, 1 August 1997 (retrieved 18 November 2014). Rodriguez, p., (retrieved 8 August 2014)., / (retrieved 8 August 2014).
Clayson, p. Gaar, 31 January 2011 (retrieved 4 August 2015).
Anastasia Tsioulcas, 12 December 2012 (retrieved 22 August 2015). ^ 'Foreword by Philip Glass', in Collaborations, p.
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