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▀▄ Shye Ben Tzur, Jonny Greenwood, and the Rajasthan Express - Junun ▄▀
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▀ ▄▄ ████▀ Date ::: 2016-03-25 ▀████ ▄▄ ▀
▄██▓▒▌▀ ▄▄▓ Artist : Shye Ben Tzur, Jonny Greenwood, and the▓▄▄ ▀▐▓▓██▄
▄▄ ▀█▀▄▀▓▀ Title :: Junun ▀▓▀▄█▀▀ ▄▄
▄▄▀▒■ ▄▀ Genre :: Easy Listening ▄▀ ■▒ ▄▄
▐▓▓▀ ■ ▀▄ Label :: Nonesuch ▀ ▀▒▓▌
▄█▄ Encode : Lame 3.98.4 -V0 ~ 241kbps 13 File(s) 105,32 MB ▄██▄
█▓██▌ Source : CDDA Url: N/A ▐██▓█
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▀▒▓ ▀▀ R E L E A S E N O T E S ▀▀ ▓▒▀
There are a lot of creative forces to keep track of on Junun. Receiving top
billing is the Israeli singer and composer, Shye Ben Tzur, who wrote the
songs. Then there's his backing band: the 19 performers, hailing from
distinct Indian-music traditions, who form the Rajasthan Express. And
you've also got Radiohead's Jonny Greenwood contributing rhythm guitar,
bass, keyboards, and drum-programming to the arrangements.
Still, aside from the album's complex backstory and multilingual lyrics
(written, variously, in Hebrew, Hindi, and Urdu), Junun is readily
approachable on its own. When Aamir BhiyaniÆs rhythmically crisp trumpet
peals out over programmed and acoustic percussion during the first minute
of the album's opener and title track, Junun establishes its celebratory
side. (Instrumental virtuosity and rhythmic drive: check and check,
respectively.) Then the singer comes in, delivering an attractive setting
of Sufi mystic poetry. (Warmly humanistic vibe: check.) The song could
easily coast from this point. But once a tempo downshift hits, midway
through, the assembled performers sound even more exultant. (Are you
dancing yet? I was.)
It's the wealth of smart musical touches that make Ben Tzur's songs feel so
emotionally legible. The bowed strings of "Hu" have a vulnerable quality
that contrasts winningly with the songÆs more full-throated vocal
exclamations, while Ben TzurÆs breathy flute playing complements
GreenwoodÆs tinny digital programming on the opening of "Kalandar". And the
gradual acceleration of a vocal-driven number like "Eloah" also contributes
to the albumÆs impressive range of textures.
"Chala Vahi Des" starts out with melancholic vocals delivered by Afshana
Khan and Razia Sultan, before throttling into a harmonium-and-drums groove.
In the songÆs final section, GreenwoodÆs surprisingly funky bass playing
enters into a dialog with the vocalists and drums. Also making an
appearance, during the chorus of the triple-meter tune "Allah Elohim", are
the ghostly, sliding tones of the ondes Martenotùan early electronic-
keyboard instrument that is one of GreenwoodÆs favorites. (He's used it on
Kid A, Hail to the Thief, as well as in his score for There Will Be Blood.)
Given the prominence of his guitar on the same track, "Allah Elohim" is one
of the rare moments on Junun that sounds directly influenced by Greenwood's
other work.
Concerning Greenwood's mostly background role: the sight of a famous
British pop musician collaborating with lesser-known artists from another
hemisphere can easily prompt charges of exploitative appropriation. But
since GreenwoodÆs latest releases on Nonesuch have all focused on his work
as a composer of film scores and classical music, the pop-world
conversation about cultural tourism doesnÆt seem all that helpful here.
A better reference point would be the tradition of modern composers looking
to escape the "Eastern" and "Western" category trap. In his 2015 memoir
Words Without Music, American composer Philip Glass recalled how "it was
very common in the 1960s for Western musicians, even composers, to be
completely ignorant of global, or world, music." Glass, for his part,
famously followed up his studies of the Western canon (at Juilliard and in
Paris) by traveling to India, where he eventually worked for Ravi Shankar.
Other composers associated with the minimalist movement, such as La Monte
Young and Terry Riley, spent decades investigating Hindustani raga with
Pandit Pran Nath.
As a post-minimalist himself, Greenwood is a natural heir to that history.
And so after happening upon a composer like Ben Tzur, heÆs apt to decide to
"discover more about him." What Greenwood found was a composer splitting
his time between the Middle East and India, who has managed to develop a
unique fusion form that is constructed from several traditionsùincluding
Bollywood-style brass exuberance, the devotional Qawwali music of Sufi
Islam, and bowed-string instruments associated with the Manganiar
community.
The result is a mix that includes folk feel and studied arrangements.
Naturally, with Greenwood's participation comes that of longtime Radiohead
producer Nigel Godrich, who succeeds in presenting this detailed music with
precision. While Greenwood's presence guarantees a certain level of
interest, the newsiest takeaways from this album involve the skill of Ben
Tzur and the musicians of the Rajasthan Express. The ensembleÆs playing and
the leader's compositions make Junun an easy stretchùthough, crucially, not
a condescending oneùfor listeners otherwise unfamiliar with the great
variety of methods often obscured by "world music" market-speak.
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cd1
01. Junun 05:55
02. Roked 03:22
03. Hu 07:49
04. Chala Vahi Des 04:16
05. Kalandar 08:50
06. Eloah 03:57
cd2
01. Julus 03:45
02. Allah Elohim 04:21
03. Ahuvi 05:10
04. Azov 03:50
05. Junun Brass 03:29
06. There Are Birds in the Echo Chamber 00:32
07. Modeh 05:37
Total Playtime:
cd1: 34:09 / cd2: 26:44
60:53
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Header+Layout: d!J of BAFH! ▐█▓▌ ▐▓█▌ Updated On 12-01-2011 By gF
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