Anthony Joseph – ‘Caribbean Roots’

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A few days ago, I met with Trinidadian poet and writer Anthony Joseph in a coffee shop in Brixton. It was a pleasure to listen to Anthony’s stories of growing up in Trinidad, the music of calypso and soca, and what the Windrush generation means to London’s identity.

Anthony also talks us through a track from his latest album People of the Sun, talks of his book tours and speaks about his upcoming Windrush celebration gala at the Barbican Centre on Saturday 17th November part of the EFG London Jazz Festival 2018.

Tracks played:

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Yara Lapidus & Amira Kheir

THIS PEICE WAS ORIGINALLY POSTED ON RHYTHM PASSPORT

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Who would have thought that mixing roles, letting musicians wear the clothes of journalists, would have been so stimulating…

In view of their upcoming double-bill show (at Rich Mix London on Friday 23rd November), organized by Arts Canteen and part of the 2018 edition of the EFG London Jazz Festival, we had the pleasure to host Amira Kheir and Yara Lapidus (who reached us over the phone from Paris) at the SOAS Radio studio.

We were meant to have a conventional chat with the artists about their music, influences and career, but then we thought, why don’t we let them do our job and interview each other? The outcome is an interesting and expansive conversation between two engaging persons even before being talented musicians.

Tracks played:


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Yazz Ahmed

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I interviewed Yazz Ahmed: the established face of contemporary fusion jazz. Since her debut album in 2011 - ‘Finding My Way Home’, Yazz Ahmed has been conquering the scene with her original blend of Arabian maqqam scales played on a unique quarter-toned flugelhorn. As well as this, Yazz’s long list of collaborations, such as Lee Scratch Perry and Radiohead has contributed to the addition of electronic music into her sound, earning Yazz global acclaim and success in her creation of a truly psychedelic East to West form of jazz. 

 

We chatted over the phone ahead of her debut concert in the Southbank Centre, in which, Yazz Ahmed will be launching her remix EP of her second album ‘La Saboteuse’.

 

So can we start by telling us the story of how and when you first started to play musical instruments?

OK, so I grew up in Bahrain, we had you know sort of strange instruments in the house, we had the guitar amongst others, and I would just mess around with those not really knowing what I’m doing. I would drive my mum mad by playing recorder duets with my sister. Then when we moved to England when I was nine my mum asked me if I wanted to learn a musical instrument in school and I said “Yes I would love to learn the trumpet”.

 

Why I chose the trumpet is because my grandfather Terry Brown used to be a jazz trumpet player in the 1950’s, and so I saw him as this big kind of hero, and I just thought he sounded pretty cool, and, you know, I just thought: Yeah the trumpet sounds like fun, I want to be like Terry. So that’s where it all started

 

Is this where you got your love of jazz from?

I think so. My grandfather would play jazz records to me, especially British Jazz artists, and my mum used to play jazz in the house and other quite cool music. Reggae, my mums a big reggae fan, so there was a lot of influences around in the house, and I really loved all of them, particularly jazz.

 

Do you feel that psychedelia was always a part of your music, or was it something that grew?

It just seems to have grown into that way. Since working with electronic artists and using electronic music, I’v found it can make you are more fluid, dreamy and outer worldly. It’s just amazing what you can do to music if you just sort of add an electronic element to it. It’s opened up lots of possibilities and  what colours I can get from using electronics as well as acoustic instruments, and it’s really fun to experiment.

 

You’ve had rather a lot of success after your debut album “Finding My Way Home’, can you tell us about an event that really had an impact on you or your music?

Yeah I think working with Radiohead and other major electronic artists has really inspired me quite deeply. In all sorts of ways, learning how to rehearse, how to take myself seriously… that as well, and again this electronic aspect with the recording. Things such as using pre-recorded material and manipulating it, collating it and using it the live performances. So I learned a lot with art-rock kind of people definitely.

 

You are of Bahraini and British origin, when did you start to connect to your Arabian musicality origins?

So my father is Bahraini and my mum is British,  and as I continued my music studies and graduated from music college, I started to discover new music.

 

The album that really inspired me to look into the music of my first home, was an album by ‘Blue Camel’ by Rabih Sbou-Khalil who was an oud player. This album brought up memories of the music of Bahrain from where I was  from growing up. That then inspired me to start researching the music and I experimented with mixing what I heard with jazz: then I suddenly felt like I had purpose and I felt a lot more rounded as a person because I was mixing my Bahraini heritage and my British heritage together, and yeah… I became one, I feel like I’m always evolving.

 

So thats where it really began, with that album, ‘Blue Camel’ -  It’s awesome, its a brilliant album

 

From the ‘La Sabateour', I think Jamil Jamal is my fav  - can you tell me about how you came to write this song ?

Sure, so that was the second piece I had written inspired by Arabic scales and rhythms and I mean it’s quiet a complex tune, but also very simple in it’s idea - along this idea and theme of evolving both identities. I used a couple of Arabic scales, but it’s all meshed together it had the kind of complex, kind of, menacing quality to it. I really enjoyed that feeling of being able to mix these two types of music together and also to bring out the wonderful improvisations of the band. Everyone has their opportunity to shine and it’s lovely how it all comes out in the piece…

 

Where are you based at the moment?

I live in a very sleepy village just outside of Lutton, it’s very peaceful it’s a nice change to London, it’s nice to write music and chill out.

 

Can you tell us about your quarter tone flugelhorn?

A flugelhorn is just like a trumpet, but it’s bigger - you can kind fo think of it as a pregnant trumpet, so it’s a little wider, the tubing is bigger, it creates a warmer more mellow sound - so the colours are slightly different when you’re playing this instrument. Flugelhorns don’t usually have quarter tones, which are used more in Arabic music, Indian music and music with that kind of free jazz.


So I had been wanting to play quarter tones to really get into the very emotional notes that you have in Arabic music: which uses quarter tones. For me, I often think of them as the blues qualities in Arabic music: similar to the blues. This kind of music where its very emotional and they tell stories about their struggles - for me thats the Arabic version: quartertones.

 

I feel I can get deeper into the music with my emotions having this new instrument. It was made for me by the guy who makes my other instruments, his name is Kenny and his company collects trumpets. He lives round the corner from me and he has a little workshop at the end of his garden where he makes fantastic instruments all by hand.

 

Are you looking forward to your concert? Have you played the venue before? What can we expect from the experience ?

I’m really looking forward to it, so my band we haven’t played at the Southbank Centre, so its obviously a very exciting thing.

 

What you’ll expect is, we’re going to be playing music from ‘La Sabatoure’ and we’re going to be playing music that is inspired by the music of the pearl divers from Bahraini. Also music that will be using the drumming groups who would typically perform in wedding celebrations, so you’ll here a bit of that.

 

I’ve also invited Brigette Baraha, a singer, and she’s going to sing you three melodies that I’ve written inspired by this music, so that’s really lovely.

 

There’s also going to be some wonderful lighting by a visual artist called ‘Tupac Martia’. It is going to be a visual experience as well as sonic. So hopefully all the senses will be awakened, enthused and excited.


We will also have an oud player who’s going to be opening the set who’s name is ‘Rihab Azar’ and she has an amazing story:

She is from Syria and her birth place is Khan and obviously Khan has been destroyed, and so she moved to London. She’s got this amazing story of her birth place and moving to London and this emotional journey she’s had.

 

I think it’s a wonderful theme of migration and collaboration of cultures, so yeah, she’s going to be opening it, so I’m very excited about that.

 

I should also mention the it’s the launch of my remix EP, it’s really fun to collaborate with other people who are not jazz musicians.It’s really exciting when you never know what’s going to happens, and that’s the beauty of music.

 

Havana Meets Kingston

I had a rather loud chat with a couple of the crew from the this huge fusion project: the brain child of Mr.Savona, this is a fusion between Cuban musicians and Africa in the taste of dub and reggae. Delicous!

Sebye Ntege

Here I spoke to the lovely Sebye Ntege about his music, his instrumentalism, his inspirations for his new album and playing WOMAD. 

LADAMA

LADAMA is a group of all powerful females from various places in South America, they come together to inspire one another with their local rhyhms, but also to teach and educate women around the world as they travel. 

Ian Brennan

Ian Brenann has had many production projects always involving civilisations from oppressed or persecuted communities. He once won a Grammy Award for production global mega-stars Tinariwen, Tuaregs of the North African desert. This year I spoke to him about Abatwa the Pygmy from Rwanda, and their trip together to WOMAD. 

 

Bollywood Brass Band

The great and grande Bollywood Brass Band have been pumping it for years. 

My Baby

Prog-rock funky pyscadelic trio from Amsterdam talk to me about their concepts behind their music, and much more. 

Hashmat Sultana

Sufi soul singing sisters from India brought their award winning talents to WOMAD where I spoke to them about what Sufi music is, their journey to the big stage and their plans for the future. 

Orchestre Les Mangelepa

Legendary band that have been playing in Kenya and all around Africa for 40 years, FINALLY make it across the pond, and I get to chat to them about their first festival in Europe / England, audiences around the world and their style of playing and music making. 

Meklit

Ethio-jazz queen is stepping out of the Mulatu Astake spotlight for ethio-jazz and is taking the name for herself, I talk to her about how she keeps her music contemporary and what makes musicians important in society. 

Amadou and Mariam

Amadou and Mariam need near to no introduction: they have been chart topping the west African music scene for decades together. I was honoured to catch them and chat to them about their music making, community and music in Mali, and plans for the future.

The Herbaliser

 I spoke to one half of the instrumental hip-hop outfit Olly, about Herbalisers origins, why it's instrumental and their journey together in music. 

Tal National

Tal National come from all over North Africa, and they bring their fusion music to audiences the world over. I spoke to them about the origins of their style and playing in England. 

In Conversation With: Bombino

Bombino

WOMAD FESTIVAL 2017 - Saturday 29th - Main Stage

 

Who is Bombino? 

In the North of Africa the great Sahara Desert spans across Northern Mali, Niger, Algeria, Burkina Faso, Mauritania, Morocco and plenty of North East Africa too. The Tuaregs are a nomadic people who have roamed the Sahara with their cattle since pre-colonial times.

In recent decades civil unrest has made life for the Tuaregs hard and has resulted in years of violent conflict. 

However, the social and political unrest gave way for a new genre of music hailing from the exiled Tuaregs. Ibrahim Ag Albabib, band leader of Grammy award winning Tuareg musicians -  Tinariwen, is accredited with creating ‘al-guitara’ music, so named for the addition of the electric guitar. They played the electric guitar in a blues style inspired by the likes of Malian desert mega star - Ali Farka Touré. Al guitara, or Saharan desert blues as it can be referred to by, mixed these virtuosic guitar solos with the traditional music fo the Tuareg cultures inspired by musical gatherings called ‘aggiwin’s. The songs are based around cyclical patterns and continuous characteristic grooving rhythms played on calabashes and clapping. All while with, predominantly male vocals in multiple harmonies. 

This new platform of music that was mainly decimated throughout the desert for years on home made cassette tapes that musicians would record their songs onto. This helped spread the music of al’guitara, and the ideologies of the Tuareg activists. 

Bombinos live album Agamgam released in 2010, is a good introduction to the life of the Tuaregs, opening the first track Ténéré opens with sounds from cattle. Considering the Tuaregs are a nomadic people of cattle, these sounds are idiosyncratic with the movement of nomads and their live stock. The second tune ‘Imuhar’ then opens with (I assume) is a Islamic citation, thus representing the religious ideologies of the Tuareg nomads of the desert. 

Bombino was raised a Muslim, and therefore taught honour and dignity, themes that run throughout his al’guitara music. Since starting to play, and traveling the world with his music, Bombino has played at all and any worthy festival, a favourite at WOMAD’s, this year playing at Coachella, and many many more. 

Furthermore Bombino now has three studio albums: Agadez, Nomad and Azel. 

I personally have found myself rather immersed in Bombinos long melodic guitar riffs, infectious rhythms and soft grooving vocals for a number of years, and find myself ecstatic to finally see him play at WOMAD 2017 Festival where he will be headlining the main stage.

It was a beautiful moment to find out I would have the chance to talk to one of my musical heroes….Here’s what happened. 

 

WOMAD Festival 2017

In a beautiful rush, I found myself being swept behind the Main Stage to the artist press area, awaiting outside the white tent labelled ‘Bombino’. Stood outside the tent keeping to themselves were two men in fine Tuareg attire. As a fan, I knew I was looking at Bombino.

I stood whilst a translator was being organised, after exchanging a smile and laugh I offered the gentleman a drink and they accepted. Without communication I enjoyed sharing a pleasant beverage with Bombino whilst we patiently waited for Bombinos English speaking bassist to be located. 

After a few minutes we off inside the tent, all communications go. I directed my questions to Bombino whilst our friend relayed two and forth between us.

Bombino sat most humble and spoke with an almost silent soft voice. I was taken aback given the  energy Bombino carries on stage to see that behind the shining lights and curtains stands an extremely humble, almost shy character, who speaks quietly, tends to not look up too much, and has an incredibly kind energy. 

After making ourselves comfortable and getting to know each other a little, I began to ask some questions…. 

 

Sophie Darling (SD): For people who aren’t familiar with your music and know if it as the Tuareg desert blues, is this how you would describe your music through your eyes and ears? 

Bombino (B): It’s universal music you know, it’s like the desert, the desert is big, it is open. But I am Tuareg and the bass is still Tuareg and then I mix with other colours and other things you know, so for me it’s universal music for everyone everywhere. 

SD: I’d like to know how you first picked up the guitar?

B: I started to play guitar very young, this is why I was called Bombino, because I was a baby, and with a friend, a brother… in African everyone is your brother, we say brothers. So when I see my brothers play guitar, I come, I take a guitar and I try. And I take again and I try. So also I don’t have a professor, I am self taught, and then I develop my style. 

SD: I read that you were inspired by Jimi Hendrix… my question to you is there a one particular song that resonates most with you? 

B: *laughs* For me it is not just one song I love, I love them all. But this isn’t the point. The point is when I see Jimi Hendrix play his guitar, you see this connection between Jimi Hendrix and his guitar, you feel it, between him and HIS guitar, they are connected.

I am very very fond of this, this is what I want, this is what I try to be. This connection is very important to me, the connection between me and MY guitar. 

SD: Where do you call home? 

B: Niger. The Desert. 

SD:Have you been looking forward to playing WOMAD Festival (2017)? 

B: WOMAD is not the first time I have played here, but the first time it was so so special. This is my second time and it is still so special. I play a lot of big festivals like Coachella Festival and other big ones in the USA, but WOMAD will always be very very special. It is like the connections with the other artists and other musicians and the spirit here is different. 

And then we play another WOMAD in New Zealand and Australia, WOMAD is always an extra special show. It is true, all the artists want to play WOMAD.

SD: Your songs are sung in Tamasheq, the language of the Tuareg people, can you tell us a little bit about your people? 

B: So Tamasheq is the language of the Tuareg people, and the Tuareg people they are in African in Niger, Algeria, Mali, Libya, Burkina Faso, so all across the desert, so it’s a large language, you can write it’s own scripture. 

SD: Was there ever a temptation to sing a more universal language, such as French? As a lot of the Malian musicians do for example? 

B: They are not the same, all the songs are written in Tamasheq because it is my mother language, the English people for example, they do not think in French, it would be, confusing? Why you think in French? So it is the same, I am Tuareg, and my mother language is Tamasheq, and so if I can sing in Tamasheq, it will be easier and it will reach a lot of people from home, from my community, so if I were to sing in English or French then a lot of people in my community would not understand, so it is an easy decision. 

SD: So, in closing, do you have any pre or post gig rituals for good luck? 

B: Oh no, we are not superstitious, before we go on the stage we do… *high fives each band member* Boom. That is all we need before and after the show *laughs*

SD: Will you be coming to England on tour? 

B: Yes of corse!


SD:…and how about another album?… Please?

B: Of course. 

 

 

Moments after we concluded our interview, with friendly hugs and goodbyes, I left Bombino to get ready for his big show, which he was due to stage in half an hour. 

I left the artist area, and with great excitement ran around to the front fo the main stage and stood in the middle of an already heaving crowd, awaiting the humble quiet man I had just spoken too. 

What happened next blew my mind, like the caterpillar blossoming into a stunning butterfly, this tranquil character who had just been so reserved exploded onto the stage in a flurry of unstoppable guitar riffs, like Hendrix on stage, Bombino played his guitar with such rock’n’roll muster I could barely believe it was the same man I had just spoken too. 

The entire gig’s energy sky rocketed, with dancing, singing, even screaming from the audience, the whole performance was stunning. The musicality was genius. Watching Bombino play endless cyclical guitar riffs, whilst singing, dancing, and hyping was immense. Truly one fo the best guitarists I have ever seen, the whole ensemble worked to perfection. A friend I knew in th crowd hadn’t heard of Bombino before however found himself bewildered at the musical talent, and found himself somewhat addicted to the Sahara Desert guitarist. 

 

In Conversation With: Ganga Thapa

GangaThapaC

SOAS University (Islington)

16.03.17

 

On the second of February, I went to the Rich Mix to see the band Namlo, fronted by Ganga Thapa, perform at their album launch. Namlo is the only Nepalese touring band in England. I was taken aback by the versatility of their tunes, spanning from their opening bass driven funky song, totheir more serious emotive slower songs. Knowing very little about Nepalese music, I decided to ask Ganga if he would mind meeting with me to have a one on one chat about his music, Nepals music, and his journey to the Rich Mix. Sure enough, an efficient week later, we met at SOAS University for a one on one conversation. Here’s what happened that day….. 

 

A Sunny (but windy) Thursday….     

I was working in the SOAS radio station when everyone abruptly dropped what they were doing to rush downstairs to the SOAS steps. I was alerted that the King of the Yoruba people (Southwest and North Central Nigeria) was to be arriving at SOAS within half an hour with twenty of his court musicians. The reason for this was apparently to make stronger alliances with the SOAS research department. I happily left what I was doing, grabbed my notebook and camera and ran with the crowds to see what all the fuss was about.

 I was here to be meeting Ganga Thapa, leader and front man of all-Nepalese band; Namlo. I asked him if he would mind taking our meeting outside into the sunshine and explained the added drama of the supposed royal visitor. Also rather excited by the prospect of seeing a King, we agreed to set up outside in the beautiful sunshine. We each first grabbed hot drinks; a coffee for me, and hot chocolate for Ganga. 

We firstly exchanged pleasantries, and I told Ganga how I had been at his album launch in the Rich Mix, how enjoyable I found the evening and how I found the versatility of the music amazing. It was immediately apparent how easy it was going to be having conversations with Ganga, friendly and chuckling, Ganga was open to sharing and also open to laughing. 

Together we sat outside for over an hour awaiting the royal arrival and chatting about all manner of things. 

S.D: Let’s talk firstly about your time before moving to London and before Namlo…

Ganga Thapa (G.P): Growing up in Nepal you’re surrounded by the beautiful Himalayan mountains, and so, that’s what everyone automatically thinks about. I found no-one thinks about the music there.

I studied Ethnomusicology in our capital city Kathmandu. I enjoyed it, but decided to carry on my studies elsewhere, somewhere a little more versatile. That’s why when I was twenty two I moved alone to London, England. Here I continued my studies in Ethnomusicology at degree level at the University of SOAS (otherwise known as, the School of Oriental and African Studies). Ethnomusicology is the study of music and cultures. I realised that there was very little focus on the musics of Nepal.

 I was very lonely at first. The cultural change was crazy, London is such a big busy city, it made me feel very lonely. The adjustment period for me never quite seems over. I dearly missed the open spaces of Nepal, and found it hard in London with the lack of sunshine. Sunshine energises you and there is very little of this in London. I think perhaps how much I missed Nepal effected a little of my studies. I would sometimes miss class’s, and had the teachers emailing me to ask where I was. 

 When I was studying in Nepal, I had picked up playing the Sarod, which second to the sitar, is the most played instrument in traditional Indian music and classical Hindustani music. I also learned to play classical guitar, something I continued in England, and now offer classical guitar lessons also. 

A great deal of the musical focus in Nepal is on Indian music. I therefore started off learning Indian Ragas’s (Indian melodic modes). I found myself more interested in the folk melodies coming from the classical Nepalese musicians. This became important to me. The radio will always be playing new ‘pop’ music. Indian pop is most prominent on the radio’s in Nepal, other forms of music are somewhat discouraged and less important. This fed me further into the desire to play the traditional folk musics from all over Nepal. I have childhood memories of the folk musics played, and it is these memories that I wanted to remember in my music.

S.D Have you faced any difficulties?  

G.T: It has not always been easy in England, being from Nepal, it is sometimes hard to travel around, and consequently I have had a lot of distressing issues with living in England. I am sure these are not unique to me, but they are not easy. It is when facing these difficulties that music really becomes the driving force behind not just my creativity, but everything. It’s music that keeps me happy, healthy and able to continue through the tuff times. Sometimes these unfair things that get thrown at us, sometimes maybe they help. Maybe sometimes we need a little pain. 

S.D Can you tell me about your musical inspirations? 

G.T: My primary inspirations came from the folk melodies in Nepalese music. This is something that I wanted to present in my music; all the Nepalese folk areas of music. In England, the Nepalese music is very bad, terrible, I wanted to make sure that the subconscious cultures from all over Nepal are being played and represented. 

However saying that, in Nepalese music, the vocals are technically very very good, this is something I wanted to harness, however the vocals can also be very boring, there is too much happening in their music, and they stay within the melody all the time. Very boring. Also Nepalese songs tend to have very long lyrics, in my songs, the overall structure of the lyrics aren’t as long.Itake the technicality of the vocals and make it my own, make it interesting. 

I also very much like African tonality. That’s why I take some inspiration from West Africa as well, such as from Mali. 

Many Malian artists inspire me, I particularly love mystros Bassekou Kouyate and Toumani Diabate, as well asAli Farke Toure and Habib Kouyate. Habib Kouyate actually has the guitar that I had always wanted, and finally got for myself. The guitar is a Godin guitar and has a midi output built in, very cool indeed. 

S.D What is your song writing process?

G.T:  Inspirations for me songs come in all places. When I write my songs, the melody will come to me first, perhaps I will play something on the guitar, then the lyrics will come second. This is how I write my music. Very often inspirations will come randomly when I am travelling, and I will need to write a song there and then, but always I will mainly be inspired by the folk traditions, the rhythms and melodies of Nepal. From the North and the South, all over, I want to take the little differences in their cultures, and play them all.

S.D Can you tell me about your music and Namlo? 

G.T: I was originally in a band in England called the Yak Attack when I first moved, but now I am playing with Namlo. I am also a teacher in classical guitar. However Namlo is what I am doing full-time. 

Together in Namlo we represent all of Nepal, with four of us directly from Nepal, our double bass player is from Wales, and our clarinet player is Australian. We recorded the percussion on our debut album in Nepal. Another of my inspirations if of corse Bisso Shahi whose produced our album. He has been a constant influence to me and Namlo as a band. I feel our sound would be rather different without his inspirations. He has guided me very much so.

Namlo in Nepal is actually the name we call to the strap. A strap that holds our ‘Doko’ baskets. It is a very strong strap that is used in everyday life, it is an integral part of out lives, and everyone from Nepal knows exactly what a Namlo is. It helps us to carry things easily. I like it because it represents what we are doing with our band. The basket you see is weaved together for strength. Just as we are weaving our cultural bonding together in support of the Nepalese community worldwide. 

We want to create cross cultural global music. From all the different folk scenes and melodies from different parts of Nepal, to London UK. I want to fuse these Indian and Nepalese and Western influences in order to raise the profile of Nepalese music in a global context. I want to represent our diverse community.

When there was the 2015 earthquake in Nepal, we knew we had to show our solidarity and try and help our people. Therefore we arranged 10 gigs all around England, and all the money we made went straight to those effected by the earthquake. It was very difficult for us to see the suffering, so we had to do something to help.

S.D: Do you have help organising your schedule?

G.T:  To help us tour and play gigs everywhere, we managed to get some Arts Council funding. This helped us dearly, as we have no band manager. I book all the concerts myself, which can be very challenging. Also keeping our social media up to date is also a task I find sometimes difficult asI feel my English is not always the best. Never the less, we find venues, promoters who want cross cultural performances, and we travel around the country playing these gigs. 

S.D: Where can we listen to your music?

G.T: Our Debut album self titled Namlo is now available after our album launch in the Rich Mix on the second of March (2017). It has been produced by my good friend and guide Bisso Shahi. The launch at the Rich Mix was one of my favourite concerts. The sound in the venue was really good, same as when we played in Union Chapel. As our music has a story, it is nice to have venues that have good quality sound as we can really feel as though we are portraying our message and our story to the audience. You can also listen to my catalogue of music on my website: gangathapa.com

 

After a good couple of hours of chatting, we decided to call it day. For those wondering, we did manage to see the King of the Yoruba people during our conversation. He arrived with all the gusto and grandeur expected of Royalty. with twenty musicians playing and singing for his as he walked fro his limo to the SOAS steps under a large umbrella propelled by two of his men. After witnessing this arrival, we made our way inside to warm up from the bitter London ‘summer’ weather. 

Having listened to the Namlo album, I found it hopelessly catchy and infectious. I listened to the album for the first time back to back. It is certainly a product of fusion. The beautiful sounds such as the flutes playing Nepalese melodies, and the voices being used sometimes as just harmonium drones. With up-beat feel good songs such as ‘Kauda' with more obvious Indian influences and the stunning voice of Shreya Rai, to the more emotive ‘Pida’ (translated Grief) taking us on a journey, and using near to no lyrics in doing so. The whole album from beginning to end captures the fusion Ganga speaks of so desperately of wanting to portray. 

When times are tuff I listen to the Namlo album, it’s soft and pulsing groove allows me to travel to a happy musical space. I can listen to the album from start to finish with ease and pleasure. It’s lovely to hear and recognise the wonderful Nepalese rhythms and melodies spoken so highly off. I would buy this album for my nan and also for my best friend. Truly a beautiful piece of work, it has an appeal to the great majority. 

Conducting this ‘one on one’ with Ganga was an absolute pleasure, we laughed and smiled and talked of all things good and bad. His honesty and openness was an absolute pleasure to work with. I like to think I found a friend in Ganga that sunny Thursday afternoon. 

You can catch Namlo play on: May 26th at the Southbank Centre (London), July 6th at the Folkestone Festival and July 9th at SOAS for the South Asian Festival. You can also buy the album ‘Namlo’ on iTunes, Amazon and Google Play. Be sure to follow them on all media platforms to follow Ganga and Namlo on their journey to spreading Nepalese music globally.