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soolaba
Description
Soolaba: sitar fusion music cds by Soolaba; world musicians who use sitars synthesisers tablas flutes didgeridoos and Indian chants to soothe the soul. free sitar samples, sitar info,artist bio's, links, indian fusion music for meditation.
A collective of spiritually-inspired musicians who have created, with the sitar, tabla, synthesisers, flutes, Vedic chants, etc, healing and uplifting Indian-flavoured grooves.
From here in the Rainbow Region of eastcoast Australia, this
music is an offering to the Conscious Evolution of Humanity.
Born in Australia, Soolaba started playing guitar at age 15, influenced by such guitar greats as Jimi Hendrix, Jimmy Page, Eric Clapton and Carlos Santana. Armed with a twelve-string and a busking hat, his first public performances were on the streets of Sydney in 1977.
At age 19, Soolaba bought his first sitar being inspired by George Harrison, and his famous sitar-guru, Ravi Shankar.
By studying Shankar's recordings and Indian music books, Soolaba developed his unique style of sitar playing.
Over the next 4 years he studied sound and video with ABC-TV, painted fine arts, and enjoyed the devotional life-style of the Krishna movement. It was in the Krishna temples of Australia, New Zealand and India that Soolaba learnt the traditional songs, instruments and raga music theory that form the core of his performances today.
Over the last twelve years Soolaba has performed as a solo singer/sitarist, and in fusion bands with diverse instruments such as: didjeridoo, oboe, synthesisers, double bass, tabla drums, flutes, violins, electric guitars, African drums and drum kits. Venues for the music are equally diverse and have included restaurants, festivals, universities, yoga clubs, private functions, art exhibitions, dance party chill-zones, tropical resorts and hotels ...
A collective of spiritually-inspired musicians who have created, with the sitar, tabla, synthesisers, flutes, Vedic chants, etc, healing and uplifting Indian-flavoured grooves.
From here in the Rainbow Region of eastcoast Australia, this
music is an offering to the Conscious Evolution of Humanity.
Born in Australia, Soolaba started playing guitar at age 15, influenced by such guitar greats as Jimi Hendrix, Jimmy Page, Eric Clapton and Carlos Santana. Armed with a twelve-string and a busking hat, his first public performances were on the streets of Sydney in 1977.
At age 19, Soolaba bought his first sitar being inspired by George Harrison, and his famous sitar-guru, Ravi Shankar.
By studying Shankar's recordings and Indian music books, Soolaba developed his unique style of sitar playing.
Over the next 4 years he studied sound and video with ABC-TV, painted fine arts, and enjoyed the devotional life-style of the Krishna movement. It was in the Krishna temples of Australia, New Zealand and India that Soolaba learnt the traditional songs, instruments and raga music theory that form the core of his performances today.
Over the last twelve years Soolaba has performed as a solo singer/sitarist, and in fusion bands with diverse instruments such as: didjeridoo, oboe, synthesisers, double bass, tabla drums, flutes, violins, electric guitars, African drums and drum kits. Venues for the music are equally diverse and have included restaurants, festivals, universities, yoga clubs, private functions, art exhibitions, dance party chill-zones, tropical resorts and hotels ...
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Date
Mar 18, 2006
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Email
Link ID
13289
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Other links at Music Styles > worldbeat > bands and artists
1. planet josh
Planet Josh: Official site for an upcoming Indian-fusion band. Featuring background, audio samples, reviews, and photographs. The Band:
RUP,
Rupinder Magon:
Rup was born and raised in Montreal, Canada. Raised in a practicing and religious Sikh family, his first experience with music came from the Gurdwara’s (Sikh Temple). As he was never truly trained in the instrument, by listening to professional ragi’s, at age 6 he slowly picked up the Tabla. His mother used to regularly sing at the Gurdwara, so he used to help her practice by providing the tabla beat as she sang on her harmonium. Eventually as he played with more people, he learned a freestyle method of playing the instrument and learned different beats from the different ragi jathas that would come to town. His natural progression in tabla lead to always being close to the harmonium. Thus, he learned how to sing hymns on the harmonium, and combined with the Piano lessons he had been taking for 5 years, he was able to learn the instrument rather quickly ...
Q,
Qurram Hussain:
Q joined Josh once the band was already established. They had already done a number of key shows, gaining exposure with the South Asian audiences in Montreal, and were starting to make a name for themselves. q’s arrival only helped to solidify the band and he brought with him a unique perspective on fusion.
A product of the 80’s glam rock era, q’s earliest influences include bands such as Guns’n’Roses and Europe. “I remember listening to these bands and thinking, I could do this. I can be Slash” he recalls. Those desires faded away to make room for the love of more Alternative vibes such as Pearl Jam, Soundgarden and Stone Temple Pilots. This was also the time when q decided to explore music as an art form and joined an alternative band called “Black eyed Susan” as the lead singer and guitarist. Short lived as that was, it was his first exposure to the thrill of performing music live ...
RUP,
Rupinder Magon:
Rup was born and raised in Montreal, Canada. Raised in a practicing and religious Sikh family, his first experience with music came from the Gurdwara’s (Sikh Temple). As he was never truly trained in the instrument, by listening to professional ragi’s, at age 6 he slowly picked up the Tabla. His mother used to regularly sing at the Gurdwara, so he used to help her practice by providing the tabla beat as she sang on her harmonium. Eventually as he played with more people, he learned a freestyle method of playing the instrument and learned different beats from the different ragi jathas that would come to town. His natural progression in tabla lead to always being close to the harmonium. Thus, he learned how to sing hymns on the harmonium, and combined with the Piano lessons he had been taking for 5 years, he was able to learn the instrument rather quickly ...
Q,
Qurram Hussain:
Q joined Josh once the band was already established. They had already done a number of key shows, gaining exposure with the South Asian audiences in Montreal, and were starting to make a name for themselves. q’s arrival only helped to solidify the band and he brought with him a unique perspective on fusion.
A product of the 80’s glam rock era, q’s earliest influences include bands such as Guns’n’Roses and Europe. “I remember listening to these bands and thinking, I could do this. I can be Slash” he recalls. Those desires faded away to make room for the love of more Alternative vibes such as Pearl Jam, Soundgarden and Stone Temple Pilots. This was also the time when q decided to explore music as an art form and joined an alternative band called “Black eyed Susan” as the lead singer and guitarist. Short lived as that was, it was his first exposure to the thrill of performing music live ...
Category:
2. blue star
The Blue Star Story:
One evenig Elizabeth said: „What about recording some music that is exactly what we like, without thinking about if it can be sold“ That was way back in 1985, when Peter and Elizabeth started to create some music without vocals in their then still small studio.
Instrumental music with lots of guitars was way uncool in those days. But it felt right for the artists and set the course for their future work.
Nine CDs, more than 100 000 downloads and 700 produced tracks later, Blue Star are successful independent Artists with an own label.
„Hot Interaction of Mr. Guitar and Lady Hammond“, wrote a critic.
Stellar guitar, melodic like Santana / Peter Green plus a touch of U.S. - Soulblues a‘ la Larry Carlton meet groovy Hammond lines in the style of Jimmy McGriff but also Gegg Rolie (Ex Santana) Emotion and playfulness are the main ingredients. Live drums live peacefully beneath loops and samples.
Peters Les Paul, ES 335 und Gretsch White Falcon are the main guitars. Elizabeth plays a 1963 Hammond C3 with Leslie, Rhodes and Wurlitzer Pianos.
Atmosphere is the keyword that makes this music interesting for musicians and non musicians as well.
Listening to Blue Star for the first time, it takes a while until you notice that nobody is singing. The instruments tell their stories and nobody misses vocals.
The more quiet albums like Himalaya Suite (1997) and Blues (2003) are relaxed, almost meditative, but without the new age grease ...
Die Blue Star Story:
Eines abends sagte Elizabeth: „Lass uns doch einfach mal Musik für uns selbst machen, nur nach unserem Geschmack.“ Das war irgendwann Ende 1985, als Peter und Elizabeth in ihrem damals noch kleinen Studio begannen einen Track ohne Gesang aufzunehmen.
Instrumentale Musik mit viel Gitarre war damals das uncoolste was man produzieren konnte. Trotzdem fühlte es sich genau richtig an und deutete in die Richtung die Blue Star einschlagen würden.
Acht Alben, hunderttausende Downloads, 700 komponierte / produzierte Titel und unzählige Auftragskompositionen später zeigen Blue Star als erfolgreiche Independent Artists mit eigenem Label, dass es sich lohnt der eigenen Spur zu folgen.
„Hot Interaction of Mr. Guitar and Lady Hammond“, so beschreibt ein Kritiker die Musik von Blue Star. Peter Blue und Elizabeth Star spielen eine Musik, in der Vintage Sounds ohne Nostalgie zum Hörvergnügen werden.
Excellente Gitarrenparts, melodiös wie bei Santana / Peter Green mit einem Schuß trockenen U.S. - Soulblues a‘ la Larry Carlton treffen auf groovende Hammond Lines die an Jimmy McGriff aber auch Gegg Rolie erinnern. Emotionalität und Spielfreude finden einen Rahmen in professionellen, durchsichtigen Arrangements in denen Live Drums und Percussion ebenso Platz finden wie Loops und Samples.
Peters Les Paul, ES 335 und Gretsch White Falcon sind die meistgespielten Gitarren, während Elizabeth neben einer 1963er Hammond C3 mit Leslie auch Rhodes und Wurlitzer E- Pianos einsetzt.
Atmosphäre ist das Stichwort, das diese Musik nicht nur für Musiker sondern für ganz normale Hörer empfiehlt.
Wenn man Blue Star zum ersten mal hört, dauert es eine Weile bis man bemerkt, dass niemand singt. Man hat den Gesang nicht vermisst weil die Instrumente selbst Geschichten erzählen.
Auf den ruhigeren CDs wie Himalaya Suite (1997) und Zen Blues (2003) entwickeln Blue Star ihre eigene Art von entspannter, meditativer Musik und vermeiden es dabei elegant und mit Tiefgang, auch nur in die Nähe von Meditations – oder Entspannungsmusik zu geraten ...
One evenig Elizabeth said: „What about recording some music that is exactly what we like, without thinking about if it can be sold“ That was way back in 1985, when Peter and Elizabeth started to create some music without vocals in their then still small studio.
Instrumental music with lots of guitars was way uncool in those days. But it felt right for the artists and set the course for their future work.
Nine CDs, more than 100 000 downloads and 700 produced tracks later, Blue Star are successful independent Artists with an own label.
„Hot Interaction of Mr. Guitar and Lady Hammond“, wrote a critic.
Stellar guitar, melodic like Santana / Peter Green plus a touch of U.S. - Soulblues a‘ la Larry Carlton meet groovy Hammond lines in the style of Jimmy McGriff but also Gegg Rolie (Ex Santana) Emotion and playfulness are the main ingredients. Live drums live peacefully beneath loops and samples.
Peters Les Paul, ES 335 und Gretsch White Falcon are the main guitars. Elizabeth plays a 1963 Hammond C3 with Leslie, Rhodes and Wurlitzer Pianos.
Atmosphere is the keyword that makes this music interesting for musicians and non musicians as well.
Listening to Blue Star for the first time, it takes a while until you notice that nobody is singing. The instruments tell their stories and nobody misses vocals.
The more quiet albums like Himalaya Suite (1997) and Blues (2003) are relaxed, almost meditative, but without the new age grease ...
Die Blue Star Story:
Eines abends sagte Elizabeth: „Lass uns doch einfach mal Musik für uns selbst machen, nur nach unserem Geschmack.“ Das war irgendwann Ende 1985, als Peter und Elizabeth in ihrem damals noch kleinen Studio begannen einen Track ohne Gesang aufzunehmen.
Instrumentale Musik mit viel Gitarre war damals das uncoolste was man produzieren konnte. Trotzdem fühlte es sich genau richtig an und deutete in die Richtung die Blue Star einschlagen würden.
Acht Alben, hunderttausende Downloads, 700 komponierte / produzierte Titel und unzählige Auftragskompositionen später zeigen Blue Star als erfolgreiche Independent Artists mit eigenem Label, dass es sich lohnt der eigenen Spur zu folgen.
„Hot Interaction of Mr. Guitar and Lady Hammond“, so beschreibt ein Kritiker die Musik von Blue Star. Peter Blue und Elizabeth Star spielen eine Musik, in der Vintage Sounds ohne Nostalgie zum Hörvergnügen werden.
Excellente Gitarrenparts, melodiös wie bei Santana / Peter Green mit einem Schuß trockenen U.S. - Soulblues a‘ la Larry Carlton treffen auf groovende Hammond Lines die an Jimmy McGriff aber auch Gegg Rolie erinnern. Emotionalität und Spielfreude finden einen Rahmen in professionellen, durchsichtigen Arrangements in denen Live Drums und Percussion ebenso Platz finden wie Loops und Samples.
Peters Les Paul, ES 335 und Gretsch White Falcon sind die meistgespielten Gitarren, während Elizabeth neben einer 1963er Hammond C3 mit Leslie auch Rhodes und Wurlitzer E- Pianos einsetzt.
Atmosphäre ist das Stichwort, das diese Musik nicht nur für Musiker sondern für ganz normale Hörer empfiehlt.
Wenn man Blue Star zum ersten mal hört, dauert es eine Weile bis man bemerkt, dass niemand singt. Man hat den Gesang nicht vermisst weil die Instrumente selbst Geschichten erzählen.
Auf den ruhigeren CDs wie Himalaya Suite (1997) und Zen Blues (2003) entwickeln Blue Star ihre eigene Art von entspannter, meditativer Musik und vermeiden es dabei elegant und mit Tiefgang, auch nur in die Nähe von Meditations – oder Entspannungsmusik zu geraten ...
Category:
Hugo Torres-Cereceda: Worldbeat Latin American Singer Songwriter.
Hugo Torres-Cereceda, a self-taught musician, whet his appetite for music as a very small child, listening to family gatherings, participating in community events, etc. As a teenager growing up in his native Chile, Hugo was a member of a folk group Voces de America which appeared on Chilean national television in 1968. At that point, Hugo decided to concentrate on mastering the guitar.
In 1971, Hugo decided to learn more about the Andean Culture by spending two months, during his summer vacation, living among an Aymara community in the highlands of Northern Chile. That was the time when Hugo fell in love with the panflute.
Upon his arrival in Canada, Hugo immediately began to make his mark as a dedicated and versatile musician. Hugo was the founder and director of Retaguardia, one of the first Latin American folk groups in Canada. It played at cultural events and festival (Mainstage, Winnipeg Folk Festival, 1979) and enjoyed audiences in concert in most major cities in Canada and the United States.
From 1980 to 1993, Hugo produced a weekly coffeehouse AL CAFE which presented worldbeat music and community issues. Now, Hugo is in his third year of producing a monthly coffeehouse CAFE DE TODOS.
As a solo performer, Hugo has completed four concert tours of California, playing the Winnipeg Folk Festival many times; he played the Vancouver Folk Festival and the Festival on the Rocks (Yellowknife). He has played solo performances in Montreal, Ottawa, Toronto, Regina, Saskatoon, Edmonton, Calgary, Vancouver, Canmore, and other cities in Canada. In 1980, Hugo did a 13-day concert tour in Nicaragua (Central America).
Hugo has been heard twice on CBC's Identities program; he has performed twice on CBC's Simply Folk; he has been featured on CBC's Friday Nite The Entertainers ; on three different occasions he has played and been interviews on Swinging with the Stars (Murray McLaughlan); he has performed on three separate television networks; and he was recorded and appeared in a film produced about the 1988 Vancouver Folk Festival ...
Hugo Torres-Cereceda, a self-taught musician, whet his appetite for music as a very small child, listening to family gatherings, participating in community events, etc. As a teenager growing up in his native Chile, Hugo was a member of a folk group Voces de America which appeared on Chilean national television in 1968. At that point, Hugo decided to concentrate on mastering the guitar.
In 1971, Hugo decided to learn more about the Andean Culture by spending two months, during his summer vacation, living among an Aymara community in the highlands of Northern Chile. That was the time when Hugo fell in love with the panflute.
Upon his arrival in Canada, Hugo immediately began to make his mark as a dedicated and versatile musician. Hugo was the founder and director of Retaguardia, one of the first Latin American folk groups in Canada. It played at cultural events and festival (Mainstage, Winnipeg Folk Festival, 1979) and enjoyed audiences in concert in most major cities in Canada and the United States.
From 1980 to 1993, Hugo produced a weekly coffeehouse AL CAFE which presented worldbeat music and community issues. Now, Hugo is in his third year of producing a monthly coffeehouse CAFE DE TODOS.
As a solo performer, Hugo has completed four concert tours of California, playing the Winnipeg Folk Festival many times; he played the Vancouver Folk Festival and the Festival on the Rocks (Yellowknife). He has played solo performances in Montreal, Ottawa, Toronto, Regina, Saskatoon, Edmonton, Calgary, Vancouver, Canmore, and other cities in Canada. In 1980, Hugo did a 13-day concert tour in Nicaragua (Central America).
Hugo has been heard twice on CBC's Identities program; he has performed twice on CBC's Simply Folk; he has been featured on CBC's Friday Nite The Entertainers ; on three different occasions he has played and been interviews on Swinging with the Stars (Murray McLaughlan); he has performed on three separate television networks; and he was recorded and appeared in a film produced about the 1988 Vancouver Folk Festival ...
Category:
4. tahe
Tahe:
We are from the island of Mauritius, off the east coast of Africa. We use traditional rhythms (sega and seggae 6/8 and african 12/8) as a base, then layer more modern melodies and arrangements, and end up with music.
Tahé! means "Damn!" in creole. We like the name because this is precicely the reaction we want from people listening to our music ...
3 of Tahé's members are ex-members of Kaya's band, the legend of Mauritian music (killed by police in a jail cell in February 1999) : Sabrina Simiette (singer),Gilbert Kupusamy (singer, drummer), Damien Elisa (keyboards). Marc Boulle plays guitar, Richard Hein plays bass, Johnny Joseph plays drums and percussion ...
An African fusion band from Mauritius. Site features background, influences, radio stream, and reviews.
We are from the island of Mauritius, off the east coast of Africa. We use traditional rhythms (sega and seggae 6/8 and african 12/8) as a base, then layer more modern melodies and arrangements, and end up with music.
Tahé! means "Damn!" in creole. We like the name because this is precicely the reaction we want from people listening to our music ...
3 of Tahé's members are ex-members of Kaya's band, the legend of Mauritian music (killed by police in a jail cell in February 1999) : Sabrina Simiette (singer),Gilbert Kupusamy (singer, drummer), Damien Elisa (keyboards). Marc Boulle plays guitar, Richard Hein plays bass, Johnny Joseph plays drums and percussion ...
An African fusion band from Mauritius. Site features background, influences, radio stream, and reviews.
Category:
The Radikal Sunflowers Colectivo: Dancehall Reggae Latin Breakbeatz Dub Jazz - from Darmstadt, Germany.
Creating its own hot and extra-spicy Mestizo sound, the Radikal Sunflowers
Colectivo manages to merge musical influences of Jamaika and its communitites
in the UK with wild Jazz, Cumbia, Soca, Reggaetón and HipHop in a really impressing way.
The lyrics in english, spanish and german relate to freedom, love & peace,
conciousness and slackness - sometimes serious, sometimes nice, sometimes
reflecting the culture and sometimes just ass-moving.
Each live performance of the Radikal Sunflowers Colectivo is an extraordinairy experience
somewhere between a Soundsystem Show, a gig of a Live Band and a Dancehall party.
The spectrum of the live-program ranges from original Sunflowers tunes, Jazz classics like
"Minnie the Moocher", "Summertime" and "Night in Tunesia" (in stunning reggae-versions), individual
interpretations of Manu Chao´s "Clandestino" and Sergant Garcia's "Que Palique" to riddims like
Diwali, Police in Helicopter, Bitch, Amelie, Groovin, Harmony.
Creating its own hot and extra-spicy Mestizo sound, the Radikal Sunflowers
Colectivo manages to merge musical influences of Jamaika and its communitites
in the UK with wild Jazz, Cumbia, Soca, Reggaetón and HipHop in a really impressing way.
The lyrics in english, spanish and german relate to freedom, love & peace,
conciousness and slackness - sometimes serious, sometimes nice, sometimes
reflecting the culture and sometimes just ass-moving.
Each live performance of the Radikal Sunflowers Colectivo is an extraordinairy experience
somewhere between a Soundsystem Show, a gig of a Live Band and a Dancehall party.
The spectrum of the live-program ranges from original Sunflowers tunes, Jazz classics like
"Minnie the Moocher", "Summertime" and "Night in Tunesia" (in stunning reggae-versions), individual
interpretations of Manu Chao´s "Clandestino" and Sergant Garcia's "Que Palique" to riddims like
Diwali, Police in Helicopter, Bitch, Amelie, Groovin, Harmony.
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