Review of Rudresh Mahanthappa's 'Kinsmen'

Rudresh Mahanthappa’s Kinsmen is the alto saxophonist’s deepest exploration yet of Indian music. Mahanthappa was born to Indian immigrant parents, and his unique style of improvisation, characterized by sharply articulated phrases and darting melodies, often sounds inspired by ragas, the scales on which Indian melodies are founded. His collaborations with pianist Vijay Iyer make use of rhythmic forms comparable to tals, or Indian rhythmic cycles.

Half-Western, Half-South Indian

The music on Kinsmen, while not exactly Carnatic (South Indian) music, is a collaborative work between Mahanthappa and Kadri Gopalnath, the master of Carnatic saxophone. Their co-led group, the Dakshina Ensemble, uses Carnatic conventions as a foundation on which Mahanthappa composes original music inspired by jazz harmony and phrasing as well as ragas and tals. Mahanthappa envisions the result as half-Western and half-South Indian. The instrumentation reflects this hybrid, as the group is comprised of two saxophones, guitar, bass, drums, violin, and Mridangam, which is a South Indian barrel drum.

Synergic Effect

Mahanthappa funded the project with a Rockefeller Grant and a commission from New York’s Asia Society. He traveled to India in 2005 to arrange the music with Kadri Gopalnath. Gopalnath had been a hero of his since he was a young Berklee jazz graduate, when he received a CD of the Carnatic saxophonist’s music. The eagerness to share their respective styles is evident on Kinsmen, as both alto saxophonists play heartfelt, thoughtful solos fitting the mood of each piece. They seem not only comfortable but also invigorated by the synergy of the musical setting.

The album is diverse and dramatic, from the agitated and coiling “Snake!” to the pensive, yearning “Kalyani.” Interspersed among the fully structured compositions are alaps, or arrhythmic, musing solos that introduce the raga around which each subsequent piece is based. The effect is to draw the listener into the ambiance of each piece, which then unfolds into sections of contrapuntal momentum, or solos that command the focus, allowing the accompanying musicians to fall out of the spotlight, holding steadfastly to complex grooves.

Highlight Tracks:

• “Longing” – Introduced by an alap by guitarist Rez Abbasi, “Longing” begins with an introspective and desultory melody played by Mahanthappa. It eventually works its way out of an ambling feel into a restrained yet persistent groove over which Gopalnath performs a disturbed solo. His lines entwine, and build to periods of repeated cries. He embellishes his melodies in such a way that they have a vocal quality despite their virtuosity. Following his solo is Mahanthappa’s, which is not as voice-like, but is ensnarled with an equal amount of tension. Mahanthappa strays from the raga, invoking the sound of going “outside the changes,” a nod to the harmonic freedom of modern jazz. Next, A. Kanyakumari plays a mournful violin solo, inflected with vocal bends and decorations similar to those of Gopalnath.

”Snake!” – This piece is characterized by winding imagery, beginning with a playful melody that wraps itself into a chaotic knot with the two saxophones and violin each playing an independent, tangling, repetitive line. Out of this, Mahanthappa and Abbasi solo simultaneously over a rumbling groove on Royal Hartigan’s drumset. This again descends into a frenzy, only for the initial melody to suddenly emerge, until the tune ends humorously on a major chord.

”Convergence (Kinsmen)” – A true celebration of the Indian-American collaboration, “Convergence” features the most striking results of the stylistic mixing. Gopalnath’s solo is given an increased depth thanks to Abbasi’s guitar voicings. Over the jazz-tinged accompaniment, the Carnatic saxophone achieves a novel shimmer. Gopalnath sounds as if he is excited by this discovery, and his solo is exhilarating. Later in the piece, Mahanthappa and Gopalnath trade improvised phrases, ending on a unison high note, marking the pinnacle of their convergence. An extra bit of musical border crossing occurs when, toward the end of the tune, Royal Hartigan plays a Cuban bell pattern on his cymbals, emphasizing the music’s universalistic property.

Release Date: :

Sept. 23 on Pi Recordings (currently available on iTunes)

Track List:

1. Introspection
2. Ganesha
3. Rez-Alap
4. Longing
5. Snake!
6. Carlo-Alap
7. Kalyani
8. Kadri-Alap
9. Kanya-Alap
10. Convergence (Kinsmen)

Personnel:

• Rudresh Mahanthappa – Alto Saxophone
• Kadri Gopalnath – Alto Saxophone
• A. Kanyakumari – Violin
• Rez Abbasi – Guitar, Sitar-Guitar
• Carlo de Rosa – Bass
• Royal Hartigan – Drums
• Poovalur Sriji – Mridangam (South Indian barrel drum)

More Rudresh Mahanthappa Albums