Various Artists: Blue in Green
Blue in Green
Miles From India (Times Square Records TSQ-CD-1808)
Shankar Mahadevan (vocals), Louiz Banks (keyboards), Mike Stern (guitar), Dilshad Khan (sarangi).
Composed by Miles Davis.
Recorded: India and New York, November 2006-July 2007
Rating: 94/100 (learn more)
Can anyone doubt that, had he lived longer, Miles Davis would have been a major player in the Indo-jazz fusion movement that has come to the fore in recent years? Producer Bob Belden here makes sure Davis was part of it anyway. For Miles From India, Belden assembled an impressive cast of Western musicians who'd collaborated with Davis. Many were part of Miles's most historic recordings. Belden then paired them with established and up-&-coming Indian musicians to interpret some of Miles's greatest works. Belden sees Miles's music as a common language. More and more, Indian musicians are becoming fluent in this language.
Dilshad Khan's sarangi hangs over "Blue in Green's" intro like a protective shroud. The sarangi is an ancient Indian stringed instrument mastered by few musicians, Khan clearly being one. Free-floating elements are added by trumpeter Wallace Roney, sounding like Miles himself, guitarist Mike Stern and keyboardist Louiz Banks. Vocalist Shankar Mahadevan, best known in the West as a frequent guest with John McLaughlin's Remember Shakti, acts as the lead melodic instrument, his wordless vocalizations imbuing the piece with a haunting beauty. The tune's midsection provides a venue for some fine jazz explorations from Banks and Stern. They are propelled throughout by the rhythm section of bassist Ron Carter and drummer Jimmy Cobb, drummer on the original "Blue In Green" from Kind of Blue. An abrupt change in direction occurs that ushers in Roney and Khan for some spacey and moving interplay. (The sudden shift is reminiscent of what producer Teo Macero had sometimes created in the editing room on Miles's A Tribute to Jack Johnson and other records.) The musicians return en masse to bring the 13-minute excursion to a pleasing end. By communicating across two global hemispheres, this music takes another important step forward in the natural extension of jazz through cultural understanding.
Reviewer: Walter Kolosky