CURATION
-
from this page:
by Matrix
The Integrated Global Creative Economy
-
Name:
Anoushka Shankar
-
City/Place:
London
-
Country:
United Kingdom
Life
-
Bio:
To read a list of Anoushka Shankar’s accomplishments is to read many life stories in one: masterful sitarist; film composer; impassioned activist; the youngest and first female recipient of a British House of Commons Shield; the first Indian musician to perform live or to serve as presenter at the Grammy Awards with seven nominations under her belt, and the first Indian woman to be nominated; one of the first five female composers to have been added onto the UK A-level music syllabus. Immersed from a young age on the world stage, with over a quarter-century’s performing behind her, she is a singular, genre-defying artist across realms - classical and contemporary, acoustic and electronic.
The Shankar house, a respite from a world where she grew up under the public’s intense gaze, was seldom a silent place. Musicians were a permanent presence - learning, rehearsing, improvising, or simply playing musical games around the dinner table. Anoushka began studying the sitar - and Indian classical music - from the age of 9 under the intensive tutelage of her father, Pandit Ravi Shankar: a master of the instrument, and a figure without whom 20th Century music would quite simply not have been what it was. After making her professional debut at thirteen, she began touring worldwide alongside her father then embarked on a successful touring career when she was 18, becoming known for her virtuosic yet emotional playing style, unusual instrumentation, and precise rhythmic interplay. Having discovered electronic music as a teenager before later immersing herself in the Goan psychedelic trance scene, she found parallels with the meditative, introspective qualities of Indian classical music in the ecstatic release of the dancefloor: using different colours to paint the same picture.
Having released three classical albums for Angel Records EMI and performed at venues such as Carnegie Hall and the Barbican multiple times by the age of 25, the switch to earthy ambience and deep textures on 2005’s Rise was fuelled by a desire “to create music that more fully represents who I am.”
Self-composed and produced, and infused with electronics created alongside Gaurav Raina of the MIDIval Punditz, Rise “was a way to speak the language of my own history: growing up across three continents with one foot in the past and one in the present.”
Earning her a 2nd Grammy nomination, this cinematic album formed the blueprint for her intensive solo career. Notions of physical and sonic space are inverted; instruments flow into each other like merging streams; disparate systems of tuning, scale, and instrumentation are made to sound as if they were always meant to co-exist. Her follow-up album Breathing Underwater, created in collaboration with multi-instrumentalist Karsh Kale, envisioned a sonic world where ragas, bright analogue soundscapes, contemplative electronics, and guest turns by Ravi Shankar, Sting, and Anoushka’s half-sister Norah Jones could all slot next to each other without seeming an inch out of place.
Signing to Deutsche Grammophon in 2011 marked the start of a decade of unbridled fertility. Over the course of four distinct albums, each Grammy-nominated, disparate threads were woven into a tapestry, even as themes shifted and sound palettes expanded. Deep meditations of love and loss on the Nitin Sawhney-produced Traces Of You nestled against a quietly-triumphant return to pure raga improvisations on Home; the historical relationship between Indian classical music and Spanish flamenco was explored on the Javier Limón-produced Traveller whilst the current global refugee crisis informed the rallying cry of Land Of Gold. Co-written with frequent collaborator and handpan exponent Manu Delago and featuring M.I.A, Vanessa Redgrave and Alev Lenz, Land Of Gold crystallised Anoushka’s sound: a de-exotified, high-definition sitar resonating across unpredictable, genre-resistant instrumentation. Alev’s hypnotic presence is also felt on Love Letters - Anoushka’s most recent release, existing in its own universe. The co-produced EP contains startingly-beautiful turns by Ibeyi, Shilpa Rao and Ayanna Witter-Johnson and distills the raw emotions of each note, showcasing an artist who is increasingly comfortable with being vulnerable.
In a world market designed more for the solo auteur, those who grow up with an impulsive and collective music-making process may often find themselves at a loose end. Anoushka’s environment entrenched a liquid approach to composition and performance - letting the creative process itself provide clarity, and lighting the path ahead with the sparks of connection that develop. A love of that connection has drawn her to collaborate with diverse artists including Herbie Hancock, Patti Smith, Joshua Bell, Gold Panda, Rodrigo y Gabriela, Jules Buckley and His Holiness the Dalai Lama. Her touring career has taken her from legendary jazz cafes to iconic Symphony Halls and festival stages in front of 40,000 people, and her versatility transforms each of these locations into an intimate experience for all listening. That versatility comes out of years spent building the confidence to be artistically truthful and to connect to her audience from the heart.
Anoushka’s foray into composing for film birthed what she considers her most challenging piece of work: scoring the British Film Institute’s restoration of Shiraz, one of the first major Indian silent feature films, and performing it live at screenings. The flexibility of live performance is tethered by the technical exactitude of film, and the heavy weights of the histories and cultures being showcased, but also the ability to subvert audience expectations and not give in to any obvious signifiers. Her recent work co-composing the score to Mira Nair’s A Suitable Boy is a sonic portrait of post-partition India, showcasing how she can flit between the decades effortlessly whilst not compromising artistic integrity.
As her music speaks to timeless pasts and urgent futures, so she is just as tireless in her activism work. She has been outspoken about her experiences as a woman and a survivor of child abuse, throwing her weight behind campaigns such as One Billion Rising. She frequently works with organisations such as the UNHCR and Help Refugees to raise funds and awareness for the refugee crisis. In 2020 she was announced as the inaugural President of the F-List: a UK database created to help bridge the gender-gap in music, and as an Ambassador for The Walk: an international artistic project in support of refugees.
All of this speaks to a rare breed of artist; one who can balance many lives in one, each one seeming as natural as the next. Anoushka’s tempests of sound present ancient instruments in modern lights, not as exotic set pieces, but as living, breathing, and wildly expressive, full-bodied gifts to this world. Every note played comes from the soul, “playing to connect to the innermost part of my myself and hopefully the listener, evoking empathy or a feeling of hope…you have to believe you might make a difference in order to bother trying”.
Contact Information
-
Management/Booking:
Management/Bookings/Queries:
Alessia Avallone at Language of Sound
[email protected]
www.languageofsound.com
Clips (more may be added)
When creators curate people (and entities) for what they do and where they do it, a matrix is generated.
Following human society, by the mathematical magic of the small-world phenomenon, all inside such a matrix tend to within degrees of all others inside.
And by logical extension, to within degrees of all humanity.
It is almost completely unknown that the Recôncavo of Bahia was final port-of-call for more enslaved human beings than any other place throughout the entirety of mankind’s existence on this planet.
And widely unknown that Brazil — a repository of African deities now largely forgotten in their lands of origin — absorbed over ten times the number of Africans taken to the United States of America.
And unknown that Brazil was a refuge (of sorts) for Sephardim fleeing an Inquisition which followed them across the Atlantic (that unofficial symbol of Brazil’s national music — the pandeiro — was almost certainly brought to Brazil by these people).
Across the parched savannas of the interior of Brazil’s culturally fecund nordeste/northeast (where wizard Hermeto Pascoal was born in Lagoa da Canoa — Lagoon of the Canoe — and raised in Olho d’Águia — Eye of the Eagle), much of Brazil’s aboriginal population was absorbed into a caboclo/quilombola culture punctuated by the Star of David.
Three cultures — from three continents — running for their lives, their confluence forming an unprecedented fourth.
Great culture is great power. This matrix begins here and opens pathways to cultures and creators everywhere.
Recently accessed from:
"Thanks, this is a brilliant idea!!"
—Alicia Svigals (NEW YORK CITY): Apotheosis of klezmer violinists
"Dear Sparrow: I am thrilled to receive your email! Thank you for including me in this wonderful matrix."
—Susan Rogers (BOSTON): Director of the Berklee Music Perception and Cognition Laboratory ... Former personal recording engineer for Prince; "Purple Rain", "Sign o' the Times", "Around the World in a Day"
"Dear Sparrow, Many thanks for this – I am touched!"
—Julian Lloyd Webber (LONDON): Premier cellist in UK; brother of Andrew (Evita, Jesus Christ Superstar, Cats, Phantom of the Opera...)
"This is super impressive work ! Congratulations ! Thanks for including me :)))"
—Clarice Assad (RIO DE JANEIRO/CHICAGO): Pianist and composer with works performed by Yo Yo Ma and orchestras around the world
"We appreciate you including Kamasi in the matrix, Sparrow."
—Banch Abegaze (LOS ANGELES): manager, Kamasi Washington
"Thanks! It looks great!....I didn't write 'Cantaloupe Island' though...Herbie Hancock did! Great Page though, well done! best, Randy"
"Very nice! Thank you for this. Warmest regards and wishing much success for the project! Matt"
—Son of Jimmy Garrison (bass for John Coltrane, Bill Evans...); plays with Herbie Hancock and other greats...
Ground Zero for the project was the culture born in Brazil's quilombos (in Angola a kilombo is a village; in Brazil it is a village either founded by Africans or Afro-Brazilians who had escaped slavery, or — as in the case of São Francisco do Paraguaçu below — occupied by such after abandonment by the ruling class):
...theme for a Brazilian Matrix, from an Afro-Brazilian Mass by
Milton Nascimento
I opened the shop in Salvador, Bahia in 2005 in order to create an outlet to the wider world for magnificent Brazilian musicians.
David Dye & Kim Junod for NPR found us (above), and Kareem Abdul-Jabbar (he's a huge jazz fan), David Byrne, Oscar Castro-Neves... Spike Lee walked past the place while I was sitting on the stoop across the street drinking beer and listening to samba from the speaker in the window...
But we weren't exactly easy for the world-at-large to get to. So in order to extend the place's ethos I transformed the site associated with it into a network wherein Brazilian musicians I knew would recommend other Brazilian musicians, who would recommend others...
And as I anticipated, the chalky hand of God-as-mathematician intervened: In human society — per the small-world phenomenon — most of the billions of us on earth are within some 6 or fewer degrees of each other. Likewise, within a network of interlinked artists as I've described above, most of these artists will in the same manner be at most a handful of steps away from each other.
So then, all that's necessary to put the Brazilians within possible purview of the wide wide world is to include them among a wide wide range of artists around that world.
If, for example, Quincy Jones is inside the matrix, then anybody on his page — whether they be accessing from a campus in L.A., a pub in Dublin, a shebeen in Cape Town, a tent in Mongolia — will be close, transitable steps away from Raymundo Sodré, even if they know nothing of Brazil and are unaware that Sodré sings/dances upon this planet. Sodré, having been knocked from the perch of fame and ground into anonymity by Brazil's dictatorship, has now the alternative of access to the world-at-large via recourse to the vast potential of network theory.
...to the degree that other artists et al — writers, researchers, filmmakers, painters, choreographers...everywhere — do also. Artificial intelligence not required. Real intelligence, yes.
Years ago in NYC (I've lived here in Brazil for 32 years now) I "rescued" unpaid royalties (performance & mechanical) for artists/composers including Barbra Streisand, Aretha Franklin, Mongo Santamaria, Jim Hall, Clement "Coxsone" Dodd (for his rights in Bob Marley compositions; Clement was Bob's first producer), Led Zeppelin, Ray Barretto, Philip Glass and many others. Aretha called me out of the blue vis-à-vis money owed by Atlantic Records. Allen Klein (managed The Beatles, The Rolling Stones, Ray Charles) called about money due the estate of Sam Cooke. Jerry Ragovoy (Time Is On My Side, Piece of My Heart) called just to see if he had any unpaid money floating around out there (the royalty world was a shark-filled jungle, to mangle metaphors, and I doubt it's changed).
But the pertinent client (and friend) in the present context is Earl "Speedo" Carroll, of The Cadillacs. Earl went from doo-wopping on Harlem streetcorners to chart-topping success to working as a custodian at PS 87 elementary school on the west side of Manhattan. Through all of this he never lost what made him great.
Greatness and fame are too often conflated. The former should be accessible independently of the latter.
Yeah this is Bob's first record contract, made with Clement "Sir Coxsone" Dodd of Studio One and co-signed by his aunt because he was under 21. I took it to Black Rock to argue with CBS' lawyers about the royalties they didn't want to pay (they paid).
Matrix founding creators are behind "one of 10 of the best (radios) around the world", per The Guardian.
Across the creative universe... For another list, reload page.
This list is random, and incomplete. Reload the page for another list.
For a complete list of everybody inside, tap TOTAL below:
TOTAL
Hermeto Pascoal
Alicia Svigals
Susan Rogers
Julian Lloyd Webber
Clarice Assad
Kamasi Washington
Randy Brecker
Matt Garrison
RÁDIO MATRIX