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GRAMMY™ NOMINEE FOR BEST GLOBAL MUSIC ALBUM – SHAKTI’S ‘THIS MOMENT’

December 17, 2023
Abstract Logix, Bela Fleck, John McLaughlin, Shakti, Shankar Mahadevan, Uncategorized, Zakir Hussain
Abstract Logix, Bela Fleck, Ganesh Rajagopalan, John McLaughlin, Selvaganesh Vinayakram, Shakti, Shankar Mahadevan, world music, Zakir Hussain

Nomination follows rapturously received 50th Anniversary World Tour featuring original group co-founders John McLaughlin and Zakir Hussain

Shakti, the recently reconvened global fusion trailblazers, have been nominated for the 2024 GRAMMY™ Award for Best Global Music Album for This Moment – the group’s first new studio album in more than 45 years, released on June 30, 2023, on the Abstract Logix label. “After our most successful tour ever of three continents, Shakti gets a GRAMMY nomination for our album This Moment…” reacted to co-founding guitarist and composer John McLaughlin. “We are thrilled and delighted beyond words.”

“Our 2023 world tour celebrated 50 years of love and beauty,” Zakir Hussain adds. “Congratulations to my longtime brother in the music, John McLaughlin, and to our brilliant bandmates Shankar Mahadevan, Selvaganesh Vinayakaram, and Ganesh Rajagopalan.”

Shakti recently concluded their triumphant 27-city 50th Anniversary Tour, which featured 17 U.S. performances with opening sets by longtime admirers Jerry Douglas, Bill Frisell, Béla Fleck, and John Scofield. Highlights of the tour – during which the thrilling cross-cultural musical ideas first broached on This Moment was further explored and expanded – included a performance at Nashville’s historic Ryman Auditorium (captured and released as a limited live stream) and a riveting appearance on NPR’s popular Tiny Desk Concerts program. 

Shakti was formed in 1973, as McLaughlin sought deeper musical fulfillment following the success of his immensely influential and successful jazz/rock fusion outfit The Mahavishnu Orchestra. A Greenwich Village music shop owner connected McLaughlin with tabla virtuoso Zakir Hussain, who had been performing with giants of Hindustani music since he was a child. Their initial informal encounters grew into Shakti, an outfit that transcended the boundaries separating Eastern and Western music via dynamic virtuosity and spiritual openness. Over the succeeding decades, Shakti’s powerful albums and tours established them among the key architects of what is today called “World Music,” inspiring generations of musicians to discard arbitrary borders in search of fruitful musical hybrids. “They were a revelation,” recalls Béla Fleck.

Today’s Shakti, as experienced in concert in 2023 and on This Moment, is composed of McLaughlin (guitar, guitar synth), Hussain (tabla), vocalist Shankar Mahadevan, violinist Ganesh Rajagopalan, and percussionist Selvaganesh Vinayakaram. “Shakti is truly a pioneer in the concept of world fusion,” explains Mahadevan, “where music knows no boundaries and comes together most beautifully from different genres. I am so privileged to be with the greatest maestros – the most evolved musicians that I have ever met.”

“The greatest thing we wanted to celebrate with this album was that it’s considered for Best Global Music Album and not any other category,” said percussionist Selvaganesh Vinayakaram, son of original Shakti member, Carnatic music legend Vikku Vinayakaram, in an interview with Rolling Stone India. “That means this group has that global music value.” 

“How apt to have the band who created this genre of ‘World Music’ be nominated for this honor on their 50th anniversary,” reflects Souvik Dutta – who was inspired by Shakti to found Abstract Logix twenty years ago. “They are the ultimate global band – the brotherhood of John and Zakir uniting in music to bring the world together.”

“This Grammy nomination,” concludes Ganesh Rajagopalan, “is a testament to the evergreen quality of the music of Shakti.”

GLOBAL FUSION ALCHEMISTS SHAKTI ANNOUNCE NORTH AMERICAN TOUR

February 13, 2023
Abstract Logix, Bela Fleck, John McLaughlin, Shakti, Shankar Mahadevan, Zakir Hussain
Abstract Logix, Bela Fleck, Ganesh Rajagopalan, John McLaughin, Selvaganesh Vinayakram, Shakti, Shankar Mahadevan, world music, Zakir Hussain

Co-Founders John McLaughlin and Zakir Hussain Lead Current Lineup On First U.S. Tour In 16 Years

With Special Guests Béla Fleck, Bill Frisell and others on select shows

More dates and special guests to be announced at a later date.

Feb 6, 2023: Following word of the Summer 2023 release of This Moment – their first new studio album in 46 years – revolutionary world music ensemble Shakti will continue to discover and explore the musical common ground bridging East and West on an extensive U.S. tour, beginning August 17 in Boston. Born in the mid-1970s out of the deep artistic and spiritual connection bonding British guitarist John McLaughlin and Indian tabla player Zakir Hussain, Shakti’s cross-cultural musical conversation dissolved boundaries with uncommon passion, grace, and dexterity – awakening subsequent generations of musicians to the possibilities of such hybrids in the process. Alongside McLaughlin and Hussain, today’s Shakti features renowned vocalist Shankar Mahadevan, violinist Ganesh Rajagopalan, and percussionist Selvaganesh Vinayakram (son of original Shakti ghatam player T.H. “Vikku” Vinayakram).

Looking ahead to the performances, McLaughlin equates the endeavor to a homecoming of sorts. “Shakti was born in the USA in 1973,” he reflects, “and is also no stranger to American audiences. We’ve played concerts all over the US from coast to coast and north to south – and everywhere we’ve played, we’ve had wonderful audiences.”

Joining Shakti on more than half of the dates will be another performer dedicated to intermingling and transcending genres, Béla Fleck, who will open the performances with a solo set. “Hearing Shakti was a revelation and I started listening right when they started,” Fleck recalls. “Something about Shakti, and also making music with Zakir, was very relatable – perhaps akin to the acoustic guitar and fiddle. But it wasn’t until playing with Zakir and Edgar Meyer [on 2009’s Melody of Rhythm: Triple Concerto & Music for Trio] that I started having more of a sense of what they were up to. Keeping in mind the virtuosic and energetic level of the band, I’ll be attempting to create a solo set that mesmerizes and excites.”

In addition, renowned guitarist Bill Frisell will also be opening the Shakti concerts with solo sets on certain selected dates.

“Béla Fleck and Bill Frisell are both truly fine musicians whom I’ve admired for decades,” McLaughlin says.

With the recording of their new studio album now complete, the members of Shakti now await the opportunity to continue their pan-global dialogue. “In our initial incarnation,” Zakir Hussain concludes, “we did not always have the time nor the means to explore. Now, with the decades of individual musical experiences we all have poured into this, the result reveals an extraordinary depth and level of interaction within this band.”

Preliminary USA Tour Dates

Show Date  Venue                                                  City, State

8.17.2023 Wang Theatre at Boch Center                  Boston, MA ***
8.19.2023 The Capitol Theatre                          Port Chester, NY ***
8.20.2023 Prudential Hall                                  Newark, NJ *
8.22.2023 Keswick Theatre                                  Glenside, PA
8.23.2023 Wolf Trap                                          Vienna, VA *
8.25.2023 Cobb Energy Performing Arts Center  Atlanta, GA ***
8.27.2023 Koka Booth Amphitheatre                  Cary, NC *
8.29.2023 Palace Theatre                                  Columbus, OH *
8.31.2023 Ryman Auditorium                                  Nashville, TN ***
9.3.2023         Ravinia Festival                                  Highland Park, IL *
9.5.2023         Arlene Schnitzer Concert Hall                Portland, OR ***
9.6.2023        Paramount Theatre                                 Seattle, WA *
9.8.2023        Mondavi Center for the Performing Arts Davis, CA **
9.9.2023        Davies Symphony Hall                          San Francisco, CA
9.11.2023 Irvine Barclay Theatre                          Irvine, CA
9.14.2023 Hill Auditorium                                  Ann Arbor, MI *
9.16.2023 H-E-B Center                                          Austin, TX *

*with Bela Fleck
**With Bill Frisell
***TBD

  • ** w/ Bill Frisell

Bela Fleck Interview

September 10, 2005
Bela Fleck, News
Bela Fleck


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The year was 1991. I happened to be at Virginia Beach visiting some friends and accidently came across a group of musicians performing a fusion of bluegrass, jazz on the beach. Wow, I said to myself, what a treat. These guys were just incredible, and the musical arrangements were fresh and innovative. I went closer to the small stage and found out who they were.

The front man was Bela Fleck and he was an outstanding virtuoso on the Banjo, flanked by stellar bassist Victor Wooten, and his brother Future Man on a hybrid drum-guitar instrument (his invention), that I had never seen before. And man, this harmonica / keyboard player Howard Levy was just off the hook.

As years have passed by, this outfit changed personnel but the music has always evolved. Paul McCandless on oboe who have always been a favorite of mine with Oregon shared the stage for a few years when Howard Levy left the band to pursue other opportunities. And now the outstanding Jeff Coffin on sax has been a part of the core group for a quite a number of years.

Check out Bela on Soulgrass with Bill Evans, Vinnie Colaiuta, Bruce Hornsby, Jerry Douglas, John Scofield among others.

AL: You took a year off from Flecktones, performing in various incarnations. Musically what were your highlights?

BF: It’s been a great year creatively for me, probably the most intense I’ve had. Going to Africa was the most startling and exciting, playing with Jean-Luc and Stanley was amazing, playing with Bryan Sutton and Casey Dreissen in my acoustic trio was like coming home, playing and writing with Edgar and Zakir was like a new door opening, and finishing the Flecktones next CD was very satisfying- this is an album we will be very proud of.

AL: Flecktones is back next year , do you think you guys are musically going somewhere that you have not been yet or is it a continuation from where you left off?

BF: We finished up by pushing ourselves to the next point as hard as we could till the time ran out. So we’ll be picking up right there when we start in a few months. We have the album as a guideline to remember where we were.

AL: Rumors are that you and Edgar Meyer could be writing a triple concerto and performing with tabla maestro Zakir Hussain, can you give us some insight?

BF: Yes, we are.

AL: This record with Bill Evans, Vinnie sounds great. How did that develop?

BF: Bill got in touch and told me what he was up too. I liked the project and him, and got pretty deep into it. It was a blast.

AL: You have been involved with with bluegrass, jazz, and in lack of a better word , Fusion music for a while. How do you think an instrument like banjo which has no real sustain sound fits in with the various musical idioms?

BF: I think the banjo has it’s special qualities. Plus when you play a bunch of notes in a row, the illusion of sustain can be achieved. The more different each instrument is, the more complete the music becomes.

AL: Have you ever thought about collaborating with mandolin U.Shrinivas who has been performing with Remember Shakti / John McLaughlin?

BF: I enjoy his playing very much.

AL: Stanley Clarke mentioned that you have been studying John McLaughlin’s “This is the Way I do it” instruction DVD. What musical concepts from that has helped you in your musical journey and banjo playing in particular.

BF: It was interesting trying to play his musical examples on the banjo. They led me to rethink how I play fast groupings. Plus I have listened to John for a long time and it was nice to have him break down his concept in person. It all made a lot of sense to me.

AL: Thanks Bela and good luck to the Flecktones for 2006.

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On the eve of the release of his new album Larger Than Life, we sat down with bassist, improvisor, and composer Gary Willis to discuss his collaborators on the project, his process, and the results.

Q: Given the vast geographic disparity, how did this record come together — were you all in the same room or did you take a more modular approach? What were the advantages of your chosen approach and how did it elevate and enrich the material?

Gary Willis: It did make it difficult…since it turned out to be a five-year thing. I took the opportunity to go to Los Angeles in 2010 because Gergo was going to be there, so he and I and Kinsey got things started. Then in 2011, when Gergo moved into Barcelona, I immediately booked studio time and we spent a day just jamming.

Afterwards for a lot of the songs I’d write things and send them to Kinsey in L.A. and he’d record with [saxophonist] Steve Tavaglione. Then he’d send me things he and Tav did. So there were files going back and forth all the time. So parts of it were like a collaborative improvisation in a way.

As late as last year, I had this tune “Beast Mode,” and I knew the three of us couldn’t get together. But Gergo was going to be in L.A., so I sent a version he and Kinsey could improvise over. As a duo they nailed it in one take and I added my part later…

Before Gergo and I went into the studio to record duo, we booked a rehearsal studio with the intention to prepare some things in advance. Immediately we came up with what became “Vendetta.” After that, we said, “We’re wasting our time here: Let’s do what we do here in the studio – just let it happen live.”

Q: With improvisation being central to this music, how do you see your role as composer and bandleader?

GW: Two of the 4 of the songs that were composed before we recorded them are mine, so those two are “traditional” with melodies and solo sections, etc. The other 8 songs got their start with improvisation so my first role is to determine what should be preserved from what turned out to be several hours of raw, improvised material. One thing I’ve learned from composing this way is that an inspired drum performance is the heart of the whole process. Without question, Gergo’s playing is inspiring throughout. So the main challenge is to make sure that if there’s a part of the music that needs composition, that it lives up to the level of inspiration that Gergo or the group has reached at that moment.

Q: Will you try to re-learn this sort of hybrid material and play it live?

GW: We’re gonna try. It’s cool to go back and check out – to visit what had just happened in the moment and recreate…

Q: I’d be curious to know more about how you see the bass’s role in this music — you aren’t strictly in a supporting capacity, but neither are you out front as a lead instrument the whole time…

GW: To me, music that communicates well is everyone playing with their imagination… you imagine different roles for yourself, sometimes you belong out front, other times it’s a supporting role. That’s the other thing about jamming with Gergo and Kinsey is they have this ability to jam compositionally — it’s not just about soloing…

We haven’t played together that much, but it’s just something that happens when you get the right musicians together. You don’t have to talk about it — actually, the more you discuss, the less in the moment you are when it happens.

The title track started out as a trio jam with me and Gergo and Kinsey where I brought in an initial bass part. It was originally a seventeen-minute thing. Kinsey managed to whittle it down to eight minutes. I found some things he played and turned those into melodies, wrote some myself, and it developed over time into its own thing.

Q: Was the bass the last thing that went down?

GW: On six of them, Gergo and I started out jamming…I’d play melodies there, and some of those became the songs. Other times I’d do kind of a placeholder — knowing it wouldn’t be the final melody, but it would be taking up the space where I knew I wanted to write something like that…

Q: Does being in Barcelona make it easier or harder to make a recording like this? Is it easier to have a global presence being based in Europe?

GW: If this was a traditional studio-based recording with everyone in the same room, playing at the same time then yes it would be a problem. But everyone involved contributed in a way that doesn’t make you think there was any distances or time zones involved.

I stopped thinking geographical a long time ago so I really have no idea if I have a global presence. Living in Europe, I’m sure there are some opportunities that have come my way that wouldn’t have been there if I had stayed in the US.

Q: Tell us about your use of Claudia Bardagí’s wordless vocals throughout the album.

GW: One of the things that defines a melody is its sing-ability. But for me lyrics really confine how well you can identify with a piece of music. Claudia’s singing added a real human quality to the melodies and she was able to keep their abstract nature by not using lyrics.

Q: And the last track was recorded live…

GW: Yeah, we’ve added it as a bonus. It’s a good example of us improvising together. We were invited to play at the 80th birthday celebration of Joe Zawinul in Budapest, so we worked “Corner Pocket” into Kinsey’s “This Is That”.

Q: The artwork by Rafael Sarmento seems to be a big part of this new project. Did the collaboration with him come before or after the music was cut? What drew you to him?

GW: It happened afterwards. Once all the titles were settled they started to give me a kind of a vague idea about the artwork. At the same time I got introduced to him from a friend of a friend. When I saw his work, there was an immediate connection and we started emailing about it. I explained some of the visuals I was imagining for some of the songs, and he came up with some on his own. As we started working more closely, he gave the whole thing a concrete identity.

Q: Does that mean this is programmatic music? The music definitely has a cinematic quality to it.

GW: I guess it could be… depends on your imagination. I mean the music came first…but that’s how I like listen to music: With my imagination. I want to lead people in that direction, if I get a chance to.

Q: So, what would you say is the common thread connecting these performances, these songs?

GW: The obvious thread is me and Gergo and Kinsey playing but also I’m hopeful that a sense of imagination, a sense of humor and like you said, a cinematic quality can be found throughout.

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Recent Posts

  • ‘THIS MOMENT’ AWARDED WITH GRAMMY
  • GRAMMY™ NOMINEE FOR BEST GLOBAL MUSIC ALBUM – SHAKTI’S ‘THIS MOMENT’
  • GLOBAL FUSION ALCHEMISTS SHAKTI ANNOUNCE NORTH AMERICAN TOUR
  • World Fusion Pioneers- John McLaughlin and Zakir Hussain mark 2023 return with Shakti 50th anniversary album and world tour
  • Wayne Krantz goes on tour exactly two years after the start of the pandemic

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