By Chris Lambie.
BOBBY SINGH & FRIENDS – SUTRADHAAR (Independent)
When tabla virtuoso Bobby Singh talks about his latest project, there’s excitement and pride in his voice. Album track ‘Joy’ signals the experience of all involved and their gift to listeners. “I said to my manager Jordan [Verzar] that it should have been ‘Bobby Singh and Family’, because actually that’s what everyone is,” Bobby says. “We’ve known each other for so long. Everyone’s come and stayed at my house over the years and each other’s. We have a lot of shared history.”
One of these friends is Australian guitar ace Jeff Lang. With kora player Mamadou Diabate, their Djan Djan trio won 2010’s ARIA award for Best World Music Album. “Jeff is a big part of it,” says Bobby. “Even as a duet, we toured so much in India and around the world.” Also on the impressive line-up: Jazz composer Sandy Evans OA (saxophone/arrangements), Greg Sheehan and Ben Walsh (percussion), Lara Goodridge and Shenzo Gregorio (violas/voices), Zela Margossian (piano) and Tjupurru (didgeribone). With stunning solo infusions, as on lead single ‘Awakening’, the ultimate effect is the sum of its parts.
Bobby studied tabla under his teacher and guru Aneesh Pradhan. “He had asked me, ‘When are you going to bring your own album, your own thing?’ But you have to be at such a high level. My background is of course rhythm. I said, ‘I can’t really compose the melodic aspect, especially of Indian music. Anyway, I’m very happy with what I do’. He said, ‘What if I compose for you?’ Bobby was amazed and delighted. “Aneeshji said, ‘There’s a lot to be done. I’ve taught you but you’ve taken it and done all these incredible collaborations, taking advantage of living in Australia. If you were in India, you’d be working with classical Indian artists all the time. I’ve been watching what you’ve been doing these past 30 years and I’m proud of all your friends. One way or another I’ve worked them all.’ When I told them, they all wanted to be part of it and learn with Aneesh. It was beautiful to have that support at such a high level. It’s not just some Indian compositions played by Australian musicians. The others are not of Indian origin yet play with an ear and a very strong flavour of the Indian feels. There’s an intricate understanding. They’re very familiar with it.”
“I’ve been very lucky to have people that I have a long history with. Not just to have competent players – there are many here – but to have that understanding of each other. That trust. All celebrating something that is ‘Bobby’s guru’.” The album title Sutradhaar translates as ‘string-holder’ or ‘narrator’ in Sanskrit. “In Indian music, the most sacred relationship is with their guru. The oral transmission passed on through generations. You sit and learn for years, eventually starting to understand what it is. Acknowledging your elders is a big part of the master and disciple tradition. Even the sound engineers at 301 Studios said, ‘We’ve done hundreds of albums and never had this kind of experience. Such competent players, but all looking at Aneesh. Wanting to make him happy. So much love and respect among artists. No tension. They come in every morning and give each other hugs’.”
Born in England, Bobby started annoying his parents, eager to learn his musical heritage. There was no one there to teach tabla. “When I was seven, I went to Mumbai with my uncle where he lived. I took three months off school. I joined my uncle’s friends’ kids learning music. Unbeknownst to us, it was with my teacher’s teacher. My ‘grand-guru’. I wasn’t his disciple but a student. He [thought] I showed some promise so I [stayed] for four years. I returned to England then five or six years later…I went to the States and around the world. I ended up in Australia in the early 90s.” Through Indian musician Pandit Ashok Roy, Bobby met Aneesh. “I went to India and when Aneeshji came to Australia, I’d spend time with him. He was getting more famous and touring a lot. Sometimes I’d have lessons in the back of cabs as he went to the airport and back. Sometimes I flew with him to concerts so I could spend time with him on the plane.” Bobby laughs, “Hybrid teaching!”
Outside the family, there was little Indian classical music around young Bobby in England. “My uncle played simple tabla with my dad on harmonium in the local temple. My uncle took me to see Nusrat Fateh Ali Khan in concert. I remember staring and knowing that’s all I wanted to do. Thinking, ‘I’m going to become that good so Nusrat is going to want me to play’. Many times I was lucky enough to see him. But later I understood that Qawwali music was such a different style to what I was learning.”
Fast forward to Sutradhaar and the jazz sensibilities of Sandy Evans. “Sandy had a pre- established relationship with Indian music through the Australian Art Orchestra. She wanted to learn more about Northern Indian music.” Bobby had also recorded with Sandy’s partner Tony Gorman (clarinet and sax player) and with Armenian pianist Zela Margossian. “My dear friend Ben Walsh had been working with Greg and knew Sandy. So many great connections. Every single musician is in their own right a band leader, an award winner.”
“Because my teacher composed this, it’s coming from the highest authority of Indian music. Not just me going, ‘Here’s a song about the sun, a song about the moon…’ This meaning is coming from one of the great masters. It gives it that gravitas.” Bobby invited old friend Tjupurru to name the track featuring his didgeribone. “He felt it was a real honour. He named it ‘Mara Hook’, the skin name given to his teacher, his master, Charlie McMahon – a white Australian didgeridoo player. I toured with Charlie for many years in the 90s. That’s how I met Tjupurru.” The Djabera Djabera descendant’s spellbinding didg opens the collection, sealing the Australian backdrop around folk, jazz, blues and classical traditions. Bobby says, “If I wanted it to sound Indian, I would have brought in Indian artists. It’s what you each bring that allows everyone to do their thing, with their own energy and vibe.