The Conference Of The Birds - Saddar Bazaar (1995)If you ever wondered what a collaboration between Ravi Shankar and George Thorogood might sound like, The Conference Of The Birds presents a likely demonstration. Neither of those luminaries of their respective genres are present here, but the Bristol-based quartet Saddar Bazaar crafts their sound around a raga drone augmented with sweet slide guitar.
The result is a tranquil, soothing elixir to a hard day's turbulence named after a 12th-century Persian poem written by Farid ud-Din Attar. The poem relays the tale of a number of birds as they search for a king and is an allegory of the journey to enlightenment.
The unhurried odyssey of the completely instrumental album begins minus the slide in "Sukoon", (90/100), which is an Urdu word for relief or relaxation. The tempo is set for serenity with the sitar taking the driver's seat in confident control. If this album indeed renders a meeting of birds, perhaps this song is the cordial arrival of a majestic heron to the proceedings.
In "Arc Of Ascent (Part One)", (93), (http://www.mediafire.com/?867952afsrywi6x), a sparse intro is halted by the sovereign announcement of fuzzy guitar at :53. Seventeen seconds later, as percussion enters, the song takes full flight with a riff richly drenched in Blind Willie Johnson's "Jesus Make Up My Dying Bed", a traditional blues later covered by the likes of John Sebastian as "Well, Well, Well" (on The Four Of Us, 1971) and Led Zeppelin as "In My Time Of Dying" (on Physical Graffiti, 1975). (Bob Dylan also presented his take on "In My Time Of Dyin'" on his eponymous 1962 debut). The melting slide on "Ascent" fuses seamlessly with the buzz of Eastern instrumentation. If the eagle is the king of the birds, then this is its soaring theme.
The sparkly chiming of "Kiff Riff", (88), would also suit a graceful flight, though this one more easy-going, perhaps in the days before having to worry about being sucked into a jet engine. The restrained guitar perfectly underlies the gliding, the overall beauty of the piece delicate like a dove, but as bright as the unveiling of a peacock.
The mood in the "Garden Of Essence", (93), is slightly cautious, as if under the watchful glare of lurking falcons. Even so, the tone remains hypnotic as the guitar stretches out, picking up the pace by 4:30 and coming as close as this album gets to a full-out rock assault for its remaining three-and-a-half minutes.
"Sukoon (Reflection)", (85), reprises a brief segment of the album's first track backwards. Somehow the strange and wonderful sounds produced are as calming as those in the straightforward take. "Shamsa (Sunburst)", (88), is mellow and blithe, perhaps watching the gentle rising of the sun through the eyes of a swan, or perhaps watching the gentle rising of a swan through the eyes of the sun. By 2:10, the beauty of both are on full display.
The rhythms of "Baraka", (74), feel more western and the production more modern than anything else on the album. Basically percussion and Jew's Harp, it feels somewhat out of place and time on Conference, as if someone invited a penguin to the launching pad.
"Arc Of Ascent (Part Two)", (90), revives the earlier riff, taking it to its frenzied conclusion. The slide's wingspan here is stretched to farther reaches, with swirling keyboards to boot. The resurrection of the musical theme brings to mind the mythical phoenix rousing once again, even as chords and progressions are rephrased and renewed across time and cultures.
"Freedo
m Rider", (88), rolls on a big bass beat and the album's best slide through a frantic chorus. Sitar and keyboard dominate the verses like drooling vultures circling what will be their next meal.
The sparkly chiming of "Kiff Riff", (88), would also suit a graceful flight, though this one more easy-going, perhaps in the days before having to worry about being sucked into a jet engine. The restrained guitar perfectly underlies the gliding, the overall beauty of the piece delicate like a dove, but as bright as the unveiling of a peacock.
The mood in the "Garden Of Essence", (93), is slightly cautious, as if under the watchful glare of lurking falcons. Even so, the tone remains hypnotic as the guitar stretches out, picking up the pace by 4:30 and coming as close as this album gets to a full-out rock assault for its remaining three-and-a-half minutes.
"Sukoon (Reflection)", (85), reprises a brief segment of the album's first track backwards. Somehow the strange and wonderful sounds produced are as calming as those in the straightforward take. "Shamsa (Sunburst)", (88), is mellow and blithe, perhaps watching the gentle rising of the sun through the eyes of a swan, or perhaps watching the gentle rising of a swan through the eyes of the sun. By 2:10, the beauty of both are on full display.
The rhythms of "Baraka", (74), feel more western and the production more modern than anything else on the album. Basically percussion and Jew's Harp, it feels somewhat out of place and time on Conference, as if someone invited a penguin to the launching pad.
"Arc Of Ascent (Part Two)", (90), revives the earlier riff, taking it to its frenzied conclusion. The slide's wingspan here is stretched to farther reaches, with swirling keyboards to boot. The resurrection of the musical theme brings to mind the mythical phoenix rousing once again, even as chords and progressions are rephrased and renewed across time and cultures.
"Freedo
m Rider", (88), rolls on a big bass beat and the album's best slide through a frantic chorus. Sitar and keyboard dominate the verses like drooling vultures circling what will be their next meal.Then, with the embrace of a lullaby, "Neelum Blue", (92), (http://www.mediafire.com/?eyv05y17aqru85e), softly entices the album to a satisfying close. The gradual descent settles effortlessly, unruffled like an accomplished owl reconciled to its experience.
Like Johnny Cash on Trent Reznor, some things work surprisingly well together. Saddar Bazaar's fusion of traditional Eastern and Western musical styles belongs in the category of pleasant revelations. Remarkably subtle even in its more animated moments, Conference transcends its nest to traverse an undiscovered sky.
The Conference Of The Birds (album): 88/100.
Like Johnny Cash on Trent Reznor, some things work surprisingly well together. Saddar Bazaar's fusion of traditional Eastern and Western musical styles belongs in the category of pleasant revelations. Remarkably subtle even in its more animated moments, Conference transcends its nest to traverse an undiscovered sky.
The Conference Of The Birds (album): 88/100.
Cool cover art!
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