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The Dawn of Indian Music in the West, by Peter Lavezzoli
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A little more than 50 years ago, in 1955, Ali AkbarKhan issued an LP called Music of India: Morning and Evening Ragas, with spoken introduction by violinist Yehudi Menuhin. Until then, Indian music was terra incognita in the West. When the same album was reissued as a CD in 1995, under the title Then and Now,it was nominated for a Grammy.
In the last 50 years, there has been the explosive influence of Indian music and culture in the West. Words such as karma, yoga, raga, nirvana, all once unknown here, have entered the language. Most famously, the wonders of the Indian musical world were spread by George Harrison and the Beatles. The music also had a profound effect on Mickey Hart and the Grateful Dead, John McLaughlin (Mahavishnu Orchestra), the Byrds, John Coltrane, and many others. The annus mirabilis 1967 saw the Maharishi Mahesh Yogi spreading the wonders of transcendental meditation, Swami Prabhupada founding the International Society for Krishna Consciousness in New York City, and the growing influence of Ravi Shankar. Four years later, George Harrison organized the groundbreaking Concert for Bangladesh, the first charity event of rock. Shankar had already wowed audiences at the Monterey Pop Festival, and he achieved stardom at the Madison Square Garden event. (Where Westerners, new to the sounds they heard, applauded after the musicians had finished tuning their instruments!)
Peter Lavezzoli, a Buddhist and a musician, has a rare ability to articulate the personal feeling of music, and at the same time narrate a history. Lavezzoli has interviewed more than a score of musicians, such as Ravi Shankar, Ali Akbar Khan, David Crosby, Philip Glass, Zakir Hussain, Mickey Hart, Zubin Mehta, and John McLaughlin.
- Sales Rank: #2965425 in Books
- Published on: 2006-04-24
- Released on: 2006-04-24
- Original language: English
- Number of items: 1
- Dimensions: 9.27" h x 1.47" w x 6.36" l, 1.81 pounds
- Binding: Hardcover
- 456 pages
Review
"Peter Lavezzoli'sstudy is a gloriously detailed explanation of Hindustani classical music...Ittakes some education for untrained ears to learn how to listen to Indianclassical music, and Lavezzoli does a great job of explaining concepts likeraga and tala.... the music is dissected with scholarly precision while thecosmic implication are also investigated thoroughly."- Brian J. Bowe, harpmagazine.com, September/ October2006
'One of the book's strengths is that it embraces the whole footprint of Indian music...Lavezzoli is sure-footed in his discussions of music theory and practice, and the interviews with key figures, reproduced...in conversation format are useful resources...This book does fill a noticeable gap on the shelves of university and public libraries for serious Indian music enthusiasts.'Oliver Craske, Times Higher Education Supplement, 27th October 2006 (Oliver Craske Times Educational Supplement)
'Lavezzoli... presents an excellent overview of the style of Hindustani, or North Indian, classical music. He presents minutely detailed transcriptions of his interviews, all with insightful commentary, of the principal Indian and Western musicians who have been the prime movers behind the presentation and appreciation of Indian music in the West. Almost a reference book in its dense coverage, this book is nevertheless highly readable and entertaining... Summing Up: Highly recommended.- CHOICE February 2007
'[a] compendious and fascinating book...It is impossible to do justice to the scope of Lavezzoli's findings in a short review: suffice to say that whether you want to know exactly how the John McLaughlin and Zakir Hussain's Shakti came about, or to follow the Ravi Shankar-Frank Zappa-Peter Gabriel trail, everything you need to know is here in abundance.' ~ Michael Church, Songlines (Michael Church)
'Lavezzoli's focus is sharp, primarily Americentric and, without a shadow of a doubt, the finest treatment of what most of Jazzwise's readers would understand by dawn in the context...The heart of the book is a series of marvellous, illuminating Q&A interviews...The only real problem I had with this book was continually going back and re-reading sections instead of reviewing it. High, high praise indeed.'~ Ken Hunt, Jazzwise, Feb 07 (Ken Hunt)
"With the publication of Peter Lavezzoli's detailed and focused account of the impact of the Indian subcontinent's music on non-Indian, specifically the West's music, readers finally have a work that complements Gerry Farrell's Indian Music and the West (1997)... [an] eloquent, passionate and inspirational book." (Ken Hunt, Froots)
-Mention. Froots/ March 2007
(Froots)
"This historical study is full of detailed information about a disparate collection of the most inventive musicians of the 20th century ... When reading this book you really feel you are being guided by someone with a highly developed intuitive feel for integrity and truth in music." (Kate Wharton in Straight No Chaser Strategic Review)
2006 winner of the ARSC Awards for Excellence in Historical Recorded Sound Research.
“Peter Lavezzoli’sstudy is a gloriously detailed explanation of Hindustani classical music…Ittakes some education for untrained ears to learn how to listen to Indianclassical music, and Lavezzoli does a great job of explaining concepts likeraga and tala…. the music is dissected with scholarly precision while thecosmic implication are also investigated thoroughly.”- Brian J. Bowe, harpmagazine.com, September/ October2006
'One of the book's strengths is that it embraces the whole footprint of Indian music...Lavezzoli is sure-footed in his discussions of music theory and practice, and the interviews with key figures, reproduced...in conversation format are useful resources...This book does fill a noticeable gap on the shelves of university and public libraries for serious Indian music enthusiasts.'Oliver Craske, Times Higher Education Supplement, 27th October 2006 (Sanford Lakoff Times Educational Supplement)
'Lavezzoli… presents an excellent overview of the style of Hindustani, or North Indian, classical music. He presents minutely detailed transcriptions of his interviews, all with insightful commentary, of the principal Indian and Western musicians who have been the prime movers behind the presentation and appreciation of Indian music in the West. Almost a reference book in its dense coverage, this book is nevertheless highly readable and entertaining... Summing Up: Highly recommended.- CHOICE February 2007
'[a] compendious and fascinating book...It is impossible to do justice to the scope of Lavezzoli's findings in a short review: suffice to say that whether you want to know exactly how the John McLaughlin and Zakir Hussain's Shakti came about, or to follow the Ravi Shankar-Frank Zappa-Peter Gabriel trail, everything you need to know is here in abundance.' ~ Michael Church, Songlines (Sanford Lakoff)
'Lavezzoli's focus is sharp, primarily Americentric and, without a shadow of a doubt, the finest treatment of what most of Jazzwise's readers would understand by dawn in the context...The heart of the book is a series of marvellous, illuminating Q&A interviews...The only real problem I had with this book was continually going back and re-reading sections instead of reviewing it. High, high praise indeed.'~ Ken Hunt, Jazzwise, Feb 07 (Sanford Lakoff)
"With the publication of Peter Lavezzoli's detailed and focused account of the impact of the Indian subcontinent's music on non-Indian, specifically the West's music, readers finally have a work that complements Gerry Farrell's Indian Music and the West (1997)... [an] eloquent, passionate and inspirational book." (Sanford Lakoff)
-Mention. Froots/ March 2007
(Sanford Lakoff)
"This historical study is full of detailed information about a disparate collection of the most inventive musicians of the 20th century ... When reading this book you really feel you are being guided by someone with a highly developed intuitive feel for integrity and truth in music." (Sanford Lakoff Strategic Review)
About the Author
Peter Lavezzoli is the author of The King of All, Sir Duke: Ellington and the Artistic Revolution, which is also published by Continuum. As a percussionist and vocalist, Lavezzoli explores the connection between musical and spiritual expression. He lives in Fort Lauderdale, FL
Most helpful customer reviews
2 of 2 people found the following review helpful.
one of the best music books
By Aaron Joy
Just want to say - wonderful. If you love indian music and are fascinated how it came to the west this is a must read. I'm a music critic and musician and read a lot of history books. This is one of the best.
Ironically, back in high school I had an idea of a book identical to this. I even put together a contents page and some notes which mirrors this. So, when I saw it a couple years ago I went 'what!?' There's a few things he left out I would have included. The use of Indian music by performers such as Boy George, Guru Guru, Cro-Mags, Kula Shaker, Madonna and new western instruments like the sitar-guitar or guitars with sympathetic strings. But, its a minor addition and really often those musicians and others treat Indian music as an accessory and not as one's full on art. He's looking at artists moving indian music forward, both westerners and Indians, not just throwing a sitar line into a song to make it sound cool. And, he's looking at more than a band that just chants Hare Krishna but is digging into the musical spectrum as well. My interest was more in how its been reinterpetted. But, I have to say I never would have done as good a job as this.
Considering he goes from Ravi (ironically the whole idea we have of indian music today is not even a century old, and before Ravi the tabla was a non-spotlight instrument, so 'purists' have nothing to say in this conversation) to the Byrds to Oregon to John & Alice I learned so much and have discovered a lot of things I didn't know. I still don't understand always how to count the 'one, two, three' in a tala, let alone find it, or where the alap starts or jor begins, but this is NOT a technical manual. Actually, I haven't even heard many of the musicians in here yet never was lost or overwhelmed. This is a story, not a textbook. It's about people and ideas and innovations, not for musicians only.
But, it is dense. It took me a long time to read. You can't zip through it. Each chapter is a different person with DETAILED history and interviews by the author. The interviews are highly extensive, though I was suprised by how short the chapter was on John McLaughlin, who I love and that Santana only got a mention. Certainly the influence of Shakti deserves more. But, I get the feeling the author isn't so tied into modern rock music.
Highly recommended if you have a more than casual love of Indian music and how its migrated across the ocean and developed.
4 of 4 people found the following review helpful.
Brilliant, Historic, Edifying, Comprehensive, Necessary
By Dr. Debra Jan Bibel
I shall add little to the other reviewers of this extraordinarily fine account of the history of Indian (particularly North Indian) music and how it was introduced to Western ears and influenced modern popular and classical musics. I will instead say that having myself lived that history--being exposed in 1955 to the first LP recording of Indian Music and watched Ali Akbar Khan on CBS Sunday's Omnibus, having been among the first to purchase the World Pacific and Prestige recordings of Indian musicians, having attended numerous concerts of Ravi Shankar and Ali Akbar Khan, Bismillah Khan, Jasraj, Shivkumar Sharma and other Indian masters, and having become a Friend of the Ali Akbar College of Music, where I met John Handy, Terry Riley, and Ravi Shankar, as well as having followed the influences and explorations of Indian modes and rhythms in classical music and rock as a Bay Area academic hippie--I can attest that this book is amazingly well researched, comprehensive, and gets it right. Indeed, through the many insightful interviews, we go well beyond the mechanics and structures of musical infusion across cultures into the realm of spirit, humanistic motivation, and metaphysics. For instance, Mickey Hart's interview expands and details his own previous accounts of his and the Grateful Dead's musical transformation by interactions with Shankar Ghosh, Alla Rakha, and Zakir Hussain (a two-way street for the latter). Other useful interviews are with (from the classical world) Philip Glass, Zubin Mehta, Terry Riley; (from the Indian tradition) Ali Akbar Khan, Zakir Hussain, Anoushka Shankar, Tanmoy Bose, George Ruckert, Shubhenra Rao; (from jazz and rock) David Crosby, John McLaughlin, Cheb i Sabbah. But the interviews are only spice to the meat of the text, which explains the uniqueness and detail format of Indian music, supported by a glossary, and the origins and construction of the various instruments. When our world is plagued by fear and misunderstanding of other cultures, music arrives as a source for common ground. This book demonstrates its power and its promise.
8 of 8 people found the following review helpful.
How the West Woke Up
By Steve Silberman
Peter Lavezzoli's "The Dawn of Indian Music in the West: Bhairavi" is a superbly written, astonishingly comprehensive, and deeply important book. Not only is it a must-read for anyone interested in how classical Indian musical forms were embraced by Western audiences -- laying the groundwork for the proliferation of so-called world beat and other fusions -- but it's also essential reading for anyone interested in how Western musical forms like jazz and rock and roll evolved into the complex, elegant, and risk-taking journeys of discovery that they are now, in the post-Byrds and post-Beatles age.
This book is crammed with fascinating anecdotes about and probing interviews of the musicians whose own creativity was transformed by their exposure to Indian music, and the result is a book that provides one of the deepest examinations of the global revolution in music over the past four decades. The careers of pop stars like the Byrds' Roger McGuinn and David Crosby are shown in a new light; the breathtaking evolutions of John Coltrane and the Beatles are analyzed in ways that are completely fresh; and such nearly forgotten geniuses and innovators as Collin Walcott and Nadia Boulanger are finally given their due.
I had done quite a bit of reading in these areas before stumbling across Lavezzoli's book in a bookstore, but every time I pick up this book, I learn something new about music I've loved for years, from Miles Davis' "Kind of Blue" to Walcott's "Cloud Dance" to Coltrane's "A Love Supreme." Lavezzoli's prose style is top-drawer -- conversational and obviously passionate about its subject, yet also highly learned and insightfully critical -- which makes the book a real pleasure to read.
One of the finest books of the year, and one of the best music books I've read in a decade.
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