Vocals: Ustad Salamat Ali Khan: 1, 4 Sarangi: Ustad Sultan Khan: 1, 3, 4, 6, 7 Mala Ganguly: 1, 2, 5, 6, 7 Sarod: K. Sridhar: 4, 6, 7 Ustad Sultan Khan: 6 Sitar: Ustad Habib Khan: 5, 6 Ustad Sharafat Ali Khan: 1 Dutar: Aziz Herawi: 2 Shafqat Ali Khan: 1, 2, 5 Tabla: Ustad Tari Khan: 1, 2, 3, 5, 6 Sukhawat Ali Khan: 3 ...
Learn More »Vocals: Ustad Salamat Ali Khan: 1, 4 Sarangi: Ustad Sultan Khan: 1, 3, 4, 6, 7 Mala Ganguly: 1, 2, 5, 6, 7 Sarod: K. Sridhar: 4, 6, 7 Ustad Sultan Khan: 6 Sitar: Ustad Habib Khan: 5, 6 Ustad Sharafat Ali Khan: 1 Dutar: Aziz Herawi: 2 Shafqat Ali Khan: 1, 2, 5 Tabla: Ustad Tari Khan: 1, 2, 3, 5, 6 Sukhawat Ali Khan: 3 Scheherazade Stone: 3 Elijah Opium: 3 Bass: Bill Laswell: 1, 2, 3, 5 Drums: Kevin "Broun Fellini" Carnes: 3, 5, 6 Tanbura: Michael Irvine: 1, 3, 6, 7 Bendir: Yassir Chadly: 1 Dholak, tabla, bass: Baba Larry Ji: 6 Production, composition, adaptation & mixation: dj Cheb i Sabbah. All tracks published by Sabbah: 1008 Puja Music BMI Samples used with utmost respect and kind permission from: The sacred fire of Homa, mantras, prayers and invocations from the soundtrack Raga courtesy of Ravi Shankar.
Yoni Puja ritual featuring Durga Das Shastri at the Great Cremation Ground, Tara Pith, Orissa, India from the soundtrack Tantra courtesy of Nik Douglas. Kumbh Mela mantric ambiances recorded by Ira Cohen & Ira Landgarten, Hardwar, India, 1986, courtesy of Akashic Records. Radhe Govinda bhajan excerpt from Navratri in Hairakhan recorded & produced by Emam for Eternal Music. Muslim prayers taken from the World of Islam series courtesy of Topic Records. ProTooled & engineered by Baba Larry Ji (appearing courtesy of Invisible Records) at Nasik Studios, Berkeley, CA. Final engineering assisted by Bob "Buba" Appel. Vocals & instruments tracked by Randy Rood at Emeryville Recording Company, Emeryville, CA. Bill Laswell recorded & engineered by Robert Musso at Orange Music, Orange, NJ. Mastered by Brian "Big Bass" K. Gardner at Bernie Grundman Mastering, Hollywood, CA.
CD design: dj Cheb i Sabbah/1002 Nights. Photoshopped by Tamir Karta and Rex Ray. Original cover photo, Riverside Shrine Beside the Ganges by Frank Monaco. Inside photo of Hirapur Yogini Pitth and centerfold photo of Rhaniphur Jharial 64-Yogini Pitth, Orissa, by Nik Douglas. Music notes inspired by Alain Daniélou, The Ragas of Northern India Music, Munshiram Manoharlal Publishers, New Delhi, 1980. Thank you to Eva, Elijah and Suzanne for their love.Shukria to Ustad Salamat Ali Khan for the devotion.Namaste to K. Sridhar Ji for raga theory and musical guidance.Tashi Delek to Don Cherry for being "Hear and Now." THE NATURE OF SOUND Sound is considered to be of two kinds, one a vibration of ether, the other a vibration of air. The vibration of ether, which cannot be perceived in the physical sense, is considered the principle of all manifestation, the basis of all substance, the "music of the spheres."
It forms permanent numerical patterns which are the basis of the world's existence. This kind of vibration is not caused by physical shock as are audible sounds. It is therefore called anahata, "unstruck." The other kind of sound is an impermanent vibration of air, an image of the ether vibration. It is audible and always produced by a shock. It is therefore called ahata or "struck." "Struck sound is said to give pleasure, unstruck sound leads to Liberation." (Narada Purana.) THE RAGAS Indian classical music, Hindustani of the North, and Carnatic of the South, is linked to the philosophy of the Vedas, the sacred scriptures of India. As one of the basic principles of Indian music, ragas sing the language of the soul and are devotional in spirit. "A raga is a particular arrangement of sounds in which notes and melodic movement appear like ornaments to enchant the mind." (Sangita - darpana) Each of the notes of the scale has its own kind of expression and a distinct psychological or physical effect, and so it can be related to a color, a mood, a metre, a deity or one of the subtle centers, chakras of the body. Accordingly, raga, which comes from the root ranga, to color, to tinge, reflects particular emotions and flavors, rasa, as well as seasons and times of day or night. Love/shringara, laughter/hasya, compassion/karuna, heroism/vira, wrath/raudra, fear/bhayanaka, disgust/bibhatsa, wonder/adbhuta, and peace/shanti are said to be the nine moods of dramatic art.
Hindustani music has so far transcended the boundaries of religious differences as both Hindus and Muslims are practitioners of this art and regularly learn, perform and practice together. This same music is also found in eastern Afghanistan, Pakistan, Bangladesh and Nepal. The music of Shri Durga is the coming together of dj science and ragas, sung and played by Hindu and Muslim musicians. To each raga, I have given a second title to evoke an image of a particular lila, or divine pastime. To Her, the swan that swims in the heart of saints and to the Aghori Vimalananda. May it be auspicious. Sarva Mangalam dj Cheb i Sabbah
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