Ravi Shankar - Revision history

Jason.Kreitzer at 19:31, 8 December 2021

2021-12-08T19:31:33Z

Jason.Kreitzer at 19:31, 8 December 2021

2021-12-08T19:31:09Z

Jason.Kreitzer at 21:53, 16 July 2021

2021-07-16T21:53:30Z

Spider of Destiny: Renewed link.

2020-11-04T09:52:34Z

Renewed link.

Spider of Destiny: /* Zappa and Ravi Shankar */

2020-11-03T08:25:19Z

Zappa and Ravi Shankar

Spider of Destiny: Clean-up.

2020-11-03T06:14:43Z

Clean-up.

Spider of Destiny at 01:52, 18 January 2016

2016-01-18T01:52:29Z

Spider of Destiny at 11:18, 6 January 2013

2013-01-06T11:18:52Z

Spider of Destiny at 18:17, 12 December 2012

2012-12-12T18:17:45Z

Spider of Destiny at 18:16, 12 December 2012

2012-12-12T18:16:43Z

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 His fame in the West grew when he met [[The Beatles]] in 1965. Shankar struck a friendship with George Harrison, who became more interested in Indian culture, music and philosophy. Shankar also learned him to play the sitar, which gave the Beatle songs ''Norwegian Wood'' (1965), ''Love You To'' (1966), ''Tomorrow Never Knows'' (1966), ''Within, Without You'' (1967) and ''The Inner Light'' (1968) a highly unique sound in pop music at the time. Harrison's first solo album, ''Wonderwall Music'' (1968), was even completely sitar-based. Other Western rock bands in the 1960s started copying sitar sounds in their own psychedelic music, including [[The Byrds]], [[David Crosby]], [[Jim Morrison|The Doors]] (on ''The End'', 1967), Scott McKenzie and, most notably, [[The Rolling Stones]] on ''[[Paint It Black]] (1966)'' and ''Street Fightin' Man'' (1968).
-Soon Shankar found himself in demand in the West as a performer and teacher in all areas of music - from the Edinburgh International Festival to the jazz and rock worlds. In 1967 he performed at the Monterey Pop Rock Festival and Woodstock (1969) as the only non-rock musician. He recorded the album ''West Meets East'' (1967) with violinist Yehudi Menuhin. In 1970 André Previn and the [[London Symphony Orchestra]] performed together with Shankar on the album ''Concerto for Sitar & Orchestra''. He also played during George Harrison's benefit concert ''Concert for Bangladesh'' (1971). In 1981 Shankar collaborated with [[Zubin Mehta]] on ''Raga Mala'' and in 1990 with composer Philip Glass on ''Passages''.
+Soon Shankar found himself in demand in the West as a performer and teacher in all areas of music - from the Edinburgh International Festival to the jazz and rock worlds. In 1967 he performed at the Monterey Pop Rock Festival and Woodstock (1969) as the only non-rock musician. He recorded the album ''West Meets East'' (1967) with violinist Yehudi Menuhin. In 1970 André Previn and the [[London Symphony Orchestra (The Orchestra)|London Symphony Orchestra]] performed together with Shankar on the album ''Concerto for Sitar & Orchestra''. He also played during George Harrison's benefit concert ''Concert for Bangladesh'' (1971). In 1981 Shankar collaborated with [[Zubin Mehta]] on ''Raga Mala'' and in 1990 with composer Philip Glass on ''Passages''.
 Shankar wrote several film scores, the most notable being for Satyajit Ray's trilogy, ''"Apu"'' and Richard Attenborough's Oscar-winning ''Gandhi'' (1982). In 1999 he received the highest civilian order in India: the Bharat Ratna. In 2000 he was inducted into the Légion d'Honneur and in 2001 he was knighted. He is also notable as the father of musicians Norah Jones and Anoushka Shankar.

← Older revision		Revision as of 19:31, 8 December 2021
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	[[File:Ravi Shankar.jpg\|350px\|thumb\|right\|Ravi Shankar.]]		[[File:Ravi Shankar.jpg\|350px\|thumb\|right\|Ravi Shankar.]]

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 After years of intensive musical study, he set up schools of Indian music, founded the National Orchestra of India, and in the mid-1950s became the first Indian instrumentalist to undertake an international tour. During these early years he often performed with [[Chatur Lal]] on tabla and [[Nodu C. Mullick]] on tamboura. All three musicians can be heard on the album  ''India's Master Musician'' (1959)
-His fame in the West grew when he met [[The Beatles]] in 1965. Shankar struck a friendship with George Harrison, who became more interested in Indian culture, music and philosophy. Shankar also learned him to play the sitar, which gave the Beatle songs ''Norwegian Wood'' (1965), ''Love You To'' (1966), ''Tomorrow Never Knows'' (1966), ''Within, Without You'' (1967) and ''The Inner Light'' (1968) a highly unique sound in pop music at the time. Harrison's first solo album, ''Wonderwall Music'' (1968), was even completely sitar-based. Other Western rock bands in the 1960s started copying sitar sounds in their own psychedelic music, including [[The Byrds]], [[David Crosby]], [[The Doors]] (on ''The End'', 1967), Scott McKenzie and, most notably, [[The Rolling Stones]] on ''[[Paint It Black]] (1966)'' and ''Street Fightin' Man'' (1968).
+His fame in the West grew when he met [[The Beatles]] in 1965. Shankar struck a friendship with George Harrison, who became more interested in Indian culture, music and philosophy. Shankar also learned him to play the sitar, which gave the Beatle songs ''Norwegian Wood'' (1965), ''Love You To'' (1966), ''Tomorrow Never Knows'' (1966), ''Within, Without You'' (1967) and ''The Inner Light'' (1968) a highly unique sound in pop music at the time. Harrison's first solo album, ''Wonderwall Music'' (1968), was even completely sitar-based. Other Western rock bands in the 1960s started copying sitar sounds in their own psychedelic music, including [[The Byrds]], [[David Crosby]], [[Jim Morrison|The Doors]] (on ''The End'', 1967), Scott McKenzie and, most notably, [[The Rolling Stones]] on ''[[Paint It Black]] (1966)'' and ''Street Fightin' Man'' (1968).
 Soon Shankar found himself in demand in the West as a performer and teacher in all areas of music - from the Edinburgh International Festival to the jazz and rock worlds. In 1967 he performed at the Monterey Pop Rock Festival and Woodstock (1969) as the only non-rock musician. He recorded the album ''West Meets East'' (1967) with violinist Yehudi Menuhin. In 1970 André Previn and the [[London Symphony Orchestra]] performed together with Shankar on the album ''Concerto for Sitar & Orchestra''. He also played during George Harrison's benefit concert ''Concert for Bangladesh'' (1971). In 1981 Shankar collaborated with [[Zubin Mehta]] on ''Raga Mala'' and in 1990 with composer Philip Glass on ''Passages''.

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 [[Jimmy Carl Black]] recalled that Zappa made him and the rest of the Mothers listen to Shankar in the fall of 1965: ''"We asked why and he said, "Because we're going to start doing some stuff like this!"'' <ref>http://www.donlope.net/fz/notes/Freak_Out_Contributors.html#ShankarRavi</ref>
-A November ''Escapade'' 1967 article, ''"The Mothers of Invention"'', by Fred Vassi, mentions that Shankar was signed to Zappa's ''[[Bizarre Records]]'' label. <ref>http://www.afka.net/articles/1967-11_Escapade_1.htm</ref>
+A November ''Escapade'' 1967 article, ''"The Mothers of Invention"'', by Fred Vassi, mentions that Shankar was signed to Zappa's ''[[Bizarre Records]]'' label. <ref>https://www.afka.net/Articles/1967-11_Escapade_1.htm</ref>
 ==Zappa about Ravi Shankar==

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 ==Zappa and Ravi Shankar==
-Ravi Shankar is mentioned in the list of influences inside the sleeve of ''"[[Freak Out!]]" (1966) under the heading: ''"These People Have Contributed Materially In Many Ways To Make Our Music What It Is. Please Do Not Hold It Against Them"''. His tamboura player [[Nodu C. Mullick]] and tabla player [[Chatur Lal]] are mentioned in the same list.
+Ravi Shankar is mentioned in the list of influences inside the sleeve of ''"[[Freak Out!]]" (1966)'' under the heading: ''"These People Have Contributed Materially In Many Ways To Make Our Music What It Is. Please Do Not Hold It Against Them"''. His tamboura player [[Nodu C. Mullick]] and tabla player [[Chatur Lal]] are mentioned in the same list.
 [[Jimmy Carl Black]] recalled that Zappa made him and the rest of the Mothers listen to Shankar in the fall of 1965: ''"We asked why and he said, "Because we're going to start doing some stuff like this!"'' <ref>http://www.donlope.net/fz/notes/Freak_Out_Contributors.html#ShankarRavi</ref>

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-Bharat Ratna (India's highest civilian award) '''Ravi Shankar''' (April 7, 1920 - December 11, 2012) was an Indian sitar player, teacher and composer, widely regarded as India's most important musician and respected for his virtuoso playing. After years of intensive musical study, he set up schools of Indian music, founded the National Orchestra of India, and in the mid-1950s became the first Indian instrumentalist to undertake an international tour. He found himself in demand in the West as a performer and teacher in all areas of music - from the Edinburgh International Festival to the jazz and rock worlds. George Harrison of [[The Beatles]] was one of his pupils. He has written several film scores, the most notable being for Satyajit Ray's trilogy, ''"Apu"''.
+[[File:Ravi Shankar.jpg|350px|thumb|right|Ravi Shankar.]]
-==Link with Zappa==
+'''Ravi Shankar''' (April 7, 1920 - December 11, 2012) was an Indian sitar player, teacher and composer, widely regarded as India's most important musician and respected for his virtuoso playing.
-He is name-checked on the cover of ''"[[Freak Out!]]" (1966) under the heading "These People Have Contributed Materially In Many Ways To Make Our Music What It Is. Please Do Not Hold It Against Them". [[Nodu C. Mullick]], his tamboura player in pre-Beatles era is also name-checked on the cover of "[[Freak Out!]]"; see also: [[Chatur Lal]], his tabla player (also name-checked on the cover of "[[Freak Out!]]").
+==Biography==
-In an interview for Guitarist magazine ("Unholy Mother", published June 1993) FZ said: ''"I think my playing  is probably more derived from the folk music records that I heard; Middle Eastern music, Indian music, stuff like that. For years I had something called [[Music On The Desert  Road]], which was an album with all kinds of different ethnic music from the Middle East. I used to listen to that all the time - I liked that kind of melodic feel. I listened to  Indian music, Ravi Shankar and so forth, before we did the '[[Freak Out!]]' album. The idea of creating melody from scratch based on an ostinato or single chord that doesn't change - that was the world that I felt most comfortable with. If you listen to Indian classical  music, it's not just pentatonic. Some of the ragas that they use are very chromatic, all  sustained over a root and a fifth that doesn't change, and by using these chromatic scales  they can imply all these other kinds of harmonies. The chords don't change; it's just the  listener's aspect that gets to change, based on how the melody notes are driven  against the ground bass."''
+After years of intensive musical study, he set up schools of Indian music, founded the National Orchestra of India, and in the mid-1950s became the first Indian instrumentalist to undertake an international tour. During these early years he often performed with [[Chatur Lal]] on tabla and [[Nodu C. Mullick]] on tamboura. All three musicians can be heard on the album  ''India's Master Musician'' (1959)
-A November ''Escapade'' 1967 article, "The Mothers of Invention", by Fred Vassi, mentions that Shankar was signed to Zappa's ''[[Bizarre Records]]'' label. <ref>http://www.afka.net/articles/1967-11_Escapade_1.htm</ref>
+His fame in the West grew when he met [[The Beatles]] in 1965. Shankar struck a friendship with George Harrison, who became more interested in Indian culture, music and philosophy. Shankar also learned him to play the sitar, which gave the Beatle songs ''Norwegian Wood'' (1965), ''Love You To'' (1966), ''Tomorrow Never Knows'' (1966), ''Within, Without You'' (1967) and ''The Inner Light'' (1968) a highly unique sound in pop music at the time. Harrison's first solo album, ''Wonderwall Music'' (1968), was even completely sitar-based. Other Western rock bands in the 1960s started copying sitar sounds in their own psychedelic music, including [[The Byrds]], [[David Crosby]], [[The Doors]] (on ''The End'', 1967), Scott McKenzie and, most notably, [[The Rolling Stones]] on ''[[Paint It Black]] (1966)'' and ''Street Fightin' Man'' (1968).
 ==Source==
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 ==See also==
 * [[Nodu C. Mullick]]
 * [[Chatur Lal]]
 [[Category:Composers|Shankar, Ravi]]

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 [[Category:Influences|Shankar, Ravi]]
 [[Category:Favorite Artists|Shankar, Ravi]]
 [[Category:Freak Out! (The List)|Shankar, Ravi]]
 [[Category:Folk Artists|Shankar, Ravi]]

← Older revision		Revision as of 18:16, 12 December 2012
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	In an interview for [[Guitarist]] magazine ("[[Unholy Mother]]", published June 1993) FZ said: ''"I think my playing is probably more derived from the folk music records that I heard; middle eastern music, Indian music, stuff like that. For years I had something called [[Music On The Desert Road]], which was an album with all kinds of different ethnic music from the Middle East. I used to listen to that all the time - I liked that kind of melodic feel. I listened to Indian music, [[Ravi Shankar]] and so forth, before we did the '[[Freak Out!]]' album. The idea of creating melody from scratch based on an ostinato or single chord that doesn't change - that was the world that I felt most comfortable with. If you listen to Indian classical music, it's not just pentatonic. Some of the ragas that they use are very chromatic, all sustained over a root and a fifth that doesn't change, and by using these chromatic scales they can imply all these other kinds of harmonies. The chords don't change; it's just the listener's aspect that gets to change, based on how the melody notes are driven against the ground bass."''		In an interview for [[Guitarist]] magazine ("[[Unholy Mother]]", published June 1993) FZ said: ''"I think my playing is probably more derived from the folk music records that I heard; middle eastern music, Indian music, stuff like that. For years I had something called [[Music On The Desert Road]], which was an album with all kinds of different ethnic music from the Middle East. I used to listen to that all the time - I liked that kind of melodic feel. I listened to Indian music, [[Ravi Shankar]] and so forth, before we did the '[[Freak Out!]]' album. The idea of creating melody from scratch based on an ostinato or single chord that doesn't change - that was the world that I felt most comfortable with. If you listen to Indian classical music, it's not just pentatonic. Some of the ragas that they use are very chromatic, all sustained over a root and a fifth that doesn't change, and by using these chromatic scales they can imply all these other kinds of harmonies. The chords don't change; it's just the listener's aspect that gets to change, based on how the melody notes are driven against the ground bass."''
		+
		+	==See also==
		+	* [[Wikipedia:Ravi Shankar]]

	[[Category:Composers\|Shankar, Ravi]]		[[Category:Composers\|Shankar, Ravi]]