| Abstrakt: |
The irony, of course, is that it was the Indian musician Balakrishnan playing the white American electric sitar, which was made to sound like the Indian acoustic one used for northern Indian (i.e., Hindustani) classical music as well as Bollywood films, while a white American also played it on the album along with Balakrishnan. Moreover, the white multi-instrumentalist Collin Walcott, a former student of the sitarist Ravi Shankar and tabla player Allah Rakha, also performed on the album along with Badal Roy. Powell makes a compelling case for attempting to disassociate Afro-Asian musical collaborations from their white interlocutors, but, in this reviewer's opinion, he perfunctorily overlooks or maybe intentionally ignores how white musicians, producers, arrangers, and others were and continue to be a part of the dialogical process to which he refers. [Extracted from the article] |
