In Fire In My Heart the sitar and kamancheh weave around and through each other, somehow conveying an ineffable longing, romantic and spacious, melancholy and sorrowful. It’s curiously mortal music, seeming to exist in a place which is always aware of the passing of time, that everything fades and dies, whilst it savours the moment most deeply. The vocals fall into the places gently, floating and weaving through the instruments. What strikes me so much with Ghazal is a sense of the musicians deeply listening to each other, and deeply listening to the music which is arising, whether this is reflective, or catching the moment when the mood changes, as in the second half of the first track, and becomes shimmery, brilliant and dynamic, inviting the tabla to drive this with excitement. This is a wonderful piece to dance to, as in Gabrielle Roth, Five Rhythms, allowing the music to move through the body of the listener, from flowing through staccato, chaos, lyrical and a return to stillness
The second track, Pari Mahal almost has a circle dance feel to it, with its flamboyance, trotting rhythms, dips and glides. The music and musicians show off their skills – the piece almost seems to touch close to a more Western `jamming session’, even including a small central section which sounds incredibly Celtic! Hoots Och Aye!
The final long track Besh’no az Nay seems a little more prosaic than the high wildness of the first track, a retelling of tall tales, favourite old jokes and happy moments by a group of friends at ease in each others’ company, the vocals creamy and seductive. A track to be listened to whilst savouring fine sweetmeats and small glasses of tea!
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