Vikku vinayakram biography of abraham

The Indian Express Article -Tonight 20th April 7 PM, we are performing at The Alliance Française Auditorium in Chennai Here below is the complete uncut interview. -

IE: You were born in Canada, but India is your home. Please tell us how that happened.

Nadaka: By the time I was 16 yrs old I had already acquainted myself with eastern Philosophies though in a very basic form: Bhagavat-gita, Upanishads, etc. I also read J Krishnamurthy and finally discovered Sri Aurobindo which gave me no doubt that my destination was India. I also often heard Indian music, even Live, for ex: I saw Ravi Shankar perform with All Rakkah. And of course, I was brought up with the whole Beatle phenomenon which had been greatly influenced by Indian spirituality & Music. So without any hesitation, I decided to travel from country to country till reached India in 1974.

IE: You have created and designed the 24-string guitar ‘Geet-Taar’ instrument. Please tell us more about it in detail.

N: I did design this specific instrument but it was the result of 40 years of evolving an instrument that fitted my style and soul. So I customized other guitars over the years. I had already lived in India for many years studying Veena and some Carnatic vocals. when I discovered John McLaughlin Shakti, John had a special guitar that had a couple of unique features, Scalloped (dug out fretboard) and parallel strings it was the unique musical feature of the Shakti sound together with L Shankar's violin but for some reason, Mclaughlin stopped playing this style of guitar in the late 80s and went back to the more standard Acoustic and electric guitars. I kept on and I recently even got to have a detailed conversation with Abraham Wechter the original maker of the Shakti guitar. Today my Geet-Taar is very different in that it tuned in an open Fifths tuning with Taalam strings which I pluck similarly as the Veena, but most importantly I had designed already in the 80s a mobile fret system that allows m

John McLaughlin’s steel-string work in Shakti is some of the all-time most astonishing acoustic virtuosity, right alongside his hugely influential nylon-string playing with Paco de Lucia and Al Di Meola in the Guitar Trio. 

McLaughlin and tabla master Zakir Hussain are celebrating a half century since joining worlds as Shakti by releasing This Moment (Abstract Logix), the group’s first new studio album in 46 years, and going on tour. In September, Guitar Player and SFJAZZ welcomed McLaughlin back to San Francisco, where he has a storied history. 

The City by the Bay was the site of McLaughlin’s latest live album, 2018’s Live in San Francisco as well as the Guitar Trio’s celebrated Friday Night in San Francisco album, recorded in late 1980 and released in 1981. In 2022, Saturday Night in San Francisco finally saw the light of day after spending more than four decades gathering dust in Di Meola’s basement. It was recorded the night after the legendary Friday show, and Di Meola produced the project during the pandemic lockdown. 

McLaughlin says, “Al called me up and told me about finding the tape of the second show, and it was exciting that the program on Saturday night was different enough to make another album.” Via a Zoom connection from GP’s origin in the Bay Area to McLaughlin’s longtime home in Monaco, the virtuoso goes on to connect the dots of how Shakti and the Guitar Trio have shaped his acoustic career through the lens of the various instruments he’s played, right up to the new, long-awaited Shakti album.

McLaughlin’s playing in Shakti is remarkable on a number of levels. His

South Korean geomungo player (born 1957)

For other people with the same name, see Kim Jin-hee.

In this Korean name, the family name is Kim.

Jin Hi Kim (Korean: 김진희; RR: Gim Jinhui; born February 6, 1957) is a composer and performer of komungo and electric komungo, and a Korean music specialist.

Kim is known as a pioneer for introducing geomungo (거문고, a Korean fretted board zither, also spelled komungo) to American contemporary classical music scene through her own cross-cultural chamber and orchestral compositions and her extensive solo work in avant-garde, as well as cross-cultural free improvisation. She is a Guggenheim fellow in composition and her recent works include the development of komungobot (algorithmic robotic instrument) and solo performances of the world's only electric komungo with live interactive MIDI computer system in her large-scale multimedia performance pieces.

Kim has received commissions from the American Composers Orchestra, Kronos Quartet, and Tan Dun's New Generation of East for Chamber Music Society of Lincoln Center, among others.

During the last three decades Kim has performed as a komungo soloist in her own compositions at Carnegie Hall, Lincoln Center, Kennedy Center (Washington, D.C.), Smithsonian Freer Gallery of Art (Washington, DC), Metropolitan Museum of Art, Asia Society (NYC), Haus der Kulturen der Welt (Berlin), and for collaborative improvisations at Royal Festival Hall (London), Venice Biennale, Moers Festival (Germany) and many significant international festivals throughout the USA, Europe, Canada, Latin America, South America, Russia, Asia, New Zealand, and Australia.

Biography

Early life

Kim was born in Incheon, South Korea.

She began studies of traditional Korean music in South Korea in 1973, at her father's recommendation. She received a full scholarship to study at South Korea's first National H

(This article is an all-new edition of last year’s “Ten Songs of Joy for Gaudete Sunday.”)

The third Sunday of Advent is traditionally known as Gaudete (Joy) Sunday, a day of celebrating the joyful reality that God is near. Advent is characterized by our waiting and yearning for Christ, which can feel heavy, especially as we look around and within and see so much brokenness. But on this day we are reminded to embrace a spirit of joy as we wait and as we yearn—much like a child waits with eager anticipation to unwrap a gift, or lovers to be reunited after a time of separation.

The following ten songs help us to inhabit the gladsome aspects of the Advent season, paving the way to Christmas.

1. “First Song of Isaiah” by Jack Noble White (1976) | Arranged and performed by Advent Birmingham, feat. Annie Lee, on Canticles (2020): Here’s an upbeat rendition, with xylophone and ukelele, of Jack Noble White’s choral setting of Isaiah 12:2–6. “You shall draw water with rejoicing from the springs of salvation. . . . Cry aloud, inhabitants of Zion, ring out your joy!” In the Book of Common Prayer this text appears in the section “Morning Prayer, Rite 2,” where it is labeled Canticle 9, “The First Song of Isaiah: Ecce, Deus.”

2. “Rejoice Greatly, O Daughter of Zion” from Messiah by George Frideric Handel (1741) | Performed by Regula Mühlemann (2019): A setting of Zechariah 9:9–10, this aria from Handel’s most famous oratorio features coloratura in the vocals—that is, elaborate, fast-paced ornamentation, trills, runs, and wide leaps—that accentuates the prophecy’s joyful message of a coming king. It’s sung by the Swiss soprano Regula Mühlemann, accompanied by the Sächsische Staatskapelle Dresden under the direction of Alondra de la Parra. For a Broadway-style arrangement of this piece, see here.

3. “Joy (Elizabeth)” by Poor Bishop Hooper, on Firstborn (2018): This song by Jesse and Leah Roberts voices Elizabeth’s awe upon visiting wi