Live Review: Debashish Bhattacharya

The Indian concept of raga is an ancient one. It is an elegant term that literally means “colour”, but is broadly referred to as the “act of colouring.” To be affected by a raga is to be coloured or dyed by its fluid loveliness and grace.

It incorporates a scale system that employs combinations of notes that may smoulder with heat, or cool your thoughts like autumn rain. There are evening ragas and morning ragas, and ragas for different seasons. In all forms, ragas are hypnotic creations that feel almost supernatural and incredibly spiritual. Debashish Bhattacharya performed a series of ragas, both traditional and contemporary, at City Recital Hall, along with his daughter Anandi (vocals), and percussionist Tanmoy Bose. Jeff Lang shared the stage for a final piece that bridged the gap between what Bhattacharya called “rice field” music and “urban” raga.

Bhattacharya brought with him his three signature guitars: a 24-string chaturangui, a 14-string gandharvi, and a 4-string lap steel ukulele (a surprisingly versatile little instrument). The first piece was a traditional one, representing India’s past. It was an evening raga, with Anandi leading. It was completely bewitching. Everything was gently washed away by the endless lilting melody that flowed up and down the scale, and every sound, from the light steel twang of the strings to the soft popping of the tabla, was bent ever so slightly in and out of shape, bending to the will of the player.

Contemporary classical pieces followed with a tempo that thoroughly tested the performers and made for thrilling listening. Bose’s hands were lightning, and Bhattacharya’s improvisations became increasingly complex and intense. All through the performance, the players smiled and responded to each other’s vivacious hunger for invention and momentum.

A relatively calm modern composition finished the evening, and we all left changed, all dyed, all coloured by Bhattacharya’s music.