Endless Radiance

Amit Chatterjee & Badal Roy
Endless Radiance

TUTU CD 888178


Badal Roy indian percussion
Amit Chatterjee electric guitar



1. Village Dance # One MP3
2. Endless Radiance
3. The Origin
4. Geeta’s Shuffle
5. Seven Past Midnigh
6. Restless Moon
7. Village Dance / Going Home


“A Sound Can Belong Anywhere…”

When Badal Roy joined Miles Davis’ band back in 1970, he got a mysterious answer to his question about how to play. “Play it like a nigger…” is what Miles said. Miles liked the sound of tablas, but Indian classical music didn’t fit into his concept of electric jazz. So he wanted Badal to develop a cross-over style. A student and disciple of Alla Rakha, Badal Roy has received worldwide critical acclaim, also for his current work with Ornette Coleman’s Prime Time. An imposing discography includes - apart from Davis - Herbie Mann, John McLaughlin, Dave Liebman, Don Cherry, Pharoah Sanders, Leni Stern, Nana Vasconcelos, Dizzy Gillespie. Studio owner Tom Tedesco wrote saying “… Badal’s playing of tabla in a jazz context far surpasses anything ever done..”

A guitarist, sitarist, singer and composer, Amit Chatterjee has gone through extensive training in Indian, European and American music He teaches at the Ethnomusicology department of the University of Miami. His ambition to forge truely global music is what he achieves on this recording. Amit has recorded and performed with great artists such as Joe Zawinul (from 1983 onwards), Carlos Santana, Eric Johnson, Glen Velez, Layne Redmond, Dave Liebman, Paul Winter and Paul Halley- and of course, compatriot Badal Roy.

This album, is a logical product of Badal’s and Amit’s friendship and long sojourn in a world where music is just music..”Sound must be divested of a caste system,” Badal said to us during his flying visit to Munich, “a sound or a note doesn’t know where it belongs - it can belong anywhere!” With a childlike gaiety and playfulness paradoxically acquired only through the courage to take risks - both musicians unfurl a myriad sounds, colours and moods, Amit phrasing with bent notes and quarter notes, Badal playing complex 6/4 or 7/8 time cycles. Though they’re varying pitch, pace and volume - combining the rainstick and the matak, the mridangam or the madol - the guitar sounding plugged or unplugged, or even sometimes like a sitar - they never lose the inner coherence, their story: They bring sunshine to the people - and eternal radiance.