Trilok Gurtu: Stirring the Big Old Pot
There is a popular theory of mathematical probability, that if you put a typewriter in front of a monkey, it will, through a process of trial and error, eventually produce a play of William Shakespeare. Swayed by the same sweeping logic, others believe that if you put a trap kit and assorted percussive instruments in front of Trilok Gurtu, then he will, in time, play every genre of music known to humankind. Before leaving his native India in the mid-'70s Gurtu had developed a substantial vocabulary of Indian rhythms through his Bollywood studio work, and these grooves have provided the platform for a host of musical experiments over the years.
As a classical tabla player, Gurtu has played with the finest musicians from his country, including tablaist Zakir Hussain, violinist L.Shankar and sarangi player Sultan Khan. But from his first recordings in the mid-'70s with Italian world music band Aktuala, Gurtu was experimenting with diverse musical genres, in a group which combined two soprano saxophones and acoustic guitar with Indian, Arabic and African wind and reed instruments, plus gongs, tabla, African drums, Moroccan bongos, cow bells and snake drums. Gurtu gently dismisses the significance of Aktuala in his musical formation as "hippy days" but those years were at least indicative of directions that Gurtu would refine and pursue with vigor in the years to come.
Several years in veteran jazz ensemble Oregon, and a four-year stint in the celebrated acoustic trio of guitarist John McLaughlin brought Gurtu to the attention of a wider jazz audience. However, Gurtu has never hung his hat on a single peg, and he found kindred spirits in saxophonist Charlie Mariano in India and trumpeter Don Cherry in Italy, musicians, who like Gurtu, sought meaningful synthesis of diverse musical traditions.
Like a musical alchemist Gurtu has combined the complex rhythms of India and Africa over the years, perhaps best captured on his excellent Beat of Love (Blue Thumb, 2001). His debut as leader, the electronic-hued world fusion, Usfret (CMP, 1987) was a significant influence on young British electronic innovators, Talvin Singh, Nitin Sawhney and Asian Dub Foundation. But Gurtu never rests on his laurels for too long, and his ongoing musical explorations have led to collaborations with Mongolian throat singers, string quartet and orchestra, Korean samul nori percussionists, and musicians as diverse as saxophonists Jan Garbarek and Pharoah Sanders, keyboardist Joe Zawinul, singers Omou Sangare, Angeliique Kidjo and Salif Keita, as well as bassist/producerBill Laswell and art music composer Phillip Glass.
Sooner or later, it seems, Gurtu was bound to throw himself into the big band arena. 21 Spices (SPV, 2011), his fifteenth recording as leader, pits Gurtu with the NDR big band and versatile drummer Simon Phillips, and together the 21 musicians deliver vibrant performances of Gurtu's compositions, stylishly arranged by Wolf Kerscheck. Phillips brings the more direct rhythms of rock into big band territory while Gurtu, in his inimitable style, weaves percussive lines that fuse Indian and African and South American beats together in a melting pot all of his own design. It is another impressive recording from the veteran Indian musician who strives, often against the tides of fashion, to present music which is all embracing, and which opens its arms to the widest possible public.
All About Jazz: Trilok, 21 Spices is a fascinating recording, could you tell us how this project came about?
Trilok Gurtu: Being a percussionist/drummer, there's not much faith from the promoters. So, for a long time I had to convince them that this is something very new, these influences of Indian and African music, not only related to jazz, but open to everybody. It took a while. Then I spoke to Nils Landgren, the trombone player from NDR and one or two other people and slowly the penny dropped. Once they had listened to some of the tunes then it worked.
AAJ: Was this a project that you'd had in mind for some time?
TG: I always like to do very different things; I never stick to one thing. My music is based on all music being one. Indian music is a very strong cultural element to mix with other cultures, if one knows how to do that. There are a lot of African influences in my music, and some gamelan. Music is like that, it's just pot of influences. If you want to dig in you get it out.
AAJ: What was it like working with the NDR big band?
TG: It took them a while to take me seriously. I live in Germany but nobody here took me seriously for years. They didn't even know I lived here and do all this stuff, but I am not the kind of person who goes out and blows his own trumpet. It was something very new for them and a little bit difficult. The vocabulary of music has developed and I think they understood that after a while. I hope they enjoyed it as much as I did.