Acclaim Page 2
"Pandit Krishna Mohan Bhatt's...
performance unequivocally demonstrated that the folk ragas
of Rajasthan can be as deep and profound as the classical
ragas of the Hindustani system. For instance, the folk-raga
Soob played by Pt. Bhatt on this occasion contained elements
of ragas Bhairava, Kalingda, Lalit and Khamaj of the North
Indian system... In the same manner, several new folk talas
(rhythm cycles) had their own interest and attraction... Pt.
Bhatt's innovative ideas and fresh approach resulted in a
program that encourages a new appreciation of Rajasthani musical
"Krishna Bhatt and Zakir Hussain represent
a new school of freedom in Indian music. Traditions are observed
to the letter, but the sense of style in the new wave has
blossomed into a greater spectrum of expression... Bhatt's
clarity and expressive simplicity brought ovations from sides
of the stage platform... Exceptional craftsmanship and artistry."
-San Francisco Chronicle
"... made one totally forget that we were
actually in Denmark. Their first raga was profoundly intense,
sending one on a headlong journey through time and space...
to sum it up, the evening turned out to be a unique and exceptional
"Two of the night's compositions best stated the musicians'
strength as an ensemble. After a lengthy traditional raga
performed by Bhatt, underscored by Brooks' extended low notes
and Riley's mournful chanting, Bhatt's experimental raga-as-jazz
'Rasmanjari' cut a wider swath of tone and texture. . . [In
Riley's Emerald Runner] Brooks and Bhatt played their own
games of hopscotch on their instruments from sitar runs to
sax riffs... On the surface, it might be called 'crossover
jazz,' but what the group came up with was more expressive
than that: in surveying three distinct territories, they wound
up uncovering a few new ones."