Doug Cox & Salil Bhatt – Slide To Freedom

13,50 7,26


This disc is a celebration of the common ground found between musicians on opposite sides of the globe. Canadian slide guitarist Doug Cox and Indian mohan veena player Salil Bhatt recorded Slide to Freedom in Nashville along with tabla player Ramkumar Mishra. Bhatt is a tenth-generation musician and his father, V.M. Bhatt, not only invented the 19-stringed instrument his son plays but also guests on two of the tacks. Cox plays a range of resonator instruments: dobro, National Steel guitar, and others, as well as stepping up to the mic for a couple vocals. The elder Bhatt has similarly teamed up with Ry Cooder, Jerry Douglas, Béla Fleck, and Taj Mahal on previous projects. This cross-culture pairing is an exhilarating blend of ragas and Delta blues forms. Never forced, Slide to Freedom is a bracing and inviting hybrid, flowing as naturally as the waters that connect distant lands to one another. --David Greenberger

Track Listing:
1. Pay Day - 3:18   2. Bhoopali Dance - 10:17   3. Arabian Night - 8:36   4. Soul Of A man - 4:26   5. Fish Pond - 8:33   6. Father Kirwani - 7:46   7. Beware Of The Man (Who Calls You Bro) - 4:44   8. Meeting By The Liver - 8:49

Doug Cox (resonator guitar) , Ramkumar Mishra (tabla) , Vishwa Mohan Bhatt (mohan veena) , Salil Bhatt (satvik veena)


1. AllMusic - Stewart Mason
Slide to Freedom is an intriguing but ultimately only partially successful collaboration between Canadian dobro and slide guitar specialist Doug Cox and a pair of classical Indian musicians, Salil Bhatt and Ramkumar Mishra. Bhatt plays the 19-stringed drone instrument, the mohan veena, a modern instrument invented by his father, Vishwa Mohan Bhatt, who has recorded similar albums with Ry Cooder and Taj Mahal (the elder Bhatt guests on two tracks here, "The Soul of a Man" and "Father Kirwani"). Mishra's tabla provides the connective rhythm for the soloists, although the more natural and comfortable-sounding musical relationship between the tabla and the mohan veena sometimes makes Cox sound out of place on his own album. The connection between Cox and Bhatt's instruments is that both are played with slides, and at the album's best, as on the meditative, slowly unfolding "Bhoopaldi Dance," the instruments' similar timbres coalesce into an ever-shifting blend of drones and blue-note melodies strongly reminiscent of John Fahey's most explorative work. But the album is bracketed by a pair of bluesy vocal tunes by Cox, "Pay Day" and "Beware of the Man (Who Calls You Bro)," that sound unconvincing and completely out of place in this context.



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