"ANATMA" SLAMCD 586 Barcode: 5028386703822
ANATMA: Rohan Dasgupta (Sitar), Luigi Di Chiappari (Piano), Riccardo Di Fiandra (Ac. Bass), Daniele Di Pentima (Drums).
The Sanskrit word Anatma means "non-self". This doctrine is the banner of this band, where each component brings his own expressive and musical contribution to the whole creative flow, without ever connotating himself in a soloist way.
All begins in 2015 when Daniele Di Pentima (drums) goes to Kolkata fascinated by the Indian musical culture and the rhythmical intricacies of tabla playing, where he meets Rohan Dasgupta (sitar).
On this occasion, they find many common interests towards arts and a common sensitive way to feel the musical aesthetic.
Daniele leaves India with a huge baggage of new motivations and ideas. In the meantime, he tries to project a way to combine Indian classical music with jazz, without subordinating one to the other and vice-versa.
The first attempt of this project was on the occasion of Daniele's conservatory graduation, where he played supported by Riccardo Di Fiandra (bass) and Luigi Di Chiappari (piano) a few tunes picked from both Indian and jazz tradition, and where he exposed to the commission his thesis on how to blend this two different approaches to improvisation.
The occasion to substantiate in the proper way these studies and works, comes in 2016 when Rohan goes in Europe. Quickly, Daniele decides to book a recording studio in Rome and include Riccardo Di Fiandra and Luigi Di Chiappari in this project. The great interplay and friendship of the jazz trio allow Rohan to fit comfortably in a totally new musical world, where he feels free an inspring freedom of expression.
The starting idea of the recording was to play on a particular Hindustani raga named "Lalit".
Raga Lalit is a quite common raga in Indian Classical music: its time of playing refers to the very late night.
After recording Raga Lalit, Daniele proposes a tune set on the same raga dedicated to the ragmala painting "Lalita". From now on all the remaining recordings are totally improvised in the recording studio without even organize on which raga or scale play on. The results are "Kolkatay stomp" inspired by a bass riff, "Bengal" a sweet ballad dedicated to this enchanting Indian region, "Lacrimosa", a thought to Paul Bley, and "Raga Zila Kafi" the last, where the band decides to play on a Dorian scale, incorporating a Kaoss Pad to simulate the classical Indian Tampura.