IN MEMORIAM
Richard Horowitz
January 6, 1949 – April 13, 2024
Inspired by the traditional music of Morocco, Richard Horowitz was a musician and composer known for his mastery of the ney (reed flute) and his innovative works of cross-cultural music. He wrote music for various films, including Bernardo Bertolucci's The Sheltering Sky; in 1991, he shared the Golden Globe Award for Best Original Score with Ryuichi Sakamoto for the soundtrack of this film based on the novel by Paul Bowles. He had a long and remarkable collaboration with the Iranian-born vocalist and composer Sussan Deyhim which encompassed the music of the Middle East, jazz and the avant garde. He worked with a wide array of artists, including Jon Hassell, Brian Eno, David Byrne and Anthony Braxton, and, in 1998, co-founded the Gnawa Festival in Essaouira, Morocco.
Between 1979 and 1994, we presented him four times under the auspices of the Alternative Center for International Arts and World Music Institute. His memorable performances included two with Steve Gorn (bansuri flute) and Ralph Samuelson (shakuhachi flute); one of these was recorded live on WNYC. A gentle soul, Richard will be truly missed.
“Honoring this wonderful man and visionary musician. Truly a ‘world music’ inspiration to me and many others. ----Steve Gorn
“a traveler and world citizen who believed in our shared humanity.” - Tamara Melnik on Sussan Deyhim’s Instagram post
Pitchfork obituary by Jazz Monroe
January 6, 1949 – April 13, 2024
Inspired by the traditional music of Morocco, Richard Horowitz was a musician and composer known for his mastery of the ney (reed flute) and his innovative works of cross-cultural music. He wrote music for various films, including Bernardo Bertolucci's The Sheltering Sky; in 1991, he shared the Golden Globe Award for Best Original Score with Ryuichi Sakamoto for the soundtrack of this film based on the novel by Paul Bowles. He had a long and remarkable collaboration with the Iranian-born vocalist and composer Sussan Deyhim which encompassed the music of the Middle East, jazz and the avant garde. He worked with a wide array of artists, including Jon Hassell, Brian Eno, David Byrne and Anthony Braxton, and, in 1998, co-founded the Gnawa Festival in Essaouira, Morocco.
Between 1979 and 1994, we presented him four times under the auspices of the Alternative Center for International Arts and World Music Institute. His memorable performances included two with Steve Gorn (bansuri flute) and Ralph Samuelson (shakuhachi flute); one of these was recorded live on WNYC. A gentle soul, Richard will be truly missed.
“Honoring this wonderful man and visionary musician. Truly a ‘world music’ inspiration to me and many others. ----Steve Gorn
“a traveler and world citizen who believed in our shared humanity.” - Tamara Melnik on Sussan Deyhim’s Instagram post
Pitchfork obituary by Jazz Monroe
Photo credit: John Wilton
Brahim Fribgane
April 9, 1965 - February 21, 2024
Brahim Fribgane, born and raised in Morocco, brought to his music the rich and varied musical styles he grew up with – North African, Gnawa, Berber, Arabic and Andalusian music. Known for his virtuosic skills on oud and various percussion instruments, he performed with many renowned artists, including Hassan Hakmoun, Peter Gabriel, Adam Rudolph, Club d’Elf, Steve Gorn, Tinariwen, Giovanni Hidalgo, Pete Seeger, Peter Yarrow, Zakir Hussain, and Selva Ganesh. In his early 20s, he came to New York City where he developed his distinctive style, blending influences from his childhood and international traditions.
Brahim was a gentle soul with an infectious smile who graced our concerts on many occasions, particularly with Hassan Hakmoun. He will be sorely missed.
“Anywhere he went he shared his talents and his gift with other musicians. All over the world there is nobody like Brahim Fribgane.
He will always be with me." - Hassan Hakmoun
“one of the most soulful musicians who ever walked the planet”- Club d’Elf
“Brahim was a beloved brother who warmed the lives of his family, friends, musicians, and audiences around the world “ – Adam Rudolph
April 9, 1965 - February 21, 2024
Brahim Fribgane, born and raised in Morocco, brought to his music the rich and varied musical styles he grew up with – North African, Gnawa, Berber, Arabic and Andalusian music. Known for his virtuosic skills on oud and various percussion instruments, he performed with many renowned artists, including Hassan Hakmoun, Peter Gabriel, Adam Rudolph, Club d’Elf, Steve Gorn, Tinariwen, Giovanni Hidalgo, Pete Seeger, Peter Yarrow, Zakir Hussain, and Selva Ganesh. In his early 20s, he came to New York City where he developed his distinctive style, blending influences from his childhood and international traditions.
Brahim was a gentle soul with an infectious smile who graced our concerts on many occasions, particularly with Hassan Hakmoun. He will be sorely missed.
“Anywhere he went he shared his talents and his gift with other musicians. All over the world there is nobody like Brahim Fribgane.
He will always be with me." - Hassan Hakmoun
“one of the most soulful musicians who ever walked the planet”- Club d’Elf
“Brahim was a beloved brother who warmed the lives of his family, friends, musicians, and audiences around the world “ – Adam Rudolph
Julian Benedikt © 2017
Karl Berger
March 30, 1935 - April 9, 2023
Karl Berger, a vibraphonist, pianist, composer and educator, became a prominent figure in jazz improvisation and the avant garde after coming to the US in the 1960s from his native Germany. In 1972, with his wife, Ingrid Sertso, and Ornette Coleman, he co-founded the Creative Music Studio in Woodstock, an organization dedicated to the research of the power of music and sound and the elements common to all of the world’s musical forms. In his long career, he recorded and performed with Don Cherry, Lee Konitz, John McLaughlin, the Mingus Epitaph Orchestra, Dave Brubeck, Dave Holland, Ed Blackwell, and Pharoah Sanders, among others, at festivals and concerts throughout the world. He formed multiple ensembles in the US and Europe, and wrote orchestrations for Jeff Buckley, Natalie Merchant and Bootsy Collins. He was a six-time winner of the Downbeat Critics Poll as a jazz soloist, and received numerous composition awards.
Karl was regarded as a treasure in his community and to all who knew him.
We had presented him six times under the auspices of World Music Institute, often with Ingrid Sertso. We will remember him as a gentle soul, a patient listener and a pedagogue of jazz and world music. He was an accomplished keyboard player, whether on the piano or the vibraphone, as well as an innovative composer and musical arranger. He will be sorely missed by all of us in the musical community of New York.
New York Times obituary by Jon Pareles
Obituary by Michael J. West, WRTI
March 30, 1935 - April 9, 2023
Karl Berger, a vibraphonist, pianist, composer and educator, became a prominent figure in jazz improvisation and the avant garde after coming to the US in the 1960s from his native Germany. In 1972, with his wife, Ingrid Sertso, and Ornette Coleman, he co-founded the Creative Music Studio in Woodstock, an organization dedicated to the research of the power of music and sound and the elements common to all of the world’s musical forms. In his long career, he recorded and performed with Don Cherry, Lee Konitz, John McLaughlin, the Mingus Epitaph Orchestra, Dave Brubeck, Dave Holland, Ed Blackwell, and Pharoah Sanders, among others, at festivals and concerts throughout the world. He formed multiple ensembles in the US and Europe, and wrote orchestrations for Jeff Buckley, Natalie Merchant and Bootsy Collins. He was a six-time winner of the Downbeat Critics Poll as a jazz soloist, and received numerous composition awards.
Karl was regarded as a treasure in his community and to all who knew him.
We had presented him six times under the auspices of World Music Institute, often with Ingrid Sertso. We will remember him as a gentle soul, a patient listener and a pedagogue of jazz and world music. He was an accomplished keyboard player, whether on the piano or the vibraphone, as well as an innovative composer and musical arranger. He will be sorely missed by all of us in the musical community of New York.
New York Times obituary by Jon Pareles
Obituary by Michael J. West, WRTI
Tom Pich
Mick Moloney
November 15, 1944 – July 27, 2022
Mick Moloney, beloved musician (banjo, mandolin, guitar), teacher, pioneering scholar, folklorist, and concert producer, was one of the giants in Irish music. He was born in Limerick, Ireland, and moved to the US in 1973. A driving force in Irish music in the US, he was influential in bringing Irish music out of pubs and parlors to the concert stage, and championed the legacy of Irish American music. He encouraged female instrumentalists in a male-dominated field, and passionately explored the connections between Irish music with African, Jewish and American roots music. He co-founded the Green Fields of America, which became the leading traditional Irish ensemble in the US, and was involved as a musician or producer on over 100 albums. He taught at NYU for over 20 years, where he was the Global Distinguished Professor of Music and Irish Studies. A great humanitarian, he was a music teacher and music therapist for children with HIV at Mercy Center in Thailand. His many awards included the 1999 National Heritage Fellowship, this nation’s highest honor in the traditional arts, and the Presidential Distinguished Service Award for the Irish Abroad, which he received in 2013 from the President of Ireland.
We presented Mick many times under the auspices of World Music Institute in concerts that brought smiles to our faces. A superb raconteur, he always had wonderful stories to tell us backstage. He had a commanding presence, both onstage and off, and we often felt that he would have played all night if the venues would have allowed him to do so.
“As he would often say of others, Mick was “a mighty man,” the likes of which we would be incredibly lucky to see again…Mick was a hero to many and truly changed Irish music in America.” Dan Neely, Irish Echo
New York Times obituary by Vivien Schweitzer.
Irish Echo obituary by Dan Neely
November 15, 1944 – July 27, 2022
Mick Moloney, beloved musician (banjo, mandolin, guitar), teacher, pioneering scholar, folklorist, and concert producer, was one of the giants in Irish music. He was born in Limerick, Ireland, and moved to the US in 1973. A driving force in Irish music in the US, he was influential in bringing Irish music out of pubs and parlors to the concert stage, and championed the legacy of Irish American music. He encouraged female instrumentalists in a male-dominated field, and passionately explored the connections between Irish music with African, Jewish and American roots music. He co-founded the Green Fields of America, which became the leading traditional Irish ensemble in the US, and was involved as a musician or producer on over 100 albums. He taught at NYU for over 20 years, where he was the Global Distinguished Professor of Music and Irish Studies. A great humanitarian, he was a music teacher and music therapist for children with HIV at Mercy Center in Thailand. His many awards included the 1999 National Heritage Fellowship, this nation’s highest honor in the traditional arts, and the Presidential Distinguished Service Award for the Irish Abroad, which he received in 2013 from the President of Ireland.
We presented Mick many times under the auspices of World Music Institute in concerts that brought smiles to our faces. A superb raconteur, he always had wonderful stories to tell us backstage. He had a commanding presence, both onstage and off, and we often felt that he would have played all night if the venues would have allowed him to do so.
“As he would often say of others, Mick was “a mighty man,” the likes of which we would be incredibly lucky to see again…Mick was a hero to many and truly changed Irish music in America.” Dan Neely, Irish Echo
New York Times obituary by Vivien Schweitzer.
Irish Echo obituary by Dan Neely
photo: Derek Speirs
Dennis Cahill
June 16, 1954 – June 20, 2022
Dennis Cahill, born and raised in Chicago to parents from County Kerry, Ireland, was a renowned guitarist in the world of Irish traditional music, He was best known for his genre-defining duo with Irish fiddler Martin Hayes, with whom he toured the world and recorded three albums on Green Linnet Records. Their partnership ranked among the most memorable ones in Celtic music. A groundbreaking musician, Dennis took traditional Irish music in new directions, incorporating elements of classical music, blues and jazz.
“His beautiful musical ideas will echo far into the future and his friendship will live on in my heart,“ said Martin Hayes. “He impacted my life and expanded my musical horizon. I was lucky to have known him, to have had him as a friend and to have had the privilege of making music with him for so many years." President of Ireland Michael D Higgins paid tribute to Cahill saying, “Dennis brought a unique and innovative style to his guitar playing, while being deeply respectful of the essence of traditional Irish music. He and Martin Hayes explored new musical territory and helped create a phenomenal interest in traditional music among a new generation of people both within Ireland and across the world."
Dennis and Martin collaborated with a wide range of artists including jazz musicians Bill Frisell and Cassandra Wilson, country music star Ricky Skaggs, Spanish composer and early music maestro Jordi Savall, the Irish Chamber Orchestra, and Sting. With Martin, Dennis was a founding member of The Gloaming, which appeared at Carnegie Hall in 2019.
We remember fondly the many concerts they performed together under the auspices of World Music Institute from 1999 to 2011. Dennis was far more than an accompanist. Beneath his quiet and unassuming manner there lay a powerhouse of rhythmic intensity. His artful guitar lines provided a perfect complement to Martin’s brilliant fiddling.
“a subtle guitar master” - NPR
Irish Times obituary https://www.irishtimes.com/obituaries/2
June 16, 1954 – June 20, 2022
Dennis Cahill, born and raised in Chicago to parents from County Kerry, Ireland, was a renowned guitarist in the world of Irish traditional music, He was best known for his genre-defining duo with Irish fiddler Martin Hayes, with whom he toured the world and recorded three albums on Green Linnet Records. Their partnership ranked among the most memorable ones in Celtic music. A groundbreaking musician, Dennis took traditional Irish music in new directions, incorporating elements of classical music, blues and jazz.
“His beautiful musical ideas will echo far into the future and his friendship will live on in my heart,“ said Martin Hayes. “He impacted my life and expanded my musical horizon. I was lucky to have known him, to have had him as a friend and to have had the privilege of making music with him for so many years." President of Ireland Michael D Higgins paid tribute to Cahill saying, “Dennis brought a unique and innovative style to his guitar playing, while being deeply respectful of the essence of traditional Irish music. He and Martin Hayes explored new musical territory and helped create a phenomenal interest in traditional music among a new generation of people both within Ireland and across the world."
Dennis and Martin collaborated with a wide range of artists including jazz musicians Bill Frisell and Cassandra Wilson, country music star Ricky Skaggs, Spanish composer and early music maestro Jordi Savall, the Irish Chamber Orchestra, and Sting. With Martin, Dennis was a founding member of The Gloaming, which appeared at Carnegie Hall in 2019.
We remember fondly the many concerts they performed together under the auspices of World Music Institute from 1999 to 2011. Dennis was far more than an accompanist. Beneath his quiet and unassuming manner there lay a powerhouse of rhythmic intensity. His artful guitar lines provided a perfect complement to Martin’s brilliant fiddling.
“a subtle guitar master” - NPR
Irish Times obituary https://www.irishtimes.com/obituaries/2
Photo credit: Ira Landgarten
Shivkumar Sharma
January 13, 1938 – May 10, 2022
The legendary Shivkumar Sharma, one of India’s most celebrated classical musicians, died on May 10th of a heart attack in Mumbai. India’s greatest santoor (hammered dulcimer) player, he was a pioneering musician responsible for developing the Kashmiri folk instrument used as accompaniment for vocal music into a solo instrument in the North Indian classical repertoire. He was often noted for his inventive technique of gliding the strikers over the strings, creating a delicate, shimmering effect. Since making his first public appearance in 1955, he traveled throughout the world and received many prestigious awards and titles, including the Sangeet Natak Akademi Award (1986), Padma Shri (1991) and Padma Vibhushan (2001). He frequently performed with the virtuoso flutist Hariprasad Chaurasia, with whom he also wrote scores for Bollywood films. He appeared many times with tabla maestro Zakir Hussain, who had introduced us to him, as well as with his son, Rahul, an acclaimed santoor player.
We presented him 11 times from May 1980 to September 2009 under the auspices of the Alternative Museum and World Music Institute, presenting him at such venues as Symphony. Space, Town Hall and Carnegie Hall. Shivji will be remembered in the hearts of all who came to these concerts. He was one of our favorite artists, a deeply soulful musician admired for the beauty of his music and the brilliance of his innovations. Sarod master Amjad Ali Khan said it so aptly when he wrote that Shivji’s passing “marks the end of an era…his contribution is unparalleled.”
NPR obituary by Anastasia Tsioulcas
January 13, 1938 – May 10, 2022
The legendary Shivkumar Sharma, one of India’s most celebrated classical musicians, died on May 10th of a heart attack in Mumbai. India’s greatest santoor (hammered dulcimer) player, he was a pioneering musician responsible for developing the Kashmiri folk instrument used as accompaniment for vocal music into a solo instrument in the North Indian classical repertoire. He was often noted for his inventive technique of gliding the strikers over the strings, creating a delicate, shimmering effect. Since making his first public appearance in 1955, he traveled throughout the world and received many prestigious awards and titles, including the Sangeet Natak Akademi Award (1986), Padma Shri (1991) and Padma Vibhushan (2001). He frequently performed with the virtuoso flutist Hariprasad Chaurasia, with whom he also wrote scores for Bollywood films. He appeared many times with tabla maestro Zakir Hussain, who had introduced us to him, as well as with his son, Rahul, an acclaimed santoor player.
We presented him 11 times from May 1980 to September 2009 under the auspices of the Alternative Museum and World Music Institute, presenting him at such venues as Symphony. Space, Town Hall and Carnegie Hall. Shivji will be remembered in the hearts of all who came to these concerts. He was one of our favorite artists, a deeply soulful musician admired for the beauty of his music and the brilliance of his innovations. Sarod master Amjad Ali Khan said it so aptly when he wrote that Shivji’s passing “marks the end of an era…his contribution is unparalleled.”
NPR obituary by Anastasia Tsioulcas
Photo credit: Amitav Roy Chowdhury
Badal Roy
October 16, 1939 - January 18, 2022
Badal Roy was the foremost tabla player in jazz and improvisational music whose memorable work spanned decades. A groundbreaking percussionist, he played with many of the leading names in jazz, including Miles Davis, Ornette Coleman, John McLaughlin, Dave Liebman, Pharoah Sanders, Herbie Hancock and Herbie Mann, recorded with Yoko Ono and Richie Havens, and led his own ensembles.
Born in what was then British India – later East Pakistan and now Bangladesh, he came to New York in 1968 with $8 in his pocket with the intent to study for a doctorate in statistics. From his work beginnings as a busboy at Horn & Hardart and a waiter at Pak-India Curry House, he went on to become a pioneer in jazz fusion. He played Indian music at the Taste of India restaurant in Greenwich Village where British guitarist John McLaughlin would sit in and jam with him. Eventually McLaughlin asked him to record with him (My Goal’s Beyond) and later introduced him to Miles Davis, with whom he went on to record the quintessential On the Corner and other albums.
Badal was a joy to work with and those who knew him can relate many wonderful stories about him (like inviting the taxi driver into his home after a long ride or inviting the concert presenters over at 11pm for his wife Geeta's fantastic samosas). We looked through our files and saw that we had presented Badal 31 times from 1976 to 2004 (under the auspices of the Alternative Center for International Arts, the Alternative Museum and World Music Institute). These concerts included Steve Gorn (a frequent collaborator), Dave Liebman, Arnie Lawrence, Dewan Motihar, Perry Robinson, Don Cherry, Alirio Lima, Purna Das Baul, Arooj Lasewal, Nana Vasconcelos, Mike Richmond, Herbie Mann, Adam Rudolph, Glen Velez, Duofel, and Pharoah Sanders.
We remember Badal’s infectious smile and exuberant personality and his many appearances over the years. He was the life and soul of so many of our concerts. We will miss you!
New York Times obituary by Jon Pareles
NPR obituary by Brad Farberman:
October 16, 1939 - January 18, 2022
Badal Roy was the foremost tabla player in jazz and improvisational music whose memorable work spanned decades. A groundbreaking percussionist, he played with many of the leading names in jazz, including Miles Davis, Ornette Coleman, John McLaughlin, Dave Liebman, Pharoah Sanders, Herbie Hancock and Herbie Mann, recorded with Yoko Ono and Richie Havens, and led his own ensembles.
Born in what was then British India – later East Pakistan and now Bangladesh, he came to New York in 1968 with $8 in his pocket with the intent to study for a doctorate in statistics. From his work beginnings as a busboy at Horn & Hardart and a waiter at Pak-India Curry House, he went on to become a pioneer in jazz fusion. He played Indian music at the Taste of India restaurant in Greenwich Village where British guitarist John McLaughlin would sit in and jam with him. Eventually McLaughlin asked him to record with him (My Goal’s Beyond) and later introduced him to Miles Davis, with whom he went on to record the quintessential On the Corner and other albums.
Badal was a joy to work with and those who knew him can relate many wonderful stories about him (like inviting the taxi driver into his home after a long ride or inviting the concert presenters over at 11pm for his wife Geeta's fantastic samosas). We looked through our files and saw that we had presented Badal 31 times from 1976 to 2004 (under the auspices of the Alternative Center for International Arts, the Alternative Museum and World Music Institute). These concerts included Steve Gorn (a frequent collaborator), Dave Liebman, Arnie Lawrence, Dewan Motihar, Perry Robinson, Don Cherry, Alirio Lima, Purna Das Baul, Arooj Lasewal, Nana Vasconcelos, Mike Richmond, Herbie Mann, Adam Rudolph, Glen Velez, Duofel, and Pharoah Sanders.
We remember Badal’s infectious smile and exuberant personality and his many appearances over the years. He was the life and soul of so many of our concerts. We will miss you!
New York Times obituary by Jon Pareles
NPR obituary by Brad Farberman:
©Jack Vartoogian/FrontRowPhotos
Pandit Birju Maharaj
February 4, 1937 – January 17,2022
Legendary dancer Pandit Birju Maharaj, from a famous family of dancers, was the grand master of kathak, the North Indian classical dance characterized by subtle mime, intricate footwork and breathtaking pirouettes. A torchbearer of the Lucknow gharana (school), he developed his own distinctive style and popularized kathak throughout the world. He was the recipient of India’s highest honors – the Sangeet Natak Academy Award and the Padma Vibhushan - and was regarded as a living legend in India.
We first came to know Pandit Birju Maharaj in 1991 when he performed for World Music Institute and Lotus Music and Dance with his longtime disciple Saswati Sen. He performed three more times for WMI, including the Carnegie Hall concert celebrating the 50th anniversary of India’s independence. He was the sole dance artist in that concert. In addition to his mastery of kathak, he was a composer, poet, singer, and acknowledged choreographer for a number of Bollywood films. We remember him for the grace and nobility of his dance movements, and his angelic smile.
New York Times obituary by Alastair Macaulay:
February 4, 1937 – January 17,2022
Legendary dancer Pandit Birju Maharaj, from a famous family of dancers, was the grand master of kathak, the North Indian classical dance characterized by subtle mime, intricate footwork and breathtaking pirouettes. A torchbearer of the Lucknow gharana (school), he developed his own distinctive style and popularized kathak throughout the world. He was the recipient of India’s highest honors – the Sangeet Natak Academy Award and the Padma Vibhushan - and was regarded as a living legend in India.
We first came to know Pandit Birju Maharaj in 1991 when he performed for World Music Institute and Lotus Music and Dance with his longtime disciple Saswati Sen. He performed three more times for WMI, including the Carnegie Hall concert celebrating the 50th anniversary of India’s independence. He was the sole dance artist in that concert. In addition to his mastery of kathak, he was a composer, poet, singer, and acknowledged choreographer for a number of Bollywood films. We remember him for the grace and nobility of his dance movements, and his angelic smile.
New York Times obituary by Alastair Macaulay:
Debu Chaudhuri
May 30, 1935 – May 1, 2021
Sitar maestro Debu Chaudhuri, who had performed throughout the world for over six decades, died in Delhi, India of Covid-19 related complications. He was a leading exponent of the Senia gharana (tradition), the only school in classical Indian music that uses the 17-fret sitar. He went on to become one of the leading sitarists in the second half of the 20th century. He composed eight ragas, wrote six books, and was an important educator. For his contributions to Indian music, he received the titles Padma Bhushan and Padma Shri, and the Sangeet Natak Adademi Award. We had presented him in 1993 under the auspices of World Music Institute.
May 30, 1935 – May 1, 2021
Sitar maestro Debu Chaudhuri, who had performed throughout the world for over six decades, died in Delhi, India of Covid-19 related complications. He was a leading exponent of the Senia gharana (tradition), the only school in classical Indian music that uses the 17-fret sitar. He went on to become one of the leading sitarists in the second half of the 20th century. He composed eight ragas, wrote six books, and was an important educator. For his contributions to Indian music, he received the titles Padma Bhushan and Padma Shri, and the Sangeet Natak Adademi Award. We had presented him in 1993 under the auspices of World Music Institute.
Rajan Mishra
October 28, 1951 - April 25, 2021
Legendary Hindustani vocalist Rajan Mishra, renowned for his extraordinary vocal range and technique, died in Delhi, India of Covid-19 related complications. From a family of musicians, he was a member of his family’s fifth generation of classical musicians. For many years he performed with his brother Sajan Mishra in a famed vocal duet noted for its interpretations of the highly improvised North Indian khyal. A foremost exponent of the Benares style of singing, he was a national treasure who was awarded many of India’s most prestigious honors, including the Sangeet Natak Akademi Award and the Padma Bhushan. We were very fortunate to have presented him and his brother two times under the auspices of World Music Institute.
New York Times obituary by Emily Schmall
Tribute by Zakir Hussain
October 28, 1951 - April 25, 2021
Legendary Hindustani vocalist Rajan Mishra, renowned for his extraordinary vocal range and technique, died in Delhi, India of Covid-19 related complications. From a family of musicians, he was a member of his family’s fifth generation of classical musicians. For many years he performed with his brother Sajan Mishra in a famed vocal duet noted for its interpretations of the highly improvised North Indian khyal. A foremost exponent of the Benares style of singing, he was a national treasure who was awarded many of India’s most prestigious honors, including the Sangeet Natak Akademi Award and the Padma Bhushan. We were very fortunate to have presented him and his brother two times under the auspices of World Music Institute.
New York Times obituary by Emily Schmall
Tribute by Zakir Hussain
Michail Adam
March 21, 1957 - March 25, 2021
We are very sad to hear of the death of our friend and Greek Festival co-partner Michail Adam, who passed away in Athens. For years, Michail and his wife Vanessa ran ADaM (Arts, Dance and Music) Productions, which was dedicated to bringing the rich cultural history of Greece to American and international audiences. Under the auspices of World Music Institute, we co-sponsored the annual Greek Festival (2000-2004), which featured a rich array of artists representing many regional styles, and worked closely in bringing together 16 groups for the 2003 Cultural Olympiad celebration of sacred music and dance. After the Olympics in Athens, Michail became the director of the Badminton Theater, which was host to many musical and theatrical productions.
In addition to the annual Greek Festivals in New York, we remember fondly our magical trip to Greece in July of 2003 for the Cultural Olympiad when we traveled to sacred sites and Olympia (site of the first Olympic games), and spent three evenings at the ancient Herodeon theater beneath the Acropolis under the nearly full moon.
Thank you, Michail, for making this all possible.
We will miss you on our next trip to Greece.
March 21, 1957 - March 25, 2021
We are very sad to hear of the death of our friend and Greek Festival co-partner Michail Adam, who passed away in Athens. For years, Michail and his wife Vanessa ran ADaM (Arts, Dance and Music) Productions, which was dedicated to bringing the rich cultural history of Greece to American and international audiences. Under the auspices of World Music Institute, we co-sponsored the annual Greek Festival (2000-2004), which featured a rich array of artists representing many regional styles, and worked closely in bringing together 16 groups for the 2003 Cultural Olympiad celebration of sacred music and dance. After the Olympics in Athens, Michail became the director of the Badminton Theater, which was host to many musical and theatrical productions.
In addition to the annual Greek Festivals in New York, we remember fondly our magical trip to Greece in July of 2003 for the Cultural Olympiad when we traveled to sacred sites and Olympia (site of the first Olympic games), and spent three evenings at the ancient Herodeon theater beneath the Acropolis under the nearly full moon.
Thank you, Michail, for making this all possible.
We will miss you on our next trip to Greece.
Bassam Saba
October 26, 1959 – December 4, 2020
Bassam Saba, a world-renowned master musician, multi-instrumentalist, educator, composer, and leading figure in Arab music, died from Covid-19 in his native Lebanon. He specialized in flutes – the ney and Western flute – and was also accomplished on such stringed instruments as oud, saz, buzuq and violin. His extensive credits include working with Fairouz, Marcel Khalife, Ziad Rahbabi, Yo-Yo Ma’s Silk Road Project, Simon Shaheen, and Christian Jarvi's Absolute Ensemble, as well as Paul Simon, Alicia Keys, Sting, Santana, Herbie Hancock, Sonny Fortune, and Quincy Jones. He was the founder and director of the New York Arabic Orchestra, and as a soloist performed with symphonic orchestras around the world. A sought-after teacher and mentor to many, he was a longtime faculty member of the Arabic Music Retreat at Mt. Holyoke College and taught workshops and led ensembles at Harvard and Berklee College. After living in the US from 1990 to 2018, where he had a profound influence on the Arab community, he returned to Lebanon to become the director of the Lebanese National Higher Conservatory of Music in Beirut.
In a 2018 interview, Bassam said:” I think, in our roles as artists, we have to do the maximum possible to deliver our thoughts through art, and not to lose our humanity. We should stand together as artists on this planet and speak one language. We all carry one message: of peace, of right of expression regardless of nationality or background. “
We remember fondly the times we presented him (for WMI and RBA), from performances with Simon Shaheen’s Near Eastern Music Ensemble and Qantara to the New York Arabic Orchestra and his own ensemble. It was always a heartwarming experience to meet Bassam each year at the Arabic Music Retreat, and it was always wonderful to hear him perform; we were particularly enamored of his soulful playing on the ney. He was such a gentle soul and will be dearly missed.
New York Times obituary by Kareem Chehayeb
We would like you to hear his deeply beautiful performances on ney and oud:
Arabic Nay ney improvisation taqasim taqsim taksim
Improvisational Oud performance
October 26, 1959 – December 4, 2020
Bassam Saba, a world-renowned master musician, multi-instrumentalist, educator, composer, and leading figure in Arab music, died from Covid-19 in his native Lebanon. He specialized in flutes – the ney and Western flute – and was also accomplished on such stringed instruments as oud, saz, buzuq and violin. His extensive credits include working with Fairouz, Marcel Khalife, Ziad Rahbabi, Yo-Yo Ma’s Silk Road Project, Simon Shaheen, and Christian Jarvi's Absolute Ensemble, as well as Paul Simon, Alicia Keys, Sting, Santana, Herbie Hancock, Sonny Fortune, and Quincy Jones. He was the founder and director of the New York Arabic Orchestra, and as a soloist performed with symphonic orchestras around the world. A sought-after teacher and mentor to many, he was a longtime faculty member of the Arabic Music Retreat at Mt. Holyoke College and taught workshops and led ensembles at Harvard and Berklee College. After living in the US from 1990 to 2018, where he had a profound influence on the Arab community, he returned to Lebanon to become the director of the Lebanese National Higher Conservatory of Music in Beirut.
In a 2018 interview, Bassam said:” I think, in our roles as artists, we have to do the maximum possible to deliver our thoughts through art, and not to lose our humanity. We should stand together as artists on this planet and speak one language. We all carry one message: of peace, of right of expression regardless of nationality or background. “
We remember fondly the times we presented him (for WMI and RBA), from performances with Simon Shaheen’s Near Eastern Music Ensemble and Qantara to the New York Arabic Orchestra and his own ensemble. It was always a heartwarming experience to meet Bassam each year at the Arabic Music Retreat, and it was always wonderful to hear him perform; we were particularly enamored of his soulful playing on the ney. He was such a gentle soul and will be dearly missed.
New York Times obituary by Kareem Chehayeb
We would like you to hear his deeply beautiful performances on ney and oud:
Arabic Nay ney improvisation taqasim taqsim taksim
Improvisational Oud performance
©Jack Vartoogian/FrontRowPhotos
Candido Camero
April 22, 1921 – November 7, 2020
In early November, the world lost one of its legendary percussionists. The groundbreaking conga virtuoso Candido Camero, born in Havana, Cuba, was one of the most influential figures in Afro-Cuban music and the first percussionist to bring conga drumming to jazz. He pioneered the use of multiple drums in performance (in the past congueros had used a single drum), developed the technique of coordinated independence, and was the first to tune multiple congas to specific pitches, allowing the drummer to play melodies. With Dizzy Gillespie, he played a major role in the development of Latin jazz. In his long career, he worked with such leading figures as Charlie Parker, Billy Taylor, Stan Kenton, Miles Davis, Charles Mingus, Lionel Hampton, Sonny Rollins, Tito Puente, Machito, and Tony Bennett. One of the most recorded conga players, he had appeared on over 1,000 recordings. In 2008, he received the NEA Jazz Masters award, the nation’s highest honor in jazz, and in 2009 he received the Grammy Lifetime Achievement award. A documentary, Candido: Hands of Fire, was made about his remarkable life.
We presented Candido five times under the auspices of World Music Institute, and each one was a mesmerizing experience. Our first concert with Candido took place in 1999 when he was a guest artist with Bobby Sanabria’s Ascension. He later performed in 2005 with an array of Cuban musicians under the direction of Chico Alvarez, in 2006 and 2010 as a member of the Conga Kings, and in 2008 with trombonist Roswell Rudd as guest artist with David Oquendo’s Havana Tres and Raices Habaneras.
“Mr. Camero has access to the divine.” – Peter Watrous, New York Times
“His innovations – in terms of coordinated independence, melodic playing, the use of multiple drums – are the stuff of legend.” – Bobby Sanabria in WBGO tribute
NY Times obituary by Neil Genzlinger
April 22, 1921 – November 7, 2020
In early November, the world lost one of its legendary percussionists. The groundbreaking conga virtuoso Candido Camero, born in Havana, Cuba, was one of the most influential figures in Afro-Cuban music and the first percussionist to bring conga drumming to jazz. He pioneered the use of multiple drums in performance (in the past congueros had used a single drum), developed the technique of coordinated independence, and was the first to tune multiple congas to specific pitches, allowing the drummer to play melodies. With Dizzy Gillespie, he played a major role in the development of Latin jazz. In his long career, he worked with such leading figures as Charlie Parker, Billy Taylor, Stan Kenton, Miles Davis, Charles Mingus, Lionel Hampton, Sonny Rollins, Tito Puente, Machito, and Tony Bennett. One of the most recorded conga players, he had appeared on over 1,000 recordings. In 2008, he received the NEA Jazz Masters award, the nation’s highest honor in jazz, and in 2009 he received the Grammy Lifetime Achievement award. A documentary, Candido: Hands of Fire, was made about his remarkable life.
We presented Candido five times under the auspices of World Music Institute, and each one was a mesmerizing experience. Our first concert with Candido took place in 1999 when he was a guest artist with Bobby Sanabria’s Ascension. He later performed in 2005 with an array of Cuban musicians under the direction of Chico Alvarez, in 2006 and 2010 as a member of the Conga Kings, and in 2008 with trombonist Roswell Rudd as guest artist with David Oquendo’s Havana Tres and Raices Habaneras.
“Mr. Camero has access to the divine.” – Peter Watrous, New York Times
“His innovations – in terms of coordinated independence, melodic playing, the use of multiple drums – are the stuff of legend.” – Bobby Sanabria in WBGO tribute
NY Times obituary by Neil Genzlinger
© 2002 Jack Vartoogian/FrontRowPhotos
Mohammad Reza Shajarian
September 23, 1940 – October 8, 2020
The legendary Mohammad Reza Shajarian, Iran’s most celebrated vocalist, died at the age of 80 in Tehran. A national treasure in Iran, he was a master of Persian classical singing internationally renowned for his deeply moving vocals and flawless technique. He began his career in 1959 at Radio Khorasan, and went on to achieve prominence as a performer, teacher, researcher, and recording artist. For his musical contributions, he received many honors, including two awards from UNESCO, and the Chevalier of the Legion of Honor from the French government; he was also named by NPR as one of the world’s 50 Great Voices.
He was particularly noted for his Rabana, a prayer song played during the holy month of Ramadan, and Morghe Sahar (Bird of Dawn), an allegorical song about a bird that sings to end the darkness of night so that liberation can begin.
Shajarian was known as “the voice of Iran” to young and old alike, and became a symbol of resistance. After he expressed support to the 2009 protests, he was banned from performing in his homeland.
We were fortunate to tour Shajarian in the US and to present him five times in New York under the auspices of World Music Institute from 2001 to 2008; his appearances at Town Hall and Lincoln Center included four Masters of Persian Music concerts with Kayhan Kalhor, Hossein Alizadeh, and his son, Homayoun Shajarian.
He will be sorely missed both for his awe-inspiring performances and for his profound sensitivity. His voice envelops the soul; layers of exquisite love and profound sadness are intertwined in a mosaic that evokes the contradictions of the human condition.
“(he) was beloved for his commanding voice that could cry with haunting pain and soar with deep soul.” –NPR
NPR obituary by Anastasia Tsioulcas
New York Times obituary by Farnaz Fassihi
September 23, 1940 – October 8, 2020
The legendary Mohammad Reza Shajarian, Iran’s most celebrated vocalist, died at the age of 80 in Tehran. A national treasure in Iran, he was a master of Persian classical singing internationally renowned for his deeply moving vocals and flawless technique. He began his career in 1959 at Radio Khorasan, and went on to achieve prominence as a performer, teacher, researcher, and recording artist. For his musical contributions, he received many honors, including two awards from UNESCO, and the Chevalier of the Legion of Honor from the French government; he was also named by NPR as one of the world’s 50 Great Voices.
He was particularly noted for his Rabana, a prayer song played during the holy month of Ramadan, and Morghe Sahar (Bird of Dawn), an allegorical song about a bird that sings to end the darkness of night so that liberation can begin.
Shajarian was known as “the voice of Iran” to young and old alike, and became a symbol of resistance. After he expressed support to the 2009 protests, he was banned from performing in his homeland.
We were fortunate to tour Shajarian in the US and to present him five times in New York under the auspices of World Music Institute from 2001 to 2008; his appearances at Town Hall and Lincoln Center included four Masters of Persian Music concerts with Kayhan Kalhor, Hossein Alizadeh, and his son, Homayoun Shajarian.
He will be sorely missed both for his awe-inspiring performances and for his profound sensitivity. His voice envelops the soul; layers of exquisite love and profound sadness are intertwined in a mosaic that evokes the contradictions of the human condition.
“(he) was beloved for his commanding voice that could cry with haunting pain and soar with deep soul.” –NPR
NPR obituary by Anastasia Tsioulcas
New York Times obituary by Farnaz Fassihi
©Jack Vartoogian/FrontRowPhotos
Pandit Jasraj
January 28, 1930 - August 17, 2020
Legendary Indian vocalist Pandit Jasraj, who died at the age of 90, was one of the last great masters of classical music from the older generation. He was called "an incomparable genius, the kind born once in a century" by Sanjeev Abhyankar, one of his senior disciples. Jasraj, a pioneering artist, was celebrated for his extraordinary vocal range and his soulful renditions of khayal, the highly improvised classical style that is North India's main form of vocal music. He introduced the highly ornamental elements of thumri (light classical song) to this traditionally rather austere form, giving it greater flexibility and helping to popularize it. In addition, he was recognized for his introduction of sacred Vedic texts into the classical music idiom. He was born into a family of four generations of outstanding classical musicians and became the foremost exponent of the Mewati gharana (tradition). In his career that spanned nearly 80 years, he received many prestigious honors, including Padma Vibhushan, Padma Bhushan, Padma Shri, and the Sangeet Natak Akademi Award.
We first presented Pandit Jasraj at the Alternative Museum in 1984, accompanied by tabla virtuoso Zakir Hussain, who had introduced us to him. The concert was haunting and held the capacity audience spellbound. Pandit Jasraj went on to perform eight times under the auspices of World Music Institute at venues ranging from Washington Square Church and Symphony Space to Town Hall, Alice Tully Hall, and Carnegie Hall. At the Carnegie event in1997, he joined an array of many of India’s greatest classical musicians in celebrating the 50th anniversary of Indian independence. In the New York Timesreview of this program, Jon Pareles wrote, "His voice was rich and serene, moving from long-breathed notes to ornamented lines that rippled like leaves in a summer breeze."
Panditji will be sorely missed by his many students in India and the US and by audiences around the world both for his musicianship and for his sincere humility.
New York Times obituary by Shalini Venugopal Bhagat
January 28, 1930 - August 17, 2020
Legendary Indian vocalist Pandit Jasraj, who died at the age of 90, was one of the last great masters of classical music from the older generation. He was called "an incomparable genius, the kind born once in a century" by Sanjeev Abhyankar, one of his senior disciples. Jasraj, a pioneering artist, was celebrated for his extraordinary vocal range and his soulful renditions of khayal, the highly improvised classical style that is North India's main form of vocal music. He introduced the highly ornamental elements of thumri (light classical song) to this traditionally rather austere form, giving it greater flexibility and helping to popularize it. In addition, he was recognized for his introduction of sacred Vedic texts into the classical music idiom. He was born into a family of four generations of outstanding classical musicians and became the foremost exponent of the Mewati gharana (tradition). In his career that spanned nearly 80 years, he received many prestigious honors, including Padma Vibhushan, Padma Bhushan, Padma Shri, and the Sangeet Natak Akademi Award.
We first presented Pandit Jasraj at the Alternative Museum in 1984, accompanied by tabla virtuoso Zakir Hussain, who had introduced us to him. The concert was haunting and held the capacity audience spellbound. Pandit Jasraj went on to perform eight times under the auspices of World Music Institute at venues ranging from Washington Square Church and Symphony Space to Town Hall, Alice Tully Hall, and Carnegie Hall. At the Carnegie event in1997, he joined an array of many of India’s greatest classical musicians in celebrating the 50th anniversary of Indian independence. In the New York Timesreview of this program, Jon Pareles wrote, "His voice was rich and serene, moving from long-breathed notes to ornamented lines that rippled like leaves in a summer breeze."
Panditji will be sorely missed by his many students in India and the US and by audiences around the world both for his musicianship and for his sincere humility.
New York Times obituary by Shalini Venugopal Bhagat
Rhonda Klevansky, Ari Kravatsky
Cosmas Magaya
1953 – July 10, 2020
On July 10th, coronavirus took the life of one of the world's great musicians, mentors, and cultural ambassadors, Zimbabwean mbira master Cosmas Magaya. In North America, Europe, and Africa where he performed, he was universally loved by his following not only for his inspired virtuosity and expressivity, but for his generosity of spirit.
Cosmas Magaya was a key player in the renowned mbira ensemble, Mhuri yekwaRwizi, led by singer Hakurotwi Mude. He performed both for Shona religious ceremonies, and for the concert stage. His richly textured life encompassed avid farming, multiple terms as village headman, and director of Nhimbe for Progress, a non-profit organization engaged with rural development and emergency relief. His talents were first showcased internationally in the 1970s on The Soul of Mbira and Shona Mbira Music recordings. He performed at three World Music Institute (WMI) concerts at Washington Square Church. The first, in 1999, was part of the Soul of Mbira tour organized by ethnomusicologist Paul Berliner and was reviewed in the New York Times. Subsequently he performed again with Beauler Dyoko on September 28, 2001, just 17 days after that fateful day (9/11). That concert will be remembered by those who attended as a deeply meditative healing ceremony. It was the first concert presented by WMI after 9/11. His last WMI performance took place in 2004 as part of the Mbira Masters of Zimbabwe tour. Over the decades, Cosmas was a guiding presence at the annual North American Zimbabwe Music Festival (Zimfest). His most recent teaching residency was at Duke University in 2016.
Cosmas was committed to Shona cultural knowledge and its documentation, working alongside his friend, student, and musical associate Paul Berliner for 50 years. His life and artistry is commemorated in The Art of Mbira: Musical Inheritance and Legacy (Berliner 2020), released only months before his passing, and a forthcoming players' method book, Mbira's Restless Dance: An Archive of Improvisation (Berliner and Magaya, 2020) by the University of Chicago Press.
New York Times obituary by Jon Pareles
Afropop remembrance by Banning Eyre
1953 – July 10, 2020
On July 10th, coronavirus took the life of one of the world's great musicians, mentors, and cultural ambassadors, Zimbabwean mbira master Cosmas Magaya. In North America, Europe, and Africa where he performed, he was universally loved by his following not only for his inspired virtuosity and expressivity, but for his generosity of spirit.
Cosmas Magaya was a key player in the renowned mbira ensemble, Mhuri yekwaRwizi, led by singer Hakurotwi Mude. He performed both for Shona religious ceremonies, and for the concert stage. His richly textured life encompassed avid farming, multiple terms as village headman, and director of Nhimbe for Progress, a non-profit organization engaged with rural development and emergency relief. His talents were first showcased internationally in the 1970s on The Soul of Mbira and Shona Mbira Music recordings. He performed at three World Music Institute (WMI) concerts at Washington Square Church. The first, in 1999, was part of the Soul of Mbira tour organized by ethnomusicologist Paul Berliner and was reviewed in the New York Times. Subsequently he performed again with Beauler Dyoko on September 28, 2001, just 17 days after that fateful day (9/11). That concert will be remembered by those who attended as a deeply meditative healing ceremony. It was the first concert presented by WMI after 9/11. His last WMI performance took place in 2004 as part of the Mbira Masters of Zimbabwe tour. Over the decades, Cosmas was a guiding presence at the annual North American Zimbabwe Music Festival (Zimfest). His most recent teaching residency was at Duke University in 2016.
Cosmas was committed to Shona cultural knowledge and its documentation, working alongside his friend, student, and musical associate Paul Berliner for 50 years. His life and artistry is commemorated in The Art of Mbira: Musical Inheritance and Legacy (Berliner 2020), released only months before his passing, and a forthcoming players' method book, Mbira's Restless Dance: An Archive of Improvisation (Berliner and Magaya, 2020) by the University of Chicago Press.
New York Times obituary by Jon Pareles
Afropop remembrance by Banning Eyre
Michel Merhej Baklouk
Oct 27, 1928 – April 20, 2020
Master classical Arab percussionist Michel Merhej Baklouk, a musical treasure and icon, was one of the last in a generation representing the old school of Arab music. His 70-year career and aesthetic sensibilities represented a musical era that is slowly slipping into the past. His specialty, the riqq (a small frame drum), is one of the most delicate, sophisticated, and versatile percussion instruments of Arab music and has typically been the instrument of choice for accompanying the takht, a small classical ensemble. Born in Jerusalem in 1928, Michel was one of the players most sought after by instrumentalists, vocalists and connoisseurs of old-school Arab music. He was the principal riqq player of the Lebanese radio orchestra for 25 years. The most important achievement of his career was being the main riqq player for over 40 years with the Rahbani Brothers and the legendary Lebanese singer Fairouz. He also performed with many of the Arab world’s greatest vocalists and instrumentalists, including Muhammad ‘Abd al-Wahhab, Farid al Atrash, Wadi’ al Safi, and Sabah. After coming to New York in 1989, he played in prestigious Arab music ensembles in the US, including Simon Shaheen's Near Eastern Music Ensemble and Qantara. In addition to concertizing, he was a respected educator who taught at Lebanon’s National Conservatory of Music for many years. Beginning in 1997, he joined the faculty of the annual Arabic Music Retreat at Mount Holyoke College in Massachusetts. In 2018, his book Classical Riqq Technique, a reflection of his unique pedagogical method and life experience in Arab percussion, was published.
In Inside Arabic Music by Johnny Farraj and Sami Abu Shumays, he was cited as being “among the most influential riqq players in the 20th century.”
We always enjoyed your concerts with Simon Shaheen over the past 30 years and our talks at the Arabic Music Retreat. We will miss your musical brilliance and stories!
Oct 27, 1928 – April 20, 2020
Master classical Arab percussionist Michel Merhej Baklouk, a musical treasure and icon, was one of the last in a generation representing the old school of Arab music. His 70-year career and aesthetic sensibilities represented a musical era that is slowly slipping into the past. His specialty, the riqq (a small frame drum), is one of the most delicate, sophisticated, and versatile percussion instruments of Arab music and has typically been the instrument of choice for accompanying the takht, a small classical ensemble. Born in Jerusalem in 1928, Michel was one of the players most sought after by instrumentalists, vocalists and connoisseurs of old-school Arab music. He was the principal riqq player of the Lebanese radio orchestra for 25 years. The most important achievement of his career was being the main riqq player for over 40 years with the Rahbani Brothers and the legendary Lebanese singer Fairouz. He also performed with many of the Arab world’s greatest vocalists and instrumentalists, including Muhammad ‘Abd al-Wahhab, Farid al Atrash, Wadi’ al Safi, and Sabah. After coming to New York in 1989, he played in prestigious Arab music ensembles in the US, including Simon Shaheen's Near Eastern Music Ensemble and Qantara. In addition to concertizing, he was a respected educator who taught at Lebanon’s National Conservatory of Music for many years. Beginning in 1997, he joined the faculty of the annual Arabic Music Retreat at Mount Holyoke College in Massachusetts. In 2018, his book Classical Riqq Technique, a reflection of his unique pedagogical method and life experience in Arab percussion, was published.
In Inside Arabic Music by Johnny Farraj and Sami Abu Shumays, he was cited as being “among the most influential riqq players in the 20th century.”
We always enjoyed your concerts with Simon Shaheen over the past 30 years and our talks at the Arabic Music Retreat. We will miss your musical brilliance and stories!
Peter_Gannushkin
Richard Teitelbaum
May 19, 1939 – April 9, 2020
We were deeply saddened to hear that our dear friend Richard Teitelbaum, a composer and musician who performed a number of times for the Alternative Museum and World Music Institute, died on April 9th.
Richard, an electronic music pioneer and innovator, had long been an advocate for music from many parts of the world. He co-founded the live electronic music group Musica Elettronica Viva (MEV) in Rome in 1966 with Frederic Rzewski and Alvin Curran and was the first person to bring the Moog synthesizer to Europe. While studying ethnomusicology at Wesleyan in 1970, he formed the World Band, a group composed of musicians from the Middle East, the Far East, India and North America. Richard first performed for us at the Alternative Museum with bansuri flautist Steve Gorn in 1983. In 1988, he performed at the World Music Institute's Improvisations Festival on a double bill with trombonist George Lewis at Symphony Space, and in 1994 he performed in the Interpretations series at Merkin Hall alongside reedman Anthony Braxton. In 2005, we introduced him to Middle Eastern multi-instrumentalist Omar Faruk Tekbilek with whom he worked to present his opera Z'vi (Zevi), based on the life and philosophy of a 17th century Jewish mystic. The opera had its preview at the Center for Jewish History in 2005. (See NYTimes review here.) Richard was a longtime professor at Bard College, teaching electronic and experimental music there since 1988.
NPR obituary by Nate Chinen
New York Times obituary by Steve Smith
May 19, 1939 – April 9, 2020
We were deeply saddened to hear that our dear friend Richard Teitelbaum, a composer and musician who performed a number of times for the Alternative Museum and World Music Institute, died on April 9th.
Richard, an electronic music pioneer and innovator, had long been an advocate for music from many parts of the world. He co-founded the live electronic music group Musica Elettronica Viva (MEV) in Rome in 1966 with Frederic Rzewski and Alvin Curran and was the first person to bring the Moog synthesizer to Europe. While studying ethnomusicology at Wesleyan in 1970, he formed the World Band, a group composed of musicians from the Middle East, the Far East, India and North America. Richard first performed for us at the Alternative Museum with bansuri flautist Steve Gorn in 1983. In 1988, he performed at the World Music Institute's Improvisations Festival on a double bill with trombonist George Lewis at Symphony Space, and in 1994 he performed in the Interpretations series at Merkin Hall alongside reedman Anthony Braxton. In 2005, we introduced him to Middle Eastern multi-instrumentalist Omar Faruk Tekbilek with whom he worked to present his opera Z'vi (Zevi), based on the life and philosophy of a 17th century Jewish mystic. The opera had its preview at the Center for Jewish History in 2005. (See NYTimes review here.) Richard was a longtime professor at Bard College, teaching electronic and experimental music there since 1988.
NPR obituary by Nate Chinen
New York Times obituary by Steve Smith
Kadri Gopalnath 12/5/1949 – 10/11/2019
Kadri Gopalnath was one of the great innovators of South Indian (Carnatic) music. Tutored by his father on the nadhaswarama large oboe-like instrument favored for temple ceremonies, he fell in love as a young man with the saxophone. Over a period of some 20 years he mastered the instrument (alto saxophone) and introduced it to the repertoire of classical South Indian Music. He first visited the US in 1987 and performed at Washington Sq. Church, NYC for the World Music Institute. The concert was reviewed by Robert Palmer for the New York Times. He performed again for WMI in 1995, this time at Merkin Concert Hall. Kadri Gopalnath continued to perform at concerts and festivals throughout the world often experimenting across genres as in his 2008 tour with jazz saxophonist Rudresh Mahanthappa. Read more...
Kadri Gopalnath was one of the great innovators of South Indian (Carnatic) music. Tutored by his father on the nadhaswarama large oboe-like instrument favored for temple ceremonies, he fell in love as a young man with the saxophone. Over a period of some 20 years he mastered the instrument (alto saxophone) and introduced it to the repertoire of classical South Indian Music. He first visited the US in 1987 and performed at Washington Sq. Church, NYC for the World Music Institute. The concert was reviewed by Robert Palmer for the New York Times. He performed again for WMI in 1995, this time at Merkin Concert Hall. Kadri Gopalnath continued to perform at concerts and festivals throughout the world often experimenting across genres as in his 2008 tour with jazz saxophonist Rudresh Mahanthappa. Read more...
Ramakant Gundecha 11/24/62- 11/8/2019
Ramakant Gundecha, one of the Gundecha brothers, the leading exponents of the ancient Indian art of Dhrupad, an austere vocal style of classical North Indian music that predates the more commonly performed Khayal.The Gundecha Brothers, Ramakant and Umakant, with their younger brother pakhawajplayer Akhilesh performed at Roulette as part of our World In Trance Festival in 2016 to great acclaim. The Gundecha’s studied under the tutelage of two members of the renowned Dagar family, vocalist Ustad Zia Fariduddin Dagar and rudra vinamaster Ustad Zia Mohiuddin Dagar. Over the past thirty years they have traversed the world performing in festivals and major concert venues to rapturous audiences and have taught their art to students throughout Asia, Europe and the Americas.
Ramakant Gundecha, one of the Gundecha brothers, the leading exponents of the ancient Indian art of Dhrupad, an austere vocal style of classical North Indian music that predates the more commonly performed Khayal.The Gundecha Brothers, Ramakant and Umakant, with their younger brother pakhawajplayer Akhilesh performed at Roulette as part of our World In Trance Festival in 2016 to great acclaim. The Gundecha’s studied under the tutelage of two members of the renowned Dagar family, vocalist Ustad Zia Fariduddin Dagar and rudra vinamaster Ustad Zia Mohiuddin Dagar. Over the past thirty years they have traversed the world performing in festivals and major concert venues to rapturous audiences and have taught their art to students throughout Asia, Europe and the Americas.
REMEMBERING BROOK ZERN
Brook Zern,
Flamenco aficionado and a major contributor to the appreciation of flamenco in the United States
February 10, 1941 – June 22, 2019
Brook Zern, a longtime resident of New York, Andalusia (Spain), and Martha’s Vineyard, was immersed in the world of flamenco for over 50 years – a journey he shared with his wife Kristin. Called a “flamenco historian" in the New York Times, Brook preferred to think of himself as a devoted aficionado of one of the world’s greatest and most powerful cultural creations. In 2008, he was knighted by the King of Spain for the dissemination of Spanish culture in the US.
While in Andalusia, he spent countless hours in private homes, bars and roadside ventas of Seville and Jerez and such small towns as Moron de la Frontera and Utrera. He knew many legendary artists, including singers Juan Talega, El Chocolate, Fernanda de Utrera and Manuel Agujetas; dancers El Farruco, Angelita Vargas and Manuela Carrasco; and guitarists (and his teachers) Sabicas, Diego del Gastor and Mario Escudero. He went on to lecture at universities, festivals and cultural events, appear on television and radio, and write articles for many American and Spanish publications and websites, including the New York Times, the Village Voice, and deflamenco.com. In 1987, after a long effort, he helped to assure the preservation of the prominent Spanish Television series Rito y Geografia de Cante.
To many people in the flamenco community, he was an invaluable resource with his deep knowledge and expert advice. For us, he was always there to lend a helping hand - whether with artist recommendations, visas, program notes or proper translations, among other things. It was an inspiring experience to sit near him at a flamenco event, because the stories and critiques were so wonderful. Brook, we will miss you!