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Ravish Momin

Not every percussionist can dream of studying with someone like Andrew Cyrille, but Ravish Momin was his disciple, at the same time learning the North Indian tradition with Misha Masud and the importance of groove with Bob Moses. Drummer and tablist with the same dedication to both instruments (all the others are complementary: cajon, doumbek, udu drum, talking drum, Nigerian log drum, gongs, bells and assorted percussion), he crosses two worlds in his playing, jazz and world music, this one melting Asian and West African elements. That’s the reason why musicians so different like Kalaparush Maurice McIntyre, Sabir Mateen, Robert Dick, Roy Campbell, William Parker, Rinde Eckert, Susie Ibarra, Billy Bang, Daniel Carter and Jim Black asked for his colaboration in their personal projects. It wasn’t an “exotica” player what all of them wanted, but someone that could connect their urban musics to the roots. His Trio Tarana has this trans-cultural feeling, mixing the traditions of China (through violinist Jason Kao Hwang) and the Middle East (through double bassist and oud player Shanir Blumenkranz) with Indian rhythms in open-minded jazz structures. The same happens with his contributions to Ursel Schlicht’s Ex Tempore, in this context with free improvisation and experimental electronics present in the equation. Momin’s I/O duo with saxophonist Lee Robinson is another example, extending the ethnical influences to Brazil and Japan, including the use of Taiko drums. A cosmopolitan music approach for these cosmopolitan times...

Ravish Momin's records on clean feed
Climbing the Banyan Tree
Ravish Momin's Trio Tarana
Miren (A Longing)
Ravish Momin's Trio Tarana
 
     
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