Sharon Isbin: Live in Aspen

Ground Zero for guitarist Sharon Isbin has long been anchored in the world of western classical music. Her training was extensive and, beginning in the mid-1970s, she began winning several prestigious awards. Although she began releasing albums in the late 1970s, it took until just before the turn of the century—1999—before she secured her first Grammy nomination. She did not win the top honor that year but it is an amazing accomplishment to be nominated in and of itself. But the stars and spotlights eventually aligned and she won several Grammys in the early 2000s. Her 2001 Grammy was for an album that drew on folk music from countries as far reaching as Ireland and Germany while the 2010 award was for a collection that included works by Joan Baez and Mark O'Connor. It was evident that Isbin was increasingly coloring outside the line when it came to the various musical styles she embraced.

Isbin's globe spinning musical journey continued in the 2020s when she teamed up with Indian classical sarod master Amjad Ali Khan and his two sons, Amaan Ali Bangash and Ayaan Ali Bangash, (plus Amit Kavthekar on tabla.) The multi-stringed sarod often has a stainless-steel plate/board without frets, thus allowing the musician to create precise, sharp, piercing sounds. Live In Aspen is a continuation of the fascinating cross fertilization of western meets eastern classical music the artists recorded before—with a healthy addition of improvisation.

All works presented that day in Aspen, except the opening one and an older traditional Indian folk piece, are by Amjad Ali Khan. Variety is accomplished not only by the intertwining of east/west styles but also by the fact that different musicians exit and return throughout the concert. Isbin opens the album with a solo piece written by 19rh century Spanish composer Francisco Tarrega before she is joined by Ayan Ali Bangash on two versions of "Sacred Evening." The first ("Alap Yaman," created to relax the listener) introduces subtle chords and melodic improvisation and then seamlessly flows into a more rapid interpretation while following a devotional, spiritual path. It is hypnotically soothing as well as amazingly articulate. Next, Amaan Ali Bangash joins Isbin on "By the Moon." The two-part number replicates the pattern of an introduction ("Alap Behag") which is followed by "Raga Behag" with a goal of evoking happiness. It also offers an opportunity for tabla player Amit Kavthekar to improvise as he guides the way with his dramatic flourishes. Then Isbin steps back and concedes the stage to the Indian artists for three selections including an homage to Hindu deity Ganesh. Everyone joins together for the final two pieces "Romancing Earth / Alap Pilu" and "Romancing Earth / Raga Pilu." The group paces itself as it moves patiently from contemplative to brisk thus creating a grand sendoff that clearly wows the live audience.

If the names of the works, titles and types of music seem unfamiliar, a detailed booklet will guide one through the album. But the final confirmation comes down to the magnificent music these artists create when they unite as one. Together, the musicians created unique yet inviting, accessible music. East merges seamlessly with west as the artists communicate via the universal language of music that, as Isbin says in the liner notes, leads to a thrilling finale. The live audience instantly confirmed that with their supportive applause.

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