But India-born Sanjay Divecha, who spent fifteen years in the United States, and studied at the Guitar Institute of Los Angeles, went home to Mumbai in 2003, where he has explored the deep Indian musician roots, Carnatic and Hindustani, while bringing a myriad of other influences into his art.
Sanjay Divecha and Secret, the guitarist's second album, is a vibrant and engaging jumbo of styles mixed with an Indian music foundation, stirring up funk and folk, African-based rhythms, jazz and blues, even hinting at American country western.
The disc opens with the gorgeous "OTA," a tune with a tranquil flow that might earn it a label of Sub-Continent Bossa Nova, with an African tinge. "Mahaganapatim" digs deep into African funk. "Thilliana," is a lilting Middle-Eastern funk, replete with saaz and bouzouki spicing the rhythms. And "Saanwara" opens with a guitar twang that sounds as if it's right out of Nashville, introducing an achingly lovely, gentle tune featuring Chandana Bala's gorgeous, feather-light, Dolly Parton-like vocalsif Dolly sang in Hindi.
A beautifully-crafted, perfectly-arranged set of tunes that is very egalitarian in its vocalist/instrumentalist input. Divechi doesn't shred on his instrument, or hog the spotlight. Every sound he makesevery sound everybody makesserves the music well (he is particularly adept at subtle programming and keyboard work), on a set that proves itself a extraordinarily cohesive statement, in spite of the broad mix of styles.
My father was playing jazz and and free jazz during the '80s in Paris.
My first cassettes when I was a kid were a compilation of Duke Ellington's orchestra on side A and Count Basie's orchestra on Side B.
My first CD was a live performance of Thelonious Monk in Europe in 60's.
I saw Miles live in 1991 in Nyon Paleo Festival.