CLEM ALFORD

"Magic Carpet" announced in 1971 exists as it is as a name of label. Of course, it is managed by the Magic Carpet label started up as independent label for the album of this Clem Alford.

It is said that Clem Alford had acquired the method of the performance with the bagpipe since the time of the 60's. And, he who moved to India pursues the technology and the music character for Indian music and Sitar. Clem Alford that studies under Ali Akdar and Ravi Shankar is completely learnt for the performance of Indian music and Sitar. The superior technology is satisfactorily demonstrated of course in the music character of Magic Carpet.

It challenges the flavor of Jazz Rock and the introduction of an electronic part in this album around the impression of Raga Rock. The sound made by modulating in the electron by hooking up a microphone to Sitar might surely expand the possibility of Sitar.

Playing of piano and guitar by Silva and Amancio D 'Alan Branscombe that had accomplished competing before activity of Magic Carpet. And, the performance by Keshav Sathe of the Tabla player who has the exchange with Magic Carpet also contributes to the content of the album. It will be able to enjoy the idea that Clem Alford dared exactly pursuing the expression of the music character all over the world considers and the music character without reserve.

Wah Wah Pedal is installed in Sitar as a point that should make a special mention and "Mirror Image" is performed. The part of Intro by Sitar and E-Piano shows the start of this album. The line of Bass and the melody of Sitar continue a good tension. In addition, the melody of the guitar twines and the part of Improvisation continues. The tune rushes into complete Raga Jazz Rock of passing five minutes. Part of unison by guitar and Sitar. The performance gets on the rhythm mainly composed of five rhythms and the combinations of three rhythms in union. The guitar, Sitar, and Bass repeat dismantlement and restructuring while continuing the form of Improvisation. This continuousness might be splendid.

"Raga Kirwani" has the flavor of complete Indian music. The melody to make good use of minor Chord produces good atmosphere. The melody of Sitar to get on the rhythm of complete Tabla might be glossy.

"Raga Charukeshi" is a tune from which the atmosphere of Indo/Raga occurred well. Flow of majors Chord performed by Sitar. And, the atmosphere of complete Indo/Raga with the percussion instrument. Good atmosphere continues. The tune reaches the peak from middle toward the last stage.

As for "Apocalypse", the flute twines round the flow that continues the tension with the melody of Sitar. A very enchantment impression will be given. And, the introduction of the electronic element intermittently repeated will not stay only by the music of simple Indo/Raga. An original expression is given as a composition with a transparent feeling and the tension.

"Morning Storm" shifts to the flow that is reminiscent of the impression of the natural world from the part of the introduction of SE. Melody of enchantment flute. And, it is partial of the obbligati of Sitar in close relation to the flow. The impression of the tune is exactly decided.

As for "Raga Khamaj", the sound of Indian music continues. Tabla and Sitar are integral. One space is exactly created. When ten minutes are passed, the tune increases the dash feeling further. The repeated atmosphere is a gaga exactly moment. Tabla performed by a high-speed rhythm has a complete technology.

The sound that Sitar is good for the melody of atmosphere with the anacatesthesia twines round "Colours". A fantastic flow finishes off the end of this album.

It is a work with which the individuality of Clem Alford tried to improve a complete technology and the music character as Sitar player is exactly blocked.