Acclaim Page 2

"Pandit Krishna Mohan Bhatt's... performance unequivocally demonstrated that the folk ragas of Rajasthan can be as deep and profound as the classical ragas of the Hindustani system. For instance, the folk-raga Soob played by Pt. Bhatt on this occasion contained elements of ragas Bhairava, Kalingda, Lalit and Khamaj of the North Indian system... In the same manner, several new folk talas (rhythm cycles) had their own interest and attraction... Pt. Bhatt's innovative ideas and fresh approach resulted in a program that encourages a new appreciation of Rajasthani musical traditions."

-Navajoti Daily
Jaipur, India

"Krishna Bhatt and Zakir Hussain represent a new school of freedom in Indian music. Traditions are observed to the letter, but the sense of style in the new wave has blossomed into a greater spectrum of expression... Bhatt's clarity and expressive simplicity brought ovations from sides of the stage platform... Exceptional craftsmanship and artistry."

-San Francisco Chronicle
California

"... made one totally forget that we were actually in Denmark. Their first raga was profoundly intense, sending one on a headlong journey through time and space... to sum it up, the evening turned out to be a unique and exceptional experience."

-Weekend Avisen
Copenhagen, Denmark

"Two of the night's compositions best stated the musicians' strength as an ensemble. After a lengthy traditional raga performed by Bhatt, underscored by Brooks' extended low notes and Riley's mournful chanting, Bhatt's experimental raga-as-jazz 'Rasmanjari' cut a wider swath of tone and texture. . . [In Riley's Emerald Runner] Brooks and Bhatt played their own games of hopscotch on their instruments from sitar runs to sax riffs... On the surface, it might be called 'crossover jazz,' but what the group came up with was more expressive than that: in surveying three distinct territories, they wound up uncovering a few new ones."

-Berkeley Express
California