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Boliwar Miranda was born in Bombay from a Goan family, hence his name of Portuguese origin.
Despite his Catholic education, he very soon fell in love with Indian classical music and was accepted at the school of an excellent master of “bamboo flute” Hari Prasad Choudury of whom he became the best pupil learning the secrets of that difficult art over a period of several years.
He gradually developed a musical feeling which is closely linked to Indian classical tradition but provided with personal originality.
In 1986 he moves to Italy where he is obliged to take a job which is by no means connected to music. It’s in 1993 that he meets two Italian musicians (Maurizio Dami and Ettore Bonafé) and encouraged by them, feels the need again to continue his musical research.
From 1994 he recorded 3 CDs with Maurizio Dami and Ettore Bonafé distributed by Materiali Sonori. With the above-mentioned musicians he gives several concerts at festivals and cultural events. |
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DROP 7 (music for meditation)
performed by : Boliwar Miranda (bansoori) - Maurizio Dami (keyboards) - Ettore Bonafè (percussions) - Stefano Bollani (piano)
Materiali Sonori - masoCD 90099 - 1998 |
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Maurizio
Dami A.K.A. Alexander Robotnick:
See the complete biography here |
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DROP 7.3 (Lucid Dreams)
performed by : Boliwar Miranda (bansoori) - Maurizio Dami (keyboards) - Ettore Bonafè (percussions) - Avantika Akerkar (vocal) - Quang Loong (vocal)
Materiali Sonori - masoCD 90121 - 2000 |
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Ettore' Bonafe' began playing percussion in 1980 (initially he played the guitar taking part in the group “Cartacanta”) dedicating himself in particular to the drums and vibraphone.
He studied tabla in India with the teacher Thunny Lal and in Italy participated in seminars given by Shankar Chatterjee.
In 1982 he began to study drums with Piero Borri. In 1986 he began to dedicate himself to the study of the vibraphone under the instruction of Alessandro Di Puccio and participating in the Berklee summer seminars in Perugia with Gary Burton and later in Switzerland with the teacher and composer Ruud Wiener.
In 1990 along with Paolo Casu he founded the group Fuentes: with which he recorded two albums: “ Garam Marsala “ and “Irikelè”
Since 1992 he has been an original member of Riccardo Tesi's group Banditaliana with which he has recorded three albums and toured Europe,Canada,Japan and Australia.
Together with the Indian flautist Bolivar Miranda and the composer Maurizio Dami he makes the third member of the trio Masala that blends Indian sounds with electronic music. He also has played for several years with singer\songwriter Sergio Caputo.
He teaches percussion and drums at the Siena Jazz Foundation in Siena. |
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Masala develops the ancient theory of Indian Raga into the context of European Ambient music, modal Jazz and some of the most innovative experiments with techno music.
Within the present trend to recover melodic-modal concepts from ethnic music, Raga theory is an invaluable instrument for analysis and development: it helps us to understand the essence of all kinds of music in the world , most of which, like raggae and blues, have by now reached the status of musical heritage.
Masala doesn’t mean the fusion of Western and Eastern music but rather the matrix they share.
Three musicians (Boliwar Miranda, Maurizio Dami and Ettore Bonafè) with different backgrounds (Indian classical music, electronic music and jazz) develop a research-project that is unaffected by any physical place and time and use different composition tools to do so.
This is how M.Dami describes Masala’s work:
" Boliwar comes to my studio with some Raga he liked and studied. First we make a quick rhythmic base and a one or two note pad to play on and then we start improvising together: Boliwar explores the phrasing to create the theme, I focus on the harmonic side with the keyboard. Whilst Boliwar sticks to the notes of the Raga , I experiment different notes too, sometimes outside the relative scale.
I hardly use any third interval but to consciously provide that particular effect . Once I’ve got into the right "ambient" I follow Boliwar’s melody more closely and develop different emotional feels playing chords.
When this process is over, we both "record" a number of improvisations on the computer. Our pieces are born from the editing of such improvisations. Then comes E. Bonafé and together we refine the rhythmic part, which is partly played and partly programmed.
The interaction of programming, improvising and editing is the basis for our music". |
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