Barbara Markay

For awhile there, world fusion-electronica recordings were a dime-a-dozen, and some sounded like that, too unfortunately. Luckily, such is not the case with Barbara Markay's Shambhala Dance. Markay and her accompanists (Eric Gorfain-violin, Tim May-electric guitar, Alberto de Almar-flamenco and electric guitar) light things up in fine fashion, combining Middle East, East Indian, and Mediterranean tonalities and rhythms to cook up a true "global stew" of sultry melodies and sensual beats. The inclusion of violin on the more Middle Eastern-oriented opening track "Atlantis" and the mixture of fiery flamenco guitar (not to mention electric guitar leads deep in the mix) with what sounds like a santur (a Persian predecessor to the hammered dulcimer) and ethnic percussion from that same region and Northern Africa on "Metamorphosis" displays Markay's considerable skill at uniting disparate musical elements into a tasty and spicy amalgam that is the aural equivalent of exotic cuisine.

Markay proves equally adept at lacing a thread of chill-out and electronica textures and beats throughout the recording. I would even pay her the compliment that on the first three tracks (the aforementioned "Atlantis," "Metamorphosis" and "Message from Morpheus") she could stand toe-to-toe with James Asher (on recordings such as Raising the Rhythms, Colours of Trance, and maybe even Feet in the Soil). However, where Asher emphasized rhythm over all else (him being a drummer you'd expect that), Markay tends to stress instruments that carry the melody more often than not. I'd also like to extend praise to Joseph Lecuona who engineered and mastered the disc. He did an outstanding job, especially given the multitude of instruments. I was expecting a less than stellar technical album, based on the somewhat low-rent look to the CD (not that bad, just not up to major label status). However, this is an excellent sounding album, with synths, assorted acoustic and electronic percussion, and other instruments all well placed in the mix, yet never thrown together haphazardly.

Instrumental music devotees should be aware that there are two "straight up" vocal songs here ("Your Fire" and "Common Ground") with Markay handling the lead vocals. She has a solid singing voice, but the songs themselves are more pedestrian than the instrumental tracks, although I had no problem just playing through them. They're not bad, they just suffer in comparison since, as vocal numbers, the emphasis is on singing not on instrumental fireworks. Of the two, I preferred "Common Ground" which is a slinky and sexy tune, kind of a fusion lounge ballad. The CD's final cut ("The Gayatri") is an ethnic chant/song (with instruments, too, of course) sung in what is probably Indian or a Middle Eastern language. If you're into that kind of thing, it's a good example of how to do it (I'm just not that turned on by this type of vocal music).

On balance, I recommend Shambhala Dance. Another of its unique properties is that it contains only seven songs, the shortest one being 7:00 (including the three vocal tunes). Because this is world fusion music involving a lot of different instruments, and despite the length of tracks like "Metamorphosis" (over nine minutes!), the music seldom (if ever) wears out its welcome. I was engaged from the start of every song until it ended, even when listening intently. Credit is due Markay, her accompanists, and Lecuona for putting out an album that puts a fresh spin on a tired genre and doing it in both inspired and enjoyable ways. - by Bill Binkelman

What News from the East?

The concept of Shambhala takes on many forms; a place for enlightenment to dwell within us or the kingdom of an illuminated society or perhaps a notion of a third dimension where compassion and dignity resides. Barbara Markay taps into the pulse of the planet and her perception of Shambhala to bring you an album of upbeat dance grooves, sultry Spanish percussion and ethnic-tinged instrumentals called Shambhala Dance.

As Markay suggests, the music provides meditation though dance. The seven track album has enough rhythmic music to keep you entranced for some time, so perhaps you may achieve a higher state or you may just enjoy swaying to the beat.

Joining Barbara on her journey to spiritual/musical enlightenment are guitarists Tim May and Alberto de Almar, violin player Eric Gorfain and vocalist Joseph Lecuona. Although there are only seven tunes on Shambhala Dance the shortest one is well over seven minutes and the longest is over nine minutes. Thus, there is much to energize and enthrall you within the fifty-seven minutes of music.

Atlantis is an incredible introduction to the power of Markay’s music. In the song she begins with a strong beat and the tinkle of glass as Gorfain’s ghostly violin score dances about to Middle Eastern rhythms and odd little nature sounds. You become fully engaged with the sad singing of the guitars and after a time, you feel as if your own heart beats to the music.

Filled with flamenco guitar and Middle Eastern zither, the tune Metamorphosis is guaranteed to get your pulse going. It has an innate beauty that calls to you like a zephyr from the desert on a starry night. You will be the one changing. Your Fire is my favorite of the two vocals on the album. Common Ground is the other. On Your Fire Markay’s warm organic voice balances well with the Middle Eastern rhythm and Mediterranean guitar. It is a love song about the fire of passion.

Message from Morpheus starts out with a decidedly funky beat. A bit surprising for this kind of album, but it soon transforms itself into a strange, flowing tune with a moaning guitar lead and a dance groove rhythm. The missive from Morpheus, the god of dreams, is that you need not be asleep to realize your dreams. Allow the music to take to that state between wakefulness and slumber. There you may find an answer. It is my favorite on the CD.

The final cut and one of the most dramatic songs on the album is her version of the mantra The Gayatri or prayer to the sun. The hymn is usually sung as the sun rises and it is an entreaty to the gods for blessings. As in many Tantric mantras, it is the belief in the power of magic combined with the compelling of the gods through prayer that makes the ritual produce positive results. Markay’s eerie rendition featuring Sathya Sai Baba. The additional voices of Stacy Rasfeld and Aaron Loo give sway to the powers of the mantra.

As a budding pianist Barbara Markay garnered a scholarship to the Juilliard School of Music when she was ten (perhaps she saw Michael Dulin hanging around in the halls). She graduated from the college division as a composer and pianist. She has had her own one woman show, Little Lulu, composed music for India’s revered Sathya Sai Baba Organization and performed with rock stars Carly Simon and Eric Clapton. She also has two previously released albums, Change to Come and Heart Like a Song.

On Shambhala Dance Markay creates music that will escort you to a mystical place of relaxation and “dreamthought”.

My advice is to get up, shake the cobwebs loose and go with the flow. - RJ Lannan