{"id":1405,"date":"2018-09-01T20:38:03","date_gmt":"2018-09-01T20:38:03","guid":{"rendered":"http:\/\/littlevillagefoundation.com\/?p=1405"},"modified":"2018-09-01T20:39:39","modified_gmt":"2018-09-01T20:39:39","slug":"living-blues-aki-kumar-hindi-man-blues-review","status":"publish","type":"post","link":"https:\/\/littlevillagefoundation.com\/lv2021\/living-blues-aki-kumar-hindi-man-blues-review\/","title":{"rendered":"LIVING BLUES: Aki Kumar &#8216;Hindi Man Blues&#8217; Review"},"content":{"rendered":"<p><img class=\"alignright wp-image-955 size-400\" src=\"http:\/\/littlevillagefoundation.com\/wp-content\/uploads\/2018\/06\/Aki-Kumar-Hindi-Man-Blues-400x354.jpg\" alt=\"\" width=\"400\" height=\"354\" srcset=\"https:\/\/littlevillagefoundation.com\/lv2021\/wp-content\/uploads\/2018\/06\/Aki-Kumar-Hindi-Man-Blues-200x177.jpg 200w, https:\/\/littlevillagefoundation.com\/lv2021\/wp-content\/uploads\/2018\/06\/Aki-Kumar-Hindi-Man-Blues-300x266.jpg 300w, https:\/\/littlevillagefoundation.com\/lv2021\/wp-content\/uploads\/2018\/06\/Aki-Kumar-Hindi-Man-Blues-400x354.jpg 400w, https:\/\/littlevillagefoundation.com\/lv2021\/wp-content\/uploads\/2018\/06\/Aki-Kumar-Hindi-Man-Blues-600x531.jpg 600w, https:\/\/littlevillagefoundation.com\/lv2021\/wp-content\/uploads\/2018\/06\/Aki-Kumar-Hindi-Man-Blues-768x680.jpg 768w, https:\/\/littlevillagefoundation.com\/lv2021\/wp-content\/uploads\/2018\/06\/Aki-Kumar-Hindi-Man-Blues-800x708.jpg 800w, https:\/\/littlevillagefoundation.com\/lv2021\/wp-content\/uploads\/2018\/06\/Aki-Kumar-Hindi-Man-Blues-1024x906.jpg 1024w, https:\/\/littlevillagefoundation.com\/lv2021\/wp-content\/uploads\/2018\/06\/Aki-Kumar-Hindi-Man-Blues-1200x1062.jpg 1200w, https:\/\/littlevillagefoundation.com\/lv2021\/wp-content\/uploads\/2018\/06\/Aki-Kumar-Hindi-Man-Blues.jpg 1679w\" sizes=\"(max-width: 400px) 100vw, 400px\" \/>In 2016, Aki Kumar turned heads with Aki Goes to Bollywood, an unprecedented project that fused blues with Bollywood- style Indian pop\u2014two genres not known for breaking with tradition. The unlikely union led Jason Ricci to lovingly pronounce it a \u201cmarketing nightmare\u201d in the album\u2019s liner notes, but it went on to establish the Mumbai native as one of the most innovative voices of the next generation of blues harmonica players. With Hindi Man Blues, Kumar doubles down on his idiosyncratic enterprise with a fresh set of material drawn from the same dual wells.<\/p>\n<p>Of course, Kumar is not the first harp player to successfully meld the blues with genres that might at first seem like strange bedfellows. Charlie Musselwhite\u2019s foray into Cuban blues with 1999\u2019s Continental Drifter, Corky Siegel\u2019s classical chamber blues and Wade Schuman\u2019s work with the eclectic troupe Hazmat Modine all come to mind. But Kumar stands out in ways that challenge the standards reviewers typically rely on when assessing a new harp record. Indeed, describing this breathtaking release as \u201cunique\u201d or \u201cinnovative,\u201d while accurate, fails to capture the scope of Kumar\u2019s vision.<\/p>\n<p>Collaborating with Kumar to realize that vision are several veterans of the West Coast blues scene, including Marty Dodson, Jim Pugh, Bob Welsh, June Core and Kid Andersen, who co-produced the sessions. The album opens with the spirited Dum Maaro Dum, the hit title song from the 1971 Indian film Hare Rama Hare Krishna. Kumar complements its Bollywood meets 1960s British spy films vibe with a bluesy third position harmonica solo.<\/p>\n<p>Several other tracks, such as Ajeeb Daastaan Hai Yeh and Sajan Re Jhoot Mat Bolo, are also inspired by Indian television programs. The instrumental Watermelon Man gets a bluesy, ska-inflected treatment here, and the addition of Andersen\u2019s electric sitar offers a compelling contrast to Herbie Hancock\u2019s original composition. Kumar even takes number 45 to task in All Bark No Bite, an unflinching contemporary protest blues in the Delta style.<\/p>\n<p>Various iterations of the blues idiom are deeply embedded throughout the album, including the more Bollywood-centric tracks. Even those who prefer their blues in three chords and 12 bars will find much to love with Hindi Man Blues. \u2014Roger Gatchet<\/p>\n","protected":false},"excerpt":{"rendered":"<p>In 2016, Aki Kumar turned heads with Aki Goes to Bollywood, an unprecedented project that fused blues with Bollywood- style Indian pop\u2014two genres not known for breaking with tradition. The unlikely union led Jason Ricci to lovingly pronounce it a \u201cmarketing nightmare\u201d in the album\u2019s liner notes, but it went on to establish the Mumbai [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":955,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[22],"tags":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v17.9 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>LIVING BLUES: Aki Kumar &#039;Hindi Man Blues&#039; Review - Little Village Foundation<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/littlevillagefoundation.com\/lv2021\/living-blues-aki-kumar-hindi-man-blues-review\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"LIVING BLUES: Aki Kumar &#039;Hindi Man Blues&#039; Review - Little Village Foundation\" \/>\n<meta property=\"og:description\" content=\"In 2016, Aki Kumar turned heads with Aki Goes to Bollywood, an unprecedented project that fused blues with Bollywood- style Indian pop\u2014two genres not known for breaking with tradition. 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