Home New York Report SITAR VIRTUOSO ANOUSHKA SHANKAR ANNOUNCES NEW ALBUM AND 2023 NORTH AMERICAN TOUR

SITAR VIRTUOSO ANOUSHKA SHANKAR ANNOUNCES NEW ALBUM AND 2023 NORTH AMERICAN TOUR

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CHAPTER I: FOREVER, FOR NOW

(LEITER/OCTOBER 6, 2023/PRE-ORDER)

FEATURING: PRODUCER AROOJ AFTAB & MULTI-INSTRUMENTALIST NILS FRAHM.

Anoushka Shankar Records at LEITER’s Famed Funkhaus Recording Studio in Berlin

The First Installment of Three Mini-Albums Throughout 2023/2024

London, England — Friday, September 15, 2023 — Acclaimed sitar virtuoso, producer, and composer Anoushka Shankar officially announces a new mini-album, Chapter I: Forever, For Now, and a three-week North American tour from October 3 – 22, 2023. Released by LEITER, the label run by Nils Frahm and Felix GrimmChapter I: Forever, For Now, will be available on vinyl and via all digital platforms from October 6, 2023. Her first release since December 2022’s standalone single, “In Her Name,” which commemorated the 10th anniversary of the 2012 gang rape in Delhi of Jyoti Singh Pandey, the mini-album also follows Between Us…, her live album for LEITER earlier the same year, recorded with Jules Buckley and the Metropole Orkest and nominated for a GRAMMY Award for “Best Global Album” in 2023. Forever, For Now, will be preceded by the digital release of its first single, “Stolen Moments,” on June 30, 2023, and its second single, “Daydreaming,” featuring Nils Frahm, on Friday, September 15, 2023 (LINK TO VIDEO TEASER). 
Recorded at LEITER’s studio in Berlin’s celebrated Funkhaus complex, the four new tracks make up the first Chapter in a trilogy of mini-albums Shankar will write and release as an evolving story between tours. Featuring guest appearances by Nils Frahm (piano, glass harmonica, harmonium, slit drum), Gal Maestro (bass), and Magda Giannikou (accordion), Forever, For Now was produced by Arooj Aftab, with whom Shankar had previously collaborated on “Udhero Na,” from the deluxe edition of Aftab’s Vulture Prince album. It, too, was nominated for a 2023 GRAMMY Award, this time for “Best Global Music Performance” — bringing to nine Shankar’s tally of GRAMMY nominations to date — and their creative reunion for Chapter I proved especially liberating. “I wanted recordings that express moments,” the sitarist says, “not my analysis of those moments from a future vantage point, which often happens when working on albums over a longer period.” 
Forever, For Now‘s dominant mood is set by the bewitching stillness of the opening “Daydreaming” (featuring Nils Frahm), a fresh take on a traditional Karnatik lullaby. “I remember my mother and grandmother singing it to me as a child,” Shankar reminisces, “and one-day last summer, while I was in the garden with my two sons and my sitar, I was strumming when one of my sons got tired and lay down in my lap. As I started finding this melody from childhood, he fell asleep, and I remember trying to savor the moment’s beauty. This song is a snapshot of the afternoon sun through leaves, roses in bloom, a child dozing on his mother’s lap, the preciousness of a single moment fully lived and witnessed. This whole Chapter is about that feeling, being completely in the fullness and transience of a single moment, coming to forever — for now.” 
Right from the outset, Shankar’s intention over the three releases was to work with a different producer on each mini-album, and Aftab was an obvious candidate for these inaugural sessions. “I’d always thought she was brilliant,” Shankar recalls, “and working together on ‘Udhero Na’ confirmed our collaborative chemistry. I love the genre-fluid world Anoushka creates with thoughtful arrangements and sonic spaces. I also value it in my work, but she does it differently. I was drawn to that different voice, that different color.” 
For Aftab, this was an opportunity to enlarge upon their earlier collaboration, except in greater depth and, of course, together. “I was ecstatic when Anoushka asked me to produce her new material,” she says. “I wanted to be sure that we created a minimal ambiance composed but very space-giving and free, one that felt without time but not without pulse. Anoushka tells us an unhurried story on each song, and we hear beautiful characters coming and going, like Nils on glass harmonica or fluttering Magda Giannikou on accordion. Juxtaposing Gal Maestro’s flamenco bass timing sensibilities against Anoushka’s classical sense of timing without making them meet in the middle, or one person follow the other, resulting in a stunning musical dialogue.” 
Shankar had already visited LEITER’s studio once, discovering its famed acoustics for herself while jamming with Frahm. “There’s a romance to a room with that kind of recording history and scale,” she enthuses, and the stars aligned when she and Aftab agreed it was also the most convenient venue to reunite for a week during their endless travels. They began with a blank slate, aside from “little half ideas and unformed melodies.” It took just two days to rough out three of the four songs. “In the months before we met in Berlin,” Shankar continues, “we had talked extensively about what we hadn’t heard in my work before, which was formative in how I approached my playing. Once in the studio, Arooj was a clear, warm, and generous producer, and the creative process instantly flowed.” 
Also on hand those first two days were Frahm, whose role, Shankar elaborates, “was subtle but magical. He was so present and open, moving around his instruments very inspiringly.” In particular, he joined Aftab in coaxing the exquisitely paced, delicately arranged ‘Stolen Moments’ from Shankar’s original, haunting melody. “Exploring space and silence is not something that’s always been comfortable for me, and I allowed myself to hold back and not just play notes for the sake of it. It felt like a recording from truly listening and responding to the moment.” 
Frahm can be detected on two further tracks, his piano softly underpinning the soothing opener, “Daydreaming,” his glass harmonica and slit drum providing a foundation for the remarkable “What Will We Remember?” during whose nine minutes — which are based upon “Madhuvanti,” a Hindustani evening raga — Shankar gently explores a graceful alaap, unfurling increasingly energetic flurries of sitar notes to create an astonishing, hypnotic mirage. The mini album concludes with “Sleeping Flowers (Awaken Every Spring),” a showcase for her fluid, lavish dexterity, but always at Forever, For Now‘s heart lies the memory of that enchanting afternoon in Shankar’s garden, her son drowsy in her lap, the sun moving at its own sleepy pace towards sunset, one of those seemingly insignificant yet unforgettable moments that, like her music, mysteriously transcends transience. Where Chapter II will take us remains to be addressed. 
For more information regarding Anoushka Shankar, please visit: anoushkashankar.com

ANOUSHKA SHANKAR

CHAPTER I: FOREVER, FOR NOW 

Track List: 
1. DAYDREAMING (feat. Nils Frahm)
2. STOLEN MOMENTS
3. WHAT WILL WE REMEMBER?
4. SLEEPING FLOWERS (AWAKEN EVERY SPRING) 
Label: LEITER
Release Date: OCTOBER 6, 2023 Catalogue No: LTR027
Format: VINYL / DIGITAL 
Listen: LEITER.LNK.TO/FOREVERFORNOW Visit: LEITER-VERLAG.COM
Anoushka Shankar — North American Tour (Autumn 2023):
October 3, 2023 — Storrs CT — Jorgensen Center 
October 5, 2023 — Ridgefield, CT — Ridgefield Playhouse 
October 6, 2023 — Bethesda, MD — Strathmore Music Center 
October 7, 2023 — New York, NY — Pioneer Works 
October 8, 2023 — Boston, MA — Berklee Performance Center 
October 10, 2023 — Montreal, QC — Place Des Arts, Theatre Maisonneuve 
October 11, 2023 — Ottawa, ON — National Arts Center, Southam Hall 
October 13, 2023 — Chicago, IL — CSO Symphony Center 
October 14, 2023 — Toronto, ON — Koerner Hall
October 15, 2023 — Vancouver, BC — Chan Shun Concert Hall 
October 17, 2023 — Seattle, WA — Moore Theater 
October 18, 2023 — San Francisco, CA — Herbst Theater 
October 20, 2023 — Santa Fe, NM — Lensic Center 
October 21, 2023 — Orange, CA — Musco Center for the Arts 
October 22, 2023 — Northridge, CA — Great Hall at The Soraya
ARTIST WEBSITE
A graduate of Empire State College with a dual major in journalism and Latin American studies, Editor-in-Chief Tomas Peña has spent years applying his knowledge and writing skills to the promotion of great musicians. A specialist in the crossroads between jazz and Latin music, Peña has written extensively on the subject. His writing appears on Latin Jazz Network; Chamber Music America magazine and numerous other publications.

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