Above: Sitarist Rishta Dyall performed a mesmerising set with bassist Elsen Price.
On my first experience of a soiree at Woodlands Studio Ashbury I was impressed by the warm hospitality, the semi-outdoor ambience and the diversity of performances across three rewarding and substantial sets. The engaged and appreciative midwinter audience were treated to two support acts prior to the sitar and double bass project concluded the programme.
Firstly the crowd was enthralled by the guitar playing of Peter Doublinszki. Following this intimate opening with a variety of listening treasures, we heard a set from host performer-composer Keyna Wilkins playing flute/alto flute and piano. With brief gaps following each support act, which enabled audience to relax, recharge, discuss and process the new music and arrangements, the evening was well paced.
Above: Double Bassist Elsen Price.
Peter Doublinszki drew each attendee onto the edge of their seat and welcomed them into his expert, eloquent, brilliantly balanced guitar layering. Melodic lines were unhurried in their clear tracing and the shift in music, travelling in origin from Spain to Hungary was a gentle progression in the bracket. Peter especially thrilled with two Hungarian folksongs in intelligent, vibrant arrangement.
Following the first breakout pause of the evening, Keyna Wilkins provided flute music in the form of one of her atmospheric and spontaneous improvisations followers of hers have grown to love. Wilkins’ outpouring of music for instruments various inspired by stars, planets, the sun and utilising NASA’s recordings of soundwaves from heavenly bodies. The latter was represented in this compelling set by Keyna’s 2018 work Star Trance for alto flute and NASA track.
Above: Guitarist Peter Doublinszki opened this Woodlands Studio event.
This second set gave fine flute voice to Keyna’s humanitarian projects, concerns and expression. As a busy composer, collaborator and performer, Wilkins needs to be celebrated especially for a large body of work and outreach during recent years of asylum and current conflicts. This music-with-a-purpose outlook contributed to the stunning, final, undulating work of her multi-instrumentalist set. The enthusiastic crowd assembled heard an original piano work, titled Hope and Resilience, reflecting the ongoing struggle in Gaza. This variegated, bravery inspiring work resonated through the studio space and straight into our hearts.
After one more studio reset and audience break it was time for a special chamber music duo. Sitarist Rishta Dyall offered us the chance to savour the inimitable sound of her instrument. Each piece she explored in duo format with celebrated new and world music exponent Elsen Price was a lithe sharing of more and more contrasting hues in this popular Indian music instrument.
The rhythmic and timbral effects and journeys Dyall took us on also made this final Woodlands Studio set greatly varied. The combination of sitar and double bass-an unlikely ethnomusicological entity indeed-proved itself an expressive, heartwarming ensemble in the closeness of this studio space.
Above: Performing on flutes and piano, including improvisations and two of her compositions was Woodlands Studio host Keyna Wilkins.
This hypnotic, mesmerising success was beautifully curated and respectfully contributed to by Elsen Price’s controlled playing plus gifted listening skill. The sitar was allowed much breathing space and an individual platform to shine. Elsen’s additions were carefully introduced in plucked or bowed fragments separated by plenty of air in his Western layer.
Price’s moments of more extended collaborative thought extemporised towards the quarter tone and flexible line feel. His reflection and improvisation extending this sitarist’s solid contrasts never cramped the player and their joint voice celebrated a musical and human understanding that yielded unique and calming tapestries. I craved much more of this new sound world and the intelligent, gentle blending of instruments and capabilities from separate traditions.
The sounds from this headliner set were some to savour. The audience was obviously grateful to experience this level of world music and peaceful, considerate duetting for our troubled now.
This was a touching and thrilling programme in a live venue that works, fostering new sounds, high levels of sensitivity and continued excellence.
