AKI GOES TO BOLLYWOOD 
Aki Kumar's LATEST RELEASE
An unprecedented mashup of
Retro Bollywood music & blues!


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All orders placed via this website
will be autographed by Aki IN HINDI!

ALSO ON ITUNES & AMAZON

Aki Goes To Bollywood

akikumar.com

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ALL copies of this record purchsed off this website will be autographed in Hindi!

Liner notes by Jason Ricci -

I first met Akarsha Kumar over ten years ago. He was already a well studied traditional player, already the shining star pupil of the discerning, tasteful and careful educator and player David Barrett. I was impressed by the young man’s ability to play traditional blues in the style of Little Walter and other past icons better than most I have heard twice his years in age and time on the harmonica. He was humble, funny, good looking and was engaged to an equally gifted young lady. I communicated with Aki several more times over the last ten years on a very shallow, harmonica-esque level, at best.

If you are listening to Aki’s music while reading this, you are hearing a real artist – not just another blues harmonica player. Aki Kumar is too strong for simple techniques, trends, or cliques. This music you’re hearing is an honest reflection of a brave, unashamed, bold, individual taking risks with a sense of humor, integrity and self that few artists of any genre have ever really dared to do especially on this early of an outing. I’m impressed. I’m a fan.

Aki stands to lose a lot from a marketing perspective with this release: These mostly Indian songs done in a Western fashion by a natural born Indian artist are something not too short of actual blasphemy in India. My Indian friends tell me there is a real risk of insult to Indian culture and sacred Indian music culture at work here. Conversely, Aki’s album is not TRADITIONAL blues either… Aki is blending Indian pop songs with traditional blues approaches, singing unafraid with his accent and using sitars behind Delta blues jams when he’s not putting Howlin’ Wolf behind beloved Indian Pop tunes. That is NOT a formula for success in the growing, rigid world of Blues Purists. Blues purity is how Aki was musically raised in this country… from the nest of the Bay Area and under the wings of birds like Mark Hummel, David Barrett, Rick Estrin and others this Bali-Bird was hatched. No this album is not a “safe” or even expected Blues release…This album is a marketing nightmare, an impossible sell, a potential financial failure, a slap in the face to both the Eastern and Westen Cultures that nutured him as a child both culturally and musically…. This album is great art!

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  1. 1 Badan Pe Sitaare 03:34
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  2. 2 Eena Meena Deeka 04:05
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  3. 3 Jaan e Jaan 06:01
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  4. 4 Kisi Ki Muskurahaton 04:35
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  5. 5 Chala Jaata Hoon 04:11
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  6. 6 My Home Is A Prison 05:35
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  7. 7 Jaanu Meri Jaan 05:17
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  8. 8 Pukarta Chala Hoon Mein 03:57
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  9. 9 Hai Apna Dil 03:44
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  10. 10 Baar Baar Dekho 04:33
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  11. 11 Back To Bombay 05:19
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Don't Hold Back - Aki Kumar's Debut Album (2014)
  • Don't Hold Back - Aki Kumar's Debut Album (2014)
  • Don't Hold Back - Aki Kumar's Debut Album (2014)
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$15.00

Recorded at Greaseland studios in Campbell, California, Aki Kumar’s debut record Don’t Hold Back generated instant buzz in the SF Bay Area blues scene. This album showcases some of Kumar’s original material in addition to classics by such blues greats as Hank Ballard, Snooky Pryor, Memphis Slim and more.

Aki Kumar doesn’t hold back - vocally or on the blues harp - and performs with soulful intensity on all tracks. The tremendously gifted June Core (drums) and Vance Ehlers (bass) anchor a dream rhythm section and there is no dearth of top guitar talent either - the record features appearances by Little Jonny, Johnny Cat Soubrand, Kid Andersen and even a cameo by Rusty Zinn. Veteran saxman Frankie Ramos and pianist Bob Welsh round out the sound with their invaluable contributions on many cuts.

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It Takes Three: Aki Kumar's blues harp album (2015)
  • It Takes Three: Aki Kumar's blues harp album (2015)
  • It Takes Three: Aki Kumar's blues harp album (2015)
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$15.00

An unprecedented collaboration between three generations of the San Francisco Bay Area's blues harp masters - Gary Smith, David Barrett and Aki Kumar.

The Making of It Takes Three by David Barrett

In 2006 I approached Gary Smith (my mentor at age 16 and South Bay blues harmonica legend) about doing a recording project where the interaction between the harmonica players was the theme. Gary had done this type of thing before, most notably for Tom Mazzolini’s San Francisco Blues Festival and annual Battle of the Blues Harmonicas (this was THE premier blues harmonica show on the West Coast), but it was challenging to get the other harmonica players to spend the time required to learn their parts well enough to make the music really successful. I offered Gary my arranging and organization skills and promised that we’ll make it happen and he agreed.

We went to work writing the material and decided to invite Aki Kumar to join us on the project. Aki is now a highly respected player and producer on the West Coast. At that time Aki was a rising star, but Gary and I knew that he had the discipline and chops needed to make this music successful. The added bonus was that Aki was a former student of mine (one of my most dedicated), and I was a former student of Gary’s (one of his most dedicated!). The “Three Generations” of blues harmonica idea really grabbed us. We did one performance in 2009 for the San Jose Jazz Festival, and we loved playing together and the show was a big success. My education website BluesHarmonica.com launched soon after that show and the time it required of me prevented me from following up on the project.

At the 2014 Harmonica Masterclass Workshop in San Jose, California Gary and I performed together as part of the evening performances and it rekindled my desire to record our unique material. Shortly after the workshop I contacted Gary and Aki and asked if they were still interested in the project and they were excited to proceed. Due to how depressed the blues music economy was and still is, we all agreed that we would split the cost of the project and if we broke even we’d be happy. WE wanted to record this project. This music was the music WE wanted to write and play. We figured there were enough harmonica nuts like us out there that would appreciate the project to make it viable.

We refined the old arrangements and we each wrote new individual tunes to round out the project. We all chose to work with Kid Anderson on the guitar and use his Greaseland studio to record. We then selected our A-list of musicians (Steve Lucky on piano, Mike Phillips on bass and Marty Dodson on drums) and fortunately they all said yes to participating in the project.

We recorded on November 29th and 30th of that year, rehearsing each song in the studio with the musicians and then recording live. We commonly recorded two takes of each song (some only once) and did any overdubs on the spot to fix errors or give multiple options in mixing. The entire weekend was video recorded for the students of BluesHarmonica.com to learn from by volunteers Marc Graci, Gleidson Sousa and John Rafferty (thanks guys!). Gary and Aki came back in shortly after to re-track some of their vocals and fix any harp parts. I came in to redo my solo on “Rocket Ride,” as did the others... it was a challenging tune for all of us to play something we were happy with. Kid went to Norway to visit family in January and mixed the tunes, mastering them when he arrived back mid-month.

2 It was time to focus on the artwork and I proposed that we do a caricature for the cover, commissioning Brazilian artist Sidney Meireles for the job. They were game, so we threw a sheet on the wall and took pictures of us three together for Sidney to use as reference. Sidney suggested we include our signatures and with the help of graphic designer Mark Castle we have a CD cover that we think is really fun. Gary requested that we include text on the making of each song and pictures of our amps and mics. I of course made sure that the harmonica keys and positions they were played in were listed as well. The end result is way too much text and a whole bunch of pictures of mouth-watering amplifiers and microphones—a layout design only a blues harmonica nut can appreciate.

Knowing that there will be harmonica students eager to learn the songs on the CD, I took the time (about 45 hours of work in total) to transcribe all of the harmonica harmony parts, fills and solo played on the CD. Those interested can pickup up this transcription set at www.bluesharmonica.com/it_takes_three_transcriptions.

Now that the project is done, and it’s releasing to the public, we look back and are happy to have had the opportunity to play together. We hope that everyone enjoys the music as much as we enjoyed creating it!

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