Selected press quotes:
“Ms. Vaze…dancing to her own recordings, made marvelously fast effects using synchronicity, arriving with the beat, finding tiny moments of stillness within spinning sequences, punctuating turns with gestures. This was dancing where you kept noticing further felicities of style. Sometimes during a phrase Ms. Vaze would bring her arms into a formal arc, and then, a beat later, turn her head and eyes to resolve the position and bring it into focus. It felt like an archer lining up a target, then with a mere glance firing. The subtle plasticity of that turn of the head, the isolation of the eyes’ arrival: ravishing. Yet just as often she would bring arms, head and eyes all into the same perfect alignment on the same beat. Here was spot-on archery without preparation, striking effortlessly home.”
— Review in The New York Times by Alastair Macaulay, of Bageshree’s performance in the Erasing Borders Dance festival, New York City 2012
“…intricate and lyrical’ — Michael Crabb, The Toronto Star, 2012, on Vaze’s Kathak dance piece ‘Twilight’ that appeared as part of Dusk Dances
“Vaze is a brilliant and expressive dancer with a crisp, highly articulated attack.” Paula Citron, The Globe and Mail
“As Vaze’s feet tap in perfect rhythm to the beat of Vyas’ tabla, it’s clear this is a couple in perfect sync.” – Prithi Yelaja, The Toronto Star
“It’s hard to imagine a more agile confluence of Eastern and Western sounds…traditional and modern instruments unfurl a jaw dropping tapestry. No matter what language she’s singing in, Bageshree communicates on the soul level. And it’s impossible not to be moved.” – Kim Hughes, Music Editor, Amazon.com
“It is such a nice feeling to have evenings like these. They make you glow with the satisfaction of having spent time appreciating creativity,” said Pandit Ravi Shankar, talking about the performance…
After performing at the Ravi Shankar Centre in New Delhi, Mar 3, 2009, the above quotation was printed in the Times of India, Delhi Times April 1, 2009.
“a cool combo of Indian dance and music makes Pune-born Bageshree Vaze stand out…she can charm audiences with her rendition of bharatnatyam or kathak performance…” – Madhura Tare, The Indian Express, Pune , India
“Creating imaginary lands that lie somewhere between the old world and the new. [Bageshree’s] voice soars above deep grooves and ancient melodic streams for a birds eye view of the future of world music.” – Jowi Taylor, Global Village, CBC Radio One
“Bageshree Vaze – a perfect blend of the traditional and modern…takes one on a joy ride of exotic melodies” – Jaya Biswas, The Asian Age, Kolkata, India
“Hip and talented Bageshree Vaze is a fresh face on the block.” – Ruchira Ghosh, The Pioneer, New Delhi, India
“Dancer, musician, writer Vaze, for example, plans to redefine the scope of Indian culture in the 21st century. A big goal, but after talking to her for an hour, I wouldn’t bet against her. As the Neil Young song goes, she’s like a hurricane.” – R. Todd, “Shaking the foundations” Eye Weekly
“Complex, interactive and musical, it was an example of excellent playing and dancing that demanded multiple viewings.” – Rebecca Todd, “Dance on the Threshold” Eye Weekly
Review in Wholenote magazine : Toronto’s Music Classic and New
Independent n/a (www.bageshree.com)
The headliner of “Tarana”, a Hindustani (North Indian) musical form featuring spoken syllables based on the sounds of the tabla and pakhawaj drums, is the multi-talented Bageshree Vaze, a second generation Indo-Canadian dancer, choreographer and singer – a real triple threat. In her notes she indicates that her work “strives to preserve the integrity of traditional [Indian] dance and music, to create new work that is reflective of her second-generation experience…[and] attempts to fuse music and dance into one genre, according to principles of Indian aesthetics…”.
How does her music live up to these lofty ideals? To these ears, remarkably well. From the percussive-forward compositions Vinayak and Tarana, and the new-age-y sensibility of Yoga, to the lyrical Dhoot (Messenger), they are clearly keyed to the Indian dances Kathak and Bharatanatyam – and what assured and unvarnished singing by the dancer herself!
Ms Vaze is admirably assisted throughout by Vineet Vyas, the Toronto-based tabla virtuoso and producer of the album, and by a pool of skillful musicians on various North and South Indian classical instruments. We must include for praise the bamboo flute player who offers several eloquent and musically satisfying solos.
Bageshree’s Thillana, with a South Indian metric twist, is one of my favorites here. You too can get interactive, involved in the fun, by counting along with its unusual ten-and-a-half beat tala (rhythmic cycle). Clap 9 quarter notes + 3 eighth notes, equaling a total of 10? beats, landing each cycle on the sum or downbeat. There’s nothing like an asymmetrical rhythm to make my day!
This CD is an auspicious entry by a serious artist making a splash in the steadily deepening Indo-Canadian talent pool.