CD Review – Peace in Progress
FolkWorks, Volume 7, No. 1, January – February 2007
By Ariella Kristol Forstein

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A delectable collage of folk, jazz, classical and Indian musical styles, Peace in Progress weaves in and out of singer/songwriter Manisha Shahane’s cross cultural, cross musical journey with themes of love and peace. Each song tells a story that provides musical imagery to pull in and engage the listener. Her smooth, clear voice is alluring and sweet, while her overall tone reveals a strong, proclamatory ideal about the world and her place in it.

Her preface reads: I used to believe that conflicting internal commentary, misunderstandings in our homes and communities, and wars of all kinds obstructed peace, until I realized that navigating this terrain is part of our collective peace in progress…

Opening with Collage #1, Manisha sings in Marathi, her parent’s mother tongue from the Indian state of Maharashtra. Intricately weaving her voice in and out of elaborate melodies and rhythms on the guitar, tabla, acoustic bass and various other instruments, the song has a trance-like background fronted by expressively spoken and gently sung stories and poems of her youth.

She is a masterful musical storyteller, using the tones and textures to create stories with not just lyrics, but context. In Imaginary Train, Manisha’s melody often takes unexpected turns, sending the song’s protagonist in new directions. As the song’s rhythmic and textural elements change and progress, sometimes drastically, the music unveils different parts of her emotional and physical journey. It is jazzy, well composed and exciting, leaving us to wonder, “what happens next?”

The album appeals to a large audience because its genres and sounds are diverse and intertwined throughout. For those who crave sounds of India, Nachre Mora, meaning “Dance Peacock,” a Marathi children’s song, is not arranged or fused, staying true to tradition. In Clumsy, a soft beginning fit for a Broadway musical slowly transforms into somewhat of an esoteric rock sound, with the instruments complimenting and coloring the voice.

Manisha’s lyrics, inspired by everyday characters she encounters, her personal life and her upbringing in India, in addition to her impeccable articulation make the album easy to understand and enjoyable to interpret. Poetic and descriptive, her lyrics are personal. The light of the waxing moon guides me to where saltwater mangoes taste of your skin… with every footprint I am getting closer to where the ocean greets the sky.

One of Manisha’s strengths, in addition to being a solid and inventive musician, is connecting and collaborating with talented musicians. As heard on the recording, Manisha’s collaboration with Jerry Leake on tablas (Club D’elf, Ali Akbar Khan), Blake Newman on acoustic bass (Jeff Robinson Trio), guitarists Kevin Barry (Mary Chapin Carpenter) and Prasanna (Joe Lovano, Hari Prasad Chaurasia), plus percussionist Ricardo Monzon (Boston Pops, Myanna) proves to be unique and enchanting.

New to Los Angeles, Manisha is working with local musicians, has started work on her next album, and will soon likely invade Southern California with sounds so intriguing that enthusiastic musicians and fans will seek her out, wanting to hear and make music. Just wait!