Daughter of a Temple Ganavya

• 1 A Love Chant (feat. Esperanza Spalding) 00:42
• 2 Om Supreme (feat. Vijay Iyer & Immanuel Wilkins) 10:15
• 3 Prema Muditha (feat. Shabaka Hutchings) 04:53
• 4 Elders Wayne and Carolina 02:16
• 5 Om Namah Sivaya (feat. Charles Overton & Ganesan Doraiswamy) 05:18
• 6 Journey in Satchidananda / Ghana Nila 06:37
• 7 A Love Supreme, Part 1: Ishmael Wadada Leo Smith 01:00
• 8 A Love Supreme, Part 2: Peter Sellars (feat. Peter Sellars) 07:21
• 9 A Love Supreme, Part 3: Alice Coltrane 05:49
• 10 A Love Supreme, Part 4: IONE (feat. IONE) 03:57
• Total Runtime 48:08

Info for Daughter of a Temple

Described by Wall Street Journal as “among modern music’s most compelling vocalists,” New York-born, Tamil Nadu-raised singer and transdisciplinarian ganavya has announced details of an ambitious new album, ‘Daughter of a Temple’, due November 15, 2024. Released on vinyl and via all digital platforms, it follows her appearance at SAULT’s 2023 live debut in London where, The Guardian wrote, her “voice had a delicate emotive heft that could turn stoics into sobbing wrecks”. Her first single for LEITER, ‘draw something beautiful’, appeared earlier this year in July.

‘Daughter of a Temple’ was recorded over a week in 2022 at the Moore’s Opera House in Houston, Texas, after ganavya had reached out to friends and associates over the preceding months to join her for “a gathering in and for devotion”. This was to draw on studies of what she terms the musico-philosophies of Alice Coltrane Turiyasangitananda, and she’d even promised herself she’d invite anyone who brought up Turiyasangitananda’s name around her. “You really shouldn’t do that,” she chuckles. “It turns out a lot of people talk about her!”

Consequently, the album – which also brings the Hindu tradition of harikatha into the 21st century – draws upon a vast cast of contributors across multiple disciplines, among them esperanza spalding, Vijay Iyer, Shabaka Hutchings, Immanuel Wilkins, Peter Sellars, Rajna Swaminathan, Charlotte Braithwaite, Chris Sholar, Darian Donovan Thomas, and Bindhumalini Narayanswamy. Her mother even helped cook for participants. The results, an innovative and deeply moving blend of spiritual jazz and South Asian devotional music, were initially recorded and edited by Ryan Renteria, then further edited and mixed by Nils Frahm at LEITER’s Funkhaus studio in 2024.

Of course, if you ask ganavya – raised in India’s southernmost state and withdrawn from school at a young age to study music with her family – what first inspired her to make this remarkable record, her answer is typically honest. “Loneliness,” she replies, before gently, thoughtfully elaborating. “You were raised in a village, then one day you wake up and you’re a graduate student at Harvard. The life you live doesn’t make sense to people back home anymore, and what you’re seeking is that sense of village, so you invite as many people as possible.”

That said, building a village, even a temporary shelter, requires cash. “I thought I’d call ten people and maybe five would say yes,” ganavya recalls softly, “but all ten said yes, then another forty said yes, and before we knew it, it was ‘Where is someone like me going to get the money to do something like this?’ And it doesn’t really make sense that a graduate student was able to afford this, but every step of the way there was a grace much larger than me.”

Thus, as is often the way with ganavya, things worked out miraculously. She is, after all, a woman whose path has led from a childhood spent dancing and singing on the pilgrimage trail to earning four degrees – including at Berklee College of Music, UCLA and Harvard, to whom she was recommended by Quincy Jones – and on to 2024’s ‘like the sky I’ve been too quiet’, her most recent album. Featuring contributions from Floating Points, Tom Herbert, Carlos Niño and Leafcutter John, it was recorded with Shabaka Hutchings and released on his Native Rebel label.

So, yes… it may have been chance that won the grant which helped establish ‘Daughter of a Temple’, and perhaps it was luck the opera house was available, and maybe a landlord would have offered six beautiful houses in a single street to anyone who asked, and it could even be that a temple sharing the name of an Alice Coltrane track regularly handed out $10,000 to pay for strangers’ flights. And sure, coincidence might have ensured cousins from India she hadn’t seen in years would be performing at New York’s Metropolitan Museum around the time, and that Vijay Iyer, whose father had visited her in dreams, would be in Houston anyway, and that Berklee’s Ryan Renteria was available to record the proceedings. But, then again… Really?

Keen to emphasise the manner in which rituality resides in spirituality, ganavya began the first day by presenting everyone with customized prayer beads, then washed their feet with honey, turmeric and warm water before they improvised around Coltrane’s ‘A Love Supreme’. “After that,” she recalls, “people started realising that they knew each other.” What followed was an extraordinary experience in pursuit of a common goal, a coming together of people, beliefs and musical styles as much as a mysterious, unfathomable coming home. “We were moving with the contour of a village, deciding in real time to make music which sometimes involved forty people singing, then suddenly the entire group was doing a version of The Rite Of Spring and dancing.”

And this magic isn’t restricted to participants. ‘Daughter of a Temple’’s purpose, ganavya will tell you, is that people “know there’s a village for you, always in the ether. The worlds we dream of are possible when we come at it with the right amount of discipline and devotion. I hope that’s what resonates with them, that it tells the story of this random girl who dreamed of this world and then it manifested itself. I hope it makes them feel less alone, because that’s what it did for me. I think of it as proof that prayer works and love exists…”

Ganavya Doraiswamy & Friends

Ganavya
Tamil Nadu-raised and New York-born critically acclaimed vocalist Ganavya lives, learns, and loves fluidly from the nexus of many frameworks and understandings. Hers is a deeply profound and rooted voice. A multidisciplinary creator, she is a soundsmith and wordsmith. Trained as an improviser, scholar, dancer, and multi-instrumentalist, she maintains an inner library of “spi/ritual” blueprints offered to her by an intergenerational constellation of collaborators, continuously anchoring her practice in pasts, presents and, futures. Much of her childhood was on the pilgrimage trail, learning the storytelling art form of harikathā and singing poetry that critiques hierarchal social structures. She is a co-founder of the non-hierarchical We Have Voice Collective.

Hers is a life of nonlinearity, and singularity. Despite not not being schooled traditionally as a child, she carries degrees in theatre (Broward Community College) and psychology (F.I.U.), with graduate degrees in Contemporary Performance (Berklee College of Music), ethnomusicology (UCLA), and Creative Practice and Critical Inquiry (Harvard). Both as an educator and student, she “wishes to study and bring liberative techniques into this world… study certain dyads: what empowers, who is disempowered; what heals, who is ailing— and wishes to wed the two.”

Recent works include: a film made during the pandamic titled this body is so impermanent... (2021) directed by her close collaborator Polar Music Awardee Peter Sellars, featuring Ganavya (composition, solo voice), legendary calligrapher Wang Dongling, and acclaimed dancer Michael Schumacher (choreography, dance). The piece was created over a 6-month intensive collaborative period, where Ganavya worked from the rural mountains of Oregon, Michael from Amsterdam, Peter from LA, and Wang Dongling from China. Additional works include: 64-hour piece titled Atlas Unlimited: Acts VII - X (2019) where she continuously generated material from the narrative of Zakaria Almoutlak, a Syrian with refugee status; Daughter of a Temple (2019) a 56’51” composed piece for two loudspeakers that drew from Alice Coltrane-Turiyasangitananda’s Monument Eternal, as premiered in the 13th Havana Biennial for Carrie Mae Weems’s The Spirit That Resides; Vimalakirti Nirdesa Sutra Chapter 7: The Goddess (2019) directed by Peter Sellars, featuring Ganavya (composition, solo voice) and Michael Schumacher (choreography, dance). Her written work includes a collection of 101 short essays titled ether, will appear in the forthcoming issue of Arcana: Musicians on Music, edited by John Zorn.

Selected forthcoming works include words for Wayne Shorter and Esperanza Spalding's forthcoming opera Iphigenia; leading How To Cure A Ghost: The Album, songs made from Fariha Roisin’s poetry; Sister Idea, an album made on WhatsApp with bassist and composer Munir Hossn, and Let’s Go Out and Play, commissioned by the Jerome Foundation for Roulette Intermedium.

This album contains no booklet.