That same year, Kitaro also made his first live tour of North America and sold two million albums in the U.S. The album featured an array of American musicians and was nominated for a Grammy Award in the Best New-Age Performance category. Fuji, Kitaro produced his 1987 release, The Light of the Spirit, with the help of Mickey Hart.
For instance, after years of creating albums in the privacy of his home studio near Japan’s Mt. Kitaro, however, was still considered an underground artist in America until he signed with Geffen Records in 1986, which re-released seven of his earlier albums and gave him the support to expand his scope in many ways. His music started gaining popularity in nearby Taiwan, for instance, by 1983, and he even performed in a large venue in Taipei in the middle of 1984. Several albums of music from Silk Road were released to a growing international contingent of fans who admired his combination of lush, majestic textures and gentle, almost naive, melodies.
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Two years later, he produced the first of several soundtracks for Silk Road, a Japanese television documentary series that ran for five years. His first solo album, Astral Voyage, appeared in 1978 and quickly gained a cult following. He built his first synthesizer and began experimenting with all kinds of unusual sounds. In 1972, however, he met the innovative German synthesist Klaus Schulze during a trip to Europe. In the early ’70s, Kitaro formed the Far East Family Band, which released two albums of progressive rock.
Interestingly enough, this famous Japanese composer taught himself to play electric guitar in high school - inspired by the R&B music of Otis Redding. Kitaro’s style is the epitome of the contemplative, highly melodic synthesizer music often associated with the new-age movement. The caravanserai was also known as a khan ( Persian خان) or han ( Turkish). Here "caravan" means a group of traders, pilgrims, or other travelers, engaged in long distance travel. The Persian word kārvānsarā is a compound word combining ''kārvān (caravan) with sara (palace, building with enclosed courts), to which the Persian suffix -yi is added. The word is also rendered as caravansarai or caravansary. In addition, there could be shops where merchants could dispose of some of their goods. They also kept fodder for animals and had shops for travellers where they could acquire new supplies. The courtyard was almost always open to the sky, and the inside walls of the enclosure were outfitted with a number of identical stalls, bays, niches, or chambers to accommodate merchants and their servants, animals, and merchandise.Ĭaravanserais provided water for human and animal consumption, washing, and ritual ablutions. Most typically a caravanserai was a building with a square or rectangular walled exterior, with a single portal wide enough to permit large or heavily laden beasts such as camels to enter. Caravanserais supported the flow of commerce, information, and people across the network of trade routes covering Asia, North Africa, and South-Eastern Europe. A Caravanserai (Persian: كاروانسرا kārvānsarā, Turkish kervansaray) was a roadside inn where travelers could rest and recover from the day's journey.
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