Madeira

2013
The image accompanies an article about an Indian classical slide-guitar maestro known for innovations in Hindustani slide guitar, instrument design, global performances, and music education, with multiple prestigious awards and recognitions.
Debashish Bhattacharya
5 tracks
Debashish Bhattacharya released the studio album Madeira in 2013, blending Hindustani raga with global fusion using his custom 22-string chaturangui slide guitar.
5 tracks

About Madeira

Madeira is a studio album by Indian slide guitarist and composer Debashish Bhattacharya. Bhattacharya released the album on August 27, 2013, as a compact disc under an unspecified label. The recording marks one of his explorations in fusion and world music, blending elements of Hindustani classical traditions with contemporary instrumental arrangements.

The album contains five original compositions. Bhattacharya performed all guitar parts, employing his signature slide techniques on modified instruments, including the chaturangui (a 22-stringed slide guitar of his own design) and the ananda (a 14-string guitar). The tracklist includes Madeira, Morning Gait, Jhoom, Colours of Love, and O My Beloved!. The title track, Madeira, serves as the opening piece and establishes the album’s fusion of raga-inspired melodies with global acoustic textures. Jhoom and O My Beloved! incorporate rhythmic patterns drawn from Indian folk and light classical forms, while Colours of Love features slower, meditative phrasing.

The release date coincided with a promotional event on August 27, 2013, though specific details of the event’s location or additional performers remain undocumented. Bhattacharya produced the album independently, overseeing both composition and instrumental execution. Critical reception and commercial performance data for Madeira are not widely published, but the work aligns with his broader discography of cross-genre collaborations and solo experimental projects.

No reissues, alternate formats, or expanded editions of Madeira have been confirmed as of the latest available records. The album’s packaging and liner notes, if included, are not described in accessible sources. Bhattacharya’s use of unconventional tunings and layered guitar work remains a defining characteristic of the recording.