These two musicians have in common the fact that the courses of both their musical lives have been profoundly affected and deeply inspired by the same musician: the tabla maestro Zakir Hussain. In Kala Ramnath's case, at a critical and low point in her life, he advised her – she hails from one of the subcontinent's most illustrious violin families that crosses the North-South art music stylistic divide – to strike out and develop her own voice on the instrument. For Ty Burhoe's part, Hussain is his tabla guru. The arc of this recording is a diurnal cycle. It begins with an arrangement based in rag ‘Nat Bhairav’ (all arrangements are co-credited to Ramnath and Burhoe but no rag compositions are named), progresses via ‘Devgiri Bilawal’ and ‘Lankadahan’, and ends with the dawn approach of ‘Bhairavi’. ‘Bhairavi’ is a raga that, according to one long-established convention, closes Hindustani recitals, based on the principle that historically all-nighters would finish around dawn (conveniently, breakfast time). Two performances must be singled out. ‘Yaman’, perhaps the most basic building block of Hindustani ragadom, is scrumptious. Her unexpected twists, turns, slides and soarings build into a full-tilt charge in a fast-tempo 16-beat rhythm cycle. The other (unnamed) composition in the stately, measured ‘Darbari’ is in a 10-beat cycle. They pull out real plums of phrasing. Beautifully packaged somewhat in the manner of the German Network label's late period release designs, the only thing that detracts is proofreading niggles in the English-language notes. Wiser owls will have to comment on the Japanese notes.