Anahata

Ashwini Bhide....

2010-06-15T11:38:00.001-07:00

What: A review of an ICMCA sponsored concert of Indian Classical Music
Who: Ashwini Bhide (Vocal), Vishwanath Shirodkar (Tabla), Seema Shirodkar (Harmonium)
Where: Casa de Luz, Austin, Texas
When: 7 pm-10pm June 11, 2010

This review is offered as a service to the community interested in Indian Classical Music. We believe that reviews can be important channels for feedback to the artists, audiences and aficionados of music and are necessary to keep the field vibrant and the discussion lively. In this spirit comments on and reviews of this review are also most welcome.

The concert began at 7:20 pm with Raag Maaru Behaag, an evening melody. The Vilambit (slow) Khayal was set to the wording ``Rasiya na Jaa" and came to the Sum (first beat of the Tabla) with the notes S M G-S, G M P-MP-(upper case letters denote raised and lower case letters denote flattened notes). Maaru Behaag is a favorite Raag of Maharashrians and the predominantly Marathi audience immediately responded spiritedly to Ashwini Bhide's tuneful rendering of this beautiful Raag. Although the emphasis is on the GMP-MP- phrase, Maaru Behaag also sounds very beautiful in its approach to the Komal (flattened) Madhyam m (fourth note F) as in the phrase S m P G and the artist skillfully exploited this specialty of the Raag. The Vilambit Khayal was followed by a Drut Khayal (both were set to 16 beats Teentaal and Addha equivalently Sitarkhaani, respectively) which had the same ending note cluster as in the Vilambit. The artist displayed her impressive virtuosity and voice control with many fast Taans and complex Layakari (rhythmic patters) and the total treatment of Maaru Behaag lasted over 40 minutes.

The next item was a Thumree with the wording ``Sunder Saari..." due to the 15th century North Indian Brij Bhasha poet Surdas to whom over 1500 poems have been attributed. The artist blended a number of light classical Raagas including Piloo, Khammaach, Maand and Shivranjani to render this lovely and lyrical song, which as she explained in the beginning had an obvious (soiled Saari) as well as a deeper philosophical meaning (body versus soul).

After the intermission the artist began with the late night Raag Maalkouns in which she first presented a Vilambit composition in Roopak Taal, of seven beats. The Sum was chosen to be on S and the wording was ``Naada Saagar Aparampaar, Maha Katthin, Jo Paayo Na Paayo". She elaborated the Raag with care and in detail and explored it thouroughly before moving on to the Drut (fast) composition in Teentaal (16 beats). The emphasis now shifted to the upper part of the octave with mukhra (S d, g-m n-).The fast composition had many fireworks and came as a wonderful and welcome contrast to the Ati Vilambit Khayaal.

At this point it is necessary to mention the outstanding accompaniment provided by Seema Shirodkar on the Harmonium. She very quickly established herself, early in the concert, with her brilliant and tasteful improvisations while not overstepping her supportive role. I have not heard this level of great music from a Harmonium player and was truly overwhelmed as was the entire audience. She drew repeated applause from the enthusiastic audience.

The next item was a Bhajan in Raag Iman Kalyaan with wording composed by Sant Tukaram the 17th century (1577(?) -1650) Marathi saint. The music of this beautiful composition was set by Ashwini Bhide's mother and Guru Manik Bhide. Although Iman Kalyaan has the same set of notes as Maaru Behaag the treatment and approach are quite distinct and the artist gave a great account of this important and central evening Raag. The Bhajan ended with the refrain ``Pandurang Vitthala", a prayer to Lord Vitthala (Krishna), worshipped by Tukaram.

The performance concluded with an Abhang (Marathi) Bhajan in Raag Bhairavi which has become a traditional concluding item in evening concerts even though it is a morning Raag. The singing was emotionally intense and spirited and ended in a highly charged atmosphere.

Ashwini Bhide is a truly great artist. So is Seema Shirodkar. Vishwanath Shirodkar provided able and spirited Tabla accompaniment and was most communicative with the audience. Dr Bhide has a Ph.D in Biochemistry but nowhere in the publicity did she flaunt this fact. This is indicative of her modesty and is highly commendable in today's environment where titles such as Pandit and Ustaad abound and are often self-bestowed. The Austin concert was the 25th US concert for this group, on the present tour, and it is easy to see why they are in such demand given the brilliant concert they presented.

ICMCA has therefore once again brought great music to Austin and Austinites and deserves congratulations. Nevertheless a few critical remarks may be pertinent to future events. First the concert began late, a pattern that has come to be associated, regrettably, with Indian functions in general. In this case 20 minutes was not excessive by Indian standards and even understandable because of the unexpected turnout (140 people). The venue was quite inadequate and a disservice to such a great artist. Its physical appearance was dismal and so were the acoustics. Lastly, ICMCA's regular sound man appeared in his usual uniform sporting a pair of rather short shorts, squatted in the front row on the floor with raised legs, and repeatedly pointed his toes toward the artist. This is unacceptable in the concert culture of Indian Classical Music. ICMCA may be reluctant to impose a dress code on the audience but surely it can impose a simple dress code on their soundman: No shorts or armpit revealing cutoff vests. ICMCA has acquired a good reputation for hosting outstanding artists. They can greatly improve their wonderful musical presentations by eliminating some of the relatively minor irritants mentioned here.

Sur Saadhak

Jayteerth Mewundi...

2010-05-25T22:03:00.000-07:00

What: A review of a house concert of North Indian Classical Vocal Music by Jayteerth Mewundi

When: May 14, 2010 7pm-10-45pm.

Where: Kamlesh Saxena home, Austin

This review is offered as a service to the community of music lovers. Like most reviews it is subjective and its purpose is to promote discussion, interest and awareness.

The artist started the evening's performance with Raag Puriya in which he rendered a short Alaap, vilambit (slow) composition set to Ektaal (12 beats) and drut (fast) composition in Teentaal (16 beats). The beautiful Alaap was rendered in a serene and composed style and blended exquisitely with the atmosphere of the evening sunset visible through the tall glass windows of the elegant Saxena home. The Vilambit composition continued the slow and elaborate introduction of the Raag. The artist was most ably supported by Guruprasad Hegde on the Harmonium. The voice was in perfect Shruti as Jayteerth systematically progressed through the Raag paying careful attention to each note and cluster of notes. This style of treatment was reminiscent of the approach of the late Ustaad Amir Khan. The slow Ektaal khayal was ably supported by Bharat Kamath on the Tabla which was appropriately tuned to a lower register. The fast composition was breathtaking and the artist's voice gained in power and control as the Raag proceeded to its conclusion with many lightning fast Taans ranging over three octaves and more. Raag Puriya is a beautiful but difficult evening Raag and only seasoned artists can handle it. Its notes are the same as of the more popular Marwa which has the signature line Dha Ni re (with re atikomal). Puriya's chalan is more like that of Iman Kalyan and it must be kept distinct from Raags Puriya Dhanashree and Gouri. Jayateerth's rendering of Raag Puriya is one of the best I have ever heard.

The second Raag was Joag in which the artist sang a beautiful Tarana composed by the late Ustaad Amir Khan. The composition was set to Madhya Laya Teentaal and the medidative and introspective as well as heroic moods of Joag were in full display. The artist showed great command over his voice and deep understanding of the Raag and explored its structure through intricate and fast Taans. The accompanists rose to the occassion and supported him with exquisite Harmonium accompaniment and lively and responsive Tabla accompaniment.

After the intermission the artist rendered Raag Shankara. He explained that the stalwarts of the Kirana Gharana including Ustaad Abdul Karim Khan and Ustaad Abdul Wahid Khan had imbibed many musical ideas from the Carnatic tradition and he demonstrated this in his gorgeous treatment of Shankara. Thi was followed by several Marathi Abhangs and Bhajans including the well known Bhajan of Purandara Das ``Bhagyada Laxmi Baaramma". The concluding item was Raag Bhairavi which converged to Pandit Bhimsen Joshi's famous song ``Jo Bhaje Hari ko Sadaa". The rendering was spirited and full of Bhakti Bhaav and emotion leaving the audience spellbound.

Apparently this is Jayateerth's first trip to the USA. It was indeed a rare privilege to hear such a great artist in a house concert setting. I am sure he will be visiting often and I hope this was an eye-opener for those in charge of planning for the Music Societies.

Sur Saadhak

Ghulam Farid Nizami...

2010-05-25T22:01:00.000-07:00

What: A review of a concert of Indian Classical Music

Who: Ustaad Ghulam Farid Nizami (Sitar) and Shiv Naimpally (Tabla)

Where: Radiance Dome, Austin, Texas

When: 7:30 pm-9:30pm May 14, 2010

This review is offered as a service to the community interested in Indian Classical Music. We believe that reviews can be important channels for feedback to the artists, audiences and aficionados of music and are necessary to keep the field vibrant and the discussion lively. In this spirit comments on and reviews of this review are also most welcome.

The concert began with Raag Madhuvanti an evening melody that is supposed to remind one of the scent of honeysuckles and other flowers at dusk. Nizami's Sitar was well tuned and he was able to capture the mood of this exquisite Raag in the short Alaap and the Vilambit (slow tempo) and Drut (fast tempo) Gaths (compositions) that followed. He was ably accompanied by Shiv Naimpally who gave solid rhythmic support. The next Raag was Iman Kalyan a popular evening Raag whose main moods are peace and devotion. Nizami once again did a great job of evoking the mood of the Raag in a short Alaap followed by two Gaths in slow and fast tempos respectively.

After a short intermission (during which Samosas, cookies and Chai was served in the Dome) the second half opened with Nizami presenting the vocal music part of the concert. He accompanied himself on the Harmonium very ably during this part and rendered a beautiful composition in the springtime melody Raag Bahaar and several songs from North India. The opening piece was the famous Rajasthani song ``Kesariya Baalam" in the Raag Maand. Nizami's singing was passionate and tuneful and reached the higher registers flawlessly. The audience could easily relate to the music on an emotional level despite the language barrier and gave the artists a standing ovation.

The concert was billed as a Sufi Music event. Nizami himself referred to it as ancient music (1000 year and 700 year old respectively) from Pakistan. Ancient Pakistani Music? In view of the fact that Pakistan did not exist until 62 years ago I was intrigued. What exactly is Sufi Music? Does Sufi Music refer to North Indian Classical Music sung by Pakistanis? What music has originated in Pakistan since its creation? Why was it that Nizami not once stated that his music was 100% Indian Classical Music?

Perhaps the answers to these questions can be traced to the schizophrenic attitudes of the Mughal Emperors of India towards all things Indian. They loved the Music but hated to acknowledge its Hindu origins from Vedic times and pursued a relentless campaign to Islamicize the music. As a result all Hindu musicians in the Mughal courts had to convert to Islam or adopt Islamic names. A prominent example of this is Ustaad Wazir Khan (1840-1932) the Guru of Ustaad Allauddin Khan (1862-1972) and 19th century leader of the Senia Gharana, whose private Hindu name was Chhatrapal Singh.

It is appropriate to point out that Nizami claims allegiance to the Jaipur branch of the Senia Gharana and has recently obtained political asylum in the US based on his claim that he cannot pursue his music in Pakistan. Indeed the Islamic regime of Pakistan continues to have an ambivalent and hostile attitude to this music and has almost destroyed this rich culture in Pakistan. After attending a concert, the late Pakistani dictator President Ayub Khan approached the musicians and asked them to rename the Raags after deleting the names of the Hindu Gods and Goddesses!

Nizamiji is an excellent artist and a wonderful addition to Austin's growing slate of talented resident musicians pursuing this type of Music. Austinites are generous and liberal but Nizami should not underestimate their knowledge, intelligence and sophistication especially when he performs at a place like the Radiance Dome where the audience is devoted to the spiritual teachings of the Maharishi Mahesh Yogi and the ancient Gandharva Music tradition.

Sur Saadhak

Kushal Das and Kumar Bose...

2010-05-25T21:57:00.000-07:00

What: A review of a concert of Indian Classical Music sponsored by India Fine Arts, Austin (IFA)

Who: Kushal Das (Sitar) and Kumar Bose (Tabla)

Where: Jones Auditorium, St. Edwards University, Austin, Texas

When: 6:30 pm-9:30pm April 25, 2010

The concert began with Kushal Das announcing cryptically that he would play Raag Monomanjari. No further explanation of the genealogy, origins or structure of this Raag was offered. Since Monomanjari is not a well known Raag by any stretch of the imagination this reviewer felt that the artist did an injustice to the audience by omitting any explanation of this Raag and its characteristics. The least he could have done was to mention that this Raag was a creation of the late Sitarist Pandit Nikhil Banerjee, that it essentially was an embellishment of the traditional evening Raag Puriya Kalyan with the addition of Komal Ni.

Kushal Das played Alaap, Jor, Jhala, Vilambit and Drut gats in Raag Manomanjari for a total of 1 hour and 20 minutes before declaring an intermission. The playing was full of virtuosity with the artist displaying good command of the Sitar. However the Raag did not come to life at any point of the performance and the listener was left to wonder what the mood or message of the Raag was. The Komal Ni crept into the beautiful structure of Puriya Kalyan as an anomaly and at best was a curiosity with no particular significance or meaning. The two gats in Teental were lacklustre with both gats sharing essentially the same melodic structure.

The performance livened up considerably when Kumar Bose entered the arena. His playing was brilliant and extremely responsive to the instrumentalist's improvisations. The percussionist's virtuoso accompaniment drew several rounds of enthusiastic applause. The solid tone of the Tabla and the colorful Benares style of playing was in full display and highly impressive. Kumar Bose's communication with the audience was also upbeat, positive and enthusiastic and in sharp contrast to the Sitarist's lack of interaction with the audience.

The second half of the concert consisted of the single Raag Khammach. The Sitar playing was mostly on frets and there was hardly any Meend work. A Raag such as Khammach can be played in a feminine Thumri style or orthodox masculine classical style. Kushal Das seemed ambiguous as to which style he was presenting and as a result, once again, the character of the Raag did not come to life. And once again Kumar Bose brought life to the concert in both the vilambit (slow) Rupak (7 beats) and drut (fast) Teental (16 beat) compositions with his virtuoso and stylish accompaniment.

Both artists were billed as Pandits. This listener was left to wonder how such a title is obtained in the present musical scenario in the context of North Indian Classical music. Is it conferred by the sponsoring organizations, by audiences, by All India Radio or Sangeet Kala Academy? Or is it self-conferred by the artist?

Sur Saadhak

All Night

2007-05-15T15:21:00.000-07:00

The Frog and I happened to attend Chhandayan's annual whole night concert in New York City last weekend. We witnessed three of present day's best artists in full form consecutively for six hours, and since then I have not been able to lead a normal routine of work.

However, the highlight of the concert was undoubtedly Ulhas Kashalkar, whom I had last heard about seven years back in a live concert. As far as I remember, it was either at the SRA or the GD Birla Sabhagar in Calcutta, where he sang Raga Bihagda. I remember the whole audience singing the mukhda of the famous vilambit bandish with him in tandem. It was extraordinary.

At the Synod Hall last Sunday, he sang Raga Ramkali as a bada Khayal. The ambience was incredible since Rashid had just sung a long Jog, and had ended with a Bhairavi Thumri. Early rays of sunlight were just seeping in, through the stained glass windows of the cathedral auditorium, as the vilambit progressed. His layakari has evolved to the highest standards and at times it seemed like listening to Pt. Mansur in a live concert. The tabla and the harmonium mixed with his vocals as if the three were made for each other, much like the duo of Ali Akbar Khan and Swapan Chaudhuri. Ramkali's drut "Hoon To Baari Baari Jaun" was followed by a short khayal in Hindol Bahar. The two components - Hindol and Bahar were blended by the master so exquisitely that it created magic at the transitions.

I am dying to hear more of his renditions now, since there is so much to learn; fortunately I just received plenty of his new live recordings to listen to, and am feeling very privileged.

My journeys in tuning the guitar

2007-04-02T04:34:00.001-07:00

Tuning a guitar is a tough job. For two reasons, it’s tough to have perfect ears, and most of the time the ears respond to aural clues not coming from the guitar too; and secondly because of equal temperament. I have wanted to write this article for several years now, because every day in my musical journey, I am fascinated by the trap of the tempered third.

The easiest way to tune the guitar is by using an electronic tuner. You turn the pegs until the tuner clicks and tells you that your string is tuned perfectly. Easy, simple and takes the least amount of time. But of course, if you are the perfectionist, this mechanism is rarely going to satisfy you.

The problem is compounded if you are going to play with a fixed pitch instrument (Which is not an electronic keyboard). There is a small chance that there is a conflict between what your tuner says and what the instrument says. In such conditions, it’s always best to tune your guitar to the fixed-pitch instrument, which will enhance your performance and the purists will have lesser areas to frown upon. Ideally, of course, all fixed-pitch instruments should be tuned to concert pitch, but they are sometimes way off, sometimes clearly lying between two notes on the electronic tuner, and that’s where the guitarist’s problems are compounded.

There was an informal jam session I participated in, in which there were five of us, and another guitarist who was new. He was not new to the guitar, he was new to us. So everything was fine, until he decided to join in. So he takes out his guitar, his electronic tuner, tunes his guitar and joins in. The jam session was wrecked. He was on concert pitch, but none of us were, and he was unaware that he was way off – possibly, because he was hard of hearing, or partially tone-deaf. I had contemplated telling him to switch to another guitar, or tune his guitar for him, but as one is painfully aware, the social dynamics of tuning another guitarist’s guitar for him is a non-trivial matter.

The best way, and something that has been supporting me lately in my exploits with the guitar is the D tuning. Tune the D (4th string) to the concert pitch, or what all of you in your informal jam session agree to as the concert pitch D. Using this D, tune the other strings using the open 4th string as a reference. The reason I ask you to do this, is because in this case, you won’t be basing your references on thirds or fifths to tune, but all your tuning would be based on the pure interval – which is the octave.

The problem is created now by the major third interval (that is the F# note on the key of D). This is important in most of all the music that you hear and most of rock, folk, country music anyways, that you would want it to sound good. Play your D chord now; and you will notice that it doesn’t sound good. Do you want to tweak the strings which play the F# so that it sounds good? You would be tempted, as I am all the time. But I guess that’s the peril of equal temperament, something that was experimented with for years, and ultimately resulted in a fret-board in which one perfect chord leads to other imperfect chords. The human ear which would always be more satisfied by the just temperament simply fails to agree with the guitar which wants to be tuned to equal temperament, with the result that most guitarists are moody people who are rarely happy.

So what is this equal temperament thingy which musicians have been so worried about over the years?

The scale is divided into equally-spaced semitones, and each semitone is around a hundred (100) cents away from each other. So a cent is 1/100 of a semitone. Simple concept.
Before we had equal temperament, all musical instruments were tuned according to the overtone series – which is the sequence of harmonics which we hear when a particular note is sung, plucked or blown upon. And that resulted in what is known as just temperament, something that nature designed every individual scale to be.

But that was not easy for the piano, which cannot be tuned in between a performance which shifts from one key to another. Thus arose equal temperament, which was first experimented with by Bach, who wrote his famous The well-tempered clavier, with a series of fugues and preludes in both major and minor keys to illustrate that with all it’s failures, equal temperament is the way to go, because it makes all your thirds slightly off, but not so far off as to actually sound discordant when played as a part of a musical performance.

So what’s the problem with equal temperament? Taking heed from the hundred cents which separate each semitone from its next (or previous), if we investigate the equally tempered scale, we find that the third (the major third) is 14 cents sharper than what the actual major third is supposed to be. So the actual major third on your equally-tempered piano is 14/100 times sharper than the actual third which occurs on that scale using the overtone series. The octave however, in equal temperament, is perfect, it’s exactly double the frequency of the lower note in the same key. Which implies that it’s always best to tune using octaves, something which I mentioned in the very beginning of this article. Tempered fourths and fifths are not very far off from their actual sounds in the equally tempered scale, in that the fourth is 2 cents sharper than the actual, and the tempered fifth is 2 cents flatter than the actual. The minor third, incidentally is a bigger problem than the major third, in that it is around 16 cents flatter than the actual minor third which is a part of the scale as per the overtone series.

This concept is academic in the case of fixed-pitch instruments, like the flute, the oboe, or the recorder, which can only change their ranges slightly but the pitches which these instruments can play are fixed in the mechanism of the instrument. The violin and stringed instruments, on the other hand, are more tunable, because of the pegs which are provided with the instrument, and that is what you notice concert fiddlers doing in the middle of performances. They change their pitches ever so slightly to adjust with the new key which the next concert piece is going to be played on. Guitars are stringed instruments but they should not be regularly tuned to the key because the frets are a limiting factor, making the instrument prominently like the piano as far as equal temperament is concerned.

So what is the trap of the major third as I mentioned in the beginning?

Let me illustrate with the simplest G – open chord. The 2nd string in the G open chord is also open, and it plays a B, which as we all know – is the major third in the G major chord. Now let us say, using the electronic tuner which we recently purchased, we tuned the guitar perfectly as per instructions and played the G chord. Well, to most ears, it will sound right – but to ears which were born fussy and inconclusive, the G will not sound good, the 2nd string sounds distinctly off. Wouldn’t it be nice, if I tuned it down a little, turned that peg just a little bit, and make the G chord sound like the most beautiful thing in the world? Well, that’s what I used to do when I first played the guitar; and that was a big trap. I always used to get a world-class G chord, but when I decided to play the next song on the scale of E, I sounded terrible. I spent days trying to understand what I was doing wrong, until I decided to ask someone who knew more than me, and that’s how I learnt all this. What was happening was that in my urge to get the perfect third in the G major chord, I was tuning the B open string (2nd string) to the perfect B, which is actually 14 cents lower than what it should actually be as per the equally tempered scale. On the E scale, however, the B is the fifth of the scale, which even in the equally tempered scale should never be more than two cents off, but because of my efforts, was actually 14 cents off, and hence my E chord always sounded horrible.

This is incidentally, one of the reasons why it will never be possible under realistic scenarios to play Carnatic classical music on the piano.

Presenting..

2007-02-19T14:13:00.001-08:00

...Jayateerth Mevundi, a very young and very talented artist from the Kirana Gharana. Advay, my friend from the University of Pittsburgh introduced me to his Shuddh Saarang and it was incredibly promising. One gets reminded of Pt. Bhimsen's 75th birth anniversary recordings released by Music Today about 10 years back. Jayateerth's fast tans, especially the parts in the Tara Saptaka bears the Kirana signature. The sur-pradhan and simplistic approach again embodies the ghar's tradition. Here is an exquisite sample of a 6 minute Kedar. Interestingly, he hails from Dharwad from where come few of the greatest artists of the last century.

Yaman - Amir Khan

2006-11-15T15:15:00.000-08:00

Yaman needs no introduction. Check out one of the most intense renditions of Yaman by none other than Ustad Amir Khan. It is astonishingly simple, but beautiful. I have a bias for Pandit Bhimsen Joshi, but this has the potential to be the most favorite Yaman of the unbiased.

1. Vilambit in Jhumra Tala (his favorite :)) (43'21)
2. Drut in Teentala (11'11)

Accompanied on the harmonium by Pandit Jnan Prakash Ghosh, and on the Tabla by Pandit Gobinda Bose.

Available here.

The Kamalambam Navavarna Krithis

2006-11-04T20:30:00.000-08:00

I'm not sure what to post here, because I'm not sure to what extent you listen to Carnatic music. I thought I'd begin by pointing at some very famous pieces, do let me know whether this is already well-known to you guys :) And I should add that I am not an expert, I've spent a few years learning vocals, and a few more listening; that's all. :)

As you may know, the krithi is the fundamental unit in a Carnatic musician's repertoire. The most common structure of a krithi is 2 lines of a pallavi, 2 lines of anupallavi, and 4 lines of charanam. The first line of a pallavi acts as a refrain, and is repeated after the anupallavi and charanam; on some occasions the entire pallavi is repeated. Each line of a krithi has a basic melodic structure given by the composer, but each school (and indeed each musician) may add different kinds of gamakams & improvisations to the lines in their renditions; these are usually built up from simple to complex. The basic melodic structure of a krithi determines to a large extent what kinds of gamakams can be sung on it; some krithis sound fine when performed by your average talented 12 year old, some others can be unbearable. Those others are also often the ones that offer the greatest scope for beautiful gamakams, and the Kamalambam Navavarna krithis fall into this category.

The Kamalambam Navavarna krithis are a series of 11 krithis composed on the goddess Kamalamba at Tiruvarur, by Dikshitar. (All of the krithis that I know of are devotional in nature.) All 11 of the krithis performed by D.K.Jayaraman are available as MP3s on the Carnatic Krithi Archive (scroll down a bit, look for the last file on each line: "original mp3"). They are in each in a different ragam, and a few different talams are used. Many of these ragams are "major", turning up regularly in concerts as main/sub-main pieces, e.g. Thodi (Hindustani: Bhairavi), Kalyani (Hindustani: Yaman), Sankarabharanam (Hindustani: Bilawal?), Ananda Bhairavi, Kambhoji, Bhairavi (I don't know the equivalents of these). The Carnatica website has a lot of detail on the beauty and complexity of the lyrics, but I've never really paid attention there.

The music, however, is brilliant. They are wonderful to listen to, over and over again, because their elucidation of the ragas -- at least in the ragas that I know -- is so very broad and complex. They are all also slow, majestic krithis, giving ample scope for each line of teachers to add a non-trivial stamp to their rendition of it. In the Kalyani krithi for example (the only one I can claim to have learnt), the T.V.Sankaranarayanan version here sounds to me nothing like what I learnt (the song itself goes from 4.50 to 10.05, the rest is an alapanai before and kalpanaswaras after), whereas the DKJ version above is a tiny bit closer, and the version by U.Shrinivas on the mandolin here seems a lot closer (song from 6.12 to 10.12).

I've never heard them performed all together, though a search shows that there are a few such concerts: usually, one krithi gets chosen as the main/sub-main piece of the evening, and performed independently. In fact, I've never heard the last few performed at all (but then I didn't grow up in India.) And because these krithis are so demanding, I can't imagine how it would be to perform them all together.

In the meantime, that's what recordings are for... I highly recommend listening to them, and of course, I'd love to hear your thoughts :)

Bihag

2006-10-27T18:13:00.000-07:00

I have been listening to a lot of Bihags recently, after starting to explore the Raga myself. This post is about its characteristics and some common explorations. The Raga is a late night one, and primarily denotes longing for one's lover, often in a sorrowful mood. In other words, it embodies the shades of pathos, and in a personal opinion, shades more of melancholy than joy. However, I have heard renditions which are joyful. To note one bandish that simply cannot be expressed without happiness is one that starts with "Ali Ri Albeli", which has been exquisitely sung by Ustad Amir Khan. However, the rendition differs from what I have learnt upfront.

Pandit Bhatkhande's book categorizes the Raga to the Vilawal that, as Rajan Parrikar's website corroborates. The vadi swar is Gandhar, and samvadi is Nishad, aptly so, because the meends involving these notes form the marrow of the Raga. Another noticeable facet is the sensual use of both Madhyams. The use of the Teevra Madhyam and its distribution with respect to the Shuddha variety appears to be different in different rendition styles.

I have heard many recordings of the Raga. Since I am inclined to the Kirana Gharana a little bit, I would start by mentioning Pandit Bhimsen Joshi and Smt. Gangubai Hangal's renditions of the Raga. Both of their readily available tapes start with the Vilambit bandish "Kaise Sukha Sove", which is very popular, and indeed a very beautiful one. I don't remember Smt. Hangal's drut bandish, and commenters are most welcome to remind me of it. However, I do remember Joshiji's drut, "Lat Ulajhi Suljha ja Balam", which is one of the sweetest drut bandishes I have heard. I have a recording of Ashwini Bhide Deshpande singing the same bandish, and it is quite attractive. Rashid Khan's performance of the Raga is amazing, and I keep on listening to it very frequently. There's a long recording of Pandit Ravi Shankar, which is amazing, and is played with his idiosyncratic style of playing the Sitar. I am listening to more of him these days. Pandit Ranadhir Roy's recording of Bihag is again, one of the better performances when instrumental renditions are concerned. He is just astonishing like his recordings of Tilak Kalyan and Jaijawanti that have been mentioned on this blog earlier.

I am looking for renditions of two Bihag bandishes that I learnt, but have not heard in recordings or concerts. The first one is a Madhyalaya bandish in Rupak Tala called "Aaye Sab Mile", a Sufi kind of bandish, which is a prayer for the saint Khwaja Mainuddin Chisti and has some interesting words. It says:

Aaye Sab Mile
Tero Darbar
Khwaja Mainuddin, Garib Nawaj.

Chisti Peer Tum
Hind ke Bali Ho
Puri Karo Sab Man ki Kaaj

and there's immense scope of Laykari in it because of the Rupak setting. There's another bandish called "Chhup Jaa Re Chandni Raat", which typifies the Bihag-ish feeling, and portrays the Viraha that Bihag's a trademark of.

Two cents from my side. Contributors of this blog certainly have more to say. You are welcome to continue this post, so are the readers of the blog.

2006-04-21T01:40:00.000-07:00

My guruji has recently embarked on a project to help young and less known artists reach the mass who listen to Hindustani Classical Music. Though recent acquaintances made over the internet show rays of hope, I still believe HCM is a dying art. Moreover, the handful of people who do listen to Classical Music, listen to a small number of artists only.

They are both ignorant about the fraction of the past glory that exist in rare recordings, as well as the upcoming generation who might possess some promise. Well, we cannot do much about the heritage other than digitizing the recordings and labeling them with format MPEG II/Layer3.

Those who keep up with the core circles (primarily in Calcutta) and want to make a living by doing music only, are facing a challenge. I can hardly name more than two vocalists who have shown promise in the public sense during the past decade. People aren't eager to take up music as a career very easily. I cite one case at hand. I have met quite a few people over the past decade while taking lessons from my guruji. He, and people around had hopes. A few left music, some came to the US to pursue grad studies. The less brighter still continue taking lessons. Some people who have taken the risk are on their way to oblivion due to lobbying, politics and big organizations like the SRA who have not served the purpose that they were set up for.

My guruji and a few of his friends have started this organization that would focus on bringing unknown talents on stage. I am not sure about it's future, but it shows courage. Some hope too. Here's its vision.

‘Dithi’ is an organization born primarily out of love and admiration for Indian Classical Music. ‘Dithi’ embodies a vision. Staying within the bounds of our music, ‘Dithi’ aims at celebrating its magnificence, rediscovering its depths and reveling in its intricacies.

Even today, we get to hear good music from many who have not had their share of recognition. The promise of talent and good music is all that ‘Dithi’ rests its hope upon. It must be interpreted as an attempt to reaffirm our faith in the expanse and the future of Indian Classical Music. In its own humble ways, it desires to explore the possibilities that await our music. It desires to look beyond the apparent horizon of our music.

Perhaps, in course of time, ‘Dithi’ will make us look beyond, but not without your help. ‘Dithi’ needs the material and moral support of the lovers of Indian Classical Music. It cannot take a single step forward unless your advice, inspiration and patronage spur it on. It is your presence that it calls out for. It is your hand that its vision seeks. ‘Dithi’ needs you. On behalf of ‘Dithi’, we send an appeal out to all of you. We request you to come forward – we request you to make a success out of Dithi’s imperfect beginnings.

A couple of days ago, the inaugural concert of this community was held at the Birla Academy on the Southern Avenue. Though it aims at fostering the young talent, the first concert hosted a recital by the veteran Pandit Buddhadev Dasgupta, maestro of the lineage of Ustad Murad Ali Khan, Ustad Mohammad Ameer Khan and Pandit Radhika Mohan Maitra, doyens of the Rampur Senia Gharana. I have heard that the concert was a success and witnessed the presence of a few stars like Ustad Rashid Khan.

Pt. Buddhadev Dasgupta

I appeal to young and old, and the few readers I have left to be a member of this community and help forward this heritage of our country. The annual membership fee is Rs. 250, that translates to about $6. If you are eager to be a part of this process, please comment. Otherwise too, comments are welcome.

Cross posted on fflush(stdthoughts);, my personal blog.

Salil Da...

2006-04-18T11:53:00.000-07:00

The last few days have been spent re-discovering my roots. By roots, I would clarify – my innate Bengali roots. And in the process of doing so, I realized that, all said and done, I owe my musical upbringing to my father, more than anyone else in this whole wide world.

The story goes thus: When I was little (I don’t remember how little, of course); my dad used to play these few cassettes, out of which, I felt, a few stood out. And in them, were these recordings of patriotic songs by Calcutta Youth Choir, musically directed and arranged by Salil Chowdhury. Of course, there were other albums which I listened to over and over again; most prominently, Richard Clayderman In concert, Music of an Arabian Night by Ron Goodwin, and of course, The ultimate classical collection. The last three are musical genres which most people would be familiar with, if not in love with. However, I have spent the last couple of weeks, exploring, re-discovering and realizing the amazing genius of Salil Chowdhury.

It all started in Tokyo, as I was surfing the net till the wee hours of the morning, when I stumbled upon this site: http://salilda.com, and I realized the treasures which it contained. The song I started with is called O Alor PathaJatri, a choral song about new beginnings and a time of hope. I don’t remember exactly when it was written or what the basis of the lyrics are (they are a bit too profound for my limited Bengali knowledge); but the moment I listened to it, I fell in love with it all over again. Harmony, melody and orchestration is molded together in a tapestry which is tough to comprehend at times, but which endears itself to you, whatever your language is, whatever your musical tastes are.

Salil Chowdhury was a musician, deft in both Indian and Western Classical (as were his contemporaries); but what irks me is the fact that politics in the Indian Music Fraternity at the time when he was at his best never let him reach the heights of popularity that he should have. Then again, his music was never really popular music. At some level, you probably really need to appreciate the subtle intermingling of harmony and melody to appreciate music of that kind. Melody is something that seems of little importance nowadays, as is evident from the kind of popularity a monkey like Himesh Reshmiyaa enjoys; and I guess this post does not make sense in these troubled times.

The only thing that does make sense is that, at some level we all want our music to be affectionate, understanding, and most of all, we want it to make us smile. Salil Chowdhury’s music has done that and much more for me over the past few days. I hope to keep rediscovering new joys in his compositions. The site is vast, and I have just about managed to go through half of it. Later posts will deal with individual musical compositions, and their innate beauty…

Laterz…

Yours or Mine....

2006-04-06T07:12:00.000-07:00

Does it make sense to be strictly partisan about the form of music you have come to embrace. Is it possible to appreciate music of all kinds, when your cruel mind, is telling your willing heart, that, "Come on. You cannot possibly like "this". Compared to "that", "this" is nothing great." So, how can one become truly secular in music appreciation. Unfortunately, music does happen to have religious and geographical dilineations. But, isn't the music truly for everyone and fundamentally based on the seven notes?

I have seen cats respond to Hindustani classical music in real life. In the words of Ustad Ali Akbar Khan, with Bhimpalasri (or Bhimpalasi), "you can make the animals cry with this rag." It is set for the late afternoon, and evokes "devotion, pathos, joy." What could best describe the effect of sound on the soul of a living being? With the true universal nature of music, does it make sense to claim some form as mine and not yours.

PS: This post was inspired by this site that I happened to come across recently. Kindly note the play of words in the definitions.

From the concert hall

2006-04-06T01:58:00.000-07:00

(cross-posted from http://expiring-frog.blogspot.com)

Padmavati Shaligram, 87-year-young doyenne of the Jaipur-Atrauli gharana, performed at the ITC-SRA Sangeet Sammelan last November. I know certain readers have reservations about this institution, but there's no disputing the fact that they have excellent concerts and put some very fine stuff online. So do check out the videos of this still amazing singer -- Nand (the traditional favourite "E bari sainyan sakala bana bana ke"), Jaijayanti ("Kahiye sakhi shyam sundar so"), Pilu and Pahadi. Listen to those pinpoint, soaring aakar taans and remind yourself (possibly with some difficulty) that this lady has spent seventy-five years on the stage.

In my last years of school, our house got an extension and I got the resulting room on the roof. I had scrounged up enough cash from birthday money et al to buy a cheapo double-deck music system, and that sustained me for many many solitary hours. There used to be this radio programme on Monday mornings which played classical songs and popular numbers based on them -- and it had this incredibly irritating host whose voice I couldn't stand. So after recording everything I used to painstakingly clip out just the track announcements and join them with the songs themselves. If you've never done deck-to-deck editing of raw radio recordings (or physically transferred entire reels from one cassette shell to another) you haven't lived :). There were also a couple of boxes of gramophone records and a cranky player with speakers which frequently had to be banged hard to stop a strange humming noise whose provenance I have yet to discover.

After long evenings usefully spent examining the ceiling of that room, Padmavati's Nand was pretty much my standard bedtime music. Switch off the lights, turn it on, wait for oblivion. The voice has lost a little of its mellifluity now, but who's complaining?

Just another song

2006-04-06T01:54:00.000-07:00

(cross-posted from http://expiring-frog.blogspot.com)

Abhishek Singh of UIUC recently sent me a recording of Ulhas Kashalkar singing Nat Kamod at a SPIC-MACAY concert at Urbana-Champaign in 2004. Ulhas also sang Kaushi Kanada, Shankara, Kafi, Desh and Bhairavi that night, but the Nat Kamod is the piece de resistance, and brought back so many memories. The classic bandish "Nevar baju re" with its dramatic octave-spanning gamak leading up to the sam has seen many great renditions in the past. Laxmibai Jadhav's drut version is busy, sparky, with little pause for thought. Mallikarjun Mansur takes a more relaxed approach, his trademark gamak-laced bol-taans highlighting the region around the sam. Kesarbai Kerkar produces probably the classic rendition, a masterpiece of warm, fluid waves of sound washing over one another with the nyas on individual notes and the prolonged aakaar taans going just that little bit further than seems humanly possible. Ulhas' version follows the Kesarbai mould, not quite in the same class but seeking the same sense of delayed climax and drawn-out, modulated sentiment (he also has a very pretty drut, "Sachi kaho tum", but let that pass).

But the rendition that sticks in my mind most is from the Agra fold, by Sharafat Hussain Khan. I first heard it on a tape of the AIR National Programme broadcast a week after Sharafat's death in 1985, sandwiched between, I think, a Kafi Kanada and a Khamaj thumri (the classic "Na manoongi"). I have never heard anything to equal his attack on the sam in this bandish: the andolan on the word "nevar" has to be heard to be believed. And really, other than maybe Faiyyaz Khan himself, only Sharafat could have pulled it off without reducing it to machine-gun chatter. It's been a long time since I heard that version, locked away on a cassette at home, and my current three minute mp3 is probably a different recording.

Here's a link to the Kesarbai version, if anyone's interested.

The Strings Broke Long Ago...

2006-01-28T13:34:00.005-08:00

Photo: Ira Landgarten (C)

On January 27, 1986, the world lost one of its finest musicians at the young age of 54. Pandit Nikhil Banerjee, the quiet, unassuming sitar virtuoso, passed away two days after he had played Darbari Kanada and Hemant at the Dover Lane Music Conference in Calcutta despite severe illness. It was his younger daughter Debdatta's birthday -- a relative had arrived with a cake for the little girl. Panditji got up to greet the guest and collapsed immediately. The fingers that he had punished into unreal command over his instrument would glide over it no more.

"Mr. Banerjee", as he liked to be called, was a musician's musician. Uncompromising in his performances, he brought to the stage an unparalleled level of commitment, focus and tayyari (preparation). His leisurely alaaps, elaborate gatkari and blinding taans have rarely been equalled. But he also maintained a strongly individual presence, distinct from his illustrious contemporaries Pandit Ravi Shankar and Ustad Vilayat Khan. In the words of Ustad Ali Akbar Khan:

"The style of alaap of our gharana -- unhurried, steady -- has always been present in his alaaps. But the truly personal element of his playing was his "feeling". Music is essentially sa-re-ga-ma, there is nothing beyond it. But that "feeling" is a truly individual achievement. And Nikhil had just that. You could call it his personal "touch" or "behaviour" in his playing. Of course, the road has to be shown by the guru. So one can say that by travelling on the road shown by Baba [Ustad Allauddin Khan] Nikhil has found his own road."

Mr Banerjee's few recorded interviews give us a glimpse into the life of a man who devoted everything he had to the singleminded pursuit of music, elevating it from a performing art to a profound spiritual quest, far beyond commercial concerns and gharana rivalries (perhaps his most unique achievement was that nearly every performing musician loved him). In one of these interviews, he says:

"In India, [music] was practised to know the Supreme Truth. It is not only for the entertainment of the people, no. When we play for the people -- perhaps I cannot play that beautiful music, but I try -- but idea is to lift up the mind of the listeners, and place them in front of the space, or you know, you can say God, you can say power, you can say energy... You have seen perhaps, specially in Western music, Western musicians in their old age, they take their instruments and go to church and play. It is not the church or the building. He is playing not for the public, but for something else. Because through music you can earn lot of money, fame, but that cannot give you satisfaction of mind. Your mind can only be satisfied when you play for the something else and tell that, you know, this is what I want to express through my music. So it is said in India that my music cannot see Him or touch Him, but my music touches His feet."

Nikhil Banerjee passed away long before I had the remotest interest in classical music. I first heard him in a concert recording of Hem Behag, with Pandit Kishen Maharaj on the tabla, a performance so astonishing that I was hooked for life. Years later, during the festival of Durga Puja, I was travelling in a taxi through the jam-packed Calcutta streets when I heard it again, floating above the milling crowds from some unknown source. I have not forgotten that sound.

Mr Banerjee, it is twenty years since you left us to play closer to the feet of the Something Else. Thank you for the notes you left behind.

********

At this point, let me put in as strong a plug as I possibly can for Steven Baigel of Berkeley, California, who is making a documentary on Nikhil Banerjee. Steven is a wonderful and committed guy who has undertaken this labour of love with virtually no funding and very little material to work with. He has personally recorded a huge number of precious interviews with people who knew and worked with Nikhil Banerjee, including Ali Akbar Khan and Swapan Chaudhuri, and collected the few concert videos that exist, and has put together a 12 minute sample, available at his website. Trust me, the finished film will blow the sample to bits, good as it is. BUT, and this is the big but, he needs your support. If you know of any material (preferably visual) that you can lay your hands on, please do contact him. If you know of anybody willing to contribute financially to the project (broadcasting rights for concert footage cost big bucks), again, please do contact him. Heck, contact him anyway and let him know you're with him :).

Throughout the weekend, Nikhil Banerjee will play on Besur Betal Betar.

For more on Mr. Banerjee, the following websites may be useful:

John Cosgrave's tribute page
John Wilton's Raga Records, with a long interview by Ira Landgarten.

Also, Swapan Bandyopadhyay's biography of Nikhil Banerjee, "Taar Chhnide Gechhe Kobe" ("The Strings Broke Long Ago", Ananda Publishers, 1994) makes excellent reading, albeit in a slightly overdramatic style. Only in Bengali, I'm afraid -- let's see if I can post a translation.

Feedback...

2006-01-05T14:44:00.000-08:00

Please take your time to provide us with valuable feedback on how to improve this blog. Both negative and positive feedbacks are welcome. Kindly post comments here.

- The Anahata Team

Want to contribute?

2006-01-05T14:38:00.000-08:00

The Anahata team welcomes like-minded individuals interested in sharing their values, ideas and opinions on music (any form). Please leave a comment here if interested.

It is the responsibility of the contributors for the authenticity of the articles. Appropriate references can be quoted. and links to books, sites, music pieces, etc. are most welcome.

Vision

The blog aims to generate an awareness among the reader about the various beautiful things that thankfully continue to exist today. It will mostly touch upon the aesthetic and emotive aspects of music, rather than the technical aspects itself. All kinds of music will be given a fair treatment out here. Be it the two forms of Indian Classical Music - Hindustani and Carnatic; Indian Folk music, Western Classical Music - renaissance, baroque, romantic, impressionist, etc., Jazz - smooth jazz, those early days, bebop era, cold era, etc., Rock and Roll, Contemporary Music, Film soundtracks, Celtic music, Arabic music, Latin music, African music, Oriental music, etc.

The Anahata Paradigm...

2006-01-05T14:28:00.000-08:00

Paradigm #1

Anahata - literally means unstruck sound. Life, the whole of existence, is made of subtle vibrations of sound. There is only music - that music is Anahata, and to experience it is to know what bliss is.The highest form of spiritual salvation through music is by Anahata. It is a mere illusory concept for the layman.

Paradigm #2

This community blog aims to bring out the unstruck sound in each one of us. The most natural thing for a person is to sing and dance. However, societal pressures, peer pressures, self-criticisms on one's own faculty, lack of musical learning, etc. see a person unable to strike the right note or sound. This blog is meant to be a journey - a musical pilgrimage wherein we all move from varying shades of ignorance to lesser shades. Knowledge of music is a vast grey area; and perfection will be a mere myth and illusion.

A short definition of Music...

2006-01-04T18:11:00.000-08:00

From the ...This is Tyranny... archives, posted on May 24, 2005

Of all the emotions which human beings feel, elation and the feeling of flying high in the clouds is one which is very strong. Have you ever felt truly happy and free when you do something? I have...for me its listening to the masters of the strings weave their magic into wonderfully heavenly pieces of a phenomenon that we call music.

The Indianization of America...

2006-01-03T23:07:00.000-08:00

Ustad Ali Akbar Khan, gave his first performance in the United States in 1955 with Yehudi Menuhin giving the introduction of the artist to a to-be spell-bound New York audience. His rendition of Raga Sindhu Bhairavi and Raga Pilu Baroowa captivated the audience and the concert definitely marked a new beginning. Subsequently, he set up the Ali Akbar College of Music at Marin County, CA in 1967.

At present, there are many non-Indian sarodiyas, some of whom have been learning to play sarod and Hindustani Music for almost 30 years. This is remarkable for most have converted by their own volition to this style of music. Having been brought up on a traditional diet of western classical music, jazz, etc., their changeover speaks volumes of the influence and openness of KhanSahib.

KhanSahib, a scion of the Maihar Senia Gharana, spearheaded by Baba Allauddin Khan, the mystical saint and KhanSahib's father; believed in his father's philosophy of spreading music. Traditionally, imparting musical knowledge in the guru-shishya parampara was limited to a select student base. Most times, non-family members were deprived of the gharana secrets.

Notable among these non-Indian sarodiyas are George Ruckert, David Trasoff, Ken Zuckermann, Bruce Hamm and Richard Harrington. It merits mention that George Ruckert has done active research on KhanSahib's style of music leading to a PhD thesis at Berkeley and a book on North Indian Classical Music. Are they being recognized in the Indian music arena in India.

However, I really admire them for taking the decision, and sticking to it. More than the fact that they embraced Indian Classical Music, I respect them for going after what their hearts wanted. In doing so, they had to experience the culture, languages and music of India their own way. Most have started as adults albeit with a knowledge of music.

Is the Indianization of America happening at the cost of Westernization of India. The sarod scene in India is a bewilderment to me. What is happening in India when it comes to the sarod? Is the normal complaint of the esoteric nature of Indian Classical Music justified now.

Ranadhir Ray

2006-01-03T11:36:00.000-08:00

My rendezvous with Instrumental Hindustani music has been recent. But proximity with many instrumentalists since childhood, presence of eminent sitar, sarod and sarangi players in the multiple concerts I used to visit during the winter months in Calcutta and the radio broadcasts that Baba used to listen to everyday marked my vocal music dominated world with a few exceptions. I did not like to listen to Classical music like most other kids of my generation. But a few incidents that I am not conscious about transformed my perspective towards Indian music as time passed by.

Today when I try to bring back those distant memories, I am confident about one evening that stands out clearly as one of those few incidents that laid bare the sheer beauty Indian Music possesses. It was a recital of Raga Sindhura by Ranadhir Ray, a musical genius forgotten not only by the multitude but also by the music community.

Pt. Ray used to play a near extinct instrument called Esraj, whose origin can be traced back to more than two centuries. In the north of India, this instrument is popular as the Dilruba, Esraj being a more accepted name in the east. Esraj had its high time when Rabindranath Tagore chose it as accompaniment for his songs. This situation arose out of the India liberation movement when it became very unpopular to use anything that was of Western influence. Santiniketan, his highly evolved artist community, could still be called the home of the Esraj.Ashesh Bandhopadhyay, an Esraj player from Vishnupur, was invited by Tagore to live and teach in Santiniketan. Ranadhir Ray was a disciple of Pt. Bandopadhyay and started experimenting with the instrument by building a bigger body, adding another bridge and succeeding in adding volume and a stronger presence. Thus, an intrument solely used for accompaniment was transformed into a solo one.

Personally, I feel that this instrument has more appeal than Sarangi, whose sound is closest to the Esraj. Esraj's sound makes me more desolate, shades of similar emotions seem to be expressed more than any other medium. The very very few Ragas that I have heard on this instrument have been their best portrayals. Ragas Miyan Ki Todi, Tilak Kalyan, Sindhura, Sindhu Gandhar, Jaijaiwanti, Bihag and Jaunpuri. I have been fortunate enough to listen to the Jaunpuri by Pt Ashesh Bandopadhyay himself, who's recorded only a couple of discs.

The Jaijaiwanti haunts me quite often. I haven't heard explorations of the Raga the way Ray has portrayed it. It was recorded in 1988 just before he passed away from a heart attack at the age of 45. Other than my not being able to listen to Pt. Mansur live, not receiving an opportunity of being a part of his audience is perhaps an equivalent loss.

A Brief History of Jazz....

2006-01-02T14:53:00.001-08:00

Written sometime in March 2005.

In the late 19th century, blacks were given the right to play in the traffic squares of new orleans.. they watched the whites playing the western classical pieces with sax, trumpets, etc.. they wanted to imitate it.. with no technical knowledge and by just hearing, they began to play something totally different. the others were dancing to these tunes..

Scott Chopin began to realise this.. he started out "ragtime" and began playin in a style similar to the black music.

King Oliver had his band and Louis Armstrong was a trumpet player in that band.. more than the band, the crowd used to go gaga over Armstrong.. they loved his on the spot improvisations and Armstrong became a craze. Armstrong in the 1930's loved to sing too.. and believed that u can improvise with ur voice.. came the concept of Scats.. that seems to lack any lyric... and now a part of melody in jazz... how the voice is used to improvise the song.. believed to be the Father of jazz.. for what it is supposed to be.. improvisation.

the Swing Era
this was the era when jazz was the mainstream form of music.. . whites began to recognise the beauty.. used for dancing.. in brothels, bars, pubs, lead to various styles in dance.. merged with latin forms.. jazz at its peak.. Duke Ellington's orchestra band.. vocals was emphasised.. Billie Holiday used to move the audience with her soul-stirring depressing lyrics.. she was a drug addict.. too much emphasis on jazz for dance..

the beBop era

the era of Charlie Parker and Dizzy Gillespie.. they believed that jazz was losing focus.. more into mainstream and dancing.. so they innovated.. be-bop-be-boppa-be... fast melodies.. and really fast chord changes.. taxing on the one who was improvising.. he had to literally wait for the chord changes... too much stress.. needed to be on the alert.. started getting complicated.. people began to lose interest.. the end of jazz as an era.. and the birth of a lighter form - rock and roll.. and its siblings.. rock and roll was a lighter version heavily inspired by jazz...

the cold jazz era
Miles Davis and John Coltrane.. they were against the concept of bebop.. they felt that the chords should be played for a long time.. even 5 min.. so that the improviser can freely improvise.. very very difficult. usually chord changes lead to improvisations.. and harmony.. but here.. too much demand on the improviser.. became highly highly complicated.. people began to move farther from jazz.. believed in the mode/moods concept.. complex ways to harmonize.. John Coltrane was cacophonous at times.. with the influence of drugs, his music was crazy for the common people like me.. only purists love Coltrane for his technical contributions to music.. very very difficult to understand..

the hardbop era
was a swing to the bebop times.. people felt enough was enough.. cold jazz wasnt working.. Wes Montgomery -- a poor boy without any technical knowledge began to play the guitar, in a real terrible fashion for the purists.. since he had no formal training, he was clearly out of the bounds...never played with the fingers.. just the thumb... . lead to a new style called the octaves.. towards the end of his career, his pieces became boring.. and mostly octaves.. his influence was profound on guitarists to come..

the transition
George Benson could be considered the father of this era.. he was responsible for the transition from hardbop to smooth jazz... he made it lighter, softer, more pleasant, romantic,, more commercial.,.. trying to make it mainstream.. his earliest compositions were of bop influence.. bop - difficult to play.. fast chord changes

the smooth jazz
the focus was on jazz as a relaxant.. confluence of R&B, soul and jazz.. appealed to the masses.. Bob James (Piano), George Benson (guitar, vocals), Earl Klugh (acoustic guitar), Dave Sanders (sax), Chick Corea, Norman Brown, Dave Koz, Brian Culbertson, Rick Braun, Fourplay, etc.. still had improvisations.. but less aggressive and daring.. not many risks.. still retained the form of jazz.. purists however look at it in a denigrating way.. but, smooth jazz has its own dedicated crazy cult following.. the beginning of a new era in jazz...

[Personal Communication, David Hernandez, an aspiring and talented Guitarist passionate about Jazz, Texas A& M University, College Station]

Indianness XI - The December Season...

2006-01-02T13:00:00.000-08:00

From the Tamaso Ma Jyotir Gamaya archives, posted on December 18, 2005

Madras, the metropolitan city of India metamorphoses into a musical and spiritual seat of intense intellectual activity during this December season. A city known to have only three types of climate - hot, hotter and hottest truly comes alive with its now unbeatable and unparalleled musical climate. It is not wrong to say that December sees Madras becoming a Carnatic music stronghold at its best.

Living legends, established contemporaries, budding talent; basically musicians of all kinds - perform, enthrall and inspire an audience on a purely intellectual and musical basis. The rapport that the musicians share with the rasikas is inexplicable. It needs to be that way. The rasika needs to be musically tuned and technically sound to appreciate the concerts better. This might very well drive away the ignorant many from such concerts.

The author finds this beautiful city and musical heritage grappling to come in terms with the harsh reality. It should not lose out on this tradition because of lack of patronage from the rasikas. It is an altogether different issue that the Carnatic form with its strong foothold on the devotional and spiritual aspects of Hinduism, is in a better state; than its counterpart from the north - the Hindustani form.

This question also brings a smile to the author's face. How would this Carnatic fortress respond to Hindustani concerts during its prime season? As usual, I have digressed from the topic of discussion. So, what is the reality?

Most concerts have limited audience. A rasika is becoming more of a rarity. Such atmospheres are depressing for the musician, the sabha as well as the rasika.
An increasing divide between the musician and the appreciative audience. Classical music is becoming more and more esoteric day by day. It is indeed ironical that a light music function or a rock/pop concert by a world-famous band draws a huge audience willing to pay as well as "appreciate" them.
The Americanization - has its own share of merits and demerits. What can the musicians do if their music finds a greater and much more appreciative audience in the US? The honorariums will be higher (thanks to the supremacy of the USD) and their preference is perfectly justified for music is also their prime vocation.

But then imagine this purely fictional anecdote. A typical scene in a contemporary(?) South Indian household during the December season.

The fledglings have grown wings and flown. The elderly couple continue to live in Madras for sentimental reasons. This is the much awaited Marghazhi season. The couple is highly enthusiastic and is brimming with eager expectations. Let me call them Shri and Shrimathi.

Shri and Shrimathi wake up early every day (say, 4:30 AM). Marghazhi tunes(Tiruppavai's) are playing in the background. The servant maid comes at 5:00 AM and has made the kolam for the day. The milk-man has come and has delivered the day's quota of two aavin milk packets. After having the required dose of pure filter coffee, the couple go out for their daily walk (as recommended by the doctor and their children; few know that the walk is the most anticipated activity of the day for the couple).

The HINDU has arrived by the time they are back. Shri goes through the concerts for the day. Shri jots down a few concerts he is interested in. Shrimathi is not happy that her opinion was not considered. They have a friendly quarrel arguing as to which concert for that day will be the best and worth attending. After having chosen the concert, sabha and the musician who will grace their evening, they spend the rest of the day with coffee, prayers, lunch, siesta, coffee, etc. The unavoidable discussion on the current dismal state of musical affairs comes up.

5:00 PM. Shrimathi dressed in a Kancheevaram pattu saree with appropriate jewellery and a string of jasmine flowers on her hair is ready for the evening. Shri, has one look at her, and blushes and feels all young once again. Both are fortunate to have one another, especially more so when the fledglings are in the US! The couple go on a romantic date to the kacheri. 3-4 hours of bliss. The musician enthralls them with a virtuous display of Ragas, Krithis, Ragam Tanam Pallavi's, thillanas, etc. and the couple is so happy to be musically alive.

A day well spent. Who really cares as to what the world thinks? Retired life, a prime time of their lives, to make up for all those years of hurried life - corporate success, children, financial worries, etc.

..... Such simple pleasures in life make life all the more beautiful, wonderful and worth living for.

Music - the road to salvation...

2006-01-02T12:58:00.000-08:00

From the Tamaso Ma Jyotir Gamaya archives, posted on October 25, 2005

The author was treated to two scintillating Hindustani concerts this weekend. The concerts vindicate the truth that music is the road to salvation. The world couldn't have been any better. Nothing else seemed to matter. It was like a flying dream. There are certain things in the world that cannot be expressed. Expressions of Silence would be the best approach. Nevertheless, I want to write about these concerts and the musical aspects in my own humble way.

Hindustani Classical Music, with its highly romantic concepts of Ragas for the moods and the time of the day, does touch the heart of a person. This post is not meant to denigrate other forms that exist in the world. The emphasis is on the Hindustani form alone. All other forms converge to the road to salvation.

What was special about the two concerts was the universal nature of the recitals. Instrumental Khayals, could be appreciated by a western audience too. Languages often prove to be a barrier for the proper appreciation of music.

Concert #1 A Sitar Recital

A contemporary sitarist, of the Maihar Gharana, Sri. Partha Bose enthralled an audience of around 150 people, with his virtuousity on the sitar. Sri. Gourisankar accompanied him on the tabla. He started off with an elaborate essay of Raga Patadip, an afternoon raga. He ended with a light classical composition on Raga Khammaj.

An interview with Sri. Partha Bose can be found here.

Concert #2 Sarode, Sitar and Jugalbandhi Recitals

Dr. Shankar Bhattacharyya, a disciple of Ustad Ali Akbar Khan Sahib since 1982, treated us to Raga Zila Kafi, a late afternoon raga, a mixture of Raga Kafi and Raga Zila. He followed with a short composition of Raga Tilak Kamod.

Sri. Indrajit Banerjee, a senior disciple of Kartick Kumar, a senior disciple of Pandit Ravi Shankar, played three different Ragas - Desh, Charukeshi, and Piloo.

We were fortunate to witness a Jugalbandhi of Raga Manj Khammaj by these two musicians, that definitely reminded me of the great Jugalbandhi duo Ustad Ali Akbar Khan and Pandit Nikhil Banerjee.

One word that would best describe the performances - sparkling.

***

Words failed me. I was speechless. Silence would be the best way of expressing the aesthetic and emotional impact of the concert. This brings me back to the question of surrender. Is it all right to emotionally surrender to musical compostions? Is it all right to be just musically alive and break down each composition for a detailed analysis of the technical aspects. I feel that it is all right to emotionally surrender to a musical piece within the gambit of the technical aspects. Sounds vague, right? Well, music has been a road to spiritual bliss and emotional contentment. The rasas and the bhaavas of the compositions are for us to discern and appreciate. It is a circular loop. What starts with feelings and moods has to converge back to the same.

***

Isn't it a wonder that music had, has and would continue to hold its own appeal among the people of the world. Life without music, unimaginable and frightening.

Anahata...

2006-01-02T12:57:00.000-08:00

From the Tamaso Ma Jyotir Gamaya archives, posted on May 31, 2005

Anahata means unstruck sound. Life, the whole of existence, is made of subtle vibrations of sound. There is only music - that music is Anahata, and to experience it is to know what bliss is. That state of elysian and sublime bliss. How would life be if it were to be devoid of sound, music and the assorted mind-boggling variety of exotic and esoteric instruments?

The genius of man.

The genius of innovation.

The genius of creativity.

The spirit of evolution.

The spirit of enlightenment.

The spirit of determination.

It is with a feeling of deep gratitude, reverence and love(yes!) for those evolved souls that I am penning this article down. I bow to them all. They who played with the instruments in their quest to bring out the unstruck sound - Anahata - within themselves to an enjoyable and blissful form. They who constructed the instruments on the basis of instinct, intuition and science. Most things in life do have a scientific basis. But then, has everything been done keeping that basis in mind for the first time?

This is not a comprehensive list. From whatever instruments the author has come across or rather heard, a mention of some with reference to certain genres so as to further hightlight the genius of man. I always have the licence of being a non-musician.

Carnatic - Voice, Violin, Veena, Flute, Jalatarangam, Saxophone, Guitar, Mandolin, Mridangam, Ghatam, Tanbura, Nadhaswaram, Tavil, etc.
Hindustani - Santoor, Sarode, Sitar, Voice, Flute, Tabla, Guitar, Veena, Violin, Sarangi, Shehnai, Pakhawaj, etc.
Jazz - Piano, Voice, Guitar, Saxophone, Trumpet, Cymbals, etc.
Western Classical - Piano, Stringed (Violin, Viola, Cello, Double Bass), Lute, Harpsichord, Percussion Drums, Flute, Oboe, etc.
Others - Saz, Balama, Ukulele, Banjo, etc.

PS: Well, being deprived of the faculty of hearing would make life an unstruck sound. At times when I think of such things, I feel totally helpless. It is beyond my circle of influence and control. All that I can do, is to pray and sincerely hope that He/She gives them the much needed confidence, fortitude, determination, courage, etc. to carry on with their lives.

Indianness VI - Carnatic Music....

2006-01-02T12:54:00.000-08:00

From the Tamaso Ma Jyotir Gamaya archives, posted on May 02, 2005

I bow down in reverence to all the souls who are/were musicians in this demesne of music - Carnatic Sangeetham. I sincerely hope that they overlook the mistakes that might seep in; as this person writes about it. I might have partially written about this elsewhere; but this is the first time, I am writing about it in completeness(?).

Carnatic music - with its strong emphasis on rhythm, melody and feelings - provides the fundamental, essential and harmonic basis for India's rich cultural heritage. Hindustani music, its sister, on the other hand has nevertheless been influenced by West Asia. Essentially South Indian, with compositions predominantly in Telugu, Kannada, Tamil and Sanskrit; this form of music has withstood the test of times and invasions. Despite the absence of unity among the people, this art was nevertheless heavily protected. The Guru-shishya parampara school of thought helped in more ways than one. It is a closed form in the sense that it would be very very difficult for an outsider to truly appreciate it; and most of the technicalities would be considered esoteric. Most compositions were part of the Bhakti movement - which believed in attaining salvation through the path of Bhakti yoga. Hence, they were related to the divine masculine and feminine faces of the Trinity.

Purandaradasa, the Father of Carnatic Music laid the foundation for a systematic approach to the impartment of this musical form. The Trinity of Music developed it based on the Melakartha system with divine mellifluous compositions. It provides no scope for improvisation (barring the alaapanas); infact the musicians do not want to improvise; and the rasikas do not want them to. It would be indeed blasphemous and amount to showing dis-respect to the composer. Each krithi is rendered only in that raaga, so desired by its composer. So many luminaries have helped sustain this form of music. The festive kacheri season sees many concerts during this time by musicians, both young and old; rising and established.

So, is this form limited to the few (sadly, yes) people who know it or appreciate it? I don't know why, but somehow it is the common opinion that this form is limited to Brahmans alone. I am not really sure about the element of truth in this opinion. Would it be difficult for non-Brahmans to appreciate it if they want to? Would it be difficult for people of other religions to appreciate it if they want to? And, do these "differences" exist in this era of nationalization and globalization?

It is our's, India's jewel on her crown. We are responsible for its sustenance and fortunately, we can do so in more ways than one (however small and insignificant).

1. Attending the kacheris. Nothing comes for free. A Rock/Pop concert by a famous star/group attracts people, who have no qualms whatsover in paying hefty amounts as entrance fees. The music is heavily commercialized and contemporary with its own appeal. Do we really understand the elements of music during these concerts? It is most often a time to be among the hep crowd. So, what's wrong in attending a carnatic music kacheri even if one doesn't truly understand its elements? In what way is it less fashionable?

2. The young, new, and rising musicans hold the key for the sustenance of this art form. Support them in every possible way. They need us and our encouragement. Remember that most of them, would have chosen this as a vocation. They are dependent on this for their living. Money shouldn't be a limiting factor for them which could possibly force them to seek alternative vistas. The music form needs them more than the musicians need it.

3. Purchase original CD's/cassettes. That is the least we can do. Say a complete NO to piracy.

4. Our not knowing the languages - Telugu, Kannada, Tamil and Sanskrit, shouldn't deter us from trying out carnatic music with an open mind. When people consider it fashionable to learn French/German/Spanish, what stops them from learning a new language?

5. It is an Indian art form that has amazingly been protected. It is pure, virginal and blissful. We, as the responsible citizens of India, should do our best in ensuring that it remains that way.

Just like a flower has no religion, Music also has no religion. - Amjad Ali Khan

There can be no bigger folly than failing to appreciate what is ours.

6. Encourage children who are learning some form of Carnatic Music. They should know about the glory of this form. They should know that they are among the (fortunate few!) potential stones being polished to become diamonds. I do not imply vulgar glorification. In the present times, young children are more attracted to filmi/contemporary western music. They consider it hep to be among the crowd. I am not saying that they shouldn't be exposed to other forms of music. Too much of anything is madness. What I am really against is their lacking respect for any form.

7. Encourage organizations like SPIC-MACAY and others that help in promoting musical awareness among youth. The youth and children hold the key! They are the ones that need attention, encouragement and guidance.

.... and so on.

Pursuit of Arts...

2006-01-02T12:53:00.000-08:00

From the Tamaso Ma Jyotir Gamaya archives, posted on March 08, 2005

One of the sweetest-cum-bitterest ironies in life is related to the pursuit of arts; be it any art form! From the author's personal experience with people from almost every walk of life and himself, the irony can be explicated thus:

(a) Few view the pursuit of arts as a vocation. In this rat-race, where money seems to be the ultimate objective, arts is somehow treated as a not-so-lucrative opportunity. Arts - the expression of the soul, the process of self-discovery and re-discovery is not given its right place in the society. And whoever does pursue it as a vocation and becomes an icon/stalwart in his/her area of concern and influence, is considered a born genius or virtuoso. His/her toil, suffering, sweat, hardwork, perseverance, sacrifices, determination, etc. are simply forgotten.

Fortunate set of people who would be following their dreams. I bow down in reverence to these noble souls.

(b) Now comes the interesting part. The others: the majority of the people.

Some believe that they are interested in some other field (say Engineering, Medicine, etc) and consider arts as a hobby. They indulge in their passion, sometimes surrendering to them. Their hobby happens to be a way of life for them, at the microscopic level. They utilize whatever art form has been taught to them during their childhood and express their feelings through the right medium - Arts. Fortunate set of people, who seem to know what they want. Period.

Another segment of populace in this category, does not do anything at all. Whether it is a case of keeping passion at bay or lack of interest or lack of sensibility, it is clearly not evident. They however, are interested in something, that often seems to be vulgar or insensuous. Again, fortunate set of people who seem to be happy with their "non-art" way of life.

The "unfortunate" set of people fall into this subtle category - that is completely different from the ones mentioned before. They are grappling and coming to terms with life. They are caught in this whirlpool of life. They are the inbetween. They are crazy of arts but havent done "much" when it comes to the true pursuit. The world treats them to be eccentric characters - professing love and passion for something at the wrong time. Would it be possible for someone to learn bharatanatyam at the age of 50??? I know of an individual, who started learning it at the age of 45. I admire him for that. They have no reason to feel superior or inferior. It is just that they are slightly late by certain number of years.. but then, once they have realised their passion, I guess no one can stop them! So, these unfortunate set of people are in fact the most fortunate, provided their dreams come true, and importantly, they have the courage to follow their dreams.

The lesser unfortunate ones are those who have sacrificed the pursuit of arts, for reasons unfathomable. And usually, the sacrifice would have demanded this pound of flesh. May God give them the fortitude to carry on in whatever pursuit they have been forcefully made to choose.

The most unfortunate ones are those who have learnt an art during their formative years for the sake of learning them. They happen to be good at it.. but fail to realise the true beauty. For example, someone who plays amazing piano and fails to appreciate one of the piano sonatas of Beethoven (despite playing it well). For them the composition is nothing more than a chore, something that is only meant to be played because they unfortunately know how to do so. Well, this is the bitterest form of irony in life.

Sensibilities...

2006-01-02T12:52:00.000-08:00

From the Tamaso Ma Jyotir Gamaya archives, posted on March 07, 2005

Expectations run real high when it comes to others. When somethings are so obviously beautiful and wonderful for me, it might not be so for others. This is a rather painful realization and it hurts. This author is dangerously crazy of books. And he has a few good friends who do not read at all. Then there are some who are crazy of solving crosswords, and I happen to be not so crazy of them.I take it as a pleasurable activity, but am not crazy of them. So, they must be having similar feelings about me.

When it comes to others, people indeed do have the sensibility to appreciate something from the bounties that the world has to offer. No one can be that insane or heartless. There is definitely a passion for something in everyone. It so happens that some people keep those passions at bay rather than surrendering to them. (Eleven Minutes, Paulo Coelho).

Coming back to the original thread of sensibilities, why do not people react to those things that are obviously beautiful and wonderful? I categorise people into two broad categories.

(a) the intolerant - they do not try it out. They are happy with what they like, or rather they like what they know. It is not prudent to work with such kind of people. We need to be tolerant towards such intolerant people. Period.

(b) the tolerant - well, these are the people who are willing to try it out, but are "unable" to appreciate them. For e.g. it would be illogical to expect a person "inclined" towards western classical to appreciate one of the symphonies of Beethoven in its truest sense or appreciate counterpoint in one of the concertos of Bach almost immediately. Sensibilities need to be cultured and developed the hard way. It is a long long process that can prove to be demotivating many a time. This author is more concerned with such people, for he thinks he is also one of them. These people need to be encouraged and helped in their journey.

The most important realization is that every body has that innate sense for sensibility to something wonderful. It is just that everyone is uniquely different and naturally their sensibilities different. It is simply not justifiable to have that air of superiority or inferiority.

Art forms...

2006-01-02T12:49:00.000-08:00

From the Tamaso Ma Jyotir Gamaya archives, posted on March 05,2005

Well, I had been to an International talent show and dress parade event today. Was a silent witness to the culture, tradition, art forms of exotic countries like Peru, Columbia, Mexico, Indonesia, India, Turkey, Africa, Philippines, China, Japan, etc. Well, every citizen of a country, now an alien in the US seemed to connect really really well with his country. The strong patriotism and an overwhelming feeling of love for his/her motherland seemed inevitable. Does this hurt those advocates of global citizenship?

I couldn't help making these observations.

-- Most Latin Dance forms are a pot-pourri of the African influence of rhythm and the inevitable lyricization in the European language (Spanish/Portuguese) with the indigenous Indian melody . The universality of this is there.. but nevertheless the influence of the African slaves and the European imperialists is clearly clearly there. So, the originality has been lost in the process, leading to something new.

-- Turkey, a country that has a diverse population and is a melting pot of cultures - is in a dichotomic state of belief. While one half believes it is a part of Europe, the other half believes it is a part of Asia. The influence of Europe is evident.

So, is it wrong to be influenced by other forms? Well, coercion is never justifiable. The influence should come from the personal embrace of a form that interests us.

-- Well, Africa, the dark continent seemed to have been of a great influence to many other dance forms and music styles. The contemporary jazz in the US, considered to be one of the originals of America, has its roots in Africa. African slaves came up with jazz, in their effort to duplicate or replicate Western Classical Music by hearing. Mistakes and re-inventing the wheel has lead to this creation of a totally, new yet wonderful art form.

-- India.. what can I say about thou? It was a great comfort that Indians resisted the influence of the British when it came to their art forms. Agreed that Sanskrit, Hindi, Urdu and Gujarati are a few of those Indo-European languages, nevertheless, they managed to clearly evade the European influence post 15th century. Carnatic Music is as pure as it can be - a tradition that has been preserved and passed on from generation to generation, thanks to the guru-shishya school of thought. Hindustani Music, has Persian and Arabic influences, but is also as Indian as it can be. The Indian art styles, dress forms, traditions, way of life, etc. have stood the test of their times, even when most of the country was in a state of complete turmoil with internal bickerings and absence of unity.

When things are clearly indicative of the greatness of the Indian schools of Art (not that the other forms are not great) , why is it that these so-called modern Indians take great pleasure in denigrating these jewels, that are very well their own. They have every reason to be passionate about them. This is not to mean that we need to be narrow-minded appreciating only what we claim is ours and be blinded to the other wonderful forms. Reaching out to the others does wonders to your outlook and way of life, but that shouldnt be at the cost of what is clearly ours.

From personal experience, Bengalis are really really passionate about their culture, art and heritage. But, their overwhelming zeal, sometimes, translates to narrow-mindedness and love for only the Bengali side. With regards to carnatic music, sadly, there are a few people who tend to view the songs on a regional basis. Well, most of the songs are in Telugu and Kannada. Some people find it difficult to digest this truth. How many of us Indians, are truly passionate of Indian music? Present day generation has no qualms paying fortunes for a Rock/Pop concert but when it comes to traditional Indian concerts, they start cribbing. And the copyright laws is also an area of concern where hypocrisy happens to be a way of life. People are really careful of the copyright laws when it comes to anything Western, but when it comes to anything Indian, no one bothers!

Well, be passionate of what is in your house, be appreciative of what is in your neighbour's house, be truly open-minded and see the beauty in almost everything. We have nothing to lose.

Disclaimers:
1.Well, maligning any particular community or country or race was never the intention. I look at it from an art lover's point of view. Expressions of frustrations and helplessness have nevertheless seeped in. I do apologise if I have hurt the feelings of any reader (who has taken the time out to read this simple guy's jottings).
2. I am NOT an authority on the issues discussed. Mistakes are bound to be there, be it factual (when it comes to my opinions on the historical side) or elementary (on the variety of art forms discussed). I do accept them and would really appreciate the feedback and corrections, where necessary.

Music...

2005-12-29T15:43:00.000-08:00

Tamaso Ma Jyotir Gamaya, is now coming up with a new blog Endaro Mahanubhavulu dedicated entirely to music. This blog is meant to be a journey in music - from a state of total ignorance to the state of lesser ignorance. One can never be complete when it comes to music. Others are welcome to join me in this quest - to light up the world when it comes to music. Music of all kinds will be treated on a fair basis without any discrimination.

I am a beginner. I am an insignificant speck in this universe. I hope to imbibe the spirit of Tamaso Ma Jyotir Gamaya in this blog. I bow down in deep reverence, love and gratitude to all the great souls who have made a contribution to music - be it saints and musical greats, living legends, established contemporaries or budding talents. Salutations to all those great men (and women) in this world !

I will quote citations and references where necessary. The readers are advised to take my opinions with a pair of tongs - for mistakes are inevitable. Corrections are welcome. A heavily ambitious project. There are already numerous sites doing justice to their philosophy of existence. Only time will tell, as to how this project progresses. Even if one soul, finds sense in this blog, and gets interested in some form of music, I would consider that as a job well done.

Lastly, people in my life have been so so generous when it comes to imparting their musical knowledge to me. I dedicate this blog to them.

PS: A series of posts taken from its parent blog Tamaso Ma Jyotir Gamaya, posted again, for the sake of completeness.