Ragamala Vol. 7: Yaman/Kalyani

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This volume of variations on raga Yaman opens with a modern jazz-influenced rendition by the Neel Murgai Ensemble.  A New York based ‘chamber’ quartet led by sitarist Murgai, NME creates intricate, finely spiced musical atmospheres that draw on Indian classical, jazz, and gypsy music.

Also included is bansuri master Pannalal Ghosh‘s beloved Yaman, a couple of film songs from Umrao Jan Ada (1981) and Junglee (1961), Farida Khanum’s spectacular romantic ghazal Woh Mujh Se Hoay Humkalam Allah Allah as well as interpretations in a Western classical and contemporary jazz setting.

Yaman, also known as Kalyani, is by Indian classical music standards a relatively un-ancient raga. It first emerged in the 16th century with some claiming it was a composition of Mian Tansen and that he based it upon a Persian structure known as ‘Ei Man’. In Pakistan and Afghanistan the raga is often referred to as Eeman (in many varied spellings) and I have concluded this collection with a wonderful Afghan take on the raga  by Ustad Mohammad Omar, the famous rubab player.

Yaman emerged from the parent musical style of Kalyan, itself a style of classical Carnatic musical tradition called thaat. Considered to be one of the most fundamental ragas in the Hindustani Classical tradition, it is thus often one of the first ragas taught to students. In the context of traditional standards of performance, Yaman ragas are considered suitable to play at any time of the day, but they are traditionally performed in the evening. (Wikipedia).

Given its close relationship to Carnatic music the centerpiece of this collection is a stunning live recital by South Indian/Sri Lankan violinist L. Subramaniam and shenai nawaz Ustad Bismillah Khan. Listen carefully to this piece and to the playfulness, mastery and virtuosity of both musicians as they play off each other. It delights and enshivers!

Rudresh Mahantappa‘s group Dakshina Ensemble which features South Indian saxophone innovator Kadri Gopalnath and Pakistani American guitar whiz Rez Abbasi also explores the Carnatic original in their massive track Kalyani.

I hope you enjoy this collection as much I do!

Yaman

Track Listing:

01 Evening In A_ Raga Yaman [Neel Murgai Ensemble]

02 Raga Yaman [Pannalal Ghosh]

03 Zindagi Jab Bhi [Talat Aziz]

04 Raga Yaman [L Subramaniam and Bismillah Khan]

05 Yaman Kalyan (Largo moderato)[ Zubin Mehta and Ravi Shankar]

06 Ehsan Tera Hoga Mujhpar [Mohmmad Rafi]

07 Raga Emen Kalyan [Pt. Pratap Narayan and Kankana Banerjee]

08 Kalyani [Rudresh Mahantappa and Dakshina Ensemble]

09 Woh Mujh Se Hoay Humkalam Allah Allah [Farida Khanum]

10 Shakal and naghma in the melodic mode of Emen (Yaman) [Ustad Mohammad Omar]

YAMAN

Multi-coloured soul: Susheela Raman

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Queen Between, Susheela Raman’s 2014 album, is grownup music by an artist of exceptional quality. When I say ‘grownup’ I mean, mature, substantial, packed with musical nutrition, polished and accomplished. I do not mean serious, ponderous or boring.

 

Raman, of Indian Tamil (Thanjavur) origin, was born in the UK and grew up in Sydney where she began exploring her gift in a number of ‘funk/rocknroll’ bands. In 2001 her debut album Salt Rain (highly recommended) caught the attention of the British and European progressive music scene, garnering her a shortlisting for the UK’s prestigious Mercury Award.

 

In Queen Between on which she jams with and is supported by Indian/Pakistani musicians as well as Tony Allen (Fela Kuti’s long time drummer), Raman takes us on a journey into her multi-coloured soul.

 

Sharabi, opens the album with a nod to the sharabi qawwali popularized in the late 70s by Pakistan’s giant king of qawwali Aziz Mian. Sharab literally means, wine/liquor, hence sharabi is generally a pharase used for a drunk. But in the context of qawwali there is always the hidden implication of spiritual intoxification and it is this ecstatic feel that infuses Sharabi.

 

The qawwali theme is woven throughout the album, flowering up again in the beautiful Sajana (Beloved) and the killer final track Taboo. The former settles into the familiar male voiced clapping/chorus on top of which Raman sings of anguish, pain and love sounding like a cross between PJ Harvey and a whirling dervish. The atmosphere is explosive and intense: harmonium, men chanting ‘sajana’ over and over, and guitars acoustic and electric picking and stabbing out their riffs.

 

Taboo which closes the album is a tour de force; a mythic, tale of soul-searching and mortal caution. One thinks immediately of Dylan’s epic story songs like Idiot Wind or Isis. But then we are pushed into some desert shrine in the faraway Tharparkar Desert where ecstatic, frenzied qawwals invoke god and all the saints, long into the night. The drama ultimately subsides and gives way to the very sounds of the Universe which carry, sparkle and whisper the majestic piece to its subdued end.

 

Karunei, sung in Tamil, is another gem. Acoustic guitar and traditional Indian mouth harp (morchang) form an electric nest for Raman’s stunning, resonant, slithering and orgasmic voice to do its dance.

 

The remaining songs, Corn Maiden, Riverside, North Star and the title track, are showcases of her rock n roll side. These vary in quality with Corn Maiden being the best of the lot. It moves like a freight train and Raman sings with a Coltrane like intensity.

 

The moods, rhythms and atmospheres of this album are several but the whole thing hangs together beautifully thanks to Raman’s spectacular voice and the qawwali.

 

I have no doubt this album will rank among your favourite after just a couple of listens. So much meat on this bone.

Queen Between

 

Track Listing:

01 Sharabi

02 Corn Maiden

03 Riverside

04 Sajana

05 North Star

06 Queen Between

07 Karunei

08 Taboo

SRQB

Masala King: Sundar Popo

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Hey everyone, it has been a long between drinks as they say down here in Australia. Other projects (such as writing one book and editing another, ramping up a business) have taken over my waking hours. Sharing music has paid the price.

But a good friend who does a bit of work for the Red Cross in the Caribbean recently returned from the region with a couple of CDs, including this one which we share today. The very best of the King of Chutney music, Sundar Popo.

The CD is excellent with all the big hits and loads of fun. Drinking, pleasurizin’ and groovin’…the great three elements of West Indies Asian sound…chutney…are all here in abundance.

Here is a link to an article I wrote for Scroll.in a couple years ago about the man and his music!

Enjoy at full volume. And with a bottle of rum!

The Ultimate Sundar PoPo

Track Listing:

01 Nana & Nani

02 Don’t Fall In Love

03 Caroni

04 I Wish I Was A Virgin

05 Chaadar Beechawo

06 Hum Na Jai Bay

07 Pholourie

08 Bhouji Rahan Chalan

09 Cuss

10 Is De Spanner

11 Is De Spaner

12 Dotish Boy

13 Cold Water

14 Naina Band

15 Samdhi Bhara Ray

16 Suraji My Darling

17 Mother Love

Popo

Everybody Must Get Stoned: Sunday Sounds

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The exact moment that India finally embraced Flower Power is captured forever in the hypnotic and groping guitar riff that opens the hippie anthem “Dum Maro Dum” in the film Hare Rama Hare Krishna (1971).

That this cultural milestone was designed by director and film lead Dev Anand to warn Indians about the loose, drug-addled lifestyle of hippies, rather than embrace it, is the very definition of irony.

“Dum Maro Dum” became an instant hit. Along with Asha Bhosle’s sultry vocals, the acrid smell of charas (hashish) seemed to seep out of radios all across North India. The composer, RD Burman, used the song as a platform to fly at the loftiest levels of popular music for the next 15 years. A young Zeenat Aman, on whom the song had been picturised, shot to “national sexpot” status overnight. Even Anand confessed he had fallen in love with his co-star.

The song remains one of Bollywood’s all-time favourites, as evergreen as eternal young man Dev Anand himself.

Over the years, as reputations of Bhosle and Pancham da (Burman) grew internationally, “Dum Maro Dum” became a source of inspiration for a slew of artists all over the world. [full article]

Sunday Best

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For several years now I have been privileged to write a weekly column for India’s premier online newspaper, Scroll.in. The column is called Sunday Sounds. I consider myself privileged for a couple of reasons:

  • I have been given a very wide and liberal brief. Essentially, I can write and share music of any genre, type, style or artist so long as it has some connection with South Asia.
  • As I’ve prepared for each week’s column I find myself researching and learning and discovering ever more about the incredible diversity and abundance of South Asian musical talent.
  • As a result of the column I’ve created a small following of fans many of whom are connected with the arts and culture communities of South Asia. In turn and through their good graces I’ve been able to begin other creative projects, such as writing books.

So to all the people at Scroll.in, especially its incredible editor Naresh Fernandes I say thank you.

There have been the more than 100 editions of Sunday Sounds thus far. To share my gratitude and joy I have put a small collection of just 25 tracks in a double ‘disc’ which I hope you will enjoy. If you’re already a fan of Sunday Sounds, you can look forward to more columns and fascinating music. If you’re a newbie, I hope you’ll log in to Scroll every Sunday and enjoy the stupendous and endlessly pleasing world of South Asian sangeet/musiqui.

This is diverse collection and reflects the Sunday Sounds mandate perfectly. You’ll discover South Indian rock fusion and fresh Pakistani qawwali. You’ll also find some English pop songs from the Beatles and Sam Roberts. Of course, there is quite a bit of South Asian folk music (one of my favourite genres), some ragas (both traditional and funked-up) and contributions from the South Asian diaspora in South and North America. In other words, quite a bit to keep a smile on your face for several hours!

Sunday sounds v1

Track Listing (pt. 1)

01 Panivizhum Malarvanam [Karthik and Bennet and Band]

02 Limbo Jazz [Wynton Marsalis and Sachal Ensemble]

03 Akhan cham cham wassiyan [Tina Sani]

04 NSA vs USA [Shahid Buttar]

05 Mustt Mustt [Brookly Qawwali Party]

06 Love, Love, Love [Shaukat Ali].

07 Sometimes I Feel Like A Motherless Child/ Mai Ni [Madeleine Peyroux and Sachal Ensemble]

08 Hai Sharmaon Kis Kis Ko Bataon [Tabla for Two]

09 People Power in the Disco Hour [Clinton]

10 Jokerman [Divana]

11 Light My Fire [Ananda Shankar]

12 Dear Prudence [The Beatles]

 

V1

Track Listing (pt.2)

13 Sialkot [Sunny Jain Collective]

14 Idhar Zindagi ka Janaaza Uthega [Attaluah Khan Niazi]

15 Taj Mahal [Sam Roberts]

16 Raag Megh [Zohaib Hassan Khan]

17 Charkha [Ustad Ameer Ali Khan]

18 Blues For Yusef [Lionel Pillay]

19 Soul Raga [Abbas Mehrpouya]

20 Api Sanasille [Wayo]

21 Raat ke sapna (Raatein Sapna) [Ramdew Chaitoe]

22 Hippie Hindustani [Bonnie Remedios]

23 Hello madam disco [Nahid Akhtar]

24 Sri Jimi [Prasanna]

25 Mere Ghar Aaja [Blind Boy Raju]

V2