No Time to Rest: Bollywood Brass Band with Jyotsna Srikanth

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Joytsna Srikanth is a London-based violinist with an amazing CV.  Classical singing training begins at age 5. But by age 9 she has discovered the violin and gives her first solo concert. More classical music (Carnatic and Western) training.  Gets her professional start playing for Illayraja in Tamil movies. Moves to London where she plays her violin for TV series on the National Geographic and  Discovery channels. In between performing with the likes of M. Balamuralikrishna (singer), Kadri Gopalnath (sax), Eduardo Niebla (flamenco guitarist) and Rao Kyao (sax) she organizes the annual London International Arts Festival.

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Oh yes, I almost forgot. She is a practicing pathologist too!

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Somehow in 2016 she found time to make an album with the English group, Bollywood Brass Band, a music collective the specializes in performing Indian folk, qawwali and Hindi film songs. The album is called Carnatic Connection and is comprised of what sound to me like South Indian film songs. Certainly there are a couple of A.R. Rahman compositions and I’m sure more than one by Illayraja.  All of the 14 tracks are-as you’d expect-lively and upbeat. Some are rather jazzy with Ms Srikanth sounding like  Jean Luc Ponty in fusion glory. Others are pure disco.  All in all good grooves, beats and lots of fantastic playing.

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Track Listing

01 Rakkamma Kaiya Thattu

02 Kehta Hai Mehra Dil (Kannodu Kaanbadellam)

03 Deva Deva Kalayami

04 Drum Dance – Chandralekha

05 Sword Fight  – Chandralekha

06 Jai Ho

07 Kehna Hi Kya (Kannalane)

08 Jiya Jale

09 Why This Kolaveri Di

10 Aa Ante Amalapuram

11 Rakkamma (Clap Clap Mix by Charlie Girl)

12 Deva Deva (Molly’s Bar Mix by Rob Kelly)

13 Drum Dance (Diamond Cut Mix)

14 Deva Deva Kalayami (Molly’s Bar Extended Alaap Mix – Rob Kelly)

BBB

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

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!

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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

Sunday Sounds: a new weekly feature

Dear readers and followers and friends,

I have mentioned from time to time that I write a weekly column on South Asian music for India’s award winning online newspaper Scroll.in. I’ve been doing this for over a year now and have developed a bit of a following, including among others Salman Rushdie and A.R. Rahman.

As the format is different from this blog, and always includes several videos, I’ve decided to post the article here on this blog every week as well.  So to get the ball rolling, here is this week’s feature. It is an interview with Indian jazz/rock/Carnatic guitarist Prasanna.

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http://scroll.in/article/731210/meet-prasanna-the-guitarist-ar-rahman-calls-a-living-hope-for-quality-music

Hope you enjoy it!

He’s a bloody good musician and fine person to boot!