Music And Movies

(Bombay Ravi) Last week, one of the famous music directors, Ravi, passed away. He had two names, Ravi while in Bombay and Bombay Ravi, while in Kerala. I like Bombay Ravi more than the Ravi without the qualifier.  Ravi composed many Hindi songs which are everlasting. Songs such as 'Chaudvin Ka Chand', 'O Meri Zohra Jabeen', 'Baar Baar Dekho', 'Dil Ke Armaan', 'Neele Gagan Pe Tale' : to give a few samples. The saying is, "To the dead we owe only the truth." So let me confess that I have never been a great fan of Ravi's work in Hindi films. Yes, I like some of the songs listed above but overall I have never been too fascinated by the songs he composed in Hindi. Somehow I couldn't relate much to the big hits like 'Neele Gagan Pe' or 'Chalo Ik Baar'. The tunes did not hold much fascination for me and the fact that Mahendar Kapoor was involved made it even more difficult to appreciate the song. In essence, t...

Some carnatic ragas have inherent resistance in adapting to film music. They cling to their carnatic character tightly. Ragas like Begada, Sahana, Bilahari, Kedaragowla, Surati, Anadabhairavi, Bhairavi etc. are examples. (I have spoken about this in a earlier post as well.) Film music has its own set of genius music directors who were able to adapt such 'tough' ragas to film music successfully. We have earlier in this blog discussed Dakshinamurthy Swamy's adaptation of Begada , S.Rajeshwar Rao's adaptation of Bilahari and Illayaraja's take on Todi . Today we will talk about one more such 'tough' raga: Natakurunji. This raga also clings tightly to its carnatic character. The added challenge is the fact that it is easy for this raga to stray from this raga into other ragas under the flimsiest of pretexts. (Whenever I try singing Natakurunji I stray easily into either Shankarabaranam or Neelambari!!! Ofcourse that says more about my singing ability than...

(Ganesh Kumaresh) Given my work commitments it is becoming difficult to keep posting regularly. Yet sometimes something happens which makes you drop what you are doing and jot down your thoughts. A good friend sent me a youtube link of Kumaresh (of Ganesh - Kumaresh duo) giving a TED lecture cum demonstration at NIT Suratkal (as per the video.) This set me thinking. I wanted to jot down my thoughts. First, here is the  youtube video: It is a nice video. Do listen to what he says and also listen to his playing of Begada ragam. I am sure you have heard what he said but just in case you skipped (or are behind a firewall which doesn't allow youtube), here is the crux of what he spoke. Instrumental music is very different from vocal music. In Carnatic music all instrumentalists play the krithis. While the words of the krithis are good for vocal music, they are not necessary for instrumental music. So they (Ganesh and Kumaresh) play pieces where they explore a raga wit...

(Hirabai Barodekar) "What is the Hindustani equivalent of Carnatic Aarabhi?", asked a friend on twitter. With confidence ignorance instills, "There is no Aarabhi in Hindustani", I replied. Doubts started seeping in after I replied and I started my search and hit this song on youtube. It is Hirabai Barodekar singing what appears to a Marati Natyageet and the title says it is Aarabh. The song sounds close to Aarabhi. At the same time I also hear a lot of Suddha Saveri in it. So it may not be an exact equivalent to Carnatic Aarabhi. Yet I don't hear it as straigh Durga, which is the Suddha Saveri equivalent. In Carnatic music, Aarabhi, Suddha Saveri, Devagandhari and Saama are close to each other based on the notes they use. I believe Aarabahi and Devagandhari have the same set of notes. They differ in the way the notes are sung. S.Ramanathan, in one lec dem, demonstrates how Aarabi and Sama share the same notes and yet differ in the nyasa swara used....

(Vieux Parka Toure) How different cultures and countries across the world use various ragams has always fascinated me. I had earlier posted about how Mohanam in available almost throughout the world and also about Azebaijani Todi . Yesterday late at night, my twitter friend Vipin Nair (@MusicAloud) sent me a clip of African music asking me if the ragam played was Madhyamavathi, Sree Ragam or Brindavana Saranga. (Vipin had got that clip from his friend @aiyerravi ) When I heard the clip, I was amazed by the playing of the guitarist (Vieux Parka Toure). The playing was crisp and every note sounded so clear. And very importantly, I heard a lovely Brindavana Saranga. This was a revelation to me. I have heard Madhyamavathi in various settings but Brindavana Saranga, to me, has been confined to Carnatic and Hindustani music.   Following some threads from the youtube clip, I came upon some Algerian music. In this I could hear Madhyamavathi. Ragas like Suddha Saveri, Suddha Dhan...

(M.S.Baburaj) A lot of South Indian Film Music directors were influence by Hindustani Music as well as by Hindi Film Music directors. You can find the Hindustani strains in lot of films songs of Telugu, Tamil and Malayalam. 'Karnan' (Tamil) is an excellent example of North Indian influence. The hugely popular 'Sivashankari' ('Jagadekaveeruni Katha') is another example. One of the music directors from Malayalam film industry who was very much influenced by Hindustani music and Hindi film music was M.S.Baburaj.  (I realized quite late that I have not written about this excellent music director. I had written about the other greats of Malayalam film music but somehow missed him. As they say, better late than never.) I first came to know about M.S.Baburaj through a piece on Janaki written by Saravanan in dhool.com. In that article Saravanan compared Baburaj-Janaki combination to Madanmohan-Lata combination. When such a comparison is done, it is bu...

 (Lakshmikanth Pyarelal) The last song on the 'Chitrahaar' program was 'suno sajna'. We had all gathered in the TV room of or gymkhana to watch the program. Once it ended, the discussion started. Those were the times when we were learning to identify the signature of the music directors. Who could be the music director of this song? Was it Madanmohan or Roshan or Salil? Lot of names were proposed by Siva and me and were disposed off. Probably unable to overcome his hunger pangs, a vexed Krishnamohan said, "For all the debate, it may end up being a Lakshmikanth Pyarelal song." All of us laughed out loud. The discussion ended with us proceeding to the canteen for dinner. It was Lakshmikanth Pyarelal who had the last laugh. That song from the movie, 'Aaye Din Bahar Ke', was indeed tuned by them. The incident clearly indicates the image that Lakshmikanth Pyarelal had in our midst. We had grown up with lot of their songs and unfortunately could ...