Effervescent

This could come as a surprise to some.

This might even sound ludicrous to some.

But the fact remains that I have never been a Sridevi fan despite having grown up during the period when she ruled the hearts of millions of men (or should I say boys?). Though comparisons are odious, I consider the likes of Shobha and Phataphat Jayalakshmi more talented and spontaneous (of course, I am talking purely in the South Indian context now and therefore I am leaving out the names of great actors from the North). Even in terms of looks, there was that childlike face (anyway, she was a child as per Indian law until the year 1981) which somehow never appealed to my heart. And there was that touch of naivety in her dialogue delivery which too played a huge role in my forming an opinion..

My view changed slightly after watching ‘Jhonny’(though as a film, it was very disappointing as I went to the theatre with a lot of expectations). In a way, ‘Meendum Kokila’ was a turning point because for the first time I felt that she did have some real talent in terms of acting. ‘MoondRam PiRai’ confirmed it. But even then I did not accept her as a beauty...and then this happened.

Before I continue with ‘what happened’, let me confess that I never had any ‘dream girl’ during my formative years. The only person who was my ‘Dream Man’ entered my life with his music and he continues to be my Dream Man even now(yes, he is the only person to have appeared a record number of times in my dreams). Yet, I did appreciate beauty but still felt that the ‘Dream girl’ tag given to Sridevi those days was not justified.

That was when I watched a song on ‘OLiyum oliyum’ on DD. I felt I was seeing a totally different Sridevi. Somehow, that ‘childlike’ (or even ‘childish’) looks were gone and here was a dazzling beauty. It was a dance sequence and though she was not a great dancer when it comes to classical or semi-classical, this one was an exception.

I am surprised (and at the same time not so surprised) not to find reference to ‘Bala Nagamma’ in any of the tributes I read since yesterday. Yes, people always go with the tide and remember only the ‘popular numbers’ and refer those songs ad nauseam conveniently ignoring the other gems (it is a different issue that they are not aware of the existence of many other gems!). But this film was popular and many Raaja fans remember only ‘Koondalile’ though there are some more magnificent compositions in this movie (I have discussed 4 compositions in my other blog rajamanjari.blogspot.com some years ago).

In fact, the early ‘80s(1981 and 1982) was the period during which the Maestro started experimenting with some very different classical ragas in his films(examples- Kovil Pura, Thai Mookambigai, Kaadal Oviyam). It must be admitted that though he had scored for 100 plus movies, there was not one single album which was full of songs based purely on classical ragas .Though he had used ragas like Kedaram, Malayamarutam and even Khamas, these were just part of albums which had other melodies not based  on pure ragas.

When ‘Bala nagamma’ happened, he grabbed it with both the hands. This was his first mythological movie and he experimented with electronic sounds in the background score. But it was his experimentation with some beautiful ragas in the album which made sceptics accept and acknowledge his classical prowess ( he even used a very rare vivadi ragam which is seldom sung in a concert platform, but that is a different song, which, as mentioned before, has been discussed in my other blog).

What makes ‘PaLLiyaRaikkuL’  from this album most exciting is its sensuousness. That might sound too general and therefore needs more elaboration and I shall try and keep the technical details to the minimum. VakulabharaNam is a raga in Carnatic Music which has an unmistakable Arabic tinge. To a certain extent, this applies to Mayamalavagowla too and it is not a mere coincidence that the two ragas appear one after the other in the melakarta system with the former appearing first. It is not uncommon for film music composers to use this raga to give that Arabic effect(‘Pattathu RaNi’- Sivantha MaN, is a classic example).

Raaja sir must have used it in ‘PaLLiyaRaikkuL’ because the ‘Rakshasa’ who imprisons ‘Bala’ for marrying her, dreams about her in an inebriated state. And what a dream it proved to be musically!

There is so much of talk about world music now and sadly enough, not many in the present generation(and many in the previous generation and even previous to previous generation) do not seem to be aware of the fact that ‘world music’ entered Tamizh Film Music, many years ago. ‘PaLLiyaRaikkuL’ is just one of the classic examples.

It starts with an unusual sound (is it from the keys or is it from a new instrument? ). The trumpet blows in higher octave(though the genius composer hardly blows his own trumpet)setting the tone-literally and figuratively. Even as the sound sparkles with lustre, it goes out in a flash. If the trumpet gives the jazzy shades, the sound which appears again, gives the feel of a EDM(yes, in 1981!). But with a composer like ILaiyaraaja, can one predict anything? Isn’t his music known for that unpredictable element? The violin enters from nowhere and plays in higher octave with the style and the beats(claps) suggesting ‘Rock N Roll’! The bass guitar joins the violin towards the end and leads to the Pallavi.

The bass guitar sounds more resoundingly in the Pallavi which also has the electronic instruments and the resonant percussion which goes in the 4-beat cycle(chatushra ekam) in faster mode(mel kaalam). This is one my most favourite songs rendered by Uma RamaNan, whose voice and the style of rendering enhance the mood and the feel.

Bass guitar continues in the first interlude too, sounding a very brief melody in the beginning. The silence that follows for the next 4-beats yet again shows how much the composer values silence. What follows is a mix of Spanish and Arabic music with the guitar playing the same notes and an Arabic instrument moving with melodic ebullience. Yet another Arabic instrument takes over and smiles cheekily with the bass guitar backing like a karma yogi. The long flute draws a luminous arc with some special sounds from the keys making it mystical.

The vocals, the instruments and the percussion show us the Arabian Nights in the CharaNams. Towards the end, it shows us Madrid as well, essentially with the guitar which backs the vocals.

We see the classical Laya Raaja too who makes one set of percussion sound 1 2 3 4 and making the other set respond with – 2 3 4. The Master of varieties changes this pattern subtly in the second CharaNam where the percussion and the bass guitar sound 1 and 3 while the second set sounds only 3 and 4!

The second interlude sees the ‘Game of the guitars’. To start with, one guitar strums for 2 full rhythmic cycles(or 8 beats). The second guitar responds. The first guitar asks a question again. This time, the second guitar plays the same notes but sounds the bass string too. The second guitar then, goes on a trip touching the realms of ecstasy. Has Spanish Music ever been shown as beautifully in such a short span of time? I doubt.

The composer takes to Arabia again in the last segment with the typical Arabian instrument which is backed by the bass guitar.

It is Laya Raaja yet again in the third interlude but here he dominates the entire proceedings. To start with, it goes in the slower mode(keezh kaalam).Note that until now everything was moving in a faster speed. The 4 beats are divided into 16 micro-beats and the resonant percussion plays only the 1^st,4^th,7^th, 11^th and the 13^th. This lends a kind of preternatural feeling. Meanwhile, the Arabic shades continue to spread simultaneously with the melody from the keys. After 5-cycles, the momentum picks up and the pattern changes.. Two different sets of percussion again, but that is not all.

Tabla is an instrument which can be tuned and can even be made to play different ragas. There is also an instrument called ‘Tabla Tarang’ in which each Tabla is tuned to a particular frequency and the group when played together gives the desired raga. Here, the Master has tuned just one Tabla and by striking on the different parts differently, has made it sound VakulabharaNam. Now, the second percussion –which backs this one-, sounds only the even beats. This technique of ‘playing only the even beats’ is called as ‘usi’ and as far as I know no other composer has used it as prolifically, effectively and effortlessly as much has Raaja sir has done.

This pulsating segment is spell binding and carries us to a higher plane. The ultra-faster speed (ati mel kaalam) patterns in the end, is dazzling!

Vivacious, Bubbly and Mysterious- That is how one can put this composition in a nutshell..

...And that is how one can describe that actor who performed to this classic song!

                  

                  

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Portrait..

When asked as to how he composes such great tunes and how he places the right kind of swaras, Raaja sir keeps repeating  that he doesn’t plan anything at all and it just happens. In fact,  though this ‘it just happens’ is not new to people who have been following him very closely. Every time we listen to his songs we cannot but be left amazed at the melody of the tune as a whole and the magnificent and sweet sounds produced by each instrument. Most importantly, the composition  follows a raga pattern. Maybe this too ‘just happens’.

Look at ‘Andaalalo..’ from the Telugu film ‘Jagadeka Veerudu Atiloka Sundari’(1990). 

First of all the raga.It is based on Pahaadi, one of his most favourite ragas and which has been used rather prolifically by him. I have written time and again as to how he has showed the multi dimensions of this raga in his innumerable compositions. He has caressed, fondled, and loved this raga like no other composer has done. It is also a raga which does not have a proper structure and goes more by the ‘feel’. The same ‘sa ri ga pa dha’ in Mohanam or in Shivaranjani sound so different in Pahaadi(note that Mohanam and Shivaranjani use different variants of 'ga' and that both these variants appear in Pahaadi).

Now, how will it be if this ‘Pahaadi’ whose origin is the mountains- as the name itself suggests- is used with pure Western Classical orchestra? Sounds Crazy? Doesn’t matter. Music is crazy of course depending on how we view it. 

Going back to the orchestration, the Maestro has precisely done this in ‘Andaalalo’.

In the prelude, the strings start gradually and reach a crescendo as the brass flute joins it. The strings continue the journey along with the keys and the chorus.

The flute plays with flamboyance with the resplendent strings moving like the waves and the horns making exciting excursions in the first interlude.

The wind instruments and the strings play soothing and passionate phrases in the second interlude with the keys interjecting now and then showing as a Picasso painting.

If one plays just the ludes(prelude minus chorus, and the interludes), he/she will be led to believe that these have been  directly taken out from a Symphony. But will a person with an ear only for Western Classical Music where Harmony dominates the Melody, ever believe that the orchestra religiously follows a Hindustani raag called Pahaadi?

Next the rhythm. It follows the ta ka dhi mi (1 2 3 4) pattern. The soft rhythm pad alternates with the subtle drums. That is, the rhythm pad plays the 1st beat  and the drums  sound the 3^rd beat  with the 2^nd and the 4^th being left blank.  The lines are wound up with a 3,1 pattern. Note that the first part of the first interlude and some part of the second interlude move without the percussion though the rhythm is maintained. One of the other attractions is the sudden sound from the pad at the second syllable just towards the end of the first two lines in the CharaNams.

The Pallavi is in ‘anaagata eduppu’ with the vocals starting after the beginning of the taaLa cycle..

Now, the tune. Yes, it follows Pahaadi but see how romantically it is tuned. We feel  we are in a brave new world, a world full of fantasies and wonderful creatures.

The structure of Pallavi and the CharaNams are predictably unpredictable but absolutely not jarring.

The CharaNams have three different parts, with each part linked to the other one.

The end of the first two lines sees the special Pahaadi effect.

The third and fourth lines are in mid- octave while the last two lines touch the upper registers after starting from the mid-octave.

The early morning sunrise is painted by the Divine Master.

This musical sunrise is painted by a gentleman blessed by that Divine Master.

How lucky we are!

PS: The early movies of Sridevi in South Indian languages had that great musical score by ILaiyaraaja and it will not be an exaggeration to say that this strong musical score played a huge role in her becoming tremendously popular here. Though I am not a huge fan of hers, it is an undeniable fact that she ruled the silver screen in the south for nearly a decade. 'JVAS' happened when her popularity was on the rise in the North and when she was slowly but moving away from the South. The album-background score included- is a feast to the ears.

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Courtship

Cochabamba!

No, I am not using any swear word here (and why would I especially in a blog dedicated to my mentor and guiding force?). Let me fist ask you how that word sounds to you. Does it sound like ‘Kochukittu pona paamba’(the snake which left with anger)? It did to me till I read about this place in a recent article.

It is a city in Bolivia and it seems there is a National History Museum there. And there exists a frog (ah, we got the snake connectionJ) whose name is ‘Romeo’. This frog is considered to be the world’s loneliest frog. Lonely, because it belongs to a species called Sehuencas and he is the last known frog of this kind. Sehuencas frogs are water frogs, by the way.

What makes the story of Romeo interesting is the fact that he has remained a bachelor all through and the Global Wildlife Conservation is collaborating with the dating website (yes , you read it right!) Match to raise money for Romeo’s romance. That is, look for Juliet in the rivers in Bolivia. But what makes this more interesting is that a Match profile has been created for Romeo with a video in which he is seen doing a lot of swimming ‘stunts’. There is a voice over too in which Romeo introduces himself. Finally, ‘he’ says, ‘I am here to find my match, just like you.Except, my situation is a bit more urgent’.

Whether Romeo understands all these are not is anybody’s guess. But the fact remains that he started to ‘call’ for a mate a year after he made Cochabamba History Museum his home. But now it seems the intensity of the calls has slowed down considerably.

This real life story conveys a lot to us, though I am not going to list out what it conveys. It is left to your own interpretations. But the most significant thing is that Love is common among all beings. Now, don’t tell me that the calls of Romeo cannot be interpreted as someone yearning for love. Can a call to mate be classified as love? Why not? Who knows what is running in the mind of the frog?

In a way, it is tough to define Love, though one can describe it. But of late, this word is being abused and misused. I would say that even putting up Romeo’s profile in a Dating site is a kind of abuse. In a way, this is just a reflection of what love means in 21^st century. No doubt, movies play a major role in shaping our thought process though there is a danger of my being branded as a conservative for making this statement. In any case, I am not here to dissect ‘Love in movies’..

Let me talk something positive and turn my attention to a song which I feel is ‘Innocent Beautiful Love’ personified. And this has more to do with the music and lyrics and less to do with the film per se.

In my opinion, ‘Kovil MaNi Osai’ from ‘Kizhakke Pogum Rail’(1978) is one of the most beautiful romantic songs in the history of film music simply because of its simplicity.

ILaiyaraaja and KaNNadasan worked just for about 5 years but a majority of the songs in their combination are gems (many people-especially those who are born after 1980-may not be aware of this fact). ‘Kovil MaNi Osai’ is no exception.  What makes the lyrics very special is the assertiveness of the lady. It almost borders on sarcasm a la a Sangam poem. Look at the second CharaNam where the lady says ‘Am I the chosen one for your ‘concert’?/ You sing and continue to sing till you can..and.. You listen to it all by yourself!’

And in the third CharaNam where the man proposes subtly saying ‘My heart is a lotus, Yours is a Jasmine bud’(note that a bud has to bloom to become a flower), she replies , ‘Is there not a good suitable woman in this village?Go find and tell me’. I see the power of womanhood here!

The Temple Bell is used as metaphor in the song. Look at the Pallavi. He starts saying ‘Who listened to the chiming of the bell and came here?/ Did the poor koel’s song and its melody mingle with the breeze and become a messenger/’

The ‘poor koel’ here is the man himself because as per the story, he is a poet who is not recognised by anybody. In fact, he expresses this in the first CharaNam where he says,’ I composed millions of song/Nobody had the knowledge to appreciate/You came as a beautiful parrot/And made my day!’

Very simple words but as powerful as the breeze in the village during the month of ‘Aadi’..

But all these would have been rendered meaningless if not for the tune and the orchestration..

To tune a song which depicts village romance in a pure classical raga calls for gumption.  But the genius that he is, Raaja sir decided to set the tune in ‘Suddha Saveri’, a raga known for its simplicity and classicism. Of course, he wouldn’t have spent much time in ‘choosing’ the raga and it would have automatically come to him. But more than this, what is of more significance is the way the raga has been used.

This song too starts with the vocals singing the first few phrAses of the Pallavi -with the parrot answering the questions- but the Master gives a Master Stroke here itself. The moment the parrot recites the name of the man, the bell sounds the ascending notes of the raga, starting with ‘ma’ and going up to the upper ‘Sa’ at an interval of two tisram cycles.

We shall see the prelude soon again but before that let us see how the CharaNams are constructed. As was the norm those days, there are three CharaNams(and three interludes with each one different from the other two!), but it should be noted here that the entire first CharaNam  is rendered by the male voice, the entire second CharaNam by the female voice and the two join together in the third one with the male voice rendering the first half and the female rendering the second half. There were of course some songs in this format those days, but I feel this aspect gives a kind of ‘special effect’ in ‘Kovil MaNi Osai..’.

In terms of the swara structure(though my intention is not to sound too technical in this blog), the sudden jump to the higher octave notes towards the end of the third line(for example, ‘AasaikiLiye Vandhaaye, PaNNodu) and the dominant use of higher octave notes in the next two lines, are things that make one call a genius par excellence.

Janaki and Malaysia Vasudevan make the song more beautiful with their rendering-with the former sounding ‘classically folksy’ and the latter sounding ‘folkishly classical’.

And now for the orchestration and arrangement..

Raaja sir experimented with new sounds with known instruments and unknown instruments right from his first movie. Now listen to the sound which backs the bell sound I spoke about earlier. Probably it is a new instrument or probably it is from the keys but the sound produced is amazing. And this despite the fact that it plays only the repetitive notes.. The flute which follows is backed by the ankle bells and also a host of instruments, which includes a ‘one-stringed’ instrument. The violins round it off with a ‘rounded Suddha Saveri’.

The subtle bell sound in the Pallavi is one thing which should never be missed as it speaks volumes about the composer’s creativity and innovativeness.

The ankle bells follow in the first part of the interlude as well as these occur along with the two sets of strings-one a group of violins and the other the cello. The keys-which almost sound like a harmonium-move with a purpose with the sharp sound of the tabla backing it along with some subtly sounding instruments. The flute is as melodious as ever and even jumping towards the end. The santoor takes the cue and jumps like a deer. But the jewel in the crown is the sound from the strings in the end, the sound which makes us sway and move our head front and back.

The beginning of the second interlude sounds folksy to start with. But one sees shades of western classical soon, with the flute being involved in both. What steals the show is however another new sound which follows the flute. I am sure this sound was unheard of until then in Indian Film Music. The backing of the strings and the single stringed instrument here, makes this even mystical. Note the total absence of the percussion in this interlude.

But the percussion-Tabla to be precise- jumps with joy in the third interlude in which the strings, the santoor and other subtle instruments celebrate music.

Celebration of Music, Celebration of Innocence, Celebration of Love!

I am sure if only this song is played on the banks of the rivers and streams in Cochabamba, a female Sehuencas frog will appear from nowhere , will keep jumping and dancing and move towards Romeo and say –sorry sing- ‘I am your Juliet!

                  

                  

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Ambuli

Last week, the world was witness to a grand spectacle on the sky.

The moon known for its shiny white colour turned blood red, black, black and white and then finally white. It also acquired the name ‘Blue’ though only on paper. I wonder how it would be if the moon turned blue one day. Would it make the world more poetic?

Can the moon and poetry be separated anyway?

This was what was running in my mind as I was looking up at the sky and shooting pictures of the moon with my newly acquired phone. Well, if somebody had said this say about a decade ago, people would think it was a typo or a printing mistake or a slip of the tongue or would even brand the person who said this as ‘lunatic’(look at the moon connection here too!). Aren’t phones meant for talking? Phone and pictures? Crazy!But that is what technology is about, right? Anyway, this is besides the point (or is it?).

As I was trying to capture the marvel, my mind was full of songs on the moon. I did not make any effort to even hum those tunes, as it was not my intention to drive away people from that beautiful location on that beautiful evening, though I was standing alone, keeping a safe distance from everybody.

What is it that which makes poets across the world enamoured of the moon? Is it the colour? Or is it its shine? Is it its light? Why do poets compare a woman’s beauty with that of the moon?

These questions gave rise to more questions (is there any end to questions at all, in this world?) and therefore I stopped asking questions and instead allowed my mind randomly to play the songs pertaining to the moon. This exercise enhanced my experience and made the eclipse one of the most unforgettable ones.

I shall try and talk about the various dimensions of the moon touched by the poets, in some of my future posts whenever possible as the topic does excite me. For now, let me focus on a song in which moon finds a place not just in the Pallavi but also in the first CharaNam. But it doesn’t just stop there..

It is not without a multiplicity of reasons that ‘ILaiya Nila PozhigiRadhu’ from ‘PayaNangaL Mudivathillai’(1982) is liked by one and all(show me a person who doesn’t like this song and I will order that person to be banished to Mars!).  If the wordings show the fertile imagination of the lyricist(Why are the clouds wandering?/ Have they lost the address?/Is that why they cry?/And does that fall as the Rain?), the rendering style of the singer makes one feel peppy and calm at the same time(see how he sings ‘azhudhidomo’ with a smile!don’t you see and feel the beautiful paradox there?). But what really steals the show is the music. No, I am not biased here and let it not be misconstrued as an effort to degrade somebody. In fact, not often does one find the lyrics and music gelling so beautifully in a Tamizh Film Song (that is post -KaNNadasan-Viswanathan-Ramamurthi era!) .

But the fact is the moment we listen to the song, two things strike instantly.

One –The tune.

Two- The Guitar.

The tune set in C minor makes us feel the moon. When it changes scale –to C major- and then again to minor, later on, the transitions appear so smooth and seamless that it is impossible not to think of the moon again.

Many people say that the song is a lesson for people aspiring to learn guitar. I would agree with this only partially, because it would take the wind of somebody’s sails if that ‘somebody’ was a guitar student and that somebody started playing the notes of the interludes.

Another speciality of this song is the use of just a handful of instruments, with the guitar family alone dominating-lead, bass and rhythm.

The beginning of the song is rather simple. Only few of his songs start without a prelude and ‘ILaiya Nila’ is one of them. But coming to think of it, thiscannot be called as a ‘direct start’. The Pallavi does not start directly, though SPB renders the entire Pallavi in the beginning. Am I contradicting myself?

Let me explain. ILaiyaraaja is known for his different kinds of preludes and all these have instruments with some preludes being decorated with the humming of the vocals. In songs without a prelude (Thavikkudhu Thayangudhu for example), the Pallavi starts directly. But ‘ILaiya Nila’ is slightly different. The wordings of the Pallavi are sung but without following a time signature. It cannot be called as a ‘viruththam’ too. What adds to this is the strumming of the guitar which backs the vocals.

And as it ends, starts the Pallavi following the time signature (4-beat/chatushram) with the backing of the percussion. The subtle keys and a couple of guitars back as well and needless to say this enhances the beauty of the Pallavi.

What makes the first interlude wondrous, is not just the lead guitar. It is the bass guitar -which is no doubt subtle- complementing the lead guitar in almost all phrases. Now, as the guitar segment ends, the scale changes to the major scale. The flute plays in the major scale, giving a feel of Hamsadhwani. But forget the technical aspects for some time and listen to the flute as it is. Doesn’t it give you the vision of the full moon on a dark breezy night?

The major scale continues in the CharaNam in which each line seems to show the different dimensions of the moon. It goes back to the minor scale in the last line (a line not easy to render!).

Does this major-minor shift symbolise the waxing and waning of the moon? Yes and No-the former because that is our own interpretation and No because he doesn’t think of all these while composingJ.

If I were to say that the second interlude is a marvel, it would be an understatement, for no word in English or in any other language can fully justify the guitar piece in this interlude.

I can write that it excites, enthrals, bewitches, charms, fascinates, attracts, allures, entices, dazzles...but will that be enough?

Even if 100 adjectives are used, can one describe this-technically and poetically- and claim to have done full justice?

Impossible!

Just like how impossible it is to describe the Super Blue Blood Moon!

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