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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Midair romance!

When we listen to great music, we say it is out of the world..

We feel as if we are floating in the air..

We feel as if we are flying..

What happens if the song itself is sung in mid air?

Yes, the Hero and Heroine fly in different aircrafts and sing..

Absurd? Well.. maybe .But do movies follow any logic?

In a way it is good because we would not have got some gems.
As long as we get great music, I do not think we should complain.

In Guru(1980), Kamal is a modern day Robinhood and the Villain tries to ‘sell’ military secrets of India to another country. This he does by hiring a small private aircraft. He is accompanied by-no prizes for guessing-the Heroine, Sridevi who has no inkling of what the villain is doing(pl. read the line again!). And thinks the Hero is the Villain.

Of course role reversals do take place everywhere..right?

The Hero-in another private aircraft- follows the Villain to thwart his attempts. Not just this..

He follows the Heroine as well and expresses his love..

How does he express his love?

Any other Music Director would have used ‘I Love You’..

But not the Maestro.

As soon as the situation was explained to Raaja sir by the Director I V Sasi, he devised an ingenious way.. musical way..

He used the aircraft signal (somewhat similar to morse code).
The song starts with the beep sound which when translated means ‘I Love You’!

This beep sound forms the theme music of the entire song.

That is why I keep saying he is the eighth wonder…

He creates the atmosphere of aircrafts just with the Bass Guitar the wind instruments, and the violins..

The beautiful Flute in the second interlude makes us see a bird’s eye view of …not just the village/town/city/country but also the entire World. The Music World of the wonder called ILaiyaraaja!

Whenever I fly (normal aircraft of course!), I too say ‘Paranthaalum vida matten’-meaning I will not leave you even when I fly..

Yes….. I will not leave his music even when I am in midair..