We all know a few Type-A personalities and in fact some of us are Type-A in our own right. One of my uncles was one such personality – I will call him Type-A++. He was a Yale alumni from early 60’s with a successful career as an Economist in India. Though stationed in Delhi he would trot the world on UN assignments to well known places like Geneva, Switzerland and to unique places Sokoto, Nigeria and Lesotho near South Africa. My aunt is so skilled in telling stories about these exotic trips it would be like being there, we will listen with rapt attention. My uncle had such a magnetic personality that he would connect with everyone he met in some way or other. If you met him once you cannot forget him for the rest of your life. He also had a booming voice to top his personality which would fill any place he visited. As soon as he arrives at our house in Chennai the neighbors will know. My first task will be to go to Prakash Hotel (across Mandavelli Bus Terminus) and take out Idlies and Vadais with varieties of chutneys and sambar. These items would be wrapped in dried Mandara tree leaves sown together hence the Tamil name “Thaiyal Ilai” or “sown leaves”. The leaves added a unique flavor to the dishes. My uncle called it the best Vadai in the world. Whenever we go to Delhi, he would immediately take us to Nirulas for Masala Dosa. Nirulas, proud of their clean kitchen, allowed customers watch the Dosa making through a glass window (wish I could say the same thing about more places). We had to come home and lie to my aunt and quietly eat another elaborate meal she would have prepared for us. My uncle was on strict diet with constant supervision, you see. Remember I wrote about my father, the Jangri eating diabetic? This uncle was his younger brother, Dosa crazy diabetic with one addition – blood pressure. But there wasn’t a single lazy bone in his body. He was always on the go and would drag everyone around him. Hot sun or rain doesn’t matter. He was just wired like that. Many in our family, including myself, considered him as a mentor. Peace.
Veena by Sri Rajesh Vaidya, Mridangam by N. Mohana Raman, Ghatam by Trivandrum Sivaramakrishnan on Apr 29/2011:
Speaking of being wired, Sri Rajesh Vaidya was certainly that with his Veena playing. He was made for speed and his talent was unmistakable. But there was one big problem – the audience was not as wired. In my view, it was a great concert but to a wrong audience, at least a good portion of the audience. Attracting the crossover audience between light music and classical would have made it a bigger success. I must say that the concert was a treat to those spouses who usually got dragged by their carnatic crazy partner. Ghatam was simply amazing. One song in the concert touched everyone’s heart – that is Kanda Naal Mudhalay in Madhuvanthi. Ok, let us go to the songs:
Mohana Varnam – the song was preceded by a Veda chanting in Chakravaham. Fingers were flying through the Veena in playing the popular and classic Varnam. I only remember hearing the varnam in one speed – the top speed. Were there two kalams?
Vatapi Ganapathim in Hamsadhwani – he took this traditional song and played segments in different ragas.
Sarasa Sama Dana in Kapi Narayani – opening and closing of the song were with nice flourishes
Pavana Guru in Hamsanandi – the alapana sounded more like a composition. There were many theatrics and show through the entire song.
Rama Bhaktha Samrajyam in Sudha Bangala – beautiful flow with a lot of energy
Thelisi Rama in Purna Chandrika – Nice ghatam pieces, good coordination with the percussionists. However the mridangam is underplaying so far in the concert, thought very talented.
Dhwani in Panthuvarali, a Rajesh Vaidya composition – very nice symmetry in raga presentation, need I say fast paced.
Raghuvamsa Sudha in Kadana Kuthoohalam – played in two speeds on an already fast song, amazing accuracy of notes. The song was played with chords, sounded different
Espresso in Kapi, another Rajesh Vaidya composition – again the symmetry in the raga presentation was remarkable. Very nice melody phrases in the song. Thani was really spirited with mridangam showing what he was made of, very nice.
Ayyane Va Appane Va in Sindhu Bhairavi – must have been one of his favorite ragas. He played several times in the rest of the concert
Kanda Naal Mudalay in Madhuvanthi – Paisa Vasool. Went very deep and touched the inner core.
Theeratha Vilaiyattu Pillai – beautiful variations to capture the imagination of the audience
Baro Krishnayya – changes ragas and speed at the same time. Great command over his instrument
Wedding Bells by Chitti Babu – for the Royal Wedding day? Very nice and appropriate
Bho Sambho – not afraid to go off the beaten path, played with confidence and flair
Venkata Chala Nilayam in Sindu Bhairavi – nicely rendered
Sri Chakra Raja in Raga Malika – straight through, surprisingly no surprises
Katrinile Varum Geetham – I am drawing a blank – sorry
Chandrasekara in Sindu Bhairavi (again) – nice rendition of the sloka “Rajathi Rajaya Prasagna Sahine” chanted during harathi in temples. I wonder if the Veena could speak Sanskrit. Nice feeling in this song
As you can see he played a lot of songs – 19 to be precise. Surely takes the title of Type-A++ Veena player.
Carnatica Brothers, Shashi Kiran and Ganesh (Vocal), Thannjavur Murugabhoopathy (mridangam), Ranjani Ramakrishnan (violin), Dr. S. Ramakrishnan ( Kanjira) on May 20/2011
Each one of the Carnatica Brothers is fantastically talented. But, let me ask a very fundamental question – do they have to sing together? I am sure I am not the first one with this comment. The voice texture was so different between the singers it actually distracted from the song. One of the singers had an overpowering voice with the other having a subdued voice but more grounded. Don’t get me wrong, I would love to hear them as solo singers – amazing talent.
This was the first time I listened to the ragam Karnaranjani as the elaborate RTP/main piece. The extended individual alapanas by the singers were fantastic. Violinist alapana was also excellent. As a supporting artist the violinist kind of vanishes into the background but comes out in full color whenever there is solo opportunity. Mridangist carried the show. It was very generous of the pros to include Dr. Ramakrishnan, the local talent, on Kanjira. He provided adequate percussion support, but I felt he dumbed it down a bit. We all know he is capable of being more.
Intha Chalamu/Begada – Adi – confident start
Ananda Narthana Ganapathy/Natai – beautifully rendered.
Enda Veduko O Raghava in Saraswathi Manohari/Adi – the difference in voice texture was very noticeable and distracting
Shyama Sastri’s Swara Jathi in Bhairavi/Mishra Chapu – Very soulful, great emotive singing. Mridangam added good color
Sarasa Sama Dana in Kapi Narayani – very nice peppy song, violin has been nondescript so far in the concert. Swaras by Ganesh were excellent. With more seasoning of his voice it will be great in the coming years.
Rama Rama Rama Enniro in Vasantha/Adi Tisram – clean alapanas by all, very peppy song nicely rendered
Mokshamu Galana in Saramathi/Adi (double branch) – soft song delivered with nice bhavam
Bhogendra Sayeenam in Kunthalavarali/Kanda Chapu – another pep to the concert
RTP in Karnaranjani – very nice Pallavi (Om Namo) praising Shiva and Vishnu – appropriate for our temple. Alapanas by each singer and the violinist were simply out of the world. Very well executed. The raga malika section gave work out to the audience with Sumanesa Ranjani (thanks to Madhu for identifying these rare ragas. Where is Anu Aji when we need her?). Thani was amazing
Taarakka Bindige in Tilang – voices came together nicely
Azhagiya Mayiline in Basanth – finally a Tamil song. Nice touch to the concert
Jaga Janani followed by Sobillu Sapthaswara, Ganame in Abheri and ended with Thillana in Bindu Malini. Overall a nice mix of refreshing but infrequent ragas blended with some popular ragas. Overall a sumptuous concert.
