Anything about IR found on the net - Vol 4

If rAsA does something phenomenal, it is nothing.

OTOH, if anybody else does the SAME THING, that is comparable to the fall of Berlin wall

http://www.thehindu.com/todays-paper/tp-features/tp-sundaymagazine/Notes-from-the-south/article17111711.ece

நல்லாருக்குப்பா இவனுங்க நாயம்

I wanted to call this article DUMB, first by impulse :
http://www.vikatan.com/cinema/tamil-cinema/news/79298-unexpected-music-compositions-in-tamil-cinema.art

But then, I thought about myself - in a "prior-to-TFMpage.com-situation"  

i.e. when I myself was in a very similar position w.r.t. pre-IR songs.

Any song that was great from 60's and early 70's was automatically credited among my circles to MSV (or MSV-TKR)  

Only after tfmpage.com, did I realize that a ton of them were by KVM / VK and other MDs.

However, w.r.t. IR or non-IR, I had been pretty much accurate (even when credits were unknown). OTOH, if you ask me to identify MD for a non-IR song in any era (doesn't matter if it is 60's / 70's / 80's / 90's / new millennium), I may fail  

So, that article is not all that dumb, after all. (Of course, with exception to IR / non-IR  )

அமீர்: 
ஜப்பான்ல ஜாக்கி சான் கூப்புட்டாக...

http://www.cineulagam.com/celebs/06/136099

கமல் - இளையராஜா இயக்க வேண்டிய படத்தை நிராகரித்தேன் 

Detailed youtube here:
https://www.youtube.com/watch?v=eSAclBCdiUo

இது "நகைச்சுவைத்தொடர்" என்கிறார்கள்  :

 வேலையற்றவனின் டைரி

நகைச்சுவை அல்ல, நாஸ்டால்ஜியா மட்டுமே

 பசு நேசன்

படம் வெளியாகி சில்வர் ஜூப்ளி கொண்டாடிய படம். ஒரு டவுசர்,  ஒரு துண்டு,ஒரு மாடு  இதுதான் முதல் பட ஹீரோவின் செலவு.

இசைஞானி இளையராஜா இசை. பாடல்கள் அத்தனையும் சூப்பர் ஹிட். ராமராஜன் திரையுலகில் தனக்கென ஒரு பெரிய இடத்தை தக்கவைத்ததும் இந்த படத்தின் மூலம் தான்.

#enga_ooru_mAttukkAran

Interesting interview with Kannaiya - IR's tabla player (from before Annakkili days)

https://www.youtube.com/watch?v=RMsMTKIQhwc

I never tire of this video.  Note his enthusiasm and child like delight with everything around him!  

https://www.youtube.com/watch?v=MTirgnuKHiE

IR'S music is Sorgathin Isai.
https://www.youtube.com/watch?v=xEtdEA7R8p0

His narrative of boy following girl had me in splits!!  What talent!  He has worked from Naushad and so many prominent music directors and rates IR as Sorgathin Isai amaippaalar.

OK - I will stop with this one.  Rajesh Vaidya.

https://www.youtube.com/watch?v=Q6MzJuKB9ks

This link is worth breaking my promise!  Instrument Ghata Singari (named after Percussionist Jayacha's father)

https://www.youtube.com/watch?v=zmFDGFzhbv8

Edit:

Wow!  This interview was the best of the series (that I sampled).  Jayacha's concern for the future made me very sad.  He is worried if anybody would be there to take on these wonderful instruments to play in the future.  He seems like such a gentleman who loves his art and is generous enough to want to impart these skills to youngsters.

Raasa's mobile app
http://www.thehindu.com/entertainment/music/Bring-on-the-music/article17201325.ece

I have already downloaded it. Quality of the songs are good, but small glitches are there.

http://bit.ly/2dyrw3W

IsaiRasigan wrote:I have already downloaded it. Quality of the songs are good, but small glitches are there.

http://bit.ly/2dyrw3W

Me too installed on the phone - sounds to me like a different avatAr of raajafm.com, just that the more popular hits are organized as separate sections / icons to thrill the general public.

Of course, sound quality is same like raajafm.com and no complaints there. 

As for glitches, I had one this AM during the commute. It was the "trending" playlist and it got stopped after one song (and not starting on its own).

I had to go back (<<) and forth (>>) to restart the buffering. (I'm sure it has got nothing to do with the phone / LTE network / connectivity / speed as I've never had this kind of issue with other apps / safari playback of youtube etc.)

It used to happen with raajafm sometime back (not anymore, thankfully). 

I think there's also the raajafm on this app and I should try that on my way home...

There had been registering steps etc. to make the app work, and hopefully they'll convert this into a revenue model in the near future. 

Either by subscription or ad model, whichever way they choose to, they got to make some money to make it both worthwhile and also sustainable. Also, there has to be some interest for IR / his family to do this (as the gov. has not "nationalized" his works yet).

As long as a decent % of the proceeds reach him (or dependents), I'll be happy   (Obviously any subscription charge will be nothing compared to the thrill we got all these years from his music).

pudhu thagaval........ Deepam .. Jemini and Padmini nadicha padam.. adhu dhan naan cinemavirku mudhal mudhalaga isai amaidha padam.
oru paatu.. TMS padinadhu........ ipadi solgirar Raja...

isaiyai patri...  idhai thanae netru queueil nirkum podhu anubavithen. Seidhu vittu solgirar........ adhu Raja.......

https://www.youtube.com/watch?v=JDz5OcRiHnY

Don't miss the fantastic write-up by violin Vicky for this youtube:

https://www.youtube.com/watch?v=mrHjGeFsoFc



I want to shout "AGREE 100%"

 ஒரு இடத்தையும் விட்டு  வைக்கிறதில்ல இந்த ஆளு

எங்கள் பயத்தின் அமைதியை  இளையராஜா தன் பாடல்களால் நிரப்பிக்கொண்டு இருந்தார். அந்தச் சூழலில், இசையை ரசிக்கும் மனநிலையில் நாங்கள் இல்லை என்றாலும், எங்களுக்கு ஆதரவுக் குரல் ஒன்று தேவைப்பட்டது. 

app_engine wrote: ஒரு இடத்தையும் விட்டு  வைக்கிறதில்ல இந்த ஆளு

எங்கள் பயத்தின் அமைதியை  இளையராஜா தன் பாடல்களால் நிரப்பிக்கொண்டு இருந்தார். அந்தச் சூழலில், இசையை ரசிக்கும் மனநிலையில் நாங்கள் இல்லை என்றாலும், எங்களுக்கு ஆதரவுக் குரல் ஒன்று தேவைப்பட்டது. 

That news story was almost like a suspense thriller. Apparently, they were playing Raaja's song at the samadhi all these days. It was stopped a few days ago and that also made into a news item. Digression: I have always thought JJ was being controlled and not functioning naturally. We/press/society should have helped her get out of the clutches of this coterie back then itself. May be she would have been happier, ruled better and even lived longer.

KR to be a "bgm specialist" it seems

mythri

‘Mythri’ remains the high point in Giri’s career. He was able to convince Malayalam superstar with one narration to take up a role that was pivotal, not central. Malayalam actors realise that the impact is more important than the length of a role. Lal told me he was impressed enough to postpone a couple of films to accommodate Giri. I was witness to him diligently rehearsing his lines between shots. Not wanting to parrot lines he would make sure he learnt the meaning and enunciation. Puneet agreed to play an important role too and the icing was when Ilayaraja readily agreed to score the music. ‘Mythri’ may not have shattered box-office records but won acclaim and enjoyed a decent run. There’s a belief in the industry that directors who make content driven films cannot graduate to handling enterprises with marquee names. This is not entirely untrue because films with superstars are character or image driven rather than depending on the script. Giri’s professional position was status quo, post ‘Mythri’ too.

Gloomy article on shehnAi, one of IR's fav wind instruments

http://indianexpress.com/article/lifestyle/art-and-culture/a-dying-fall-4519457/

மெல்ல ஷெனாய் இனிச்சாகும்

app_engine wrote:Gloomy article on shehnAi, one of IR's fav wind instruments

http://indianexpress.com/article/lifestyle/art-and-culture/a-dying-fall-4519457/

மெல்ல ஷெனாய் இனிச்சாகும்

Thanks sir for the link. Some quotes from the above link which was obviously irritating.

Chennai-based S Ballesh, 58, a fixture in AR Rahman and Ilayaraja’s orchestras,

Whenever Ilayaraaja's name is mentioned, why on the same line Rahman's name has to be mentioned? It always irritates me. That's the ignorance of North Indian media (as always). Equating someone who hardly uses live instruments and especially shehnai (except in couple of song phrases) with the one who employs shehnai regularly in tons of his compositions.The same irritation for me when some raga analysis experts (they call themselves) analyse raagas in film context and equate IR with ARR when one has done tons of songs in that raaga while another just strayed on for few moments in that raagam or just used the same ragam with no originality or novelty, just to record his name forcefully.  Utter disgrace and dishonest!! நோகாம நோம்பு கும்பிடற மாதிரி அவர் ஒன்னும் பெருசா நம் நாட்டு இசைக்கோ, தொன்றுதொட்டு வாசித்து வரும் கருவிகளுக்கோ ஒன்னும் பண்ணவில்லையென்றாலும் அவர் பெயர் எல்லா இடத்திலும் வருவது உறுதியாகிவிட்டது. நல்லா உழைச்சவங்களுக்கு மத்திப்பே இல்லாம செஞ்சுட்டாங்க

Director SS Rajamouli used the south Indian version of the shehnai — the naadaswaram — in his 2015 blockbuster, Baahubali.

Where is shehnai in this context? How naadaswaram is related to shehnai? What a way to introduce/coin naadaswaram to NI audience? And you don't even want to mention the music director of the film. Utter shamelessness!!

Before that, Rahman had used a shehnai in 2004, for Ashutosh Gowarikar’s Swades. “Rahman asked me to play my heart out and I did.

Yet another glimpse of some music director asking someone to play what all he knows and extracts what he likes and puts only his name into the 'composer' name tag. Still you want to credit the music director just for this.

And there are tons of music directors from yesteryears till Ilaiyaraaja whom you could have mentioned to highlight on how shehnai took a irreplaceable place in film music history. All you got is Rahman and SS Rajamouli to justify your article. Pathetic!! என் தலையை எங்க கொண்டு முட்டிக்கறது? அட ஆண்டவா! If one can mention Rockstar film to highlight shehnai was last played in film music, we can certainly see how shallow this article is! They never want to listen anything other than Bollywood. Since Bahubali was famous all over India, it carries its name even when it is not relevant to the context, but if the writer of this article was really objective or honest enough he could have listened and shared many relevant and deserving shehnai pieces from film music from rest of India. All that matters is listening without prejudice!!

Coming to the context of the article, it is the biggest irony that the music director who was one of the most responsible persons for driving away the live instruments and orchestra (to hide his inabilities in handling live instruments) in film music for embracing technology (and sounds) and being most influential for the current generation of music directors and music listeners taking towards that path, gets "due" credit!!!! Whattay!!!

Tune into the popular soundscape and the shehnai bid farewell long ago. The last time Bollywood used a full-fledged shehnai piece in a film was in Imtiaz Ali’s Rockstar (2012)

Just for the record to record factual errors. Rockstar was released in November 2011 and not in 2012.

Yes, shehnai and many live instruments usage are coming down drastically, but unlike mentioned in the article, he is not the last torch bearers of shehnai. Some bollywood songs I remember at the top of my head. The recent Bajirao Mastani (2015) has some sweet and mind-blowing shehnai pieces, especially the starting of mOhE rang dO laal, albEla sajan…,Dum lag eke Aisan (2015) has a beautiful shehnai piece in 1st interlude of mOh mOh kE dhaagE, Channa mereya - Ae Dil Hai Mushkil  (2016) to name a few. It will be very few, but still there is atleast someone who is passionate about these live instruments.

And with Maestro we don't have to worry at all, we have so many starting with Azhagarsaamiyin Kuthirai (title music), Sri Ramarajyam, NEPV, Megha, Oru Oorla, pOrkaLaththil oru poo, Rudramadevi, kidaa poosaai magudi, thaarai thappattai and much more to come. Obviously these will not be heard by them. Just their ignorance, but our pride!

V_S wrote:

app_engine wrote:Gloomy article on shehnAi, one of IR's fav wind instruments

http://indianexpress.com/article/lifestyle/art-and-culture/a-dying-fall-4519457/

மெல்ல ஷெனாய் இனிச்சாகும்

Thanks sir for the link. Some quotes from the above link which was obviously irritating.

Chennai-based S Ballesh, 58, a fixture in AR Rahman and Ilayaraja’s orchestras,

Whenever Ilayaraaja's name is mentioned, why on the same line Rahman's name has to be mentioned? It always irritates me. That's the ignorance of North Indian media (as always). Equating someone who hardly uses live instruments and especially shehnai (except in couple of song phrases) with the one who employs shehnai regularly in tons of his compositions.The same irritation for me when some raga analysis experts (they call themselves) analyse raagas in film context and equate IR with ARR when one has done tons of songs in that raaga while another just strayed on for few moments in that raagam or just used the same ragam with no originality or novelty, just to record his name forcefully.  Utter disgrace and dishonest!! நோகாம நோம்பு கும்பிடற மாதிரி அவர் ஒன்னும் பெருசா நம் நாட்டு இசைக்கோ, தொன்றுதொட்டு வாசித்து வரும் கருவிகளுக்கோ ஒன்னும் பண்ணவில்லையென்றாலும் அவர் பெயர் எல்லா இடத்திலும் வருவது உறுதியாகிவிட்டது. நல்லா உழைச்சவங்களுக்கு மத்திப்பே இல்லாம செஞ்சுட்டாங்க

Director SS Rajamouli used the south Indian version of the shehnai — the naadaswaram — in his 2015 blockbuster, Baahubali.

Where is shehnai in this context? How naadaswaram is related to shehnai? What a way to introduce/coin naadaswaram to NI audience? And you don't even want to mention the music director of the film. Utter shamelessness!!

Before that, Rahman had used a shehnai in 2004, for Ashutosh Gowarikar’s Swades. “Rahman asked me to play my heart out and I did.

Yet another glimpse of some music director asking someone to play what all he knows and extracts what he likes and puts only his name into the 'composer' name tag. Still you want to credit the music director just for this.

And there are tons of music directors from yesteryears till Ilaiyaraaja whom you could have mentioned to highlight on how shehnai took a irreplaceable place in film music history. All you got is Rahman and SS Rajamouli to justify your article. Pathetic!! என் தலையை எங்க கொண்டு முட்டிக்கறது? அட ஆண்டவா! If one can mention Rockstar film to highlight shehnai was last played in film music, we can certainly see how shallow this article is! They never want to listen anything other than Bollywood. Since Bahubali was famous all over India, it carries its name even when it is not relevant to the context, but if the writer of this article was really objective or honest enough he could have listened and shared many relevant and deserving shehnai pieces from film music from rest of India. All that matters is listening without prejudice!!

Coming to the context of the article, it is the biggest irony that the music director who was one of the most responsible persons for driving away the live instruments and orchestra (to hide his inabilities in handling live instruments) in film music for embracing technology (and sounds) and being most influential for the current generation of music directors and music listeners taking towards that path, gets "due" credit!!!! Whattay!!!

Tune into the popular soundscape and the shehnai bid farewell long ago. The last time Bollywood used a full-fledged shehnai piece in a film was in Imtiaz Ali’s Rockstar (2012)

Just for the record to record factual errors. Rockstar was released in November 2011 and not in 2012.

Yes, shehnai and many live instruments usage are coming down drastically, but unlike mentioned in the article, he is not the last torch bearers of shehnai. Some bollywood songs I remember at the top of my head. The recent Bajirao Mastani (2015) has some sweet and mind-blowing shehnai pieces, especially the starting of mOhE rang dO laal, albEla sajan…,Dum lag eke Aisan (2015) has a beautiful shehnai piece in 1st interlude of mOh mOh kE dhaagE, Channa mereya - Ae Dil Hai Mushkil  (2016) to name a few. It will be very few, but still there is atleast someone who is passionate about these live instruments.

And with Maestro we don't have to worry at all, we have so many starting with Azhagarsaamiyin Kuthirai (title music), Sri Ramarajyam, NEPV, Megha, Oru Oorla, pOrkaLaththil oru poo, Rudramadevi, kidaa poosaai magudi, thaarai thappattai and much more to come. Obviously these will not be heard by them. Just their ignorance, but our pride!

Well said VS.  I have the sentiments when I read articles like this & get irritated on the same type of issues as you have pointed out.

V_S wrote:

app_engine wrote:Gloomy article on shehnAi, one of IR's fav wind instruments

http://indianexpress.com/article/lifestyle/art-and-culture/a-dying-fall-4519457/

மெல்ல ஷெனாய் இனிச்சாகும்

Thanks sir for the link. Some quotes from the above link which was obviously irritating.

Chennai-based S Ballesh, 58, a fixture in AR Rahman and Ilayaraja’s orchestras,

Whenever Ilayaraaja's name is mentioned, why on the same line Rahman's name has to be mentioned? It always irritates me. That's the ignorance of North Indian media (as always). Equating someone who hardly uses live instruments and especially shehnai (except in couple of song phrases) with the one who employs shehnai regularly in tons of his compositions.The same irritation for me when some raga analysis experts (they call themselves) analyse raagas in film context and equate IR with ARR when one has done tons of songs in that raaga while another just strayed on for few moments in that raagam or just used the same ragam with no originality or novelty, just to record his name forcefully.  Utter disgrace and dishonest!! நோகாம நோம்பு கும்பிடற மாதிரி அவர் ஒன்னும் பெருசா நம் நாட்டு இசைக்கோ, தொன்றுதொட்டு வாசித்து வரும் கருவிகளுக்கோ ஒன்னும் பண்ணவில்லையென்றாலும் அவர் பெயர் எல்லா இடத்திலும் வருவது உறுதியாகிவிட்டது. நல்லா உழைச்சவங்களுக்கு மத்திப்பே இல்லாம செஞ்சுட்டாங்க

Director SS Rajamouli used the south Indian version of the shehnai — the naadaswaram — in his 2015 blockbuster, Baahubali.

Where is shehnai in this context? How naadaswaram is related to shehnai? What a way to introduce/coin naadaswaram to NI audience? And you don't even want to mention the music director of the film. Utter shamelessness!!

Before that, Rahman had used a shehnai in 2004, for Ashutosh Gowarikar’s Swades. “Rahman asked me to play my heart out and I did.

Yet another glimpse of some music director asking someone to play what all he knows and extracts what he likes and puts only his name into the 'composer' name tag. Still you want to credit the music director just for this.

And there are tons of music directors from yesteryears till Ilaiyaraaja whom you could have mentioned to highlight on how shehnai took a irreplaceable place in film music history. All you got is Rahman and SS Rajamouli to justify your article. Pathetic!! என் தலையை எங்க கொண்டு முட்டிக்கறது? அட ஆண்டவா! If one can mention Rockstar film to highlight shehnai was last played in film music, we can certainly see how shallow this article is! They never want to listen anything other than Bollywood. Since Bahubali was famous all over India, it carries its name even when it is not relevant to the context, but if the writer of this article was really objective or honest enough he could have listened and shared many relevant and deserving shehnai pieces from film music from rest of India. All that matters is listening without prejudice!!

Coming to the context of the article, it is the biggest irony that the music director who was one of the most responsible persons for driving away the live instruments and orchestra (to hide his inabilities in handling live instruments) in film music for embracing technology (and sounds) and being most influential for the current generation of music directors and music listeners taking towards that path, gets "due" credit!!!! Whattay!!!

Tune into the popular soundscape and the shehnai bid farewell long ago. The last time Bollywood used a full-fledged shehnai piece in a film was in Imtiaz Ali’s Rockstar (2012)

Just for the record to record factual errors. Rockstar was released in November 2011 and not in 2012.

Yes, shehnai and many live instruments usage are coming down drastically, but unlike mentioned in the article, he is not the last torch bearers of shehnai. Some bollywood songs I remember at the top of my head. The recent Bajirao Mastani (2015) has some sweet and mind-blowing shehnai pieces, especially the starting of mOhE rang dO laal, albEla sajan…,Dum lag eke Aisan (2015) has a beautiful shehnai piece in 1st interlude of mOh mOh kE dhaagE, Channa mereya - Ae Dil Hai Mushkil  (2016) to name a few. It will be very few, but still there is atleast someone who is passionate about these live instruments.

And with Maestro we don't have to worry at all, we have so many starting with Azhagarsaamiyin Kuthirai (title music), Sri Ramarajyam, NEPV, Megha, Oru Oorla, pOrkaLaththil oru poo, Rudramadevi, kidaa poosaai magudi, thaarai thappattai and much more to come. Obviously these will not be heard by them. Just their ignorance, but our pride!

V_S

  I completely understand your angst. Most of these writers lack depth on the subject to write about any of the Shehnai Maestros leave alone Balesh. You have to pardon the ignorance of the Northies as they are like Trump. You can do nothing about it. 

  Fortunately, Balesh moved South and both he and his son have some Hindustani concerts to perform outside of Raja's recordings. For some reason, my review of the Raja show in Toronto always finds its way to the Wikipedia article on Balesh:

https://en.wikipedia.org/wiki/S._Ballesh

  I do not expect anyone north of Telengana to know anything about Balesh and Raja. At least, they mentioned their association. The contribution of Raja to several musical instruments always goes unnoticed. All the percussion instruments that he has used will all die after his time. 

  I pity these musicians who have dedicated their lives to excelling in these instruments finding little opportunities to perform. It is really sad. The essence of the article is that Shehnai is a dying instrument - while I agree with that, it is part of a bunch of endangered species and it is only one example.

  For instance, they are caught between two musicians who both think that they have done their part. Raja's argument would be that he encouraged and used these local instruments throughout his career though today, these musicians cannot depend on him for a livelihood. Rahman looks for an opportunity in the films he works on to use these opportunities. He does not think outside the box and start using native instruments in uncalled for situations. If the directors do not demand, he is going to go back to what he is familiar with. (native instruments is foreign territory for him). He however, looks for playing the Indian sound in any of the latest software updates and new musical instruments. So, his argument would be that he is always looking for the 'Indian' sound. Caught between these two composers, native instrument players are dying a slow death. That's unfortunately the truth.

  The least Raja can do is to publish some serious research, or bless and guide some researchers on developing methods, by which any native Indian sound and structure can be easily  coded and digitized so that every new attempt to create music digitally has an Indian option for those who are trained in it. He has to publish a body of techniques before a researcher formally takes that and does the rest of the work so that this becomes attractive for vendors to easily adapt. 

  At least, these techniques and structure can be saved, if not the instrumentalists. That may sound very harsh, but that is the reality. If Raja does, what I have stated here, every Indian plug in digitally, will be always remembered as a 'Raja' plug in. He is quite capable of it, but his mind is not focused on doing things in a structured way beyond the demands of light music.

One point specific to the shehnai is its main usage has been as an instrument used in marriage ceremonies (like nadhaswaram also).  And that usage is dying as more and more people prefer to use recordings of wedding music instead of hiring musicians.  Shehnai players cannot depend on Bollywood alone and I doubt they depended only on it even in the golden era.  I mean, only a handful would get employed in the orchestras of the big name composers so where would the rest go.  They need some cash cow to survive and marriage ceremonies helped them subsist.  Even in Tamil community, if the wedding is in Chennai/TN itself, then there's a good chance that they will hire musicians but elsewhere, esp up North, it's just recorded music.  Live shows depend very heavily on sponsorships and/or the patronage of cultural associations which pool membership fees to pay for artists; they would struggle to keep afloat purely on ticketing. There's no problem for the top tier; their concerts sell out and at high ticket prices (like 1000-1500 even for the back rows/balcony).  But below that, it seems to be difficult to make money.