Amazing Dhrupad: Gundecha Brothers - Raga Bhupali alap

Anoushka Shankar & Joshua Bell - Live at Verbier Festival

இசையும் நிலமும்: பகுதி 8 - தமிழிசைத் தவமணி மதுரை மாரியப்ப சாமிகள் | மின்னம்பலம் கட்டுரை

கட்டுரையை வாசிக்க https://minnambalam.com/k/1489689014 

இசையும் நிலமும் -7 பத்மபூஷண் டி.என்.சேஷகோபாலன் | மின்னம்பலம் கட்டுரை

கட்டுரையை வாசிக்க https://minnambalam.com/k/1488220211

இசையும் நிலமும் - 6 : லய ஞான குபேரபூபதி யாழ்ப்பாணம் தெட்சணாமூர்த்தி | மின்னம்பலம் கட்டுரை

கட்டுரையை வாசிக்க : https://minnambalam.com/k/1486925983

இசையும் நிலமும் 4| சஞ்சய் சுப்பிரமணியன் | மின்னம்பலம் கட்டுரை

இசையும் நிலமும் இசைவிமர்சனத் தொடரில் நான்காவது கட்டுரை சஞ்சய் சுப்பிரமணியனைப் பற்றியது. கட்டுரையை வாசிக்க https://minnambalam.com/k/1484159424 

இசையும் நிலமும் 3 | காயத்ரி வெங்கட்ராகவன் | மின்னம்பலம் கட்டுரை

ஶ்ரீ பார்த்தசாரதி சபா கச்சேரி நாள் 22.12.2016 காயத்ரி வெங்கட்ராகவன் (வாய்ப்பாட்டு), மைசூர் ஶ்ரீகாந்த் (வயலின்), பி.கணபதிராமன் (மிருதங்கம்), பி.எஸ்.புருஷோத்தம் (கஞ்சிரா).

----
இசையும் நிலமும் இசை விமர்சனத் தொடரில் மூன்றாவது பகுதி காயத்ரி வெங்கட்ராகவன் கச்சேரி பற்றியது. கட்டுரையை வாசிக்க https://minnambalam.com/k/1483468219 

இசையும் நிலமும் 2 | ரவிகிரண் | மின்னம்பலம் கட்டுரை

ரவிகிரண்: புகைப்படம் நன்றி மின்னம்பலம் இணையதளம் 

இசையும் நிலமும் இசை விமர்சனத் தொடரில் இரண்டாவது பகுதி ரவிகிரண் கச்சேரியைப் பற்றியது.
மின்னம்பலம் இணையதளத்தில் வாசிக்க https://minnambalam.com/k/1482949827 

இசையும் நிலமும் 1| அருணா சாய்ராம் | மின்னம்பலம் கட்டுரை

அருணா சாய்ராம் Image Courtesy : Minnambalam

மின்னம்பலம் இணயதளத்தில் என்னுடைய இசை விமர்சனத் தொடர் ஆரம்பித்திருக்கிறது. அருணாசாய்ராமின் கச்சேரியை பற்றிய விமர்சனப் பார்வை முதல் கட்டுரையில்.

வாசிக்க https://minnambalam.com/k/1482258706

The Best of Classical Music - Mozart, Beethoven, Bach, Chopin... Classic...

The Best of Classical Music - Mozart, Beethoven, Bach, Chopin... Classic...

Kabali's hit anthems a low for Santhosh | Times of India

Read the article online at http://epaperbeta.timesofindia.com/Article.aspx?eid=31807&articlexml=KABALIS-HIT-ANTHEMS-A-LOW-FOR-SANTHOSH-05082016006030 

or at http://blogs.timesofindia.indiatimes.com/tracking-indian-communities/kabalis-hit-anthems-a-low-for-santhosh/ 

Tchaikovsky , The Sleeping Beauty

Jóhann Jóhannsson - Free the Mind

Dave Koz The Dance

Maxence Cyrin - Clubbed to death (Novö Piano II)

Remember Shakti - Live at Jazz a Vienne

Remember Shakti is a quintet which combines elements of traditional Indian music with elements of jazz. The band consists of English guitarist John McLaughlin, Zakir Hussain (tabla), U. Srinivas (mandolin), Shankar Mahadevan (vocals), and V. Selvaganesh (kanjira, ghatam, mridangam), who are all of Indian descent. The band's name is derived from John Mclaughlin's acoustic Indian fusion band Shakti which was active in the 1970s.

Rez Abbasi - Bazaar (Full Album)

Rez Abbasi: guitar, sitar-guitar, percussion; Gary Versace: Hammond organ; Danny Weiss: drums, tabla, rhythm scat (8); Kiran Ahluwalia: Indian vocals (2,3,7); Rudresh Mahanthapa: alto saxophone (1,7); Marc Mommaas: tenor and soprano saxophone (1,7); Gautam Siriam: mridnagam (2,5,6); Naren Budhakar: whistling (1).

Rudresh Mahanthappa WFJ Quartet @winter Jazzfest 2012

(HD) Haydn: Piano concerto in D major, op. 21 | Igor Levit

It is now fashionable to listen to Tracy Chapman's Greatest Hits || Best Songs Of Tracy Chapman Playlist

-------------------------------------------------------------------------------------------------

"Tracy Chapman’s  1988 self titled debut is a remarkable achievement with quiet eloquence and smouldering outrage, she made protest music relevant to mid -80’s audiences. Chapman’s heartwrenching -yet- dignified contralto  can be filled with defiance (Talking’Bout Revolution), longing (Mountains O’ Things) or resolve (For my Lover”) But her incredible gift as a storyteller -showcased by the devastating pop hit “fast car” and the romantic confession ‘for you’ makes this breakthrough sound just as transcendent decades later.  "                                    

THIS IS A WHISPER..

Don't you know

They're talkin' bout a revolution

It sounds like a whisper

Don't you know

They're talkin' about a revolution

It sounds like a whisper

While they're standing in the welfare lines

Crying at the doorsteps of those armies of salvation

Wasting time in the unemployment lines

Sitting around waiting for a promotion

Poor people gonna rise up

And get their share

Poor people gonna rise up

And take what's theirs

Don't you know

You better run, run, run...

Oh I said you better Run, run, run...

Finally the tables are starting to turn

Talkin' bout a revolution

You got a fast car

I want a ticket to anywhere

Maybe we make a deal

Maybe together we can get somewhere

Any place is better

Starting from zero got nothing to lose

Maybe we'll make something

Me myself I got nothing to prove

You got a fast car

I got a plan to get us out of here

I been working at the convenience store

Managed to save just a little bit of money

Won't have to drive too far

Just 'cross the border and into the city

You and I can both get jobs

And finally see what it means to be living

See my old man's got a problem

He live with the bottle that's the way it is

He says his body's too old for working

His body's too young to look like his

My mama went off and left him

She wanted more from life than he could give

I said somebody's got to take care of him

So I quit school and that's what I did

Fast car 

You got a fast car

Is it fast enough so we can fly away?

We gotta make a decision

Leave tonight or live and die this way

So remember when we were driving driving in your car

Speed so fast I felt like I was drunk

City lights lay out before us

And your arm felt nice wrapped 'round my shoulder

And I had a feeling that I belonged

I had a feeling I could be someone, be someone, be someone

You got a fast car

We go cruising, entertain ourselves

You still ain't got a job

And I work in a market as a checkout girl

I know things will get better

You'll find work and I'll get promoted

We'll move out of the shelter

Buy a bigger house and live in the suburbs

So remember when we were driving driving in your car

Speed so fast I felt like I was drunk

City lights lay out before us

And your arm felt nice wrapped 'round my shoulder

And I had a feeling that I belonged

I had a feeling I could be someone, be someone, be someone

You got a fast car

I got a job that pays all our bills

You stay out drinking late at the bar

See more of your friends than you do of your kids

I'd always hoped for better

Thought maybe together you and me find it

I got no plans I ain't going nowhere

So take your fast car and keep on driving

So remember when we were driving driving in your car

Speed so fast I felt like I was drunk

City lights lay out before us

And your arm felt nice wrapped 'round my shoulder

And I had a feeling that I belonged

I had a feeling I could be someone, be someone, be someone

You got a fast car

Is it fast enough so you can fly away?

You gotta make a decision

Leave tonight or live and die this way

Show less

Lanscape and memory in L.Subramaniam's fusion music

"Motherland"

"Conversations"

 Landscape and memory in 

L. Subramaniam’s fusion music

by M.D.Muthukumaraswamy

      The violin maestro L.Subramaniam’s genius is to be located in his ability to take musical registers of landscape and memory to the world of jazz-fusion music. ‘Motherland’ and ‘Memories of Jaffna’ are the two compositions that reveal his typical patterns.

       ‘Motherland’ starts off with the exuberance of an atmospheric violin after a brief introductory passage of morsing and drums.  The conversation and trade off continues between the saxophone, guitar and violin and the texture dramatically changes with Larry Coryell’s intricate guitar the twangs of which are an invitation and a teaser. Subramaniam responds with a heartbreaking melodic plea that overwhelms the Coryell’s teaser, and establishes the emotional superiority over a suave mastery.  Relieving off its emotional mooring when Subramaniam’s violin rediscovers its cheerfulness and climbs on a fast crescendo it approximates a human voice. Breaking off appropriately with the theme notes an extraordinary human voice solkattu intervenes. A dynamic dialogue between the solkattu and the violin ensues and climaxes with the theme note.   ‘Motherland’ could be rhythmically intriguing for those who would not know solkattu, the melodic Indian vocalization of rhythmic syllables used in South Indian classical music and dance.

      ‘Memories of Jaffna’ calls forth his Subaramiam’s experiences of living in Srilanka as a child. He said in an interview, “Although I was born in India, I spent a number of years in Ceylon, particularly Jaffna where the Tamil speaking people live. It is very beautiful, culturally oriented place, and it’s where I began my musical career. My earliest memories are of the long evening concerts in the temples, playing with my father and brothers and sister”.  Like all memories Subramaniam’s ‘Memories of Jaffna’ has a complex texture. The theme note is one of majestic walk where the eloquence of a saxophone and tingling of a keyboard dominates along with the drums. Subramaniam seems to be finding himself inside the complex web of musical dominance and through his intense melody that alternates between screeching appeals and grim complaints he pulls himself back into a fast rhythm. By the time he joins the magnificent walk of the main note, the composition fades into silence. ‘Vision in White’, which Subramainam wrote in memory of his mother, is both haunting and meditative as memories tend to be.  Against the joyous dancing of the piano’s single keys Subramaniam’s melancholic melody intensifies endlessly.

      An energetic theme note, an intense melody, fast violin rhythm that approximates solkattu and surprise returns to the theme notes are the four signature components of Subramaniam’s compositions with which he establishes his landscape, memories, emotions, and self while conversing with other jazz musicians of the world. Incidentally ancient Tamil grammar and poetics classified music in terms of landscapes as it did for poetry. Subramaniam seems to have carved out a unique Tamil musical space for himself in the world of jazz that accommodates artistic expressions of multicultural identities and integrities. Subramaniam’s two albums, ‘Spanish Waves’ and ‘Conversations’ amply demonstrate how these complex negotiations can be undertaken with élan.

      In the live performance video of ‘Conversations’ the French jazz violinist Jean Luc Ponty, and Subramaniam opens the theme note with grand unabashed lyricism that paves way for Luc Ponty’s incredible solo of melody and intricate beauty.  Subramaniam begins his response with recognizable Carnatic melody, accentuates its intensity, climbs on a solkattu resembling rhythm, and invites Billy Cobham on the drums for a dialogue.  Billy Cobham’s eyes pop up many times at the intensity of Subrmaniam’s edgy melody as he struggles to keep pace with the rising solkattu tempo. While the climax leaves Cobham exhausted, Subramaniam returns to the main theme note with ease and without a pause. It is very similar to that of a Carnatic vocalist returning to his song after the solo feats of his instrumental accompanists.  Climaxing on a tempo is not a destination of a musical journey but it is only way station, is another characteristic of Subramaniam’s compositions that gives his music a non-linear quality.  For the listener the pleasure is endless and it comes in surprising cycles.

      In ‘Spanish Waves’ one notices Tom Scott’s work on the lyricon (wind operated synthesizer), which sounds, like a keyboard but on closer listening one can tell the difference. Subramaniam has collaborated with musician playing rare and foreign instruments ranging from lyricon to Koto. Not all collaborations are spectacular and rewarding like the ‘Spanish Waves’ or the ‘Conversations’. But the fact remains that Subramainam, the musician par excellence, has always engaged in a profound conversation that refined a civilization.  What makes a composer’s work so rewarding is the clarity of texture and the purposefulness of direction. Subramaniam’s oeuvre exhibits both the qualities. The landscape is distinct from mere geography; it implies the inclusion and the active agency of humans in its appreciation and interpretation. Art therefore becomes an interaction of the human population and the geography it occupies. By creating reverberating and recognizable musical registers of Tamil landscape in his art L.Subramaniam has immortalized himself.