Seamless flow of music
RANJANI GOVIND
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Three streams flowed fluently and merged smoothly in `Temptations.'
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PERFECT UNDERSTANDING: Rajhesh Vaidhya (left) and Karthik. Photo: R. Shivaji Rao.
"I never thought I would be part of this `Carnatic-Hindustani-Western' amalgam. This bold experimentation is the result of Rajhesh Vaidhya's innovative persona," said playback singer Karthik, sharing the stage for Hindustani expositions with the fusion-loving Rajhesh for `Temptations,' at the Music Academy this past weekend. They were brought together for a cause by Gnyan Prabodh. The educational trust is a non-profit organisation that sponsors deserving children and the aim is to bring down the number of school dropouts.
Well-planned show
Ten energetic youngsters occupied the traditionally done-up pillared stage and showcased a well-planned, neatly designed fusion show conceived by Rajhesh Vaidhya. Alone and together what the musicians offered was aural pleasure. And it was something new for the fans of Karthik. They enjoyed his classical alaap-and-swar as much as they relish his film songs.
Karukurichi Mohana Raman (mridangam), D. Chandrajit (tabla), N. Subramanyam (ghatam), Shankar (drums & percussion), Sriram Ramesh (rhythm pad), Navneeth Sundar and Harini (keyboard) and A.R. Anand (electric guitar) were the other participants.
After a brief invocation, the keyboard brought in effects of rippling water and gushing stream with Rajhesh unfolding Charukesi in several moods on his veena. Karthik dealt with the characteristic swar-phrases of the raag and draped it so well in the Hindustani garb with a Bandish that gave ample room for the tabla to bring in the required flavour. The piece stood out, coming as it did soon after a fast round of contemporary rhythm.
Fusion shows generally suffer from poor time management. Thanks to the so-called `creativity on stage' factor, some members of the ensemble have endless sessions while the others have to be content with brief spells. This is where `Temptations' scored, with every musician performing within a time frame. The three streams merged smoothly, the pre-worked phrases serving as links.
Raag Bahaar was chosen to bring alive the spontaneity of waves and the inherent rhythm in their rise and fall. With the percussionists providing a resonant start, Rajhesh and Karthik explored the avenue, enjoying themselves in the process. The raag that also captures the ecstasy of blossom saw Archana, Ashwini and Shailaja presenting a dance in contemporary style.
The love of a child found melodic expressions in an interesting Dharmavati-Madhuvanti combo. "The two sound similar but the latter slides without the rishabham," explained Rajhesh before showing the nuances through the lilting lyric "Kandanaal Mudalaai Kaadhal Perugudadi," which incidentally was also a light-and-music synchronised melody.
The stringed instruments tweaked in rock style and the electric guitar vibrated for that jazz touch. The mridangam, tabla and ghatam came together. The blistering notes from Rajhesh's amplified strings gradually mellowed to pick up "Shankara" in soft Lalitha... a tribute that every musician on stage paid to the Sage of Kanchi.
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