ACCOLADES AND ANGST
MAR 15, 2009 – THE FIRST TIME “GUITAR” PRASANNA LAID EYES on Megan Mylan, the director of the Academy Award-winning documentary short Smile Pinki, it was on a television set that was telecasting the Oscars. Otherwise, he was in Boston composing the music, while she was in New York, evaluating the efforts of her newest collaborator. “At first, she had no plans for an original score,” Prasanna reveals. The idea was to license existing tracks with “familiar Indian sounds.” But when Mylan realised Prasanna was a composer and a musician, she gave him a cue sheet and set him free. Well, not quite. “I did exactly what she wanted. If she had a sitar piece on a sample track, I used a sitar. But elsewhere, where she indicated a sarod, I used my acoustic guitar, which has a certain level of grittiness that the electric guitar doesn’t have.”
This grit, Prasanna points out, is apposite to a story set largely in the rural belts. “I wanted to make it folksier than pure Hindustani. Even the solo flute passages are breathier.” (The score employed just four instruments: guitar, flute, sitar and tabla.) Through large swatches of the film, Prasanna speaks of his attempts to become one with the narrative – for instance, embedding the soundscape with minimalistic motifs (Prasanna cites Steve Reich and Philip Glass as influences) that add colour to the story in invisibly incremental strokes, or closing a passage at a pitch that would segue seamlessly into the whistle of a train. And as a reward for his reticence, he broke loose during the end credits. “I got away with using a very strong Carnatic raga, Kambodhi, in the context of a film set in the North. It’s like something I’d play in a classical concert. It’s all me.”
Like all voyagers into the self, Prasanna struggles to reach an all-encompassing definition of “me.” He realises that the very mention of his name, prefix and all, paints a picture of a gentle Jekyll seated cross-legged on a Chennai stage during the December season, playing Carnatic music on the guitar. But there’s also the unfettered Hyde, the unbridled jazz musician who barrels past boundaries with little compassion for tradition or convention. “I know jazz as a language, not simply as a style” Prasanna says. “You’ve got to straddle the world of bebop, which goes into the Coltrane and post-bop era, and then into the avant garde world of Ornette Coleman and the Art Ensemble of Chicago. Just as I use Carnatic music, there are people who bring in elements from I Ching and speech patterns in African dialects. Amazing things are happening under the umbrella of jazz.”
And it is from this position of vantage that Prasanna lobs a casual ten-ton bomb into the midst of our conversation. “Jazz is constantly evolving, while Carnatic music is static. That is the reason Carnatic music is in such a pathetic state today.” His point is simply that Carnatic musicians get caught up in expressing everything except themselves. “There are very few who play in order to express their personality. We don’t have radicals like Balamuralikrishna or GN Balasubramaniam or ‘Veena’ Balachandar anymore. Carnatic music was founded on the basis of bold innovators, dynamic thinkers, visionaries like Thyagaraja and Dikshitar and Syama Sastri.” And to listen to Prasanna, all the musical thinking today is done within the safe confines of an ironbound box.
“Everyone follows the Ariyakudi kutcheri format, which he formulated for reasons that suited him. He wanted to clear his throat by starting with a varnam. But I don’t have to warm up my throat. I only use my fingers.” During the last couple of seasons, therefore, these fingers opted to delineate some of Prasanna’s own compositions from Electric Ganesha Land, his Carnatic-rock tribute to Jimi Hendrix. “And I didn’t play a single tukkada.” This isn’t just a petulant child throwing a tantrum from a corner of a room, upon being warned what he can and cannot do – standing back, there’s a larger perspective. “In the US, performances aren’t advertised as ‘a jazz concert by Wayne Shorter,’ or ‘a classical concert by Elliot Carter.’ They merely say: A concert by Wayne Shorter or Elliot Carter.’ It’s the artist who’s the draw – and besides, everyone knows Wayne Shorter plays jazz.”
But here, come December, the ads admonish: A Carnatic concert by Prasanna. “It indirectly tells me to be only one part of me. I’ve done that for many years, but today I’ve come to a stage where I want my audience to connect to me through my entire being. I still use the mridangam and the ghatam – but I don’t want to define my concert as Carnatic.” Perhaps Also-Carnatic would be an appropriate appellation, for Prasanna employs Indian ragas and Indian aesthetics in everything he does. The best jazz musicians have embraced the wholly exotic and rich Indian tradition he infuses into the mix. “But here, when you start bringing in other influences, people get guarded. I have lived in Mylapore. I’ve been around the world. I have seen the interconnectedness of things. Why should I not reflect that in a concert just because somebody else picks a format for me? When I play Carnatic music, why should I reject everything else about who I am?”
Copyright ©2009 The New Sunday Express. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
brangan
March 14, 2009
An earlier piece about Prasanna can be found here.
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george
March 15, 2009
this is why I enjoy reading this space … after the Oscars, all I get everywhere is SlumdogMania and the occasional article mentioning “Smile Pinki”; this is one of the rare few articles that decides to write about the music. How about something about “Framed” and his work for it?
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brangan
March 15, 2009
george: I saw the film (Framed) during a private screening, but I didn’t process the soundtrack outside of the movie. Do you know if it’s available/downloadable?
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Shankar
March 16, 2009
I’ve met Prasanna a few times here, both he and his wife are very cool. Of course, Prasanna still vividly remembers mesmerizing us many many years ago belting out “Peaceful” and “Bodhisatva”!! 🙂
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Vijay
March 16, 2009
Heard from my brother that Prasanna was aconstant fixture at Oasis. BTW, to BR and any other BITSians here, was Anu Hassan active in culfests too? 🙂
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Ravi K
March 16, 2009
Not directly related to this article, but you guys might be interested in this American radio interview with Indian-American saxophonist Rudresh Mahanthappa:
http://www.npr.org/templates/story/story.php?storyId=101644613
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Arun
March 16, 2009
adding to Ravi, also check this out:
http://www.newyorker.com/arts/critics/musical/2009/03/02/090302crmu_music_giddins
what I would like is to see Prasanna,Rudresh,Vijay Iyer and Madhav Chari put on a jazz convert here…
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brangan
March 16, 2009
Vijay: Yes.
Arun: Throughout the year, there are actually quite a few non-Carnatic concerts in the city. The trick is to be on the relevant mailing lists 🙂
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Shankar
March 16, 2009
Vijay, and who might your brother be?
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Jaiganesh
March 18, 2009
His point on carnatic music stagnating is spot on – It is the same thing that Ilaiyaraaja has been screaming to carnatic musicians for so long – If you dont innovate you are not adding value…
In the recent felicitation functin to ARR too
Raaja reiterated the fact that BMK is not just a singer – but some one who can sing and elaborate on more that the norm.
Guitar Prasanna himself has remarked how Raaja egged him on to do more on new compositions instead of playing the same old same old.
I have seen prasanna in mandaveli in early days when he was trying to establish a website for him in a netcenter. The guy is a class apart – his musical knowledge is immense and he is one who did not lament on too much film music while staying there – he broke away and fully indulged headlong into various innovations and experimentation. May his efforts gather more force and power!!
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brangan
March 18, 2009
Jaiganesh: I, for one, do not see that Carnatic music is “stagnating” at all. It is an art form that has been defined with some rules over the years, and I think there is a lot that is being done within the apparently restictive context that is prevalent today.
When I go to a concert and when an artist explores a raga (not the “stunt” ragas, but the ones capable of being truly and fully explored), that is really all I need to come away with a full heart. And as each artist is different and each level of involvement and exploration and interpretation is different, you could hear the same Shankarabharanam over a decade and yet not hear the “same” Shankarabharanam each time. Is this not innovation? Is this not value addition?
The incorporation of, say, Dandapani Desikar songs in a concert is some sort of “innovation,” I think. Sanjay Subrahmanyam is fond of singing Oho kaalame and suchlike, instead of a truly “classical” Sahana. New songs, new efforts in manodharma — all these are still happening in concerts.
Yes, sure, there is value in considering deviations from the format too — and this may bring in more listeners — but I don’t see why the two cannot coexist. Do you think Hindustani classical music is “stagnating” because we still hear dadras and thumris?
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brangan
March 18, 2009
To add to my comment, even Western classical music, when played today, is bound by certain rules. And it is the innovation and the interpretation of the conductor that keeps the music from “stagnating.” Jazz, on the other hand, is a very modern form of music, and hence less rule-bound. I don’t know if it can be considered an ideal against which to measure the degree of “stagnation” of the more classical forms of music.
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Bala
March 18, 2009
On an unrelated note…did u have a chance to check out U2s ” No Line on the horizon “?Thoughts ?
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brangan
March 18, 2009
Bala: You know, I really like the album — because I’ve always been a huge U2 fan. (See earlier appropriately worshipful piece here.) Songs like I’ll Go Crazy If I Don’t Go Crazy Tonight, Moment Of Surrender and Magnificent are proof that this group isn’t entirely done yet. But what I missed somewhat is the unexpected. I know this is the “big” U2 sound that’s popular, but I’m a big fan of their anything-goes Achtung Baby and Zooropa phase, and I’d have liked to see something along those lines here, if only in a song or two.
PS: I thought I was past the age of cottoning on to brand new bands, but Coldplay has kinda done it for me of late. Are you a fan?
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Bala
March 18, 2009
Hmm , Coldplay is good yes.Dunno if I am a fan yet 😀 Perhaps I am beyond that age too ?I am not that impressed with their latest stuff..Guns and Roses’s latest wasn’t too bad either .Would you say you aren’t too big a fan of hip-hop ?Considering your struggle to find new bands/artists to like ?
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Shankar
March 19, 2009
Baddy, do you really feel age has to do with listening to new bands? If one is a true music enthusiast, that should not apply, isn’t it? I listen to plenty of new bands all the time and do like some of them…Infact the only time I happen to listen to classic rock nowadays is on the radio when I’m flipping channels and come across something that makes me really nostalgic. There is really lots of great music in the alternative space that has my attention in the past few years.
I’ve almost seen my listening as an evolution…pop (MJ, PSB etc) in high school, classic and hard rock (PF, Queen, Metallica etc) in college and now moving onto alternative…I’m sure everyone goes through phases. However, it’s only in tamil music that I still have my favorites in the 80s period!! 🙂
Again, it’s just my 2c.
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brangan
March 19, 2009
Shankar: Okay, I didn’t mean it *that* way. Of course, I listen to a lot of new music. But I have found that, over time, my “devoted” listening has gone down. Earlier, when I liked a band, I used to track release dates (courtesy friends in US and Billboard charts) and haunt one particular shop in Adyar, and till I got the cassette, I wouldn’t be at peace. Now, there’s a new U2 album out and I was like, “Oh, I guess I should check it out.” 🙂
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joe anthony
March 20, 2009
br, did u listen to the new U2 album? I would very much like to hear your opinion on that. (And especially on “get on your boots”, haha. Hearing that didn’t it feel like U2 terribly misfired on the Clinton-Obama bet? Women on power and all…) And by the way, I am big fan of U2. No kidding
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Tambi Dude
March 20, 2009
shankar: I still love 60s and 70s Jethro Tull.
I however agree that I have moved on to some new music I have discovered. Like Thomas Newman’s outstanding score in American Beauty, Shawshank Redemption , Scent of the Woman.
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aandthirtyeights
March 21, 2009
Hey. Very nice post. Really got me thinking. Have posted a response on my blog – http://imamwapsoro.blogspot.com/2009/03/stagnant-music.html.
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george
March 21, 2009
B, no luck here. It’s one of those films whose soundtracks are available only as part of the film’s print — some other examples for me were Sagar Desai’s soundtracks (“Bheja Fry,” “Mixed Doubles,” “Mithya,” “Meridian Lines,” “Bombay Skies” and “Siddharth: The Prisoner”)
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Shankar
March 21, 2009
Tambidude, yeah…I love my classic rock too, just don’t listen to it often enough now.
Also, I realize my usage of the term “evolution” in my previous comment perhaps also implies that the stuff I listen to now is better that what I used to…and I didn’t mean it like that at all. I was only referring to the phases that I went through.
Baddy, have you listened to “System of a down”? They have been around for a few years now and on first listen, they may put off a few since they almost verge on metal. However, they have some incredible melody lines in their songs and the combination is very interesting. Maybe you’ve already heard of them…
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Radhika
March 21, 2009
Achcha, a bit of a digression : I am mildly curious : why do you use italics for sitar, tabla and suchlike Indian words? it’s not as if you need a glossary – your audience is (I presume, mostly) Indian and is comfortable with segueing between a raaga and a jazz term so why highlight these?
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brangan
March 26, 2009
Radhika: I think the non-English words are usually italicised, but now I’m not so sure. Lemme check… Thanks.
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