Released my album on auspicious occasion of Vishu in the land of Lord Guruvayurappan in Kerala. Contains 5 Gunjans sung, edited, written and directed by team of Rythm Seven. Many thanks to all friends and artists who spent almost an year, endless nights and finances and put it to perfect project and special regards to Subhavana for beautiful piece of art and design.
Life is beautiful and what makes it more elegant and full of happiness is involvement and indulgence with something which you like the most.This could be anything -from cycling to yoga to art to creating fancy crafts or even as weird as just listening.
More we make use of out of 5 senses , better our quality of life becomes.
Preparing food for our beloved and family members is one such thing and Music would be another ,which not only makes use of touch,hear,watch senses but also has a sequence and stimulates our brain to anticipate and enables to analyse the science and art in it.
Ahealthy brain and healthy senses means happiness and happiness triggers men to move ahead in life incessantly.
My riyaaz is doing good for the last few days and the music season in South is gearing up .Especially in Tamilnadu/Andhra/Karnataka/Kerala ; the gaan sabhas and thyagaraja aradhana mahotsavas will be in full swing.
After I got back from Udaipur and Jaisalmer,never knew if I can regain the speed and clarity on my instrument but now everything is settled ; just need to increase playing by a few more hours(!) and it’ll all be done.
It was a soothing feeling when I was introduced to a few colleageus of mine as musicians.Interestingly -Venkatachalam is a very good flute player(Carnatic Classical) and Ramya is a decent singer (Indian Classical) .Hope we could jam some time.
Looking forward for ‘Gaaja Baaja’ at Pune during February and meeting with Guruji for a taalim during 24-26th January in Mumbai.It has been really a long time I went to Pune.
Just going through Deepak dada’s (Deepak Raja-whoes book titled –Khayal Vocalism: Continuity within Change) was published recently and below few lines/translations are taken from his blog.Its about -“Music is not just about music…”.
“The knowledge of music becomes an effective means of attaining one-ness with Lord Shiva; for by the knowledge of music, one attains to a state of absorption and it is by attaining such a state that one-ness with Shiva could be obtained… One ought not to indulge, out of delusion, in worldly songs…”
Skanda Purana, Suta Samhita. 220.127.116.11-16
“To the yogin whose spirit attains a unified state in the uniform bliss engendered by delectation of objects like music, there occurs an absorption and anchoring of the mind in that bliss. Where there is a continuous and long flow of sounds from stringed instruments, one becomes freed of other objects of cognition and becomes merged in that ultimate and verily of the form of that Supreme Being.”
“We adore the Supreme Being of the form of sound (Nada Bramha) which is the one bliss without a second, and the light of consciousness in all beings that has manifested itself in the form of the universe. By the adoration of sound (Nada) are also adored God Bramha, Vishnu, and Maheshwara, for they are the embodiment of sound.”
Sharangadeva in Sangeet Ratnakara, 1.3.1-2
“One attains the Supreme Being by practicing continuously the chanting of the Samans (the sacred Vedic mantras set to music) in the prescribed manner and with mental concentration. The singing of the songs Aparanta, Ullopya etc… the songs composed by Daksha and Bramha, constitutes indeed liberation. One who knows the correct playing of the lute, has mastered the subtle semitones, and understands the rhythms, attains the path of liberation without any strain.”
Yajnavalkya Smriti, 3.4.112-15
“O Mind! The knowledge of the science and art of music bestows on a person the bliss of oneness with the Supreme Being. Music such as is accompanied by the blissful oceanlike stories of the Lord which are the essence of love and all the other sentiments blesses a person with oneness with the Lord. Music such as that cultivated by the discerning Thyagaraja bestows on a person affection (for fellow beings), devotion (to God), attachment to good men, the Lord’s Grace, austere life, mental concentration, fame, and wealth.”
Sangitajnanamu in raga Salagabhairavi by Thyagaraja
“O Mind! Drink and revel in the ambrosia of melody; it gives one the fruit of sacrifices and contemplation, renunciation, as well as enjoyment; Thyagaraja knows that they who are proficient in sound, the mysic syllable OM, and the music notes – which are all of the form of the Lord Himself – are liberated souls.”.
Ragasudharasa in raga Andolika by Thyagaraja
“Two Bramhana lutists are singing to the lute; this thing, the lute, is verily the embodiment of beauty and prosperity; and these musicians of the lute do verily endow him (the patron) with prosperity.”
Taittiriya Bramhana, 3.9.14
“These that sing to the lute indeed sing of Him (the Supreme Being) only; hence it is that they attain riches.”
Chandogya Upanishad 1.7.6.
“Whatever poetic utterances there are, and the songs in all their entirety, are aspects of Lord Vishnu, in his sonant form.”
Vishnu Purana. 1.22.84
Sudev has produced and direction and edition was done by Ani via an Underscore records production.
Khusrau has been considered the inventor of Sitar,Tabla and Qawwali .Khusru -as all the talented extraordinary minds like Michale Angelo, leonardo da vinci, Einstein was a multi faceted personality and shagird of Hazrat Khwaja Nijamuddin Ouliya Sahab.
In the first piece, Fareed Ayaz presents his interpretation of an encounter that he believes took place between two iconic figures in South Asian musical history–-Gopal Nayak and Amir Khusrau. Legend has it that a music competition in a king’s court had come down to the two aforementioned finalists. Gopal Nayak sang a song in Sanskrit hoping to baffle Khusrau. Khusrau replied by singing a similar melody with Persian vocalic syllables as Sanskrit substitutes. These Persian vocalic syllables came to be later known as tarana.
Ayaz sings both versions commenting that Khusrau’s response was prized because it was limited in words and was able to be reproduced by the young musicians, or the qawwal bacche, of the time.Having trained in Hindustani classical music, Fareed Ayaz’s music also includes features of khayal singing. This is especially true in the interludes between verses. For example, the second piece begins with a short aalaap and tarana in Raag Bihag before moving back into the main medley. The main song is a stanza from Khusrau’s famous poem Chhapa Tilak Sab Cheeni. This particular poem was written in reverence to Khusrau’s spiritual guide (peer) Nizamuddin Auliya. The verse sung here is:Bal Bal Jaaon Mein Toray Rang Rajwa Apnisee Rang Leeni Ray Mosay Naina MilaikayThe last item of the video is the popular dhamaal. This ritual is characterized by ecstatic and uncontrolled swirling of the head and body accompanied by strong punctuations in the rhythm. This type of dance and rhythmic trance is characteristic of the music at the shrine of Lal Shahbaz Qalandar. In this segment of the clip, Fareed Ayaz’s younger brother and son are on the tabla and dholak, respectively, and conclude the recital with variations in the qawwali thekha, or the metric pattern of eight beats (4 + 4).
Qawwali can be categorized as a song genre of Hindustani semi-classical music that is set to mystical Sufi poetry in Farsi, Hindi, Persian, Punjabi, and Urdu. Historically, this type of music was performed in smaller assemblies at the dargahs, or shrines, of the respected Sufi leaders. Since the early eighties, however, the likes of Nusrat Fateh Ali Khan and Sabri Brothers have brought qawwali to the masses by performing outside of the dargah. It is important to note that as a genre, qawwali is marked by its vast internal variation in musical and lyrical understanding, performance, and repertoire. Different musicians performing the same song can and do sound very different.
More importantly, a troupe will change their presentation of the same song depending on variable factors such as time, audience, place, and setting.This video, recorded at a public concert in New Delhi, presents a medley of different sounds that characterize qawwali as taught by the Late Munshi Raziuddin. Munshi Raziuddin was a respected musician and scholar who diligently taught his sons Fareed Ayaz (video right) and Abu-Muhammad (video left) until his death at the age of 93.
Thoda saa aaj hum bhi challenge hawa ke saath…
Badli hui hai aaj , yehan ki hawa bohot…
Another trip, another destination; new people , new culture, new kinds of sports but same definition of brotherhood, management and musical notes , of course written in different languages.Life goes on and teaches one to create something of ones own, and let the world get waste if it is not up to ones liking and the taste.Does the life teach the same lesson to everyone? Probably not! Probably not.
Mozart learned it and my dear friends Michael and Armin also .Armin and Michael learned archery and para gliding respectively as well;They also learned how to save time and not to get exhausted with the work they do not like so that they can spend more and more energies into something they love to do.They are free , and they don’t compare themselves with their peers.There is a catch; in my country I don’t find Arm and Mike; we are not free.Are we?
A resounding no !
Some times I used to think , people have every right to say NO to learn new things but at the other time there was this voice from within that- there is no virtue in not knowing something , if that can be known.
Oops…Life till now had been full of analysis,studies,realization and bundle of zeroness.
Its all past , its all gone by.
Main kuch bhi karoon koi tokta nahin tha,
Abb teri aankhein daantti hai….
Jo khud ko bhi maine kaha nahin tha,
Abb teri aankhein jaanti hai….
Main chhalkata tha jis boond ko,
Abb teri aankhien rokti hai….
Thee baatein jo jami -kabhi seene mein mere,
Abb teri aankhein bolti hai….
Bhagta tha jo kisi manzil ki oar,
Abb teri aankhein bulaati hai….
Jo hazaar baar rulaati thee jindagi…
Abb sau baar hansaati hai yeh aankhein,
Pyar mein chhalak jati hai magar,
Gusse mein garajti hai ye aankhein..
Bas who aankhe, do aankhe..badi badi ,gehri aur.. neeli ankhein..
Badi tarsaati hai….is ‘Noor’ ko J..
My trip to Goa; as always memorable with sonorous ever flowing swaras and mesmerising drum beats ; whats more blissful was it was a GURUPOORNIMA function of our Guru.
Ameya writes something for the occasion and the sacred relationship !!
A divine relationship which lasts forever. Whenever a disciple takes a
corner to live under the tutelage of a Guru, he begins his life with a
newer dimension. He feels something different and energizing from there
A guru shishya parampara is a footage stone for generation of all this
mysterious things. Without it, I believe there remains hardly any truth
to find ones existence. Always Guru Shishya Sambhandha has a kind touch,
a touch like wherein Lord Krishna plays his Bansuri, a livelihood when Kanhaiya
finds rare beauty in eating makhan.When a disciple starts learning ocean of
precious knowledge, his anxiety and vigor changes and takes a new stand. The
point to know is he finds himself as a small child, grasping hand to know to
walk at the first instant. Everything looks as beautiful and bountiful.
But here this happens only when the knot between two living glories is strong.
The more important is disciple must believe his Guruji at all the stages, odds and circumstances; then the knowledge protrudes through the insane senses of
individuality. However once this begins, there is an unending stories which shall happen in once life.
Guruji may be any how; one must be Ramdut. Learning to know the pain and kindness in every doing activity. A relationship as is long-lasting, there is belief in the system; (wherein whatever may be the input you fed to it, it shall generate the result accordingly; obviously depending upon the system parameters).
When such relation builds, one gets (assures) respect from both sides. There occurs understanding, belief strengthens and hope sees no limit.
However Guru only remains as the initiator and infinite. Shishya only has to do riyaaz and activities as per the Guruji’s teaching. Once you find a light into doing, more light generates automatically; and you see somewhere different becoming happy each tuned day. All this happens because of “Satguru Krupa”
And when one gets Satguru Krupa, Atma –paramatma meets where individual soul softens to absorb the happiness and difficulties of life.
First posted by me on Aneeshji’s blog as a comment to his “DJ Divine” article…
I am just back from visiting the Kullu dassera,the folk extravagnza,that was part of my usual weekend tours that I try to undergo when I am to receive and know more about
Indian Music .This is the only duration when I am away from my riyaaz.During the trip I also visited Dharmshala (Tibetan Institute of Performing Arts)and North most part of Himachal Pradesh(i.e.Lahoul & Spiti ),thinking that the area and its ambience would teach me w.r.t. the rusticness and the ancient folk culture of India.
I have been in Delhi for almost 6months now and been transferred from Pune,where I regularly used to visit “Sawai Gandharva Music Festival” and other musical mehfills taking places.
In those mehfills I used to listen to great performers talking very highly about Pune’s very keen and observant audiences, and used to say that these people(the audience of Pune) is the major factor to bridge the gap between old and new generation of classical music or in other way to sustain the culture of Indian classical music.
Those days I being in Pune , was a little surprised to understand that how could such a vast and deep culture of Indian classical music ,according to these people is vanishing gradually?Then started my quest for the exploration of more music and incidently happen to come to Delhi.
While roaming in Cannought Place (The Bookwirm book store to be precise),I found a book titled “India’s lost music”-that talked literally about the demise of Indian classical music giving some snapshots of the great masters like Ustd. Bade Ghulam Ali Khan Sahab,Pdt.Mallikarjun Manoor Ji,Pdt.Omkarnath Thakur Ji ,Roshanara begum ji,Pandita Saraswati baai Rane and many other respected exponents of Indian classical music of the era earlier than 1960s.Does west really think that Indian classical music is dead,or do we think except Punekars,Banaraswallas and Mumbai & Delhiites??
While attending a concert of Pdt.Bhajan Sopori ji in Delhi ,when he asked audience about the farmaish (by this time he has already finished raagas Gawati & Bageshri ),then one of the front seaters said very enthusiastically(yes enthusiastically as the fellow seemed to enjoy the show till then very much ) “Panditji Bhairavi ho jaye”.
On the other occasion another audience said “Panditji Jan Gan Man bajaiye”.
Well todays generation (of which I am also a part of),seems to be drifting away with whatever has been shown by the media.It really hurts when the folk dances and music is also biased with the tunes of Reshmiya and Malik’s songs.Enchanting of stotras and artis are composed with bollywood’s tunes,on Ganesh or navratri prosessions there is always a race w.r.t. the loud speaker’s decibel levels and mostly everywhere one can listen to “Kaala Kouwa Kaat Khayega” and songs like this on which people are dancing to the limitless.
I believe that media has to take the responsibilty to preserve and broadcast some good stuff to the youth ,if doordarshan or AIR needs a sponsorship then Indian corporate circle has to come forward or the advertising has to be done accordingly by the responsible intellectual media personalities of our country.
At last being a learner of Indian classical music, I can only say that this is the high time to preserve the music of south asia in the form of Ghazals(those old sonorous from Great Mehdi Hassan which used to be composed on some or the other raag only ),folk music and Indian Classical Music-the core ,I would say .
The classical music is definitley not gone and cannot die also ,but we need to aggressively carry out a crisp plan so that we can give the Indian Classical Music its due.We the youth are ready to implement the path shown by our Gurujans to the ultimate.
Rudra hoon vish chod ,madhu ki kaamna main kyon karoonga,
Hai amit samrthya mujhme,yaachna main kyon karoonga
My Guruji has launched one book that is the first in the series of how to teach students between the age of 8 to 15 about learning the musical instruments.Was ably supported by Anand Hirvey through sketches and images.
Have a glimpse of some of the snapshots.
My dear friend Ameya has written something on me as a traveller.Yuppy 🙂
He knows the best,
Who imagines a wide road ahead,
To walk, walk and walk…..
No waiting and looking back,
Go with the vigor, to surpass,
Miles that come ahead of him…
He rather smiles in those exerts,
Sweating, pushing and,
Sometimes feeling too little cold…..
Up he sees the sky, and,
Down the inspiring motherland,
Inviting him to move one step ahead…
This happens always,
Because of his initiation and love,
Seeing in beauty of infiniteness….
He adorns, react & feels great,
Talking to little aspect he touches,
Believing within them a uniqueness….
He is a performer & experimental,
However far he may go and reach,
He likes to be called a traveller…..
I need some peeple who can sit with me for some time(a few hours/a few days) and discuss the creativity and expressions.
There are currently three projects in hand with “Rhythm Seven -a Goa,Pune/Mumbai based Music-Art related organisation”.
A.Already published book to be made into movie or animation for children.The book is a tutorial for the musical instrument for children below the age of 15.
Needs–Dreamweaver,Flash,Python/Perl scripts,Photoshop etc.
B.Needs artistic imagination in painting and drawing/sketches for a to be published book of Poetry in hindi .Colours are to be important in the designs and each expression will be associated with a theme in the context.
Needs–Pencil sketches,colour drawings etc.
C.Design of a ART related website based on Open Source templates/software with the integration of e-commerce
Credit will be given to the designers and compensation can be negotiated.
There are many more projects in the pipeline and the above 3 pilot projects can decide the future course of actions 🙂
The assignment is best defined as The collection of explorations in creativity. In this concept I refuse to limit myself to one line of thought, one tool, one idea, one medium. Yes, it is about music, painting, drawing, writing, thinking, video, animation ,sketches and the list goes on.
The practical side has been possible for me because of the use of open source tools. In these days of digitized communication, publicity and working tools, it has become virtually impossible for regular working people without a high income, to get the necessary software, at least legally. I share the open source ideal of giving everyone the chance to learn, and to be creative. Therefore I’ve decided to use as much as much open source tools as I can, to give my projects a chance .
- To inspire other people to use open source tools because they really give you many more possibilities
- Earn and share money.
- Expressing ourselves with monetary expectations.