presenting a concert in that format as well . In any case , the old format of South Indian Classical Music itself was such that an artist of that generation would sing one raga for an hour or more at stretch . In Hindustani music , they teach how to really present a raga in an interesting way . They ’ ve developed a system that is very complimentary to each other . You don ’ t have to depend on tala because tala is ingrained . You have a tabla player who gives constant reference to tala . You don ’ t have to sing every composition in different paces . You have compositions that suit the tempo you choose like vilambit , madhya lay , and taranas that are fast , so you don ’ t have to stretch one composition . Many times in carnatic music it doesn ’ t work to stretch a single composition one can ’ t present a heavy composition at a breezy speed . Yet the raga is capable of going in that tempo . Which means there should be a medium . In that sense I like Hindustani music a lot as it has a composition for every tempo . Brings in a lot of variety . That is something I feel can be successfully adapted to Carnatic music as well .
There is playing for one ’ s self , playing for a specific audience , and then striking a balance between the two . Where do you see yourself with respect to these three categories ?
If I say I ’ m playing a serious concert I have to play a serious concert . If I want to see myself on a stage at a jazz club , I should play something that suits the environment otherwise I shouldn ’ t even attempt it . At the same time , people like to add adjectives to everything like gimmickry , etc . But whatever the case , it is challenging to perform like that . I personally think though , one should strike a balance . If you are playing in Music Academy for instance , you have to play according to what that place demands . You certainly can try new things but the core of its values should not change . Last but not least , one should never take an audience for granted . Every concert should leave an impression . If you call yourself a master / maestro / legend , it should be worthy of your name and one should not take things casually . Over a period of 40-50 years , musicians who painstakingly built a career will have left their work behind through recordings and such . There is a sense of responsibility when you record . Your works are used as reference points in the future and so , you don ’ t want to be a bad reference . So , I won ’ t consider anything gimmickry . Many criticize Kunnakudi Vaidhyanathan for example , but I say it was very hard to play like him . He was a great artist . There is a place for everything and the way it is presented is what matters .
Who would you say has been your greatest support ( s ) in your career ?
I would say the people at large . The field of Music hasn ’ t made it easy for me any day . Though I ’ m a Tamilian by decent I was always treated as a Kannadiga in Chennai . Every step has been difficult . Even today , some don ’ t socially accept me . But those who have helped me are the organizers of sabhas . They have featured my performances regardless of who tried to sway them coupled with fans who have stood by me for my work .
You ’ ve been a part of several fusion collaborations in the past and continue to collaborate with musicians from all over the world . What is your take on the importance of fusion as a genre and the impact you hope to make with your collaborations ?
It is a learning environment and you learn a lot . However , I can only truly appreciate teams where artists contribute equally . Unfortunately , the term fusion has been misrepresented often . It is almost an avenue for those who are not successful otherwise to live off other ’ s talents . If you take Mahavishnu orchestra or Remember Shakthi , they are made of giants in the field who have meaningfully contributed to new ideas . Fusion as a concept is wonderful , but it has to be meaningful . There is no point in taking part if you have not mastered your art thoroughly before getting
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