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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