Happened to attend this fusion concert in Kolkata couple of days back called Melange 2010, involving Trilok Gurtu, Ustad Nishat Khan, Larry Corryell and a few other master instrumentalists. There was a lot of good music played, but my favourite part was Trilok Gurtu coming to the front of the stage with what looked like a speaker box, sat on it, and introduced it to the audience as being a South American musical instrument called Cajón. An instrument, which he jocularly referred to as capable of being employed as a stool, tea table or bookstand among others.

Cajón is the Spanish for “box”, and that’s exactly what the instrument originated as. Right from the 16^th century African slaves in the Americas, specifically Peru, were fashioning box drums out of fish crates. Cubans had been transforming small dresser drawers into box drums for a long time. Over time these jug instruments got refined to make it part of popular folk music. In the late 19^th century cajón started being associated with the Afro-Cuban song/dance genre called rumba, and other Afro-Peruvian styles.

A typical cajón is a cuboid, of which five sides are made out of half to three quarter inch thick pine or other white wood. The sixth surface, which is the striking side, is made out of a thin sheet of plywood. This side is called the tapa. A sound hole is cut out on the side opposite the tapa. The top edges are left loose so that they can be slapped against the box. The modern cajóns sometimes come with a lot of screws to adjust timbre, or with stretched cords across the tapa. Apart from the cuboid, cajón has also started coming in trapezoidal and tubular forms. To play the cajón one normally sits on the box positioning the tapa between his legs.  Standard usage involves slapping the surface with hands. Some artists (like Trilok Gurtu in the concert) also use their feet for added expressions.

While cajón is today an integral part of Cuban and Peruvian music, the instrument has also started gaining popularity with music outside of these regions, especially in a lot of acoustic music settings. In the 1970s guitarist Paco De Lucia was presented a cajón by master percussionist Caitro Soto, and Paco went on to introduce it in flamenco music. Today you can hear cajón playing in pop music or even rock music. Here are a few videos of the simple yet fascinating instrument, including one from Melange 2010 (forgive the low quality of the video).

- Ajay Parasuraman

Identifying the raga of a composition requires ample kelvi njaanam. Listening to a lot of songs will help you know better the usages of swaras in the raga.

Each raaga has it’s own prayoga (usages) of swaras which give it a distinct identity, one that distinguishes it from all the other raagas — much like what a signature is to a person. Every raaga will have it’s characteristic jeeva swaras (lit. swaras that give life) with which you can differentiate between any two raagas. The jeeva swaras are the ones that breathe life into a raaga. The jeeva swaras, as you will see, form an integral part of the ‘main’ prayogas in the raga .

Let’s have a look at one raaga, it’s jeeva swaras and prayogas. Reethigowla, say.

Reethigowla is the janya raga of Kharaharapriya, the 22nd Melakarta raga. (The Kafi thaat of Hindustani music is the equivalent of Kharaharapriya.)

A bit about the raagas aarohan and avarohan:

Aa: S G2 R2 G2 M1 N2 D2 M1 N2 N2 S

Av: S N2 D2 M1 G2 M1 P M1 G2 R2 S

The variant of Reethigowla in asampoorna paddhathi is with a shuddha daivatham. We term this loosely as Reethigowla. In the Dikshitar scale of Raagas, this raga is <sometimes> called Naari-Reethigowlai.

However the blueprint N2 N2 S gives Reethigowla a unique personality, the movements of which are very characteristic and identifiable.

Essence of the raga: The essence of the raaga lies in the prayoga N N S, G M P M G R S, to point out a few.

Watch these renditions of Subbaraya Shastry’s Janani Ninnuvina :
1. By Sudha Raghunathan (Vocal)

2. By Bonala Sankara Prakash on the Veena

As the etymology claims, the raga has a power to direct. The name of the raga comes from the Sanksrit word for rule/way(as in syntax of doing things), thus denoting a sense of direction.

Listen to these amazing renditions by Abhishek Raghuram — he happens to be the prodigious grandson of the Late. Sri Palghat Raghu. Do note how he uses the swaras to beautify the raga (in Video 2).

Video 1
Video 2

And after that dosage of Carnatic, listen to this song, one you — all south indians, atleast — must be familiar with.

Kangal Irandal – Subramanyapuram – Composer: James Vasanthan

And this: Chidiya Tu Hoti To – Nayak – Composer: A R Rahman

And this: Sudum Nilavu – Thambi – Composer: Vidyasagar

And this Ilaiyaraja song: Thalayai Kuniyum Thaamarayai – Oru Odai Nadhiyagiradhu

And: “Chinnakannan Azhaikiraan” in Kavikkuyil sung by the Balamurali Krishna

And: Rama kanavemira from Swathi Muthyam

And: Meettatha Oru Veenai – Poonthottam – Composer: Ilayaraja

And finally: Naadha Vinodham – Saagara Sangamam – Composer: Ilayaraja

S0 the next time you listen to a movie song, you should hopefully be able to tell whether it’s in Reethigowla or not

And if the above videos were not enough, here are some more classical compositions in Reethigowla:

* Thyagaraja:     Nannu vidachi kadhalaku raa
+ Bale baalendhu bhooshini
+ Dwaithamu sukhama
+ Raga rathna maalikache
+ Chera rAvademi raa
* Subbaraya Shastry: Janani ninnuvina
* Papanasam Shivan: Tatvam ariya tarama
* Swathi Thirunal: Paripaalaya maam
* Ambujam Krishnan: Guruvaryoorappane appan
* Mutthuswamy Dikshithar: Sri neelothpala nayike

Reference: Kamala Keertana

The sample pieces of the 14-song soundtrack for Danny Boyle’s 127 Hours are out on Amazon.com, along with a digital booklet pertaining to the movie. The official release of the soundtrack is on November 2. While seven of the tracks have been composed by Oscar winner A R Rahman, others are by Dido, Sigur Ros, Free Blood, Bill Withers, Vladimir Ashkenazy, Plastic Bertrand and Esther Phillips respectively. Given the kind of chartbuster that Slumdog Millionaire was, expectations are pretty high of ARR on this one too. You can listen to the samples here while you wait for it to be November 2. The track listing is as below:

1. Never Hear Surf Music Again – Free Blood
2. The Canyon – A.R. Rahman
3. Liberation Begins – A.R. Rahman
4. Touch of the Sun – A.R. Rahman
5. Lovely Day – Bill Withers
6. Chopin:  Nocturne No. 2 in E flat, Op. 9 No. 2
7. Ca Plane Pour Moi – Plastic Bertrand
8. Liberation In A Dream – A.R. Rahman
9. If You Love Me (Really Love Me) – Esther Phillips
10. Acid Darbari – A.R. Rahman
11. R.I.P. – A.R. Rahman
12. Liberation – A.R. Rahman
13. Festival – Sigur Ros
14. If I Rise – Dido / A.R. Rahman

You can listen to the soundtrack here.

Yeh Des Hai Mera provides an excellent start to the soundtrack, ambient and strongly evocative of patriotic feelings. Composer Sohail Sen does a fab job as vocalist as well. That said, there is an unmistakable Rahman-esque tinge to the arrangement. Full credit to Sohail for this one though. The Bengali folk track Naiyn Tere works as all folk songs do, very feel-good, and helped on its way by Pamela Jain and Ranjini Jose’s (who happens to be a dear friend. Really happy for her entry into Bollywood! ) neat rendition. Sohail keeps the rustic feel intact without going overboard on the instrument usage, which is job well done. A sad version of the same song sees Pamela Jain go solo to an even minimal instrumental backing.

The title song sees a very imaginative orchestration from the composer, the wild west-ish portion in the first interlude deserving a special mention. The Cine Singers Association Group Chorus Kids Chorus from Suresh Wadkar Ajivasan Music Academy do justice to Sohail’s arrangement with a stirring rendition. The other chorus group, the Cine Singers Association Group Chorus, does an equally splendid job with the majestic-sounding version of Vande Mataram. Pamela Jain returns for a second time with Sohail to deliver the lovely melody Sapne Saloney which again bears Bong traces in the arrangement.

After that follow six short instrumental tracks, which though mostly situational, stand out for their orchestral brilliance. Long Live Chittagong is a bouncy orchestral track with some folk infusion. The Teenager’s Whistle is an elaborate version of the first interlude of the title song. Surjya’s Sorrow is very well arranged and heart-warming, yet in a very Rahman-esque manner. The instrumental version of Vande Mataram again proves very effective in generating that majestic feel. The Escape is very functional in nature but gives a feel akin to what one would expect from the title. And finally there is Revolutionary Comrades, a choral version of Yeh Des.. which starts off on a soft note slowly building up to a crescendo.

Seeing that Gowariker already had Lagaan, Sohail Sen ran a serious risk of falling under Lagaan’s shadow in Khele Hum Jee Jaan Se, but he has come out wonderfully, even shaking off What’s Your Rashee blues in the process. Hat’s off!

Just noticed on Milliblog that the instrumentals have been programmed and arranged by Simaab Sen. Take a bow, Simaab. This is one heck of a job from you!

Music Aloud Rating – 8.5/10

Recommended Tracks – Yeh Des Hai Mera, Naiyn Tere, Khele Hum Jee Jaan Se, Long Live Chittagong, Surjya’s Sorrow

Bilal Khan is a former student of Lahore University of Management Studies more popularly known as LUMS. While at LUMS Bilal wrote a song , “Bachana”. It is a nice song on alienation in this mad rush called life. It’s about how dreams drift away and how death seems like the most sensible option available. Bilal had originally recorded the song and shot a video for this song, all by himself in true DIY spirit, and then released it one Youtube. The video has become a huge hit and have notched up 200 thousand hits till date.  Bilal has written a few more songs and all of them are available for free download at his website

Bilal used to publish a webcomic as well, while at LUMS.  This is definitely an artist to watch out for.

Here is Bachana for you……

Radio station Radio One has announced the launch of its music quiz show called Music Ka Shahenshah, which it claims to be India’s biggest music quiz show. The show kicks off tomorrow morning at 9:00 AM. The contest tests the passion that people have for music by quizzing them on anything and everything related to the Indian music space (Bollywood, most probably), leading to a national round where the title of ‘Music ka Shahenshah’ will be bestowed upon the ultimate winner. Apart from the prizes which amount to lacs the winners also stand a chance to meet the composer trio Shankar Ehsaan Loy who are the official endorsers of the radio channel. So if you are a Hindi music fundoo, this is your chance to capitalize on your knowledge! To take part you can simply sms MKS to 53650 and tune into 94.3 Radio One tomorrow at 9:00 AM.

You can watch the song here.

(E)Hai kya yeh (C#m)jo tere (A)mere darmi(E)yaan hai
(E)Andekhi (C#m)ansuni (A)koi das(B)taan hai
(E)Hai kya yeh (C#m)jo tere (A)mere darmi(E)yaan hai
(E)Andekhi (C#m)ansuni (A)koi das(B)taan hai

(E)Lagne (A)lagi, (E)ab zinda(A)gi (B)khaali(A)Hai meri
(E)Lagne (A)lagi, (E)ab zinda(A)gi (B)khaali (A)(lost and lonely)

Bin (E)tere, bin tere, bin (A)tere (lost and lonely)
Koi (Bm)khalish hai (A)hawayon mein bin (E)tere (lost and lonely)
Bin (E)tere, bin (B)tere, bin (A)tere (lost and lonely)
Koi (Bm)khalish hai (A)hawayon mein bin (E)tere (lost and lonely)

(E)Ajnabi se (C#m)huye kyun pal (A)saare
(A)Yeh nazar se nazar yeh (D)milaate hi (E)nahin
guitarchordworld.net
(E)Ek gani (C#m)tanhaai cha (A)rahi hai
(A)Manzilein raaston mein hi (D)gum hone (E)lagi

Ho (A)gayi an(Bm)suni har (D)dua ab (A)meri
Reh (A)gayi an(Bm)kahi bin (A)tere (lost and lonely)

Bin (E)tere, bin tere, bin (A)tere (lost and lonely)
Koi (Bm)khalish hai (A)hawayon mein bin (E)tere (lost and lonely)
Bin (E)tere, bin (B)tere, bin (A)tere (lost and lonely)
Koi (Bm)khalish hai (A)hawayon mein bin (E)tere (lost and lonely)

(E)Raah mein (F#m)roshni (A)ne hai kyun (E)haath choda
(E)Iss taraf (F#m)shaam ne (A)kyun hai ap(E)na muh moda
guitarchordworld.net
(C#m)Yun ke har (E)subah ek (A)bereham si raat ban (B)gayi

Hai kya yeh (C#m)jo tere (A)mere darmi(E)yaan hai
(E)Andekhi (C#m)ansuni (A)koi das(B)taan hai

(E)Lagne (C#m)lagi, (E)ab zinda(C#m)gi (A)khaali khaali
(E)Lagne (C#m)lagi (E)har saans (C#m)bhi (A)khaali (lost and lonely)

Bin (E)tere, bin tere, bin (A)tere (lost and lonely)
Koi (Bm)khalish hai (A)hawayon mein bin (E)tere (lost and lonely)
Bin (E)tere, bin tere, bin (A)tere (lost and lonely)
Koi (Bm)khalish hai (A)hawayon mein bin (E)tere (lost and lonely)

Bin (E)tere, bin tere, bin (A)tere (lost and lonely)
Koi (Bm)khalish hai (A)hawayon mein bin (E)tere (lost and lonely)
Bin (E)tere, bin tere, bin (A)tere (lost and lonely)
Koi (Bm)khalish hai (A)hawayon mein bin (E)tere (lost and lonely)

Chords courtesy – Guitar Chord World

You can read our review of the soundtrack here.

In a bid to combat digital piracy prevalent in the Indian music industry, Google has launched a music service in India to help users search for legal online streams and downloads. The service was launched earlier today. The initiative is a very useful one, allowing you to search for a song, album or artist, to which Google would suggest you legal content which you can listen to instantly via an online player, link to which is embedded along with the search result. Google has partnered with music label Saregama India Ltd, New York-based Saavn, and web portal in.com for this deal. According to WSJ, the plan is to later integrate the music service into Google’s main search bar. As of now the page does have all the latest music, and what matters even later would be whether Google & co are able to provide the latest content before their pirate competitors do. Also hoping there is a plan to include non-Bollywood music too.

While the songs from Jhootha Hi Sahi have had music lovers busy for the last few days, A R Rahman has sweetened the deal further by unveiling two musical pieces from the background of the movie, both jazz-based. First one is an unplugged female version of I’ve Been Waiting featuring some beautiful piano and sax segments. The female vocalist is brilliant, though I haven’t been able to find out her name yet. “Here is the ‘moonlight’, with love from all of us to you! No synthesizers, no vocoders, no rhythm machines. Just plain love and acoustic instruments recorded at Capitol Records, L. A. Strings was done in good old Chennai. Composing a song like this was a long time dream. It is the sound of another era where love had innocence. Hope it inspires you to fall in love again. Special thanks to Abbas Tyrewala who agreed to release this track specially for you all and I hope you enjoy watching Jhootha Hi Sahi, the movie, releasing on the 22nd of October,” – Rahman said while releasing it.

Buoyed by the response to the first track Rahman unveiled the second track yesterday, which is a short instrumental version of Maiyya Yashoda. The track has such a strong flavour of the 50s jazz tracks that anyone who hasn’t heard Maiyya Yashoda would not even remotely associate this one with Indian music. You can listen to the two tracks here and here. I shall definitely have an eye on Rahman’s fb page for more such treats! You can read our review of JHS soundtrack here.

For those of you who did not notice today’s Google Doodle until now, today happens to be the 93rd birth anniversary of Jazz legend John Birks “Dizzy” Gillespie. Instrumental in the development of bebop and modern jazz, Dizzy was one of the greatest jazz trumpeters ever. As Music Aloud’s tribute to the maestro, we present to you videos of some of Dizzy Gillespie’s classic renditions, most of them in HD.

Tin Tin Deo

And Then She Stopped

Tanga (Part 1, Part 2)

Toccata From Gillespiana

Blues After Dark

Norm’s Norm

Umbrella Man

A Night In Tunisia