Experiment that worked
LALITHAA KRISHNAN
Karaikkudi Mani's virtuosity was backed by his skilled team and matched by the creative input of the artistes from Down Under.
Sruthilaya Kendra and the Australian Art Orchestra's joint offering of contemporary jazz music 'Oceanic Dream' had something for everyone -- bright-eyed young things looking for a fusion high, percussion aficionados paying homage at the altar of high voltage drumming and diehard Carnatic rasikas dipping a wary toe into unfamiliar jazz waters.
Guru Karaikkudi Mani's virtuosity backed by his skilled team and matched by the creative input of the artistes from Down Under ensured that the evening's music did not disappoint. Add to that a quick change of numbers, the juxtaposition of contrasting elements and the effective balancing of various instrumental tones, and you had a programme that was well conceptualised and neatly executed.
After a long drawn introductory speech that made up by way of effusiveness what it lacked in crispness, the programme teed off with Sandy Evans (saxophone) and Adrian Sheriff (trombone) sounding the opening notes of 'Hyderadub.' The track skimmed lightly over airy currents with Lachlan Davidson (clarionet) and Alister Spence (keyboard) adding content, the Carnatic musicians joining in with a brief take on Kiravani.
The second piece 'Sacred Cow's Tail' was structured to illustrate the 'gopucha yati.' Philip Rex's double bass effected a gentle introduction followed by Karaikkudi Mani's konnakol and a brisk mridangam-ghatam (Karaikkudi Mani and V. Suresh) round succeeded by sallies between double bass and mridangam. Entered the trombone, a blithe spirit that gamely explored Carnatic gamakas. Mridangam, ghatam and trombone initiated the korvai that sprinted to a brisk finale.
The composition 'Creeper' began on a reflective note and featured octave-traversing flights on the mandolin by U.P.Raju complemented by languid trombone overtures.
Sprightly mohanam
A sprightly Mohanam led the way into 'On The Loop' augmented by a korvai. Dripping attitude and radiating infectious enthusiasm Sandy Evans' saxophone shimmied into celebration time, Lachlan Davidson's piccolo (small sopranino flute) darting in with attractive touches of whimsy.
Double bass, sax and piccolo grooved to a go-getter synergy in this number composed by Alister Spence (keyboard). 'Pentacle', intelligently tailored to fit the khanda nadai (5-beat cycle) centred on swara bhedam incorporating Suddha Dhanyasi and Hindolam scales as well as Kharaharapriya, Sankarabharanam and Harikhambodi. Bala Sai's flute lingered in lovely nooks. This was the piece which saw cool dude Scott Tinkler (trumpet) unplugged, creating a special synergy. Niko Schauble's solo on the drums sustained the 5-beat momentum with interesting variations.
Set to Bahudari raga
'Vasantha Pravaham' renamed 'Into The Fire' set to Bahudari raga began with a comprehensive korvai, the saxophone admirably tuned to Carnatic sensibilities before switching to jazz vocabulary and ending with a lovely soft return to Bahudari. The double bass's subtle take on Ranjani along with Karaikkudi Mani's vocals in the same raga were highlights.
The well-orchestrated all-instrument crescendo was followed up with the much awaited tani avartanam in Adi tala. With Karaikkudi Mani's experienced hand at the helm, at no point did the percussive interludes snowball into high decibel sound and fury exercises. Instead, the exchanges were disciplined and succinct, never overstaying their welcome. In all, this was one experiment that worked.
- The Hindu, Friday, Jun 13, 2008
