Thursday, February 7, 2013

Stellar Soundtracks: Albela



Tonight the spotlight shines on one of the most delightful (and all time beloved) soundtracks to come out of Bombay’s Hindi film studios. The film is the original version of Albela (Dandy) made in a very young independent India in 1951.

Day-dreamer and artist, Pyarelal, (Bhagwan) lives a poor lifestyle in Bombay with his retired dad, housewife mom, married brother, Mohan and his wife, Malti, and unmarried sister, Vimla. It is now time for Vimla to get married, her dad has saved a thousand rupees, while Mohan has made arrangements for six hundred more, and Pyarelal is asked to arrange for four hundred. Instead Pyarelal brings home one hundred rupees, informing his family that he has been fired from his job, and will be unable to raise any more money. An argument ensues, and Pyarelal is asked to leave. He leaves, swearing only to return when he is a famous and wealthy man. He meets with pretty actress, Asha, (Geeta Bali) both fall in love with each other, and he starts acting in the theater, and achieves quick success. He starts sending money and gifts home to his parents, and hopes that they will be pleased with his success. Then one day when he feels that he has achieved his success, he returns home - only to find out that the money and gifts he has been sending home are missing; his mom has passed away; his dad and sister are missing, believed to be begging in the streets; his sister's marriage has been canceled; his brother cannot support himself; and his sister-in-law, has a dark deep secret that she cannot tell anyone. (IMDB).

The film is what is nowadays called a romantic comedy. The lead was played, unusually, by a comedian cum wrestler with a rather grandiose name, Bhagwan Dada (Grandfather God).  He plays the ‘dandy’ Pyarelal with an infectious charisma and jollity that more than makes up for his rather unimaginative dance steps and peculiar facial features.  He directed and starred in the film which proved to be the zenith of his career; he died a miserable, forgotten man in a poor neighborhood of Mumbai in 2002. 
Bhagwan Dada

Bhagwan’s opposite number was one Geeta Bali.  Born into an intellectual Sikh family-- her maternal grandfather Takhat Singh was the founder of Sikh Kanya Mahavidyalay - boarding school for girls, the first of its kind established in 1904. Her parents encouraged their daughters Harkirtan (Geeta Bali) and Hardarshan to learn classical music and dance, horse riding and gatka fencing. Fundamentalist Sikhs socially boycotted the family as they did not like the girls performing in public and they picketed theatres.  After Independence the family moved to Bombay but lived in poverty until Geeta found her way into the film world.  She rose to be one of the most loved actresses of the 1950s and in 1955 married the stunning playboy of the screen, Shammi Kapoor, with whom she was working in the film Coffee House.
Geeta Bali

The soundtrack composed by C. Ramachandra is noteworthy for a number of reasons. Ramachandra was not averse to introducing not only Western instruments but swing jazz riffs into his music. It was rare for a ‘music director/composer’ to sing his own material, but he duets throughout this film with the still nascent Lata Mangeshkar. His duet with her,  Shola jo bhadke was one of the first truly ‘jazzy’ songs in an Indian film and became an instant hit. 
C. Ramachandra

Quickness was a big part of Ramachandra’s mystique. The lovely lori (lullaby) Dheere se Aaja was rushed into a song while he was on his way to the studio to shoot the scene! And it is a gorgeous song that is reprised in the film allowing both Bhagwan and Geeta to star as lead vocalist.

There is not a weak song among this party of twelve. There are sweet ballads, several catchy dance numbers one of which, Diwana Parwana, includes a turn by India’s greatest trumpet player Chic Chocolate, who like many of Bombay’s elite jazz band leaders, was forced to play deep in the anonymous background of countless films to make ends meet, once the roaring 30’s and 40’s had come to an end. Indeed, if you listen carefully, you’ll hear his muted horn pop through the mix in a number of songs.

I only recently discovered this soundtrack but have listened to little else all week! I am sure you’ll enjoy it as much as I (not to mention, millions of Indians) have.


            Track Listing:
            01 Bholi Soorat Dil Ke Khote
02 Dil Dhadke Nazar Sharmae
03 Balma Bada Nadan Re
04 Dheere Se Aaja
05 Diwana Parwana
06 Haseenon Se Mohabbat
07 Kismat Ki Hawa Kabhi Naram
08 Mehfil Mein Meri
09 Mere Dil Ki Ghadi Kare Tik Tik Tik
10 Sham Dhale Khidki Tale
11 Deere Se Aaja (reprise)
12 Shola Jo Bhadke

Monday, February 4, 2013

All Day and All of the Night: Ragas for all Occasions



The Washerman’s Dog recently received a question about some aspects of the raga as well as a request to share some more of the same.  I was, as always, pleased to get a request, if for no other reason than such things provide evidence that the services of this blog are being accessed by the wide anonymous world ‘out there’.   On this occasion, however, I am a bit daunted, because providing authoritative analysis of a subject as slippery as the raga and the structure of Indian classical music,  can quickly lead to one’s undoing.  And I don’t want to be undone.

Nevertheless, a dog is nothing if not eager to please. So, with a huge opening caveat that the Washerman’s Dog (by definition) is more comfortable roaming widely over a great many ghats, rather than being a watchdog of any one particular set of steps, I will do my best to illuminate.

The Question in question:
I am familiar with morning ragas, afternoon ragas and evening ragas, but nothing for the wee hours of the morning. I also don’t know if these time periods are subdivided. Are morning ragas played at dawn? Are there different ragas for mid or late morning? Afternoon ragas until sunset? Evening ragas from sunset to midnight?  A post that explains all this, with appropriate ragas for a 24 hour cycle would certainly help enlighten us benighted Westerners, or at least this one.  (B.B)

The raga has no exact equivalent in Western music or translation in English. Indian classical music is all about melody (as opposed to harmony) and the raga is the basic melodic framework within which the music is interpreted. The other key pillar is tal the time measure at which the raga is played.  In the same way that a painter selects several colors from his palette to create a painting with a particular feel, the Indian classical musician selects several notes from an octave to create a raga with a specific emotion. The resulting raga is not a ‘standard’ that is played exactly the same each time, but rather a ‘theme’ that is improvised upon by each singer or musician.  In the words of N.A. Jairazbhoy, a prominent authority on Indian classical music, “the concept of raga is  based on the idea that certain characteristic patterns of notes evoke a heightened state of emotion.”

And it is to achieve these heightened states of feeling that each north Indian raga is assigned a particular time of day to be played.  Tradition has it that a particular raga can only truly be enjoyed at a particular time of the day in recognition of the human body and mind’s constantly changing response to external and internal stimuli. The ancient musicologists were particularly interested in the effects of musical notes and how they effected and enhanced human behavior.  Indian tradition states that the three Doshas-- Kaph (water), Pitta (fire) and Vata (air) --dominate the human body. These elements rise and fall during a 24 hour period and change throughout the seasons. Thus listening to a particular raga has the ability to act as a therapeutic device.

The 24 hour day is divided into 8 prahars (beats) each with a corresponding dosha (element).



Some ragas are composed to be played/sung in specific seasons such as Spring or the monsoon.  These seasonal ragas are not constrained by particular playing times and can be enjoyed throughout the day or night.

The question of the correct time of day (prahar) is generally acknowledged to be a bit of a purist’s concern.  While no one doubts the ability of music to affect human emotions the realities of modern music-making which require performances to be held during reasonable hours have loosened the strict correlation of raga and time of day.   At the same time, technology has allowed any raga to be heard at any time of the day.  Finally, many Hindustani ragas have been adopted from the Carnatic (southern Indian) canon which does not apply a time-of-day framework to the music, so slowly the requirement that raga x be performed during x prahar has faded away.

The Washerman’s Dog has put together a selection of ragas that cover the clock, as part of the appreciation of this post.


         Track Listing (Vol. 1)
        
            01 Bhairavi [Lal Mani Mishra]
02 Gujri Todi [Ustad Muhammad Sharif Poonchwaley]
03 Ahir Lalit_ Alaap [Zia Mohiuddin Dagar]
04 Raga Multani - Vilambit [Ustad Sabri Khan]


Track Listing (Vol. 2)
01 Marwa [Chhote Ghulam Ali Khan]
02 Raga Desh [Ghulam Sadia Khan]
03 Malkauns_ Pira Na Jane Deki [Abdul Karim Khan]
04 Rag Sindhu Bhairavi [Ustad Ali Akbar Khan]

Saturday, February 2, 2013

To Hell with Commercial Radio



I came across the following link about the 25 most overplayed songs on radio today and boy, is it good to be reminded of how BAD commercial radio is. I laughed and groaned and ‘hear hear’ed my way through the article.  When I first went to America the local FM station KQRS played all sorts of unheard of and uncommercial music.  A couple years later they were bought out by some communications tycoon and played nothing but the sort of over-exposed songs the above link refers to. The liveability of that city dropped as fast as the mercury in October.

As antidote the Washerman’s Dog has put together a counter list of 25 songs (jazz, country, blues, Eurotrash, afrobeat etc) that are unlikely ever to be heard in your car radio or home stereo when it’s tuned to a commercial station.

Good night and enjoy the rest of your day/evening.



            Track Listing:
            01 80000 Careless Ethiopians [Jacob Miller and Inner Circle]
02 John Walker's Blues [Steve Earle]
03 Sexology [Rita]
04 Homeless Soul [Mr. President]
05 Dyna Flow [Albert King]
06 Junker's Blues [Champion Jack Dupree]
07 Blue Groove [The Hipstairs]
08 Horny Blond Forty [Machine Gun Fellatio]
09 I'll Stop Calling You Nigger [The Black Voices]
10 O Death [Ralph Stanley]
11 God Made Me Funky [The Headhunters]
12 (When Your Phone Don't Ring) It'll Be Me [George Jones]
13 Funkanova [Los Charly's Orchestra]
14 A Girl Don't Have To Drink To Have Fun [Wanda Jackson]
15 Full House [Wes Montgomery]
16 Por Morfina y Cocaína, Pt. 1 (Because of Morphine & Cocaine, Pt. 1)[Juan Gonzalez]
17 If You See Kay [Slim Memphis]
18 Creek Bank [Mose Allison]
19 Africa Gone Funky [Screamin' Jay Hawkins]
20 Strangers, Lovers, Friends [Lee Hazelwood and Nancy Sinatra]
21 A Good Man Is Hard To Find [Alberta Hunter]
22 Tequila [Allen Toussaint]
23 Girl I've Got A Date (Soul Version) [Alton Ellis and The Flames]
24 Cadillac Jack [Andre Williams]
25 N.E.S.T.A. (Never Ever Submit To Authority) [Antibalas Afrobeat Orchestra]

Friday, February 1, 2013

Friday Night Double Act: The Crusaders and Steely Dan

The Crusaders
BB King
Steely Dan


Without trying to sound like a disc jockey on the local oldies station, I must say I’m very excited to announce: it’s a double disc Friday!

First up, Royal Jam a hot, jazzy album featuring The Crusaders and B.B. King live at the Royal Festival Hall in London.  The Crusaders epitomised the slick, dinner-club jazz sound 1970s. Formed by keyboardist Joe Sample, and trombonist Wayne Henderson in Houston in the early 1950s, the group saw several other giants of modern American jazz such as flautist Hubert Laws and guitar whiz Larry Carlton spend considerable time in the group.  Their sound was driven by the fluent keyboard runs of Sample and the clear melody lines of Wilton Felder on tenor sax and summed up the dying stages of the years of American confidence. When the world still thought America not only had something of value to add to most conversations but indeed, was the last word on most conversations.  A time when hope and a broad and bright horizon, rather than gritty resolve and slow crumble, defined the United States.  Crusaders music was bright, up-market and spirited. And very catchy.

The Crusaders version of popular jazz not only added funk and finesse to many recordings beyond their own, but kept the very notion of a non-rock style of music alive and somewhat in the public sphere. This was a time when ‘jazz’ was about the slowest selling genre in American record stores and several years before Wynton Marsalis stormed the scene with his revivalist fire and trumpet flare. This record was made in 1981 and features The Crusaders in top form before an adoring British audience. Chief guest, Mr. B.B. King, adds an extra layer of grooviness, which together with the smooth strings of the Royal Philharmonic Orchestra, make for a heady, swoony atmosphere. You can just about feel the very velvet of the band’s lapels!


The next selection is a stone classic from the same era.  Aja was the best selling album made by Steely Dan and the one that increased their gravitas several times over. Its tone and atmosphere was spare. The music featured several members of The Crusaders (Joe Sample and Larry Carlton) as well as a whole roster of the Good and Great of American music including Bernard Purdie, Wayne Shorter, Clydie King, Michael McDonald, Steve Gadd and Tom Scott just to identify a few.  Aja is considered to one of those albums that did much to keep a jazz sensibility, if not jazz itself, alive in a time when it was on its deathbed.  In 2011, the album was deemed by the Library of Congress to be "culturally, historically, or aesthetically important" and added to the United States National Recording Registry for the year 2010.

Sophisticated pop. Slick jazz.  Enjoy your Friday evening.


            Track Listing (Royal Jam):
            01 Overture (I'm so Glad I'm Standing Here Today)
02 One Day I'll Fly Away
03 Fly With Wings of Love
04 Burnin' Up the Carnival
05 Last Call
06 The Thrill is Gone
07 Better Not Look Down
08 Hold On
09 Street Life
10 I Just Can't Leave Your Love Alone
11 Never Make a Move Too Soon


            Track Listing (Aja):
            01 Black Cow
02 Aja
03 Deacon Blues
04 Peg
05 Home at Last
06 I Got the News
07 Josie