“We live in a world of inequalities, but there is no inequality in the world of music,” Shakti Foundation announced, as it launched Aurjitya 2011 (19 Feb) at The Music Academy. This celebratory coming together of four exceptional musicians — U. Shrinivas (mandolin), Steve Smith (drums, U.S.A), Jonas Hellborg (bass guitar, Sweden) and Selvaganesh (kanjira) — proved also that music is unconfined by boundaries.
They belong to three different continents, but don't they meet on international podia across the world? The easy flow, as well as their continual demand of participation from the audience, kept the seats filled till the very end. The event was billed as a “fusion” concert. But Hellborg's final statement that their music was beyond categorisation won vociferous assent.
Well-crafted medley
The evening began with a well-crafted medley in which all four found the space to be themselves, as well as interact in the artistic fusion. Each not only excelled in his own role but also visibly relished other contributions. When Shrinivas declared that the opening piece was a new composition named Aurjitya 2011, we didn't have to know the word meant ‘energy' and ‘power'. It was evident in the notes and beats. You didn't have to recognise that it was anchored on gopuccha yati patterns either, or try to discover the raga base.
The artistes are known for super fast razzmatazz, yet the recital allotted enough space for the slow music of the guitar and the mandolin. In fusion concerts, such slow moments sag and drag. But as Shrinivas and Hellborg took listeners to quieter planes, tautness intact, the reflective moments impressed, as did the technical brilliance.
Shrinivas had said, “Steve and Jonas are ‘killers' in their fields.” But the master of the mandolin is no lamb himself. His virtuosity is as amazing as his ability to melt into moments of sheer melody. Hellborg proved a fine foil to strings and drums. His bass guitar spoke the least but to the most purpose. If Martin drummed out extroverted rhythms, Hellborg wrenched the music out of himself with hellish concentration.
“Both Steve and Jonas have a very good understanding of Indian music,” Selvaganesh had said. One astonishing proof was Martin's effortless konnakkol as he played his drums, alone, or in tandem with the kanjira. No mechanical recitation, the relish was obvious.
Listeners' involvement
What a task it is to match western drums of many heads and considerable range of tones and timbres, with a kanjira, an upapakkavadyam (additional percussion) at that! From its single head, Selvaganesh made it break out into endless patterns, tones and sound volumes. His unflagging showmanship included quips and cracks to amuse the audience, and getting listeners to do their bit (clap and chant mnemonics).
With all these pluses, the recital failed to take off beyond entertainment. And except for the first piece, the artistes did not achieve a balance in the interplay. At times it seemed as if each was improvising a merry solo of his own, unconnected to the piece as a whole. There were exchanges of course, but not dynamic enough. With artistes of such calibre, we expect more organic integrity and a more “concerted” presentation. Yes, the recital pleased, but did not intrigue or transport.
The show was a fundraiser for the foundation's “Project Ramp”, one of its attempts to make Chennai barrier-free for the disabled. This project was presented in the short film prelude featuring the foundation's brand ambassadors Sachin Tendulkar and Anil Kumble.
