“Destiny is no matter of chance. It is a matter of choice. It is not a thing to be waited for, it is a thing to be achieved” - William Jennings Bryan
The life of Annanda Prasanna Patnaik is a curious intersection of destiny and fate. His destiny, in a way, was not just his own choice, but of all those Kannadigas who loved him for his music and forced him to make Bangalore his home. Not many will recognize the name Annanda Prasanna Patnaik, but say Butto and you can see that he is quite a household name in the music community. “Butu is a pet name. My mother used to call me that, just like your putta, putani etc. Somehow, in Kannada it became Butto and it’s a name that has stayed with me,” says the stunning flautist, who came to Bangalore 27 years ago.
A trained classical musician, he learnt the finer details of raga improvisation under Pt. Hariprasad Chaurasia in Mumbai. Butto has travelled all over the world, has been a visiting faculty in Colorado University, USA and the International School of Theatre Anthropology, Denmark. In his musical journey, he has been closely associated with Kannada film industry, he has played for all music composers from Vijayabhaskar, Hamsalekha up to the composers of today. According to a rough estimate, “I feel I have played for over 1000 films,” he says in homegrown Kannada.
Excerpts from an interview:
When and how did you come to Bangalore?
My association with music began when I was three years old. My mother, a musically gifted person, gave me a toy flute and I got very attached to it. All my siblings are also musicians in their own right. I am largely a self-taught person, and it was only during my graduation years in Bhubhaneshwar that I learnt formally from M.M. Patnaik. I did work in the music industry in Orissa for a year or so, but it is a very small industry with not many opportunities.
I was seriously contemplating where to go, and that’s when Mr. Sushanth Bhandar of Multivision Studio on Infantry Road in Bangalore wanted someone to play north Indian flute for a recording. All leading musicians of that time played for that recording. I had no place to stay in those days, so I sat in Cubbon Park and practised.
After the recording when I returned to Bhubhaneshwar, I was trying to decide where I should go – to Chennai or Mumbai? But, by then, apparently Sadhu Kokila – who was a prominent keyboard player of those times - heard my recording and enquired about me. He was very impressed, and insisted I come back. I did, and the manner in which the musicians here welcomed me, it was impossible to go back. I am of the belief that you should always stay in that place which welcomes you. This Kannada land kept me captive.
For sure I would have had better prospects had I shifted to Chennai or Mumbai. However, I told myself that I had to honour the love and respect I got here, and even if I didn’t become very famous it was fine. So I stayed on. I have played with every composer – Vijayabhaskar, Hamsalekha, Sadhu Kokila, V. Manohar, Gurukiran… and many others. And I have never regretted my decision.
You are so comfortable with Kannada.
When I came back, within 15 days I learnt to read and write Kannada. And in those days, during re-recording, musicians watched every reel five to six times. “ Adu bhaashe kalisibidtu (that taught me the language)”.
Didn’t you want to be a full-fledged classical music performer?
After I came to Bangalore, I took a break to study under Pt. Hariprasad Chaurasia. That was the best part of my life. I had an opportunity to be close to him and listened to his riyaz every day from 10.30 am to 2 pm. It was a huge learning experience. I could have stayed on in Mumbai and taken a different route, but it was a period when I felt I had to earn. That is when I came back.
But honestly, film music gives you a different kind of capability. It teaches you the nuances, and what is done over 30 minutes in a classical music concert, you have to do in three minutes in film music. Since I have been groomed in such an environment, I know how valuable it is. I get invitations from all parts of the globe, and that’s when I perform classical music.
You have worked with so many composers, who is the one that influenced your music the most? What is your most unforgettable e xperience?
That’s hard to say, but there are some experiences that mould you. I was fairly new when I got an opportunity to work for Vijayabhaskar sir. I had worked with Ashwath C, and with his recommendation I got a call from Vijayabhaskar. It was a live orchestra and Vani Jayaram was singing live. As soon as I went into the studio, they started giving music notes. I am the listen-and-play kind, never made notes before. Vijayabhaskar sir learnt that I am not used to writing down music and he himself gave me two pages of notes. This recording was a huge challenge for me and I was nervous too. But after the recording I was determined to learn from my drawback. I practised a lot, and finally I could write music at the speed at which it was dictated. I have struggled a lot to achieve perfection in every aspect.
In those days, I worked the most for Hamasalekha sir. There was work every single day. It was remarkable.
I also remember recording for “Janumada Jodi” for which Dr. Rajkumar sang. He became very fond of me, and I played for all his private albums. If he did not see me in the studio, he would apparently ask about me.
The song in the film Duniya , “Kariya I love you” made me a household name. There is a flute bit in that song, and it became a rage. Everyone, even non-Kannadigas had it as their ringtone. There were several other songs which according me had greater merit, but what remains in public domain are only those that are remembered.
Today, is the era of dissection. It is like dissecting a rose. You do see several colours, but you cannot put them together hoping to see the rose and its rich colour again. Music is too fragmented and the magnetism of those days is gone. There is huge technical advancement, but working together and gaining so much from that live energy gave music a magical quality, something that is beyond logic. That is missing now.
You have played for films of all languages, even Hollywood. You recently have even brought out an album “ Dhundili Si Yaadein” .
A lot is possible with technology now. I get a lot of work from various corners and I do it from my home studio, right here.
The songs for Dhundili Si Yaadein were composed in Mumbai, when I spent four hours in the local train travelling back and forth to my guru’s home for lessons. But I never had the opportunity to use them. Now it came together.
Inner Voice is a fortnightly column on film music
