hi,
mayb the lyrics r based on that song, 'coz chaiyya chaiyaa is a
peppy no, i don't see the tune being sufi.
ash
--- In arrahmanfans@yahoogroups.com, "Gomtesh Upadhye"
<[EMAIL PROTECTED]> wrote:
>
> Hey Guys
>
> "Chhaiyya Chhaiyya" ("That was
> based on a Sufi song from Bulleh Shah, sung originally by Abida
Parvin").
>
> What the hell is he talking about!!!!!!!!!!!!!!!!!!!!!!??????
>
> Gomzy
>
> On 2/24/06, Arijit Debnath <[EMAIL PROTECTED]> wrote:
> >
> > Hi all,
> >
> > Excellent to raed the article. Just went through ARR's thought
about his
> > destination and only one thing came to my mind----why should we
worry about
> > other MDs to overtake ARR's music etc etc----many MDs/composers
will
> > come---compose music------create history----may be better
composition than
> > ARR-------but no one can be a greater phylosopher or a good human
being than
> > ARR----that's why we all be feeling proud to be his fan.
> >
> > Arijit
> >
> >
> > On 24/02/06, Karthik S <[EMAIL PROTECTED]> wrote:
> >
> > >
> > > http://www.indiawest.com/view.php?
subaction=showfull&id=1140722059&archive=&start_from=&ucat=7
> > >
> > > A Look Inside the Mind and Soul of Composer A.R. Rahman
> > >
> > > By LISA TSERING
> > > India-West Staff Reporter
> > >
> > > PALO ALTO, Calif. - The superstar was down-to-earth, with an
easy
> > > laugh, self-deprecating air, and an ingratiating willingness to
speak
> > > from the heart. A.R. Rahman traced his career from pre-Roja to
> > > post-Rang De Basanti in an intimate, satisfying onstage chat at
> > > Stanford University's Dinkelspiel Auditorium Feb. 14 during the
> > > school's Pan-Asian Music Festival.
> > >
> > > Visiting ethnomusicology professor Natalie Sarrazin prefaced the
> > > conversation by tracing the history of what film music was like
before
> > > a 25-year-old Rahman burst on the scene in 1991 with Roja.
> > >
> > > Sarrazin offered a fascinating look at the history of Hindi
film music
> > > with its penchant for absorbing international influences and its
> > > unwritten rules. Each example was illuminated with a charming
snippet
> > > of video, from films such as Shree 420, Sholay and Dilwale
Dulhaniya
> > > Le Jayenge.
> > >
> > > "There are certain 'codes' - iconic sound images - that recur in
> > > Indian film music," she said. "The timbre of the Indian female
voice
> > > is quite prominent, you hear large orchestras and soaring
violins, and
> > > a wall of sound ... rising violins are a code for a love song."
> > >
> > > Rahman turned it all upside down, she explained.
> > >
> > > "The first thing he did was to take the orchestral introduction
and
> > > completely get rid of it." Cueing a scene from the Tamil film
> > > Gentleman (Rahman's Tamil compositions were not overlooked
during the
> > > evening), she demonstrated how Rahman brought in one instrument
at a
> > > time, creating musical tension. To cheers and shouts from the
> > > audience, Sarrazin moved on to musical scenes from Rahman's
scores
> > > that have become icons themselves: Mani Ratnam's Roja (the witty
> > > "Rukmani Rukmani"), Bombay ("Tu Hi Re"), the Hindi version of
Yuva and
> > > Dil Se ("Chhaiyya Chhaiyya"); Tehzeeb and Saathiya.
> > >
> > > "He often puts two incongruous styles together that somehow
seem to
> > > work," Sarrazin observed, with a clip from Lagaan's
English/Hindi song
> > > "O Re Chori" and Sushmita Sen's jittery "Shakalaka Baby"
(Nayak),
> > > which was one of his hit songs reworked to great effect
in "Bombay
> > > Dreams."
> > >
> > > As much as his fans and fellow artists love his music, Rahman is
> > > notorious for taking his time on each project. "I have a nice
> > > relationship with all directors, but I drive the producers
crazy," he
> > > joked. "Mani [Ratnam] tells me the story that he told me for
Roja, 'I
> > > need five songs, and I need them yesterday.' I was gone for
three
> > > months."
> > >
> > > Working with lyricists, too, has its quirks. "Sometimes Gulzar-
sahib
> > > or Javed-sahib will give me just a title. Other times, they
want the
> > > tune first, then they'll give the lyrics."
> > >
> > > One of the reasons Roja was such a departure from the style of
music
> > > at the time was the way it was recorded, explained Rahman. "At
the
> > > time, there were these huge recording halls, with 50 violins,"
he
> > > said. "But I was doing commercials in my own studio. When Mani
wanted
> > > me to do the music, I said, 'Let's do it at my place.'
> > >
> > > "I called my musician friends to come for the session, but at
the last
> > > minute they all ditched me! I think they had all been offered
more
> > > money somewhere that day," he said, laughing along with the
audience.
> > >
> > > "But my mother said, 'God will provide.' I ended up recording
[the
> > > instrumental version of ]'Choti Si Asha' by myself, on a
keyboard and
> > > sequencer. I thought I'd need to bring in 50 violins, but Mani
said
> > > 'No, just be yourself. Follow your instincts.'"
> > >
> > > Since he got his start writing ad jingles, wasn't it
intimidating to
> > > take on the soundtrack to an entire three-hour film, asked
Sarrazin.
> > > "I was terrified in the beginning," replied Rahman. "But then I
> > > learned that if I could write a piece of music that was 30
seconds
> > > long, then all I'd have to do is repeat it!"
> > >
> > > He's not afraid to repeat what works. Rahman's haunting, cello-
heavy
> > > Bombay theme, used to poignant effect in that film and in Deepa
> > > Mehta's Fire, also cropped up in the Nicolas Cage vehicle Lord
of War.
> > > And when he was first approached for "Bombay Dreams" by
impresario
> > > Andrew Lloyd Webber, he said, "I decided, I won't tell them
I'll use
> > > my old film songs!" ("Ishq Bina" and other hits were reworked in
> > > English for the play.)
> > >
> > > Rahman traced the history of some of his best-loved pieces,
such as
> > > the ambitious Vande Mataram project and "Chhaiyya Chhaiyya"
("That was
> > > based on a Sufi song from Bulleh Shah, sung originally by Abida
> > > Parvin").
> > >
> > > Superlatives follow Rahman around like a spotlight: one of
India's
> > > most prolific and top-selling composers; reportedly the world's
> > > top-selling artist, with many millions of records sold, he is
now one
> > > of the world's most border-bending artists as well.
> > >
> > > Just before the Stanford talk, Rahman had jetted from Toronto,
where
> > > he was overseeing previews of the highly anticipated, lavishly
mounted
> > > stage show "Lord of the Rings," which will open in March.
> > >
> > > "It's the most exciting project I've ever worked on," he
observed.
> > > "They have 18 big hydraulic things, and people on stilts. It's
amazing."
> > >
> > > Classically trained at Trinity College of Music in Britain,
Rahman, a
> > > Padmashree honoree, brought an entirely new sound to the London
and
> > > Broadway stage with his sparkling score to "Bombay Dreams" (a
touring
> > > production opened in Costa Mesa, Calif., Feb. 22).
> > >
> > > Indeed, the morning after this event, Rahman boarded a plane
for Hong
> > > Kong, where he led a performance of his cutting-edge "3rd
Dimension"
> > > show Feb. 18. Rahman's latest tour has the audience don 3D
glasses as
> > > vocalists such as Alka Yagnik, Udit Narayan, Daler Mehndi,
Shankar
> > > Mahadevan, Chitra and Hariharan perform his hits.
> > >
> > > Rahman has composed the music for a Chinese film (Warriors of
Heaven
> > > and Earth) and is at work on a symphonic piece for the
Birmingham
> > > Orchestra that he acknowledges could take years to complete.
He's also
> > > at work on Mani Ratnam's next film, the Hindi/English Guru, and
> > > several Tamil films, almost 20 pending projects in all.
> > >
> > > The evening was presented as part of the Stanford Pan-Asian
Music
> > > Festival, organized by religious studies director Linda Hess
and the
> > > school's department of music and the Asian Religions and
Cultures
> > > Initiative. Jindong Cai, Stanford Symphony Orchestra conductor
and
> > > artistic director of the Stanford Pan-Asian Music Festival,
called
> > > Rahman in his introduction "one of the most celebrated
composers of
> > > our time."
> > >
> > > A talented group of Stanford music students got the once-in-a-
lifetime
> > > chance to perform in front of the composer, and gave warmly
> > > appreciated versions of Tamil and Hindi pieces such as Lagaan's
> > > "Ghanana Ghana." Audience members, too, got a chance to ask
Rahman
> > > questions afterward, about who his influences are (R.D. Burman
and
> > > Madan Mohan), and how he stays fresh ("You do the same thing,
and
> > > people will say, 'Oh God, he's done it again.' I have to follow
a film
> > > like Lagaan with something completely different.")
> > >
> > > He explained how he got his name (the former A.S. Dileep Kumar
changed
> > > his name to A.R. Rahman when he discovered Sufism) in the
1990s. "I
> > > asked Mani and he said okay. If he'd said no, my name would be
> > > different!"
> > >
> > > Asked by one audience member how he strategizes his career,
Rahman
> > > just laughed. "I didn't plan anything. I leave it to God. He's a
> > > better planner."
> > >
> > > And to a question from Sarrazin on where he's going next, Rahman
> > > smiled and said softly, "Music has no destination. It's
endless. Music
> > > is the thing that unites people. There's so much of hatred in
the
> > > world, that I'm just blessed to be a musician."
> > >
> > > :by indiawest
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > > Explore, Experience, Enjoy A.R.Rahman - The Man, The Music, The
Magic.
> > > Only at arrahmanfans.com - The definitive A.R.Rahman e-
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> > >
> > >
> > >
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>
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