Hello Shashi I also regard IR very highly. When you talk about compositions, I feel both are equally good. Their styles differ - IR does it all himself , probably impromptu whereas ARR is a composition by jamming. We can keep arguing till the rainbow's end about which style is better.
All I am trying to say, is that it is good to see credit being to musicians. This doesn't in any way imply that the other MDs were wrong not to give credit . :) Warm Regards ~~~~~~~~~~~~~~~ Vinayak http://theregoesanotherday.blogspot.com/ ------------------------------------------------------------------------------------------------------------------------------------------------ Main chupana jaanta toh jag mujhe sadhu samajhta, Shatru ban gaya hai chal rahit vyahvar mera Harivanshrai Bacchan ------------------------------------------------------------------------------------------------------------------------------------------------ On Tue, Jul 22, 2008 at 8:02 PM, anishshreya <[EMAIL PROTECTED]> wrote: > Dear Sunil, > > Agreed, recognising the effort of musicians are important. But > illayaraja has an orchestra and arr does not. In this case its > becomes difficult to detail all the names in one cd cover. > > Yuvan,Harris and our boss works quite similar. Anyway, I am not > comparing Illayaraja with arr coz both are from diffrent schools but > to me though i am a arr fan, in terms of composition raja is way > above. You can see that in shivamani interview where he calls raja as > a genius in compostions and rahman for his technicality expertise. > > Cheers > > Shashi > > --- In arrahmanfans@yahoogroups.com, "Sunil VG" <[EMAIL PROTECTED]> wrote: >> >> I remember Guitar Prasanna once mentioned on his web site that the > July >> Madham intro was totally created by ARR. Prasanna just played it > and brought >> his style into the brilliant piece. A similar statement was made by > Naveen >> when asked about his heavenly flute bits in ARR songs. >> >> Although ARR gives his instrumentalists the freedom to improvise, > it doesn't >> take any credit away from. Crediting musicians on album covers was > his way >> of recognizing & acknowledging the importance of team work. >> >> Regards, >> Sunil >> >> On Tue, Jul 22, 2008 at 10:23 AM, anishshreya <[EMAIL PROTECTED]> >> wrote: >> >> > Dear All, >> > >> > Rahman and other music directors work differently. For example if > you >> > look at Ilayaraja , he composes and give notes to his musicians > where >> > they just play according to notes and no changes. So the effort > comes >> > from Illayaraja as a soul person and the operators are many.I > guess >> > in this case raja did not feel the need to highlight / credit the >> > musicians names. >> > >> > In ARR case, I feel he starts it all fresh. Gives a basic rag and >> > asks the musician to play in different styles. So these musicians >> > have to be credited coz rahman chooses what fits to the > composition. >> > >> > I guess thats the difference. I am a Rahman fan myself but in > terms >> > of composition and notes..we have to give it to ilayaraja.He is a >> > mastero and till date no one can match it. >> > >> > Rahman is great in his own stride coz the layers he puts into a > song >> > and the sound is pure. I had asked my friend who is a professional >> > sound engineer to hear Rangde Basanti and was surprised to hear > that >> > its the ultimate sound at this contemporary time. Its very pure > and >> > asked me more abt arr. Thats the strength of arr. >> > >> > Anyway, please do not think i am comparing both of them. I am >> > highlighting the need to credit the musicians and why? >> > >> > Shashi >> > >> > --- In arrahmanfans@yahoogroups.com <arrahmanfans% > 40yahoogroups.com>, >> > "Vinayakam Murugan" >> > <mvinayakam@> wrote: >> > > >> > > Hello Group, >> > > >> > > I have marked the post as Semi-ARR not because the attached > article >> > > talks about ARR but because I am impressed by the way ARR's > albums >> > > have always bore the name of the percussionists , music > programmers >> > > and chorus. >> > > >> > > Please note that the idea of reproducing this article is not to > put >> > > down any other MD but to celebrate ARR. I have the greatest > regards >> > > for the MDs listed in this article. >> > > >> > > http://www.mumbaimirror.com/net/mmpaper.aspx? >> > page=article§id=82&contentid=2008072020080720021240406d646d942 >> > > >> > > Sachin Karta (S D Burman) couldn't think of how to start Roop > Tera… >> > on >> > > an appropriately high tempo," says Dinesh Ghate. So Kersi Lord >> > > strummed his accordion. >> > > >> > > And Manohari Singh blew his saxophone. From the improvisations > that >> > > ensued, the instrumental introduction that generations to come > would >> > > dance to was drawn. "Similarly, the tune which begins Mera Naam > Chin >> > > Chin Chu… was courtesy S Hazara Singh," Ghate continues, "A > guitar >> > > player so talented, he actually invented a new kind of guitar." >> > > >> > > Also, the ghungru interlude in Mohe Panghat Pe... was perfect >> > because >> > > it wasn't danced but rung, in rhythm with the tabla, by > legendary >> > > percussionist Cawas Lord. Ghate tops these tidbits with a > question: >> > > "Are you even aware of these names?" >> > > >> > > He wasn't either at the time. A percussionist earning his daily >> > bread >> > > by performing old and new Hindi film songs with a band, the > applause >> > > Ghate received for an octopad interlude one day made him wonder > who >> > > the piece had originally been performed by. >> > > >> > > "This started a series of questions," remembers Ghate. Questions >> > like >> > > what role do instrumentalists play in a song's composition? How > much >> > > do they earn? And finally, why don't Hindi film music credits >> > include >> > > their names when private albums and western music tracks make > it a >> > > point to do so? "While it's true that some composers had up to >> > hundred >> > > instruments playing for one track, there were always some >> > instrumental >> > > pieces, performed solo or in duets, which formed the essence of > the >> > > track," Ghate argues. >> > > >> > > >> > > So he decided to seek out the performers of such pieces to > feature >> > > them in a crudely printed black and white newsletter titled > Dastak. >> > In >> > > May 2002, his family (comprising his parents and wife who live > with >> > > him) helped him prepare a mailing list of those in the music >> > industry >> > > who would be interested in reading about such performers and > mail >> > them >> > > what looked like a Xerox copy of a feature on sax and flute > maestro >> > > Manohari Singh. >> > > >> > > Today Dastak has been renamed and registered as Swar Alaap, a > finely >> > > printed colour magazine that circluates over 1000 monthly > copies to >> > > the industry's who's who and universities which teach music. One >> > such >> > > copy is found in the Voice Of America Library in Washington DC. >> > > Likeminded enthusiasts Kushal Gopalka (a businessman), Shankar > Aiyar >> > > (a banker) and Arun Puranik (a corporate executive) have joined >> > Ghate >> > > in his endeavour. >> > > >> > > They've extended their activities beyond the magazine to the > Swar >> > > Alaap Foundation, that holds concerts to felicitate behind the >> > scenes >> > > Hindi film musicians (their last show in Mumbai being a tribute > to >> > > Kawas Lord after his death in December last year). >> > > >> > > They held an exhibition last year called 100 Years Of Music, > which >> > > presented chronologically songs, photographs and write-ups > outlining >> > > the contribution of such musicians, along with instruments used > in >> > > those times. His next big show, organised with Hansmukh > Ravjiani (a >> > > music industry veteran) launches the Harmony Club, by mixing the >> > most >> > > experienced instrumentalists in the business with fresh new > voices >> > > waiting to be launched. >> > > >> > > Few know that Leslie Gudinho >> > > had drummed out O Haseena Zulfonwaali... >> > > "Some of these musicians were given up to eight bars (a sizeable >> > > range) by the music director to improvise within," Ghate > mentions. >> > > "And some, like the Lords (Cawas and his sons Kersi and > Burgess), >> > were >> > > a family of musicians dedicated to imbuing filmy hits with the >> > > instrumental magic. >> > > >> > > " And some like Leslie Godinho who researched percussion to add > an >> > > additional drum and make Congo a three drum set, or Hazara > Singh, >> > who >> > > invented the double guitar, were musical scientists in their own >> > > right. "Yet when I travelled to corners of cities, small towns > and >> > > villages to locate such musicians post their retirement, many > were >> > > living in conditions of extreme ill health and poverty," Ghate >> > > informs. >> > > >> > > Some of their neighbours, he claims, referred to them > as 'bajaane >> > > waala', not knowing of their contribution to the very songs they >> > were >> > > listening to on their tape recorders or radios as they said > this. >> > The >> > > proceeds of the felicitation concerts Swar Alaap holds go > towards >> > the >> > > medical expenses of some such musicians. >> > > >> > > Ghate wants to take this forward and institute a charitable > trust >> > for >> > > the purpose. "I also want to set up a small museum displaying > what >> > we >> > > did during our exhibition permanently," he adds. "Our next > project, >> > > however, is a detailed website." >> > > >> > > Ghate might have first related so strongly to the plight of a >> > musician >> > > living in anonymity because of his own situation. "I carried on > my >> > > live shows and research alongside," he recounts. "I kept > wondering: >> > I >> > > am so unhappy when I don't receive applause for a piece I've >> > > performed. >> > > >> > > What must a musician who improvises such a piece, and yet > receives >> > no >> > > recognition feel like?" Then he takes out some old photographs > he's >> > > collected of these legendary musicians in their younger days, >> > clicked >> > > during performance. Seeing these photographs transforms the > nature >> > of >> > > Swar Alaap Foundation's work from complaint to celebration. >> > > >> > > These musicians, from Leslie Gudinho who drummed out O Haseena >> > > Zulfonwaali... to Pandit Ashok Sharma whose Sarod formed the >> > backdrop >> > > for Bole Re Papihara... don't seem "unhappy" at not recieving >> > > "recognition". Their happiness instead, seems to transcend what > a >> > > famous music director or singer will ever know. >> > > >> > > It is the happiness of a person who works as a part of an >> > arrangement, >> > > yet refuses to become just a notation. It is also the happiness > of >> > > making music that will be heard, rather than having names that > will >> > be >> > > read. >> > > >> > > >> > > Warm Regards >> > > ~~~~~~~~~~~~~~~ >> > > Vinayak >> > > http://theregoesanotherday.blogspot.com/ >> > > >> > > ---------------------------------------------------------- >> > ------------ >> > > >> > > Main chupana jaanta toh jag mujhe sadhu samajhta, Shatru ban > gaya >> > hai >> > > chal rahit vyahvar mera >> > > >> > > Harivanshrai Bacchan >> > > ---------------------------------------------------------- >> > ------------- >> > > >> > >> > >> > >> > > ------------------------------------ Are you searching for a reason, to be kind? <b> Explore, Experience, Enjoy A.R.Rahman - The Man, The Music, The Magic. Only at arrahmanfans.com - The definitive A.R.Rahman e-community. 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