When discussing Madhav Chari's accomplishments, another name comes to mind -- 
Vijay Iyer.

Vijay is another one of those supercharged bright guys -- a polymath whose work 
has spanned the sciences, arts, and humanities.  He holds a B.S. in Mathematics 
and Physics from Yale College, and a Masters in Physics and an 
interdisciplinary Ph.D in Technology and the Arts from the University of 
California at Berkeley.....He has given master classes and lectures in 
composition, improvisation, cognitive science, jazz studies, and performance 
studies at New York University, The New School University, California Institute 
of the Arts, Columbia University, Harvard University, Manhattan School of 
Music, etc...

For more info about this gifted prodigy go to www.vijay-iyer.com/-

One wonders, with all the time it must take to earn such accomplishments, do 
they really make time to smell the roses?



  ----- Original Message ----- 
  From: Frederick Noronha [फ़रेदरिक नोरोनया] 
  To: [EMAIL PROTECTED] 
  Sent: Sunday, June 01, 2008 12:45 PM
  Subject: Re: [goamusician] Fw: [Goanet] My name is Anthony Gonsalves




  2008/6/1 Chris Vaz <[EMAIL PROTECTED]>:
  >
  >
  > A MOST INTERESTING ARTICLE...
  >
  > NEVER HEARD OF MADHAV CHARI BEFORE.
  >
  > AND WHO IS ADRIAN D'SOUZA?

  
http://www.google.co.in/search?q=Madhav+Chari&ie=utf-8&oe=utf-8&aq=t&rls=com.ubuntu:en-US:official&client=firefox-a

  > (Madhav Chari is a jazz pianist currently living in Chennai, India)



  Speaking piano 

        He could have been an excellent mathematician or an excellent musician. 
Madhav Chari chose to be the latter. C.K. MEENA meets the jazz genius who 
considers the piano the greatest instrument on earth  





  PHOTO: SAMPATH KUMAR G.P. 
   
  FOREVER EVOLVING Madhav Chari: `Unlike the self-contained universe of 
Carnatic music, jazz regenerates itself, pulls in energies from other sources'. 

  When Madhav Chari talks of motifs, idea, theme and vocabulary, of developing 
a concept, editing the first draft and creating a new ending, you could swear 
he's talking about writing an article. But he is in fact describing how he 
composes a jazz piece on his piano. 

  Writing, mathematics and music were his interests while growing up. Although 
math won out over literature early on, music won out over math in the end — and 
a spectacular conquest it was, for he shelved his Ph.D. program for a musical 
career. 

  Drama as metaphor 


  But literature does come in handy when he explains what jazz is all about. 
Chari used drama as a metaphor during the workshop he held as a prelude to his 
concert recently at St John's Auditorium, presented by Worldspace radio's jazz 
channel Riff. The structure of a play is set in stone, he pointed out. The acts 
and scenes, once scripted, cannot be changed. The actors must stick to their 
given roles, costumes and dialogues. Now imagine that the plot varies and the 
order of the scenes changes from day to day. Imagine that an actor is not given 
his dialogue; he has to make up his lines as he goes along, and he could be 
suddenly ordered to speak in iambic pentameter. This is what a jazz musician 
does every time he performs. 

  Music has always played a major role in the script of Madhav Chari's life. 
His Tamil Brahmin father was into western music and not Carnatic, which was not 
unusual considering that he had studied in Ooty's Lawrence public school, was a 
resident of Kolkata who spoke only functional Tamil, and was influenced by the 
Brahmo Samaj. Kolkata in the Seventies was heaven for the western music fan. 
Chari says: "My parents took me to two concerts every month: one classical, one 
jazz." The USIS at that time would regularly bring down jazz bands that were 
A-listed in New York, and Kolkata was one of the "hit points" along with Mumbai 
and Delhi. He heard Chico Freeman, and Clark Terry and his orchestra, live. He 
listened to Pam Crane, Kolkata's celebrated jazz singer. "In the late 
Seventies, Louis Banks played a two-and-a-half hour public concert in our 
house." 

  Chari was entranced by the piano. "Not the violin or the trumpet. The piano 
was talking to me." He played it by ear when he was just five at the house of a 
family friend, and considers it the greatest instrument on the planet. Kolkata, 
which he calls "a very rich city, intellectually", also gave him the gift of 
"intellectual curiosity". He read widely and was by his own account a 
precocious lad who would end up talking to his parent's friends more than to 
his peers. 

  When he was 15, he says, he "got" Coltrane, understood the emotional content 
of his music. He was hooked. Jazz affected the core of his being. "My body 
would react in a different way, as though I had hit a motherlode of 
electricity." When in '85 he got a full scholarship to the under-graduate 
program in mathematics at Dartmouth, U.S.A., he was glad to be in a country 
that would keep his musical interests alive. He was part of the college jazz 
ensemble and later played with the great drummer Max Roach. Between '91 and 
'92, he played jazz professionally in Boston. He hung out with Wynton Marsalis, 
played with Kenny Barron and Henry Threadgill. 

  The warning signs 


  Academics took him to Illinois. He was one-and-a-half years into his Ph.D. 
program, in '95, when "the warning sign" hit him. "It was very clear, the fork 
in the road. I could either be an excellent mathematician or an excellent 
musician — and I had the potential to do either." He chose to make a career out 
of jazz, moving straight to the Big Apple in '96 and bypassing the usual route 
of the jazz musician which is from Chicago to New York. "It was very uphill, my 
career in New York. Persistence was the only way." He would hand out tapes of 
his music to well-known musicians and wait for them to get back to him. Since 
he wasn't good at socialising and being seen in the right circles, he was 
forced to learn "the operating mechanisms" of the business the hard way. He 
ended up playing in several U.S. cities, and later in places like Paris and 
Singapore. 

  Chari's limitless passion for jazz is evident not only when he performs but 
when he speaks on the subject. "Unlike the self-contained universe of Carnatic 
music, jazz regenerates itself, pulls in energies from other sources. It is a 
dynamic, evolving knowledge stream." He doesn't care for fusion, though. In New 
York he had formed a fusion group called Nomadic Subjects, which was featured 
on the PBS television channel. "I didn't like it," he says. "I understood the 
limitations of fusion. A lot of people are doing world music and fusion without 
understanding jazz." He is also wary of avant garde. The traditional art form, 
he believes, is something you have to first go through in order to — no, not 
break the rules, but "try to extend" the form. 

  Since 2004, Chari has been running a jazz and modern music outreach programme 
from Chennai. Chari the teacher was on display in Bangalore (the starting point 
of his four-city concert tour) when he spoke on rhythm and structure, the 
origins of jazz, its African roots and its Cuban and Brazilian manifestations. 
He used the "Happy Birthday" tune to demonstrate the difference between 
variation and improvisation. But when he spoke of the blues as an "emotional 
kinetic energy zone" you thought to yourself, here comes the mathematician 
again! 

  Those who missed his concert can catch the Madhav Chari Trio, which includes 
a bass player and a drummer from France, in October courtesy the French 
Ministry of Culture. 









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  -- 
  Frederick FN Noronha * Independent Journalist
  http://fn.goa-india.org * Phone +91-832-2409490
  Cell +91-9970157402 (sometimes out of range)
  http://www.youtube.com/user/fredericknoronha



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