Re: [arr] Re: [Semi-ARR] Credits given to musicians
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=articlesectid=82contentid=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
Re: [arr] Re: [Semi-ARR] Credits given to musicians
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 [EMAIL PROTECTED] 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=articlesectid=82contentid=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,
