* RAMONA BORTHWICK * Jam Sessions

Just watched a rare &  rich documentary that explores the art & science of music from every possible angle. PBS’ “The Music Instinct: Science and Song,” rambles intricately through topics such as anthropology, neurobiology, psychology, physics and more, presenting these concepts through demonstrations and recordings of musicians, including a cockatoo hip to rhythm. It was wonderful to hear scientific researchers talk about the social and emotional aspects of music and how these are decidedly meshed with science. Regardless of whether one is a musician or not, it explains why we feel a primal neccessity to experience and create music within ourselves and with others. And the black hole that sings (ok, ‘drones’ may be a better choice of a word) at a Bb pitch, 57 octaves below the middle C. Try and catch this one of a kind documentary on PBS if you can, or rent or buy the DVD - it’s totally worth it.

I’m sure a lot of us ponder about the mystery of coincidences pretty frequently. What were the odds of this or that happening; and yet they did. Take the couple who missed boarding the ill-fated Air France flight out of Rio a few days ago becuase they were late to arrive at the airport. The plane crashed into the Atlantic four hours after departure. The news media hailed it as a stroke of good luck or karma for the couple - and yet, ten days later, the two were in a head-on collision with a truck while touring Austria, the wife died, the husband was critically injured.

People miss planes frequently and car accidents are a dime a dozen. Plausible explanation for accidents such as these. Yet, the common response to this couple’s tragic story, is that the woman somehow cheated death the first time, but was meant to die the second time. (Remember the movie ‘Final Destination?’) Cruel as it may sound - it was her destiny, fate. But why would her life be saved the first time, and not be spared the second time? How does one explain the ten extra days she was granted as a bonus on this earth - did she have a purpose or mission to accomplish during that time? A better understanding of probability might explain why these train of events are more likely to be remarkable coincidences, rather than mystic or supernatural phenomena . Not entirely by chance, I came across this video:

From the Discover blog: Why do songs get stuck in our heads?

Having a song, tune, or commercial jingle stuck in one’s head is a phenomenon known as having an earworm. Most people have had an earworm at one time. The experience is harmless and unrelated to both obsessive-compulsive disorder and endomusia, the hearing of music that is not really there. Certain songs—simple, repetitive, or oddly incongruous—have properties that act as mental mosquito bites in that they produce a cognitive “itch.” The condition also arises when people struggle to remember forgotten lyrics or how a song ends. To scratch a cognitive itch, the brain repeats the song, which then traps the hapless victim in a repeated cycle of itching and scratching. Everyone has his or her own list of demon tunes that haunt. Earworms occur more often among women, musicians, and individuals who tend to worry. (OK, so that makes my brain a perfect haven for earworms). Earworms also vary across situations, striking when people are tired or under stress. How can you make an earworm go away? Thinking of something else or actually listening to the song in question are thought to help, but there is presently no research evidence showing what works best. Fortunately, most episodes eventually dissipate on their own.

I recently got back in touch with an ex-student of mine. Nicolitta, a teenager then, was gifted with facile technique, her performance bolstered by many years of practice and attention to detail while studying advanced works by the likes of Bach and Bartok. I recall visiting her leafy cottage in Bandra, and after a piano session over the obligatory cup of tea and snacks, watched her kickstart an old Bullet motorbike and take a cautious ride in the crowded, narrow winding lanes outside her house. That was the first time I glimpsed the hidden spitfire in her. In time, we parted. I moved to Canada, she went on to use her seamstress skills designing bridal wear and garments for export.

A passion is however hard to kill - Nicolitta is now a seasoned dirt bike rider, having come to terms with high altitude sickness, bike breakdowns and the fact that she can be regarded as somewhat of an unusual spectacle in rural male-dominated India. She has undertaken extensive trips to remote places and has shot some breathtaking stills on the way. Her latest adventure released on DVD with four other fellow bikers of the motorcyle club ‘60kph’ was filmed by Gaurav Jain of Dirt Track Productions - a solo effort with no tech crew or support across a route that no GPS or map has recorded. I recently watched this award winning documentary - a beautiful film with geographical chapters unfolding a spectacular journey, sometimes raw, but always real. This is not your typical ‘bike tour’ with luggage being towed by an alternate form of transport and a Comfort Inn at day’s end. I can’t help but be proud of Nicolitta for chasing the dream against all odds to realize her passion. Here’s a trailer from the DVD:

The DVD was shipped to me in excellent tamper-proof wrapping and can be purchased here.

Some live by “Love thy neighbor as thy self.”
Others by first do no harm, or take no more than you need.

What if the mightiest word is love, love beyond marital, filial, national.
Love that casts a widening pool of light. Love with no need to preempt grievance.

In today’s sharp sparkle, this winter air, anything can be made, any sentence begun.

On the brink, on the brim, on the cusp — praise song for walking forward in that light.

[excerpt from the Inaugural Poem by Elizabeth Alexander]

I’ve had the pleasure to  serve as Interim Choir Director at St. Pauls in Newton, MA since fall. If you are looking to attend a Sunday or a special service during the Advent/Christmas season, please drop by. (View schedule and location). Led by the dynamic and oh-so-cool Revd. Gretchen Grimshaw, the music leans toward jazz, mixed in with some gospel and traditional choral styles. And although we don’t have a large choir, (it’s affectionately known as the little Big choir), they’re tremedously capable, having withstood some mean choral arrangements of mine in the past. I will be at this church until the Martin Luther King weekend, which falls on Jan 18th.
P.S. the choir welcomes new voices!

I was in Mumbai (formerly Bombay, the name I find hard to discontinue using since I knew it as such for most of my life) during the month of November, on a vacation to visit family and friends. During this time, we visited our favourite haunts including the majestic Taj Hotel where we lunched at the Golden Dragon restaurant. I distinctly remember how impressed I was by the rich decor, classical ambiance and spaciousness of this century old structure. A few things were different I sensed, compared to my last visit seven years ago. There were more people for sure - milling in the lobby and at the entrance, with hundreds more just outside the periphery of the Taj, a spill over from the squeeze of visitors to the Gateway of India. Just outside the lobby, at the foot of the gleaming marble stairs, was a solitary narrow metal detector that visitors had to pass through before entering the hotel. It looked ugly, out of place in these surroundings, and hardly seemed effective. Once inside the hotel lobby, we tried to capture some video footage on our camcorder of the enormous room with the stunning chandelier and artefacts, but were politely asked to refrain from doing so, as we would be “offending guests”. (Had the staff been instructed to curb people from filming the interiors for security reasons, or was it truly because we might offend the sensibilities of guests and intrude their privacy, albeit in a fairly public place?)

A few days later, we were enjoying an exquisite Indian buffet spread at a restaurant in another 5-star hotel a few kilometres away at an area popularly know as the Juhu beach. There was an outdoor wedding reception taking place on the beachfront. We saw headlines flash by on the restaurants big screen TV - there had been shootings at the main railway station in Mumbai, then at the Metro cinema in South Bombay. Within minutes, the channel was showing raw footage of the aftermath of gun attacks at Leopold’s Cafe. We thought it might be gang-related, but Leopold’s was hardly the kind of venue for assassinations of this sort. It was essentially a tourist hangout, and its clients didn’t didn’t seem to be sort who might be involved in trouble of this nature. Within few minutes we heard that the Taj was under attack, and there were gunshots in the Oberoi hotel lobby. My brother, who was dining with us, and who also manages a luxury hotel property in Bombay was on his Blackberry pretty much the rest of the night asking his staff to secure the hotel gates, and to screen ID’s of all guests. It was difficult to swallow further morsels of food after this. Then the bomb explosions in North Bombay.  We knew at this point the police were on the street, and curfew had been imposed. Our hotel had closed its gates, but the restaurant staff were still on duty, serving guests and going about their duties, making sure we did not rush through our meal. However, we decided that it would be in our best interest to head homeward as soon as possible.

As we all know, Bombay was shaken by some of the most horrific terrorist attacks that night. The Golden Dragon restaurant we visited a few days earlier at the Taj was one of the venues targeted by the killers, the hotel as we all know, a major portion of it destroyed by fire. A couple from NYC (who incidentally had table reservations at the Golden Dragon) detailed their harrowing experience in a Forbes interview and in an interview with Charlie Rose, commended the Taj hotel staff, most of them who put their lives at risk and some who died in turn.

A saga that lasted nearly three days, it was a disaster in crisis management. The city is not used to guns and automatic weapons. It takes two years or more to get a license to own a gun, so most security guards do not carry one. The most common form of a weapon is a lathi or a wooden cane, still popular with the police force, mainly used as a crowd control measure. And if they do carry guns, they haven’t been fired in years. It was nerve wracking to to see a lone firefighter perch on a wall across the second floor window of the Taj trying to douse the raging flames with no bullet proof vest or armour, with no policeman or agent covering him, a sitting duck for the terrorists. Most Bombayites wanted to hear from Ratan Tata, chairman of the Tata Group that owns the hotel, and heads the vast Tata empire. Ratan, like his predecessors in the Tata family is known for his patronage of art and culture. The Taj had a treasure of irreplaceable paintings, old maps, artefacts and several modern works. Many were lost in the fire. Fareed Zakaria interviewed him soon after, and it was no surprise that he was frustrated by the slow response to this catastrophe.

And so, in some twisted way I admit was glad to have been there when this happened. At least, if nothing, an expression of solidarity with my city folk. Life is tough for most of the population here on just a normal day. Water shortages, traffic jams, dust and pollution, failures of the power grid, poverty. Now bring into this equation, a recession and terrorism - amounting to an incredibly challenging time that is going to test the city to its gills, and one that I hope the city manages to survive with grace and determination.

I’d mostly seen this ancient pipe being used by people in Indian villages, but it appears that it is a trend gaining popularity among college students in urban areas today. Hookahs are widely being offered in cafes and restaurants in Indian cities, with the tobacco offered in an assortment of flavors. Students come in groups and sit for hours peacefully gurgling communal pipes in casual surroundings. Here’s a hookah menu hanging at a popular ‘dhaba’ restaurant on the outskirts of Bombay. (This place also served served ‘emu tikka’ btw).

Incidentally, one of my upcoming performances (20th November) will be at a restaurant in Pune called the Shisha Jazz Cafe, ’shisha’ being a common term for the hookah in the Middle East. For reservations call 20-65200390.

No really. At Boosey & Hawkes, the classical music business behind Stravinsky and Prokofieff.

Getting pronunciation correct, especially when it comes to names of countries, religions and personal names is a basic sign of respect for a nation and it’s culture, and not an ‘exotic’ endeavour. I’m glad this is being discussed here. As for our politicians - anyone who claims to remotely have anything to do with foreign policy should stop critiquing Obama. Sometimes, just the pronouncing of a country’s name correctly, can evoke a gush of goodwill from that nations’ citizenry. A basic step in good ambassadorship.

Most folks in the US wouldn’t be aware of this, but it’s nearly time for us Canadians to elect our new PM - Oct. 14th actually. In June, CTV and the Globe & Mail did a survey which stated that Canadians preferred Obama over their own leaders. In an article out yesterday, the Vancouver Sun reports that it is a case of Obama-envy with 42% (a huge increase in margin!) of them choosing Obama, well ahead of the 29% that current Conservative PM Stephen Harper garnered. Ouch. Inspired by this solid enthusiam of Canadians for the US candidate, there’s a ”Barack Obama For PM” website with spiffy T-shirts, complete with igloo and maple leaf logos.

Well, I wouldn’t wish it to happen, but after the results of the last US election there’s always a nagging fear of history repeating itself. So if McCain wins, at least we know that Obama can always head over to Parliament Hill in Ottawa So to those among my friends who I know are thinking of re-locating to Barcelona, Amsterdam or Auckland if the Republicans win, perhaps you may not have to move that far after all!

Font fan that I am, I loved this clever video featuring them at a conference!

Napping is good. Here’s a how-to guide if you’re not familiar with it.

A study shows jazz improvisers brains in an ’altered state’, high on creativity with decreased inhibition when performing.

Have been trying to make some some moral decisions when buying seafood … it’s not easy and there have been many mishaps along the the way. Came across some info that helps one make the right eco-choice. Based on the zones you live in, here’s one that displays sustainable seafood choices. Also some great buying advice from Henry Lovejoy, president of the sustainable-seafood purveyor EcoFish. And here’s a scorecard of how the top 20 US retailers did when it came to seafood sustainability. Even the winner didn’t make the grade

Migraines translated into visual art here. Product of the human hand or that of an ape? Take the quiz. I didn’t fare too well

Pit your jazz listening skills against featured artists at JazzTimes.

Cakewalk is broadcasting special events live over the web from NAMM 2008. You need to register prior to the event. More info.

It’s 2008 and New Year’s greetings and best wishes to all! Heard a brief interview on NPR this morning with Eric Weiner whose book is on my reading list, called “The Geography of Bliss: One Grump’s Search for the Happiest Places in the World“. Besides referring to the World Database of Happiness, he mentioned a trip to Bhutan where a man’s suggestion for being happy was to set aside a few minutes a day to think about death.

In the East, the cycle of birth and death can be table talk, linked figuratively to the waxing and waning of the moon, and change of seasons. Dealing with adversity differs among people and nations. Growing up in India, it was not uncommon to hear people when speaking of their problems, end their speech with a ‘What to do?’. (Kya karega?). The phrase adorns the end of every monologue that has to do with recounting a problem or ’situation’ and is accompanied by a shrug of the shoulder. If pressed for time, a Jaguar will not get you to your destination faster than the lowly auto rickshaw in Bombay’s crawling, leaden traffic. What to do? The telephone has been dead for over two days. What to do? Resignation, an apology that one can’t have control over all things in life. Just saying it insulates one from obsessive worrying - sort of a tension exhale. Apparently the phrase is infectious too. I had to do a quick double take and rewind when I heard it casually uttered by John McLaughlin while I watched the DVD Remember Shakti - The Way Of Beauty. There was an upcoming tour, and he was trying to locate L. Shankar the violinist who had strangely disappeared for several months, to no avail. Finally he engaged the talents of the mandolin prodigy U. Srinivas. And then he said ”What to do?” With a shoulder shrug. It was strange to hear an Englishman say that - but then John in many ways is even more a desi than I am. He’s spent several years of his life in India, immersing himself in the classical music, spirituality and culture of the country. Speaking of him, I need to revisit more of his amazing works from the 70’s. Also check out his latest DVD: The Gateway To Rhythm, which explains the system of ‘konakkol’ (the art of vocal drumming and rhythms from South India).

Neither apparently, as far as being green goes. We  know the best option is to carry a stash of canvas or re-useable bags when we go shopping, but there are times I forget to do this. Having to choose between the two was a grey area for me, and I’ve always wondered what would be the lesser of two evils for the environment. The Washington Post printed an informative diagram some time ago, weighing the costs and consequences of paper or plastic.

[This travel article was published in the November 2007 issue of the Qatar-based feature magazine ‘New Era’.]

It is late afternoon, and I’m writing this article on a muggy, fall day in New York City’s Central Park. I’m seated on patchy grass after finding myself a hotspot (thanks to free wi-fi in the park), catching up on e-mail and news. I arrived here on the comfortable Acela train from Boston, three and a half hours of super-smooth travel that skirted the Eastern seaboard with barely a whisper. Since my arrival, I’ve been drawn into a gritty, urban state of mind, while savouring the ability to keep walking for hours, being simultaneously assaulted and lulled by the sights and sounds of Manhattan. In contrast, the park is an anticlimax - a green cocoon of quiet; free of exhaust and the taut energy that wraps the avenues outside. The purpose of my visit? None really. I have no appointments to keep, no deadlines to meet. I’m staying at the New Yorker Hotel, in midtown Manhattan. Built in the art deco style of the jazz swing era, it was one of NYC’s premier hotels and hosted famous big bands such as those led by Benny Goodman and Woody Herman during its heyday. Unfortunately it stands in various states of disrepair today, but its location is hard to beat, offering an almost instant access to several key tourist spots and vistas in the city core. Situated a few blocks north is Times Square and Central Park, and to the South, Lower Manhattan and the Village with its interesting, funky neighbourhoods such as SoHo, Chelsea, Little Italy and Chinatown.

New York City has one of the highest land use densities in the world, and its street design and flow is based on the grid system, using straight lines and right angles. Parking in the city requires an investment of several hours a week, a cool and perseverant mind, and the likelihood of several parking tickets, which is why most residents prefer using public transportation or a bicycle. Nevertheless, it is a breeze to navigate the perpendicular geography of this walker’s city. The streets reflect the American ideal of a ‘melting pot’, and I overhear different tongues and accents as I pass by rows of closely packed shops, convenience stores and restaurants. A few blocks later, I am met with sweeping concrete towers of business and commercial edifices, laying testament to the fact that every neighbourhood has something different to offer, and the environment can change as rapidly as the change in the Avenue or street number.

I’m a great fan of street food, and beyond the predictable such as pretzels and hot dogs, there is an array of ethnic foods which has gone mainstream in New York. The past few years have seen a proliferation of mostly immigrant-owned stands selling kebabs, gyros and falafel, and the city even has a ‘Vendy awards’ that rewards the best carts in the city, while also acting as a union to provide the vendors a voice. Rahman, a beaming young man, originally hailing from Pakistan, had his cart stationed near the Rockefeller Center. Drawn by a mixture of hunger and enticing aromas, I purchased a couple of terrific chicken and lamb rice plates from him. Topped with a mysterious, but delicious white yoghurt sauce, the meat was succulent and infused with Eastern spices, the rice was long-grained basmati, redolent with delicate seasonings. There were more impromptu al fresco dining choices including Jamaican jerk chicken, South Indian dosas, barbequed pulled pork, French crepes and Mexican chili and burritos, but stuffed to the gills by now with Rahmans’ culinary offerings, I opted instead for a small paper bag of freshly roasted honey almonds to satisfy my sweet tooth.

A visit to the ongoing AES (Audio Engineering Society) convention at the Javits Center was a must – it is an annual event providing a meeting ground for the pro audio scientific elite and high profile manufacturers who shape the world of audio. More of an enthusiast than a participant, it was nevertheless fascinating to browse through the booths displaying recently announced products and offerings. A trip to the Blue Note jazz club (be prepared to share tables and be herded along with other strangers in a micro-space), and another to imbibe some refreshing sangria and tapas at a Spanish restaurant in the Village a little before midnight (seemingly, New York never sleeps) was an evening well spent. Times Square after dark was dazzling, a cacophony of voices and traffic, gigantic neon television screens that winked loudly at the swarms of locals and tourists below. I admit my noggin began to spin with the frenetic bustle and constant flashing of cameras around me. It was time to exit this spectacle and head back to the hotel.

It has been estimated that nearly half of all Americans today can trace their family history to at least one person who passed through the Port of New York, personifying NYC as the immigrant capital of the world. A quote by John Rockefeller, whose enormous influence is felt all over the city, sums up the spirit of New York best: “I believe in the dignity of labor, whether with head or hand; that the world owes no man a living but that it owes every man an opportunity to make a living.”

Ramona Borthwick is a jazz pianist who was classically trained. She lives in Boston, MA where she performs and teaches. Visit her on the web at: www.ramonaborthwick.com.

Came across a handy search on recycling info at http://earth911.org. Enter what you need to recycle and your zip code; and the search brings up the closest drop-off bins and recycling centers/shops in your area.

[This article was published in the August 2007 issue of the Qatar-based feature magazine 'New Era'.]

Attending the Montréal Jazz Festival in Canada has been a musical pilgrimage of sorts for me since emigrating to the West in 1994. A musical marathon, this festival spans eleven days and nights in the summer, turning the Western hemisphere’s largest French-speaking capital into an entertainment mecca for everyone from aficionados of pure jazz to its musical offshoots. By providing entertainment and plenty of other distractions to approximately two and a half million people, this festival overshadows both Canada Day and the Fourth of July, two big holidays in North America, with the European ambience strong enough to make one forget about anxieties south of the border such as war and terrorism.

Journeying from Boston northward through New Hampshire’s craggy granite ridden White Mountains and the rolling pastoral hills of Vermont’s Green Mountains, the journey to Montréal takes approximately six hours by road. The interstate highways are beautiful and well maintained, the scenery awesome, and I’ve always reached Montréal fresh enough to venture out to the Festival venue immediately. My stay was at a cheerful little bed and breakfast in the Latin Quarter, just off Rue Denis, a street famous for its sidewalk café’s, bars and ethnic restaurants, making for a pleasant 15-minute walk to the festival venue. Rounding the corner onto St. Catherine’s Street brought a queer mixture of fast-food joints, art supplies stores, nightclubs, sex shops and a church or two.

The festival site encompasses the downtown core, four blocks of which are closed to traffic for the duration of the event. This certainly makes pedestrians feel special! With ten free outdoor stages set up on streets and in parks, as well as some dozen indoor venues (one usually pays for these) located in the same area, there are roughly 50 concerts per day showcasing around 3000 musicians and street performers. Impressive too is stage and sound setup at various venues. Being an outdoor festival it is prone to the vagaries of weather, but the technical and sound engineers are armed and ready for the occasional downpour and high winds. Preceded by a daily New Orleans style parade, shows start at 6PM and end at midnight, with audiences standing shoulder to shoulder in front of raised stages. There are many food and beverage vendors in the area and it is great fun to grab a hot dog and ‘poutine’ (a calorie laden Québécois comfort food consisting of French fries and fresh cheese curds topped with hot brown gravy) and wander through the festival. Getting a seat at a nearby restaurant to watch a show is practically impossible, unless you want to wait in queue for an hour and miss the musical acts.

The artists featured this year were a mixed bag - Bob Dylan, Keith Jarrett, Harry Connick, Jr., Cesaria Evora, Wynton Marsalis, Manu Chao, Zachary Richard and Francis Cabrel. The Invitation series (a series that runs through the duration of the festival) featured hosts Richard Bona and Mike Stern playing with other invited artists of their choice. Mega outdoor concerts included an Afro-beat party with Seun Kuti; a Brazilian carnival with Carlinhos Brown, and an Arabian evening featuring Rachid Taha. The festival is also known to be a launching pad for careers of lesser known acts, and this year it was bassist-singer Esperanza Spalding who impressed the crowds with her talent.

Promoted as a global ‘jazz’ festival – not all the music is jazz - there’s world, blues, rock and roll, funk, hip-hop, reggae and of late, even rave music and DJ’s on stage. I’ve noticed that in the past few years, the festival has been bringing in fewer jazz artists to perform. This year, by and large, would have been better termed generically a ‘music’ festival, with the occasional jazz thread running through. Many Montréalers feel that the “Festival International de Jazz de Montréal” has become too large for its own good, with the organizers being acquiescent to large sponsors who prefer to market their products rather than promote jazz artists and have the public listen to real jazz . The late night jam sessions at the Hyatt have a worn out air about them and participation by visiting artists has dwindled to a trickle. I miss the passion and creativity that was flying at these sessions during my earlier visits here.

As a musician, it was interesting to see two new side shows at the festival: the Montréal Musician and Musical Instrument Show (MMMIS) showcasing vendors in the music recording and software industry along with makers of digital instruments and gear; and the Montréal Guitar Show, where luthiers from all over the world exhibited their hand-crafted instruments.

I’d like to believe that jazz is the force that binds this festival together. I’ve heard tons of great music here that was celebratory, healing or cerebral; in settings from intimate duets to big bands. There have been bands from Scandinavia, Eastern Europe and Russia, artists from countries not usually heard in the US. My expectations to feast on a platter of jazz at this festival have diminished through the years, and to a certain extent I admit there’s a sense of disappointment. However, it’s the idea of a vacation combined with music that makes this trip worth repeating every year.

So, the abundance of music paired with lazy mornings followed by walks on the cobblestone streets of Old Montréal, sipping beer brewed in-house in large copper vats, tasting delectable treats at local patisseries and chocolatiers, sampling fresh produce at the farmers market and window shopping in Montréal’s trendy, chic malls, the International Jazz Festival of Montréal is a great place for music lovers who like also like to party on vacation. I know I’ll be returning next year.

Ramona Borthwick is a jazz pianist who was classically trained. She lives in Boston, MA where she performs and teaches. Visit her on the web at: www.ramonaborthwick.com.

Received an IM this morning from my brother with a ‘Happy I-Day’ greeting (Independence Day that is). I’ve never really been patriotic, and had no political leanings when living in India. For some reason, today my mind flashed back to my school-going years in Bombay. I recall rising up early every August 15th to witness the flag hoisting ceremony on the school grounds, (which required compulsory attendance) after which we would sing the national anthem Jana Gana Mana (ok, I admit I tried to re-harmonize this every way I could when I played the accompaniment at the school assembly). After prayers and announcements, we would file in an orderly manner toward the school auditorium where a sweet ’boondi’ laddoo,  glistening with sugar and ghee, nested in a thick dark green almond leaf would be handed out to each kid. Seated crosslegged on the mosaic floor, we’d pick at this round gob of indulgence with our fingers, settling down as the room darkened, to watch an English movie. It would have to be a chaste film with a harmless story line, preferably with nuns in it. No westerns, murder plots or hollywood glam.

I’ve asked my parents a few times what it was like for them in the year 1947 on this day. They were in Poona at that time, but say they were too young to recount any personal experiences. Every year around this time, I read of horrendous Partition stories, and see shocking photographs of Hindu-Muslim riots, the dying and dead. How blessed am I to have seen peaceful times. I now live in a country that has seen its independence well over a century ago. In contrast to the US, India is relatively a young country, the weight of its problems totally out of proportion to her size. It is a cauldron of cultures, ethnicities & religions. I see the complexities and challenges - the apathy and evils on the one hand, and the human spirit that wills itself to make things right in the face of all odds on the other. For the most part, this is somewhat inexplicable to an outsider. However, with a camera, and some insightful narration, I thought ABC news did a fairly good job in their recent segment on India: ‘A Billion Reasons To Care‘.

Helpful info at www.ecocycle.org to stop unwanted catalogs, credit card solicitations and other such annoying mail from reaching your mail box.

[This article was published in the June 2007 issue of the Qatar-based feature magazine 'New Era']

When asked to name someone who has had a major influence in their lives, most people choose to mention a mentor figure – a teacher, sports coach or counselor. Having had a succession of piano teachers in my learning years, I can attest to their influence not only on my musical growth, but also in areas personal and psychological.

I began learning the piano at age six. In the years to follow, my teachers were chosen for me. If at all there was an interview, it was usually the teachers who had the final say in picking the student. For the most part, they were wonderful human beings, but their undemanding teaching methods and indulgent style left me with a certain feeling of void.

Recognizing the need to be challenged, I set out to find a teacher in my early teens. I was already in love with the piano, working zealously and enjoying practice as much as I did performance. Impatient to move ahead in my musical growth, I welcomed criticism, objective observation and discipline. My ideal teacher would be someone who would recognize my musical aptitudes and deficiencies, while shaping a curriculum that would bring out the best in me while setting a high standard of goals. 

If you want to study music privately, recognize that you are a free agent, and can and should interview prospective teachers. As a teacher, I encourage students to query about my teaching methods & lessons before they sign up. Just as you might seek the opinion of two or three doctors on a medical issue before accepting one diagnosis and treatment over the others, I see no reason why a student shouldn’t take trial lessons with a few teachers before deciding on whom to study with eventually.

If a teacher objects to giving a trial lesson, look elsewhere, and you will find many who would be happy to oblige with a starter lesson. Technicalities aside, compatibility of personalities is also crucial to a long-term relationship, and this is something that can be confirmed only after a few lessons.

Students with talent and drive may find studying with one teacher constraining, hence at some point in the learning process, they may want to seek the guidance of another teacher. When studying with two or more teachers, a concern voiced is that there may be contradictory styles of teaching or conflicting information given which would confuse the student. I personally feel that it is better to see the world through two pairs of eyes, than just one. An enlightened student will shoulder the responsibility of arriving at his or her own conclusions about valuable versus ineffective instruction.

One of the most beautiful rewards of teaching is sharing the art of music with others. It involves handling complex personalities and yes, the chore of disciplining a child, but the joy of watching a student’s face light up with understanding or play music from the heart, can fill a teacher’s heart with a sense of pride and happiness.

I believe the responsibility of being a guide, critic and friend is a sacred one, since the student has entrusted his or her creative development in your hands. Depending on the degree of personal interaction, a teacher’s influence on a student can be far-reaching, hence if you are contemplating the study of music, be sure to make an effort to locate a teacher with whom you can have a mutually rewarding long-term relationship with.

Finding the right teacher, asking the right questions:

- Topping the wish list, is finding a teacher who is a nurturer. A teacher who inspires a student can work magic, instilling a lifelong love of music for generations to come.

- There are several teachers who are highly qualified and certified, but make for average teachers. While music degrees and teaching certification are an advantage they are not adequate, since a good teacher also needs to be a psychologist, communicator and inspirer.

- Inquire about teachers in your area, consult with friends & (and) family, visit the local music stores and ask for recommendations

- Request a meeting with prospective teachers in person before making a commitment to a particular one. Teachers are usually willing and eager to explain their techniques and objectives and should not have a problem arranging for an interview.

- Nowadays most teachers have their resumes online or have their own personal web pages. This allows you a chance to get acquainted with them before the interview. You may however still want to ask them about their professional and educational experience.

- If there is a written studio policy, review it with the teacher before you sign up. Inquire about the instructional materials used and the teaching curriculum.

- Equally if not more important than lessons, is the work done by the student at home. Find out how much practice time is required every day. If the student is a young child, the parents should inquire their degree of involvement in the practice and scheduling of work at home, and how student evaluations are done.

Ramona Borthwick is a jazz pianist who was classically trained. Her latest CD ‘A New Leaf’ received critical acclaim in the US. She lives in Boston, MA where she performs and teaches. Visit her on the web at: www.ramonaborthwick.com

[This article was published in the May 2007 issue of the Qatar-based feature magazine 'New Era'. View as PDF.]

“My memory is shot” you mutter to yourself despondently, as you try to retrieve a speck of information from the dark recesses of your mind. And it’s not the first time you’ve experienced this mental blackout.

You’re trying to play from memory a solo piano work comprising sixty-four A3-sized pages – covering thirty minutes of performance time. But why bother to go through the arduous task of putting to memory something you’re better off simply reading? Here are a few reasons: It is protocol at some music competitions & festivals to perform without a score. If you ever arrive at a social event, and someone invites you to perform, you can do so, even you don’t have the score on hand. Besides you’ll be guaranteed to impress your audience, as there seems to be a false assumption by listeners and critics that if a piece is not memorized, it is not being played to it’s fullest potential.

Oh well, I’m happy to break the rules since I’m hardly the convention-bound teacher. I’m not in any way demeaning the practice of memorization; in fact a fair amount of my classical repertoire had been put to memory in my younger days. Some pieces require total virtuosic treatment - where the body is physically almost one with the instrument. I recall playing some etudes by Karol Szymanowski, (involving bi-tonality and plenty of crashing dissonant chords) in which the notes traveled at lightening speed, the performance wrapped up before I even knew I hit the last chord. I certainly couldn’t read and execute these pieces simultaneously. In this case, memorization totally facilitated my performance.

The works I found difficult to put to memory were invariably those of a lengthy nature, in particular, weaving contrapuntal compositions by Bach for example. I’d experience many incidents of brain freeze, terror knots in my tummy and sweaty hands. Sigh. It was no fun playing by heart. The problem was that there was no heart in it.

Bright enough to realize that I didn’t have the prowess to memorize extensive pieces of music, I unconsciously resorted to building my own vault of tricks by memorizing technically demanding passages, sections requiring page- turns or a progression of chords that were way too demanding in an improvisational setup to read and improvise on at the same time. This as you can see was born out of necessity. But I also realized that when I had the score in front of me, I was not reading the page note for note. It was more of a top-to-bottom sweep with the eye, often in a descending ‘diagonal’ path. Akin to techniques taught in speed reading, although in this case, comprehension wasn’t an issue since I’d practiced the piece an excruciating number of times ensuring its execution and interpretation was flawless. Developing musicianship skills and understanding the way the music was constructed helped me no end. It allowed me a passport into the composer’s thought process - I became familiar with the movement of harmonies, shifting keys, pet phrases and motifs. Singing the music in my head, or aloud while practicing, helped me understand the organic structure of the composition. I could breathe musical phrases. Eventually it was almost liberating to have the score in front of me… the familiarity of the pages - with little comments  penciled in, the re-assuring view of upcoming bars of music that allowed me foresight and mental preparedness of the future even while being the present. I felt relaxed. And I believe this allowed me to do justice to the composer’s music and play my best.

I’m often asked by my students if I consider memorization a significant aspect in a child’s musical development. For those gifted with this skill, I encourage them use it.  Shorter tunes are easier to tackle and as an exercise I encourage the student to memorize them but this is completely voluntary. I’d rather concentrate on development in areas such as rhythm, sight reading, musical interpretation and the art of listening rather than have them stress out over their inability to churn out a zillion notes from memory. The last thing I want to see happen is a student give up on music because of a performance crash at the annual recital! In some cases, I see memorization being used as a crutch to support low sight reading skills. Sooner or later, the student is going to have to come to terms with this deficiency (it is a language deficiency, and can be improved!) and will work at it.

Let’s face it though; there are those amongst us with a memory like a sieve. You’d like to retain information – it’s an asset for sure – perhaps you feel it will help you play better. This is quite understandable, especially if the tunes are short in length. There are many jazz performers who subscribe to this and memorize tunes (head and chord changes) because they feel it allows them a greater freedom while improvising. So besides consuming ginkgo and nuts, here are a few tips:

1. Get an overview of the tune first. Understand its harmonic structure. Observe where the music is ‘rising’ or ‘falling’. Look for repeated patterns, arpeggios, scalic passages or changes in tempo. If possible listen to a recording of the work, but not obsessively.

2. While practicing separate hands, (hopefully you are paying attention to fingerings) listen to what you play. Sometimes singing along with the music, helps you to record it to memory. Haven’t you noticed that it is easier to sing a melody from memory than play it?  This simply helps your voice-ear-hand connection and co-ordination.

3. After you practice the piece in segments, and you find yourself getting better at executing it technically, begin memorizing. Be conscious of shapes or movement flows on your instrument, like the broad strokes of paint on a canvas.

4. Often students feel the need to go back to the beginning of the piece in order to complete the performance. To prevent this time-consuming habit, work backwards during practice - start with the last page and retrace sections - I believe this helps you to carry on with a performance in case of a memory lapse breakdown in the middle of a piece.

5. Visually recording the location of music passages on the page is also helpful. If you have the slightest hint that a breakdown is going to occur, you can recover by panning your focus right to bar you are currently in.

6. Something I learnt later in life - play the piece VERY slowly. Play it separate hands even if you can play the piece hands together. This is quite meditative actually.

7. Perform the music in space, away from your instrument. This is not only fun (ever watched someone play air guitar or drums?) it becomes a kind of game within yourself.

Memorizing music is a great asset, but if playing in public without a score sends you to the torture chamber, don’t sweat. Eventually the music needs to speak for itself, and if you score with audience, paper or no paper, who can argue about it?

Ramona Borthwick is a jazz pianist who was classically trained. Her latest CD ‘A New Leaf’ received critical acclaim in the US. She lives in Boston, MA where she performs and teaches. Visit her on the web at: www.ramonaborthwick.com.

Internet radio companies are preparing for a battle with the Copyright Royalty Board that could lead to the Congress and - many fear, the end of streaming music stations in the United States. Most Internet radio stations are independent from major media companies that own the majority of traditional radio stations. As a result, webcasters play a far more diverse selection of music than broadcast or even satellite radio. Several Internet radio companies are arguing that a recent decision by the Copyright Royalty Board (a three-member panel under the Library of Congress), would make it almost impossible for them to stay afloat. Under the ruling released on March 2, web broadcasters must pay every time a listener hears a song, at a rate that began at 0.08 cent in 2006 (the ruling applies retroactively) and rises to 0.19 cent in 2010. Besides increasing the charge for each song, the ruling established a $500 minimum payment for each Web channel. In all likelihood, many stations will be bankrupt if forced to do this.

As an independent recording artist, I have had my music played over several internet radio stations, thus reaching a wider audience. As a listener, I am able to check out new music from Europe and other continents besides the US, and be introduced to newer artists, whose music I buy if I like, and whose performances I will attend if they are in my neck of the woods. These internet radio stations support my music, and let me in turn, support other artists. They also support new music and artists that in all probabilty will never be played on traditional radio stations because their music doesn’t fit the stations’ format, or because they are unknown. Click on the link to the right if you would like to know more, and if you want to help, please sign the petition.

Thanks for the music and inspiration - we’ll miss you Mr. Brecker.
:: Video: Michael Brecker Solo: ‘Delta City Blues’
:: Video: Michael Brecker Quartet: ‘Delta City Blues’

With the expiration of classical music copyrights, a few sites are offering sheet music as free downloads. Among them the Mutopia Project and the Petrucci Library. Be sure to wise up to copyright issues before you use it to copy, distribute or record it.

Michel Petrucciani was one of my favourite pianists - I saw him perform live just once - and what an amazing, high-energy, mind-blowing concert that was!!! I had the opportunity to meet him the next day in oddly mundane surroundings - the foodcourt in a shopping/office complex in Montreal, during the Montreal Jazz Fest in the summer of ‘98. He was with some of his band members, and they were debating on what to order for their meal when I went up and spoke to him. I think he may have been one of the very few jazz musicians I’ve met who actually expressed an interest in how I had heard of his music, and what my connection to music was in general. When he learnt that I was a pianist, he immediately asked if I had any music of mine that he could listen to - of course, I didn’t then, but I came away touched by his offer to listen to my efforts. Little did I suspect that six months down the road, he would be no more. He was only 37 when he passed away.

I think any jazzlover, and students of piano would benefit from watching this video. It’s been around for some time on Google video, and I should have posted this link earlier. It’s around 40 minutes in length, and has some touching moments during the interview with him.

In the early 70’s there were apparently only 1800 tigers left roaming the Indian plains, thanks to merciless poaching and de-forestation. Officials at that time scurried to reverse this alarming decline in this species, launching “Project Tiger” in 1972 at Corbett National Park. Bogged down by non-approval of management plans and poor funding since its launch, it’s good to know that the Indian government just announced that it is considering opening eight more sanctuaries for tigers and three for elephants, as part of its ongoing conservation plan. The increase in allocation for tiger conservation (up by 36%) comes in the wake of Prime Minister Manmohan Singh personally visiting Ranthambhore National Park last year, following reports that tigers were on the verge of extinction.

However, the protection of pachyderms under Project Elephant, set up in 1992, received a blow to its funding which decreased by 13.7%. It hasn’t had much success to show - there has been no increase in population, and like the tiger, the elephant continues to fall prey to deforestation, poachers and elephant-man conflicts.

My heart aches for what Kashmir has had to go through in nearly three decades. I visited it in 1975, and remember its warm, smiling people and idyllic surroundings. But, according to a recent BBC News article by Binoo Joshi, the insurgency has contributed to one bright spot for wildlife in Kashmir. Native wildlife has apparently seen a 20%-60% rise, thanks to a dramatic drop in poaching and hunting. The authoriities have ordered people to hand firearms and weapons overto them. There is also a general lack of willingness to venture into the forests by local folks lest they fall prey to militant fire or attacks.

Here’s a link to a thread on ‘A New Leaf’ on the Cakewalk forum. Thanks to all the Cakeheads for their nice comments and for those bought the CD - thanks and hope you enjoy the music!

Thought I’d share the poem that’s on the CD sleeve of ‘A New Leaf’, with listeners who have chosen to buy the digital download version. That’s the one drawback of an otherwise great way to acquire music, you miss holding the sheath that wrapped the music itself - the artwork, the pullouts, artist comments and other valuable & sometimes non-sensical trivia that adds that little more to listening pleasure! This poem was written partly as a parallel to the composition ‘Home’ on the album.

the wind cradles me
I journey over waters
in their cupped palms
lands, peoples

cities on glossy postcards
transform into zip codes
in the cool land of maple and tulip
my inner landscape crossed by trails
of mango and jasmine

night falls
it is the same moon that greets me
the one from another land
a song plays from seasons before
a new leaf unfurls
like a phrase on a staff

I am home

~ rb

I’m happy to announce the release of my latest CD “A New Leaf” (Whaling City Sound)! There are sound clips on the page, and and here’s more info on how to purchase the CD.
Thanks as always for your good vibes, positive energy and support!