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. Continue reading
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. Continue reading
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. Continue reading
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 the teacher who had the final say in choosing the student. Understandable. For the most part, they were wonderful human beings, but their undemanding teaching methods (at least where I was concerned) and indulgent style left me unchallenged and I carried a certain void with me.
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. Continue reading
[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. Continue reading
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. Continue reading
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 NARESH FERNANDES, Timeout Mumbai Magazine, January 2007
It’s been 15 years since Jazzmates. What’s changed for you since?
Much – it’s been a great journey and continues to be. I think the two most significant changes in my life have been geographical moves across the globe, and the inevitable – getting older! I think the latter has a lot to do with changing your perspective on life and the intensity of commitment to things important in your self-development as an artist.
Around the time of the release of ‘Sound Matters’ in India (1991), we had the opportunity to move to Ottawa, Canada. It came at a time when we were trying to play jazz in an otherwise bleak environment, and although the move was a job related one for Noel, we both felt it was necessary for our own growth as musicians to place ourselves in a more creative environment. Continue reading
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 later, he would be no more. He was only 37 when he passed away.
I think any lover of jazz and student of piano would benefit from watching this video. It’s around 40 minutes in length, and has some touching moments during the interview with him.
And here’s a masterclass conducted in ’97: