The Mysore Brothers National Centre For Early Music York, England September 23, 2012
York's NCEM uses the 11th Century medieval Saint Margaret's Church as its core, with a modern foyer area grafted onto the side of the ancient edifice. Straight away, the main concert space is invested with atmospheric and acoustic resonances. As its name suggests, a principle part of the NCEM program consists of early music concerts, but the venue is also a hotbed for jazz and global sounds. Given that such musics will often feature drum kits and/or electric amplification, there are handy acoustic baffles placed around the walls to cushion such extremities. The Indian Mysore Brothers were making their debut UK appearance, prior to a higher profile London gig (the South Bank's Darbar festival). The Mysores Nagaraj and Manjunath grew up as child prodigies schooled by their father, the violinist Vidwan Sri Mahadevappa. It's not completely common to hear the violin in an Indian classical music setting, but these siblings intensified the experience by forming a two-pronged attack on the instrument, a specialization pioneered in the 1960s by famous brothers Dr. Lakshminarayana Subramaniam and Lakshminarayanan Shankar (the latter making matters easier by shortening his name to 'L'). The Mysores were accompanied by Srimushnam V. Raja Rao on the two-headed mridangam drum. This is the most commonly used percussion in the South Indian Carnatic style, which is also more likely to feature violin instrumentation than the North Indian Hindustani form. The brothers also set an electronic drone-box in operation, putting a fleshly tambura player out of work.
Dividing the gig into two parts, the interpretations of ragas were much more concise than is usually the way. Unlike a Hindustani raga, there's no introductory alap section, so each theme is confronted straight away, all three players running off immediately into the complex dialogue. Improvisation makes up around 90 percent of the interpretation.
The brothers were constantly changing their relationship, bowing themes together in a closely nestled manner that was strangely similar to that heard in Norwegian Hardanger fiddling. Then they swooped off into their respective solo stratospheres, each sonorous sweep lifting up in turn. Manjunath's tone was deeper and covered with a darker grain, while Nagaraj operated within the more conventional violin sound world, looking like he was mixing the output from a pick-up and one of the external microphones. The different sections of each raga weren't so clearly demarcated or predictable, as the roles of the two violins and the mridangam were constantly in flux, permutations shifting. The percussion received several spotlight stretches, and none of these overstayed their welcome. One palm was rumbling low on the bass skin, while the other was speedily rattling up on the treble skin.
There was little chance for the ears to become complacent, as each composition offered so much lightning change, compacted into all of its most exciting parts. It's often pleasing to stretch out during a raga, but this was compelling in a different way, flashing with accelerated virtuosity. Manjunath in particular was absolutely stunning during some of his solo grandstands, filling a developing structure with incredibly articulate switches of speed and direction. The violins were lodged between knee and shoulder, to facilitate the firmer grip required for their lusty note-gliding. The brothers demonstrated a sheer bravura in their dexterity, flooding the atmosphere with microtonal sweeps and curlicues imbued with a highly expressive voice-like quality.
Martin Carthy/Dave Swarbrick National Centre For Early Music York, England September 25, 2012
In contrast to the Mysore gig, this evening show was sold out, the audience seated in closely packed rows rather than spreading out around circular tables. It was co-presented by the Black Swan Folk Club, which usually hosts its evenings in that pub's small upstairs room. This was destined to be a calendar high point for 2012. Singer/guitarist Martin Carthy and fiddler Dave Swarbrick are two of the greatest English folk players, their own works possessing a glowing enough reputation, but each with a group pedigree to boot. Carthy has played with The Watersons, Brass Monkey and Steeleye Span, while Swarbrick was a key member of Fairport Convention. Both artists are 71 years old, and their duo activities, though sporadic, stretch right back to 1965, when Swarbrick guested on Carthy's eponymously titled Fontana debut album (subsequently reissued by Topic Records).
I was first exposed to jazz circa 1973, when I met a fellow who ran Kappy's Record Store over near 10th Ave., on 42nd St. in NYC. We really clicked and when I told him I played piano and went to Music & Art HS, and had just started at City College of NY as a music major, he asked if I liked jazz...I said yes but I didn't know much about it, but that I did have sheet music for many popular 1920's through 1940's tunes by noted composers (Porter; Gershwins; Irving Berlin; Rodgers & Hammerstein/Hart; Jerome Kern; Lerner & Loewe; etc.) that my mother had sung beautifully starting in the 1940's including tons of famous show tunes, and I played many of those songs already
I was first exposed to jazz circa 1973, when I met a fellow who ran Kappy's Record Store over near 10th Ave., on 42nd St. in NYC. We really clicked and when I told him I played piano and went to Music & Art HS, and had just started at City College of NY as a music major, he asked if I liked jazz...I said yes but I didn't know much about it, but that I did have sheet music for many popular 1920's through 1940's tunes by noted composers (Porter; Gershwins; Irving Berlin; Rodgers & Hammerstein/Hart; Jerome Kern; Lerner & Loewe; etc.) that my mother had sung beautifully starting in the 1940's including tons of famous show tunes, and I played many of those songs already. SOOOO... he started me off LP's by Oscar Peterson, Art Tatum, Bud Powell, Errol Garner, Bill Evans, Monty Alexander, Charlie Byrd, and Dave Brubeck... does it get any better than that? ...No, it doesn't. I was hooked!!
I met and had a master class with the late music giant John Lewis, leader of the Modern Jazz Quartet! This was at CCNY in 1977. I was blessed! It was an incredible class... how could it have been anything else?!?!
The first jazz record I bought was...I bought numerous records from my friend at the record store, as mentioned above. He introduced me to nothing but music giants/legends! I think The Dave Brubeck Quartet, Greatest Hits, was actually the first one.
My advice to new listeners... study first--understand the rudiments--solfeggio, keys, scales, and basic chords. Read a book or take a class that includes the study of chord progressions, especially in jazz. It should ideally be a piano class so you can play multiple notes together. Have a good EAR or else it's not really worth it in my view...to become a musician, a good EAR for music is about as fundamental as breathing! Learn to read chord charts--i.e., lead sheets - wherein you play various voicings of the chords--major, minor, dominant 7th (alterations of these, you can learn over time - the basic chords are most important for starters), plus the melody, on the piano or keyboard. If you have to read the exact notes, then it's not the same as actually internalizing it & getting it all into your head. If you can do this, I think you're ready not only for listening to jazz, but understanding many concepts of it! Of course...anyone can listen to jazz... but I think it's so good to also have a grasp of it.