Tuesday, November 24, 2009
The first show was a C.D. release party for Cairn to Cairn at the Ark in downtown Ann Arbor. It was very cool to play at the Ark, since it was the first place I went to see a show after moving to Michigan from California, over 6 years ago. What was even cooler is that I was now sharing the stage with the performer I went to see, Peter 'Madcat' Ruth. The stage was actually very packed. Cairn to Cairn is made up of Terry Farmer on guitar, Kelly McDermot on flute, and Rob Crozier on bass. They went all out for this concert and invited as many people as they could pack onto the stage. There were members of the Bijou Orchestra on violins, and cello, my old teacher Jon Hill on percussion, a drummer, guitar player, Madcat on harmonica, and myself on tabla. I only played on one piece, so I was free to sit and watch the rest of the show. It was great to see Jon Hill again. He taught me marimba and snare drum solo at UM-Flint during my teaching certification days. We got to hang out after and catch up on things. The show went great, and there was a good crowd. The sound was also really nice, the sound guy was Jim Gibbons. He has done sound for some great tabla players, so it was an honor to have him on the board. My only wish was that I could have played more songs with them.
The next show was nearly two weeks later at Crazy Wisdom Tearoom. This time Meeta was there, but no one else from Sumkali could make it, so we again called on our ICMD friends. This time it was Vish Srivastava on vocals and harmonium, Mahesh Ganesan on kanjira, Meeta on the sitar and Atmaram on the harmonium.
I am so excited to be involved in so much music that inspires, relaxes, heals, and energizes me. I feel lucky. I was guided from an early age to play music that I love to play and now I see the wisdom in that. Honestly, I did not count on the road being so busy, so difficult and so long, and as far as I can tell, there is no end in sight, but as I look around I am realizing that everyone around me is also forging ahead. When I talk to friends, family members, or anyone else that I cross paths with day-to-day, the topics are always dealing with the journey of life. How has the past been?, what does the future hold?, who else have you heard from? Conversing about all of these inquiries give me so much reassurance and gratitude for what I get to do every day. I am proud to talk about my life and all the wonderful things happening and it reminds me how lucky I am.
So, anyway, enough gushing. I have got to tell you about this great project I did with Dave Sharp. Back in the summertime I went a couple blocks down from my house and recorded tabla on a track for Dave's upcoming album, "Secret Seven", (available soon on iTunes). Dave called me sometime in October and said the C.D. was done and he was planning a C.D. release party and he would like me to play. It was at a great club downtown called Live at P.J.'s on Saturday, Nov. 20th. The band Dave put together was really incredible. Two singers, sax, trumpet, keyboards, bass and three percussionists. I was on tabla for two of the tunes and for the rest I played conga, shaker, tambourine, and even cowbell! It was fun. Muruga Booker was also on percussion, which was great since we have been doing so much recording together lately. I felt like the whole band was able to lock in right from the first rehearsal. The crowd was great and it was a lot of fun getting to know everyone in the band.
One thing that is so great about music is that the relationships you build while actually playing the music seem to last over years without losing a beat. If a group of musicians lock in and create something great, then the feeling that they can do it again never goes away. The next time I play with any of the musicians I played with on this night, even if it is years from now, chances are we would be able to pick up right where we left off, without missing a beat. I guess you could say it happened with Dave. I played a small kirtan gig with him over 2 years ago and then he just called me out of the blue for this recording. Based on just an hour or two of playing together, (we didn't even really get a chance to talk that first night), Dave felt he could bring me into a studio and record on his album. I don't know, perhaps this instant recognition and comaraderie is the prevalent in many professions, but I notice it in music over and over again. It motivates me to keep practicing and to always be ready for whatever is around the corner.
So that is it for November. I don't see any other shows on the horizon until December, so I will take the time to rest, relax, and keep practicing!
Thanks for reading,
Sunday, November 22, 2009
Either way, your instrument is in need of constant attention to stay in tune and sounding nice. Musicians often refer to their instrument as a living entities, and I believe it stems from the fact that in order for the instrument to do what you want it to do, you must care for it every time you are in contact with it. Each instrument has its own set of sound characteristics that can literally resonate our bodies in ways that feel absolutely fabulous. When just one little thing changes, like a string coming just out of tune, or a loose component starts to rattle, the feeling can evaporate and we are left wondering why the same song that gave us joy yesterday is today giving us anxiety today.
Even moving your instrument to a different room, or changing how you hold it will affect the sound. When a musician starts talking to, naming, and adoring their instrument, it is not (always) dillusional, crazy, vein, or for entertainment....no....I like to think that it comes from a moment where that instrument resonated deeply and joyfuly with the musician, giving them something they could not get anywhere else. Have you ever seen Willie Nelson's guitar? Not exactly a practical choice for the rigors of touring, but an old friend that rings out a layer of sound unlike any other. I wonder...does he have a name for it?
I love going into new situations and different spaces to play music. As a percussionist, I don't always get to bring the same instrument, but this month seemed to be all tabla gigs. It has been great, since I have been so inspired by my Guruji's visit last month. I have been practicing everyday for at least an hour and the tabla have been opening up to me. I am not sure how else to put it...I guess I feel like I am getting more out of my tabla now than I ever have and it is driving me to practice more and more. I have also been saying yes to a lot of tabla gigs just to have an opportunity to play them outside the practice realm.
One lady saw me play the tabla and immediately went over to their drum display and picked up a baya. She said she always wondered how you play them and now she wanted to try. She set it on top of the countertop, took a good look at my hand to get the technique, and then tried to play. One problem...she had no ring under the drum. As soon as she laid her hand on it, it slid across the countertop, flipped over and slammed down on the glass. She nervously laughed and said "sorry" and put the drum away. Meeta and I just smiled and kept playing.
The next day found Meeta and I at a lunchtime Indian wedding reception in the Bloomfield Hills area at some private country club. It was the first wedding for Meeta and I, and we had no idea how it would go over. We had a nice little stage and I brought a sound system. We got all set up and the sound was really great, so that relaxed us and got us excited to play. We knew that it would be one of those events where we were just the back ground music, so we played nice and light. When we finished our first piece the whole group, about 250 of them, gave a rousing applause. It took us both off-guard. We did not think that people were even listening. I would have loved to have a picture of our faces when the applause came, I am sure we looked surprised.
So that changed the tone for the whole rest of the event. Now people started coming up to us and requesting certain rags, and some were walking by guessing the rag we were playing and telling us stories about when they used to play. It felt very comfortable and friendly. I had a moment when I almost lost the beat when I saw a large gentlemen lose his pants right down to his ankles as he got to the end of the buffet line with both hands full of food. It was hilarious in a funny-home-video way. I could not get Meeta to look over without attracting too much attention, so it was a moment for me, the guy, and the server that was also standing right there. If the server and I would have caught each others eyes after it happened, I think the bubble would have burst, and I would have lost it completely. As it happened, we finished the song, the guy pulled himself together and the afternoon went on normaly. Meeta and I finished up, got a bite to eat, and headed home. It was a nice show to play.
The next day I was at a house in the Bloomfield Hills area, (again) playing tabla for a small kirtan with Judy Piazza. She was in town for a little while and asked me a few days before if I would play with her. I was excited to not just because we have made great music in the past, but she was also playing with her newly developed instrument, the 'Dulcitar'. It was beautiful, and sounded great. It is a bit hard to explain, but it sits flat on the ground and there are the regular dulcimer strings in the middle on the inside there are some strings with moveable frets and on the outside are the drone strings, very similar to the sitar's sympathetic strings, only these you can play easily. I wish I had a picture to share with you, but I am sure Judy will have one online soon, if she doesn't already.
Anyway the most important part of any instrument is the sound, and the Dulcitar sounded great. Lot's of great layers that made two musicians sound like 3 or 4. It was a fun night. The room we were in had big windows that was letting in the soft evening light. We sat down, set up, and started to play. As we played, the sun went down and the room got darker and darker. When Judy asked everyone if they wanted to turn on some lights, they said 'no', so we ended up singing and playing in near darknes. It was very different, but also very nice. Turning off the lights seems to turn the silence up and hence, give the music a great space to exist without distraction. It was a nice change from the norm.
Two days later I was at Kerrytown Concert House in Ann Arbor for an event presented by the University Musical Society, (UMS). My group Sumkali was invited to put on a lecture/demonstration in anticipation of the upcoming Ravi and Anoushka Shankar performance that was to happen on Thursday at Hill Auditorium. It was really exciting to work with the UMS team. They are very professional and have an incredible history. I was interviewed by Annarbor.com for the event, and we got a 'thank you' in the program for the Shankar show. Not to mention some great seats. We all got to Kerrytown early and it allowed us to really dial in the sound. It was a fun night, though not as well attended as we would have liked. We took questions from the audience and played. The two hour event went by fast. It was well recieved, and I felt honored to be a part of it. Here are the pics:
|UMS Presents Sumkali|
Two days later I was with Ann Arbor Kirtan at Friends Meeting House in Ann Arbor. It was nice. The kirtan experience seems to be growing on me. In the beginning I saw it as merely an opportunity to play tabla for two solid hours. Now I have been really getting into the meditative aspect of it. I try to close my eyes as much as possible, and keep my head clear. I think I have been able to do this because the other members of the group have really grown comfortable with the music. It has allowed me to go into my own space. When I first started with the group, (which is made up mostly of non-professional musicians), I kindly told them that it will take about 50 kirtan events before we all start feeling comfortable with the music, and I think that has played out to be mostly true. Now we can go through a whole night without much bobble or miscue and it is allowing everyone to enjoy the experience much more. It is really nice.
No teacher, lesson, or instrument can give to a musician what time with the music can give. That is all it takes, (I guess you could say 'quality' time, just to be thorough about it). Just play, and enjoy what you play and every question will be answered through the music. To get good at music, you simply have to play. If you focus on playing what you love, then eventually you will love everything you play. This philosophy is what keeps me coming back to my instrument time and time again with excitement and desire. It does not matter where I am playing or who I am playing for, it just feels great to play. I feel blessed to have been able to do it this long, and I hope I can continue to play well into the future.
After the Kirtan I had a full week before the next performance. It was Saturday the 24th at Crazy Wisdom Tearoom in Ann Arbor. We were slated to have the full Sumkali group, but Meeta had to cancel at the last minute, so we called upon a couple of the ICMD members at U of M to come in and fill the void. Mahesh joined us on the kanjira and Prakash was on the mrigdangam. With 4 percussionists it was bound to be a bold night of music making. We were fresh off the excitement of the UMS gig and we had some demo C.D.'s available thanks to the hard work of our bansuri player Scott Brady. He has been recording most of our shows and he mixed, mastered, and compiled over an hour of music to put on a C.D. So with actual merchandise to sling, it gave me an extra incentive to be the charming host. I think we sold something like 14 C.D.'s, which is great for a small venue like that. What is even better though, is that I felt like we put on a great show. Everyone was having a good time and the music was sounding great. I may be biased, but I fell like you can never have enough percussionists, provided they are listening well to each other. In this setting, Prakash and Mahesh did a great job of blending in and playing great, so the energy was high, and the crowd let us know. I am getting more and more excited about the Crazy Wisdom 'experience' each month. It seems to be getting better and better as the months go on.
The following day I was back over in Troy, MI. at the Sommerset Inn for the Michigan State Medical Society's first ever International Cultures night. I was slated to play with Meeta Banerjee. There were lots of different performances from different parts of the world. We were the Bengali contingent, so we played a couple of Bengali folk pieces. It was a nice little show and continued on the same vibe that the entire month seemed to have, which was solid, good, and fun.
The next Friday was an interesting gig, which was, once again, over on the Southeast side in Rochester, MI. at the Red Lotus Yoga Studio. I was playing a girbani kirtan with Mata Mandir, who has been recording and doing kirtan for many years. I got the gig from Trevor Eller, who is an Ann Arbor local yoga teacher and musician. He was also playing with us. Since there was no rehearsal, or talk about logistics of the show, I over packed for the show. I brought my tabla, a rug, and my audio suitcase with mics and short stands. It seemed like overkill, but I just wanted to be safe. When I showed up to the gig I heard that Mata's van had broken down the day before up in Canada and all his equipment was in it. They had secured a sound system to use, but it lacked a lot of essentials, so guess who got to come to the rescue! I couldn't believe that I had to use absolutely everything that I brought. As it turned out we got the sound dialed in just in time to start the kirtan. It was an interesting night. It was not the kirtan like I was used to in Ann Arbor. There were more sing-a-long chants, as opposed to call-and-response, and the audience clapped when the songs were over. It was a fun show, and I liked the mellow state of mind that Mata brought to the whole thing. He was really great to play with, and I hope to play with him again then next time he comes to town.
So that is it for October. It was a great month of music making and I feel inspired to keep pushing forward. As the year starts to come to a close, I am feeling great full for the experiences I have been able to have. I have been working with Atmaram Chetainya on re-creating my website, and it is looking GREAT! Thanks At! I have also been busy behind the scenes organizing my online world including my picasa photo account, my google calendar, my blog, and e-mail lists. As I move forward in all of this great technology I hope to connect with more people, and continue to share my musical world with you. Thanks for reading and I hope to write again soon!
Monday, October 19, 2009
The recital that followed the retreat was really amazing for me. I had been working closely with Dan Piccolo on getting the venue, his U of M alumni status really helped in getting the Britton recital hall. So with that pressure off me, it was all about making sure we had a good sound system, putting up posters, more e-mailing, and arranging for Sumkali to open the show, (along with the Srishti dancers). I knew that we would be out of reach once the retreat started, so everything for the recital on Sunday had to be arranged before the retreat on Thursday. So when Sunday came, I watched everything sort of pull itself together. I was tired, sore, and my brain was pretty much maxed out from all the tabla compositions running through it. I loved it. When Sumkali started the first thing that struck me was how nice the sound in the room was. After a weekend full of full volume tabla playing, it was very nice to just 'touch' the drum and hear the sound ring out. It settled me down and really felt theraputic. When the dancers took the stage I felt like I had front row seats to the show. I hardly even realized I was playing. I really enjoyed watching my son Charley sit on him mom's lap wide eyed with his mouth open completely focused on the dancers. I felt like I was looking at a person who was falling in love. It was sweet. Here are the pics:
When Sumkali was done it was time for all the drummers to take the stage. When I was backstage getting ready, Samar ji said, "The sound was good".
I thanked him and said, "That was the calm before the storm, now comes the thunder!" He laughed. It is not too often that you have 8 tabla players on stage at once. We had everyone mic'd and turned up, so I knew it was going to be a huge sound.
Once it started, it seemed to go by very quickly. Compositions seemed to fly by. I think that part of that is because I was used to playing them over and over, as we did at the recital, and now it was 'one-and-done', no turning back. I was so happy to be doing something that we all worked so hard to do. When the whole thing was over I found myself standing alone in the theater just listening to my breath and bidding farewell to an incredible experience. I can't wait to do it again!
After the recital Pt. Saha flew out east to do a bunch of shows in New Jersey, New York, and elsewhere. I pressed forward doing more e-mailing and poster hanging for the big upcoming show on September 19th. There was also a few other things on the docket. Pandit ji returned a week before the concert, so I got some 'hang' time with him before getting down to business again. On Wednesday the 16th he was scheduled to do a tabla demonstration at Go Like the Wind Montessori School in Ann Arbor. He played and talked about the tabla for 45 minutes to the 1st-9th graders. It was so great to present my teacher to my students. They were very excited by the idea that I have a teacher too. I was also happy to bring my son Charley to the show. When it was winding down, Charley sat on Guru ji's lap and played a little tabla for the middle school students. He was happy, and so was I!
From there we went to the U of M music school for a Master class arranged by Dan Piccolo. It was a two hour intensive, in depth look into the world of tabla with an audience of future professional percussionists. It was great to see Samarji doing what he does so well. I should mention that Meeta Banerjee was with him the entire day and also helped out for both shows by playing sitar accompaniment, and driving him from place to place. Thanks Meeta!
Three days later we were at Towsley Auditorium for the Ancient Rhythms concert that I arranged with Sreyashi Dey. This was one of the first major concerts I arranged that I actually did not play in. I made the decision a while back. I wanted to put all of my energy towards putting on a great event and not have to worry about performing in it as well. I was very happy with my decision. I was able to help get the sound just right, make sure the artists had everything they needed, do the M.C. duties, and even work the curtain. It felt great to watch it all unfold. The first half was the Srishti Dancers. They were beautiful, and the lighting was perfect. They really work hard! A full hour of dancing like that was intense. I didn't actually feel the intensity until I saw them come offstage pouring with sweat and breathing heavy. Those are some of the details that are missed when you are watching from the audience. It was an inspiring perfromance.
The second half was a tabla solo by Guruji. I was so excited to finally see him on a big stage doing what he does best. I just sat on the side of the stage and admired his work. As always, he played a lot of the compositions that we had learned over the coarse of his visit here, and then a few of his big 'hits'. I felt like I was in tabla heaven. Here are the pics:
After the concert I felt relieved that all the arranging had come to a successful end. Guruji was in Michigan for a few days afterwords so there was some more opportunity to take lessons and just hang out. On the last day he was here, Monday the 21st, I set up a relatively spontaneous meeting with Muruga Booker, (if you have never heard of him, just google :). Muruga owns a beautiful recording studio in Ann Arbor, and I thought it would be great to get them together to do some recording. What ensued was epic. I actually don't want to go into it too much, (because it will probably end up in the liner notes of the album that was recorded.) So I will leave it at that for now.
The next morning Samarji was off to the East coast again where he had many other concerts organized by other students and then he was back in Kolkatta by early October. We have already started talking about next year, and I can't wait. In the meantime I will be practicing!
Thanks for reading,
Monday, October 12, 2009
Just a quick link to an article that I was interviewed for on AnnArbor.com:
Ravi, Anoushka Shankar concert to link Western pop, Indian music - AnnArbor.com
Sumkali also made it into the program! Click here, were on the first page.
Wednesday, September 30, 2009
Nick Strange at Fishbones, Jazz Trio, Indian Music for CSAS, A.A. Kirtan, Radio Free Bacon, Crazy Wisdom
Monday, August 17, 2009
August part 1: Kozora in Manchester, Kirtan at Sun Moon, Live on WCBN, Deep Blue, Ann Arbor Kirtan, Crazy Wisdom, Unity Church
Monday, August 10, 2009
Saturday, June 20, 2009
Thursday, May 14, 2009
Tuesday the Go Like The Wind Jazz Band played a fundraiser at Noodles and Company in Ann Arbor. It was to raise money for the middle school adventure trip to Colorado. For most of the band it was their first real gig, so it was great to see them put on their serious faces and play their best. I was a proud teacher.
Wednesday I went to the Tap Room Annex in Ypsilanti, MI to play a jazz open mic with the Skylounge band. It was mellow, fun and very easy going. It is always fun to play with those guys.
On Thursday I played tabla with the Emerson School 4th graders for their rendition of Piru Bole, which is a piece written by my CalArts mentor John Bergamo. It was part of a whole evening of music from South Asia. Judy Barthwell put on the event, and she did a great job. As a music teacher, it inspired me to do more with my students. As a student of music, it was equally as inspiring to see my teachers composition performed so enthusiastically by young musicians.
Friday was a double hit. First, Meeta and I went up to Alma College to do a lecture/demonstration of Indian Classical music for a music appreciation class. We were excited to do it, and the professor was great. The students were a little quiet and we wondered why. We figured out that we were coming to them on one of the nicest days of the spring so far, on a Friday afternoon, right after they turned in a big paper and right before they found out about their last big assignment. So this was not the best time to get a lot of new information. It had been a while since Meeta and I had done a presentation like this, so we were having fun with it, and for the most part, it went well.
From there it was back to Ann Arbor to get ready for the GLTW Spring music concert. This was a first. In the past the music concert was paired with the promotion/graduation night so it limited the amount of music that could be featured. This year we played everything we knew, 25 pieces in all. It was a great night to showcase the music program and it was much looser than in years past, which made it fun for the students.
The next Monday I left for a week in Colorado with the GLTW Middle School. It was the yearly adventure trip. I brought a guitar, but other than that, it was a nice break from the whole music scene. Here was the view: