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Innerviews: Selvaganesh - Accentuating Honesty
Innerviews: Selvaganesh - Accentuating Honesty
Innerviews: Selvaganesh - Accentuating Honesty
Honesty
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Selvaganesh
Accentuating Honesty
by Anil Prasad
Copyright © 2017 Anil Prasad.
He has released two major recordings to date under his own name, 2005’s
Soukha and 2016’s Kanjourney Volume I. Soukha is an all-star recording
featuring his father, Hussain, Mahadevan, McLaughlin, Srinivas, and sitarist
Niladri Kumar. It highlights Selvaganesh’s many musical approaches,
including Indian classical duets, larger Carnatic ensembles, Carnatic-meets-
Hindustani hybrids, and jazz-fusion. Kanjourney Volume I is the world’s first
solo kanjira album. It’s designed to showcase the versatility and energies the
instrument is capable of. Selvaganesh has also served as the leader of three
volumes of the Beat It album series, which focuses on Indian fusion.
He recently formed a group known as Arka which explores rock with jazz and
Carnatic elements. The band also features drummer Gino Banks, guitarist
Santhosh Chandran, vocalist Karthik, flautist Ravichandra Kulur, and bassist
Mishko M'ba. It released its debut album And a Half in 2015.
Starting the school is a dream for both me and my dad. My grandfather, T.R.
Harihara Sarma, started the Sri Jaya Ganesh Tala Vadya Vidyalaya school in
Chennai, India in the mid-‘50s. It was a free school created because he
wanted the music to spread into different places, so the traditions wouldn’t
die. My father took over the school, but it’s no longer free, because we now
need tuition in order to provide a valuable experience. Our motive is the same
though: to express and spread this music at a very high level. As my dad says,
“If you learn this rhythmic concept and language, it makes it easier to
understand any music.” Konnokol really can be a bridge between any genre or
culture.
I really want to fulfill his dream of establishing the school in other countries.
We’re starting with Berkeley and New York City, Germany, and Japan. Doing
this is really the only thing I can give back to my father. He and my uncles are
my teachers. Now that I’m a professional musician with a name, I have to
think “What did I do for my guru?” When people ask me who I learned from,
I can discuss him, and that’s a good thing. But starting a school devoted to his
teachings is a much bigger acknowledgement.
I started learning from my grandfather first. Soon after I was born, I would be
in his lap as he was teaching. At six months, I was already hearing the
rhythms. My family said I was always moving my legs or hands with the
rhythms when they were playing.
One thing I thought about as a kid seeing what my dad and uncle did was
“Wow, if I am a musician, I get a chance to see the world. I can tour and go all
over the place.” It was a childish thing, but it also motivated me. So, that’s
how I got very seriously into music.
At the beginning, it was two hours a day and lesson-based. But when things
became serious and it was time to prepare for concerts, that’s when a lot of
major practicing started. I would practice six or seven hours a day minimum,
sometimes going seven hours straight. My dad said “You have to take it one
syllable or sentence at a time when you practice.” He would emphasize three
things: control, fluency and concentration. The main thing is concentration.
If you don’t concentrate, you can’t make it happen. There are also the
techniques of the mind, heart and feelings. A good teacher will tell you how
they are all related.
The first part is true, but it depends on the person. I do see a lot of kids
getting really serious about this music who want to play it as well as they can.
It’s a challenge with so many other things they can do now. When I was
learning, I didn’t even know what was happening in different parts of the
world. I didn’t know what jazz or African music were. I didn’t even know
other countries had music as a child. I thought only India did because I didn’t
get a chance to hear anything else until I started leaving the country. But
now? It’s all at your fingertips. If I say something like the kanjira was
invented in 1952, the student will say “No sir, it was 1948.” [laughs] It’s all on
their devices. The kids also know what’s happening in the rest of the world.
There are eight-year-old drum virtuosos who are amazing. Others play
Mozart concertos. Other kids see that and say “I want to do that too. I want to
be on Facebook and YouTube.”
There are a lot of prodigies now. But what does the word prodigy mean? To
me, it means someone in a previous life that was a virtuoso. They finish that
life and with their new birth, they continue what they were doing. Everything
they practiced is still there. Look at U. Srinivas. When he was six, he was
already flying on his instrument, playing Carnatic music like an 80-year-old
musician. He was already there. How was that possible? By the time he was
16, John McLaughlin saw him play and wanted to perform with him.
That’s not the only way things can happen. The feel and experience has to be
gained over time as well. That’s how it was with me. The way I played 20
years ago is totally different to the way I play now because of experience.
Every day, I learn and change.
In India, temples have music and want percussionists, but they can’t afford
big names, so they ask students to perform. A temple would come to my
school and ask for mridangam and kanijra players. I would always go play
and they would give me five to 10 rupees each time. As a kid, that meant I
didn’t have to ask my mom to give me pocket money. My mom would also
say, “You can’t keep 10 rupees, so give me five.” So, I was even providing
money back to my home, as well as taking care of my own expenses. It was
those moments that made me decide to become a professional musician.
My first big opportunity was playing with Zakir Hussain in 1990 in Europe.
My father had played with him for a long time. G. Harishankar was working
with Zakir bhai, but suddently he couldn’t make it for one tour. So, Zakir bhai
was searching for another kanjira player. G. Harishankar told Zakir bhai
“Why don’t you use Vikku’s son?” Zakir bhai called my dad and said “I
understand your son plays kanjira. Why didn’t you tell me before?” My dad
said to Zakir bhai “You didn’t ask me.” [laughs] My dad doesn’t tell people to
play music with his sons. He said we have to stand on our own legs as we
come up in the music field.
Since then, I’ve been playing with Zakir bhai. It was a breakthrough in my life
and helped me reach a different level. When I previously traveled with Indian
musicians, I only got a chance to meet other Indians. I didn’t get to meet
international musicians in different genres. When I started play with Zakir
bhai, everything opened up. I got a chance to hear so much more. He would
say “You’re like my family. I will explain the different genres of music. Here’s
what rock is. This is who Mickey Hart is. Here’s who is in Planet Drum.” Zakir
bhai also introduced me to Jack DeJohnette. Zakir bhai said “Jack is a jazz
musician. You have to listen to him and start getting the feel of jazz.” Zakir
bhai also gave me albums by Miles Davis. Next, he introduced me to African
music and then other genres.
Working with Zakir bhai’s Masters of Percussion group is how many people
got to hear me. When I was touring with them, I would also do workshops
with people like Terry Bozzio, Luis Conte, Rick Latham, and Omar Hakim.
Again, all of this was because of Zakir bhai. I got to meet and play with all of
these important musicians and it deepened my experience.
The first two were the Together album with my father and brother V.
Umashankar and Mangalam’s Funk Mahal, which was a project with a
guitarist named Rikhi Ray. Then I made a duo album with the tabla player
Anindo Chatterjee and Impressions, a duo album with my dad in 2001. After
that, I did a lot of fusion music which were put out as three albums called
Beat It Volumes 1-3. The big project after that was my international debut
album under my own name called Soukha in 2005.
That album shows the story of my life through music. The first piece is solo
kanjira. The second is kanjira accompanied by flute. Then it goes into a duet,
which we call a jugalbandi in India, with Zakir bhai. Then there’s a piece
composed with Niladri Kumar. From there, it goes into a fusion piece with
John McLaughlin. John composed a piece with an upbeat tempo. In between
the pieces, you’ll hear sounds from a Chennai fish market and street sounds.
The album reflects all of my connections that brought me to that point. It
goes from solos to duets and from classical pieces into the world of fusion. I
wanted it to be a journey and have it speak something about where I came
from and where I arrived.
Describe the key to incorporating kanjira into so many musical
contexts.
I really want to make this instrument popular. My dad is the one who made
the ghatam big and I want to do the same for kanjira. I want to take the
instrument everywhere and have it mingle with different genres. The good
thing about the instrument is that it is so adaptable. Mridangam and ghatam
both have a scale, but kanjira has two tones, which are “dom” and “ta.”
There’s no scale, so it works like a typical drum. So, it goes together easily
with any music.
Jonas Hellborg and I are going to release a duo album soon. When you hear
just kanjira and acoustic bass together, you’ll hear the full depth of how both
instruments come together from these different traditions.
I had wanted to do a solo album like that for a long time. I realized there
wasn’t a single album of solo kanjira in existence. A lot of fans also search for
me on YouTube and will find live solo performances, but they aren’t in good
quality or professionally recorded. So, I decided to make this album. It’s
kanjira with tanpura. I played for 38 minutes across different movements,
similar to how classical music works. It’s in a four-beat cycle, but has
movements from several ragas. I recorded it in New York and mixed it
immediately after. I played one run through and that was it.
I had two more hours booked in the studio, so I decided to record part of
Kanjourney Volume 2 as well that day. It has different talas, structures and
movements. It will also have Osam Ezzeldin on piano, who did his overdubs
at a studio in Richmond, California. So, whereas the first album is a totally
traditional, South Indian approach, the second album has some jazz elements
too. Osam and I are walking down the road on the same path, but each
looking at different sides.
Kanjourney Volume 3 will be a duet with me and my son Swaminathan
Selvaganesh. The culture of North India has a tradition of jugalbandis or
duets. But we don’t in South India. However, my father has a group with four
ghatam players performing together. So, I want to do this with my son. He
also plays with my father. I want to show that two kanjiras can sound great
too.
It’s amazing how that happened. When the original Shakti toured in India
during the ‘80s, I was just a kid sitting on stage with my dad. In India, we
have this culture in which the children sit next to their parents if they are
performing. The kids are disciplies who sit next to the guru. When I sat on
stage with Shakti and they played, I wasn’t even listening to the music. A
candy company was one of the sponsors, so there were peppermints on stage.
I was picking them up and eating them and drinking sodas. [laughs] I was
focused on the food and drink. Backstage, I’d go “Wow, biscuits, chocolate,
coffee, and tea!” I didn’t understand the value of the music. It was the first
time I had stayed in a five-star hotel. I’d go to the pool and dive in. John
McLaughlin would also come to our house and I would hang out with him.
When I grew up and got into the field of music and chose it as my profession,
I wanted to do something different. I thought in the early days, me and the
sons of John, Zakir bhai and L. Shankar could start a group similar to Shakti.
That was the extent of the dream when I was younger.
So, that happened and then I returned to India. I had a concert in Chennai
with Zakir bhai soon afterwards. As he’s leaving the concert, he said to me
“Selva, what are you doing September through November?” I said, “I’m
available. Is this a Masters of Percussion tour?” He said “No, it’s Remember
Shakti.” I replied, “What are you saying?” Zakir bhai said “Yes, you’ll be on
stage with us.” I couldn’t sleep at all that night. I thought “Is this a dream?
Did that really happen?” I never believed in my lifetime I would play with that
band. Then September came and they said U. Srinivas wants to play in the
band and the new group was formed.
He was busy teaching during those times. He was also traveling too much and
that became hard for him. John also wanted musicians to play mridangam,
kanjira and ghatam. He wanted a different sound.
What are some of the key lessons you’ve learned from working
with McLaughlin and Hussain?
The most important thing is to listen to the other musicians and understand
them. The understanding between Zakir bhai and John is amazing. They start
and stop together exactly at the same time and it’s not about practicing. It’s
improvisation. I asked John how it’s possible and he said “If you listen, you
can definitely get there, too. If you’re just playing and not listening, you won’t
get there.” When we perform together, it’s not about the notes. It’s about
listening and having an open mind.
Another thing about John is that if anyone gives him an album, he will listen
to it. He might decide in five or ten seconds if it’s going to be good or not, but
he always gives it a chance. I asked him “How can you listen to every album
you’re given?” His response was “You never know where you’ll be able to steal
an idea from.” [laughs] John is always learning. He’s always looking for new
ideas. So now, if someone gives me an album, whether I like the music or not,
I will listen to it. As John said, there might be a creative idea I can grab onto
and transform into my own thing.
What are the key highlights of your time with Remember Shakti?
We cannot say it’s finished. We also cannot say it’s going to happen again.
You never know. Someone has to be inspired to continue, especially John. He
always felt comfortable playing with U. Srinivas because he also played a
plucked instrument. When U. Srinivas played the melody, John would play
chords and unison stuff. And when John played the melody, U. Srinivas
would handle the other elements. They understood each other so well.
You’ve done a lot of work with Jonas Hellborg. How did your
musical relationship develop?
Jonas first tried to find me to work together in 1997. I was touring with Zakir
bhai and Masters of Percussion then. I used to also play as part of Frankfurt
Musikmesse during those years, which is similar to NAMM. I would perform
for an Indian store and explain the kanjira and mridangam to people for six
days straight. During the 1997 Frankfurst Musikmesse, I heard Jonas was
playing in another booth with Omar Hakim. I wanted to go see him but his
show was happening at the same time as mine. As soon as I finished my set, I
ran over to see him but he had left. One of the musicians Jonas played with
was there and said “Jonas and Omar were looking for you. Can you play with
us tomorrow?” I said “That would be a dream come true. Jonas is my favorite
musician.” So, the next day, I told the guy who ran the Indian store about
this, but he didn’t want me to do it. He said “I have paid for your work visa.
You will only play here.” So, he changed the time of my show to be at the
same time as Jonas’ show that day. I said to him “If I play with Jonas, there
will be many more people there. They’ll get a chance to hear the kanjira and
that will bring more people to your booth.” He couldn’t undertsand it and
said no. So, I played my set and then ran off immediately to try and see Jonas.
Again, he had left. So, that was it and Frankfurt Musikmesse was over for the
year. You also have to remember, this is before the Internet became big.
Maybe I had a Hotmail account then, but no-one was accessible the way they
are now.
The next year, I was on tour with Zakir bhai and Masters of Percussion in
Paris. The concert was sold out, but Jonas figured out a way to get a ticket by
paying extra. He couldn’t even get a seat, so he stood for the whole show.
After the show, I was backstage and this tall foreigner with a huge beard came
up to me and said “Hi Selva, I am Jonas Hellborg.” I had never seen a photo
of him. I only knew his name and music. I said “Wow! I tried to come see you
twice at Musikmesse.” He replied “I was trying to do the same, but now is the
time. Do you want to collaborate with me?” I said “Yes, it’s my dream.” He
offered some dates to work together with him and Shawn Lane. We formed a
trio and toured Europe.
The first album you made with Hellborg, Good People in Times of
Evil from 2000, is very unique, exploring the intersection between
rock, jazz and Carnatic music in a way I had not heard before. How
do you look back at it?
That was an amazing experience to make. We were touring in Italy and had
three days off near Venice. We were staying together in a house and Jonas
said “I want to record. We’ve got all the equipment. Let’s do it here.” He first
wanted to record a solo album for me, but I said “No, let’s play some grooves
we can work on together.” So, I played several pieces and then Jonas took the
recordings and worked on them on his own, playing on top of them. Then he
sent them to Shawn who played on them. Next, he sent them back to me and
said “This is the album.” I said “When did I play on it?” [laughs] I didn’t even
know an album could be made like that. It was the first time I did something
in that way. I played first, then they composed pieces according to my
playing, including creating the heads for the pieces and that was that. So, that
was the first album. It inspires me a lot when I hear it. We didn’t know what
the album would be and it was made in the spirit of creativity. It’s a beautiful
album.
Hellborg’s Art Metal album from 2007 situated your kanjira work
within a heavy metal context. What are your thoughts about that
recording?
Can you believe this happened? Kanjira playing heavy metal? [laughs] It
showed how many different things you can do with kanjira. Jazz and Carnatic
music have been proven to work together because they have similarities to do
with improvisation. But it was so great to play kanjira with rock and metal. I
had to play my instrument in a different way that works within those contexts
and it worked out. Art Metal was the inspiration for me to start my own band
Arka.
In 2015, I started the band, which integrates vocals and different styles of
music. Arka is something new for me. Previously, I was involved in a lot of
fusion music, which is kind of an Indian style, but not progressive and
includes foreign instruments. With Arka, it has rock, jazz and Carnatic
elements, but we’re definitely going in a rock direction. We’re not fusing
anything.
You created a new custom percussion kit for Arka, which you’re
now using across your career. Describe it for me.
Arka has a drummer, but it needed more percussion. I also wanted to play
more than kanjira with the group. My setup had to be different and I worked
with Remo to create it. They already designed my kanjira. I already had huge
Remo frame drums, so I started putting those in stands. There are cymbals
and high hats, with drumsticks built into the stands. I play on top of the sticks
with my hand techniques, which really creates a different sound—things a
regular drummer cannot do. The kit also has toms, Remo Tablatone frame
drums, seven sets of regular cymbals, three splash cymbals, and one China
cymbal. Everything is played by hand. I’m not using stick techniques at all.
I realized I needed to take it easy with this. I still do one movie a year, but I
won’t do more than that. I say I’m not free to most people who ask. People in
the movie field say that if you don’t do scores all the time, you’ll lose the
opportunities going forward. I said “I don’t care. I want to do what makes me
happy. I don’t need my name to be big in Bollywood. I want to be satisfied
with the music I create before I leave this world.” You have to be happy and
enjoy the music you’re making or it doesn’t mean anything. I didn’t enjoy the
composition process for most of the films because there are so many
restrictions. There’s always someone saying you can’t do something.
That’s true. I did do that for a few of the directors who were open to ideas.
The title track for the soundtrack Kola Kolaya Mundhirika, has Jonas
Hellborg, Mattias Eklundh, Ranjit Barot, and my father performing some
complex stuff on it. Directors in India tend to have a mentality focused on
worrying about what will be a hit song. Whenever there is a hit song, they ask
people like me “Can you write something similar to that?” I am now only
willing to work with directors that want to hear my ideas. An example of that
is Mychael Danna. I’ve contributed to his soundtracks for Hollywood movies
like Kama Sutra, Vanity Fair, Life of Pi, and Monsoon Wedding, which also
feature my father. Mychael is an amazing guy to work with because he’s
always looking for something different. He might send me a version of a score
with kanjira samples in it and then say “I want you to play whatever you want
and shape the piece.” So, he’s very flexible and has beautiful taste in Indian
music.
I wanted to try doing that because I have a serious passion for film. I also
directed a DVD for my dad. I would decide what shots and angles to use for it.
I chose to direct Bodhai, which is a short film and didn’t require me spending
too much time on. It took five days to shoot. Bodhai is a Tamil word that
means addiction. The movie explores all kinds of addiction, including being
addicted to people, including lovers and family, as well as drugs. It was a
great experience to work on, but I realized directing is not easy. There is so
much to consider in that position. I can say I did it once. Perhaps in the
future I can direct a full-length film that’s not about music.
I believe everyone has two minds—a good mind and a bad mind. Everyone is
both a good person and a bad person. The question is which side do you
concentrate on? You can’t be 100 percent one or the other, but you have a
choice on which side to emphasize. I try to be very nice to everyone who
comes and speaks to me. Even if someone is trying to cause something
negative to happen, I’m still very nice to them. I always listen to what they
have to say.
It’s also important to say that spirituality is about being honest with yourself
and your profession, which for me, is music. Spirituality is not about making
excuses when something goes wrong because of something you did.
Spirituality means admitting to your mistakes and being honest with those
around you as well. Honesty is the key to everything.