{"id":1058,"date":"2019-08-08T09:00:25","date_gmt":"2019-08-08T03:30:25","guid":{"rendered":"https:\/\/www.sudeepaudio.com\/blog\/?p=1058"},"modified":"2020-07-02T07:26:44","modified_gmt":"2020-07-02T01:56:44","slug":"perfect-amalgamation","status":"publish","type":"post","link":"https:\/\/www.sudeepaudio.com\/saundcheck\/perfect-amalgamation\/","title":{"rendered":"Perfect Amalgamation"},"content":{"rendered":"
<\/div>\n

What a remarkable week it has been. For starters, a college mate, Ninad Karpe, who produced a Marathi play based on Hitchcock\u2019s \u2018Dial M For Murder\u2019, \u2018A Perfect Murder\u2019, convinced me to attend it following his perseverance, keeping in mind the innumerable occasions on which I was unable to patronise it earlier. In viewing the play at Mumbai\u2019s Yashwant Natya Mandir on 27.07.19, while the acting\/script\/direction was outstanding, for me what was really a revelation was that a song had been composed specifically for the play. Titled \u201cSawalya\u201d and sung by Mugdha Karhade, it was a superbly composed song by Ajit Parab, who started his career as music director with the Marathi film \u2018Huppa Haiyya\u2019. The background score by Parab was effective too, supporting the musical vision of Hitchcock of being minimal. Undoubtedly, the composition is a boon\/boost for the musical movement for independent music.<\/p>\n\n\n\n

Before the week was out, a fellow musically inclined friend, Narendra Kusnur, convinced me to attend a concert at Mumbai\u2019s St. Andrew\u2019s Auditorium on 02.08.19<\/strong>, \u2018Perfect Amalgamation<\/em>\u2019, \u201ca tryst with contemporary fusion\u201d is how it was promoted by its composer, Siddharth Kasyap<\/strong>. And that was precisely how it was presented at showtime, originally scheduled for an 8pm commencement, which finally got musically rolling at 8:50pm with 13 musicians performing on stage by the end of the musical evening.<\/p>\n\n\n\n

Along with Kasyap, who conducted the performance, and orchestra-in-charge Atul Raninga<\/a><\/strong>, both on keyboards, the line-up comprised of sitar player Ravi Chary; bassist Aakashdeep Gogoi; Jayanti Gosher on mandolin, rabab, oud, and banjo; Vinnie Hutton and Prabhat Raghuvansi on guitars; Momin Khan on sarangi; Tejas Vinchurkar on flute; violinist Kushmita KC; and drummer Chiranjit Sinha with percussionists Girish Vishwa and Gautam Sharma. <\/p>\n\n\n\n

In bringing Indian classically influenced\nsymphonic qualities to modern instrumental music, \u2018Perfect Amalgamation\u2019 was\nquite like a highly charged film score, except that it ran without a movie. The\nmusical images comprised of India, and from the Middle East to the West, that were\nnot only inspired but, the manner in which the soundscapes were performed,\nfeatured the immense talents of the musicians present. Specifically focusing on\nsitarist Chary on \u201cMystical Sitar\u201d; violinist Kushmita, from Darjeeling, on \u201cStrings\nOn Fire\u201d; Gosher\u2019s oud playing on \u201cOud Taqsim\u201d; flautist Vinchurkar on \u201cFloating\nWinds\u201d; 19-year-old Khan, from Jaipur, playing the very instrument described in\nthe song titled \u201cMellifluous Sarangi\u201d; an a capella piece from percussionists\nSinha, Vishwa, and Sharma, who provided a fitting vocal response to Kasyap\u2019s\ncalls on \u201cThe Ensemble\u201d; the Latino-feel of percussion interplay on \u201cRhythm\nRoyale\u201d; and the logical conclusion with all the instrumentalists playing in\nunison on \u201cThe Concerto\u201d.<\/p>\n\n\n\n

One of the most impressive aspects of team\nleader Siddharth Kasyap in this live setting was the manner in which his\nbeautiful keyboard-led compositions blended with the instruments of his fellow\nmusicians. \u2018Perfect Amalgamation\u2019 epitomized the musical balance across genres\nand through musical adventure not quite seen before in an Indian content. No\ndoubt, this event needs to be viewed to be musically satiated, and taking the\ntroupe pan-India and, eventually, globally appear to be next obvious steps for\nSiddharth Kasyap to follow. <\/p>\n\n\n\n

In fact, as a food for musical thought to\nbroad base the appeal of \u2018Perfect Amalgamation\u2019, the contemporary instrumental\ncomposer should consider collaborating with singers too. Upon first glance,\nsinging may provide \u2018Perfect Amalgamation\u2019 an appearance of tilting towards the\npopular side of music, but there are some great tracks in Kasyap\u2019s repertoire that\nare structured in that manner, and will certainly not be too far removed from\nthe increasingly rhythmic worldbeat that Kasyap has created. Nevertheless,\nKasyap\u2019s music would still continue having a deliberately exotic and ethnic\nmulti-cultural feel with the emphasis on not only melody, but texture too. The\nintroduction of vocal transparency would certainly not be by accident, but by\nKasyap\u2019s design, because this would still remain a Siddharth Kasyap initiative\nwherein he features singers, but he is the frontman, the one responsible for\nthe form and feel of the sound, which remains paramount.<\/p>\n\n\n\n

With such innumerable musicians supported\nby the orchestration of Atul Raninga and a wide assortment of musical\ninstruments, ranging from the sitar, flute, violin and sarangi to keyboards,\noud, guitar and drums, the 75-minute musical journey\u2019s eight selections featured\nin a supremely structured manner and, unlike conventional fusion concerts, composer\nKasyap ensured that there was no scope for free flow or improvisation.<\/p>\n\n\n\n

In all this, it was not only the music that\nleft an indelible impression, but the tight production also featured suitable\nlighting and astonishing animated visuals as the backdrop. While most of the\nperformers were comparatively new to listeners, nothing should take away from\ntheir impressive work within the confines of recording studios. Yes, \u2018Perfect\nAmalgamation\u2019 lived upto its name and, with the other musical initiatives\nreferred to earlier in this review, it only goes to show that independent music\nis on the verge of flowing mainstream.<\/p>\n","protected":false},"excerpt":{"rendered":"

What a remarkable week it has been. For starters, a college mate, Ninad Karpe, who produced a Marathi play based on Hitchcock\u2019s \u2018Dial M For Murder\u2019, \u2018A Perfect Murder\u2019, convinced me to attend it...<\/p>\n","protected":false},"author":11,"featured_media":1060,"comment_status":"open","ping_status":"closed","sticky":false,"template":"page-templates\/template-noauthor.php","format":"standard","meta":{"footnotes":""},"categories":[261,850],"tags":[229,453,408,455,219,457,456,97,454],"class_list":["post-1058","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-musicfestivals","category-musical-passages","tag-atul","tag-concert","tag-fusion","tag-kasyap","tag-mumbai","tag-perfect","tag-raninga","tag-review","tag-siddharth"],"yoast_head":"\nPerfect Amalgamation - SAundCheck<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.sudeepaudio.com\/saundcheck\/perfect-amalgamation\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Perfect Amalgamation - SAundCheck\" \/>\n<meta property=\"og:description\" content=\"What a remarkable week it has been. 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