Imogen Heap – THE POWER OF IMOGEN- ATION.

English singer, songwriter and multi- instrumentalist Imogen Heap is completely at ease with her iconic status, as we found out when we caught up with the Grammy Award- winning artiste, who performed inMumbai city last week.Samantha Hale says she is not a filmmaker. And yet, her admission forms part of a voiceover at the beginning of her documentary titled ‘ Map The Music’. Part road trip, part soul search, it is an hour- long film that took Hale over four years to create in the wake of her father’s death.

Devastated, she believed music helped her heal, and set about trying to examine if others felt the same way.

The film ( currently available at InSound. com) follows fans of musicians like Rachael Yamagata, Zoe Keating and Jim Bianco. These aren’t ordinary fans though; they are followers who, like Hale, walk in the shadows of their icons, trudging to as many live performances as they can in the hope of salvation.

What Hale manages to draw, in the process, is a parallel between music and faith: a belief system of sorts that helps keep millions sane.

At the centre of all this footage lies the force that is Imogen Heap — the Essexborn, Grammy Award- winning singer- songwriter, Twitter star and recent collaborator on musical television series The Dewarists. It is to her performances that Hale and others turn to time and again, citing the hold she has on her audience.Those lucky enough to have seen Heap live — she played at Mumbai’s blueFrog last week, following an appearance at the Bacardi NH7 Weekender festival in Pune — will testify to her manic energy. Surrounded by instruments, she flits across stage with microphones attached to her wrists, deploying samples at will. When not on stage though, she comes across as calm, measured and — as we found out when we met her at a surprisingly quiet hotel in Juhu — completely at ease with her iconic status.

We began our conversation by asking if shows in India came as a relief from the West, where her set- lists changed according to demands made by hardcore fans. “ I do have a set of songs I have to do,” Heap admitted, “ because I ask fans to vote in advance. It’s my way of democratising the choice of set- list.” When asked why her music isn’t available in India, she replied, “ I’m upset that people can’t go out and buy it, but I think we are in a transitional phase. The technology to download music exists, but we haven’t caught up with it.” That situation may change though, if the response to Minds Without Fear ( her collaboration with musician Vishal Dadlani) is anything to set store by. “ He’s great to work with,” Heap said. “ We had just four days to record, but there was no argument; it just felt right.” After a discussion that includes everything from emerging technologies online to forthcoming projects, we are left with the sense that Heap is an artiste more comfortable than most with pushing boundaries.

It’s easy to see why fans adore her. That she intends to play here again is testament to the fact that there are enough of us interested. For that, we ought to be thankful.

HEAP, IN PIECES

On March 9, 2009 Imogen invited fans, via her YouTube vBlog, to write her biography in not more than 140 characters, using microblogging site Twitter. Edited snippets from that experiment: > Imogen Heap is an English artist whose songs transcend time and place to conjure digital dreamscapes of love, loss and hopefulness.

> A Grammy- nominated multiinstrumentalist, who began writing music by her 13th birthday.

> At age 5, she crept downstairs in the middle of the night, carved her name in BIG letters on the grand piano lid and swore it wasn’t her.

> 2002 saw a new side to Imogen as she embarked on a short collaborative journey with Guy Sigsworth, forming electronica duo Frou Frou.

> Frou Frou also recorded a version of Bonnie Tyler’s ‘ Holding Out For A Hero’ for the closing credits of Shrek 2.

> Heaps’ fans include chat show hosts David Letterman and Jay Leno, as well celebrity blogger and TV personality Perez Hilton.

> She was one of the first artistes to bring her music to a new audience via MySpace, iTunes, YouTube and her blog.

> In 2007, Imogen was nominated for Best New Artist and Best Song Written For Motion Picture for ‘ Can’t Take It In’ at the 49th Grammy Awards.

> With new confidence and determined to have complete creative control, Imogen remortgaged her flat to fund her second solo album.

> Avant- garde. Otherworldly.

Comforting. Tantalising. Heaven on a disc.

CAUGHT ON CAMERA

Map the Music is an independent film that traces filmmaker and music lover Samantha Hale’s quest to understand the healing power of music, post the death of her father. Hale follows some of her favourite artistes, including Imogen Heap, Rachael Yamagata and Jim Bianco from concert to concert around America, interviewing devoted fans, as well as the source( s) for their devotion.

Lindsay Pereira.

Ustad Sultan Khan – The strings fall silent.

Ustad Sultan Khan was a master exponent of a dying musical instrument feel some, while others say his legacy lives on.

The strings have fallen silent.

Sarangi maestro Ustad Sultan Khan passed away in Mumbai on Sunday afternoon after an illness.

In a world where praise is too easily showered and epithets like legends too quickly bestowed, Ustad was a musician who truly deserved all the accolades and awards showered on him. His funeral was held yesterday in Jodhpur, Rajasthan. Even that dry desert area seemed to be wet with tears as the music world mourned the passing away of a truly significant artiste.

Lata Mangeshkar remembers, “ My brother Hridaynath and I got him to Mumbai from Baroda where he used to live.

Ustad Sultan Khan played the sarangi for many of Hridaynath’s compositions, including some that I sang.

Most notable among these was Mirza Ghalib. Hridaynath composed Ghalib, I sang and Sultan saab played the sarangi. It was a memorable musical event for all of us. He also used to sing, and very well too… Hridaynath and Sultan saab were very close because they are both pupils of the same Guru, Ustad Amir Khan. They referred to one another as Guru- bandhu.” For Ustad Amjad Ali Khan, his passing away means that his New Year plans will be altered a little. He says, “ My sons and I were supposed to perform with Ustad Sultan Khan in January.

But I guess God had other plans.

His contribution to making the sarangi sound more appealing to listeners was immense. What he did to the tonal quality of the sarangi cannot be replicated in the near future. I had many occasions to perform and to interact with him on a personal level. He was a great artiste and a truly noble soul. He was always encouraging in his attitude towards my sons. I suppose the concert that Ustad Sultan Khan and I were supposed to perform together in January would now become a homage to this great artiste.” For young Ayaan Ali Khan, “ Khan Saheb’s demise ends an era for the sarangi. What he did for the instrument can never be forgotten. I was fortunate to have received his blessings on numerous occasions. I was very blessed to have him hear me play the sarod many times in Mumbai. Khuda unhe jannat bakshay!” While Amaan Ali Khan says, “ The music world has lost the Sultan of the Sarangi. He set an impossibly high standard for all sarangi players to come.” Synonymous For other musicians, the artiste had become one with his instrument.

Says Shankar Mahadevan, “ The sound of the sarangi has been muted. His name was the identity of the sarangi. An artiste extremely traditional in playing but extremely modern in approach.

We love you, Khan saab.” The news came as a shock to Vishal Bharadwaj who said when asked of his reaction. “ I am in Goa and I am in shock.

Ustad Sultan Khan was my formal gaathbandh Guru. He actually tied that string on my wrist passing on his legacy to me. Ilaiyaraaja was also Ustad Saab’s gaathbandh pupil. He taught me so much about classical music. I’d sit with him for hours, just listening… He played the sarangi in my compositions.

Did you hear how the instrument sounded in my song Pani pani re in Maachis ? Whenever I’ve used the sarangi in my compositions, it had Ustad Sultan Khan playing it.

Ustad saab was also a very accomplished singer. He sang a beautiful evocative song for me in Maqboo l. In his last days he couldn’t even get up from bed.” Wajid ( of Sajid- Wajid) adds that, “ We imbibed so much of his heritage. I think he played a very important in shaping our musical destiny. Our father Ustad Sharafat Ali Khan and Ustad Sultan Khan together composed some songs for films including one that Asha Bhosleji sang. I don’t know what happened to those songs that our father and Ustad Sultan Khan composed. But Sultan saab was a great talent.

He always encouraged us. Do you know he is also a singer? He wanted to sing for us! We had to gently remind him that his wonderful voice didn’t suit today’s heroes. But we were in touch with him till the end. His son Sabir will continue the Ustad’s legacy . A sad year for music.

We lost Bhupen Hazarika saab and Jagjit Singh saab. Now Ustad is gone…” Legacy Ask Wajid of whether the sarangi is disappearing, and he says it is not yet the time to sing a dirge for the musical instrument.

Wajid explains, “ It’s wrong to say that the sounds of the sarangi are becoming extinct. His son is there and it all depends on the composers. We used the shehnai in Humka Peeni Hai for Dabangg . Ustad Sultan Khan asked us how we managed to use that instrument in such a way.

So, you see the legacy of such a master cannot die.” For Adnan Sami, the human being was equal to the master player. Says Sami, “ I am shocked. He was a man whose simple stroke from the sarangi could transport us to another world. The tone that he brought to the sarangi was unsurpassable.

And he had a great sense of humour. He always nursed a smile and a laugh. He was drenched in ‘ sur’ and spread harmony wherever he went. He was an encyclopedia of musical knowledge and always wanted to experiment with tradition.

He was not just young at heart but ever- ready to relate to contemporary sounds. I owe him infinite thanks for being my teacher. God speed, Khan Sahib.” If you do hear a resounding crash, take it that its numerous hearts breaking at the news.

Says Salim Merchant, “ I feel heartbroken having lost my Guru and my Ustad.” For Irshad Kaamil ( lyricist Rockstar, Love Aaj Kal ), “ Ustad Sultan Khan Sahib’s dedication and passion for the sarangi unfolded many hidden mysteries of the instrument and gave new dimensions to the tradition of sarangivaadan.

He will always be an integral part of Hindi film music. I had the good fortune of working with him in my first Hindi album Ustad & The Divas . After that, I worked with him in Jab We Met and Mausam . His demise is a personal loss as in his presence, I always felt blessed to learn something original.” Says Amole Gupte, “ I was fortunate to get to interview him for Cinematographers Combine in 2000. What a soul! The voice and strings of the last titan.” Sandeep Chowta adds, “ The death of the greatest exponent of the sarangi is the biggest loss for the instrument and then for the world. I don’t know of any musician in the world who could play such a difficult instrument like he did. What a musician!” Some call him musician, others say he was a magician.

Says Vishal Dadlani, “ Khan Sahib was a true musician, and a true master. Simple, humble and unassuming, but with a unique and magical sense of melody. A huge loss to music.” Prasoon Joshi remembers, “ I had written a song for tsunami relief with him and Zakir Hussain. He was a beautiful human being. He brought the sarangi into popular consciousness. He also had a unique singing style.” Maybe, heaven is a good place for those blessed with celestial gifts. That’s what Irrfan Khan feels as he says, “ Now only God will have the pleasure to hear him sing live.

May his soul rest in peace.” For Ram Sampat, “ Ustad Sultan Khan exulted in the confluence of Hindustani classical and folk music. He was a soul musician who transcended genres.” Lalit Pandit ends, “ One of the last veterans of a dying instrument is no more. He was an all- rounded musician. He sang in a robust voice and played the sarangi with soul.

The sarangi is a very difficult instrument to learn, the back of your fingers are numbed by the constant friction. Here’s saluting the legend.”

About the Sarangi

The Sarangi is a short- necked string instrument. It plays an important role in Hindustani classical music tradition. Of all Indian instruments, it is said to most resemble the sound of the human voice — able to imitate vocal ornaments such as gamakas ( shakes) and meend ( sliding movements). It is also said to be the hardest Indian instrument to master. Carved from a single block of wood, the sarangi has a box- like shape, usually around twofeet long and around halfa- foot wide.

Subhash K Jha.

Raga resurgence – by Aftab Datta

The internet and a number of cultural organisations in Pakistan have made it viable for classical musicians to stick to gharana-based music.

 The internet and a number of cultural organisations spread across Lahore, Islamabad and Karachi have made it viable for classical musicians to stick to gharana-based music .The segmenting of the population of the Indian Subcontinent into distinct Muslim and Hindu majority countries had an immediate impact on the musical traditions of India and the then new country of Pakistan. Many Muslims in Pakistan didn’t want to encourage classical music because of its Hindu roots. Radio stations (the most effective means of musical exposure at the time) started replacing bandishes that glorified Hindu deities and saints with Urdu poetry or words with Arab/Persian origins. Ragas with Hindu-sounding names too were renamed. Station directors encouraged classical singers to sing ghazals, qawwalis, g e e t s, filmi music, which eventually led to the rise of ‘pop’ music. Due to the lack of state patronage, musicians became discouraged and many emigrated to India or other parts of the world where they would be more appreciated. In the meanwhile, the aesthetics and quality of musical techniques in Pakistan declined rapidly. This decline was also due to the growing shortage of platforms where musicians could perform with or for fellow musicians in an atmosphere of spirited competition. Without the stimulation of connoisseurship it became difficult for them to maintain high standards of artistry. There were other factors in this decline in the interest in and the quality of classical music in Pakistan — the temporary banning of music by Zia-ul-haq, the pressure from religious groups that declared classical music ‘un-Islamic’, and, of course, the amount of effort it takes to appreciate this music. Due to the lack of national patronage, many artistes who had descended from established gharanas switched to popular types of music in Pakistan such as ghazals and filmi music. They found this line of music more lucrative because there is a steady demand for their work here. I’d like to point out that there is a lot of interest to keep music alive in Pakistan. But, if we look deeper we will find that ego, pride, selfishness, and the petty desire for individual glory prevents the growth of concerted effort to revive this genre. However, in recent times, artistes like Shafqat Ali Khan (son of Ustad Salamat Ali Khan) have re-embraced his classical roots after straying towards popular ‘modern-Sufi’ music. In Khan’s case, this was a result of personal encouragement from people who knew his potential. In the past few years, he has given one memorable concert after another of traditional classical music that is aligned with his gharana, Shamchaurasi. He now executes ragas in the manner his ancestors did, and of course adds his own style and mastery to his heritage. In recent years, there have been a number of initiatives to promote the promoting/learning/teaching of classical music in Pakistan. Non-profit institutes such as Lahore Chitrkar, the Institute for the Preservation of Arts and Culture (IPAC), and Sampurna, have provided the facilities and the environment for senior artistes to teach eager students. These organizations also hold regular functions to allow musicians from many fields to demonstrate their particular regional styles. On the institutional level, the National College of the Arts (NCA), the Punjab University, the National Academy of Performing Arts (NAPA), and the Tanrus Academy offer degrees in classical music. In addition, the All Pakistan Music Conferences (APMC) in Lahore and Karachi and the Tehzeeb Foundation in Karachi have provided a highly publicised and well-attended venue for artists to demonstrate their prowess, as well as encourage young artists to demonstrate their progress in competitive environments. Earlier this year, the Lahore Music Forum was established. Its aim was to improve the quality of classical music in the country, revive an art that was suffering because artistes had begun straying from g h a r a n e d a r music and were leaning towards crowd-pleasing gimmickry. The internet has been used in recent years to spread the awareness about classical music by ‘sharing’ this art as well as by exposing artists who had not received the appreciation they so richly deserved earlier. This medium is also providing young classical talent from Pakistan a platform to showcase its music. The internet isn’t just a means to bolster personal glory but also a stage to reassert the fact classical music still has a firm place in the substratum in Pakistan’s rich and diverse heritage. Such websites as www.sarangi.info, Dr Ashfaq Khan’s musical archive, and sadarang.com have all contributed to the renewed interest in Pakistan’s musical heritage. As a result of this resurgence, we are now getting to hear strong artistes with pure classical roots. Singers like Akbar Ali, Bashir Ahmed, Amanat Ali, Shujaat Ali Khan, and many others across the bigger cities of the country are gaining a reputation for singing in classical styles that boast of high integrity. This includes a number of sitar, tabla, and sarangi players as well. This new ‘era’ in music has also allowed female artistes to re-enter the performing and teaching arenas — dhrupad singer Aliya Rashid and sagar veena player Nur Zehra are some prominent names. This rise in interest, inside and outside of Pakistan, is bound to encourage and sustain the next generation of classical musicians. 

(Aftab Datta was born in Lahore. He lives in Washington and is a  vocalist, connoisseur  and  part  of  the  team  that  runs  sarangi.info)