Fast Car .. the American classic

 In my series on songs with "American Philosophy", moving up from the previous blog on "American pie" and "Hotel California" , this blogpost is about "Fast Car" by Tracy Chapman. "Fast Car", a song by American singer-songwriter Tracy Chapman, is a poignant narrative about the struggle of escaping poverty and seeking a better life. “Fast Car” is one of those songs that you just feel in your soul: the lyrics about the yearning to escape, the gentle guitar underlying a feeling of despair but also the hope that something better is coming. It can make you cry but also inspire you to belt out the lyrics at the top of your lungs

I first heard "Fast Car" in 1989-90 but understood nothing of the lyrics as they were sung in typical "American English". I liked the music then and the arpeggios of chords in the background were catchy. (I used to call it "Aldehyde" song then)

After living in US for some time and comprehending the society there, understanding the American slangs and spoken language, I could get the depth, philosophy and power of the lyrics. The song is of hope and despair of common American but could be generalized to any immigrant to US that has to go through the cycle of hope, despair, disappointment, disillusionment and helplessness! Every American (almost) is in search of this "Fast Car", that is symbolism for the better life and escaping the hardships. The "fast car" could be the literal car getting them out of the town that holds no prospects or being the symbolic point of access that allows people to social climb. For some, that may be education or making the right connections.

The song finds its importance in being able to depict a social fabric many Americans have lived. The song is informed by the economic realities at play in America and tries to illustrate it in an intricately written song that continues to impact generations decades after it was written. The song's universality and storytelling could be the reason why it's considered a "classic."

The revival of this song and its trending started in February 2024 after the Grammy performance of Tracy Chapman and Luke Combs.

Tracy Chapman wrote and performed Fast Car first in 1989 and received 3 Grammys then after climbing to top 100 Billboard. Since then, the song is popular on US radio and is played every week. It touches the heart and soul of every "hard working American", has particularly become an anthem of single parents, single mothers and even queer folks.

There are many reasons why this song is popular. In my view and perception of the American society that I had over 10-12 years, "Fast Car" is the ballad of Single Mothers, Single Parents and even an immigrant to country like US who has hope in future that makes them sustain hardships of the day, a hope of escaping the hardship that comes full circle with disappointment and disillusionment and puts them back in loop!

The appeal and popularity of the song lies in the simplicity of the powerful music, the powerful lyrics telling the story with deep philosophy hidden in every word, the hope in despair of a common person. This touches the heart and soul instantly. 

The trademark of the music of Fast Car is the way "So I remember" is sung, the change in tempo, chorus and the music that comes in for that phrase... the constant movements between tempos with every stanza, giving the impression of hope and despair, moving the story between present and past.. with the simplicity of chords strumming in the background on Acoustic Folk Guitar. It's the hope of that "fast car" that keeps everyone's life moving.  

GaanSaraswati Mahotsav Pune

 

I was eagerly waiting to attend a "Classical Music Festival" live in person after a gap of almost 4-5 years. These festivals in Pune, in line with the likes of Sawai in past are more like "Jalsa" to me. They display us a variety in classical music, from instrumental to vocal, Hindustani to Carnatic and Western, from the upcoming young talent to the established, from the auditory to visual experience of "Sangeet" involving dance. 

Like many traditional classical loving Punekars, I had stopped attending the "Sawai" since its move from the traditional venue of Ramanbag to "the Gultekdi Market", sensing the decline in overall quality of the "classical festival".

The lineup of artists for the 10th year of GaanSaraswati Mahotsav attracted me to the festival. I had prebooked my season pass well in advance online and was ready for reviving my interest in the "Musical Jalsas". The weekend of Feb 23rd to 25th was hence blocked for the "experience".

GaanSaraswati Mahotsav Day 1 - Review and experience

The arrangements at the venue and the overall management and ticketing experience did not disappoint me. I am glad that the organizers have adapted to most of the modern day systems and arrangements, but still retaining the "Traditional Sawai" template of Musical Jalsa. The festival has "only chairs" seating arrangement and that is more comfortable for the young and elderly alike.

Day 1, Friday evening by 5 pm, the festival kicked off with the rendering of Traditional "Mantra" recitation by religious pandits. This created a unique experience to the audience and I am sure many music lovers instantly settled into a calming soothening milieu, that imparts a kind of "Theharaav"

The young trio of Manas Kumar (violins), Abhay Nayampally (Carnatic Guitar) and Ishan Ghosh (Tabla) was delightful and assuring. They started with a Ganesh Stuti in Hansdwani by Abhay Nayampally followed by Patmanjiri alap by Manas Kumar on Violins. The trio together rendered a beautiful fusion of Carnatic and Hindustani melodious experience that was based around PantuVaraLi of Carnatic style and Puriya Dhanaashree of Hindustani style. This young brigade has already won the hearts of not just the youth but also the "traditional" classical lovers. Their fusion was definitely not a confusion but a perfect mix of Carnatic and Hindustani, the progressive classical experience tradition and modern, an experience of intellectual performing art that has strong roots in traditional training and riyaaz. No doubt that the "trio" has a bright future ahead. They were presented with "Young achievers" Award. 

By 6.30 pm the pandal was full, as the darling of crowd, Kaushiki Chakravarty was on stage accompanied by Ojas Adhiya on Tabla, Murad Ali on Sarangi and Tanmay Deochakke on Harmonium. She started with Shuddha Kalyan (May be as a tribute to the Gaan Saraswati Kishori Amonkar ) with Patiala vilambit bandish "Aaj ki shubhghadee" (आज की शुभ घडी ) followed by "Mat kar gumaan" (मत कर गुमान ) in madhya lay and the classic Patiala gem "Baajo re baajo" (बाजो रे बाजो ). A thumri in Maanjh-Khamaj "Prem agan jiyaraa" (प्रेम अगंन जियारा ) and a Marathi abhang "Maaze maaher Pandhari"(माझे माहेर पंढरी) . She concluded by 8.45 with "Mhaaro pranaam" (म्हारो ) as a tribute to GaanSaraswati. 

Pt Ronu Majumdar with Pt Ramdas Palsule on Tabla, arrived on the stage for the final concert of the day at round 9pm and was filled with emotions as he remembered his association with GaanSaraswati. With his alaapi in Abhogi Kanada, he calmed down the crowd and continued a pleasing rendering, ably accompanied by appropriate soft Tabla. His Pahaadi with a stress on Shuddha Nishadh was the icing on the cake. The concluding Bhairavi brought about the perfect "bhaav" of Karuna and surrender. Audience were filled with peaceful emotions as they left for their homes for the day, eagerly awaiting Day 2 of the festival that will feature young vocalist Saurabh Kadgaonkar, Aarti Ankalikar and Niladri Kumar. 

GaanSaraswati Mahotsav Day 2 - Review and experience

Day 2 , Saturday Feb 24th evening started with performance by young vocalist Saurabh Kadgaonkar of Pune who has been a disciple of Pt Raghunandan Panshikar. He started the concert with Bhimpalas vilambit followed by a drut "Naad Samudra" and a tarana. The highlight of his performance was a raagmala that was composed by his friend Rohit Marathe, involving Gaavati, Sarang, Kalyan, DwiGandhaar, Kanada, Malhar, Hansdhwani, Nand, Bhatiyaar, Yaman and Des.

He concluded with the famous bhajan "Bolava Vitthal, pahavaa vitthal" (बोलावा विठ्ठल , पहावा विठ्ठल)

Aarti Ankalikar was on stage with Purva-Kalyan in ati-vilambit Jhaptaal "Hovan lagi saanjh" (होवन लागी सांझ). An expansive ati-vilambit that created a very serious mood for almost 45 minutes was followed by a tarana in madhya lay and a drut "Piharava aajaa re,begi begi aavo more mandirava" ( पिहरवा आजा रे, बेगी बेगी आयो मोरे मंदिरवा) The second raag she chose was Hemant with a bandish by guru Dinkar Kaikini, "aavo ri aavo ri aavo ri sakhiyaa gaao, rituraaj hai" (आयो री आयो री आयो री सखिया)  and jod "jhanan jhanan jhanana baaje, sakhi mori" (झनन झनन झनन बाजे , सखी मोरी )

Niladri Kumar with his sitar started aalaapi in Khamaaj, displaying his mastery over the instrument. The raag chosen by him was .. obviously Jhinjhoti! An ample scope for the accompanist Tabla player, entertaining the crowd with more gimmickry than "pure soft classicalness". To me this performance sounded loud and below par the standards set by his father Kartik Kumar and he himself previously. However, the rendition of Bhairavi bandishes overcame my disappointment, concluding the final concert of day 2.

GaanSaraswati Mahotsav Day 3 - Review and experience

Day 3 Sunday morning session was enjoyable with young vocalist Jashan Bhumkar presenting Gunkali, Father and son duo violinists Milind & Yadnesh Raikar presenting Bilaskhani Todi and Pt Jayteerth Mewundi presenting Lalat, concluding the session with "Sou Bhagyada lakshmi baramma" (सौभाग्यदा लक्ष्मी बरम्मा ) 

Evening session began with young santoorist Shantanu Gokhale presenting Hansdwani followed by Kathak presentation by Sharvari Jamenis. 

The highlight of the evening was Pt Vishwamohan Bhatt and his Mohan Veena accompanied on Tabla by Abhishek Mishra and supported by his son and disciple Salil Bhat on Satvic Veena. He presented his own creation raag Vishwaranjani followed by his famous composition that had won him Grammy award. He was presented with "Mongubai Kurdikar Award" 

The final concert of the festival was by Pt Raghunandan Panshikar who started with Sawani Nat in Vilambit "Anahat Naad" (अनाहत नाद ) with the typical Jaipur style of slow phrasic progression of aakaar taans. He also aptly commented that the Jaipur gayaki sounds like "Rushi muni chanting their mantras in soft and slow manner". It was followed by a tarana.

A beautiful Bandish "Dekho shyam gehri neend baiyaan mori" (देखो शाम गहरी निंद ) of Chandrakauns ang Bageshree was short but soft and soothing. He concluded with a bhajan of Raghavendra Swami in Kannada.

The festival concluded by playing a recorded Bhairavi of young Kishori Amonkar. 

 Video content of the festival is posted on the fan page of Gaan Saraswati Mahotsav at Gaan Saraswati Mahotsav facebook Page   and on YouTube channel  Prasad Bhave - YouTube

Basant Panchami - Madan Mahotsav : A Celebration of Love, Spring and new beginnings

 

Basant Panchami – The festival welcoming arrival of spring held on the fifth day of month of Maagh in Hindu calendar (corresponding to late Jan – early Feb of Gregorian) marking the start of Spring and Holi season. On this day Hindus worship Saraswati Devi, the goddess of knowledge, music, art and culture.  It is called Basant or Vasant Panchami. In modern times, however, Vasant Panchami day is more commonly associated with Maa Saraswati, the goddess of learning, wisdom, knowledge, fine arts, refinement, science and technology.  People worship Goddess Saraswati to attain enlightenment through knowledge and to rid themselves of lethargy, sluggishness and ignorance.

Basant Panchami is a significant festival in India, and it is a time to come together and celebrate with friends and family. The festival has a long history and tradition, and it is an important part of the Hindu calendar. The significance of Basant Panchami is deeply rooted in its vibrant colours and textures. Yellow, the festival's most prominent hue, symbolizes knowledge, creativity, and music. It serves as a reminder of the blooming mustard fields that herald the arrival of spring. For everyone including farmers and  musicians it is a special day to start anew with the arrival of new harvest bringing in a new hope !  The color of this festival is “Yellow” symbolizing the yellow color of flowers and farms of northern India.

Ashwini Bhide-Deshpande sings "fagawa Brij dekhan ko chalo ri"

On the day of Vasant Panchmi, musicians start the music by singing Basant Raag.  For me Basant is a true pleasurable raag especially with the bandishes like “Fagawa Brij dekhan ko chalo ri” and my favorite one ” Aur raag sab bane baaraati, Dulha raag Basant ” . In this later bandish , Basant is described as a young groom that is about to get married and all other “Raags” have arrived at this festive celebration.

“ और राग सब बने बाराती , दुल्हा राग बसंत

मदन महोत्सव आज सखी री , अब बिदा भयो हेमंत 

सहचर गान करत ऊंचे स्वर कोकिल बोले हसंत 

गावत  नारी पंचम उंचे स्वर , ऐसो हि प्रिय कंत 

क्रीष्णदास  स्वामीनी बड्यो भागनी मिल्यो है भामा को कंत  ”

Here is the link to this traditional melodious Basant performed live by evergreen Pt Jasraj accompanied by Gaargi Siddhanta on vocal support , Appa Jalgavkar on Harmonium , young Vijay Ghate on Tabla and Kala Ramnath on violins.

History of Basant Panchami

Basant Panchami holds a rich history steeped in mythology and legends. One tale revolves around the renowned poet Kalidasa, who, in a moment of despair, contemplated suicide upon learning of his wife's departure. However, his fate took a remarkable turn when the goddess Saraswati emerged from a river and urged him to bathe in its waters. This transformative experience granted Kalidasa profound insight and transformed him into a gifted poet.

A captivating story is associated with Kama, the Hindu god of love. In his attempt to awaken Lord Shiva from a deep meditation following the loss of his wife Sati, Kama interrupted the divine trance. The seers intervened, urging Kama to rouse Shiva, allowing him to reconnect with the outside world and acknowledge Maa Parvati's unwavering devotion. In response, Kama shot flowers and beeswax arrows at Shiva using his sugarcane bow. However, his actions angered Lord Shiva, who opened his third eye and reduced Kama to ashes. In a compassionate gesture, Shiva promised to resurrect Kama's wife, Rati, after her 40 days of penance. This legend holds a special place in the Ramayana, as it is believed that Shiva fulfilled his promise and revived Rati after her rigorous penance.

Traditionally, young men and women have been gathering together on "Vasant Panchami" for rendezvous. Singing songs and meeting their partners. This might find a similarity to an analogous festival of Valentine Day in the west. In this year 2024, the western and eastern calendars have the Valentines Day and Vasant Panchami on the same day, February 14th! It is aptly a celebration of Love, new beginnings and Spring ... all over the world!

Marwa - Puriya - Sohoni

 

Over last month I have been traveling and the raag or set of notes that are lingering all these days almost all times of the day were that of Marwa and Puriya .. 

Yesterday on YouTube I saw an episode "Sandhyakaleen Tadap" on the theme of Puriya, Marwa and Sohini. Also, there was news of death of Ut Rashid Khan. These dots got connected and I sat to write this blog.

Marwa depicts the masculine longing or yearning (विरह), that is different from the feminine longing, hence the exception of relationship between "Vaadi" (komal rishabh) and "Samvaadi" (Dhaivat) being Shadaja-Gandhaar instead of the rule of either Shadaja-Pancham or Shadaja-Madhyam that is observed in most raags in classical music. This also explains why Marwa sounds apt in male voice than female.   

In fact ABD explains that Marwa is more like Bhoop without the touch of Shadaja. ABD explains this in a beautiful way in the following video.

For me Marwa of Ut Rashid Khan, Ut Amir Khan and Pt Vasantrao Deshpande (fondly called Vasantkhan Deshpande) is the Gold standard in Classical Music. 

काहूकी रीत कोऊ करे सखी री

मीत पिहरवा वो जो कहियो

सो सो सब अपने मन की 

हूं अधीन तन मन धन तुम्हरे

तुम तो मेहेरबान सबके

सदारंग पर रंग बरसायो 

Here are some of my favorites.. Marwa Bandish from the film "Mi Vasantrav" 

Marwa, Puriya and Sohoni all take the same notes used in different gaits, ways and proportions. Differential stresses on certain notes 

Sa,Re',Ga,Ma,Dha,Ni,SA 

Marwa has "alpatwa" of Sa that gives it the longing..."Virah".. the "tadap" ..  komal Rishabh and Dhaivat render the masculinity. The "theharaav" around Komal Rishabh and Dhaivat is the trademark of Marwa, gives it its serious impression.

Puriya with the same set of notes set around Gandhaar-Nishaad as Vaadi-Sanvaadi and ample use of Sa gives a different kind of peaceful longing that seems hidden in the depth, like a ocean. More feminine and pleading than complaining. Raag Marwa and Puriya are like two able sons with a bright sister called Sohini with similar genetic makeup from a mother who is extremely beautiful and a brave father (Bhoop).   

The quintessential Bandish of Pt Jasraj in Puriya is a pot of gold set in Jhaptaal.

अब थारे बिन कूण मोरी राखे लाज 

ते थो तेज महान 

जिन जिन ध्याये  तिन तिन पाये 

मोपे विपता बडी भारी 

जस सवरत नहीं आज 

Puriya of Ut Rashid Khan too has something special in it. 

Ragini Sohoni, the bright sister of Marwa and Puriya takes the same notes at higher octave.... sharp taans is its trademark. 

Ut Bade Ghulam Ali Khan (BGAK) of Patiala gharana was the greatest exponent of raagini Sohini.

My favorite thumri in Raagini Sohoni is by again Ut Rashid Khan ..

देखबे को मन ललचाए  

One more video that explains the relationship of Marwa, Puriya and Sohoni is the one by disciple of Pt CR Vyas and Satyasheel Deshpande ... Sanjeev Chimalggi at Raagmala concert

 

There is a lot that could be written about Marwa, Puriya and Sohini. This is one of the classic combinations in Hindustani Classical Music. 

This blogpost was impromptu and is my humble attempt at paying respect, tribute and homage to the departed souls Ut Rashid Khan and Pt Jasraj.  Om Shanti !