Shehnai unusual conversations

We have covered in detail of Raja’s use of Shehnai in his music and the way he has used this instrument defying common mood expectations that most film music listeners have. C&R is no exception. Raja has several tracks where he has used Shehnai in a C&R mode. Let’s explore a few top of mind tracks.

Here is a single clip with multiple segments that cover Raja’s Shehnai C&R work:

1. The first segment is for about 23 seconds and is from the song, ‘Maalai Soodum Velai’ from the film ‘Naan Mahaan Alla’ (Tamil 1984). This is a conversation between the shehnai and the bells. The bell response is short for the long shehnai calls.
2. The second segment is for about 18 seconds and is from the song, ‘Kasturi Manae’ from the film Pudhumai Penn (Tamil 1983). This segment has two different C&R arrangements. The first two shehnai calls are responded by the guitar; the last two calls by the shehnai are responded by the synthesizer. A very pleasing arrangement
3. The third segment is from the song ‘Athadi Paavadai’ from the film Poovilangu (Tamil 1984). The call by the shehnai is responded by the flute. This is a very common Raja arrangement and he has used it in several songs.
4. The fourth segment is from the song, ‘Kasturi Manae’ from the film Pudhumai Penn (Tamil 1983). The call is from the the shehnai and the response is from the flute. Observe the segment 3 and segment 4 – the instruments are exactly the same, but the tempo is different and the percussion support is different and creates a completely different experience
5. The fifth segment is from the song ‘Athadi Paavadai’ from the film Poovilangu (Tamil 1984). The call by the shehnai is responded by the bells. I did not include two segments from the same song one after the other to ensure that the listener appreciates what the master does with one technique but different instruments, different rhythm arrangements. Both the Pudhumai Penn and Poovilangu songs have the same choice of instruments, but until you hear them all side by side, it is hard to realize what Raja does with his treatment!
6. The sixth segment is from the song ‘Kanmaniye Pesu’ from Kaaki Sattai (Tamil 1985). The call is from the shehnai and the response is a detailed one from the flute.

Let’s hear the sample of Raja’s unusual shehnai conversations of Raja set to a C&R arrangement...
 

Sitar unusual conversations

Sitar is rarely used in South Indian music. However, Raja has used it extensively in his compositions. He has used it in its traditional as well as his own non-traditional forms. C&R arrangements with Sitar is also another part of Raja’s orchestration in his long career. Let’s hear some top of mind examples of how Raja has used Sitar in C&R arrangements.
Here is a single clip with four segments showing how Raja has arranged Sitar in his unusual C&R arrangements:

1. The first segment is from the song Rangulalo Kalavu from Abhinandana (Telugu 1990). This is a brilliant violin and sitar C&R that has the Raja stamp all over it. The call is by the sitar and the response are a few strokes from the sitar
2. The second segment is from the song ‘Poo Pookum Masam’ from Varusham 16 (Tamil 1989). This is a beautiful call by the sitar and a nice classical response from the flute
3. The third segment is from the famous song, ‘Nilaave Vaa’ from Mouna Ragam (Tamil 1986).  This is part of the prelude of the song and the call is by the sitar and the response is by the guitar.
4. The fourth segment is again from the song Rangulalo Kalavu from Abhinandana (Telugu 1990). This is from the second interlude and this time, the call is by the synthesizer and the response is from the sitar.

Two close string instrument based arrangement seems to be a Raja favorite. The sitar-guitar, sitar-synthesizer arrangements are very good Raja innovations. I will also cover some of Raja’s Veena-guitar arrangements later, which are similar.

Let’s hear the sample of Raja’s unusual sitar conversations of Raja set to a C&R arrangement...

 

Tabla unusual conversations

While Raja has extensively used tabla in his rhythm arrangements, it is not so common to put the tabla in the C&R mode. We will present some top of mind examples of Raja’s C&R that involves the tabla.

1. The first segment is from the song ‘Muthumani Sudare Vaa’ from the film Anbulla Rajnikanth (Tamil 1984). The call is from the flute and the response is from the tabla
2. The second segment is from the song ‘Vanamella Shenbagapoo’ from the film Nadodi Paatukaran (Tamil 1992). There are 4 different calls from the flute and the tabla responds to the calls with rhythm. Nice arrangement.
3. The third segment is from the famous song ‘Thakita Thathimi’ from the film Salangai Oli (Tamil 1983 or Sagara Sangamam –Telugu). The call is from the synthesizer and the response is an equally rapid one from the tabla.

Let’s hear the sample of Raja’s unusual tabla  conversations...