Harmony and ecstasy

Arguably the most comprehensive and thoroughly entertaining book on Hindustani classical music that I have come across is Kudrat Rangi Birangi by music connoisseur Kumar Prasad Mukhopadhyay. To thoroughly trace eras in the great tradition and illustrate them through mouth-watering anecdotes is a rare accomplishment.

While the English translation of Kumar babu's book, published by Ananda, is yet to see the light of day, non-Bengali readers would do well to grab a copy of the latest anthology on music masters from India "" Music Makers: Living Legends of Indian Classical Music. Ashok Roy's passion is evident in his liberal use of eulogy to bring to readers the legends and the human face of the maestros.

But if Roy's style is a bit overdone it is easy to understand why, given the experiences he must have had while interviewing and researching. His selection of artists, I am sure, is subject to availability of material and accessibility to the legends themselves. Still, the selection will attract many rants and complaints especially with conspicuous absentees like Ustad Ali Akbar Khan, the greatest living exponent of the sarod, mrindangists like Karaikudi Mani, the greatest violinist across genres L Subramaniam and mandolin phenomenon U Srinivas. In the epilogue Roy promises that a second volume will claim its share of some of the names missed in the volume, should it be published.

If these are defects, the fabulous collection of photographs will more than pacify disgruntled fans like me. Indeed, this is definitely the book's USP (the colour photos have been shot by the author while the rest have been sourced from the individual artists' collections), giving it a unique richness.

The interviews conducted by Roy complement the individual chapters and instead of being lengthy recounts of the past are witty, humorous and provide brilliant insights. There is, for instance, the embarrassment violin great Lalgudi Jayaraman displays when the author reminds him how his dance ballet "Jay Jaya Devi" premiered in Ohio led to April 2 being observed in Ohio as "Lalgudi Day".

It is fascinating to hear from Sivaraman, the great percussionist who has paved the way for modernism in as rigid and ritualistic a school as Carnatic music by not only pioneering the fibreglass mridangam but also composing music for a fashion show. Or that the golden-voiced Balamuralikrishna never does riyaz! Or that Kishan Maharaj, in his youthful exuberance asked for a motorbike when king Hari Singh asked what inaam he would like, after the young tabaliya had brilliantly accompanied the great Siddheshwari Devi.

Although the biographies tend to get a little monotonous depending upon the narrative prowess of the author, Roy's book is an easy read even for those uninitiated in this world.

Finally, a little grouse about the titling of the book. Ashok Roy's experiences over lengthy periods of time and the close proximity he must have shared with the luminaries (he has even managed to interview M S Subbulakshmi) implies he must have enough material about doyens of yesteryear "" like Ustad Mallikarjun Mansur, Ustad Nisar Hussain Khan and Ustad Vilayat Khan. And if the "living legend" title has to continue in his next volume, we might miss out on many stalwarts who are in their twilight years. Musicians, like the music they create, should not be confined within boundaries such as a biological life span "" indeed, that would open up the huge treasure chest of Indian music with limitless possibilities. But if Roy continues to wield his pen and camera, there won't be too many complaining.

MUSIC MAKERS: LIVING LEGENDS OF INDIAN CLASSICAL MUSIC

ASHOK ROY
Rupa, Price: Not mentioned