Dr. L. Subramaniam - Page 3

L Subramaniam is a violin voyager who believed in charting his own course. Now we have The Best of Dr. L. Subramaniam, a compilation released recently capturing the many moods his music has traversed over the years. The living legend provides a glimpse into the remarkable journey.

You were among the first Indian classical musicians to step into jazz. What made you go in that direction?

It all started in the 70s… I had just finished my masters in Western music and went on a tour with George Harrison, in which I happened to meet jazz artistes like Larry Coryell, who approached me to collaborate with them. I was hesitant at first but then I realised what a huge scope different elements from different parts of music provided. Orchestra, jazz, jugalbandis…different things were happening on different fronts and I wanted to create new styles of writing compositions. I went on to do my first jugalbandi at that time with Ustad Ali Akbar Khan saab. In the realm of fusion, I started experimenting with different compositions, the earliest of which was with Larry Coryell. In the album Global Fusion, there's major orchestration with musicians from various countries.

What inspires you to compose?

Different things inspire at different times… Like a beautiful winter in Austria propelled me to compose this western romantic ballad called Winter in Austria when I had gone there for an Indian classical music festival. The entire town was reverberating with music and it was quite surreal. Similarly, there's an amazing album called Conversations composed with Stephane Grappelli, which is like two people talking on violin. It's the result of the vibe we shared.

How did you select the tunes on the current compilation?

The repertoire is rich and varied. There are different soloists who feature in the album, each with their own distinct tonality and composition. The pieces vary from a simple violin and piano composition between me and Herbie Hancock on one hand to very complex compositions with musicians from my father's generation. Then there is a song, Tillana, sung by my wife Kavita, which is a very complex composition again. Flight of the Humble Bee is another piece that deserves special mention as it is the most difficult piece ever written for violin.

Can you recall some of your most memorable performances so far?

The concert in Lincoln Centre in New York earlier this year with George Duke and Stanley Clarke as part of the Lakshminarayana Global Music Festival was very enjoyable. Thereafter, the festival travelled to Singapore, Malaysia and Australia where I performed alongside Kavita and my daughter Seetaa. It was more like a family vacation and was great fun.

How has your family, especially your father, shaped your music?

My father was my guru, mentor and guide and all my techniques have been developed by his advice. It is under his tutelage that I learned how to use the entire range available for violin, the cross bowing technique, sliding… everything. Learning my father's impeccable Carnatic style has also helped me crossover to different genres of music.

Your brothers also play the same instrument. How do the three of you vary in your musical approach?

Even though we play the same instrument, our specialisation and interests vary. My elder brother Vaidyanathan loves writing music and my younger brother Shankar is more into singing. I like to play and I also write.

Do you and your wife Kavita collaborate musically?

I am working on a project with Kavita that involves other Indian musicians like Lucky Ali, Pandit Jasraj, Hariharan, Sonu Nigam and others. It's basically Kavita's album, which I am producing.

How do you balance a classical career with a parallel one in fusion?

A case in point would be the nature of my appearances in Calcutta. I performed with Luc Ponty and Billy Cobham some time ago and I'm coming back to deliver an Indian classical concert on January 12 at Ramakrishna Mission. I am supposed to perform again on January 26 at the Science City auditorium.

Which of your collaborations are most special to you?

Recording my first fusion album Fantasy Without Limits with the finest backing line-up comprising Frank Morgan, Emil Richards and Milcho Leviev on the request of producer Richard Boch was a wonderful experience. It was selected as one of the top 10 albums of the year in the US. Performing with violin phenomenon Lord Yehudi Menuhin in New York to celebrate the 40th year of India's Independence was very special as well. Composing Fantasy on Vedic Chants for Zubin Mehta is also a memorable experience, which premiered in New York.

Display of virtuoso musicianship has been the hallmark of your albums. What other musical ideas have you expressed in this album?

Confluence II, Blossom and Miss Melody are some of the tracks in the new album featuring very slow melodies which are not at all flashy. The different elements packed into the album are a classic example that music can be performed at different levels and spiritual modes — peaceful, melodic, balanced.

What's the favourite film soundtrack that you have composed?

Salaam Bombay, Mississippi Masala, Little Buddha and a Malayalam film, Ehe Sne Ga Theerathu, are some of films I've given music for. Salaam Bombay was the first film I did and I really enjoyed working with Mira (Nair).

What can we expect from L. Subramaniam now?

I am doing a project involving a 100-piece Chinese orchestra. This apart, I will be touring heavily for the Lakshminarayana Global Music Festival, which is in its 14th year now. Besides these commitments, it's my dream to establish an institute dedicated to my father, which will be called the Lakshminarayana Global Institute. The first branch will be in Bangalore apart from other centres including one in Perth, Australia.