D.K.Jayaraman
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Hi,
I was amazed when i was searching for a thread on DKJ i found only the DKP, DKJ duo. I want to see more posting on this great masters. Also if anyone can help me with a recording on DKJ's Karthikeya Gangeya.. if anyone knows of any commercial record please mention that cassettes name.
Thanks in advance.
I was amazed when i was searching for a thread on DKJ i found only the DKP, DKJ duo. I want to see more posting on this great masters. Also if anyone can help me with a recording on DKJ's Karthikeya Gangeya.. if anyone knows of any commercial record please mention that cassettes name.
Thanks in advance.
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- Posts: 63
- Joined: 12 Feb 2007, 23:21
D. K. Jayaraman
(1928-1991)
D. K. Jayaraman hailed from Kanchipuram. From his teen years to his forties he gave concerts with his sister and guru, Smt. D.K.
Pattamal. After his family moved to Madras in the 1940's, young Jayaraman furthered his musical skills by learning from several well
known masters like Ariyakudi Ramanuja Iyengar, Madurai Mani Iyer, Muthiah Bhagavatar, Rajaratnam Pillai, Papanasam Sivan, Koteeswara Iyer and others.
D.K.Jayaraman was able to establish his individuality as a musician when he started giving solo concerts. He demonstrated singular
creativity when rendering songs. By constant practice and singing, he acquired a pliable voice which he used to its fullest range. Rather shy by nature, he was a down-to-earth, simple man, not given to fanfare. In fact, he used to feel bashful if a large number of his admirers were around him. He was most comfortable in small gathering. Always accomodative, he was thoughtful of his accompanying artistes. He planned his concert well and it is said, he would rehearse his pallavi very thoroughly.
DKJ had a large stock of Muthuswami Dikshitar's, Shyama Sastri's plus Tyagaraja's kritis. Like Kanchipuram Naina Pillai, DKJ used to sing uncommon kritis in rare ragas. A few examples come to mind:
Parvati ninnu - Kalgada (Syama Sastri)
Natimata marachitivo- Devakriya (Tyagaraja),
Shanka-chakra-gadha panim -Purnachandrika (Muthuswami Dikshitar)
Samayamide- Budhamanohari (Muthiah Bhagavatar)
Accolades and honours came to him one after another and the most coveted was the title of Sangita Kalanidhi from the Madras Music
Academy. Unfortunately, he did not live long to cherish the recognition he got from the Music Academy. He died within a month after the title was conferred on him.
His concert repertoire included many Tamil songs. He was instrumental in popularizing compositions of many modern composers like Papanasam Sivan, Periasami Tooran, Tanjavur Sankara Iyer, Surajananda, Neela Ramamurthy, Srivatsa and others. He had a large number of rasikas and trained several disciples. His daughter and his disciple, Sukanya gave vocal support to him in many of his concerts. Other prominant disciples include Vijay Siva, Balaji Shankar and violinist, R. K. Shriramkumar. His son, J. Vaidyanathan is a leading mrudangist.
info from carnaticcorner
(1928-1991)
D. K. Jayaraman hailed from Kanchipuram. From his teen years to his forties he gave concerts with his sister and guru, Smt. D.K.
Pattamal. After his family moved to Madras in the 1940's, young Jayaraman furthered his musical skills by learning from several well
known masters like Ariyakudi Ramanuja Iyengar, Madurai Mani Iyer, Muthiah Bhagavatar, Rajaratnam Pillai, Papanasam Sivan, Koteeswara Iyer and others.
D.K.Jayaraman was able to establish his individuality as a musician when he started giving solo concerts. He demonstrated singular
creativity when rendering songs. By constant practice and singing, he acquired a pliable voice which he used to its fullest range. Rather shy by nature, he was a down-to-earth, simple man, not given to fanfare. In fact, he used to feel bashful if a large number of his admirers were around him. He was most comfortable in small gathering. Always accomodative, he was thoughtful of his accompanying artistes. He planned his concert well and it is said, he would rehearse his pallavi very thoroughly.
DKJ had a large stock of Muthuswami Dikshitar's, Shyama Sastri's plus Tyagaraja's kritis. Like Kanchipuram Naina Pillai, DKJ used to sing uncommon kritis in rare ragas. A few examples come to mind:
Parvati ninnu - Kalgada (Syama Sastri)
Natimata marachitivo- Devakriya (Tyagaraja),
Shanka-chakra-gadha panim -Purnachandrika (Muthuswami Dikshitar)
Samayamide- Budhamanohari (Muthiah Bhagavatar)
Accolades and honours came to him one after another and the most coveted was the title of Sangita Kalanidhi from the Madras Music
Academy. Unfortunately, he did not live long to cherish the recognition he got from the Music Academy. He died within a month after the title was conferred on him.
His concert repertoire included many Tamil songs. He was instrumental in popularizing compositions of many modern composers like Papanasam Sivan, Periasami Tooran, Tanjavur Sankara Iyer, Surajananda, Neela Ramamurthy, Srivatsa and others. He had a large number of rasikas and trained several disciples. His daughter and his disciple, Sukanya gave vocal support to him in many of his concerts. Other prominant disciples include Vijay Siva, Balaji Shankar and violinist, R. K. Shriramkumar. His son, J. Vaidyanathan is a leading mrudangist.
info from carnaticcorner
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This is a great Lec-dec about Dikshithar's composition
http://www.sangeethapriya.org/Downloads ... c_Demo.zip
http://www.sangeethapriya.org/Downloads ... c_Demo.zip
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- Joined: 12 Feb 2007, 23:21
This is a cool collection of Papanasam sivans songs
http://www.sangeethapriya.org/~ramanuja ... van%20Day/
http://www.sangeethapriya.org/~ramanuja ... van%20Day/
I was lucky to attend a few SpicMacay concerts of DKJ as soon as I came to Chennai in 1981.(Jasraj was the other big bonanza for me)
One thing that struck me (then a rank outsider) was the visual imagery he created , in my mind.Like KVN , he never failed to invoke the image of Temples and presiding deities.There was a kind of precision and authenticity ,that one associates with the sculptures of the temples themselves .
Ayodhya Mandap- all through the 80s... So many concerts .And almost all of them with highly ranked accompanists.
I can feel the humidity , today.The Cool Breeze .A grand Saveri build up.West Mambalites ambling in after an early dinner.The crackle of the bag holding the Betel leaves and the Nuts.Thathas and Paatis galore.UKS surveying the scene like a monarch.VVS in attentive mood and exchanging glances with DKJ.
These images will travel with my soul.
Three decades later , when I notice that the man Casually swinging his bag , crossing the road with his quota of vegetables for the day , is Vijay Siva , I wonder how long back in time connected, is the tune that he is humming.Feel like inching closer and see if it is a Saveri again ??
Another thing that strikes me today about DKJ's music is the large number of krithis I mostly associate with only him, and where I struggle to locate an alternative rendering.
One thing that struck me (then a rank outsider) was the visual imagery he created , in my mind.Like KVN , he never failed to invoke the image of Temples and presiding deities.There was a kind of precision and authenticity ,that one associates with the sculptures of the temples themselves .
Ayodhya Mandap- all through the 80s... So many concerts .And almost all of them with highly ranked accompanists.
I can feel the humidity , today.The Cool Breeze .A grand Saveri build up.West Mambalites ambling in after an early dinner.The crackle of the bag holding the Betel leaves and the Nuts.Thathas and Paatis galore.UKS surveying the scene like a monarch.VVS in attentive mood and exchanging glances with DKJ.
These images will travel with my soul.
Three decades later , when I notice that the man Casually swinging his bag , crossing the road with his quota of vegetables for the day , is Vijay Siva , I wonder how long back in time connected, is the tune that he is humming.Feel like inching closer and see if it is a Saveri again ??
Another thing that strikes me today about DKJ's music is the large number of krithis I mostly associate with only him, and where I struggle to locate an alternative rendering.
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Beautifully said...coolkarni wrote:Three decades later , when I notice that the man Casually swinging his bag , crossing the road with his quota of vegetables for the day , is Vijay Siva , I wonder how long back in time connected, is the tune that he is humming.Feel like inching closer and see if it is a Saveri again ??
here it is -Karthikeya - Valaji
http://www.badongo.com/file/2269404
and another interesting track..
06-Thappu Leniyu-Bhowli
http://www.badongo.com/file/2269489
http://www.badongo.com/file/2269404
and another interesting track..
06-Thappu Leniyu-Bhowli
http://www.badongo.com/file/2269489
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My personal favorites are his renditions of "Smarane onde saalade" (Malayamarutam), "Rama baana" (Saveri), "Nannu brochutaku" & "Sri Krishnam bhaja (Todi), "Rakshabettare" (Bhairavi), "Hiranmayeem" (Lalita), "Ramachandra" (Neelambari), "Hey kamakshi" (Yadukulakamboji), "Chede buddhi maanura" (Atana).....
DKJ has also been the tunesmith for a number of Kovai Subri's compositions.
DKJ has also been the tunesmith for a number of Kovai Subri's compositions.
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I have a commercial recording of Karthikeya by DKJ. The CD is titled "Sangeetha Kalanidhi" and it features the following artists
Dk Jayaraman
Sukanya Sankararam
Balaji Shankar
Violin: R.K. Sriramkumar
Mridangam J. Vaidhyanathan
Ghatam: S. Karthick
Also in the CD is: Tharunam Eedhamma, Parvathi Pathim, Chantithodi Theve, Sendril Andavan, Puruhara Nandana, Theliyalero Rama, Karthikeya, Mannum Emayamalai, Madhiyalvittha Ganagi
Dk Jayaraman
Sukanya Sankararam
Balaji Shankar
Violin: R.K. Sriramkumar
Mridangam J. Vaidhyanathan
Ghatam: S. Karthick
Also in the CD is: Tharunam Eedhamma, Parvathi Pathim, Chantithodi Theve, Sendril Andavan, Puruhara Nandana, Theliyalero Rama, Karthikeya, Mannum Emayamalai, Madhiyalvittha Ganagi
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Hi, I am new in this forum. A short clip of an interview with Sri Vijay siva on his guru.
Ganesh
http://file.uploadr.com/cbd4
Ganesh
http://file.uploadr.com/cbd4
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coolkarni sir,
Many thanks for that recording of Sada Neepada by DKJ. It is indeed awesome! Whose composition is it? I must have listened to it at least a dozen times just last night alone - kept my parents awake till 2 in the morning!! I'd very much like to get the lyrics, if possible. Just a guess, is it by Spencer Venugopal? Regards,
Nandagopal
Many thanks for that recording of Sada Neepada by DKJ. It is indeed awesome! Whose composition is it? I must have listened to it at least a dozen times just last night alone - kept my parents awake till 2 in the morning!! I'd very much like to get the lyrics, if possible. Just a guess, is it by Spencer Venugopal? Regards,
Nandagopal
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sadA nI pAdayugamulanE. rAgA: tODi. Adi tALA.
P: sadA nI pAdayugamulanE gatiyani ninnu neranammitini
A: sudhA mAdhurya mrdu bhASiNi amba sundari karuNa
jUci nannu paripAlincuTaku inta tAmasamA amba krpAkari
C: mAdhava sOdari amba mahA tripurasundari samAna
rahitE padAmbujamulanu nE sharaNaNTini Adarinci
brOcuTaku samayamidE nA cintalanu dIrcci anAthuDaina
nannu rakSimpanu inka dayarAdA amba krpAkari
(madhyamakAla)
nE nI dAsuDanE gadA marivErevaru gati vAdA
dEvi nI divya mahimalu niratamu vinu sadA
P: sadA nI pAdayugamulanE gatiyani ninnu neranammitini
A: sudhA mAdhurya mrdu bhASiNi amba sundari karuNa
jUci nannu paripAlincuTaku inta tAmasamA amba krpAkari
C: mAdhava sOdari amba mahA tripurasundari samAna
rahitE padAmbujamulanu nE sharaNaNTini Adarinci
brOcuTaku samayamidE nA cintalanu dIrcci anAthuDaina
nannu rakSimpanu inka dayarAdA amba krpAkari
(madhyamakAla)
nE nI dAsuDanE gadA marivErevaru gati vAdA
dEvi nI divya mahimalu niratamu vinu sadA
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Jayaram-Prashanth- Here it is.
DK Jayaraman-Veeraraghavan-Palghat Raghu-Madras 1972
01-Varna-Kedargowla -02-Gunijanadi-Gurjari 03-Sada Budhi-Atana 04-Yelara-Yadukula Khamboji 05-Manasaramathi-Saramathi 06-Thalli Ninnu-Kalyani 07-Sada Neepada-Todi 08-Murugha Murugha-Nayaki 09-Thaye Tripura-Shudha Saveri 10-Nanoru-Navarasakanada 11-Kapalee Mohanam 13-Sreenivasa-Kharaharapriya 13-Sreenivasa-Kharaharapriya 14-Viruttam-Ragamalika 15-Karpagame-Madhyamavathi 16-Balaani Mathi-Keervani 17-Mayaladi-Suruti 18-Yena Rada-Pharas 19-Thillana
DK Jayaraman-Veeraraghavan-Palghat Raghu-Madras 1972
01-Varna-Kedargowla -02-Gunijanadi-Gurjari 03-Sada Budhi-Atana 04-Yelara-Yadukula Khamboji 05-Manasaramathi-Saramathi 06-Thalli Ninnu-Kalyani 07-Sada Neepada-Todi 08-Murugha Murugha-Nayaki 09-Thaye Tripura-Shudha Saveri 10-Nanoru-Navarasakanada 11-Kapalee Mohanam 13-Sreenivasa-Kharaharapriya 13-Sreenivasa-Kharaharapriya 14-Viruttam-Ragamalika 15-Karpagame-Madhyamavathi 16-Balaani Mathi-Keervani 17-Mayaladi-Suruti 18-Yena Rada-Pharas 19-Thillana
http://www.badongo.com/file/2302783
03-cEDE buddhi-Atana-Thirupparkadal-Raghu.mp3
i thought you may ask for this and was ready...
anyway will upload that one too
03-cEDE buddhi-Atana-Thirupparkadal-Raghu.mp3
i thought you may ask for this and was ready...
anyway will upload that one too
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Namaskara, Lakshman Sir - I meant to thank you for the lyrics for sada neepada earlier and apologize for the inadvertant delay. I see that Prashant has requested the recording of Muruga Muruga (Nayaki - composition of Spencer Venugopal) from Coolkarni Sir. If I may indulge once again, Lakshman Sir could you please post the lyrics for this song... Regards,
Nandagopal
Nandagopal
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I saw the note About D.K. Nagarajan, and I thought I should chime in.
Sri D.K. Nagarajan has been teaching music in the Washington D.C. in the last 25 years with his wife, Parvathi. He has trained many students over the years, and has recently brought a couple of students to the level of doing an arrengetram. He doesn't give concerts very often, but he did sing in a 2.5-3 hour concert last June with a young student of his, Swathi. The pair was supported on violin by Mani Iyer, an excellent young artist who is a student of Smt. Kanyakumari and Vivek Chellappa, a young mridangam player in Maryland.
I know some people who might know others who may have a recording (I was not at the concert, but I have friends that told me about it), and I could try to obtain a recording of it...but it would probably take some time. If there is interest, I could start working on getting a recording for this forum. The submain and main pieces were in Kalyani and Kamboji (allapanas were not sung by Sri Nagarajan, but by his student).
Sri D.K. Nagarajan has been teaching music in the Washington D.C. in the last 25 years with his wife, Parvathi. He has trained many students over the years, and has recently brought a couple of students to the level of doing an arrengetram. He doesn't give concerts very often, but he did sing in a 2.5-3 hour concert last June with a young student of his, Swathi. The pair was supported on violin by Mani Iyer, an excellent young artist who is a student of Smt. Kanyakumari and Vivek Chellappa, a young mridangam player in Maryland.
I know some people who might know others who may have a recording (I was not at the concert, but I have friends that told me about it), and I could try to obtain a recording of it...but it would probably take some time. If there is interest, I could start working on getting a recording for this forum. The submain and main pieces were in Kalyani and Kamboji (allapanas were not sung by Sri Nagarajan, but by his student).
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In the recent kutcheri season I bought a shruti magazine , featuring Shri DKJ. His interview recalling his association with his sister , his teaching ,how he learnt , his view points on hindustani/carnatic etc... with all his answers being straight from his heart with exceptionally high clarity in thought process.
I just want to add one question and answer and would like to coerce you all to buy the shruti magazine for just Rs 20/-
What is your position on jugalbandhi-s?
Shri DKJ answers:
I have participated in one or two jugalbandhi-s, but I'd like to stay as far away from these possible . I personally dont favour a jugalbandhi of Carnatic and Hindustani music because it ends up as a competition, finally.It places a tremendous amount of unnecessary tension on the singers, both of them. And if one of them is not at his best that day or if the other is able to pull off some musical acrobatics that thrill the audience , the first man simply falls flat and uncharacteristically bad. I ask: What is gained by forcing a musician to peter out or perform badly? Why not instead , create an environment in which he can give his best? A foisted competitive atmosphere , I feel , does little to enhance the the quality of music.People organize jugalbandhis because crowds collect and money probably comes in, but I don't fancy presenting two equally accompalished musicians on stage and making them fight for audience
favour.
And there are no benefits from this exercise either. Comparison is unequal, for instance between a tabla and a mridangam. The tabla sound is more appealing and purely on the strength of the tone and the gumki, and even an ordinary player can score over his mridangam counterpart in a jugalbandhi. Is it fair tell me? The mridangam player have taken a great deal of care to present excellent tabla patterns , but what is the use? So I shall say the twain shall never meet.
Even a veena and violin , for that matter have no meeting ground[even within the framework of CM]. What the violinist can achieve by a small movement will take the vainika a large sweep and considerable effort . So getting the two together puts unnecessary pressure on the veena player, which can and should be avoided.
I would extend the argument even to two voices. No two voices are alike and further the 'vazhi' - the approach is totally different when carnatic and hindustani vocalists are asked to sing in tandem. The hindustani singers give a karvai and stand on a note for a length of time, that's a speciality which gets appreciation. Our strength is in gamaka and a briga laden vioce is bette suited to our music. So nothing is gained by gettnig musicians to the two styles onto the same platform at one time. Each style can be enjoyed seperately for its own speciality, its own appeal.
I just want to add one question and answer and would like to coerce you all to buy the shruti magazine for just Rs 20/-
What is your position on jugalbandhi-s?
Shri DKJ answers:
I have participated in one or two jugalbandhi-s, but I'd like to stay as far away from these possible . I personally dont favour a jugalbandhi of Carnatic and Hindustani music because it ends up as a competition, finally.It places a tremendous amount of unnecessary tension on the singers, both of them. And if one of them is not at his best that day or if the other is able to pull off some musical acrobatics that thrill the audience , the first man simply falls flat and uncharacteristically bad. I ask: What is gained by forcing a musician to peter out or perform badly? Why not instead , create an environment in which he can give his best? A foisted competitive atmosphere , I feel , does little to enhance the the quality of music.People organize jugalbandhis because crowds collect and money probably comes in, but I don't fancy presenting two equally accompalished musicians on stage and making them fight for audience
favour.
And there are no benefits from this exercise either. Comparison is unequal, for instance between a tabla and a mridangam. The tabla sound is more appealing and purely on the strength of the tone and the gumki, and even an ordinary player can score over his mridangam counterpart in a jugalbandhi. Is it fair tell me? The mridangam player have taken a great deal of care to present excellent tabla patterns , but what is the use? So I shall say the twain shall never meet.
Even a veena and violin , for that matter have no meeting ground[even within the framework of CM]. What the violinist can achieve by a small movement will take the vainika a large sweep and considerable effort . So getting the two together puts unnecessary pressure on the veena player, which can and should be avoided.
I would extend the argument even to two voices. No two voices are alike and further the 'vazhi' - the approach is totally different when carnatic and hindustani vocalists are asked to sing in tandem. The hindustani singers give a karvai and stand on a note for a length of time, that's a speciality which gets appreciation. Our strength is in gamaka and a briga laden vioce is bette suited to our music. So nothing is gained by gettnig musicians to the two styles onto the same platform at one time. Each style can be enjoyed seperately for its own speciality, its own appeal.
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