Aditya Prakash@Los Angeles On Nov 11th,2016
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Vocal : Aditya Prakash (disciple of PSN, Palai Ramachandran,Rose Muralikrishnan, Sugandha Kalamegham)
Violin : K J Dileep (disciple of MSG )
Mrudangam : Sumesh Narayan (disciple of Thiruvarur Bhaktavatsalam)
Concert Type : Nirvana - no concert to follow
Day/Duration : Saturday/ 3 hours and 15 mins inclusive of 5 mins speech
Concert Type : Ticketed Concert
Hall : Hoover School , Lakewood Los Angeles
Sabha : South Indian Music Academy LA(SIMALA)
1. varnam - vanajAkshi ninne KOri- kalyani- pallavi gopala iyer
2. daya jooda(S) - jaganmOhini - SS
Swaras for 6 mins
3. pAhimAm brihannAyikE - husEni -ST
4A. sEshachala nAyakam (R N S T)- varAli - MD
8 mins alapana and 5 mins violin return
6 mins neraval in aravinda pAtra nayanam govindam
9 mins swaras
4B. tani for 9 mins
5. nanda gOpala - yamuna kalyani - MD
6A. pakkala nilapadi (R N S T)- kharaharapriya -T
13 mins alapana and 5 mins violin return
8 mins neraval in manasuna dhalachi
6B. tani for 9 mins
7. RTP in kannada for 28 mins
non metered taanam
pallavi line was samAnamA sabhApathE sadAshiva
sakala ullagamE unakkku sari
swaras in kannada + ??? + sarasangi (violin) and kalyanavasantham
8. mAru bAri (raga sketch)- kamas - Dharmapuri Subbarayar
9. tOre Juchi isabAguvE hari ninna ???? - sindhubhairavi ??? - kanakadAsa
10A. viruththam - petra thai thanai - shenjurutti + uttra degathai - punnagavaraAli + katra nenjakam -nAdanaamakriya + namasivAyathai nAn maravaEn - sindhubhairavi - rAmalinga swamigal
10B. Aramudhai arasE aananda vella?? - almost the same 4 ragas as above -??? (Lji help)
11.thillAnA "pavana thanaya bhaktha" -vasantA?? - ?ammaCatram kannusAmi piLLai
12. neenama + mangalam kosalendrAya - sowrashtram+ madhyamavati
Aditya Prakash@Los Angeles On Nov 11th,2016
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rajeshnat
- Posts: 10144
- Joined: 03 Feb 2010, 08:04
Re: Aditya Prakash@Los Angeles On Nov 11th,2016
Once upon a time critical count of performing musicians moved from tanjore belt to madras belt . In the last 10 years I got acclimitized to the first vidwan from hollywood -LosAngeles land sandeep narayan , he was wonderful . Then came a lad from the same belt in the same LA belt in nearby Irvine area , he was ramakrishnan murthy and he is a wonderful vidwan . I came to know very recently about this vidwan Aditya Prakash . Any case I wanted to go to this concert as i am in parched land of CM . There was a brief introduction , though some names like Palai ramachandran and PSN were mentioned as his gurus , there was a mention about his ethno musical degree . There was a mention that He is also part of a popular band. There was also an introduction that he was also part of being a lead singer for sitar pandit ravishankar . For me I have a bit of allergy to ethnomusical degree , Grammy award winner , Popular band etc , but Aditya prakash showed his class and kind of disproved my notion that even ethno musical degre and Popular band can be orthogonal to him being a core carnatic musician . Aditya indeed sang a great carnatic idiomized concert.
The start was kalyani varnam , his voice was masculine and his stage mannerism was very minimal with no great hand / leg gesture . The brigas were concise and I enjoyed his presentation. The masculinity of his voice increased with the usual #2 fast and rare shyama sastri krithi in jaganmOhini. His swaras ending with patterns like ga gA , sa sA , ma mA were superb , the voice was contextual to produce concise brigas . The next swathi drop in huseni was superb , this krithi had a lot of jathi phrases with the usual sanskrit drops like shoolini .. kanaka ... shaila etc and I found his diction was lovely.
VarAli alapana could have better , could not get the varaali extra abrasive grind. He made up well in krithi rendition and swaras were really good . Could not spot that much of charge in varaali neraval
The drop of yamunakalyani krithi nanda gopala was brilliant . His voice was polished and the taps of percussion to give a more dhrupad like touch added so much of oomph for me . My attention to his music got bit more serious since he was also serious to bring his paramaguru raga kharaharapriya as his main for the day . THe alapana was really well done , the krithi rendition had a little less focus on rhythmn and the right talam pointers for every sangathi was kind off hit and miss to me in few pockets. Neraval was well done but I felt he could have given more paramaguru mel sthayi touches in neraval . Swaras were bit measured but well done . Surprisingly there was another second round of tani
Many in the audience noticed some one shouting for pallavi and I was glad that was me. I was very happy that he launched directly to the pallavi. THe pallavi was on a quite rare raga kannada . Concise alapana hovering on few repeated sangathis like shri mathrubootam gave a decent non bootham swaroopam to kannada . Taanam was not metered and his madhyama kala shoots with concise brigas was well done. He could have gone bit more in few higher sthayi sangathis but that did not happen.Pallavi line was lovely and he jokingly said the pallavi line is in thamizh but the pallavi is in kannada . Nice standard trikaalam followed , the lines of pallavi was lovely. I would not say he did great justice in portraying ragamaligas , there was not much stickiness . Also the return of violin in two ragas contrasting with vocalist just did not gel well . I particularly liked his kalyanavasantham swaras with he going one last round in kannada was well received .
THe next number , he said was a kanakadasa number . It was too filmy and I did not like it that much. I thought it was possibly one of those dr rajkumar or balamuralikrishna like song in kannada , he clarified post the concert that Venkatesh kumar sings that kanakadasa number .
The viruththam in the usual 3 ragas in shenjurutti+ punnaga varAli and nadanamakriya was superb . Emote and his voice exactly gelled and he received few repeated rounds of applause . He came up with an interesting followup of krithi in viruththam (is that tiruvarutpa ) in the same ragas as viruththam. THe last tillana in vasantha could have had a bit more vasanta swaroopam , the earlier kamas javali bought in his paramaguru marubAri touches and i liked his rendition
The violinist KJ Dileep came to the best form in Kharaharapriya and also in taaanam in kannada , one could clearly get the MSG like touches with his staccato and short jumps in khp . In the first half I felt he could not exactly gel well with the violinist during krithi rendition-there were few rough returns. Tiruvarur bhaktavatsalam of early 1980's(of the MLV and Santhanam era) entered in hollywood as a sumesh narayanan swaroopam . Sumesh indeed lifted the concert , i am not sure why there were 2 tanis in submain and Main.
The concert organizers were extremely good , They gave just a brief introduction and they gave more air time . The start was 15 mins delayed and I am not complaining for a change that I lost 15 mins of music.
One thing that Aditya can work on
-------------------------------------
# Bit more interaction with co artist. At times not putting a taalam for a long time gives a aural tradeoff creating mismatch in my ears. It happened bit noticeably in varAli and also prior to neraval in KHaraharapriya
Aditya is blessed for sure
----------------------------
# His voice is very masculine and there was no sag at all . His energy and confidence is omnipresent . He spoke for just few minutes saying at the end of jaganmohini that this concert venue and city is his home town and for many years he would just play basketball and participate in few competitions .When he spoke that voice did have the americanized slang but when he sang in thamizh , sanskrit , telugu or kannada i could not notice any musical shortcoming at all and that american slang never came in.
#His posture is always straight to the microphone and he presented in a truly non ethnomusical fashion with no excess theoretical watertight sangathis . There was free flow and there was definitely manodharmam in his concert.Also there was a conscious choice where he covered in all languages from his mother tongue kannada to his non native telugu,sanskrit and thamizh .Also his takaju thakadimi in the tillana or during huseni came up musically intact with his masculine ganeer voice.
Aditya Prakash is going to straddle in two worlds - carnatic and band. HOw much of core carnatic that he would retain is some thing for all of us to notice as he moves along in his other genre the band. best wishes to this team , they have a dallas tomorrow and next week Columbus and Bay Area (Attn Mahavishnu)concert during subsequent week.
Overall an excellent concert for 3 hours and 10 mins.
The start was kalyani varnam , his voice was masculine and his stage mannerism was very minimal with no great hand / leg gesture . The brigas were concise and I enjoyed his presentation. The masculinity of his voice increased with the usual #2 fast and rare shyama sastri krithi in jaganmOhini. His swaras ending with patterns like ga gA , sa sA , ma mA were superb , the voice was contextual to produce concise brigas . The next swathi drop in huseni was superb , this krithi had a lot of jathi phrases with the usual sanskrit drops like shoolini .. kanaka ... shaila etc and I found his diction was lovely.
VarAli alapana could have better , could not get the varaali extra abrasive grind. He made up well in krithi rendition and swaras were really good . Could not spot that much of charge in varaali neraval
The drop of yamunakalyani krithi nanda gopala was brilliant . His voice was polished and the taps of percussion to give a more dhrupad like touch added so much of oomph for me . My attention to his music got bit more serious since he was also serious to bring his paramaguru raga kharaharapriya as his main for the day . THe alapana was really well done , the krithi rendition had a little less focus on rhythmn and the right talam pointers for every sangathi was kind off hit and miss to me in few pockets. Neraval was well done but I felt he could have given more paramaguru mel sthayi touches in neraval . Swaras were bit measured but well done . Surprisingly there was another second round of tani
Many in the audience noticed some one shouting for pallavi and I was glad that was me. I was very happy that he launched directly to the pallavi. THe pallavi was on a quite rare raga kannada . Concise alapana hovering on few repeated sangathis like shri mathrubootam gave a decent non bootham swaroopam to kannada . Taanam was not metered and his madhyama kala shoots with concise brigas was well done. He could have gone bit more in few higher sthayi sangathis but that did not happen.Pallavi line was lovely and he jokingly said the pallavi line is in thamizh but the pallavi is in kannada . Nice standard trikaalam followed , the lines of pallavi was lovely. I would not say he did great justice in portraying ragamaligas , there was not much stickiness . Also the return of violin in two ragas contrasting with vocalist just did not gel well . I particularly liked his kalyanavasantham swaras with he going one last round in kannada was well received .
THe next number , he said was a kanakadasa number . It was too filmy and I did not like it that much. I thought it was possibly one of those dr rajkumar or balamuralikrishna like song in kannada , he clarified post the concert that Venkatesh kumar sings that kanakadasa number .
The viruththam in the usual 3 ragas in shenjurutti+ punnaga varAli and nadanamakriya was superb . Emote and his voice exactly gelled and he received few repeated rounds of applause . He came up with an interesting followup of krithi in viruththam (is that tiruvarutpa ) in the same ragas as viruththam. THe last tillana in vasantha could have had a bit more vasanta swaroopam , the earlier kamas javali bought in his paramaguru marubAri touches and i liked his rendition
The violinist KJ Dileep came to the best form in Kharaharapriya and also in taaanam in kannada , one could clearly get the MSG like touches with his staccato and short jumps in khp . In the first half I felt he could not exactly gel well with the violinist during krithi rendition-there were few rough returns. Tiruvarur bhaktavatsalam of early 1980's(of the MLV and Santhanam era) entered in hollywood as a sumesh narayanan swaroopam . Sumesh indeed lifted the concert , i am not sure why there were 2 tanis in submain and Main.
The concert organizers were extremely good , They gave just a brief introduction and they gave more air time . The start was 15 mins delayed and I am not complaining for a change that I lost 15 mins of music.
One thing that Aditya can work on
-------------------------------------
# Bit more interaction with co artist. At times not putting a taalam for a long time gives a aural tradeoff creating mismatch in my ears. It happened bit noticeably in varAli and also prior to neraval in KHaraharapriya
Aditya is blessed for sure
----------------------------
# His voice is very masculine and there was no sag at all . His energy and confidence is omnipresent . He spoke for just few minutes saying at the end of jaganmohini that this concert venue and city is his home town and for many years he would just play basketball and participate in few competitions .When he spoke that voice did have the americanized slang but when he sang in thamizh , sanskrit , telugu or kannada i could not notice any musical shortcoming at all and that american slang never came in.
#His posture is always straight to the microphone and he presented in a truly non ethnomusical fashion with no excess theoretical watertight sangathis . There was free flow and there was definitely manodharmam in his concert.Also there was a conscious choice where he covered in all languages from his mother tongue kannada to his non native telugu,sanskrit and thamizh .Also his takaju thakadimi in the tillana or during huseni came up musically intact with his masculine ganeer voice.
Aditya Prakash is going to straddle in two worlds - carnatic and band. HOw much of core carnatic that he would retain is some thing for all of us to notice as he moves along in his other genre the band. best wishes to this team , they have a dallas tomorrow and next week Columbus and Bay Area (Attn Mahavishnu)concert during subsequent week.
Overall an excellent concert for 3 hours and 10 mins.
-
Rsachi
- Posts: 5039
- Joined: 31 Aug 2009, 13:54
Re: Aditya Prakash@Los Angeles On Nov 11th,2016
Rajesh,
Here is the famous Kanakadaasa song by Pt. Venkatesh Kumar:
https://www.youtube.com/shared?ci=wK1nuJ2VOcM
Lyric and translation (courtesy ISKCON) :
Toredu Jivisabahude Kannada Song Lyrics with its English Translation
toredu jIvisabahude hari ninna caraNava
baride mAtEkinnu aritu pELuvenayya
karapiDidennanu kAyO karuNAnidhe
tAyi taMdeya biTTu tapava mADalu bahudu
dAyAdi baMdhugaLa biDalu bahudu
rAya munidare rAjyava biDabahudu
kAyajapita ninnaDiya biDalAgadu
oDalu hasidare annava biDabahudu
paDeda kShEtrava biTTu horaDalubahudu
maDadi makkaLa kaDege tolagisi biDalubahudu
kaDaloDeya nimmaDiya GaLige biDalAgadu
prANava pararige bEDidare koDabahudu
mAnAbhimAnava taggisabahudu
prANadAyakanAda AdikEshavarAya
jANa shrIkRuShNa ninnaDiya biDalAgadu
Meaning:
Hari, who can live happily (jIvisabahude)
leaving (toredu) your grace (ninna caraNava)
No boasting (baride mAtEkinnu),
saying (pELuvenayya) with my experience (aritu)
Good Samaritan (karuNAnidhe),
protect (kAyO) me (ennanu) with your helping hand (karapiDidu)
Meditation of God can be done (tapava mADalu bahudu)
leaving (biTTu) parents (tAyi taMdeya)
can give away (biDalu bahudu) relatives/friends (dAyAdi baMdhugaLa)
If king (rAya) got angry (munidare),
can leave (biDalu bahudu) that state/country (rAjyava)
O God I can not leave (biDalAgadu) your feet (ninnaDiya),
who made me to born (kAyajapita)
can leave off (biDAbahudu) food (annava)
even in hungry (hasidare) stomach (oDalu)
can go out (biTTu horaDalu bahudu)
of holy place (paDeda kshEtrava)
can quit (tolagisi bidalu bahudu)
the binding of family (wife and children)
Owner of Ksheerasagara (kaDaloDeya),
I can not leave (biDalAgadu) YOU (nimmaDiya)
even for a moment (ghaLige)
Ready to die (prANava koDabahudu)
for others (pararige) if they want (bEDidare)
Honour/self-respect (mAna-AbhimAna)
can be reduced (taggisabahudu)
Adikeshavaraya, who can give us life (prANadAyakanAda)
Shri Krishna, Supreme(jANa),
I can not leave (biDalAgadu) your feet (ninnaDiya)
Here is the famous Kanakadaasa song by Pt. Venkatesh Kumar:
https://www.youtube.com/shared?ci=wK1nuJ2VOcM
Lyric and translation (courtesy ISKCON) :
Toredu Jivisabahude Kannada Song Lyrics with its English Translation
toredu jIvisabahude hari ninna caraNava
baride mAtEkinnu aritu pELuvenayya
karapiDidennanu kAyO karuNAnidhe
tAyi taMdeya biTTu tapava mADalu bahudu
dAyAdi baMdhugaLa biDalu bahudu
rAya munidare rAjyava biDabahudu
kAyajapita ninnaDiya biDalAgadu
oDalu hasidare annava biDabahudu
paDeda kShEtrava biTTu horaDalubahudu
maDadi makkaLa kaDege tolagisi biDalubahudu
kaDaloDeya nimmaDiya GaLige biDalAgadu
prANava pararige bEDidare koDabahudu
mAnAbhimAnava taggisabahudu
prANadAyakanAda AdikEshavarAya
jANa shrIkRuShNa ninnaDiya biDalAgadu
Meaning:
Hari, who can live happily (jIvisabahude)
leaving (toredu) your grace (ninna caraNava)
No boasting (baride mAtEkinnu),
saying (pELuvenayya) with my experience (aritu)
Good Samaritan (karuNAnidhe),
protect (kAyO) me (ennanu) with your helping hand (karapiDidu)
Meditation of God can be done (tapava mADalu bahudu)
leaving (biTTu) parents (tAyi taMdeya)
can give away (biDalu bahudu) relatives/friends (dAyAdi baMdhugaLa)
If king (rAya) got angry (munidare),
can leave (biDalu bahudu) that state/country (rAjyava)
O God I can not leave (biDalAgadu) your feet (ninnaDiya),
who made me to born (kAyajapita)
can leave off (biDAbahudu) food (annava)
even in hungry (hasidare) stomach (oDalu)
can go out (biTTu horaDalu bahudu)
of holy place (paDeda kshEtrava)
can quit (tolagisi bidalu bahudu)
the binding of family (wife and children)
Owner of Ksheerasagara (kaDaloDeya),
I can not leave (biDalAgadu) YOU (nimmaDiya)
even for a moment (ghaLige)
Ready to die (prANava koDabahudu)
for others (pararige) if they want (bEDidare)
Honour/self-respect (mAna-AbhimAna)
can be reduced (taggisabahudu)
Adikeshavaraya, who can give us life (prANadAyakanAda)
Shri Krishna, Supreme(jANa),
I can not leave (biDalAgadu) your feet (ninnaDiya)
-
rajeshnat
- Posts: 10144
- Joined: 03 Feb 2010, 08:04
Re: Aditya Prakash@Los Angeles On Nov 11th,2016
Just forgot to mention Aditya Prakash is also a mrudangam student .His guru is Neyveli Narayanan. I am not sure if he is continuing.Kudos to all the gurus of Aditya who are across in india and usa.
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rshankar
- Posts: 13754
- Joined: 02 Feb 2010, 22:26
Re: Aditya Prakash@Los Angeles On Nov 11th,2016
Thank you for that review, Rajesh! Did you run into Vinod by any chance?
Vid Aditya Prakash comes from a family steeped in art. His mother, Smt. Viji Prakash, and his sister, Ms. Mythili Prakash are superb bharatanATyam dancers.
He's accompanied his sister as a vocalist for her performances - the combination of his deep, masculine voice and her feminine grace is fabulous to watch/listen!
Vid Aditya Prakash comes from a family steeped in art. His mother, Smt. Viji Prakash, and his sister, Ms. Mythili Prakash are superb bharatanATyam dancers.
He's accompanied his sister as a vocalist for her performances - the combination of his deep, masculine voice and her feminine grace is fabulous to watch/listen!
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CRama
- Posts: 2939
- Joined: 18 Nov 2009, 16:58
Re: Aditya Prakash@Los Angeles On Nov 11th,2016
Rajesh, Very happy that you got a chance to hear Aditya Prakash in LA. Yes. he is a very fine singer coming in the SSI lineage. I heard two concerts of him last year- once in Vani Mahal and once in KGS. I posted a review in this forum also. I would love to hear the RTP in Kannada. How long was the pallavi. There are many postings in YTof his CM and band music. Wish he devotes his full time and energy to CM.
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rajeshnat
- Posts: 10144
- Joined: 03 Feb 2010, 08:04
Re: Aditya Prakash@Los Angeles On Nov 11th,2016
CramaCRama wrote:I would love to hear the RTP in Kannada. How long was the pallavi.
I am glad you ask the same question that I usually ask. I have already put that in the first post
RTP in kannada for 28 mins.
Extending Aditya Prakash logic , the pallavi line is in thamizh , the pallavi is in kannada and the pallavi length is in english
