Archive for » 2013 «

The Sari-Clad Jazz Diva


lambert-hendricks-ross-492-lIn 1962, Lamberts, Hendricks and Ross were the most famous jazz vocal group in the world. They’d made their reputation launching bop classics at the audience with the speed of a rocket. Their trademark style was called vocalese: they sang the intricate solos that instrumentalists usually played on these songs, in quicksilver three-part harmony. For four years from 1959, they were voted the best jazz vocal group by Downbeat’s readers.  When Annie Ross left the group in 1962 because of health and personal problems, Jon Hendricks and Dave Lambert had to quickly find a replacement so that they could honour their concert commitments. Somewhat improbably, Ross’s substitute was a sari-clad woman: Yolande Bavan, a Sri Lankan Burgher as the descendents of the island’s former Dutch colonisers are known.

album2A few months later, Lambert, Hendricks & Bavan: Recorded Live at Basin St. East hit the stores. In the liner notes, producer George Avakian recounted how Bavan had come to the attention of her new band mates. “[Dave and Jon] met Yolande while she was in London and found that she was a fan of the group’s and had learned several of their intricate arrangements just for fun,” he wrote. “When a serious illness incapacitated Annie Ross a week or two later toward the end of their European tour, Dave and Jon returned to the States without her. After starting their U.S. engagement, they decided they had to take a chance on Yolande. She arrived just in time for a concert at Union College in Schenectady, New York.”

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‘She Sold a Million Records’

Mexican magic by KEN MAC by tajmahalfoxtrot1

temp2A few weeks ago, Christine Holmes left a note on my site that added more details to this article:

“Beryl Templeman was my mother-in-law. She died at age 62. Usually at private parties she sang for Aly Khan, Maharajah of of Cooch Behar and Nizam Hyderbad while in the East. The actor Jack Hawkins urged her to join ENSA. By then, she had already made over 100 records for HMV and had her own radio show with All India Radio.

“She was awarded the Burma Star by the Duke of Edinburgh. She also worked for the American Forces Radio Network in Germany.

“Returning from India she performed at the London Palladium with Ted Heath, toured with Roy Fox and appeared regularly with Jack Jackson at the famous Churchill’s Club in London and at that time was sharing a flat with her friend, Pearl Carr.
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Hindi Films, Angrezi Lyrics

The night before he was shabbily removed as editor of the Hindu, Siddharth Varadarajan sent me a link to to this tune by Zohra Bai from the 1944 film, Jeevan. It’s called My Dear, I Love You. As Siddharth noted, it’s “slightly weird but quite charming”. It got me thinking about Hindi film songs that had lyrics in English. Here’s an arbitrary selection.

Perhaps the first Hindi film song in English was this rendition of the Longfellow poem A Psalm of Life by Shanta Apte. It’s from the 1937 film Duniya Na Mane.

In 1975, Preeti Sagar sang My Heart Is Beating in Julie. The music was composed by Rajesh Roshan and the lyrics were by Harindranath Chattopadhyay.

This song by Mohammad Rafi never actually made it into a film — it was only released on record. It’s a version of Hum Kale Hai Tu Kya Huwa Dilwa Hai, from the 1965 thriller Gumnaam. The music is by Shankar-Jaikishan and the lyrics are by Harindranath Chattopadhyay.

Songs of Fate

This piece appears in Mint-Lounge today.

 

Last October, as Portugal’s President Anibal Cavaco Silva addressed his recession-battered compatriots on their country’s republic day, he was interrupted by a beautiful song. It floated across the 18th-century courtyard in which the event was being held, sending the President’s bodyguards into a state of confusion. They decided to shuffle Cavaco Silva off to safety. It was the start of Ana Maria Pinto’s career as Portugal’s most melodious public protestor.

With the TV cameras and press photographers swarming around her, the 32-year-old opera singer, wearing a black top and a red backpack, defiantly belted out an aria. In a nation lacerated by cuts to social-security schemes, Pinto’s ballad struck a chord. It seemed to articulate the belief of millions of Portuguese citizens that the austerity programme designed to revive their economy was actually making life more difficult, especially for the aged and the poor.

Belém AcordaiSince the much-hated troika—the European Commission, the European Central Bank and the International Monetary Fund—forced Portugal’s government to tighten its belt in May 2011, prices and taxes have soared. So has the unemployment rate, which stands at almost 17%. Wages, though, have fallen, so low in some sectors that call-centre jobs from India are being relocated to Portugal. “We feel betrayed,” Pinto said. “The government made false promises. There are no conditions in Portugal now to support a life. If you lose a job, you have to migrate. Everything is being privatized and these enterprises don’t follow moral principles—their point is only to make money for themselves.”

It isn’t common for classical musicians to insert themselves into the heart of political movements, but Pinto came to her new role after a great deal of reading and reflection. When the Portuguese economic crisis erupted in 2010, two years after the implosion of leading US financial institutions, Pinto was making a comfortable living in Berlin, a city with a vibrant opera scene. After months of tracking the troubles from afar, the soprano decided to return home. “I felt I needed to do something,” she explained. “I also wanted to be connected to my people: that’s what feeds your soul.”

At a rally in September last year, Pinto was deeply moved to realize that the thousands of strangers around her shared her anxieties about the mess in which Portugal was embroiled. She was also stirred by a placard held aloft by a friend. “Acordai,” it said—Wake Up. It was a call to action with a resonant history: Acordai is the title of a ballad composed by Fernando Lopes-Graça, a spirited opponent of the dictatorship that ruled Portugal for 42 years, until 1974. “I immediately thought I’d like to sing it at a demonstration,” Pinto said. Shortly after, she created a Facebook event, explaining what art and revolution meant to her, and asking her countrymen to join her in a square in Lisbon to sing the anthem. Five hundred people showed up. The Acordai movement was underway.

Read the complete  piece here.

 

 

JJ Rodriguez, RIP

38 Tango Demo 1

For more than 50 years, Joao Joaquim Rodriguez and his school, Cours de Danse, have been teaching Bombay to step out in style. Long before the Latin dance revival, Rodriguez, was showing eager aspirants how to do the cha cha, the mambo, the jive and every other style you can think of, working from a wooden-floored studio in Colaba’s Sethna House.
The excellent dance writer Suhani Singh just messaged to say Rodriguez waltzed off to the Great Ballroom in the Sky this morning. Here’s a piece she wrote about him in Time Out a few years ago. Click here.
To accompany him on his final journey, here’s the Rangoon Gymkhana Club Orchestra performing Melancholy Baby.
Melancholy Baby by naresh fernandes

Category: Bombay

Singing for the Pope, 1964

cong1

Eucharistic Congress recordings by tajmahalfoxtrot1

At 5.15 pm on December 2, 1964, Bombay poured into the streets to greet a famous visitor: Pope Paul VI. “Pilgrim of peace gets tumultuous welcome: 15-deep cheering crowds pack streets,” said the Times of India’s headline. Both Prime Minister Lal Bahadur Shastri and Vice President Zakir Hussain were on the tarmac at Santa Cruz airport as the Pope stepped out of the plane, joining his hands to say “Namaste”.  As his open Ford convertible made its way south, passing through streets decorated with archways and bunting, more than a million people of lined his route.
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Teddy Weatherford in Shanghai

Click on the image to enlarge it.

Before the African-American pianist Teddy Weatherford arrived in Bombay in 1935, he was a legend at the Canidrome Ballroom in Shanghai, a city whose nightlife, as evident from the clip above, was vibrant and had a famously notorious reputation across the world.

Shanghai was a thriving jazz centre, providing work for scores of bands from the US, Europe and across Asia. “Shanghai flames with millions of flashing jewels at midnight,” boasted the All About Shanghai guidebook, from which this ad is reproduced. “Joy, gin and jazz. There’s nothing puritanical about Shanghai.”

This recording is from the Marco Pacci collection. Weatherford plays piano and sings on this track. For more Weatherford recordings, click here.

How About You by Teddy Weatherford by Taj Mahal Foxtrot

Fado Bombaim

One night on a recent trip to Lisbon, I heard a flute playing somewhere near the flat in which I was staying. I followed my ears and was delighted to find myself at a performance by Rao Kyao, whom I had seen in Bombay in the early 1990s.

Rao_Kyao_2Rao, who plays the saxophone and the flute, has been a frequent visitor to India — and to Bombay. The first time he came to India was in 1980, to perform at the Jazz Yatra. He became so entranced by the sound of the bansuri that he became a student of Raghunath Seth and spent a lot of time in Bombay over the next decade.

He used his lessons to enhance the sonic textures of fado, the emotion-drenched song-form beloved in Lisbon, adding the bansuri to the standard ensemble of Portuguese and Spanish guitar. He has also attempted to foreground fado’s Eastern influences, especially its Arab and Indian traces. This tune, with the vocalist Deolinda Bernardo, is called Canta-se o Fado.

About a decade before this track, though, Rao Kyao recorded this tribute to the city that decisively changed his musical direction — Bombaim.

Here, meanwhile, is a diary I wrote for Outlook about my trip.

 

Iraq and Roll: Bollywood’s Jewish Sounds

A version of this piece first appeared in Time Out Mumbai.

The dulcet ring of the oud is impossible to miss on the soundtrack of Yahudi, Bimal Roy’s unlikely Bollywood historical made in 1958 about the persecution of Jews in ancient Rome. The background score, composed by Shankar and Jaikishan, has a vaguely Middle Eastern feel to it and as the plot twists and turns, it often falls to the versatile Arabian stringed instrument to signal the swirling emotions. As massacres are ordered, betrayals ensue and Dilip Kumar falls in love with Meena Kumari, the oud sobs, sighs and sings to enhance the mood on screen. It could easily have descended into kitsch. Perhaps the reason it didn’t was the fact that the man plucking the strings, Isaac David, was well acquainted with Middle Eastern music. David was Jewish himself and in the early years of the last century, he had polished his art by playing with an ensemble in Mumbai that recorded four discs of Iraqi Jewish tunes for the Hebrew Record label.

shirhodu-front-bSome of those tunes can be heard on a collection called Shir Hodu: Jewish Song from Bombay of the ’30s, which offers a fascinating reminder of the city’s cosmopolitan heritage. The 15 archival tracks on the album have been painstakingly put together by Sara Manasseh, a Bombay-born Iraqi Jewish ethnomusicologist who now lives in London. During the 1930s, Bombay was “a musical kaleidoscope”, Manasseh says in her liner notes, and the pieces included music and Jewish prayer chants in Hebrew.

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The Empress of Park Street

Detail from front cover of Explorations album.

Gimme Music by Pam Crain by tajmahalfoxtrot1

pam_0001 Pam Crain, who passed away on Aug 14, was one of the finest jazz musicians India has produced.  On stage and off, she displayed the generosity that is such an essential characteristic of jazz. Here’s what the writer and filmmaker Ruchir Joshi said on his Facbeook page: “Just heard Pam Crain moved on down the line. RIP Pam. Used to be awed watching her sing. Then, somehow got to know her and [her husband] Don [Saigal] when I was a teenager and I’d go to their house near the St.Xavier’s back gate [in Calcutta] and she’d lend me precious albums without any questions. “Just bring it back when you’re finished listening. Don’t add to the scratches.” Some unknown kid walking away with her rare jazz vinyl and that’s all she ever said to me.

The adman and musician Stanley Pinto had these recollections about the diva:

“In 1961 I was playing in a band at the Hotel Nataraj on Marine Drive, Bombay. One night, a European couple sitting at the far end perked up when we played a jazz standard, clapped, and started sending us one request after another for jazz ballads and songs. more…

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