(This is the second part of the BBC documentary Bombay and Jazz. I wrote about the first part last fortnight here.)
Quite improbably, the maestro mispronounces his own name. “Hi,” he calls in an accent that emerges from the interstice between Mylapore and Miami. “I’m Shank-er.”
Jazz, that expression of iconoclastic individualism, is a lifelong quest for your own voice. Jazzmen are obsessed with finding a distinctive way to parse a phrase, with creating a characteristic way to sail just over the beat or under it, with blowing out notes in a tone that’s so unique the music proclaims: Behold, it is I.
Improvisational musician L. Shankar found the song of his soul early. The son of violinist V. Lakshminarayana Iyer, Shankar was a child prodigy. He started vocal lessons at two, began violin at five and gave his first concert at seven. In 1975, aged 25, he co-founded Shakti with British guitar player John McLaughlin and tabla legend Zakir Hussain. Even if its three albums didn’t quite set the global charts afire, Shakti was a raging critical success. Shankar’s compositions were hailed for their maturity, for their assurance, for how effortlessly they projected his very own voice.
Unfortunately, he’s been stuttering in the Babel tower ever since.
On New Year’s Day in 1992, a few hundred Bombay fans gathered in the very new Priyadarshani Park on Nepean Sea Road to listen to an eclectic bunch of musicians play a concert that was being recorded for of a BBC documentary. It would later be titled Bombay and Jazz.
The film was directed by the bearded HO Nazareth, a boy from Dadar who had gone on to make his mark in England. In his youth, he’d published a book titled Lobo, with poems like ‘Bombay Gymkhana Grounds’ (“the women wear chandeliers for earrings”) and ‘Warden Road’ (“At Bhulabhai Institute/acquaintances discussed/canvasses, busts/ and brothels in which/they exercised their lust.”)
I was just starting my career at The Times of India and, the day before the event, was assigned to interview the director, whose friends variously referred to him as either “Naz” or “HoHo” because of his initials. I arrived in the lobby of the SeaRock Hotel in Bandra, where the crew was staying, and waited for him in the reception area. No one there was dressed the way I imagined a film director would be. I called up to his room, but there was no reply. I would later learn Hubert Nazareth was actually the scruffy chap in the kurta and chappals I’d seen leaning against the wall. But that discovery would only come the next day. Filled with panic that I wouldn’t have a story to take back, I asked the operator to call the room of any musician who was still in. The first one I found was the beret-wearing maverick, Don Cherry.