Tanmoy Bose: Balancing tradition and experimentation

Friday, 14 March 2014 00:00 - - {{hitsCtrl.values.hits}}

A noted Indian percussionist and tabla virtuoso, Tanmoy Bose, wears multiple hats as a musical producer, film actor, composer and restaurateur. As a musician, he has performed extensively with some of the greatest exponents of Indian Classical Music all over the world. He has collaborated with Pandit Ravi Shankar, Anoushka Shankar and Padma Bhushan Ustad Amjad Ali Khan, and still found the time to create the musical group, Taaltantra in 2002. This experimental band has emerged as one of the foremost world music bands, performing in the Mid-East, North America, Europe and India. Further, he is acknowledged as one of the foremost musicians to have initiated folk songs and tribal drumming into a band format. Besides this, he has worked on numerous projects worldwide. He has been a participating musician on three Grammy winning recordings – ‘Concert for George’, ‘Full Circle’ and ‘Living room sessions – Part one’. He has been successfully composing music for national award-winning feature films and various other documentaries and ballets. The musical genius is slated to perform at the Museaus College Auditorium on 22nd March 2014 at the invitation of Standard Chartered Bank - Sri Lanka. In this interview, Tanmoy Bose shares his thoughts on his passion for music: Q: Having undergone rigorous training in Indian Classical music for almost 20 years, what inspired you to explore fusion music? A: There came a point when I felt the need to grow as a musician and Pandit Ravi Shankar played a crucial role in supporting my dreams. He encouraged me to explore new forms of music. ‘If you aren’t exploring, you’re not growing as a musician!’ he would often declare. At the same time, many counselled me against stepping out of the hallowed realm of classical music. I think they were afraid that I would give up my identity as a classical musician. As far as I was concerned, the world of music was too exciting for me not to explore its boundaries. The fact remains that Indian music does form the basis of jazz, Latin and contemporary music. Pandit Ravi Shankar, Yehudi Menuhin and the band Shakti had already demonstrated how the classical and the modern could be harmonised. Indian Classical Music is unique but leaves little scope for improvisation, forcing musicians to conform to tradition. Perhaps, because of my extensive travels abroad, I came into close contact with world music, which sowed in me a seed of exploration. Once this desire became all-consuming, I began my foray into experimental music. Q: In your view, does this desire to break away from tradition dilute the guru-shishya or teacher-student pivot on which classical music is taught? A: The guru-shishya relationship has to be respected as it sets a strong foundation for a musician’s success. Overnight singing prodigies burn out quickly because they do not have the years and years of dedicated learning under their guru to support them. I embarked on experimentation only after almost two decades of being steeped in classical music under the tutelage of my gurus. But I believe that a

good shishya takes his guru’s legacy forward by adding his own imagination, creativity and value. I believe that as long as a musician performs, he or she needs to add value to their performance. Q: How important are physical surrounding in encouraging musical talent? A: In my view, the city where you are experimenting and growing in is crucial for shaping your creative expression. In India, I would say Kolkata and Mumbai are the two places where liberal, appreciative, encouraging and knowledgeable audiences exist. The art, theatre and film movements in both Maharashtra and Bengal reflect this creativity. Q: Gone are the days when the only avenue for publicity for musicians was a rare photograph in a newspaper. Today’s explosion in mass communications backed by advanced IT solutions has become a game changer for musicians looking to publicise themselves. How do you perceive the change? A: Marketing yourself has become a whole lot easier if you have the finances and the understanding of social media platforms such as YouTube. At the same time, this is leading to overexposure and lack of exclusivity. The uniqueness of musicians is missing, as access to recordings of other musicians makes plagiarism or copycat music a serious problem. Q: You accompany Anoushka Shankar on her shows. How do you view the legacy of Pandit Ravi Shankar being carried forward? A: Anoushka’s talent has been evident since her first concert. She is not only a gifted and thinking sitar player, but also a brilliant pianist. Unfortunately, she is being unnecessarily judged and compared to her father, Pandit Ravi Shankar. Fresh from the release of her newest album this year, Anoushka is going places and I am personally expecting her to touch newer heights in the future. Q: The experimental factor still remains elusive in the indigenous musical culture of Sri Lanka. How can the younger generation change this? A: Change has to be brought about by well-established musicians. One of the ways would be to bring tribal or regional music into the mainstream. Folk music has deep traditions and these could be fused with mainstream music for a new sound. This move would need strong advocates before the public at large accepts it. Also, parents play a big role in exposing their children to different musical sounds, as this can lay the foundation for a deep fascination with music and eventually lead to exploring and experimenting with music. Interestingly, there isn’t much influence of Indian Classical Music in Sri Lanka despite the physical proximity of our two nations. Q: Your performance on 22 March in Colombo’s Musaeus College Auditorium will be your second performance in two subsequent years. What were your impressions of your first performance in Sri Lanka in March 2013? A: I was pleasantly surprised to find an appreciative audience that seemed so knowledgeable about Indian music. Although my show was not a purely classical one, it still seemed to strike a chord with the audience. I had the fortune of meeting reputed Sri Lankan musicians and dancers during my visit, which was very enlightening. Ironically, I was to visit Colombo 20 years ago for a classical music performance, but it never happened. I had the good fortune of meeting Sri Lanka’s foremost exponent of Indian classical music, Pandit Amaradeva, last year. Q: Your last show featured your fusion experimental band, Taaltantra, which presented a synthesis of various instruments to the audience. What can Colombo audiences expect to hear at your upcoming performance? A: This year I am excited to be bringing a Baul singer along with me and look forward to introducing the audience to the sounds of Baul – Bengal’s answer to Sufi music. Bauls are traditionally travelling minstrels and my creation, ‘Baul and Beyond’, offers a communion of jazz, Indian Classical Music, various indigenous drums and percussion along with the timeless lyrics of the great Sufi Saint Lalan Fakir. The interweaving of instrumental music and vocal singing opens up a new window in world music. I will also be bringing a talented musician from Chennai who is adept at both the mridangam and the ganjeela.