Maestro ilaiyaraaja news & titbits

[app_engine]

Nice report from The Hindu paper

Dadasaheb Phalke awardee Balachander said that he came to the function mainly for the sake of Ilaiyaraja. “There's a family wedding today, but I am here to be with Ilaiyaraja. Raja enhances the beauty of a film with his haunting music. I have worked with M. S. Viswanathan and when I wanted to try a different composer, I sought his permission and approached Ilaiyaraja for ‘Sindhu Bhairavi.' When the song ‘Padariyein Padipariyein' was to be set to tune, he asked me for a day's time. The next day he was ready with the tune — a folk song with a blend of Carnatic music; only someone like Ilaiyaraja could come up with such a composition...."

[skr]

Kv ,
Yeah I could have perhaps edited a bit. Oru unarchi.
However i feel he will understand about ER concert , not sure about the new age IR Aadhangams. The main crux is there in those 7 points which i hope he will see.
Gowtham has made a post "I'm going to live a dream. Make a dream come alive. ILAYARAJA sir.." , will try to post an edited version in the comments section.

App ,
Add Suresh Menon to the list.
He is someone who worked with ARR in Puthiya Mugam and now gonna work with IR in his next venture.

[venkkiram]

Curiosity question - how many TF directors have come to work with IR AFTER they did a movie with ARR?

And who are they?

(To my knowledge, there is none...the directors who left IR and went to ARR never came back, even when ARR was not available or wasn't interested anymore to work with their duds, they went to Deva / VS / GVP kinds but never back to rAsA. Same case with people who started with ARR.)

That way, is Gautam taking a rare step

Ofcourse he never "left IR for ARR" or "started with ARR" but still coming to IR after working with ARR...

Outside of TF, one director who already done this : RGV

[app_engine]

App ,
Add Suresh Menon to the list.

adhu innum uRudhi illaiyE? Someone posted here that he is into restaurants...and not in movie field anymore.

So, it could be some other mEnOn that IR meant


Venki,
Yes, RGV is already well-known (rangeelA to shivA 2006)...but it was not TF

[app_engine]

True, the tunes generally gush out of the man's finger tips... but my concern, though being about the tunes as well, is more pertaining to the orchestration.

Actually this is not of concern at all

Just look at the amazing orchestration for cheeni kum (or pA, for a moment forgetting the melody part).

Weren't they "hip" enough for even Mumbai crowds? If he freaks out like cheeni kum / mudhi mudhi / jAnE dO nA, that should be catchy enough IMO...

Rest of the things (standard of chorus, vocal harmony kashamushA , bass-boosting etc) will probably be managed better, thanks to better budget. We had seen such things happen on a different scale for MR compared to others even in 88-91 (or the kAlApAni / guru later on, that had funds).

[V_S]

True, the tunes generally gush out of the man's finger tips... but my concern, though being about the tunes as well, is more pertaining to the orchestration. Now, I don't think he writes the entire score/orchestration during the session with the director. It's probably only the tunes that get okayed by the director in these sessions. The orchestration probably then happens in the later phases.

நான் சென்றபோது ஏதோ எழுதிக்கொண்டிருந்தார். அவர் எழுதிக்கொண்டே இருக்கிறார். எழுதிக்கொண்டே இருக்கிறார். வேகமாக எழுதுகிறார். கோபத்துடன் எழுதுகிறாரா, பாசத்துடன் எழுதுகிறாரா, யாருக்கு எழுதுகிறார், என்ன எழுதுகிறார், எதுவும் தெரியவில்லை. நான் உட்கார்ந்துகொண்டே இருக்கிறேன். மெதுவாக எனக்குக் கோபம் வரத்துவங்குகிறது. ”என்ன இது? நான் ஒரு டைரக்டர்..! என்னை வரச்சொல்லிவிட்டு இவர் எழுதிக்கொண்டிருக்கிறார்..! அவர் சொந்த விஷயத்தை எழுதுவதற்கு என்னை எதற்கு வரச்சொன்னார்? ஒரு பத்து நிமிடங்கள் கழித்து வரச்சொல்லியிருக்கலாமே?” பக்கம் பக்கமாக வேகமாக எழுதியவர், நிமிர்ந்து ‘புரு...’ என்றார். அவர் கூறியது ஒரு நான்கு அடி தள்ளி அமர்ந்திருந்த என் வரைக்கும்தான் கேட்டிருக்கும். ஆனால் வெளியில் இருந்து ‘புரு’ என்கிற ஆறடி உயர ‘புருஷோத்தமன்’ வந்தார். அவர்கள் இருவருக்குள்ளும் அப்படி ஒரு Intimate communication..! Sheets எல்லாம் அவரிடம் கொடுத்துவிடுகிறார். ‘இதை Distribute பண்ணிடு’ என்கிறார்.
”சரி..! அவர் வேலை முடிந்தது..! இனி நம் வேலைக்கு வருவார்” என்று நினைத்தேன்.
‘என்ன சார்..?”
‘அது போய்டுச்சுய்யா’
'சார்.. ..'
‘அதுதான்.. அந்த first பாட்டு..! போய்டுச்சுய்யா..’
‘சார் .. எந்த Scene?’
‘யோவ்..! அதான் உன் படம் சொல்லிடுச்சேய்யா..! எந்தெந்தப் பாட்டு எங்கெங்க வரணும்னு’
‘அப்டியா சார்?’
‘ரொம்ப நல்லா வந்திருக்குதுய்யா.. கேளு..’ என்றவர், பாடத் துவங்குகிறார்.. ‘தன்னனன தான தான தான நான நா…. (தென்றல் வந்து தீண்டும்போது)’. அவர் போட்டிருந்த டியூன் எனக்குப் பிடிக்கவில்லை.
‘என்னய்யா? என்னய்யா யோசிக்கிற? கேளு..!’ என்றவர் மறுபடி ‘தன்னனன’ பாடத் துவங்கினார்.
அப்போதான் தெரிகிறது

My thought about this whole issue..

Even though the director approves the main melody, Maestro immediately writes the orchestration part for every instrument. Nasser's above article proves that. I believe Maestro is maestro and genius only because of this spontaneity. That is a gift, not many has. If he thinks twice (except if the director has not approved the tune), then that becomes a profession and not his life. I know, out of love for him and his music we wanted him to be back. He is always there, and many fail to notice that which is the biggest pain. He is the best judge and he has never failed anyone. There are numerous examples right from 70s till Hey Ram till today which we already know. In the case of ASK, even the director would have been clueless what Maestro is going to do after he showed the entire film. Sameway for Dhoni. Imagine those three songs in ASK and how it fitted the film and the picturization. Can anyone think of even attempting that? When he opted for musicians from Hungary for the BG score of the film, many would have thought why? We witnessed its effect in the recent show. Sameway for Nandalala, Pazhassi Raja and the recent SRR. No composer is as versatile as our Maestro. He knows what to give and he also understands every minute things going around, as he has one fine example at his home itself (yes, I mean Yuvan). I sometimes feel we are keeping GVM at a higher pedestal even compared to Maestro. May be his film songs would have been popular and bigger hits, by that, I believe we should not estimate or belittle or fear our Maestro's capability based on that (IMHO). Have we not seen much bigger hits than these? He is just few films old and our Maestro is a Monster. Innum avar ithuvaraikkum pOtta paattayE namma life'la muzhusa ketka mudiyuma theriyala. NaamaLe namma maestro'va purinjikalaina vEra yaar sir purinchipaanga? I know, even this news is true and Maestro scores big, there would still be lot of complaints and concerns. Because only with Maestro we can complain, it is granted, having given his life to music. Sorry if my post is harsh, but I am not happy with the whole issue.

[Sunil_M88]

My thought about this whole issue..

Even though the director approves the main melody, Maestro immediately writes the orchestration part for every instrument. Nasser's above article proves that. I believe Maestro is maestro and genius only because of this spontaneity. That is a gift, not many has. If he thinks twice (except if the director has not approved the tune), then that becomes a profession and not his life. I know, out of love for him and his music we wanted him to be back. He is always there, and many fail to notice that which is the biggest pain. He is the best judge and he has never failed anyone. There are numerous examples right from 70s till Hey Ram till today which we already know. In the case of ASK, even the director would have been clueless what Maestro is going to do after he showed the entire film. Sameway for Dhoni. Imagine those three songs in ASK and how it fitted the film and the picturization. Can anyone think of even attempting that? When he opted for musicians from Hungary for the BG score of the film, many would have thought why? We witnessed its effect in the recent show. Sameway for Nandalala, Pazhassi Raja and the recent SRR. No composer is as versatile as our Maestro. He knows what to give and he also understands every minute things going around, as he has one fine example at his home itself (yes, I mean Yuvan). I sometimes feel we are keeping GVM at a higher pedestal even compared to Maestro. May be his film songs would have been popular and bigger hits, by that, I believe we should not estimate or belittle or fear our Maestro's capability based on that (IMHO). Have we not seen much bigger hits than these? He is just few films old and our Maestro is a Monster. Innum avar ithuvaraikkum pOtta paattayE namma life'la muzhusa ketka mudiyuma theriyala. NaamaLe namma maestro'va purinjikalaina vEra yaar sir purinchipaanga? I know, even this news is true and Maestro scores big, there would still be lot of complaints and concerns. Because only with Maestro we can complain, it is granted, having given his life to music. Sorry if my post is harsh, but I am not happy with the whole issue.

+1, Absolutely, Bang on, You've hit the nail on the head, 100%, Top banana et al. the other phrases that indicate the superiority of the highlighted statement above.

Well said, V_S sir!

[raja_fan]

I have another fear..

Sonnaa adikka varuveenga ( already I have a lot of good name here ).

irundhaalum solren..

Few directors who had established with other MDs , when they came to IR they failed or disappeared..

1. Cheran - He gave memorable hits with Deva. The films he did with IR - Desiya Geetham and Mayakkannadi both bombed. After Mayakkannadi, I am not sure if he ever was successful as a director.

2. Agathiyan - After a series of hits with Deva, his only film with IR was Kathal Kavithai. Catchy melodies came out, but the film was a flop. After this film, he disappeared.

3. Myskkin - His latest was Nandalala with IR. We know the fate of the film.

We know that all these were not due to IR, but still is there any JINX ? I am afraid of GM now..

[Bala (Karthik)]

Sureshji, I was expecting this response from you! . Enna, ungalukku contentment jaasthi, enakku konjam kammi! (like vadivel says, avar isai avalo kEtturkkOmla, andha poorippu! )

+1

We're (adhaavadhu, naan) simply trying to send a smoke signal that there's a bunch of us who's willing to see him explore more of this kind and who are not looking at cutting edge synth sounds/loops.

The problem is that when he moves away from acoustic percussion, what we get is NOT cutting edge sounds. Appadi irundhalavadhu parava illaye-ngaren....

Moreover, i will vehemently disagree with the notion that "sound la enna irukku, idea dhaan mukkiyam" by citing two small examples - "Aayiram thaamarai Mottukkale", "Ilamai Idho idho"

[Bala (Karthik)]

IMVHO, the most recent example of how i want his songs to *sound* is "Mudi Mudi" (contemporary mod songs la solren) - perfect. Naan Kadavul domain ellaam vera range, absolutely no complaints there. Jaiganes sonna madhiri "Om Sivoham" ellaam "summa adhirudhilla" stuff