Tuesday, December 1, 2015

The Energizing Music makers of Modern, Tamil Cinema.

    Music has been the most vital segment of Indian Cinema.Tamil films have most often hit the highest mark in terms of their musical glory.Starting from the days of G.Ramanathan,music has occupied the imagination of film makers as the foremost ingredient of the creative order of Tamil Cinema.Even after six decades, a vast number of songs of the last century are eagerly listened to,sung in musical contests and have attracted music composers of the existing generation for a fascinating remix.At the same time, there have stepped into the field,many new faces who are capable of stimulating the musical thirst of the audience, for an exuberant and rewarding experience.This article of my blog proposes to give due credit and appreciation to three music composers who have been distinctly enriching Tamil film music, by their celebrated contribution of songs and musical notes in new style and gusto, with the sole intention of energizing and entertaining the audience.They are Vidyasagar,Baradwaj and Harris Jeyaraj.
    Of these Vidyasagar is the oldest, who started his career in the late Nineteen Eighties with the Tamil film Poomanam. After this Vidyasagar's concentration turned to Telugu and Malayalam films winning quite a few awards particularly for Malayalam films.His most popular and strongest musical scores in Tamil were for Lingusamy's Run and Dharani's Dhil,Dhool and Gilli.He has been the preferred music maker for the films of Arjun such as En Thangai,Jai Hind, Karna, Ayudha Poojai and Vedham. Besides Gilli,his other Vijay movies include Thirumalai, Madhurey. Kuruvi and Kaavalan. With Ajith his films were Ji and Poovellaam Unvaasam.He has also been the favourite of directors like Radha Mohan [Abhiyum Naanum and Mozhi].His other reputed entries include K.V.Anand's Kana Kandein, R.Kannan's Jeyam Kondan and Karu Pazhanaiappan''s Paarthiban Kanavu.
    The other outstanding film known for his musical composition, is the Superstar's Chandramugi.I would have left out some other worthy films in my reference.But it is not the number of films that matters. Vidyasagar is always known for a special kind of rhythm that is closer to our heart beat.His music is rich in speedy energizers like 'Ichuthaa Ichu thaa','Theradi Veedhiyil','Kaadhal Pisaasu'[All from Run}'Kokkara Kokkarakko''Appadi Podu' { both from Gilli,},'Machaan Peru' {Madhurey}, 'Dhevudaa Dhevudaa' {Chandramugi} and unique melodies such as' Poi Solla Koodaadhu' from Run 'Malare Mounamaa'[Karna}'Aasai Aasai' from Dhool,'En Samayalaraiyil' from Dhil 'Neeya Pesiyadhu' from Thirumalai and 'Thathindhom' from Chandramugi.
    What is singularly absorbing about Vidayasagar's music, is the stupendous way of blending instrumental grandeur with vocal wield and the exceptional word clarity of lyrics, in his musical compositions. In other words,he would always see to it that the power lyrics is not eroded by instrumental monopoly.This is how he has amazingly exploited the power of singing of Shankar Mahadevan in songs like 'Aasai Aasai','Neeyaa Pesiyadhu' and 'Machaan Peru Madurey' by creating different moods with the voice magnificence of just one singer.'Neeyaa Pesiadhu' is in fact, one of my life time favourite songs.
    Unlike Vidyasagar,Bharadwaj and Harris Jeyaraj  have shown that their instrumental throb and reach, have a magnetic appeal, at times even to the extent of surpassing lyrical grandeur and vocal excellence.If Bharadwaj is a Saran favorite,Harris Jeyaraj has continued with Gowtham Menon in his journey towards hitting new rhythms of film making.Starting from Saran's first film Kadhal Mannan, Bharadwaj has added incomparable energy in his musical stuff, with songs like''Unai Paarthapinbu' {Kadhal Mannan} 'Satham Illaadha Ulagam Kettein'{Amarkalam}'Nenjuporukkudhu Gemini Gemini' 'Pennoruthi Pennoruthi'{Gemini} and ''Kalakkappovadhu Yaaru'{Vasool Raja MBBS}.He has given us energy packed songs in all the films of Saran.'His ever fascinating melodies are 'May Maasam Thonnuthettil' {Jay Jay}''Ovvoru pookalume'' {Autograph} and 'Unnodu' [Amarkalam} 'Paarthein Paarthein Suda Suda Rasithein' {Paarthein Rasithein}which prove his capacity for lyrical clarity and musical charm.The other notable films of Bharadwaj are Rojavanam,Pooveli and Rjakkoottam. But as a Saran team musician he has never failed to hit the mark in all the films of that juvenile director.He has also got an award for the film Gemini, a Saran hit.
     Harris Jeyaraj who began to enchant the audience by his most popular ''Vaseegara'' sung by Bombay Jeyashri in his first film Minnale,which also happened to be the first film footing of Gautham Menon,continued his exceptional musical magic in the other Gautham Menon hits like Kaakka Kaakka,Vettaiyaadu Vilaiyaadu,Pachaikkili Muthucharam,Vaaranam Aayiram and Ennai Arindhaal. Apart from 'Vaseegara' {Minnale}his melodies like ''Idhudhaanaa''{Samy}''Paartha Mudhalnaale''{Vettaiyaadu Vilaiyaadu}'Unnaale Unnaale'{Unaale Unnaale}''Oru Maalai'' {Ghajini} 'Ennamo Yedho'{Ko} 'Idhayathai Yedho Seidhaai''{Yennai Arindhaal} and 'Aathaadi Aathaadi' {Anegan}are of the rarest kind.Some of his energy packed numbers are 'Rahathulla Rahathulaa' {Ghajini}''Thangaamaari Oodhaari'{Anegan}and 'Adhaaru Udhaaru'{Ennai Arindhaal}
     Harris Jeyaraj has also made an impressive show in Hari's Saamy, in which all the numbers were mega hits.His other Hari films were Kovil and Arul. Shankar who would not think of any one other than A.R.Rehaman for his films,deviated twice to induct Harris Jeyaraj for his films Anniyan and Nanban whose success also depended upon the captivating songs like 'Iyengaaru Veettu Azhage' 'Kaadhal Yaanai''Andangkaakaa  Kondaikaari'and 'Kannum Kannum Nokiyaa'[ all from Anniyan] and 'Enfriendapola Yaaru Machaan','Olli Jelli' [from Nanban].His felicitous musical component enriched the over all quality of films like Ayan, Aadhavan,Gajini,Unnaale Unnaale,Ko Maatraan, Enrenrum Kaadhal,Thuppaakki, Oru Kal Oru Kannaadi and Anegan.
    While the music directors of earlier generation were making miracles in music from the existing raagaas and swarams,the new generation composers keep on exploring the nuances of the human voice and the plausible reach of stringed,wind and percussion instruments in newer dimensions. Moreover,the keyboard in their hands becomes the key to unlock the doors,to a fantasy zone, for a panoramic reach of their auditory imagination for never experienced musical niceties. To put it in a nutshell, it is the freshness of music in a kind of research perspective, that has led Tamil film industry to a hugely exalting proportion.
    Though all the three music composers have struck a note of individuality and charm Harris Jeyaraj appears to have moved closer to the younger audience, to stay as their heart throb in the line of A.R.Rehaman.The fact that he is the youngest among the three, could be a reason for this, because only a youngster can read the pulse of the youth and their preference for a particular brand of music. Again,of the three men,it is Harris Jeyaraj who commands a greater instrumental wield to capture the imagination of music lovers.But it can not be ignored that the other two musicians will also find an immortal place in Tamil Cinema, because of their extraordinary contribution of energy and solace, through their fast and soothing numbers.It would not be an exaggeration to say that all the three music makers, have wonderfully modernized Tamil film music, through their independent musical might and punch.

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