Oscar Thamizhan 'Isaipuyal' AR Rahman News/Updates

**A.ANAND** · 19th August 2012, 02:39 PM

The Rahman effect

It’s been 20 years since A.R. Rahman burst onto the scene with Roja. Here’s a look at the man who brought a new idiom and vocabulary to Indian film music.

They say that music affects the way we live. Our thoughts, our joys and sorrows, the way we think and the way we dance; all of it moving to the unending melodies and patterns of the soundtrack of our lives. In our country, this particular soundtrack has been crafted by a master magician over the past two decades. This particular individual has achieved certain things unimagined, constructing a web so expansive that the entire world has now been moved by his music. You can hear his music everywhere — from little villages in the Indian countryside to some of the most expensive performance venues in London’s West End. His musical output can present itself to you in little-known commercial jingles or even the incidental soundtrack of “An Accidental Husband”.

Most of us willingly search for his music, craving its warmth, its musical richness, its subtlety and its uncanny ability to reach deep within our hearts. A.R. Rahman is undoubtedly one of the few Indians who has achieved that critical transition from being a national icon to being a globally bankable musician. And all this for a reticent, deeply focussed composer ensconced behind a studio console in Kodambakkam.

Rahman is one of those composers who require little analysis. Every aspect of his oeuvre has already been examined and written about. He is among the few composers who has had books written about him while still in his 40s. His collaborations are far too many for one article to encompass but include the world’s best known musicians. The Roja man has come a staggeringly long way since that classic soundtrack emerged in the early 1990s. The dizzying heights of international stardom and multiple accolades aside, this analysis looks at his musical trajectory to comb for insights into that beautiful mind.

Game changer

To visualise Rahman’s music is to be cushioned by a ‘bed of sound’ — a hitherto unpredicted marriage of electronics with aesthetics. The music assails your senses, calming the mind in one magnificent sweep of transcendental sound. Each layer of carefully woven musical texture subsequently unfurls. An instinctive craftsman, each layer of instrumentation and voice is carefully proportioned. For instance, close your eyes and think of the theme song from Bombay for a delectable moment. The ‘bed of sound’ formed by string instruments in the lower registers open the first few bars, while a seductive flute softly announces itself slightly later. The piece broadens to herald the arrival of a welcomingly understated percussion before the entire string section takes over, each element enjoying adequate deliberation. To some extent, this loyalty to sonic proportion has proven highly popular to a global audience and continues to be one of his greatest assets.

This quest for elegance in sound and avoiding excess in every aspect has also prompted this master musician to introduce new voices into our lives. Indeed, Rahman can be credited with an entirely new paradigm where the voice becomes an ingredient to the whole, rather, being the basis of the composition. Who can forget Minmini’s ‘Chinna Chinna Aasai’ from Roja or Shahul Hameed in ‘Usilampatti’ from Gentleman? Or Chinmayi’s haunting rendition of ‘Oru Deivam Thantha’ (Kannathil Muthamittal), Naresh Iyer’s brilliance in ‘Roobaroo’ (Rang De Basanti), Rashid Ali in ‘Aditi’ (Jaane Tu Ya Jaane Na) or Benny’s youthfully exuberant style across multiple tracks?

Rahman’s talent for variety has seen the use of some of our best known classical vocalists: Unnikrishnan, Bombay Jayashri, Nithyashree Mahadevan and Kalyani Menon to name a few. Neither has he ignored the iconic Lata Mangeshkar, Asha Bhosle, S.P. Balasubrahmanyam and K.S. Chitra who can all be heard in multiple albums.

Significantly, classical music finds its place in Rahman’s compositional graph quite frequently. From early forays using classical motifs in songs such as ‘Narumugaye’ (from Iruvar, featuring the voices of Unnikrishnan and Bombay Jayashri) or the soulfully melodious ‘Uyirum Neeye’ (from Pavithra, featuring Unnikrishnan’s voice) his tryst with classical music continues with the use of Hindustani elements overlayed with Sufi overtones in Jodha Akbar. Indeed, Rahman could possibly be credited with acclimatising today’s GenNext to a contextualised version of Indian classical sound.

Rahman’s strength in picking a phenomenally gifted team of professionals and fostering team play is another hallmark of a leader. His stable has catapulted several instrumental talents to the fore — Naveen (flute), Navin Iyer (flute), Keith Peters (bass guitar), Sivamani (percussion), Sanjeev Thomas (guitar) and Rashid Ali (guitar) among others. Sound engineers such as the late H. Sridhar, K.J. Singh and Resul Pookutty have also become personalities in their own right; the last being an Oscar winner himself.

Exploration and adventure

Perhaps a striking feature in Rahman’s music is the boldness of its design. In combining sounds, instruments, effects and voices that are unconventional and unique, Rahman proves himself to be a true explorer and adventurer. In ‘Masakkali’, a strident accordion embeds itself on rapidly ascending strings acoustically treated to be reminiscent of the sort of orchestral accompaniment that characterised the 1960s and 1970s film scores. In ‘Rasaathi’ (Thiruda Thiruda), instruments disappear completely and the entire song is rendered by voices singing a capella. As the real protagonist of Raavan (by Mani Ratnam) falls down a ravine to his death, a slow and haunting refrain winds its way into our ears, breaking our hearts with its unexpected softness. As crowds succumb to brute force and political injustice during a peace rally in Rang De Basanti, soft chords on the piano welcome the painfully beautiful ‘Khoon Chala’, surprising us once again with its complete avoidance of melodrama.

Rahman’s ability to work endless hours (there are several stories on the beat about meetings that take place in the wee hours of the morning), multi-task and visualise musical realities that transcend boundaries are perhaps just a few contributory factors to his success. For him, being innovative is a pursuit rather than a trait. Indeed, it takes a very rare mind to conceptualise each project as though for the first time, shedding ego and preconception so completely.

The Oscars, the Grammys, the BAFTAs notwithstanding, Rahman’s presence in the public consciousness of nearly half of today’s world has justified his inclusion into the list of the world’s most influential people by Time magazine. In recent times, he is among the handful in India who has achieved such pre-eminence.

It is difficult to fault Rahman. Driven compulsively to discover new sounds and meanings, he seems invincible. Rahman competes only with himself, constantly resetting the rules of his own game.

And still continues to grow, a feat that only he renders possible.

http://www.thehindu.com/arts/magazin...?homepage=true

**Google Adsense** · 19th August 2012 02:39 PM

**A.ANAND** · 19th August 2012, 02:40 PM

Music to our ears
Chitra B, Aug 19, 2012
Here to stay

“Ella Pugazhum Iraivanukke.” Glory to god. Thus reacted A R Rahman in Tamil, when he received the Oscar award. When the country celebrated its 50th Independence Day, it was this music composer who presented the famous Vande mataram. And when the World Classical Tamil Conference was conducted by the Tamil Nadu government a couple of years ago, Rahman came out with the theme song. These bits of trivia convey one thing above all — that Rahman is someone who won’t forget his motherland or, for that matter, his mother tongue.

In the recent past, a rumour doing the rounds in tinsel town stated that the ‘Mozart of Madras’ would leave for the United States as he was being thronged by offers from Hollywood. Adding to this claim, Rahman did not work in any new Indian film, after composing chartbusters for Vinnaithandi Varuvaya in 2010. Instead, he became busy with international projects. However, Rahman has proved his critics false, as he has signed on a slew of Indian film projects.

Says Rahman, “It’s true that I am getting international offers. But I cannot leave India. It was this land which gave me everything I have now. There is no question of quitting Indian cinema. The world is so small that now, thanks to technology, I can work from anywhere.”

For Kochadaiyaan, Rahman has completed composing songs and is waiting to score the background music. “Rahman’s music will be one of the highlights of the movie,” says a source close to the unit, adding that a song crooned by Rajinikanth has come out very well.

Way back in 1992, it was Mani Ratnam who launched Rahman with Roja and since then, Rahman’s music has been an inevitable part of Mani’s movies. Kadal is set against the backdrop of the lives of fishermen the in coastal areas of Tamil Nadu.

Barring Anniyan and the recent Nanban, Rahman was part of all Shankar-directed movies, right from his debut flick Gentleman. So, no wonder the filmmaker wanted Rahman to score music for I, which is touted as being his costliest film ever. “After Anniyan, this film unites two names of international repute, director Shankar and music king A R Rahman,” revealed a recent statement from I unit.

After Vinnaithandi Varuvaya, Rahman and Gautham Menon became so close that the music composer became one of the partners of the filmmaker’s production house Photon Kathas. If sources are to be believed, Gautham is the chief creative officer of Photon Kathas and Rahman, the creative adviser. As expected, Yohan Adhyayam Ondru, Gautham’s next film, has music by Rahman. Featuring Vijay in the lead, the film is touted as a high voltage entertainer.

Last but not the least is Mariyan, directed by Bharat Bala, with Dhanush in the lead. The relationship between Rahman and Bharat Bala dates back to 1997, when the two collaborated for Vande mataram, a music album celebrating India’s 50 years of independence. Mariyan is being made in Hindi and Tamil, and Rahman’s music is going to be one of the biggest USPs of the movie. This movie will also mark Dhanush’s debut in Bollywood.

Circles close to Rahman say he will soon sign a few more Indian projects as well as a few international albums and films. As recent as last week, Hollywood music composer Hans Zimmer expressed his gratitude to Rahman for contributing to the music of The Dark Knight Rises.

“Many filmmakers from India and other parts of the world have been approaching him. But Rahman is very selective about the projects he accepts. For, he is keen to strike a perfect balance between work, family and spirituality,” sources add.

http://www.deccanherald.com/content/...-our-ears.html

**A.ANAND** · 20th August 2012, 12:56 PM

Mozart of Madras : AR Rahman special program on BBC 2 Radio

http://soundcloud.com/arrahman-songs...dras-ar-rahman

**ajaybaskar** · 20th August 2012, 02:54 PM

Rahman’s song for
Posted by Editor on August 18th, 2012

Oscar-Grammy winner A R Rahman, who is composing music for Dhanush starrer Mariyaan directed by Bharat Bala, has also crooned for a song in the movie. The number ‘Vizhithidu Nenje…’ sung by Rahman is expected to be one of the highlights of the movie, which is taking shape fast.

The song was recently shot on the lead pair of Mariyaan, Dhanush and Parvathy of Poo fame. The film produced by Aascar V Ravichandran is being made in Tamil and Hindi simultaneously.

Remember Rahman and Bharat Bala combined together in 1997 for the Vandemataram music album, which coincided with the 50th year of the independence of India.

**Parthyy** · 22nd August 2012, 04:09 AM

How abt Yohan postponed??

**A.ANAND** · 22nd August 2012, 02:41 PM

Top 10 AR Rahman songs

http://www.ndtv.com/video/player/bol...ongs/243194?hp

**sureshmehcnit** · 27th August 2012, 10:03 AM

Thoughts on Boys (Hindi) Soundtrack

http://www.backgroundscore.com/2012/...-arrahman.html

**rsubras** · 28th August 2012, 04:26 PM

Originally Posted by A.ANAND

Music to our ears
Chitra B, Aug 19, 2012
Here to stay

“Ella Pugazhum Iraivanukke.” Glory to god. Thus reacted A R Rahman in Tamil, when he received the Oscar award. When the country celebrated its 50th Independence Day, it was this music composer who presented the famous Vande mataram. And when the World Classical Tamil Conference was conducted by the Tamil Nadu government a couple of years ago, Rahman came out with the theme song. These bits of trivia convey one thing above all — that Rahman is someone who won’t forget his motherland or, for that matter, his mother tongue.

In the recent past, a rumour doing the rounds in tinsel town stated that the ‘Mozart of Madras’ would leave for the United States as he was being thronged by offers from Hollywood. Adding to this claim, Rahman did not work in any new Indian film, after composing chartbusters for Vinnaithandi Varuvaya in 2010. Instead, he became busy with international projects. However, Rahman has proved his critics false, as he has signed on a slew of Indian film projects.

Says Rahman, “It’s true that I am getting international offers. But I cannot leave India. It was this land which gave me everything I have now. There is no question of quitting Indian cinema. The world is so small that now, thanks to technology, I can work from anywhere.”

For Kochadaiyaan, Rahman has completed composing songs and is waiting to score the background music. “Rahman’s music will be one of the highlights of the movie,” says a source close to the unit, adding that a song crooned by Rajinikanth has come out very well.

Way back in 1992, it was Mani Ratnam who launched Rahman with Roja and since then, Rahman’s music has been an inevitable part of Mani’s movies. Kadal is set against the backdrop of the lives of fishermen the in coastal areas of Tamil Nadu.

Barring Anniyan and the recent Nanban, Rahman was part of all Shankar-directed movies, right from his debut flick Gentleman. So, no wonder the filmmaker wanted Rahman to score music for I, which is touted as being his costliest film ever. “After Anniyan, this film unites two names of international repute, director Shankar and music king A R Rahman,” revealed a recent statement from I unit.

After Vinnaithandi Varuvaya, Rahman and Gautham Menon became so close that the music composer became one of the partners of the filmmaker’s production house Photon Kathas. If sources are to be believed, Gautham is the chief creative officer of Photon Kathas and Rahman, the creative adviser. As expected, Yohan Adhyayam Ondru, Gautham’s next film, has music by Rahman. Featuring Vijay in the lead, the film is touted as a high voltage entertainer.

Last but not the least is Mariyan, directed by Bharat Bala, with Dhanush in the lead. The relationship between Rahman and Bharat Bala dates back to 1997, when the two collaborated for Vande mataram, a music album celebrating India’s 50 years of independence. Mariyan is being made in Hindi and Tamil, and Rahman’s music is going to be one of the biggest USPs of the movie. This movie will also mark Dhanush’s debut in Bollywood.

Circles close to Rahman say he will soon sign a few more Indian projects as well as a few international albums and films. As recent as last week, Hollywood music composer Hans Zimmer expressed his gratitude to Rahman for contributing to the music of The Dark Knight Rises.

“Many filmmakers from India and other parts of the world have been approaching him. But Rahman is very selective about the projects he accepts. For, he is keen to strike a perfect balance between work, family and spirituality,” sources add.

http://www.deccanherald.com/content/...-our-ears.html

I believe both of the above highlighted lines are chumma adichi vittathu by the author of that article....... without checking the facts........