OTHERLANDS COLLABORATION #15
Date: Feb. 11, 2020 • Location: Bengaluru, India
Raghu and I began exchanging emails before I arrived to India. Our mutual friend, and my longtime collaborator Abigail Washburn (Sparrow Quartet) was eager to put us in touch. I found out after sitting down with Raghu at his home that they met on a surreal gig playing for the Queen of England...but that's their story to tell.
*To learn more about Raghu's music and his projects, please visit:
FB Artist: https://www.facebook.com/raghudixit.music
FB Band: https://www.facebook.com/trdp/
Through mere recommendation from our friend, he generously offered to put us up at his home for our time in Bengaluru. This is just a bit of the hospitality and kindness he has shown to my family and we are forever grateful. I also learned that Raghu had a beautifully designed recording studio. What great luck! Sadly though, Raghu had just been put on voice rest by doctor's orders, so we wouldn't be playing music quite yet — although everything would work out just fine.
For the first part of our stay, Raghu was busy putting the finishing touches on music for a movie that would be premiered this same week - Love Mocktail. (See the trailer and music videos here.) I spent my "down time" finding my way around Bengaluru and catching up on the music and videos that I'd been collecting up to this point in India. We got to know each other a bit as our paths crossed, and agreed to meet again in a couple of weeks. After a bit of rest in Bengaluru, my family and I were off to Goa for the Sur Jahan festival.
One week later, we returned Raghu's. Hearing music coming from downstairs on the first morning, I wandered down and found Raghu in his writing room. We got around to talking about my Otherlands project and what we might play together. My hope is that these collaborations are as much about new horizons for the other musicians as they are for me, so I was excited when he proposed such an idea. Raghu went to get a small blue book of poetry.
He is well known for writing his own songs, but in the background, he has been exploring setting music to one of his favorite poets, Dr. Da. Ra. Bendre. There was one poem called “Baaro Saadhanakerige” that he had previously performed on rare occasion but never recorded. (English Translation) He grabbed a guitar and gave me a sample. Not only did his harmonic, melodic, and groove sensibilities immediately speak to me, but I was blown away by his voice with its amazing power, range, and soulfulness. And then he told me about the meaning of the words — a traveling song of nostalgia and longing, of leaving your home to search for what you think may be better, only to return to your home and find that it has been the true place for you. Needless to say, it resonated in a big way with me on these travels since I'm on a long journey home.
This would mark the first time that he had been singing since doctor's orders, and I felt honored.
Sitting in the studio a couple of days later, we locked quickly and easily. After a bit of running the melody, solidifying the chords, and sketching a rough arrangement, we were ready to hit record. And hit it we did...one take, and done. My instinct was to do one more take, just for safety, but Raghu asked that we have a listen first. We went into the control room, had a listen, and gave each other high fives. His gut was right. Experience has taught me, that in these situations where you're satisfied, any attempt to do another take usually results in chasing the vibe of the first one, and you never get back to that first euphoria.
Having spent the last five weeks in India, today I noticed a change in my playing, reflecting what I have been hearing and learning. Pieces often begin with an improvised "warmup" to introduce and set the tone for the song. I have done this a few times now, but today I felt more confident with my opening statement. I have also been paying attention to a difference in how Indian musicians improvise. I have witnessed amazing development of small motivic ideas, how to showcase overall tonality of a scale/mode, and even how to feature a single note through approach, ornamentation, and rhythmic variation. Two days prior to this session, I attended a jaw-dropping and inspirational Carnatic (South Indian Classical) concert by the Mysore Brothers in Bengaluru. They are on another level...or another hundred, easily. My point, which I'm probably making poorly, is that today I felt something open up after all this new input, and I am thankful.
I could feel that Raghu was happy to be singing again. And for a brief moment, I tapped into a flow that channeled my recent surroundings in inspirations. We went on a bit of a cathartic ride together.
One week later, Raghu and I were reliving our song on the TV show Haadu Karnataka. It's a talent show featuring singers from around the state of Karnataka, and Raghu is a judge. Afterwards, the tables were turned as he and I received feedback from his fellow judges and contestants — like he gives every week and I have done so often back when I taught the Performance Forum at Berklee Valencia. I appreciated the reminder of what it's like to be on the other side.
Thank you Raghu for making the time for my family and me in Bengaluru so memorable. I look forward to more music and continued friendship in the future!
CREDITS
Song: Baaro Saadhanakerige (Lyrics by Dr. Da. Ra. Bendre, Music by Raghu Dixit)
Recorded at: Raghu Dixit Studios, Bengaluru, Karnataka, India
Music Arranged by: Casey Driessen & Raghu Dixit
Voice & Guitar: Raghu Dixit
Fiddle & Video: Casey Driessen
Recorded & Mixed by: Sudharsan Krishnakumar
SPECIAL THANKS
Abigail Washburn & Emmette Driessen