SoundZ of Laya: A carnatic rhythm experiment blending manodharma, monsoon moods and piano improvisation

I had met K Sai Giridhar — ‘mridangist’ and lead artiste of the event — a few months back. He wanted to do this as a percussion ensemble, like a one-of-a-kind experiment. At Sangamam, apart from the traditional concerts, we seek to present something different to the audience. As soon as this idea came to us from the artistes, we jumped at it and said we would present it to them.

Yes, rhythm and laya are not just about sound. Even when we speak or shout, there is laya in it. The artistes will bring in these ‘sounds of life’ as a musical conversation among instruments melodically and beautifully, forming the SoundZ of Laya.

Broadly, the setlist is a vibrant musical journey. There will be around seven to eight songs, which will span between 90 to 100 minutes. One of them is a tribute to the mridangam maestro, late Karaikudi R Mani, who was known for his unique rhythmic percussion style. The spirit of the laya is carried through other pieces, such as Rainy Ranjani, where Ranjani refers to the family of ragas and is themed on the lush and refreshing emotions evoked by the monsoons. Breezy Waves is another inclusion, along with other tapping grooves and uplifting music.

There is a dynamic and conversational piece that the artistes would perform with a khanjira, konnakol and keyboard called K&KK, along with Rainy Ranjani, which form the key pieces of the performances.

The heart of the concert lies in manodharma (a form of on-spot improvisation in Indian classical music). Although there would be some bits of imagination and spontaneity, it is firmly rooted in traditional carnatic music. This allows the rhythm to emerge on its own in unexpected and evocative ways. That’s the artistic brilliance — a combination of rhythm, mathematically technical framework and the limitless possibilities of musical expression.

Though the piano is considered a western instrument, it brings out sharp and intricate carnatic rhythms very well. In this way, Aman Mahajan’s piano will be incorporated alongside other instruments — K Sai Giridhar (mridangam), G Guru Prasanna (khanjira), Amith A Nadig (flute) and Keshav Mohankumar (violin). It will bring a very good, improvised, contemporary element, supplementing Spoorthi Rao’s vocals to complete the ensemble.

Today’s audience is really smart and intelligent; they always crave something very interactive and engaging. They connect with the artistes on a deeper level. It is so pure and intense that it will have a future in maintaining the traditions, as long as we present and explain it well to the audience.

It’s going to be a vibrant, conversational and incredibly immersive and a joyful experience for the audience. The blend of carnatic rhythms across these different instruments may be viewed through a completely fresh lens.