Geist

Introduction

Geist is a German noun with a wide range of meanings. At a literal level, it means a ghost or an apparition. At a subtler level, it refers to the spirit, such as the spirit of an age or an era. But in this blog, I am not going to bother you with either spooky or philosophical stuff. I want to tell you about The Geist Factory (TGF) in Bengaluru and the Restaurant and Beer Garden which go with it. That is where Vilasini, I and the family (Grandchildren Yuv and Aditi, daughter-in-law Rekha and son Arun) went last Sunday for an ‘advance’ lunch ahead of my birthday this week! It was such a fabulous gastronomic experience that I had to share it with my friends!

Location

TGF is located just off the Old Madras Road near the 21^st KM stone. I must warn Google Map users that signage is bad and practically non-existent as you get near the place. You need to turn left just as a service road begins. If you do not spot the turn, you would pull ahead on the service road and would have to retrace your path. TGF is a gated property to your left, hardly 200 yards from the turning on Old Madras Road. There is an adjacent large open space that is the car park. It is bereft of any trees. You alight at the gate, show that you have been vaccinated, sanitise your hands and walk over to the Factory-cum-Restaurant. This area is greener with a few trees with large canopies and many flowering creepers. We had booked a table for the six of us. We saw only one other vehicle in the car park. Leaving the factory to our right, we entered the restaurant section of the premises. We picked a well-placed table with back-rest and sat down in anticipation.

The Beer

As first-time visitors, we decided to try the various beers on offer before naming our poison. We were provided with a sampler tray of seven craft beers. Arun and I quickly settled on Weiss Guy which is a fruit-flavoured German white beer. Rekha chose Rauch-A-Fella, a smoky malt-flavoured German beer. All three of us enjoyed our beers. Arun and I had refills but Rekha, being the designated driver, nursed her one beer through the lunch. Weiss Guy was mellow without being sweet. Had it not been for the fantastic starters that we gorged ourselves on, I would surely have had one more beer with the main course.

The Starters

There were 14 vegetarian – and 16 non-vegetarian – “Brew Bites” on offer. Rekha and Arun had done their homework online the previous night. So, we pretty much knew what we were going to order and it was quickly done. Our ‘farmaish’ included Namma Khara Bun Congress, Puneri Sabudana Vada, Madras Idli Chat, Peri Podi Wedges, Caramelised Onion and Mozzarella Samosa, Obatzda and Saunfia Paneer Tikka and Geist Peanut Masala. They arrived fairly quickly and we let ourselves go.

Namma Khara Bun was bun sliced across and stuffed with Congress Kadlekai (dry roasted peanuts seasoned with spices). This is a snack made famous by V B Bakery in Sajjan Rao Circle many years ago and has since become hugely popular with other bakeries too. In my view, the bun did not add any particular value to this starter. The Sabudana Vada was very crunchy and flavourful, particularly with the mint chutney. Madras Idli Chat was the most creative of the items we had ordered. Instead of the traditional thick Idli, the chef appears to have used the thin Thatte Idli creatively. A small rectangular slice of the Idli was deep fried and on that was stacked the channa and aloo mix topped with yogurt dressing and sonth. This south-north confluence was God’s gift to the gastric juices, to go by a P G Wodehouse coinage. Peri Podi Wedges lived up to expectations, particularly of our grandson Yuv who is very fond of the peri -peri flavour. The samosa was a revelation. Most of us have the ingrained idea that the stuffing of the samosa must be firm and solid – Jab Tak Rahega Samosa Mein Aloo…. and so on. Here, the chef had taken the liberty to substitute the ubiquitous potato with caramelised onion and mozzarella cheese both of which, taken together, are anything but firm and solid. The overall effect was surprisingly tasty. So much so, we ordered a second plate. And instead of the Namma Khara Bun, we ordered the Geist Peanut Masala which was a variation the Raja Special popular in Karnataka with Congress Kadlekai being used instead of plain peanuts.The Obatzda was more like a spiced-up bread toast. The cheeses were fully absorbed in the crispness of the bread. The Paneer Tikka smeared with mint chutney was a green delight.

The Main Course

Having tucked in generous portions of so many Brew Bites, none of us were in a mood for a main course. In any case, the choice of main courses for the vegetarians was rather limited. Rather than skip it altogether, we ended up sharing slices of a Thecha Margherita pizza. It was a thin-crust pizza and quite tasty.

Desserts

The menu listed five dishes. Aditi ordered the Walnut Brownie, Arun picked the Baked Cheesecake and I fell for the Kulfi Sheer Khurma. All of us were happy with our choices. In my case, it was not just the ingredients – seviyan, saffron milk, malai kulfi, crispy seviyan and dry nuts – but the imaginative way the chef had combined these ingredients that was praiseworthy. The kulfi was like a small island floating in the milky seviyan with the dry nuts giving the impression of ornamental fish in a water body. It was mildly sweetened and delicately flavoured.

Cotton Candy

An hour or so after we started, we noticed that a counter had come up where cotton candies were being given away free. Yuv went across and picked up one. He liked it. Seeing that, Arun and I decided that we would also indulge ourselves. So, after the four-course lunch was over, Arun and I walked up and got ourselves a cotton candy each and returned to our tables. I may have imagined it, but I thought that many a pair of eyes looked at us with amusement.

The Service

Through we had been early birds, the restaurant was full by the time we finished. The bearers were as friendly as they were quick and efficient. More than two or three of them attended on us but we did not have to summon them alone for re-ordering anything. The other bearers relayed our requests to the designated ones and our needs were taken care of.

Overall Assessment

In a brewery-cum-restaurant, it is either the beer or the food that ends up being the draw. Geist disproved this generalisation and we were delighted by both their beers and even more by their imaginatively curated food, particularly the starters. Geist showed us that not only good beer, but also good food, can also be “crafted” to the delight of customers. We were very happy to have spent three hours on a balmy spring Sunday morning at Geist. I do foresee a number of repeat visits with friends and family! Those of you who want to see the colourful food and the ambiance of Geist may take a look at the photos here. If you click on the highlighted word ‘here’, it will take you to Google Photos with here marked. You click on that and all the photos will be displayed. If you click on the individual photos, you will see the description. Good luck with the clickety-click! I hope my instructions are not too confusing.   

S. Krishna Kumar

13th February 2022

Bengaluru

Blog # 33                      

Thodi – Carnatic

Introduction

Having published my blog “Todi – Hindustani” yesterday, I was troubled by the thought that I may have been ‘musically’ unfair to the Carnatic variant with the same name. For the record, I had discovered Thodi and enjoyed several songs in that raga, both from Carnatic music and Tamil films, several years before I fell in love with any of the Hindi songs I have listed in my blog. I felt that I might have even more to share about Thodi in Carnatic music. So here goes!

Love at First Hearing

As far as Todi and I are concerned, it was ‘Love at First Hearing’. Well, more or less. It was all due to two songs and two incomparable singers. It was Madurai Mani Iyer (MMI) who made me fall in love with Thodi through his unique rendering of “Thaye Yashodhe” while P Susheela captivated me by her “Ennai Pol Penn Allavo” from the film Vanagamudi. Such was her exquisite singing guided by the maestro G. Ramanathan, that for several years thereafter, I used that song to identify Thodi in my mind.

Thaye Yashodhe

I start with a confession. When I first heard this song, I took it for granted it must be a kriti of Papanasam Sivan. I discovered its true authorship only years later when Needamangalam Krishnamurthy Bhagavathar came to Bangalore to popularize compositions of Oothukkadu Venkatasubbaiyyar. I learnt even later that the song has multiple Charanams and that Carnatic musicians had shortened it and sing only the first Charanam in their concerts.

There are multiple recordings of Thaye Yashodhe by even MMI. The one I have selected is a YouTube audio uploaded by Raju Asokan that a rasika has identified as the recording of a 1962 concert in Calcutta with Lalgudi, Vellore Ramabhadran and Alangudi as accompanists. It is 30 minutes long, of which the Tani takes up the last 11 minutes. In the rest of the 18+ minutes, MMI – and Lalgudi – regale you with a vintage presentation of Thodi and the popular composition.

The Charanam is four lines long and has some 30-40 words. The first line itself has 11 words. But such is the genius of MMI that he needs just three of them to anchor Thodi and the entire song. The three words are “Kalinil Silambu Konja”. MMI does not have much use even for “Kalinil” except as the starting point. The other two are enough for him to show his wizardry. Silambu is the anklet that is circular in shape. But MMI turns silversmith and “stretches” the anklet into all sorts of shapes and sizes before finally leaving it in its original form and turning his attention “Konja”. That is not an easy word to translate into English. Here it refers to the way the anklet caresses the leg of young Krishna. MMI’s fertile imagination invites us to see from various musical perspectives how the anklet graces the feet of little Krishna. For those of us who may be lacking in imagination, Lalgudi steps in and completes the picture, drawing repeated appreciation from MMI as well as the audience. This is co-creativity at its best!

Ananda Natesa

If Thaye Yashodhe lacks an alapana of Thodi, this song by GNB starts with one. It is a characteristically brisk one but Lalgudi supplements it with his own deft touches. The composer is Ramaswamy Sivan. It is a rather short piece, but GNB shows his brilliance with a couple of brigas in the Anupallavi. I include the song here because, in my evolution as a rasika, this was the second Thodi song that I got to like.

Sri Krishnam Bhaja Manasa

To the best of my recollection, I heard this song for the first time in the 1960s in a EP record of Radha-Jayalakshmi. I was simply blown away by the second half of the Pallavi (Srita jana paripAlaM gOpAlaM bAlam) listening unbelievingly to the felicity with which Jayalakshmi traversed the higher octaves going from the low ‘pari’ to the ‘Palam” in a few iterations. It is a pity the record is not available on any digital platform. I have chosen to include the record of the kriti as rendered by Semmangudi Srinivasa Iyer (SSI). It is my good fortunate that my blog on Thodi should be adorned by the triumvirate of MMI, GNB and SSI!

Ennai Pol Pennallvo

This famous song by P Susheela from the Tamil film Vangamudi (1957) has its own fan following. Not surprising, considering that G Ramanathan, the music director, has set it in quintessential Thodi and made Susheela to sing it as well as a regular concert artist. Lyricist Thanjai Ramaiah Das uses simple language to bring out the depth of the emotions of the singer, particularly in the Pallavi and the first Charanam. In the former, Susheela  puts the emphasis on the word ‘Allavo’ in Pennallavo and Kannallavo to convey the deep anguish with which she is pleading with the Goddess. In the latter, she captures the pathos of Thodi with short sangatis on the words “Thaaye” and “Kurayai”.

As a lay listener, I can do no better than add this high-brow quote from the 2012 column of Charulata Mani in the Hindu. “A stunning piece in Thodi from the film Vanagamudi is ‘Ennai Pol Penn Allavo’. This song tuned by G. Ramanathan and sung by P Susheela is exemplary in its classical fervour and raga bhava. This song begins at the panchama and the very first phrase ‘PDN, PDM P, GMD’ points indubitably at Thodi. There are several intricately woven sangathis in this song. In the phrase ‘irul neekum kann allavo’, the phrase ‘GM/MD, MD, NR, NRG’ sails in the vajra pattern, very attractive and noteworthy.”

Conclusion

I wonder why while my blog on Hindustani Todi was replete with eight Hindi film songs, this one is skewed in favour of classical Carnatic music. In her article, Charulata Mani herself observes thus: “In film music, Thodi has been used sparingly. Its complexities have been handled only by the best musical minds and to keep the character of such a raga intact is indeed a daunting task.” So, let me stop here!

Postscript

In the last few blogs that have been on music and ragas, I have taken pains to look for and provide only the audio links to the songs cited. I feel that videos tend to distract, unless the blog is about a movie or about the acting. So, happy reading/listening, not watching! It is a shorter blog anyway.  

S. Krishna Kumar,

3^rd February, 2022

Bengaluru

Blog # 32    

Todi (Hindustani)

Introduction

In my blog “Equal Work, Unequal Acclaim” published on 5^th June 2021, I had written about several great songs that had remained “hidden-in-plain-sight” since some other song from the same film had become a runaway hit. I had even quoted Keats – “Heard melodies are sweet, but those unheard are sweeter” – to buttress my argument. I was reminded of this truism when my friend Krishna sent me the song “Khuda e Bartar Teri Zameen Par” from the film Taj Mahal (1963) a few days ago with the comment “What lyrics – only Sahir can write them”.

I have enjoyed the many great songs from Taj Mahal over the years. Yet this gem composed by Roshan with sensitivity appropriate to the lyrics and rendered with feeling by Lata had somehow not registered as strongly with me as it should have. While I was listening to the song again, I was struck by the similarity of its tune with that of “Mein To Ek Khwab Hoon” from Himalay Ki God Mein (1965). A few clicks on my iPhone and I found out that both the songs are based on the Hindustani raag Todi. I shared this with Krishna who immediately sent me a YouTube video listing a few other Hindi film songs based on Todi. Thus, was this blog born!

Todi

Todi is a classical raag of Hindustani music that is also known as Miyan ki, Darbari or Shuddh Todi. It is associated with Bhakti and Karuna rasas. Todi in Carnatic music is a completely different raga that is similar to Bhairavi in Hindustani. Its full name is in fact Hanumatodi. It is a morning raag that creates a sombre, mournful mood usually, but sung at a quicker tempo, it can convey a festive mood as well. In this blog, I present a few Hindi film songs based on Hindustani Todi. The equivalent of this raag in Carnatic music is the raga Shubhapanthuvarali.

Aeri Mein To Prem Diwani (Nau Bahar-1952-Satyendra Athaiya-Roshan-Lata)

This is essentially a Meera bhajan that has been modified slightly and used in Nau Bahar. There is also a version of the same song in the film Meera (1979) sung by Vani Jayaram with music by Ravi Shankar. As only videos of the latter song are available, I have not included it here. I find the original Roshan/Lata version to be more authentic. You can listen/watch both versions and be the judge.

Insaan Bano (Baiju Bawra-1952-Shakeel-Naushad-Rafi)

This is a classical adaptation of Todi by Naushad and Rafi renders it with feeling appropriate to the screenplay and the words that are an appeal by Baiju, the singer, to the dacoits who have landed to loot the village. The heavy use of the Sarangi and other instruments in the background brings out the contours of Todi rather forcefully.

Sun Rasiya Man Basiya (Nagin-1954-Rajinder Krishan-Hemant-Lata)

This melodious song reveals the essence of Todi. The interplay of the raag and the lyrics is enhanced by the use of the musical instrument Been. Kalyanji Virji Shah, who was then an assistant to music director Hemant Kumar, plays the Been here and elsewhere in the film.

Duniya Na Bhaye Mohe (Basant Bahar-1956-Shailendra-SJ-Rafi)

This is a lovely song where the majesty of Todi is enhanced by the beauty of Shailendra’s lyrics and Rafi’s exquisite voice. The slight quiver in his voice as he holds the high pitch to sing “Dil ke ye tukde kaise bech dun duniya ke bazaar mein” and“Tu hi bata main kaise gaaoon behri duniya ke aage” makes the words touch your heart. He also tantalises us with his opening chalan where, I feel, he brings in a touch of raag Lalit.

Khuda e Bartar (Taj Mahal-1963-Sahir-Roshan-Lata)

This is the song that triggered this blog. The lyrics, the music and the singing are so nuanced that each enriches the appeal of the other and shows us creativity at its best. Roshan’s hallmark sensitivity and balance in handling poetry and music is on full display here. Sahir picks up where he left off in 1959 in Dhool Ka Phool – “Khudrat To Bakshithi Hamein Ek Hi Darthi, Humne Kahin Bharat Kahin Iran Banaya” – and asks a poignant question of God “Teri Hi Zameen Par Zameen ke Khatir Ye Jung Kyoon Hain”! This song is indeed a gem.

Mein To EK Khwab Hoon (Himalay Ki God Mein-1965-Qamar Jalalabadi-Kalyanji-Anandji-Mukesh)

Eleven years after his debut in Nagin with the Been, Kalyanji teams up with his brother Anandji and comes up with this masterpiece. With their instrumental chalan, the duo let Todi come in a slow wave and surround you. The slow tempo is then maintained through the song and Mukesh stays within the contours of Todi all the way, making it a signature piece in that raag.

Oh Re Taal Mile Nadi Ke Jal Mein (Anokhi Raat-1969-Indeevar-Roshan-Mukesh)

This song by Mukesh is one of his better non-Raj Kapoor numbers. The rural setting, stunning black and white visuals and picturisation on Sanjeev Kumar make the song memorable. Roshan proves yet again that he is the Master of Todi as much he is of Yaman. This song was very popular at our training Academy at Mussoorie in 1969 and a few fellow probationers could sing it quite well.

Raina Beeti Jaaye (Amar Prem-1972-Anand Bakshi-RDB-Lata)

The audio link for this song comes with a few introductory words by Pancham himself that set the tone for the song that follows. Being the natural genius he was, Pancham blends Todi with folk touches and Lata accepts the challenge to give us a memorable hit!

My Take

Todi is not a light but a ghambir raag on which a Bismillah Khan or Bhimsen Joshi could engage us for an hour and more. Yet the songs listed above show us how our talented music directors have not just adopted, but adapted the same Todi to suit different situations and moods in a wide variety of films. No wonder our Dil Mange More!

Trivia

When I listed the name of the co-lyricist (Meerabai being the original) Satyendra Athaiya for the Nau Bahar song in this blog, I was struck by the surname and wondered if he was in anyway related to Bhanu Athaiya, our award-winning costume designer. I find that they had been married but separated.

S. Krishna Kumar

2^nd February, 2022

Bengaluru

Blog # 31