<p>Sunada was a classical ensemble by Phill Scarff, one of the most accomplished jazz musicians. He was accompanied by Rajeev Devasthali on the tabla. <br /><br />Phill started his career in 1971 in jazz and then went onto pursue Hindustani classical music in 1985. He received extensive training in Hindustani music in Pune from vocalist Shreeram Devasthali, Suryakant Khaladkar and shehnai master Shyamrao Lonkar. <br /><br />Speaking of how he was drawn to Hindustani classical music from jazz, he said, “Indian music offers a lot in terms of improvisation. It is deep, expressive and powerful. There are different ways of improvisation, which help in enhancing the creativity of the performer,” he says. <br /><br />The concert began with Phill weaving magic through his saxophone with raga Puriya, a traditional composition in Bilambit Ek Taal. This had an elaborate tempo with a soul-stirring effect. He then played Ustad Fayaz Khan’s composition in Madya Teen Taal. <br /><br />The pace of this piece slowly picked up and it ended on a lively note. His favourite Hindustani musician is Ustad Bismillah Khan. “I have been fascinated by the ‘shehnai’. I think he is a great master and I relate myself to him when I’m playing the saxophone. There is something very magical about him.” <br /><br />Phill had earlier performed in Bangalore in 2004. This was his second performance in the City. “It was an amazing experience to perform with Kadri Gopalnath at Gayan Samaj,” he exclaims. <br /><br />When asked what has been the most challenging composition to play on stage, he says, “Once, I played two different kinds of rhythmic compositions — one was jazz and the other one was Hindustani. This composition had two paradoxical elements of romance and ego which were edgy. The rhythms were very complicated and that was one of the toughest compositions I have played so far.” According to Phill, jazz is a synthesis of different kinds of music. Jazz is largely Western and needs improvisation, he feels. “When it is fused with Indian music, it is an intense collaboration of different levels of music, concept and rhythm and that’s what makes it so special.”<br /><br />The second round of the concert saw some of the sonorous rendition. Adi shiva shankara in raga Bihaag was refreshing and delightful. <br /><br />He played the octaves in different tempos with great finesse and mesmerised the audience. The last piece was a Purandaradasa composition, titled Tamburi meetidava, in Sindhu Bhairavi raga. <br /><br />This was one of the most awaited pieces. Awestruck on seeing an American play a Kannada composition with ease, the audience gave a loud round of applause.</p>
<p>Sunada was a classical ensemble by Phill Scarff, one of the most accomplished jazz musicians. He was accompanied by Rajeev Devasthali on the tabla. <br /><br />Phill started his career in 1971 in jazz and then went onto pursue Hindustani classical music in 1985. He received extensive training in Hindustani music in Pune from vocalist Shreeram Devasthali, Suryakant Khaladkar and shehnai master Shyamrao Lonkar. <br /><br />Speaking of how he was drawn to Hindustani classical music from jazz, he said, “Indian music offers a lot in terms of improvisation. It is deep, expressive and powerful. There are different ways of improvisation, which help in enhancing the creativity of the performer,” he says. <br /><br />The concert began with Phill weaving magic through his saxophone with raga Puriya, a traditional composition in Bilambit Ek Taal. This had an elaborate tempo with a soul-stirring effect. He then played Ustad Fayaz Khan’s composition in Madya Teen Taal. <br /><br />The pace of this piece slowly picked up and it ended on a lively note. His favourite Hindustani musician is Ustad Bismillah Khan. “I have been fascinated by the ‘shehnai’. I think he is a great master and I relate myself to him when I’m playing the saxophone. There is something very magical about him.” <br /><br />Phill had earlier performed in Bangalore in 2004. This was his second performance in the City. “It was an amazing experience to perform with Kadri Gopalnath at Gayan Samaj,” he exclaims. <br /><br />When asked what has been the most challenging composition to play on stage, he says, “Once, I played two different kinds of rhythmic compositions — one was jazz and the other one was Hindustani. This composition had two paradoxical elements of romance and ego which were edgy. The rhythms were very complicated and that was one of the toughest compositions I have played so far.” According to Phill, jazz is a synthesis of different kinds of music. Jazz is largely Western and needs improvisation, he feels. “When it is fused with Indian music, it is an intense collaboration of different levels of music, concept and rhythm and that’s what makes it so special.”<br /><br />The second round of the concert saw some of the sonorous rendition. Adi shiva shankara in raga Bihaag was refreshing and delightful. <br /><br />He played the octaves in different tempos with great finesse and mesmerised the audience. The last piece was a Purandaradasa composition, titled Tamburi meetidava, in Sindhu Bhairavi raga. <br /><br />This was one of the most awaited pieces. Awestruck on seeing an American play a Kannada composition with ease, the audience gave a loud round of applause.</p>
