Concert for Shakti foundation with U shrinivas,
U Rajesh and Loy Mendoza.
These scanned images are very hi res so you can enlarge them to view
them if you click on them.
New Indian Express 13
Dec 08 Nandini
Krishnan
Q: Let's start off with 'Quantum of Solace'. Did you like the film?
A: You know, I haven't seen it yet. Of course, I've seen the snippets
I've played for. I've been on tour here for a while now. We were
planning to see it in Calcutta, but no, that didn't work out, and so
I've not seen it yet. But it seems to have a lot of great action, and
seems quite exciting, really.
Q: How much do you get to see of a Bond movie before you compose for it?
Is it the entire film, or just the snippets you compose for? And does it
make a difference?
A: Well, obviously the composer gets to see the whole film, but with us
musicians, it depends. With a couple of the films I've worked for, I've
seen them through before I start working on them. Mostly, it's just
snippets, and the terminology is still what it was when they were
shooting it. So you're looking at your Reel 1, and Reel 2 and Reel 3.
And no, I don't think it makes any difference at all. The music
compliments a scene, and most scenes tend to be self-explanatory.
Whether it's an action scene, or a love scene, or a terror scene, they
have their own import…and you've got to get the right approach to it,
when director and composer work hand-in-hand.
Q: The percussion in 'Quantum of Solace' was a lot more muted than in
'Casino Royale'. Any reasons you took that particular approach?
A: To be honest, it's in the hands of the director what goes out in the
final mix. For movies like Bond, you have two teams – the sound design
team, which gets your sound effects and gun shots in, and the music
team. And it's the director's call which gets heard more – so sometimes,
the music can completely outrun the sound effects, and sometimes the
sound effects outrun the music. So when you're a musician, you play and
you hope the music outruns everything else! (laughing)
Q: In 'Casino Royale', the nine-minute chase on the construction site,
where the only music is percussion, was your 'moment'. Did you have a
moment in this film?
A: Well, this one, I worked on all through, you know, and I did a lot
more on 'Quantum of Solace' than I did on 'Casino Royale'. I did stuff
right across the film really, do I don't think any particular scene
stands out – though, of course, the action scenes were wonderful, and
you really enjoy working on those because they allow you to really
explore your rhythm.
Q: You've worked with two Bonds – Pierce Brosnan and Daniel Craig – and
I'm sure each of their characters and what they bring to Bond alters the
music you make for them…so what is Pierce Brosnan's music and what is
Daniel Craig's?
A: I wouldn't say each of them has their own music. You tend to approach
each film differently and bring a bit of your own self, your own
experiences into the work. I've worked with Middle Eastern music, North
Indian and South Indian music, African rhythms…all over the world,
really, and I try to bring some of that into every Bond film.
Q: But then again, the music for Bond movies is a decades-old framework,
and everyone wants to hear the music and know it's Bond. How difficult
is it to innovate within those confines?
A: Well, music's music. And one has to find ways to innovate, to bring
in different approaches for different scenarios. Like this album I'm
doing with Bickram Ghosh, 'Kingdom of Rhythms'. You've got your sound
design, and your beats and electronic rhythms, and each of us brings
something into it. We've got a whole lot of songs here, where you have a
basic tabla and then the mood of a song might need a melodious groove,
and another one might need blindingly fast fills and licks. So when you
have a framework, you work within it, look at the scenes afresh…and the
mood carries you.
Q: You've composed for films as varied as 'Snatch' and 'City of Angels'.
And some of them offer a lot more to a percussionist, with thrilling
chases and whatnot. So which movie would you describe as your personal
Everest? The one that was most challenging and which you enjoyed the
most?
A: Well, I don't know if I can think of one Everest. You go in with an
open mind, and you try to create percussion that says a certain thing.
Film percussion is rarely very complicated and it's less of a technical
challenge than a creative one. You need to look at what's suitable,
what's appropriate, what fits into the film. Having said that, I've
worked on five Bond movies, and I think that was the most challenging
part. You're constantly searching for something new, and that can get
quite challenging, especially when you get to the third and the fourth!
(laughs)
Q: You spoke a while earlier about how it's the situation and not an
actor who demands a certain kind of music. But you've worked on Sivaji.
You've been to Chennai often enough to know how huge Rajnikanth is. So
tell us about that – making music for an actor, more than a movie.
A: Oh, wow! That project involved working with A R Rahman, who of
course, was the building block for the score. And he's so enthusiastic
and so involved, he gives you that creative freedom to explore. And you
know, I'm always thinking of music, whether it's driving down the
motorway or on board a plane or in a train. There are all these textural
layers of rhythmic sound, and you can play around with them later. I got
to do that a lot for Sivaji, and it was a tremendous experience.
Q: I've heard a lot of your music, and there's something uncontained
about it…like something which speaks to the universe. Where does control
come in? At what point does the musician in you get tamed by the
composer in you?
A: It's not about being tamed, really, because as you play, you begin to
know intuitively what's right and what's wrong. Younger players could
get carried away doing all these complex rhythms, sort of really
exploring, without setting themselves limits. But after a while, you
tend to know when you strike a balance, find something appropriate,
something musical. Sometimes it's really simple, and sometimes really
complicated. Your experience tells you what fits, and that's when you
rein in.
Q: You've been working on an album with Bickram Ghosh and Mandolin
Rajesh. Tell us more about that, and more about the collaborative work
you've been doing.
A: Oh, yes, that's 'Journeys with the Master Drummers of India'. Mahesh
Vinayakram is in on it too. I've been really sort of looking at music
from all over the world, and this is an attempt to fuse South Indian
ideas and North Indian music, and bring it into a different arena, a
much more modern climate, but the integrity of the music has to stay
intact. So you bring in all the elements of traditional music, and look
at it in a different way. All of our musician friends love how it's come
out. And this new independent label, India Beat, is coming out with a
number of my projects. Saregama is releasing 'Kingdom of Rhythm', a
collaboration with Bickram Ghosh. That should be out in January. That's
going to be a Tour de France of music with tribal chants and all of
that. We've also brought in Kai Eckhart, who used to play bass with John
McLaughlin. And there's 'Made in Chennai', with Umashankar Vinayakram
and Vinayaka.
Q: You've been working in combinations of two percussionists and another
instrumentalist…mandolin, bass…that's quite unique. How did you make
that decision?
A: Well, it seemed a natural combination to me. You know, in Indian
classical, you have the vocal component and then you play around so much
with the instrumental component. What I wanted to do here was to make a
journey where you have Indian classical music, and then you play that
with electronics and drums, orchestra and drums. Of course, we were a
bit nervous about how it would come out, but it's been fantastic, and it
sounds great!
Q: Your book – 'Indian rhythms on the drum set' – was published
recently. It's a pretty complex subject. How long did it take you to
write it?
A: Oh, that was a big write! It was about three years' work. Of course,
I wasn't writing everyday, but it comprises a journey of that long or
more. It's the first book of its kind, which looks at Indian rhythms
specifically on Drum set. It's primarily South Indian, Carnatic, music,
but there are also components of North Indian music, and both Carnatic
and Hindustani are so complex and developed a Westerner can't even get a
foot in the door, you know, unless you've come here and studied it
extensively. Now that I've made that journey, I want more people around
the world to understand this music…I wanted to put down a solid,
jargon-free introduction to Indian music, orchestrated on Indian
rhythms.
Q: You've got so many types of music within India – there's Carnatic,
there's Hindustani and then you have Rabindra Sangeet. And then, you
have Indian performers of Western instruments like the piano and
saxophone and guitar. But while these systems were separate entities
until recently, we see an increasing number of collaborations these
days…
A: Exactly! I think we're moving in that direction, where music is not
bifurcated into North and South Indian rhythms. Music breaks barriers
within society and religions and people. You know, we musicians are all
like brothers together, we make music together and we respect each
other. It's a model platform, that it would be nice if politicians
followed! (laughs)
Q: Your website has lessons put up regularly, and you don't charge for
them. What is the philosophy behind that, at a time when artistes all
over the world are struggling with internet piracy?
A: I see it as my way of giving back. I suppose I could charge five
bucks a lesson, but I don't need to, because I make enough doing the
work I do. Some people tend to retain everything, but then it dies out
if you do. Some people make it very difficult for other people to learn
from them, but I want to see more people getting out there and making
good music. It was very hard for me when I started out, in the pre-Google,
pre-YouTube days. Hard to source information and get what you need. Now
it's much easier, and I want to make a contribution. I want to see
people playing bongos the right way. You know, you walk into a club
sometimes, and you see this guy or girl sort of going at a bongo in a
casual way, accompanying the DJ, and you think they could do so much
more if they knew how to play it, instead of just mucking around…and you
wish you could hear that.
Q: You play so many instruments, and I'm sure you have a special touch
with each of them. And to know them, you need to practise often, keep in
touch. So where do you find the time, how do you play all of them
regularly?
A: Oh, that's quite hard, especially when you're away. I've been here in
India for the best part of two weeks now. And after getting back, I'm
going to be doing a tour of Europe. So, yeah, it's pretty difficult.
I've got one or two specific routines, where you just limber up with
your instruments. And you'd be surprised at how much that puts you back
in touch. And sometimes, you know, playing one instrument can get you in
touch with all of them. For example, the kanjira, it's not that
different from playing the tabla, because you're touching those notes on
the scale, you're articulating. So playing one instrument, it's like
playing all of them, in a bizarre and unlikely way!
GROOVE GURUS
Indian Telegraph 06 08
BICKRAM GHOSH & PETE LOCKETT PLAN NEW DRUM CLINICS AND MAKE A BANG WITH
AN ELECTRIC ALBUM.
The busiest tabla player around just got busier. While
he missed legendary drummer Steve Smith’s India tour in 2007 with the
groundbreaking band Vital Information, tabla whiz Bickram Ghosh is all
set to host countrywide percussion workshops with Smith, come the
year-end. Bickram and Smith will also find some able support in their
long-time cohort, composer-percussionist Pete Lockett; resulting in a
never-before trio clinic featuring the three drummers.
“I couldn’t attend any of Vital Information’s India
concerts last year. But when Pete introduced me to Steve in London in
April this time, I was surprised to find that his iPod contains the
Rhythmscape album!” smiles Bickram. Indian rhythms have long been
Smith’s research subject — a serious student, the ex-Journey drummer is
known not just to dabble but go roots-deep in any percussion culture he
studies — and he is one of the finest jazz-fusion drummers to fuse this
influence with his sound.
The same goes for the 007 percussion arranger Lockett,
a diligent student of the tabla for over a decade now. That makes
communication easier for Bickram. “Most drummers from a jazz/rock
background don’t really know the finer points of Indian music. But Steve
knows my music and has a lot of respect for our heritage. Pete, on the
other hand, is maturing into as good a tabla player as anyone,” says
Bickram. The first step is to form the drummer trio; the next, to make a
musical statement with that project.
The three expect a packed tour schedule: Smith is an
in-demand clinician for Zildjian cymbals and Sonor drums worldwide,
while the UK stage can be handled by Lockett’s agents. “I’ve been
composing for projects and films over the past five years. So this is
one of the most exciting things to do in the playing mode as a
performer, for me. As a tabla player, I’m in good form. I feel I should
utilise that to the fullest,” says the percussionist.
Purists who have been missing Bickram’s classical avatar of late will be
glad to get their hands on a dozen or so albums to be released in the
next few months, featuring him on tabla with top rung.classical
maestros. But first comes the debut album from Bickram’s new project,
Electro-classical. A “parallel act” to Rhythmscape, this group features
Pratyush Banerjee on sarod, Rajesh Vaidhya on electric veena and Amyt
Dutta on guitar, along with Bickram on tabla and percussion and V.
Suresh on ghatam. “I feel it’s a different sound from my kitty; one
where electronica turns a corner with a personal touch, yet the music is
classically driven,” he explains. The eponymous album by
Electro-classical will be released on Music Today in June.
Arka Das
Bonding with the BEST
(India Statesman 06 08)
Pete Lockett takes a break from
composing for the James Bond film The Quantum of Solace to visit Kolkata
From a distance he looks like a member of a biking gang in America or
Australia and his tattoos make the audience forget his achievements.
Pete Lockett has been travelling to India frequently and his last visit
was to the premiere show of Incredible Hulk at Inox, Elgin Road. Almost
on time, he entered with Bickram Ghosh, both dressed down for the
occasion. Soon after his arrival a journalist from a television channel
started asking a list of questions she had prepared eating starters ~
‘How does it feel to be in Kolkata’, ‘Are you planning to score for
Bengali films’, ‘Which is your favourite character in Hulk’ and ‘What’s
so great about the film’… Attention soon diverted towards the
‘celebrities’ who had already gathered. Lockett is working with Bickram
Ghosh but he is also working on several other projects, including the
next James Bond film ~ The Quantum of Solace.
He will be playing the drums in the Bond film but the rest is hush-hush.
“I have started working on the project but my other commitments keep
taking me across the globe. For a month I have worked on the soundtrack
and once back, more time will be devoted towards it.”
Lockett cannot be called only a drummer. A small list
of instruments he plays includes the tabla, mridangam, kanjira, ghatam,
dholak, naal, bhangra dhol, darabuka, bendir, frame-drums, congas,
bongos, timbales, berimbau, Nigerian Udu, West African djembe, Japanese
taiko, Western drumset and many “weird and wonderful percussion effects”
such as waterphones and spring drums, along with many strange percussive
objects built and customised by him. He also works extensively with
electronics and samplers, both live and in the studio, using samplers,
effects units and live electronic looping to create densely alternative
percussion fabrics.
The musician has toured and recorded with include a
few of the most respected artistes in the industry ~ Björk, Peter
Gabriel, Robert Plant, Bill Bruford, Jeff Beck, David Torn, Vikku
Vinayakram, Selva Ganesh, Ustad Zakir Hussain, The Verve, Steve Smith,
Chris Potter, John Spencer Blues Explosion, David Holmes, Ganesh
Kumaresh, Michael Nyman, Natacha Atlas, Texas, Lee Scratch Perry, Primal
Scream, Kai Eckhardt, Schlomo, Ed Mann, Michael Shrieve, Edwyn Collins,
Damien Rice, George Brooks, Trevor Jackson, Craig Armstrong, John
Bergamo, Kadri Gopalnath...
“People know what I do and what I am good at. I generally play solo and
execute projects according to my sense of music. Rarely do directors or
producers interfere with my work.”
Pete has worked in virtually every field of music
conceivable, both live and in the studio, from pop and rock, to jazz and
the avant garde, from traditional Carnatic and Hindustani music of north
and south India to traditional Japanese taiko drumming. He has
also worked extensively in the film industry. Pete arranged and recorded
all the ethnic percussion for the recent 007 hit, Casino Royale and can
also count the three previous Bond movies ~ Die Another Day, Tomorrow
Never Dies and The World is Not Enough ~ amongst his credits, along with
Hollywood blockbusters, City of Angels (Meg Ryan), The Insider (Al
Pacino), Plunkett & Maclean (Robert Carlisle), The Bone Collector, (Denzel
Washington), Amazing Grace, (Albert Finney), The Quiet American (Michael
Caine), Moulin Rouge, (Nicole Kidman), and the Guy Ritchie film Snatch.
His stint in the Indian film industry includes Sivaji (Rajini Kanth).
“What I have done need to reflect my integrity as
percussionist. I have come from a multicultural background and this
makes me look at music slightly differently. When you cook a dish
frequently, it doesn’t always taste the same. Similar is the case with
music...” He has several projects up his sleeves, one involving Bickram
Ghosh and his father. Speaking about Hulk, he says, “I have mixed sound
effects quite well and used the kanjira, tabla and the Japanese taiko at
proper places.” He has three albums lined up for this year ~
Taalisman with guitarist Amit Chatterjee, Journeys With The Master
Drummers Of India featuring Vikku Vinayakram and Re-Percussion with
Bickram Ghosh.
NDTV
Good Times 2008; Pete & Bickram Ghosh
In the world' music
stopovers, this duo virtually live on beats per minute. One is a drummer
from the United Kingdom and the other is a percussionist from the heart
of the United States of West Bengal! Say hello to the incomparable
Bikram Ghosh and Pete Lockett!
Frankly, this rip roaring pair needs no
introduction. So animated is their musical camaraderie, that they will
go to the end of the world, if they must to shift rhythm to an
overdrive. Using every part of their body to create what they call –
'beats', is a peak pleasure for their listening audience. Now Pete goes
for exotic-looking world instruments that speak like a linguist while
Bikram, lets his tabla do the talking. And when they jam, Fusion gets a
‘you gotta hear it, to believe it’ vibe!
A spectacular drummer, Pete says, “Definitely the
deepest of all the percussion traditions! I've looked at it and it's
immense, the amount of rhythmic development there's been over the
centuries with in the Indian sub-continent, certainly more than anywhere
else in the world. For me as a percussionist, it's just such a rich
reservoir of rhythmic information.”
His partner-in-arms is the son of the illustrious
tabla maestro Shankar Ghosh. In his ten-year career, Bikram has
performed with the greats of Indian classical music like – Ravi Shankar,
Ali Akbar Khan, Amjad Ali Khan, Balamurali Krishna, Kadari Gopalnath, T
N Krishnan among others. Says the tabla maestro who played the
title track of the late George Harrison's album Brainwashed,
“I've always had interestingly a juxtaposition happening musically or
culturally in my upbringing. When I was in school I was
part of a band called Satellites. I was playing conga and stuff, after
that I would go directly from school to Bade Ghulam Ali Khan's house.
Munawar Khan Saheb, a great singer was my mother's teacher, I used to
play with them to the great kayals and tumris!.
So this juxtaposition has led me to a lot of work
currently which I'm doing, which has led me also to enjoy collaborative
work. It has inspired me to check out a variety of music.” Like his venture with Pete.
He agrees, “We've been doing lots of shows together, some big shows in
all the cities – Delhi, Mumbai, Chennai,
Kolkata. But the two big projects that are on are – Sanef and
Repercussion.
On their fantastic chemistry, Pete remarks:
“Working with Bikram is really interesting, besides it is a lot of fun.
It's an amazing challenge and there are lots of elements to it. There
are certain things that happen where we'll just be improvising and we'll
change it at the same time into something completely different for no
apparent reason! It is a very common thing when we are playing
together.”
Carry on blokes...
Sunday , November 30 , 2008
Musical mantras
INDIA IS THE FLAVOUR OF THE SEASON FOR MULTI-PERCUSSIONIST PETE LOCKETT,
SAYS PROMITA MUKHERJEE
You might say that percussionist Pete Lockett is playing half-a-dozen
tunes simultaneously. He’s just released a book, Indian Rhythms for Drum
Set, which explains Indian rhythms and is a guide for wannabe drummers.
And if, like thousands of others, you’ve headed off to the nearest
multiplex to watch the latest Bond thriller Quantum of Solace, listen
for the ‘ethnic’ percussion bits composed and played by Lockett.
The best word for Lockett is probably ‘musicaholic’. Music is his
lifeblood and his mind is never far away from the high notes. “There’s
hardly a day when I don’t play music or write something. The idea of not
having music in my life would be bizarre. Like chopping off my head or
something,” he says passionately.
Lockett’s work covers an extraordinary range from the purely commercial
to the extravagantly experimental. He arranges and records scores for
the best names in Hollywood. Also, he travels the world and plays on
local percussion instruments like the Middle Eastern darabuka, req and
bendir, the Japanese Taiko, the West African djembe and the Irish
Bodhran. And he has a special corner in his heart for Indian percussion
and instruments like the mridangam and the dholak.
Consider the schedule described in his website which gives a flavour of
the fast-paced, drumbeats of his life. “2008 kicked off with
performances in India with U. Shrinivas, U. Rajesh and Loy Mendonsa.
Pete then had extensive recording work on the new Incredible Hulk film
with Craig Armstrong along with the new Bond film with David Arnold due
out late 2008.”
He’s definitely a figure who has made himself heard in Hollywood. He has
arranged and recorded the ethnic percussion pieces for Hollywood hits
like The Incredible Hulk 2, City of Angels, The Bone Collector, Moulin
Rouge and Snatch among others. In India too, he’s recorded with A.R.
Rahman for the 2007 blockbuster Sivaji. Movies apart, he’s
collaborated and played with the likes of Bjork, Peter Gabriel, Bill
Bruford, Ustad Zakir Hussain, The Verve, Nelly Furtado, and Ronan
Keating. He’s also taught at places like the Royal Academy of Music and
the Guildhall School of Music in London and done live gigs across the
globe.
But the focus has been on India for quite some time now and it shows in
his work. In January there’ll be the launch of an album Kingdom of
Rhythm with Bickram Ghosh and Kai Eckhardt for which he spent 18 months
in Calcutta. The album has influences like Latin, electronica, Japanese
and Middle- Eastern beats. Says Lockett: “We wanted the album to be
accessible to both the layman and the connoisseur.”
Over the next two months he also plans to release other three albums —
Taalisman, a jazz-based fusion album with guitarist Amit Chatterjee,
Journey through the Master Drummers of India, with Vikku Vinayakram and
Ghosh in end February-early March and Made in Chennai with Uma Shankar.
Then he’s negotiating with the music companies for another album Made in
Calcutta with Pandit Shankar Ghosh, sarod player Pratyush Banerjee and a
host of Calcutta musicians. Lockett was first introduced to Indian
music about 15-20 years back when he heard Ustad Ali Akbar Khan and
Zakir Hussain play in London and was instantly hooked. For a
percussionist, Lockett feels, the Indian rhythmic system is the Holy
Grail of rhythm. “I don’t know if Indian people quite appreciate what
they have got. But if you coming from somewhere else in the world, it’s
a thing to behold really,” he chuckles.
He toured the country extensively seven years back with musician Selva
Ganesh and admits that he’s been influenced a lot by Indian music. “The
system is so developed. It’s 50 lifetime’s study,” he says. Ever since,
he’s been coming back and his collaborative projects are the outcome of
his interactions with musicians over the last two years.
Lockett feels that the key to successful collaboration lies in the
ability to know how the other person’s mind works. “A part of the quest
is to get inside the mind of other cultures and see how they approach
music. For example, classical musicians in India approach music
differently from jazz players in the West or drummers from Ghana,” he
explains.
He doesn’t approach composing like a regular job. Unless when he’s
scoring for a film and there are schedules to adhere to, Lockett doesn’t
sit down with his music every morning. “Different things come together
in different ways,” he says. Music is a part of life so whenever he
comes across an idea, he jots it down quickly. “You think of different
sounds — metallic, wooden, sound of skin, resonant tones, how they might
fit together, the kind of elements you might use. I try and approach it
much like that,” he says.
Nevertheless, he reckons that for a musician, nothing beats playing
live. He likes connecting to the audience and the fact that there’re no
second chances. But he’s quick to point out that he also loves being in
the studio where there’s always the scope to reorganise things.
Lockett got into music “by chance” when he was 19. He was walking past a
drum shop in London when he noticed an advert saying ‘Drum lessons’. He
went in, took the lesson which “made complete sense” and “decided this
is what I want to do with my life.”
From drums, his interest moved on to different kinds of music and rhythm
and he studied and incorporated them in his music. He has, over the
years, come out with a string of albums like Network Of Sparks One and
Network Of Sparks Two. Quiz him on what he does on his free time
and he’s quick to point out that there isn’t any. “There’s always
something to be done,” he rues. When he can, he watches games like
cricket and football, reads, edits his music and cooks. Cooking is
number one on the list. “I cook a mean dal and curries and other Indian
food too,” he laughs. He likes reading “heavy-duty stuff” like
philosophy which he believes helps in philosophising his music.
Lockett’s aim is to capture his audience’s ear, and imagination. After
all, like he says, “If you can’t affect the audience then what are you
doing it for?”
HOT artiste 19 /11 / 08
‘I Am Me Through My Music’
Says Pete Lockett who is equally at home being a multi-percussionist and
composing James Bond scores! — ANITA MISHRA
Recently internationally feted percussionist and fusion artiste Bickram
Ghosh was in the city with British multi-percussionist Pete Lockett for
a pre-release concert for their new album Kingdom of Rhythm featuring
more than 250 percussion instruments from around the world. A quick chat
with Lockett on his classical and film music career so far:
Tell us about your musical experience for Quantum Of Solace the
latest James Bond flick
I’ve performed, recorded and worked on scores for five Bond movies
already. I have worked in tracks from
The World is not Enough, Tomorrow Never Dies, Die Another Day. It’s been
pretty cool and an interactive process with ideas coming back and forth.
I’ve arranged and recorded the ethnic percussions with David Arnold, the
composer of Bond film.
What are you working on now?
I’m working with a lot of pop and my new album with Bickram Ghosh has a
commercial edge to it. It’s novel and groove-based and has a hypnotic
feel to its repetitive pattern of so many different sounds. My
forthcoming albums include Journeys with the master drummers of India
with Bickram, U Rajesh the mandolin player. Made in Calcutta that has
many Kolkata musicians and The India Beat with North Indian musical
instruments like the sarod, esraj and classical vocals. Then there’s
another one due for March next year which is a collaborative venture
with Uma Shankar, son of Vikku Vinayakram with electronic drums
worldwide.
Tell us more about your film scores
I’ve arranged and recorded all ethnic percussion instruments for recent
Hollywood hits like The Incredible Hulk. Apart from Bond flicks, I have
performed for Moulin Rouge starring Nicole Kidman. In India, I have
scored the rhythm for Little Zizou with Bickram and worked for the South
blockbuster Sivaji with A.R.Rahman.
What drives you to be so eclectic and yet passionate about music?
I’m trying to be me through my music. It’s like an instinct that
improves technically with practice. My passion inspires me to play a
range of instruments —Arabic drums, Kanjira, western drum set etc. It’s
all about an unstoppable passion for music and the determination to
stick to your profession in the face of all oddities.
How do you explain your interest in mastering Indian Classical
instruments?
I started playing musical instruments since I was 19 and dedicated
myself to it in Portsmouth from where I come from. And it was destiny
when I happened to attend a concert in Alexander Palace, London and saw
a mind-blowing performance by Ali Akbar Khan and Zakir Hussain and got
interested in Indian classical instruments. It was the beginning of my
musical journey with Yusuf Ali Khan and Karakudy Krishnamurthy
I first came to India in 2000 to collaborate with Selva Ganesh and went
on an all-India multi-cultural tour with Western classical
percussionists and musicians from Delhi. I personally like to explore
and study a lot of different things!
www.buzz18-dot-com.
By IANS . Nov 07th 2008
Bickram Ghosh has teamed
up with the James Bond Rhythm composer
The country's leading percussionist Bickram Ghosh has
teamed up with Pete Lockett, dubbed the world's most versatile
multi-percussion player, for a new album Kingdom of Rhythm that
features more than 250 percussion instruments from around the world. Kingdom of Rhythm
that features more than 250 percussion instruments from around the
world.
The duo has just completed shooting the music video of
the album to be released in January.
Lockett, who set
much of the percussion score for the latest James Bond thriller,
Quantum of Solace
starring Daniel Craig, composed the ethnic percussion for five of the
previous Bond movies. Ghosh shot to limelight after he featured on
Pandit Ravi Shankar's album
Full Circle
that won the Grammy in 2004. He has since collaborated with
international musicians, including George Harrison on his album
Brainwashed,
Bob Haddad, Mstilav Rostropovish, Khaled Kouen and Yosi Levi.
Ghosh is the son of the one of the early pioneers of fusion music,
Shankar Ghosh, who had collaborated with the Grateful Dead in the US.
After spending his early years in the US, Ghosh, a drummer, trained in
tabla and learnt the nuances of Carnatic music from Pandit S Sekhar.
The duo played
extracts from their latest album, along with famous Indo-jazz guitarist
Giuliano Modarelli at the Ballantine's Leave an Impression concert in the
capital Thursday evening. The thread that bound the three musicians from
three different cultures - Lockett from London, Modarelli from Italy and
Ghosh from Kolkata - was the love for Indian percussion instruments and
classical music - influences of which peppered the tracks. "Pete
and I are working for the first time on an album. It is totally
rhythm-driven. We have all kinds of beat instruments like the Japanese
tyco drums, dhamsa,
madols (Indian
tribal drums),
darabukka
(Persian) drums, African drums, electric tabla and all possible
percussion instruments from southern India. People are going to get a
surprise," said Ghosh. Ghosh has just completed composing music
for Little Zizou,
a Mira Nair production directed by Soonie Taraporevala and starring
Boman Irani,
John Abraham
and Kamal Sidhu. He has collaborated with Lockett and guitarist
Modarelli for the movie.
An
Indian, a Britisher and an Italian. The animated percussionist
Bickram Ghosh with his unkempt mop, the incredible hulk of a
multi-percussionist Pete Lockett and the sweet and bald
versatile guitarist Guiliano Modarelli Guiliano. Ballentine’s
“Leave an Impression Tonight” at the ITC Windsor brought three
different musicians and trains of thoughts on a common musical
platform that saw diverse musical styles and influences. The
lights were dim and midnight blue, music enthusiasts and those
who pretended to be planted themselves on the plush carpet and
nodded and swayed their heads away to a night of ethnic techno
music.
A
part of a four-city tour, the concert was the result of a
three-year collaboration amongst the artistes, who have also
been working together on a project called “Sunev” (Venus spelt
backwards). Performing self-compositions that fused sounds from
the far East like “Funky Arabia”, “Jewel in the Crown” and
“Sands of Algeria”, the musicians presented a unique concert.
Say
the artistes: “The music is very exotic — strong and rhythmic,
with an electronic sound.” They feel that it is a contrast to
their live acoustic concerts, as the music now is more fervent,
and encompassing a global influence of jazz, Arabic, flamenco
and Indian classical music. “The music is high energy,
passionate and exotic — there is a lot of hand-drumming”, they
elaborate. From the Cuban, Indian classical, Latino, rock and
funk music of the talented Milan-bred, U.K.-based jazz scholar
Giuliano Modarelli, Bickram Ghosh played the tabla standing, for
the first time and the energetic Pete traded arms to play
percussion instruments. “The music is very club-based and
visual.”
When it comes to three musicians coming from different musical
backgrounds and countries coming together, Bickram, Pete and
Guiliano are open to change. “You have to bend a bit when you
learn other people’s music. It is not fusion but a multicultural
musical collaboration,” they assert. For the shaggy-haired Pete
who started playing late, he says that after listening and
analysing music for so long on a philosophical, musical and
aesthetic level, picking up the instrument was about pure
emotion. From Hollywood projects like the Moulin Rouge, Pete
loves to work with A.R. Rahman. He is currently working on the
Indian version of Sherlock Holmes called “The Diamond Murders”.
Bollywood music, they say has imbibed only loops and remixes for
the last few years. “It is very programmed and superficial. A
lot of original music has not been tapped, which is sad because
India is the supposed to be the land of the drums.” And with
Bollywood being dominant, they disapprove of every medium down
to even FM channels blasting music from the film sets. “Music is
not a reflection of the times, but rather, the present scenario
is a reflection of the limiting music.” But Bickram is happy to
play for the musically-conscious Bangalore audience, where
members always go up to him with questions. While they believe
original music will happen, “Leave an Impression Tonight” saw
tunes that mixed, gelled and fused to create funky, racy notes
by three musicians who brought the “Sands of Algeria” and a
“Jewel in the Crown” to the city. AYESHA
MATTHAN
WWW.EXPRESSBUZZ-dot-COM DRUMMING UP THE
ENERGY
Poonam Biswakarma; First Published : 08
Nov 2008 11:28:00 AM IST
INDIA’S greatest percussionist, Bickram Ghosh,
Londoner Pete Lockett, a renowned multi-percussionist who has
been associated with the last five Bond movies, and new-age
guitarist from Italy, Giuliano Modarelli were all in Bangalore
to perform at Ballantine’s ‘Leave an Impression Night’. We
caught up with them before they went on to impress the city’s
audience.
About their music
“Our music is exotic and rhythm driven,” says the trio. Their
music has influences from diverse cultures. They play beat
instruments from all over the globe -- Japanese Taiko, dhamsa,
madols, Persian darabhuka, African drums.
“There’s jazz, flamenco, Carnatic and Hindustani,” says Pete
Lockett. They prefer their kind of music to be called as hybrid
rather than fusion. Our music has hybrid identity, they say.
“It’s ridiculous to term our music ‘fusion’ as in a fusion,
different genres come together but remain distinct. But in our
music different genres blend into one, thus the term ‘hybrid’
better represents our style of music,” says Bickram Ghosh.
On contemporary music scene
They feel today’s music is in a bad state and needs to be
revived. Everyone is making similar kind of music and are just
aping the West. There’s more technology than originality
in current music. “India is a land of percussion instruments,
but you hardly get to hear them,” laments Lockett. But they also
agree that there are few musicians like AR Rahman who make
excellent music.
On projects on hand
They have completed production of Kingdom of Rhythms featuring
about 250 percussion instruments from all over the world and
will be releasing it shortly. Also in the offing is Made in
Chennai which will have a lot of Carnatic influence.
On Bollywood projects
They have completed composing music for Soonie Taraporevala’s
‘Little Zizou’, starring Boman Irani, John Abraham and Kamal
Sidhu. They are also composing for a desi Sherlock Holmes
adventure film, The Diamond Murders, in which Sunidhi will be on
the vocals.
On Bangalore audience
Bangalore has good music sensibility, says Bickram Ghosh, who
visited the city last year also. “People have asked intelligent
questions here. They could make out the difference in style in
which I played various instruments.” Pete Lockett and Giuliano
Modarelli have come to the city for the first time and expect
good response.
On India
There is no doubt that it’s the love for Indian percussion
instruments that has brought them together. What more do they
(Lockett and Modarelli) love about India? “Oh, I love rava dosa,
tandoori chicken and laccha paratha!,” says Lockett, who’s been
down south a couple of times, and has also been associated with
the music of ‘Sivaji-the Boss.
Bickram Ghosh and Pete Lockett are working on an album that
features percussion instruments from around the globe.
Before its release, the duo was joined by Giuliano Modarelli
at a concert in Kolkata
If percussion maestro Pete Lockett be given another chance
at life, he would live in India. Known for his association
with soundtracks of several Bond films, including Quantum of
Solace, Lockett has the roadmaps of Kolkata, Chennai and
Mumbai on the back of his hand. Recently he was in Kolkata
to meet his old friend Bickram Ghosh and tagging along was
the versatile guitarist Giuliano Modarelli. The result: a
top-notch concert at Soho. Before heading for the venue, the
three spent sometime with The Statesman.
Lockett and Ghosh are often heard playing together but this
time Giuliano decided to join in the party (they perform
together as part of Sunev). The unique selling proposition
of the Soho performance was presenting acoustic music
(moving towards electronica) in a nightclub. Ghosh said,
“Nightclub spaces demand a certain kind of music; it’s
DJ-driven. We are trying to present acoustic/improvised
music in nightclubs.” Before Kolkata, the trio played at
three other venues with the Bangalore gig turning out to be
a difficult one. “We were playing inside a ballroom! And I
was playing the tabla standing. Delhi was a better
experience.”
The addition of Modarelli was needed to lend variety to
Ghosh and Lockett’s acoustic music. Modarelli studied jazz
before taking lessons in Indian classic music under renowned
sitarist Dharamir Singh. His unique style is a subtle blend
of folk, Arabic, flamenco and eastern European. He has
toured with Raga Nova and performed at important music
festivals.
Lockett was, as usual, chirpy and refusing to mince words.
“On the tabla the entire spectrum of notations can be
played, allowing musicians to articulate their expressions.
It’s evocative. Playing with Bickram is always a challenge
and a learning experience.”
As for Bickram Ghosh, he is a man who can handle twenty
projects simultaneously without goofing up! He is working on
several soundtracks besides a few albums, the most
noticeable one being Kingdom of Rhythm. Lockett, who is
heard on this album, says, “There are all kinds of
percussions... We don’t want to alienate our audience.
Unlike our earlier efforts, this one is for everyone’s
listening pleasure. There would be nine tracks, each
representing a different genre. One should listen to the
taiko drums that have been prominently featured. Also used
is a popular Egyptian percussion. In simple words, we want
to present the popular percussions used in different
countries.”
Lockett is also working on his personal projects besides, he
recently released Taalisman. “You would soon get to hear me
on a Music Today presentation ~ Journey With The Master
Drummers of India and also on a few tracks recorded with
Bickram’s dad.”
As for the Ballantine’s Leave an Impression Tour concert at
Soho, it was certainly an interesting presentation, made
special by the presence of Modarelli, who had to compete a
good deal with two leading percussionists.
The Hindu Online 13.11.08
Breaking barriers
CREATING WAVES
Bickram Ghosh and
Pete Lockett
Never sticking to the furrowed route, ace
percussionist Bickram Ghosh is now taking the tabla into a
new space. He transports its sound from the traditional
gharanas into the nightclubs. His intentions were apparent
at the recent launch of Ballantine ’s Whiskey in India. At a
concert at the Ashok Hotel, he played the tabla standing,
with Sunev band members Pete Lockett and Giuliano Modarelli.
With an infectious enthusiasm, he says, “I
hope I’m not ostracised for coming into night clubs. It’s a
different space and gives me a new opportunity,” adding with
a laugh, “I can’t play intricate table compositions here,
I’ll play groove.”
Ghosh is hoping to see a change from deejay
mixes to live music performances in nightclubs. He notices a
return to acoustics in European nightclubs and is hoping for
the same. But believing more in gradual inculcation than
sudden revolution, Ghosh doesn’t want to suddenly do away
with the deejay. At the Ballatine’s performance, for
instance Sunev even jammed with deejay Vicky. Ghosh thus
successfully merges the acoustic with the recorded.
Performing in a nightclub is significant
considering Ghosh’s illustrious heritage. Son of Pandit
Shankar Ghosh, he has learnt Carnatic percussion from Pandit
S. Sekhar. He has performed alongside ustads like Ravi
Shankar and Zakir Hussain to name a few.
Admitting, “My head has changed,” his new-age
sound is his attempt to resurrect the schoolboy Bickram. He
explains, “When I started off I learnt the traditional way
through riyaaz and thoroughbred classical musicians. But
while in La Martiniere (Calcutta) I played the Rolling
Stones, Bee Gees etc with my band Satellite.” Rhythmscape
(his fusion band) and playing in nightclubs is an attempt to
reconnect with the old Bickram.
His horizons have widened. It grew from being
just about taal to a more hybrid sound. In today’s world he
recognises hybridisation as an inevitable phenomenon,
believing that music will inevitably reflect the cross
currents of different influences. He says, “I can be a total
classical musician — wearing kurta, pyjama, complete with a
gold chain! But I can also go to a club wear a leather
jacket and scream ‘Let’s Rock’”. He recognises this
effortless morphing from one type to another as a new
phenomenon, adding, “20-25 years back this experimentation
would not have been accepted. These days everyone is ready.”
This hybridisation is evident in his recent,
“Kingdom of Rhythm”, a joint venture between Lockett and
Ghosh. To be released shortly, the sound is a bit of
everything. The two of them have even “hummed” in some
tracks. Ghosh cautions, “I would be scared to call it
singing!” An all rhythm video is also to hit the music
channels soon.
While he enjoys creating music for films,
Ghosh has stringent conditions in his contract. He refuses
to do the music unless he’s given the background score. He
asserts, “We don’t realise how important background score
is. It’s part of my clause that I have to do it,” he says
with a smile. He has another rule as well, “No one is
allowed to re-mix my music.”
NANDINI NAIR
BangaloreMirror
a quantum of soul
Bickram Ghosh, Pete Lockett and Giuliano Modarelli get to
heart of the matter of music
Seema
Sarah Scaria.
Posted On
Wednesday, November 12, 2008
Music transcends all boundaries. The
happy collaboration between Indian percussionist
Bickram Ghosh and the multi-percussion player Pete
Lockett — hailing from Kolkata and London
respectively — serves as proof. What’s more?
Indo-jazz guitarist Giuliano Modarelli from Italy
too has joined hands with the duo. The three, who
were in the city to perform at the Ballantine’s
Leave An Impression concert at Windsor Manor, talk
their hearts out on their innovative initiatives.
Explaining what holds the key to this collaboration,
Bickram says: “Once you start appreciating other
cultures, then slowly but surely you start breaking
the barriers too. Pete and I have teamed up for a
totally rhythm-driven album Kingdom of Rhythm which
will be released soon. The album features more than
250 percussion instruments including the Japanese
tyco drums, dhamsa, African drums, electric tabla
and all possible percussion instruments from
southern India.”
We are open to changes, compromising to some extent
to learn other people’s music, Pete chips in. “See,
you need to understand the building blocks of
music. It’s no picnic for a western musician to come
to India and get the hang of the different
structures of music here. Thankfully, Bickram
belongs to the category of open-minded musicians,
and I feel more
at peace and less out of place with him.”
With a slew of Bollywood projects and albums in
their kitty, the trio is on a roll. I’ve just
completed composing music for Little Zizou,
a Mira Nair production starring Boman Irani, John
Abraham and Kamal Sidhu, says Bickram. “Giuliano too
has collaborated for the film. Now, we’re working on
The Diamond Murders
— a mystery thriller in Hindi based on a Sherlock
Holmes story. We’ve completed one song, which I
would call ‘mystery jazz’ - a dark Hindi bluesy
number. Pete has played the drums, Giuliano the
guitars, and the rock’s mine.”
Pete, who made a late entry into the music world,
says “as a musician, I place a premium on
remembering how I felt to listen to music before I
played it. It’s important for any musician if he/
she can listen to music without getting too much
analytical.” He has set the score for the latest
James Bond thriller, Quantum of Solace
besides composing music for Incredible
Hulk
and five of the previous Bond movies. Besides, he
did the recording work for the Rajnikanth-starrer
Sivaji.
Indian music has to go a long way as far as
acoustics is concerned, Bickram notes. “If Bollywood
music - that has been dominating so much - doesn’t
become creative, then I am afraid it won't survive
or even influence other music industries. With music
nowadays getting too westernised and simply
programmed, where's any room for creativity? A lot
of original talent is simply wasting," he rues.
Bickram is all praises for the audience in
Bangalore, in that “the city is never shy of musical
sensibility.” Though percussion remains his first
love, Bickram has starred in two Bengali movies —
Piyali Password
and Neel Rajar Deshe.
But the percussionist vows that "from now on until
something really interesting happens, I won't act. I
fancy playing only the musician's role."
Brand new soul
BICKRAM GHOSH AND PETE LOCKETT TEAM UP TO BREAK NEW GROUND,
AGAIN.
Saturday evening at Soho witnessed a new breed of music not
quite suited to the average disc-hopper.
The Calcutta leg of Ballantine’s Leave An Impression tour —
which also was in Delhi, Bangalore and Mumbai before coming
to town — saw tabla player Bickram Ghosh and
multi-percussionist Pete Lockett (who you will hear on many
a Bond film soundtrack) team up with Leeds-based Italian
jazz guitarist Giuliano Modarelli for an evening of
scintillating music.
“The sound that we brought to the table today is unusual in
most night-clubs. The average night-club goer expects
standard tracks, with DJ-driven beats. In that sense,
playing in such a space was a challenge,” Bickram said after
the concert, tired but satisfied.
Given that the trio’s sound “wasn’t standard night-club
music”, it was natural that their experiences in the tour
ranged from good to bizarre. “In Bangalore, the concert was
organised in a ballroom. The crowd was rather genteel and
dressed formally. They obviously came in expecting a
‘fusion’ concert. However, when they entered the ballroom
and saw no chairs, they ultimately squatted on the floor.
Pete, Giuliano and I stood while playing and there they were
sitting on the floor… It was rather interesting,” Bickram
joked. That experience wasn’t repeated in Soho, where the
crowd cheered, clapped and practically roared during the
sawal-jawab between Bickram and Pete. Giuliano’s winding
solos were well appreciated. When resident DJ Vicky hit the
console for a half-hour jam session before taking over for
the night, the crowd was tapping its feet to the beat.
Calcutta’s response wasn’t a surprise to Bickram. “People
have already begun to experiment. A lot of people are using
the electric veena or the electric sitar. The very
experience of combining the modern electric sounds of the
guitar and drums with a tabla is pretty exciting. And
contrary to what people think, it can actually go very well
in a night-club setting,” said Bickram.
The buzzword in the drumming world, of course, is Bickram
and Pete’s album titled Kingdom Of Rhythm, which features
more than 250 kinds of percussion and is set to release by
the end of the year on Saregama. The duo have also worked
with Giuliano for one song on Kingdom Of Rhythm. They have
also collaborated previously on Sunev, a project they worked
on two years ago, which is still awaiting release, and also
on the soundtrack of the film Little Zizou, a Mira Nair
production directed by Soonie Taraporevala.
Malini Banerjee
THE HINDU Kingdom
of Rhythm
International multi-percussionist Pete Lockett on the hybrid
face of music.
NANDINI NAIR
(Nov 2008)
In Sync Pete Lockett is addicted to live performances
A
chance advertisement in a shop window promising drum lessons
for five pounds was the starting point of Pete Lockett’s
incredible journey. If he hadn’t seen that ad he might still
have been a docker in Portsmouth, England. And the magic of his finger tips would have remained mute. Having
started learning the drums at age 19, he is touted today as
“the most versatile multi-percussionist in the world”. With
unkempt hair on a portly frame in a psychedelic shirt,
Lockett doesn’t look a rocker but a musician. A hazy tattoo
on each hand one of a bird and one of a rose symbolise his
two staunchest beliefs — freedom and beauty.
This
London-based musician recently performed alongside Bickram
Ghosh and Giuliao Modarelli for the launch of Ballantine’s
Scotch Whiskey in India, at Hotel Ashok. With many
James Bond scores behind him, he is currently enjoying the
success of “Quantum of Solace”. His percussion score can
also be heard in “Die Another Day”, “The World is Not
Enough”, “Tomorrow Never Dies” and “Casino Royale”. For
“Quantum of Solace,” Lockett has used big drums and a lot of
electronic programming. While the challenge is to create a
different score for each Bond movie, the constant is the
“drama and passion” that is central to all the secret agent
movies. He writes the score while being aware of the
emotional quotient for each scene. If Bond requires drama,
some of his other movies, like “Quiet American” required a
far more gentle touch.
While
he might be well known for his Hollywood ventures, the sheer variety of his skills is what impresses. He started
his career with the traditional drum set in England, but today has
mastered percussion instruments from across the world. He
studied the tabla under Yousef Ali Khan and Carnatic
percussion from Karaikudi Krishnamuthy. He plays the tabla,
mridangam, kanjira, ghatam, dhol and dholak from here. His
repertoire includes the Middle Eastern bendir, Latin
timbales, the Nigerian Udu, the Japanese taiko and even
waterphones. Forever on the lookout for the unusual, he
recounts coming across “these huge stones in Azerbaijan”. He
recollects, “They resonate like a bell when they are hit.
People have played it over centuries.”
Worked with Rahman The catalogue of performers
he has worked with is proof of his versatility. He has
covered an entire gamut of Indian and international singers
and musicians from George Harrison to A.R. Rahman to Rajesh
Mandolin to Robert Plant. He effortlessly traverses the
eastern and western traditions, because he understands music
as an innate universal experience. For Lockett, “rhythm is a
primal thing that is as fundamental as language itself”.
While acknowledging the different styles across the world he
believes that there is no such thing as a pure style or pure
music. “Pure music is simply the desire to make music,” says
this musician shaking his shoulder-length blonde hair. He
appreciates the different international percussion styles.
Pointing out that in India it’s intricate finger work, in
Africa it’s about playing a family of drums in interlocking patterns and in
Japan it’s large drums that are played. Incorporating these
different styles and percussion instruments he has created
his own hybrid style. He elaborates, “I’m a hybrid
percussionist. It’s a positive thing. It’s like Barack Obama!”
Having
travelled the world keeping his ear attuned, Lockett is an
Indophile. He loves India for its rich percussion history
and for its listeners. He says, “I always love being in
India. People here love their music. They listen with love
and enthusiasm. Lockett has researched thoroughly about
Indian percussion instruments. While finding that Indian
classical music has not changed much over centuries he has
found that the craftsmanship of making those percussion
instruments is fading. He elaborates, “Skills are being
handed down from one generation to the next. But drum making
traditions are slowly dying. That’s really sad. These are
the temples of music. They need to be protected.”
While
looking forward to the release of “Kingdom of Rhythm”, which he has composed with Bickram Ghosh, Lockett is also excited
about his forthcoming projects, including a tour of Holland and creating music
for Play Station. Having authored “Indian Rhythms for the
Drum set”, Lockett is taking a rest from books. But he does
spend time writing and recording music lessons that are
available online. “For me it was hard to get information,”
he explains, adding, “If I get something from music. I have
to give back.”
As of
now, he’s also enjoying the resonance of “Quantum of
Solace”.