Music was in the air in the house when I was a child. Mother had learned Classical music and Veena, as most Brahmin girls of those age did, before she got married. Life was a struggle for a Bombay born girl to move to Radhapuram in Tamil Nadu, which did not even have a proper toilet or electricity in 1954. She was just 18 and never pursued her music. She blamed father for not encouraging her, but father's version is that she couldn't take his well meaning criticism and sulked, leading ultimately to her Veena gathering dust. When my sister, who is 4 years elder to me, was into her teens, she was taught Veena. In fact she studied Veena for 8 long years. Neither was she interested nor was her mercenary Veena Master. For him, who was a lecturer in the music college, taking music lessons twice a week was a livelihood rather than a passion. Sister got married when she was 22 and never even looked at her Veena. This was more like our school college studies which we forget the moment the examinations are over.
Father wanted me to learn Mridangam, a percussion instrument. But the young boy had other ideas, for he wanted to be the next Sunil Gavaskar. The 1970's was the golden period of Malayalam film songs and the 1980s that of Tamil Film songs. In addition, one was able to listen to the soulful singing of Mohammed Rafi through Binaca Geetmala, broadcasted by Ceylon Radio. Radio was the major source of music. Record players, tape recorder came much later. Brother was the only person interested in Western Music, and the only Western music I liked was ABBA. Palghat Music Sabha organized one concert per month and parents were regular to the concerts. Though mother learned music systemmatically, father had better 'Jnanam' (Knowledge). His phenomenal memory helped him to remember ragas and recall later. I used to skip the first 2 hours of the concert and will walk in only for the last half an hour when 'thukkadas' (or smaller compositions) were sung. They were not heavy classically and it appealed to a teenager.
I finished my graduation and joined MBA, and carried with me a transistor radio which had both MW and SW (there were no FM stations those days). The nearest Radio Station was Kozhikode, which had a reputation for programs of highest quality. Many illustrious literary giants worked in Kozhikode Radio Station and they left a vibrant culture and a rich legacy. One day, I happened to go to a Madurai T N Seshagopalan Concert in Thali in Calicut. The intention was to leave the concert hall after half an hour. But I was rooted to my seat on the floor by Seshagopalans virtuosity. 4 times during the concert, I felt hair standing up on my arm as the music took me to a different world. I became a convert there and then. With a hard nosed determination which I thought I never had ( I was an easy going person and still is) I started listening to Carnatic music programs in either Kozhikkode or Madras radio stations or even AIR Banglore. There were concerts, music lessons and other music related programs. I used to read the Radio program column first thing in the morning and note down the station and the time of the program. It was an amazing 2 years, during which I was exposed to the genius of the Maestros from Chembai to MD Ramanathan to Ariyakkudi to DK Pattammal to Maali to Sheikh Chinnamoulana to Lalgudi to TN Krishnan to Chitti babu to TN Seshagopalan to the child prodigies U Srinivas, N Ravikiran and Gayathri. I had the privilege of listening to some wonderful concerts in Delhi during winter when I went to visit my brother. By the time I got my MBA Degree, I had also become very proficient in Carnatic music and was able to identify more than 120 ragas. Of course, I had a ready reference source in father, whenever I came home. But I must have listened to hundreds and hundreds of concerts on radio.
My ability to appreciate carnatic music went to a different level when I joined HPCL and we were posted in Chennai for the first 5 months. Chennai is the home of Carnatic Music. There are numerous sabhas who organized concerts of leading musicians round the year. I lived in a lodge in Mount Road which was well connected by bus to all concert halls. I had also suffered a crippling back injury while playing Shuttle Badminton and was in severe pain. Music was a way out for me as I was told that I may never play again in my life, a real blow to a sports mad youngster. I made it a point to sit through at least 5 concerts in a week and by the time I left Chennai, I had listened to most of the masters at least twice. It was a terrific learning experience.
I had continued my passion for music since then. A stint in Thanjavur, in the Kaveri Basin, the agraharams on whose Banks gave the music world most of its legends and proximity to Thiruvaiyaru where Saint Tyagaraja, the legendary composer, lived provided the right atmosphere to built on the hobby.
I never learned Carnatic Music, one of my two biggest regrets in life, the other being not studying Sanskrit. But I am grateful to God for giving me the gift to appreciate music, which I assume is in my blood.
How did it help in my career? Well, this was one hobby I persevered for years and developed through sheer hard work. I made gains inch by inch. At times it was tough. I even went through a period of music fatigue. But I was tenacious. I had to be bloody minded to attain a basic level of musical knowledge. As I said before, I was very laidback and many things came to me without much effort, including studies. But for the first time in my life, I slogged and I was convinced that if one had the passion, purpose of mind and perseverence one can achieve anything in life. This was a learning and came in handy much later in my career. Whenever I am at a disadvantage professionally or personally, I push my chin forward, tighten my belt, flex my muscles and prepare myself for the long bloody haul, for I am very sure that I will get there in the end, as I did with my pursuit of music.
Also, Carnatic music, unlike its north Indian counterpart, is very structured. At the same time it gives ample scope for 'manodharma' (individual creativity). But creativity and improvisation is of no use unless one has a solid foundation of the basics. This became my motto in life. Learn the basics, prepare a solid foundation, stick to it and THEN improvise or let go your complete creativity. The resultant feeling is one of pure bliss.
