“Harmony with A R Rahman “ , and why you should watch it

Harmony by A R Rahman, is a web series that debuted in Amazon Prime, Aug 15 2018. .   This post narrates my experience and reasons why I think everyone should watch it.

Harmony is a series that discovers rare instruments and traditions, hidden across the expanse of India. A R Rahman plays host, taking us through a journey to understand these instruments and the musicians behind them. 

On a Friday night soon after Harmony premiered, I sat down with a good pair of headphones to binge watch. Even in concept, the trailers looked exciting . Imagining the reclusive , camera shy A.R Rahman playing host in a show , was intriguing.   In this post, I attempt to take you through all five episodes of Season 1, from a fan's perspective. 

The episodes start with a revamped and fun Kavithalaya logo ;  certainly nostalgic, with the iconic KB camera pose, "Agara Mudhala" invocation and Tiruvalluvar motif.

Episode 1: Entering the Kalari:

The season opens in beautiful Kerala, with a less known percussion instrument - the Mizhaavu (copper pot body and calf skin), set in the institution of Kerala Kalamandalam – State Academy of Arts. What immediately draws attention, is the rich cinematic production and arresting visual montages.

“Percussion is the most important part of music.  It wakes you up” says Rahman. ( I  nod along vigorously  – I am percussion person , personally,  strings come second ).

Kalamandalam Sajith Vijayan introduces “Mizhaavu” and hearing him tell his story in Malayalam, is music in itself. A musician who has surrendered to his art and a teacher, taking this once restricted instrument, to a new set of eager students.

Throughout the series, we get to see a new facet to Rahman – that of a eager student of music. Eager to explore and see how he can incorporate .

The series,  however, wisely retains focus on its subject – musicians and their lesser known instrument -  not its celebrity host.

Sajith points out how ancient and holy Mizhaavu is – it  finds a mention in the Silapathikaaram .  The revered instrument  in itself is played only during an occasion and practice is on a simulator . He speaks about the pain involved in mastering the instrument and the scenes where Sajith and team piously put the instrument together, is goose bump worthy. “ Playing the Mizhaavu is the relationship between two skins – the skin on the hands and the skin on the instrument” , he quotes . It is not until half the episode is over, that you get to hear the Mizhaavu being played. It is worth the wait. The first act where Sajith and team start playing in a temple milieu, with accompanying Kerala cymbals, is rapture. `

I can go on about this episode – easily my favourite among all five in the season – but I will leave you to watch it for yourself. Words do no justice to the majesty of the Mizhaavu.

The first four episodes follow a set format . Introduce musician and instrument, Rahman explores their world , jams a little with a contrasting modern instrument and the episode ends with Rahman and the musician performing in a picturesque setting.

Episode 2: Looking at the Swar

The second instrument, set in Mumbai, is the Rudra Veena ( have to admit – I had thought this was a mythical instrument) , by Ustad Bahauddin Dagar, who comes from a family that nurtured this tradition.  Well, it turned out the Rudra Veena exists, but it certainly looks mythically gorgeous - held over two hollowed gourds, with two hands joining them to the tubular body that has a peacock on one end and what looks like a dragon on the other. `

Listening to Ustad Dagar, felt like a reflective life lessons session. The portions where he speaks  about his induction to the Rudra Veena and the conversations with his father, are such a joy to watch.  His Veena is absolutely divine  , quite different from the Sarasvati Veena we are attuned to hearing.  In the meanwhile,  Rahman is completely enjoying himself  - asking questions about the Drupad form, sharing his stories,  talking about Ragas, closing his eyes to enjoy the versatility of the instrument and the profoundness in the Ustad’s words. 

As a Rahman fan, I found it interesting that the show captures Rahman’s quirks .  When Mr.Dagar is not in the room, he sneaks a twang on his Veena . “I touched your Veena”, he smiles sheepishly, like a school boy who opened his teacher’s book out of curiosity.   I also got to know more about the fancy instruments he plays in concerts – like the Haken Continuum fingerboard, which he fishes out in this episode.  Plus, the classical music gnanasoonyam  (dunce in Tamil)  in me,  got to know the Ragas behind Tu Hi Re .

Episode 3:  Listening to Nature

Leaving dusty Mumbai behind, the next episode travels to tranquil Manipur, where we meet Lourembam Bedabati, who is keeping the Khanung Eshai, or Manipuri folk music, alive. After two instruments, we get a vocalist and a shift from classical to folk tradition. Bedabati’s voice is “arresting”as Rahman describes. Her humour, enthusiasm and nature inspired folk songs, are captivating, even if you can’t understand one word of what she is singing. “Anyone who does not want to sing or listen to a song, must be mad” – she quotes. How true. I am glad that I make time, however little, to connect with music I like and enjoy. I am also glad I sing out loud (when there is no one in a 200 meter vicinity) .  The camera pans around gorgeous Manipur, which I found distracting in the best way possible.  The folk numbers Bedabati sings are in perfect harmony with the surroundings . She makes up songs on the go and sings out to nature, like it can listen and respond to her.  Her rendition has a lovely yodeling effect ( which, hilariously,  Rahman tries to mimic with no success) . This episode is an epiphany  - it gives you the  “Music is truly beyond any language barriers”, feels.  The finale performance  in this episode is shot with the gorgeous Loktak lake in the background . There is no way to describe and appreciate this, except  watch and experience it first-hand.

Episode 4: Achuley – We are all one

Staying with the North East, the final instrumentalist /vocalist, is from Sikkim. A  flutist who plays the Pangthong – a bamboo flute. Mickma Tshering Lepcha, belongs to the Lepcha tribe, an indigenous Sikkim people. He runs what he calls the only existing Lepcha band. Just like Bedabati, Mickma’s music is derived from nature – he hand carves the flute from  bamboo trees in their neighborhood forest (Somebody please transport me to the North East – I am seriously envious of their pace of life and proximity to nature) .  “Chennai must be warm Sir”, says Mickma . Our man quips “Chennai is always warm. The people, even more” (slow whistles) .  

When Mickma plays the flute,  it feels like you are walking along tall bamboo trees on a hillside and the trees are playing you a lullaby.  This flute, is mellow and potent at the same time, very different from the higher pitches we are tuned to hearing in classical flutes. Sounds similar to the soft flute notes from Chines movies set in picturesque backgrounds. Mickma speaks about his story of discovering the Pangthong, his guru and his band – where they attempt to combine Western sounds to take Lepcha folk to a wider audience. Mickma performs with his band  and we discover his powerful voice and Lepcha folk lyrics. So much so, I enjoyed this band jam more than the performance at the end of the episode with Rahman.

Episode 5: Mann Mauj Mein

The final episode of the season , where it all comes together – we get to see the musicians come down to Chennai, for a special recording with Rahman and his team.

As a die-hard fan , I have often felt it would be great to watch Rahman compose ;  to see the way the tracks I so adore, get built and executed. What came first? The lyrics or the tune? How different is the final output to what he started with? What sequence does it get built in? What would the improvs be like?  

The only way to know, would be to sit in a corner of his recording studio and watch. Just watch, while wishing while having on , an invisibility cloak , so no one would notice.

Watching the final episode of season I , is the closest I have got thus far, to this experience. I presume we see a far more mellow Rahman, given the cameras around him and seniors like Ustad Dagar and Bedabatiji around him.  The discussion on the final act, gives way toa fun moment . Rahman says “We start recording 11ish”;  Bedabati asks “AM or PM? “ and everyone cracks up, knowing Rahman’s penchant for being a night owl. Rahman asks Mr.Dagar if he can record his Veena and pass it on a granulizer to act as a base, on top of  which he can play the Veena again, to create a “layer”.  Its moments like these, that shed precious light into Rahman’s composing and arrangement ways.

The finale, is well over 20 minutes . My favourite part about it ,was Bedabati’s song on beautiful Manipur ,  the face-off between the Mizhaavu and Tamil Nadu's own Parai , with the Sunshine Orchestra strings for company.  I wished we could have got more screen time for  the Rudra Veena in the finale. But, it was interesting as is.

By the end of the season, I was in complete admiration of the concept. This is a grand platform - a magnificent win win concept for all those involved - the musicians, for Rahman and most importantly, us, the audience. 

How would one get to tell these incredible stories, with Rahman as a host? The same Rahman whom Karan Thapar quoted as “the most difficult person to interview;  he answers in variations of “hmmmm””. As someone who has watched most of his interviews online, I can safely say this is the most I have heard him speak, ever. And it is not a function of time on air, but the sheer depth of his conversations and insights. May be he agreed because of Kavithalaya , his launch pad into mainstream movies. May be , because of the concept and the learning the journey offers. Whatever be the reason , as a fan, I am thankful this is being made and presented. 

 There are some areas where I felt it a little wanting in the experience, as an audience. The narration could be better - especially the start and end. The ending in particular, felt abrupt at times , as it would just wind up with the performance. A powerful close, would round up the experience even more. But this could be brushed aside easily , for the sheer entertainment value the series offers . 

Speckled with fun, humour and unassuming simplicity, Harmony with A.R Rahman is more than  a web series on music. It is an experience like never before.

I am sure there will be more to come and cannot wait to see what the next season has to offer.