Not the same person.. He's Naveen Kumar. His Website: http://www.flutenaveen.com/
Rahman fever His Music ~ My Mother Tongue ________________________________ From: Mohamed Hashir <[email protected]> To: [email protected] Sent: Sun, 11 October, 2009 1:31:48 AM Subject: Re: [arr] Flautist Navin Iyer on working with his mentor A.R. Rahman Is Navin Iyer the same person as Naveen? I dont think so.. "One movie scene is etched in his memory for good — the one in Rang De Basanti, his first recording for Rahman" On Sat, Oct 10, 2009 at 9:10 AM, Vinayak <mvinaya...@gmail. com> wrote: >Is Navin Iyer the same person as Naveen? > > >Warm Regards >~~~~~~~~~~~~ ~~~ >Vinayak > >http://www.flickr. com/photos/ rightplacerightt ime/ > > > > >On Fri, Oct 9, 2009 at 8:06 PM, Vithur <vith...@gmail. com> wrote: > > >>Big dreams in the pipeline >> >>Flautist Navin Iyer on working with his mentor A.R. Rahman, his collaborative >>album and his experiments with unusual flutes >>It’s what you might call a quintessential Chennai music success story — boy >>begins learning Carnatic music at the age of three-and-a- half; has his flute >>arangetram in his teens presided over by acclaimed vocalist, >>Balamuralikrishna; does jingles with his childhood friend (music director >>G.V. Prakash) when he is just out of school ; is ‘discovered’ by the movie >>industry at Saarang, where he does a hat-trick as best instrumentalist three >>years running while studying engineering; and turns down a job with Infosys >>to end up working with none other than A.R. Rahman. >>Meet Navin Iyer, who at 24 is one of the most in-demand flautists in the film >>music industry, having recorded for over 500 movies in Tamil, Telugu, >>Malayalam, Kannada and Hindi. >>“I think I’m the youngest musician in the cine industry — not counting >>singers,” says the young flautist (and self-taught saxophonist) as we meet at >>his brand new personal studio in the heart of Mylapore. >>Life is hectic since, as he explains, he’s one of a handful of flute ‘session >>artistes’ in the country. “Being a session artiste is another skill >>altogether,” he says, lounging behind the studio computer in an old pair of >>jeans and faded T-shirt. “The music director will demand a particular feel >>for a song, which you have to deliver; at the same time, you have to be able >>to add your own creativity and compose on the spot. You should be able to >>change gears between the two immediately.” >>Recordings may last just a few minutes — his flute piece for ‘Akkam Pakkam’ >>from Kireedam took just four (“sometimes things just fall into place”) — or >>up to two hours for background scores, which generally take longer. “You need >>to watch the movie scene to get in sync with it,” he says, comparing the >>process to being ‘in a relationship’ . “Unless you spend time with it, talk >>to it, you won’t get the exact feel.” >>One movie scene is etched in his memory for good — the one in Rang De >>Basanti, his first recording for Rahman. “He just called me and said ‘can you >>come?’” he recalls, still sounding awed. “My flute comes in the background >>score of the scene after Madhavan’s character dies… it was a very emotional >>scene, very emotional for me too!” >>Since then, he’s played for a number of Rahman’s projects, including the big >>one, Slumdog Millionaire. “The morning of the recording for Slumdog…I’d >>actually overslept, but luckily made it in time,” he says, adding with a >>laugh, “And then, my God, the Oscar!” >>He travels quite a bit for recordings, and sometimes, music directors travel >>to him, such as Vishal of Vishal-Shekhar who came down to Chennai just to >>record the flute track for Aakhon mein teri from Om Shanti Om, because he >>liked Navin’s ‘ideas and style’ . >>“Earlier, music directors would have the entire score written and cine >>musicians played according to that,” comments Navin. “Now music directors are >>more open; they enjoy it when we give our inputs. It adds a new dimension to >>a song.” >>Gone also are the days when session artistes had to come together at one time >>to record a song; today, with the magic of track technology, individual >>artistes can play their parts when they have time and “ping pong on to the >>next recording,” he says. “Right now, for example, I’m practising during the >>day for my concert tour with Earthsync, so I’m often recording through the >>night.” >>The day we meet, he’d been at Malayalam music director Ouseppachan’s studio >>at T. Nagar recording till 4 a.m., had gotten a couple of hours of sleep, hit >>the gym (“it keeps you kicking”), and fit in our interview before a practice >>session at 10 a.m. That’s the way he likes it — busy, with plenty of variety. >>At his studio is a specially-made glass flute which he’s been experimenting >>with. Next up is one made of clay, another of marble and a saxophone of >>bamboo. >>Ready to roll out is a collaborative album, ‘Three 4 the Music’, with >>mridangist D.A. Srinivas and violinist Raghavendra Rao that connects Carnatic >>music with everything from blues and jazz to Irish folk music (which >>translates as karaharapriyaragam, he tells me). And for the future, he wants >>to compose his own music. >>“I want to explore, expand my horizons and focus on my versatility,” he says. >>“I don’t want to get stuck in a small circle of experience.” >>Trivia >>Navin Iyer has collaborated with Vikku Vinayakram, Bombay Jayashri, Kadri >>Gopalnath and T.V. Gopalakrishnan on one hand, and U.K. percussionist James >>Asher, Earthsync and numerous DJs on the other. >>He sometimes does up to seven cine recordings a day. >>He sang on the title track of the National Award-winning Ore Kadal, but his >>name is misspelled on the CD cover as ‘Navin Nayar’. >>The first thing he does upon visiting a new country is buy a flute from the >>region. He has over a hundred world flutes.http://beta. thehindu. com/arts/ >>music/article315 45.ece >> >>-- >>regards, >>Vithur >> >> >> >> > Connect more, do more and share more with Yahoo! India Mail. Learn more. http://in.overview.mail.yahoo.com/
