Layamani Layam - Issue 110 - Aug - Sep - 2015

A Bimonthly Magazine from Sruthi Laya Kendra (Regd.) of Karaikudi R. Mani

Volume 21 Issue No. 110 August - September 2015

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The Chief EditorLayamani Layam“Layapriya”, No. 6,1st Main Road, Jeth NagarChennai - 600 028Phone: 044 - 24936650Website: www.karaikudirmani.comEmail: [email protected]

Layamani Layam

Vol. 21 : Issue No. 110 : Aug - Sept 2015

Chief EditorKARAIKUDI R. MANI

ConsultantsV. RAMAMURTHY, I.A.S. (Retd.)

Composed and Designed by:Mysore N. Sudharshan(+91) 08867273807

PublisherSRUTHI LAYA KENDRA (R)14, (New No. 6), “Layapriya”Jeth Nagar 1st Main RoadChennai - 600 028

Address for correspondenceKaraikudi R. Mani“Layapriya” , No. 6,1st Main Road, Jeth NagarChennai - 600 028Phone: 044 - 24936650

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INSIGHT

Editorial ~ Layavinyasam ......................................... 1

Tala ............................................................... 2

Guru Kaaraikkudi Mani Turns 70 .......................... 7

Events ............................................................... 9

Events Abroad ........................................................... 12

Homage ............................................................... 19

August - September 2015

Sruthi Laya KendraChennai

Layamani Layam 1 August - September 2015

Editorial ~ Layavinyasam

Chief Editor

It is commonly agreed that music has no bars,either of region or religion. However, we seethat most of the States give preference totheir own artistes when it comes to perform-ing for festivals of that State. Even if thereare top ranking artistes in the field of musicand dance belonging to other States, they arenot invited to perform at these festivals.

In this regard, the Tamil Nadu State Govern-ment is to be greatly appreciated. At everyone of its festivals,, be it the Mamallapuram dance festival or the variousPongal festivals, top artistes from all over the country are given an opportu-nity to perform, the only criterion is their quality. From this angle, we notethat artistes hailing from other States who live in Tamil Nadu have a doubleadvantage.

They are invited to perform both at festivals of their native state as well as intheir place of residence, Tamil Nadu, which welcomes all good artistes.Whereas Tamil Nadu based artistes do not have such privilege, being consid-ered only for state festivals of Tamil Nadu. Hence they have less opportunity.This situation shows the magnanimity of Tamil Nadu which has really takenfine art beyond all barriers. This in turn reveals a broad mindedness which isa reflection of our State’s quest to bring quality beyond all other consider-ations.

Only if every state followed this example will fine arts and culture reallyflourish across the country. Only then will the refrain ‘Art beyond barriers ‘become a reality.

Tala Introduction:

Thandavam and Lasyam together form the word talam.

Yagyavalkya smriti says

Vinavadana tatvagnaha sruti jati visharadaha

Thalagnascha aprayasena moksha margam sa gachchathi

This means that one who is a maestro in thals will reach the abode of God easily and without effort.

The Tamil work Panchamarabu authored by Serai Arivanar says

Thendral vadivum Sivanar thiruvadivum

Mandral vadivum Thuya madan vadivum

Kundra veyinisai vadivum vedavadivum kanil

Aya thalam Kanalam

It says that one can attain proficiency in tala system if he is able to see air, Lord shiva, fragrance in flowers, Manmatha the cupid, the form of music emanating from flute and the form of vedas. Here one must understand that one can only feel the air and not see the same. Similarly the presence of Lord Shiva can be felt. Also one can only smell the fragrance and not see the same. Manmatha is visible only to his wife due to a curse and hence it is very difficult to see him. One can only hear the beautiful music that emanates from flute and not see the same. If one is able to see all those mentioned above then he is assured that he will become a maestro in thalas. What a definition of thala by Serai Arivanar who wrote the Tamil treatise Pancha Marabu.

Taala, Taal or Taalam (Sanskrit tāla Telugu tāḷaṁ, literally a "clap"), is the term used in Indian classical music for the rhythmic pattern of any composition and for the entire subject of rhythm, roughly corresponding to metre in Western music. In South Indian classical music Mridangam is the most popular instrument used in keeping rhythm. In temple music we find the Tavil and brass cymbols used in keeping up rhythm.

The talas have the starting point called eduppu. The eduppu may be sama, atita or ahahata, in relation to performance. Sama eduppu is a eduppu where both the music and talam start together. Atita eduppu is eduppu where the music starts before the tala and in anahatha eduppu the tala starts before the music. The completion of one cycle of a tala is known as avartham or tala vattam. The laya or the tempo with which the talas are used varies according to the composition.


Suladi Sapta talas

These are the basic talas taught. They are

1.Dhruva tala 2. Matya tala

3.Rupakatala 4.Triputa tala

5.Ata tala 6.Jhampa Tala and 7.Eka tala

It may be noted that Shri Mudduswami Dikshithar has composed his Navagraha kritis or Varakritis in Suladi Sapta talas.

Tala and Angas:

The Suladi Saptha Tāla system uses three possible angas in different arrangements;

Anudhrutam, a single beat, notated 'U', a downward clap of the open hand with the palm facing down.

Dhrutam, a pattern of 2 beats, notated 'O', a downward clap with the palm facing down followed by a second downward clap with the palm facing up.

Laghu, a pattern with a variable number of beats, 3, 4, 5, 7 or 9, depending on the jati. It is notated 'l' and consists of a downward clap with the palm facing down followed by counting from little finger to thumb and back, depending on the jati.

Jati and Nadai

Each tala can incorporate one of five jatis. Following are the five jatis. There is another term called “nadai” which is used to denote the inner counts. Some refer to it as Gati also.

Jati Number of Aksharas

Chaturasra 4

Thisra 3

Khanda 5

Misra 7

Sankeerna 9


Gati (Nadai in Tamil)

The number of maatras in an akshara is called the nadai. This number can be 3, 4, 5, 7 or 9, and take the same name as the jatis. The default nadai is Chatusram:

Gati Maatras Phonetic representation of beats

Tisra 3 Tha Ki Ta

Chatusra 4 Tha Ka Dhi Mi

Khanda 5 Tha Ka Tha Ki Ta

Misra 7 Tha Ki Ta Tha Ka Dhi Mi

Sankeerna 9 Tha Ka Dhi Mi Tha Ka Tha Ki Ta

Sometimes Pallavis are sung as part of a Ragam, Tanam and Pallavi exposition in some of the rarer, more complicated talas; such pallavis, if sung in a non-Chatusra-nadai tala, are called nadai pallavis. In addition, pallavis are often sung in chauka kala(slowing the tala cycle by a magnitude of four times), although this trend seems to be fading out.

The 35 talas: There are five jatis in each of the seven talas, making them into 35. The following table explains the same.

Tala Anga Notation

Tisra (3) Chatusra (4) Khanda (5) Misra (7) Sankeerna (9)

Dhruva lOll 11 14 17 23 29

Matya lOl 8 10 12 16 20

Rupaka Ol 5 6 7 9 11

Jhampa lUO 6 7 8 10 12

Triputa lOO 7 8 9 11 13

Ata llOO 10 12 14 18 22

Eka l 3 4 5 7 9

In practice, only a few talas have compositions set to them. The most common tala is Chaturasra-nadai Chaturasra-jaati Triputa tala, also called Adi tala (Adi meaning primordial in Sanskrit). Adi tala is a very famous one. Saint Tyagaraja’s compositions which were once in Desadi and madhyadi talas are now sung in Adi tala. This is because the Desadi and Madhyadi talas are considered to be variations of Adi tala.

Other common talas include:

Chaturasra-nadai Chaturasra-jaati Rupaka tala (or simply Rupaka tala).


Tisra-nadai Chatusra-jati Triputa tala (Adi Tala Tisra-Nadai). A few fast-paced kritis are set to this tala. As this tala is a twenty-four beat cycle, compositions in it can be and sometimes are sung in Rupaka talam also.

Dhruva tala is by default chaturasra jati Matya tala is chaturasra jati Rupaka tala is chaturasra jati Jhampa tala is misra jati Triputa tala is thisra jati Ata tala is kanda jati Eka tala is chaturasra jati

Rare Karnatic talas

Other than these 35 talas there are 108 so-called anga talas. The following is the exhaustive pattern of beats used in constructing them.

Anga Symbol Aksharakala Mode of Counting

Anudrutam U 1 1beat

Druta O 2 1 beat + Visarijitam (wave of hand)

Druta-virama (OU) 3

Laghu (Chatusra-jati)

l 4 1 beat + 3 finger count

Laghu-virama

U) 5

Laghu-druta O) 6

Laghu-druta-virama

OU) 7

Guru 8 8 A beat followed by circular movement of the right hand in the clockwise direction with closed fingers.

Guru-virama (8U) 9

Guru-druta (8O) 10

Guru-druta-virama

(8OU) 11


Plutam ) 12

1 beat + kryshya (waving the right hand from right to left) + 1 sarpini (waving the right hand from left to right) - each of 4 aksharakalas OR a Guru followed by the hand waving downwards

Pluta-virana U) 13

Pluta-druta O) 14

Pluta-druta-virama

OU) 15

Kakapadam + 16 1 beat + patakam (lifting the right hand) + kryshya + sarpini - each of 4 aksharakalas)

Compositions are rare in these lengthy talas. They are mostly used in performing the Pallavi while performing the Ragam, Tanam and Pallavi. Some examples of anga talas are:

Sarabhanandana tala

8 O l l O U U)

O O O U O) OU) U) O

U O U O U) O (OU) O)

Simhanandana tala : It is the longest tala.

8 8 l ) l 8 O O

8 8 l ) l ) 8 l

l +

Another type of tala is the chhanda tala. These are used in Arunagirinathar’s Thiruppugazh.

Apart from these tals like Khanda Chapu and Misra chapu are commonly used. One may say that Misra chapu tala corresponds to Tisra Triputa and khanda chapu to khanda jathi Jhampa. But one scertainly see the way of rendering the compositions, especially the compositions of the musical trinity, which certainly gives a unique place for each of these talas.

Conclusion: Talas are many. The subject of tala is an ocean. One always need expertise of maestros like Palghat Mani aiyyar, Pazhali Subbudu and our own guruji to understand the nuances involved in various talas.


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By: Dr M. A. Bhageerathi, Head of Dept. of Music, Queen Mary's College, Chennai


GURU KAARAIKKUDI MANI 70

Sri Krishna Gana Sabha held the 70th Birthday Celebrations of Guru Kaaraikkudi Manion 29th August. The legendwas conferred the SKGSDiamond Jubilee SpecialAward at the glitteringfunction that was presidedover by Hon’ble G.K.Vasan.As Guru Kaaraikkudi Maniturns 70, Sri Krishna GanaSabha celebrated his birthdayby conferring on him theSKGS Diamond JubileeSpecial Award on August 29,2015.

Guru Kaaraikkudi Mani,fondly referred to as ManiSir, has completed over 64years of service in the causeof mridangam. Sheer mastery over the instrument has made him an inspiration for all thestalwats today. For over 30years he was invited tocollaborate with manyinternationally renownedcomposers across the globe.And the fruit of these hasresulted in the launch ofalbums of unmatched qualityand novelty. Sruthi LayaKendra, the institution he setup in India has put out rootsin Australia, UK and the USand it is a matter of greatcredit that it has received thestatus of charitable institu-tion for the service of the community in all these countries.


Guru Kaaraikkudi Mani has been a role model for thousands of mridangam aspirants whotreat him as their guru, and in fact, overseas, they consider him as the “Parama Guru” oftheir own respective gurus.

What makes the legend’s style unique is the power packed yet aesthetically divine presen-tation marked by enthralling modulations. Indeed, Guru Kaaraikkudi Mani so uplifts aconcert that thousands of eager rasikas anticipate the combination of his percussion withseveral vocal and instrumental stalwarts.

In spite of his rare genius, Mani sir has never craved for awards or titles and has, in facteven refused the several that come his way barring a few exceptions, to name one, thePresident of India’s award that was given to him very early in his professional career. Hehas been a standing example of an artiste completely absorbed in the art, purely for art’ssake. Being closely associated with the Sri Krishna Gana Sabha for 5 decades, it is butbefitting that he received this recognition on this year that marks the Diamond Jubilee ofthe sabha as well as his 70th birthday.

The function was presided over Sri G.K.Vasan who conferred the honour on GuruKaaraikkudi Mani. It was preceded by ‘Layavinyasam Samarpanam’ with doublemridangam by Abhishek Raghuram and Anantha R.Krishnan, based on compositionsinspired by Guru Kaaraikkudi Mani. Following the award function, there was a recital‘Sweetness of Rhythm’ by dancer Shobana.

Layamani Layam 9

Events

The Palani Sri M.Subramania Pillai Trustobserved the 53rd Guru Puja Anniversary ofMridanga Vidwan Palani Sri M. SubramaniaPillai at the Narada Gana Sabha Mini Hall inJune. After 'Isai Anjali' (musical homage), therewas a concert by Sri Trichur V. Ramachandran.

Sri KrishnaGana Sabha inassociation withUtsav musicpresented'Yagnaraman JulyFest 2015', afestival ofconfluence ofvarious formsand artistes ofclassical, folkand contempo-rary arts in July2015. DrThangamMeganathan,

Chairperson, Rajalakshmi Institutions gave theinaugural address. Dancer LakshmiViswanathan expressed her 'Thoughts onYagnaraman'. The function was followed by'Mystic Journey'- a fusion music programme bySaashwathi Prabhu (vocal) and party.At thevaledictory function the SKGS living legendaward was conferred on Dr YaminiKrishnamurti. The SKGS Yagnaraman awardof Excellence was conferred on artistes Lakshmi Gopalaswamy (Bharatanatyam), ShubasriRamachandran (Vocal) and V. Anirudh Athreya (Kanjira). Sri G. Srinivasan, Chairman and Manag-ing Director, The New India Assurance Co. Ltd presided over the function.

The 38th celebration of the Saint Thyagaraja Music Festivalwas held at the Cleveland State University in April. The follow-ing artistes were given awards: Mannargudi Sri A.Easwaran,Nagai Sri R. Muralidharan, Smt Sonal Mansingh, Sri Raja andSmt Radha Reddy, Yella Sri Venkateswara Rao, Sadanam SriBalakrishnan, Neyveli Sri Santhanagopalan, Kumari AmrithaMurali, Smt Aishwarya Balasubramanian. Sri M. Krishnamurthy(Sri Parthasarathy Swami Sabha) was conferred the 'Seva Rathna'Award. Madurai Sri R. Sundar received the Sangeetha KalaSagaram Prof. T.R.Subrahmaniam Award.


Layamani Layam 10

Delhi Tamil Sangam and Rudraksham presented 'Taala Brahmum', a Taalavadhyam conceived,composed by Sri P.Vetriboopathy and performed by his students at the Delhi Sangam in June 2015.The Chief Guests were Dr Sajjan Singh Yadav, IAS, Secretary, Chief Minister, Delhi and Sri KulaSaikia, IPS, Additional DirectorGeneral of Police, Communica-tions, Assam. Sri N.Kannan,General Secretary, Delhi TamilSangam and Sri K.V.K.Perumal,Vice President Delhi TamilSangam were the Guests ofHonour.

Sri Semmangudi SrinivasaIyer Golden Jubilee Founda-tion held its 39th AnnualCelebrations in July at theRagasudha Hall, Luz. SriC.V.Karthik Narayan welcomedthe gathering. Vidwan SriK.R.Saranathan was felicitatedfor his services to CarnaticMusic. Vidwan Sri P.S.Narayanaswamy felicitated.This was followed by 'Veena Pustaka Dharini'- amusical tribute to Smt T.Brinda by Smt Aruna Sairamand party.

Kanjira V. Nagarajan Remembrance Day wasobserved in July at the Raga Sudha Hall, Luz. SangitaKalanidhi Dr T.K.Murthy and Padma Bhushan SriP.S.Narayanswami paid tributes to the maestro. Therewas also an Audio visual presentation on Sri.V.Nagarajan followed by a music concert by SriNeyveli Santhanagopalan and party.

Sadguru Sri Thyagabrahma Aradhana KainkaryaTrust conferred the Bharathi Thyagaraja SammanAwards-2015 at the Sri Sringeri Shankara Math,Bengaluru in July. Dancer Dr Sonal Mansingh was theGuest of Honour. Awards were presented to 12 leadingmusicians of Carnatic and Hindustani styles.


Layamani Layam 11

Nadhadweepam Trust and Sangeetha Gurukulam, Trichy held its 17th Anniversary and 107thBirthday Celebrations of Semmangudi Dr R.Srinivasa Iyer at the Sri Sringeri Vidya BharathiBhavanam, Trichy in July. Clarinet Vidwan Sri A.K.C.Natarajan presided. Sri S.Gopalakrishnan,(Agasthiar Book Depot and Publications, Trichy) was the Chief Guest. Vidwan SriT.V.Sankaranarayanan was conferred the title 'Nadhadweepa Kalanidhi. Sri Nagai Muralidharanand Mannargudi Sri A.Easwaran felicitated. On the next day, Sri Neyveli R. Santhanagopalan washonoured with the title 'Nadhadweepa Rathnakara' and Cleveland Sri V.V.Sundaram was conferredthe title 'Nadhadweepa Seva Rathna'.

Lalitha Kala Vedika held a special programme of Annamacharya compositions at the TattvalokaAuditorium in June. After a talk on Annamacharya by Sri V.A.K. Ranga Rao, there was a vocalconcert of Annamaacharya compositions by Ms Archana and Ms Aarathi.Brahma Gana Sabha held its Nalli Aadi Naatya Vizha at the Smt Sivagami Pethachi Auditorium,Mylapore in July. Dr Nalli Kuppusami Chettiar presided and Dr Padma Subrahmanyaminaugurated.The functiion was followed by a Bharathanatyam of Samyuktha Narayanan, discipleof Guru Radha.

Saraswathi Vaggeyakara Trust held a festival based on Tamizh compositions in the Pre Trinityand Trinity Era at the Narada Gana Sabha Mini Hall, Alwarpet in June 2015. Concerts of SriShankar Ramani, Smt Bhushany Kalyanaraman and Sathur Sisters were held on three consecutivedays.

Natyarangam ( Dance wing of Narada Gana Sabha Trust) held the 19th BharathanatyamFestival Bharatham Vimsathi (Twenty Years of Bharatham), dedicated to Sri R. Krishnaswami.Smt Justice Prabha Sridevan, Former Judge, Madras High Court) inaugurated. SriR.Krishnamoorthy, President, Narada Gana Sabha, presided. Gurus Smt Vasanthalakshmi and SriM.V.Narasimhachari were honoured. Other awardees were K.Rajasekharan (Vocal Accompani-ment and Nattuvangam), V.Balagurunathan and Gayatri (Senior Dancers), Bhavajan Kumar(Talent Promotion). The function was held at the Sadguru Gnanananda Hall.

EVENTS ABROAD

Vidhya kanthan a school student in New Jersey,USA and a student of Prasanna Venkatesh won theFirst (Thambura) Prize in Cleve Land ThyagarajaAradhana 2015 Competion from Flute MaestroDr.N . Ramani.


Layamani Layam 12

Annual Mummorthigal Jayanthi and thyagaraja Festival of Sruthi Laya Kendra Held atMelbourne Australia

EVENTS ABROAD

Vocal Music concert by Residence students of Australia Melbourne, held during SruthiLaya Kendra Music Melbourne Music Festival


Layamani Layam 13

Violin concert by Residence students of Australia Melbourne, held during Sruthi LayaKendra Music Melbourne Music Festival

Concert by Mysore Brothers Sri Nagarajand Sri Manjunath Violin Duet. GuruKaaraikkudi Mani and Ravi Chandiraaccompanied on the Mridangam, ” heldduring Sruthi Laya Kendra MelbourneMusic Festival.Bharathanatyam by Rajeswari on the Topic“Brahma” and Vaishnavi on the theme“Navarasam” held during Sruthi LayaKendra Melbourne Music Festival



Creative intensive music and rhythm course conducted at Tasmania ,Australia inSeptember for two weeks organised by Australian Art Orchestra.Indian artists GuruKaaraikkudi Mani,Rajeswari Sainath and B.V. Balasai


On September 10, Guru Kaaraikkudi Mani was present asGuest of honour for the event "Melbourne Polytechnic -Fairfield ", Yarra Edge Music Centre, Yarra Bend Road,Melbourne, Australia 3078.The event was regarded as a turning point in the Austra-lian history of carnatic music which show cased staff,students and alumni from Melbourne Polytechnic along-side students from Box Hill Institute and Sruthi LayaKendra Australia, Inc, lead by Ravi M RavichandhiraOAM.Compositions used in the event were by GuruKaaraikkudi Mani, Adrian Sherriff, Jonathan Dimond andDr Lisa Young.

Ensemble Directors were, Ravi M RavichandhiraOAM, Dr Lisa Young, Jonathan Dimond.Proceeds from this event are being donated byGuru Karaikudi Mani's Sruthi Laya Kendra (Aus-tralia) to the Speech Pathology and Music TherapyDepartment of Monash Medical Centre inMelbourne.Debbie Shiell Director Monash Health Foundation,Amy Thomas Clinical Manager Music TherapySpeech Pathology & Music Therapy Dept attendedthis land mark event amongst a large gathering ofgeneral public.


A special birthday cake was presentedto Guru Kaaraikkudi Mani towards theend of the event.

Sri Guru Surajananda day Aaradhana on 12th September was held in U.K. It was marked by aVocal concert by Smt.Manorama Prasad with Sri.Balu Ragurarman on Violin, Sri.P.Kirupakaranon the Mridangam and Sri.Arunn Gnanapragasam on the Ghatam.


Guru KaaraikkudiMani was in Londonrecently. During thistime, due to the kindefforts of maestroKaaraikkudi Mani'sstudent SomasundaraDesigar, Mani Sir's70th birthday Celebra-tions were conductedat the Wimbledon SaiMandir. Several highpriests conductedspecial pooja andsought divine blessingsfor Mani Sir in a mostrespectable andaffectinate manner.


With the passing of Sri R. Krishnaswami, SecretaryNarada Gana Sabha, the music world has lost one ofits greatest patrons and the world at large, a greatphilantropist, innovater and scholar.

As a senior counsel of the Madras High Court, hewas acknowledged to be a walking encyclopedia oncivil law. With a masterly grasp on the Hindu reli-gion and philosophy, he had put his silver tongueand tremendous scholarship to good use through hisprolific speeches and writings on law, the perform-ing arts, and the Hindu religion.

As an administrator, Sri Krishnaswami hasshepherded many institutions. Besides being theSecretary of the Narada Gana Sabha for over five decades, he served as the President ofthe Asthika Samajam, Chairman of the Vidya Bharathi Trust Managing TrusteeGnanananda Ashram Trust, Committee Member, Bharatiya Vidya Bhavan Chennai Kendraand the President of the Federation of City Sabhas. He was responsible for restoring thethen ruined Gajendra Varadar Temple built y the Pallava Kings at Athanallur, Tirunelveliand turning it into a vibrant place of worship. His pivotal role in building the magnificentPanduranga temple at Thennagur is well known. This temple also houses the GurujiMedical Centre, a home for the aged and a cow shelter.

The Narada Gana Sabha with which he has been involved right from its humble inceptionin 1958 has grown into a mammoth institution under his stewardship renowned not onlyfor serving the performing arts but for its novel endeavours. For example, the sabhaprovides a pension to several aged artistes who are in need of financial assistance. Thesabha conducts a dance wing called ‘Natyarangam’ to support upcoming artistes andpresent thematic programmes. Namasankeertanam, religious discourses all demonstratethe sabha’s emphasis on intertwining fine arts with Hindu Sanathana Dharma. All these,spearheaded by Sri Krishnaswami stemmed from his deep faith and devotion to his gurusSwami Gnanananda and Swami Haridoss Giri.Layamani Layam prays for his soul to rest in peace.

Sri R. Krishnaswami- Homage


Dr. Natesan Ramani, affec-tionately known as N.Ramani or Flute Ramani, isalso credited for introducingthe long flute into Carnaticmusic.

Ramani was born inTiruvarur, which ishonoured by its associationwith the Trinity of Carnaticmusic. Dr. Ramani firstlearnt music from hisgrandfather, Sri AazhiyurNarayanaswami Iyer, a wellknown flute artist andsinger. Ramani's initiation to Carnatic music began at the age of five.

Ramani performed his very first concert at the age of 8. The turning point in Ramani'scareer was when he became a disciple of his maternal uncle and eminent flautist, late T. R.Mahalingam (Flute Mali). By the age of 11 years, Ramani accompanied his guru T. R.Mahalingam in a concert for the first time.

His immense contribution to music in general and Carnatic music in particular is wellknown and appreciated worldwide.

Rasikas will also fondly remember Dr. N. Ramani's eminent presence and contribution inGuru Kaaraikkudi Mani's Sruthi Laya Ensemble.

With passing away (9th October 2015) of Dr. N. Ramani, the music world has lost a truemaestro of music.All of us at Layamani Layam pray for his soul to rest in peace.

Dr. N. Ramani -Homage

Periodicals - Registered with Registrar of Newspapers for India Under No. 61537/95

A Bimonthly Magazine from Sruthi Laya Kendra (R) of Karaikudi R. ManiPublished by : Karaikudi R. Mani, No.14 ( New No. 6), Jeth Nagar I Main Road, R.A. Puram,Chennai - 600 028Printed by : Priya Agencies Press, C.S. Varadarajan, No. 9, Kamarajar Salai, R.A. Puram, Chennai -600 028Editor : Karaikudi R. Mani

Cosmic Waves:Sandy Evans: Tenor and Soprano SaxophoneSruthi Laya: Guru Kaaraikkudi Mani: Mridangam, KonnakolB.V. Balasai: Bamboo Flutes, U.P. Raju: Electric Mandolin,'Ghatam' V. Suresh: GhatamAustralian guest artist:Alister Spence: Acoustic Piano (Tracks 2, 5 and 6); Brett Hirst: Electric Bass(Track 3); Roger Dean: Computer manipulation of drones (tracks 4 and 6);James Greening: Sousaphone (track 7)

Layamani Layam - Issue 110 - Aug - Sep - 2015

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