Rah c'est dommage que je n'aie pas vu ce post avant, je suis tombée hier ou avant hier sur un blog qui t'aurait beaucoup intéressé : une vraie mine d'informations regorgeant d'albums indiens psyché !
Je vais essayer de remettre la main dessus.
Sinon tu trouveras peut être ton bonheur avec les compilations
Et ça:
si je vous ai bien compris ces compilations sont des groupes ayant fait des morceaux avec du sitar ou du sitar rock
sinon il y a un compositeur indien de musique Bollywood
Vijaya Anand qui joue depuis les 60's d'aprés les
Cramps qui l'adorent ces instrumentaux mélant guitares électriques et sitar valent le détour
http://www.lastfm.fr/music/Vijaya+Anand
voici une petite critique de son fameux best of
Dance raja dance
India is the film capitol of the world. They make more movies there — about four times as many as Hollywood per year — and attract more moviegoers than anywhere else in the universe. Visionary cinema music director
Vijaya Anand combines jazz harmonies, heavy metal guitar, castanets, samplers and synth effects in a slick techno-pop fusion. Enter sitars, Punjabi drums, Sanskrit-ized diction, and a cheerfully loused-up snippet of “La Cucaracha,” and we are off into another world...
The car stopped and two casually clad gentlemen stepped out through each door. Vijaya Anand fit the picture of a young, successful South Indian music director perfectly. He was wearing faded blue jeans, a tastefully printed polyester shirt with the two top buttons undone. I could see the long gold chain with a capital “V” for a pendant. Anand has everything a young cinema music director could want — charm, imagination and involvement in his field to the core. He has been enchanting audiences with a unique blend of the world’s music since ’82.
Vijaya Anand was born Jude Matthew in 1952 in Madras, the famous tinsel town of South India. His father, a middle school teacher, and mother, a post office employee, were staunch Catholics.
When he turned seven, Vijaya’s interest in music lured him to a place in the neighborhood where an orchestra playing cinema music had its rehearsals. He was frequent visitor to this place, and his desire to play an instrument grew stronger. But his parents felt differently. They thought education was worth more than anything else. Only after a long tug of war did he manage to convince his parents to buy him a bongo.
He began playing bongos in his own free style. Gradually, he improved and was able to reproduce whatever he heard at the cinema-music orchestra’s rehearsals. He quickly impressed the leader of the band, who invited Vijaya Anand to play with them at rehearsals. Eight-year-old Vijaya Anand was launched into the world of South Indian Cinema Music! Though his mother protested that he might be spoiled by association with older musicians, his father encouraged and appreciated his playing music with the orchestra.
When he was in the 10th grade, he started an orchestra at school. He also began composing songs for different occasions on a harmonium that his father bought him and began listening to more and more cinema music.
His mother’s worst fears were confirmed when he finished his schooling. He did not want to continue his academic education. Instead, he started a band of his own called the Melody Cans. By playing the latest cinema hits, he captivated the ever-hungry cinema-music audience at wedding halls and in theaters. Vijaya Anand and his Melody Cans continued to play cinematic music until he came to a saturation point; just playing the latest hits on stage became unexciting. This is when Vijaya Anand felt the urge to create cinema music rather than simply to reproduce it.
His initial attempts to break into the cinema field were fraught with disappointments. The movies he worked on never came out, due to all kinds of mishaps — financial constraints on the film producer, the death of an actor playing the lead role, and so on. It was very humiliating for him and he got fed up with the whole thing. He broke up the orchestra, feeling that he could not go on.
He got a job as a lathe operator on an industrial estate, situated in the northern end of Madras. It meant four hours of traveling in unbelievably crowded suburban trains and eight hours of exhausting physical work every day. By the time he reached home, he was totally drained. After a quick meal, he would hit the sack. His life was absolutely mechanical. To him, 1982 is still the “Year of Suffering.”
However, he had the will to come back. At the urging of his friends and with renewed vigor, he hit the road again with his Melody Cans. He also took up a diploma course in Western Classical Music conducted at the Trinity College of Music, London. The classes were held in a musical instruments shop called Musi Musicals in the heart of Madras. Here, Vijaya learned theory, piano and classical guitar. He also took classes in South Indian Carnatic music from Mr. Jalatharangam Radhakrishnan, a noted master.
With a little bit of luck and a lot more effort, his prospects began to brighten. He started playing background music for Tamil stage dramas, produced by a famous dramatist, Visu. Soon thereafter, Visu moved from stage to cinema and started directing a series of successful, sentimental potboilers. He ushered Jude Matthew into the industry and rechristened him with the attractive name “Vijaya Anand,” meaning “victory” and “ecstasy.”
In no time, this young innovative and industrious music director was swept into the mainstream of the film industry. Although he has made film in the Tamil and Telugu languages, he mainly records music for films made in the Kannada language (which he doesn’t even speak!). He has also done re-recording for two Hindi films of which he is very proud.
Vijaya Anand has a great regard for Visu, the dramatist and film director; Mani Iyer, a producer; and Dwarakish, another big name in the South Indian cinema field who helped make him to make it big in Kannada films. Anand is happily married and a proud father of a three-year-old girl. His only regret in life is that his father isn’t alive to witness his success.
Vijaya Anand’s opinion about his own music is very candid. “I am just a music lover. We so-called ‘masters’ like Beethoven, Bach and Thiagaraja Swamy (a South Indian classical music composer from the 18th century) draw from these rich sounds and blend them together to suit the taste of our audience.” For Vijaya Anand, creating an exciting blend of music is a cinch.
Connexion
FAQ
Rechercher
Membres
