Something of a legend, Ranjit Barot wears many hats, rather comfortably - drummer, arranger, music producer, sound designer, composer and teacher. He has collaborated and worked with the best musical talents, classical musicians included, in a career spanning more three decades. Barot is arranger for A.R. Rahman, is drummer with the band 4th Dimension led by John McLaughlin, he released an album (2010) ‘Bada Boom’, a collaboration with artistes such as Ustad Zakir Hussain, Taufique Qureshi, John McLaughlin, U. Srinivas, Scott Kinsey among others. His brainchild Mercedes Benz ‘Project X’ is being aired on TLC HD and he is also involved in artiste development at the True School of Music. In Kochi last weekend for a workshop, he shared his experience. The two-day workshop was organised by True School of Music (TSM) in association with Kochi-based The Vibe Music Conservatory; The Vibe will collaborate with TSM on future workshops. Excerpts from an email interview.
You are involved with ‘artiste development’ at the True School of Music (TSM)...how does it excite you?
I am extremely excited about my association with TSM not just as far as artiste development goes but also about bringing some of my insights into the academic side of things as well. Both these aspects of our interaction are based on giving back to music, albeit in some small measure. What music has given us is immeasurable.
Unlike in the past, today music schools lay emphasis on contemporary forms of music. Your take on this kind of teaching since you are from a time of self-taught musicians.
Well, I suppose music reflects the times we live in. Technology and youth bring a certain edge to today’s music. I myself am invigorated by some of the music I hear being made by young artistes. Singers/songwriters have embraced technology in a big way and some have stayed organic yet they reflect the lifestyle and times we live in today. It’s an extremely important time in the history of music. The next big thing has yet to come. Imagine living in a time when you get to witness such a thing or be part of a musical revolution? How marvellous it is.
How’s life post ‘Bada Boom’?
‘Bada Boom’ was a labour of love and I am very proud of it. I had the good fortune to have great musicians from all over the world support and breathe life into it. I suppose the creation of this music opened a lot of doors for me internationally as a composer and drummer. Coupled with the fact that I am the drummer for the 4th Dimension, I am taken more seriously and have access to most musicians that I admire and want to work with.
Something about Project X, your series for Mercedes Benz. What led to its genesis?
Project X was my brainchild. I pitched the idea of talking with 4 artistes that I had a connect with. Qyuki, the digital channel that enabled this project urged me to create a USP and I came up with the idea of collaborating with these four artistes on a song. Mercedes got interested and it became a reality. My gratitude to A.R. Rahman, Shubha Mudgal, Amit Trivedi and Salim Merchant. Kudos to both Qyuki and Mercedes for making it happen.
Something about the ‘Meeting of the Spirits’ tour next year.
The Meeting of the Spirits tour is a double bill with Jimmy Herring’s band and the 4th Dimension. It’s our second tour of the States and it seemed appropriate to do this with Jimmy’s band. Jimmy is a huge fan of John McLaughlin, as are most guitar players and musicians, and Souvik Dutta, owner of the record label Abstract Logix, to which we are all signed, came up with the idea of a double bill. The exciting thing is we are going to revisit some of the Mahavishnu Orchestra catalogue as part of our repertoire. I’ve grown up listening to that music and it’s an honour to be playing it with one of my heroes.
If around 20 or even 15 years back pop or rock performances or acts were limited to singing covers; today the scene is as vibrant as it is diverse. We have bands performing in regional languages. How do you perceive the change?
It’s the natural evolution of any serious musician to first look at artistes they aspire to be like, cover their material and learn the craft. By de-constructing our favourite songs we learn the process of composition and arrangement. Once internalised, we’re equipped with the necessary information and insight into good song writing. It’s only natural that we then apply this to our own creations. One must also mention that 15-20 years ago, audiences had higher expectations of listening to covers from bands they liked and now originality is celebrated.
You are a music arranger/producer and a performer; at any point did you feel that one had to take a back seat to make space for the other?
There was a period when my role as a drummer was limited to a few concerts a year. Because I was so active in the studio and that there was so much for me to learn and do, I had to make the choice of prioritising one over the other. It seems like I’ve come full circle now, and I am happier for it.
How has been your experience of moving from ‘Stage to Studio and back’?
Re-Evolution!
