Tag Archives: All of Me

Traffic Jam at Tao Terraces, Bangalore

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On an especially cloud-covered Sunday evening, we waited for Traffic Jam to start their show. The venue was Tao Terraces at 1MG Mall in Bangalore – an open space sheathed by nothing but the sky, illuminated mostly by the moon.

As the band took the stage, they were greeted with lazy, but not unwelcome smiles. They started off with a light-hearted number titled ‘All That Jazz’. Some of you may remember it from the musical – Chicago. Traffic Jam’s adaptation was brilliantly refitted, with a no-frills vibe about it. The original flavor of the song wasn’t diluted thanks to the accompanying instruments, and one could hardly feel the lack of the trumpet, thanks to Marcus Daniel’s dexterous fingers, rasping away at the piano keys. Some were tapping their feet, some were bobbing their heads, and soon as the first song was over, they had everyone’s attention. There was applause, promptly followed by the next song – ‘What You Got’ – an original composition. Jessica Moorwood laughingly added that she probably shouldn’t have mentioned that. I, for one, was glad she did!

Traffic Jam at Tao Terraces, Bangalore

One of my favourite things about the gig was the neatness of it all. There was no 30-minute soundcheck while the audience waited, there was no Oscars-inspired speech between songs, and the conduct of the band engaged everyone without egregiousness. Their demeanour suited the ambience and it was almost like the music was a natural extension of the pale starlight and the wind.

Soon enough, Jessica announced that the song they were about to play had danceable tunes, if any couples were interested in that sort of thing. ‘A Day in the Life of a Fool’(aka ‘Black Orpheus’ aka ‘Mahna de Carnaval’) was playing. Traffic Jam’s take on the song wasn’t too mellow and it lasted a while longer than the original. The tempo was perfect thanks to Abhilash EK’s powerful subtlety with the drums. Breaks between the vocals and instrumental sections were placed at adequate lengths. The guitar solo rendered by Abhishek Prakash was followed by Marcus’s piano, in immediate succession. Sadly, nobody was dancing to this piece of classical legend and they would have had a long dance too!

Traffic Jam at Tao Terraces, Bangalore

This was remedied by their next song – another original titled ‘Lost Together’. Jessica dedicated it to her husband saying that it was written by him. It was a dreamy track with a tune and words that remind you of two lovers drifting into a world they made, unbeknownst to anyone else. Sure enough, there were couples dancing to this one. It’s the sort of song you’d associate with the phrase “Rainbows and Unicorns”, if you, like me, spend far too much time on the Internet for lack of other things to do!

The highlight of my evening was when I discovered to my pleasant surprise that their set list included Duke Ellington and Bob Russell’s ‘Don’t Get Around Much Anymore’.Traffic Jam’s rendition was upbeat, and if you wouldn’t pay attention to the lyrics, you’d hardly feel the shreds of sadness mixed with indifference. It signified age, but not in years. It signified youth, but not in words. An honest, straightforward cover that did no disservice to the original.

Traffic Jam at Tao Terraces, Bangalore

Keeping up with the deceptive cheerfulness, they played their next song – ‘Ain’t No Sunshine When She’s Gone’. I don’t know how Traffic Jam could pull off Duke Ellington and Bill Withers while making it seem effortless, but they did it. We’ve all heard several versions of this song and any jazz enthusiast would not resist or tire of new forms of its expression. Jessica’s vocals on this one would warrant even Eva Cassidy’s attention. Jefferson nuanced the performance in a wonderful way with his bass never dipping into the background. The soul of it all, however,was Abhishek’s solo, which was vivid and heartfelt. Nobody wanted the song to end, but end it did. Thankfully, it was only half their set time that was over.

After a well-deserved break, they returned with the instrumental– ‘Take 5’. “That’s my ringtone!” said the excited voice of my friend and colleague Rohan as he could barely stop himself from shaking a leg, much like most people at the venue.

Traffic Jam at Tao Terraces, Bangalore

The rest of their set included ‘Autumn Leaves’, ‘Son Of A Preacher Man’, ‘All Of Me’, and other songs. My [other] friend and colleague – Dev, remarked sometime during one of their songs that you can’t play the blues or jazz unless you really loved music. I nodded in agreement. It was quite telling of Traffic Jam then, that they packed a group of songs with their own flavour and kept adding on to it, without taking anything away.

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Swati Nair

Swati is a writer/sub-editor for What'sTheScene. She enjoys most kinds of music and spends all of her time scouting the Internet and re-watching Star Trek and Swat Kats.

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The Kaya Quartet at The BFlat Bar

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This is a line-up that I thought I’d never see – with Arati Rao on Vocals, Aman Mahajan on the piano, Sharik Hassan on Organ, and Adrian D’Souza on Drums. Being a jazz keyboard player myself, when I first heard that Sharik and Aman were going to be on stage together, I knew that I HAD to see this show. And I wouldn’t be exaggerating if I said that this happened to be one the best jazz shows I’ve attended this year.

BFlat, as always, was very welcoming, with an amazing line-up of tracks to set the mood before the band came up on stage. This is a pretty important aspect that many venues overlook. When the band took the stage, they jumped right into their first track with a bombastic instrumental Bossa tune. I was completely floored by this track. It looked completely improvised and each of them played through it so well. D’Souza was holding a solid groove without being obtrusive, while Sharik’s insane bass section blew me away instantly. Of course I partially attribute the awesomeness of the organ (no pun intended) to the Nord Electro 3, and I don’t think Sharik would disagree. The first track reminded me of how amazing the mix always is at BFlat. And as every musician knows, a great mix makes a huge difference to what the audience hears, and in turn how the band plays.

The set moved on to some jazz standards – D’Souza really came to the front with this tune. His drum bombs really killed it. Kenny Clarke would’ve been proud. Not too many drummers have the opportunity to use this technique in the context of jazz in India, and it’s nice to see that it’s not a dead art form. After all the three of them went through their solos, they started trading lines of 8 bars each. It was amazing to watch them do it so effortlessly, each of them displaying such maturity in the lines that they chose.

Arati Rao jumped into the set with the third tune with ‘Route66‘, a Bobby Troupe classic. The rendition seemed to be that of Nat King Cole’s, with even the pronunciation being very reminiscent of his recording of the tune. Right through the track, all I could imagine was his broad, toy-like grin. I was even half expecting Arati to imitate that legendary smile. Arati killed the intro to the tune with her amazing scat – very tight.

The set moved rather quickly from here, being all vocal driven tracks, some of the more popular tracks were ‘So Nice’, ‘Someone who’ll watch over me’ and ‘All or nothing at all’. I have a whole bag of superlatives to describe each of these tracks, which I won’t do for brevity’s sake.

The band proceeded to pay tribute to Amy Winehouse. In light of her untimely demise, it seemed fitting, especially with Arati’s amazing vocal range. With a beautiful Bach-esque intro from Sharik, the band played ‘Back to Black’, which moved me tremendously. I truly miss that beast of a musician! Amy, we will always remember you.

Towards the end, Arati invited Priya Mendens to the stage. Priya was introduced as a veteran singer from Mumbai, and the rest of us needed no introduction to Priya. Priya sang ‘All of Me’ with the trio backing her up. Priya is a completely different kind of singer in comparison to Arati. Her tone is rich and classic, reminescent of Sarah Vaughn, while Arati has a more contemporary clear voice. Priya did an amazing job with the jazz standard. I was pleasantly surprised by her improvised scat while the boys were soloing – quite remarkable.

I was very impressed with the band. I remember seeing Arati Rao doing a track with TAAQ long ago at B-Flat. She is amazingly talented; I’m hoping to see her do more gigs. Every time I see Adrian D’Souza play, he surprises me. Just when I think that I’ve seen what he can do, he comes back with more! Having seen the Sharik Hassan Trio a couple of years back, I would say that this show definitely did not highlight Sharik’s ability, but then again if you knew where to look, he did display his skill from time to time, hidden in little changes or voicings here and there. Through the whole show, I was floored by Sharik’s bass-lines. They were not too obvious, yet not too easy, just the right amount to fill up the bass section while leaving room for his right hand to think independently. With Aman, I haven’t really seen him put in such a tight spot before, in terms of his role to the entire sound. Of course, I’m not taking away from his ability, merely commenting that this was the first time I’ve seen him in a minimalistic line-up. And he truly held up very well. A lot of sections were very Chick Corea-esque, while some reminded me of Kenny Barron. Berklee has produced another master-class musician for the Indian jazz scene.

Overall, I was immensely pleased with the entire gig: the mix, the musicians, the set-list, everything! Each of them brought something important to the table, without themselves being obvious. That is truly the sign of amazing musicians.

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Bharath Kumar

Bharath Kumar, besides being a full-time geek, is a keyboard player and music producer. He runs his own studio, Minim Sound Labs www.minimsoundlabs.com, and is an active volunteer in various charities.

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