“My fascination with ancient cultures, and history naturally led me to explore musical instruments…that’s how I picked up the duduk, a double reed woodwind instrument,” says Aneesh, whose expertise lies in woodwind instruments. His diverse heritage, with a Maharashtrian father and a mother from a Tamil-speaking family in Bengaluru, further fueled his curiosity.

His journey led him to Uru and its founder, Tharun Sekar, who is known for his efforts in reviving ancient instruments like the yazh. 

“I had been following Tharun for a while and was fascinated by his process of bringing these ancient instruments back to life,” shares Aneesh.

“We were also following his work. Eventually, we connected and began brainstorming an idea together last year. After engaging in discussions for six months, we decided to proceed with recording the song!” Tharun reveals.

Aneesh flew down to Chennai, and the song was recorded in August 2023. 

“It started as an ‘Armenian duduk meets ancient Tamil Yazh’ concept. Initially, it was just a simple groove and percussion. But, the piece evolved organically with contributions from the performers,” he explains.

The yazh has a history dating back over 2000 years, and interestingly, the duduk appears to have existed around the same time as the yazh. “Their timelines are quite intriguing. During our interaction, we had fun jamming and learning more about the cultural similarities of some of these instruments,” notes Tharun.

However, the goal of this collaboration wasn’t to delve into the past of the instruments but rather to embrace a forward-looking approach. “I aimed to integrate ancient instruments like the yazh, kudamuzha, and duduk into a modern music aesthetic… in a contemporary context,” shares Aneesh. 

Experiencing a preview of the track, we grasp what the composer means — it’s challenging to discern the use of ancient traditional instruments. 

Does this pave the way for these instruments to be incorporated into mainstream music compositions as well?

“Absolutely. If they can fulfil the roles of some modern instruments, we should prioritise their recreation and teach them to people – especially the younger generation. This will contribute to their revival,” Tharun emphasises. 

Aneesh concurs, adding, “When listeners hear the track, they may not even realise ancient instruments are being used. We’re considering creating a music video to visually showcase the instruments, but that’s still a work in progress.”

The composition features male and female Tamil vocals by Pravekha Ravichandran and Iniyaal Karthikeyan. Instruments played include the Armenian duduk by Aneesh, the Sagoda Yazh and Seeri Yazh by Tharun Sekar, and a 4-string Fretless Bass (played in a Latin style) by Julian Reynoso.

It also incorporates the kudamuzha, an ancient drum from the Sangam period, played by KR Keerthi Rathan, and a variety of Indian and Middle Eastern percussion instruments such as the daf, darbuka, talking drums, and chenda, among others, played by Krishna Kishore. The mix was handled by Thomas Van Opstal, and the music was mastered by Frederik Dejongh.

“This could be the first time the Seeri Yazh has been recorded,” says Tharun.

“Every artist has infused their unique essence into the song. Our jamming sessions were particularly fascinating, showcasing how music serves as a common thread that unites people. It was a wonderful experience, and I even had the chance to play the Yazh!” shares Aneesh.

அகந்தைத் தேகத்தை அருகரும் அரண்மான்,

காதலர்க் கூத்தாடிய பிரிவோம் என்னைக் கண்டு.

நெஞ்சில் திறமை சூழ்ந்தது அவள் பேசியதே,

மெஞ்சுவிடும் மழையில் முகம் பார்த்து.

“The song’s lyrics draw inspiration from Sangam literature’s Silapathikaram,” shares Tharun.

“It describes how the ego of a mighty warrior is pierced upon encountering a beautiful girl. Her words awaken the passion in his heart as he glimpses her face veiled by the rain,” Aneesh explains.

Discussing the significance of collaboration, Tharun stresses the importance of more artistic partnerships in introducing these ancient instruments to a broader audience.

“It will give these instruments visibility and allow people to explore them (musical instruments),” suggests Tharun, who conducts yazh classes as part of Uru.

“The government should also invest efforts in introducing these instruments in schools, offering free lessons, among other initiatives. While the current generation of artistes can be trained in these instruments, it’s crucial to pass this knowledge on to the next generation,” he emphasises.

With cinema being a prominent medium, would including these instruments in mainstream productions turn attention towards them?

“A couple of years ago, we recorded a BGM for music director Santosh Narayanan using the yazh and kudamuzha. Additionally, someone bought and gifted a yazh from Uru to music composer Anirudh Ravichander. He called and expressed interest in recording the instrument. We’ve also met Ilaiyaraaja sir, who showed interest in recording the kudamuzha. We are certainly considering integrating these instruments into films, given the medium’s popularity,” Tharun reveals.

The duduk has gained recognition among a wider audience, thanks to its inclusion in popular soundtracks such as The Last Temptation of Christ, Gladiator, The Chronicles of Narnia: The Lion, the Witch and the Wardrobe, Pirates of the Caribbean: At World’s End, the TV adaptation of Game of Thrones, and various other films, TV shows, and video games.

“Famous composers like Hans Zimmer have used the duduk. In India, in the Tamil, and Malayalam industries too, some ancient instruments are being put into use. There is more interest. However, while people might recognise the sound of the instruments, they might not necessarily know what they are. So, I want to show what’s going into the process and highlight them. But certainly, people are becoming more aware,” adds Aneesh. 

Agandai Tegam was released on 9 February, 2024. The track is available on multiple streaming platforms. To follow Aneesh, Tharun and Uru, visit Instagram @aneeshkmusic, @Tharun and @Uru_team To listen, visit: agandaitegam

https://thesouthfirst.com/featured/sangam-literature-inspired-fusion-song-harmonises-tamil-nadus-yazh-and-armenias-duduk/