OCTAVES: Kiccha Mama

The fondness and affection you share with a loved one is beautiful in itself. Going beyond that to a shared love and passion for an art form is to me, even more beautiful and enriching. I feel extremely fortunate to have been born into a family so steeped in music, as a result of which, such has been the relationship I've shared not only with my immediate family, but with several folks in my extended family. One person in particular, who has been a hugely significant musical force is my uncle, my dear Kiccha Mama (Devanathan Parthsarathy). I write this with an unbearably heavy heart, on the fifth day since his passing. As our family is grappling with this profound loss, I attempt to put some words down in memory, honor, and celebration of Kiccha Mama.

Always gentle, soft-spoken, and affectionate, Kiccha Mama was a much-adored and respected figure. Humor was a big part of who he was. He loved joking around and amusing children. I distinctly remember this "magic" trick he'd show us kids, where he'd make it look like he was breaking off his thumb :) An electrical engineer by day, Mama was musically brilliant. He was a master accordionist and to us, his family, he was synonymous with the accordion. What a unique choice of instrument, and what a mastery he had over it! (He had imbibed harmonium skills from his father, and later learned some left hand playing and Western music from one Mr. Vaseegaran.) Many a summer vacation trip to Madras would be spent watching him play in awe. Mama was an ace keyboardist as well. His accordion and keyboard covers of Hindi and Tamil hits from the 60s through the 2000s are a testament to his perspicaciousness and tenacity. The kind of passion and obsession with which he would dissect a composition of say, Naushad, R.D. Burman, or Ilaiyaraja, is truly inspiring. Over the years, he has painstakingly recorded (many with authentic karaoke tracks) numerous songs.

Sometime in middle school I attempted to learn keyboard fingering from him, but alas, I didn't really keep up and it is my regret to this day. Recently he shared with us a keyboard playing guide he had started writing - I hope to be able to learn something from that at least now. Mama was also a fine singer and composer and has composed a number of classical-based songs in ragas like Kalavati/ Valaji and Hamsanadam. I have had the good fortune of performing film songs on stage with him on two occasions - once in Chennai, and another time in San Jose. It is a pleasure watching him multitask on stage - switching from the keyboard to the accordion to vocals, with such ease. Mama was not just a musician, he was a true performer - he loved people, and he loved entertaining people, be it with music or humor.

Mama was ever so encouraging of my music and always had honest and constructive feedback on my singing. For the Chennai show some thirteen years ago (with his light music troupe "Supremes"), he pushed my boundaries by making me attempt an incredibly difficult song in Telugu, E Shwasalo. (I had written about the show and posted a recording here.) Moreover, he infused in me a greater love for Indian film music, especially for Ilaiyaraja's music - listening to him play covers of film songs would often bring about in me a much deeper appreciation for the melodies. More than anything, I am ever so grateful for the insightful conversations I have had with him on music. Through his experiences in the light music scene in Madras over several decades, he had amassed a wealth of information and would keep sharing anecdotes about some of the great masters' recording sessions, composing styles, orchestral nuances in various compositions, and more. A few months ago Mama was having some health issues and was in the hospital, but that didn't stop him from having a spirited discussion with me on video chat, on the Gruhabhedam relationship between the ragas Chalanattai and Shubhapantuvarali. I had just put out a video essay on this and Mama had some kind and insightful words to say about it.

Mama's life was inextricably tied to Tamil film music. He adored MSV and Ilaiyaraja - speaking of whom, of course, the name SPB is inseparable. Mama has played a large number of covers of SPB songs. Being from the MSV-Ilaiyaraja era, he obviously had a stronger connection to their music, but he particularly liked ARR's Anjali Anjali a lot and went on to cover that on the keyboard as well. Indians, particularly South Indians all over the world are struggling to come to terms with the tragic loss of the legendary SPB. Ever since SPB got hospitalized in August, Mama was worrying about him and praying for his recovery. But as things would have it, Mama turned out to be the first to go. In my mother's words, "Our dear Krishnan vanished to book a seat there next to him for his hero so that they can sing deva ganam together there depriving us of that boon." Normally, SPB's demise would have felt like a punch in my gut and ripped me apart. But after my dear Mama's passing, I think I'm either too numb and maxed out on grief, or just a little better prepared to deal with this other enormous loss. Whichever it is, it's ironical how one passing makes another somewhat more bearable.

Although they both had so much more to give us, I just feel fortunate for all the musical wealth they have left behind. I'll leave you with two of Mama's recordings here. One is a beautiful cover of an Ilaiyaraja song originally sung by none other than the unparalleled SPB. This is an absolute favorite of mine. I find the tune incredibly haunting and meditative - and how SPB - and here, Mama - make it come alive! In the second, Mama talks about the great MSV's approach to SPB and other singers.

We miss you dearly, Kiccha Mama. At the same time, we are immensely grateful for all the love, light, and laughter you brought us. Rest in peace.

Cover of "kaeladi kanmani paadagan sangathi" - Ilaiyaraja/ SPB: