Ever heard someone scatting Sanskrit syllables while remaining true to both traditions — Carnatic and Jazz? Suba Sankaran, in her Canadian world-music ensemble, Autorickshaw, does it with a child's sense of wonder and virtuosity, in effect highlighting the similarities between the two forms.
She keeps the listener hooked, not merely with the panache with which she balances her hybrid vocals but also with her strong south Indian looks and a contagious smile.
Suba's musical talents and interests span a dazzling range: European Renaissance, jazz, Bollywood and Indian classical to vocals, piano and percussion. Daughter of the famed mridanga maestro Trichy Sankaran, Suba's family could safely be called the first family of Indian Classical music in Canada. "I was born with a perfect pitch," says Suba, who was able to identify and reproduce tunes from the age of two.
Starting young
"My dad used to come up with these complicated compositions on the mridangam and the kanjira. He'd then ask me to `Name that Nadai'," she says with a laugh.
Her first experience on stage was in the U.S. when she was only four. "It was for a Navarathri festival at the Wesleyan University when I was one of the four children selected for a solo-performance on stage, and I sang the hymn Santhanam Pahiman."
Suba carved her own path at an early age. Her musical identity is derived from her Indian roots (her mother is Telugu and father Tamil) as well as the diversity of Canadian culture.
Starting at age six, she studied piano at the Royal Conservatory of Music in Toronto for over 15 years. Her vocal virtuosity comes from singing with madrigal choirs; she is part of Voyces Past, a Renaissance music group. She shared the stage with her father from the age of 16 and they formed an Indo-jazz fusion ensemble called Trichy's Trio.
But he wasn't the only one who led her to Indian classical. "Throughout the year, visiting artistes from India stayed at our place during festivals and performances. I had the privilege of studying under many of them."
Among these artistes are celebrated musicians like T. Vishwanathan, K. Subramaniam and N. Ramani. She studied jazz at York University and completed her M.A. in ethnomusicology in 2002. As if that weren't enough she sings 80s pop hits in a-cappella (voice without instrumental accompaniment) with Retrocity, and Bollywood numbers with the Hannaford Street Silver band. Oh, and she loves busking (those informal street performances). "It's such a fun thing to do! We even used to sing Christmas carols. " A few years ago, though, she busked for a purpose. "It helped me make money to release my first album (with Autorickshaw)."
"Autorickshaw is a dream come true for me and Ed Hanley," says Suba, whose husband Dylan Bell is the touring India with the band. "It is our musical vehicle."
Ed, who plays the tabla, had approached Suba with the idea of forming a world-music ensemble. "It took us about 30 seconds to realise that it was like looking in a mirror."
This ability to analogise various traditions from a classical perspective chiefly came from a solid four-year training in Carnatic vocals by Sankari Krishnan in Chennai.
"I was able to paint more of a picture of where the music came from rather than just read notes on a page."
She is strongly influenced by R.D. Burman and Asha Bhosle apart from fusion artists like Trilok Gurtu, U. Shrinivas and Shakti.
The song "Ganamurthy," from Autorickshaw's second album Four Higher (yes, a take on For Hire) was inspired by U. Shrinivas's rendition of the paean for Lord Krishna.
Suba also composes music for radio and has worked with Deepa Mehta on a radio play called Funny Boy. She directs choirs, performs jingles, sings for films, and even doubles as a part-time faculty at York University.
She keeps the listener hooked, not merely with the panache with which she balances her hybrid vocals but also with her strong south Indian looks and a contagious smile.
Suba's musical talents and interests span a dazzling range: European Renaissance, jazz, Bollywood and Indian classical to vocals, piano and percussion. Daughter of the famed mridanga maestro Trichy Sankaran, Suba's family could safely be called the first family of Indian Classical music in Canada. "I was born with a perfect pitch," says Suba, who was able to identify and reproduce tunes from the age of two.
Starting young
"My dad used to come up with these complicated compositions on the mridangam and the kanjira. He'd then ask me to `Name that Nadai'," she says with a laugh.
Her first experience on stage was in the U.S. when she was only four. "It was for a Navarathri festival at the Wesleyan University when I was one of the four children selected for a solo-performance on stage, and I sang the hymn Santhanam Pahiman."
Suba carved her own path at an early age. Her musical identity is derived from her Indian roots (her mother is Telugu and father Tamil) as well as the diversity of Canadian culture.
Starting at age six, she studied piano at the Royal Conservatory of Music in Toronto for over 15 years. Her vocal virtuosity comes from singing with madrigal choirs; she is part of Voyces Past, a Renaissance music group. She shared the stage with her father from the age of 16 and they formed an Indo-jazz fusion ensemble called Trichy's Trio.
But he wasn't the only one who led her to Indian classical. "Throughout the year, visiting artistes from India stayed at our place during festivals and performances. I had the privilege of studying under many of them."
Among these artistes are celebrated musicians like T. Vishwanathan, K. Subramaniam and N. Ramani. She studied jazz at York University and completed her M.A. in ethnomusicology in 2002. As if that weren't enough she sings 80s pop hits in a-cappella (voice without instrumental accompaniment) with Retrocity, and Bollywood numbers with the Hannaford Street Silver band. Oh, and she loves busking (those informal street performances). "It's such a fun thing to do! We even used to sing Christmas carols. " A few years ago, though, she busked for a purpose. "It helped me make money to release my first album (with Autorickshaw)."
"Autorickshaw is a dream come true for me and Ed Hanley," says Suba, whose husband Dylan Bell is the touring India with the band. "It is our musical vehicle."
Ed, who plays the tabla, had approached Suba with the idea of forming a world-music ensemble. "It took us about 30 seconds to realise that it was like looking in a mirror."
This ability to analogise various traditions from a classical perspective chiefly came from a solid four-year training in Carnatic vocals by Sankari Krishnan in Chennai.
"I was able to paint more of a picture of where the music came from rather than just read notes on a page."
She is strongly influenced by R.D. Burman and Asha Bhosle apart from fusion artists like Trilok Gurtu, U. Shrinivas and Shakti.
The song "Ganamurthy," from Autorickshaw's second album Four Higher (yes, a take on For Hire) was inspired by U. Shrinivas's rendition of the paean for Lord Krishna.
Suba also composes music for radio and has worked with Deepa Mehta on a radio play called Funny Boy. She directs choirs, performs jingles, sings for films, and even doubles as a part-time faculty at York University.
Suba Sankaran and me at KCP
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