A musician’s credibility might not necessarily be judged solely on his or her achievements. Or performances with legendary artistes. But in John Altman’s case, his name might as well be set in stone here and now. The man behind the soundtrack for the multiple Oscar winning film Titanic, Altman is in Mumbai for the premiere of Malayalam film Aakasha Gopuram. “It’s a very interesting concept. The filmmakers heard my music from other films. What they wanted me to do was write something that was different, with no hints of regional traces. So all I did was infuse my sensibilities and create the track for the movie. It’s groundbreaking in terms of the marriage of cultures, and it’s a complete, radical departure from your mainstream Indian music,” says Altman.
Beyond achievements and laurels, what’s in a name we would ask? To be in awe of musical geniuses, one would say everything. During his career Altman has worked with some of the greatest names in the music industry including Bob Marley, Jimi Hendrix, Eric Clapton, Van Morrison, Goldie, Chaka Khan, Fleetwood Mac, Bob Geldof, the list goes on. “You don’t really know if these artistes are going to turn into such legendary figures. You just play with them for the talent that they bring into the music. I know it’s not everyday that you get Bob Marley playing for your 21st birthday. I guess I’m just privileged that I come from a well-known family of musicians,” he says nonchalantly.
And of course, the million-dollar question for all international artistes visiting the country: Is Bollywood calling? “I would love to do a full-fledged musical. It would be a treat to get a whole lot of people coming together and performing,” he says.
“India has such a vibrant music scene. Thirteen years ago I worked with an Indian jazz fusion group from Kolkata. It would be great to revisit that kind of a musical journey. Indian music was such an influence in the 60s. I’ve listened to a lot of Ravi Shankar and he’s a musical genius. Virtuoso Craig Lewis, who is a friend in the US, plays the sitar and he blends classical music with African drums. The sounds from a sitar is an ecstatic experience in itself,” Altman says about Indian music.
Film music has always featured heavily in John’s career. He has won the 2000 Emmy and Ascap awards for his outstanding score for RKO 281 starring John Malkovich. In 1992 Altman also won the Anthony Asquith Award for Best Score and a Bafta nomination for the British film Hear my Song. In 1991, he became the first Western composer to score a
Russian movie. Further credits include the hit movie Little Voice (1998), Goldeneye (1995), Titanic (1997), Beautiful Thing (1996), Bhaji on the Beach (1993), and The Lost Empire (2001). “With Aakasha Gopuram, the filmmakers wanted me to just watch the film and write what I felt. I tried to narrow the passion and commitment of the film. The music enlarges the tragic dimension of a man constantly yearning and never finding. The film is amazing in terms of how its full effect treats the music within the development of the narrative, and grows with the strength of the characters,” he says.
While he’s been experimenting with his music and constantly changing compositions, he believes that there is a time and place for all kinds of music, including fusion. “It’s not about purists. Twenty years ago a lot of people didn’t know traditional
Indian, Chinese or even Turkish folk music. Fusion makes way for an introduction and traditional, classical and modern should really stand side by side. The healthiest thing for musicians is change. Of course I’d be upset if the originals are replaced. With airwaves and the onslaught of technology, there is a danger of music being just one. I stand for the cause and respect for genres,” he says.
Altman’s 18-piece Big Band takes to the stage in the L.A. Jazz Festival next and he says he is currently in talks with people for a concert in India. “Soon,” he says, “soon.” In the meantime, let the saxophonist get his silver screen quotations.
Beyond achievements and laurels, what’s in a name we would ask? To be in awe of musical geniuses, one would say everything. During his career Altman has worked with some of the greatest names in the music industry including Bob Marley, Jimi Hendrix, Eric Clapton, Van Morrison, Goldie, Chaka Khan, Fleetwood Mac, Bob Geldof, the list goes on. “You don’t really know if these artistes are going to turn into such legendary figures. You just play with them for the talent that they bring into the music. I know it’s not everyday that you get Bob Marley playing for your 21st birthday. I guess I’m just privileged that I come from a well-known family of musicians,” he says nonchalantly.
And of course, the million-dollar question for all international artistes visiting the country: Is Bollywood calling? “I would love to do a full-fledged musical. It would be a treat to get a whole lot of people coming together and performing,” he says.
“India has such a vibrant music scene. Thirteen years ago I worked with an Indian jazz fusion group from Kolkata. It would be great to revisit that kind of a musical journey. Indian music was such an influence in the 60s. I’ve listened to a lot of Ravi Shankar and he’s a musical genius. Virtuoso Craig Lewis, who is a friend in the US, plays the sitar and he blends classical music with African drums. The sounds from a sitar is an ecstatic experience in itself,” Altman says about Indian music.
Film music has always featured heavily in John’s career. He has won the 2000 Emmy and Ascap awards for his outstanding score for RKO 281 starring John Malkovich. In 1992 Altman also won the Anthony Asquith Award for Best Score and a Bafta nomination for the British film Hear my Song. In 1991, he became the first Western composer to score a
Russian movie. Further credits include the hit movie Little Voice (1998), Goldeneye (1995), Titanic (1997), Beautiful Thing (1996), Bhaji on the Beach (1993), and The Lost Empire (2001). “With Aakasha Gopuram, the filmmakers wanted me to just watch the film and write what I felt. I tried to narrow the passion and commitment of the film. The music enlarges the tragic dimension of a man constantly yearning and never finding. The film is amazing in terms of how its full effect treats the music within the development of the narrative, and grows with the strength of the characters,” he says.
While he’s been experimenting with his music and constantly changing compositions, he believes that there is a time and place for all kinds of music, including fusion. “It’s not about purists. Twenty years ago a lot of people didn’t know traditional
Indian, Chinese or even Turkish folk music. Fusion makes way for an introduction and traditional, classical and modern should really stand side by side. The healthiest thing for musicians is change. Of course I’d be upset if the originals are replaced. With airwaves and the onslaught of technology, there is a danger of music being just one. I stand for the cause and respect for genres,” he says.
Altman’s 18-piece Big Band takes to the stage in the L.A. Jazz Festival next and he says he is currently in talks with people for a concert in India. “Soon,” he says, “soon.” In the meantime, let the saxophonist get his silver screen quotations.
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