In tune with success (Koti)

Koti is the son of music director Saluri Rajeeswara Rao. He started as a guitarist, with music director V. Kumar and then for many years with Chakravarthy before he branched out to become a music director by teaming up with Raj (son of veteran music director T.V. Raju) who was also an instrumentalist with Chakravarthy. Starting with Pralaya Garjana, in 1983, the Raj-Koti duo composed music for nearly 200 films. The duo become popular with the Chiranjeevi starrer, Yamudiki Mogudu.

Starting with Pralayagarjana you and Raj formed a perfect team and gave many hits. What are the reasons for your success?

When we started our career, our mentor Chakravarthy was fading away from the scene and Ilyaraja was becoming popular with Telugu viewers too. By following a style of our own, we withstood the onslaught of the maestro and held to our own. Perhaps that was the reason for our success. Also we were the first to use electronic instruments for a Telugu film.

What led to the strained relationship that resulted in a split especially when you were at the peak of your career?

It was a mutual decision. You reach a stage, when you feel as if there is nothing more left to prove. But also there is an inner urge to do something more. We found as a team, we had reached a stagnant point. We decided to go our own ways and prove our mettle as individual music directors all over again.

How did your father influence your music?

Whenever I compose a melody, I feel as if he is next to me watching my work. I am able to do this music only because of the inspiration I derived from my seniors.

Talking about background score, A.R. Rahman in an interview said, that he had learned the art of re-recording from Raj-Koti team. How do you feel about it?

He was with us for sometime. In fact when Subhash Ghai approached him to provide the background score for Trimurti, Rahman couldn’t give dates, and suggested my name. Of course, before Trimurti I have done re-recording for some Hindi films including Judwaa on DTS, besides working as a guitarist with R.D. Burman, Laxmikant-Pyarelal and Bappi Lahiri. I could grasp their trends. Thanks to Subhash Ghai, I could provide the background score for a Laxmikant Pyarelal film which I recorded on Dolby.

Which composers have influenced you?

I am inspired by the works of S.D. Burman, R.D. Burman and the rhythm pattern in Laxmikant-Pyarelal’s music. Of course, my father’s influence is there on me to. But I will not blindly copy any one.

You talk about your own style. Can you elaborate?

Combining melody with the beat without missing on the nativity aspect, that is my style. Even when I take Western music, I combine it with our rhythm so that even the common man can understand its nuances. Film music is melody oriented today. But if we give them pure classical melody, the audience may not like it.

So we have to create a new sound, a new rhythm pattern. Then even the classical ragas are liked. That is what A.R. Rahman is doing now and that is what Ilayaraja did earlier. They have set a new trend in Tamil cinema which encourages upcoming music directors to experiment. I am trying to do that in the Telugu film scene. I think I have succeeded in my attempt.

Which song did you find difficult to compose in your career?

For Mutha Maistry, for the title song we took 40 days to compose the right tune. Of course I was given the time, total freedom by the hero, director Kodandarami Reddy and producers. The title song reads like Ee petaku nene maistry.

Any disappointments?

The biggest disappointment in my 17 years career as a music director is that I didn’t derive job satisfaction. Commercially I may be a successful composer, but I feel I haven’t given my best. Where is the scope for that, when the filmmakers do not give you free hand. Barring a few like Bapu, Vishwanath, Singeetham Srinivasa Rao, none in Telugu have that music knowledge to get the best from the music directors. That a K.V. Mahadevan or Ilayaraja could achieve such glory is only due to the film makers who extracted the best from them.

Music has gone global. Do you have any plans to reach out to a wider audience?

Earlier me and Raj composed a private album, Chikbum Chikbum which catapulted singer Malgadi Subha to instant fame. The cassettes sold over a million copies. Now I am planning an international album, with Hindi and Telugu lyrics. There will be a video version of it too. You’ve mentioned globalisation of music. It is true. Today, thanks to MP3.com one can download a Michael Jackson or some other number within seconds of its release. Previously it used to take a couple of years for us to buy these cassettes in India. I still remember my father listening to BBC or Voice of America’s music programmes late at night. Truely, we have come a long way. Today you cannot simply copy a Western number and become popular. The youth have a good knowledge of music, thanks to the Internet. So one has to constantly innovate and experiment if he has to survive.

Your ambition?

To take Telugu film music to international standards. To bring laurels to Telugu music on the international film scene. And also preserve my father’s immortal songs in CD’s, probably with a remix version too.

Naresh

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