VP Dhananjayan, Natyacharya
The learned Karaikudi Mani will live long through his immaculately trained disciples throughout the world. He has a great contribution in popularizing Carnatic percussion. He interacted and collaborated with Western drummers. He established branches of his Shruti Laya abroad, and produced many Mridangam players. She has contributed to the theatrical repertoire by composing complex jathis performed by Hyderabad-based Bharatanatyam dancer Rajeshwari Sainath, who is also her niece. Unlike some scholars, he allowed his disciples to play Natyam. Some of them he sent to Bharatkalanjali to be trained. These capable disciples have been carrying forward the tradition of Mani.
Sai Shravanam; Music Producer & Composer
Nothing mattered to him except excellence. After working with Mani sir for almost 20 years I realized that only perfection can bring a smile on his face. He would roar like a lion if the music was not the way he wanted it to be. He worked tirelessly to achieve this. I have never seen him waste a moment. To cooperate with him one had to be true to art. Once he is convinced of your genuineness, he sets out to bestow his affection and blessings. Even when he was in the hospital, I have seen him muttering rhythmic words under his breath. Though I am not his student, his generosity in allowing me to perform apart from him is the greatest gift.
Lalgudi GJR Krishnan, senior violinist
The connection between Karaikudi Mani and the Lalgudi family spans two generations, starting with my father. I used to call him early morning every year on Diwali. He spoke on the occasion of receiving the Sangeeta Chudamani Award from the Sri Krishna Gana Sabha in 1998, as well as when my mentor and father Lalgudi Jayaraman received the Lifetime Achievement Award from the Music Academy in 2008. I am honored to share it. On stage with him, my mentor as well as when playing solo for over 40 years. They were included in many of my memorable performances, including the New Year concert at the Mylapore Fine Arts Club. It was always enriching to perform with Mani Sir. He will be remembered for a style of his own, characterized by clarity, azhutham (even at high tempo), and rhythmic patterns in various nadis. He inspired tablaists of all baniyas. He was a man of integrity and deep commitment to his fans.
Lalgudi Vijayalakshmi, senior violinist
His passing is a great loss to the world of music. I have had the opportunity to see him perform in many concerts of my father and mentor Lalgudi Jayaraman and brother Krishnan. I have also had the privilege of sharing the stage with him at all three concerts in London and Australia. Their company was non-intrusive, and in a way that enhanced the experience for performers and fans alike. His Kalapramana Shuddham can be compared to Madurai Mani Iyer’s Sruthi Shuddham. One of my fondest memories is cooking with Mani Sir during a concert trip to London with my mentor and brother. Then I discovered the secret to her delicious preparations – a pinch of asafoetida. A man of few words, he spoke in a direct and witty manner.
K Gayatri, singer
I have never interacted with him personally. Nevertheless, like any other youngster, was always in awe of his mridangam expertise and would make it a point to attend the concerts in which he was performing. In July 2022, I was thrilled when my childhood friend Sai Sravanam told me about a project initiated by Guru Karaikudi Mani. After knowing my proficiency in Sanskrit, Sai suggested my name to a Mridangam exponent, who wanted me to be a part of ‘Raghuveera Gadyam’. It was a rare opportunity and a great blessing to sing the track for which he had lent his voice. I looked forward to working with him on more such projects. His demise is a great loss to musicians like me, who are eager to expand their horizons under the guidance of maestros like him.
‘Ghatam’ Suresh
In a musical career spanning more than six decades, Guru Karaikudi Mani with his power-packed performances, strong stage presence, pure soulful strokes and impeccable arithmetic concepts put the mridangam on the global center stage. His insistence on high standards and quality playing helped his co-stars grow musically, while his mridangam backing enhanced the vocal concerts he was a part of. At times, a taani led by Mani Sir was prolonged as rasiks would unusually wait for this section at the concert. Vikku Vinayakaram (my second guru) on Ghatam or G. His pairing with Harishankar created waves in the music circles in those days.
Innovative concepts such as increased tempo, extended pauses to create suspense, rapid sharing of phrases with co-performers, quick alternations with one’s own Konnakol during solos, logical improvisations, energetic double- The frazzled grooves, and the uniquely formed end notes will create magic. chant at every concert. During my four decades of association with him, I realized that a co-instrumentalist cannot take Mani Sir’s compositions for granted and adopt a “let’s see on stage” attitude with him. A certain level of maturity was required to handle his views. I was witness to many of his creative works as they were taking shape. He would sometimes spend hours and days building a rhythmic structure with a single phrase or a series of phrases.
During the mid-seventies, other boys and I were training at the Jaya Ganesh Taal Vadya Vidyalaya in Triplicane, whenever they would listen to their guru Thethakudi R. Harihara Sarma (father of ghatam maestro Vikku Vinayakaram), would be amazed to see the charismatic Mani Sir. ,
In 1993, a major accident kept him away from his beloved mridangam for more than six months, making an important tour of Germany almost impossible. Mani sir told me and Sundaresan (his co-star with G. Harishankar), ‘This is your first tour with me and if I cancel, you will be more disappointed.’ His willpower surprised the doctors as he came back faster and with extra conviction.
Whether arranging his dictated compositions for the Australian Art Orchestra, whose musicians have now been associated and cherishing his music for almost three decades, or learning to harmonize with musicians from the Japanese and Finnish Philharmonic Societies, or in a symphony Challenging djembe exponent or voicing Paul Simon’s pop albums, Mani Sir emphasizes on mixing the best of phrases and instruments to highlight the aesthetics of Indian rhythm and melody.
Known for his culinary expertise, Mani Sir took care of the comforts of his co-composers in terms of food, lodging and travel, especially during our foreign trips. A devotee, he tuned and popularized the compositions of his spiritual master, Sri Surjanand.
His death is an irreparable loss to the music world. Personally, I’ve lost the presence of an inspirational legend.