Gajaga Wannama Inspired - Milan John

https://milanjohn.bandcamp.com/track/...

This tune has echoed through the hills of Sri Lanka for centuries. No one knows exactly when the
Gajaga Wannama made its debut, or for that matter who masterfully painted such a clear picture
with music. Even if the name didn’t translate to mean “dance of the elephant,” the tune’s stately
grandeur emits an unmistakably elephantine vibe.

Today, the very same tune resounds from the hills, prominently during the Esala Perahera every
August. This Perahera is an elaborate religious parade when Buddhist devotees gather to watch the
Lord Buddha’s Sacred Tooth Relic make a trip around Kandy. Making its way through Kandy’s ancient
streets the Relic sits on an intricately decked-out tusker. Highlight of the night long celebrations
which have been recorded from the 5th Century AD is this majestic elephant’s presence, usually
signalled by the distinct strains of the Gajaga Wannama.

Etched-out in historical artefacts like the Anuradhapura Moonstone, from the 4th Century BC, the
fascination with elephants for the islanders very likely goes beyond recorded history. This makes
dating the origins of the Gajaga Wannama, excessively tricky.

Long after domesticating wild elephants has been outlawed, red and white clad, traditional
musicians embellished in silver still resort to the tune in a number of occasions. Heralding the arrival
of distinguished guests at formal gatherings, presently welcome chants and even alter prayers have
been fitted to this ancient stance.

My take on the historical Gajaga Wannama is slightly different. As the melody danced in my head,
the idea to deconstruct it and fit it to a 7/8 time signature was a random, fleeting thought.

The thought manifested as a creative itch that wouldn’t leave until I tried the re-imagined piece out.
With the sound of traditional drummers and percussionists ringing in my ears and the significance of
the tune to Sri Lankan culture at the back of my mind, this version began to take shape. Subsequent
jam sessions left me with a structured beginning and end, the middle being reserved for
improvisation.

At the time Berklee’s intake auditions rolled around, my fiancé suggested presenting this piece.
Owing to the abrupt effect the newly adopted time signature had on the tune, the examining panel
decided to call my work ‘the disruptive elephant.’

In January, when I arrived at Berklee, it was the drummer Konstantin who suggested recording this
version, after casually jamming to it. The version you hear today is the result of further refinement.
Its time signature isn’t the only break from tradition, since we’ve fortified the already majestic piece
with some colourful tones from strings.
(Write up By Vinusha Paulraj)

Project Information :

Arranger - Milan John (Sri Lanka)

String Arrangement - Milan John & Gabriel Majou (France)


Piano - Milan John (Sri Lanka)

Drums - Konstantin Kräutler (Austria)

Bass - Dana Roth (Israel)

String Section
Violins : Lily Lyons (Kentucky,USA)
: Abigail Shelton (Georgia,USA)
: Theodore Isabel Wongsosubakti (Indonesia)

Viola : Yueh-Yun Chen 'Sandy' (Taiwan)

Cello : Li Yin Cheok (Malaysia)

Vocals : Maria Baranova ( Russia)

Recording Engineer : Kornel Sylwester (Poland)
Mixing : Simon katz
Mastering : Vinod Melpitiya
Videography & Editing : Joe Barnard

Recorded at Berklee College of Music, Boston

Mixing & Mastering Sponsored by Shehan Wanigasekara (Sri Lanka)
Video Sponsored by Shenali John (Sri Lanka)