Subbulakshmi’s “most trusted percussionist” as the author puts it, the “formidable” Pudukkottai Dakshinamurthy Pillai, Trichy Sankaran, Karaikudi Mani and Vellore Ramabadhran to name a few, to the less blessed in the caste gradation, like C.S. From the “Superstar” Palghat Mani Iyer, the iconic mrdangam maestro at the top, more so since Carnatic music performances moved out of the patronising princely state scions, zamindars and landlords of a feudal era, to the evolution of the kutcheri format in urban areas with the birth of institutions like the Music Academy in Madras in 1928, to the next-in-caste hierarchy and his main professional rival, Palani Subramania Pillai, there is a vast spectrum of cultural history and geography covered here.Īlongside, there is a long line of their distinguished successors, like Umayalpuram Sivaraman, T.V.
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