Ragam - Tanam - Pallavi: Raga - Hemavathi

Ragam–Tanam–Pallavi in Raga Hemavathi is a 22-minute-19-second composition performed by Shankar (L. Shankar), featured as the opening track (side A) on the album Who’s to Know. The piece exemplifies the ragam–tanam–pallavi format, a structured improvisational form in Carnatic music that progresses through ragam (melodic exposition), tanam (rhythmic development), and pallavi (thematic elaboration). The raga Hemavathi, a janya (derived) raga of the 53rd melakarta Gamanashrama, serves as the compositional foundation.

The album Who’s to Know released on June 1981 under ECM Records, produced by Manfred Eicher. The record adopted a 12\" vinyl LP format and marked a fusion of Carnatic classical traditions with Western studio production techniques. Shankar performed on the double violin, an instrument he pioneered, blending South Indian classical phrasing with extended improvisational passages. The recording session details, including accompanying artists or studio location, remain undocumented in available sources.

The track stands as one of Shankar’s early explorations of lengthy raga-based compositions for a global audience, predating his broader collaborations in world fusion and film music. ECM Records categorized the album under its jazz and contemporary classical imprint, though the work retains core elements of Carnatic performance practice. No commercial singles or alternate versions of the track were issued from this release. The original vinyl pressing included liner notes by an unspecified author, offering context on the raga and Shankar’s interpretive approach.

Critical reception and chart performance data for Who’s to Know are not widely archived. The album’s legacy is primarily tied to Shankar’s role in introducing Carnatic improvisation to Western listeners through ECM’s distribution network. Later reissues on CD and digital platforms retained the original track sequence, with the Ragam–Tanam–Pallavi in Raga Hemavathi remaining the centerpiece of side A. The composition’s structural complexity and duration reflect the conventions of concert-stage Carnatic performances, adapted for a recorded medium.