Saturday, March 23, 2013

A tough, proud man


Before he gained the respect of players and commentators as a top class international umpire, S Venkataraghavan  was player, administrator, selector, commentator and match referee at different times. In an arena wider than the field of play, he must be cricket's most versatile all rounder.

The qualities that made Venkat such a good umpire were evident in him as early as during his schooldays, when I first met him. These were a thorough knowledge of the game and its laws, fearlessness, superb physical fitness, the ability to concentrate hard for hours, a brisk decisiveness and a commanding presence. These are not necessarily endearing qualities, and Venkat has never been in the race to win any popularity poll.

I played with or against (mostly against) Venkat from the time I was about 10 and he 12, but though we had occasion to meet intermittently on the cricket ground as well as socially for decades, I cannot count myself as one of his friends, for he is a very private man, with few intimate friends. On the field, however, we had some enjoyable exchanges, highly competitive and intensely fought. That is the only way the off spinner knew to play his cricket. The needle was a bit extra, at least on my part, when we competed against each other, because I was an off spinner myself, trying to dislodge him from the Indian side, though without success. Every time I faced him I was determined not to lose my wicket to him, and every time I bowled to him I desperately wanted his wicket. I do not know if he reserved any special effort for me, but the going was never easy when I was at the receiving end from him.

We both played for the same school, P S High School of Mylapore, Madras, but in college cricket, we were regularly pitted against each other. He led the formidable Guindy Engineering College against Presidency, my college, which had a number of talented players. In addition to bowling his accurate and nippy off spinners, he batted high in the order and scored consistently. He was a brilliant fielder, especially close to the wicket, a facet of his cricket for which he was admired at the highest level. (One remarkable catch I saw him take in local cricket, however, involved his running to midwicket off his own bowling and holding on to a skier, a truly fantastic effort, on the Marina ground). He was already a Test cricketer, and some of the senior batsmen in my side got out to him even before they left the safety of the pavilion, so complete was his psychological domination of them. Our first victory over Engineering was achieved only after Venkat's graduation.

Our worst performance against Engineering came when I was captain. We were dismissed for 42 on the University Union ground, and though we managed to cause a few alarms when Engineering batted, they passed our score after losing four wickets. It was the final of a tournament, and the umpires tried to continue the match—naturally to my delight, as it gave my side an outside chance—thinking it was a two innings affair, but the party was spoiled by Venkat, who, rule book in hand, proved that the match was in fact won and lost already.

My enduring memory of Venkat is one of the seriousness with which he approached net practice, bowling non-stop for three hours everyday, following that with an extended session of fielding practice. Taking a hundred slip catches a day was about par for the course for him.

Everyone knows that throughout his career, Venkat never left the ground citing injury. Two occasions stand out in my memory. The first was during a Duleep Trophy match against Central Zone at Bangalore in 1975. One evening during the match, Venkat met with a minor road accident, falling off a scooter. (Can you imagine a current Test cricketer on two wheels?) On the morrow, he carried on as if nothing had happened, bowling a long, match-winning spell with little or no indication that he was in any discomfort. But back in the pavilion he had great difficulty taking off his trousers to change, because he had been badly bruised from waist to foot on one side.

On another occasion, Venkat bowled a marathon 72-over spell against East Zone in the Duleep Trophy at Eden Gardens, nursing a very painful injury. Left-hander V Sivaramakrishnan, my younger brother, who played that match, rates that spell as the bravest, most disciplined effort he has seen on a cricket ground.

Around the time he made his Test debut against New Zealand, after a splendid match for Indian Universities against the tourists, Venkat’s bowling was perhaps the most accurate anywhere. His sharp off spin was persistent and his occasional well-disguised leg cutter a deadly variation, invariably resulting in a catch behind or at slip when it was not clipping the off bail. Batsmen mostly played him from the safety of the crease, stretching well forward to avoid being lbw. Rarely did one of them use his feet to dance down the track. To prolong his career at the first class level, Venkat slowed down, but his trajectory was still flatter than that of the classical off spinner who flighted the ball. He was much taller than Prasanna, for instance, and therefore could not achieve the arc that Prasanna did. Still, his own adaptation of flight and spin to suit his natural endowments—which by the way included strong, long fingers, and a supple, wiry frame—was a beautiful sight on a cricket field. All his life, he remained a difficult proposition to score off, and earned the respect of many leading batsmen, including the incomparable Garfield Sobers. In fact, some of Venkat’s important successes came against the formidable West Indies.

No tribute to Venkat can be complete without mention of the terror he struck in the hearts of team-mates and rivals alike. Stories about the nervous wrecks he made of some of them are a frequent cause of merriment in the dressing room. I remember him describing the South Zone fielding in that same Bangalore match as "diabolic" and my wondering how many of my team-mates understood the word. And sure enough, I found one of them scurrying off to the KSCA office and asking the clerk there if he could borrow a dictionary.

Another time, playing for Madras Cricket Club in the Chennai league, he was the non-striker, with S Vasudevan in the midst of a brilliant spell of left-arm spin, claiming six wickets on a placid track. Vasu bowled one ball down the leg side during that spell, possibly the only bad ball he bowled that day, and to his utter shock the non striker literally barked: "How many times have I told you to bowl the faster one on the stumps!" Venkat was then the captain of the state team and Vasu one of his main bowlers.

Of most combative sportsmen it can be said truthfully that they mellow with age. I believe Venkat suffers from no such constraint. He continued to be aggressive and relentlessly focused on his job as an umpire, just as he used to be as a player. He still does not seek to win popularity contests and revels in calling a spade a bloody shovel. He is indeed a professional, with whom pride of performance in all he does is an article of faith.

It’s a tie!



It had been a difficult couple of years for me in cricket. Competition, quite a lot of it unfair, was breathing down my neck, and I was suffering from the first major injury of my cricket career, without realising how serious it was. Constantly wearing inferior cricket shoes as I did, I had developed an Achilles tendon problem, medically known as bursitis, which gradually grew unbearably painful. Off-season, I had trained harder and harder, somehow gritting my teeth and ignoring my pain, thinking this was the usual temporary soreness of muscles. I even ran with my awful cricket spikes on the gallery steps round and round the stadium when it rained. My condition naturally grew worse. The new season was about to start and at 32, I had serious cause to worry about my future in the game, if this injury was going to lay me low. And all this after I had been dropped - unfairly, I can assure you - from the Hyderabad team in the previous Ranji season and I had sworn to get back into the team, come what may.

That is when my friend Dr Harsha, an orthopaedic surgeon, arrived on the scene like some angel of mercy. He correctly diagnosed my condition and offered to give me a cortisone injection in the affected part. “The injection pain will kill you but after a couple of days of that hell, you will have a new heel. If you are lucky, the relief could be permanent.”

I took the chance and decided to brave the injection pain. Just as Harsha had promised, the pain was real hell, and I wondered if I had made a mistake. Two days later, I woke up in the morning, completely free from pain! It was as if I had a new heel, a new foot, a new left leg!

I was then playing for Andhra Bank, led by Vijay Paul in the absence of Narasimha Rao who was away playing league cricket in Ireland. We had stars like Jyotiprasad, Ravi Kumar, H Ramprasad, Meher Baba, Chandran and many more and we were about to play the first round of the Ghulam Ali memorial knockout tournament. I don’t remember the early rounds, but I clearly recall our encounter with the Jaisimha-led Marredpally Cricket Club in the quarterfinals. I was delighted to claim Jai’s wicket for the first time and finish up with five wickets. We won despite a fighting, elegant 85 by Vivek Jaisimha. In the semifinals, I took seven wickets against State Bank of Hyderabad, another star-studded team, and we entered the final in style.

Syndicate Bank were our opponents in the final, which was a 2-innings match limited to 75 (8-ball) overs a side in the first innings and 35 in the second. Our opponents were a strong outfit, even though their Test player Shivlal Yadav was away playing for the country. Led by Vinod Reddy, they had in their ranks Jugal Kishore Ghia, Chamundeshwarnath, Sainath, Shivkumar, Moses Nityanand and several other talented cricketers.

Winning the toss, we batted badly and were soon in a bad way. As our manager, the late C S Shyam Lal, and I took a walk around the boundary line, I told him, “Don’t worry, if we make 150 we will win,” so confident was I with my bowling form after the recent treatment. We managed to reach 169 with a small contribution from me in partnership with Jyoti and we were soon on the field. We claimed a couple of early wickets but the obdurate Shivkumar tested our patience with his complete mastery of whatever we sent down. In the last over before stumps, I managed to get one past him (by sheer mind power, I think) and we went home in a reasonably happy frame of mind. Next morning, our bowling really clicked and we bowled Syndicate Bank out for 125, with 7 wickets my share of the booty.

When we batted a second time, we fared much better, and I was again involved in a rearguard partnership with my good friend Jyoti. Syndicate Bank had to make 224 in 35 (8 ball) overs to win the match. Moses Nityanand and his partner (whose name I don’t recall now) blazed away, but our left arm spinner Meher Baba and I were able to put the brakes on the rampaging batsmen, and though Moses made a hundred or thereabouts, we managed to peg Syndicate Bank in their run chase. I bowled the 34th over, yielding only three runs and helping effect a run out (my second in the innings). I had taken six wickets, totalling 13 for the match. Meher bowled the last over with Syndicate Bank needing six runs to win the match. The batsmen ran like crazy between the wickets, there were run out attempts that missed the stumps by a whisker, until the last ball target was a mere two runs. The batsman swung and missed and they ran a bye. It was a tie!

Once the significance of the result sank in, disbelief and joy replaced the disappointment of not winning and both teams were able to enjoy the rare occasion. I invited all the players of both teams home for beer and dinner, and my wife had the shock of her life when some 30 bedraggled, dirty, tired cricketers landed at her doorstep. The celebrations went on till well after midnight and many of the guests stayed overnight. Rarely in my personal experience have two rival teams enjoyed each other’s company as we did that night.


 

It’s a tie
It had been a difficult couple of years for me in cricket. Competition, quite a lot of it unfair, was breathing down my neck, and I was suffering from the first major injury of my cricket career, without realising how serious it was. Constantly wearing inferior cricket shoes as I did, I had developed an Achilles tendon problem, medically known as bursitis, which gradually grew unbearably painful. Off-season, I had trained harder and harder, somehow gritting my teeth and ignoring my pain, thinking this was the usual temporary soreness of muscles. I even ran with my awful cricket spikes on the gallery steps round and round the stadium when it rained. My condition naturally grew worse. The new season was about to start and at 32, I had serious cause to worry about my future in the game, if this injury was going to lay me low. And all this after I had been dropped - unfairly, I can assure you - from the Hyderabad team in the previous Ranji season and I had sworn to get back into the team, come what may.
That is when my friend Dr Harsha, an orthopaedic surgeon, arrived on the scene like some angel of mercy. He correctly diagnosed my condition and offered to give me a cortisone injection in the affected part. “The injection pain will kill you but after a couple of days of that hell, you will have a new heel. If you are lucky, the relief could be permanent.”
I took the chance and decided to brave the injection pain. Just as Harsha had promised, the pain was real hell, and I wondered if I had made a mistake. Two days later, I woke up in the morning, completely free from pain! It was as if I had a new heel, a new foot, a new left leg!
I was then playing for Andhra Bank, led by Vijay Paul in the absence of Narasimha Rao who was away playing league cricket in Ireland. We had stars like Jyotiprasad, Ravi Kumar, H Ramprasad, Meher Baba, Chandran and many more and we were about to play the first round of the Ghulam Ali memorial knockout tournament. I don’t remember the early rounds, but I clearly recall our encounter with the Jaisimha-led Marredpally Cricket Club in the quarterfinals. I was delighted to claim Jai’s wicket for the first time and finish up with five wickets. We won despite a fighting, elegant 85 by Vivek Jaisimha. In the semifinals, I took seven wickets against State Bank of Hyderabad, another star-studded team, and we entered the final in style.
Syndicate Bank were our opponents in the final, which was a 2-innings match limited to 75 (8-ball) overs a side in the first innings and 35 in the second. Our opponents were a strong outfit, even though their Test player Shivlal Yadav was away playing for the country. Led by Vinod Reddy, they had in their ranks Jugal Kishore Ghia, Chamundeshwarnath, Sainath, Shivkumar, Moses Nityanand and several other talented cricketers.
Winning the toss, we batted badly and were soon in a bad way. As our manager, the late C S Shyam Lal, and I took a walk around the boundary line, I told him, “Don’t worry, if we make 150 we will win,” so confident was I with my bowling form after the recent treatment. We managed to reach 169 with a small contribution from me in partnership with Jyoti and we were soon on the field. We claimed a couple of early wickets but the obdurate Shivkumar tested our patience with his complete mastery of whatever we sent down. In the last over before stumps, I managed to get one past him (by sheer mind power, I think) and we went home in a reasonably happy frame of mind. Next morning, our bowling really clicked and we bowled Syndicate Bank out for 125, with 7 wickets my share of the booty.
When we batted a second time, we fared much better, and I was again involved in a rearguard partnership with my good friend Jyoti. Syndicate Bank had to make 224 in 35 (8 ball) overs to win the match. Moses Nityanand and his partner (whose name I don’t recall now) blazed away, but our left arm spinner Meher Baba and I were able to put the brakes on the rampaging batsmen, and though Moses made a hundred or thereabouts, we managed to peg Syndicate Bank in their run chase. I bowled the 34th over, yielding only three runs and helping effect a run out (my second in the innings). I had taken six wickets, totalling 13 for the match. Meher bowled the last over with Syndicate Bank needing six runs to win the match. The batsmen ran like crazy between the wickets, there were run out attempts that missed the stumps by a whisker, until the last ball target was a mere two runs. The batsman swung and missed and they ran a bye. It was a tie!
Once the significance of the result sank in disbelief and joy replaced the disappointment of not winning and both teams were able to enjoy the rare occasion. I invited all the players of both teams home for beer and dinner, and my wife had the shock of her life when some 30 bedraggled, dirty, tired cricketers landed at her doorstep. The celebrations went on till well after midnight and many of the guests stayed overnight. Rarely in my personal experience have two rival teams enjoyed each other’s company as we did that night.


 


Alexander

A recent obituary notice in The Hindu announced the passing away of a John Alexandar, whose description fits the John Alexander I played along with for Presidency College back in the 1960s. Here’s a piece I wrote on him some time ago.


John Alexander was the character of the team. Stockily built, he batted with excellent technique and steely determination. Never one to run away from a good fight, he was at his best against the strongest opposition, particularly against Engineering College, the reigning champions.

Of Ken Barrington and David Steele, it was said that the Union Jack fluttered in the breeze in front of them when they went into bat. When John crossed the boundary line, it was easy to imagine the Presidency College flag proudly preceding him. 

Like Vijay Manjrekar, the great Indian batsman of the 1950s and 60s, on whose batting I suspect John modelled his, he curbed his strokeplay in the interests of the team. And he would have scored many more runs than he actually did, if only he would play more attacking shots. 

Though he reserved his best for our matches against the senior Engineering side, he played one of his most memorable innings against Engineering ‘B’, the college’s second eleven, when he scored an unbeaten half-century and won the match for our college in the company of No.11 SP Balachandran, adding more than 50 for the last wicket.

The duo returned to the pavilion to thunderous applause from all of us players and the small crowd that had stopped to watch the thrilling finale. John and Bala recall with great pride even today that Venkataraghavan, the captain of the senior Engineering team, and already a Test cricketer, who happened to be watching, shook their hands at the end of the match.

I don’t remember the sequence of events very clearly; I am not sure if we ran into the Engineering ‘A’ team in the final of the same tournament after nearly losing the first round match against the ‘B’ team, but I clearly remember Alexander’s defiance against the strong Engineering ‘A’ attack on more than one occasion. With his neatly creased shirt and trousers, the top button of his shirt unbuttoned, shirt sleeves rolled up to three-quarter length, his moustache on his dark, handsome face slightly twirled up, he presented a grim visage and solid full-face bat to anything Venkataraghavan, Satvinder Singh and Co. sent down. In one fighting partnership, he was the dominant partner and I the supporting one, while he made about 75 runs in a losing cause.  He made the fight all the more enjoyable with his silent nonchalance, which boosted your confidence, too. John tended to be on the stocky side and that completed the Manjrekar-Barrington effect.  

After college, John joined the Customs department, where he rose to be Deputy Collector. Unfortunately, we did not stay in touch after I left for Hyderabad in December 1970. Bala and he had a few telephonic conversations during which they relived their famous last wicket partnership. He apparently complained that though I wrote quite a bit about cricket, I never did mention their great stand in my writings. He also complained I did not try to establish contact with him. Though I did eventually manage to write about the match, I never did indeed call him, the procrastinator that I am, like so many of us. And now it is too late.

Tuesday, March 5, 2013

Jim Laker



By V Ramnarayan


His autobiographical “Over to Me” was no book meant to inspire a young cricketer as it contained a continual rant against his skipper Peter May, manager Fred Brown and other cricket personalities of the time, but I read it from cover to cover because at age ten I was already an ardent fan of his bowling.

Jim Laker was my role model as an off-spinner. I never saw him in flesh and blood because he did not play Test cricket in India, never watched him in action elsewhere in the world, because we had no TV then, leave alone satellite telecasts. My only acquaintance with him was via radio broadcasts in the voices of Norman Yardley, John Arlott, et al, and photographs. His immaculate bowling action captured by still cameras was forever etched in my mind. I had a perfect image of his easy run-up, high-arm action, viciously spinning fingers, and perfect follow-through imprinted permanently in my mind’s eye. Growing up in a complex of three independent houses with no compound walls separating them, I never walked between them, always bowling imaginary but unplayable deliveries in my hero’s action, getting imaginary batsmen bowled, caught or leg before innumerable times every day. Years later, I was to admire his dry, laconic wit as a no-nonsense broadcaster, but reading about his incredible cricket exploits (193 wickets in 46 Tests at an average of 21.24, an economy rate of 2.04, a strike rate of 62.3,best innings figures of10.53, best match analysis of 19/90) in real time gave me a high never equalled afterwards.

A Yorkshireman by birth, James Charles Laker started his career in his home county as a batsman, but by the end of it, he had been acknowledged as arguably the best off-spinner of all time. It was Surrey that recognised his bowling potential, and invited him to join the county staff, after a sore 'spinning finger' had prevented his playing a 'trial' match for Essex.

What made Laker such a great spinner? According to John Arlott, English cricket's golden voice, "There have been off-spinners though few - who spun the ball as much as Jim Laker; some of them had comparable control. But no one has ever matched him in those two departments and had also, such a quality of intelligence.

"Physically economical of energy, he walked back six paces to his mark and came in up a short-stepping run which he deliberately varied from ball to ball, changing its pace or number of steps, a subtlety which made it difficult for the batsman to time his approach.

"Without any apparent change of action he bowled a topspinner and a ball which ran away a little off the pitch but, equally dangerously and far more unusually, he could and did, control the width of his break."

Often a batsman would find Laker's first ball pitched on a length and turning relatively mildly. The next ball would look innocuous enough, quite easily defended. Nothing much would happen off the next ball either, and the batsman would, if he did not already know Laker, conclude that here was just another off spinner. 

The next delivery would look no different from the earlier ones but bite, turn, hurry through and hit his stumps even before his bat came down.

Laker was a good bowler on all types of wickets. He spun the ball really viciously and ran through sides on turning pitches at the lowest possible cost. On good wickets, whether in cool England or in tropical conditions, he could bowl over after over of perfect length and line. On those, he set problems of length and flight.


Like all great spinners, he achieved flight by spinning the ball hard.

The ball left his hand and travelled towards the batsman in a perfectly controlled parabola, thanks to the spin imparted by strong and determined fingers that gave the ball and themselves - a fair rip. The flight of the ball was tantalising. Like a mirage that fools a thirsty traveller until he gets there, the Laker delivery was almost always not there for the batsman when he reached for it in defence or attack. Listen to John Arlott again: "He paid a painful price for his bowling. Like most men who spin the ball really hard, he often wore away the skin from the inside of his index finger. If he bowled on, it would harden, a corn would form and then, as it grew too hard, it would tear away, leaving the flesh exposed once more. (He) lacked the unusually long fingers of the savage off-spinners and to gain a similar degree of purchase, he had to take a grip which stretched his first two fingers to an exceptional and painful extent."

As a result, Laker's fingers became distorted and he developed an arthritic condition that ended his career sooner than expected. Yet, in only 46 Tests, he took 193 wickets at the meagre average of 21.23.
This is what a young spin bowler can learn from a great spin bowler like James Charles Laker or our own great slow bowlers. When you are told to flight the ball, it doesn't mean you toss the ball up in a gentle arc. Buying wickets doesn't mean giving away free runs. The idea is to fool the batsman into believing that free runs are to be had. And that, you can do, only if you genuinely spin the ball, only if you tear the skin of your finger by rubbing it hard against the ball to make it spin like a top, only if you practise so long and so purposefully, that in a match, good line and length are automatic, and you have the confidence to try variations at will. If you have never had spinning finger problems, you have never had blood oozing from that finger, you have never spun the ball. Forget spin bowling then, and switch to something easy like batting!

Monday, March 4, 2013

Gyan from cricket nawabs


By V Ramnarayan

Rarely do we read sensible writing on spin bowling. A very popular—and completely nonsensical—cliché is the description of a slow bowler that he "varied line and length intelligently". Nothing could be more absurd. Unless you are express fast and can bowl a good bouncer, you never vary your length except to modify it to suit the reach and footwork of the batsman. A tall batsman demands a slightly shorter length than a short one or a predominantly backfoot player; otherwise a “good” length is sacrosanct, though a halfvolley is always a better delivery than a rank short ball.

As an off-spinner who began his career in the 1960s, I had partly intuitively been following precisely these bowling fundamentals. Both length and direction were unvaried in your arsenal of sharp off spin, faster deliveries, floaters and leg-cutters, not to mention the occasional outswinger, and this is something you learnt very early. My first mentor (excluding my cousin Venkatachalam who had often shared his cricket wisdom during conversations indoors when I was still in my arai nijar) had been medium pacer VV Rajamani, my senior in the Presidency College cricket team.

The one aspect Rajamani stressed was arm-speed from the top of my delivery stride to my finish (“that doesn’t mean you push the ball through; you whip the ball as if you were spinning a top; the arm comes down fast, but the ball travels in a parabolic loop”), with my left leg ramrod straight and right arm falling to the left of my left thigh. A pivoting action was essential on your delivery stride, and for this your left foot needed to grip the ground firmly. In all these years of cricket reading, I have not come across a reference for decades to arm speed, the Rajamani gem that helped me so much in my development as a spinner. (Among world class spinners, Shane Warne provides an exceptional example of this factor, his strong back and shoulders compensating in this regard for his short run-up; a longer, quicker run-up would normally provide the the necessary momentum).

In my adult life, I learnt some of my best bowling lessons from Hanumant Singh, the Rajasthan and India batsman under whose captaincy I played for State Bank of India for a couple of seasons in the 1970s. I made my debut for the bank’s all India team when he was captain; he softened the blow of my being dropped for the next game and final to make way for Rajender Goel, by complimenting my efforts and giving me some great insights into the game, spin bowling in particular. This is when he confirmed the correctness of my instinctive understanding of the game. “Whatever you are doing, bowling at your normal pace and trajectory, flighting the ball a little extra, pushing the ball through quicker, or bowling the wrong ‘un, make sure that the ball invariably lands on the same spot—same length, same line. This way the batsman is always in doubt, while you are giving nothing away by way of width or poor length.”

“Length is mandatory, while line is optional,”  EAS Prasanna one of the best off-spinners of all time, has been quoted as saying. This could easily be misunderstood to mean that you can change your direction from ball to ball, over to over—unless you grasped the proper import of Prasanna’s words. No captain can set a field for you if you bowled on both sides of the wicket all the time. I believe Prasanna has  other ideas: that you decide your line on the basis of the nature of the wicket, the amount of turn it is yielding, on whether you are attacking or defending, and on whether a right hander or left hander is batting. Once you decide your line of attack for the day (or the session in case conditions have suddenly changed), you pretty much to stick to it.

I played under a great captain for Hyderabad. Though there was not much  spoken communication on the field between ML Jaisimha and the bowlers, all of us knew his cricket thinking and quickly learnt to bowl to his plans. For one thing, the field—sometimes extremely attacking—that he set for you clearly demanded a certain line of attack. Even on a typical first day wicket, he always gave the off-spinner two short legs—forward and backward. We would start with a slip, point, cover, mid-off , deep square leg, mid wicket and mid-on besides the two short-legs, with square leg the only deep fielder, some three quarters of the way to the boundary. All the other fielders except those in the close-in cordon were at single-saving distance from the bat. After a few overs, when he was confident I had settled down, he’d say, “All right, Ram?” and then proceed to bring in point to silly point, leaving that region totally unprotected. The field would then be slip, silly point, cover, mid-off, mid-on, mid-wicket, forward and backward short-legs and deep square leg. (You had to be absolutely accurate around off-stump; you simply could not afford to stray outside it the way you could with a less attacking offside field).

Once the batsman settled down, either slip or silly point was removed and only much later would a deep midwicket be added to the onside field, with the offside field reduced to point, cover and mid-off. Unless the batsmen really flourished and some 400 runs were on the board, the two short-legs were a constant. Even when one of them withdrew into the outfield, it was rarely the forward short-leg or bat-pad fielder that left his post.

This was a standard field deployed for a good off-spinner by the leading captains of the day, say Tiger Pataudi for India, Jaisimha for Hyderabad, V Subramanyam (succeeded by Prasanna) for Karnataka, or Venkataraghavan for Tamil Nadu.  I have a serious suspicion that this kind of attacking field placement originated in the south, perhaps when Subramanyam was leading Karnataka, and evolved through brainstorming among all these greats of the period. And if I am not mistaken, this broadly speaking, is what Prasanna means when he says length is mandatory, line is optional).

On a turning wicket, you not only tried to spin the ball from outside the off-stump, but often went round the wicket to make the batsman play, once he started using the pads with no fear, thanks to the abundant deviation, of lbw. The trick was to still bowl around the same spot from round the wicket, the straighter angle forcing the batsman to play and increasing chances of leg before at least slightly. And a well-directed straight or away-going delivery from round the wicket could get you one of three kinds of dismissals: lbw, bowled, or a slip catch.

Playing in that era, you also learnt some superb lessons on how to bowl to left-hand batsmen from the aforesaid nawabs of cricket. Contrary to what many of today’s experts advocate, our seniors encouraged off-spinners to bowl over-the wicket, and maintain a strict leg-and-middle line, thus cramping the left-hander. You often had a forward short-leg to grab the bat-pad snicks, while you could still force an outer edge to slip, especially if the pitch offered some purchase.

In part two of this series, I hope to describe in some detail the great spinners of my era that I watched from afar as well as those I was fortunate enough to follow from very close quarters.

Saturday, January 5, 2013

Captain courageous


Tiger Pataudi's birthday came and went on 5 January and I did not write that day. He did not celebrate it because his father died on the same day in a polo accident when Tiger was a kid. I repost this tribute I paid Tiger soon after his death.


“When I saw the English bowling,” was Mansur Ali Khan’s pat reply to a British journalist at a press conference immediately after his maiden Test hundred at Madras against Ted Dexter’s visiting England side in 1963. The question had been about when after the loss of one eye he had started believing he could play Test cricket again. 


In his autobiographical Tiger’s Tale, Pataudi recounted how he decided to have some fun in the middle in that game. “The crowds here have rarely seen Indian batsmen take the aerial route,” he told his batting partner and skipper Nari Contractor, and proceeded to play some delightful lofted shots, including a couple of sixes, in an innings that broke away from the defensive mould of the time. 

Pataudi was the first superstar of Indian cricket, arguably more charismatic than anyone before or after him to don India colours. The reasons were not far to seek: his brilliant wit and repartee as much as his striking good looks, superb athleticism and positive cricket. 

He was inarguably the first Indian captain to demand consistently hard work in the fielding department, though there had been the occasional flash in the pan before his time. He set a marvellous personal example, patrolling the covers with lissome authority—those fortunate enough to watch the early Pataudi believed that he was not only a genius of a batsman but also a world class slip fielder, before he became blind in one eye. One of the first things he is said to have told his team after taking over as Sussex captain was: “Gentlemen, let’s see some scuffed trousers and bruised knees and elbows.” 

Acknowledged as one of the world’s best fielders of his time, he was once invited by a television channel to compete in a fielding contest with Colin Bland, South Africa’s original Jonty Rhodes, to be telecast live, but Tiger declined because it involved getting up early on a non-match morning! 

I write this hours after his death and almost every tribute I have watched has stressed his major influence on the self-belief of Indian Test cricketers hitherto known for their defeatist attitude (though Tiger himself was known to have acknowledged the role played by such predecessors as GS Ramchand). 

Add all these ingredients and what you get is the magic of Tiger Pataudi, whose heroic exploits in a losing cause once earned him the newspaper headlines His Excellence The Nawab of Headingley. This was during the 1967 tour of England and he made 64 and 148 as India scored 510 after following on, forcing England to bat a second time. Next year, he was leading India in Australia, where after being forced to miss the first Test by a hamstring injury, he earned the sobriquet of Captain Courageous with his brave batting in the remaining three Tests—“with one good eye and on one good leg.”

It has been suggested that his 2793 runs at an average of 34.91 are ordinary figures, but these statistics have to be seen in the right perspective.  For the major part of his career he averaged around 40, which was not far behind the performance of the leading Indian batsmen of his period. His failure against the West Indies at both the start and end of his career it was that brought down his average considerably. At the peak of his career, he modestly dismissed any excessive praise of his batting by claiming that most of his runs were scored against medium pace bowling! In rare moments, he however admitted that with two eyes, he might have equalled the great batsmen of the game. 

I had the privilege of playing for Hyderabad when he was still a member of the team, with my first season his last. I walked on air the whole season, thanks to the sheer joy of sharing the dressing room with the likes of Tiger, my captain ML Jaisimha, Abbas Ali Baig and Abid Ali. I wonder if there has ever been a more glamorous outfit in domestic cricket than the Hyderabad side of the 1970s. I was very lucky to win the approval of these nawabs of Hyderabad cricket, even if the sojourn was all too brief, for Tiger and Abbas retired after that season and Jai and Abid soon afterwards. 

Two memories linger from that season: one a totally unexpected cameo by him in a match against Andhra, when following an off-drive off my bowling, the batsman MN Ravikumar dived back to his crease after starting a second run as he saw Tiger pick up the ball in a feline swoop and fling it—feign a throw, in fact—only to see him walk up to where the ball had actually stopped on a damp outfield and retrieve it casually; another a masterly 198 against Tamil Nadu after demanding a promotion in the batting order and promising the captain a double hundred.

I remember suggesting to Pataudi that his decision to retire from Test cricket at the end of the 1974-75 series India lost 2-3 to Clive Lloyd’s West Indies was premature. His reply was heartbreaking. “I don’t want to be killed on a cricket field, Ram,” he said, referring to his inability to see the express deliveries of Andy Roberts and Co.

In the midst of the swirling surge of emotions the news of his passing has caused, my thoughts keep going back to a moment at the end of my first Ranji Trophy season. We were sitting on the terrace at the Wankhede Stadium after losing to Bombay a match we should have won. I had had a good match personally, and Pataudi was quietly happy about it in the manner of a kindly senior. “Seven wickets against Bombay!” he repeatedly muttered, but adding a disclaimer. “Next year, wickets will be harder to come by, because every batsman will take you more seriously.”  Prophetic, those words turned out to be, though I did not take them seriously then. 

What he said next devastated me. “All the best, Ram. I won’t be playing next year. I am announcing my retirement from first class cricket.”  It was Hyderabad cricket’s irreparable loss then. Today, cricket is poorer without him.

The author was MAK Pataudi’s Hyderabad teammate in the 1975-76 season. An off-spinner, he played in the Ranji Trophy, Duleep Trophy, Deodhar Trophy and Irani Cup.

Wednesday, January 2, 2013

‘What do they know of music?

(First published in SAMAHIT, the Natya Kala Conference souvenir, 2012)
The day after Priya Govind and Akhila Ramnarayan asked me to write on cricket and music—unfortunately not as separate topics, and therefore complicating my life no end—came a telephone call from Carnatic vocalist Unnikrishnan, a call that straightaway lightened my burden considerably. As many of you know, Unni is a good sportsman who continues to play recreational tennis but also someone whose cricket is of a very decent standard. His phone call had nothing to do with either cricket or music, but my thoughts immediately went back to the time some years ago when our paths in these two fields intersected. Unni and I played some cricket and less tennis together. He is of course much younger than I, so much younger that I have also played cricket with his father Radhakrishnan, who, besides being a qualified Ayurvedic physician, was a pretty useful batsman in the 1950s and 60s, even into the seventies.
To cut a long story short, Unni’s quite promising cricket career started when mine was already over, though I continued to play from memory, to enjoy the perverse pleasure of competing with men half my age. By the time we first played against each other, I for Alwarpet CC and he for Madras CC, I had heard him on the concert platform, starting with a recital at the wedding reception of a fellow cricketer. I still remember the pride with which Radha informed me that the singer of the evening was his son, and the resemblance I noticed in the early Unni voice to that of Yesudas. Later, by a strange quirk of fate, I was invited to first play for and later captain the Parry’s Recreation Club when well into my 40s, though I had nothing to do with the Parry group. Unni, a business management graduate, was by then a management trainee in the company, and a leading member of the cricket team. During one of our matches, I told Unni how much I enjoyed listening to his first film song (a fairly straightforward rendering of Venkata Kavi’s Alai payude in a Malayalam film). Unni’s response was quietly modest: “I’ve sung some 50 film songs already, Ram.”
My most memorable Unnikrishnan experience was to follow in about a year’s time after this episode. I had organized a chamber concert of his at home (the second or third such occasion) one Sunday, when we came to know that the programme was clashing with a league game for Parry. As captain, I could not relieve Unni from the match, nor did he, as a competitive sportsman, want any such privilege. I toyed with the idea of postponing the concert, but too many people had already accepted our invitation with great anticipation, as Unni was at the very peak of his popularity. Domestic discord was a serious possibility even a probability if I did anything so foolish as to call off the performance. To complicate matters more, it turned out Unni had a wedding concert at Nagercoil the previous night.
The match was at distant Pallavaram, at the English Electric ground, which proved to be a small mercy, as Unni was able to get off the district bus (after travelling all night) very near the ground. I lost the toss, and the good soldier he was, Unni fielded in the hot sun with the rest of the team. He was a dependable no. 3 batsman, perhaps our highest run-getter that year, but I asked him to open the innings—a role to which he was not a complete stranger—so that he could go home early and rest after his batting. Unfortunately, Unni was dismissed for zero or thereabouts, but simply refused to go home, waiting for us to complete the match in the evening. We happened to win the match, so we all went home in a happy frame of mind, but poor Unni had to go all the way to his Royapettah home, shower, change and come to my Kottivakkam home on the East Coast Road. We started the concert half an hour late, but it was a superb performance by Mr. Dependable.
Unni was not quite the first professional classical musician to have played competitive cricket I personally knew. That honour went to the late Ravi Kichlu of the Hindustani vocal duo the Kichlu Brothers. Ravi often entertained me with snatches of alap standing next to me in the slips on the maidan of Calcutta. We were both playing for Rajasthan Club in the 1969-70 league season.  I almost forgot wicket keeper Sivakumar my Mylapore Recreation Club teammate, mridanga vidwan, son of DK Pattammal and father of Nithyashree Mahadevan.
At the national level, I knew or knew of a few musically inclined cricketers. The great Vijay Manjrekar was a good singer and so is his son Sanjay. Padmakar Shivalkar was another Bombay player who gave vocal performances on stage. Some of us have heard Bapu Nadkarni do a more than passable imitation of KL Saigal. The late ML Jaisimha, under whose captaincy I played for Hyderabad in the Ranji Trophy, had an impressive voice with which he belted out popular songs. He brought the roof down at a restaurant at Bangkok back in 1978 when the resident band handed him the microphone and he gave a few lusty samples of his Frank Sinatra repertoire and Louis Armstrong’s When The Saints Go Marching In.
Also seated at the same table was an accomplished vocalist in Shanti Hiranand, disciple and biographer of Begum Akhtar and sister-in-law of former India captain GS Ramchand. Mr and Mrs Ramchand were the gracious hosts that evening and Jaisimha, Ajit Wadekar, Murtuza Ali Baig and I the lucky guests during a Hyderabad Blues cricket tour (Thailand has some cricket and on our way back from Australia, we played a game at The Royal Bangkok Sports Club). We even got Ms Hiranand to sing a song for us.
Jai was the life and soul of the party during cocktails after my brother V Sivaramakrishnan’s benefit match, which was between two star-studded teams of veteran India players of the past. After my daughter Akhila sang a few songs at the request of the family, Jai took over totally from the band of the evening at the Connemara that night. My own personal highlight was to be part of an improbable trio of MLJ, Sunil Gavaskar and I. Only cacophony resulted, but nobody in the audience seemed to mind.
Jaisimha’s friend and teammate MAK ‘Tiger’ Pataudi, whose last season for Hyderabad in the Ranji Trophy was my first, had a keen ear for music, and could play the tabla, according to some of his close associates.  I had this habit of whistling constantly in the dressing room, and Tiger caught me whistling a song from the film Jahan Ara—which had some exquisite music by Madan Mohan—and gave a stentorian interpretation of Phir wohi shaam in sharp contrast to Talat Mahmood’s dulcet tones. Another verse he was fond of bellowing in a voice that threatened to shatter the windows went Gulshan, gulshan, shola-e-gul ki. I was intrigued and curious to know the rest of the song, but I had to wait for quite sometime before I solved the mystery. It turned out, of course, to be the opening line of a gentle, romantic Mehdi Hassan ghazal, the first I was to hear from that master of the genre.
The ubiquitous two-in-one dominated the recreational needs of the cricketers of the 1970s, and thanks to the great leg-spinner BS Chandrasekhar, the Hindi film songs of Mukesh were the most popular choice of a whole generation of cricketers. Chandra must have been all of 18 or 19 when he first heard a Mukesh song wafting in out of transistor radios in the crowd during a match. ‘Tu kahe agar’ I believe was the song to cast a spell on him, and he actually mistook Mukesh’s voice for KL Saigal’s. That Chandra became a diehard fan and later a close friend of Mukesh is part of the cricket lore of the period.

If the reader is left wondering why I chose this topic or what my credentials for the task of writing on it are, let me explain. I was an active, sometimes semi-professional cricketer for some 30 years, and have been writing on music and editing a magazine on the performing arts during the last decade or so. People sometimes ask me to explain how a cricketer like me took to writing on the arts, and I tell them that I was dropped on my head as a child—which sometimes causes startled, incredulous responses.  The real answer is that if you were born in the Madras of the 1940s in a middle-class brahmin family (even if you are a bad brahmin like me), chances are that you grew up in the midst of much music and much cricket. This is probably still true of most households that come from similar backgrounds. Add to that a love of language and you can end up writing on both music and cricket, as I did after failing at several other vocations!

There have been a few—though all too few—great writers through history whose gaze focused on these two great arts and sciences. You may raise an eyebrow or two at my inclusion of cricket in the category of art and science, but you would then be indirectly doing that to possibly the first writer to excel at both—Sir Neville Cardus, who described the batting of Sir Garfield Sobers thus: His immense power is lightened by a rhythm which has in it as little obvious propulsion as a movement of music by Mozart.” Yehudi Menuhin once said, Cardus “reminds us that there is an understanding of the heart as well of the mind… in Neville Cardus, the artist has an ally”. 

According to writer, broadcaster and biographer Robin Daniels, Cardus  believed in the power of great art to change lives from within. “Genius is a miracle to be revered whether in fashion or not,” Cardus said, and he did revere genius in cricket as well as music. Daniels also said that Cardus fought the good fight for Gustav Mahler when the composer was largely unknown. He rated him as a great critic “because he combines deep feeling and imagination with an eye that saw symbolically”.

Cardus was known to exaggerate, even accused of writing on matches and concerts he did not attend, but he brought literature to  cricket writing as much as to music criticism. “To go to a cricket match for nothing but cricket is as though a man were to go into an inn for nothing but drink,” he said.

He described CB Fry, the great English all rounder, as “a national gallery and a theatre and a forum”. Of the inimitable KS Ranjitsinhji, the Jam Saheb of Nawanagar, he said, (or was it AG Gardiner?) “he never played a Christian stroke in his life”, in praise of his delightfully unorthodox ways.

One of the most remarkable personalities of English cricket was the radio commentator John Arlott, the man responsible for Cape Coloured cricketer Basil D’Oliveira’s entry into English cricket and eventual ascent to world fame. Arlott had an unconvetional voice for BBC, "a sound like Uncle Tom Cobleigh reading Neville Cardus to faraway natives", according to Welsh poet Dylan Thomas, his drinking buddy.

Arlott was a most unusual all rounder whose career included stints as a policeman, in a mental hospital, as a wine-taster, poet and hymnist, and above all a humanist of the best kind.  He was the epitome of the ultimate cricket person whose breadth of vision extended far beyond the boundary.

In more recent times, John Inverarity, former Test cricketer and chairman of selectors for Australia has such impeccable academic and artistic credentials that the John Inverarity Music and Drama Centre in the city of Perth has been named after him in honour of his sterling contributions. (A side story is that he was once recalled after being bowled by Greg Chappell, because the umpire realised the ball had hit a sparrow on its way to the batsman. Unfortunately the sparrow, did not live to watch the rest of the match).

Tony Lewis, the last cricketer to captain England on his Test debut, and an ace rugby player, was also an accomplished violinist (he was once a member of the Welsh Youth Orchestra). He later distinguished himself as a man of letters and a broadcaster who came to be known as ‘the face of BBC’.

Did not CLR James, the West Indian author of Beyond a Boundary say, “What do they know of cricket, who only cricket know?”

And indeed may we ask, ‘What do they know of music, who only music know?”