What do you expect from a tribute concert to the ghazal maestro Jagjit Singh? A live orchestra, definitely a guitar. A team of musicians who are sensitive to the subdued nature of the maestro’s music. Singers who have the inherent melancholy of his voice. These are but, pre-requisites. Any temptation to over-emphasise the musical idiom or overplay the background score takes you far away from Jagjit Singh’s temperament. It also alters the conviction of the great ghazal singer who, in the face of rejection by the industry, shaped the music of his belief.
In a way, Jagjit Singh’s ideas of music can be compared to that of the Kannada bhavageethe in its good old days. A tune to accentuate the emotional meaning of the lyrics was primary, everything else was secondary. It wouldn’t be way too off the mark to say Jagjit Singh’s ghazals had similar aspirations.
Echoes, the concert in Bangalore recently by ghazal singer Tauseef Akhtar (print partner The Hindu ), disciple of the maestro, embodied the values of Jagjit Singh’s music. Sunil Raoh, disciple of Tauseef Akhtar, who opened the concert was typical Jagjit Singh in tenor and tone: he sang three ghazals from the unforgettable film, Arth . With restraint, he sang the Kaifi Azmi masterpieces “Tum Itna Jo Muskurarahe ho”, “Jhuki Jhuki si Nazar” and “Koyi eh Kaise”. Sunil’s mellow voice bestowed with a natural pathos and restraint captured the quintessence of Jagjit Singh. The lush violin passages of Jhuki Jhuki… was played on keyboard by the talented Azar Wazi, but can it ever match the grandeur and intensity? Bhaskar Das produced outstanding interpretations on the bansuri, moving in scales and chords. Sushant Sharma on guitar was top class brilliantly blending ragdaari with the ghazal idiom. Sunil achieved Jagjit Singh’s simplicity, which is after all the most complex.
Tauseef Akhtar began the concert with a ghazal from the album Echoes , “Mein Khayal Hoon”.
Curiously, it has been sung by the who’s who of the ghazal world – Mehdi Hasan (sings it in Bilaskhani Todi with the grandeur of a bandish), Nusrat Fateh Ali (a slow, prayerful rendition) to Hariharan (vibrant, and completely different from all other versions) – Jagjit Singh too sings it in a reposeful-reflective manner, the guitar interludes carrying Arabian resonances. Incidentally, each of these versions are popular with ghazal aficionados. As they crisscrossed the mind, came the poignant “Ye daulat bhi le lo”, which takes off on a dramatic tabla and guitar. The song in itself is nostalgic, remembrance of all things lost. But the musical arrangement is so stunning — while the wistful song aspires for the past, the lively background score lives the happiness of the past itself. “Jinko Duniya” reminiscent of “Koi eh kaise” was extraordinary with guitar and bansuri holding the soul of the song. Tauseef Akhtar has a voice texture similar to Jagjit Singh and the way he blends elements of alap and swarvistar is also similar to the late maestro. His deep regard for Jagjit Singh gave his renditions an authentic touch. The percussion team of Ashish Jha (tabla) and Salim Akhtar (dholak) played with such a fine sense of balance; they never overplayed.
Personally, Abida Parveen’s “Hazaron Khwaishein Aisi” by Mirza Ghalib scores over Jagjit Singh’s version. It at once blends force and devotion.
The last part of the concert however, was dominated by all the popular ghazals “Kal Chaudvin Ki Raat”, “Hoshwallen ki Khabar”, “Ahista Ahista” and more. Enthused by the upbeat crowd response, the decibel level of the concert also escalated. The percussions and melodic instruments put their virtuosity on display, and in the penchant to entertain the audience, the quietude of Jagjit Singh took a backseat. It was then, like any other popular concert. The crowd, needless to say, enjoyed it thoroughly.
The road home was one of nostalgia – of those glorious songs and those glorious people. How did great lyricists, composers, musicians and arrangers all meet in one era to make such great music? It cannot just be conviction or hardwork, there is an element of luck too.
