Singing in the rain
Photo: K. Ramesh Babu
THE GREY sky grew darker. Shed of its torrential shower, the crescent moon peeped out of the clouds, the rain-clad Taramati Baradari in the backdrop mutely watching over the drenched auditorium - it was as if Nature had decided to create the right ambience for the `sham-e-ghazal'. Pankaj Udhas' charisma can conjure up crowds in the midst of a hammering rain. He only has to come, to croon and conquer.
Beginning on the right note, the `Aayiye baarish ka mausam', a more traditional `ghazal' sounded like Wordsworth translated into Hindustani, so lovely were the verses on nature that in the singers' tones one was able to actually see a heavenly vision. Be it the conventional `ghazal' or the more romantic and recent `Dil dhadakne par sadaa tera yaad aaya' or `Patti patti gulaab ke, `La pilaadey saathiyaa', the lyrics were steeped in emotion. Pankaj Udhas' style of rendering those meaningful lines is magnetic. Each `ghazal' was like a gem let loose from a golden strand and had the power to transport one into realms of romanticism very rare to find these days. Time seemed suspended and one was not even aware of when the evening hours melted into the night; all that was audible and visible was the singer whose dulcet tones churned one `ghazal' after the other cheered by the more mundane among the audience. Dotting his renditions with succinct observations, he chose to break the mood and bring back the floating listeners to earth with a purpose of course - a little introduction to the lyric.
Like the Gujarathi `nazm' with its four `bandh' dealing with the changing times from forefathers, to fathers, the present generation and the progeny. `Dhuk Sukh tha ek sab ka' was a beautiful piece dealing with the joys of a life untainted by greed as compared to the rat race of today's world that snatches away peace of mind. It ends with a hope and blessing for the future generation. It was truth told in the softest of tones, `Ek wo bhi tha zamana ek yeh bhi hai zamana.' The lilting `Thodi thodi piya karo' and the `Pyaara sa geet' as he termed the `Jiye tho jiye kaise' were brilliantly sung. He deftly delivers a line - `Dil mera lene ke baad' in myriad tonal variations that a sent number of signals signifying different emotions. It can be felt by any music lover and this sort of rapport between the listener and the vocalist develops only when the latter is an absorbed singer.
Accompanists excel
The evening's `ghazal' recital not only had a totally involved artist in Pankaj Udhas but all the accompanists were superb. Rakesh Chaurasia on the flute cooed like a nightingale interspersing the `ghazal geet'. Keyboard player, Anupam Chatterji seemed so engrossed in the music it was a pleasure watching him, while the violinist Rajendra Singh and Sajjad Hussain on the mandolin strummed most melodically in tow. Rashid Mustafa on the `tabla' overdid a little though for most part fell in tune with the others. If Aastha was able to hold the surging audience, it was less by virtue of its stature and only on Pankaj Udhas' popularity.
Though the programme was organised in aid of Tsunami victims, it was the media that was made to look like refugees waiting for a decent reception bearing with the absolute indifference of the hosts.
Kudos to the organisers who managed to market the mega open-air auditorium seats for a price without leaving a single row for the press as is the custom. The compere belting out marketing slogans and third quarter results of the sponsors sounded more like a commercial break on the television rather than a salutation to culture.
RANEE KUMAR
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Entertainment
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
