Melody in a joyous mood
RANJANI GOVIND
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Pankaj Udhas provided an aural treat at his recent concert in the city.
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Pankaj Udhas.
"This is my 25th year of ghazal singing and I am pleased to be amidst my Chennai fans," said Pankaj Udhas, seated amidst a durbar-like set at the Music Academy this past weekend.
The ghazal maestro (brought to Chennai by the Madras Cosmopolitan Round Table 94) said he was penning his autobiography that will be released by February 2006.
He was at his singing best at `Ek Shaam, Ustad Ke Naam,' (the proceeds will go to Sanjivi Nala Nilayam and Primary Healthcare Centre in Maraimalai Nagar) and he also established a rapport with the audience with his tales, jokes, anecdotes and musical connotations.
His entourage was a treat to listen to. Anupam Chatterjee (keyboard), Rashid Mustafa (tabla), Nasir Sajaad Hussain (mandolin), Prof. Rajendra Singh (violin) and Rakesh Chaurasia (flute) provided splendid interludes.
Opening piece
`Yeh Alag Baat Hai Saathi, Ki Mujhe Hosh Nahin,' a ghazal which was recorded 25 years ago in his first album `Aahat' formed the opening piece that rainy evening at the packed hall.
Recalling certain telling moments in his professional journey the Ustad touched upon his stressful days at the recording studio where he was working at a feverish pace to bring out his LP, because his ailing father yearned to see the release of the album.
"I dedicate this song to my pujya pitaji," he said, as the soft strains of `Deewaron Se Milkar Rona' brought in pathos that was suitably met by long, deep notes from the violinist.
Hits such as `Chitti Aayi Hai' and `Gungroo Toot Gaye' meant clapping and tapping and Udhas encouraged his accompanists as they participated in the improvisation of `Thodi Thodi Piya Karo.'
Variety packaging it was, as the Ustad hopped from the serious Urdu Nazam (specialised couplets that weaves a story from a poem) to the romantic , `Chandi Jaisa Rang Hai Tera,' which had the men in the audience asking for an encore!
The agenda was not lacking in serious stuff either. The 16 beat-mishra-raag jugalbandi with perfect thumps from the tabla reminded one of galloping horses and had only swars for links. And it was received with a frenzied round of applause, which fused with the melody and rhythm.
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