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Legend has it that when Lord Krishna played on the bamboo reed, not just the locals of the countryside but even the cows and calves of the pastoral setting gathered around him to enjoy the serene melody. The sound of the flute is supposed to bring in the calmness and this is the reason movies have water-associated visuals going well with the strains of the flute. In fact, be it a portrayal of pathos, ecstasy or plain tranquillity, the flute comes in handy because of its characteristic therapeutic features.

In some countries, including India, music therapy is used to enhance growth.

Nidra 2 captures the calming properties of Indian Classical music with raag Shivaranjani. Raghunath Seth’s rendering helps us transcend the journey from ‘anxious wakefulness to peaceful sleep’ as the quiet atmosphere would be engulfed with the yielding reed that sounds composed and unruffled. The aural treat showcases in some poised rendering where the flute is slow-paced and meanders on the scale touching the contours with ease. Shivaranjani originates from the Kafi Thaat which is used to compose tunes to please Lord Shiva. So, the album inundates itself with Shivaranjani and at vantage points has a chorus of female voices helping create a positive process for rewinding.

Positive energy flows from musical compositions by musician Ronu Majumdar and this time the addition of tabla is in itself an energising feature that boosts the aural pleasure. Abhijeet Banerjee’s pulsating beats for Ronu’s soft handling of raags on the flute transports one to a calm world. Two prominent raags in Hindustani music – Kalavati and Ahir Bhairav – forms the background for the recording, edited by Vivek Prakash, and created by Narayan Agarwal.

‘Serenity’ flags off the anti-stress series here with an alaap in Kalavati followed by a rendering that takes the tabla along, even as ‘At Ease’ flows with ease on the reed with various phrases where the scale speaks for itself for its composed trait.

‘Listen to your heart’ is clothed in raag Ahir Bhairav, a definite de-stresser. Kalavati is a raag used in music therapy for relieving insomnia and Ahir Bhairav, a morning raag, has subdued swaras that act on your nerves, say music therapists, as the Komal Re and Komal Ni are the pitch points that help do the trick.

As long as you have ears that are willing to listen, music does the healing.

RANJANI GOVIND

The seven-song album kicks off with a peppy number, “Mera Buddy” (sung by Amitabh and Arman Mallik). It is clearly the best the album has to offer. Why does the same song (not even a remixed version) come twice in the album? That’s a mystery. “Hum To Hain Aandhi”, another energetic song, is a child’s delight. The chirpy voice of Koushtuv Ghosh, Aparna Bhagwat, Sharavan Suresh and Sneha Suresh make it enjoyable.

Sukhwinder Singh packs a punch with “Banku Bhaiya”. The lively song talks of the mischievous boy Banku, and Sukhwinder brings out the fun element very well. “Samay Ka Pahiya” and “Chalo Jaane Do” are slow numbers with some meaningful lyrics by Javed Akhtar.

While the first is sung by Hariharan, with a prelude by Sukhwinder Singh, the second pairs Amitabh and Juhi Chawla. Breaking from the mould, Amitabh tries his hand at melody singing, and Juhi is not too bad at her attempt. But the songs lack impact.

For reasons unknown, the producers got another talented music director pair, Salim-Sulaiman to score the “Bhoothnath Theme”. The instrumental piece is not evocative enough for a ghostly film. May be they kept the kids in mind while creating the music, as a result the adults don’t get much out of it.

The ‘spirit’ is clearly missing from this album. Buy it if you have kids at home.

A.K.

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