shades of ‘Intizaar’

BY :Arun Mudgal

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From
कहाँ हो तुम मेरी तन्हाईयाँ आवाज़ देती हैं

lata mangeshkar

सुलगती रात की परछाइयाँ आवाज़ देती हैं
……………………………………………
रख पाये तो रख ले आ कर लाज मेरी रुस्वाई की
मेरी उम्र से लम्बी हो गयी बैरन रात जुदाई की….

To ..
इंतिज़ारी में तेरी सारा सितम्बर बीता
ओ रोते रोते तेरी फुरकत में नवम्बर बीता
आहें भर भर के ये कहता है कैलेन्डर मूिहसे
हिचकियाँ लेते हुए सारा डिसेम्बर बीता ……
…………………………………
दिल तेरे हिज़्र में दीवाना बना जाता है
ठंडी आहों में बरफ खाना जाता है
दो ही अश्क़ों से हुआ उनकी गली में कीचड
मेरी अफसानी भी अफ़साना बना जाता है
अरे आ आ आ आ ,आ दिल का रोग मिटा जा रे
आठ रोज़ की छूटी ले कर आ जा रे.……

And then to
बाट तकूँ मैं तेरी कोठे चढ़ के
आजा मेरे बलमा बहन कर ………
The beauty of HFM is that it explores a concept , word or a state of mind in its various forms. And the concept of fruitless waiting is no exception to it. Though there are many ways in which this concept has been explored by the lyricists in HFM as is evident from the wonderful spread of the songs here today.
Therefore instead of going into much detail I have just chosen three shades of Intizaar , the sentimental, the funny and the normal ….
The first two songs are coincidentally rendered by Lata Bai , and I usually say that Lata Bai has some kind of an absolutely ‘Accurate Emotion Injecting Mechanism’ installed in her throat by the God Almighty which always releases the accurate amount of emotion in any and every expression in the song neither a micro gram more nor a micro gram less then required. And that is what makes these songs a delight to listen to. Feel this feature of Lata Bai’s voice in the first two songs expressing two diametrically opposite moods of Fun and absolutely sentimental respectively.
The basis for choosing the lead song is just going for a little ‘Funtertainment ‘ as the sentimental aspect of the waiting is spread all over here ….

 

Aaj main jogan banke : ASHA BHOSLE

This post is written by : Arun mudgal
The three words Jog, Jogi and Jogan has a deep association with Traditional and philosophical mindset of Indian society.

asha bhosle
(pic courtesy :Anil Chapariya)

If I go for the Bhajan or Sufi genre of songs or the classical renditions then there is a whole universe of these songs and then the list of such songs which I love and listen can go on and on … ‘ So I will keep myself limited to songs fro HFM, though selecting one song even from HFM is not possible , but as many of my choices which are quite known and popular are already here and am sure that by tomorrow many more of those will make to this space so I am sharing two of my loved songs on this theme which are not commonly heard these days !

The first song which is one of the most beautifully crafted compositions of HFM by none other that Khwaja Khursheed Anwar who is known for his intricate melodies is from the 1952 film Nilampari. ‘Aaj main jogan ban ke chali...’ is kind of soft sweet and quite an intricate melody which engages the listener so completely that the effect of the melody remains with the listener for a long time. Also I love this song for the way Asah rendered it in a super sweet and soft manner, this soft silkiness in her voice has not very frequently been explored and made use in HFM. But in this case Khwaja Khursheed Anwar by exploring this sweet silkiness and the ‘Soz’ in Asha’s voice made this melody memorable.

The second song is a funny song where Nasim Akhtar and Vasant Desai are exploring the Jogi Jogan concept in funny ‘Andaaz ‘ But what a lovely song is this , ‘ Humse karlo preet...’ from 1944 film Parvat Pe Apna Dera composed by Vasant Desai.

so enjoy the sweet and soft silkiness in Asha’s vice and have fun with Nasim Akhtar and Vasant Desai of course with Jogi and Jogan !

 

chain aata nhii jab yaad teri aaye hai : kishori amonkar

चैन आता ही नहीं, जब याद तेरी आये है 
छा रही काली घटा जियरा मेरा लहराए है ….

When a music lover thinks ‘चैन आता ही नहीं जब याद तेरी आये है, छा रही काली घटा जियरा मेरा लहराए है ….’ a few famous names of classical and light classical singers flash into the mind , but normally Kishori Amonkar’s is not among those names as she is not known to sing this kind of Ghazal sort of Bandishes. So when I came to know of this rendition and listened to it I too got a little surprised !

So I spoke to Kishori Amonkar Ji on phone and inquired about this rendition of her’s available on net. The conversation went on for almost 30 minutes as I was speaking to her after a long time. The reply she gave about this rendition was not much different from what I guessed !

During past 35 plus years I have listened Kishori Amonkar live more than two dozen times and each listening has been an experience of its own kind. And this is also true that during these concerts I never heard this rendition being sung by Kishori Tai. So when I came across this recording a year back my first reaction was of surprise and my second reaction was my guess that most probably some body has recorded it without her knowledge while she must be demonstrating the elaborations of this rendition to her disciples. 

So I decided to verify it from herself and spoke to her in June last year on phone about this rendition and then about other things as well. The relevant part of conversation about this rendition went some thing like this (almost verbatim to the best of my memory) 
“
I : Kishori Tai aapne ye kab aur kahan gaa diya ?

KM : tune mujhe suna hai Arun kabhi ye concert mein gaate !

I : aaj tak to nahin suna isiliye to poochh raha hun ki ye kab gaa diya 

KM : arre main to apne yahna kuchh disciples ko is tarah gana aur uske bolon ka vistaar karan sikhaa rahee thee, na jaane kis …. ne bina mujhe pata chale record kar liya aur net pe daal diya , ab to lagata hai ki sikhaane se pahale bhee sub ke phone bahar hee rakhwaane pada karenge ”

But the rendition is a showcase of her competence and hold over the medium and is a proof that what difference an accomplished artist of Kishori Tai’s caliber can make to a bandish when she renders it.

Listen and feel the difference !