Speaking to bhajan exponent Anup Jalota is like sitting in a Sufi darbar. Shayaris pepper an impassioned conversation about the power of devotional music. His bass voice is enchantingly soothing. He recently returned to the stage at The Music Academy, in a charity concert for the Rajasthan Health Foundation and sang crowd favourites such as ‘Aisi Lagi Lagan,’ ‘Rang de Chunaria,’ and ‘Mast Kalander’ to a packed auditorium.
A recent recipient of the Dadasaheb Phalke Film Foundation award (not to be confused with the National awards), he takes us down memory lane, reminiscing on a lifetime of melodies. Excerpts.
Your association with Chennai goes back to the time of Balamuralikrishna and MS Subbulakshmi. What is it like to return to the Academy stage, once again?
Ï have been here many times. Outside of the Academy, I perform regularly at The Sufidar Trust. At first, there was a language problem but because I’ve been singing for so many years, it is no longer a barrier. When I present songs such as ‘Aisi Laagi Lagan’ and ‘Rang de Chunariya,’ the audience sings along. I have had many memorable performances on this stage, such as with Balamuralikrishnaji and that was unforgettable.
How do you contrast Carnatic music with Hindustani, having collaborated with Carnatic musicians?
Carnatic musicians are disciplined. They live simply and work unbelievably hard. The downside is the singers are not successful in the North because of language. Outside of this, I believe Carnatic musicians are far superior to Hindustani vocalists. In regard to the two systems of music, essentially, we have the same cycle of taals and ragas . Yet, when you hear Bhairavi sung by MS Subbulakshmi and Kishori Amonkar, the renditions will sound different.
Do you have to make any adjustments when performing in the South?
Musically, none. But if I’m singing a ghazal, I try to use easy language, not difficult Urdu.
At a time when ghazals are an unfamiliar genre to the youth, how do you stay relevant?
Unfortunately, even in the North, many young people don’t speak Hindi fluently, let alone Urdu, so ghazals have taken a backseat. Simultaneously though, bhajans have become popular. Devotional music still holds much scope and with old songs being revived in films nowadays, young people are discovering music from our times.
As a teacher, what do you feel is the most important quality a student must imbibe?
Discipline. Also equally important are punctuality and dedication, without which survival in this field is impossible. Only after dedication to the art, do the students begin learning ragas and taals.
After over forty years, what is the ultimate takeaway?
If you are doing something with depth, it will last for a lifetime. Jab tak jaan hai, tab tak gaana gaayenge.
