Pankaj Udhas has ruled the world of ghazals for several years now. His limpid, mellow voice is easily recognisable. Born in Gujarat, trained in tabla from the Sangeet Natak Akademi in Rajkot, Udhas continues to be in demand. He was in full flow recently at an event organised by Manthan Kala Centre in New Delhi. He is as fluent talking as he is singing; the words flowed like mellow wine, a metaphor that he often uses in his ghazals.
Many believe the genre will lose out in competition with other popular forms of music unless one experiments with it. “Ghazals as a genre, whether the ghazals of K L Saigal or Begum Akhtar, has no rules. Koi shastra nahin hai (there is no textbook on how to sing a ghazal) as to how to sing. If you look at the great ghazal singers, each has had his own distinct style. Alag rang tha, alag raasta tha sab ka (there was a different flavour, a different style),” says Udhas.
All the copyists, he adds, could not have that impact. Analysing the craft of ghazal singing, Udhas says, “There are different schools of thought as to how to sing – for example Ghulam Ali sahib sang sargams (scales) in ghazals. Mehdi Hasan sahib incorporated ragas more thoroughly in ghazals, Jagjit Singh ji introduced the saxophone as an accompanying instrument. “Layadaari ho yaa na ho” (whether rhythm is there or not) is not as relevant as managing to touch the heart of the listener. In ghazals, the primary aspect is the “shayaari”, the words. These have to reach out to the listener, the impact of the words must be there. The poetry is the priority. In my more than 38 years of ghazal singing, I have never tried gimmickry or complicated things in my ghazals, I have tried to keep it as soulful and easy on the ears as possible, as that appeals.”
Having said that, he cautions that there are boundaries and limitations of every genre. “There is a certain decorum, a mood I have to stick to, I can’t get into hard rock or a “dam maaro dam” type attitude in a ghazal. Certain artists may do this but I personally feel it’s stretching it too far.”
Going down memory lane, Udhas says, “I learnt from Master Navrang Nagpurkar from Mumbai for many many years, even after I became popular in 1982-83. My guru behen is Asha Bhosle. He really was a wonderful teacher.”
Ragas in ghazals
On using ragas in ghazals, Udhas says, “Basically when I work on a ghazal, some raga or the other is there in my subconscious mind. Whatever I have learnt, though I refuse to call myself Pandit or Ustad as I am still learning, is the basis of my music. The beauty of our classical music is there are notes to relate to every emotion, every season. When that paper is in front of you, the words you have written are lifeless; it’s the music that makes them alive. I remember ‘bhooli bikhron yaadein ki, kirnon ko sajaa ke roya hoon.’ When I sat to compose it, I toyed with which raga to use. I started to hum, one raga after another but none could not justify the words, and after several attempts I was able to come up with a tune that I thought suited the thought. It turned out to be a mixture of Shivranjani and Patdeep.”
Still in demand
His biggest hit continues to be “Chitthi Aayi Hai” and it was no different at Kamani auditorium. But Naam released in 1986. How do the internet using audiences still connect with the song?
“It’s a good question. I have just done a tour of the US, of 18 concerts – everywhere there were requests for it. When I came to Delhi recently, the Mumbai airport security guy said we can never forget this song. I said but you are not abroad why should you remember this song? He said I am from UP and living in Mumbai is being away from home. There is a universal appeal in this song, it touches. The sentiment applies to everybody, even though the song is 32 years old. When I sing it even today, I feel emotionally touched. I must have sung it over 1000 times but I don’t tire of singing it. It definitely has a magic, it casts a spell, by the second stanza, I can see people physically moved. I see people in the front rows crying.”
Neighbourhood competition
A section of critics find Pakistani ghazal singers more stimulating. Has it something to do with training or better understanding of Urdu? “Urdu Hindustan ki zubaan hai. I have often been appreciated for my Urdu diction by Pakistani audience. I feel in the matter of language we are on a stronger wicket; as far as gayaki is concerned, I admit, they have had great singers – Noorjehan, Farida Khanum, Iqbal Bano. But in the current scenario, there are no great ghazal singers. Kuch had tak yahan Hindustan mein bhi yahi hai, har baccha guitar pakar kar western gaata hai,” notes Udhas.
Reflecting on his musical legacy, Udhas says his two talented daughters don’t want to pursue music. “As far as my disciples are concerned, I feel I am still learning myself! I am today not hungry for name or fame, my only desire is that the glory of ghazals should remain. Through Khazana festival, we try to present young talent as well. Helping me in this are other ghazal stalwarts like Talat Aziz, Anup Jalota and Bhupinder Singh. All of us have invested our time in this endeavour. I am hopeful that many of them, male as well as female will make their name in the years to come.”
