Known for his soulful melodies including “Kun Faya Kun” ( Rockstar ) and “Jashne Bahara” ( Jodhaa Akbar ), “Tu Hi Haqeeqat” ( Tum Mile) and “Tum Tak” from ( Raanjhanaa), Javed Ali wants to move ahead with times without letting go of the tradition completely. As someone who is trained in classical music, he asserts that a formal training in music is necessary for youngsters to make a mark in singing. Recently in Delhi for a concert organised by Gunjan Foundation, he talks about his early days, new trends in Sufi music and his view on guru-shishya tradition of music.
Excerpts:
How do you look back at your growing up years?
I am fortunate that I was born in a family where music was already a part of life. The confidence and method of singing open-heartedly in front of everyone came from childhood exposure. I still remember that in childhood I had nasality in my singing but my father, Ustad Hamid Hussain, a wonderful singer, always asked me to not sing that way. Though my elder brother is not a professional singer, in childhood, he mastered the voice modulation and my father used to compare my singing with his.
Who were your inspirations?
From my early training days, I am an avid listener of heavy music which is laced with proper diction and effective use of grammar of music. Bade Ghulam Ali Khan sahib, Ustad Ghulam Ali sahib and Nusrat Ali Khan sahib were artists who were widely listened to in my home. Classical rendition by Mehdi Hassan sahib and Ghulam Ali’s “Tur Gayoon Maahi” and “Taanga Wale Naina” were my favourites as a child.
You are one of those artists who act as a bridge between the classical and the contemporary. How do you see a trend where Sufi music and qawwali are taking a new form?
Sufi mausiqi se zyada ek khyal aur soch hai (Sufi is more of an idea than music). In terms of Bollywood, the point of view of Sufi music has changed. The earlier renditions used to be long, with a lot of repetition. Today, it is interlaced with new sounds and a fresh outlook has been given to these songs. Qawwali and Sufi music has some minute differences which can only be observed through practice. The new way of presenting the old classics has its own charm if the soul remains intact.
There are experts who believe in purity of music and are against fusion or modern remixes…
The young generation, which is the primary consumer of the music we produce, listens to music which uses the new and electronic sounds. If a new touch is not given, there are fewer chances of connecting with them. Take the example of ‘Mere Rashke Qamar’, which was originally sung by Nusrat Fateh Ali Khan, is popular these days because of its contemporary adaptation to the younger generation’s taste. Rahat’s present version is appreciated because it is not diluted but done in more contemporary sound practices. I believe that your creativity increases when you evolve with changing technology. Some change should be welcomed. I too try to bring changes in my voice texture so that listeners do not feel monotony.
Be it “Jashn-E-Bahaara” ( Jodha Akbar ) or “Ishaqzaade”, you keep getting melodies when the film music is dominated by upbeat electronic music…
I believe that soulful melodies will remain in Bollywood as they were present earlier. Melodies have a longer shelf life and the popularity of old Hindi film songs is a testament to this. The change in Bollywood music is because of the demand from listeners and music composers are catering to that demand. That is why composers are bringing in those sounds which were not used earlier and a new style of music is shaping up.
What is the importance of formal training in classical music for playback singing?
That varies from person to person. Many music composers believe that they have to be raw and should not follow established rules. I do not support that everyone has to be a trained classical singer to be able to sing in films but some sort of knowledge in classical space can take you to places. It can be through an institution or under a Guru but it should be there.
You come from a guru-shishya tradition of music. How viable is it in contemporary times?
The technology is much advanced today and you can learn whatever thing you want at your home. But you cannot replace the advice that a guru can give you by closely monitoring you and the discipline that comes by spending time in his shadow.
What about those singers who do not come from a gharana?
They can join institutions or a guru of their choice. These days you can correct your voice in post-production but a singer has to sing live also, and for that you need training. You do not need to sing a khayal or a thumri all the time but the basic knowledge of talas and ragas is very essential.
What are your observations on the new talent that is coming through music hunts that you judge?
They are all talented singers and bringing new elements into the form. Not everyone from these talent hunts gets a chance to work in the industry but it is important to believe in yourself. They are all achievers. The new technology is helping them but at the same time, I feel, they are relying too much on it. You become handicapped if you depend on technology too much.
