The unconventional experience

The song is at the centre of Indian films. More often than not a film is remembered through its songs and sequences. The concert Azizzon Ki Toli by the playback singer Rekha Bharadwaj, featured at The Hindu November Fest, can be used as evidence. The hall was filled beyond capacity, and from the word go, the audience excitement couldn’t be contained. They knew each of her songs. The films they came from. They lapped up every musical moment. It was an overwhelming experience not just for the artiste but even for the rest of the audience, the small pockets that was quieter.

Rekha’s entry into film singing was rather late, and her turning point came in 2006 with ‘Namak Ishq Ka’ from Omkara . A voice that defies convention — Rekha has a mellow and low key expression, of limited range. A well-trained Hindustani musician, she knows the nuances of music and sings effortlessly. A spiritually inclined artiste, she laces her renditions with the dervish whirling.

Her entry into full-time playback singing has been at a time when film music underwent a phenomenal change. Music in this era has acquired a new sound aesthetics enabled by new technologies. Therefore, the voice too, in most cases becomes part of an overall sound texture. Most new age composers use voice as part of the larger soundscape they are aiming to create, and hence it almost becomes impossible to sing these songs without the support of gadgetry. The other predominant feature is the use of regional identities – for instance, a Rajasthani or Bihari native tune – gets a makeover with new background score. The nature of the songs are radically eclectic — with phrases and ideas from several musical landscapes criss-crossing into the composition: hence, you find Sufi strains, the new superstar on the music firmament, finding a space in almost everything. Rekha’s music is clearly located in the new. And given its traits, the demography of listeners is predominantly youngsters. In her two-hour concert, she sang mostly her own songs: except the one number from

Sadma , a Suresh Wadkar masterpiece “Eh Zindagi Gale Lagale”.

The singer with a ‘melancholic’ voice – clearly had her pulse on the audience. Among her early numbers was the “Naina” song from

Omkara : this song rendered by Rahat Fateh Ali Khan has the raw energy of Sufi-qawwali style. Calling it a ‘take’ on the original Rekha’s rendition was loved by the audience. Nonetheless it was not a Rekha song, given that her voice quality is markedly different. She recreated the magic of the hauntingly beautiful ‘O Saathi Re’, again from Omkara . ‘Rootha Yaar’, her own composition was impressive. Constructed on raga Shivaranjani, with traces of Patdeep, the song with surprising dissonances, bordered on the ghazal-khayal form. Mayukh Sarkar on the lead guitar was soulful and a superhit with the audience. Explaining the composition, Rekha said: “It is a reflection of my own journey with the music I heard and assimilated.”

She had some extraordinary musicians in her team – and one of them was Raj Sodha on the trumpet and metal flute. Raj Sodha is a senior musician who was in R.D. Burman’s team and the value he added was immense. Sourav Joshi, on the electric guitar, was an enthusiastic co-singer for the evening. His lovely voice, and joyful demeanour added variety to the concert.

Among the highlights of the concert was Rekha coming into her own in ‘Ek Ghadi’ from the film, D-day. The lovely composition in raga Bhoop by Shankar-Ehsaan-Loy is striking for its musical arrangement. It creates multiple registers with sensitive layering of instruments, and it is easily among the best songs of recent times. Her rendition of ‘Phir Le Aaya Dil’ from the film

Barfi was appealing. Rekha’s forte is perhaps in compositions that give her the space for khyal-like improvisations.

Rekha sang over 15 songs during the concert, but the audience was far from satisfied. Known for her rustic songs, she ended the concert with the riveting ‘Damadam Mast Kalandar’ made famous by Runa Laila.

It must be said to the credit of modern film music the manner in which they use voices that are uncustomary.

The unconventional experience

Modern Indian film music is certainly nothing like its past. In this new scene of soundscapes, the unusual musician Rekha Bharadwaj enthralled the audience