Echoes 23. (Sachin Korta) Dissection of an Immortal Melody. Thu Oct 30, 2014

Echoes 23. Dissection of an Immortal Melody
BY Asrar Chowdhury

Shout, The Daily Star, Thu Oct 30, 2014
http://www.thedailystar.net/shout/dissection-of-an-immortal-melody-47936

He couldn’t go back to Comilla where he was born and brought up. Calcutta didn’t give him his dues. Bombay was calling. With a deep sigh, the Prince headed off with his jhola of music. He took folk tunes from the Gomti and Homna rivers of his native Comilla. He blended them with special strokes (bol) of beats (taal) that were tailored for the singer and the mood of the song. To present his tunes to the genteel, he blended the folk tunes with classical music in thumri and kheyal. Through this Prince, bhatiyali from Bangladesh rocked South Asia. That was the mastery of Sachin Deb Burman (Oct 1, 1906–Oct 31, 1975), SD Burman to others and ‘Sachin Korta’ to us.

A melodious song synchronises crucial elements. The lyricist writes the song that rhymes in meters (chhondo). The composer adds a tune in an appropriate beat (taal). All songs need percussion. Different strokes (bol) on the drums will give different moods to the same beat (taal). The music director decides what instruments to use and how to place them in the song. The singer then tries to do it justice. The final instrument is one we seldom notice — the ear. In his biography, to Salil Ghosh, SD stressed the importance of listening. If the song is melodious, people will want to listen to it again.

He remains one of the most successful music directors Bollywood has ever seen. Through his music direction, Lata Mangeshkar, Asha Bhosle, Kishore Kumar, Mohammad Rafi and many others became timeless icons. SD would also record songs in his own voice, written by others, and usually composed by himself. He was well versed in an almost unseen combination of both Hindustani classical and folk music from East Bengal, today’s Bangladesh. From childhood in Comilla, he’d listen to music and its many subtle variations. It’s his ears that made his songs a timeless listening experience. Otherwise, with around only 135 Bangla recordings, it wouldn’t have been possible for anybody to define and re-define Bangla songs in the presence of Tagore and Nazrul. Let’s take Ke Jashre Bhati Gang Baiya from 1971, lyrics by his wife Meera Deb Burman.

Diaspora defines Ke Jash Re Bhati Gang Baiya. The lady is in a foreign land. She yearns to return to her father’s house downstream (bhati). The throwing of the notes; the timing of the beats; the strokes on the tabla; the instruments and their punching all had to be perfect within each section of a taal to give the listener the image of going downstream with the possibility of never seeing her father’s house again. SD uses the Komol Ni — the defining note of our folk music — to express the agony of yearning. While he comes down as if coming downstream, he uses the Komol Ga. The Komol Ga gives the feeling of getting lost in the waves of the bhati region. Structurally, the song then becomes based on Raga Kafi (with Komol Ga and Komol Ni).

There’s more to come. Ke Jash Re Bhati Gang Baiya is a song of a woman, but SD sings as a man. Did you ever ask yourself this question? The Bangla Re: Jash Re; Pran Kande Re; Nayon Jhore Re expresses all the agony from the soul and the soil. Each Re is hit with the note Ma. No line is sung the same way each time. There’s some subtle variation in throwing of the notes to avoid repetitiveness. This subtle variation is the melody. This melody is what’s made his music a timeless listening experience from his generation to the next and beyond.

If you go to Chortha, Comilla, find the Government Poultry Farm. Behind the farm you’ll see the remains of the palace of Raja Nabadwipchandra Deb Burman, father of SD. It was in this palace, SD was born. It was here that he was exposed to Bangla folk tunes and to classical music. It was from here that the seeds of the bhatiyali that later rocked South Asia were sown.

When the next generation fondly sings your songs, you know you gave back all you could to your birthplace.

Asrar Chowdhury teaches economic theory and game theory in the classroom. Outside he listens to music and BBC Radio; follows Test Cricket; and plays the flute. He can be reached at: asrar.chowdhury@facebook.com

Post Campus XXXIV: 14/Oct/12: Sachin Korta- The Pride of Comilla and Bangladesh

Post Campus XXXIV
Sachin Korta: The Pride of Comilla and Bangladesh
Star Campus, The Daily Star
Sun Oct 14, 2012
Print: PP 14-15
URL: http://www.thedailystar.net/campus/2012/10/02/post.htm
Photos: Internet and Courtesy: Asrar Chowdhury

This Post Campus is dedicated to Saugata Sarkar Hillol- whom I met through Facebook by chance. Saugata had the good fortune of enjoying time in Sachin Korta’s house in childhood through his Father.

***

Sachin Korta: The Pride of Comilla and Bangladesh
Asrar Chowdhury

Bangla jonom dila amare
Tomar poran, amar poran ek naReete baNdhare

Very near to the Comilla Victoria College in Chortha, there once stood a proud building on an 18 acre (60 bighas) estate. At two different points in its existence- the music of the house attracted Rabindranath Tagore and Kazi Nazrul Islam. In a ‘simple twist of fate’, today a Government Poultry Farm stands on the estate that camouflages the once proud building that lies in ruins. Today the building is almost forgotten.

It was from this building, estate and Comilla (then a part of the Princely State of Tripura) that the seeds of timeless tunes were sown. Tunes that would go on to re-define Bangla Gaan and the Bollywood film industry forever. As the young generation of Bangladesh is mesmerised by the classically trained folk artiste Kiran Chandra Roy and the haunting husky voice of Anusheh Anadil revisiting these tunes, one can only remain speechless finding out that it was in this ruinous building, a Prince was born to the Royal Family of Tripura. He went on to become a Prince of Melody carrying with him, in his heart, all his life the folk tunes of his birthplace Bangladesh and the Tipra tunes of the Tripura hills, the land of his forefathers. That prince is none other than Sachin Dev Burman (Oct 1, 1906 – Oct 31, 1975), or Sachin Korta in Bangla Gaan.

Sachin Korta was born to Rajah Nabadweep Chandra Burman and Nirupama Devi. He was the youngest of five sons and four daughters. His four brothers- Prashanta, Profulla, Tribendu, and Kiron-had left Comilla for studies or other reasons. Rajah Nabadweep decided to keep his youngest and most favourite child within eye’s reach for as long as he could. Young Korta was brought back from Agartala Kumar Boarding- a Harrow-Eaton type school for children of the aristocrats. Sachin Korta started his long association with Comilla studying at Comilla Yusuf School (1912-14); Comilla Zilla School (Class V to Matriculation; 1914-20); and Comilla Victoria College, (Intermediate and Bachelor of Arts, 1922, 1925). His association with Comilla in his formative years created his outlook for the rest of his life- his love and indebtedness to Bangla Gaan and Bangladesh.

Music was central to the Burman house. Sachin Korta’s Father, Rajah Nabadweep and his sister, Tilottoma Devi were accomplished Sitar and Esraj players. In spite of an influence of classical music, it was the music of the soil from Madhab and Anwar that was his portal to a magical world. Madhab gave his Chhoto Korta his first musical lessons from Kirtan and the Ramayana. Anwar- a fisherman and a Bhatiyali singer- took his Chhoto Korta to where no prince had ever gone before, to the heart of folk music of Bangladesh. With Anwar, Sachin Korta learned how to make fishnets and traveled the Gomuti River. They passed through each village of Comilla, Brahman Baria, Murad Nagar and Homna with one objective- to live the folk music of Bangladesh.

Having lived the life of a ‘folkie’ and influenced by classical music through lineage, Sachin Korta stood out from other artistes in Bangla Gaan. As a composer, he was a pioneer in showing there is no conflict between our classical and folk music. As a performer, he knew how to throw words within a song and make the listener travel into a magical world with him. The Chhoto Korta from Chortha, Comilla, was proved wrong. The urban genteel could and did appreciate music of the soil, but that was only after the Prince of Melody presented his renditions.

The Diaspora in his compositions and his renditions made Sachin Korta unique. Bidding Comilla farewell and the possibility he may never return to his dream house in Chortha to revisit Madhab and Anwar was omnipresent in all his renditions. His wife Meera Deb Burman- also from Comilla and a lyricist of many of his timeless tunes wrote one song which Kiran Chandra Roy has revisited almost verbatim in spirit. This song makes this unique couple of Bangla Gaan, special.

In 1971, when their birthplace, Bangladesh, was fighting her Liberation War, Sachin Korta and Meera came out and fought with music. The couple from Comilla collected funds singing Tak Dum, Tak Dum Bajai Bangladesh-er Dhol, acknowledging that Bangla gave them birth. On December 16, 1971, as the State of Bangladesh became a reality, one couple from Comilla was distributing sweets in Bombay. The man was chanting in his native Comilla dialect ‘Amar Dash Shadhin Hoya Gese’!

If you can ever make the pilgrimage to that ruinous house in Chortha, Comilla, do sing one of their songs in fond memory of Sachin Korta and Meera- children of the soil of Comilla and Bangladesh.

(The author teaches economic theory at Jahangirnagar University and North South University.)

Post Campus XXXI: 02/Sep/12: Nusrat Fateh Ali Khan: A Magician Musician

Post Campus XXXI: 02/Sep/12
Star Campus, The Daily Star
Print: PP 14-15
URL: http://www.thedailystar.net/campus/2012/09/01/post.htm

Nusrat Fateh Ali Khan: A Magician Musician
Asrar Chowdhury

Photos: Internet

Something touched me deep inside the day Nusrat Fateh Ali Khan died on August 16, 1997, fifteen years ago. I have never fully understood the language, but the majesty and power in his graceful voice was always enough to transcend boundaries to reach the common goal of all devotional music- the search for one’s inner soul through and with music. South Asia lost one of its most influential voices.

Music has always been a central feature of South Asia that boasts one of the oldest surviving music traditions with origins from and before the Aryan invasions of North India 4,000 years ago. With the arrival of Muslims in the second millennium, South Asian music slowly began to evolve into what is known today as Indian Classical Music. Hazrat Amir Khusru from the 13th Century was instrumental in laying the formal foundations of Hindustani Classical Music on one front and introducing Sufism from Persia and Central and Western Asia through music in the form of Qawwali on another front. It was in this ancient tradition that Nusrat Fateh Ali Khan was born in Lyallpur (Faisalabad) in 1948. His ancestors emigrated from Ghazni in Afghanistan and settled in Punjab 600 years ago. From then on, the family has been servants of Qawwali music for generations.

Unlike European Classical music, Indian Classical music is based on a well structured oral tradition. This oral tradition allows the scope for improvisation, but keeping true to its original Ragas and Thats (Scales). Nusrat Fateh Ali Khan’s Qawwali Gharana is one of the few of its kind that has based its devotional music on Dhrupad and Khayal for almost 600 years. This time tested fusion with its Indian Classical roots has always made Qawwali music having the potential to attract and appeal beyond the boundaries of its Sufi roots. Sufi music, like any other devotional music, has a universal appeal- to search for one’s God and Soul through and with music. It is therefore no surprise that Qawwali music did not take much time to appeal to a global audience outside South Asia.

Legend has it, Nusrat had a recurring dream. He was singing at the Dargah of Hazrat Khaja Mainuddin Chishti of Ajmeer- one of the greatest Sufi Saints of South Asia. This recurring dream made young Nusrat want to become a Qawwal. Following the death of his Father, Fateh Ali Khan in 1964, Nusrat received tutelage from his uncle, Mubarak Ali Khan. After the death of his uncle in 1971, Nusrat became the leader of the Qawwali Party. From 1971 to 1997 until his death, Nusrat remained the undisputed King of Qawwali music and its greatest ambassador to a global audience.

By the mid 1970s, Nusrat and Party had established their supremacy all over Pakistan. Although the Sabri Brothers were the first to introduce Qawwali music to a global audience in the early 1970s, they were performing to expatriate audiences. By the beginning of the 1980s, Nusrat launched an unmatched introduction of Sufi music to a global audience.

When performing to a foreign audience that does not understand the language of the lyrics, it is the musician’s challenge to be able to present music as a “universal language of the world” as Nusrat himself once said in an interview because melody and tempo knows no boundaries. Melody and tempo is composed of the 12 universal notes of an octave (saptak) and can thus transcend all cultural boundaries. His training in Hindustani Classical music, and above all a magnificent power and grace of a control of all six octaves of the piano keyboard gave Nusrat an unprecedented edge over any vocalist of his time. He could sing hour after hour and yet the notes would not falter and the tempo would remain water-tight. Add the Sufi devotion to all this and the listener would get nothing but magic.

Nusrat’s association with Peter Gabriel (Last Temptation of Christ); Eddie Vedder (Dead Man Walking); and Michael Brook (Mustt Mustt, and Night Song) introduced Sufi devotional music to the West. Even Bollywood did not miss out the opportunity of being kissed by Sufism. Years after his death AR Rehman paid a tribute to the “Guru of Peace” through the two songs Allah Hoo, and Tere Bina.

In a time when civilisation is at a crossroad, musicians like Nusrat Fateh Ali Khan who can rise above religion, creed, caste and nationality to make diversity disappear are needed more than ever. What the West experienced in Love and Peace at Woodstock, 1969 that introduced the West to Buddhism, Rumi through Sufism and the chants of Hare Krishna, South Asia has been enjoying this common heritage for millennia. Nusrat Fateh Ali Khan has been and will remain one of its greatest exponents that music rises above all to attain love and peace. Something does touch your heart when you think Nusrat- the magician musician- died fifteen years ago!

(The author teaches economic theory at Jahangirnagar University and North South University.)

Post Campus XXVI: 2012 06 24 Jun: A Ghazal for Mehdi Hasan

Star Campus of The Daily Star
Sun 24 June 2012; Page 14-15 in Print
Link: http://www.thedailystar.net/campus/2012/06/04/post.htm

Thanks to Elita Karim and Star Campus for allowing the privilege and opportunity to Thank an artiste, who’s music deeply influenced me during a troubled time in my life. “Musicians are the men I envy”.

Post Campus XXVI: Sun 24 June 2012
A Ghazal for Mehdi Hasan
Asrar Chowdhury

My introduction to the magical world of Ghazals was at Cambridge at my friend Mazhar Sheikh’s house — a rare Pakistani who learned Bangla to appreciate the poetry and music of Tagore, Nazrul and other maestros from Bengal. Maz Bhai made a tempting offer one day: to hear one of the sweetest Ghazals in poetry, composition and rendition. It was the first Ghazal I heard. It was also the first time I properly listened to Mehdi Hasan as he sang the 1959 version of Faiz Ahmed Faiz’s ‘Gulon Mein Rang Bhaare,’ a composition by Mehdi Hasan’s elder brother Ghulam Qadir.

I am no performing musician, but I have tried to listen to music all my life with no reservation; listening to anything and everything. ‘Gulon Mein Rang Bhare’ is based on Raga Jhinjhoti (Khambaj Thaat)- characteristic of many folk tunes from the deserts of Rajasthan. The passion in the voice with all the technical finesse of an artiste trained in dhrupad expresses the ‘true subject of poetry’ being ‘the loss of the beloved’ as Faiz himself once said to Naomi Lazard- the American poet and acclaimed transliterator of Faiz’s poems into English. That first encounter with Mehdi Hasan made it clear. Life would never be the same again after having heard a bird sing.

The beauty of music lies in the universality of its alphabet. Whatever the names of the letters- Sa-Re-Ga; Do-Re-Mi; or A-B-C, and from wherever it originates- the West or the East- there can only be 12 notes in a scale (octave or saptak). This universality gives music the power to transcend cultural boundaries. The transition becomes complete when a composition is rendered by a technically sound musician who also has the power of passion to express the ‘true subject’ of all art- loss; deprivation; Diaspora making the voice smile, laugh, cry and love in the language of humanity. This is where Mehdi Hasan stands out making him a musician’s musician; and any listener’s Turkish Delight!

Ghazals originated from the ancient Arabic style of poetry in Qasidas. They bloomed in the 12th-14th centuries in the Persian language. Through the influence of maestros like Rumi, Saadi, Hafiz, Umar Khyyam and others, Ghazals slowly developed the form we see today. Under the Mughal Rule of Northern India, Ghazals established their presence in mainstream poetry and light classical music. It was in this tradition in 1927 that Mehdi Hasan was born in the village of Luna in Rajasthan of today’s India into a family of musicians who were minstrels in the courts of Nawabs and Maharajahs for generations. After the partition of the sub-continent Mehdi Hasan and his family settled in today’s Pakistan. The Diaspora of leaving his birthplace, the deserts of Rajasthan, forever left an imprint that was unique in all his renditions — be that film music or Ghazals for which he was hailed as the undisputed King.

If you have the ears to listen, you will notice the subtle and fine transformation in the notes- the trademark of a seasoned artiste’s years of practice. If you have the heart to listen- you will feel the Diaspora- the loss of a beloved that vibrates throughout Mehdi Hasan’s music. It is this Diaspora in his voice that touches and tears the listener’s heart and makes it bleed in the truest essence of Ghazals as poetry of love. Language is not a barrier to transcend cultural boundaries when a bird sings poetry. Any song from any language becomes the listener’s Tambourine Man taking the listener on a ‘magic swirling ship … disappearing through the smoke rings of [the] mind’. It is this unique feature that has made Mehdi Hasan an influence, not only to listeners across languages in South Asia, but also to fellow musicians in South Asia. The Bangladesh Diva, Runa Laila, is indebted to Mehdi Hasan. Runa Laila is one of the few artistes who could make a Mehdi Hasan song Ahmed Faraz’s Ghazal Ranjish Hi Sahi(based on Raga Yaman) her own signature song.

Mehdi Hasan was special. His training in classical music gave him the flexibility to transcend between commercial and connoisseur audiences. This is a rare ability in any artiste. The Diaspora in his voice made him shatter and melt even the coldest of hearts. He was one of the last in a line of Great Ghazal singers. Future generation Ghazal singers will appear tall because they will be standing on the shoulders of a Giant like him. When the most respected artiste of South Asia, Lata Mangeshkar, certifies that God resides in his voice, the world of music and Ghazals will never be the same again after June 13, 2012. Having said so, the 12 universal notes of the Maestro will vibrate for longer than one can tell.Nawazish Karam, Shukriya Meherbani, Mehdi Saab!

(The author teaches economic theory at Jahangirnagar University and North South University.)

READER’S RESPONSE: FEEDBOARD, STAR CAMPUS, SUN 1ST JUL 2012URL: http://www.thedailystar.net/campus/2012/07/01/feed.htmMusic That Touches Soul

Last week’s Post Campus was a really different piece compared to other articles that are usually published in Star Campus. I am a music aficionado and love to read write-ups on music. Asrar Chowdhury’s views have always been enlightening, and like always this piece was out-of-the-box too. It showed that music is a universal language indeed. Mehdi Hasan’s ghazals are evergreen, and they continue to move anyone who listens to them. It’s great that Star Campus paid a tribute to his music. I would suggest the Star Campus team to publish more write-ups on music since music and youth have always gone hand in hand. Perhaps some continuous write ups on different genres of music would be exciting.

Muhammed Jahangir Hossain Bangladesh Agricultural University, Mymensingh.