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A tribute to Nusrat Fateh Ali Khan is a
fine idea. But the orchestra reminds you of run-of-the-mill Hindi
films, overrich in violins and a boring 4/4 pattern on the
dholak
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Review
A drab
adaab
Adaab Nusrat Saab
HMV
Rs
65
Adaab Nusrat Saab, meant as a
salute to the genius of the sufi master, comes across
as a thoughtlessly orchestrated project
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Ustad Nusrat Fateh Ali Khan
died in 1997 after a spectacularly successful musical life. Born in
1948, the year after India and Pakistan were partitioned, he
sang the poetry of the sufis for several years before he
came on to the Indian popular music scene. The
qawwali proved the best medium for his passionate
style.
In India Nusrat sang for several films, made the
music for one, and cut albums with Indian music industry stars like
Javed. Many of these attempts were musically undistinguished. The
idea seemed to be to take this great singer to an audience that
was addicted to the populist style of the Mumbai film
orchestra. With albums like Sangam, where he sang
Javed's poetry, Nusrat was co-opted into the world of the music
video. Some of his songs hit the market after he
died, including one with A R Rahman in the album Vande
Mataram.
Now, four years
after his death, comes Adaab Nusrat Saab from HMV. This is a
compilation of his tunes -- three sung by him, and the rest sung by Shazia Manzoor (of Aaja soniya, which is said to have 'inspired' Anu Malik's Aaja mahiya from Fiza), Shabnam Majeed, Humaira Channa and
Rahat Ali Khan. The music has been "rearranged" by Jayant
Pathak. Looks like it means he just kept the voice tracks and did his
own thing with the background and the interludes.
Pal do pal hain pyar ke has some great singing from Nusrat. The characteristic swings from low to electrifying highs and his intense alaaps punctuate this tune. Only the orchestration is reminiscent of run-of-the-mill Hindi films, overrich in violins and a boring 4/4 pattern on the dholak. Personally speaking, this Shivranjani tune could have been treated differently and allowed some poignant silences -- it is, after all, a contemplation on the fleeting nature of love. The lyrics are by Khwaja Pervaiz.
Ishq da rutba, is
about the season of love and has chirping flutes and a happy note, spoiled only by the almost criminal use of violins. Why should violin phrases be so predictable? I love violins, but you shouldn't find cliched phrases on new songs. It is frustrating. They must have asked a violin ensemble working for films to write up the score.
Shazia Mansoor has a
metallic, true voice, like Salma Agha's, and sings Dhol Mahiya
well. The santoor, flute and drums catch up on the violins in
the cliche competition. The song does not reach out for creative
distinction and is boring in its progressions and predictable
stanzas. Shazia also sings Dil par war hota hai. The tune wavers
between being tender and sloppy. Eminently forgettable.
Woh raat phir aai nahin
by Shabnam Majeed begins with an interesting beat, and lapses
into the mundane with the trombone phrases. Remembrance of a lovely
night which did not return. The beat attempts to keep itself going but
generally the less said about the orchestration the better. It will
remind you of 1980 films like Taraana, Yaraana, Love Story
etc. Shabnam's voice is thin but holds together.
Sun aai mere sajna sounds like three different styles in as many seconds. The fast pace makes you breathless. The violins here change colour and go Arabian. Yet bad habits die hard and in between they quietly sing like Satte pe satta re-recording music. The flautist must have been told to fill in anyhow as long as he filled so many bars of the interlude. Humaira Channa and Rahat Ali Khan sing competently though.
Dil dharke ga is an
interesting tune, beginning low and packed with intensity. Humaira's
petulant expression suits this song about the inevitability of
falling in love. The lyrics don't rise above the usual duniya
being the dushman of lovers.
Nusrat happily reappears in Tainu Takda rawan . The orchestration could
strongly remind you of Chaiyya chaiyya from A R Rahman's
Dil se .
If only
the
orhcestra could have risen above the average, this could have been a
real adaab to Nusrat. This is a drab and
uninteresting tribute, except that you get a chance to listen to
three of the last tracks of the sufi master. The album seems to be
more of a commercial gesture, aimed at his fan
market.
The inlay card is nice and simple in black and gold (Sameer Varma Design Studio).
S Suchitra Lata
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