It is not often that geniuses come together. Especially to create music. And that too for a second time. The new musical treat from Gulzar and Jagjit Singh - ' Koi Baat Chale' (KBC), is an event in itself. After the phenomenal success of 'Marasim', seven years ago, the new collection is aptly titled Koi Baat Chale... (Let's begin a conversation).
"Poetry has many forms. The interesting aspect of ghazals is that they are always sung," explains Gulzar. He sees this album as a part of the legacy of the masters like Mirza Ghalib. His passion for Ghalib had even inspired a memorable television series. He recalls, "My association with Jagjit Singh began with the TV serial on Ghalib. Not only in a commercial sense, but also as an important stage in the evolution of this unique creative synergy in Indian music."
'Koi Baat Chale... ' is another phase of this partnership. "Jagjit, I believe, is one of the best exponents of the ghazal," says Gulzar. A new poetic device, Triveni - a three-lined form, is sung for the first time in this album. "An effort of30 years, it is a new experimentation and invention in Urdu poetry," he reveals. "It is similar to Haiku, but it also resonates with the Punjabi folk music forms and varieties." The third line of the triplet often changes the meaning of the first two lines. "It's a free verse, but it keeps a metre," he adds.
"Ghazal calls for a particular temperament. Manygood singers can't sing ghazals," says Gulzar. Recalling the legendary Mehdi Hassan, he states, "He has an ethereal voice. I would put Jagjit Singh in the same league I have heard recently that Hassan has started to hum again. I pray to God that he comes back."
Gulzar feels that film music is distinct. "The medium of films has its own demands. Each character has a language. All these are limitations." Never the one to compromise on aesthetics to cater to the popular taste, the lyricist says, "You are talking on behalf of these characters. But even in commercial cinema, I have tried to develop a new vocabulary and imagery for the popular music. But when you work outside films, you get to know how one is treated by life, the brushes, bruises, and splashes in life."
Poetry and music
True poetry and music is essentially political, asserts Gulzar. "We are living in a political situation with its own limitations. As a poet, you are keeping the conscience of your own times." Ghazals for them are indeed political. "It reflects me. How do I look at society, the social values around me".
Reflecting on their unique chemistry, Jagjit Singh adds, "Gulzar saab and my rapport during 'Marasim' has grown into something truly outstanding in 'Koi Baat Chale... '. Gulzar saab's way of thinking and expressing his poetry is unique. There is always a new twist in his poetry and it is sometimes difficult to compose tunes for it. I have tried to do something new in every ghazal."
'Koi Baat Chale... ' is full of poetic innovations. In the ghazal, "Kya batayen ki jaan gayi kaise", Gulzar experiments with images and makes them contemporary, as in the line "Kisne raste mein chand rakha tha mujko thokar lagi kaise".
The whole notion of "stumbling upon the moon in the journey of life and love" is contemporary, feels the poet. Underlying his concern for good taste, Gulzar says, "One needn't be cheap or vulgar to write lyrics for a commercial film." Jagjit Singh on his part considers the lyricist to be the "other half" of any music. "It is the backbone of any ghazal. I must like the lyrics first, understand it, know what it conveys to me; only then can I compose music and sing it."
"It's a complete song", asserts the duo in chorus. "It is a thought, written in poetry, imbued with melody and music in a philosophical medium," reveals Gulzar. 'Koi Baat Chale... ' succeeds in bringing about a new concept and orientation to the form and content of ghazals. As its creators put it, "It liberates ghazals from the usual perceptions of chand, tanhayee, ansoon, and gham. It makes one feel elated."
