“Mon Uchaton”: Possibly, a trailblazer
Tanveer Alam Shawjeeb (left); The album cover (right)
Contrary to what the pundits and aficionados may argue, in the real world classics and masterpieces do have a shelf life. How do they retain immortality? Every few years or decade, it takes artists/ filmmakers/ litterateurs with empathy for the classics to give them a contemporary touch. If it was not the case, the language of the original Shakespeare plays would remain incomprehensible to the masses or classic jazz/ blues compositions would stay confined to museums and libraries. Putting a work of art on a pedestal often makes it unreachable; soon it becomes a niche genre -- perhaps not a fate the masters would have wanted for their creations.
Many believe Nazrul Sangeet is currently going through this phase. While exponents continue to debate the authenticity of several Nazrul tunes, generations of music fans are alienated. Young listeners often blame the "disconnect" -- the music arrangement and style of presentation they often cannot relate to.
Fortunately certain musicians are making efforts to regain that "lost" audience. Tanveer Alam Shawjeeb's latest album Mon Uchaton (produced by Bengal Music Company Ltd) is a noteworthy move towards that direction. The album is a compilation of ten familiar and not often heard Nazrul Sangeet; music arrangement has been done keeping the contemporary young audience in mind. Though random remakes of Nazrul Sangeet have been featured in recent pop/ fusion albums (Jaye jhilmil jhilmil in Fuad's re/Evolution is worth mentioning) and more are seemingly underway, Mon Uchaton is perhaps the first comprehensive album of its kind.
Shawjeeb's credentials are justifiable for this album. The singer/ music director/ composer holds a Bachelor of Sound Engineering from Toronto Film School and completed a diploma in Nazrul Sangeet from BAFA. His debut album Bari Kothaye Bolo was also released by Bengal Music.
The opening song Uchaton mon defines the overall sound of the album. With restrained treble and emphasised bass, the songs highlight brilliant intros -- be it guitar riffs, twang of sarod, wailing of esraj or the Pandit Ajay Chakrabartyesque alaap.
Tepantor-er mathey, a Santali (jhumur) tune, retains its unique rhythm that should make one want to swing. The rawness has been replaced with sensitive vocals that should appeal to the urban ear. Nazrul's lyrics haven't lost relevance -- can't get more contemporary than "...Amar khaowa porar nai ruchi aar ghum ashey na chokhey..." Unpretentious and easily relatable.
Buno (of the band Bangla) played bass of Tepantor-er mathey and the fourth song, Eki ashim piyasha.
Bringing together the very indigenous dotara and western drums, Shawjeeb has managed to accentuate the rural essence of Gangey jowar elo phirey tumi eley koi.
Elo banantey (based on Paraj Basant) and Arunkanti (Ahir Bhairo) test the musician's base in classical music and Shawjeeb's vocals impress. But the track that truly stands out is Bhor-er jheel-er jaley. Ingenious use of percussions complement the words and create a sense of exotic mystery.
According to Shawjeeb, what drew him to Nazrul Sangeet initially was the National Poet's sense of freedom. Shawjeeb seems to have applied his sense of freedom in reimagining the songs, but with restraint and responsibility. Mon Uchaton is a must have for fusion enthusiasts, aimed at anyone who appreciates melody.
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