Jugolshondhi: Zubayeer’s concoction of eastern and western melodies

Cover of the album.

Those, who have been keeping up with adhunik (contemporary) songs, are familiar with Swani Zubayeer. Zubayeer's compositions sparkle with poetic prowess -- an unmistakable trait of ghazal. The talented singer-composer, however, feels that his songs do not precisely follow the form of traditional ghazal. His previous albums "Nirjon Shakkhor" and "Ojossro Kobita" were highly appreciated by music enthusiasts in the country, in particular those who crave variety.
His latest album "Jugolshondhi" (a Laser Vision production) is a music assortment on more than one level: not only does the album include songs belonging to diverse genres, it also features six of the leading singers (and Zubayeer himself) of the country. All songs have been composed and arranged by Zubayeer; a special attraction is an orchestral composition (live version) performed by the Royal College Symphony Orchestra (Stockholm, Sweden).
Eleven tracks of the album demonstrate Zubayeer's musical background. His taleem (training) in Indian classical music began in 1993 under the supervision of Ustad Mazhar Ali Khan and Jawad Ali Khan (grandsons of the legendary Ustad Bade Ghulam Ali Khan) of Kasur Patiala Gharana. Zubayeer did his Masters in Western Classical Composition from Royal College of Music in Stockholm. His passion for both Indian and western classical music are seemingly not mutually exclusive.
The first track "Ghum ashey na" (Insomnia), rendered by Zubayeer, features a brilliant sarod intro. Its certainly adhunik, yet unmistakable traces of ghazal are apparent as the singer croons "jegey thekey ami hoyechhi shopnochari, dekhi shopno danaar palokey palokey morchey be(n)dhechhey bari.." The bridge to shonchari (part of a composition usually sung in lower pitch) is made memorable by a sarangi piece. The singer effortlessly glides from one octave to another, but it's that grain in his voice that is the much sought after je ne sais quoi.
"Chheleti" (Jugolshondhi), featuring Fahmida Nabi, is likely to take a connoisseur to the Italian countryside, on a gondola if you will. Well-executed Mandolin, violin and guitar throughout the number make it a Bangla adhunik song with the feel of an Italian ballad.
"Chhotto meye" brings to mind R.D. Burman compositions (circa mid '80s). One could easily imagine Asha Bhosle lovingly humming it. The composer's selection of the singer -- Krishnokoli -- is quite appropriate. Krishnokoli's rendering is endearing, as she breathes life into "Chhotto meye tumi naki koshtey achho, ki holo tomar, mukh keno kalo, amaye bolo."
Seasoned Nazrul singer Khairul Anam Shakil sings "Kachhey ashbo," another ghazal influenced number. This is perhaps one of the best-executed compositions featured in the album. Shakil's baritone is ideal for this romantic song.
Lucky Akhand sings "Smritir kagoj." Featuring, guitar and percussion, the Latin nuance in this composition is subtle yet definitive. "Tomaye aami," sung by Partho Barua, is at its best average. Samina Chowdhury's rendition of "Shondhya boye gelo" is easy on the ear thanks to the singers experience in working the audience's intrigue. Zubayeer returns with another cover of "Chhotto meye." However, after Krishnokoli's emotive rendition, Zubayeer's version sounds redundant.
"The Golden Land," an orchestral composition by Zubayeer (the 10th track), refers to Bangladesh and the changes in nature here throughout the six seasons. The USP of the composition: Shades of six ragas -- Malkaunse, Des, Mishra Pahadi, Kedar, Sohni and Vasant -- in a western classical set-up.
"Jugolshondhi" works as a concoction of diverse genres but on the whole, it somehow lacks the excitement and fresh sound the composer's previous albums have.