Programmed & Arranged by Kamran Akhtar&Kunal Pandit
Mixed & Mastered by K.J Singh
Marketed & Distributed by ASLI MUSIC
“Wahi ishq hai jise aasma’n na samajh saka!
Hai Khudayi jiski talash mei’n, wahi ishq hai!”
Love is an elusive emotion.
It touches everyone around us at any stage in life.
And ghazals are the language of love.
The richness and fluidity of this emotion are captured and expressed at their best by the Urdu language.
The music you hear on ‘Pyaar Bepanah’ brings to you a bouquet of Meeta’s emotions such as ecstasy, angst, surrender, romance and betrayal; emotions inescapable when one love. These emotions are expressed beautifully in the form of her poetry and accompanied with mausiqi to complement it even further.
The soulful compositions and renditions of these ghazals by Jazim Sharma becomes the ‘ruhani khuraq’ for the listener.
Add to this the magical touch of Kamran Akhtar and Kunal Pandit in programming and arranging the music to embellish Jazim’s voice and what you get is a rich, heady, musical experience.
The album has also been treated to a mix and master by one of the finest mix engineers in the industry,KJ Singh, who has worked his magic on the music of AR Rahman, Vishal Bhardwaj, SEL, Amit Trivedi, Hariharan, Rekha Bhardwaj, Rabbi Shergill and Indian Ocean. He ensures that the interplay of music and lyrics has the perfect balance. The album has been picked up for distribution and production as by his label, ASLI MUSIC.
ABOUT THE ALBUM:
This album contains 3 ghazals, 2 nazms and 1 NaGma.
Musically,‘Pyaar Bepanah’ is a unique combination of the traditional and contemporary. It also has nazm recitation by the poet, reminiscent of the ‘nashists’, where one gets to listen to the poet in person!
For all the poetry and music lovers, this album promises to be a treat that has not been experienced so far.
1: Pyaar Bepanah (nazm)
This nazm is an internal dialogue, taking place in the mind of a loverwho is reminiscing conversations that happened between him and his beloved.
In memoriam of some moments of highs and lows, this nazm depicts the conflict and uncertainty in the mind of someone that loves and ends with a poetic note of internal resolve.
Musically, Pyaar Bepanah has the potential to capture the heart of any young lover. It is a beautiful composition with a smooth, contemporary arrangement and a minor touch of jazz.This particular musical piece is immensely soothing for nerves. Almost therapeutic and definitely addictive!
“Raqeeb-e-Jaa’n nazar ka noor ho jaaye toh kya keeje
Ziya’n dil ko agar manzoor ho jaye toh kya keeje”
The refrain, ‘ho jayetoh kya keeje’ conveys the ethos of this ghazal clearly. A feeling of surrendering to what is, a sense of helplessness stemming from what cannot be changed. Accepting what is with grace, even though what is may bring pain.
It reflects a state wherein the writer is in the grip of inevitability, which may then be about something as broad as social injustice or maybe about expectations in human relationships.
Composition of this Ghazal is beautifully done in Raag Yaman and reflects the pain that is hidden in layers of the lyrics. The finer nuances of ghazal gayaki are a high point in this musical magic. To add the most unusual element to the programming and arrangement is the feature of musical instruments like the accordion used in a ghazal which make it a must listen for all ghazal lovers.
3: Wapsi ka Safar (nazm recitation by Meeta)
Recited by the poet,this nazm is a narrative about the loss of a woman’s ‘wajood’ or her identity, culturally contextualized in the Indian fabric. A fabric where a woman often spends her lifetime playing and living multiple roles rather than being herself.
This nazm speaks of a woman’s desire to go back in time to find her own ‘self’ which she lost in the process of living her life by only being different ‘relationships’ to others, be it a daughter, a mother, a sister and so on.
“Rishto’n ki bheerd mein khud ko dhoondna”, is the mission of the poet in this nazm.
Bewafa is very modern in its concept. The poet tells a disloyal lover, in no uncertain terms, that the outcome of their disloyalty must be separation.
It is a small bahr(meter) ghazal, quick in conveying the story hidden in between the verses. But its diminutive size does not minimize the message.
“Kab zami’n pewo paa’nv rakhte hai’n,
Raas aaya jinhe’n Khuda hone!”
The forthright message in the above sh’er is very typical of the Daagh Dehlvi approach, as is its rawani or flow.
Highly prominent in this track is the beauty of theKalawati Raag,which conveys here the contrasting emotions like determination and appeal
5: Ban Gaye Dil Ke Fasane(ghazal)
Poetically, ‘Ban Gaye’, has simplicity in words and depth in its messages.
“Dil ne to dil hee kee maani ‘Meeta’
Aql deti rahi taane kya kya”
The above sh’er depicts the struggle well known to all, the strugglebetween the head and the heart! It is an experience that is close to all of humankind.
Musically, woven magically in the fabric of Classical approach, this Ghazal is a musical treat for anyone who loves Raag-daari and traditional Avatar of Ghazal. And the way its been sung takes the listener to a trance-state!
6: Mahiya (naGma)
This song is about love, and all it’s accompanying adaa - roothna, manana, ibaadat, waade, ya phir shiqwe, Mahiya has it all with soft, and easy poetry that excels in its flow and musicality.
It is composed to be such a peppy and lively tune that it compels everyone to hum along.Listening to the tune can make even a stone come alive!
‘Mahiya’ is so uniquely arranged/programmed, with harmoniouspieces of harmonium and mandolin that have not been created so far.
It has an appeal that transcends age and makes it loved by all equally, and that is what makes Mahiya such a masterpiece.
Jazim’s love for music and his formal training in Hindustani Classical music started early from the tender age of 4, under the tutelage ofLate Shri Vijay SachdevaJiofKiranaGharana. During his musical journey,Jazim also received significant guidance fromSunil Seth Ji.