*AR Rahman: The Maestro* In a world of chaos and endless insanity, there are a few things one wishes always keep coming…. *Morning steaming cup of tea and untouched newsprint, the unruffled texture of Scotch, an astonishing book you feel blessed to lay your hands on, good cinema and of course, good music.*
They restore your faith in life, in that after all the grilling, you will be treated to your 15 some day. *AR Rahman's *music constitutes one of those healers for me. And it not only remains intact in its untainted form, it gets better by the day. Here is one guy who refuses to look back. And thank God for that. *Jodha Akbar <http://en.wikipedia.org/wiki/Jodhaa_Akbar>* is the final period film composition from *Rahman*, or so we are told. So I would like to give the score what it deserves, an effort to understand it from all possible angles – the *conception*, the* technical specifics of the songs*like the instruments <http://www.coe.ufl.edu/webtech/Timemachine/music/Arabic/answer.htm>used and the journey of the songs. Too bad I am not well endowed with enough resources for accessing all that information but I will try and see if someone can contribute in this effort. Rahman has been showering us time and again with his prowess on diverse musical forms. From *Punjabi Giddha* & *Bhangra *to *Gujarati Garbha* to *Carnatic *to *Qawwali *to Devotional *Bhajan *to *Arabic*, he has been a constant teacher opening up these huge floodgates of scintillating music orchestrations and vocal styles, in his Midas touch and a knack for perfection. But one form that has been an undercurrent of all these manifestations is *Sufi*, a riddle that takes a lifetime to solve. This mystique *Arabic *and *Sufi *air is created by string instruments like *The Oud*(used mostly as an accompaniment for solo *'takhti' *singers),* The Qanoun*(similar to a *Santoor *only the strings are laid on a metallic table) which provides the sharp edges to a *Qawwali *or a long recital) and *The Saz*(a *Turkish *instrument which looks like a guitar), and the one-string *Rababeh*(*Lebanese *folk sing-along instrument). Coming back to Rahman,who started with a simple keyboard, he would strike the magic keys and these simple tunes would later take myriad wondrous forms, in all their flowing exuberance and glory. When such a composer becomes so big for any project, the whole ball game becomes quite a spectacle to witness, it can swing either ways, and that risk adds life to the 'critical' projects. It is no joke for the players in this game, they have no option than to win. *Rahman *has been winning this game for as long as I can think, with minor exceptions or flaws. *Lagaan, Swades, Guru, Yuva, Mangal Pandey, Rang De Basanti, Sivaji* and now *Jodha Akbar.* When has the expectation from him being any less but the sky? When I listened to *Azeem-o-shaan shehenshah*, it for a quick moment made me think of *Rahman *dressed in the *Mughali **Zirah Baktar*(armoured dress) and battle all these expectations at the peak of fury and rage. Pretty short-lived moment of fun. *Brief Preview* *Jodha Akbar <http://imdb.com/title/tt0449994/>* is interesting because it looks at reinventing an oft-misunderstood history. It pitches love against politics. We know *Akbar the Great* as a majestic leader, a *shehenshah*. Here we get to see him as a human, what the man was made of, his emotional composition. And how the early events in his life changed the shape of the *Mughal Empire* and the nation on the whole. And here we get to see the oft-ignored historical character of *Jodhaa*, a *Rajput* Princess who shaped the destinies of many a wars and the warrior at the helm. I am interested in knowing if *Akbar-Birbal* has been explored. *Kiran Deohans <http://imdb.com/name/nm0219966/>* is shooting a film after long, in his noticeably small repertoire. The film is done in sync sound. *The Soundtrack* Coming to the score, I like the way the composer is going away from his trademark theme-lines and addictive hooks. I have been relishing the layered work that's been coming out from his stable, and I would consider *Bose, Mangal Pandey, Swades* and *Jodha Akbar *in this streak. And I am glad that the songs in this album are as long as one would want them, mature, complete pieces in their own. *Javed Akhtar* refrains from using chaste *Urdu *and achieves a fine balance between the different sensibilities involved in the film, which is all the more applaudable considering the great taste our nation has got for controversies. *1. Azeem-O-Shaan Shahenshah - Mohd. Aslam, Bonny Chakravarti * This is one of the most visual track I have heard in recent times. The sound designed has to be heard on a good system to be believed, *you will practically see a battle scene, the army being lined up, war cries in your living room.* It feels as is few mad musicians and singers were let free in the recording studio and what came out is this mad track that goes from an aggressive war cry to a celebration of the grandeur, touching upon *Mughal*war cries in *Urdu *to a much *dehati **UP* kinda paean genre. The song is a journey and will take many hearings to explore all the possible trips. For starters, try the *Marhaba Marhaba* trip or once just focus on the swords crashing and the non-musical sounds, or the one where you just focus on the percussion. Or sample the pure rush when the chorus crescendos through the *sargams *and *aalaaps *to a climactic "*Jalaluddin Akbar*". You almost feel here is a larger than life monster out on a prowl. OK bad comparison, but bottomline:*It's a mad mad world out there!* *2. In Lamhon Ke Daaman Mein - Sonu Nigam, Madhushree * *In Lamhon Ke Daaman Mein Pakizah Se Rishte Hain Koi Qalma Mohabbat Ka Dohrate Farishtey Hain* A beautiful quartet, translates somewhat into this.. In the lap of these moments Lie some lovely ties Like a scripture(*Qalmaa *= the beginning of Quranic verses) or an ode to love Which angels seems to be repeating endlessly (*Farishta*= Angel, Apostle, Messenger, Prophet) *Khamosh Si Hai Zameen Hairaan Sa Falak Hai Ek Noor Hi Noor Sa Ab Aasman Talak Hai * The earth is quiet The sky is amazed (*Falak*= Sky, Heaven, Fortune, Fate) The skies are enveloped in a splendid hue/luster (*Noor*= Bright, Light, Luminescence, Luster, Refulgence) This song has three characters, *one of a thoughtful lover(**Raja*), one the situations(represented by a dramatic chorus-*Prajaa*) and the third of a devoted female lover(*Rani*). And it's the bold interplay of these three that give a distinctive dramatic element to the song. It moves through seasons of love. After the violent interludes of the chorus, the same serenity is regained and its as relaxing as it could get. The poetry and language is very intriguing here, while you hear the male singer croonings mild *Urdu *sonnets, the chorus is very *Hindustani classical*(*Dom Tom Tana Nana Dom Tom Tana Dom Dom Tom Tana Nana Dom Tom Tana)* While still sticking to the *Urdu *flavor. What follows is absolutely shocking and stunning at the same time. The mood moves from *'Qalma' *and *'Noor' *to the devotional strains of a *Sitar *with *Madhushree *doing what she pretty much always does – adding saccharine to a song at a time when it needs the most. *Samay Ne Yeh Kya Kiya Badal Di Hai Kaya Tumhe Maine Paa Liye Mujhe Tumne Paaya Mile Dekho Aise Hain Hum Ke Do Sur Ho Jaise Maddham Koi Jyada Na Koi Kam Kisi Raag Mein Ke Prem Aag Mein* *Jalte Dono Hi ke Tan Bhi Hain Man Bhi Man Bhi Hai Tan Bhi Tan Bhi Hai Man Bhi Man Bhi Hai Tan Bhi* At this point, almost in a *sawaal-jawaab *format, the music comes to a stand-still and the male singer croons, rather almost speaks… * Mere Khwaabon Ke Is Gulistaan Mein Tumse Hi To Bahaar Chhaai Hai Phoolon Mein Rang Mere The Lekin In Mein Khushboon Tumhi Se Aaye Hai* You cannot follow this with anything else but the violent chorus. And that's exactly what happens. This makes the song *'mukkamal'*, completes the circle. Clearly, *a stand out composition in its structure, treatment and execution. * *3. Jashn-E-Bahaara - Javed Ali * This song comes in the league of soft *Rahman *tracks a la *Ae Hairate Ashiquie*(*Guru*), *O ri Chhori*(*Lagaan*), *Saawariya*(*Swades*) or *Des ki Mitti*(*Bose*). Since this category needs to have a distinctive element or two, it is *Javed Ali'*s affluent abandon of a voice that does the trick along with a *Persian string accompaniment. * *Rahman *has this knack of presenting the '*joy in pain(gham mein khushi)'*genre in the most hummable form possible. Sample a ' *Ae ajnabi'* or a '*So gaye hain*'(*Zubeidaa*), and that's exactly what he does here. What's rather funny is that everyone forgets the fact these are actually songs with an element of in them. *Kehne ko Jashn-e-bahaara hai Ishq yeh dekh ke hairaan hai* (*jashn*=feast, celebration jubilation) *Jashn-e-bahaara* would roughly translate to *a celebration of beauty/elegance/spring.* *'Kehne ko*' is a significant operative here, it brings the poignant irony to the seemingly pleasing mood. In between the visible festivities, there is an element of *Ranj*(Distress, Grief, Sorrow), beautifully expressed in these words… *Phool se khushboo khafa khafa hai gulshan mein Chhupa hai koi ranj fiza ki chilman mein* The fragrance is shying away from the flowers There is a hidden sorrow in the curtain of the happy air *(Fiza*=atmosphere, environment, *Chilman*=curtain) *Saare sehmein nazaare hain Soye soye waqt ke dhaare hain Aur dil mein khoyi khoyi si baatein hain* The sorrow emotion gets more pronounced slowly. * Kaise kahein kya hai sitam Sochte hain ab yeh hum Koi kaise kahein woh hain ya nahi hamaare* *Karte to hain saath safar Faasle hain phir bhi magar Jaise milte nahi kisi dariya ke do kinaare* *Pass hain phir bhi paas nahi Humko yeh gham raas nahi Seeshe ki ek diwar hai jaise darmiyaan* *Hum ne jo tha naghma suna Dil ne tha usko chuna Yeh dastaan hamein waqt ne kaisi sunaai* *Hum jo agar hain gumgheen Woh bhi udhar khush to nahi Mulaquaato mein hai jaise ghul si gai tanhai* *Milke bhi hum milte nahi Khilke bhi gul khilte nahi Aankhon mein hai baharein dil mein khiza* This song just might get most popular, but it is too early to predict that, considering there are 5 gems in the album. *Chaar aur hote to Akbar ke Navratna poore ho jaate!* *4. Khwaja Mere Khwaja - A.R.Rahman *How can a period drama's score be complete without the *Ustaad *himself wielding the microphone? So here you have him in all his glory. In the string of higher pitch tracks like *Zikr*(*Bose*), *Al Maddath Maula* (*Mangal Pandey*), or *Piya Hazi Ali*(*Fiza*), here *Rahman* serenades the Almighty, a paean to *Khwaja ji*(*saint *"*piir e mughaan/wali"*). *Listening to Rahman crooning a devotional number is like watching Tendulkar play in Wankhede*(pardon the Siddhuism). Slow guitar strums open the mystique melody, which slowly gets an obliging tabla's company and Rahman starts weaving magic, which is sure to have lasting aftertastes. His '*khwaja jee*' thrown in equal measures almost pinches you that you are still here, its just a song. *5. Mann Mohana - Bela Shende * It would take one some time to come out of the heady web of Khwaja mere Khwaja to appreciate this simple bhajan, though its not a *O Paalanhaare*, it does have its moments. Mostly the way *Bela*'s vocals start at a high octave and then sober down with some decent work from Akhtar which shies away from the stereotypes much like Bela's rendition does. This song should be a character-building aid for *Jodha*'s character and should play out in installments. *Trust Rahman to give you miles and miles of symphony in a bhajan!* *Hope the film works the same magic!* *http://passionforcinema.com/jodha-akbar-music-review/* **
