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Sufi music is the beat of the day

By Enkayaar, Bollywood Trade News Network
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Nusrat Fateh Ali Khan must be showering blessings from the heaven that his experiments in Indian music by giving it a sufiana andaaj have started bearing fruit and Himesh Reshamiya and Pritam have emerged as its biggest proponents. The first streak of Sufiana music on a full octave was experimented by Nusrat in AUR PYAR HO GAYA, the Ash Bobby Deol starrer whose music still continues to resonate. The music could not probably make much of success as the songs were mostly sung by Nusrat which seemed to be out of sync on Bobby Deol. One of the first songs in fact that had hit bull's eye in Sufiana andaaj was Reshma's 'Bichre Abhie to hum Kal Parso in Jackie Shroff's debut film, HERO. Then it was more than 10 years, when a full scale film with sufiana music in the form of AUR PYAAR HO GAYA, and interestingly enough both were Pakistani singers who have emerged as the proponents of sufiana music the world over. Even Raj Kapoor had introduced one song, Chitthiye... in HENNA which still is sung by various lady singers.

In between, when the music had lost its relevance, or to put it another way, when stress was yet to make its mark as a by-product of the economic development, music as a solution was still in its nascent stages. But with the priming of stress and it redefining its contours by making inroads into the life of youngsters as well, owing to the explosion of high octane life, sufiana music became one of the elixirs to de-stress.

And in such a scenario arrived Himesh Reshamiya with his own rendition of sufiana music which rewrote the whole nuance about composing music. Before, Himesh's entry the ground for sufiana music was laid by Shankar, Ehsan, Loy's DIL CHAHTA HAI, whose song Kaisi hai yeh rut, epitomized the life of a modern day youth at a crossroad. It was also facilitated by plethora of Punjabi channels which belted out Punjabi sufiana music day-in and day out. Punjab has been in fact the soil of sufiana music with Bulle Shah, Farid etc., being its biggest brand ambassadors. Advantage with Himesh also lay in the fact that he hailed from another great arena of sufiana music aka Rajasthan and he could bring the music of Sarangi, the brand ambassador, as far as music of Rajasthan is concerned, on to the technical key board to give it an all new dimension.

The immense popularity that Himesh enjoyed was owing to the sufiana touch that he was able to bring into all his compositions which immediately caught the imagination of the youth of the day. It is altogether a different matter that the purists scoff at this new variety of music, but the sheer fact that a Himesh is able to perform live at Wembley, in London is testimony to the fact that this music has demand.

Pritam has successfully followed into the footsteps of Himesh and this year has already given score to number of films which have had and are having sufiana music. The latest song which is scaling in popularity all the charts is, Yaara Kabhie Ishq to karo ... sung by Alisha Chenoy and picturised on Karishma Kapoor for KYA LOVE STORY HAI. Pritam started the year with DHOOM-2, but has later on shifted his focus entirely to sufiana music films like LIFE IN A METRO, DELHI HEIGHTS, and EK CHALLIS KI LIST LOCAL etc.

The convergence of Pritam to sufiana music had also to happen as he hails from Bengal which has its own version of sufiana, the Boul singers, representative of the awaraagi. And it is this awaraagi which is now finding expression through his baton. While purist may scoff at the longevity of these sufiana songs, fact of the matter is that their numerical intensity is such that the listener does not have the time to recollect the earlier song, as he is presented a modified version of the old song and continues to soak in its orchestrations.

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