The Music of the film is by Amit Trivedi and Mikey McCleary... Back in the ’60s, Mumbai, or Bombay as it was known then, had a swinging jazz scene – or so director Anurag Kashyap or composer Amit Trivedi would have us believe. The film reportedly revolves around a nightclub and hence we are treated to a bouquet of 14 compositions, 15, actually, if you count Fifi, composed by Mikey McCleary.
Amit allegedly worked for six years on the score and utilised the services of Prague based musicians and programmers to bring in the authentic jazz sounds. So the celli, trombones, violins, accordion, clarinet, saxophones, trumpets, not to mention the thumping brass section and the drums and percussion were played by master musicians and not put together on a synthesiser. The result is a glorious amalgamation of sound that rolls over you, song after song, like waves and makes you hit that repeat button time and again. Kudos to Amitabh Bhattacharya too, who has tried to write about loss and suffering and life’s little tragedies in a style reminiscent of the jazz and blues lyrics.
It’s a coming-of-age album for Neeti Mohan, what with six songs to her credit. One can see that she grows more confident with each offering, her hesitance leading to joy as she opens up both her lungs and her soul to come alive as a fully throated jazz singer. Her first outing in the album is the monologue Mohabbat buri bimari. This conversation piece has the singer waxing on the fickle nature of love. Neeti’s version is a flirty little piece; she keeps to the tune mostly and does an improv towards the end. Shefali Alvarez’s version is a more vibrant rendition. It reminds one of smoke -filled speakeasies, where crooners belted out their sorrows, as the regulars drank to the rhythm. Shalmali Kholgade also has given her take, in a version remixed by Mikey McCleary. Though it’s pleasant to hear, one questions the need for it, as Amit Trivedi’s two versions are better than Mikey’s.
Shefali Alvarez is known for her jazz renditions and she owns Shut up, a song big on percussion, reminding you of the James Bond soundtracks of the ’70s. Shefali also brings out the right nuances in the philosophical Aam Hindustani, the opening song of the OST. It’s a piece with a long interlude, with lots of brass effects, and later turns into a tragic-comic critique of modern society.
Darbaan sung by Papon speaks of the loneliness of the watchman, who keeps the have-nots at bay from those who have it all. He may sympathise with the former but his loyalty lies towards the latter.
The album won’t appeal to you on first listening. Give it time to grow on you and then you’ll appreciate what Amit Trivedi and his singers and musicians have achieved. But in this era of instant gratification, does one have that patience? Also, the album is true to the narrative.
Darbaan sung by Papon speaks of the loneliness of the watchman, who keeps the have-nots at bay from those who have it all. He may sympathise with the former but his loyalty lies towards the latter.
The album won’t appeal to you on first listening. Give it time to grow on you and then you’ll appreciate what Amit Trivedi and his singers and musicians have achieved. But in this era of instant gratification, does one have that patience? Also, the album is true to the narrative.
There are no stand-alone songs in it. That also goes against making it a popular choice.
One can only say that let the music play – and you sure will be rewarded with a rich listening experience…
Cheers !
Jeetendra Mehra AKA The BUNNYMAN
thanks Pramod.. :-)
ReplyDelete