His contribution to classical music and bhajans has been tremendous. It is his devotion to his craft that saw him through so many decades
As told to Sonia Lulla (MID-DAY; August 18, 2020)

He has influenced me ever since I was a child. When I would go for [cultural events] in Delhi, I would browse through their brochures in advance to see if Pandit Jasraj ji was performing. You didn't need to understand classical music to enjoy his performance because it flowed in such a way that people would forget everything else. His voice was divine and mystical. Apart from the way he sang, his persona was [admirable]. He had a front-lock that would rest on his face, and had a certain aura.

His contribution to classical music and bhajans has been tremendous. It is his devotion to his craft that saw him through so many decades. In his teenage years, he left the tabla, and took to singing. He had faith in and a deep connection with his craft. Even now, he was in the US to teach [music].

It has been a while since I met him. We keep thinking that we will pay a visit to someone, and then we lose the opportunity. Now, there's nobody to look up to. If we needed guidance, we could pick up the phone [and seek it from him]. The artistes of his generation have undergone a different level of [training]. We practise in air-conditioned rooms; one can only imagine what they had gone through to reach where they are.

To take her guru’s legacy forward, Rekha Bhardwaj has contributed to a new edition of a landmark book by him
Urmi Chanda (MUMBAI MIRROR; March 16, 2020)

Bongaa: ‘Unmusical’; idiotically out of tune and unaware of it.

Opening a random page of the new edition of The Dictionary of Hindustani Classical Music by Pandit Amarnath, the first word I chance upon is this. Given that it is a ‘book’ about music, this is a most hilarious irony. But I can almost picture its writer, grimly chiding a student and calling him or her “bongaa”. And suddenly, it’s not funny any more. Imagine sitting before a stalwart of Indian classical music and being called that unironically, and finding the insult documented in his landmark book. Almost 25 years after it was first published, it has been revived by Penguin Publications with a short biography of the master — written and edited by his daughters — and a foreword and some additions by his student Rekha Bhardwaj. Mumbai Mirror spoke to the renowned singer about her guru, his book, and the intertwining of life and music.

You’re a classical singer, but also part of the Hindi film music industry where there is little appreciation for classical music at present. Why did you feel the need to revive this book now, when the roost is ruled by remixes, Punjabi pop and TikTok stars?
My roots are in classical music, and just because the current trends include Punjabi pop, remixes or TikTok, it doesn’t uproot me as an artist. And contrary to what it may seem, a lot of young people continue to take up classical music as a profession, it is a popular performance category in music reality shows too. Also, it’s not like the entire Hindi film music industry has forgotten its classical sensibilities. There are still music composers like Amit Trivedi, Shankar-Ehsaan-Loy, Pritam, Sachin-Jigar, who are making music that blends classical tunes with other elements, and I think it’s okay. Everyone has the right to express their musicality and choose the music that appeals to them. As for why now, I think the time is right. Many of the young generation of musicians I interact with seem genuinely interested in knowing more about classical music, but do not know where to start. This book is an excellent starting point for anyone curious about this art form. I feel fortunate to be able to utilise my position and bring the focus back on this important piece of work. As they say, there are only two ways of bringing light into the world — be a lamp or a mirror. I am just upholding a mirror to my Guruji’s luminosity.

In your foreword to the book, you warmly describe your relationship with Pandit Amarnath and the way it embodied the guru-shishya tradition. Have you had such a relationship with any of your students?
To be anything close to what my guru was like, takes immense patience and practice. As a performer and a busy artist, I’ve not really had the time or opportunity to take on any long-term students. I’m still learning myself. But as and when possible, I share my riyaaz with some of my peers and fellow artistes and those are always wonderful experiences. The guru-shishya tradition may not be as common today as it once was, but there still continue to be teachers and schools that uphold those values and teach their students the old way. For example, the respective schools of Pt Hariprasad Chaurasiya and Pt Jasraj, the Gandharva Mahavidyalaya in Delhi, and the Gundecha Brothers in Bhopal still teach in the old tradition.

Pt Amarnath’s decision to write this musicological dictionary in English can be said to be a ‘progressive’ step since this is a field where ‘linguistic purity’ is valued over Westernisms. What do you, as his student and an artist, think of that?
I’d just say, my Guru was very farsighted and decided to write this dictionary in English because he knew that would become the language of choice among the youth eventually. He wrote in an easy manner that would help musically even an elementary reader understand it easily. Remarkably though, he chose transcriptions over translations, when it came to describing technical terms. Instead of terms like ‘legato’ or ‘staccato’, he stuck to Hindi terminology that was best understood by practitioners of Hindustani Classical music. No matter what the current trends, this is a timeless piece of work and essential to any serious student and artist.

If you had to pass on one bit of your Guruji’s wisdom to the aspiring students of today, what would it be?
The most important piece of advice our Guruji gave us was “Listen to yourself.” It was meant to be both, musical and life advice, and practicing that sincerely would always ensure we picked the right path. Listening to oneself allows us to see our own weaknesses and strengths, understand the areas that need work, and to know what we truly are and want instead of being told that by society.

What is that one new term/phrase that you would add to this dictionary?
Frankly speaking, I would not dare to add anything to this dictionary, because that would be like sacrilege for me. I’m pretty orthodox in that sense; I take my responsibility of preserving my guru’s knowledge as it is very seriously. All I’ve done is added a very brief foreword and updated the book with some important profiles of musicians who were his contemporaries (he had written only of artists from the earlier generations). All we want is for this book to reach more people, translate it into other languages, and publish some more of his works in the hope that his art and wisdom remain immortal.

Rekha Bharadwaj breaks down why the finesse in the independent music industry isn't arguably translating to Bollywood
Sonia Lulla (MID-DAY; February 18, 2019)

Ashe chronicles the goings-on in the Bollywood music industry, Rekha Bhardwaj sprinkles this conversation by drawing examples of artistes and films, spanning decades. Her fine observation skills and deep understanding of cinema trends are made evident, even though she isn't one to go to town when critiquing the industry. Set to serenade fans on an upcoming episode of MTV Unplugged, Bharadwaj talks to mid-day about the reason behind the increasing gap in the quality of music being churned out in and out of the film industry.

Edited excerpts from the interview:

There is a lot of talent in the independent music scene. Why do you think that quality arguably isn't translating to Bollywood music?
[Independent music] platforms still have a long way to go [before they can become popular]. Abroad, an artiste first releases an album, then the song is picked up for a film. But, songs are an integral part of our films, [and hence] we have incorporated film songs [on this platform too], to meet the demand. We are, primarily, a melodramatic society, and caterers of mediocrity. A majority of our population appreciates mediocrity, and that's why it exists in films and fine arts. Also, since crores are invested in films, certain requirements must be met. Today, the film business is a three-day affair, governed by collections from Friday through Sunday. Few are [driven] by a creative pursuit. The independent music genre has come to the fore after 20 years. I struggled for 11 years to release the album that was to launch me. There's a lot that we have to do to put up the quality [of music] that we desire. Rural audience won't appreciate sophisticated music. They would prefer folk music, while the youngsters would, maybe, choose noisy tunes. Remixes too are horribly executed. They are derogatory to the original classic.

How do you suggest that can change?
Artistes should be more concerned about content, [which comprises] language, diction and musicality. The younger musicians must educate themselves about our musical heritage. Also, [a lot depends on] aesthetics. I've sung many item songs, and am proud of all of them, including Namak Ishq Ka, and Ghagra. When Gulzar sa'ab writes a naughty, raunchy song, you will still find it aesthetically appealing. Aesthetics must be maintained in the lyrics, composition and rendition.

Is the industry receptive of singers with unique voices, like your own?
After Namak Ishq Ka, a lot has changed. The younger lot of composers have a background in Western music, and are hence open to experimenting with all sort of voices. Jagga Jasoos, for instance, had so many new voices, and a beautiful range of singing. Also, pronunciation must be paid heed to. For example, in Bombay Velvet, all the songs were nice. Some singers, like Neeti Mohan, paid attention to diction. When singing in Urdu, one should be certain to pronounce correctly. Neeti was, while a few others weren't. When the diction is correct, 60 per cent of your job as a singer is done. Unfortunately, even lyricist don't care if their words are being pronounced right. We pay heed to accents and pronunciation when singing English numbers. But, Hindi songs are tackled with carelessness.

You've often spoken positively about the influence of Western music in India. Why is that so?
This is something that was even evident in old music. In fact, earlier, Catholic musicians from Goa formed a major part of our industry. If you listen to older melodies, like Madan Mohan's Khelo Na Mere Dil Se, you'll notice that the introductory music will not reveal the melody that comes in later. The music arrangers then were classically trained in Western music, and also understood Indian nuances. The young generation is talented since they are exposed to all genres. But, there's a thin line between good and bad influences.

How does a platform like MTV Unplugged benefit the industry?
When a song is composed for a film, it's based on situations. Here, we're not bound by demands. I've recreated Darling [for the show], and used a brass section. There are two originals too, one of them being an Amrita Pritam poem.

Singer Rekha Bhardwaj talks about dueting with Rahat Fateh Ali Khan on both Zindagi Kuch Toh Bata (Bajrangi Bhaijaan) and Dum Ghutta Hai (Drishyam)
Lakshmi V (BOMBAY TIMES; July 31, 2015)

Urmimala Banerjee (MID-DAY; March 25, 2014)

As Rekha Bhardwaj prepares for her performance with flautist Pandit Ronu Majumdar and Taufiq Qureshi on Thursday, she speaks to hitlist about music and more.

Do you enjoy instrumental music as much as film songs?
I love any music that pleases my heart. I am excited about performing with two senior artistes I have been listening to since years. I have been following Ronu’s works since my college days.

How different is singing for other composers apart from Vishal?
I have been working with different composers since 2007. I am fortunate that they come to me with songs that they feel only I can do justice to. I feel extremely comfortable working with Pritam, AR Rahman and Shankar-Ehsaan-Loy.

How is it singing for Vishal?
He knows me too well! He listens to my riyaaz everyday ( laughs). He can create a song for me and challenge my limits as well.

What kind of songs will you never sing?
I can sing any song as long as it is aesthetic. One can be sensuous or flirtatious without being cheap. Prasoon Joshi and Amitabh Bhattacharya write unique lyrics without being crass.

What kind of music do you enjoy?
Jazz — Cassandra Wilson and Nina Simone are my favourites. I also love the Beatles, Bryan Adams, KD Lang and Sting. My son, Aasman, makes me listen to rap and hip- hop. Amongst ghazal singers, I like Mehdi Hassan, Jagjit Singh and Madhurani ji.

Do you feel your husband’s does not sing as often as he should?
Yes, Vishal should sing more often. He is shy about singing songs that he composes. There are certain songs that only he should sing. We are planning to work together on a few poems of Urdu poet, Dr. Bashir Badr.

Your views on the multi-composer trend?
It’s nice as it gives opportunities to youngsters. Nowadays, listeners have many choices; earlier this wasn’t the case. I liked Mithoon, Ankit Tiwari and Jeet Gannguli’s works in Aashiqui 2. I thought Arko Pravo Mukherjee is brilliant as well.