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MUSICBOX: Norah, Norah, Norah!
Imagine a voice not quite as forceful as Aretha Franklin, but every bit as soulful. Norah Jones’s smoke and mirrors sound is a breath of fresh air in a world of jaded, gritty music. Her velvety voice catches the ear and haunts the mind.
The album Come away with me is an unforgettable tour de force from the 23-year-old daughter of 82-year-old Indian sitar player Ravi Shankar. The title track is a jazz-folk torch song that proves simplicity has its own charm. Don’t know why is in a league of its own. Its magic lies in the way Jones makes her voice reach over to you. A haunting piece, etched with a little pain, the song is choked with restrained emotions balanced by weeping piano chords that are like a second voice in themselves. Other notable singles include the melodic Feelin’ the same way, Lonestar and the soulful jazz number The nearness of you which features Jones accompanying herself on piano.
The success of this CD has been a slow burn. At the start, you could hear Don’t know why only on adult alternative radio (think Sheryl Crow). Then the singer-pianist became a hit on smooth jazz stations (Kenny G), followed by adult contemporary radio (Celine Dion), and most recently on Top 40 stations (yes, alongside Britney Spears). Jones’s success has been a word-of-mouth affair from adults to younger listeners. Recently, almost a year after its release, the album took the highly coveted No. 1 spot on the charts and stayed there for three weeks.
When the New Yorker’s famous bloodlines were revealed after her success, much ado was made about the connection to her father and a lot of people have erroneously credited her achievements to him. In fact, Jones feels her music has been much more influenced by her African American mother, concert promoter Sue Jones.
The young artist surprised the industry by walking away with five Grammy awards not too long ago. Long labelled the underdog, attention has been drawn to her old world sound, her cocktail dresses, her aging audience and the fact that just 12 months ago, she was playing venues tiny enough for open-mic nights. This attention detracts from the simple charm and genuine strengths of Come away with me. Norah Jones is a true talent and hopefully, her recognition will encourage more people to have the confidence to stray from mainstream sounds.—T. U. Dawood
Music for the soul
The chairperson duo of the Arts Council’s music committee, Azra Riaz, and veteran singer Salamat Ali, who is her husband, should be feted for organizing six programmes of classical music, tastefully titled Baithak in less than one year.
The unassuming Ibrahim Khan, who is a repository of information about classical music, lends unqualified support to these programmes in his characteristically quiet way.
To be sure, high-profile celebrities have not performed at these programmes, but music lovers have been treated to excellent live performances of substantial classical music. Ustad Nasiruddin Khan (of Delhi gharana) sang compositions of the 13th century genius Amir Khusrau in one programme.
In another, sitar virtuosos Nafees Ahmed and Javed Allahditta played their instruments with remarkable skill. In yet another programme, Sharafat Ali Khan, son of the late Ustad Salamat Ali Khan, (of Sham Chaurasi gharana) cast a spell over the audience by singing Thumris. (It may be mentioned that Nawab Wajid Ali of Awadh and Mian Ghulam Nabi Shori, the court musician, developed the musical forms of Thumri, Dadra and Tappa).
In the sixth Baithak programme held at the Arts Council last Sunday, sitar player Sajid Ali and tabla player Umaid Ali walked off with accolades. The audience, comprising largely initiated people, was profuse in their appreciation of the duo who played Tilak Kamod raag with extraordinary dexterity. Though the audience clapped a lot whenever the duo indulged in what is known as Jugalbandi in technical parlance, the organizers should have explained the salient features of Tilak Kamod raga.
A favourite of Thumri singers, Tilak Kamod raga belongs to the Khamaj thaath. The Vadi Sur, or the most dominating note in a raga, of Tilak Kamod is Gandhar, and its Sumvadi Sur, or the second important note in a raag, is Nikhad. In Tilak Kamod, six notes are used in Aarohi (ascending notes) and seven notes are used in Avrohi (descending notes).
Since Baithak was organized by the Arts Council in collaboration with Mauseqaar, an organization committed to promoting amateur singers, secretary Amin-e-Ajam and Dr Sara Khan also performed at the function. Their repertoire consisted of vintage filmi songs. One evergreen number sung by Ajam — Jab terey sheher say guzarta hoon — was very popular with the audience..
Dr Shamsunnisa, a student of Salamat Ali, enlivened the function by singing the ghazals of Maulana Hasrat Mohani and Dagh Dehlawi. Her strong point is her control over her voice and clarity of speech. Ghulam Nabi Morai also sang a few old numbers at the programme.— Bahzad Alam Khan
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