Classical Sufi & Jazz Music
Fusion evening with Marina Ahmad
by Farah Naz Ahmad
Bishwo Shahitto Kendro, London recently had the privilege to host an evening of Sufi classical music by Marina Alam Ahmad, a disciple of Pundit Jasraj Ji.
An expert on north Indian classical music, Marina Ahmad enchanted the audience with the charms of her realm on December 13 at the Rich Mix cultural centre in the East End of London.
Marinas contemporary approach, such as fusion, uniquely combined the depth of Indian classical style with free flowing motion of jazz, which simply captivated the listeners heart. She was accompanied by Mitel Purohit, who is one of the most sought after tabla percussionists in UK, and Dhiren Raichura, an eminent guitarist who has played with many renowned singers from the Indian Subcontinent, including Ustad Nusrat Fateh Ali Khan. Dhiren, a multi-instrumentalist, is skilled in both north and south Indian music and many western forms, such as jazz and funk.
Marinas soulful and distinctive panache enthralled the audience for two wholesome hours. Her mastery over the delivery of notes and pitch, tonal precision, use of microtones and tone fragments were greatly appreciated. Her first song from raag Mia Ki Todi la ilaha ill lal lah, which suffused a pensive and sombre mood (as it is supposed to be performed as late morning raga) created a meditative ambience. The pensive mood was then relieved in the form of drutoloi (faster tempo) to lighten the poignant feel of the earlier rendition. Mitels Benaras-style tabla, twinned with his passion for world music, brilliantly complemented Marinas voice. Indeed, it was a soothing and soulful commencement.
The performance then developed through raag Kirwani, whose scale is the same as harmonic minor in western music. The song Holi khelungi kahe Bismillah simply created a heart-rending and sentimental feel with moods of love and devotion. Dhirens instrumental rendition with Marinas soulful delivery was truly a testament of tomorrows style. His musical notation on guitar and style reverberated among the audience. As his composition was a fusion between western and eastern styles of contemporary music, it perfectly went with Marinas musical elucidation.
Through this song, Marina expressed how in any form of festivals, be it Holi, Eid, Diwali, or any other religious ceremonies in the Indian subcontinent, mainly in the then undivided Bengal, people exuded communal harmony by starting rituals with Bismillah and thus, the pattern of such lyrics.
The next two songs, Aye Badariwa and Shama Jhuko, she sang were from raag Gaur Malahar, which is an old raga connected with the torrential rains of monsoon. According to the legend, raga Malahar is so powerful that when sung, it can induce rainfall. Surely, this rainfall in fact depicts the metaphorical state of mind brought about by the recitation of the raga itself. That was visible from the audiences absolute fascination and how they were completely drenched in memories of monsoonal love. The part of the song with and without tabla accompaniment was the depiction of various human emotions, from forlorn and gloomy moods to loving and festive ones. Mitel simply kept the audience mesmerised with his complete spontaneity, keeping in pace with Marinas unique rendition.
The last segment of the performance started with Kahe mana karo, which is from raag Madhuwanti. It is a very romantic raga based on the eternity and hues of love. Madhu literally means honey, and the song she sang depicted the sweet-sour emotion of the Radha-Krishna pair, when Krishna plays charmingly with other female devotees and Radha feels anguished. The song was based on this sweet raga with a very simple philosophy of love and romance, and Marinas singing style flawlessly expressed gentle, loving sentiments between two lovers.
As the listeners kept delving into the Sringaar raga of divine love, Marina stirred them towards more a soulful but stipulating mood with the song Aj jane ki jidd na karo, associated with raag Yaman. She sang the song in her natural tone, without any musical instruments. She explained that the raga itself is a devotional one, comprising more of Bhakti, Gambhir and Sringaar (about devotion and womanhood) sentiments of a woman; therefore, the song is very dear to her heart.
The audience remained enchanted from the beginning till the end. The ambience was altering from pensive to festive moods, from sentimental to more devotional state of mind, from flirtatious to soulful attachment through the beautiful renditions of Marina Ahmad.
The instruments played by Mitel Purohit (tabla) and Dhiren Raichura (guitar) on and off, as requested by Marina, truly depicted how the human mind transforms from deep desolation to festivity through the addition of tempo.
Khadija Rahman, secretary of Bishwo Shahitto Kendro (BSK), London and co-host Raina Fateh jointly concluded the programme by giving the vote of thanks. They mentioned how BSK is one of the established promoters of art, culture and heritage in the heart of London, and in the near future, how it will offer more contemporary and finer class of arts and music to connoisseurs of culture.
BSK, London, an extension of BSK, Dhaka, has been running since 2002, with poet Shamim Azad as the chair. The centre has always supported literature, music and aesthetics, with the aim of promoting artists of different genres.
The writer is a British-Bangladeshi poet and author.
