On being asked if the rise of independent music in recent times has really helped singers, Kavita Seth agreed. On the occasion of the World Music Day, which is today i.e June 21, spoke to Kavita Seth on singing for films as well as producing music independently.
#KAVITA SETH TUM HI HO BANDHU MOVIE#
Before this song went viral, the singer has given several mesmerising and superhit songs including Iktara from the 2011 movie Wake Up Sid and Tum Hi Ho Bandhu from Deepika Padukone’s 2012 release Cocktail. “My sons, Kavish and Kanishk, have introduced me to Israeli and Lebanese music, expanding my palate from mujra, thumri, qawali and Pakistani classical music that generally populate my YouTube recommendations,” she adds.Kavita Seth’s Rangi Saari is on the top of everyone’s playlists these days.
A single, tastefully mixing together thumri and electronica with a vibrant animated music video to boot, it also marks her collaboration with son and musician Kanishk Seth, who is responsible for her growing interest in world music. The remedy to this disconnectedness, she believes, lies in recontextualising classical music in the realm of popular music. But at the World Sacred Spirit Festival in Rajasthan last year, she recalls receiving a request for an encore from mesmerised guests and even acquiesced to perform the next day at their private quarters. “Unfortunately, most listeners here demand a ‘fast number’”, she said, recollecting a few unsavoury experiences at local concerts. When asked if the reception of eastern classical music is different in the west, Seth expressed her admiration for the rapt and sincere attention of music lovers abroad. Shubham Saraf and Ishan Khattar in still from A Suitable Boy But in Saeeda bai’s singing voice, they seem to speak the universal language of sensuality. Interestingly, among the poems that Nair and Seth included in the show are Mirza Ghalib’s Dil-e-Nadaan, Daagh Dehlvi’s Lutf Woh Ishq Mein Paye and Nā-Ravā Kahiye, and Amit Minai’s Mehfil Barkhast Hui, many of which were believed to have been written originally as homoerotic odes. Seth’s mellifluous ragas waft in at tense moments in anticipation of a riot, or tender moments portraying the many romantic dalliances which drive the plot. Saigal and Orquesta Francisco Canaro, the ghazals were an integral part of the novel of the show, just as it was in the original Vikram Seth novel. Despite being packed with diverse forms of music, by performers like K. The bonding camaraderie between the director and the show’s music division, which also comprised sitar virtuoso Anoushka Shankar and music director Alex Jeffes (based in Los Angeles), went on to create a show that is remarkably bound by its music and will add to its memorability. Sometimes, Tabu, who essays the role of Saeedabai, would come in and observe her movements and performance gestures in the studio. “This was done to retain the andaaz of intimate mehfils.” Nair was also vehement about retaining the huskiness and grains in her voice, forbidding any touch-ups in post.
Speaking of organic processes, that is also how Seth describes the recording, which took place live without any programming.
For me, composing comes organically, and it clicks when I am working with directors like Mira Nair, who have a fair knowledge of music, or Ram Madhvani ( Neerja) who are present at the recording studio with constructive criticism.” “There are many in Bollywood who send in ten versions of the same song, asking the producer to choose the one they deem fit. This seems to have impressed Nair enough to suggest that Seth should consider a career in music direction. During the recording, Mira would listen closely and explain the picturisation and context for each song.” When she’d point out any shortcomings, Seth would immediately rework them on the spot, using another raag, for instance.
“I did my own research to emulate the zubaan, tones and styles in which ghazals were composed and performed in that particular period. By June 2019, the five ghazals that embellish the show were recorded at Yash Raj Films Studio in Mumbai, with a small team of musicians on the tabla, esraj, harmonium and dholak, poring over Seth’s compositions based on the poems Nair had chosen. Seth spent 3-4 days recording Saeedabai’s songs which she believes are defined by their minimalism. Had it not been for this series, the creators of A Suitable Boy would never have been aware of her ambidexterity. The weekly series, up on YouTube, is her personal gallery of music, poems and history, where she composes and performs ghazals based on the works of some of her favourite Sufi poets. One must begin with ‘Main Kavita Hoon,’ for a panoptical view of Seth’s artistry.
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