Working on a melody

Elita Karim

Maqsoodul Haque. Photo: Mumit M.

IT was probably in the early 1970s when people in Bangladesh were beginning to notice a different kind of expression from the youngsters around. A certain form of music, which would easily speak of one's desires, hopes and the pain of losing something, began to revolve in the air. Many youngsters would describe this music as something out of the romantic era, where one would scream out poignant poetry and heart-wrenching tunes. In spite of the fact that a group of music lovers and the puritans of the period did not take this form of expression into account or give it much significance, it boomed out to the masses in the country and eventually marked the beginning of a revolution in Bangladeshi music.

Even though bands have been around for decades in Bangladesh or in this part of the world, many professional musicians in the early days were heavily influenced by the western rockers. There are many Bangladeshi rockers who pay homage to Azam Khan, when it comes to talking about one of the strongest and earliest rock or 'band' influence in the country. With his band 'Uccharon', Khan managed to capture hearts all over the country with his meaningful lyrics and folk tales right from the roots.

Famous musician, composer and singer of the band Feedback, now rocking the stage with his band Dhaka, Maqsoodul Haque says that most Bangladeshi musicians starting out with a band line up would naturally count on Azam Khan for their initial phase of orientation. But for him, Azam Khan played a different role. “Azam bhai for me was one among many influences - and not the first,” says Haque. “He did not only influence my thoughts more than my music but also changed by snobbish attitude towards Bangla rock, which in my earlier days, I didn't really feel, was my cup of tea!” With compositions voicing out for the people and showcasing the old-age societal norms that still require a major change, Haque is also considered as one of the pioneers of revolutionary rock music.

“I myself used to play in Azam Khan's second set up,” says Foad Nasser Babu, the famous composer and keyboardist of the band Feedback. Nasser is one of the second generation musicians of Bangladesh after independence. “Back then, whatever was happening greatly influenced my music and musicians like Azam Khan and Ferdous Wahid were all there to bring in something new to the Bangladehsi band music scene.”

The term 'Band Music' is almost used as a genre of music in Bangladesh today. This is probably because it was easier to differentiate between the traditional form of music played and performed in Bangladesh and band music--Bangla songs with a touch of the western melody and foreign instruments. With Tagore songs, Nazrul compositions and the Adhunik stream of music creations making the mark in Bangladesh, there was a time when the mass would easily relate themselves to these compositions. With band music entering the local music scene, it was quite natural for the music critics and thinkers to draw a line between the traditional form of music practices in the country and the new age band compositions.

It is interesting to note that over the last many years band musicians have developed a certain culture of their own, even though it was probably not done intentionally and certainly not in just a matter of moments. A fun element that is hard to miss is the fact that musicians in a band move together, whether it is for work reasons or hanging out during off periods. This is of course a fact for bands playing in other countries as well. While in the more developed countries, musicians in a band are sometimes required to stay together in pent houses or work in private and specialised studios, so as to work together and come up with theme based music and lyrics, band musicians here in Bangladesh get more involved with each others' families and come up with catchy or heart-warming tunes.

There are some areas in Dhaka city which are quite popular amongst music lovers and researchers, thanks to the years of addas over tea and snacks, and of course, discussions on volumes of classic rock, rock ballads and of course, rock legends of both home and abroad. For instance, a certain alleyway in Elephant Road, is very famous amongst many musicians today, mainly because of a small music store called Rainbow, which popularised different kinds of music, both traditional and rock. Referred to as the goli, it was a daily ritual of the young musicians back in the 80s and early 90s to hang out in the alleyway and share and exchange music news, the latest bit of music technology and old cassettes and LPs dug out of trunks in the store room, containing masterpieces by musicians all over the world.

Photo: Mumit M.

Band music has come a long way since the early days. In an interview with the Windy Side of Care, one of the first bands to be created in Bangladesh back in 1964, there have been several small revolutions in the country in terms of musical compositions and technology. Talking about influences, Maqsoodul Haque says that there are bands from both the country and abroad that greatly influenced him, his thoughts, and compositions and shaped up his musical knowledge in general. “Rambling Stones, Windy Sides of Care and Ugly Phases were my biggest influence to go live,” says Haque. Being one of the biggest influences on the young musicians today, Haque's famous 'Melay Jaire' is still one of the most popular renditions that is played on Pahela Baishakh out on the streets, in the fields and eateries, every year. “I have had dimensions of musical influences in my life!” says Foad Nasser Babu. “Starting from Santana, Deep Purple and BB King, who I grew up with, I would also listen to a lot of Elton John, whose piano styles I still admire even today and try to implement it with my own style!

One of the most popular types of music that is being recorded and performed by band musicians today is called fusion rock, where different traditional melodies and rhythms are blended with new age melodies and beats. As a result, many of the bands today have popularised old folk songs and other traditional forms of compositions, mixed with their modern instrumental isation and rhythm programming, to the younger crowd. “I see nothing wrong with it as I may be accused by many for starting the trend!” says Maqsudul Haque, who once made the headlines for interpreting a Tagore song in his own way. “However there needs to be a consistent awareness and education about the art forms as these are very difficult to master. Merely putting in guitars, keyboards and drums and calling it 'fusion' is deliberate confusion.”

“There is nothing wrong with fusion music as long as it is done in a proper manner, that is keeping the original tune and lyrics intact and not playing around with them,” says Foad Nasser Babu. “We had brought out a fusion album ourselves, in the year 94-95, where we had modernised and popularised baul songs. In fact, Azam Khan himself had sung the folk song Alaal o Dulaal, which was a big hit with the audience. However, I believe back then, it took people a long time to accept the concept as compared to today, when people easily and readily accept it.”

To be a true music lover, not only does one have to be a creator, but also a true listener who will be able to accept and appreciate different forms of music. Only then can we be able to add to the many dimensions created in Bangladeshi music. Who knows? There might be something more appealing in the next few years, defining unity, beauty, courage and universality.

The writer is Editor, Star Campus.