‘My music is based on convergences’: Amit Chaudhuri on his new compositions


Singer-writer Amit Chaudhuri
| Picture Credit score: Anindya Saha

Amit Chaudhuri is one thing of a modern-day renaissance man. The 60-year-old is a world well-known novelist who specialises in what James Wooden calls the ‘refutation of the spectacular’, his writing full of straightforward pleasures and quotidian delights. Or you could know him as a celebrated essayist, whose final non-fiction work, Discovering The Raga, received the celebrated James Tait Black Prize in 2022. There’s some poetry in his oeuvre, too.

However Chaudhuri additionally has an alternate profession in music, by which he’s simply as established, if considerably much less prolific. A skilled Hindustani classical vocalist, he spent the latter half of the 2000s conducting an audacious experiment in what he calls ‘non-fusion’ — composing expansive soundscapes that explored the intersections between a number of musical traditions. The undertaking resulted in two critically-acclaimed albums, This Is Not Fusion (2007) and Discovered Music (2010), earlier than he bought busy with different pursuits. However now, because of a go to to Norwich final 12 months, he’s on the point of launch a follow-up.

Talking over the cellphone from his residence in Kolkata, Chaudhuri opens up about his recently-released single and the significance of going towards the grain. Edited excerpts.

Your new single is a medley of Joe Zawinul’s 1970 composition ‘In A Silent Way’ with the Indian nationwide anthem. What synergies did you discover between these compositions by an Austrian jazz composer and Rabindranath Tagore?

It wasn’t a aware, pre-determined factor. My music on this undertaking is usually primarily based on convergences, however they don’t occur as a result of I’m going out in search of them. A few years in the past, I used to be listening to Joe Zawinul’s model of ‘In A Silent Way’, and at one level I started to sing ‘Jana Gana Mana’ alongside it as a result of there gave the impression to be some type of consonance over there. I started to consider it as a musical work. That’s the place it started.

T.M. Krishna lately launched the ‘Unsung Anthem’, by which he performs the unsung verses of Tagore’s ‘Bharato Bhagyo Bidhata’. There’s a critique implicit in that alternative, of how the anthem is more and more getting used as a logo for concepts that Tagore by no means agreed with. Have been there any comparable undertones in your re-imagining?

That’s so that you can say. Actually it’s not a part of one’s aware working, besides that one is wanting on the anthem as a chunk of music. A Tagore music is the results of a dialog between this multiplicity of traditions, made attainable by a world by which there are a number of journeys to take. So, for me, it’s essential to revisit the anthem, however not nationalistically or commercially. The intention is for it to be a form of meditation and exploration of musical potentialities. There’s a bent for items of music which are related to nationalism or faith to not be checked out as an inventive artefact. We stop to consider them as aesthetic objects. And I believe it’s attainable, and perhaps fascinating, to have a look at these thus.

This single comes forward of your forthcoming album, your first in 13 years. What kind of musical themes are you exploring on the document?

I don’t wish to discuss in regards to the album an excessive amount of proper now as a result of it’s not out but. However the undertaking is much like what I’ve accomplished earlier, by way of exploring musical overlaps. The principle factor that’s totally different right here is the predominance of acoustic devices. There’s much more acoustic guitar and piano on right here than on the sooner two albums. And that’s simply because I like that acoustic sound. Through the years, I started to carry out extra with acoustic guitar than with a complete band, partly resulting from budgetary constraints. However I preferred the ensuing sound and determined to go for it with this recording.

Amit Chaudhuri performing.

Amit Chaudhuri performing.

The music video for the only is centred on a portray of the Indian nationwide flag by Oxford artist Mark Rowan-Hull. Is there a specific symbolism in Hull’s messy brush strokes?

There’s no symbolism as a result of upon getting symbolism you’re weighed down. You’ve mounted the that means. One is attempting to unlock that means, and really feel a way of pleasure and pleasure on the surprising. Mark is a pal of mine who’s a synesthetic artist — he sees colors in sound. He’d made this work a few years in the past, a model of the Indian flag that I preferred very a lot. So I believed it will be good to have a video for this recording by which there have been no human figures, solely colors. However not all in place initially. It regularly turns into a model of the flag and due to this fact we additionally see an act of inventive creation happen, somewhat than only a token act of reverence.

Mark Rowan-Hull’s painting of the Indian flag.

Mark Rowan-Hull’s portray of the Indian flag.

You’ve spoken previously about your aversion to ‘fusion’ or ‘world music’ as a class. How do you categorise your personal strategy to crafting music that spans a number of traditions?

My strategy is nearer perhaps to the strategy of Tagore, or the music administrators of Hindi movies, the place you’re making a music that belongs to every part they learn about musical traditions. It’s not that they’re attempting to westernise or easternise a music, or add particular Carnatic or dhrupad or Latin components to it. They’ve a music, it could be within the type of a ghazal or geet, however their very own musical and psychological world encompasses an amazing deal [more]. And so they place the music in that world, and permit it to hold plenty of what it means to be them [the songwriter] at that time in historical past.

This single and the album are supposed to mark the seventy fifth anniversary of Indian independence. What do you hope individuals take away from this launch?

It’s a deliberate message to the writers, to the artists, to the filmmakers, to the experimenters: every part must be a possibility with which to experiment. Whether or not that’s the anniversary of Independence, a pageant, or simply as we speak and tomorrow. Every factor must be checked out afresh. So, I wished to remind those that it’s attainable to attract delight as a artistic from every part. One doesn’t have to be regimented, in each stroll of life. And this have to be an important factor about who we’re, much more than the liberty of expression.

The creator is a contract tradition author primarily based in Mumbai. 

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