Striking the eighth note

He’s been a past master of the seven notes as filmdom’s most venerated singer from the after-greats generation. Initiated into music from early childhood, Suresh Wadkar’s first name, given at the time of his birth, has proved to be amazingly prophetic.

Born in Kolhapur in 1954, Suresh was sent by his father to his guru, Acharya Jialal Vasant, at the tender age of ten. Stunning both dad and guru with his prowess within a year, he began to perform on stage at a very early age. The Sur-Singar competition in 1976 proved his entrance route to Hindi films, with Seene mein jalan (Gaman) as his first assignment. Followed Ravindra Jain’s Paheli.

But the real big time began when Lata Mangeshkar recommended him to top names like Laxmikant-Pyarelal and Kalyanji -Anandji. After LP’s Chal chameli (Krodhi), Megha re (Pyaasa Sawan) and the songs of Raj Kapoor’s Prem Rog and Kalyanji-Anandji’s Vidhaata, Wadkar entered the big league, shattering the myth that a male Maharashtrian voice would not make it on the national front.

In the ’80s and early ’90s, before music succumbed to the virus of crass commercialism, Suresh Wadkar was a frontline singer. Apart from singing for the topmost composers of the time (Laxmikant Pyarelal, Kalyanji Anandji, R.D. Burman, Ravindra Jain, Bappi Lahiri, Khaiyyaam, Usha Khanna, early Anu Malik) and even veterans (Shanker, Ravi, Chitragupta, Jaidev, Hridaynath Mangeshkar), he sang for the topmost banners and filmmakers (RK, Yash Chopra, Subhash Ghai, Manmohan Desai, Prakash Mehra, G.P.Sippy et al).

The list of actors for whom he has sung includes Shammi Kapoor, Sanjeev Kumar, Dharmendra, Vinod Khanna, Rajesh Khanna, Shatrughna Sinha and even Amitabh Bachchan. Wadkar has also sung in several films for Jeetendra, Rishi Kapoor, Anil Kapoor, Sanjay Dutt, Mithun Chakraborty, Raj Babbar, Govinda, Sunny Deol and even Kamal Haasan and Rajnikant.

Ajay Devgan (Jigar) and Shah Rukh Khan (Dil Aashna Hai) represent the latest heroes he has sung for. “I have been branded as a classical singer in Hindi films,” complains Wadkar, pointing out that he has not acquired this label in Marathi films. “But people have forgotten that I have sung songs like Chal chameli (Krodhi), Ayee hai baaraat (Love’86), Chhan se tu aaye (Sanjog) and Tu mujhe suna (Chandni).

But even the composers who avoid him for such and other spurious reasons concede that Wadkar is the most talented singer going. And the ’90s too have had Wadkar making a pronounced impact in lovely numbers like Teri yaad aati hai (Saudagar), Dil dene ki rut aayi (Prem Granth), Main to diwani huyi (Vansh), Panchhi premi (Lamhe), Kaale kaale baadal (Anjaane), Surmai shaam (Lekin), O Priya Priya (Dil), Aaina hai mera chehera (Aaina) and the songs of Henna. Having mastered the seven notes as a singer, Suresh struck the eighth note and turned composer with the Marathi films Asach Paahije Navha Navha and Ashi Dnyaneshwari.

He has just released his first score as a composer in Hindi films with Dil Churaya Aapne. The music is modern with a strong essence of melody. “I would like my music to be liked by today’s audience, and yet appreciated years down the line,’ says Wadkar.

Excerpts from an interview follow.
How did you think of turning composer?
A fully trained singer automatically acquires the basics of composing skills. That’s because in our music, you have to learn and develop the raag in your own way as you learn it. That automatically teaches you to be inventive, because you are elaborating a basic framework in your own way. You learn phrasing, that is, how to breakup a line. The word khayaal itself means to think and absorb.

But how did the opportunity come about?
Years ago, well-known writer-director Govind Moonis paid me a visit when I was doing my riyaaz. Since he liked what I was singing then, he casually asked me whose composition it was. When I said it was mine, he was impressed. He asked me whether I would like to be a music director. I said, “Why not?” When he was signed for the script of Dil Churaya Aapne, he recommended my name. The producer-directors too liked my tunes and I was in.

The music is studded with today’s singers. Why did you not employ Lata’s and Asha’s vocals?
As a professional composer, I have to select the singer best suited to my compositions. Latabai and Ashabai are extremely busy and I would not have liked to compose a song with them in mind and then give it to someone else.

With the present trend being of ‘item’ and borrowed songs, how do you fit in?
I wouldn’t like to copy a tune, though a music director has every right to be inspired by a tune because every song made in this world is based on combinations of the same seven notes. But one must put in one’s own contribution and change the musical phrase. If I find a producer resistant to the idea of letting me compose an original song in place of a suggested copy, I would prefer to let go of the film. Coming to item songs, there is no harm, but I would prefer to compose situational songs, as the situation alone can really inspire you. I have been lucky in that respect as my filmmakers gave me definite situations and total freedom. They asked for good, original music. How much I have succeeded is for the people to decide.

Why do you think you have been branded as a classical singer?
(Wryly) They would have branded a versatile genius like Rafi Sahab too, had he been alive today! I feel that today’s music directors lack self-confidence and give in very easily. Rather than branding me, I wish they had simply told me, “I have decided not to take you.” As a composer, I too have followed a trend, but not at the cost of my music. As a classically trained musician, I can never abandon melody.
Sukhwindara Singh has sung a lovely song called Zindagi ek paheli hai for me. It’s a melody far removed from his standard Punjabi image.
Why can’t composers dare to make similar experiments with me? As a professional singer, Sukhwindara has done a great job - if I had mentally branded him, I would have had to take someone else. Apni soch sudhaarni chahiye (one should shange one’s way of thinking). Of course, the music directors alone are not to be blamed, the whole system works that way. If you deliver a hit, they want all other songs of the same kind from you! But what happens to the 99 other different songs you have composed? Why do they assume that they will not run? As a singer, I have been lucky enough to get a lot of variety in my film and non-film, Hindi and Marathi work. Why shouldn’t I then give the same variety?

Are you aiming for lasting value in your songs?
Of course, I have to aim for it. Today the prime need is a catchy tune. But I have listened to, and still listen to, the very best of music. My car is stuffed with old music, and the khazana is so limitless that every song can inspire you to create at least 20 other good songs. The problem today is that music directors get in without any basic qualification. Training is important in every line, why isn’t it given due importance in music? Sur and shabda (pronunciation) are all-important for a musician. Of late, there is a lot said about expression being the prime requirement. But I would be rather lacking 10 per cent in expression than be be-sura.

Would you have been better off if you had been a clone?
Yes, I would have got more songs. But I am happier this way. My guru, Acharya Jialal Vasant-ji wanted me to have my own stamp, my own style. So did I.

Would you agree with maestro O.P. Nayyar that music cannot be spoilt, being a combination of seven notes emanating from God?
God is reflected in every creative effort, even lyrics, poetry, painting and an article written by you. But that certainly does not mean that every creation is worthwhile.

So how would you define music?
Music is a sadhana (worship). At the same ime it is a yogic kriya, a technical science which should be learnt as deeply as possible, and I am still a student. Someone once said, “bad music creates bad human beings.” I must say that it is a fact that if you listen carefully to the folk music of any country you will get an idea of what it’s people are like! It’s a crying shame that we have colleges and universities for religion, education, the arts and even sports but nothing comparable in music. The powers-that-be don’t have the slightest idea of what powers are locked in our raags. Even shrivelling potted plants revive when the right raag is played at the right time. There are thousands of cases of sick people getting cured with our music. And this is the divine art that is being allowed to generate by allowing half-baked musicians to propagate it! My institute, the Acharya Jialal Vasant Institute, is a small step towards serving the cause of music.

What next as a composer?
I am beginning to understand now that marketing is important to survive today. I think I will have to employ a PR guy to work for me! (Smiles wryly). I will await offers. God has been very kind to me, as I have never been devoid of work.

Rajiv Vijayakar