This 82-year-old veteran music composer still has the same enthusiasm for music as he did when India hummed the tunes of his chart-topping numbers. Khayyam, whose musical journey spans four-odd decades, and is known for music in films such as Footpath (1953), Aakhri Khat (1966), Kabhi Kabhie (1976), Noorie (1979), Thodi si Befawaai (1980), Umrao Jaan (1981) and Bazaar (1982). He received the KL Saigal Shikhar Award for life time achievement at a musical soiree recently. A Sangeet Natak Academy awardee, Khayyam Sahib (as he is better known in Bollywood), spoke to Arunima Mishra, amidst Saigal?s soulful numbers vying for his attention, on the depth of music, ghazals, nostalgia and the inevitable relationship between Delhi and the shayars. Excerpts:
•Compared to music from your heydays, how has it changed?
I appreciate change, but I am 100% against vulgarity. Our generation used to make clean songs, which were extremely popular and super-duper hits. Earlier in a film, one or two songs were westernised, a trend that has increased of late. Music has seven notes and it depends on the composer how he takes them forward. Yes, anything new in terms of instruments is always welcome.
The electro rhythm today is harsh and loud. It directly impacts the younger generation ? developing mental sickness. In fact, medical science has come up with latest studies, which prove that. We were privileged to have inspiring stories, outstanding subjects to which we gave music to. No one can draw parallels to our success. It?s just like ? classic and immortal is different from what you call popular.
•It?s two decades since you retired from composing music. Do you feel the urge to get back to it?
As long as the brain keeps working, it can produce soothing music. Mind you, it?s not a physical thing. The other factor that is equally important is that if someone has the mood, with the help of the almighty God, poetic, melodious and high-grade music can be produced.
•Share some unforgettable moments from your career.
(With a smile) While composing the title track for Thodi si Bewafaai, for which Gulzar had penned the lyrics ? Hazaar raahe mud ke dekhee, kahin se koi sadaa naa aayee? badee wafaa se nibhaayee tumne, humaaree thodi si bewafaai, I had put gaps in the antra as well as the mukhda, sung by Kishore da (Kishore Kumar) and Lata (Mangeshkar). Kishore da felt that it was lousy and wanted it without the gaps. So I told technicians that dada should be given a rehearsal without the gaps. And after the take, dada said on the microphone, ?Khayyam sahib, mujhse galti ho gayi. It was better the other way round.?
•Music and Khayyam – what?s the best ever combination?
In one line, Khayyam means my wife Jagjit Kaur and Jagjit Kaur is the inspiration for Khayyam, which is music.
•Any recent compositions that you liked?
The young music composers are talented and successful. The songs reflect what the director wants these days. And, of course, if people like the music, then the singer and composer are termed as successful. However, I?m against the remix versions as I believe the original always rules.
•Have ghazals been faded away from Bollywood?
In a way, yes, they have as the subject is not there any longer. There?s only action, vulgarity, and dance and ghazals have nothing to do with all this. Ghazals inke samajh ke bahar hai.
•Define the relationship between Delhi and shayars. Who has described the city best?
There are big shayars (with in depth quality) such as Mirza Ghalib among others who have eloquently written about the city. Dilli unki hai aur woh Dilli ke hain. I?ve came across their shayarana andaaz since I came to Delhi to learn music when I was five years old.