I met Rahman during a Channel V concert in 1998 when we performed Doobadooba. He liked the sound of the band and how we emoted the song. Later Igot a call from his Chennai office to come over for a recording. I saw him jamwith Prasoon, saw a scratch becoming a full blown song. That was Khoon Chalafor Rang De Basanti.
There is always a great energy in his studio that gets injected into you aswell. He gives you suggestions on how to emote and lets you free when you hitthe right frequency. He has a way of guiding subtly. He is sure of what he wantsin a song. But he is also a flexible guy. He let me introduce the laughter trackin Masakalli.
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With the computer and the Internet, the world is shrinking, people areaccepting music in a global way and he has this way of working on new things. Hehas access to world music and incorporates those sounds into his music.
He is also a very quiet guy, makes music out of silences. There are silences,spaces in his music. His music borders on spirituality.
He plays with voices, uses different styles and schools and instruments. Ilove the way the accordion wafts in and out of Masakalli.
He understands a film, the characters, feelings. His music accentuatesemotions and underlines the theme.
His music has a beautiful energy to it. It has finesse, musicality. His musicis not just for those with evolved tastes but common people too. It also makesthe layman smile, laugh. It lifts you, connects to your soul. It is acomplicated creation, yet wholesome as well.
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My personal favourite is Yeh haseen vadiyaan from Roja; Yehjo des hai tera from Swades and Vande Mataram.
As told to Namrata Joshi
