It is no easy task to imitate the melancholy, capture the sensual quiver and deliver the songs he sung with equal finesse. Perhaps, that is why not many try to stage an exclusive Talat Mahmood evening.
However, Music Lovers Chennai’s tribute to the singer on Sunday at the Museum Theatre, with singer Surojit Guha, a known name in the musical circle across India, recaptured Talat Mahmood melodies in its flavour, character and soul.
Guha was joined by Mumbai-based singer Sangeeta Melekar. Replacing the orchestra was the music accompaniment by tracks crafted exclusively for the show. Beginning with Raat ne kya kya (Ek Gaon Ki Kahaani) the show took off on the trademark melancholic note that Mahmood is often associated with.
An assortment of lilt, sadness and romance followed with Aha rimjhim ke ye pyare ( Usne Kaha Tha), Shaam-e-gham ki kasam (Footpath) and Pyar par bas toh nahi (Sone Ki Chidya). It would have been only a surprise had Jalte hain jiske (Sujata) and Itna na mujhse (Chaaya) hadn’t been included in the 25-song programme.
Melekar accompanied Guha in the magical journey with a mellifluous rendition. With poise and ease, she delivered the duets sung by Lata Mangeshkar, Asha Bhonsle, Geeta Dutt and Shamshad Begum.
Every Mahmood’s best and audience’s favourite found their place in the three-hour performance. If Jayen toh jayen (Taxi Driver) brought a huge round of applause just with the prelude, Phir wohi shaam (Jahan Ara) echoed the pain of separation. But, it was for the variety that the show certainly earned the bonus points.
As Mahmood had worked with every music composer of the era, including Anil Biswas, Naushad, O P Nayyar, S D Burman, Madan Moham, Ghulam Mohammad, Shankar- Jaikishen, C Ramachandra, Chitragupt and Khayyam, the format made a successful attempt at presenting the singer’s range.
Where he was the sober voice of the tragedy king (Dilip Kumar) in Seene mein sulagte Mahmood could also suit the dreamy Kapoor in Main dil hoon ek (Anhonee), apart from being a regular voice for Dev Anand, too.
Paying an obeisance to Mahmood’s body of work, Guha’s performance was in every element a befitting ode.
Though one certainly missed Yeh hawa yeh raat (Sangdil), Humse aaya (Dekh Kabira Roya) and Hai sabse madhur woh geet (Patita), but then, is three hours ever enough to recap the greatness of Talat Mahmood?
The proceeds of ‘Jalte Hain Jiske Liye’ go to Vishranti, an old age home.