Jerry Amaldev holds a cherished place in Malayali music lore, with timeless melodies such as Manjani kombil, Aayiram kannumayi, Devadundubhi and Pookkal panineer pookkal. His mastery extends across eastern and western musical traditions, which make his compositions unique. In a freewheeling conversation with TNIE, the 84-year-old maestro reflects on his musical journey, industry hiatus, favourite singers and his “purist” ways.
Excerpts
You are someone who has given so many unforgettable melodies for Malayalis…. Was there music in the family?
I was born in Fort Kochi. My grandmother and mother were good singers, and they used to sing in church. They had a keen sense of music, which I got. I used to sing old Hindi songs at home. And whenever some visitors came home, my grandmother would say ‘Jerry, come… sing a song’. And I would immediately do so (chuckles).
You went to the seminary in central India to become a priest. Was that your wish?
Well, from childhood, my mother and grandmother would say, ‘He would become a priest’, observing that ‘he won’t climb the tree’; ‘he won’t ride a bicycle’ (chuckles). I believed them as a little child. I was also attracted to the thought as a teenager, about a unique path to do something good for the world. So, I decided that instead of becoming a priest here, I would serve in north India and help the tribal people living in the forests. That was my thought process then.
How was life there?
We were trained by German missionaries. They were very sharp in recognising talent, and they spotted my musical learning. They also realised that music, paintings, and literature should be used to communicate with the Hindu brothers about the life and learnings of Jesus Christ. India is one of the oldest civilisations in the world, and most of the literature in the region was written as verses or poems. So they taught me tabla, piano, organ, and Hindustani music, among other things.
Why did you eventually leave the seminary?
I realised that my vocation was not priesthood; I was more passionate about music. I told this to the missionaries, and they said they would let us decide after some years. I broached the subject after some years, and they decided to send me to Mumbai in 1964. I was 25 at the time.
How did you connect with legendary composer Naushad Ali?
I used to cycle to work and back through Carter Road. One day, while cycling, I noticed a gate, with the names ‘Naushad’ and ‘Ashiana’ on a wall beside it. Mustering courage, I rang the bell. Naushad opened the door. I expressed my admiration and said I wished to sing some songs for him. He invited me inside, offered tea, and asked me to sing one of his songs. I sang ...Rim jhim barse badarwa, piya ghar aaja aaja…. He then asked for another one.
You must have met greats such as Mohammed Rafi and Lata Mangeshkar as Naushad’s assistant…
Yes… (smiles) Mohammed Rafi saab was such a simple person. He never thought of himself as a great singer. Rafi saab didn’t study classical music. He was a natural singer. During our private conversations, his first sentence would be: ‘Sir ji, hame kuch nahi aata, aap jo kahte hein, hum gaate hein... (I don’t know anything… I sing according to what you say). He was that simple. Lata Mangeshkarji was not so friendly, but we had a good rapport. Mukesh was a happy-go-lucky person. He used to tell me: ‘Jerry, I don’t know why these people like my singing. I am singing besura (off tune), but people like it. What can I do?’ (laughs)
What made you leave for the US to learn Western music?
While working, I noted that the Goans who were handling the orchestration had not studied Indian music. Though gifted, they did not know the finer points of Indian music and used to make mistakes. So I thought that one should study music forms from the roots. My brother was working in the US, and I went there. I joined the music department of Xavier University of Louisiana and did a four-year bachelor’s course in music in two years. Then, I did my master’s at Cornell University and returned to India in the late ’70s.
You are someone who has given so many unforgettable melodies for Malayalis…. Was there music in the family?
I was born in Fort Kochi. My grandmother and mother were good singers, and they used to sing in church. They had a keen sense of music, which I got. I used to sing old Hindi songs at home. And whenever some visitors came home, my grandmother would say ‘Jerry, come… sing a song’. And I would immediately do so (chuckles).
You went to the seminary in central India to become a priest. Was that your wish?
Well, from childhood, my mother and grandmother would say, ‘He would become a priest’, observing that ‘he won’t climb the tree’; ‘he won’t ride a bicycle’ (chuckles). I believed them as a little child. I was also attracted to the thought as a teenager, about a unique path to do something good for the world. So, I decided that instead of becoming a priest here, I would serve in north India and help the tribal people living in the forests. That was my thought process then.
Your first film was Manjil Virinja Pookkal. How did that happen?
My cousin introduced me to Navodaya Appachan. He told me that his son Jijo, Fazil and Siby Malayil were planning to bring out a new film. ‘I told them nobody would come to watch a film that does not have Prem Nazir, Sheela and Madhu. But my son is not agreeing,’ he added. ‘He is arguing how long we can go on telling the stories of Thacholi Othenan and Ambu.’ Appachan sir then took me to the next room. Jijo, Fazil and Bichu Thirumala were sitting there (smiles).
And…?
Fazil mentioned the song Aap ki nazron ne samjha…, and asked: ‘Can you compose a song like that?’ I said, ‘No problem’, and played a tune. Fazil was surprised. Their original plan was to bring renowned music director M B Sreenivasan for the film. However, they changed the plan and decided to include me. Bichu Thirumala wrote the lyrics, and the song Manjani kombil... happened (smiles).
The film was a huge hit…
No. Initially, no one came to watch Manjil Viirinja Pookkal. It was exhibited in near-empty halls for 35 days. But Appachan sir didn’t leave it at that. He distributed the songs from the film to the local dealers and asked them to play them across the state during the film promotions. People listened to the songs and started coming to the theatres. Then, there was no stopping.
Have any singers sung beyond your expectations?
Yes. S P Balasubramanyam sang beyond my expectations. The song was Enn kanmani for the film Ninaivo Oru Paravai. After studying the song, he had his own way of bringing it out, without spoiling the original tune. Yesudas, too, could do that. But the quality of his voice was his prime attraction.
Rafi saab and SPB were not trained in classical music... Does that mean that learning classical music is not necessary to become a good singer?
You don’t need that. Natural singing is number one. Yes, if one has studied classical music, it’s easy to teach the singers the accuracy of the swaras. In my opinion, natural singers are better.
Did you try introducing any new singers?
In my time, introducing new singers was impossible. There was a preconceived notion among Malayalis that there was no singer beyond Yesudas. It was an obsession, and there was no point in going against that thought.
It is true that Malayalis are obsessed with Yesudas. But there are reasons for that, right?
He is a great singer. He has a golden voice. When we talk to him, his voice is similar to ours, nothing special. But when his voice goes through the mike and amplifier, and comes out through the speaker, it has a special quality, a crystalline quality. He has a versatile range.
How important is the harmony between lyrics and music?
It’s very important. Bichu’s lyrics were largely responsible for my songs’ popularity. In presenting beautiful thoughts lies the success of the song. Present-day songs lack good lyrics; the emphasis is more on instruments.
You may be one of the few music directors who haven’t learnt Carnatic music. Have you ever felt it as a limitation?
No. I had learnt Hindustani music. On the contrary, it gives you greater freedom to compose.
You got the tag of a choir music composer after Aayiram kannumayi…
Though I don’t know the reason, yes, I got that tag. One reason could be that it was set in an out-and-out Christian background. Also, the chords were classically oriented and based on Western notes. It may remind one of a church song. But, actually, it was based on a Malayalam vritham (metre).
You also composed Devadundubhi in Ennenum Kannetante, which was totally different…Yes, but many believe it was Raveendran mash who composed it… (chuckles).
That was one song in which you made use of Yesudas’s bass notes…
I did that deliberately. He has a fantastic bass.
Back then, there were talks about some misunderstanding between Yesudas and you…
Yes. It happened during the time of film Ente Mamattikkuttiyammakku. It was resolved then itself.
What was the issue?
After the release of Manjil Virinja Pookkal, a journalist interviewed me. We were speaking in English. He told me that there was a time when songs had ‘veera rasam’, as they were sung by heavy-voiced singers such as Honnappa Bhagavatar and Chinnappa Bhagavatar. When the films started depicting ordinary people, the songs got a romantic touch (Jerry sings Suhani raat dhal chukki…). He asked me, ‘When you sing in a romantic way, isn’t there a bit of effeminacy?’ I replied, ‘Definitely.’ He asked, ‘Do the voices of Manna Dey and Yesudas have that effeminacy?’ I said, ‘There is a slight effeminate quality.’ But later, it was misreported as ‘Jerry said Yesudas’s voice is effeminate.’ Even Yesudas believed it (chuckles).
How was it resolved?
Yesudas initially refused to sing for Mamattykuttiyamma, but later said he would sing if I apologised. I readily did so (chuckles). There was no issue after that, but some people still believe that we are not on good terms. Yesudas sang for me even in the film Action Hero Biju, which was released in 2016 (Pookkal panineer pookkal…).
Action Hero Biju happened after a 20-year gap. Why such a long hiatus?
Nobody called or approached me (smiles). Producers might have thought that it was safer to stay away from me after hearing about the rift between Yesudas and me. I did not take any specific effort to overcome that (chuckles).
What was your reaction when director Abrid Shine approached you for Action Hero Biju?
I excused myself initially, reasoning that I might not be able to go as per the current trend. But, he insisted. I told him that if I were to do a song, the acoustics and electronics would be minimal. Abrid said he, too, wanted it that way. I was given a carte blanche, and Pookkal panineer pookkal song happened (smiles).
So, as a music director, are you a puritan?
No, but I am a purist. Shruthi should be pure, rhythm should be correct... I am very particular about such things, Many people have been irked by this adamance. They say that I am stubborn, a taskmaster. If I were lenient, things wouldn’t be as perfect as they should be. Discipline is a must for a good artist.
Some believe that artists don’t need discipline...
No, no. If artists don’t have discipline, they will reach nowhere. Even if they make it, they will not last long. Take any example. Discipline is absolute and must.
Was Mohammed Rafi also a disciplined person?
Yes, he was. He was a proper, simple man.
But Kishore Kumar was said to be just the opposite…
Of course, there are exceptions. Some have survived despite being undisciplined, but that is not the general norm.
Who were your favourite female singers?
The first singer that I got acquainted with was Vani Jayaram… then, S Janaki and, finally, [K S] Chithra. I know only these three. When I met Vani, she was a well-established singer. She was born and
brought up in Mumbai, and that was a plus point. I found her to be an intelligent singer. For example, in the case of Manjadi kunnil (Manjil Virinja Pookkal), I sat down with Yesudas and Vani together. Yesudas took half an hour to learn, while Vani got it in five minutes. Yesudas would deliver perfectly, but took time to imbibe.
You are one of the few music directors who are well-versed in Western music…
No, no, I can name some. Salil Choudhary, Laxmikant Pyarelal, Ilaiyaraaja… they were all well-versed in Western music.
Can we compare Western and Indian music?
We call Indian music ‘shastriya sangeetham’ (classical music). Western music, too, is also based on that. But our tunes are more decorative, while western music is relatively plain, except for opera music.
Similarly, can we compare Hindustani and Carnatic music?
Yes, we can. North Indian music is smooth; there is a flow, whereas south Indian classical is more mathematical. I prefer north Indian classics over south Indian.
Many in the current generation consider old songs to be boring. What is your take on that?
Each generation has its own kind of music. We cannot say that today’s youngsters have no taste in music.
Have you noticed any remixed or cover versions of your songs?
I have noticed one or two. My conclusion is that they are recreating songs as they can, without understanding what I have done.
They argue that it is their interpretation of the original...
I don’t want to argue. I composed the song Aayiram kannumayi with several details. They are recreating it without understanding that. We cannot say today’s songs are bad. We cannot judge. But, the new generation should have a good foundational training.
AI has entered the music sphere as well. What is your take on it?
It is dangerous. The kind of music and instruments we have been using evolved over thousands of years. Each instrument is made of elements present in nature. If AI takes over, it will kill the artist and the creativity. In Europe, they still teach children piano instead of the electronic keyboard. They still use
traditional instruments at churches.
Which among your compositions do you like the most?
I sometimes wonder where I got a particular song idea. We don’t make it; It just happens. If we analyse the process of creativity, the process will be stopped.
One gets a feel that your songs are a reflection of your personality...
Yes... I fundamentally believe in simplicity. My tunes are also simple.
What excites you the most?
Making a group of singers sing together. It’s easy to make a person sing alone, but in a group, it’s challenging. I have a dream of composing a symphony.
When can we listen to your next composition?
I have many tunes in my mind. When they are required,
when somebody needs them, I will take them out. To have an avenue, a producer should come. I am ready to pull them out when required (smiles).
My cousin introduced me to Navodaya Appachan. He told me that his son Jijo, Fazil and Siby Malayil were planning to bring out a new film. ‘I told them nobody would come to watch a film that does not have Prem Nazir, Sheela and Madhu. But my son is not agreeing,’ he added. ‘He is arguing how long we can go on telling the stories of Thacholi Othenan and Ambu.’ Appachan sir then took me to the next room. Jijo, Fazil and Bichu Thirumala were sitting there (smiles).
And…?
Fazil mentioned the song Aap ki nazron ne samjha…, and asked: ‘Can you compose a song like that?’ I said, ‘No problem’, and played a tune. Fazil was surprised. Their original plan was to bring renowned music director M B Sreenivasan for the film. However, they changed the plan and decided to include me. Bichu Thirumala wrote the lyrics, and the song Manjani kombil... happened (smiles).