Jassie Gift made a sensational debut with the chart-topping Lajjavathiye and has since become an integral part of the Malayalam film industry. Holding a doctorate in philosophy, Jassie is a multifaceted talent who has composed and sung for numerous south Indian films.
In a freewheeling conversation, Jassie shares with TNIE his journey as a composer, singer, & philosopher, offering a glimpse into his creative world.
Excerpts
You’re still celebrated widely in Kerala for your iconic song Lajjavathiye even after 21 years of its release. How has your journey so far been?
It’s been an incredible 21 years. I’m currently experiencing a unique revival period, performing at numerous shows, reminiscent of my early days. As a musician, I’ve had the privilege of collaborating with and learning from my childhood idols. I’ve travelled extensively and shared stages with revered musicians, and I consider these experiences major highlights of my life. I’ve successfully taken my music beyond my initial expectations. Initially, I never envisioned being recognised as a singer, but today, I’m known as a singer in various languages. From my humble beginnings as a hotel band musician, I feel my growth has been fulfilling.
Did your family have a music background? How did your interest in music begin?
Music was always a part of my family. My father played the harmonium and flute, while my grandfather wrote Christian devotional songs and was well-versed in Carnatic music. I started learning classical piano in Class 10. Initially, I was a keyboardist, not a singer. During a New Year’s party, the lead singer couldn’t make it and I was thrust into the role.
How did you transition to the film industry?
Being part of a band gave me the freedom to experiment with music, especially with cover songs. The first album we created as a band was purely an album, not tied to cinema, and it was an exciting phase. Sabu, also known as Bigboss Sabu, was the first person to suggest I start composing music. He was my junior at University College, where we were part of a western music group.
Our band performed at various college events and we even created an album for Surya TV. Jayaraj sir’s brother, Mahesh Raj, noticed our work and brought it to Jayaraj sir’s attention. He liked my composition and asked me to create a demo for Beebalsa.
That proved lucky for me because film industry was a distant dream for everyone then. Jayaraj sir accepted my composition, made some revisions, and used it in the movie.
Was Lajjavathiye initially intended for another singer?
We had two recording sessions that day, for Annakili and Lajjavathiye from the movie 4 the People. Karthik sang and recorded both songs halfway, but he had to leave for Malaysia that evening. The rest of the recordings were cancelled and we waited for his return. During the shooting, the track played repeatedly, and many people including Bharat, Antony, and cameraman R D Rajashekhar insisted that it be included in the movie as it was. Initially, I was supposed to sing only the rap and small portions. We considered Adnan Sami but his availability was an issue, and eventually, the song came together as we know it now.
The lyrics were written by Kaithapram. What was it like working with him?
Kaithapram Namboothiri has written most of my songs. For Lajjavathiye, he took only 10-15 minutes to write the lyrics which complemented the music perfectly.
Did you imagine the song would be such a huge hit, and did you anticipate the criticism?
Criticism was expected, of course! Jayaraj sir’s previous songs were extremely popular, so we knew Lajjavathiye would garner attention. However, we never imagined it would become as big as it did, transcending languages and borders. The studio team had high praise for the song, but we were concerned about how it would be received by the public. The song was recorded in 2003 but released only in 2004, after Beebalsam and Safalam.
You were criticised for introducing a new trend in music...
Yes, the main criticism I faced was for excessive use of English in my songs. I recall a conversation at Kaithapuram thirumeni’s house, where one of his friends mentioned that my songs were catchy but the issue was the use of English and diction. The laidback style and diction in my songs created a lazy mood, which wasn’t well-received at the time. However, the criticism subsided with the release of Snehathumbi. When composing music for films, it’s essential to align with audience preferences. If not, the song will face heavy criticism. Thankfully, Snehathumbi helped alleviate the criticism and I was able to continue exploring new musical trends.
When active in the Kannada industry, did you feel you were ignored in Mollywood?
There was a time when Malayalam songs were stereotyped. When I joined Kannada films, I wasn’t a singer in that industry. I was just a music director. I didn’t sing much in Kannada films. I’ve sung the most in Telugu, so I can conduct Telugu concerts as I do in Malayalam. Lajjavathiye is the most popular among my songs everywhere, but in Kannada, my other compositions are more popular.
What kind of music do Kannada moviegoers prefer?
After Kantara, there’s been a shift in trends. Earlier, Kannada audiences preferred soft, soothing melodies, which is why Sonu Nigam was extremely popular. Now, there’s a massive shift and the directors I used to work with are finding it difficult to accept this change. When I speak to them, they say they are also forced to follow the new wave.
Do you think following this trend has led to imitation?
Often, we have to work within a framework. If a song becomes a hit, everyone wants to replicate the same pattern. In Kannada, directors won’t hesitate to ask for a specific style. After Kantara, many movies have been set in forests. It’s a trend that will take time to change.
Nowadays, every movie features loud music, including background score...
Loud music has always been present, even in my college days. However, today’s loud music has its own specialty. Commercial films require it. I enjoy it, but when overused, I feel it’s excessive.
Your take on criticism surrounding mass music and sampling...
I support the use of samples as it brings novelty to music. Everyone wants viral songs, and samples help achieve that. Sometimes, the same sample is used by multiple artists. It’s a trend that’s here to stay.
Do you think new songs have less recall value than older ones?
If the movie is good, the song will be appreciated. Otherwise, the song needs to be exceptional. Songs are seasonal, and composers are aware of this. New songs will always replace older ones.
Many of your songs were hits but the films weren’t successful. What do you think about that?
I’ve noticed that even if a film isn’t successful, songs can still be revived through reels and short videos. You can’t predict a song’s success. Sometimes, songs we create with good intentions may not resonate with audiences.
How did you get the opportunity to work on the Tamil movie Anniyan?
Director Shankar called me after hearing Lajjavathiye. I recorded a song for Anniyan, and that’s one of the blessings in my career.
Did you have creative liberties while working on Anniyan?
Harris Jayaraj had a clear structure in mind. So, there wasn’t much room for experimentation. However, he would sit with us during recording sessions and offer suggestions.
How would you describe your approach to music composition?
I’m not a strict music composer. I believe in giving freedom to the singer while maintaining the basic structure of the song. I’ve learnt this from working with composers like Vidhyasagar, Keeravani, and Shankar Mahadevan.
What are your memories of working with Keeravani, Yesudas, and other veterans?
I sang three songs for the Keeravani-Rajamouli combo. Keeravani sir appreciated my song Balle... balle. I also worked with Rajamouli sir on Vikramarkudu, and he narrated the song sequence and dance steps to me. Collaborating with these veterans has been a blessing. Working with Yesudas sir was an incredible experience as his voice has been an inspiration since childhood.
Has Malayalam music too undergone a transformation, as seen with artists like Hanumankind and Vedan?
Yes, a new wave has emerged in Malayalam music as well. It appears that parallel music and film music have converged. Artists can now create hit songs independently, without relying on films. I believe this is a positive development. In the past, film music was the dominant force. However, with the rise of private music and independent albums, the landscape has changed. While there’s increased competition, the new generation’s music is remarkably expressive and distinct from what we were accustomed to. In our college days, we drew inspiration from artists like Tupac Shakur and Eminem. At the time, many felt that Malayalam wasn’t suited for such expressive and hip-hop-influenced music. However, the young generation has successfully adapted Malayalam to this style, creating a vibrant hip-hop space. The language has become more accepting and malleable.
Traditionally, Malayalam lyricists were mostly poets and songs were often based on poems. However, today, it seems anyone can write lyrics...
Looking at the hit songs today, I notice a novelty in every line. Many songs incorporate unexpected words, making them memorable. The new generation of lyricists can think creatively and add elements that resonate with listeners. These lyricists are better equipped to craft songs with recall value. The way poems are incorporated into songs has changed too. We can no longer simply add poems to songs like before.
The mode of new-generation songs is different and lyrics must be tailored to the song’s scenario. I believe it’s essential to give lyricists more prominence. People are drawn to new and innovative language. Even new directors emphasise the importance of using fresh words. While old classics remain legendary, experimentation with new words and styles has been successful. Previously, language barriers existed but that has changed now. Occasionally, we may still need to use words from other languages. In Malayalam, finding two-letter words like vaada and poda can be challenging, especially when working with less experienced writers. I’ve had the pleasure of collaborating with Kaithapram thirumeni on such projects, where we’ve worked with small metres.
You had expressed interest in collaborating with Apache Indian. Is there an update on that project?
This is the perfect time for a collaboration. There’s a growing demand and the possibility of a project is high. Apache Indian was a pioneer in bringing an Indian approach to music. I’ve been his fan since my college days and was even part of his fan club. We were close to working together 10 years ago but it didn’t materialise. There’s scope for a collaboration now.
Music in films has become more independent and political...
Even in the past, artists like Bob Marley used music to convey messages. It’s great that music has become a medium for social commentary. Music also has an element of revolution. It’s an effective way to convey messages and bring about change.
What’s your take on the controversy surrounding Music Academy’s decision to confer an award in the name of M S Subbulakshmi to T M Krishna?
T M Krishna has tried to bring about a revolution in Carnatic music. However, not everyone can digest change. There will always be opposition to new ideas in music. Ultimately, it’s up to the people to decide what’s right and wrong.
Do you think there’s a conflict between classical and popular music?
Music is subjective, and everyone has their own concept of it. Music can’t be taught, only applied. The conflict between classical and popular music is not new and exists globally. It’s essential to observe, adapt, and modify oneself according to the concept.
Have you explored music projects like Karunesh and Buddha Bar?
I’m interested in that style of music. I was a huge fan of Buddha Bar even before I entered the film industry. However, after getting into cinema, my focus shifted, and I couldn’t explore that style as much as I wanted to.
How has acceptance of music in society evolved over time?
In the initial five years of my career, I performed on many stages, but later, my songs didn’t receive the same level of popularity. However, I got to sing in other languages, which kept me connected to music. The pandemic and social media platforms like Instagram helped me revive my career and connect with my audience again.
Do you plan to incorporate Indian philosophical thought and spirituality into your music?
That’s something I need to think about, especially in the context of film music. While there’s a limitation to exploring spirituality in film music, I believe the scope for private music has expanded.
What’s your favourite genre of music, and who are your favourite singers?
I enjoy listening to dance numbers. My favourite Indian singer is Yesudas sir. I also appreciate other legendary singers. In Western music, I’m fond of Eric Clapton, Sting, and Freddie Mercury. I’ve also been influenced by Tupac Shakur, Eminem, and Shaggy.
Is there a possibility of releasing an album based on your own preferences?
I want to create music that resonates with me. With musical styles evolving daily, I need to think carefully about creating a song that aligns with my preferences. There’s a plan in place but I don’t want to rush into it.
Doesn’t your song Lajjavathiye prove that a well-structured composition can stand the test of time?
Even after 20 years, people still sing and discuss the song. It’s remarkable that children enjoy the song, considering it was written 15 years before they were born.
Do you still have the same courage to experiment?
I still want to experiment but things are different now. There are additional barriers, and with world music being accessible everywhere, we need to think more innovatively to make an impact.
Do you think Lajjavathiye would be more popular if it were to be released now?
The song benefited from being released during a specific period. The music of that time helped it become relevant and survive. I’m not sure it would’ve achieved the same success if released now as rap has heavily influenced today’s music. Back then, the music was fresh and belonged to Gen C. Now, we’ve become Gen D, and the musical landscape has changed.
You’ve always avoided controversies, but last year, you were drawn into a dispute when the mic was snatched from your hands during a college event. Your thoughts...
After that incident, I started carrying an extra microphone with me. There were issues at college programmes during that time. From our perspective, our stand was correct, but the principal had a valid point as well.
Did the teacher apologise to you later?
We didn’t demand an apology, considering her position. She understood the students’ demands and acted accordingly.
Have you considered acting seriously?
Not yet. For now, I’m only appearing in my music videos. I have received offers that require me to sing and act. And I’ve taken up such roles in collaborations.
You received an appointment in a government body. Can you tell us more about that?
I hold an honourary position as chairman of the Kerala State Development Corporation for Christian Converts. It’s a full-time post and I still work in that position.
Do you stay in touch with your college friends, particularly the ‘canteen team’?
Yes, we try to meet as often as possible. Some of my batchmates, like Binu I P and Sabu, still visit our philosophy department. In fact, some of my batchmates are now heading various departments at the University College.
TNIE team: Kiran Prakash, Anil S, Rajesh Ravi, S Neeraj Krishna, Krishna P S, Vivek Santhosh, Manisha V C S, Harikrishna B A Sanesh (photos), Pranav V P (video)