Known for his mellifluous melodies, M Jayachandran is among the gentler faces in the Malayalam music industry. In a long career that began by associating with the legendary Devarajan master, Jayachandran has made his mark not just in composition but in background score and playback singing as well, and has won many national and state awards.
In this free-flowing interaction with TNIE, Jayachandran dives deep into the world of music, his musical preferences, the challenges AI poses for contemporary music, and his close ties with the doyens of Malayalam music like K J Yesudas. Excerpts
You have had an illustrious career. You studied engineering, started your music career as a Carnatic singer, and later worked as an assistant to Devarajan master...
Carnatic music is one of India’s innate legacies. Its study is a search for ourselves, our origins, how music became a part of human experience… I learnt all these from Carnatic music through my gurus, to search deep. When music and self become one, the search turns into a blissful experience. My journey into film music was shaped by listening to Devarajan master, M B Sreenivasan sir, Viswanathan–Ramamoorthy, Madan Mohan, S D Burman, Shankar–Jaikishan... At some point, the realisation dawned that I didn’t just want to sing but compose too.
Many have said that Devarajan master was quite intimidating...
I once went to meet him along with a friend. His father and Devarajan master were good friends. But that day, he completely ignored me. I felt he was arrogant, but I was wrong. He possessed a humane and loving heart. He behaved the same way with everyone. I later realised that when he wanted to take someone as a student, he first ensured their egos were destroyed. He was very strict while training singers.
As a composer, do you give freedom to singers to reinterpret a song in their own way?
It depends on perspective. For someone like A R Rahman sir, there’s a lot of room for the singer’s creativity because he encourages it as he thinks the singer’s input complements his vision. On the other hand, Ilaiyaraaja sir, who belongs to the same school as Devarajan master, follows strict recording discipline. Personally, I treat my singers as family. But what I have composed remains intact… no compromise on that.
Do you accept suggestions?
When I receive thoughtful inputs, I gladly accept them. However, I always ensure the basic rhythm and momentum of the song remain unchanged.
Which role do you like more, singer or composer?
I don’t think of myself as a good singer.
But you received a state award for best singer...
That award was more my mother’s dream than mine. My mother always wished I became a playback singer, while my father hoped I’d be a Carnatic classical vocalist.
You also received an award for background music, which is rare...
In cinema, music in every sense is essentially background score. To me, background score is the true grammar of a movie. A great background score blends so seamlessly that viewers may hardly acknowledge it, as if the movie itself is married to the music. Working on background scores is both challenging and satisfying.
While composing, do you focus on a character or the situation in the film?
A character’s ambience, family, and lifestyle are often very different from mine. The challenge is to recognise that difference. Our personal life shouldn’t interfere; sadness at home should not affect the music. True creative consciousness arises when a music director can fully enter that mindset.
How important are the inputs from a film director?
The director is the captain. As a music composer, my role is to provide a musical perspective to embellish his ideas.
How much does a film director’s musical sense help you?
I have worked with many directors who communicate effectively with very few words. For instance, Blessy rarely speaks but everything he says is precise and correct. Similarly, Shyamaprasad, Kamal sir, and Sibi Malayil sir convey exactly what is needed. In music, a clear ‘yes’ or ‘no’ from the director is often enough. Effective communication from the director is one of the most important aspects in the success of music in cinema.
Recent trends suggest a preference for fewer songs, using them more like background score. Do you think there may come a time when Indian cinema won’t have songs at all?
I don’t see that happening. Songs will continue to be an integral part of Indian cinema, though their usage may evolve. Earlier, songs were often four to five minutes long. Now, they are usually around three minutes or less and are used primarily to advance the story, almost like the background score. Cinema is an evolving art form, so the way songs are used too will continue to change.
Will there still be evergreen songs? Old movies continue to inspire covers and improvisations...
Unless it’s a musical, I don’t see much space for evergreen songs in contemporary cinema. As a music composer who wants to create songs that will stand the test of time, I would love to be part of musicals.
Working on those lines?
I should be, but I haven’t come across such projects yet. I’m currently working on a big project, and I hope I get the opportunity to do something like that in the future.
You are a well-trained Carnatic singer as well as an accomplished music director. Which aspect do you identify more with?
I love the unique freedom provided by Carnatic music. You work with existing compositions, and the creativity unfolds beautifully on stage. But music composition is different. It’s about creating something that has never existed before. If I have to choose, I’d prefer music composition, no matter how stressful it is.
What’s the thought process behind making music, in terms of aspects like the instruments to be used and the choice of singer?
That magic is what I call spirituality. The origin is unknown, and if we can call it God, so be it. I see it as a light, an omnipresence. Its manner of coming is unique to each individual. Even without our knowing, a thought comes and prompts one to take a particular music route to create all the magic.
Do you believe art is a divine gift? Hundred per cent!
Since you also deal with many non-believers, do beliefs then clash?
Both (believers and non-believers) believe in music. That’s a meeting point. We don’t try to impose our beliefs on each other.
How important is it for a singer to be classically trained?
There’s something called talent. That cannot be stopped. But one can learn about what structures music. This is beneficial while working with music. When training and talent join forces, the outcome is beautiful. I prefer talent. Suppose there’s a need to go light at a certain point in the song. Training may have taught you otherwise, but I may say ‘go light’ because the song only warrants that much. Here, information gathered through training could be a burden.
You mean there’s no need for that extra ‘gamakam’ at times?
(Smiles) Yes. Once, when I was doing music for a film, Yesudas sir told me, “Kutta, don’t view this song as a place where you have to showcase all your talent. Give it only as much as it needs.” I still abide by that great piece of advice. Give a song only as much as it needs, but pack some deft magic into it so that people want more.
Many musicians have said Yesudas’ voice is a treat for the ears in the recording room...
I’ve been lucky to hear him sing in the studio. It is indeed an experience. Once he’s into the song, magic happens… that cannot be explained in words.
How important is the equation with the lyricist? Are there tussles when words have to be changed to fit the tune?
I’ve never had a tussle, though there have been disagreements. It is a fact that good music is born only via teamwork. Only when lyrics and music join the way they should is a song born. Both lyricists and music directors must work in a space with little room for ego. Be critical, but from within an ego-less space. One should also keep in mind the specific construct of the language we make music in.
Are lyrics written for already-composed music or vice versa?
During the time of Dakshinamurthi Swamy, Baburaj sir, and Devarajan master, lyrics were written first and then set to music. But Salil Chowdhury sir never gave music to lyrics. He always set the tune first.
Any lyricists who surprised you?
In different ways. Once, Kaithapram sir was writing and we were making music with a coastal flavour. As I hummed the tune, he immediately came up with a few lines and asked me to sing: ‘Chandirane pidichhu vechu olakkudayaakki veykkam...’ We had our song in a moment. That was magical. There have been similar moments with Girish Puthenchery, Ramesan Nair, Rafeek, Santhosh Varma, Hari...
There’s always a question in the minds of Malayalis: Is Yesudas or P Jayachandran the better singer?
No one is greater or smaller than the other. What Jayettan could do, only he could. So is the case with Yesudas sir. My personal favourite: Yesudas sir.
A general opinion now is that Malayalam film songs no longer have lyrical depth…
I come from a generation that felt there ought to be poetry in a song. Dakshinamurthy Swamy composed music for a poem by G Sankara Kurup. Can we consider such a possibility now? Can poetic adjectives like ‘seemanthini’ or ‘chanchalakshi’ be used today? (Laughs) Both conversation and language have changed. A conversational style is now sought-after. The style that works for cinema is adopted.
Has literary quality waned in film music?
We should never equate poems with film songs. There are several poems that work extremely well as songs, but audiences nowadays may not be able to sync with it unless and until the movie requires it.
Poetic songs of yesteryears are cherished even today. How can the irony be explained?
An irony that can only be accepted. As generations pass, there’ll be differences. Everyone in our generation loves the songs they heard as children... their comfort zone. And they aren’t ready to move on (laughs). As a music composer, I think it is time for everybody to move on. Art will remain art only when it passes through timely and justifiable changes.
You recently spoke on how only those who deliver consecutive hits have a space in cinema...
Everyone in cinema has experienced the struggle for existence. Then there’s the question of survival and how to sustain triumphs. So many songs of mine that I felt would do really well have actually gone to the bin, though I love them. The opposite too has happened.
You have been a judge on many reality shows. Have these platforms truly helped bring talent to the fore?
I’m proud to say that I was part of conceptualising the very first Idea Star Singer. Later, many hijacked it. I genuinely feel that these platforms can shape the next generation of singers. I have enjoyed sharing my experiences with little children on reality shows. Some are incredibly talented, and with the right guidance, they can grow into great singers.
Are reality shows only about music? Some say there’s too much drama. Is it about talent or TRPs?
There’s drama in everything... even in our own homes. A show is like a family. There’ll be jokes, drama, emotions... but as far as I’m concerned, I stay rooted in the music. Every show I’ve been part of, I’ve focused only on the music, and I continue to do so.
You’ve worked a lot with Shreya Ghoshal. What makes her stand out?
Shreya is a living legend. Her talent is what interests me. There’s a chemistry between a music director and a singer. I felt it worked out beautifully with Shreya. She listens patiently, learns the song, and delivers it soulfully. We usually don’t get 100% from singers. I’ve got nearly 100% from Yesudas sir, Chitra chechi and Jayettan. From the new generation, it’s Shreya. She is an authentic musician. She understands the emotion behind every song, no matter the genre. That’s why she is where she is right now.
Your choice of singers is sometimes surprising. You made Vidhyadharan master sing...
The song ‘Kannunnattukaathirunnittum’ shows Indransettan (actor Indrans) donning the character of a thief. The song carried the character’s pain. I felt it shouldn’t be sung by a commonly heard voice. Not only is Vidhyadharan master a great music director, but a great singer too. When he sings his own songs, no one else can replicate that feel.
You made Mohanlal, too, sing...
Lalu chettan is like a brother... someone who genuinely enjoys music a lot. I felt it’d be nice if he’d sing for his character. That’s how ‘Karukarukaruthoru pennaanu’ happened. I still remember he asked for my autograph on the notation, and I jokingly said, “Only if you sign first.”
You’ve been branded as a composer known only for melodies...
Yes. In cinema, one gets boxed often. I have wished to do many things. I still do. But such songs don’t come my way. No complaints, though.
Do you like doing melodies?
An artist should first and foremost be versatile. I was approached to do more melodies… I did it. I’ve done other genres too. Whatever comes my way, I do it. I am looking to do something challenging, different from what I’ve already done.
Do you have a specific time for composing?
Tunes often come to my mind while bathing (smiles). I immediately rush out of the bathroom and record. When a tune comes to you, one should record it immediately. We may not remember it after 5 minutes. That itself proves it isn’t yours.
Nowadays, many old songs are remade as covers...
I don’t agree with mauling compositions done by great musicians. I feel we have no right to do so.
The issue of music rights has always been controversial, especially Ilaiyaraaja’s positioning…
I feel Raja sir’s position is really honest. The intellectual property of a song belongs to its lyricist and composer, even when given to a production label. When singing on big stages, singers get paid a huge amount. A small share of this should rightfully go to the composer or lyricist. Royalty is to prevent exploitation of original creators by middle players like channels, which use this for financial gains. Had veterans like Johnson master or Raveendran received such money, their lives would have been much better.
Recently, music director Anirudh Ravichander said he used AI to write lyrics for his songs...
My concept has throughout been that technology should be our slave… not the other way around. When we use AI, there’s confusion – is it my music? People should not use AI to become popular and earn money.
What kind of songs do you prefer to hum? Yours or others?
(Smiles) I never sing my songs… I don’t think they are special. The tunes that always ring in my mind are some old Hindi tracks, like ‘Abhi Na Jao Chhod Kar’, ‘Chingari Koi Bhadke’, ‘Yeh Lal Rang Kab Mujhe Chhodega’, Madan Mohan sir’s ‘Lag Jaa Gale’, Tamil songs like ‘Unnai Kanatha Kannum Kannalla’… these are my night songs, which put me to sleep, even now.
Do you have a favourite raga in Carnatic music?
Hameer Kalyani is one of my favourite ragas, heard in popular songs like ‘Chakravarthini’. Kedar, Sahana, softer ones like Ananda Bhairavi, Mukhari, and Manji are also some ragas I love. But gone are those days when we used ragas in film songs.
Is there an issue of external factors, like caste discrimination, leading to loss of opportunities in the film music industry?
I have never felt so. Music is humanity after all and it teaches people to view all as humans. I wish music would erase all such man-made boundaries one day!
The term ‘shuddha sangeetham’ has always been contentious…
‘Shuddha sangeetham’ can exist in Hindustani or Carnatic music, but not in the context of cinema. The only thought in ‘shuddha sangeetham’ is devotion, while in film music, it is commercial success. In that sense, one can use ‘cinematically shuddha sangeetham’, if they want (smiles).
Do you follow international music?
Definitely. My favourite genre of music is Western Classical, which is perhaps the type of music I hear the most. I had been listening to Western Classical musicians of different time periods for a long time. I’m patiently waiting for an opportunity to compose and orchestrate music in that genre. I wish to do a symphony some time.
Which instrument do you like the most?
I like the violin. Not the solo one, but the string orchestra variety–violin, viola, cello, and double bass. These are set to four different frequencies. It can create a magical impact on you.
M Jayachandran is the gentle face of Malayalam music. Is it your personality that’s being reflected in your music?
I believe the compositions that do not reflect my personality are the best ones. When I portray what I am, it is mere replication. Such replication is not what I term the journey of music composition.
TNIE team: Kiran Prakash, Cithara Paul, Anil S, Aparna Nair, Parvana K B, Varsha Somaraj, Aswin Asok Kumar
