Attended a concert titled "Awaz ki duniya (आवाज की दुनिया)", written, produced and directed by Ashok Hande and performed by his troupe of artists. This concert was organised by Maharashtra mandal Abu Dhabi on 19th Oct 2018 at Abu Dhabi Islamic Cente. I attended the concert with Thangaokar, Mane, Patil, Sambhaji, Oak, Kamble families, Aditi and Mihika.
Ashok Hande, Pramod Sohoni, Sachin Mule, Smita Joshi, Rasika Joshi & Preethi Warrier were the singers. Satyajit Prabhu & Karan Bawre on keyboard, Avinash Mayekar on Tabla, Bhavesh Patil & Nana Salunkhe on side rhythm, Shashank Hadkar on Octopad formed the music ensemble. Mahesh Khanolkar was on mandolin, violin & Swaralin. He was also the music arranger.
This was a program of Hindi film songs starting from old ones and gradually moving to the new and newer ones. Theme of the program at the start was rural life & celebration and then moved to independence, advent of radio and current songs.
Concert started with Ae malik tere bande hum (ऐ मालिक तेरे बंद हम) followed by Jago Mohan pyare (जागो मोहन प्यारे), Mousam bita jaye (मौसम बीता जाए), Barkha dulhaniya (बरखा दुल्हनीया), Sawan ka mahina (सावन का महिना) - audience applauded as soon as this song started. Then came Hariyala sawan dhol bajata aya (हरियाला सावन ढोल बजाता आया), Dukh bhare din beetere bhaiya (दुख भरे दिन बीतेरे भैया), Julmi sang ankh ladi (जुल्मी संग आँख लडी), Nain lad gaye hai (नैन लड गए है) and Ude jab jab zulfe (उडे जब जब जुल्फें). Audience demanded once more for this song and the request was duly fulfilled.
They then presented O gadiwale gadi (ओ गाडीवाले गाडी), Zumka gira re (झुमका गिरा रे), Pan khae saiyan hamaro (पान खाए सैंयाँ हमारो), Chalat musafir (चालत मुसाफिर), Sakhi saiyan to khubhi kamat hai (सखी सैंया तो खूबही कामात है), Nazar lagi Raja (नजर लागी राजा) - don't know why they did not use dholki in this song and used Tabla instead. Salaam-e-ishk (सलाम-ए-इश्क) & Inhi logon ne (इन्ही लोगोंने).
Then there was a medley of Holi songs. Khelenge hum holi (खेलेंगे हम होली), Rang barse (रंग बरसे), Holi khele raghubira (होली खेले रघुबीरा), Ayi holi ayi re (आई होली आई रे), Are jare hat natkhat (अरे जारे हट नटखट). Artists gave themselves a once more on the dance for this song. The medley concluded with Mera rangde basanti chola (मेरा रंगदे बसंती चोला).
This song served as bridge between holi and desh bhakti. So the next two songs were Vande matarm(वंदे मातरम्) - the fast tune and Ae mere watan ke logon (ऐ मेरे वतनके लोगों). The singer started in very high scale but corrected immediately. This was interval @ 1947.
First song post interval was Kuhu kuhu bole (कुहू कुहू बोले) followed by Laga chunari mein daag (लागा चुनरी में दाग). As expected tarana got a once more and the request was happily fulfilled. He sung Tarana well, but I felt the energy level was bit low.
While emphasizing the importance of radio in propagating music they presented medley of mukhdas of Main banki chidiya (मैं बनकी चिडीया), Babul mora (बाबुल मोरा), Awaz de kahan hai (आवाज दे कहाँ है), Dil jalta hai (दिल जलता है), Aega ane wala (आएगा आने वाला), Aa chlke tuze (आ चलके तुझे), Yad kiya dilne (याद किया दिलने) and even life bouy jingle.
This was followed by Jo wada kiya wo (जो वादा किया वो), Pyar hua ikrar hua (प्यार हुआ, इकरार हुआ), Dil-e-nadan (दिल-ए-नादाँ), most famous Qawwali Na to karwan ki (ना कारवाँ की), Damadam masta kalandar (दमादम मस्त कलंदर), Lambi judai (लंबी जुदाई), Dariya kinare ek bunglow (दरिया किनारे एक बंगलो), Main to bhool chali (मैं तो भूल चली), Muttukkodi kawwadi hada (मुत्तुकोडी कव्वाडी हडा) and Sun mere bandhu re (सुन मेरे बंधु रे). The singer imitated the original voice of SD ditto.
Comparison of old and new was then presented in another medley. Hawa mein udta jaye (हवा में उडता जाए), Sexy sexy sexy muze log bole (सेक्सी सेक्सी सेक्सी मुझे लोग बोले), Ruk ja o jane wali (रुकजा ओ जाने वाली), Piya tu ab to aja ( पीया तू अब तो आजा) - this one was very good. Once more was inevitable. Audience danced without inhibition on this song. Medley continued with Yaylare ladki mast mast tu (यायलारे लडकी मस्त मस्त तू), Aji ise pyar kahenge (आजी इसे प्यार कहेंगे), Najrein mili mere dhadka (नजरें मिली दिल धडका), Ichak dana (ईचक दाना), Amma dekh tera munda bigda jaye (आम्मा देख तेरा मुंडा बिगडा जाए) and Dum maro dum (दम मारो दम).
They then presented top ten medley. Manwa lage lagere bawre (मानवा लागे लागेरे बाँवरे), Ghoomar (घूमर), Nirma jingle, Mere rashke qamar (मेरे रश्के कमर) - this song was not part of the program it was introduced a few hours before the program on public demand and singer prepared and sung well within short time, Chalao na nainon se ban re (चलाओ ना नैनोंसे बाण रे), Leila main Laila (लैला मै लैला) - a local artist danced on this song, Mere desh ki dharti (मेरे देशकी धरती), Ab tumhare hawale watan sathiyon (अब तुम्हारे हवाले वतन साथियों) and Jinhe naz hai Hind par wo kahan hai (जिन्हे नाज है हिंदपर वो कहाँ है).
Concert ended with last section of immortal Mile sur mera tumhara (मिले सुर मेरा तुम्हारा). I thought they ought to have sung the full song. That would have made a lasting impact.
The program was conceptualized very well. There was an emphasis on dhamal enjoyment. The group presented a lot of medley's. Pure full songs were few. Audience was bombarded with one song after another. They did not give any time for audience to think or get bored. Audience also applauded almost every song and danced when the rhythm allowed and lost track of time.
They made good use of screen, although the opportunities were limited. Use of screen, especially, for the song in bullock cart was fantastic.
They made very effective use of chorus. A large number of songs had chorus provided by other singers and it was very good, enriching the experience.
There were a few dances by local artists on selected songs. Dancers and singers had one practice season before the concert.
Although the sound system was good, acoustics of the auditorium were not very good.
All the musicians wore plain whites and singers wore colourful dresses. Ashok changed dresses more than 20 times. Mahesh Khanolkar played three instruments. It was first time I saw Swarlin being played. They say that only 2-3 people can play this instrument in India. It is a rare instrument.
All male singers were above middle age. They also indulged in a bit of acting and antics. Words of Pramod were obfuscated. Was it the singer or Mic? Preethi was the best singer of night. She was versatile, sung with smiley face and enjoyed her performance resulting in audience enjoying it even more.
Ashok won the hearts by acknowledging contribution of and inviting on stage his artists, local artists, MMAD members etc. However, he did not forget to mention that they have compromised on lighting, sound system and number of artists to make this program happen.
Entertainment rating 9/10.
