A Tale of Two Worlds

There is little doubt that the National Award-winning composer should need regular breaks — after all,these days he is busy straddling the two extremes of the Indian film industry — the commercial and the new wave cinema. Having established himself in the industry with movies such as Dev.D,Udaan,Aisha and No One Killed Jessica,he is now exploring the commercial fare.

Apart from Habib Faisal’s untitled next with Yash Raj Productions,he also has Dharma production’s Ekk Main Aur Ekk Tu and Gauri Shinde’s English Vinglish,which marks Sridevi’s comeback. “These filmmakers are looking for a change and some new sound in the commercial arena,” he explains. He is juggling these projects with Anurag Kashyap’s production Aiyya,which goes on floors in October.

Shuttling between multiple studios,starting the day at noon and often ending it over a morning cup of tea,the music composer is elated by the variety of work he is getting to do. “It is tough to switch off from one film and move to the next within 10 minutes,but it is also a great opportunity,” he says.

To witness how Trivedi is managing these myriad worlds,we decided to spend some time with the composer. We meet at the YRF studio where he is in a music session. Though the invitation gets us past the big gates,it does not extend to the session. “Adi sir andar hain (Aditya Chopra is inside),” we are informed. Half an hour later,Trivedi emerges with a grin. “Adi really liked the tunes,” he explains,as he drives to his studio,also in the vicinity.

The team is already at work by the time we arrive at his studio,at around 9 pm. The lead vocals for a song for English Vinglish,with Manhattan as its theme,have already been recorded and the backing vocalists,Bianca and Newman Pinto,are preparing for the long evening ahead. Soon enough,it turns into a jam session as everyone throws in ideas. The lyricist,Swanand Kirkire,is also present. “His presence ensures the pronunciations are correct,” says Trivedi.

Almost on cue,the team begins to debate the pronunciation of ‘cappuccino’,which ends with a Google search by his recording engineer,Karan Kulkarni. Kirkire mock-complains,“Neither Amit nor I have been to the US,how are we to do this right?” Newman suggests,“Let’s record a variation. If we replace cappuccino with frappuccino,we’ll be able to roll and exaggerate the ‘r’.” Taking to the idea,Trivedi decides to record it as an option. “He works as a team and doesn’t dismiss others’ suggestions,” says Kirkire.

As Bianca retreats behind the mic,Trivedi and Kirkire explain their process. “Once I have composed a few tunes based on the situation,the lyricist steps in. There on,we jam together,composing,writing lyrics,” Trivedi explains. Once a few tracks are in place,the duo has a session with the director for feedback. “And if the director rejects them,it is back to the start,” adds Kirkire.

Watching him at work,one realises it is such painstaking detailing and experimenting that sets him apart from many of his contemporaries. Though he is enjoying this phase,the composer confesses that working with the new,experimental crop of filmmakers will remain his first love. “Directors like Anurag,Bejoy Nambiar,Rajkumar Gupta and Vikramaditya Motwane are my friends. With them,I feel like a wild caged dog let loose. They set no boundaries since they don’t have to appeal to the masses,it helps me push my limits. All that is tough with big banner commercial films,” says Trivedi.

The difference that Trivedi refers to is almost palpable,when we join him two days later at a session for Aiyya. The song Aga Bai has a strong Lavani influence for which,he has singer Monali Thakur croon the backing vocals in Marathi. Due to record a sarod instrumental,he begins to worry upon realising that the sarod player being sent across to him is an elderly woman. “I cannot have her hear the lyrics—they are full on innuendos,” he exclaims.

It is only once the recording is over that he plays the song,complete with the sarod recital. Titled Ijjat Pappad,the track is as eccentric as Emosonal Atyachaar. While the lyrics have a woman seducing a man (vocals by Sneha Khanwalkar and Amitabh Bhattacharya,also the lyricist),the music is a melange of styles — fusion to classical,layered with barks of dog mouthed by a human. “Isn’t this a mad song? I’ve had so much fun working on it,” he laughs,before adding,“I don’t wish to brag,Aiyya’s music is bound to be a hit.” Amen.