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Based on the early evening raag Bhopali, the
song’s composition has
manifested in the form
of an easy listening experience. A raag that
she had learnt at the
age of 9, Ayesha feels
that this experience now
transports her to her
childhood, as this was
one of the earliest raags
she had learnt. Composed in the ancient sub
-continental language of
Poorbi, the verses speak
of classic love, mirroring
the restlessness that comes with being in expression of the rare
love across distance. While the yearning South Indian raag known
does tug at the heart, the experience in as Abhogi Kangra – a raag
this song is not one of sadness; it is a rooted in a 5000 year old
and
celebration of being in love and fully ex- h i s t o r y
periencing all the feelings associated with unique because of
is
its
the state in true bliss. While the lyrics are structure.
reminiscent of folklore, the verses thematically express the perpetual state of
search we find ourselves in while all
along the way; the true voice of love is
within. While the overall composition
stems from Eastern Classical origins, the
feel of the song finds itself well placed
with the mountain music of Nepal – a
connect that begs to dive in further to
discover the harmony with the Zen of
Buddhist musical influences. The groovy
sunshine feel of the song, performed by
the band in Serbia, meets influences from
Nepal such as the Flute coupled with the
calming quality of bells.
Due to its scale being so
different, very little work
has been done with the
ancient raag, something
that Rustam Fateh Ali
Khan now feels is something worth presenting to
exhibit a feel that is one of
a kind and thereby create a
sound that, with the accompaniment of contemporary sounds, cements
the raag‟s influence in
modern day music.
As the song pro-
gresses, Coke Studio travels to Turkey to con“Tori Chab – Kalenin Burcu Muyam” mani- nect with a rendition by Sumru Ağıryürüyen
fests as another step in Coke Studio‟s journey, of the traditional Anatolian classic that is
delving further into the many cultures of the „Kalenin Burcu Muyam‟.
world and experiencing its hidden connect
ence of a multitude of influences as demonstrated through the instrumentation of the
Serbian House Band and String Orchestra
coupled with the enchanting African harp –
the Kora and the Oud in Morocco alongside
what some consider as the ancestor of the
Lyrically, the verses of both pieces talk piano – the Kanun in Turkey.
the union of what would appear to be sounds
of love demonstrating the similarities in culfrom different parts of the globe – but with
ture not just in theme but also in words. „Tori
the ever inherent Universality found in the
Chab – Kalenin Burcu Muyam‟ is an experitheme of Love. The song itse