ice, which then 'splits' into two, and Aai had 'em all.
At the pre-concert crisis meeting in Stockholm, it was decided by Anand and the sponsors that short of cancelling the gig, the only way out was that the orchestra should play umpteen instrumental tracks, the accompanying singers (Suresh Wadkar and yours truly) shoulder the load, and the billed star make a cursory appearance. Which would, no doubt, have led to a riot. Hereupon, my multiple visits to my favourite place commenced.
At the stage-wings that evening, our band conductor approached me with the news that Ashaji had rejected all such 'insane' proposals, that she would sing exactly what the audience had come to hear. I must add here that most of Asha's hits, like Dum maro dum, O mere sona re, Jaiye aap kahan jayenge, Duniyan mein logon ko, etc, sound 'frothy' and 'airy'. It's only when a lesser singer attempts them that one can gauge the tremendous breath-control and pitch modulation required for these non-classical, hence 'lightweight', songs. It's solely her mastery that makes them seem so easy to execute. Anyway, I had been clutching at the misguided belief that the turn-out in any city of continental Europe would be less than moderate. But, as it must happen at such times, that evening, the show was a sell-out...
The hall was packed with Indian and Pakistani expats when Aai started with her first set of six songs. I could recognise the strain in the moments when she suddenly dropped the volume or signalled the violinist to join in. All I could do was deliver glasses of glucose to the stage. At best, it was an indifferent performance; and I couldn't even blame the audience for its lack of response. Before the start of the second set of songs, a lone voice cried out fro ..... |
