Three decades back, Muzaffar Ali's Umrao Jaan had created history with a soundtrack that is heard till date. However, times have changed and unlike Rekha who was the star of the show and had played a major role in making the music memorable due to its recall value, there are newcomers in the director's latest film Jaanisaar. Still, one expects a classy score from the film, albeit not the kind that would go on to be huge commercially. A heavy soundtrack with as many as 10 songs, it has music by Muzaffar Ali and Ustad Shafqat Ali Khan with numerous lyricists coming together with their contribution.
If Umrao Jaan is remembered for the voice of Asha Bhosle, it is Shreya Ghoshal who leads the show with Jaanisaar. She begins with Nawab Wajid Ali Shah written 'Hamein Bhi Pyar Kar Le' which has a good preamble to it in terms of its stage setting and delivers exactly what one expected from the opening number of the album. A semi-classical romantic number which is poetic in content and leisurely in treatment, it gives an impression of live instruments being played during the recording.
The same team continues with 'Champayi Rang Yaar Aajaye', this time with Ustad Shafqat Ali Khan joining Shreya behind the mike. Pretty much an extension of what one heard moments ago with 'Hamein Bhi Pyar Kar Le', this one too has an old-world feel to it and is pretty much for the connoisseurs of the music from the era gone by.
A couple of back to back traditional tracks are heard from this point on, what with Ustad Shafqat Ali Khan rendering the male version of 'Sufiye Ba Safa Manam'. A track that would be picked up by the lovers of Sufi music, this one is unadulterated with no western or contemporary Indian influences to it. A song which is quite easy on ears, it also has a female version rendered by veteran Abida Parveen who pretty much makes 'Sufiye Ba Safa Manam' her own with the rendition.
Another traditional track to arrive is Malini Awasthi's 'Teri Katili Nigahon Ne Mara'. Yet another classical piece with the sound of 'ghunghroo' giving an impression of a 'mujra' setting, it is for a select discerning listener who would love to explore the music from the period era. Later in the album, she gets another traditional song to her name in the form of 'Sawan'. This one is a better outing than the one heard before and is peppier in its appeal. While this one too is rooted in 'desi' flavor, thankfully it manages to hold your attention for its near seven minute duration.
With Sukhwinder Singh arriving on the scene, you do get a hint that something more topical and contemporary would be in the offering. The Rahi Masoom Reza written 'Aye Zulfe - E -Pareshaan' turns out to be quite situational though with heavy dose of Urdu forming a major part of the song. The beats though are a little catchier when compared to the songs heard before. Soon enough, Shreya Ghoshal returns to the scene with Neer Aleef written Masnad Luti. However, this one lasts for less than a minute and a half and is hardcore Urdu, which would basically appeal only to those who are familiar with the language.
The combination of Rahi Masoom Reza and Sukhwinder Singh returns with 'Har Taraf Andhera Hai', which from the very lyrics gives an impression of a dark and depressing outing ahead. Clocking four minute, this slow moving number seems even longer and one wonders if it would feature in the film for its entire duration. Last to arrive is Daagh Dehalvi written 'Achchi Surat Pe' which has Shreya Ghoshal taking charge. Yet another classical outing, it goes well with the overall structure and presentation of the soundtrack. However as a standalone number, it doesn't quite score when it comes to recollection quotient.
This one is strictly for those who love their classical score from a period era. As for the larger 'junta', it would go unannounced.
'Hamein Bhi Pyar Kar Le', 'Sufiye Ba Safa Manam', 'Sawan'