Gayatri Asokan’s new ghazal draws on poet Jaun Elia’s work

Gayatri Asokan
| Photo Credit: Special Arrangement

Mastering the Urdu language, known for its intricate beauty and poetic depth, is a feat for any non-native speaker. For Malayali playback singer Gayatri Asokan, this tough journey went even further; she not only learned Urdu but also started singing ghazals.

After moving to Mumbai, facilitated by her marriage to sitar maestro Purbayan Chatterjee, Gayatri immersed herself in the world of Hindustani music, dedicating herself to mastering the nuanced vocal techniques of ghazal singing. Over the past seven years, she has released a series of original ghazals. Her latest release, ‘Kitne Aish Se Rahte Honge’, released on October 30, brings to life the work of iconic Pakistani poet Jaun Elia, with a soulful composition by Alap Desai and a moving sarangi accompaniment by Momin Khan.

Detached demeanor

‘Kitne Aish Se Rahte Honge’, embodies tragic-comedy in the realm of romance, says Gayatri who interprets the emotions of the piece with depth yet maintains a sense of ironic detachment. “Singing Jaun Elia’s ghazals is a personal aspiration since I have been a huge fan of him and have been wanting to interpret his introspection musically for a while,” says Gayatri adding, ”Alap Desai is an incredible composer; this is our third collaboration. Alap is the son of the legendary composer Ashit Desai and he is a fabulous singer himself. I am so grateful to Momin Khaan for featuring Sarangi in this ghazal.”

Gayatri describes the surreal experience of a Malayali singing ghazal, especially in a language that once felt completely foreign. “After two decades in Malayalam playback, shifting to ghazals feels like climbing a mountain,” she reflects, “but the journey has been deeply enriching. Performing live in the Hindi heartland has always been a dream, and it is finally coming true,” she says, adding that moving to Mumbai seven years ago marked a turning point.

Shift of forms

Having trained in both Carnatic and Hindustani classical music, Gayatri elaborates on how the cultural differences between the two streams influence her approach to performance. “Having learned a bit of Carnatic music in my childhood, I noticed its focus on bhakti and the purity of expression. Hindustani music, on the other hand, evolved with Persian influences, which introduced a unique path and allowed for more emotional freedom through subgenres like thumri, ghazal, and Sufi music. While I enjoy experimenting with ghazals inspired by Carnatic ragas, adding a fresh twist, I stay true to the Hindustani style in my performances.”

Pan-India path

While acknowledging her longing for recording sessions in her mother tongue Malayalam, Gayatri stays connected to Kerala through her role as a judge in reality show competitions and her concert performances. “However, singing for a pan-Indian audience is the glamorous path I’ve always dreamed of,” she says. “So I don’t miss the glitz of the film industry — I’ve experienced it all.

Having discovered her passion for ghazals, Gayatri envisions creating and publishing more original content. “In my own way, that would be my contribution to the ghazal soundscape,” she explains. “It is a long and painstaking journey, but I am enjoying it. I also hope to explore the fusion genre further in the future, collaborating with a lead instrumentalist.”

Unlike the film industry, which operates as a well-oiled machine, the independent music sector and its artists face significant challenges, says Gayatri. “To support independent music, we need more music labels dedicated to promoting ghazals and Indian classical and semi-classical genres, which are integral to our heritage and identity.”