Piya Bavari Again

Piya Bavari Again - Pt. Ajay Pohankar

When 3 years back 'Piya Bavari' arrived, it created quite a sensation with its techno-classical fusion sound becoming popular with the young and old alike. Now Abhijit Pohankar returns with 'Piya Bavari Again', which is a follow-up to their immensely successful original. He conceptualizes this album that has vocals by his father Pt. Ajay Pohankar. He also looks after orchestration and sound design too along with Harpreet Singh. With great expectations of yet another fusion classical score, one plays on the album.

1) Ka Karoon Sajni (Film: Swami) [Singers: Pt. Ajay Pohankar, Runa Rizvi]

It's the sound of flute that completely mesmerizes in the mystical 'Ka Karoon Sajni', the ever famous number originally heard in 'Swami'. A song depicting the pain of waiting for your loved and pick you up, 'Ka Karoon Sajni' is a masterpiece that has been orchestrated wonderfully well in its lounge avtar. The new age instruments give it a certain zing that makes it an irresistible musical piece. Runa Rizvi's aalap in the background perfectly compliments the vocals of Pt. Ajay Pohankar. Hear it on for a new age sound!

2) Payaliya Jhankaar (Traditional) [Singer: Pt. Ajay Pohankar]

It's time to come up with a fusion sound for the traditional number 'Payaliya Jhankaar', the track that is currently on air as a part of the album's promotion. Haunting and mesmerizing, yet again, it is a song for the night before one goes to sleep. Inspite of the song having a strong classical base, it's the way Abhijeet and Harpreet create a mood with the help of various musical instruments that makes it special. Simply amazing and terrific piece of work.

3) Jo Humne (Traditional - two versions) [Singers: Pt. Ajay Pohankar, Vaijayanti Limaye]

'Jo Humne' is a song that appears twice in the album - first in the vocals of Vaijayanti Limaye and then later sung by Pt. Ajay Pohankar. The version by Vaijanti has Pt. Ajay Pohankar doing the 'aalap' in the background as she sings a song about a girl exchanging sweet nothings with her loved one. Later it's vice versa with the male voice in the fore and the female's in the background. With a theme of 'remember the talk I had with you', it is simple to hear but comes with a strong classical base.

4) Ab To Aao Sajna (Traditional) [Singer: Pt. Ajay Pohankar]

The best track in the album so for, 'Ab To Aao Sajna' is as romantic as it gets. The song is terrific as far as melody is concerned and the new sound never makes one realize that it is actually a classical based song that one is listening to. The track comes across as highly simplified that makes it identifiable for all. A must listen number!

5) Bahut Dina Beete (Composed by Ajay Pohankar, lyrics: Pt. Ajay Pohankar, singer: Pt. Ajay Pohankar)

When Pt. Ajay Pohankar begins 'Bahut Dina Beete', one thinks that the number will progress in full throttle from hereon. But instead there is a strong built up to the song by Ajay Pohankar where he uses his instruments to good effects and comes up with an effective fusion sound. The track continues as a true blue lounge number and makes you nod in appreciation. A smooth sailing number with high melody base, it comes across as yet another excellent number in succession after 'Ab To Aao Sajna'!

6) Balamwa (Composed by Ajay Pohankar) [Singer: Lalitya Munshaw]

It's time to hear the sound of guitar as 'Balamwa' begins. First track where Pt. Ajay Pohankar is not heard, it has female singer Lalitya Munshaw arriving on the scene who renders a song about a female who wants her hubby [Balamwa] to free her arms! A slow moving track, it would be picked up by the lovers of classical music.

7) Rang Raliya (Traditional) [Singer: Pt. Ajay Pohankar]

While 'Rang Raliya' is played on, you know that you have heard it before. A song about a female's jealousy for her husband whom she accuses of seeing someone else [and hence doing 'rang raliya' i.e. enjoying himself], it is yet another amazing piece of techno-classical piece that makes you look in awe. By now you have simply fallen in love with the album and it is difficult to put it down while it is played. Hear it on in the repeat mode!

8) Tarana (Composed by Ajay Pohankar) [Singer: Pt. Ajay Pohankar]

Foot tapping beats - that's the sound around which 'Tarana' is designed! A classical rendition all the way with no lyrics per se, 'Tarana' is yet another instance where various musical instruments get amalgamated to come up with an impressive fusion sound.

9) Piya Ghar Aaye (Composed by Ajay Pohankar) [Singer: Pt. Ajay Pohankar]

It's the haunting silent sound at the beginning of 'Balamwa' that creates a certain intrigue about what's next in store. The pace picks up with the 80s style disco feel as the synthesizer does its trick. At the beginning, it is mainly an instrumental where Pt. Ajay Pohankar's voice is heard faintly in the background but later the singer takes its over. Still the western arrangements never cease to make their presence felt and are especially in 'Piya Ghar Aaye' that should soon be a lounge favorite.

10) Piya Bavari (DJ Suketu Mix) [Singer: Pt. Ajay Pohankar]

Ever so popular Piya Bavari is heard once again, this time as a DJ Suketu Mix. No wonder the song doesn't fail to impress and is likeable all over again, especially due to the racy mix. A fitting end to an album that maintains high quality throughout.

'Piya Bavari Again' is an album that may seem to be designed for a restricted audience to begin with but as you hear it along, it's difficult not to recommend it to those who have shied away from classical music all along. Presented in a new age sound, it's the lounge effect that makes it an interesting album to hear to.

Born in 1948, in the town of Jabalpur in Madhya Pradesh, Pt.Ajay Pohankar is one such child prodigy who has continued to maintain the name and fame achieved at young age.

Acclaimed as one of the most creative artists today, Pt. Ajay Pohankar started his career at the age of 10. When the other children of his age were busy playing, young Ajay was deeply engrossed into the notes of Ragas Marwa and Kaunsi Kanade, two of his favorite renderings.

Pt. Pohankar has kept away from the glamorous part of today's music scenario. He had honed his talent by deep thinking of his own which reflects in his highly imaginative and complex yet aesthetically well structured presentation of Sargam in a cultivated rich voice, with full command over modulation, which transports the listeners over a wide range of emotions.

Pt. Pohankar had his talim and training with his mother scholar musicologist Dr.Smt. Sumeet Pohankar of Kirana Gharana. It is one of the few examples of the history of Indian classical music that a mother has groomed her child. He also had occasional sittings with the great Ustad Amir Khan. Although Pt. Pohankar was trained in Kirana Gharana, he was thoroughly influenced by the likes of Ustad Amir Khan. By the age of 10, he had adopted this style so well that Ustad Amir Khan recommended and introduced him at the Calcutta Conference. This was itself a great achievement at a very young age.