Elements: A second opinion

Before we begin, let’s get one thing clear. This is a very challenging album musically — both for the performer and the listener. Abbas describes Elements in his own words on his website, “The album represents a turning point in my compositional style. It displays a transition from straight jazz to modal jazz and eventually to jazz fusion with North Indian classical music.” He goes on to add, “Many different genres of music can be heard here reflecting the varied influences of my life. All the compositions are based on classical Indian parent scales (called thaats).”

The first track, Contemplation, is a sort of prologue to the album. A preface set in kalyan thaat (one of the seven modes of raga), the track beckons the listener and is soft on the ears. It is reminiscent of composers who flex their musical prowess before starting on a musical journey.

Jhoom Dewane is the track chosen for the first video. Once you’ve listened to the first few seconds, you’ll know the mood of the album. A musical blend of two worlds — Arabic music and classical Indian music — the track cycles through different stages of life, death and ultimately rebirth. The video for the track is especially interesting as it is an animated story comprising digitally painted photographs and the video captures not only the essence of the song but also adds to the story.

In Sajan Bana things take a lighter turn (probably the only upbeat track on the album) and Irfan’s vocals truly shine through. He’s not that famous yet but his flare fits in fine with the theme of the album. At times the tone and beat of the track is similar to that of a Dave Matthew’s Band number, but once you listen to it all the way through a deep sense of serenity envelopes you. The process whereby two interacting oscillating systems attain synchronisation is called Entrainment. It’s also the name of the fourth track on the album, and is quite apt for the album because it seeks to unite various different modes of music together. Abbas refers to this as his homage to the music of qawwali. The vocals indeed resonate throughout the song, echoing with the sentiments of qawwali, but they don’t match the same epic proportions like say Ghulam Fareed or Nusrat Fateh Ali Khan.

Seek Peace is an interesting track because it features two narratives whereas the female vocals get monotonous after a while. It is Abbas’ musical narrative that carries the piece through.

Mahiya is definitely more rock than the rest of the tracks. There are moments when you can hear Abbas channeling his rock past through each tone. Unlike the previous track, Irfan doesn’t quite deliver which undermines the track definitely.

Seven Heavens though epically named is anything but. It can be epic once it’s played live as most jazz, fusion or instrumental music is. But on the record, and prerecorded in a studio, it is at best the most mediocre track on the album. This one is best experienced live.

Abbas starts Heaven and Earth with the simplest of motifs. Along with Mahiya, this track is quite rocky in an almost Floydesque way. Abbas’ solo lingers on as his journey into the album and his music continues.

The title track Elements is a pleasant cacophony of sound, music and genres. It’s short and sweet, leaving the listener satisfied. Turn Inward, though introverted, is quite expressive in terms of its motif. But it is quite a conceptual track considering it uses a synth drum machine rather than an actual drum kit. Another such track, The Inner Sanctum, continues from where the previous one left off.

Atonement expresses the finality of the album’s theme. It culminates the journey that Abbas began abd the expressions and motifs indicate that he has come full circle.

All in all, Elements is a good album. How does it differ from old school Fuzon and/or the Mekaal Hasan Band? Drastically, as previously it had been the fusion of two genres. Here Abbas fuses three, sometimes four — rock, classical guitar, classical Indian and jazz music. To achieve harmony amongst all these tracks is quite a feat. But this isn’t an album that would be appreciated by the masses, and although even Abbas admits that he’s no Atif Aslam or Ali Azmat, he does believe in the power of music and its ability to enthrall listeners. Only time will tell.

In his Element... Abbas Premjee

"My first lesson in classical guitar was quite an interesting one," muses Abbas Premjee. "My teacher had given me this assignment, and when I performed it the following week, he said, 'okay, now let's make some music out of that' – for me that was a shock, I thought I was playing music!"

We're sitting at the home of classical guitarist Abbas Premjee in the suburbs of Karachi. Abbas is perhaps one of the lesser known of members of the Kolachi Quartet, the improv fusion jazz group. While the rest are associated with big bands and record labels, Premjee is not that well established with audiences. In the coming weeks, his debut album and video and set to be released. The musician discussed the album, the video and all things classical and jazz.

"I picked up the guitar when I was about ten years old," recollects Abbas, "and I taught myself how to play it. I've been involved in music ever since." A humble hobby soon became a lifelong ideal, as through the years Abbas continued to learn and play the instrument. His early influences were broad, "In those days you would get influenced by whatever was there to listen to, you didn't have a choice actually." But Abbas was not alone in his hobby. "Amir Zaki used to live near my house, we were friends, and I learned a lot from him, and he may have learned some stuff from me." It was during these stern times of the country, the two guitarists would share their arts and guitar techniques; everything from cords, solos and leads.

In the early eighties, the country's music scene was in its conception stage, scattered musicians searched for an output of their fledgling art amid the concrete ruling of martial law. Some would eventually find that release, whereas others would have to wait longer.

Abbas Premjee on the other hand was not going to be part of history, for the moment, "In 1985, I finished my secondary education and left for the United States for higher education in engineering." Though his heart was set to the tuned to the strings of the guitar, his responsibilities to his family had to come first.

At that point in time, many of the country's musicians were poised to take a bold leap into stardom, though ventured into obscuredom. But those that did survive became Pakistan's pillars of pop and rock. Family responsibility however steered Abbas away from music and into the world of engineering. "But I was still playing the guitar though, even when I went to the States, I was a part of a band there. And being part of that band, especially the fact that it was jazz, literally opens your vocabulary in chords and melodies. I didn't however consider getting an education in music there, at that point in time."

But in his senior year, he opted for a class in classical guitar; it would mark a turning point in his musical ambitions. With a classical rock influence and a part in a jazz band in the States, Abbas dove head in to the world of classical guitar, "I had no idea what it was, because it's a pretty isolated little field. It has its own ideology and discipline, and I wasn't exposed to any of that."

Following his first lesson, he was intrigued. What became a single class became another degree in music. And then another. A series of scholarships later, Abbas felt the tug to return to his home. Finally, after nearly 10 years abroad, he did so.

"It was actually a culture shock for me," he recollects, "I was in a specific environment, totally immersed in the guitar and I had come back changed to a changed environment."

First things first, once again Abbas' call to music would be cut short. Family business obligations had to be dealt with first. His family's business was suffering a lot of setbacks and ultimately his father passed away.

In 2004 Abbas Premjee pushed all of his setbacks aside and began to record music. These recordings, or sketches as Abbas calls them, would eventually become the base of Elements, his upcoming debut album. Around this time, he also started to delve deep into eastern classical music. "I thought if I could get into eastern music, I'd get into something that's appreciated in this region." But it things weren't easy for him as he soon found himself in a world of gharanas and being from a house with no music history, learning eastern music would prove to be a difficult task. "Unfortunately, there's a reluctance to impart knowledge out here," he speaks about his ordeal. "I then got a hold of books, the right kind of books that helped me eventually learn."

But Abbas was not deterred and continued to learn music and make compositions. So much so that he procured a mohan veena, a classical hybrid instrument that has deep roots in the eastern music field.

Ultimately, his growing musical knowledge and prowess would prove to be the strength of Elements. But would that strength be enough to attract an audience? "It wasn't easy," Abbas speaks about getting a music deal, "but there are some people who want to encourage new kind of music and they made this possible." At the same time, he acknowledges that he is a very un-commercial artist in a commercial driven market. "I don't fit the profile of a commercial artist, and in that sense this could be a bit of a gamble."

In the coming weeks, his album will be released and only then will Abbas find out if that gamble has paid off. Abbas was kind enough to offer a preview of the upcoming album. Abbas has had good help from the likes of Gumby, who helped out on drums and Khalid Khan who filled in bass duties.

The intro track coaxes you straight in. Like a warm greeting, we're being told to relax, sit back and to relish the journey in store for us. Titled contemplation, the track defines a meeting between the east and the west.

Immediately following is Jhoom Dewanay, the track for which the video has been made. With vocals by Mansoor (a singer Abbas discovered himself), the track is literally a composition of a story. The motifs of the album, a note here and there, are scattered throughout the track, being the smaller part of a bigger picture. The video co-directed by Abbas and Sharik Chapra, composed entirely of photographs and digital paintings. In it we delve deep into the world of mystical Arabia, where the story of the song unfolds. Not only is the video eye-catching, it is entertaining and most of all quite different than the dancing videos out there.

The next track is quite upbeat—the first one of the album—and features Irfan on vocals. Abbas is keen to work with unknown vocals because according to him he can "polish the vocals" according to his own advantage. Singing in his native multan tongue, Irfan's vocals not only stand out but blend in gracefully with Abbas' composition.

Entrainment is a brooding number that follows. The vocals here are strong and lead one deep into the song, tugging at emotions. Seek Peace is an award winning track that was featured in the United Nations World Music competition. Although it didn't win first prize it came second and after listening to it one can imagine why out of 15,000 entries, this track was one of the few that stood out. Featuring a quote by Hazrat Ali, the track is light, thought-provoking and seemingly fits into the mood of the album.

Although he talked openly and extensively about the album and his music throughout, it is ultimately his music that will speak for him and perhaps even speak to audiences.

(Photography by Asma Inayat -- asma.inayat@gmail.com)

All that Kolachi Jazz

They say that jazz is an acquired taste.

If that is so, then Karachi has quite the appetite for Jazz. On a brisk Saturday evening, the jazz/fusion supergroup, the Kolachi Quartet performed a gig at the PACC.

The who's who of the entertainment industry loitered around the entrance of the inner-theatre, where the concert was set to take place. TV stars, musicians, photographers, models, all mingled with the band members, a sight not particularly seen before the concert – or come to think of it, at any concert.

The group is comprised of varied musicians. Pakistan's prominent percussionist Gumby, handles the drums; classical guitarist Abbas Premjee helms the guitar; Khalid Khan of Aaroh provides the bass lines; finally to round things off, Emu of Fuzon fame, chimes in with his synthesizer and keyboards.

The Kolachi Quartet has performed before, but that was a special performance, away from the prying eyes of the public. This time around, they have opened their doors and although there weren't enough members of the general public around, the group's provided a very interesting performance.

As the lights dimmed, the musicians took to the stage. They looked relaxed, grinning at each other, obviously knowing what they were about to do.

Abbas greeted the audience and announced the track the name of the track, "Oops." Like a well oiled machine, each musician fell into place. At first, it doesn't seem that out of the ordinary, four musicians playing in a band. When you put them in their individual perspectives, that's where the interesting bit kicks in. Each of them brings their own flair and passion, each sound is different, yet when they all come together, their music gels perfectly.

The track itself was jumpy and upbeat, filled with the jazzy and fusion sound and gave a sneak peak for the audience what the show is all about. "That sinking feeling" followed and it was when the band shifted gears into a slower tune. The crowd seemed to sink itself into each tune and although Jazz is ambient music, the band made sure they were center of attention. An untitled piece follows: "We haven't given this one a name yet, but we call it the Kirwani Jam," says Premjee. The piece begins with an erratic but stable beat and pretty soon the audience gets into the groove.

The band then welcomed Zara on the stage. The singer has been previously heard on the "Khuda Key Liye" soundtrack and although she does justice to the film, her live singing is a bit less impressive. "Suniye Jee" is a soft ballad, Zara's vocals sinking into the ambience created by the band. At times, she seems a bit lost, but through the most of it, she's on track. After another track with Zara, the band then took a break as Abbas Premjee took the stage to perform a few solo compositions. The audience watched with awe and wonder as Abbas plucked and strummed two different pieces. From crescendos to soft whispers, Abbas clearly showed off his training in the guitar—and the audience loved it.

The band re-groups and then is joined by singer Irfan on stage. Irfan is a folk singer from Multan and sings in his native tongue. Although he stumbles a bit at first (perhaps due to some technical glitch) as the songs move on, he finds his own temperament and settles in with the band.

After the concert, the band spoke about the premise of the concert with much glee. It was clear that not only did they enjoy playing as a group, but they did so as individual musicians as well.

"This was probably more for us as musicians than as a band performing for an audience," spoke Gumby. Emu agrees, "It's just something that had to be done. As a musician, I've always been into Jazz – I was trained in it – but had never had the opportunity to play it live or as a part of a band." Khalid said, "I enjoyed playing with them, this was our first public concert and it was amazing."

When asked if they would ever release an album, Gumby replied "Every piece that was played in the concert – except for one – was an improvisation piece. We've practiced a basic structure, but apart from that, it's all something that happens once every concert. It's not something that can be captured on a disc, it has to be done live, in front of an audience." Emu reiterates this fact, "This is total improvisation, which is the essence of Jazz music." Guitarist Premjee echoes the sentiments of his fellow band members, "Jazz music is spontaneous, you can't have that on a disc, its meant to be played live—hence, we'd like to do more shows." Bassist Khalid Khan echoed his band members but added, "We can probably look into a record but at the moment, we're planning on doing more shows."

However, the band faces one criticism. Jazz music as a genre is extremely niche in Pakistan at the moment. There are very few people who play it, and even fewer who can appreciate it. "That's right," agrees Gumby, "it is niche, but at the same time, we're doing it and it's not like nobody came to the show." Emu says, "It is very niche, but then we had so many people show up at our show and because of that support we now have more shows lined up!" Whereas the majority of the band agrees upon its niche genre, Abbas Premjee has a different view: "I don't think its niche at all and if it is its less than ghazals and everything else that we have." Premjee insists that more shows will lead up to jazz becoming a broader genre than it already is.

Although we can expect more from Kolachi Quartet, the members themselves have a busy schedule up ahead. Premjee spoke about his solo album "Elements" and that it would be released shortly. Khalid Khan spoke about Aaroh, "We're working on some new songs that will lead into a new album." Meanwhile, Emu and his band continue to broaden their audiences, "We're [Fuzon] going to India again soon, so that should be exciting." Finally, and not the least, Gumby has his hands full too, with working on Abbas Premjee's album, providing drums for other people, like Kaavish's upcoming record and ultimately, more Kolachi Quartet shows.

The concert itself was probably the first of its kind, and it’s a shame not enough people get to experience it the first time around—but according to the band, more shows are around the corner so that the most of Karachi can experience the sounds of the Kolachi Quartet.