Songs in Bengali

Reviewed by Bradford G. Garton

Gautam Dasgupta is one of the most "Renaissance" men I have had the pleasure to meet. It seems that every time I get a chance to interact with him, some new facet of his personality is revealed.

A case in point happened a short time ago. I had known Gautam professionally (he is a professor in the Civil Engineering Department at Columbia University; I teach in the Music Department), and we had collaborated together on some computer projects involving the use of sound in mathematical instruction. I also knew that he had a healthy interest in music, but that knowledge did not prepare me for the cassette tape he handed to me at the end of one of my classes. I assumed that the cassette contained recordings of Indian music, for I had expressed an interest in learning more about Indian popular music to Gautam. After opening the cassette package, I was surprised to see a picture of Gautam on the cover of the tape. My curiosity deepened as I read from the cover that the tape contained "Contemporary Bengali Songs Written by Gautam Dasgupta."

I received the most pleasant surprise when I got a chance to listen to the tape. It contains nine finely-crafted and polished songs, sung by Dasgupta in a strong and flowing baritone/tenor voice. Accompanying musicians John Leventhal, Lincoln Schleifer and Larry Campbell did a superb job of setting Dasgupta's music, managing to capture the optimistic spirit of life that shines through each of the pieces.

The songs are an interesting combination of a western "pop" sensibility with a highly-developed melodic tradition. It doesn't sound much like the Indian popular music I have heard on various radio shows here in New York. Instead it seems to be a subtler fusion of 'eastern' and 'western' music, producing a sound reminiscent of the Beatles' raga-influenced rock. It is, however, somehow a more seamless blending of diverse influences than the typical eastern-influenced western pop music. Perhaps this is due to the collaboration of Dasgupta with the western musicians performing on the tape, or perhaps it is a reflection of the diversity of Gautam Dasgupta's compositional (life!) influences. Whatever the reason, the music is quite unique, but also quite accessible.

For example, the opening piece of the tape, Songs in Bengali is built upon an infectious beat with a chorus containing as good a musical 'hook' as I have heard in any recent pop music. Combining with these elements are a musical bridge which uses some sliding half-steps in the vocal line and a *tutti*-like instrumental part that suggests the modal inflections heard in much Indian music. Tying the song together is an upward-moving bass line leading to a vocal chorus (Dasgupta is accompanied by singers Teresa Williams and Charlene De Christopher in this song) that makes me feel good just to hear it. I cannot understand the words, but the fun and joy of this music speaks louder than language.

Songs in Bengali is followed by Anisha, a piece written by Dasgupta the day his daughter (Anisha) was born. The music is based upon a melody by Jose Afonso, and has an introspective, almost apprehensive aura. John Leventhal used some standard soft-rock instrumental sounds to accompany Dasgupta's voice in this piece. Dasgupta's singing seems to embody the tentative mixture of fear and joy that is surely felt by every new parent contemplating the future. This is reinforced by the low-register guitar solo and the clicking of the drums (possibly representing the relentless passage of time). I personally would have preferred a slightly slower tempo for this piece, but the music is effective nontheless.

Calcutta, the next song on the tape, has a vibrant and vital feel, to me sounding like some sort of system with an unstoppable momentum. This is not so much from the shuffling rhythm as it is from the variety of musical styles touched upon in the music. I hear aspects of reggae, country and western (there is a prominent pedal-steel guitar part), even a polka-like feel at certain points. The melody seems to be progressively elaborated in the verse, as if it were rewriting itself in ever-more-complex ways as the music evolved. Perhaps Calcutta the city is like this -- a confluence of many diverse threads of existence.

A driving rock beat punctuated by reverberated guitar chords is used for the accompaniment in Money, the final cut on the side A of the tape. On top of this, Dasgupta has layered a wildly swooping melodic line. I was very impressed by Dasgupta's accuracy in 'nailing' the notes of the melody. Although he claims to have had no formal voice training, his ear has obviously been trained by years of careful listening. *Money* was just a bit under-produced for my taste, perhaps reflecting the limitations of the musical equipment available to Dasgupta and Leventhal for this particular song. The grandiose feel to Money makes it susceptible to this criticism. It is the only piece on this tape that I think should have been done in a larger recording studio.

Side B of the tape opens with Gone are those Days, a bouncy, up-tempo piece that sounds more like a celebration of ageless youth than a lament for days past. I could hear echoes of my own happy, young days in the rural areas of Indiana in the country-influenced guitar solos interleaved in the song. In any case, it appears from the music that Dasgupta has no serious regrets about his past (if indeed the Bengali lyrics are discussing this!).

I have no idea what is being said by the words in Endurance, but it is a moving musical experience. In contrast to the other songs on this tape, Endurance is set using mainly acoustic instruments; acoustic guitars and strings make up the bulk of the instrumental arrangement. This creates an intimate atmosphere for the voice. Dasgupta's singing is at its most passionate here -- a restrained passion, however, communicated primarily through slight shifts in inflection and intonation. These small gestures combine with some interesting major/minor harmonic shifts to resonate within me, building a timeless, melancholy feeling.

Spring Fever is probably my least favorite song on the tape, but perversely it has a melody that stays with me more than any of the others (with the possible exception of the chorus for Songs in Bengali). The sinuous vocal line gives this piece an exotic flavor somewhat different from the other songs. I'm not sure exactly what I dislike in this piece, perhaps it is the ostinato bass line, or perhaps it is the unvarying timbres of the accompanying instruments. It is odd that I find the melody to be so memorable.

In contrast to Spring Fever, Feeling Uneasy is my favorite song on the tape. It is by far the most "Indian"-sounding to my western ears, having a strong rhythmic back-beat that I can easily associate in my mind's ear with tabla playing I have heard. Lincoln Schleifer and Larry Campbell have overlaid several violins playing the melody along with Dasgupta's singing to reinforce this "Indian" aspect, also adding some periodic percussion instruments that are usually identified with eastern musics. The music itself is more mono-harmonic than the other pieces, but Dasgupta throws in some interesting harmonic changes (and one truly wonderful ryhthmic twist) that makes this song a truly delightful experience.

The tape finishes with an instrumental reprise of Songs in Bengali, sounding quite a bit more like American pop music without Dasgupta's distinctive vocal style. I still like it, though!

This is an uncommon tape from an uncommon man. I don't know what Gautam Dasgupta's purpose was in creating this tape, but when I listen to it, it makes me feel happy. Gautam is one of the most optimistic people I know, and his congenial outlook on life infuses these pieces with an infectious vitality and spirit. The royalties from the sale of this tape have been designated to go to the Bengali Engineering College, a gesture fitting with the generous nature of this music. I encourage you to give this upbeat, melodic music a listen. Perhaps you will smile, also.