Jagjit Singh Curated

Renowned Ghazal Singer


  • Could you tell us about your bond with Gulzar?

  • How many race horses do you won?

  • From where did you get the idea of the album cover of ‘koi baat chale’?

  • How is the album ‘koi baat chale’ different from the other albums?

  • What challenges did you have to face while composing the songs for ‘koi baat chale’? 

  • Could you tell us about your childhood days?

  • What is your the of training your voice?

  • Do you think the expression of music changes with age?

  • Do you think there is a better opportunity in the industry today? 

  • How difficult was your life after coming to Mumbai for the first time?

  • Who offered you the first assignment after coming to Mumbai?

  • What is the importance of lyrics in a song according to you?

  • Which was the song that helped to gain recognition?

  • Do you believe in God? 

  • What are your views on the remix music?

  • What are your views on remix music?

  • Do you believe in adapting the new trends of music composition? 

  • What are your views on the music album’s videos?

  • Which is your favourite Gazal?

  • What according to you is the expectation of audiences outside the country? 

  • Why do you think people start crying after listening to your concerts?

  • What do you have to say about your album ‘tum to nahi ho’?

  • What are your tips for a healthy lifestyle? 

  • What are your favourite foods?

  • What do you have in your breakfast?

  • Could you share one of your childhood memory that makes you smile?

  • Could you speak about your struggles until you made your first LP? 

  • How was your experience while composing your first song for a Gujarati film?

  • What is your advice for aspiring singers?

  • Why do you think music touches human souls?

  • Could you explain the process in which music touches human souls?

  • What is the importance of riyaz?

  • What are your tips for aspiring singers?

  • What is the role of Guru in a singer’s life?

  • How are gazals different from other songs?

  • In spite of such a less variation, how do gazals captivate people?

  • What is your secret of creating such heart touching songs?

  • Could you share the history of gazal with us? 

  • What is the scope of gazal today?

  • What would be the future trend of gazal according to you?

  • Is there any music equivalent to gazal around the world?

  • Who is your favourite gazal writer?

  • What’s the difference between the new-age ghazal that you pioneered and the old-age ghazal?

    First, I think old ghazals had no discipline. People sang them without realising they were ghazals. Also they were not sufficiently structured. Now, if you think back, most popular Hindi film songs from the 1950s were based on ghazals. If you hear any old Hemant Kumar number, say Yaad kiya dil ne kahan ho tum, they were mostly ghazals. Composer Madan Mohan set so many ghazals to his inimitable tunes. To give just some examples, Yun hasraton ke daag or Mai re main kaase kahun peer. Even then ghazals were preferred because they reflected sensible poetry, there was no silly tukbandi (rhyming). When I branched out on my own, I was determined to polish up the genre and make it more acceptable to modern tastes. I read ghazals thoroughly and in my early years I would select classics by Ghalib, Mir, Jigar, Firaq and Daagh. Later, I turned to more contemporary writers like Nida Fazli, Wasim Brelvi and Bashir Badr. My knowledge of Urdu being limited, I chose only simple poems and set them to simple tunes. I also introduced Western instrumentation to make the overall effect livelier. Incidentally, that idea I borrowed from film music, it wasn’t exactly original. As I said, 50s’ compositions were mainly ghazal-based but had Western style instrumentation.

  • Would you say that you are a naturally talented singer whom the world was just waiting to discover?

    Well, in a way, I suppose so. I was drawn to music from my early childhood and very keen to pick up classical techniques. Actually, my father was a great music lover. He used to hum classical numbers at home and being part of a devout Namdhari Sikh family, I was exposed to shabads that are always based on ragas. I used to listen to the radio a lot and those days classical music held sway. I would pick up Hindi film music too, but those were early days of the Mumbai’s cinema industry and film songs were not widely broadcast. But I was good at memorising whatever numbers I heard and practised them at home. My family and friends were impressed with my singing and I got a lot of encouragement from my father.

  • You come from an ordinary middle class family that had a little exposure to urban life. How come you grew out of this background?

    All I knew was that some day I would be a big singer and I pursued this dream single-mindedly. We originally belong to Ropar district in what was then East Punjab, but I grew up in Sriganganagar in Rajasthan that had a large Sikh population. My father was employed with the PWD and his was a transferable job. We settled in Sriganganagar and I did my schooling at the Khalsa High School. The medium of instruction in the junior classes was Urdu and that gave me an early acquaintance with the language although we did not really go beyond alif, bey, tey! I was born in 1941 and Independence came soon after that. Then Hindi became the medium of instruction. But the little Urdu I learnt as a child helped me develop my skills as a ghazal singer. My first public appearance on stage was at a Kavi Darbar that used to be held in our town every Gurupurab. Big names like Asa Singh Mastana, Rajkavi Inderjit Singh Tulsi, Surinder Kaur and others had come for that. I was asked to render a shabad in their presence. I had recast theshabad in my own style and set it to tune based on Raga Bhairavi. The audience liked it very much and I was told to sing one more number. That boosted my confidence. There was no looking back after that.

  • Were you given any formal training in music as such?

    No, I was trained. My father sent me to learn the basics from a local musician Chhaganlal Sharma. Our school hours were from 7 to 11 in the morning. I would come home, have lunch and go over to Masterji’s house. He was a blind man but a wonderful teacher who taught me all the essentials, starting with saregama. After two years, my father engaged Ustad Jamal Khan, from whom I learnt the ragas, khayal and taranas. He was a descendant of Tansen. He taught me some great bandishes, especially one set in Malkauns and another in Bilaskhani Todi. But after that my formal training ended. Also, I had to move out of Sriganganagar and stay by myself because there was no college in my hometown. My brother, who was then studying in Mahindra College, Patiala, wanted me to join him there. But I decided to go to the DAV College in Jalandhar instead. That was because Jalandhar had a station of All India Radio. I wanted to be in a place where I would have access to the radio for that was the only medium in those days to express one’s musical abilities. I gave an audition and got approved as a Category B artiste, which meant I could get two programmes every month. In college, I started composing ghazals, very simple ones. These I would sing for AIR. Those days, the radio gave you great exposure and feedback.

  • However even at that stage, did you seriously want to make a career out of singing so that you could earn enough Money and fame?

    I knew I had to be a singer. My father didn’t agree although he had helped me train in my childhood. He thought I should be an engineer. So, I enrolled for a BSc degree. After two years, I realised I would never understand science, let alone be an engineer. So I switched to BA and studied history. But all along I knew I was passing time. I was not interested in studying seriously. After I graduated, my father insisted I try for the lAS. I didn’t want to. So, I persuaded him that I needed to do my post-graduation before appearing for the civil services exam. I went over to Kurukshetra University and enrolled for an MA because the former Principal of DAV College, Jalandhar, had just moved there as Vice-Chancellor. He had always encouraged me to sing because I used to participate actively in college functions. At Kurukshetra, I blossomed as a stage performer. That was the time I came into contact with many people who became good friends later in life. One such person is Subhash Ghai who used to come there quite frequently as a stage actor representing his university at competitions. I remember he used to be quite popular among students. Actually so was I. Soon a time came for me to decide whether to struggle with my studies or turn to music full time. On March 19, 1965 (I remember the date very clearly), I boarded the Pathankot Express to Mumbai. I had to do this quietly because my family would have been quite upset.

  • Did you come to Mumbai with no money like many others of your generation who went on to become big stars?

    Honestly, no. I had saved some money from my radio and stage appearances in Jalandhar. Not a princely sum but I knew I could last out a few months provided I lived frugally. I had some friends and acquaintances in Mumbai and once I managed to locate them, some arrangements were made. I moved into the Sher-e-Punjab Hostel in Agadipada, where we had four cots to each room. I paid Rs 35 per month for sleeping there. It was a dirty and dingy place. I remember once I found a rat nibbling at the dead skin that always forms at the edge of one’s feet. But the company was great. The other guys from Punjab were very spirited. Although we had no money to spare, they were gamblers by instinct. They went to the races, played cards and placed bets on the matka. Other friends helped me find odd jobs. I used to perform regularly at private functions like weddings and mundans, I also got a break with radio very soon. You know, Mumbai absorbs you. I found it to be a city with a heart. For example, restaurant and dhaba owners got to know me and I was always allowed to eat on credit.

  • Weren’t your big dreams shattered by doing such small jobs?

    No, I never lost heart. I moved from studio to studio, producer to producer, offering my services. Nobody heard me. But I persisted with HMV, which was the only record company those days. In 1965 itself, they agreed to cut a disc. They said they would take out an EP (For the edification of Generation Next, Extended Play polyester records consisted of four tracks over two sides and played at 45 rpm as against the two track, shellac-based 78 rpm records that were being phased out by the early 60s). But it wasn’t a solo EP; I shared it with Suresh Rajvanshi. That record became quite a hit and the next year, HMV offered me my first solo EP. I sang Mir and Jigar ghazals including the all-time classic Ab to ghabrake kehte hain. Those days, there was really no measure of how much a record sold or what kind of popularity a singer of non-filmi music had. So even after cutting my own records, I wasn’t very much richer or better known. I think my first real break came after 1968 when Vividh Bharati went commercial. That’s when advertising was first allowed on the broadcast medium and jingles became very popular. I started writing, composing and singing those ad jingles on radio. I particularly remember doing jingles for Orkay and Omo soap. That allowed me to make some money and for the first time, I had a steady source of income.

  • Did you meet Chitra while doing the jingles?

    That’s right. It was actually through her first husband, Debo Prasad Dutta, who used to make ad films and had set up a studio in his house for recording jingles. Chitra did not like my voice initially. But on account of an exigency, one day she had to sing a jingle with me. She comes from a musically talented family herself and has a keen ear. That’s how we first met and drew close. Her marriage was going through some problems at that time and her husband wanted a divorce. It had nothing to do with me although I was there to comfort her and lend a helping hand. Soon, we had come together and I did my first international show with her when we travelled to East Africa in 1969. Those days, I wasn’t a big name and people didn’t come to hear my ghazals. So I would sing popular film songs. In East Africa, we sang Roop tera mastana and O mere sona re sona re, which were the rage those days. Our shows were a big hit. When we came back, Chitra said what’s the point of your living in separate accommodation? So I joined her at the flat she had rented on Warden Road. That’s where she was staying with her daughter Monica after breaking up with Mr Dutta. I started living there. I composed the music for her first EP; we did a few duets also. By then, I was on the road to becoming well-known. In 1976, HMV finally said they thought we were ready to do our own long-play. That’s how Unforgettablescame about in 1976.

  • You always say Unforgettables was the turning point of your career. What exactly happened after that?

    I came into my own and was recognised as a ghazal singer worldwide. As I told you, before that I performed mainly at private parties where I sang ghazals, bhajans and shabads. On stage shows, people came to hear more of my version of popular film songs than ghazals. But afterUnforgettables, everybody wanted to hear me sing my own compositions. Immediately after the album became a big success, Chitra and I went on another foreign tour. This time we went to Kuwait, Dubai, London and East Africa once more. In London, I sang on BBC too. That was a big recognition. We were out of India for nearly six months. It was really the first time we made some real money. So, we decided to buy up Chitra’s rented flat. Meanwhile royalties from records also started flowing in. I was gradually moving up into a different league. With money and recognition, our social circle widened. Life underwent many changes but let me tell you I never hankered after these things. It was good to be recognised and have enough money but I was happy with the slow pace of the changes. We went on a series of foreign tours after that. You name the most prestigious auditoria in the world and I have sung there — Royal Albert Hall, the Palladium, Queen Elizabeth Hall, Esplanade in Singapore. I was also the first Indian to sing at Sun City in South Africa to a capacity audience of 6,000 people. The show was sold out for two consecutive days.

  • What’s so special about your Dubai- concert?

    Well, I am coming back to Dubai after a gap of almost two years. The concert venue is the prestigious and state-of-the-art Convention Center in Dubai World Trade Centre. The tiered seating arrangement is perfect for viewing a concert from any row and the acoustics of the hall are perfect. I am very particular about these aspects of any concert. Over the years, I have learnt that the quality of sound that is transmitted to the audience is the most important thing in a live concert. I am in the process of releasing a new album of ghazals penned by Dr.Basheer Badar and I will be presenting some of the new ghazals from that forthcoming album in this concert. I also intend to present fusion of classical ghazals with western classical and jazz. This concert will be the first one in my planned world tour. So important is this concert for me that we will be even recording it live on video for posterity.

  • What do you feel about the audience world over?

    Over the years, the audiences are definitely becoming choosier and wiser. In terms of nationalities, my concerts are still mainly attended by people from Indian subcontinent. But that’s natural considering the genre of my music. When people come to my concert, they come with certain expectations and I make it a point to fulfill those expectations. The younger singers are making do with lip-synching in their concerts and then they try to cover up that deficiency through dancing and flashy stage- lighting but I don’t indulge into these gimmicks. I just have my singing to present to the audience and I do it live.

  • What qualities do you look for in the poetry before choosing a ghazal for a musical composition?

    Apart from the technical specifications to qualify as a ghazal, I am looking for a new thought in the poetry. Beauty, romance, social satire, spiritualism, religion- the subject matters may vary but there should always be a surprise element in a ghazal. I also make sure that the words used in the ghazal are simple and understandable for common audience. I have studied and learnt Urdu in detail but even now, I don’t feel awkward to ask an expert about the meaning of a difficult Urdu expression.

  • Why did you choose ghazal as your musical genre – particularly at a time when playback singing was a more lucrative option?

    I agree that film music has been the main and popular musical genre in India. But according to me, most of the film- songs made till the seventies were actually in ghazal format. Take the old film-songs like Teri Duniya Mein Jeene Se, Jaane Woh Kaise Loag The Jinke Pyar Ko Pyar Mila, Waqt ne Kiya Kya Haseen Sitam, Yuun Hasraton Ke Daag orKatate Hain Dukh Mein Yeh Din and then, you will realize my point. I have sung many of my favourite film-songs in the album ‘Close To My Heart’.   Making ghazals provided me with an opportunity to use melodious tunes and quality lyrics, encompassing the whole gamut of human emotions. I didn’t want to indulge into slam-bang kind of rushed music. The best thing about a ghazal is that ten different artists can sing the same ghazal in ten different way

  • From your perspective, do you think that there are certain drawbacks in the media present today?

  • जब आप इन दोनों के लिए प्रदर्शन करते हैं तो भारतीय दर्शकों और अंतर्राष्ट्रीय दर्शकों के बीच क्या अंतर दिखाई देता है?

  • जब आप चाहते थे कि आप आईएएस अधिकारी बनना चाहते हैं तो आपने संगीत में अपने करियर को आगे बढ़ाने का फैसला क्यों किया?

  • Now that you have achieved so much, what more do you want to achieve?

    I don’t have these ambitions. All I hope and pray is that my next show and the next album should be better than the last. I also want to keep on composing; in fact, I composed numbers for almost all my albums except Forget Me Not. I am also a great devotee of old Hindi film music and may be, I will pay a tribute to some of my favourite singers like Talat Mehmood one day.

  • What made you turn a sahajdhari and cut off your hair and beard when you are born to a Sikh family?

    Nothing in particular. I was and still am a Sikh. But when my first EP was to be marketed, HMV asked me to give a photo. I had been thinking of cutting off my hair for some time. So, I thought if I gave a turbaned photo to them for the jacket and cut my hair later, I’d face more criticism than if I did it right now. So I shaved off. That’s all there is to it.

  • Why did you decide to go to Mumbai?

  • The tragic death of your only son in an accident is said to have devastated both Chitra and you. How did you cope?

    That is a kind of tragedy I fervently hope no parent has to face. Yes, it was devastating. Chitra retreated into a shell. She stopped singing, stopped interacting with people. Although Monica and her two kids are very close to us, Baboo’s death almost destroyed Chitra’s will. Over time I, however, made it my source of strength, my power. I immersed myself into music and brought that melancholic strain into my compositions. That way I expressed my sorrow; I found an outlet for it. For me, music suddenly became like meditation. I haven’t got over the tragedy; it haunts us all the time. But we have to live with it. Chitra, too, is recovering but I don’t think she will ever sing on stage again, although I might just be able to get her to sing in a studio at some stage.

  • Radio stations hardly play ghazals. Did you ever think of raising this issue with them?

    I always raise this issue with FM radio stations whenever I go for interviews on air. Sometimes,  I even refuse interviews because they are not doing anything for the music I represent. So it doesn't make any sense going for an interview . I raise this issue with every FM player but it falls on deaf ears. Radio stations in small town do play ghazals, but those present in the metropolitan cities like Mumbai, unka nakhrazyaada hai. Mumbai radio is totally westernised - woh apne apko angrez samajhte hai. Stations in cities like Delhi and Lucknow always play my ghazals.

  • Ghazal singers are gradually moving to performing live, why don’t they come with albums more frequently?

    What is wrong with performing live? In film music, the singers don't even sing, they use backing track and lip sync, at least ghazal singers are honest when singing live. Ghazal performers have always been performing live, I perform one or two concerts every month – whether you make albums or not, live concerts should continue because people want to listen to ghazals, they want to attend good concerts and they want to go with families, so they will always prefer a ghazal concert rather than going to a filmi program  

  • Radio industry experts reason this out by saying private FM channels are dedicated only to music that appeals to masses and that ghazal is not mass. How would you answer that?

    This is an excuse not to play. How do they consider that ghazal is not mass?  10-15 years ago, ghazal was popular music, what happened to the â€?mass' criteria at that time? The real reason is that they don't have any kind of taste for this kind of music.The people behind the desks, the radio jockeys, and the programming guys don't have any culture backgrounds, their upbringing is different and they don't have any taste for ghazals and  that is the main issue.

  • What qualities do you look for in a poem before choosing a ghazal for a musical composition?

    Apart from the technical specifications to qualify as a ghazal, I am looking for a new thought in the poetry. Beauty, romance, social satire, spiritualism, religion- the subject matters may vary but there should always be a surprise element in a ghazal. I also make sure that the words used in the ghazal are simple and understandable for common audience. I have studied and learnt Urdu in detail but even now, I don’t feel awkward to ask an expert about the meaning of a difficult Urdu expression.

  • Had you always wanted to be a singer from your childhood days?

  • How was your musical training?

  • आपने मुंबई जाने का फैसला क्यों किया?

  • What was your educational background?

  • आपने गालिब, निदा फाजली और गुलजार को लगातार गाया है। आपका फेवरेट शायर कौन है?

    मेरा कोई पसंदीदा शायर नहीं है। जो भी अच्छी गजलें लिखता है, वही मेरा फेवरेट हो जाता है। निजी तौर पर कोई मेरा फेवरेट नहीं।

  • इधर फिल्मों में गीत व संगीत दोनों की क्वालिटी लगातार गिरती जा रही है। आजकल के लोकप्रिय गानों के बारे में आप क्या सोचते हें?

    हम इस बात की परवाह क्यों करें कि आजकल कैसा गीत-संगीत बनाया जा रहा है। दूसरा क्या कर रहा है, हमें इससे क्या मतलब। हमारी परवरिश अच्छी शायरी की गोद में हुई है, इसलिए हम लोगों को वही लौटा रहे हैं। हमने वर्षो तक अनुशासित होकर रियाज और साधना की है। जाहिर है कि इसीलिए हम मुन्नी बदनाम हुई जैसे गाने कभी नहीं गाएंगे। लोग हमसे अलग तरह के संगीत की उम्मीद करते हैं और उनकी कसौटी पर खरा उतरना हमारी जिम्मेदारी है।

  • What are the vital points you consider while choosing to sing a ghazal?

    The language of the ghazal should be simple as well as decent. It should be close to life. The masses should be able to identify themselves with the same. It should have few important factors: a continuous flow of thought process, containing shades of emotions to touch the heart, surprise factor, philosophical or satirical elements and also musical value.

  • Ghazal singing has become a fad now. What is your view?

    That is why, the standard of singing has also declined. Songs sound like jingles. Singers don’t want to work hard. The tradition to learn classical music is passe. Earlier, a singer had to undergo a tough audition at the All India Radio. According to their merit, they would be labelled as A, B or C artistes. They would draw respect from all walks of life. There used to be a committee of learned people to approve poetry. Is there any such committee anywhere now which keeps the decency of the verse in mind?

  • Who is to be blamed for the fading of Ghazals?

    Media, primarily electronic media, that creates a star overnight. Also, our social system which is fast getting enveloped by the western culture. Our education system also has great loopholes. Have you seen any syllabus teaching Guru Nanak, Surdas or Kabir in true spirits? From where will our children learn `sanskars’? If you talk of music companies, they will sell anything that is given to them. Few recording companies have any literary background to decide on the merit of an album. Whose responsibility is it to see what is given to them? It is not necessary to stoop to a base level just for commercial purpose.

  • How does a video album of a cassette help the singer?

    It helps the sale of the product by a good margin. Earlier, if one lakh cassettes of a ghazal singer was sold in a month, he would feel great. Now, on the day of the release itself, Super Cassettes has launched 2,50,000 cassettes. Now, can you see the difference? It helps both the singer gain popularity and the music company make profit.

  • You started singing in the late 50s. How has the face of music changed since then?

    It’s been almost 50 years since I have been seeing the music scene. Lots of things have changed. The standard of poetry has gone down. Because of the growth of science, Indian equipments and sound have improved so much that the singing quality has gone down, as you have the facility to correct your faults, through these machinery and equipments. In the process, the introduction of visual music has done harm to real music, you see. Due to this, people only see the music and don’t care to hear it and as they get to see it on their television sets, they don’t buy the cassettes or CDs. So, that is a big change in scene. Also, non-professional people have entered into this field. Some people have money, and they can afford to make videos. The media people don’t mind showing these videos free of cost. Music has thus gone into wrong hands. But I am sure it won’t stay like this. It will change in the near future

  • As ghazals were popular only amongst select audiences during the times you sang, did you think you would be successful?

    Ghazals were popular everywhere. During the 50s and 60s, 90 % film songs were based on ghazals. So you cannot say that they were limited to select audiences. Only a few ghazal singers like Begum Akhtar, etc., who were not in films, had limited audiences, for the very same reason. But, otherwise, ghazal songs were very popular. Most of the old songs of Talat Mehmood, Lata Mangeshkar, Hemant Kumar, etc., are all based on ghazals.

  • We see a new pop singer or a bhangra singer in the music scene everyday. Why don’t we get to see ghazal singers that often?

    Because we, ghazal singers, don’t have anything visual to show ! We don’t dance, we don’t wear funny clothes, we don’t keep half naked girls with us. So that’s why they don’t believe in singing ghazals.

  • Among the new ghazal singers, who in your opinion would be able to follow in your footsteps in the field of ghazal singing?

    At present, I can't pinpoint a single one, but whosoever works hard, will ultimately be successful. There are few boys, like, Mohammed Vakil, Shyam Vaswani, Vinod Sehgal, Jaspinder Singh, who I think are quite good. So let us see, who is the best and who is the most talented.

  • You have worked with lyricists like Javed Akhtar, Gulzar and a variety of other lyricists. According to you, whom did you best get along with?

     It’s not the poet who is the best. It’s his work, which speaks for him. So I don’t mind working with anybody, provided his work is good. Actually, I am very selective. I select the best lyrics. Even with Gulzar or Javed, I select their lyrics based on my choice, according to what I feel is good.

  • What makes a good ghazal singer?

    You must know the language, first of all. You must know music, you must be trained in music and singing, whether you sing for bhajans or for pop albums. You must have formal training. You have to have a good, cultured voice. You should also be educated. So, these are the things which make a good human being, and of course, a good musician.

  • Does one necessarily have to be a ghazal lover to understand ghazals? In your opinion, why is the youth of today a bit more inclined towards other forms of music?

    No, you are mistaken there. Today’s youth is inclined towards ghazals also, towards me also. Youth is always divided. They have no mind. They always go towards the fashion. And when they realise that pop music, etc is nothing, they come back to ghazals.

  • Apart from the depth and wording of lyrics, upon what criteria did you choose the album for which you sang?

    The language has to be understandable, apart from being meaningful, of course. The thought has to be so good that it can touch your heart. There has to be some surprise factor in the poetry. That’s what I choose upon.

  • Which are your top 5 favourite ghazals?

    I can’t pinpoint at 5 particular ghazals, really. But, some songs like, ‘Yeh Daulat Bhi Le Lo’, ‘Ahista Ahista’, ‘Tum Itna Jo Muskura Rahe Ho’, ‘Mera Geet Amar Kar Do’ are really close to my heart. But there are so many that I can’t really tell which are the 5 most favourite ones.

  • What would you say has been your most memorable moment in your career of more than 40 years?

    Most memorable moment ? Actually…nothing has come surprisingly or suddenly. I have worked hard for everything. There are so many moments that have come and gone in my life. I have sung in some of the most prestigious places of the world, like, Royal Festival Hall, Lincoln Centre, Royal Albert Hall in London…these are all memorable places for me, all memorable moments throughout.

  • For how many hours would you riyaz in a day?

    I never count the hours. When I sit, I sit. Sometimes I riyaz continuously for two hours, three hours or four hours at a stretch.

  • You have performed concerts and shows in India and abroad. How are the audiences different?

  • How do you see the future of the Ghazal music scenario in India?

  • What is your advice to aspiring singers?

  • What is music like to you?

  • Have you ever got any acting offers?

    Mujhe first break mila Aziz Merchant se, Gujarati music director the. Pehele toh Aziz mujhe hero banana chahate the, Gujarati film mein. Meine kaha maaf karo baba, mujhe gaayak hi rehene do…. Toh usne bola theek hai… ek bhajan gaa diyije.

  • Have you tried with Pop genre of music in your young days?

    Ek zamaana aisa tha, I was the hit party singer. Lekin waha se kaam nahi mila mujhe. Sirf partiyon mein gaake timepass kiya, aur naam aa gaya.

  • क्या आपके दृष्टिकोण से, आपको लगता है कि आज मीडिया में कुछ कमियां हैं?

  • जब आप इन दोनों के लिए प्रदर्शन करते हैं तो भारतीय दर्शकों और अंतर्राष्ट्रीय दर्शकों के बीच क्या अंतर दिखाई देता है?