The interview which appears below, was originally published on Passion For Cinema website in July 2009. ©The rights to this material are reserved to the owner. If you have any concerns or comments, please send an email to info@rahmaniac.com.
Over 10,000 songs in Malayalam, Tamil, Kannada, Telugu and Hindi, and national and state awards for playback singing, P. Jayachandran is a name anyone familiar with South Indian music will recognize. And, those unfamiliar with Malayalam, Tamil, Kannada and Telgu music may recognize him for singing Milo Wahaan Wahaan for A.R. Rahman in Ada. Today, yours truly brings you a PFC interview with the legend himself, P. Jayachandran! And, surprise, surprise, he will be blogging on PFC in the weeks to come.
Tell us about the experience singing your first Hindi song, Milo Wahaan Wahaan (Ada)…did you have to record the song sentence by sentence? Did you make notations of pronunciations? How was it like interacting with Alka Yagnik? Or, did she record her part of the song separately?
I was thrilled and was keen to take the challenge. I grew up listening to Hindi songs also. I always listened to Binaca Geeta Mala and never missed one in my student days and probably that helped my Hindi pronunciation and expressions too.
Rahman has his own style of recording and all just follows the protocol. But this song was recorded and then the tracks were added. But, Alka Yagnik did her own recording and I never met her.
You’ve known A.R. Rahman for many, many years. Rahman’s father and you were good friends…Tell us about our interaction with him and how you’ve seen him evolve with the years.
Rahman’s father Rajagopala Kulasekhar (R.K. Sekhar) was known to me almost from the time I entered the industry. I knew Rahman as a toddler. Sekhar was assistant to G. Devarajan, Dakshinamoorthy and even Salil Choudhary. I still believe that Sekhar was as talented as Rahman. His untimely departure was a loss to the industry. Rahman went and worked with M. K Arjunan after that. Today I feel so happy on his achievements. God has done justice.
Could you also tell us about the experience for singing for Raaja sir and MS Viswanathan sir?
I was introduced in Tamil by MSV. I am amazed by the confidence MSV has on me and it was a big responsibility too. MSV uniquely calls me ‘Jayam.’ My first song in Tamil was in Manippayal (1972) by MSV. And in 1975 Illayaraja came and we both had the best of late 70’s and 80’s. MSV was always melody oriented whereas Raaja is folk oriented. Another striking difference is that MSV composes music without notations but Raaja uses them. But, no doubt Raaja is the king of re-recording. My most liked MSV songs are Alaimagal and Thendralathu, and Raaja songs are Rasathi, Kathirunthu, Raja Magal. Mancholai Kili Thaano was a tough song from Raaja.
You held special place in the portfolio of music directors like Raveendran, Ilayaraja and A.R. Rahman…what do you consider to be your best songs with each one of them?
Raveendran is known to me before he became a music director. He used to be called Kulathupuzha Ravi. Ravi was even my roommate. Aalilaa Thaaliyum was the best song I sung for him. My best song for Rahman is Oru Daivam Thanna Poove.
Tell us about your friendship with Yesudas and about your other peers.
I knew him from my school days and he was my brother’s friend before coming to industry. We still share the same warmth. Same is the case with SPB. I consider PBS, Susheela, Janaki, Gokulapalan, Udayabhanu, etc as my role models.
Do you think that if Dasettan (KJ Yesudas) was not so popular, during his younger days–60’s and 70’s–the chances of you singing more good songs would have increased?
Actually, I would have entered films at the time of Yesudas itself. But my mother wanted me to complete my education. So I waited for that. I don’t believe that it would have made a difference in the chances. I think we both are having our own positions in film history. I feel our contributions are unique.
Your voice keeps on sounding more and more young with time–you sounded much younger in your comeback song, ‘Prayam Nammil’ from Niram and in ‘Ariyathe’ (Ravanaprabhu)…what is the secret? A lot of riyaaz?
It’s just the mental attitude. Age is always in one’s mind. Above all it’s God’s grace too. Thanks for the complement.
You graduated with a degree in zoology. Did you ever want to practice that instead of being a singer? I believe you’ve also acted in two films, Nakhashathangal and Kirshnapparaunthu…Please tell us about your acting experiences…
I worked in Parry and Company as a chemist after my first hit ‘Manjalayil.’ My role in Nakashathangal was very enjoyable. Acting needs a lot of commitment and so does singing. There were a lot of offers after both the movies. So I chose the one I thought I knew best.
You’ve recorded over ten thousand songs…Tell us about how you think you have evolved over the years? Have you grown more selective? Do you approach recording a song differently?
Although, exact numbers are not available I am sure of singing more than 15,000 songs. Mood and situation is the most important aspect and I always ask and understand that before singing the song.
Do you miss the old days of singing live with the orchestra? Does you like the current ‘track’ recording style of singing?
Yes, I miss it. I still prefer the old style. It brings the best out of the team.
You have many hit songs to your credit including Sollaamale Yaar Parthathu, Manjalayil Mungithorthi, Anuragaganam Pole, Karimukil Kattile and Sandhyakenthinu Sindhoorum. Out of all the songs you’ve recorded, which one is your overall favorite?
I always sang from my heart. So every song is dear to me. It’s the audience who decides the hits and I oblige.
What songs are you listening to these days?
Old songs. Last week I was hearing a lot of Madan Mohan compositions. In my meeting with Manna Da, he shared a lot information on their relation also.
Are there any music directors, singers and lyricists whom you really admire?
There are many and it’s a tough question to answer. But, Mohammad Rafi has a special seat in my heart.
Besides the Mridangam, what are some of your other favourite instruments?
Chenda.
Over the years, have you noticed any changes in the music industry?
Recording methods have changed. But, I have not noticed any more changes than that happened in society in general. Earlier, all used to rehearse and sing together. One mistake was a total retake, but there was a lot of team spirit and multiple rehearsals brought out a lot of innovations.
There’s been this notion of the North-South divide—is this a misconception or do you really think it exists?
Music is one universally. So I don’t think it’s really there. I can only say that I worked with greats like Salil Da, Manna da and ARR, Kreem, etc. doing well in Hindi. I think a good singer and music director can create a universal appeal.
Are there any differences you’ve noticed in Hindi music and Tamil music, besides of course the language?
Bollywood, Kollywood, Tollywood, Mollywood are all different industries. So differences can be anticipated. The target segments are also different. Moreover, the directors in south use more Carnatic raagas while it’s Hindustani in Hindi.
You’ve recorded songs in Malayalam, Tamil, Kannada and Telgu…Why did it take so long for you to record a Hindi song?
Everything comes at its own time. I was given an opportunity now so I sang now.
Do you regret being slotted as ‘melody’ singer in Thamiz films?
No, never. But, it is a complement.
Do you think that South Indian music has not received as much recognition as it should have, in comparison to Hindi music? For example, even at the IIFA awards, South Indian music is not included in the music awards categories…
Music is the same all across. And the biggest award is from the people and they decide the hits and I pay more weightage for that award.
Please tell us about your forthcoming projects…
I am busy with a few stage shows and traveling. And there are some opportunities with a few reputed western musicians. And, a few Malayalam movie releases are awaited. Moreover, I am planning some initiatives on social causes. Like songs for people on issues like traffic accidents. But a lot of stage shows all around this year in almost every continent.
Any thoughts of composing music for a non-Malayalam film?
Composing is not my forte. Not planning to do that neither Malayalam nor in any other language.
Thank you, Jayachandran, for this wonderful PFC interview! All of us will look forward to reading your upcoming blogs on PFC.
