Catching up with the music director

Anisur Rahman Tonu

Occasionally tea boys are seen moving here and there. Artistes have already gathered and made themselves comfortable in the red velvety chairs in the hall. With his glasses carefully placed on his nose, Tonu listens to the first few lines of a song and is now working on the notes for the preludes and interludes.

Associated with the media since 1972, Tonu has so far composed innumerable hit songs for the television. Eyi rupali chand-e, a duet by Shampa and Tapan, Tumi shopney asho shopney jao, sung by Shubir Nandi, Kanna amar bokuer majhey by Shahnaz Rahmatulla and Nodir achhey shagor by Sadya Afreen Mallick, have received wide popularity, says Tonu.

During a short break, I ask him about his involvement with films. Tonu puts the issue in perspective. As he says, " I am more enthusiastic about the enter-educational audiocassettes for children. I have worked in this medium for the last 23 years or more, which is very rewarding. I am closely associated with Tona Tuni, a children's organisation, that has gained immense popularity."

Reputed artistes such as Abdul Hadi, Shampa Reza, Shubir Nandi, Shakila Zafar, Shimul Yousuff, Diba along with several child artistes have lent their voice to the numerous cassettes containing nursery rhymes such as Esho guntey shikhi and Chhoraye bornomala for the toddlers. The organisation has so far presented 22 cassettes with colourful books that have captivated the young listeners.

Recalling earlier days, Tonu says, "Managing Director Mahbubur Rahman Joynal, Mujibur Rahman Dilu, Zahur and myself were the foursome who worked on the project tirelessly with the slogan Shishuder Jonno Amra (taking the children's cause). There were times when we practically went over to the shops and personally talked to the children to get their feedback on the songs.

"The highly innovative project was unique and was meant to be educative through entertainment. Somehow, with time, newer ideas cropped up within the group, gradually detracting from the original plan."

As the recording session begins, Tonu takes up his position at the control room, paying attention to minute details. "Any professional training that you underwent?" I ask. "Not really," he goes on. " Music runs in my family. For my part, I loved to strum the guitar and play the keyboard every now and then. I breathe, drink and dream music.

"It was during the early 70s, when I frequented the jamming sessions of pop stars Azam Khan, Feroze Shai and their group. This enabled me to further hone my skills. It was sometime during 1972 when senior producer, Sakina Sarwar offered me a chance to direct music for a children's programme. Later, eminent music director Jalal Ahmed advised me to take it up as a career. Several other musicians have been involved with the media for years together, but don't have a knack for direction. It is something that develops from within."

"Would you advise the newcomers to follow in your footsteps?" I enquire. "Why not? With several private channels hitting the road it is an opportune moment to grab the offer. New entrants are lining up to try their luck in the glamour world. But the alarming thing is that the number of acoustic musicians is declining by the day. The entire music industry now has only one sarod player -- Yousuff. There will soon come a day when our future generation might have to visit the Western museums to know what sharinda, khol or other deshi instruments looked like.

"The big firms or the multinational organisations have stepped in to nurture the budding vocal artistes. Why not promote the instrumentalists likewise -- and enliven the music scene for the coming years?" asks Tonu.