Kathmandu

Jagat Mardan Thapa heard Maitighar’s Namaana Laaza Yesari  way back in 1966 — it was sung by our renowned singer-musician Prem Dhoj Pradhan and Indian singer Usha Mangeshkar. He had liked “Usha Mangeshkar’s voice when I heard the song. And I wished to sing a duet with her”.

Today, five decades later, the composer of Bhana Lau Timi Nadhati says, “My dream has come true.”

At age 81, he is collaborating with Mangeshkar in Ma Pathjhad Thiye (composed by Shikhar Santosh) for his upcoming fourth album.

Mangeshkar is no ordinary singer. And it is hard to match the singing of the youngest of the Mangeshkar sisters (Lata and Asha) which Thapa felt too. “I had to put in extra effort.

It was tough for me. I had to work hard.”

This is Thapa’s latest offering in the second innings of his musical journey that began in 1961 with the recording of Maya Lukai Lukdaina in Calcutta, India on the HMV label. Thapa, who was interested in poetry and eastern classical music, stepped into the artistic world in 1955, and with a poem recitation on Radio Nepal in 1957 — he also recorded Mayalu Nayanko Ishara in Bombay in 1965 and other songs like Juneli Raatma in Radio Nepal before he got busy in his government job.

When I put the head phones on, I heard different sounds in my head like someone was talking. And there were no people around to direct me either. You couldn’t see the musicians. And when you made mistakes, you could just correct that mistake

In 33 years in civil service, his interest was mostly confined to the four walls of his house — his creations never came out. Another was his fixated concept of: “I have to go to Kolkata and Bombay to record the songs.”

His son Mohit asked Thapa, who had already retired then, to sing again. They came up with his first album 40 Barsha aghi 40 Barsha pachhi in 2001.

He was all prepared for this. “I had started taking lessons from Prabhu Raj Dhakal, which I did for six months. As such my voice was in control and I could sing simple songs,” he recalls of the time when he was 64.

Taking four old songs and four new songs among others, he released 40 Barsha aghi 40 Barsha pachhi which was followed by Maanko Shanti and Maya Lukai Lukdaina where he showcased his talent as a singer, composer and writer.

He was recording after a long time and he shares the experience as “awkward”.

“It was a track system unlike live recording. I was doing it for the first time and it was awkward. When I put the head phones on, I heard different sounds in my head like someone was talking. And there were no people around to direct me either. You couldn’t see the musicians. And when you made mistakes, you could just correct that mistake,” he says.

But being the musician that he is, he had no problem after three-four rehearsals.

And it was “nothing” compared to the recordings in Kolkata or Bombay 50 years ago.

“If someone made a mistake in the recording then, we had to do it altogether from the start,” he says as he recalls the incident while recording Maya Lukai Lukdaina in Kolkata. “The mandolin player was playing one note less, we had to stop the recording five times.”

It was the same while recording Mayalu Nayanko Ishara in Bombay. This time it was him who was making the mistake as his mind was disturbed because of his upcoming marriage.

Thapa is an audhunik (contemporary) singer but he believes that without learning eastern classical music you won’t be able to sing in sur and taal — because it is the grammar of music. Moreover, it enhances one’s voice. He compares it to learning and speaking English. “If you don’t know the grammar of English, no matter what English you speak, you won’t be able to speak it correctly.”

With this belief, he started studying music formally at the age of 64 and got a B Mus degree (2009) in Singing with first division from Prayag Sangeet Samiti, Allahabad, India. From the age of 64 years to 73 years, he learnt music from Dhakal for nine years and sat for exams too.

During these nine years, he shares he was embarrassed to carry a backpack to class. So “I would squeeze  a copy under my arm” and go for classes. He also says he met his friends on the way who would ask where he was heading to, and sometimes he would lie.

But nothing stopped him from learning what he wanted. Not even the young music students. But it was tough.

“While giving exams, I could not discuss answers with them — if I (look at my age and experience) cheated, it would be embarrassing for me in front of the people. So, I wrote what I knew. But what made things easier for me was my education and experience,” he shares.

Another concern was “young female examiners who would come to Nepal from India to take practical examinations”. He shares he didn’t give the exam for the first time as he didn’t want to get scolded by examiners as young as his daughter, or even younger, for making a mistake. And the second time, he wished that a male examiner would come to take their practical exam.

Nonetheless, he rose above all such awkwardness and “learnt the techniques and art of singing”. And he practises two hours a day to keep up with his passion.

Due to his old age, he doesn’t sing high raagas as advised by his doctor. He also does not perform raagas at events as his memory is not as strong as it used to be due to his age, but he says, “I will go on with my journey,” which he hopes will serve as an inspiration for many.