Paar Koro by Gourob Album Review
Gaurob is known for his profound interest in Sufism, Baul music and philosophy, and mystical poetry, and Ajob’s album was a reflection of that. However, Paar Koro has proven to be one step farther into mysticism. Ajob was a mainstream band which was doing what other bands such as ‘Bangla’ were doing. It was mostly about fusion of modern instruments and music with Baul and folk music. Gaurob, more commonly known as the vocalist from the band Ajob, has launched his first solo album on the eve of Bangla New Year. His album, Paar Koro has been produced three years after Ajob’s album.
In his solo album, Gaurob has stepped away from the tedious fusion that can be heard in every corner of the streets of Dhaka. Although it includes a bit of modern instruments in order to compliment the sound of the indigenous instruments of Bangladesh, it is not overpowering in the least. Paar Koro is Baul and Bhatiali in its original form, with traditional instruments. This album is the result of him spending five years alongside Bauls all over Bangladesh. The album covers mainly songs by the mystical poet Fakir Lalon Shah, but also from Jalal Uddin Kha, Bhoba Pagla and Jang Bahadur.
The album is comprised of eleven tracks, of which one song by Bhoba Pagla called ‘Nodi Bhora’, is of Bhatiali genre. And so is the song ‘Asha Jawa’ by Jang Bahadur, whereas the rest of album consists of purely Baul songs.
Instrumentalists include Jalal Ahmed as the flutist; Almas Ali as the violinist; Md Ekram as the esraj player; Monir, Rob Fokir and Gaurob played dotara; Nazrul Islam and Gaurob played ektara; and Nazrul Islam also as the dhol, mandira and harmonium player. As for the modern instruments, Gaurob played keyboard; Buno and Risalat were the bassists.
Often identified by their distinctive clothes and musical instruments, like the ektara, Baul music and lifestyle influenced a large swath of Bengali culture to the extent of profoundly inspiring a man such as Rabindranath Tagore. He was philosophically and lyrically so inspired by them that he talked of Bauls in a number of speeches in Europe in the 1940s and an essay based on these was compiled into his English book The Religion of Man.
The origin of Bauls is not known to any great degree of accuracy, but the word Baul has appeared in Bengali texts as old as the 15th century. It has become an integral part of the culture of rural Bengal. Whatever their origin, Baul thought has mixed elements of Tantra, Sufi Islam, Vaishnavism and Buddhism.
Although Bauls now comprise only a small fraction of the Bengali population, their influence on the culture of Bengal is considerable. In 2005, the Baul tradition was included in the list of ‘Masterpieces of the Oral and Intangible Heritage of Humanity’ by UNESCO.
Baul music celebrates celestial love, but does this in very earthly terms, as in declarations of love by the Baul for his life mate. With such a liberal interpretation of love, it is only natural that Baul devotional music transcends religion. Although, now they can rarely be seen with their ektara and a bowl, singing and begging from door to door in rural Bengal, their music and philosophy has a powerful impact on the youth of Bangladesh. Many younger musicians, such as Gaurob himself, have shown immense passion for this sect of Bengali folk music.
The album has been recorded and mixed at the Bengal studio of the Bengal Music Company Ltd, and is available at all the leading music stores.
Dyuti Monishita
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I would like to say thank you to Gaurob and the whole team of the album- “Paar Koro” through Bengal Music Co. Ltd. I am eagerly waiting for another masterpiece like Paar Koro. There is no doubt that this is the best album I have ever collected.
Thank you
-Rokib
New York