ازادا

Biography OZODA, whose full name is Ozoda Nursaidova/Saidzoda, and who is formerly known as Ozoda Nursaidova, is an Uzbek female singer, songwriter, producer, creator of many musical projects, and member of composer unions in Turkey (Messam) Early years OZODA was born o family of intellectuals in Tashkent district. As a child it was a tomboy, climbing trees and playing soccer with the boys. She studied well and dreamed of becoming a lawyer because she always felt that she had a talent in that field. However, her fate turned out differently. Upon graduation from high school, Ozoda applied to the University of Culture to become a stage/movie director. However, soon enough, she realized it was not her destiny. Her friend, who attended traditional vocal performance lessons, once asked Ozoda to come along. When the vocals instructor heard the unique timbre of Ozoda’s voice, he asked her to sing something. At first, Ozoda refused, but later she attempted to perform the songs suggested by the offered by vocals instructor, and soon she realized that singing was her calling in life. Career Beginnings In 1993, after successful auditions in the M. Ashrafiy Tashkent State Conservatory, Ozoda began attending special traditional vocal (makom) courses. In 1994 she wrote and performed her first song – Muhabbat, Qaydasan? (Where Are You, Love?). Subsequently, she recorded a remix of the Uzbek folk song Etmasmidim. In 1995, Ozoda became a freshman at the Tashkent State Conservatory. Among her professors were such legendary people in the field of traditional vocal art as Rufatilla Qasimov, Khuriyat Israilova, and the great Uzbek makom performer Fattakhon Mamadalliev. Around that time, Ozoda decided to create a unique hybrid genre of music, mixing traditional Uzbek and contemporary vocal/instrumental performance. Ozoda released her first album Muhabbat Qaydasan in 1997. During years of study, Ozoda lead her own band of outstanding musicians. She first appeared on the Uzbek musical stage known as Ozoda Nursaidova and established her own unique style. Ozoda graduated from the M. Ashrafiy Tashkent State Conservatory in 1999. By that time she was a popular singer. Ozoda performed at her first grand solo show Begim that same year and demonstrated her spectacular skill and potential. Searching for a new hybrid musical genre, and hoping to develop and popularize Uzbek music abroad, Ozoda demonstrated her talent in India, Turkey, Egypt, the U.K., and U.S.A. Those tours ushered a new era of Ozoda’s career, which revealed a special nature of Uzbek music. The year 2000 saw the beginning of wide distribution of Ozoda’s new genre. Ketma became one of Ozoda’s most successful songs as it conquered many hearts in the Middle East and Central Asia. Ketma was translated into many languages and performed by other singers. This song made Ozoda very popular among millions of listeners and became one of the most demanded and favorite compositions for many people. Ozoda also became the first female songwriter/arranger in Uzbekistan, not only performing the songs but also directing the entire recording process at the studio. Years 2000 through 2006 were an active period of Ozoda’s solo career. She became one of the first Uzbek artists who incorporated a new vision of show-making, transforming away from three concert acts to an integral show using exclusive dresses from various designers. Ozoda recorded many new songs in 2003. One of the brightest examples is a song called Yor-Yor, which became popular in many countries of the world. It was also translated into different languages, but what made this song unique is that it’s the main message was never lost, even in translation. Also in 2003, Ozoda commenced a collaboration with a Turkish string orchestra Gundem and other virtuoso musicians from around the world. Recordings with the Turkish string orchestra were made in Turkey. There Ozoda became a member of the Turkish union of composers (MESSAM). She also became friends with an outstanding Turkish singer Orhan Gencebay. In 2004, Ozoda performed a new show called Orzularim in association with Turkish orchestra Kempa. In 2006, Ozoda had another show called Bu kuylar Kechagimas. The show included many great songs in various languages, including Russian, Uzbek, Italian, and Farsi. A song called Beautiful Uzbekistan was performed in English. The show also featured bright examples of the revival of makom traditions such as the song called Kholos, which is based on makom Khidjas, and the song called Toy Gulkhani, which is based on makom Segokh. Both of the latter songs were performed in Uzbek. Hard times hit in 2006. Some of Ozoda’s shows were canceled. During tough several years, Ozoda paid much attention to the search for a new hybrid style of music, trying to synthesize traditional and contemporary vocal/instrumental performances, that would finally conquer the entire world of music. She began recording an album in English planning to have its presence in London. Ozoda strove for perfection, working hard on this record. In 2008, Ozoda decided to temporarily abandon Uzbek show business. In spite of all the difficulties, she continued to grow, creating new music unknown to the world, but worthy of its recognition. She started devoting more time to sound making and composing. She successfully collaborated with Egyptian, Turkish and Indian orchestras. Ozoda had incredible success not only in Uzbekistan but also in Turkey, India, Arabic countries and other places near and far abroad. Ozoda came to this interesting collaboration so as to create a new genre, which contains syncretic elements of different genres of the musical culture of the world. Taking one of Ozoda’s most popular songs Ketma as an example, one can hear the realization of the hybrid genre, which was built up over many years and continues to improve to this day. The song contains a new arrangement mixed with brilliant oriental flavor and different styles of music such as Orient and Middle East styles. The renaissance of this composition in Ozoda’s synthesized genre is firmly rooted by the advanced musical ensemble that incorporates string and percussion groups of a symphonic orchestra as well as oriental folk instruments, which create a “reflection” characteristic of the timbre palette of traditional music. It also features a special vocal flow. After the grand symphonic intro comes to a specific Indian melody that flows into an arabesque mixed with sounds of electric guitar, which brings originality and individuality into a song. In the end of the intro, there is a solo part in English, followed by a rich and sophisticated palette of sound incarnations with Indian, Arabic and Turkish musical intonations. It is a mix of eastern and western music, a fusion of traditional genres with modern elements of vocal and instrumental performance. Ozoda worked a lot in India, collaborating with Bombay Chamber Orchestra Conducted by Raju Shankar