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Who Gave Music of Aradhana? (Page 3)

Summer3 IF-Stunnerz
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Posted: 23 March 2011 at 4:01am | IP Logged
Hailed as a musical wizard, Manohari Singh has been enthralling music lovers for the past five decades writes Rajesh Subramanian.




He is to music what Sir Vivian Richards was to cricket - Incredibly talented and a Sheer delight. Manohari Singh or 'Manoharida' or simply 'Dada' as he is fondly addressed not only gets a standing ovation every time he performs but he captivates the listeners from the moment he picks up his favourite saxophone. In short this gifted musician, accomplished arranger and composer, who was recently conferred the Dada Phalke academy award, is undoubtedly a living legend.
Born in 1931 he is widely regarded as India's finest saxophone player and an awesome arranger. Manohari Singh who hails from a family of musicians elucidates that he use to watch his father and uncle play in music studios for films and in night-clubs and that was his training ground. After trying his hand at the English key flute, the clarinet and the mandolin he finally chose the saxophone as his forte. Starting off at a tender age at the prestigious Calcutta Symphony Orchestra he attracted a lot attention with his craft before joining the HMV (His Masters Voice) in Calcutta.
"The renowned Hungarian musician Joseph Newman who was impressed with my playing brought me to HMV. I was employed as a permanent musician from 1945 to 1952 with HMV", divulges Manoharida. It was here that he met music director Salil Chaudhary, who gave him his first break in a Bengali song sung by Sandhya Mukherjee. "Salilda asked me to play a solo adlib on the key flute. I did as instructed and he was immensely pleased with me and instantly took a fancy for me. He became a close friend and guide", informs dada.
Though he continued playing at the night club to supplement his income Manohari Singh secretly harboured the desire to come to Bombay, the Mecca of Hindi films, and try his luck. But since he had no contacts he curbed the feelings and remained in Calcutta. Post partition musical assignments in Calcutta dwindled while on the other hand the hindi film industry in Bombay flourished. Salil Chaudhary, who was moving to Bombay on the behest of film maker Bimal Roy, assured him that he would soon make arrangements.
In 1957 Basu Chakravarthy, Manohari Singh's friend and later musical partner, shifted to Bombay and a year later after his contract at the night club expired Manoharida too landed with dreams in his eyes. No sooner he landed in Bombay Salil Chaudhary took the initiative of introducing the young musician to the music directors who were ruling the roost.
"I am eternally grateful to Salilda. Though he didn't have much work then but he personally introduced me to composers like Anil Biswas, S D Burman, C Ramchandra, Madan Mohan, Naushadsaab, Roshan and Shankar Jaikishan and fortunately all responded positively", says dada. His maiden break in Hindi films came under the baton of S D Burman in Sitaron Se Aage in 1958. It was here that he met Jaidev, Sumant Raj, Laxmikant of (Laxmikant Pyarelal) and a young R D Burman. However the turning point came with Salil Chaudhary's Maya in which he played the key flute and saxophone simultaneously in the Lata Mangeshkar classic 'Ja re ud ja re panchi'.
"Back then there was no punching technique and the song had to be recorded in a single take. Laxmikant was so thrilled with my playing the two instruments in one go that after the recording he gave me hundred rupees as his token of love", beams Dada. Since then there has been no turning back for this genius who went on accomplishing one milestone to another.
In the coming years he lent his saxophone touch to innumerable compositions like Gata rahe mera dil, Aao huzoor, Tere mere sapne, Tumhe yaad hoga, Aaji rootkar tum, Dil tera diwana hai sanam, Achcha toh hum chalte hain, Janam janam ka sath hai, Raat akeli hai, Aaja aaja main hoon pyar tera, Hai duniya usi ki, Roop tera mastana, Yeh jo mohabbat hai, Jaag dile diwana, O hansini, Tum aa gaye ho, Zuban pe dard, Yeh zameen ga rahi hai, Sagar Kinare among many others that feature his mellifluous saxophone piece.
However, the turning point of his career came when he started assisting music wizard R D Burman along with Basudev Chakravorthy, Right from Panchamda's first film 'Chote Nawab' till his swansong '1942 A Love Story' Manoharida has been the main music assistant and arranger. "It was the finest phase of my life. We created so many wonderful songs in films like Teesri Manzil, Aandhi, Amar Prem, Kinara, Khel Khel Mein, Sanam Teri Kasam, Rocky'", beams Manoharida before adding, "Pancham was truly talented and working with him was a memorable experience.
He had immense faith in me and Basu and we always lived up to his expectations. I consider myself very fortunate to have been so closely associated with him. Together we created so many wonderful compositions and they are popular even today", says the veteran with a twinkle in his eye.
Though he remained an integral part of R D Burman's musical team in the mid seventies he and late Basudev Chakravorty teamed as composers and scored music for films like Sabse Bada Rupaiya, Nargis, Chatpati. "We created some hummable songs and received modest success as composers". He also has also to his credit an album titled 'Sax Appeal' containing saxophone renditions of various music tracks.
While others of his time have either taken a back seat or leading a sedentary life Manohari Singh is brimming with enthusiasm at the ripe age of eighty. Recently, he was bestowed the Dada Phalke Academy award for his valuable contribution to cine music. Last year he was conferred with OP Nayyar Award. "I am touched by the gesture and the love and affection showered on me by music fans", he confides. He performs regularly on stage shows and receives a thunderous applause. " I have a positive outlook in life and I firmly believe that one should keep doing what one does best and leave the rest to almighty ", he quips with a smile.
Posted by Musicolor at 12:28 AM

Summer3 IF-Stunnerz
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Posted: 23 March 2011 at 4:15am | IP Logged
Yes Dada was wonderful, thanks
 
 
 
 
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Posted: 23 March 2011 at 5:50am | IP Logged
Yes, Musicolor has posted a beautiful article on Manoharida. May his soul rest in peace.

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Summer3

mdroy Goldie
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Posted: 26 March 2011 at 6:34pm | IP Logged
You know I rarely bother to comment in this forum anymore but I must say that these interviews seems inconsistent and convoluted.  Roop Tera Mastana is based on/inspired by "Tequilla" and Mere Sapno Ki Rani is a somewhat derivative of that song but turned into RDB style which is strong and evident from RDB's total body of work. I have no idea who was inspired by whom.  It is true that SDB was ill at the time so perhaps he and his son wrote it together and SDB executed it together.  Speaking stories, I heard a story from Amit Kumar stating that SDB hated Roop Tera Mastana because its annoyingly Western sound so I am not sure whose story to believe.  Obviously there were many songs in Aradhana which were clearly SDB (for example the title song). I am not sure why this is being re-litigated now, did something important happen?  Is there some sort of estate dispute?  They were both geniuses and credit goes to both the father for being so inspirational to his son and to a son who was talented out of the womb (e.g. Writing the tel malish song when he was a kid)

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IndradhanushSummer3

Summer3 IF-Stunnerz
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Posted: 26 March 2011 at 6:59pm | IP Logged
So sad, a litigation on the song.
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Posted: 26 March 2011 at 7:44pm | IP Logged
Roop Tera Mastana and other songs of Aradhana:
As I have said earlier, a lie repeated hundreds of times becomes truth. Kersi Lord and Bhupinder Singh have gone on record that the music is indeed by SD Burman and not RD Burman. Both can be contacted by anyone. Fotunately both are alive and active.
Manohari Singh worked with SDB for 38 of his films, while for RDB he worked for all his 292 Hindi films, from Chhote Nawab to 1942-A Love Story. To doubt what he has said in his signed interview is an insult to the late genius, who knew RDB more than anyone else.
I have heard on Vividh Bharati, where in an interview in programme titled, 'Aaj ke funkaar', Shakti Samanta has said that Rafi had gone on two months foriegn tour. So he suggested to Dada Burman to use Kishore. Dada agreed and created beautiful songs that both Rajesh Khanna and Kishore Kumar became immensely popular and never looked back.
During SD Burman's centenary celebration, Mr Bheemsinh who owns SDB.com site and is a fan of both SDB and RDB, as well as Mr HQ Chowdhury of Bangladesh (Award winner from Tripura Government and a Biographer of SDB) have told me that they had met Shakti Samanta to invite him as a guest of honor. Shaktida answered that it was SD Burman who gave music of Aradhana.
To believe Amit Kumar, who was only 15 yrs old (recording is 1-2 yrs earlier), against those who were present then, is ridiculous and preposterous.
As regards 'Sar jo tera chakraye' again who will know more than Abrar Alvi, the right hand man of Guru Dutt. Pl read below:
 
1957 ' Pyaasa ' Music Director SD Burman, Lyrics by Sahir 

'Sar jo tera chakraye' sung by Rafi

            Guru Dutt chanced to see a maalishwala (masseur). The checked 'lungi' (loose garment tied around waist), the jaunty cap, and banian, the paraphernalia of glass bottles of oil . .       all of it seemed so right for the characterization. And so the role came to life.

            As did the song 'Sar jo tera chakraye'. Guru Dutt had picked up a bunch of 78 rpm records of English songs during his visit to England. There was one tune he liked a lot, and he decided to graft it on to Pyaasa. It was from the film Harry Black and the Tiger, which, though Guru Dutt did not know it then, would be released later in India. S. D. Burman, who was composing the music for the film, was asked to copy the song note for note. Of course, Dada Burman was very upset by the instruction. He came to me and said, "What is this that Guru is asking of me, public mujhe   marega. Please explain to him, he listens to you, let me put in a little of my own tune into the   song . . . change it a bit . . .'

                But Guru was adamant' the tune would have to be copied hundred percent in the mukhda at least. 'Let him do what he wants in the antara,' he decreed and Burman Dada had to be content with that.

                However, the music director waved his baton effectively enough to blend the tune with his own melody in such a manner that no one really noticed the surgery, and the song remains a hit even today. 'In fact, later, when the producer of Harry Black and the Tiger visited India, he heard the song and not only failed to recognize the tune, but commended Dada on it' Abrar laughs.

                (Source: 'Ten Years with Guru Dutt ' Abrar Alvi's Journey' an authorized biography by Sathya    Saran, Pages 71 and 72)

 


Edited by Researched - 26 March 2011 at 7:47pm

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Summer3

Indradhanush Goldie
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Posted: 27 March 2011 at 2:44pm | IP Logged
Originally posted by mdroy

You know I rarely bother to comment in this forum anymore but I must say that these interviews seems inconsistent and convoluted.  Roop Tera Mastana is based on/inspired by "Tequilla" and Mere Sapno Ki Rani is a somewhat derivative of that song but turned into RDB style which is strong and evident from RDB's total body of work. I have no idea who was inspired by whom.  It is true that SDB was ill at the time so perhaps he and his son wrote it together and SDB executed it together.  Speaking stories, I heard a story from Amit Kumar stating that SDB hated Roop Tera Mastana because its annoyingly Western sound so I am not sure whose story to believe.  Obviously there were many songs in Aradhana which were clearly SDB (for example the title song). I am not sure why this is being re-litigated now, did something important happen?  Is there some sort of estate dispute?  They were both geniuses and credit goes to both the father for being so inspirational to his son and to a son who was talented out of the womb (e.g. Writing the tel malish song when he was a kid)
oy ji

dear mdroy ji, we have had many discussion on this topic before, it is unlikely that some one of Raju Bhartyan's stature who has written books on evolution of Bollywood music and who has served as editor of entertainment section in ToI will write some thing so wrong. 
(reference-the article sited by me)

Being musicians ourselves it is easy for us to make out the chords and progression used in this song (roop tera mastana), which is typically Pancham's.

If there is truth in the conversations quoted may I suggest humbly to put them in form of article and try to publish in a news paper of big repute.

Interestingly when Ankush asked  Kersi about (in front of a big audience) a piece played by Kersi Lord in one of the 70s music , he couldn't remember how and when he composed it..! But he is a true genius and so is his brother Bujji Lord (drummer).


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Summer3

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Posted: 27 March 2011 at 10:56pm | IP Logged
Friends,
We must all be ready to accept the truth. We should believe those who took part in creating these songs (Kersi Lord, Manohari Singh, Bhupinder Singh and Shakti Samanta), rather than believing those who were not present, but love gossip.
With due respect to knowledgeable people in this forum, can we say that Kishore Kumar, Manohari Singh, Kersi Lord and Bhupinder Singh were less knowledgeable than those in this Forum?
By replying, "Being musicians ourselves it is easy for us to make out the chords and progression used in this song (roop tera mastana),....", are you saying that the above mentioned names didn't know about these 'chords and progression'?
Let's not take credit away from those it is due to, which included Kishore Kumar, Kersi and Manohari. I am reproducing what two of those who were part of the team have said:
 
Kersi Lord, "

Q. Even the start which is there, you know starting with 'Roop tera mastana', that is done by SDB only himself?

KL. Yeah! Yeah! S.D. Burman and his team.

See, I only go for the recording. So, when I went to the studio, it was at Famous-Tardeo, so Burmanda called me to one side, "Suno".

He always talked in mono syllables, not long sentences. "Kersi, yeh bahut romantic gana hai. Ek fire place hai. Ek hero ek heroine hai. Baarish mein bheege hue hai, aur ekdam romance mein hai. Tumko jo bhi karna hai, karo."

"Whatever you want to do, you do it." That is what he told me.

So, lots of things I played on my own. Most of the things were given by Manohari, but all the fillings in the song, some extra things in the music which I felt like playing, I played it. And they liked it. When they appreciate it, you feel like giving more and more.

...............................
 

(Regarding wrong reprting, this is what Kersi has said,)

Kersi Lord:
KL. Another thing about you people (He was talking about press, we were not press, only SDB lovers.) I am going little bit off track now. Somebody wrote one book in Pune, years back, on Pancham. Whatever the mistakes in that book, - mistakes are there, hundred percent, I vouch for it, those mistakes still continue. Because when anybody writes a new book, he refers to that book, so the publishing of wrong information continues."
.................................
 
Manohari Singh talking about SDB, gives credit to KK:
MS: Yes. That's correct, what Kersi said.

Aapko Main batata hoon, that gaana, bante bante finally uska jab finishing banta hai na, finishing mein aata hai na, uska kuch shape alag ban jaata hai, bol aata hai, bol ka wajan ho jaata hai, bolon ko wajan mein daalne se, idhar udhar karte karte, gaana shuruaat hota hai ek type ka tune mein; aur usko sajaate sajaate, usko banaate banaate, finally uska shape change ho jaata hai.

 

Woh 'Roop Tera Mastana', woh Dada ka hi gaana tha, woh gaane ko usne hi banaaya tha; Dada ne. Phir Kishoreda ne kuch idea diya, wajan diya, Kishoreda ne, ki aisa kuchh karenge gaane ke bol ko, 'Roop tera mastana' gaane ke bol ko thoda thoda wajan dekar phir baad mein Dada bola to "Arre Kishore accha us ko tune bana diya. Arre bahut achcha kiya tune Kishore, achcha usko bana diya."

 

Kishoreda bhi great composer, great actor, no doubt about that. Unhon ne kuch bol ko karke, kuch upar neeche karke, wajan idhar udhar daalke, gaane ko ek meter mein laya. Sur was not there, then after that ahste ahste usko sur improve hua, usko sur mein laya.

 

Q. Par yeh normal hai, naturally assistants have to give suggestions to improve it. SDB aprove karenge nahin karenge, unke upar hai. That's what I feel.
MS
: Correct. Wohi baat hai, assistants always suggestion denge, accha suggestion hoga to woh lelega, line daal bhi dete hain aisa, kuch gaane mein, do char sur ke liye gaane ka roop hi alag ho jaata hai. Aisa hota haina na, so why not accept it, aisa bhi hota hai.
Credit goes to Burman. Haan, Kersi correct bolta hai.
 'Aradhana' ka music sab S. D. Burman Saab ka hi hai. Poora music Burman Saab ka hai. Haan, RD is mein involve nahin hai. Nahin, RD is mein involve nahin hai.
....................................
 Finally, I am willing to accompany anyone of you, who would like to meet some of these legends who are fortunately still alive. That would include Kersi, Bhupindra Singh and those who have met Shakti Samanta. Clear all your doubts before it is too late. Truth should be welcomed, not shunned.
With regards,
Moti Lalwani
 

 

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Summer3

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