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Sa Re Ga Ma Pa Singing Superstar

Who Gave Music of Aradhana? (Page 4)

Indradhanush Goldie
Indradhanush
Indradhanush

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Posts: 2457

Posted: 28 March 2011 at 10:36am | IP Logged
And what is the evidence Researched that these interviews are authentic..? At least I sited an article which appeared in Times of India.

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Summer3

Indradhanush Goldie
Indradhanush
Indradhanush

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Posted: 28 March 2011 at 3:24pm | IP Logged
This article is from rediff.com; this has a lot of details about Aradhana's music, now if these articles are to be disputed it has to be in a e/print media of same repute..!


The Tuesday of October 31, 2000 marks 25 years, to the day, since that titan with whom we tuned all through his 30 years in Hindustani cinema, Sachin Dev-Burman, shuffled off his mortal coil. 

Dada Burman had been in a coma for nearly a year before October 31, 1975 -- the Friday on which he finally passed away. It was a coma that followed a stroke SD suffered while recording Kishore Kumar -- set to go, unforgettably, on Amitabh Bachchan (opposite Jaya Bhaduri playing Mili) as Badee soonee soonee hai zindagee yeh zindagee. 

That traumatic Dada breakdown accounts for why Kishore Kumar handpicked this 1975 Badee soonee soonee hai mood song to figure among his Ten All-Time Bests in The Illustrated Weekly Of India cover story (titled Genius), on him, done by Pritish Nandy. 

1975 was also the year by which Dada Burman had virtually replaced the multi-faceted Mohammed Rafi with the multi-hued Kishore Kumar in his repertoire. 

Having done that, Dada vainly tried to soften the blow for Rafi by getting this singer to duet with Kishore (in Hrishikesh Mukherjee's Chupke Chupke: 1975) as Sa re ga ma, aa ha, ma sa re ga. 

It was Rafi here going on Dharmendra (the superstar-that-almost-was) in a ribtickling role opposite the superstar-that-already-was: Amitabh Bachchan. 

Dada Burman had personally recorded Sa re ga ma before he slipped into that coma. A prolonged coma from which, Rahul Dev-Burman told me, he once ventured to shake Dada awake by conveying to football buff SD the glad tidings that his East Bengal had thrashed Mohun Bagan! 

"Dada nodded just enough to make it clear that he had heard and absorbed The Happening!" Pancham told me. 

Nor was Dada Burman into football alone. I had seen SD (seated enthusiastically on the front stone-bench) during a hockey final at the stadium adjoining the Churchgate Station in the sporty metropolis of Bombay. In fact, Dada Burman was the Master Conductor at a Music Nite organised (at the same stadium venue) to raise funds for the Bombay Hockey Association. 

Here, at that Nite, was where I beheld S D Burman patting Mohammed Rafi on the back, as that tenor gave super expression to Dada's 1958 Raag Chhayanat Majrooh-written classic on Dev Anand in Kala Pani: Hum bekhudee mein tum ko pukaare chale gaye. 

It was from the muezzin's call to prayer that Dada Burman had picked up the tune-idea for Hum bekhudee mein tum ko pukaare chale gaye -- a call running as Ahl-e-rasool mein jo Musallama ho gaye. 

Any wonder Rafi gave such heart-stopping articulation to Hum bekhudee mein? 

Ha, Mohammed Rafi! Did this stalwart performer deserve, finally, to be treated the way he was by Sachin Dev-Burman, even granting that Rafi's easing out from Dada's recording room came about following an Aradhana breakthrough by Kishore Kumar that sigalled the arrival of Rajesh Khanna as the superstar to upset all settled values in our films? 

Roop tera mastaana pyaar mera deewaana; Mere sapnon kee raanee kab aayegee too; even that Raag Pahadi duet of Kishore with Lata, Kora kaagaz thha yeh man meraa, weren't these tunes initially envisioned, by Dada Burman, to go in the voice of Mohammed Rafi on a still-to-arrive Rajesh Khanna? 

Since SD's tunes here were to be picturised on a hero (Rajesh Khanna) yet 'on the fringe', Dada Burman had, anticipating the demand of the razzledazzle film trade, logically chosen, as his main male singer for Aradhana, the then voice of every other leading man in films: Mohammed Rafi. 

Indeed, by getting the first two songs that were recorded for the film, Baaghon mein bahaar hai (with Lata Mangeshkar) and Gunguna rahe hain bhanwre (with Asha Bhosle), to be by Rafi, Dada Burman had already indicated his choice of voice for Aradhana. 

But this was the point at which S D Burman fell critically ill. 

And here is where we come to the gut point about certain readers holding me to my 1994 view that it was "R D Burman, and not S D Burman, who conceived and executed the music score of Aradhana." 

So it was -- but only after those two duets came to be "conceived and executed" (that is, recorded) by S D Burman in the voice of Rafi! 

That was the norm in our films then. That, first, two songs of a production had to be recorded -- as the launching-pad. Plus the news of such a recording had to appear as a published item in an industry-respected paper like the weekly Screen. 

Only after that would finance for a film flow. So it was as finance for Aradhana was set to flow that SD fell ill. 

So ill that R D Burman, behind the scenes, took over the remaining music of Aradhana for Kishore Kumar really to happen. Happen after that peerless singer had been, for a full 23 years, 'on the periphery' -- always a vibrant voice, but never quite there, in the topmost echelons of a field right then dominated by Mohammed Rafi, as a playback performer way ahead of the rest towards the end of the 1961-70 decade. 

redff.com


Edited by Indradhanush - 28 March 2011 at 3:26pm

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Summer3

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Researched
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Posted: 30 March 2011 at 6:56am | IP Logged
I do agree with everyone here that there are a lot of articles, in reputed Newspapers/magazines, which have been righting contrary to what I have been writing so far. But do any of these writers have the proof that I am ready to present.

Give me your Email addresses, and I'll send you the voice recording and my photographs with Kersi Lord and Manohari Singh, that I am claiming to have interviewed.

Give me you postal addresses, and I will send you printed copies of the interviews, signed by the person interviewed by me.

If that doesn't satisfy you, I will take you to Kersi Lord, and you talk to him. I will take you to Manoharida's home who is unfortunately no more, but you can confirm his voice and signature from his family, and also confirm with them that I had interviewed him.

Shaktida is also no more, but I can send you that Email addresses of the two gentlemen who have talked to him. One is Poona, the other is in Bangladesh.

I have myself heard Shakti Samanta on Vividh Bharat and he did say that as Rafi went on world tour, hence SDB used Kishore at the suggestion of Shakti Samanta. I can't produce this proof, but if someone can get a recorded copy, I noted down the date and the time. I am also trying to get a copy of that recording.

So far I have interviewed:
Kersi Lord
Manohari Singh
Khagesh Dev Burman
(Biographer of SDB and RDB)
Ameen Sayani
Owners of Hotel Evergreen (where SDB stayed)
Employees of Hotel Sea Green
Anil Mohile (Telephonic Interview. With SDB for last 5-6 movies)
And others.

Regards.

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Summer3

Indradhanush Goldie
Indradhanush
Indradhanush

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Posted: 30 March 2011 at 2:24pm | IP Logged
And whom do we believe ..Amit Kumar, Asha Bhosle (who has told in one of the interviews in 2004 that it was Pancham who did most of the work in Aradhana) or Kersi Lord etc..? 

Aradhana would be remembered in the annals of history as SD B creation with RDB lurking all over.  Period.

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Summer3

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Researched
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Posted: 31 March 2011 at 1:43am | IP Logged
These two were not present during that time.
Amit Kumar was a child.
Asha Bhonsle, was married to RDB, so her version is in not to be believed, against Manohari Singh, Kersi Lord and Shakti Samanta.
Do you want to believe those who were not present there?
Manohari Singh assisted RDB for all his movies, and you doubt him too.
Then, I have nothing more to add.
I am wasting my time.
Sorry

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Summer3

Indradhanush Goldie
Indradhanush
Indradhanush

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Posts: 2457

Posted: 31 March 2011 at 10:40am | IP Logged

I fully agree with your observation about wasting time hence it will be my last response.


Not beleiving Amit Kumar, Asha , Times of India, Rediff, books on histoy of Indian music just to prove (some how) that R D Burman was no way involved in music of Aradhana is some thing no one with any insight in music will agree to. In fact to come out with a personal interview trying to discredit R D Burman is some thing which will turn people away from taking this discussion seriously.

So good bye, have a nice time and if you believe in your interview please do publish them in a paper of good repute.


Edited by Indradhanush - 31 March 2011 at 11:39am

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Summer3

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Researched
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Posted: 31 March 2011 at 4:34pm | IP Logged
Friends,
Some of us have talked about Raju Bharatan and the articles which have appeared in News Papers of repute. I am posting here an article by Raju Bharatan, which appeared in Hindustan Times, a News Paper of repute. In fact in some Cities, it sells more than the Times of India.
 
Though the present article is not connected with the subject under discussion, it throws more light on the father and son's harmony in creating music, music which we all admire and love. I understand that these interviews had also appeared earlier in 'Illustrated Weekly of India', which definitely was a paper of repute.
 
If readers are interested, they may see the remaining parts of the series, 'Pancham on SD Burman'.
 
Enjoy,
Researched 
 

RD Burman's success from his father's influence:

A three-part series of 'Pancham on S D Burman', an interview conducted by Raju Bharatan at the recording for the film 'Arjun' in October 1984, says a lot on the subject. The three parts are titled, 'DADA OH DADA', 'WHEN PAPA PREACHED' and 'To father with love'. These articles were timed around SDB's 32nd Death Anniversary.

These three articles were followed by the fourth article titled 'A MATTER OF FINE TUNING' by the same author. I am giving below excerpts from Part 4.

Excerpts from 4th Part:

Raju Bharatan: What's there left for Pancham to say about Dada Burman after that three-part life-and-times story? Plenty, but let's – by way of fine-tuning – concentrate upon just one RD-SD happening that space precluded me from detailing last week. Pancham was still at The Jet as director Shakti Samantha arrived to brief him on the first recording for 'Amar Prem'. "Dada too was there as Shakti outlined the song-situation to me" noted Pancham. "To an ordinary composer like me, it appeared a stock situation for which I produced a stock song. But Dada saw it totally differently. In fact, as Dada proceeded to observe:

 'Your tune's absolutely straight, Pancham, where's the feeling in it? What if Shakti said a mere bhajan-style tune would do? You're a composer, Pancham, no mere tunesmith. How possibly could you place a bhajan-style tune on a prostitute, which is what Rinku (Sharmila Tagore) plays in Amar Prem.'

 'This, remember, is no ordinary prostitute,' went on Dada. 'This is a situation in which the woman is a mother first, a prostitute after. So the tune you compose, Pancham, must cinematically reflect – in each note – the prostitute's mother instinct, which has suddenly been aroused by that child's straying into what's forbidden territory for such a kid.'

Feeling the music

'The tune must have a rare sentiment' added Dada. 'But your tune, if catchy, Pancham, sounds routine to the composer in me – it's taken no note of the prostitute's instant urge to mother that child. You have, here, to be sensed as feeling, evocatively, for the mother in the prostitute.'

"Saying which," continued Pancham, "Dada took over the harmonium from me and proceeded to modify the tune. Dada stayed within the same Khamaj thhaat, stuck to the same Raag Khamaj, while imparting a new feeling to my tune. The tune ultimately emerging was, if I'm to be honest, more Dada's than mine."

"I'd provided the base tune. It was left to Dada to give it a super-sensitive turn by which it unfolded the heart-tugging way it ultimately did on Sharmila Tagore – as Bada natkhat hai yeh Krishna Kanhaiya, ka kare Yashoda maiya ho.

 "In that moment, I learnt from Dada that a composer's job doesn't end with preparing a mundane tune for a situation mundanely outlined to him," confessed R D Burman.

End of story

"The music-maker – as underlined by Dada – must get involved in the film's script, study the character for whom he's composing and acquire the perception to project his composing personality into the character by venturing to experience her experiences. It was this one Bada natkhat tune as reshaped by Dada," concluded Pancham, "that determined the tone I brought to the rest of the Amar Prem music – though numbers like Raina beetee jaaye, Chingaree koyee bhadke, Yeh kya huaa and Kuchch to log kahenge. The vocals of Kishore Kumar and Lata Mangeshkar did the rest."

The author (Raju Bharatan) concludes, "Can there be another Amar Prem, another Pancham? Only if there can be another Guide, another Sachin Dev Burman".

 (Source: 'A MATTER OF FINE TUNING' by Raju Bharatan in HT-Caf, Nov. 5, 2007)

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diamond444Summer3

diamond444 Senior Member
diamond444
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Posted: 06 April 2011 at 9:19pm | IP Logged
Thanks for info Smile

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