Sa Re Ga Ma Pa Singing Superstar


Sa Re Ga Ma Pa Singing Superstar
Sa Re Ga Ma Pa Singing Superstar

R D Burman: A Continuing Nostalgia (Page 6)

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Appa, Qwest, Punjini - just to make you feel more nostalgic - 'Mone pore Ruby Roy..." Smile

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He is hard of hearing now. But at 72, Marutirao Keer, the best tabla player and music arranger the Hindi film industry has ever seen, can be excused. Not long ago, however, Keer could pick up the faintest aberration in a musical pitch and had the ingenuity and skill to switch over from tabla to the tumba, without missing a beat. More importantly, Keer was telepathically linked to music composer Rahul Dev Burman. In the city as a special guest for an audio-visual tribute to R.D.Burman organised by Keer, despite his recent bout of ill-health, was energy personified when talk veered to his days with 'Pancham"-as R.D was known.

"I have no hesitation in calling Pancham the best music composer of all time. Not just because he gave Indian cinema songs like Aaja Aaja, Gulabi Aankhen, Kuch Na Kaho, but for the simple reason that his understanding of music was so somplete that he dared to experiment with any instrument ans sound" says Keer. a native of Ratnagiri, Keer was attracted to the tabla at an early age ("padhai-vadhai mein koi interest nahin tha") and gravitated towards Mumbai to find a guru and work. "I found four of them" he laughs, referring to Bhanudas Mankame, Bhairav Prasad, Sunder Prasad and Gamekhan Sahab who in stages, tookthis young man on a musical journey which introduced his fingers to the maigc of rhythm.

"The reaosn why Pancham and myself were so attuned to each other's thining and sense of music, is beacause i could provide him with the theka and pick-up he required for all his compositions. We were perfectly matched. Unka khali ishara hi kafi tha" says Keer, his eyes misty at the thought of those golden days, when nights were spent trying to get every track done differently. Pancham, recalls Keer, did not care two hoots for the commercial angle of the industry. He was a total non-conformist when it came to the herd mentality. For him, what mattered was to keep creating different forms of music, as can be witnessed in the title track of Bhoot bangla, or in the way he got tabla player Samta Prasad for the background track of the scene where Hema Malini is chased by Gabbar Singh's men in Sholay. "And the fact that he had a perfect understanding of how western music could be used for hindi films is more than evident in the songs of Teesri Manzil or in the song duniya Ko goli maaron in Arjun," adds Keer.

Having moved into the S.D.Burman camp, Keer made his presence felt immediately, which is why Pancham picked him up to be music arranger for a non-released film titled Raaz. "Mehmood's Chote Nawab was the film that got Pancham into the limelight, but he truly arrived on the scene with Teesri Manzil. And the credit for this music must go to his penchant for improvising all the time. He would get records from the United States showcasing the use of instruments like th ebongo and tumba, and then would ask us to create similar sounds. He had an inherent belief in fusion and examples of this can be found in The Burning Train- in which one exceptional number had to be unfortunately edited at the last moment." recalls Keer.

ASk him for a closer look at the kind of person Pancham was and Keer says that "he was one of the most genuine, sincere and creative human beings." Not given to tantrums, nor suffering from filmi ego, Pancham was music personmified."When he walked, his body moved as if rto the beat of a rhythm unwinding in his head." says Keer. Besides, giving hindi films a new range of foot tapping and woul-swaying music, Pancham created a genre of his own. Which included blowing over the top of an open bottle or drumming on a dholki submergerd in water. Keer is glad he was fortunate enough to have beeen present through it all. "Even if it seemed like madness at times," he says.

Times of India
Friday, June 29 2001


Edited by Qwest - 04 April 2006 at 10:05pm
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This year popularity of the show has grown so much that we almost had demand for tickets at least thrice the capacity of Tilak Smarak Mandir which is almost 1000…!! So once again all of us at Panchammagic had toughest time to arrange tickets for all genuine fans from Pune and elsewhere. We are happy to see that more and more people are getting aware about enjoying R D Burman's music which has so much of hidden treasure. On the other side we feel sad as we had to say NO to many regular genuine members in audiences as no tickets were left at all for distribution. The show was a total sold out much before we could anticipate due to feedback forms which were distributed in our last show in which people who were regulars had confirmed tickets.  

The theme for 27th June was different in a way, and very interesting for normal listener as we had decided to touch Brass section of instruments normally we listen in Pancham's music. 

No other music director has used brass instruments as much and as effectively as Pancham where the impact is so lively and full of punch depending upon various situations on screen.

Many don't even know as what Brass section means and normally what are the instruments come under this section. Trumpet, Trombone,Tuba, Flugel Horn, French Horn, Saxophone are the major instruments fall under Brass. These are used for background scores, title music and also in songs.

We had invited Joesph Monsorate who is a ace trumpet player today playing with many young generation of music composers. Joesph ruled the programme after the interval with his top class playing for some accompanied solos & demos of great pieces on original sound tracks. Joseph was a regular with Pancham along with late George who also played a lot of trumpet in his music. Both of their blowing styles were western and very much liked by Pancham due to his liking for western style of music. Pancham also had a very keen interest & knowledge of Jazz music which made his composing style different than others.  

Joseph added that Pancham's chorus score also many a times was derived from brass instruments phrases for Raja Rani or Mr.Romeo or Madhosh and many other films.That made his chorus also sound different than others in songs.  

Joesph's father was trumpet player too who played a lot with late Sachin Dev Burman and his famous score was in the film "Chalti Ka Naam Gaadi". So we had combination of father & son musicians playing with father and son music directors namely Sr.Joeph with S D Burman and Jr. Joseph with R D Burman.  

Joseph started with his solo playing of "Jab Andhera Hota Hai….from Raja Rani which was so effective and sounded interesting enough with his own notes added inbetween. Trumpet is an instrument with only 3 keys on which one has to get the entire tune which seems to be very difficult indeed. Instrument needs a lot of physical ability for blowing too and can sound very weird if not practiced enough daily. Fianlly, Joseph ended up playing "Vada Karo Nahi Chhodige"..from Aa Gale Lag Ja and "Duniya Mein Logon Ko"..from Apna Desh as full solos where Kaustubh Ghaisas accompanied him on keyboards and Ankush on light rhythms.  

He had got with him Flugel Horn too which more or less looked like trumpet but has a soft tone and we find that in "Pyar Ke Mod par".. from Parinda which was played by Joseph on stage with original track in background for accompaniment.It was absolutely mind blowing to see live instrument playing note to note same as in original score. Similarly Joseph also demonstrated exclusive trumpet piece in "Tujhsa Hansee "…..from Harjaee which got fabulous applause and a once more compliment by Ankush himself on stage..!!  

He wooed the audience with demos of "Bachna Ae Haseeno"..from HKKN which has fantastic intro piece of trumpet actually played by George in original, than he showed us some accessories of trumpets namely Mute, Cup etc. these are used to change or sober down the tone of trumpet.  

He played for us Coda, that is end piece of "Kitne Bhi Tu Karle Sitam"... from Sanam Teri Kasam so perfect and was played with muted trumpet. He showed us by putting a cup on his trumpet how the intro piece Competiton song from HKKN sounds ( a piece which is before "Chand Mera Dil") it was so perfect in its tonal quality that everyone felt that wish Joseph carries on and on like that.  

Another fabulous  pieces which were played by him are from "Tumi Kato Je"… from Pancham's Bengali pooja song, "Koi Diya Jale Kaheen"…from Dil Padosi Hai, "Sapna Mera Toot Gaya" &         & amp; nbsp;  "Ek Main Aur Ek Tu"….from Khel Khel Mein, "Sach Mere Yaar Hain" ...from Saagar etc.  

For audiences we had played soundtracks like " Chand Koi Hoga" from Inaam Dus Hazaar, "Chura Liya" from Yaadon Ki Baraat, "O Haseena Zulfonwali" from Teesri Manzil, "Ye Jo Nazar" from Jail Yatra, " Ye  Jawani" Jawani Diwani , "Dekho Hum Dono Ki Yaari" from Double Cross, with best of trumpet pieces and flugel horn pieces in it. It was a treat to ears on a fantastic music system to listen to all those music tracks.

Some tracks like khel khel mein, satte pe satta had novelties like trumpet pieces followed by singers pieces like and and vice a versa where trumpet followed the singers..!!  

Joseph also told audience as how dedicated Pancham was in his arrangements of score and how he used to encourage musicians to have their own suggestions incorporated. Off microphone, while chatting to Joseph we came to know that instrument like Trumpet costs as much as Rs.80,000/-, Saxophone for Rs.100,000/- plus and Tuba over Rs.200,000/-…that was amazing. There are hardly anyone learning to play these Brass instruments and not many are using brass instruments these days due to even lack of knowledge with composers.  

Programme had started with Amit Kumar and Ramesh Iyer as guests supported by the concept of Kishore Kumar's different styles of singing for different heroes under Pancham batten. Audio tracks like"Raatkali Ek Khwab Mein Aayee"..from Buddha Mil Gaya, "Rasta Dekhen Tera"..from Humshakal, "Ek Main Hoon" ..from Darling-Darling etc. were played.  

Amit Kumar narrated some incidences with Pancham as how he came to Mumbai from Kolkata to get a chance in film industry, and in front of stalwarts of R D Burman musicians, Kishoreda he sang the Jhumroo number which Kishoreda didn't like but Pancham called him that evening and gave him a break in Balika Badhu to have his first ever hit " Bade Achhe Lagte Hain". Then came Love Story's "Yaad Aa Rahi Hai" which again Pancham told him taking him a corner—"Bada Bakwas Compose kiya hai maine…Bhajan Lagta hai…hai na? "….and that song became a super duper hit. 

This incident showed how RD was true to himself and about his compositions..!!  

Then many hits followed like "Teri Kasam", "Romance", " Lovers", etc. " Hum Bhi To Hai Talafgaron Mein" from Dhuan was played for both Amit's Pancham style singing and Ramesh's fabulous Bass Guitar work.

Mainly Pancham was instrumental in giving Amit Kumar chance to sing for introducing heroes or of star-son launches like Kumar Gaurav for instance. Amit also narrated an incident where he was first introduced in a very unique manner on live stage show by Kishoreda and S D Burman was the chief guest in audience. When Amit sang his introduction asking Baba Kishore  to go away and let him take the stage, Sachinda threw a garland in his neck from audience…!! Like Sachinda and Kishoreda were Guru-Shishya, similarly Panchamda and Amit Kumar followed the Guru-Shishya relationship.  

We had a surprise video clip of Amit-Asha and Pancham singing a happy new year song in Doordarshan programme which hardly anyone knew about. Also an AV clip showing how Pancham narrated that he wanted to sit with Kishoreda for Jago Sonewalo song from Bhoot Bangla since that was only a serious song in that comedy movie.  

Amit also narrated alongwith Ramesh Iyer as how Panchamda helped them out with mixing sound for their private album MAD some years back. Ramesh told us how keen Pancham was on acoustics of studio where he would record the sound, by noticing sound from every nook and corner where it sounds correct, he would position his musicians. Pancham praised Amit for MAD release function saying he was also ahead of times like him but taking him side told Amit that …" Per Tera Ye Album Chalega Nahee"….!!!! That was anti climax.  

Another surprise of the show was Raj Thakerey , the youth Shiv Sena leader( & Nephew of  Shiv Sena Chief Balasaheb Thakerey) who graced the show upto interval not as a political leader but as a Pancham music lover. His father was also a music director in Marathi and shared 27th June as his birthday too..!! Raj was overwhelmed with the content of the show and was very down to earth in his bit two lines with Ankush.  

As usual programme went very well with the audiences and yet another Pancham music treat came to an end with curtain falling with "Ye Zindagi Kuchh Bhi Sahi" in Pancham's voice. This year's backdrop of the stage was specially designed with Pancham's portraits in different moods.  

Thanks to all those who helped under the Panchammagic batten to execute this wonderful event. People always leave auditorium after well past midnight with satisfied mind but still wanting for more & promising their presence for January next year.  


Edited by Qwest - 04 April 2006 at 10:49pm
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Jan 4 2006 was yet another great evening befitting the 12th episode on the 12th death anniversary of Panchamda.

As usual the show was packed in anticipation. The evening began with the signature opening piece from Hum Kisise Kum Naheen followed by a homage to the great man with 'Tumhi Kato Je Dure'.

Ankush then opened the evening introducing the theme of musical phrases using vocals. The use of humming or wordless singing is probably as old as film music but as with everything Panchamda has his own unique examples of using it to great effect.

The first example shared was the happy version of the song 'Hum Bewafa' from Shalimar. Everyone knows the better known serious version with the words. The happy version was just a bit faster and the entire version is sung without words. Then followed the Satte Pe Satta example of 'Mausam Mastana' first in Panchamd's voice during the sitting and then final version where some of the  la la la  from the sitting was retained in the final song. The Title song from YKB was next " the family version " which begins with the mukhda first sung as  la la la  to create the happy mood.

Then there were some examples of using such wordless phrases to distinguish two versions of the same song for example 'Wadiyan Mera Daman' in Abhilasha where the Lata version begins with an additional phrase not in Rafi  version. Later we also heard a similar example from Manzil with the lovely phrase by Lata in between repetitions of the antara especially in the second antara. In 'Mere Naina Sawan Bhadon' too Lata does an opening phrase to establish the raga which is not there in Kishore version. His version begins with a different humming. Then followed examples of two singers in the same song having different phrases for their entry ' Kiski Sadayen' from Red Rose. Still another usage was same singer for two actresses on screen was in Khushboo where the second actress  voice only sings this wordless phrase to bridge the antara and mukhda in 'Bechara Dil Kya Kare.'

Yet another usage of phrases was almost like brackets around the mukhda line. Two examples shared by Ankush were 'Dil Haye Mera Dil ' from Paraya Dhan and 'Socha Tha Maine' from Chandi Sona. Or used to fade out a song as in 'Chala Jata Hoon'  from Mere Jeevan Saathi.

Then there were examples of opening phrases to create the mood of the song much like classical singers do with an alaap. There was the echo-filled start to 'Karvaten Badalte Rahe' from Aap Ki Kasam to create the mood of being among mountains, the arabic phrases to set up 'Matwali Aankhon Wale' from Chhote Nawab. Or as in case of 'Aane Wala Pal' from Golmaal, to introduce Amol Palekar's voice to Bindiya Goswami who is in love with the voice probably more than the singer. In this case its usage is less to create the mood but more to get the heroine to begin swooning before the actual song begins.

In 'Koi Ladki' from Seeta Aur Geeta the phrases follow the scale change and establish the newer higher scale, in Zamane Ko Dikhana Hai title qawwali it reminds of another song from the same movie seamlessly, and in 'Bachna Ae Hasino' from Hum Kisise Kum Naheen and 'Sagar Jaisi Aankhonwali'  the phrases are longer pieces that take the song from present situation into a dream sequence. And in 'Jane Do Na'  from Saagar there is just a brief hum as first interlude or M1. According to Bablooda who had appeared previously on the show, Pancham used to do this because he did not want anything to detract from the anatara that was to follow.

I missed some examples that I consider truly unique. For example the long prelude to 'Bhai Batur' in Padosan has a very western feel to it all through except right at the end where it segues into a very Indian ending. Another is the use of just one note in female voice that goes in the song 'Aao Mere Paas Aur Aao' before Kishore comes back to the mukhda. Still another is the use of  Han by Lata in 'Paas Rehta Hai' from Ameer Admi Gareeb Admi without which the song just would not work. But then I guess one could go on and on.

The second part of the show then started with Ankush introducing the 70 year old Mr. Kishore Desai the mandolin player whose best known piece for RD is the opening of 'Tum Bin Jaoon Kahan' and who has been playing in the industry for last 52 years! He narrated many funny episodes. Beginning with claiming to be  Langot friend T of Kalyanji bhai because the two used to go swimming together and because of the costume they were literally langot yaar! Another incident was when Pyarelal bought a new car they all went for a drive and on Marine Drive encouraged by a challenge from someone Panchamda removed his trousers right there in the car. Kishore bhai also talked about the close relationship between these friends. He particularly talked about the extremely talented late Ganesh (younger brother of Pyarelal). With extreme candor he mentioned that he would not reveal secrets about some of Ganesh  compositions since those tunes are now famous under other names. Responding to a question on remixes, he predictably denounced the practice saying its not right that these people eating fruits of someone else s lifelong labor. He also talked about how there were many Kishores in the industry but Kishore Kumar would call all others by their last name while he always called Kishore Desai by his first name.

But the real excitement was to come when he picked up the mandolin and played some of his songs. He briely fingered the piece from 'Khatouba' which had been played earlier as the setup was being done. Then he began playing. First came  'Gori Ho Kali Ho'  from Biwi O Biwi. The icing on the cake here was the piece on mandolin just before Kishore comes back to the mukhda. It was amazing watching Kishore Bhai  fingers flying on the fretboard even at this age. Then came the immensely popular  'Meri Pyari Bindu'  from Padosan. That drew immediate applause from the audience and went for an encore. The finish was the much awaited 'Tum Bin Jaoon Kahan'. Given his age, it is understandable that he missed some notes and occasionally even the beat but those few lapses at his age paled in comparison with the sweetness of his rendering and his very likeable and engaging personality. In fact Kishore bhai talked about being referred as Lucky Kishore. All MDs wanted to have him because he was considered lucky. They would have play something anything to include him.

As Kishore bhai  songs went into encore after encore one could see Ankush's discomfort at the time getting prolonged. But after the Tum Bin encore the program had a brief interval. Post interval we were introduced to none other than Lalitji of Jatin Lalit. Lalitji gave a lot of insights into the industry and music in general but I was disappointed he did not specifically comment on the songs played.

Responding to question on RD introducing many instruments like bass guitar, Lalitji reminded the audience to also applaud the player Channi Singh who not only got the instrument but also learnt to play it with such skill. He said such players do not exist anymore. What made RD  music great was not just the great composition but the outstanding team that would bring those compositions alive. And on top of that singers like Kishore, Rafi, Lata, Asha. Today  singers are not even half of the golden singers and he said they would be the first to admit it too.

Lalitji talked about the differences in recording styles, how in the past the whole orchestra and singers would record the entire song all together. That made everyone tense and on the edge because one person  mistake would cause repeat for everyone. Singers would be in one cabin by themselves and could not be heard by musicians. So conductor was everything. His signal would be critical to hold everything together. Today each person comes and does his part and goes. They don't even get know the whole song let alone play all together.

Lalitji said he was fortunate to have seen that era of recording all together because of the atmosphere it would create. He narrated an incident during recording of 'Sa Re Ke Sa Re' from Parichay where the kids were not getting it right. And that too at the end. So the whole song had to be repeated again and again. Finally one take happened where everything came out perfect except on kid started early towards the end. There was much debate on what to do when Kishore da finally said lets keep the take and get the kid on screen to also do the same. After they are kids and bound make mistakes now and then. And that is still there in the final recording.

Another recording glitch used to occur because of the equipment. He talked about the equipment in Film Center where the sprockets were misaligned and would cause a drag on some tracks. They experienced this in 'Pehla nasha' where the guitar tracks slightly lag others. They had taken Panchamda  help on how to resolve this although some lag remains in the final recording.

Lalitji also talked about how Pancham used to treat everyone as a close friend. And he used to extract music from musicians as a friend. That is why they would put their heart and soul into it. A music directors job is not just to use what is in his mind but to tap the ideas of his musicians and RD used to excel in this. Because of all these factors there is so much soul in the old songs that everyone finds missing. In that vein Lalitji said that given all these limitations of quality musicians, singers and the detached manner of recording, if today any song still touches us even a little bit we ought to salute the music director. He invited all of us to look out for the upcoming film 'Fannah' soundtrack which he was proud of. He mentioned about how they got into Yashji  camp due to introduction by Asha Bhosle in 1994. At that time Aditya Chopra also sat in on their sitting. While Yashji was non-committal, Aditya liked some of their songs and invited them to do the music for Dilwale Dulhaniya Le Jayenge. That was the movie that really brought them into big league despite many hits earlier.

The only sour note was one audience member who said if Panchamda was alive  aap sabki chhutti ho jati . Lalit-ji took the remark graciously since he and Jatin are admirers of Panchamda  work and even been inspired by some of it like the rhythm of Chadhti Jawani used for Mere Khwabon Mein Tu Aaye from DDLJ.

All in all it was a great show once again and hats off to Panchammagic team. For me it was worth it making the trip from China and coming all the way to Pune for this show. Look forward to the next one.


(Mr. Shireesh Joshi has attended couple of PanchamMagic shows. He is from china and has made a point to visit Pune in Jan to attend the show.)

Edited by Qwest - 04 April 2006 at 10:46pm
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For all the followers of panchammagic, 1 st January is not the celebrating time for new year but its on 4 th January where festival of music is held to remember great genius on his death anniversary. This festival is different from normally what we see and listen elsewhere, not only it has information but the authentic information and great insight about RDB's music and its intricacies. Its love for Pancham's music which keeps growing day by day.

HOUSEFULL crowd outside the auditorium was well expected by all of us and as usual guests were also taken to surprise for the turnout for such an audio visual show also.

This year we had Nitin Shankar as main guest supported by friendly appearance of Pradeepto sengupta (Mandolin) and Manoharida (This time not on saxophone but on Alto flute). Theme for the show was RHYTHMS with lot of demonstrations by Nitin and his team on percussion instruments.

Every person in the audience was thrilled by looking at number of music instruments spread on the stage which although looked like an orchestra preparation but after listening to what was played on, took people directly to RDB's music take in film center….!!

Programme started with different aspects of rhythms used in panchamda's songs like pick-ups, like one in Kehdoon tumhe from Deewaar, Theka, Toda, entry and exit of some special instruments in some particular songs, how the side rhythms were effectively used like Reso Reso in Padosan's Mere Samnewali Khidki Mein, People also got to listen to slower version of Mere Samnewali, which is minus reso reso and how different it sounds.

Bass guitar & Tabla as pickup to rhythm of Jaane Do Na from Saagar, Tabla pickup of Ek Main aur Ek Tu from Khel Khel Mein, again Bass guitar and resoreso in Dil diya Hai from Ashanti, Claaping sounds, patting sounds, flenged guitar, variety of Khanjiri in Khatooba song from Alibaba Aur 40 chor, etc..

Music clippings were played where normally we don't notice all these details, but were very effectively explained by Ankush. Normally this Theme session becomes very informative for common listeners and their view of music listening and pleasure is heightened. This time there were about 28 track clippings for variety of RDB's specially crafted songs.

Nitin shankar graced the stage hereafter and he was magic on rhythms with his equipments. This year Mahesh ketkar also shared the stage with Ankush for compeering with his part of questions to Nitin Shankar. Nitin Shankar is an artiste on rhythms with Marutirao Keer as his guru and has been playing with Pancham Camp since the film Gurudev. He has thereafter worked with Panchamda till 1994. His contribution in rhythms at such an young age is tremendous, and is always excited about creating rhythms for big banners like Dharma Productions, Yashraj films etc. he was involved in the music of films like Bazigar, Khiladi, Yes Boss, and many Jatin Lalit musicals as well as Veer Zaara off late. It was his greatness to accept how he used RD's rhythm of Chadhti Jawani from Carvan in Mere Khwabon Mein Jo aaye from DDLJ.

Nitinda has seen and worked keenly with Panchamda and has taken a liking for creation of something different as always. Hence he knew what exactly used to go into making of great sounds, and he readily showed different instruments to audience and replicated some of panchamda's complexed rhythms to thuder applause with interesting anecdotes like panchamda used to give 100 rupee note to musician whenever he delivered the best of his ability in playing an instrument.

Nitin shankar painstakingly showed how the rhythm of Karvate badalte rahe from Aap Ki Kasam sounds raw when played without reso and madal. Then he added those two instruments and it sounded exactly like what we listen to original track. Such a small visualization and addition makes so much of difference to ears. That was the genius of Panchamda. Similarly how duggi used in Bangle ke peechhe and Gori Ke haath mein from Mela made difference in enhancing rhythms. Nitin was just fabulous on any instrument he touched on stage. He showed us the rhythm pattern of Mehbooba in Sholay minus the Madal and then with Madal….gosh…it was so complexed and played with such an ease and sounded terrific.

People went frenzy when they saw these actual acoustic instruments used by pancham and what world of difference it made to his compositions. Generally, people are unaware about the instruments, they know the sound but don't visualize how an instrument like madal or duggi looks like and makes such beautiful sound. People got to see rare instruments which were actually played in RDB's creations, those were Hudka, Pedal Matka, Bell tree, Murgesh, Dimdi, etc.

Hudka is an instrument which is held like a small dholak and pressed in the center to change the sound inbetween by applying different tension to the top surface.Ae ri pawan from Bemisal has Hudka played in it, Daiyya re Daiyya from Carvan has it. It has that typical sound of Dholak with rubbing like sound while playing.

Pedal matka was actually got from Viju Indulkar who originally played in Samne ye kaun aaya from Jawani Diwani. This instrument was specially made and later also used in Mutthukodi Kawari Hada from Do Phool and some other songs. This has big leather cap with matka below and leather strings tied around with Pedal below. When pressed on pedal and played on top, it stretches the surface and when pedal releases it makes impactful sound like Dhommpaaakk….which you hear in samne ye kaun aaya…RD used to call it "Dhompak" only.

Mugesh was the south Indian player who played Ghatam that is Clay Matka with leather ring on top also sounded different and RD had named that instrument as MURGESH only..!!

Dimdi is like a miniature Duff normally played in Bhajans etc..but RD used it so effectively in his westernized compositions too. Ishk Mera Bandagi Hai from Ye Vaada Raha has dimdi in it.

Bell tree had cycle bell caps of different diameter fixed on one on top vertically and played by stick by moving from top to bottom on the edge of caps. This sound we listen to in Tere Liye Palkonki Zalar from Harjaee…it sounds somewhat near to Chimes normally, we see played now a days…again this Belltree was a specially made instrument.

Nitinda played all these equipments with such a finesse, also told about Manohar or Manya Barve, who used to play such rare and different instruments with pancham and then we played actual original pieces on tracks which people really understood as how much innovative was the use made by RD in musical creations..& no wonder we listen and try to find all this treasure by listening to his gems time and again.

Musical instruments are alright, how about non musical sounds in Pancham's songs? Ankush had a trivia question just before interval as to recognize what was the instrument played in He saba from Manzil Manzil….we knew people will go crazy when they see this instrument and demo…On return from interval, same track was played, and then Nitin took out a simple Balloon from his bag and played in round motions in two hands…rubbing of fingers on ballon skin made the exact Bugu-Bugu sound in front of microphone…hats off to lord..!!! in the same song there was patting sound for which our group member Mahesh Shinde was sitting bare back in front of Nitinda and Nitin patted on his back ditto to Pancham's patting on Amrutrao Katkar's back in the original..!!!! what a sound wow..! Nitin also showed how Besura Dholak was played in the rhythm of Jeevan Ke Har Mod Par from Jhootha Kaheen Ka…they kept it upside down and played rhythm on it and that's why they called it Urdu urdu language, its right to left reading.. ..Ulta!! People got to listen to original sitting version of the same song in Panchamda's voice, courtesy Gulshan Bawra. This is always a feast to audience, and every time we play some new song in the context of the show.

Nitin Shankar was absolutely fantastic in this session with about 25 plus demonstrations like, Bongo rhythm of Mera Naam Hai Shabnam from Kati Patang, fabulous tabla piece of Parveen Sultana's Hume Tumse Pyar Kitna from Kudrat, Intro tumba piece of Hum Kissise Kum Naheen Competition, Anup shankar, his brother was also not far behind when he played a drum stick bounced on tabla in Pyar Hua Chupkese from 1942 ALS.

This was followed by friendly appearance of Pradeepto sengupta's mandolin rendition of Tum Bin Jaun Kahan from Pyar Ka Mausam and what a sweet mandolin to top it all it was played in front of original player of this mandolin in Pyar Ka Mausam is none other than our Manohari singh…he appreciated every bit of it seated in a first row. Pradeepto also praised panchammagic group for keeping alive RDB's creations and making aware common listeners to some good music knowledge and how difficult it is to creat such an impact in a 5 minute song. Also giving a platform to musicians who are not credited elsewhere for their fabulous work. Actually Pradeepto also had a wonderful preparation for Jaise Ko Taisa song Abke Sawan Mein Jee dare and Pyar Ke Mod pe from Parinda…but due to lack of time we had to do without it. I was sharing a room with Pradeepto in hotel and had privilege to listen to his many creations for panchamda like parinda, Jeene do etc. He was also supported by Kaustubh Ghaisas on Keyboards and Nitin Shankar on percussions. Pradeepto also told people as how Panchamda used to encourage new musicians and listened patiently to them.

Manoharida was next with his alto flute this time playing O Hansini from Zehreela Insaan…. whatever instrument Manoharida plays is always sounds fantastic in sound and style…we are grateful to Manoharida for his appreciation of our efforts and the situation in which he came for our show with his son in admitted in ICCU and in critical condition…on the return journey we had unfortunate and sad news of his demise.

Show as usual went very well with the audience and on the note to meet on 27 th June 05, again people went fully satisfied with 2005 new Pancham calendar in their hands.

Sincere thanks to all the Panchammagic hands who helped this show a great success and hats off to Raj, Mahesh, Ashutosh and Ankush for this wonderful conception..!!


Edited by Qwest - 04 April 2006 at 10:48pm
punjini IF-Dazzler

Joined: 19 January 2006
Posts: 3277

Posted: 04 April 2006 at 11:21pm | IP Logged
Wonderful idea! Will this kind of programme be held again in the future?
punjini IF-Dazzler

Joined: 19 January 2006
Posts: 3277

Posted: 04 April 2006 at 11:23pm | IP Logged

Originally posted by soulsoup

Originally posted by punjini

Oooooh baby Pancham was chho cuuuute!! Is that his mother holding the baby? I've heard that he used to cry in pancham notes. Smile

Ye aap hai Punjini - mujhe ek lamhe ke liye aisa laga ke Bansari ka post hai! Wink

Soupji aap ka matbal kya hai? Can't I call someone cute? Angry

Qwest IF-Rockerz

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Joined: 24 February 2006
Posts: 6734

Posted: 04 April 2006 at 11:25pm | IP Logged

Originally posted by punjini

Wonderful idea! Will this kind of programme be held again in the future?
I have read an article they plan to do that they also kicking the idea on International level too.

Edited by Qwest - 05 April 2006 at 12:11am

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