Sa Re Ga Ma Pa Singing Superstar

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

Memory lane of R.D. Burman (Page 3)

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Posted: 23 March 2006 at 11:23pm | IP Logged




14th May was a memorable day for Many Gulzar and Pancham fans on the cyberspace as they interacted with Gulzar saheb live on the net. Gulzar saheb joined the Chat from his own computer with two of our volunteers Ninad and Yatin. The chat was specifically organized for the Pancham Fan Group on the net Click to enlarge the Picture. View it carefully to find Pancham in it.(Pancham@Egroups.com). It was an ocassion to share the memories of Pancham da with who better than Gulzar saheb. "Gulzar ki baatein Pancham ki yaadein" as the chat was titled, it began exactly at 8 pm when Gulzar saheb joined and the next two hours carried the joy, the queries, the anger? (like Why Pancham was not taken for Mausam/Meera), the hope (releasing of undiscovered Pancham Gems), the good news (Album - Pancham 2) and the pain that Pancham is not between us. The fans also took the opportunity to talk about Poetry, some fundamental queries of the birth of a song and lots n lots on Gulzarish stuff.


Click to enlarge the Picture
Gulzar :
"Pancham oopar se neeche tak ek bajtaa hua taanpuraa thaa. Usse naaraaz to dekhaa jaa saktaa thaa lekin udaas nahin dekha yaa bahot kam dekha. Bahot bechain, restless, impatient, I think that's where he produced lots of sounds inside him If you look carefully, the known instruments also do not sound the same in his orchestra."

Pancham relived that day. Gulzar relived Pancham....


Q & A's
Time From MessageText
8:01:00 PM
VADAN
MUMBAI
NAMASTE GULZAR SAAB, WE APPLOZISE FOR OUR LATE ENTERY. WE ARE DIRECTLY COMING FROM PRITHIVI TEATHER WHERE WE HAD A SHOW... GULZAR SIR, WE ARE YOUNG ACTORS AND WE WANT TO ASK U THAT TO STRENGTH OUR HINDI AND URDU VOCABULARY OR LINGUISTIC SKILL, WHAT SHOULD WE DO ??
8:02:00 PM
Gulzar

Hello and Namaskar to everybody. Bandaa haazir hai
8:02:00 PM
Rajendra Patel
Old Bridge, NJ,USA
One question. Is anybody going to request Gulzaar Sa'ab to make Pm's unreleased work available to us Panchamites? Will it be appropriate at this session?
8:02:00 PM
Vinay
jaipur
namaskaar Gulzar ji
8:02:00 PM
PavanJha
Jaipur
We welcome Gulzar saheb on the chat
8:04:00 PM
Rajendra Patel
Old Bridge, NJ,USA
Namaskar and Welcome Gulzarji.
8:04:00 PM
Gulzar

Rajendra: There is a request made to certain producers. The rights of his work are scattered all around Its only Ashaji who can take an initiative to collect the scatterred songs and publish them
8:04:00 PM
Jehangir Parvez
Karachi,Pakistan
Gulzar Sahab, Adaab This is your postman here.
8:04:00 PM
Ketan
Washington DC,USA
welcome Gulzar saab
8:05:00 PM
PavanJha
Jaipur
Gulzar saheb isase pahle ki ham aapse kuchh poochhein, aap kuchh Pancham ke baare mein arz karna chahenge...
8:05:00 PM
Vinay
jaipur
Gulzar Saheb, there has been a question in many minds and Pancham Group about how MDs and Lyricists are selected for a movie. Who selects them? is it the producer? or MD choosing Lyricist? or lyricist saying i want this MD? and what happened in yours and RDB case?
8:05:00 PM
VADAN
MUMBAI
WELCOME GULZAR SAHEB
8:05:00 PM
Gulzar

Waiting for your letter... postman
8:06:00 PM
Jehangir Parvez
Karachi,Pakistan
Gulzar Sahab Adaab, Postman from Karachi Here!
8:06:00 PM
PavanJha
Jaipur
A supplementary question to Vinay : How a song is created. Music set to lyrics or Lyrics set to music
8:07:00 PM
Gulzar

Vinay, its always the directors prerogative but the producers' marketing views have to be considered
8:08:00 PM
Vinay
jaipur
And MDs have no say..?
8:08:00 PM
Jehangir Parvez
Karachi,Pakistan
What's new? I sent you an email last week, You must have missed it. Sultan-e-Mausiqui sends regards. What's new?
8:09:00 PM
Gulzar

Pavan: its a 2 way traffic... mostly it is written on tunes. very few situations demand the words to come first, specially in today's style of film making. Even my first song "mora gora ang laile" was written on tune
8:10:00 PM
PavanJha
Jaipur
What about 'Meter-Less' Songs
8:10:00 PM
Vinay
jaipur
Please tell any one song when RD offered you the tune and said to write words on it. Or may be more than one :)
8:10:00 PM
VADAN
MUMBAI
NAMASTE GULZAR SAAB, WE APPLOZISE FOR OUR LATE ENTERY. WE ARE DIRECTLY COMING FROM PRITHIVI TEATHER WHERE WE HAD A SHOW... GULZAR SIR, WE ARE YOUNG ACTORS AND WE WANT TO ASK U THAT TO STRENGTH OUR HINDI AND URDU VOCABULARY OR LINGUISTIC SKILL, WHAT SHOULD WE DO ??
8:11:00 PM
PavanJha
Jaipur
Like 'Mera Kuchh Saaman' or 'Ek hi khwab'
8:11:00 PM
Ketan
Washington DC,USA
Gulzarsaab, you wrote lyrics for "Do Dooni Chaar" and "Angoor" both of which were based on the same story. What if any were the differences in the two themes when it came to writing songs, since your songs are different?
8:11:00 PM
Gulzar

Vinay: To start the film, there's always a script between the producer and the director. everything else follows the requirement of the script
8:12:00 PM
Vinay
jaipur
Please tell any one song when RD offered you the tune and said to write words on it. Or may be more than one :)
8:13:00 PM
PavanJha
Jaipur
Preet from New York [Not on the Chat] : please ask Gulzarji that whenever he comes to NewYork next, we would like to see him. There were people I would have loved to meet atleast once in my life, but unfortunately they are not in this world anymore. The genius...like Madan Mohan sahib & Janaab Sahir Ludhianavi , to name a few. I pray for long, healthy life of Gulzar sahib. I do want to fulfill my dream of meeting him just once. Needless to say I'm a great fan of his. Pavan ji, please forward my message to Gulzar sahib. Is there a way of writing to him directly? Regards, Preet.
8:13:00 PM
Gulzar

Pavan: There are no meter-less songs anywhere composed. Its a mis-concept, much so associated with my songs My songs like "mera kuch samaan' has a definite meter and scanning of lines. The only difference is all lines are not divided in equal bars and rhymes are purposely avoided so that they can be read like a prose and sung like poem
8:16:00 PM
PavanJha
Jaipur
They were innovations by RD as we haven't seen anything like that by others.....
8:18:00 PM
VADAN
MUMBAI
DEAR GULZAR SAAB, CAN U PLEASE TELL US ABOUT, THE GREAT SANJEEV KUMAR AND HIS REALISTIC ACTING STYLE ??
8:18:00 PM
Gulzar

Vinay: i think almost all the songs were written on tune except very few where the words came in first for e.g.: 'Ek Hi Khwaab" in Kinaaraa.. "Mera Kuch Samaan" in Ijaazat. There are a few more but mostly the tunes came first
8:18:00 PM
Rajendra Patel
Old Bridge, NJ,USA
Gulzar ji, Can you tell us about some so far untold but memorable moments you had with Panchamda? If not possible in this session then can you please send us Pachamites :) a direct or indirect email?
8:20:00 PM
Ajit Iyer
Richmond, Virginia,USA
Gulzarji, In how many the songs from the album 'Dil Padosi Hai' were the lyrics written first and tunes composed later by Panchamda? Could you give us some examples?
8:21:00 PM
Gulzar

Vadan: Sanjeev had a rich background of theatre behind him. We knew each other much before we came to films. One of the earliest performances of Sanjeev which I saw and admired was on stage playing a father in Ibson's "All My Sons". That is how I inherited his old man's image in my films
8:22:00 PM
Gulzar

Ajit: I think 2 to 3 songs were written first for e.g. the ghazal "Dil Padosi Hai" and "Raat chup chaap chali jaati hai" and "Aankh mein nami si hai" Rest were written on his compositions
8:23:00 PM
Vinay
jaipur
You and RD worked together for 23 movies. some of which were directed by you. Some by others. Did you feel any difference in your approach or any convenience when you were also the director of the movie?
8:24:00 PM
Gulzar

(Question from Yatin): Gulzaar saab, you have written songs for both Khoobsurat.. how did you feel when you wrote songs for Panchamda and for Jatin Lalit?
8:26:00 PM
Gulzar

Yatin: While writing for Hrishida with Pancham, itwas a very creative trip. In the first Khoobsurat, there were take-offs like "Qaaydaa..Qaaydaa..Qaaydaa aakhir isska faayda" songs where you can create sense out of nonsensical rhymes In the 2nd Khoobsurat, I was not as comfortable. Selling a new expression or an image became very difficult because of too much of intereference that I had to abandon the film in between
8:26:00 PM
VADAN
MUMBAI
Dear gulzar saab, WHAT is basic similarity between writer and actor as far as character development is concerned ???
8:28:00 PM
Gulzar

Vinay: Certainly more convenient when they were my own films since I was not only a director, I was the writer too. I have to make an extra effort when it is for another director because it is finally the director's vision the writer has to write
8:28:00 PM
Ajit Iyer
Richmond, Virginia,USA
Gulzarji, Panchamda's compositions for you had one of the most mind boggling Preludes and Interludes. Now, while composing these tunes, did He always consider the picturization you had in mind? Or did you picturize the songs based on his tunes?
8:28:00 PM
PavanJha
Jaipur
[Question from Yashwant Vyas- Not on the chat] pavanji, shaayad main travel kar raha houn,chat meri kismat mei na ho. aap please ye sawal likh len- -PRANAAM, kya koi aatmakatha poori tarah sach likhi gayee hogi? -Kya kavi corruption kar sakata hai? agar haan to usaki samvedana aur ek beimaan ki samvedana mein kya fark hai? Agar rachana kisi ko behtar insaan naheen banaati ,use nirmal naheen karati to kavi se jhootha kaun hai?. .....Baaki sawalon ke liye baaki saathi sambhalen. Kya chat baad mein site per poori mil sakegi?. SHUBHKAAMNAYEN AUR DHANYAWAD PAVANJI...... -yashwant. [Yashwant Vyas wrote preface for Gulzar's book Mera Kuchh Samaan and editor of "Bosky ka Panchtantra]
8:29:00 PM
Jehangir Parvez
Karachi,Pakistan
When should we expect your new film released?
8:33:00 PM
Subhash
Maple ,USA
Namaskar Gulzarji..tell us something special about pancham..since we all know that pancham was known more in weternizing the songs..and even the way panham used to dress, it always added to that flavour..but one unbelievable thing was that it was the same man who composed a senstive song like ' kabhi kabhi sapna lagta hai' now could u tell us something more about that part of pancham which gave us such a memorable songs..specially with you..because somehow i couldn't figure out how pancham himself would react after composing such tunes..
8:33:00 PM
Ajit Iyer
Richmond, Virginia,USA
Gulzarji, your 'Gulzar Remembers Pancham' was really a boon to us RDent panchamites since it had panchamda's voice interspersed with some of his most beautiful compositions. Do you plan on releasing another album on the same lines giving us some more personal glimpses of the maestro?
8:35:00 PM
Gulzar

Yashwant: Lagtaa hai aap kuch ulti karvat utthein hain. Naaraaz lagtey hain. Aatmakathaaein sach bhi hoti hain, adh-chhupi bhi hoti hain aur galat-bayaani se bhari bhi hoti hain Jitni tarah ke log, utni tarah ke bayaan. Sach ki lekin kai partein hain aur kai dishaayein hain. Yeh ho saktaa hai ki kissi ne sach kahaa ho aur aap sach naa maane lekin main kaafi saari aatma-kathaaon ki gawaahi de saktaa hoon Jaise Maulana azad ki aatma katha "India wins freedom" Kavi ke corrupt hone ka khayaal aapko kahaan se aaya? Kavi ke peechhe baitha manushya be-imaan ho sakta hai, zaroori nahin ki kavi bhi vaisa hi nikale. Corruption insaan ki kamzori ho sakti hai.. uska dosh kavita ko mat dein
8:36:00 PM
Gulzar

Jehangir: Not before next year. This year I may be ready with the idea and the script then look for a producer. Send me one if you have any :)
8:38:00 PM
PavanJha
Jaipur
Would you like to work again with Jaya ji, she has already making a comeback
8:40:00 PM
PavanJha
Jaipur
Hrishi da bhi wapas aaye hain aur Jaya ji bhi (Afsos Pancham Nahin hai) kya purani team fir se nahin judni chahiye?
8:40:00 PM
Vinay
jaipur
sir, Yashwant ji ko diya jawaab bahut achchha laga.. sach ki kavi beimaan nahiN hota par atishayokti to hamesha uski kamjori rahi hai...
8:42:00 PM
Gulzar

Subhash: Pancham oopar se neeche tak ek bajtaa hua taanpuraa thaa. Usse naaraaz to dekhaa jaa saktaa thaa lekin udaas nahin dekha yaa bahot kam dekha. Bahot bechain , restless , impatient, I think that's where he produced lots of sounds inside him If you look carefully, the known instruments also do not sound the same in his orchestra. He made lots of experiments with his sounds for e.g. in "O Maajhi Re" in Khushboo, the 'kuk kuk' sound of chakki in the background is produced by two soda bottles which he filled with different measurements of water and played himself on the mike. His favourite instrument was the mouth-organ. He was an expert player of it
8:46:00 PM
Subhash
Maple ,USA
yes Gulzarji, I would agree with Ajit ..rephrasing your words ' pyaas to ab lagi hai...' Tell us when are going to see another album on pancham :-)as righly poined out by one of our active group member that Gulzar remembers Pancham' is one of the best thing ever happened for pancham!!
8:46:00 PM
Gulzar

Pavan: Yes. Judni chaahiye. Lekin puraani team ke saath filmein puraani nahin banni chaahiyein Hrishida tab bhi hamarey masterji they, ab bhi hain. Jaya, tab ghar ki chhoti thi, ab ghar ki badi sayaani beti hai Team puraani hai, lekin man utney hi naye hain
8:47:00 PM
Ketan
Washington DC,USA
Gulzrsaab, what made you select Madan Mohan ji for Mausam over Pancham?
8:47:00 PM
Gulzar

(Question from Yatin) You have given the same song "Shaam se aankh name si hai" to both the composers, Panchamda and Jagjit Singh. Is it loyal for a poet to give it to 2 or more composers?
8:48:00 PM
PavanJha
Jaipur
Ek lyricist aur ek poet ki rachnaon mein compromise ki kitni Gunjaish rahti hai. Khaas kar shabdon ko jod tod ke baithane mein . "Dil se" mein title song mein "Meethi si mushkil hai na, piya piya, piya na piya" mein Mushkil ki jagah zahar nahi hona chahiye tha?
8:49:00 PM
Subhash
Maple ,USA
Good question Ketan, i was about to ask the same :-)
8:50:00 PM
Vinay
jaipur
And why Ravi Shankar for Meera. Did you find RD uncapable of coming up with the required kind of music?
8:50:00 PM
Gulzar

Yatin: Its not a question of loyalty or disloyalty. Many of Ghalib's ghazals have been sung by many composers. Since he is no more, composers don't have to do the same with me. This particular ghazal, was picked up by the composers but let me inform you that Laxmikant Pyaarelal had also composed it for one of Mearaj's film which never got completed. All 3 have a different rendering
8:51:00 PM
PavanJha
Jaipur
Aankh mein kyon nami nami si rahti hai from Khwahish Kyon sir...
8:52:00 PM
Ajit Iyer
Richmond, Virginia,USA
Gulzarji, For us Pancam Fanatics, Panchamda is the benchmark based on which we either like or dislike the new MD's of this era :) All of us have a distinct liking for Jatin-lalit. In your association with them, did you notice any similarity in their treatment of a song, their approach etc., when compared with Panchamda? I personally found 'Main adhuri si' from Khubsoorat very panchamish.
8:53:00 PM
Gulzar

Ketan: It was our producer's choice which came with the proposal since he had taken over another producer's contract by paying the money but the capability and prestige of Madan Mohan as a composer was a privelege for me to work with him
8:53:00 PM
Gulzar

Ketan: It was our producer's choice which came with the proposal since he had taken over another producer's contract by paying the money but the capability and prestige of Madan Mohan as a composer was a privelege for me to work with him
8:53:00 PM
Rahul
Pittsburgh,USA
Namaste Gulzar Saab . It seems to be that most of ur recent movies have been taking a political tone. when can we see something purely on a social life like Namkeen, Ijaazat or even an out and out comedy like Angoor?
8:54:00 PM
Vinay
jaipur
What about Ravi Shankar for Meera. Did you find RD uncapable of coming up with the required kind of music?
8:55:00 PM
VADAN
MUMBAI
SIR, R U HAPPY WITH TODAY'S COMMERCIAL FILMS AND THEIR STORYLINE???
8:58:00 PM
Subhash
Maple ,USA
sir, aapne jawab nahi diya 'Gulzar remembers Pancham Part II' kya hum umeed karen??
8:59:00 PM
Gulzar

Vinay: Since Lataji refused to sing for Meera, most of the music directors shunned taking up the project. LP after signing, also left the film. I had to look for somebody who stood above that fear. For me, it was a blessing in disguise to work with another great maestro
8:59:00 PM
Gulzar

Vadan: are you? Ask no obvious questions to get obvious answers
8:59:00 PM
rajesh kumar
udaipur
hi! Gulzar Sb. we are very much crazy of yours songs.
9:00:00 PM
Vinay
jaipur
So did RD also refuse for Meera?
9:01:00 PM
Vinay
jaipur
I just cannot believe that RD returned the challenge if he were given that. I remember reading how sad he was to lose Sur Sangam.
9:02:00 PM
Gulzar

Subhash: It is on the program. HMV and Sanjeev Kohli have to call the date. I wish this be done before his next anniversary. Lot of his voice is still stored with me which I want to offer to his fans
9:02:00 PM
Ajit Iyer
Richmond, Virginia,USA
Gulzarji, This question might sound a bit vague, but could you tell us something re: Panchamda's style of working? His approach towards composing the base tune, preludes, interludes, his choice of instruments. Things that you feel set him apart from others. Something interesting about his persona.
9:03:00 PM
Subhash
Maple ,USA
So RD also refused? can't believe that! but could you predict Pancham might have composed for Meera.. I guess it was the pancham only , who was denied for Sur-Sangam
9:03:00 PM
Vinay
jaipur
Thanks a lot Gulzar Saahab. Nawaazish, qaram, shukriya, meharbaani. We will wait for that tribute..
9:03:00 PM
PavanJha
Jaipur
Great News for all Pancham Fans Pancham - Gulzar remembers RD Burman is one of the best tribute album ever
9:03:00 PM
Gulzar

Rahul: My dear Pancham's name sake, hopefully, my next film should be softer in tones. Perhaps you didn't like the hard ones. The problem for me remains to find a producer for my kind of films
9:03:00 PM
pranav
San Francisco,USA
Namaste Gulzarsaab. How do you position yourself in the current era of film music where beats and rhythm are clearly more important than the lyrics. Given that, can you please tell us a little about your experience with A.R.Rehman?
9:03:00 PM
rajesh kumar
udaipur
YOU ARE WORKING ANY NEW album or film
9:05:00 PM
Ajit Iyer
Richmond, Virginia,USA
Gulzarji, bahut shukriya. We will eagerly await the release. Hum sab bhi Katra Katra apne Guru ki aawaz jama karne mein lage hai. You've really made me happy. Thank you very much.
9:05:00 PM
Ketan
Washington DC,USA
As a layman, I have been always confused with these lines from Khamoshi. Could you explain it to me please--"Humne dekhi hai in aakhon ki mehakti khushboo, haath se choo ke ise rishton ka ilzaam na do"
9:06:00 PM
VADAN
MUMBAI
SIR, DEAR GULZAR SAAB, NANA PATEKAR IS ALSO HAVING THEATER BACKGROUND AS SANJEEV KUMAR, AND U HAVE WORKED WITH BOTH. CAN U TELL US U'R EXPERIANCE WHILE WORKING WITH SHRI NANA PATEKAR ???
9:07:00 PM
Subhash
Maple ,USA
dil ko bahut sukun mila Gulzarji..though i don't like HMV for some obvious reasons these days, but surely for that effort..me unke sab gunah maaf kar sakta hoon:-)
9:07:00 PM
Gulzar

Ajit: One important factor in his personality was his discipline of a professional. Even in his most busy time, he had time for all his producers. He was punctual to his music room to start work in the morning and punctual enough to pack up in time. It was important for him to do some cooking, it was important for him not to miss his football matches, his parties till late in the night. A man who was alive all the time.
9:07:00 PM
PavanJha
Jaipur
Libaas ki kuchh ummeed?
9:08:00 PM
Vinay
jaipur
In the song "beeti na bitaai raina" what did you really mean in one antara. Is it "chaand ki bindi waali" or "bin - diwali" or both. The song however remains a favourite for the line "birha ki jaai raina". what beautiful use of word jaai(paida ki hui).
9:08:00 PM
Gulzar

Ajit: One important factor in his personality was his discipline of a professional. Even in his most busy time, he had time for all his producers. He was punctual to his music room to start work in the morning and punctual enough to pack up in time. It was important for him to do some cooking, it was important for him not to miss his football matches, his parties till late in the night. A man who was alive all the time.
9:11:00 PM
Pushkar sharma
bethesda,usa
gulzar saheb, You and asha ji won the national amard for Ijazat but pancham's name was left out. He obviously played the pivotalrole in the sucess. what was your reaction and how did RD take it?-Pushkar
9:11:00 PM
Gulzar

Ketan: Ketan, all that you see and feel is not very physical. You can feel a fragrance of a look. It can convey love, hatred, affection to which we all react. We don't have to give a body of words even. That is the expression of describing a look of love in these lines. I have expressed not to give a definition of a relationship to that look, either.
9:14:00 PM
Rahul
Pittsburgh,USA
Gulzar Saab, could u tell us something about the great actress Meena Kumari? How was it when u were working with her in Mere Apne, considering that it was ur first film as a director and she was an well established star at that time?
9:14:00 PM
pranav
San Francisco,USA
Namaste Gulzarsaab. How do you position yourself in the current era of film music where beats and rhythm are clearly more important than the lyrics. Given that, can you please tell us a little about your experience with A.R.Rehman?
9:15:00 PM
PavanJha
Jaipur
Sir aapke sawaal ka jawaab : "Saath Saath Tum Chalo To Raat Raat Bhar Chalein'
9:17:00 PM
Gulzar

(Qustion from Ninad) When you wrote the songs for Satya.. there was a wide range of songs which we got to see from you, right from "Baadaloan se kaat kaat ke" to "Goli maar bheje mein".. how did you think of such diverse songs and how was the experience of composing something like "Goli maar"
9:17:00 PM
Ajit Iyer
Richmond, Virginia,USA
Gulzarji, has there been an instance where you gave some lyrics to Panchamda and he instantly came up with the tune, which became a big hit? I've heard some rumours and wanted to ascertain the facts.
9:20:00 PM
Vinay
jaipur
Sir, may i have the priviledge to announce the launch of my site on Pancham at a new address.. www.panchamonline.com Please visit..
9:21:00 PM
Ajit Iyer
Richmond, Virginia,USA
Gulzarji, you jad once mentioned about a comment from Panchamda which is very close to your heart about how the singer's chehra would come in front of Him after he finished composing a song. Any such other comments that you would like to share with us?
9:22:00 PM
Gulzar

Ninad: I must explain one thing to my friends and fans, specially thjose who expect only romantic kind of songs from me, all the time. They must know, a film has a variety of situations and one has to compulsorily write for all the situations. Its not possible to choose out a few and leave the others. Then, there's a fabric of every film which differs from one to another in cultures, language and characters. Hence there has to be different kinds of songs in different kinds of films. The criteria is how to keep meaning and aesthetics in the worst kind of situations. 'Goli maar bheje main" is not as nonsensical as it sounds. There is a ring of character and his language and a meaning behind the apparently nonsensical lines. That's where a credited lyricist like Shailendra was a master. In a common man's language, he could bring out profound literature.
9:22:00 PM
Vinay
jaipur
All you RDent fanatics out there! You are all welcome to the new home of Pancham da on the web - www.panchamonline.com
9:22:00 PM
Gulzar

Ninad: I must explain one thing to my friends and fans, specially thjose who expect only romantic kind of songs from me, all the time. They must know, a film has a variety of situations and one has to compulsorily write for all the situations. Its not possible to choose out a few and leave the others. Then, there's a fabric of every film which differs from one to another in cultures, language and characters. Hence there has to be different kinds of songs in different kinds of films. The criteria is how to keep meaning and aesthetics in the worst kind of situations. 'Goli maar bheje main" is not as nonsensical as it sounds. There is a ring of character and his language and a meaning behind the apparently nonsensical lines. That's where a credited lyricist like Shailendra was a master. In a common man's language, he could bring out profound literature.
9:23:00 PM
Mohan
New Jersy,US
Gulzarji, just a off-beat question can u name you top five fav pancham scores not being written by you...just wondering
9:23:00 PM
PavanJha
Jaipur
Yes sir. One of my favourites "Jokaron ki naukari karega kallu"
9:25:00 PM
Vinay
jaipur
Sir, why was Devdas sheleved? You were directing the movie. Now as another Devdas is in making, we would have wished your version coming up again. With of course RDs songs.
9:28:00 PM
Gulzar

Mohan: Off-hand its not possible because I would remember so many. for e.g. I can choose any 5 numbers from Shaktida's film "Amar Prem".
9:28:00 PM
Gulzar

Ajit: for my own abhyaas, I'll choose 5 and ley you know
9:28:00 PM
Gulzar

Ajit: for my own abhyaas, I'll choose 5 and let you know
9:30:00 PM
PavanJha
Jaipur
Pancham ki kuchh aur yaadien, agar aap share karna chahein to.....
9:32:00 PM
Gulzar

Vinay: 2 of Rd's songs were recorded for Devdas which I do not know when and how will reach his fans. Since one more Devdas is in the making now, I have to abandon my version atleast for the time being. But then, it is the subject which one looks forward to be made as authentically as possible. seems to be in the right hands. Sanjay Bhansali is a very capable director.
9:34:00 PM
Vinay
jaipur
Sanjay leela bhansali is more glossy of course.. But the depths and the dialogues ..unka kya hoga.. wo aap hameiN waise hi suna deiN.
9:34:00 PM
Subhash
Maple ,USA
Gulzarji...how is this experience chatting with panchamites on internet..though its pretty slow, do you have any email-address ,sir!
9:34:00 PM
Ajit Iyer
Richmond, Virginia,USA
What could be more exciting than a personal e-mail from Gulzarji? Could you e-mail those 5 songs to pancham@egroups.com. Based on your reply, I'm assuming that there are songs which Panchamda instantly composed on your lyrics. Am I correct?
9:34:00 PM
Gulzar

Pavan: Pancham har waqt yaad hai iss liye khaas taur pe baith ke yaad karnaa mushkil kaam hai. Jaise jaise usski baatein yaad aati rehti hain, aap logon ke saath baatataa rehtaa hoon. Majboori hai ke ab aur gaane usske saath nahin ban sakenge. Sirf khaamoshi hai jo kheenchti rahegi aur lambi hoti rahegi
9:37:00 PM
Gulzar

(Question from Yatin) : What inspired you to write "Jab bhi thamaa hai tera haath to yeh dekha hai, log khete hain ki haath ki rekha hai" (Gulzaar saab replies) Rekha (Q from Yatin contd) Humney dekha hai do takdeeron ko judte huay
9:37:00 PM
Subhash
Maple ,USA
Sir, so disheartening to know that my fav writer/novel which was directed by my fav director and fav MD , is coming to trash..for God sake..pls Gulzarji don't abandon that project!!
9:38:00 PM
PavanJha
Jaipur
Sunaai deti hai uski[Pancham ki] dhadkan. Tumhara dil aur hamara dil hai. Pancham is still alive in his songs
9:38:00 PM
Gulzar

Yatin: It was a romantic situation and Rekha was playing the romantic girl , so the poet had the privilege of using her name and making a pun on it
9:38:00 PM
Vinay
jaipur
Sir, another difficult task for you (pardon me).. Please Choose the most difficult (in terms of effort) movie that you did with Pancham, the easiest one and the most satisfying one.
9:39:00 PM
Pushkar sharma
bethesda,usa
Both Ashaji and Lataji sang for you and RD? How did u decide for which actress who will sing? or it was strictly musical decision.
9:41:00 PM
Gulzar

Subhash: I'll do my best to keep it alive till it materialises. Thank you for your sentiments
9:45:00 PM
Gulzar

Pushkar: In general its a music director's decision. With Pancham, one could decide mutually. It was interesting that Khushboo was completely sung by Ashaji, Libaas complete with Lataji, again Ijaazat by Ashaji, again Maachis with Lataaji. It was a pleasure to work with the two who landed on the moon, Lataji and Ashaji
9:45:00 PM
PavanJha
Jaipur
Sir which work (after poetry) is the closest to your heart. Direction/Screenplay/Dialouges/Lyricist/Story Writer?
9:47:00 PM
Ajit Iyer
Richmond, Virginia,USA
Gulzarji, I believe you have all the songs of 'Dil Padosi Hai' sung by Panchamda Himself. Do you have a full-blown version of his with the music accompaniments and tracks or is it a recording of his rehearsal? In either case, is there a way you can reach it to his fans?
9:47:00 PM
Subhash
Maple ,USA
i dunno Gulzarji, if we can contribure anything from our side to keep pancham alive and of course, your work..ie Devdas project and new pancham album.. Kahin baar bahut dukh hota hai ki hum sirf baith kar tamasha dekh sakte hain..but believe me sir, you are not alone in this journey, we will always be there with you..
9:47:00 PM
Gulzar

Vinay: I don't think anyone has been easy with him. Film was just a reason to meet. The rest was living together which couldn't be easy, really
9:48:00 PM
Vinay
jaipur
You have written a couple of Bengali songs for a Movie called Aanando Niketan (with RD) in 91. Do you know Bengali that well?
9:50:00 PM
Gulzar

Pavan: The dearest to me remains writing poetry and after that writing poetry again specially for children. I am very fond of writin nonsensical rhymes for children like "Lakdi ki kaathi" "Jungle Jungle baat chali hai " "Tap tap topi topi tope mein jo doobe"
9:51:00 PM
PavanJha
Jaipur
Isise juda ek sawaal : aapka bengalis ke saath kaafi association raha hai. Hamare adhiktar male singers aur directors and literary pesonlities Bengal se hai. Kya aapko aisa laga ki unmein music ya literature ki pakad jyada hai
9:51:00 PM
Pushkar sharma
bethesda,usa
Aaap dono mein aisi kya khaas baat the (!) ki pancham nein apki HAR film mein innovative aur naya sa music diya. I don't remember a RD-gulzar movie which even had above average movie. It was GREAT always. Do sangeet mein doobe huai dil ka sangam tha.
9:51:00 PM
Gulzar

Vinay: Well, yes.
9:53:00 PM
Vinay
jaipur
You have made many a Pancham Fanatics from this group happy. one more reason to favour you :)
9:54:00 PM
Ajit Iyer
Richmond, Virginia,USA
Gulzarji, I couldn't get the 'Living together with him couldn't be easy'. Could you expand on this a little bit?
9:57:00 PM
Gulzar

Pancham ke chaahne waaley doston, bahot accha lagaa aapke saath shaam bitaakar. Pancham ke saath baithne ka ek aur bahaana mila. <br><br> Khoon nikaley to zakhm lagti hai<br> warnaa har choat nazm lagti hai

Click to enlarge the Picture

9:57:00 PM
PavanJha
Jaipur
Dhanyawaad Gulzar saheb, sabhi ki or se. Ummeed hai bhavishya mein phir mulaqaatein hongi.
9:57:00 PM
Vinay
jaipur
I thank you on the behalf of all the members of the Pancham Egroup for giving them this opportunity to have such a wonderful time with you. A life-time experience this. Please keep visiting our group and once in a while also post on it (pancham@egroups.com). Shukriya!!
9:58:00 PM
PavanJha
Jaipur
Sargam ke saathi sargam ki dhun pe gaate chale
9:59:00 PM
PavanJha
Jaipur
For all Gulzar-Pancham Fans Download Gulzar wall paper from http://domaindlx.com/gulzar/gulzar800.jpg
10:00:00 PM
PavanJha
Jaipur
I would also like to thank NINAD and YATIN the co-ordinators
10:02:00 PM
Subhash
Maple ,USA
Gulzar sahib! ek ichaa the kissi din pancham toli aapke se ruburo ho aur khoob der saari baaten karen..kah nahi sakta ki pancham kitna adhura rahta aapke bina...jab bhi appka aur pancham ke combination ka khayal aata hai to yaad aata hai Aandhi ka wo b/g music jab S Sen Sanjeev K ko kahin salon baad milti hai...aur wo end part ka b/g music jab S sen sabe wida leti hain...kya kahoon shabad nahi ha mere pass..lekin phir bhi bahut accha laga..Hazooron Kwiysehn aesi ki har kwayish be dum nikle bahut nikle mere armaan, phir bhi bade cum nikle
10:03:00 PM
Ajit Iyer
Richmond, Virginia,USA
Thank you very much, Gulzarji for this memorable day and to Pavan, Yatin and others who made this a grand success. Panchamomaniac -Ajit.
11:08:00 PM
Abhijit Patwardhan
Mumbai
Hello anyone there?




Edited by Qwest - 23 March 2006 at 11:24pm

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Posted: 23 March 2006 at 11:43pm | IP Logged
The best article poster award of this forum must go Qwest ji.

Wonderful again. I will have to print all these articles and file it together.

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Posted: 23 March 2006 at 11:51pm | IP Logged
Originally posted by apparaohoare

The best article poster award of this forum must go Qwest ji.

Wonderful again. I will have to print all these articles and file it together.

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Thank you Appa ji this all your's.
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Qwest ji,

You don't have to be so humble. Tongue   You should be very proud for posting such wonderful articles.

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Posted: 23 March 2006 at 11:56pm | IP Logged

R. D. Burman

Some of the gems

Born on 27th June, 1939 in Calcutta, Rahul Deb Burman (RD) was the only child of Sachin Deb Burman and Mira Deb Burman. He was brought up in Calcutta. S D Burman was used to live in Ballygunge area in south Calcutta and was a popular Bengali singer and musician.
His family moved to Mumbai and RD started learning sitar under legendary sitar player Ali Akbar Khan.

[ The very first film that came Pancham's way was Raaz, offered to him by Guru Dutt, in 1958. Pancham was only 19. The film was shelved midway. He got his real break three years later, when Mehmood offered him Chote Nawab(1961). Pancham's first song was sung by Lata Mangeshkar(Ghar aaja Ghir aayee).
Pancham's career spanned 331 films, 5 TV serials, 164 non film songs(134 Bengali, 30 Hindi) and 5 languages. ]

Rahul Deb Burman's first film at the age of 22, Chhote Nawab, was a Mahmood production. In those days, the bespectacled young Burman was known more as S.D. Burman's son than as himself, a tag that was to last another ten years. After Chhote Nawab, R.D. drew a blank in 1962, '63 and '64. Chhote Nawab had some excellent songs, like: matvali ankhon vale (Lata, Rafi), llahi too sun le (Rafi), aam chhum laam chhum (Rafi and chorus), yet R.D. Burman's talent went unnoticed. For the next few years, he continued to assist his father. Nicknamed Pancham after his rhythm-oriented musical inclinations, RD surfaced again in 1965 with Mahmood's next, Bhoot Bungla and another film, Teesra Kaun.  Manna Dey and chorus sang the former and Lata rendered the latter for Bhoot Bungla. Father: S D Burman , Mother: Mira Deb Burman Singing achha sanam(Teesra Kaun), Asha Bhosle typified what was to emerge as Pancham's swinging, up-beat style. Mukesh and Lata sang an innocent, romantic duet that went pyar ka fasaanaa banaa le dil deevaanaa. Suddenly, the world sat back and took notice.

[ He is a master composer. Nobody, nobody in Indian cinema has used music in all its form and range quite like him. If SD Burman was the purist, then his son Rahul Deb Burman was the maverick - the risk taker, the dare devil, who knew how to make symphony even out of a sock! ]


Mahmood nurtured him further, with Pati Patni (1966). Two songs distinguished the film's score. In one of them, actor-singer Surendra returned to the microphone after a long absence to give playback to Om Prakash. The other song, Kajre badarvaa re (Lata) was a gem of a tune. But the film that catapulted RD into big time was Nasir Husain's Teesri Manzil. Nasir had already acquired fame as the maker of a string of musical hits, from Tumsa Nahin Dekha (1957) to Phir Wohi Dil Laya Hoon (1963). RD, Lata, Kishore, AshaHaving worked with such giants as O.P. Nayyar and Shankar Jaikishan (the latter gave music in Nasir's Jab Pyar Kisise Hota Hai (1961), Nasir Husain reposed great faith in the little known 'Burman Junior' by signing him for not one but two films. Baharon Ke Sapne(1967) was to follow Teesri Manzil. It was as if RD had made a five-year plan and at the end of his gestation, he would reap his rewards. After 1961, 1966 became the most important year for him. Teesri Manzil was the talk of the (music) town. o haseena zulfon vali(Rafi, Asha), o mere sona(Rafi,Asha) Tumne mujhe dekha(Rafi) and Deevana mujhsa naheen(Rafi) were heard in every street and occupied a lot of airtime over Radio Ceylon. Baharon Ke Sapne did not emulate the success of Teesri Manzil. Its box-office failure affected its music too, though many felt that at least musically, Baharon Ke Sapne was outstanding. RD showed remarkable range while composing Chunri sambhaal gori (Manna, Lata and chorus), Kya jaanoon sajan(Lata) and Zamaane ne maare javaan kaise kaise(Rafi). Aajaa piya tohe pyar doon(Lata) was a unique blend of simple tune and measured orchestration.RD, SD With Padosan and Abhilasha (both made in 1968), RD emerged from the shadow of his illustrious father. As his second five-year plan progressed, RD bagged films like Pyar Ka Mausam, Waris (both 1969) and Kati Patang and Raaton Ka Raja (both 1970). And then came 1971 - the year of Rahul Deb Burman. Adhikar, Buddha Mil Gaya, Caravan, Ehsan, Lakhon Mein Ek, Lagan, Mela, Pyar Ki Kahani and The Train - all had RD's name as music director. His tenth film in that one eventful year was Hare Rama Hare Krishna, which made it to the top in Binaca Geetmala through Dum maro dum. The son had carved out a place for himself in the sun. Rahul Deb Burman emerged from the daunting shadow of Sachinda to become one of the topmost composers in Hindustani films. Looking at 1972, we find his name associated with Apna Desh, Bombay To Goa, Dil Ka Raja, Do Chor, Garam Masala, Gomti Ke Kinare, Jawani Diwani, Mere Jeevan Saathi, Parchhaiyan, Parichay, Rakhi Aur Hathkadi, Rampur Ka Lakshman, Rani Mera Naam, Samadhi, Sanjog, Savera, and Shehzada. That makes sixteen films in one year !
   Lasting associations is RD's forte. From Teesri Manzil to Zabardast (1985), every film of director Nasir Husain had his music. With Ramesh Behl (Apne Apne 1986), the team dates back to Jawani Diwani. After Hare Rama Hare Krishna, all but two or three films of Dev Anand were adorned RD, Kishore, Latawith Pancham's tunes. Dubbed 'strange' in the early seventies, the RD - Gulzar combine has consistently yielded musical hits in the Parichay tradition. Majrooh and Anand Bakshi were his favorite poets for over twenty years. Every film of actor - director - producer Mahmood just had to have Pancham's music. All four of Ramesh Sippy's films, beginning, with Sholay (1975), have had their score composed by him. Saagar (1985) was among the top twenty-five musical films six months after its release. Earlier, for many weeks, it was among the top three. Sholay earned the country's first platinum disc and Sippy's Shaan, a commercial disaster, had some catchy songs, thanks to RD.
Quite obviously, RD has shown a marked preference for Kishore Kumar among male singers and Asha Bhosle among the female voices. Kishore probably suited his boisterous antic-gimmick-calisthenic style more than any other singer. Kishore is at his 'best' singing Naheen naheen abhi naheen (Jawani Diwani -1972), Jaise ko taisa mila (Jaise Ko Taisa - 1973), 0 hansini -(Zehreela Insaan - 1974), Main shair badnaam (Namak Haram - 1973), Cham cheekee chiki bam cheeki chiki (Kahtey Hain Mujhko Raja - 1975), Mere naina (Mehbooba - 1976) and 0 manjhi re (Kinara -1977). But that does not negate the RD-Rafi masterpieces, like Sunder ho aisee (Dil Ka Raja - 1972), Chura liya hai (Yaadon Ki Baaraat - 1973) , Aa raat jaatee hai (Benaam - 1974 - both duets with Lata), Naghma hamaara (Bundalbaaz - 1975), Kya hua tera vada and Chand mera dil (both from Hum Kisise Kum Naheen - 1977), (the first with a few lines by Sushama Shrestha) and dozens of songs from his sixties's films.
Asha Bhosle was more than a singer to him. Eventually, she became his (second) wife. RD further moulded her vocal nuances, nuances that had been created and shaped by O.P. Nayyar and S.D. Burman. The cabaret-night club-discotheque genre of film music is studded with a number of R.D.-Asha 'floor shows'. Some are listed here: Mera naam hai Shabnam (Kati Patang - 1970),RD, Asha Piya too ab to aa jaa (Caravan - 1971), Aa jaa o mere raja (Apna Desh - 1972), Aaj kee raat (Anamika - 1973), Teri meri yaari badi purani (Charitraheen-1974), Sapna mera toot gayaa (Khel Khel Mein -1975), Do pal kee hai yeh zindaganee (Chala Murari Hero Banne - 1977), Mera pyar, Shalimar (Shalimar - 1978), Kya ghazab karte ho jee (Love Story -1980), Jaan-e-jaan (Sanam Teri Kasam - 1981) and Dharkan pal pal (Arjun - 1985).
Besides doing bit roles in Bhoot Bungla and Pyar Ka Mausam, Pancham has sung a number of songs, self-tuned. Most of them have been hits: Duniya mein (Apna Desh), Dhanno ki aankhon men (Kitaab) and Mehbooba mehbooba (Sholay). Often dubbed a plagiarist, RD has proved his mettle time and again for twenty-five tuneful years from film to film, song to song.
Courtesy: from an article published in 1986 in "Playback"

Gulzar remembering RD
We knew each other from the moment we were hopefuls. We were assistants--he to his father and me to Bimal Roy. When SD would come with his compositions, his son would come carrying a "dagga". He'd be wearing shorts the way kids wear Bermudas today.
My first lyric for Sachinda was Mora gora ang lai le. Pancham would be there. Shailendra did the other lyrics for BANDINI. And Pancham would encourage me--go meet baba, go and talk to him. He'd invite me to their apartment in the one-storey building, 'Jet', on Linking Road. Today there's a tall building over that one-storey structure. I don't know who stays there now, Sachinda was there till his end.
Pancham was three-four years younger than me. He was always a kid, he remained one. He was fond of pranks, of colorful clothes and especially of the color red. He had a nickname for me--'safed kavva'. He'd phone, if I wasn't at home he'd leave a message, "Tell 'safed kavva' that 'lal kavva' had called."
His sense of humor was his very own. He knew Asha Bhonsle was very particular about keeping the house clean; so he sent her a gift--two big brooms in bright wrapping paper.
One of his passions, besides music, was cooking. He grew chillies in his terrace garden--as many as 40 varieties, cross-breeding them to get new exotic tastes. Ashaji now wonders, "Who'll look after his plants? He's gone."
If a friend was going abroad, he'd ask him to get back some soup packets. Like he asked Rahi Sabarwal of Air India to bring him some soup packets which you can only find in Hong Kong. Pancham even sent him a telegram, "Don't forget my soup." The telegram was signed Soup Lover.
As young men in our 20s, we shared many common interests--interests in home-cooked food and in sports. He was a soccer fanatic, he was a true Mohan Baganian, he'd get into heated arguments with (director) Gogi Anand over soccer. Yet Gogi remained Pancham's friend till the end.
Pancham married Jyoti. It was a love marriage, but I think it didn't work out because they were two very different people. He was immersed into films and music; he'd spend long hours away from home in the recording studio of Film Centre. He was so obsessed with his work that he had little time for any other love in his life.
Pancham was a terrific mouth-organ player; he played the organ in his father's orchestra. And he was an outstanding sarod player too; he had trained under Ustad Ali Akbar Khan.
Pancham would have his differences with his father. But he was Sachinda's only child, he was the pampered one. And he could get pretty possessive about his father. They hailed from a royal family; for them it was a matter of pride that they had carved out their own little kingdoms with their music.
There'd be good-natured bantering between them. "Baba," Pancham would pout, "you don't give me enough pocket money." And Sachinda would laugh back, "Oi Pancham, when are you going to contribute to the kitchen expenses?" Whenever the son would try to shuffle out quietly from the music room, Sachinda would say, "Jao jao, I know you want to smoke a cigarette."
Pancham would frequently compose his tunes in the course of car drives. He'd hum, we'd reach Film Centre and he'd say, "OK, you go home now, I've got the tune in my head. I'll try it out with the musicians." If he was especially excited about a tune, he'd scream with joy. He never kept his happiness within himself, he shared the moments of ecstasy with others.
Pancham would keep the actor's face in mind while working on a composition. He'd tell me that, at times, he thought of my face while conjuring a tune--which I thought was a great compliment.

We first worked together on PARICHAY. It was important for me to sit with him on the music sessions. He inspired certain moments which I picturised later, his music was that visual...I went to Rajkamal studio where he was recording a background score for another film. I gave him the mukhDa--Musafir hun yaaro/Na ghar he na thikaana--and I left. That night he woke me up at 1 a.m. and said, "Come, come down with me to the car." He'd recorded the tune on a cassette already. He started driving through the empty streets of Bandra, he played the beat on the dashboard. It was my first song as a director with him.
By the time he composed Saare ke saare, he had shifted from home--he was in the process of acquiring a new flat--to Caesar's Palace Hotel. The most beautiful song in the film--Beeti na bitaai raina--was also composed in the hotel room. It was based on a classical 'bandish'; it fetched Lata and Bhupendra National Awards for best playback singers.
In all, we did eight films together, as a composer-director team. Besides PARICHAY, there were: KHUSHBOO, KINARA, AANDHI, KITAAB, NAMKEEN, LIBAAS and IJAAZAT. How did Tere bina zindagi se koi shikwa to nahin(AANDHI) come about? He was recording Bengali songs for Durga puja around that time. The lyrics were by the renowned Gauri Prasanna Majumdar. I liked the tune that Pancham was composing; I filled it up with Hindi words and said, "Look, I'm going to use this for AANDHI."
As for Is moD pe jaate haiN, kuCH sust qadam raste, I gave him the words from one of my poems. He composed the tune instantly. He never took time. Spontaneity was his specialty. If he struggled over a song, he would prefer to abandon it. For instance, Ek hi khwab kai baar yuhi dekha hai maine(KINARA) exasperated him. He found that metre a bit difficult, but two months later I put it before him again. He caught the scanning, and the song was finally recorded.
When I gave him Mera kuCH saamaaan tumhare paas paDa hai(IJAAZAT), he waved the lyric aside and said, "Huh, tomorrow you'll bring me the front page of *The Times of India* and expect me to compose a tune around it. What is this blank verse you're giving me!" Ashaji was sitting there, she started humming the phrase, Mujhe lauta do. He grasped it immediately; from that one phrase he developed the song, which was quite a feat! This time Ashaji and I got National Awards. Poor fellow, he did all the work and we enjoyed the 'kheer'.
Ashaji's and his was a superb creative companionship. He used the potential in her voice to maximum effect. No other composer ever placed Ashaji's voice above his music the way he did. We recorded the non-film ),Father, Son album DIL PADOSI HAI, and the variations from semi-classical and ghazal to pop and jazz, were a valuable experience for each one of us. There was a three-way harmony of voice, music and lyrics.
After his heart ailment, Pancham did feel that producers were sidelining him. He did feel hurt. He would laugh, with a touch of bitterness, at the new music composers who copy his tunes and make a mess of them. They would even imitate his singing style which was unmistakably his. Mehbooba mehbooba (SHOLAY) and Dhanno ki aankhon meiN (KITAAB) were his creations,
but others tried to clone his style, only to sound like amateurs.
My last meeting with Pancham was on December 30 [1993]. He went to Sahara recording studio in Goregaon. Ashaji was recording a song for G.V. Iyer's VIVEKANANDA. Salil Chowdhry had composed the music. Pancham and I had gone along with Ashaji. At the end of the evening, he said in his customary manner, "Milte hain."
We never did.

Gulzar remmembering RD. Courtesy: different web sites.
R. D Burman died on January 4, 1994.
[ RD died at a young age. His death left us with his creations : naam gum jayega/ chehra yeh badal jayega/ meri awaaz hi pechchan hai/ gar yaad rahe ]
Courtesy:
  • Times of India


  • Edited by Qwest - 24 March 2006 at 12:00am
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    Posted: 24 March 2006 at 12:08am | IP Logged

    Asha unhappy with India release of Grammy album

     

    Though happy with her Grammy nomination for the collaborative album with "Kronos Quartet" featuring songs of her late husband and music composer R.D. Burman, Asha Bhosle is none too pleased with the way it was released in India.

    "The less said about my experiences with music companies the better. My 'Kronos Quarter' album was released by an inexperienced company (Virgin). But it's been greatly appreciated abroad. I am asked to perform my 'Kronos Quartet' songs at concerts all over the world. In fact, I'll be at Carnegie Hall (New York City) on April 9. Then I might go to China and Japan with Pancham's songs. I love the experience of singing live on stage."

    This isn't the first time one of her albums has got a raw deal.

    "I had collaborated for a ghazal album of Pakistani compositions. That got submerged in politics. Main politics mein ghiri hui aurat hoon (I am surrounded by politics). I had done an album of ghazals written by Mahadevi Varma with composer Jaidev in the late 1970s. It disappeared from the market.

    Then I did an album of ghazals with Ghulam Ali (Pakistani ghazal singer). Even that didn't get the push it deserved. Later, I collaborated with Hariharan for a ghazal album called 'Abshaar-e-Ghazal'. That too got lost."

    But all this hasn't dampened her mood.

    She is very pleased with her Grammy nomination.
    "This is my second Grammy nomination. I don't know whether I should attend the event. Everyone says I should go. Let's see."

    She isn't sure about her next international move.

    "I don't know what other plans Kronos Quartet have. Maybe they'll go to China or Japan for their next album. If they ask me to work with them again I'd be more than happy. It was such a pleasure reliving Pancham's songs in such a unique way.

    "Besides film songs like 'Piya tu ab to aaja' and 'Dum maro dum' they also selected Pancham's Bengali songs and selections from his non-film album 'Dil Padosi Hai'. They called Pancham the Mozart of popular music. They said Pancham's arrangements couldn't be done by anyone except Mozart."

     



    Edited by Qwest - 24 March 2006 at 12:09am
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    Posted: 24 March 2006 at 12:27am | IP Logged

    Rajiv Vijaykar

    R. D.Burman suddenly turns prolific and enters the top echelons. Many of his songs this year will be handpicked for remixes three decades later. Kati Patang is the first of his four major hits. The Kishore Kumar triumvirate 'Yeh shaam mastani...','Pyar diwana hota hai...' and 'Yeh jo mohabbat hai...' Lata's 'Na koi umang hai...' Mukesh's'Jis gali mein...' as well as Asha's 'Mera naam hai Shabnam...' and Lata-Kishore's 'Haath na chhodenge...' combine for an all-hit score.

    Caravan has RD going folksy except for the situational 'Monica o my darling...' sung by RD himself with Asha Bhosle. One of the career-finest scores of the composer, Caravan also boasts of exquisite yet hit songs like'Are ho goriya kahaan tera des...' 'Chadti jawani...' 'Kitna pyaara waada...' 'Dilbar dil se pyaare...' 'Daiyyan yeh main kahaan aa phansi...' 'Hum to hain rahi dil ke...' and'Ab jo mile hain to...'. Hare Rama Hare Krishna and Amar Prem are the two other major master-strokes of the genius, but these scores are released in late 1971 and will create sensations in 1972 along with the films.

    Two superstars of the '70s get to enact their career-first songs under this composer. Zeenat Aman makes her debut in the song-less suspense thriller Hulchul, which has Pancham scoring the background music. But before Hare Rama Hare Krishna, the trend-setting actress does a small role in the flop comedy Hungama and gets to enact the Lata-Mukesh duet 'Suraj se jo kiran ka naata...' with Vinod Khanna. Two more songs from this film, 'Kacchi kali kachnaar ki...' and 'Wah ri qismat...' are fleetingly popular.

    Pyar Ki Kahani is Amitabh Bachchan's third release, and the first one in which he gets to lip-synch songs. The Rafi numbers 'Ek pate ki baat sunaaon...' and 'Koi aur duniya mein...' mark AB's musical debut, and at that point of time, Lata-Kishore's 'Ek khabar aayi...' and Lata's 'Umar hai satra saal...' are the more popular numbers.

    Buddha Mil Gaya has Pancham scoring the timeless Kishore solo 'Raat kali ek khwab mein aayi...' along with 'Oye buddho lambo lambo...' 'Bhali bhali si ek soorat...' and the classical number 'Aayo kahaan se Ghanashyam...'.

    Paraya Dhan boasts of popular songs like 'Aaj unse pehli mulaqaat...' 'Aao jhoome gaayen...' and'Tu pyar tu preet...' and Adhikar is symbolic of the quick ascent of Kishore Kumar is--vis Rafi as the latter is relegated to being the comedian's voice in'Rekha o Rekha...' and Kishore Kumar gets the hero's number 'Koi maane ya na maane...'. Ramesh Pant, veteran scriptwriter, makes his debut as lyricist. In a single year, RD composes two songs for Pran in this film and in Lakhon Mein Ek. But it is the twin version Kishore/Lata number 'Chanda o chanda...' that achieves hit status from the latter.

     



    Edited by Qwest - 24 March 2006 at 12:31am
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    Posted: 24 March 2006 at 12:34am | IP Logged
    Little known facts about RD Burman
    IndiaGlitz [Monday, March 06, 2006]
     

    Pancham introduced the twin track effect in 'Baharon Ke Sapne', which he later used to create the mesmerizing 'Qatra Qatra Miltee Hai' [Ijaazat] and a few more songs.

    He also pioneered the use of electronic organ in Indian Films with the song 'O Mere Sona Re' [Teesri Manzil]

    RD was, as Gulzar says, as good a craftsman as a musician.

    In 'Chura Liya' he used the sound of a spoon hitting a glass

    For the 'Kitaab' song, 'Master Ji Ki Aa Gayee Chitthhi', he brought some desks from a classroom in the studio while recording and used them as a percussion

    In 'Abdullah' he used the sound of a bamboo whistle with a balloon tied to it for a song

    Once to get the sound of raindrops, he spent the whole rainy night in his house's balcony recording the sound he wanted

    In the song 'O Manjhi Re' from the movie 'Khushboo', RD Burman used bottles with water filled at different levels and created a hollow sound by blowing into them and this sound effect was used with the orchestra

    During the recording of 'Hum Dono Do Premi' [Ajnabee] the musicians were on strike. So he improvised the song with emptied-out musical interludes and just listen the song

    Out of his 331 released movies 292 were in Hindi, 31 in Bangla, 3 in Telugu, 2 each in Tamil & Oriya and 1 in Marathi. RD also composed for 5 TV serials in Hindi and Marathi. He also scored a large number of non-film songs in Bangla [also known as Pooja songs or modern songs], which are available in different albums. He did a song for a small documentary film called 'Maa Ki Pukar' too, in 1975.

    Starting independent music company in 1961 with 'Chote Nawab', he did 331 films and 4 non-film albums. Before coming onto his own, he assisted his father S.D. Burman for long.

    Dada Burman used Pancham's tune 'Ae meri topee palat ke aa' in 'Fantoosh'. Pancham was only 9 when he composed the tune.

    For Pyaasa, SD used his son's 'Sar Jo Tera Chakraye', which became a huge hit

    Amit Kumar, Abhijeet and Shabbir Kumar were given their first breaks by Pancham

    R.D. Burman made his acting debut in Mehmood's 'Bhoot Bangla'. Later in 'Pyaar Ka Mausam' toohe gave a hilarious performance as Mr. Popat Lal.

    R.D played the mouth organ for his friends Laxmikant Pyarelal in a song in 'Dosti' and also in a movie for Kalyanji Anandji.

    The mouth organ played in the song 'Hai Apna Dil To Awara' sung by Hemant Kumar in the film 'Solva Saal' is played by RD Burman himself

    Both Lata and Bhupinder won a National Award for the song 'Beeti Na Bitaaye Raina' from 'Parichay', and this song was composed in a hotel room in no time

    R.D. Burman won the Filmfare award only 3 times [Sanam Teri Kasam, Masoom, 1942-A Love Story] while being nominated 16 times for the award





    Edited by Qwest - 24 March 2006 at 12:36am

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