A TRIBUTE TO JON HIGGINS - THE MAN WHO MASTERED CARNATIC MUSIC

“Endaro Mahanu Bhavulu..Andariki vandanamulu” (My salutations to all great people). This Pancharatana Kriti of Saint Thyagaraja is one of the most difficult kritis to render. Not many can render this great kriti with ease let alone with grace. It is a very difficult kriti for even people with knowledge of Telugu (a south Indian language) in which this kriti is composed. Only the masters who have honed their skills in the intricacies of Carnatic Music can render such a marvelous kriti. Jon Higgins is one of them! His silken voice combined with his deep understanding of Carnatic music has made it look so simple!
Jon Borthwick Higgins was born in 1939 in Andover, Massachusetts, U.S.A. He was an American musician, scholar and teacher. He had this rare skill as a non-Indian in the field of Carnatic Music. He attended Wesleyan University and received Three degrees viz: B.A. as a double major in Music and History, M.A. in Musicology and Ph.D in Ethno Musicology.
He founded the Indian music studies program at York University with Trichy Sankaran in the ‘70s, and returned to Wesleyan in 1978 as a professor of music and Director of the Center for the Arts. He immersed himself in numerous cultural activities inside and beyond the university community. He also maintained a deep relationship with his family.
Higgins was a singer of European and Western classical music. He is also recognized as the first non-Indian to perform South Indian classical Carnatic music at a high level of proficiency. He began his Indian music studies in Wesleyan courses taught by Robert E.Brown and T.Ranganathan and was quickly captured by the subtle beauty of the art form. He decided to fully dedicate himself to learning the language of Carnatic music, and went to India on a Fullbright scholarship to learn from T. Viswanathan. Within a short period of time he performed to great acclaim at the Tyagaraja Aradhana, an important music festival in South India. He later continued his studies under the renowned dancer T. Balasaraswati, and wrote his dissertation on the dance music of Bharatanatyam. Higgins returned to India as a Senior Research Fellow of the American Institute of Indian Studies. He continued to perform Carnatic music, recorded several albums. He was deservedly honoured with the sobriquet "Bhagavatar" (scholarly musician).
His katcheris (concerts) used to draw full houses and were broadcast regularly on All India Radio. He continued to enthrall his fans till the fate seized him in the year 1984 owing to an accident.
ENDARO MAHANUBHAVULU..ANDARIKI VANDANAMULU
JOH HIGGINS was one such MAHANUBHAVUDU…our VANANAMULU TO HIM!
-Nag.

HELLO BLOGGERS! Time for some fun

Dear Bloggers,
I‘ve been very busy in the office of late. Sorry for the delay. In the meanwhile, let me tickle your funny bones with a few jokes on music, musicians and instruments. Fished them out from ahajokes.com (courtesy to them)

Guitar Jokes:

Q How do you make a guitarist stop playing?
A: Put notes on it!
Q: What did the guitar say to the guitarist?
A: Pick on someone your own size!
Q: What's the definition of a minor second?
A: Two lead guitarists playing in unison.
Q: What is the difference between a guitarist and a Savings Bond?
A: Eventually a Savings Bond will mature and earn money!

Saxophone jokes:

Q: What is the difference between a saxophone and a chainsaw?
A: It's all in the grip.
Q: What is the difference between a saxophone and a lawnmower?
A: Vibrato.
Q: If you were out in the woods, who would you trust for directions, an in-tune tenor sax player, an out-of-tune tenor sax player, or Santa Claus?
A: The out-of-tune sax player! You were hallucinating the other two.
Q: What's the definition of a gentleman?
A: One who knows how to play the saxophone, but doesn't!

Musician Jokes:

A cowboy and a biker are on death row, and are to be executed on the same day. The day comes, and they are brought to the gas chamber. The warden asks the cowboy if he has a last request, to which the cowboy replies, "Ah shore do, wardn. Ah'd be mighty grateful if'n yoo'd play 'Achy Breaky Heart' fur me bahfore ah hafta go."
"Sure enough, cowboy, we can do that," says the warden. He turns to the biker, "And you, biker, what's your last request?"
"That you kill me first."

Fritz Kriesler and Rachmaninov had a recital in Carnegie Hall once. In the middle of the music, Kriesler got lost and turned around to ask Rachmaninov, "Where are we?"
Rachmaninov said, "Carnegie Hall, sir!"

A tourist is sightseeing in a European city. She comes upon the tomb of Beethoven, and begins reading the commerative plaque, only to be distracted by a low scratching noise, as if something was rubbing against a piece of paper.
She collars a passing native and asks what the scratching sound is.
The local person replies, "Oh, that is Beethoven. He's decomposing."

Three men die and go to heaven and queue to meet St. Peter.
St. Peter: Hi, what's your name?
Paul: My name is Paul.
St. Peter: Hi, Paul. Tell me, when you died, how much were you earning?
Paul: 120K.
St. Peter: Wow! Tell me, Paul, what were you doing to earn that kind of money?
Paul: I was a lawyer.
St. Peter: That's great. Come on in. St. Peter then turned to the second man. Hi, what's your name?
Roger: My name is Roger.
St. Peter: Hi, Roger. Tell me, when you died, how much were you earning?
Roger: 60K.
St. Peter: Hey, that's great! Tell me, Roger:, what did you do for a living?
Roger: I was an accountant.
St. Peter: That's very good. Come on in. St. Peter then turned to the second man. Hi, what's your name?
John: My name is John.
St. Peter: Hi, John. Tell me, John, how much were you earning when you died?
John: About $23,000.
St. Peter: Hey, that's fantastic, John! Tell me, what instrument did you play?

LOL! Have a nice time folks!!

-Nag

HOMAGE TO THE GHAZAL KING-JAGJIT SINGH

The most popular Ghazal which held sway in the early ‘80s was “Honton se chhu lo tum, mera geet amar kar do”and the singer, Jagjit Singh. He along with his wife Chitra popularized the ghazals in the 70’s and 80’s. How can you forget the ghazal from their 1976 album The Unforgettables

“Ye daulat bhi lelo, ye shahurat bhi lelo,
bhale chheen lo mujhse meri jawaani
par lauta do mujhe ko woh bachpan ka saawan
woh kaagaz ki kashti aur bearish ka paani”
(Take back my wealth and fame, snatch away my youth, but return me back the monsoon of my childhood; the paper boat and the rain water)

The “Ghazal King” was born in 1941. He was raised as a Sikh by religion. Though his father wanted him to be an IAS officer, fate had something else in mind. Otherwise how would we have had the fortune of listening to his silken voice!
He learnt music under Pt. Shaganlal Sharma,who ran an academy on the first floor of Bakshi Type College, for two years in Ganganagar, and later devoted six years to learning Khayal, Thumri, Dhrupad forms of Indian Classical Music from Ustad Jamaal Khan of the Sainia Gharana school, a distant relative of Mehndi Hasan. Jagjit Singh devoted much of his time on “riyaaz” at a paan shop run by one Thakur Dutt Sharma.

He lived as a paying guest and his earlier assignments were singing advertisement jingles. Singh was first offered to sing in a Gujarati film, Dharati Na Chhoru produced by Suresh Amin. Jagjit singh sang in Punjabi, Urdu, Bengali, Gujrathi, Sindhi and Nepali languages. He grew to prominence with his Ghazals in the films Prem Geeth, Arth, Saath Saath, sarfarosh etc. He had 80 albums in his repertoire during his life. His compositions for the TV serial Mirza Ghalib based on the life of the poet Mirza Ghalib, remain extremely popular among ghazal aficionados. He is the only composer and singer to have composed and recorded songs written by the former Prime Minister of India Shri.Atal Behari Vajpayee. Besides ghazals, Jagjit Singh has also sung Bhajans and Gurbani (Hindu and Sikh devotional hymns respectively).

Jagjit Singh was the first Indian composer (and together with his wife Chitra Singh) in the history of Indian music to use digital Multi-track recording for their album Beyond Time (1987).

Together with sitar player Pt.Ravi Shankar and other leading figures of Indian Classical Music and Literature, Jagjit Singh had voiced his concerns over politicisation of arts and culture in India and lack of support experienced by the practitioners of India's traditional art forms, particularly folk artists and musicians. He had lent active support to several philanthropic endeavors such as the library at St. Mary's School, Mumbai,Bombay Hospital, CRY, Save the Children and ALMA.

He was awarded the Padma Bhushan in the year 2003.

Mother Earth softly awakened her dear child on 10th October 2011 and took him away in a hush to put him securely in the warmth of her womb forever.

We salute the Ghazal King for his contribution to Indian music in general and Ghazals in particular and pay our most respectful homage.

MAY HIS SOUL REST IN PEACE

-Nag

INTERESTING ANECDOTE ON THE KISHORE SONG "AAKE SEEDHI LAGI JAISE"

“Half Ticket”, a bollywood classic film released in the year 1962 is a hilarious story of Vijay a.k.a Munna played by Kishore Kumar, who travels in a train as a boy on a Half ticket as he has not enough money. This film was based on the Hollywood movie “You’re never too young”. Directed by Kalidas, it also stars Madhubala, Helen and Pran. The music is by Salil Choudhary.

As hilarious as the film is, there is one particular song “Aage seedhi lagi jaise dil pe katariya” picturised on Kishore kumar (dressed as a female) and Pran. I think, this is the only song in the history of Hindi films where a singer has sung both the Male and Female parts (Bloggers may correct me if I am wrong). In other words, the whole song has been sung by the inimitable Kishore for both the male and female artistes!

Lata Mangeshkar was actually supposed to sing the female part for this song. However, due to some reasons, she was not available. Kishore convinced the music directed Salil da that he could sing both the voices. Thanks to Salil da, Kishore sang the song in both male and female voices! Sung with the energy as only Kishore can, this new experiment added an amazing comic effect! You can watch this song on youtube.com. It'll surely keep you in splits.

Hats off to Kishore the Maverick and to Kishore the Genius Singer!

-Nag.

RAVINDER JAIN - THE MASTER OF MUSIC

Who can forget the immortal melodies in the films “Geeth Gaatha Chal” “Chor Machaye Shor” “Chitchor” “Naiyya” “Fakeera” .”Sunaina” to name a few. The man who was born blind but could see through his heart, penning lyrics for the songs he composed…yes, he is the one and only Ravindra Jain. The man who introduced Dr.K.J.Yesudas to the Hindi music lovers, the man who could create pathos (Ghungroo ki tarah) and ebullience (Le jayenge…le jayenge…dilwale dulhaniya…), earthy folk (Geeth gaata chal), classical (Jab deep jale aana, Tu jo mere sur mein) with the same ease. Who can forget the beautiful song “Husn pahadon ka” based on Pahadi raag in the film “Ram Teri Ganga Maili” The man known for his word play (Jal jo na hotha to ye jag jaatha jal in the film Geet gaatha chal and Sajna hai mujhe sanja ke liye in Saudagar), what a beauty!

Ravindra Jain was born in 1944 in the Banswara District of Rajasthan. He took his early music training under Pt.G.L.Jain, Pt.Janardhan Sharma and Pt.Nathu Ram before landing into the Hindi film industry. He is credited for bringing Dr.Yesudas and Hemlatha to the Hindi film music. He was so attached to Yesudas and fascinated by his voice that he would say he wanted to first see Yesudas’ face if he ever got his vision.

Ravindra Jain held sway over the Hindi film industry through the 70’s. Later, he did musical work for Television serials like Ramanand Sagar’s “Ramayan”, “Sri Krishna”, “Alif Laila”, Hema Malini’s “Nupur” etc.

He also composed music for ghazals in singer Suresh Wadkar’s The Morning Sun and singer Pravin Khan’s Deedar. This apart he has also written and composed many popular jain bhajans.
He never got the recognition he deserved. He was nominated several times for Filmfare but got it only in 1985.
For the hindi film music lovers, all it matters is that humming the evergreen melodies composed by this master gives them peace of mind and freshens their spirit.
Ravindra Jain ji – Saadar Pranam!
-Nag.

MARUTIRAO KEER -A KEY ASSOCIATE OF R.D.BURMAN

Dear Bloggers,

I recently read an article posted by Sri.Ankush Chinchankar in Panchammagic.org, which I am reproducing here. With due respects to Sri.Ankushji, I have taken the liberty of posting his article in this site with a confidence that he will not object to the same. For, we, as lovers of old music, particularly of Panchamda, would be enlightened on some of the aspects of Pancham’s music through such articles, which, otherwise, would remain unknown to us.

Sri Ankush ji’s article:

I still remember my childhood when I used to always see three names as Assistants to R.D. Burman, Basu, Manohari and Maruti. When I started understanding music and the musical field I came to know the full names of these three assistants. Basudeov Chakravaty, Manohari Singh and Marutirao Keer.
This must be the first instance when the rhythm assistant was given so much of importance. And why not , Pancham’s music was full of rhythm. I always admired Pancham’s rhythm from the day I started liking him.
I had a chance to meet Maruti Rao in 1978 during the recording of The Burning Train. That was the time I realized how important Maruti Rao was to Pancham. Pancham was very close to him on set as well as in his private life. Pancham used to always visit Maruti Rao’s home at Dadar. Together they created enigmatic rhythms for number of songs at his place.
Maruti Rao started his career as Tabla player. His gurus were Shree Bhanudas Mankame, Shree Bhairav Prasad, Shree Sunder Prasad & Ustad Gamekhan Sahab. Marutirao played almost for all music directors (except SJ as per him). Almost all the tablas heard in marathi filmi and non-filmi songs have been played by him. He started playing for Dada Burman (S.D. Burman) and then with Pancham. There were times when both of them were assisting Dada Burman.
His mastery over tabla reflects in his playing for GUIDE’s “Piya Tose Naina Lage Re”. During those days while rehearsing for Dada in JET Bunglow, Marutirao and Pancham became friends. Pancham and Marutirao had such a great understanding that only Pancham’s sheer eyecontacts were enough for him to give what Pancham wanted. Marutirao remained as his rhythm assistant and close associate right from Pancham’s first film “Chote Nawab”.
Today Pancham has the most fan following amongst all other Music Directors. Majority of the Fans are due to Pancham’s creation of novelty rhythms. Marutirao shares a big credit for this. Pancham and Marutirao used to always look for something new, something creative in the rhythm side. It may be the style of playing or it could be introduction of new instrument. Marutirao once narrated the story of TUMBA, while Pancham and his group had gone for some shows in Africa. There they saw this African Instrument called Tumba. Pancham told Marutirao to watch how that player is playing, his style, his throw and everything. After sometime Marutirao stood up and started playing the TUMBA and the artist along with all other spectators kept on watching Marutirao playing TUMBA for next hour or so.

This triggered Pancham and thus he brought TUMBA to India. The legendary TUMBA played in “Aya Hoon Main Tujhko Le Jaunga” from Manoranjan is a classic example of his rhythmic playing. Shammi Kapoor the director of the film came and hugged Marutirao after the recording.
PanchamMagic was lucky to have Marutirao as one the early guests. It was a golden day (or rather days since he stayed in Pune for 4-5 days) for all Panchamites to meet and hear from horse’s mouth about making of rhythms. For Marutirao it was just normal and always said Pancham always wanted something different and new which I used to make for him. The polite man kept on saying “Ho Gaya, Ban Gaya”. After Pancham’s death Marutirao decided not to play for recording. However his wife expired within a month after that and then he decided that he will never touch Tabla again. PanchamMagic members were thrilled when Marutirao asked to get a tabla for him to play. 4-5 days with him went like 4-5 minutes.
I personally had a chance to go to his house number of times during making of this episode of PanchamMagic. I actually took all my cassettes, CDs and a the player with me his home. Initially he was reluctant to even hear any music but as I started playing the numbers one by one, he remembered each and every song. Morning to evening we both used to listen to various rhythm patterns and he kept on explaining the variety hidden in those patterns.
Marutirao not only played for Pancham but also gifted good musicians to the industry. Such a kind hearted person, did so much for everyone and lived a simple life in his 10×12 ft room in Dadar. His first ‘CHELA’ was Amrutrao Katkar. He taught him tabla but then he asked him to switch over to RESO RESO. Today pick up any song of Pancham and you will hear Marutirao’s chela – Amrutrao Katkar’s reso reso. Homi Mulla in one his interview had specifically mentioned that Marutirao was the one who taught him Duggi Tarang. No wonder that because of Marutirao the whole of Pancham’s rhythm side was filled with Marathi Manus like Anna Joshi, Amrutrao, Manya Barve, Naik, Satnak and many others.
Pancham created a non filmy album “Dil Padosi Hai” with Ashaji and Gulzar Saab. All 14 songs spread over 2 long play records are fantastic. Lets specifically look at the tabla of two songs : “Sham Se Ankh mein Nami Si Hai” the tabla played in this song can be easily recognized as arrangement of Marutirao which is typically from DELHI GHARANA. The song simply get lifted by the uneven steps of tabla. Another song which actually should be part of Guineas Book which was created in 17 matra (or 8 ½ matra) “Joothe tere nain”.
Pancham was always fascinated by fusion and this featured in his work specifically in rhythm side. He used to mix Tabla with drums for western songs or he would use drums for classical songs. Simple example for this would be a very complex rhythm in the song “Tumse Milke Zindagi Ko” from film Chor Police or “Mausam Pyar Ka” from Sitamgar. The best amongst all is “Jab Andhera Hota Hai” from Raja Rani. Pancham was a dreamer and his assistants like Marutirao used to bring those dreams to existence.
Marutirao passed away Jan 2005, leaving his complex rhythms and so many mysteries which are still unsolved. PanchamMagic gives ovation to such magician who made Pancham the biggest magician.

Ankush Chinchankar
panchammagic.org

6th ANNIVERSARY OF PANCHAM MUSIC LOVERS GROUP, WARANGAL, CELEBRATED!

The 6th Anniversary of the popular group of Warangal, PANCHAM MUSIC LOVERS group was celebrated at Pancham Headquarters in a simple ceremony. All the key members of the group viz: Naganathan, Rama Devi, Azgar Ali, Pavani, Jagadeeswar, Reshma, Zaheer and their family members attended the celebrations. A cake was cut by the ladies of the group. This was followed by a “Mehfil” of soul stirring songs belted out by the group members for over an hour and finally culminating into a sumptous dinner. The members reminisced the year 2005 when the group was formed with an intention to promote golden music of yesteryears and how over the years the group has earned a well deserved place in the hearts of music lovers of Warangal. The members also noted with pleasure and satisfaction as to how through all these years, the group members had become an extended family. The group members looked forward to the next programme of the group, which is scheduled in the Winter of 2011.

-Nag

TALAT MAHMOOD- THE MAN WITH A SILKEN VOICE.

“Jalte hain jiske liye”, “Ye hawa ye raat ye chandni”, “Phir wohi shaam wohi gham”….the golden melodies rendered by the Silken smooth voice with a slight quiver….the voice which could bring out the subtle nuances of varying emotions in a song…and drench us with it…. belongs to the Ghazal king Talat Mahmood.
Born in Lucknow, Talat went on to become one of the greatest singers who contributed to the Hindi film music.
Talat Mahmood learned classical music under Sri. S.C.R.Bhat. He started his singing career as Ghazal singer in All India Radio in 1939 at a tender age of 16. This, despite the fact that he came from a conservative Muslim family.
HMV offered him his first album in 1941. His hit in 1944 “Tasvir teri dil mera behela..” become so popular that soon he was called by the Calcutta film industry. He acted in both Calcutta and in bollywood. He also recorded a lot of Bengali film songs under the name “Tapan Kumar”
In 1949, Talat Mahmood moved to Bombay. He went on to record several hits like Zindagi dene wale sun - Dil-e-Nadaan (1953), Jayen to jayen kahan - Taxi Driver (1954), Tasveer banata hoon - Baradari (1955), Dil-E-Nadaan tujhe hua kya hai - Mirza Ghalib (1954), Aansoo samajh ke kyon mujhe - Chhaya (1961), to name a few. His good looks led to his acting in over a dozen hindi films with the top actresses of the time.
It’s bollywood’s good fortune to have him sing some of the greatest ghazals which have remained etched in our memory even today.
Talat sang about 800 songs in his long career. His songs are still popular among the music lovers of hindi film music.
Hats off to Sri Talat Mahmood.

People who contributed to Hindi Film Music - AMEEN SAYANI

“Behnon aur Bhaaiyon, Ye hai Binaca Geet maala…Pichchle hafte se chaar paaidan chadhkar ye gaana…”. The golden voice in the programme Binaca Geet mala on All India Radio belongs to none other than Ameen Sayani. The programme, broadcast in Radio Ceylon which won the hearts of millions of fans, played a key role in creating an environment of healthy competition among the bollywood music directors who tried their best to ensure that their compositions attained the top spot in Binaca Geet mala. It also kept alive, the audiences’ interest in good hindi film songs. The heady combination of mesmerizing voice of Ameen Sayani and lilting songs was unforgettable. Nobody who has spent his childhood in the 70’s would have missed the programme, when Wednesday evenings were always eagerly awaited.

Ameen Sayani was born in 1932. He graduated from St.Xavier’s College, Bombay. His parents were deeply involved in the Indian struggle for independence. Initially, Ameen helped his mother in editing the journal “Rahber” published fortnightly, started by Mahatma Gandhi. His brother Hamid Sayani was an eminent broadcaster in English. He introduced Ameen to stage acting, direction, compering etc. at an early age and later to All India Radio, where he started his career in 1951 with Radio Ceylon. He gained immense popularity with his weekly show Binaca Geet Mala.
Ameen Sayani has immensely contributed in the development of commercial broadcasting in India. According to the Limca Book Of Records 2005, he has presented over 54,000 radio programmes and around 19,000 commercial spots and jingles, making waves in the radio world of India, Sri Lanka, the US, Canada, Britain, UAE and New Zealand. He has also produced and presented film personality interviews, plays and skits, musical features, quiz shows, career guidance and AIDS awareness programmes, feature film promotional trailers, etc. Sayani was also a part of various movies like “Bhoot Bangla”, “Teen Devian”, “Boxer”, “Qatl”. He appeared in these movies in the role of an announcer.
A few of Ameen Sayani's successful international radio shows are "Mini Insertions of Filmstar Interviews" was aired over the British Broadcasting Corporation's Ethnic Network in the U.K.; "Music For The Millions" for the BBC's World Service Radio; "Veetee Ka Hungama" aired over Sunrise Radio, London; "Geetmala Ki Yaaden" over Radio Ummul Quwain, UAE; "Hangamay" over ethnic radio stations in Toronto, Washington, Houston, Los Angeles, San Fransisco and Boston.
He was conferred with Padma Shree for his invaluable contribution in the field of Broadcasting.
Though he was neither a singer nor a musician, his contribution towards popularizing the hindi film music among millions of fans is unparalleled. After all it was he who lured us into listening to the golden melodies of the period, which we still cherish.

Hats off Ameen Sayaniji!

People who contributed to Hindi film music -MANOHARI SINGH

Music is an integral part of our films. In fact, music has played a key role in many a hit films. Sometimes, some interludes in a song become so much part of it that it is impossible to forget the music bits whenever we sing that song.
Manohari Singh was one such instrumentalist who rendered his saxophone in some of the unforgettable song interludes of Hindi film music.
Mahohari Singh was born on March 8th 1931 in Kolkota. He was a key instrumental player in the troupe of S.D.Burman and was one of the arrangers for R.D.Burman. His main instrument was Saxophone, though he could also play flute, clarinet and mandolin. Who can forget the saxophone pieces in the songs “Jaa re ud jare panchhee” (Maya), “Hai duniya useeki zamana useeka”(Kashmir ki kali), “Roop tera masthana”(Aradhana), “Raat akeli hai (Jewel Thief), “Gaatha rahe mera dil (Guide), flute bit in “Tum jo mil gaye ho” (Haste zakhm) , Whistle in “Ye shaam masthani” (Kati Patang), mandolin in “Tum bin jaun kahan” (Pyar ka mausam) to name a few.
Mahohari Singh made his debut in the movie “Sitharon se aage”, composed by S.D.Burman and went on to play for all the top music directors of Hindi Cinema. He also composed music for a few films among which “Sabse bada ruppaiya” is well known. His passion for saxophone was so much that he played almost till his last days. He also used to give sax concerts which were lapped up by music enthusiasts.
Behind the success of any music director is the team which sits together for orchestration and puts in its best efforts to make the song unforgettable. Manohari was not only a key member of Pancham’s team, but Pancham’s soul mate too. We cannot ignore Manohari da’s presence in the ‘magic’ of Pancham’s songs. Pancham and Manohari have blessed us with a treasure of melodious music which will be cherised as long as hindi film music is alive.
Manohari attained the heavenly bliss on 10th July 2010. He may not be physically present, but his mellifluous renditions would haunt us forever.

Hats off Manohari da
-Nag.

People who contributed to Hindi Film Music -BHUPINDER SINGH

Who can forget the mellifluous male voice in the songs “Dil Dhoondtha hai phir wohi”, “Ek Akela is shehar mein”, “Beeti na bitaayi raina”, “Naam gum jaayega” etc., the voice so booming but delicate and emotional at the same time. The earthiness and sincerity to it. Yes! It’s the voice of Bhupinder Singh. Singer and Musician.
Born in Patiala, his early career was in AIR, Delhi. He was also adept in playing guitar and violin. He made his debut in Madan Mohan’s song “Hoke majboor mujhe”, a duet with the legendary Rafi saab. Later on, he sang unforgettable numbers under R.D.Burman, Bhappi Lahiri etc.

Did you know that it was Bhupinder Singh who played guitar in the songs “Dum Maro Dum”, “Chura Liya”, “Chalte Chalte”, “Jaane kaise kab kahan”, “Tum Jo mil gaye ho” etc.?

This apart, Bhupinder Singh is also an ace ghazal singer and has released his own albums in this genre’.

His contribution to Hindi film music is substantial. We, as lovers of old hindi film music, salute this talented man.

-Nag

KISHORE KUMAR'S HANDWRITTEN NOTE TO HIS FANS!

Please click on the photograph to enlarge

Ilayaraja returns to Telugu films with Sri Ramarajyam

Sri Ramarajyam movie is based on Uttara Ramayanam, i.e., Lava Kusa. In which, Bala Krishna is going play lord Rama in a film and Nayantara will portray the role of Sitadevi.

While dialogues are being written by Mullapudi Venkata Ramana, Kamal Kannan, who won national award for his remarkable work in ‘Magadheera’, is going to handle visual effects, PRK Raju is the cinematographer, art director Ravindra will design the sets, editing will be done by GG Krishna Rao and the music is being scored by Ilayaraja. This is the 2nd film in Bapu and Ilayaraja combination, after the super duper hit film ‘Mantrigaari Viyyankudu’.

Isaignani Ilayaraja Ilayaraja's autograph on the cover of his "Ramanamaalai" CD as he presented to P. Susheela

I don't think about awards while composing: Ilayaraja

"

Legendary composer Ilayaraja, who bagged the National Award for the best background score for Malayalam film "Kerala Varma Pazhassi Raja", says he never thinks about awards while composing music.

When asked whether he expected the award, he said: "I don't think about awards and such diversions. I think only about music."

Starring Mammootty, the film revolves around King Kerala Varma Pazhassi Raja who revolted against the erstwhile British East India Company when they imposed high revenue policies upon the people of Kottayam kingdom.

Ilayaraja also thanked director Hariharan and production team executive Pravin for their support during the making of the film.

"I composed the score in 15 days and sent it to Budapest... We recorded it with a symphony orchestra, " he told reporters Wednesday after the 57th National Film Awards were announced.

Speaking about the art of composing music, he said: "Mere keyboard playing is not composing music. When I did this background score ('Kerala Varma Pazhassi Raja'), I envisioned each shot, the story and how it was going to be executed on screen and felt the music and situation.

That is composing... when you create something, the feelings of the director should get translated into the music. This has happened in this ('Kerala Varma Pazhassi Raja').

HAPPY INDEPENDENCE DAY!

Dear bloggers,

On 15th August 2011, India completes 64 years of freedom. We have indeed come a long way in these six decades. Increase in per capita income, better lifestyle, decrease in poverty, lower death rates, increased literacy etc.

However, a lot needs to be done. Every responsible Indian must extend his helping hand to uplift the downtrodden from poverty and illiteracy. Women should be treated with respect. It is our duty to uphold her dignity. Corruption must end. We should use our right to vote with responsibility and see to it that we choose only able and clean candidates as our representatives.

Only then can we see our motherland reach greater heights.

JAI HIND ! JAI HIND! JAI HIND!

-Nag

SHAMMI KAPOOR IS NO MORE

Veteran film actor Shammi Kapoor died at 5.15 am today. He was 79. The actor had been admitted to Breach Candy Hospital where he was undergoing treatment for Kidney failure and lung congestion.

He made his Bollywood debut with 'Jeevan Jyoti' in 1953 and ruled the silverscreen during the late 1950s and 1960s with his super-energetic performances. According to BBC, Shammi Kapoor was "one of the most popular actors of his generation, Kapoor starred in hits like Junglee, An Evening in Paris, Chinatown and Kashmir Ki Kali.

Bollywood superstar Amitabh Bachchan tweeted that with Kapoor's death the "flamboyance and joie de vivre of the industry lost".


Shammi Kapoor acted in more than 100 films. Fans called him the "Elvis Presley of India" for his frenetic and nifty dancing.

He developed a style of his own and moviegoers flocked to the theatres just to see Shammi Kapoor's antics and mannerisms."

With his infectious on-screen persona and energy, Shammi Kapoor was Bollywood's first real star, say correspondents. BBC also says that "The actor was also a keen internet buff and amongst the first Indians to have a website of his own.

When Yahoo opened its office in Mumbai (Bombay) several years ago he was invited by its co-founder Jerry Yang. As the launch, Kapoor was pleasantly surprised to hear the band playing his Yahoo song from the film Junglee [or Wild], made famous years before the internet existed, and so called for his famous cry of "Yahoo!".

Later, Mr Yang told him how inspired he was by the Yahoo song and the way the actor had used the word in his inimitable style in so many of his films. "It was all very flattering. Many of my relatives still call up and ask whether I own Yahoo," he told the BBC in an interview.

Shammi was married to actress Geeta Bali who he said was the love of his live. She died of small pox during the filming of Teesri Manzil.
They have two children - a son Aditya, and a daughter Kanchan. He later married Neela.

Kishore-Rafi: The Big Picture

Much has been written about the famous rivalry between Kishore Kumar and Mohammad Rafi, something which is still hugely debated after their deaths. But Mohammad Rafi's son Shahid Rafi reveals that there was no cold war between the two legends. In fact, whenever they met , they were very warm towards each other. On the occasion of Kishore Kumar's birthday, Shahid shares a picture which has been very close to his heart. "I have this picture hanging on our wall at home. It's a very special picture of two legends getting together," he says.
Whenever he got a break, Rafi would go to his London house for a holiday. "Incidentally, Kishore Da had come to London for a concert. When he got to know that Dad was also there in the city, he took out time from his schedule and came home to meet him," he adds.

'Pancham': New biography tells endearing tales BY MADHUSREE CHATTERJEE

His hit songs flooded the box office; he was the quintessential romantic hero with heartaches, longings and beach-side philosophies. Yet celebrated musician-composer and song-writer Rahul Dev Burman took time to flower into a Bollywood phenomenon.The oft-repeated question: Why?

Despite the moderately successful launch of his career, "Pancham", as he was lovingly called, was unable to leverage the clout that his surname carried in the rather conservative film fraternity in Mumbai.

Producers always wanted Sachin Dev Burman (S.D. Burman), but nobody was willing to experiment with his son, writer Aniruddha Bhattacharjee and Balaji Vittal says in a new biography, "R.D. Burman - The Man and Music" published last week (Harper-Collins India).

He spent several years fine-tuning his musical genuis under his father's shadow before "Bhoot Bangla" with its signature track "Jago sonewalo" happened.

However, Pancham tasted success with "Teesri Manzil" - a pathbreaking thriller with memorable songs he composed at a time when whodunits were yet to capture moviegoer's psyche.

The biography, which throws light on the musician's meteoric career in Bollywood and popularity worldwide, reveals little-known facts about R.D. Burman, including his childhood.

A few months after World War II broke out, Rahul Dev Burman was born to the rising star in the musical firmament, S.D. Burman, and Meera June 27, 1939, at their Gariahat Road home in Kolkata.

Rahul Dev's grandfather Nabadwipchandra Dev Burman was an erstwhile king of Tripura.

Rahul was first nicknamed Tublu. The nickname "Pancham" came some years later. Apparently, as a child, he wailed at the fifth note of the saptaswara, the seven notes.

There is another story. Rahul would invariably sing the note "pa" whenever his father sang the note "sa". Thespian Ashok Kumar gave him the name, "Pancham", the book notes.

Incidentally, five proved the lucky number for him in his early career - "Teesri Manzil" (1966)', his first major hit, was R.D. Burman's fifth film as a composer.

Pancham was one of the earliest composers in Bollywood who was influenced by Latino music, according to the book.

Bossa Nova is a form of music which finds inspiration in the Brazilian samba. It is mainly played on classical guitar with gut or nylon strings and uses unconventional and complex chords that add colour to the basic jazz-based patterns.

Exposed to Latino music in Kolkata, Pancham, over the years, developed a fondness for its vibrancy.

"He soon made Bossa Nova form his very own, literally bringing it across the globe from the beaches of Rio to the studios of Mumbai where he dovetailed it to create a pentatonic tune for a song in 'Kati Patang'," the book says.

Bollywood scripted fame for Pancham, but it was Kolkata, where he let his nostalgia erupt unbridled.

Pre-Durga Puja 1965, public attention was focussed elsewhere as the country gathered itself in the immediate aftermath of a war with Pakistan. A ceasefire was announced three weeks ahead of the Puja.

"The soldiers rushed back to their families leading to the reinstatement of the Puja spirit. Musically, the puja of 1965 aroused the curiosity of spirit when news got around that Rahul Dev Burman was making his 'debut as a composer of Puja songs.'" his biography says.

This was a chance happening for Burman "too rebellious a name for the common Bengalis, whose musical taste were limited to sombre and solemn".

It turned out that Bengali lyricist Pulak Mukherjee wanted to produce a few songs with S.D. Burman, who refused and passed the assignment to his son.

An unwilling Pancham expressed his discomfort in composing in Bengali, but assured of Lata Mangeshkar's voice, he offered eight tunes to Mukherjee, who selected two.

His next round of Bengali compositions came in 1967.

R.D. Burman's best-known Bengali song solo, "Mone Pore Ruby Ray" - incidentally the song he released first as duet with Kishor Kumar for one of Guru Dutt's projects - has an interesting story, the book reminds the reader.

Scenarist (the one who visualised the locales) Sachin Bhowmik (actor) had lost his heart to a certain lady, who unfortunately spurned his affections. "Her name was Chhobi Ray and she was immortalised as Ruby Ray in the song which Pancham coerced Bhowmick to write. It was loosely based on Rag Kirwani and Rag Mukhari," the book says.

Ruby Ray, which was branded as "degenerate westernisation in music" took a long time to be accepted.

The Hindi version of the song, "Meri Bheegi Bheegi Si..." was released in 1973 in the movie "Anamika."

R.D. Burman died Jan 4, 1994.

Hariharan composing for his first Hindi movie

Multilingual singer-composer Hariharan, who feels that film music needs a makeover, is making music for his first Hindi film and says he's trying to do something different.

"I am doing music for a Hindi film. It's called 'Saada'. I am trying to give something new. I have done two Tamil films. Now for the first time I am doing a Hindi film," Hariharan told in an exclusive interview. He refused to give details about the film except the name.

"Film music is based on directors, producers and actors. So, everyone has to change and then allow the music to change. Film music is not an independent music so the whole genre has to change," said Hariharan.

Hariharan also revealed that his band Colonial Cousins with composer-singer Leslie Lewis is coming up with their next independent album after 10 long years. 

PRIYANKA CHOPRA MAKES HER INTERNATIONAL MUSICAL DEBUT

Universal Music Group (UMG), the world's leading Music Company, and Desi Hits! have signed a worldwide recording agreement with award-winning Bollywood actress Priyanka Chopra. As part of this global deal, Priyanka Chopra, the heartthrob of millions and the reigning queen of Indian cinema, will release her highly anticipated debut music album in North America with Desi Hits through Interscope Records and in other International markets on Island Records UK.
A trained Western Classical singer, Priyanka is currently in the studio, writing and recording her debut pop album, which will be sung in English. 
Troy Carter, CEO of Atom Factory, who also manages Lady Gaga has signed with Priyanka to manage her music career across the globe. 

Cultural Nite at Thyagaraja Gana Sabha, Hyderabad

FACES -Forum of Artistes of Customs, Excise, Service Tax organised a Cultural feast of Music and Drama at Sri Thyagaraya Gana Sabha, Chikkadpally, Hyderabad on 06-08-2011.  Various known artistes from Customs & Central Excise, Hyderabad Zone participated enthusiastically in the event.  I played the song "Rothe hue aathe hain sab" from the film "Muqqaddar ka Sikander" on Saxophone, which was well appreciated.
-Nag.

HAPPY FRIENDSHIP DAY!

Everyone hears what you say. Friends listen to what you say.... But, Best friends listen to what you don't say!!! HAPPY FRIENDSHIP DAY!!!!
-Nag

Cultural Nite at Thyagaraja Gana Sabha, Hyderabad

I have been invited to play sax at Thyagaraya Gana Sabha on 06.07.2011, Saturday by the Cultural Association of Customs, Excise & Service Tax officers.  I have not yet made up my mind, though.       -Naganathan

The Pancham Music Lovers Group Warangal

Hi friends,
                  This blogspot is for all the genuine music lovers to share. The posts will be mostly related to old and soothing hindi and telugu film music of yesteryears.