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
