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.