Now this one is a chartbuster ever composed in Hindi Film Music....from Anamika, released in 1973...
Check out the Jazz effect with trememdous rhythm and rollicking beats....
Cheers to the Man of Percussion!!!!!
!!!!Jai Pancham!!!!!
Friday, November 21, 2008
Jaan Pehchan To Pehle Se Thi...mesmerizing song
What a fantastic song? In terms of melody, rhythm, arrangements and singing....all 5*
enjoy!
enjoy!
Monday, November 10, 2008
VOI Pancham-da Special:
Voice Of India Pancham-da Special:
It was an excellent tribute to the GREAT!!! Here's Few Snaps...
It was an excellent tribute to the GREAT!!! Here's Few Snaps...
Pranaam Pancham-da....
Pamcham-da Every Where....
Pancham-da's famous Bass Guitar......
Friday, October 31, 2008
33rd Death Anniversary of Sachin Dev Burman today
in case you like Good Music, you will care more for the Genius of Sachin-Karta....
He is off course before my time but all good music has relevance to HIM...and one starts to appreciate the gems he left behind for us to enjoy!!!!
On this special day my heartfelt tribute to the Great Legend...
also marked the first Death Anniversary of Meera Dev Burman
May Their Souls Rest In Peace!!!
I'm paying my tribute with the ever famous composition, sung by Shamshad Begum in Bahar, released in 1951
Saiyan Dil Mein Aana Re....Aake Phir Na Jaana Re....
It's a pity that today's youth and generation is more familiar with the remix version
He is off course before my time but all good music has relevance to HIM...and one starts to appreciate the gems he left behind for us to enjoy!!!!
On this special day my heartfelt tribute to the Great Legend...
also marked the first Death Anniversary of Meera Dev Burman
May Their Souls Rest In Peace!!!
I'm paying my tribute with the ever famous composition, sung by Shamshad Begum in Bahar, released in 1951
Saiyan Dil Mein Aana Re....Aake Phir Na Jaana Re....
It's a pity that today's youth and generation is more familiar with the remix version
Monday, October 20, 2008
Pancham Unmixed Premiere at New York Film Festival, Nov 5-9
PANCHAM UNMIXED: AN UNENDING JOURNEY
Brahmanand Singh, India, 2007; 113min. NY Premiere
In Hindi with English subtitles.
Synopsis: Indian film composer Rahul Dev Burman (popularly known as Pancham) placed his own special stamp on the Indian film music of the late sixties. And almost a decade after his passing, his music continues to have an ardent following as well as a lasting influence on the style and technique of music composers in Indian cinema today. Pancham Unmixed explores Burman's life and persona, with anecdotes from his closest friends and colleagues that throw light on the inner workings of one of the key foundations of Indian cinema idioms, and its make-or-break role in a film’s commercial success. Featuring: Asha Bhosle, Gulzar, Vidhu Vinod Chopra, Pyarelal, Usha Uthup, Shiv Kumar Sharma, Hari Prasad Chaurasia, Kavita Krishnamurthy.
Screening Venue:
Museum of Arts and Design. Saturday, November 8 at 3 PM.
Museum of Arts and Design
2 COLUMBUS CIRCLE
NEW YORK
NY - 10019
Online Tickets = https://www.sulekha.com/ticketsV3/buytickets.aspx?cid=549029
Thursday, October 9, 2008
DVD of "An Evening With Pancham"
Interested in owning programs of Original Recording Artists that were part of my beloved Rahul Dev Burman team....and specially if you want to experience legendary Manohari Singh's mesmerizing Saxophone and English Flute....don't miss this opportunity.....
This particular DVD is from our last program at Kalamandir, Kolkata on June 29/08
Slide-show is here,
http://www.euphony.co.in/rd/ video.php
Review is here,
http://www.euphony.co.in/ events/reviews_e.php
Photos are here,
http://www.euphony.co.in/ photos_events/
DVD of An Evening With Pancham will formally get released in Calcutta on the 19th of October at the Annual Convention Meet of Euphony for which details are mentioned below:
ANNUAL CONVENTION OF `EUPHONY'
AT THE BANQUET, HOTEL DOVER IN, KOLKATA
ON
19TH OCTOBER 2008 (SUNDAY FROM 11.AM TO 4.00 PM)
We hope to attract new members to come along as well and join us to help improve our events in every aspect, with their valuable feedback. Needless to mention, the primary motive behind this meet is to get to know one another on a personal level and share our views, suggestions and/or ideas.
ANNUAL CONVENTION OF `EUPHONY'
AT THE BANQUET, HOTEL DOVER IN, KOLKATA
ON
19TH OCTOBER 2008 (SUNDAY FROM 11.AM TO 4.00 PM)
We hope to attract new members to come along as well and join us to help improve our events in every aspect, with their valuable feedback. Needless to mention, the primary motive behind this meet is to get to know one another on a personal level and share our views, suggestions and/or ideas.
You can contact either by mail at bookdvd.euphony@gmail.com or call us at
+91-9836927479 or +91 - 9836751667
Monday, October 6, 2008
"Dhaak" as a percussion instrument......
In the eve of Durga Puja and Navaratri....let's look into one particular instrument that Pancham-da utilised in his compostion...it's a very traditional Folk Instrument, primarily from Bengal....known as DHAK
.....Is a cylinder-shaped wooden cask with its both ends covered with goatskin. Some are decorated with cow tails and feathers.
The DHAK is a percussion instrument similar to other two-sided drums in India and it is an integral part of Durga Puja....
Now as you can imagine Pancham-da used this in very typical situation....yes, you're right in Durga Puja scene and dance/song.....in Anushandhan (Bengali) and Barsaat Ki Ek Raat (Hindi)....
To help you identify the sound and how they are played traditionally......here's a video....
.....Is a cylinder-shaped wooden cask with its both ends covered with goatskin. Some are decorated with cow tails and feathers.
The DHAK is a percussion instrument similar to other two-sided drums in India and it is an integral part of Durga Puja....
Now as you can imagine Pancham-da used this in very typical situation....yes, you're right in Durga Puja scene and dance/song.....in Anushandhan (Bengali) and Barsaat Ki Ek Raat (Hindi)....
To help you identify the sound and how they are played traditionally......here's a video....
Monday, September 29, 2008
"Bachana aye Hasino" from Hum Kisise Kum Nahin
To my younger generation, check out the original Masterpiece from 1977..........
Tuesday, September 23, 2008
The Percussion Magic - Aaj Ko Junli Raat Maa
Under Papa Burman Pancham-da arranged this magnificent tune....check out Pancham-da's voice in the beginning as "Key Jaas Re Bhati Gang Baiya...."
Magnificent percussion usage throughout in the fantastic SDBurman folk tune. Badshaah Rafi Sahab bringing to life...
In the first interlude check out glimpse of tune that Pancham-da used few years later in "Rampur Ka Lakshman"...
Magnificent percussion usage throughout in the fantastic SDBurman folk tune. Badshaah Rafi Sahab bringing to life...
In the first interlude check out glimpse of tune that Pancham-da used few years later in "Rampur Ka Lakshman"...
Karle Pyaar Karle
40 years ago Pancham-da under his Papa created this masterpiece...check out how seamlessly HE created and utilised Brass, String and Rhythm.....a truely rollicking MAGIC
Jaane Jaan Dhoondhta Phir Raha
And here's the Mega-Super HiT from the 70s....
To my younger generation...check out how real acoustic drums plays magic that niether octapad or Yamaha digital drums kit can create....together with the continuous Bass Guitar....changing of tempo and rhythm with congo....simply MarVelous!!!!
Also the creative use of flute and the deep soul touching sound of Manohari Singh's Alto-Sax....nothing can compare to this masterpiece composed 38 years ago....
To my younger generation...check out how real acoustic drums plays magic that niether octapad or Yamaha digital drums kit can create....together with the continuous Bass Guitar....changing of tempo and rhythm with congo....simply MarVelous!!!!
Also the creative use of flute and the deep soul touching sound of Manohari Singh's Alto-Sax....nothing can compare to this masterpiece composed 38 years ago....
Title Song from The Great Gambler
Another masterpiece from Pancham-da....fantastic compostion....check out mesmerizing Tumba playing by Maruti Rao together with Franco's Bass Guitar
Jaane Jaan....performed LIVE by great Manohari Singh
Check out how Manohari-da, the living legend and Kishore Sodha brought back 36 years old composition to life......
The tribute to R.D.Burman by his own musicians held at Kala Mandir,Calcutta on the 2nd Feb'07.Hear the entire musical troupe consisting of The Original R.D.Burman musicians playing this song.
The tribute to R.D.Burman by his own musicians held at Kala Mandir,Calcutta on the 2nd Feb'07.Hear the entire musical troupe consisting of The Original R.D.Burman musicians playing this song.
Manohari Singh playing Title of Sholay
A glimpse...how Mahohari-da plays Sholay Title Music at Pune Show...
Title Song from Mere Jeevan Saathi
What a beautical composition by Pacham-da, superb melody, rhythm and singing....master of MusiC.....what a wonderful blend of theme...O Mere Dil Ke Chain....
O Mere Dil Ke Chain - Mere Jeevan Saathi
Here's the cult song that rocked the world and still rocking......
Thursday, September 18, 2008
Pancham Unmixed at Independent South Asian Cine Festival, New Jersey
Pancham Unmixed – An Unending Journey
Docu Feature/India/2007/113min/ Hindi, English
Director: Brahmanand Singh
East Coast Premiere/ 21 September, Sunday 2.15 PM
http://www.njisacf.org/flash/njfilmfestival.html
Featuring: Asha Bhosle, Gulzar, Shammi Kapoor, Bhupinder,
Manna Dey, Rishi Kapoor, Pyarelal, Ameen Sayani, Vidhu Vinod
Chopra, Vishal Bharadwaj, Shankar-Ehsaan-Loy, Usha Uthup,
Hari Prasad Chaurasia, Kavita Krishnamurthy, and many others -
over 40 eminent personalities from the industry, who remember
Pancham with fondness and humor and unequivocally vouch for
his genius and largesse as a human being.
One of the most versatile composers the Hindi Film Music Industry
had ever seen, RD Burman brought about a revolution in the
popular music of its time almost single-handedly. This is a neverbefore
incisive look into the composer’s reflective artistry and
buoyant-but-also-lonely inner being. You will hear many untold
and told stories by the most talented people from the film industry,
not to mention his evergreen songs.
Monday, September 15, 2008
Wednesday, September 10, 2008
Manohari Singh paying tribtue.....
Check out Manohari-da playing effortlessly Pancham classic
Gulabi Aankhen....
Gulabi Aankhen....
Wednesday, August 13, 2008
Bachna Ae Haseeno --> We could well feel that RD Burman was there to guide us" - Vishal , tribute to the Great Master of Music
By Joginder Tuteja, August 12, 2008
However, apart from the presence of these stars and some well-designed moves by Ahmed Khan, the factor responsible for this video turning out an excellent watch is Panchamda himself. Seems like he blessed the crew from up there in the heavens as the video was shot on the same date when he was born (June 27).
"Isn't that amazing? We could well feel that he was there to guide us in making sure that we did full justice to his song which has been a craze since three decades," says Vishal Dadlani who, along with Shekhar, has given a new spin to the yesteryear number by bringing on Kishore's son Sumeet Kumar as well behind the mike.
If this wasn't a good enough divine intervention, there was more coincidence to come. Although unbelievable, it is true that June 28 is Vishal's birthday and coincidently the day, the shooting of the music video was wrapped up. "Being a true R.D. Burman follower, I have always felt blessed to be born on a day after my idol. Now with Bachna Ae Haseeno, I also got a platform to celebrate my birthday on the film's sets. Even as the spirit of this evergreen number kept Ranbir and company charged throughout these two days, we knew that up there even Panchamda must have been smiling to see the spin the current generation has taken on his creation," says an emotionally charged Vishal.
Coming back to the song, while Ranbir does immensely well in jumping and dancing around to the beats of R.D. Burman/ Vishal-Shekhar, each of the three ladies too makes sure that their presence is very much felt as they burn the dance floor. No wonder, the film has managed to gather great momentum with the arrival of this song, which has ensured that next few days would be an interesting journey for everyone involved.
Thursday, July 31, 2008
Tribute to Rafi Sahab on 28th. Death Anniversary
As one of my good friend, Ali, said, am sharing and paying my respect and tribute to the Sahensha of Music....Great Mohd Rafi Sahab....
....................................................>>
July 31st, 2008 marks the 28th death anniversary of 'Saatwan Sur' Rafi-saab. Twenty-eight years have passed and he continues to shine as the brightest star. There was never anyone like him, and there never will be anyone like him. He was in a different league, level, and class. As Lata-ji said, with his passing away, "music was orphaned".
The Rafi-Pancham association was filled with variety. As a tribute to Rafi-saab, I am listing one song from various genres to showcase their (Rafi-Pancham) fantastic variety:
Romantic - Chand Mera Dil (HKKN)
Pathos - Zamane Ne Maare (BKS)
Ghazal - Tumhein Dekha Hai (CKP)
Folk - Kitna Pyara Wada (Caravan)
Qawwali - Pal Do Pal Ka Saath Hamara (TBT)
Rock n' Roll - Aaja Aaja Main Hoon Pyar Tera (Teesri Manzil)
Pop - Churaliya Hai Tumne (YKB)
Jazz - O Haseena Zulfon Wali (Teesri Manzil)
Classical - Nagma Hamara (Bundalbaaz)
Trendy - Gulabi Aankhen (The Train)
Middle-Eastern - Raqqasa Mera Naam (TGG)
Disco - Poocho Na Yaar Kya Hua (ZKDH)
Waltz - Aa Raat Jaati Hai (Benaam)
Bhangra - Maine Kab Chaha Ke Dulha (KHMR)
Philosophical - Jab Ek Kaza Se Guzro (Devta)
Comedy - Rekha O Rekha (Adhikar)
Devotional - Makhanchor Nandkishore (Takkar)
Background - Dukh Sukh Ki (Kudrat)
Village Type - Naag Devta (Shalimar)
Fast - Ek Bechara (Waris)
....................................................>>
July 31st, 2008 marks the 28th death anniversary of 'Saatwan Sur' Rafi-saab. Twenty-eight years have passed and he continues to shine as the brightest star. There was never anyone like him, and there never will be anyone like him. He was in a different league, level, and class. As Lata-ji said, with his passing away, "music was orphaned".
The Rafi-Pancham association was filled with variety. As a tribute to Rafi-saab, I am listing one song from various genres to showcase their (Rafi-Pancham) fantastic variety:
Romantic - Chand Mera Dil (HKKN)
Pathos - Zamane Ne Maare (BKS)
Ghazal - Tumhein Dekha Hai (CKP)
Folk - Kitna Pyara Wada (Caravan)
Qawwali - Pal Do Pal Ka Saath Hamara (TBT)
Rock n' Roll - Aaja Aaja Main Hoon Pyar Tera (Teesri Manzil)
Pop - Churaliya Hai Tumne (YKB)
Jazz - O Haseena Zulfon Wali (Teesri Manzil)
Classical - Nagma Hamara (Bundalbaaz)
Trendy - Gulabi Aankhen (The Train)
Middle-Eastern - Raqqasa Mera Naam (TGG)
Disco - Poocho Na Yaar Kya Hua (ZKDH)
Waltz - Aa Raat Jaati Hai (Benaam)
Bhangra - Maine Kab Chaha Ke Dulha (KHMR)
Philosophical - Jab Ek Kaza Se Guzro (Devta)
Comedy - Rekha O Rekha (Adhikar)
Devotional - Makhanchor Nandkishore (Takkar)
Background - Dukh Sukh Ki (Kudrat)
Village Type - Naag Devta (Shalimar)
Fast - Ek Bechara (Waris)
Wednesday, July 30, 2008
Pancham, One of a Kind: Rediff special from 2003
This article is quite a good read, from 2003 archive, truly brings out the genius of our BOSS....
enjoy...
Sukanya Verma
enjoy...
January 5, 2003
Sukanya Verma
It is hard, very hard, to list my favourite melodies of Rahul Dev Burman, a man who left behind a legacy of rich, melodious, lively music that transcended the barriers of time and age. How can you pick just a few from a treasure trove?
Of course, today, the fact that his music has transcended time, also makes him the remix people's delight. But that's a different topic.
Perhaps one of the most noteworthy aspect of R D music was its spontaneity. More important, the ability of his music to connect with people. R D Burman understood the mystery and magic of music. He was, is, and will always be one of a kind.
January 4 marked his 10th death anniversary. A tribute to the baby-faced man who made me and most of my generation fall in love with the radio.
R D's mellow creations win my vote over his rhythmic, hip-shaking chartbusters from Yaadon Ki Baaraat, Hum Kisise Kum Nahin or Zamane Ko Dikhana Hai.
But if I could, I would include all his songs. Even his last couple of films like Gardish and Drohi boasted some catchy numbers. Meanwhile, here is a select pick:
Raina beeti jaaye (Amar Prem): An unforgettable melody. Truly classic!
Dekha na (Bombay To Goa): Fast-paced, foot-tapping and at times crazy, Dekha na had Amitabh Bachchan and the nation dancing to its tune!
Diye jalte hain (Namak Haram): One of the most beautifully written songs on friendship treated with complete justice by R D's gentle melody.
Mere naina sawaan bhadon (Mehbooba): R D captured the reincarnation theme of the film by lending a haunting touch and a sense of incompleteness to this song.
Iss mod se (Aandhi): Gulzar and R D were an unbeatable combination. R D's understated melody was a perfect foil to Gulzar's words. Iss mod pe from Aandhi is one prime example.
Jaane kaise (Shakti): This upbeat romantic number was further enhanced by the use of 'wop wop' sounds in the orchestration. Trust R D to make music out of a racket.
O manjhi re (Khushboo): O manjhi re was more an experience than a song. It is so easy to imagine yourself on a boat philosophising about life and its musings.
Pyar humein kis mod (Satte Pe Satta): Actually, it is a tie between Pyar humein is mod and Dilbar mere. But what makes Pyar humein kis mod pe special is its sheer boyishness and spontaneity.
Kisi baat par mein kissi (Bemisaal): When the pieces of a puzzle fall into place, it makes a perfect picture. The same applies to this song. R D's brooding tune, Anand Bakshi's eloquent lyrics and Amitabh Bachchan's mysteriously sulky disposition fell into place. And a perfect song was created.
Kya yahi pyaar hai (Rocky): Mushy, sweet and melodious. Sanjay Dutt owes his first and most memorable love song to R D.
Thodisi zameen (Sitara): R D's sunny music, Bhupinder and Lata Mangeshkar's playful vocals and Gulzar's fascinating lyrics make this one a beauty.
Roz roz aankhon tale (Jeeva): This regular Bollywood film didn't deserve such a beautiful song. But then, the only reason anyone would remember Jeeva is this timeless tune.
Katra katra (Ijaazat): R D and Gulzar at it again. Asha Bhosle's beautiful voice and R D's zingy melody make Katra an instant winner.
Thursday, July 17, 2008
A Review : An Evening With Pancham – June 29, 2008
Following is the Review of the event by our very Swapan Das.....
A Review : An Evening With Pancham – June 29, 2008
Venue :Kalamandir, Kolkata.
With the passage of time, the popularity of R.D. Burman – Pancham da has grown and posthumously (its 14 years now) his music has become more popular and admirable. You cannot fathom his contribution to music with the statistics of the awards he has won. He was never awarded a national award though the singers of his films has won. May be during those days, the jury has given much attention to the `vocals' – to the good melodies, and paid lesser attention to the `non-vocal' part. May be they were not ahead of their time to fathom the hidden beauties of orchestra, rhythm and the total music arragement of our Pancham da. So its not RD Burman who was unfortunate with awards, its literally our `shame' that we have not given our due respect and recognition to this genius when he was alive. Or it took us these many years to understand the hidden beauties of Pancham's music? Recently Euphony came up with their 4th show - `An Evening With Pancham' on R.D. Burman to showcase this
aspect with the original musicians from R.D. Burman's team. The show was also a tribute on Rahul Dev Burman's 70th Birth Anniversary (27th june).
A detailed account of this instrumental show, which was held on Sunday evening , June 29, 2008 at Kalamandir, kolkata and happened to be housefull and aired `LIVE' by a satellite channel (though in pieces) is given below:-
MORNING SCENARIO:
The passion for Pancham's music, with Euphony's previous shows' credibility and the support from sponsors provided unprecedent interest this time. Literally Euphony guys were scared of any kind of unpleasant outbursts for the non-availability of tickets. Instances were like – Couples coming in the morning for just two tickets had to
be detained for two hours and could be provided with tickets not with same series. The husband and wife agreeing to get separated for Pancham's show. They knew its a 3 hours separation – accept it or miss something for a life –time. They chose the first option!
EVENING SCENARIO:
Euphony team was feeling the pressure of housefull this time. Kalamandir arena was getting over-crowded, people were bcoming restless to occupy their seats while non-ticket holders were madly looking for tickets of any denominations. Euphony volunteers tried their level best to make arrangements for the tickets but as the
demand was too much could do little for these section of crowd. Some went home with the hope to catch the event `live' on Star Ananda channel. Meanwhile, on the road the van of the satellite channel was giving final touches to get the live feed from the auditorium and get it hooked up to their studio in the H.Q. Pefect setting for the show
with a full house.]
AND THE SHOW BEGINS…:
The curtain was raised with the Jalpari music – which has now become a sort of signature music of Euphony. Ambrish the anchor from Euphony welcomed the audience and paid tribute to BOSS. He pointed out that the Boss is very much `alive' in our hearts, so Euphony does not pay tribute to Boss's photo with a garland – which somehow depicts the Boss is no more. See the passion! Ambrish then handed over the microphone to his co-anchor (& co-member) Debabrata. Debabrata then
presented to the audience a `surprise', which had been kept a secret. He welcomed Mr. Abhijit Dasgupta, the mamaji of Pancham on the stage! The crowd was amused with this surprise, as they were not at all aware of this. Mr. Abhijit Dasgupta who is younger to RD but is in relation Mama (maternal uncle) of RD, shared his experience with Pancham. Because of his courtsey, a slideshow on Pancham containing rare pictures of his childhood shown to the audience. The surprise was not over. As Mr. Abhijit Dasgupta called upon the stage five gentlemen who were the childhood friends, the school classmates (Ballygunge Government School) of Pancham on the stage! They shared all the funny incidents of their `Rahul'. Yes they address our Pancham da/RD Burman as `Rahul' – their friend. This session was very much unexpected and the audience got the chance to know how RD Burman was during his school days. This session has a great archival value, Euphony should take care to preserve it.
After this session, the Euphony anchors handed over the stage to the main anchor of the show – one and only Ankush Chinchankar – the chalta-firta Encyclopedia of RD Burman. He described and demonstrated many attributes of RD Burman's music, like – the style & scale (sur) changes RD has made in songs. "Yeh Main Kahan Aa Phansi" – CARAVAN, has change of scales for three times. Then he said about the artists who were lesser known in Hindi Film songs ,like Aarti Mukherjee,
Anoop Ghosal but have terrific RD's scrores to their credits. Among such names comes Chandrasekhar Gadgil. And then Ankushji welcomed Mr. Chandrasekhar Gadgil on the stage. This was a surprise –as everyone knew its an instrumental show. Chandrasekhar Gadgil has sung in the film Kudrat. Which song? Its `O Dukh Sukh Ki Har Ek Mala'. He sang this song so brilliantly, which happened to be the only vocal piece that evening, that the crowd was spellbound. He got a great round of applause from the audience.
Bhanu Gupta, who has now become a very familiar personality in Calcutta played "Tolo Chinnobina" song on Harmonica. Splendid performance even at this age on harmonica which needs lot of respiratory power, he also performed 'Kuch Na Kaho'.
Khopri Tarang, Marakas, Kokrio Khanjari (plz. Refer to DVD of this show for correct names) - were now on the stage! Who can bring all these unusual, peculiar instruments on the stage? Who else?! Its Homi Mullan, who played all these stuff one after another like a magician. It was amazing to see Homiji playing three instruments in a single
song! The song was "Ruth Na Jana.." – 1942 A Love Story. With his demonstration we could now relate many familiar sounds of great songs (like the use of Marakas in Kabhi Palkon Pe aansoon Hai- HARJAEE)
Then came SUNIL KAUSHIK. This man looks smart...handsome...he's flamboyant and when he plays the guitar the flamboyance is all over there...he plays with such an authority, and can connect with audience very well. He discussed what 12-String Guitar is and how RD Burman has used it in the songs.And he started with playing the
guitar live on the Jalpaari original theme which he created specially for this event.Went on to play the 12string live for Masoom and few more like the Guitaring of 'Dil Ki baat Kahin Labh Pe na aa Jaye'from Teri Kasam. On next show SUNIL KAUSHIK THE ROCK STAR has become a must, O Yes... along with him his 12-String Guitar should come!!
Jugalbandi of Sunil Kaushik & Ramesh Iyer - It was a treat to see their jugalbandi for the songs:
SAGAR – Chehra hai..
BOXER - Dekho Idhar…
The best was the jugalbandi playing the famous prelude of Pariyon Ka Mela Hai from Satte Pe Satta.It was simply awesome the way both of them played live on stage.
Ramesh Iyer like the previous shows was just outstanding.The icing on the cake was him playing the BASS GUITAR over the song Aisa Sama of Zameen Asmaan where he originally played the Bass.It was mindblowing.
Another musician worth mentioning is ROHAN who plays the Bass Guitar and actually a student of Rameshji who flew down from Mumbai for this event.A true champion.
MANOHARI SINGH & FACILIATION SESSION - When at the last session, Manohari da came to the stage with Bhanu da...the audience was overwhelmed to see him in person. Everybody was showering respect for this living legend. If he even didn't have performed...he would have got this respect and appreciation from the audience...what a humble person he is. There was a special facilitation of Manohari da by Bhanu da. Bhanu da presented Manohari da with the `Uttariya' (Saluting the legend!). All the other musicians were also facilitated by the Euphony at this time.
MANOHARI SINGH STARTS PERFORMING….
And when he starts his performance playing `Phire Elaam' on his sax....just mind blowing....its hard to believe a man of this prime age, and who is not physically well also...performing like that...the impact was so huge, everybody in the auditorium felt it. It was a lifetime experience which will always remain in our heart. Manohari
da, thanks a million for coming to Calcutta and giving us such heavenly experience. Imagine, the impact on audience when he played the chartbusters like `O Hansini' (on flute), `Aanewala Pal' and 'Musafir Hoon Yaron' apart from these Mahoharida also demonstrated the Flute from the song 'Hoga Tumse Pyara Kaun' from
Zamane Ko Dikhana Hai' those who missed this event must grab a DVD of this show to see the performance of this legendry man and his fellow great musicians.
And finally curtains dropped, with `Agar Tum Na Hote' from Manohari da. The show was such a great and filled with so many pieces and anecdotes that the reviewer was puzzled how to recapitulate and sum up the whole event. The reviewer has missed many things unknowingly and deliberately also, so that when you watch the DVD of this show, there are more surprises stored for you. During the event Vanita Music and Euphony released their CDs & DVDs, which sold like hot-
cakes during the interval. And this whole event was recorded and transmitted `LIVE' (deferred) by Star Ananda satellite TV channel. Before I wind up, would like to share one recipe with all of you, which surprisingly got from this musical event! Courtesy, Bhanu Gupta. Bhanu da said "Pancham was not only a good music composer, but
a good recipe composer also as from him I learnt to eat hot gulab jamuns with vanilla ice-cream on top of them." So, all of you may try this recipe of our Chef Pancham da.
Jai Pancham!
--Swapan Das
A Review : An Evening With Pancham – June 29, 2008
Venue :Kalamandir, Kolkata.
With the passage of time, the popularity of R.D. Burman – Pancham da has grown and posthumously (its 14 years now) his music has become more popular and admirable. You cannot fathom his contribution to music with the statistics of the awards he has won. He was never awarded a national award though the singers of his films has won. May be during those days, the jury has given much attention to the `vocals' – to the good melodies, and paid lesser attention to the `non-vocal' part. May be they were not ahead of their time to fathom the hidden beauties of orchestra, rhythm and the total music arragement of our Pancham da. So its not RD Burman who was unfortunate with awards, its literally our `shame' that we have not given our due respect and recognition to this genius when he was alive. Or it took us these many years to understand the hidden beauties of Pancham's music? Recently Euphony came up with their 4th show - `An Evening With Pancham' on R.D. Burman to showcase this
aspect with the original musicians from R.D. Burman's team. The show was also a tribute on Rahul Dev Burman's 70th Birth Anniversary (27th june).
A detailed account of this instrumental show, which was held on Sunday evening , June 29, 2008 at Kalamandir, kolkata and happened to be housefull and aired `LIVE' by a satellite channel (though in pieces) is given below:-
MORNING SCENARIO:
The passion for Pancham's music, with Euphony's previous shows' credibility and the support from sponsors provided unprecedent interest this time. Literally Euphony guys were scared of any kind of unpleasant outbursts for the non-availability of tickets. Instances were like – Couples coming in the morning for just two tickets had to
be detained for two hours and could be provided with tickets not with same series. The husband and wife agreeing to get separated for Pancham's show. They knew its a 3 hours separation – accept it or miss something for a life –time. They chose the first option!
EVENING SCENARIO:
Euphony team was feeling the pressure of housefull this time. Kalamandir arena was getting over-crowded, people were bcoming restless to occupy their seats while non-ticket holders were madly looking for tickets of any denominations. Euphony volunteers tried their level best to make arrangements for the tickets but as the
demand was too much could do little for these section of crowd. Some went home with the hope to catch the event `live' on Star Ananda channel. Meanwhile, on the road the van of the satellite channel was giving final touches to get the live feed from the auditorium and get it hooked up to their studio in the H.Q. Pefect setting for the show
with a full house.]
AND THE SHOW BEGINS…:
The curtain was raised with the Jalpari music – which has now become a sort of signature music of Euphony. Ambrish the anchor from Euphony welcomed the audience and paid tribute to BOSS. He pointed out that the Boss is very much `alive' in our hearts, so Euphony does not pay tribute to Boss's photo with a garland – which somehow depicts the Boss is no more. See the passion! Ambrish then handed over the microphone to his co-anchor (& co-member) Debabrata. Debabrata then
presented to the audience a `surprise', which had been kept a secret. He welcomed Mr. Abhijit Dasgupta, the mamaji of Pancham on the stage! The crowd was amused with this surprise, as they were not at all aware of this. Mr. Abhijit Dasgupta who is younger to RD but is in relation Mama (maternal uncle) of RD, shared his experience with Pancham. Because of his courtsey, a slideshow on Pancham containing rare pictures of his childhood shown to the audience. The surprise was not over. As Mr. Abhijit Dasgupta called upon the stage five gentlemen who were the childhood friends, the school classmates (Ballygunge Government School) of Pancham on the stage! They shared all the funny incidents of their `Rahul'. Yes they address our Pancham da/RD Burman as `Rahul' – their friend. This session was very much unexpected and the audience got the chance to know how RD Burman was during his school days. This session has a great archival value, Euphony should take care to preserve it.
After this session, the Euphony anchors handed over the stage to the main anchor of the show – one and only Ankush Chinchankar – the chalta-firta Encyclopedia of RD Burman. He described and demonstrated many attributes of RD Burman's music, like – the style & scale (sur) changes RD has made in songs. "Yeh Main Kahan Aa Phansi" – CARAVAN, has change of scales for three times. Then he said about the artists who were lesser known in Hindi Film songs ,like Aarti Mukherjee,
Anoop Ghosal but have terrific RD's scrores to their credits. Among such names comes Chandrasekhar Gadgil. And then Ankushji welcomed Mr. Chandrasekhar Gadgil on the stage. This was a surprise –as everyone knew its an instrumental show. Chandrasekhar Gadgil has sung in the film Kudrat. Which song? Its `O Dukh Sukh Ki Har Ek Mala'. He sang this song so brilliantly, which happened to be the only vocal piece that evening, that the crowd was spellbound. He got a great round of applause from the audience.
Bhanu Gupta, who has now become a very familiar personality in Calcutta played "Tolo Chinnobina" song on Harmonica. Splendid performance even at this age on harmonica which needs lot of respiratory power, he also performed 'Kuch Na Kaho'.
Khopri Tarang, Marakas, Kokrio Khanjari (plz. Refer to DVD of this show for correct names) - were now on the stage! Who can bring all these unusual, peculiar instruments on the stage? Who else?! Its Homi Mullan, who played all these stuff one after another like a magician. It was amazing to see Homiji playing three instruments in a single
song! The song was "Ruth Na Jana.." – 1942 A Love Story. With his demonstration we could now relate many familiar sounds of great songs (like the use of Marakas in Kabhi Palkon Pe aansoon Hai- HARJAEE)
Then came SUNIL KAUSHIK. This man looks smart...handsome...he's flamboyant and when he plays the guitar the flamboyance is all over there...he plays with such an authority, and can connect with audience very well. He discussed what 12-String Guitar is and how RD Burman has used it in the songs.And he started with playing the
guitar live on the Jalpaari original theme which he created specially for this event.Went on to play the 12string live for Masoom and few more like the Guitaring of 'Dil Ki baat Kahin Labh Pe na aa Jaye'from Teri Kasam. On next show SUNIL KAUSHIK THE ROCK STAR has become a must, O Yes... along with him his 12-String Guitar should come!!
Jugalbandi of Sunil Kaushik & Ramesh Iyer - It was a treat to see their jugalbandi for the songs:
SAGAR – Chehra hai..
BOXER - Dekho Idhar…
The best was the jugalbandi playing the famous prelude of Pariyon Ka Mela Hai from Satte Pe Satta.It was simply awesome the way both of them played live on stage.
Ramesh Iyer like the previous shows was just outstanding.The icing on the cake was him playing the BASS GUITAR over the song Aisa Sama of Zameen Asmaan where he originally played the Bass.It was mindblowing.
Another musician worth mentioning is ROHAN who plays the Bass Guitar and actually a student of Rameshji who flew down from Mumbai for this event.A true champion.
MANOHARI SINGH & FACILIATION SESSION - When at the last session, Manohari da came to the stage with Bhanu da...the audience was overwhelmed to see him in person. Everybody was showering respect for this living legend. If he even didn't have performed...he would have got this respect and appreciation from the audience...what a humble person he is. There was a special facilitation of Manohari da by Bhanu da. Bhanu da presented Manohari da with the `Uttariya' (Saluting the legend!). All the other musicians were also facilitated by the Euphony at this time.
MANOHARI SINGH STARTS PERFORMING….
And when he starts his performance playing `Phire Elaam' on his sax....just mind blowing....its hard to believe a man of this prime age, and who is not physically well also...performing like that...the impact was so huge, everybody in the auditorium felt it. It was a lifetime experience which will always remain in our heart. Manohari
da, thanks a million for coming to Calcutta and giving us such heavenly experience. Imagine, the impact on audience when he played the chartbusters like `O Hansini' (on flute), `Aanewala Pal' and 'Musafir Hoon Yaron' apart from these Mahoharida also demonstrated the Flute from the song 'Hoga Tumse Pyara Kaun' from
Zamane Ko Dikhana Hai' those who missed this event must grab a DVD of this show to see the performance of this legendry man and his fellow great musicians.
And finally curtains dropped, with `Agar Tum Na Hote' from Manohari da. The show was such a great and filled with so many pieces and anecdotes that the reviewer was puzzled how to recapitulate and sum up the whole event. The reviewer has missed many things unknowingly and deliberately also, so that when you watch the DVD of this show, there are more surprises stored for you. During the event Vanita Music and Euphony released their CDs & DVDs, which sold like hot-
cakes during the interval. And this whole event was recorded and transmitted `LIVE' (deferred) by Star Ananda satellite TV channel. Before I wind up, would like to share one recipe with all of you, which surprisingly got from this musical event! Courtesy, Bhanu Gupta. Bhanu da said "Pancham was not only a good music composer, but
a good recipe composer also as from him I learnt to eat hot gulab jamuns with vanilla ice-cream on top of them." So, all of you may try this recipe of our Chef Pancham da.
Jai Pancham!
--Swapan Das
Tuesday, July 15, 2008
Ananda Bazar Patrika - June 29 Show Review
here's a clip of most popular daily newspaper from Kolkata, after Euphony's June 29 Show....
Monday, June 30, 2008
Interview with Brahmanand Singh - 25 min
Here's a very good interview from the maker of Pancham Documentary....
absolutely fantastic...very well done and clearly stated....where Brahmanand shares his experience on making a documentary....
!!! JAI PANCHAM !!!
Brahmanand Singh talks about his documentary 'Pancham unmixed' at IFFLA-2008. www.passionforcinema.com
absolutely fantastic...very well done and clearly stated....where Brahmanand shares his experience on making a documentary....
!!! JAI PANCHAM !!!
Brahmanand Singh talks about his documentary 'Pancham unmixed' at IFFLA-2008. www.passionforcinema.com
Friday, June 27, 2008
Remembering Pancham-da
Pancham Da: Remembering the legend
CJ: Rishabh Srivastava, Merinews
CJ: Rishabh Srivastava, Merinews
RD Burman was one of the best composers ever. A publicity-shy man, RD let his music do the talking. The list of his compositions is so huge that you can pick a song for every moment of your life. His songs take you to a different world altogether..
THIS MAN revolutionised the Indian music in late 60s. His style, technique and innovations are still followed in Bollywood. His hip and energetic youthful compositions became a cult in the film industry and his partnership with Asha Bhonsle and Kishore Kumar set new standards in Hindi music. Every time you switch on the radio or television, you will listen to his songs being played on one station/channel or the other. Yes, i am talking about the one and only Pancham Da or RD or Rahul Dev Burman. June 27, is his birthday, one of the greatest musical composer ever.
In music industry, the ultimate merit in the eyes of the peers is success. But the success of Pancham Da is not related to his compositions only but the universal awe, admiration and nostalgia created by his music is because of that never dying factor in his music. It is also the rediscovery of musical essence of the vast repertoire of melodies that did not do well during its time, mostly due to bad promotion.
RD Burman started his career as an assistant to his father, Sachin Dev Burman. 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. He assisted his father in Chalti ka Naam Gaadi (1958) and Kaagaz ke Phool (1959). His first film as a music director was Guru Dutt’s Raaz (1959). However, the film was shelved after some shooting and recording of a few songs. He then got his break in Mehmood’s Chhote Nawaab in the year 1961. His compositions in the film Teesri Manzil starring Shammi Kapoor made him a celebrated composer. The songs like ’O’ haseena zulfon waali’, ’Aaja aja main hoon pyaar tera’, ’O mere sona re sona ee’, ’Deewaana mujhsa nahin’ were unlike anything audiences had heard of till then and the music of Teesri Manzil was hummed across the nation.
RD Burman was very innovative and experimental. He picked the music for his songs from very indigenous sources. In fact, innovativeness became synonymous with RD. He has been quoted as saying, “I don’t say that I am a knowledgeable man when it comes to raags. I don’t say I tried to do so and so song in Raag Darbari or attempted some difficult raag in another song. Whatever comes to my head I compose.”
Many people say that Pancham Da plagiarised, which is not completely wrong. But while plagiarising too, he kept his unique stamp of authority over the number. Today, most of the originals may have been wiped off from memory, but the inspired numbers remain. His inspiration of "copying the tune" extended to incorporation of different forms of tunes and rhythm patterns into his music.
RD continues to rule today as well. This is evident from most of the soundtracks today being re-mixed in the Indi-pop scene are RD’s compositions. You might not be aware of this but you must have rocked and danced to his songs.
THIS MAN revolutionised the Indian music in late 60s. His style, technique and innovations are still followed in Bollywood. His hip and energetic youthful compositions became a cult in the film industry and his partnership with Asha Bhonsle and Kishore Kumar set new standards in Hindi music. Every time you switch on the radio or television, you will listen to his songs being played on one station/channel or the other. Yes, i am talking about the one and only Pancham Da or RD or Rahul Dev Burman. June 27, is his birthday, one of the greatest musical composer ever.
In music industry, the ultimate merit in the eyes of the peers is success. But the success of Pancham Da is not related to his compositions only but the universal awe, admiration and nostalgia created by his music is because of that never dying factor in his music. It is also the rediscovery of musical essence of the vast repertoire of melodies that did not do well during its time, mostly due to bad promotion.
RD Burman started his career as an assistant to his father, Sachin Dev Burman. 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. He assisted his father in Chalti ka Naam Gaadi (1958) and Kaagaz ke Phool (1959). His first film as a music director was Guru Dutt’s Raaz (1959). However, the film was shelved after some shooting and recording of a few songs. He then got his break in Mehmood’s Chhote Nawaab in the year 1961. His compositions in the film Teesri Manzil starring Shammi Kapoor made him a celebrated composer. The songs like ’O’ haseena zulfon waali’, ’Aaja aja main hoon pyaar tera’, ’O mere sona re sona ee’, ’Deewaana mujhsa nahin’ were unlike anything audiences had heard of till then and the music of Teesri Manzil was hummed across the nation.
RD Burman was very innovative and experimental. He picked the music for his songs from very indigenous sources. In fact, innovativeness became synonymous with RD. He has been quoted as saying, “I don’t say that I am a knowledgeable man when it comes to raags. I don’t say I tried to do so and so song in Raag Darbari or attempted some difficult raag in another song. Whatever comes to my head I compose.”
In ’Chura liya hai tumne’ he used the sound of a spoon hitting a glass. For the Kitaab song ’Master jee kee aa gayee chitthee’ he brought some desks from a classroom in the studio while recording and used them as 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 a 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 premee’ (Ajnabee), the musicians were on strike. So he improvised the song with emptied-out musical interludes and just listen to the song!
No matter what the people say but I can assert that RD was one of the best composers. A publicity-shy man, RD let his music do the talking for him. The list of the compositions is so huge that you can pick a song for every moment of your life. I met few pretty faces in Delhi very recently and remembered the last composition of Pancham Da from film ’1942-A Love Story’, ’Ek ladki ko dekha to aisa laga’.
RD continues to rule today as well. This is evident from most of the soundtracks today being re-mixed in the Indi-pop scene are RD’s compositions. You might not be aware of this but you must have rocked and danced to his songs.
Nation pays tribute to Pancham Da on his 69th. Birthday
 Spicezee BureauNew Delhi, June 27: Music lovers all over the nation pay tribute to R D Burman, the music composer who brought a unique verve in Hindi film music, on his sixty-ninth birth anniversary. |
Born on 27 June 1939, RD Burman’s love for music showed at an early age. He learnt to play the Sarod from the legendary Ustad Ali Akbar Khan at very young age and liked playing the mouth organ. He composed his first song – ‘Aye meri topi palat’, for the film Funtoosh in 1956. The very next year, his father borrowed the tune of ‘Sar jo tera chakraye’ for Guru Dutt’s film ‘Pyaasa’. Comedian Mehmood gave Pancham his first film Chote Nawab in 1961 and the first song in the film was recorded by Lata Mangeshkar, after that, there was no looking back.
The maestro became well-known for his timeless compositions for films like ‘Teesri Manzil’, ‘Padosan’, ‘Aradhana’, ‘Kati Patang’, ‘Amar Prem’, ‘Hare Rama Kare Krishna’ and many such classics. He stupefied the audience by composing music in entirely different genres. He created the classical based ‘Raina Beeti Jaaye’ as he flirted with seminal rock score in ‘Hare Rama Kare Krishna’ and cabaret in ‘Piya Tu Ab to Aajaa’ from Caravan in 1971.
The versatile composer experimented widely and did not abide by conventional norms. Most of his compositions were sung by his wife Asha Bhonsle. Towards the mid-1980s, Panmcham’s career began to falter due to the Disco age overtaking him. Yet, he gave beautiful music in films like Saagar and Ijaazat. His last memorable compositions were for ‘1942-A Love Story’, for which he received his third Filmfare Awards.
The timeless quality of Pancham Da’s music can be figured out from the fact that most of the remixes being done today are of his songs. Composers Vishal-Shekhar have taken to his music in ‘Jhankaar Beats’. They pay tribute to him again in their upcoming ‘Bachna Ae Haseenon’ starring Ranbir Kapoor. World-renowned music composers including AR Rahman have the highest regards for RD Burman’s music.
Bollywood's musical tribute to Panchamda
Divya Unny
Friday, June 27, 2008: (Mumbai):
With his pulse on the beat of the nation and a unquie musical mind, composer R D Burman changed the sound of music from the 60s' onwards.
Friday is Panchamda's 69th birth anniversary and the film industry's leading composers are lining up to pay tribute.
"Gulzaar saab always told me some bizarre tales of Burman da's way of making music and it was this eccentricity in him that made him unique," said Shankar Mahadevan, music composer.
From the foot tapping numbers of Teesri Manzil to the sensuous rhythms of Hare Rama Hare Krishna and the effervescent melody of Ijaazat, R D Burman's style created created a musical revolution.
Many of his best loved compositions were sung by his wife the incomparable Asha Bhosle.
The remix revolution of Panchamda's numbers by the likes of Bally Sagoo, DJ Aqeel and others only proves RD Burman's ageless appeal and composer duo Vishal-Shekhar have gone back to his music in Jhankaat Beats.
They are again set to pay him another tribute. "We are doing this film Bachna Ae Haseeno where there is a modern version of RD Burman's song Bachna Ae Haseenon. It has been sung by Kishore Kumar's son and it is our second tribute to him," said Vishal Dadlani, music composer.
"His songs were lovely and I think every budding composer should gain inspiration from his music," said music maestro A R Rahman.
Friday is Panchamda's 69th birth anniversary and the film industry's leading composers are lining up to pay tribute.
"Gulzaar saab always told me some bizarre tales of Burman da's way of making music and it was this eccentricity in him that made him unique," said Shankar Mahadevan, music composer.
From the foot tapping numbers of Teesri Manzil to the sensuous rhythms of Hare Rama Hare Krishna and the effervescent melody of Ijaazat, R D Burman's style created created a musical revolution.
Many of his best loved compositions were sung by his wife the incomparable Asha Bhosle.
The remix revolution of Panchamda's numbers by the likes of Bally Sagoo, DJ Aqeel and others only proves RD Burman's ageless appeal and composer duo Vishal-Shekhar have gone back to his music in Jhankaat Beats.
They are again set to pay him another tribute. "We are doing this film Bachna Ae Haseeno where there is a modern version of RD Burman's song Bachna Ae Haseenon. It has been sung by Kishore Kumar's son and it is our second tribute to him," said Vishal Dadlani, music composer.
"His songs were lovely and I think every budding composer should gain inspiration from his music," said music maestro A R Rahman.
Today is the 70th birth anniversary of Rahul Dev Burman. Ritujaay Ghosh spoke to members of RD’s original band Almost every year, on June 27, a long, patient queue forms in front of Kala Mandir. Inside, there’s standing room only, while on stage, a group of men play evergreen melodies from Hindi films. If that sounds like a tacky album title, perish the thought. The melodies really are evergreen, and these men are torchbearers of one of Bollywood’s richest legacies - the music of Rahul Dev Burman.
They are the Original Pancham Band, inheritors of a man who died childless. To these 35-odd men, Burman was Pancham da or simply, Pancham. Pirated CDs of his compositions can never match what Burman’s orchestra produces even today, nearly 15 years after his death. Burman knew he was incomplete without his orchestra. And always acknowledged it as the most powerful artillery in his musical arsenal, unlike plenty of other composers.
Manohari Singh, who worked with Burman for over four decades and is now the orchestra’s frontman, still religiously varnishes his saxophone before he goes on stage. And a tear still rolls down his face as he shares Pancham anecdotes. It isn’t just Singh. Burman worked with the best musicians in the trade, sometimes as session players. While Singh frequently doubled up as Burman’s assistant, the likes of Swapan Chakraborty and the late Marutirao Keer helped out too.
On the tabla, Burman used the services of Janardan Abhayankar and Homi Mullah. The icing on the cake was Pandit Samta Prasad, who did the honours for Basanti’s famous tonga chase sequence in Sholay. Burman also worked with Trilok Gurtu and Leslie Vaz, stars in their own right who played drums for Burman.
Bhanu Gupta, one of Burman’s more trusted lieutenants, who worked in all Burman’s films right up to 1942: A Love Story, his last, played Spanish guitar and was one of Burman’s closest friends and sitting musician. Gupta’s surprise partner, also on the guitar, was Bhupinder Singh, who also sang many of Burman’s hit songs later.
Says Gupta, "Pancham’s compositions were unorthodox, but every instrument could be heard. That gave great satisfaction to the musicians and was a major reason why no one ever left him." While Burman has always been considered ahead of his time, it was his work style and humility that endeared him to his band. How else could he have handled a team full of stars? Consider this: Kersi Lord and Louis Banks on synthesizer and piano, Sultan Khan on sarangi, Hari Prasad Chaurasia on flute and at times Shiv Kumar Sharma on santoor - Burman made his music in style and with stars who would give him their best. The miracle was that no one felt left out.
"Pancham had the ability to popularise unorthodox instruments like the duggi and madal, which made stars of Homi and Ranjeet Gazmer," says Gupta. Gazmer, one of Nepal’s leading composers, was nicknamed Kancha bhai by Burman. "The industry still knows me as Kancha bhai and I love it," says Gazmer. Adds Banks, "The best thing was that he publicly credited his musicians for what they did." So the musicians laughed with him, learned with him and shared with him. But above all, they made music with him, and in Burman’s own words, were indispensable for him.
Gupta recounts several examples of this unique bond. For instance, before he began shooting for Yaadon Ki Baraat, director Nasir Hussain asked Burman for some compositions and the master played two melodies. Hussain rejected the first instantly, but the second appealed to him. "Pancham jumped up and said, 'Maine kaha tha na yehi wala achha lagega.’ And pointing at me, he said, 'Yeh maine nahin is saale Bhanu ne banaaya hai'. That was Pancham," says Gupta.
This year, as Burman’s team returns to pay homage to their "own private Pancham", one thing is clear: RD Burman lives. As his orchestra breaks into music, the audience will fall silent, and when the Sholay theme is played, cries of "once more" will fill the auditorium.Thursday, June 19, 2008
Original Pancham Show, Kalamandir, Kolkata
From earlier Euphony Show at Kalamandir check out how seamlessly Manohari-da re-created the magic of Pancham in Phoolen Gondho Nei....sung by Jojo.
Just check out where Manohari Singh picks up Saxophone and plays along....simply brilliant tune and superrbbbbb playing...note-by-note ditto at the age of 77...what can one say....BraVo!!!!!!!
<<<< JAI PANCHAM >>>>>
Just check out where Manohari Singh picks up Saxophone and plays along....simply brilliant tune and superrbbbbb playing...note-by-note ditto at the age of 77...what can one say....BraVo!!!!!!!
<<<< JAI PANCHAM >>>>>
Remembering Pancham, July, Kalamandir
From previous shows, Usha-ji, Homi-ji and Ramesh-ji alongwith Ankush recreating the magic from Pancham-era....
Check out how Pancham-da created magic with few non-traditional-musical-instrument!!!!
A True Genius.....
enjoy...
Check out how Pancham-da created magic with few non-traditional-musical-instrument!!!!
A True Genius.....
enjoy...
The Original Pancham Show at Kalamandir, 2007
Great Manohari Singh playing and conducting live at Kalamindir, Kolkata with Pancham's original muusic team...
<<< Jaane Jaa Dhundta Main Yahan >>>>
<<< Jaane Jaa Dhundta Main Yahan >>>>
The Original Pancham Show at Kalamandir, 2007
Original Title Track from Sholay, palyed and conducted by great Manohari Singh and Pancham's original muusic team.
<<<< SHOLAY MAGIC >>>>>
<<<< SHOLAY MAGIC >>>>>
Euphony Show Feb.8, 2008 at Kalamandir
From our earlier show on Feb.8/08
Bhanu Gupta (mouthorgan), Kishore Sodha (Trumphet), Blasco (Trombourne) and original music team playing "Kya Yehi Pyaar Hai...."
Bhanu Gupta (mouthorgan), Kishore Sodha (Trumphet), Blasco (Trombourne) and original music team playing "Kya Yehi Pyaar Hai...."
An Evening With Pancham at Kalamandir
29th June show tickets will be available in the following outlets from 17th June (Tuesday).
- Music World,Park Street
- Symphony,Esplanade
- Bonanza,Salt Lake
- Alaap,Hedua
- Double Channel,Sealdah
- Sargam,Ganguly Bagan
- Dutta Xerox,Jdavpur 8B
- G-55,Dakshinapan,Dhakuria
- Pal Audio,Gariahat
- Super Audio,Gol Park
- Gupta Electronics,Bhowanipur
Tuesday, May 20, 2008
Euphony Presents :- An Evening With Pancham, on June 29, 2008, at KalaMandir, Kolkata
On the occasion of theBirth Anniversary of Panchamda EUPHONY is again proudly presenting a Musical Tribute
“AN EVENING WITH PANCHAM”
Featuring THE ORIGINAL GUITAR GANG from R. D. Burman[
SUNIL KAUSHIK
BHANU GUPTA
RAMESH IYER
ALONG WITH HOMI MULLAN( Percussions)
And as a special attraction, MANOHARI SINGH
On 29TH JUNE 2008 (SUNDAY) AT KALAMANDIR, KOLKATA
FROM 6.00 PM ONWARDS
For Details Please check our website : www.euphony.co.in
Or call us at 91-9836927479[/b]
Tuesday, April 29, 2008
Pancham UnMixed - a review
This is an excellent review by Shashi Rao....
Pancham Unmixed - Mujhe Chalte Jaana Hai (an unending journey...)
April 26 - Arclight Hollywood Cinema - LA
Time: 6:30pm
The world premiere of the documentary on Pancham featured as part of the Indian Film Festival of LA - known as IFFLA. Indian cinema has
arrived and is staying comfortably in Hollywood!
The evening started off with festivities with a live band outdoors, celebrities mingling and lots of anticipation.
I am glad to have no prior intimation on the concept of this movie. All I knew was it was presented in a documentary format.
The movie hall was filled 85-90% to capacity - unbelievable but thrilled to see such a diverse crowd. Apprehension also lingered on
how such a venture would be received - a documentary on an Indian music composer which was mostly narrated in Hinglish, Hindi and
Bangla.
The movie begins with introductory credits - Pancham is introduced with pictures and titles on screen.
What is interesting about the documentary's narration is:
1. There are interviews but you never see or hear the interviewer. This gives the effect of a narration unmonitored, unguided and
unprompted.
2. There are hardly any videos featuring Pancham. It is a celebration of this talented person's life - a few friends gathered in remembering him. The impact is effective - he cannot be seen or heard...but he is around.
The initial interviews narrate the tale of his childhood, his early beginings as a music composer. Manna Dey explaining the story behind
his name Pancham and the amazing camaraderie they shared inspite of the 20-year age gap between them.
Amazing to hear Ameen Sayani as his "Binaca Geetmala voice" recounts his meetings with Pancham at Mehmoods' - the impressive variety in
music which he provided in his debut Chote Nawab.
The movie and more to the point the audience begin to settle down eager for the next stage in Pancham's career. We have Asha Bhosle
explaining her first meeting with Pancham. One finds her narration a tad distant and devoid of any personal recollections.
Shammi Kapoor demonstrates a sharp memory and a candid attitude to his reminiscences. A real treat is his effortless humming of the
nepali tune on which 'Deewana Mujh Sa Nahin' is based on.
What follows next is an amazing array of narrations, demonstrations and personal interviews with some of the most talented,
knowledgeable people close to Pancham. Close to Pancham each in his/her own unique way.
The documentary does not lose its pace to monotony or repetitiveness. In fact there are a few curve balls (or the doosra)
thrown in - which completely catches you off guard. You simply cannot avoid a chuckle or a clap of amazement or appreciation. Some
highlights:
- Bhanuda's wonderful narration of Pancham composing a song while taking a shower. He starts with the final note of the guitar and
works his way backwards.
- Taufiq Qureshi's mind-blowing performance of scatting - demonstrating Pancham's unique sensuous style of 'Ha Haah Ha..Huh-a-
Huh Huh' - amazing breath control that went on for minutes.
- Shantanu Moitra's knowledgeable demonstration of Pancham's technique of overlaying a folk instrument or tune with
modern/western instrument. As most Pancham fans suspect, he discloses his influence of Pancham's style when he composed the
ektaara tune on the piano for 'Piya Bole Piyu Bole'.
- The audience was rolling with amazed laughter when Gulshan Bawra narrates how Pancham's gets influences not just with music - but
with headlines, movie plots, etc. The story behind watching the movie XANADU, reading the headlines on Pakistani President Zia-Ul-
Haq - and coming up with 'Jaane Jaa O Meri Jaane Jaa'.
- Pt. Ronu Majumdar demonstrating with his flute in his own humble way Pancham's creation, the hidden ragas, the immense hard work and
talent in some of the seemingly simple compositions.
- Vishal Bharadwaj's journey back to his college days - the impact of Pancham - to his unforgivable statement of how one can never ever
escape Pancham…'Bas Who Aa Jaata Hai…' - he demonstrates 'Beedi Jalai Le' and when he comes to the 'Dhidhing-Dang-Ding' part - he
stops and says...'See...this is Pancham...you can never escape him'.
There are numerous personal accounts that are touching yet never mushy or overtly emotional.
- Pyarelal's fond recounting of how Pancham wooed his first wife Rita Patel in Simla and how Pyarelal helped him. Later Sachin Bhowmick provides an amusing anecdote of Pancham's getting duped in love.
- One gets a lump in their throat when Anju-ji (Mrs. Gulshan Bawra) remembers getting the call on the fateful morning of Pancham's
demise. One feels her helplessness when she sounds apologetic on taking 30 minutes to reach Pancham's home - blaming their age for
not rushing any faster.
- Shammi Kapoor, Shakti Samanta, Pt. Shiv Kumar Sharma, Manohari, Bhupinder and Shailendra Singh do not mince words when explaining
Pancham's bad phase - there is no sensationalism - just matter-of-fact statements.
- The surprise one gets at the end of Gulzar's funny narration of being dropped as a 'hot potato' which ends in a stark insight into
the crying human inside - missing those pranks...the person.
- A senior artist and great talent such as Pt. Hari Parasad Chaurasia humbly admitting to hanging around Pancham's recording -
even if it meant simply playing the fake flute in air.
- The bits and pieces around the Pancham Dubai team, their gatherings, their lives woven around Pancham – makes this
documentary more personal to relate with.
There are those intense technical insights:
- Kavita Krishnamurthy demonstrates amazing talent in recalling each nuance and suggestion that Pancham made which embellished the songs. One simply wonders why she is not singing more often.
- Gautam Rajadhyaksha's impassioned comparison of Pancham to Puccini and Richard Rogers and his reasoning for the comparison.
- Bhanu Gupta's demonstration of playing with open notes, Ranjit Gazmer (Kancha), Ramesh Iyer and Ankush C's demonstrations of some
simple instruments used innovatively.
- The consistent demonstration of Pancham using side instruments for the main rhythm - the amazing use of the guitar simply to provide
the first note - the Dha...
- Shantanu Moitra, Shanker-Ehsan-Loy and Taufeeq Qureshi amaze you every time they appear on screen - their technical narrations are
something that explains the complexities underlying Pancham's compositions and his talent at making it look simple.
And then there are those surprising highs:
- Javed-saab's regret on a king dying just after his coronation is followed by the punch line regarding a comment made by Cassius Clay
on being a champion. Amazing - simply amazing!!
- Vidhu Vinod Chopra who shocks you with his initial (misconceived) abrasive attitude - only to reveal an unparalled passion and belief
in his icon.
- Randhir Kapoor who is still celebrating Pancham and whistling from the sidelines on Pancham's final sixer.
- Shrishti Behl's matter-of-fact recollections of her Pancham uncle. The Behl family's closeness comes across so human when their faces
light-up on visualising Pancham playing for Ramesh Behl in the skies above - or their interest in Pancham's remix video models - one
understands the concept of laughter getting mixed with tears.
Some scenes simply get engraved in your mind - be it Shammi Kapoor's heartbreaking yet stoic last stare into the camera or Bhanu-da's
simple statement 'He was my God' or Manna Dey's matter-of-fact 'I loved him...I just loved him' or Bhupinder's attempt at controlling
his singing voice heavy with memories of yore
Brahmanand like a master craftsman weaves his tale without any sign or fingerprint of the master on his work. His effort succeeds
because it lets the artists featured live and breathe. There is no trace of a scripted approach or a story with an agenda.
It is just as he promises `a simple story told in a very simple format'.
Amazingly in the post-movie Q&A session - a young African-American who never knew anything about Pancham made a pertinent comment - 'I
don't know his music - but it seems like his story cried out to be told!' Another comment from an American artist currently working in
India corroborated the experience of watching a human tale focused on his works, talent and music.
At the content and technical level, my initial reactions included the perception that there were a couple of short-comings in the
documentary. But when I asked the director Brahmanand, I realized these apparent shortcomings were not because of his team's lack of
trying - it was just not to be. For instance:
- One misses some of the living entities who had worked a lot with Pancham or knew him at a personal level. Lata Mangeshkar, Dev Anand,
Ramesh Sippy, Rajesh Khanna, etc. come to mind. For various reasons - none could provide an interview in the 2.5 years of the movie's
making.
- The song clips are from the DVD/VCD of Ultra, Shemaroo, etc. These portions display their inherent weak quality in terms of sound and
quality. How one wishes the director had access to the original archives and music spools. Had this been an effort to document even
a trivial music talent in Minnesota - I am sure the excellent archival material would far outshine the person's talent. Hats off
to Brahmanand's team for producing a effective story with the limited resources at their disposal. The entire documentary resounds
to the concept of mind over matter or should we say man over matter.
The movie ends on a celebratory note - with the feeling of satisfaction and exultation. It feels like attending the wake of a
good friend who was eulogized and cherished by a group of very close friends.
There are tons of details and incidents in the movie which I simply cannot convey on a few pieces of paper. One has to view it to
experience its 10,000 sq. ft. landscape. I might as well be attempting to draw the complete picture of the Grand Canyon.
The premiere was embellished by the presence of Pete Gavankar – Pancham's closest friend, brother, producer of Pantera and an
amazing person who at his age with his unbridled enthusiasm makes you sorely miss Pancham. He provided some terrific insights before
and after the movie – his tales of Pancham can provide Brahmanand enough fodder for Pancham Unmixed – Part II.
Finally the one thought that struck my mind was that this movie could have (and still would) saved me and the Pancham Yahoogroup
about 10-12 years of hard effort. All we have to do is simply make it mandatory for every member to watch this movie as a basic
qualification. A ton of energy in explaining the obvious and repetitive postings can be avoided. This movie is indeed
our `Pancham – for the Dummies'.
A blissful and content Loin still on his unending journey for…Pancham UnMixed!!!.
Pancham Unmixed - Mujhe Chalte Jaana Hai (an unending journey...)
April 26 - Arclight Hollywood Cinema - LA
Time: 6:30pm
The world premiere of the documentary on Pancham featured as part of the Indian Film Festival of LA - known as IFFLA. Indian cinema has
arrived and is staying comfortably in Hollywood!
The evening started off with festivities with a live band outdoors, celebrities mingling and lots of anticipation.
I am glad to have no prior intimation on the concept of this movie. All I knew was it was presented in a documentary format.
The movie hall was filled 85-90% to capacity - unbelievable but thrilled to see such a diverse crowd. Apprehension also lingered on
how such a venture would be received - a documentary on an Indian music composer which was mostly narrated in Hinglish, Hindi and
Bangla.
The movie begins with introductory credits - Pancham is introduced with pictures and titles on screen.
What is interesting about the documentary's narration is:
1. There are interviews but you never see or hear the interviewer. This gives the effect of a narration unmonitored, unguided and
unprompted.
2. There are hardly any videos featuring Pancham. It is a celebration of this talented person's life - a few friends gathered in remembering him. The impact is effective - he cannot be seen or heard...but he is around.
The initial interviews narrate the tale of his childhood, his early beginings as a music composer. Manna Dey explaining the story behind
his name Pancham and the amazing camaraderie they shared inspite of the 20-year age gap between them.
Amazing to hear Ameen Sayani as his "Binaca Geetmala voice" recounts his meetings with Pancham at Mehmoods' - the impressive variety in
music which he provided in his debut Chote Nawab.
The movie and more to the point the audience begin to settle down eager for the next stage in Pancham's career. We have Asha Bhosle
explaining her first meeting with Pancham. One finds her narration a tad distant and devoid of any personal recollections.
Shammi Kapoor demonstrates a sharp memory and a candid attitude to his reminiscences. A real treat is his effortless humming of the
nepali tune on which 'Deewana Mujh Sa Nahin' is based on.
What follows next is an amazing array of narrations, demonstrations and personal interviews with some of the most talented,
knowledgeable people close to Pancham. Close to Pancham each in his/her own unique way.
The documentary does not lose its pace to monotony or repetitiveness. In fact there are a few curve balls (or the doosra)
thrown in - which completely catches you off guard. You simply cannot avoid a chuckle or a clap of amazement or appreciation. Some
highlights:
- Bhanuda's wonderful narration of Pancham composing a song while taking a shower. He starts with the final note of the guitar and
works his way backwards.
- Taufiq Qureshi's mind-blowing performance of scatting - demonstrating Pancham's unique sensuous style of 'Ha Haah Ha..Huh-a-
Huh Huh' - amazing breath control that went on for minutes.
- Shantanu Moitra's knowledgeable demonstration of Pancham's technique of overlaying a folk instrument or tune with
modern/western instrument. As most Pancham fans suspect, he discloses his influence of Pancham's style when he composed the
ektaara tune on the piano for 'Piya Bole Piyu Bole'.
- The audience was rolling with amazed laughter when Gulshan Bawra narrates how Pancham's gets influences not just with music - but
with headlines, movie plots, etc. The story behind watching the movie XANADU, reading the headlines on Pakistani President Zia-Ul-
Haq - and coming up with 'Jaane Jaa O Meri Jaane Jaa'.
- Pt. Ronu Majumdar demonstrating with his flute in his own humble way Pancham's creation, the hidden ragas, the immense hard work and
talent in some of the seemingly simple compositions.
- Vishal Bharadwaj's journey back to his college days - the impact of Pancham - to his unforgivable statement of how one can never ever
escape Pancham…'Bas Who Aa Jaata Hai…' - he demonstrates 'Beedi Jalai Le' and when he comes to the 'Dhidhing-Dang-Ding' part - he
stops and says...'See...this is Pancham...you can never escape him'.
There are numerous personal accounts that are touching yet never mushy or overtly emotional.
- Pyarelal's fond recounting of how Pancham wooed his first wife Rita Patel in Simla and how Pyarelal helped him. Later Sachin Bhowmick provides an amusing anecdote of Pancham's getting duped in love.
- One gets a lump in their throat when Anju-ji (Mrs. Gulshan Bawra) remembers getting the call on the fateful morning of Pancham's
demise. One feels her helplessness when she sounds apologetic on taking 30 minutes to reach Pancham's home - blaming their age for
not rushing any faster.
- Shammi Kapoor, Shakti Samanta, Pt. Shiv Kumar Sharma, Manohari, Bhupinder and Shailendra Singh do not mince words when explaining
Pancham's bad phase - there is no sensationalism - just matter-of-fact statements.
- The surprise one gets at the end of Gulzar's funny narration of being dropped as a 'hot potato' which ends in a stark insight into
the crying human inside - missing those pranks...the person.
- A senior artist and great talent such as Pt. Hari Parasad Chaurasia humbly admitting to hanging around Pancham's recording -
even if it meant simply playing the fake flute in air.
- The bits and pieces around the Pancham Dubai team, their gatherings, their lives woven around Pancham – makes this
documentary more personal to relate with.
There are those intense technical insights:
- Kavita Krishnamurthy demonstrates amazing talent in recalling each nuance and suggestion that Pancham made which embellished the songs. One simply wonders why she is not singing more often.
- Gautam Rajadhyaksha's impassioned comparison of Pancham to Puccini and Richard Rogers and his reasoning for the comparison.
- Bhanu Gupta's demonstration of playing with open notes, Ranjit Gazmer (Kancha), Ramesh Iyer and Ankush C's demonstrations of some
simple instruments used innovatively.
- The consistent demonstration of Pancham using side instruments for the main rhythm - the amazing use of the guitar simply to provide
the first note - the Dha...
- Shantanu Moitra, Shanker-Ehsan-Loy and Taufeeq Qureshi amaze you every time they appear on screen - their technical narrations are
something that explains the complexities underlying Pancham's compositions and his talent at making it look simple.
And then there are those surprising highs:
- Javed-saab's regret on a king dying just after his coronation is followed by the punch line regarding a comment made by Cassius Clay
on being a champion. Amazing - simply amazing!!
- Vidhu Vinod Chopra who shocks you with his initial (misconceived) abrasive attitude - only to reveal an unparalled passion and belief
in his icon.
- Randhir Kapoor who is still celebrating Pancham and whistling from the sidelines on Pancham's final sixer.
- Shrishti Behl's matter-of-fact recollections of her Pancham uncle. The Behl family's closeness comes across so human when their faces
light-up on visualising Pancham playing for Ramesh Behl in the skies above - or their interest in Pancham's remix video models - one
understands the concept of laughter getting mixed with tears.
Some scenes simply get engraved in your mind - be it Shammi Kapoor's heartbreaking yet stoic last stare into the camera or Bhanu-da's
simple statement 'He was my God' or Manna Dey's matter-of-fact 'I loved him...I just loved him' or Bhupinder's attempt at controlling
his singing voice heavy with memories of yore
Brahmanand like a master craftsman weaves his tale without any sign or fingerprint of the master on his work. His effort succeeds
because it lets the artists featured live and breathe. There is no trace of a scripted approach or a story with an agenda.
It is just as he promises `a simple story told in a very simple format'.
Amazingly in the post-movie Q&A session - a young African-American who never knew anything about Pancham made a pertinent comment - 'I
don't know his music - but it seems like his story cried out to be told!' Another comment from an American artist currently working in
India corroborated the experience of watching a human tale focused on his works, talent and music.
At the content and technical level, my initial reactions included the perception that there were a couple of short-comings in the
documentary. But when I asked the director Brahmanand, I realized these apparent shortcomings were not because of his team's lack of
trying - it was just not to be. For instance:
- One misses some of the living entities who had worked a lot with Pancham or knew him at a personal level. Lata Mangeshkar, Dev Anand,
Ramesh Sippy, Rajesh Khanna, etc. come to mind. For various reasons - none could provide an interview in the 2.5 years of the movie's
making.
- The song clips are from the DVD/VCD of Ultra, Shemaroo, etc. These portions display their inherent weak quality in terms of sound and
quality. How one wishes the director had access to the original archives and music spools. Had this been an effort to document even
a trivial music talent in Minnesota - I am sure the excellent archival material would far outshine the person's talent. Hats off
to Brahmanand's team for producing a effective story with the limited resources at their disposal. The entire documentary resounds
to the concept of mind over matter or should we say man over matter.
The movie ends on a celebratory note - with the feeling of satisfaction and exultation. It feels like attending the wake of a
good friend who was eulogized and cherished by a group of very close friends.
There are tons of details and incidents in the movie which I simply cannot convey on a few pieces of paper. One has to view it to
experience its 10,000 sq. ft. landscape. I might as well be attempting to draw the complete picture of the Grand Canyon.
The premiere was embellished by the presence of Pete Gavankar – Pancham's closest friend, brother, producer of Pantera and an
amazing person who at his age with his unbridled enthusiasm makes you sorely miss Pancham. He provided some terrific insights before
and after the movie – his tales of Pancham can provide Brahmanand enough fodder for Pancham Unmixed – Part II.
Finally the one thought that struck my mind was that this movie could have (and still would) saved me and the Pancham Yahoogroup
about 10-12 years of hard effort. All we have to do is simply make it mandatory for every member to watch this movie as a basic
qualification. A ton of energy in explaining the obvious and repetitive postings can be avoided. This movie is indeed
our `Pancham – for the Dummies'.
A blissful and content Loin still on his unending journey for…Pancham UnMixed!!!.
Monday, April 14, 2008
Asha reveals RD [I] - review from 2006
Thought of sharing this album review...I'm in full agreement....
IndiaGlitz [Monday, March 06, 2006]
Who else but Asha Bhonsle herself could know R.D. Burman better? Hence its quite apt when she takes it upon her to reveal the REAL RD in her latest album 'ASHA REVEALS RD' where she recreates Pancham's favorite tracks. Reproduced and rearranged by Nitin Shankar, the music by Pancham has been given a new touch by using extnesvie brass, strings, chorus sections and live rhythm and percussions. Sudesh Bhonsle is the guest singer for some of the songs that are a part of this twin CD pack comprising of 22 tracks in total. In Part I, we review first CD of 'ASHA REVEALS RD' that promises to be a collector's delight.
The album makes a great kickstart as Ashaji gives a commentary about RD's fasniation for different kinds of music and what were his desires when it came to arranging music differently.
1) O Diwano Dil Sambhalo [The Great Gambler, lyrics: Anand Bakshi]
A song that has its moments of sensuality and passion, 'O Diwano Dil Sambhalo' is a beautifully recreated number that keeps the melody of the original intact and still makes you enjoy the beauty of this Pancham tune. Along with the beauty comes the rhythm that is maintained throughout the song's duration that makes you hum along the song as it plays.
2) Aaj Ki Raat [Anamika, lyrics: Majrooh]
Three decades after it was first composed, 'Aaj Ki Raat' still continues to haunt as the grand orchestra at the beginning paves way for Ashaji to take over the proceedings. As you hear along the number, you realize that it had so much international appeal to it during interludes. Use of electric guitar gives it a modern day feel while the Asha-RD combo makes you wonder what to appreciate more - the singer or the musician!?
3) 1, 2 Cha Cha Cha [Shalimar, lyrics Anand Bakshi]
Originally sung by Usha Uthup, its a treat to hear '1, 2 Cha Cha Cha' all over again with Ashaji behind the mike (and also in front of the camera) this time around. She adds her own nuances in this number that fits in so well with the hip-hop mood that is catching up heat with music lovers post the success of 'Right Here Right Now' [Blussmaster] and 'Meter Down' [Taxi No. 9211]. A highly rhythmic track, it has an assortment of music instruments in use that make it worthy to reach the top all over again.
4) Karle Pyaar [Talash, music: S.D. Burman, lyrics: Majrooh]
One may wonder on looking at the song's credit that since 'Karle Pyaar' was composed by S.D. Burman, why has Asha included it in the list? Well, the fact is, as stated by Ashaji in the album's inlay card, that the song was in fact composed by RD only but senior Burman was credited for it. A lively cabaret number, it has an element of jazz and rock'n'roll with beautiful lyrics by Majrooh that makes you wonder why some of today's cabarets have vulgar lyrics? Yet another rhythmic number that is so characterisitc of RD, it continues to build on the album's tempo.
5) Bhali Bhali Si Ek Surat [Buddha Mil Gaya, lyrics: Majrooh]
Now that's one re-arrangement that makes its presence felt amonsgt approximately hundred remixes a day that are churned out in the industry today. With light calyspo arrangements accompanying 'Bhali Bhali Si Ek Surat', one begins thinking if RD would have conceptualised the song in this way from the very inception. Sudesh Bhonsle sings in his original voice rather than trying to imitate anyone and gives ample support to Ashaji.
6) Muttukodi Kavaadi Hadaa [Do Phool, lyrics: Majrooh]
For 'Muttukodi Kavaadi Hadaa' from 'Do Phool', Sudesh Bhonsle does improvise on his vocals and comes up with a 'deep' rendition to suit the south-Indian feel of the song. The song may have been hugely popular when it was heard first in 1973 but in today's context it doesn't really fit in the bill and comes a speed breaker in the album.
7) Goyake Chunanche [Manoranjan, lyrics: Anand Bakshi]
Lesser heard 'Goyake Chunanche' has Sudesh Bhonsle pairing up with Ashaji once more and together they spin a melodious tale that is in true RD style. The marriage of rhythm and melody impresses once again and what impresses about the song is that arranger Nitin Shankar never once goes overboard in trying to 'mix' the song unnessarily and instead keeps its essence intact. Its nice to see that this song has been revived and current generation gets to hear it all over again.
8) Pyar Diwana Hota Hai [Kati Patang, lyrics : Anand Bakshi]
Now this is one song that one looks forward to hear with bated breath. Afterall there haven't been many who have been able to match Kishoreda when it comes to singing but Sudesh Bhonsle takes the challenge and jumps into the ring. This is the first song in the album that doesn't feature Asha Bhonsle but one doesn't really mind that as Sudesh Bhonsle does an almost perfect rendition at each and every fine nuance associated with the song and comes up with a praiseworthy outcome.
9) Mera Pyaar Shalimar [Shalimar, lyrics: Anand Bakshi]
After '1, 2, Cha Cha Cha', second song from the film 'Shalimar' is included in the album in the form of 'Mera Pyaar Shalimar'. After hearing the song one gets an impression that this was probably the first song ever that could have competed with the signature songs that always come with James Bond opening title sequences. Haunting, sad, exciting, intriguing - there aren't enough words to describe the feel of this classic called 'Mera Pyaar Shalimar' that makes for a simply superb hearing.
10) Jaane Kya Baat Hai [Sunny, lyrics: Anand Bakshi]
It's the turn to fall into love all over again with the hauntingly beautiful 'Jaane Kya Baat Hai' from the film 'Sunny'. Originally sung by Lataji, such is the effect of Ashaji's voice from the very first note that it makes you go for the remote and increase the volume a trifle more. Use of piano alongside the number gives it a fresh feel that makes you fall in love with the album more and more. When the song first came a couple of decades back, it made for a good hearing but the effect is multiplied as you get up, close and personal with Ashaji, RD and Anand Bakshi saab who is at his poetic best in this song.
11) Hum Bewafa [Shalimar, lyrics: Anand Bakshi]
Many in the past have claimed that RD was at his best for his musical score in 'Shalimar' and Ashaji shows that probably she too thinks the same when she ropes in third song from the movie in the form of 'Hum Bewafa'. A great number originally rendered by Kishore Kumar, Sudesh Bhonsle doesn't let the great down when he comes up with her own version of this hauntingly sad number about love, broken trust and separation. A classic revisited.
Visit part II of the review for knowing more about the second CD of the album.
Rating: ****
Asha reveals RD: review from 2006
Asha reveals RD [II] - Asha Bhonsle
IndiaGlitz [Tuesday, March 07, 2006]
Who else but Asha Bhonsle herself could know R.D. Burman better? Hence its quite apt when she takes it upon her to reveal the REAL RD in her latest album 'ASHA REVEALS RD' where she recreates Pancham's favorite tracks. Reproduced and rearranged by Nitin Shankar, the music by Pancham has been given a new touch by using extensive brass, strings, chorus sections and live rhythm and percussions. Sudesh Bhonsle is the guest singer for some of the songs that are a part of this twin CD pack comprising of 22 tracks in total. In Part II, we review second CD of 'ASHA REVEALS RD' that promises to be a collector's delight.
1) Ek Baar Jan-E-Jana [Kala Sona, lyrics: Majrooh]
The CD begins with a relatively lesser known number 'Ek Baar Jane-E-Jana' that was composed way back in 1975 for the film 'Kala Sona'. An inviting love song, it has melodious music and it is surprising that the song hasn't found much mileage over the years. The song is sung in an inimitable style by Ashaji as she stirs the naughty elements well with the main menu of love.
2) Chhodo Sanam [Kudrat, lyrics: Majrooh]
Its time to get lively with 'Chhodo Sanam' that fits in so very well with today's Indi-pop scene when it comes to rhythm. Sudesh Bhonsle joins her soon after but this is one song where one would have loved to hear Ashaji alone. Nitin Shankar shows his prowess behind the rearrangements once again while making a good impression.
3) Sharabi Aankhen [Madhosh, lyrics: Majrooh]
This song could do wonders today if presented in a chic new style that fits into the mood of this side of the century. 'Sharabi Aankhen' proves once again that RD was way ahead of its times when it came to composing music. The rocking arrangements of this lesser known foot tapping number is highly westernized when it comes to use of numerous instruments and inspite of the fact that most of it is on-your-face, one doesn't mind that due to its club feel. A duet between Ashaji and Sudesh, it is the first song in this twin-CD pack that is an ideal fit for a smashing dance number.
4) Keh Doon Tumhen [Deewar, lyrics: Sahir]
This song needs no introduction. After all the remix culture has given it so much of mileage in last 2-3 years that it is difficult to adjudge if the song had gone anywhere 3 decades since its release. A duet between Ashaji and Sudesh, this beautifully written number by Sahir is highly melodious with an equally foot tapping effect that is simply addictive.
5) Samne Yeh Kaun Aaya [Jawani Diwani, lyrics: Anand Bakshi]
Another song in succession that has been kept alive by the numerous remix albums that keep flooding the album, 'Samne Yeh Kaun Aaya' continues the fun mood of the album further. On hearing Sudesh Bhonsle once again for the song, one wonders why he has been labeled as a guest singer in the album as he is there for almost each and every song. One wishes he was credited better for his work, especially for numbers like this that are solo renditions.
6) Dhanno Ki Aankhon Mein [Kitaab, lyrics: Gulzar]
There was a phase when RD was working extensively with Gulzar saab. And when the two met, sparks flew. One such example is 'Dhanno Ki Aankhon Mein' from the film 'Kitaab' that was first of its kinds and brought with it a new sound when it was heard first. A song with a punch, the style was later repeated in 'Chahe Meri Jaan Tu Le Le' [Dayavan]. Sudesh Bhonsle is the singer once again for this solo track and does a good imitation of Panchamda who had originally rendered the song.
7) Ek Ladki Ko Dekha To [1942 - A Love Story, lyrics: Javed Akhtar]
The song came too late in RD's career. It came at a time when he was at his all time low and ironically when the songs from the movie became universally popular, he was not alive to bask in the glory of the album's success. A song, which is still fresh in everyone's mind, it is indeed a challenge to recreate something like 'Ek Ladki Ko Dekha'. Nitin Shankar succeeds in this endeavor of his as he opens the track with the strings of guitar giving it a new appeal altogether. Even later, the signature tune that accompanies the song is replaced with blanks, guitar strings and piano that take some time to settle down but eventually does. Fourth solo song in succession by Sudesh Bhonsle, one feels yet again that it would have been better if Kumar Sanu's voice would have been kept intact or he could have been approached to make a guest appearance for this very number.
8) Sona Rupa [Joshila, lyrics: Sahir]
After a long gap, Asha Bhonsle comes behind the mike once again with 'Sona Rupa' from the film 'Joshila'. A rhythmic number with a certain flow that is so different from most of the tracks by RD-Asha combo, it is surprising to see that it hasn't found much favor amongst today's remix music directors. It has all the ingredients to make for an exciting remix music video and we are sure that there would be a version coming soon the small screen.
9) Yeh Naina Yaad Hain [Manzil Manzil, lyrics: Majrooh]
This was yet another song from the 80s that had a haunting appeal and brought with it so much of class inspite of belonging to the commercial setting. The song had a 'jungle' setting when it came to music and the same effect is consolidated upon in this version as well. Great rhythm and rendition makes it a good club number and one gets a thought that if a lounge version of the same song hits the market today, it would be a big success.
10) Maine Dil Abhi Diya Nahin [The Train, lyrics: Anand Bakshi]
Towards the end of this twin-CD pack comes yet another lesser known track 'Maine Dil Abhi Diya Nahin' that gives an impression of a cabaret setting. Old fashioned in appeal inspite of current style of musical arrangement being associated with it, this Anand Bakshi number doesn't really match up to the standards of the remaining numbers in the album and doesn't really appeal much.
11) Dum Maro Dum/Piya Tu [Hare Raama Hare Krishna/Caravan, Anand Bakshi/Majrooh]
If there are RD and Asha then there have to be 'Dum Maro Dum' and 'Piya Tu'. Afterall how could an album be complete without two of these classics and hence it is all the more justified when they come together as a combo at the very end of the album. There is an electric feel to the proceedings when the signature tunes of both the numbers are fused to mark the beginning of this track. An apt finale!
Just two word to sum up this album - COLLECTOR'S DELIGHT.
Rating: ****
Wednesday, April 9, 2008
"Yaad Hai Pancham....", Gulzar's new album, 'Chaand Parosa Hai'
"Yaad Hai Pancham....", Gulzar's new album, 'Chaand Parosa Hai'
The track title, Yaad Hai Pancham from the newly released album 'CHAAND PAROSA HAI'.
After listening to Yaad Hai Pancham, my first reaction was simply Vaah!!! Waah!!! kya attempt hai?
Gulzar once again proved his closeness to Pancham.
Back to Yaad Hai Pancham, very nicely crafted composition. I don't really understand urdu/hindi poetry but believe it's pretty difficult to compose verses. Bhupinder did a good job, specially blending Mitali's voice in the middle, brought out that Panchamish-touch. Composition is very suitable to verses, I think.
My only beef is they could've opted for full-orchestra, violins/cello with timpani etc. would've brought out more depth and emotions, specially in the closing section with "Main Akela Hoon Dund Me Pancham"....instead of keyboard and octapad, just imagine full 60+ violins strumming with chello/flute and brass/percussions...hitting with bouncy Timpani..WaaH!! Would've been a spectacular finish...just my opinion.
Leaving you with the idea....This Album with our beloved Pancham-da!!!!
Honestly I can't imagine what a treat that could've been!!!!!!
The track title, Yaad Hai Pancham from the newly released album 'CHAAND PAROSA HAI'.
After listening to Yaad Hai Pancham, my first reaction was simply Vaah!!! Waah!!! kya attempt hai?
Gulzar once again proved his closeness to Pancham.
Back to Yaad Hai Pancham, very nicely crafted composition. I don't really understand urdu/hindi poetry but believe it's pretty difficult to compose verses. Bhupinder did a good job, specially blending Mitali's voice in the middle, brought out that Panchamish-touch. Composition is very suitable to verses, I think.
My only beef is they could've opted for full-orchestra, violins/cello with timpani etc. would've brought out more depth and emotions, specially in the closing section with "Main Akela Hoon Dund Me Pancham"....instead of keyboard and octapad, just imagine full 60+ violins strumming with chello/flute and brass/percussions...hitting with bouncy Timpani..WaaH!! Would've been a spectacular finish...just my opinion.
Leaving you with the idea....This Album with our beloved Pancham-da!!!!
Honestly I can't imagine what a treat that could've been!!!!!!
Thursday, March 27, 2008
Pancham beyond any other music director
This is truly a vivid analysis by our very own Shashi Rao, worth reading...
Shashi,
I have only one thing for you, sincerely
It totally amazes me about the depth of your observation and moreover the ease and simplicity of conveying your findings to the "aam-junta". I'm taking liberty of saving this post for your reference, truly very very well written.
thanks for sharing your thoughts with us.
Here's what Shashi has to say....
1. Firstly let me say that crap is universal - there is no direction to it. There are enough instances of mulch marketed as art in every movie sector - be it Hindi, southie production, Punjabi film or a Chiranjeet's Bangla action thriller.
Now what can an MD do about it. Quite a few things. MDs have refused illogical words, cheap words and even suggested changes. For instance Pancham was hesistant of even making Lata say the word 'badmaashiyon' written by Gulzar. The MD has to willingly participate in the making of an item song. These are experienced music composers (most of them) who know what the output sounds like.
Pancham had only a few instances of sheer desperation - and mostly in the 90s where he agreed for either a 'Main Na Jhooth Bolun' or a 'Step by Step' or 'Dil To Chaahe Hamaara', etc. Even then he has been foolishly candid (foolish - from a self-marketing perspective) to complain about the detierorating words.
An MD can rise above the words if needed. At the same time, an MD can become careless and compose mindlessly.
In Boppi's instance this happened due to his sheer overload of work, his penchant to lift music, his strategy to record 5-8 songs a day. Where is the time to nourish the tunes?
Forget the Padmalaya banner movies, Boppi was lackluster even in his other ventures in the 90s. I like Boppi's earlier works - be it Aap Ki Khaatir, Manokamna, Toote Khilone, Aangan Ki Kali, Lahu Ke Do Rang, etc. Even in the 80s he would still provide one odd good song in movies like Taxi Chor, Laparwah, etc.
However his music compositions degraded wherein his arrangements were half-hearted, his interlude music pieces were completely uninspired.
Many would point to his output for Prakash Mehra. I only see Boppi carrying on KA's tradition with Prakash Mehra. Even there KA far exceeded Boppi in giving the masti-bhara Kishore Kumar numbers.
Pancham on the other hand - his music never suffered. In fact in the 90s you will find him completely adventurous in music arrangement. Take albums like Gunhegar Kaun, Jeene Do, Parinda, Gurudev, Chor Pe Mor, Khule Aam, Siyaasat - he gave mind-blowing music pieces. In fact it almost seemed as if he cared 2 hoots for what people wanted. Only in rare instances did he attempt to compete with the prevalent LP - say in Alag Alag or tried a SJ in Awaara Baap.
Even when he did not have the right resources - as in Anyay Hi Anyay - he still managed to churn out some decent music arrangements. His non-filmi albums Dil Tera Hua or Tera Mera Pyar Jawan are still quite experimental to date. Lots of people complain of it being too electronic - I find this as a different sound he was experimenting with.
Even in the 80s when Pancham was the most overworked - he rarely allowed his quality to suffer. In fact he confidently composed beauties like Zameen Aasmaan, Ram Tere Kitne Naam, Sunny, Andar Bahar, etc. You would not find him reusing his same arrangements - repeating work with the same singers and lyricists.
In fact in the 90s post Rafi and KK - Pancham experimented the most with the singers. Sure many of his attempts backfired. But he did not sit comfortable dependant on Asha and Amit and borrow whatever was succeeding. Instead he was still being innovative with a Sudesh Bhosle, Babla Mehta, Gautam Mukerjee, Kavita, Alka, Jayshree Shivram, etc.
The difference between LP, Boppi, KA and RR on one side - and Pancham on the other is - the amount of compromise a composer would make to be in the rat race. Pancham bemoaned the fact that he did not get enough work - but he NEVER compromised to get work or to succeed. If he made a 'Boliyan Ve Boliiyan' or a 'Seene Mein Shole' or a 'Maine Kaha Tumne Suna' - he made it as per his wishes. If the director tried to impose - as in the case of Oonche Log, Dacait, Indrajeet - the difference is quite apparent. Pancham went overboard to admit his compromise.
I have never ever heard or read either LP or Boppi admit to ripping Mori Kante - I heard them backbite each other on who made a better Jumma Chumma or a Tamma Tamma.
So to return to your point - I do believe Pancham made some compromises - but the instances are so few to dim his creativity. Even if a lyricist gave him a line like 'I am a sexy playboy' or 'Baat Thi Yaar Ek Bair Ki' or 'Sholo Se Garam Ho' or 'Duniya Kii Aabaadi Mein Aayega Zalzala', etc. - he managed to still churn out....dunno why I suddenly remember my friend Dr. Viyakar - the word is aah "humdinger!!!".
2. Ok...I have to admit - out of the Bangla movies you mention - I have only heard Birodh, Kalidas and Purshottam properly. The remaining I am saving - need something to look forward for the next few years. Hence I can comment only on these movies. And let me also admit - I have no clue of the meaning of Bangla lyrics - am language challenged when it comes to Bangla.
However - I can read RD Burman or Rahul Dev Burman in any language. I am still proud of digging out a Kalidas - when 2 of my esteemed and veteran Bengali friends could not.
Anyways - Birodh was a dual language movie - I find both Shatru and Birodh with potential. As far as Pancham is concerned - he rose above even horrible lyrics in Hindi - what was it 'Babuji Dil Doge...Dil Lene Ka Dil Dene Ka Mausam Aa Gaya'. If someone showed this line to Dada Burman - tandav!!!
Purshottam seems to be growing on me day by day - be it the Amit Kumar number or 'Dit Paari' sung by a audibly tired/ailing Pancham.
As for no one remembering any song from these movies, I do not have the details - but I would have these questions:
1. How well was the music marketed?
2. How timely was the movie made and delivered to screen?
3. The fate of the movie
In the 90s most movies stopped having the 25 week silver jubilee runs. Even then...there was always 3-4 movies released every week. In those days the only people who succeeded (read Subhash Ghai, Yash Chopra, the Barjatyas, etc.) were the ones who invested in marketing their product. Then even if you had a weak product like 'Hum Tumhare Hain Kaun' or 'Khalnayak' - you still got attention and limited time adulation.
Imagine if the same amount of effort was spent on a Gurudev or Siyaasat or Rama O Rama - they would've succeeded more than what they received.
The same I believe would apply for Bangla movies. In case of Purshottam I do know that Pancham was closely associated with both Biswajeet and Prasanjeet - so there is no refusing that movie. In fact when I heard it was Prasanjeet's directorial debut - I purchased the VHS of this movie. Alas even though hiis intent was good his narration was muddled and amateurish.
As for your statistics that 90% of times Boppida's associated with his southern remake outputs - well...if we did do an analysis of his assignments in the 80s thru 90s - 90% of his output is/was for those banners.
One more thing - what I hated about his output was - he hardly spent any time composing. Most of the numbers were direct lifts from the original Tamil or Telegu songs. It was like Boppi and Indivar and Arun Paudwal spent time doing timepass in the recording studio.
Pancham - we associate him with so many unique sounds. What was so unique or signature about Boppi in any of these numbers? Actually it was Indivar who shone more than Boppi in these songs - cause one can still recognize his 'Ooi Ooi Garmi Hai Kahan Hai' or 'Pyar Ki Gaadi Tez Chalaao'.
Boppi also composed with veteran wordsmiths like Kaifi Azmi and Amit Khanna - but in the 80s - even his 'Sachche Ka Bol Bala' or 'Ham Rahe Na Hum' sounds like his output for Indivar.
Finally I am not ignoring Boppi's worthy output - in fact I have a list of my own favorites. But none of them I listen for their music arrangement. These are good...some even great songs. But only to listen. Nothing there for me to go "ooh...check out those drum beats" or "wow.....what a riff on guitar" or "omygosh...what is that sound".
Pancham was and is the only music composer - who went on extended vacations during his music pieces - be it interlude or M1/M2/M3 music.
As I had mentioned - I think we have gone beyond Pantera - my last post on this thread. Thanks for being patient to my ramblings.
Shashi
Shashi,
I have only one thing for you, sincerely
It totally amazes me about the depth of your observation and moreover the ease and simplicity of conveying your findings to the "aam-junta". I'm taking liberty of saving this post for your reference, truly very very well written.
thanks for sharing your thoughts with us.
Here's what Shashi has to say....
1. Firstly let me say that crap is universal - there is no direction to it. There are enough instances of mulch marketed as art in every movie sector - be it Hindi, southie production, Punjabi film or a Chiranjeet's Bangla action thriller.
Now what can an MD do about it. Quite a few things. MDs have refused illogical words, cheap words and even suggested changes. For instance Pancham was hesistant of even making Lata say the word 'badmaashiyon' written by Gulzar. The MD has to willingly participate in the making of an item song. These are experienced music composers (most of them) who know what the output sounds like.
Pancham had only a few instances of sheer desperation - and mostly in the 90s where he agreed for either a 'Main Na Jhooth Bolun' or a 'Step by Step' or 'Dil To Chaahe Hamaara', etc. Even then he has been foolishly candid (foolish - from a self-marketing perspective) to complain about the detierorating words.
An MD can rise above the words if needed. At the same time, an MD can become careless and compose mindlessly.
In Boppi's instance this happened due to his sheer overload of work, his penchant to lift music, his strategy to record 5-8 songs a day. Where is the time to nourish the tunes?
Forget the Padmalaya banner movies, Boppi was lackluster even in his other ventures in the 90s. I like Boppi's earlier works - be it Aap Ki Khaatir, Manokamna, Toote Khilone, Aangan Ki Kali, Lahu Ke Do Rang, etc. Even in the 80s he would still provide one odd good song in movies like Taxi Chor, Laparwah, etc.
However his music compositions degraded wherein his arrangements were half-hearted, his interlude music pieces were completely uninspired.
Many would point to his output for Prakash Mehra. I only see Boppi carrying on KA's tradition with Prakash Mehra. Even there KA far exceeded Boppi in giving the masti-bhara Kishore Kumar numbers.
Pancham on the other hand - his music never suffered. In fact in the 90s you will find him completely adventurous in music arrangement. Take albums like Gunhegar Kaun, Jeene Do, Parinda, Gurudev, Chor Pe Mor, Khule Aam, Siyaasat - he gave mind-blowing music pieces. In fact it almost seemed as if he cared 2 hoots for what people wanted. Only in rare instances did he attempt to compete with the prevalent LP - say in Alag Alag or tried a SJ in Awaara Baap.
Even when he did not have the right resources - as in Anyay Hi Anyay - he still managed to churn out some decent music arrangements. His non-filmi albums Dil Tera Hua or Tera Mera Pyar Jawan are still quite experimental to date. Lots of people complain of it being too electronic - I find this as a different sound he was experimenting with.
Even in the 80s when Pancham was the most overworked - he rarely allowed his quality to suffer. In fact he confidently composed beauties like Zameen Aasmaan, Ram Tere Kitne Naam, Sunny, Andar Bahar, etc. You would not find him reusing his same arrangements - repeating work with the same singers and lyricists.
In fact in the 90s post Rafi and KK - Pancham experimented the most with the singers. Sure many of his attempts backfired. But he did not sit comfortable dependant on Asha and Amit and borrow whatever was succeeding. Instead he was still being innovative with a Sudesh Bhosle, Babla Mehta, Gautam Mukerjee, Kavita, Alka, Jayshree Shivram, etc.
The difference between LP, Boppi, KA and RR on one side - and Pancham on the other is - the amount of compromise a composer would make to be in the rat race. Pancham bemoaned the fact that he did not get enough work - but he NEVER compromised to get work or to succeed. If he made a 'Boliyan Ve Boliiyan' or a 'Seene Mein Shole' or a 'Maine Kaha Tumne Suna' - he made it as per his wishes. If the director tried to impose - as in the case of Oonche Log, Dacait, Indrajeet - the difference is quite apparent. Pancham went overboard to admit his compromise.
I have never ever heard or read either LP or Boppi admit to ripping Mori Kante - I heard them backbite each other on who made a better Jumma Chumma or a Tamma Tamma.
So to return to your point - I do believe Pancham made some compromises - but the instances are so few to dim his creativity. Even if a lyricist gave him a line like 'I am a sexy playboy' or 'Baat Thi Yaar Ek Bair Ki' or 'Sholo Se Garam Ho' or 'Duniya Kii Aabaadi Mein Aayega Zalzala', etc. - he managed to still churn out....dunno why I suddenly remember my friend Dr. Viyakar - the word is aah "humdinger!!!".
2. Ok...I have to admit - out of the Bangla movies you mention - I have only heard Birodh, Kalidas and Purshottam properly. The remaining I am saving - need something to look forward for the next few years. Hence I can comment only on these movies. And let me also admit - I have no clue of the meaning of Bangla lyrics - am language challenged when it comes to Bangla.
However - I can read RD Burman or Rahul Dev Burman in any language. I am still proud of digging out a Kalidas - when 2 of my esteemed and veteran Bengali friends could not.
Anyways - Birodh was a dual language movie - I find both Shatru and Birodh with potential. As far as Pancham is concerned - he rose above even horrible lyrics in Hindi - what was it 'Babuji Dil Doge...Dil Lene Ka Dil Dene Ka Mausam Aa Gaya'. If someone showed this line to Dada Burman - tandav!!!
Purshottam seems to be growing on me day by day - be it the Amit Kumar number or 'Dit Paari' sung by a audibly tired/ailing Pancham.
As for no one remembering any song from these movies, I do not have the details - but I would have these questions:
1. How well was the music marketed?
2. How timely was the movie made and delivered to screen?
3. The fate of the movie
In the 90s most movies stopped having the 25 week silver jubilee runs. Even then...there was always 3-4 movies released every week. In those days the only people who succeeded (read Subhash Ghai, Yash Chopra, the Barjatyas, etc.) were the ones who invested in marketing their product. Then even if you had a weak product like 'Hum Tumhare Hain Kaun' or 'Khalnayak' - you still got attention and limited time adulation.
Imagine if the same amount of effort was spent on a Gurudev or Siyaasat or Rama O Rama - they would've succeeded more than what they received.
The same I believe would apply for Bangla movies. In case of Purshottam I do know that Pancham was closely associated with both Biswajeet and Prasanjeet - so there is no refusing that movie. In fact when I heard it was Prasanjeet's directorial debut - I purchased the VHS of this movie. Alas even though hiis intent was good his narration was muddled and amateurish.
As for your statistics that 90% of times Boppida's associated with his southern remake outputs - well...if we did do an analysis of his assignments in the 80s thru 90s - 90% of his output is/was for those banners.
One more thing - what I hated about his output was - he hardly spent any time composing. Most of the numbers were direct lifts from the original Tamil or Telegu songs. It was like Boppi and Indivar and Arun Paudwal spent time doing timepass in the recording studio.
Pancham - we associate him with so many unique sounds. What was so unique or signature about Boppi in any of these numbers? Actually it was Indivar who shone more than Boppi in these songs - cause one can still recognize his 'Ooi Ooi Garmi Hai Kahan Hai' or 'Pyar Ki Gaadi Tez Chalaao'.
Boppi also composed with veteran wordsmiths like Kaifi Azmi and Amit Khanna - but in the 80s - even his 'Sachche Ka Bol Bala' or 'Ham Rahe Na Hum' sounds like his output for Indivar.
Finally I am not ignoring Boppi's worthy output - in fact I have a list of my own favorites. But none of them I listen for their music arrangement. These are good...some even great songs. But only to listen. Nothing there for me to go "ooh...check out those drum beats" or "wow.....what a riff on guitar" or "omygosh...what is that sound".
Pancham was and is the only music composer - who went on extended vacations during his music pieces - be it interlude or M1/M2/M3 music.
As I had mentioned - I think we have gone beyond Pantera - my last post on this thread. Thanks for being patient to my ramblings.
Shashi
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