Thursday, April 10, 2008
Wednesday, April 9, 2008
Madan Mohan
Lata Mangeshkar christened him 'The Emperor Of Ghazals'. She should know because it is in her voice that Madan Mohan created all those masterpieces that set an impossibly high standard for ghazals in films. The irony of the fact is that Madan Mohan couldn't combine class and mass appeal the way an S.D.Burman or Shanker-Jaikishan could. He composed the only way he knew to - with great respect for each of his tunes.
Madan Mohan was the son of Rai Bahadur Chunnilal, one of the big names of the 30's and 40's, and a partner in Bombay Talkies and then Filmistan. Madan Mohan was sent to Dehradun to join the army on the insistence of his father. Once he was posted at Delhi, he quit the Army and went to Lucknow to do what he wanted to do, to join All India Radio. His musical roots strengthened in Lucknow because he came across famous people like Ustad Faiyyaz Khan, Ustad Ali Akbar Khan, Roshan Ara Begum, Begum Akhtar, Siddheshwari Devi, and Talat Mehmood, all renowned names in the field of classical music and ghazal singing. He carried their influence with him always, which was clearly evident by his music compositions in his career, and one of the main reasons why he excelled in aesthetic composition inspite of having no formal training in music.
Madan Mohan came to Bombay in the late 40's, and assisted S. D. Burman and Shyam Sunder for a brief spell, for films being made by filmistan studios. Madan's first big independant break was Aankhen in 1950. After his film 'Aankhen' Madan and Lata became a great team together and Lata sang for almost all his films. Lata Mangeshkar was the last word for him. The sweetness Madan achieved here in Lata Mangeshkar’s voice is something rare in his repertory. It was never enough that there was enough of only Lata in a Madan tune. Lata used to call Madan ‘Ghazal Ka Shehzadaa’. ‘Woh chup rahen to mere dil ke daag jalte hain’ from the film Jahan Ara and ‘Maine rang li aaj chunariya’ from Dulhan Ek Raat Ki are some others of his compositions. He scored for a theme in mime like Chetan Anand's Heer Ranjha.
Madan Mohan made excellent use of voices of Talat Mahmood and Mohd. Rafi as well. His favourite lyricists were Raja Mehndi Ali Khan, Rajendra Krishan, and Kaifi Azmi. Majrooh Sultanpuri and Sahir Ludhianvi also wrote for him for a few films. Madan’s light compositions have the same individualistic quality as his serious songs. What's more none of his contemporaries had the knack of picking the right instruments for the right song. His peerless classicism while tuning a variety of songs like ‘Nainon mien badra chaye’ in Mera Saaya. This song just shows that Madan was never obsessed with the raga, the beauty of his composition lay in the fact that the raga just flowed from his tune just like his mentor C. Ramchandra. ‘Naino mein badra chaye’ is a classic, which with the film Mera Saaya was a classic for Sadhana-Sunil Dutt starter. The filming in Udaypur’s Lake Palace had the classical Rajasthani feeling, and the melody of nature feeling and lyric of the emotional feeling Sunil suffered after losing his wife. Only Madan’s great understanding of the situation in the film had helped him to come up with the great Mera Saaya tunes.
His classicism sprang spontaneously from the station in life to which he belonged. He was one of those men who had to make a thorough study of whatever he took up. Madan Mohan was not just seen merely in the music room. Close sources encountered him ever so often, at a cricket match, a badminton match, a Tennis match. And they were not allowed to discuss music when they met. To ones utter disbelief Madan could discuss the finer points of cricket. Tennis and badminton with the same precision as the finer points of Lata's vocals. Madan Mohan had a finely honed mind. And that not only on music. He was a man of taste in every sense of the word.
Madan Mohan was totally different from the Punjab school of composers dominating Hindi film Music in the late l94O and early 195O's. Even O.P. Naiyyar, for all his sheen of modernity displayed traces of his Punjabi roots but not once could you scent the 'dehati’ Punjabi at work in a Madan Mohan composition. The Punjab school produced some of the finest music in our films. But always you got the impression that it was music literally rooted in the Punjab soil. Here is where Madan Mohan was diametrically different. He was the artistic aristocrat at work. The son of Rai Bahadur Chuni Laal, the Filmistan chief, at work. Madan Mohan's best music belonged to the drawing room that is why Madan had problems consistently equating with the masses. He was essentially a composer for the classes.
Every composer had a favorite raga, Madan had none. Look at the flair and imagination with which he scored for a theme in mime like Chetan Anand's Heer Ranjha. Sachin Dev Burman paid Madan Mohan the ultimate tribute; ‘ I could not have scored Heer Ranjha with half the felicity Madan Mohan did.’ Madan Mohan was still a struggling composer when he created his masterly tunes. And it is when you are struggling that you really create. Later, at least in the l970's, one felt Madan became rather stylized. In other words, he was, composing to live up to his reputation as the ‘Ghazal King’, which cramped his style in the matter of being a freewheeler composer, - a must for films.
He died on July 14th, in the year 1975. He did not live to see the success of two of his very big hits 'Mausam' and 'Laila Majnu'. Most Popular films of Madan Mohan are 'Ashiyana, Madhosh, Baghi, Bhai Bhai, Mastane, Gateway Of India, Dekh Kabeera Roya, Adalat, Chacha Zindabad, Manmauji, Sanjog, Woh Kaun Thi, Jahan Ara, Ghazal, Sharabi, Mera Saaya, Neela Akash, Ek Kali Muskayi, Chirag, Dastak, Heer Ranjha, Haste Zakhma, Mausam, etc.
Madan Mohan was the son of Rai Bahadur Chunnilal, one of the big names of the 30's and 40's, and a partner in Bombay Talkies and then Filmistan. Madan Mohan was sent to Dehradun to join the army on the insistence of his father. Once he was posted at Delhi, he quit the Army and went to Lucknow to do what he wanted to do, to join All India Radio. His musical roots strengthened in Lucknow because he came across famous people like Ustad Faiyyaz Khan, Ustad Ali Akbar Khan, Roshan Ara Begum, Begum Akhtar, Siddheshwari Devi, and Talat Mehmood, all renowned names in the field of classical music and ghazal singing. He carried their influence with him always, which was clearly evident by his music compositions in his career, and one of the main reasons why he excelled in aesthetic composition inspite of having no formal training in music.
Madan Mohan came to Bombay in the late 40's, and assisted S. D. Burman and Shyam Sunder for a brief spell, for films being made by filmistan studios. Madan's first big independant break was Aankhen in 1950. After his film 'Aankhen' Madan and Lata became a great team together and Lata sang for almost all his films. Lata Mangeshkar was the last word for him. The sweetness Madan achieved here in Lata Mangeshkar’s voice is something rare in his repertory. It was never enough that there was enough of only Lata in a Madan tune. Lata used to call Madan ‘Ghazal Ka Shehzadaa’. ‘Woh chup rahen to mere dil ke daag jalte hain’ from the film Jahan Ara and ‘Maine rang li aaj chunariya’ from Dulhan Ek Raat Ki are some others of his compositions. He scored for a theme in mime like Chetan Anand's Heer Ranjha.
Madan Mohan made excellent use of voices of Talat Mahmood and Mohd. Rafi as well. His favourite lyricists were Raja Mehndi Ali Khan, Rajendra Krishan, and Kaifi Azmi. Majrooh Sultanpuri and Sahir Ludhianvi also wrote for him for a few films. Madan’s light compositions have the same individualistic quality as his serious songs. What's more none of his contemporaries had the knack of picking the right instruments for the right song. His peerless classicism while tuning a variety of songs like ‘Nainon mien badra chaye’ in Mera Saaya. This song just shows that Madan was never obsessed with the raga, the beauty of his composition lay in the fact that the raga just flowed from his tune just like his mentor C. Ramchandra. ‘Naino mein badra chaye’ is a classic, which with the film Mera Saaya was a classic for Sadhana-Sunil Dutt starter. The filming in Udaypur’s Lake Palace had the classical Rajasthani feeling, and the melody of nature feeling and lyric of the emotional feeling Sunil suffered after losing his wife. Only Madan’s great understanding of the situation in the film had helped him to come up with the great Mera Saaya tunes.
His classicism sprang spontaneously from the station in life to which he belonged. He was one of those men who had to make a thorough study of whatever he took up. Madan Mohan was not just seen merely in the music room. Close sources encountered him ever so often, at a cricket match, a badminton match, a Tennis match. And they were not allowed to discuss music when they met. To ones utter disbelief Madan could discuss the finer points of cricket. Tennis and badminton with the same precision as the finer points of Lata's vocals. Madan Mohan had a finely honed mind. And that not only on music. He was a man of taste in every sense of the word.
Madan Mohan was totally different from the Punjab school of composers dominating Hindi film Music in the late l94O and early 195O's. Even O.P. Naiyyar, for all his sheen of modernity displayed traces of his Punjabi roots but not once could you scent the 'dehati’ Punjabi at work in a Madan Mohan composition. The Punjab school produced some of the finest music in our films. But always you got the impression that it was music literally rooted in the Punjab soil. Here is where Madan Mohan was diametrically different. He was the artistic aristocrat at work. The son of Rai Bahadur Chuni Laal, the Filmistan chief, at work. Madan Mohan's best music belonged to the drawing room that is why Madan had problems consistently equating with the masses. He was essentially a composer for the classes.
Every composer had a favorite raga, Madan had none. Look at the flair and imagination with which he scored for a theme in mime like Chetan Anand's Heer Ranjha. Sachin Dev Burman paid Madan Mohan the ultimate tribute; ‘ I could not have scored Heer Ranjha with half the felicity Madan Mohan did.’ Madan Mohan was still a struggling composer when he created his masterly tunes. And it is when you are struggling that you really create. Later, at least in the l970's, one felt Madan became rather stylized. In other words, he was, composing to live up to his reputation as the ‘Ghazal King’, which cramped his style in the matter of being a freewheeler composer, - a must for films.
He died on July 14th, in the year 1975. He did not live to see the success of two of his very big hits 'Mausam' and 'Laila Majnu'. Most Popular films of Madan Mohan are 'Ashiyana, Madhosh, Baghi, Bhai Bhai, Mastane, Gateway Of India, Dekh Kabeera Roya, Adalat, Chacha Zindabad, Manmauji, Sanjog, Woh Kaun Thi, Jahan Ara, Ghazal, Sharabi, Mera Saaya, Neela Akash, Ek Kali Muskayi, Chirag, Dastak, Heer Ranjha, Haste Zakhma, Mausam, etc.
Vasant Desai
Vasant Desai was the composer who could easily pivot the various situations of life around his simple and classy tunes. He was a man of great musical insight. He could easily grasp the situations and put them successfully in his songs. Who can forget his composition, 'Aei Maalik Tere Bande Ham..', in fact, Punjab govt. declared it as a part of morning prayers in their schools.
Vasant Desai was born in 1914. In his early days, he used to act in silent films. Prabhat's Khooni Khanjar (1930) was his first film as an actor. He also used to sing songs in films. He sang his first song, 'Jay Jay Rajadhiraaj..' in Ayodhaya Ka Raja (1932). In 1934, he sang a popular 'Kajri', 'Barsan Laagi..' in Amrit Manthan. He sang many songs in those times in various films. But that was not his destiny, his career took a turn with 1939's Aadmi. He could not managed to get the role of Hero in the film, so gave up acting and started his training in music, under Ustaad Aalam Khan and Ustaad Inaayat Khan.
He became an assistant of music director Govind Rao Tembe. He did Our India, Monsoon, Amar Bhoopali, Shobha Aankh Ki Sharam and Mauj with him as an assistant. He got his first opportunity in 1943 to work independently for Shantarm's Shakuntala. The film was a major hit of those times. It ran for 104 weeks. After Shakuntala's overwhelming success, Vansat Desai became a part of V. Shanatram's Rajkamal Studio. He gave unforgettable music for Shantaram's Do Aankhen Barah Haath and Jhanak Jhanak Paayal Baaje. He became very popular in his early career as a music director. He composed music for 14 films in the 1940's. Parvat Pe Apna Dera (1944), Subhadra (1946), Jivan Yatra (1946), Dr. Kotnis Ki Amar Kahani (1946), Matwala Shaayar Raam Joshi (1947), Uddhar (1949) were some of his popular films.
In 1955, 1956 and 1957, Rajkamal's Jhanak Jhanak Paayal Baaje, Toofan Aur Diya, Do Aankhen Baarah Haath, got released. Desai worked very hard for the music of these films. He gave all sort of music in these films, successfully. He used pure classical, folk and thematical music perfectly for these films. Jhanak Jhanak Payal Baaje was purely based on dance
Vasant Desai was born in 1914. In his early days, he used to act in silent films. Prabhat's Khooni Khanjar (1930) was his first film as an actor. He also used to sing songs in films. He sang his first song, 'Jay Jay Rajadhiraaj..' in Ayodhaya Ka Raja (1932). In 1934, he sang a popular 'Kajri', 'Barsan Laagi..' in Amrit Manthan. He sang many songs in those times in various films. But that was not his destiny, his career took a turn with 1939's Aadmi. He could not managed to get the role of Hero in the film, so gave up acting and started his training in music, under Ustaad Aalam Khan and Ustaad Inaayat Khan.
He became an assistant of music director Govind Rao Tembe. He did Our India, Monsoon, Amar Bhoopali, Shobha Aankh Ki Sharam and Mauj with him as an assistant. He got his first opportunity in 1943 to work independently for Shantarm's Shakuntala. The film was a major hit of those times. It ran for 104 weeks. After Shakuntala's overwhelming success, Vansat Desai became a part of V. Shanatram's Rajkamal Studio. He gave unforgettable music for Shantaram's Do Aankhen Barah Haath and Jhanak Jhanak Paayal Baaje. He became very popular in his early career as a music director. He composed music for 14 films in the 1940's. Parvat Pe Apna Dera (1944), Subhadra (1946), Jivan Yatra (1946), Dr. Kotnis Ki Amar Kahani (1946), Matwala Shaayar Raam Joshi (1947), Uddhar (1949) were some of his popular films.
In 1955, 1956 and 1957, Rajkamal's Jhanak Jhanak Paayal Baaje, Toofan Aur Diya, Do Aankhen Baarah Haath, got released. Desai worked very hard for the music of these films. He gave all sort of music in these films, successfully. He used pure classical, folk and thematical music perfectly for these films. Jhanak Jhanak Payal Baaje was purely based on dance
Tuesday, April 8, 2008
S D Burman
Birth: October 10th, 1906
Birthplace: Tripura
Profession: Music Director, Bollywood.
Death: October 31st 1975
Sachin Dev Burman was born October 10, 1906 to Nabadwip Chandra Dev Burman in Tripura. His father himself was a sitarist and Dhrupad singer.He was trained by his father and later on by Ustad Badal Khan and Bhishmadev Chattopadhyay. Sachin left home after he came to know about his brother's evil interests against him.He wandered for years in the forests of Assam and Tripura from where he gained his formidable knowledge and rich repertoire of the rich folk of that region and Bengal.
Later SD became a disciple of Ustad Aftabuddin Khan, becoming an ace flautist, and started his own music school, ‘Sur Mandir’ in Calcutta in the 1930’s. He made a reputation in Bengal as a folk singer and light classical music and learnt more under the illustrious K. C. Dey (Manna Dey’s uncle) .
His first film as a singer was Panjak Mullick Atorthy's Yahudi Ki Ladki (1933) but the songs were scrapped and re-sung by Pahadi Sanyal. But then he got another break in Tinkari Chakravarty's Sanjher Pidim (1935). SD sang in the Calcutta - made Hindi film Seeta (1934). He also scored music for Rajkumar Nirshoney, a Bengali film, in 1940.Very few are aware of his acting skills.He also acted in Dhiren Gangoly's Bidrohi released in 1935.In year 1939 he started working as an music Director in Calcutta.
His compositions are highly influenced by folk-tunes from the Bengali Bhatiali, Sari and Dhamail traditions of the North East. As a singer.His thin but powerful voice was often used as a bardic commentary in Wahan Kaun Hai Tera Musafir number from Guide, Safal Hogi Teri Aradhana in the hit movie Aradhana.
He moved to Mumbai in 1940 – 41, sang in Taj Mahal (1941) and assisted Dey till his independent debut as composer with Eight Days and Shikari in 1946. SD has worked with Filmistan (Eight Days, Shabnam), Navketan (Afsar, Taxi Driver, Funtoosh, Guide) and for Guru Dutt (Baazi, Jaal, Pyaasa, Kagaz Ke Phool). He also scored music for films like Dil Ki Rani, Pyar and Do Bhai in the 1940’s and with Do Bhai he bagged his first hit ‘Mera Sundar Sapna Beet Gaya’. SD remained the key composer for Dev Anand for several years (Paying Guest, Tere Ghar Ke Saamne, Jewel Thief, Prem Pujari). Also worked on films for Bimal Roy (Devdas, Sujata, Bandini).
Disliking the sheer commercial nature of the Mumbai film industry Dada (as lovingly called ) decided to quit mid – way through Mashaal (1950) and return to Calcutta. From the same film ‘Upar Gagan Vishal’ song established Manna Dey as a singer.Dev Anand built a good rapport with SD and launched his own banner Navketan. Followed Baazi(1951) that was a hit, Jaal (1952) ,Bahar and Ladki that clinched Dada’s success story.
S D Burman continued to enthrall audiences with Indian music in films. He had an astounding string of hits in the early 1970s like Sharmilee, Anuraag, Naya Zamana, Abhimaan, Jugnu and Prem Nagar.His career never flagged till 1974 when he quit signing films from ill – health. He died on 31st October 1975 not before writing an auto-biography named Sargamer Nikhaad.
Awards And Honors:
Award Song-Movie
Filmfare Award - 1954 Taxi Driver
Filmfare Award - 1973 Abhimaan
Best Of S D Burman:
Song Movie
Teri bindiya re Abhimaan
Meet Na Mila Re Manka Abhimaan
Tere Mere Milan Ki Ye Raina Abhimaan
Mere Sapnon Ki Rani Aradhana
Roop Tera Mastana Aradhana
Chanda Hai Tu Aradhana
Gunguna Rahe Hain Bhanvre Aradhana
Kora Kagaz Tha Aradhana
Yeh Raat Yeh Chandni Jaal
Gaata Rahe Mera Dil Guide
Piya tose naina lage re Guide
Kaanto se kheench ke ye aanchal Guide
Piya tose naina lage re Guide
Din Dhal Jaaye Guide
Ek Ladki Bhighi Bhagi Si Chalti Ka Naam Gaadi
Haal Kaisa Hai Janab Ka Chalti Ka Naam Gaadi
Birthplace: Tripura
Profession: Music Director, Bollywood.
Death: October 31st 1975
Sachin Dev Burman was born October 10, 1906 to Nabadwip Chandra Dev Burman in Tripura. His father himself was a sitarist and Dhrupad singer.He was trained by his father and later on by Ustad Badal Khan and Bhishmadev Chattopadhyay. Sachin left home after he came to know about his brother's evil interests against him.He wandered for years in the forests of Assam and Tripura from where he gained his formidable knowledge and rich repertoire of the rich folk of that region and Bengal.
Later SD became a disciple of Ustad Aftabuddin Khan, becoming an ace flautist, and started his own music school, ‘Sur Mandir’ in Calcutta in the 1930’s. He made a reputation in Bengal as a folk singer and light classical music and learnt more under the illustrious K. C. Dey (Manna Dey’s uncle) .
His first film as a singer was Panjak Mullick Atorthy's Yahudi Ki Ladki (1933) but the songs were scrapped and re-sung by Pahadi Sanyal. But then he got another break in Tinkari Chakravarty's Sanjher Pidim (1935). SD sang in the Calcutta - made Hindi film Seeta (1934). He also scored music for Rajkumar Nirshoney, a Bengali film, in 1940.Very few are aware of his acting skills.He also acted in Dhiren Gangoly's Bidrohi released in 1935.In year 1939 he started working as an music Director in Calcutta.
His compositions are highly influenced by folk-tunes from the Bengali Bhatiali, Sari and Dhamail traditions of the North East. As a singer.His thin but powerful voice was often used as a bardic commentary in Wahan Kaun Hai Tera Musafir number from Guide, Safal Hogi Teri Aradhana in the hit movie Aradhana.
He moved to Mumbai in 1940 – 41, sang in Taj Mahal (1941) and assisted Dey till his independent debut as composer with Eight Days and Shikari in 1946. SD has worked with Filmistan (Eight Days, Shabnam), Navketan (Afsar, Taxi Driver, Funtoosh, Guide) and for Guru Dutt (Baazi, Jaal, Pyaasa, Kagaz Ke Phool). He also scored music for films like Dil Ki Rani, Pyar and Do Bhai in the 1940’s and with Do Bhai he bagged his first hit ‘Mera Sundar Sapna Beet Gaya’. SD remained the key composer for Dev Anand for several years (Paying Guest, Tere Ghar Ke Saamne, Jewel Thief, Prem Pujari). Also worked on films for Bimal Roy (Devdas, Sujata, Bandini).
Disliking the sheer commercial nature of the Mumbai film industry Dada (as lovingly called ) decided to quit mid – way through Mashaal (1950) and return to Calcutta. From the same film ‘Upar Gagan Vishal’ song established Manna Dey as a singer.Dev Anand built a good rapport with SD and launched his own banner Navketan. Followed Baazi(1951) that was a hit, Jaal (1952) ,Bahar and Ladki that clinched Dada’s success story.
S D Burman continued to enthrall audiences with Indian music in films. He had an astounding string of hits in the early 1970s like Sharmilee, Anuraag, Naya Zamana, Abhimaan, Jugnu and Prem Nagar.His career never flagged till 1974 when he quit signing films from ill – health. He died on 31st October 1975 not before writing an auto-biography named Sargamer Nikhaad.
Awards And Honors:
Award Song-Movie
Filmfare Award - 1954 Taxi Driver
Filmfare Award - 1973 Abhimaan
Best Of S D Burman:
Song Movie
Teri bindiya re Abhimaan
Meet Na Mila Re Manka Abhimaan
Tere Mere Milan Ki Ye Raina Abhimaan
Mere Sapnon Ki Rani Aradhana
Roop Tera Mastana Aradhana
Chanda Hai Tu Aradhana
Gunguna Rahe Hain Bhanvre Aradhana
Kora Kagaz Tha Aradhana
Yeh Raat Yeh Chandni Jaal
Gaata Rahe Mera Dil Guide
Piya tose naina lage re Guide
Kaanto se kheench ke ye aanchal Guide
Piya tose naina lage re Guide
Din Dhal Jaaye Guide
Ek Ladki Bhighi Bhagi Si Chalti Ka Naam Gaadi
Haal Kaisa Hai Janab Ka Chalti Ka Naam Gaadi
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