Khayyam

4) Dil-E-Nadan - 1982
3) Dard - 31-7-1981
2) Thodi Si Bewafai - 13-6-1980
1) Aakhri Khat - 1967

Salil Chowdhary

Profession: Music Director, Bollywood.

He was Lata Mangeshkar's favourite music director, the other being Madan Mohan. He is one the greatest musicians ever in India.

Salil Chowdhary's first Hindi score was 'Aa Ri Aa Nindiya' from Do Bigha Zameen (1953).This was a very difficult number. There was no breathing space between the lines. Salilda recorded two versions of the song, one with no orchestra. He wanted to create the feeling of solitude as Meena Kumari sat singing all by herself.

In the year 1958 film Madumati was released and its compositions were beautiful reflecting Salil's talent and Lata's sweet voice . One of the compositions is 'Aaja Re Pardesi' .This song won Lataji her first Filmfare award.
The then great singers like Kishore Kumar , Mukesh , Lata Mangeshkar lent their voice to Salil Choudhary's compositions creating history making melodies.

Lata Mangeshkar remembers that once when Bimal Roy persuaded Salil da to sing a complex Bengali song. Salil Chowdhary obliged and was alarmed to find that young Lata had fainted. She confesses, 'While listening to the song, I was overcome. I couldn't control myself'.

In his bright career Salil has done films Do Bigha Zameen(1953), Jagte Raho(1956), Half Ticket (1962), Anand (1970), Mere Jeevan Saathi (1972) , Choti Si baat (1975)and more...

Best Of Salil Choudhary:
Song Movie
Jaago Mohan Pyaare Jagte Raho
Kahin Door Jab Din Dhal Jaye Anand
Zindagi, kaisi hai paheli Anand
Hum Dono Jagte Raho
Door Bahut Aabadi Se Isq Ki Jhoola
Suhana Safar Aur Ye Mausam Hansi Madhumati




MOVIES :

1) Anand - 1971
2) Ittefaq - 1969

Kalyanji Anandji

Birth: Kalyanji (1928) , Anandji (1933)
Profession: Music Director, Bollywood.
Death: Kalyanji(August 24, 2000.

Kalyanji and Anandji have been on a consistently successful career.Their approach to music was more like a hobby than a profession.Very down to earth , and seldom self-centred or egoistic they tasted success like all along their career.

Kalyanji (d.o.b-1928) and Anandji (d.o.b-1933) were born to Virji Shah. Their father migrated from Kutch to Mumbai to start a Kirana (provision store) business.Kalyanji and Anandji began to learn music from a music teacher who could not afford to pay his bills to their father.One of their four grand parents was a folk musician of some eminence.They spent most of their formative years in Girgaum, amidst Marathi and Gujarati environs and some really eminent musical talent that resided in the vicinity. Behind their success were so many factors, but father's contribution was immense, who injected such a great value within their mind. Although his father was uneducated but wise indeed who made the thing different.

Kalyanji began an orchestral group called Kalyanji Virji and Party - Show Ki Duniya, which organized musical, shows in Mumbai and outside. Through his contacts he had also become a film musician. Top singers like Manna Dey and Hemant Kumar would participate in them. Both Kalyanji and Anandji were assistants to Hemant Kumar who was their mentor.

Kalyanji Anandji's arrival at Bombay film industry as music composer was a turning point. When Big- Big stars like S.D Burman, Hemant Kumar,Madan Mohan, Noushad, and Ravi are composing music in Hindi films, and that time was the golden time of film music, it was very tough to make a place among them. Still they came, and won the heart and mind of Indian people. And in future also, the music director duo will go on soothing our heart with their never-aging music. We can not forget them any how.

The Bharat Bhushan - Nirupa Roy hit, Samrat Chandragupta (1959) was his first film as Kalyanji Virji Shah. It’s songs like ‘Chahe Paas Ho’ (Lata - Rafi) are remembered to this day. Followed a few more films alone like Post Box 999 before Anandji who was assisting him, joined him officially to form the Kalyanji - Anandji duo in Satta Bazar and Madari (1959). Chalia (1961) was their earliest major hit. But the Raj Kapoor factor branded them as pale imitators of Shankar - Jaikishan even as ‘Dum Dum Diga Diga’, Chalia Mera Naam”, and ‘Mere Toote Hue Dil Se’ swept the charts. Their struggle continued till 1965 when two decisive scores, 1000 Himalay Ki God Mein and Jab Jab Phool Khile, established them as composers to reckon with.

Kalyanji-Anandji's variety-studded music is replete with some of the topmost songs of all singers and genres, and two of their cult songs are Mere desh ki dharti (Upkar) and Yaari hai imaan mera (Zanjeer) by Mahendra Kapoor and Manna Dey respectively. There was a line of big hits like 'Zanjeer', 'Hath Ki Safai', 'Hera Pheri', 'Muqaddar Ka Sikandar', and behind the success of these films Kalyanji Anandji's music had a great contribution.

Mukesh has sung 91 songs for Kalyanji Anandji, which is more than for anyone else. Beginning with Naina hai jadoo bhare (Bedard Zamana Kya Jaane), he sang a virtual hit parade of solos and duets for us, besides some evergreen Gujarati numbers and a timeless Jain bhajan. We always tried to compose songs with syllables that heightened the appeal of his nasal voice, like Chandan sa badan (Saraswati Chandra) and Main to ek khwab hoon (Himalay Ki God Mein). He was also our first choice for fresh faces and small artistes, for his presence guaranteed a hit.


After Mukesh, their closest rapport was with Kishore Kumar, and their joint oeuvre spans everything from fun songs (Jai Govindam jai Gopalam from Aansoo Aur Muskan) to folk (Khaike paan from Don), classical (Priye praneshwari from Hum Tum Aur Woh), romantic (Pal pal dil ke paas from Blackmail) to pathos-filled paeans (Mera jeevan kora kagaz from Kora Kagaz). Also their favorite was Mohammed Rafi, whom Anandji remembers as "a versatile, technically perfect singer who was devoted to work and to perfection.

Hemant Kumar helped tone their talents as well, and Anandji is happy that the few songs that Hemantda did sing for them, like O neend na mujhko aaye (Post Box 999) and Tumhein yaad hoga (Satta Bazaar), were hits. They also helped introduce or give career defining breaks to lyricists like Anand Bakshi, Gulshan Bawra, Anjaan, Verma Malik and M G Hashmat, they held them all in high esteem as invaluable contributors to their music, along with Rajendra Krishan, Indeevar and Qamar Jalalabadi, all veterans.

The rapport that Kalyanji and Anandji struck with every singer was as much personal as professional. Lata Mangeshkarwas a regular at Kalyanji's place for Kutchi home-cooked food, and Asha Bhosle who would frequently invite them over. Himalaya Ki God Mein, Saraswatichandra, Kora Kagaz, were dominated by Lata Mangeshkar as she sang beautifully in these films and she bagged her first National Award for their Roothe roothe piya from Kora Kagaz. In the late 1970s O Asha Bhosle did hit numbers with them 'saathi re tere bina bhi kya jeena' from Muqaddar Ka Sikander and 'Yeh mera dil' from Don .

Both Kalyanji and Anandji worked as musicians for over 400 films. The factor behind their success is hard work apart from their talent. They were never self-centered, and egoistic in nature. The spiritually inclined two brothers opened up a new horizon in Bollywood. As they used to put back a major portion of what they earned for society and several charitable work. Another quality to be mentioned is that they were tireless in discovering new talents and grooming them as well. Kumar Sanu now became a very popular singer, first got break from Kalyanji Anandji.

On August 24, 2000, Kalyanji breathed his last but his era with Anandji will always be remembered for their great contributions.

Awards And Honors:
Award Song-Movie
Filmfare Award - 1974 Kora Kagaz
Filmfare Award - 1968 Saraswati Chandra
Best Of Kalyanji-Anandji :
Song Movie

Mera Jeevan Kora Kagaz Kora Kagaz
Chandan sa badan Saraswati Chandra
Fool tumhe bheja hai khat main Saraswati Chandra
Yaari hai meri imaan Zanjeer
Khaaike Paan Banaaras Wala Don
Yeh mera dil yaar ka deewana Don
Laila O Laila Qurbani
Aap Jaisa Koi Meri Zindagi Mein Aaye Qurbani
Dum Dum Diga Diga Chhaliya
Kasme waade pyaar wafaa sab Upkaar
Mere desh ki dharti Upkaar
Zindagi Ka Safar Hai Ye Kaisa Safar Safar
Jeevan Se Bhari Teri Aankhen Safar
Jo Tumko Ho Pasand Wahi Baat Karenge Safar



MOVIES :

1) Raaz - 1967
2) Bandhan - 1969
3) Sachcha Jhoota - 1970
4) Safar - 1970
5) Chhoti Bahu - 1971
6) Maryada - 1971
7) Joru Ka Ghulam - 1972
8) Maalik - 1972

Ravi Shankar

MOVIES :

1) Aurat - 1967
2) Doli - 1969
3) Awaam - 1987

Rahul Dev Burman

Rahul Dev Burman (Bengali pronunciation: [Rahul Deb Bôrmon]; 27 June 1939 – 4 January 1994) was an Indian film score composer, who is considered one of the seminal directors of the Indian film industry. Nicknamed Pancham, he was the only son of the composer Sachin Dev Burman.

From the 1960s to the 1990s, Burman composed musical scores for 331 films. He was mainly active in the Hindi film industry as a composer, and also provided vocals for a few of compositions. Burman did major work with Asha Bhosle (his wife) and Kishore Kumar, and scored many of the songs that made these singers famous. He also scored many songs sung by Lata Mangeshkar. He served as an influence to the next generation of Indian music directors, and his songs continue to be popular in India.

Burman was born to the Bollywood composer/singer Sachin Dev Burman and his lyricist wife Meera Dev Burman (née Dasgupta), in Calcutta. Initially, he was nicknamed Tublu by his maternal grandmother although he later became known by the nickname of Pancham. According to some stories, he was nicknamed as Pancham because, as a child, whenever he cried, it sounded in the fifth note (Pa), G scale, of music notation. The word Pancham means five (or fifth) in Bengali, his mother tongue. Another theory says that the baby was nicknamed Pancham because he could cry in five different notes. Yet another version is that when the veteran Indian actor Ashok Kumar saw a newborn Rahul uttering the syllable Pa repeatedly, he nicknamed the boy Pancham.

Burman received his early education in West Bengal. His father S. D. Burman was a noted music director in Bollywood, the Mumbai-based Hindi film industry. When he was nine years old, R. D. Burman composed his first song, Aye meri topi palat ke aa, which his father used in the film Funtoosh (1956). The tune of the song Sar jo tera chakraaye was also composed by him as a child; his father included it in the soundtrack of Guru Dutt's Pyaasa (1957).

In Mumbai, Burman was trained by Ustad Ali Akbar Khan (sarod) and Samta Prasad (tabla). He also considered Salil Chowdhury as his guru. He served as an assistant to his father, and often played harmonica in his orchestras.

Some of the notable films in which Burman is credited as the music assistant include Chalti Ka Naam Gaadi (1958), Kaagaz Ke Phool (1959), Tere Ghar Ke Samne (1963), Bandini (1963), Ziddi (1964), Guide (1965) and Teen Devian (1965). Burman also played mouth organ for his father's hit composition Hai Apna Dil To Aawara which was featured in the film Solva Saal (1958).

In 1959, Burman signed up as a music director for the film Raaz, directed by Guru Dutt's assistant Niranjan. However, the film was never completed. The lyrics of this Guru Dutt and Waheeda Rehman-starrer film were written by Shailendra. Burman recorded two songs for the film, before it was shelved. The first song was sung by Geeta Dutt and Asha Bhosle, and the second one had vocals by Shamshad Begum.

Burman's first released film as an independent music director was Chhote Nawab (1961). When the noted Bollywood comedian Mehmood decided to produce Chhote Nawab, he first approached Burman's father Sachin Dev Burman for the music. However, S. D. Burman declined the offer, advising he was unavailable. At this meeting, Mehmood noticed Rahul playing tabla, and signed him as the music director for Chhote Nawab. Burman later developed a close association with Mehmood, and made a cameo in Mehmood's Bhoot Bangla (1965).

Burman's first hit film as a film music director was Teesri Manzil (1966). Burman gave credit to lyricist Majrooh Sultanpuri for recommending him to Nasir Hussain, the producer and writer of the film. Vijay Anand also said that he had arranged a music session for Burman before Nasir Hussain. Teesri Manzil had six songs, all of which were written by Majrooh Sultanpuri, and sung by Mohammed Rafi. Four of these were duets with Asha Bhosle, whom Burman later married. Nasir Hussain went on to sign Burman and lyricist Majrooh Sultanpuri for six of his films including Baharon Ke Sapne (1967), Pyar Ka Mausam (1969) and Yaadon Ki Baaraat (1973). Burman's score for Padosan (1968) was well received. Meanwhile, he continued to work as his father's assistant for films including Jewel Thief (1967) and Prem Pujari (1970).

The hit Kishore Kumar song Mere Sapnon ki Raani from Aradhana (1969), though credited to his father, is rumoured to have been Burman's composition. Kora Kagaz tha Yeh Man Mera from the same film was also his tune. It is believed that when S. D. Burman fell ill during the recording of the film's music, Burman took over and completed the music. He was credited as an associate composer for the film.

Burman's first wife was Rita Patel, whom he had met in Darjeeling. Rita, a fan, had bet her friends that she would be able to get a film-date with Burman. The two married in 1966, and divorced in 1971. The song Musafir Hoon Yaaron ("I'm a Traveller") from Parichay (1972) was composed by him, when he was at a hotel after the separation.

Burman married Asha Bhosle in 1980. Together, they recorded many hit songs and also staged many live performances. Although, towards the end of his life, they did not live together. Burman had financial difficulties, particularly later in his life. His mother Meera died in 2007, thirteen years after his death. She had been suffering from Alzheimer's even before her son's death. Just before her death she had been moved to an old age home, and moved back to her son's residence after the issue became a controversy.

In the 1970s, Burman became highly popular with the Kishore Kumar songs in Rajesh Khanna-starrer films. Kati Patang (1970), a musical hit, was the beginning of a series of the 1970s films directed by Shakti Samanta of Aradhana fame. Its songs Yeh Shaam Mastani and Yeh Jo Mohabbat Hai, sung by Kishore Kumar, became instant hits. Apart from Kishore Kumar, Burman also composed several of the popular songs sung by Mohammed Rafi, Asha Bhosle and Lata Mangeshkar.

In 1970, Burman composed the music for Dev Anand's Hare Rama Hare Krishna (1971). The Asha Bhosle song Dum Maro Dum from this film proved to be a seminal rock number in the Hindi film music. The filmmaker Dev Anand did not include the complete version of Dum Maro Dum in the film, because he was worried that the song would overshadow the film. In the same year, Burman composed the music for Amar Prem. The Lata Mangeshkar song Raina Beeti Jaaye from this soundtrack is regarded as a classical music gem in Hindi film music. Burman's other hits in 1971 included the romantic song "Raat kali ek khwab mein" from Buddha Mil Gaya and the Helen-starrer cabaret song "Piya Tu Ab To Aaja" from Caravan. He received his first Filmfare Award nomination for Caravan.

In 1972, Burman composed hit music for several films including Seeta aur Geeta, Rampur ka Lakshman, Mere jeevan saathi, Bombay to Goa, Apna Desh and Parichay. His success continued with hits such as Yaadon Ki Baaraat (1973), Aap ki Kasam (1974), Sholay (1975) and Aandhi (1975). He also composed a song for a small documentary film called Maa Ki Pukaar, in 1975. After his father S. D. Burman went into coma, Burman also completed the music of Mili (1975).

Mohammed Rafi received the National Film Award for Best Male Playback Singer for the song Kya Hua Tera Wada from Hum Kisise Kum Naheen (1977), composed by Burman. He continued to compose several popular songs for films such as Kasme Vaade (1978), Ghar (1978), Gol Maal (1979), Khubsoorat (1980). He received his first Filmfare Best Music Director Award for Sanam Teri Kasam (1981). In 1981, he also composed hit music for Rocky, Satte Pe Satta and Love Story.

The playback singer Kumar Sanu was given his first break by Burman in Yeh Desh (1984) as voice of Kamal Haasan. Abhijeet was given his major break by Burman in Anand Aur Anand (1984). Although he made his debut a long time ago, Hariharan was first noticed in a duet with Kavita Krishnamurthy in Hai Mubarak Aaj ka Din from Boxer (1984), which was composed by Burman. In 1985, Mohammed Aziz, made his debut with Shiva Ka Insaaf (1985) under Burman.

The trio Rajesh Khanna-Kishore-R.D.Burman have worked together in 32 films together, and these films and songs continue to be popular. The trio were close friends. R.D.Burman composed for 40 films for Rajesh Khanna.

During the late 1980s, he was overshadowed by Bappi Lahiri and other disco music composers. Many filmmakers stopped patronizing him, as films featuring his compositions flopped at the box office one after the other. Nasir Hussain, who had signed him up for every single of his productions since Teesri Manzil (1966), did not sign him up for Qayamat Se Qayamat Tak (1988). Hussain defended Burman in the press, saying that the latter did not give weak music in Zamane Ko Dikhana Hai (1982) and Manzil Manzil (1984). He also said that the composer was going through a lean phase during the recording of Zabardast (1985). But after these three films flopped, Hussain stepped down as a director, and his son and successor Mansoor Khan switched to other composers. The filmmaker Subhash Ghai promised Burman Ram Lakhan (1989), but gave it instead to Laxmikant-Pyarelal, who had earlier played in Burman's orchestra.

In 1986, Burman composed songs for Ijaazat; the score is regarded as one of his best. However, the film belonged to the Parallel Cinema genre of (art films), so it did not stop the decline of Burman's commercial film career. All four of the songs in Ijaazat were sung by Asha Bhosle and written by Gulzar. Burman was greatly appreciated by the critics for setting the non-rhyming lyrics of the song Mera Kuchh Saamaan to the music. While both Asha Bhosle (Best Female Playback) and Gulzar (Best Lyrics) received National Awards for the score, Burman received none. Burman suffered from a heart attack in 1988, and underwent heart bypass surgery a year later at The Princess Grace Hospital in London. During this period, he composed many tunes, which were never released. He composed music for Vidhu Vinod Chopra's film Parinda in 1989. He composed one song called Chhod Ke Na Jaana which was sung by Asha Bhosle for the film Gang. But since the film took too long to release and due to his untimely death, director Mazhar Khan signed in the then little known Anu Malik for the music of the film. Thenmavin Kombath, a Malayalam film by Priyadarshan was the last film he signed, but he died before he could score for the film. The music of 1942: A Love Story (1994) was released after his death, and was highly successful. It posthumously won him the third and last of his Filmfare Awards. As per Lata Mangeshkar, he died too young and unhappy.

Burman has been credited with revolutionizing the Bollywood music. He incorporated a wide range of influences from several genres in his scores. Burman's career coincided with the rise of Rajesh Khanna-starrer youth love stories. He made electronic rock popular in these popular love stories. He often mixed disco and rock elements with Bengali folk music. He also used jazz elements, which had been introduced to him by the studio pianist Kersi Lord.

According to Douglas Wolk, Burman "wrapped sugary string swoops around as many ideas as he could squeeze in at once". Biswarup Sen describes his popular music as one featuring multicultural influences, and characterized by "frenetic pacing, youthful exuberance and upbeat rhythms".

Burman was influenced by Western, Latin, Oriental and Arabic music, and incorporated elements from these in his own music. He also experimented with different musical sounds produced from methods such as rubbing sand paper and knocking bamboo sticks together. He blew into beer bottles to produce the opening beats of Mehbooba, Mehbooba. Similarly, he used cups and saucers to create the tinkling sound for the song Churaliya Hai from the film Yaadon Ki Baaraat (1973). For Satte Pe Satta (1982), he made the singer Annette Pinto gargle to produce a background sound. He also used a rubbed a comb on a rough surface to produce a whooshing sound in the song Meri Samne Wali Khidki Main from the film Padosan (1968)

On multiple occasions, Burman experimented with recording the same song with different singers. For Kudrat (1981), he recorded the light version of the song Hume tumse pyar kitna in the voice of Kishore Kumar, while the classical version was recorded in the voice of Parveen Sultana. In Pyar Ka Mausam (1969), he recorded the song Tum bin jaun kahan in the voices of Kishore Kumar and Mohammed Rafi separately.

Burman sometimes used the Western dance music as a source of inspiration for his compositions. As was common in Bollywood, some of his songs featured the tunes of popular foreign songs. Often, the filmmakers forced him to copy these tunes for the soundtracks, resulting in allegations of plagiarism. For example, Ramesh Sippy insisted that the tune of the traditional Cyprus song Say You Love Me (arranged and sung by Demis Roussos) be used for Mehbooba Mehbooba (Sholay, 1975), and Nasir Hussain wanted to use ABBA's Mamma Mia for Mil gaya hum ko sathi. Other examples of Burman songs inspired by foreign songs including Aao twist karein from Bhoot Bangla (Chubby Checker's "Let's Twist"), Tumse milke (Leo Sayer's When I Need You), and Zindagi milke bitaayenge (Paul Anka's The Longest Day) and Jahan teri yeh nazar hai (Persian artist Zia Atabi's Heleh maali) and Dilbar mere (Alexandra's Zigeunerjunge).

Burman often collaborated with same film directors and worked with the same musicians.

Music Assistants

1. Sapan Chakraborty
2. Manohari Singh
3. Maruti Rao Keer
4. Babloo Chakraborty

String Instruments

• Spanish Guitar: Bhanu Gupta Ramesh Iyer
• Electric Guitar: Dilip Naik, Ramesh Iyer, Sunil Kaushik
• Hawaiian Guitar: Bhupinder Singh
• Bass Guitar: Tony Vaz, Charanjeet Singh, Ramesh Iyer
• Rhythm Guitar: Bhanu Gupta
• Santoor: Shiv Kumar Sharma, Ulhas Bapat
• Sarangi: Sultan Khan, Iqbal
• Sarod: Zarine Daruwalla
• Sitar: Kartik Kumar, Arvind Mayekar
• Tar Shehnai: Dakshina Mohan Tagore
• Violin : Rajendra Singh, Gajanand Karnad, Sapre, Prabhakar Jog Nanekar, Nandu Chavathe, Uttam Singh
• Swarolin: Rajendra Singh
• Mandolin: Kishore Desai, Ravi Sundaram, Mustafa, Pradipto Sengupta
• Banjo: Rashid Khan
• Bulbul Tarang: Rashid Khan

Percussion Instruments :

• Tabla : Devichand Chauhan, Shashikant, Amrutrao Katkar, Homi Mullan, Chandrakant Satnak, Deepak Naik, Indranath Mukherjee, Vijay Katkar, Nitin Shankar, Iqbal Khan, Janardan Abhyankar, Bhavani Shankar Singh, Pt. Samta Prasad (the 'Sholay' chase scene background track)
• Dholak : Shashikant, Dubey, Iqbal Khan, Roshan
• Drums : Budgie Lord, Franco Vaz, Lesli Vaz, Vancy, Trilok Gurtu
• Bongo : Kawas Lord, Manohar Barve
• Congo : Babla, Manohar Barve
• Bangla Dhol: Oboni Das Gupta
• Hulgi / Dhol / Chanda: Ganpatrao Jadhav
• Tarang & Jal Tarang: Janardan Abhyankar
• Ghatam / Matka: Indra Atma
• Mridangam: Jairaman
• Thumba: Ravi Gurtu, Nitin Shankar, Manya Bharve
• Madal: Ranjeet Gazmer (Kancha), Homi Mullan
• Pakhawaj: Bhavani Shankar Singh
• Octopad : Nitin Shankar

Keyboard Instruments

• Piano: Louis Banks, Mike Machado, Lusilaa
• Synthesizer: Louis Banks, Kersi Lord
• Transicord: Charanjeet Singh
• Accordion: Kersi Lord
• Organ: Kersi Lord

Wind Instruments :

• Flute: Hari Prasad Chaurasia, Suman Raj, Ronu Majumdar
• Mouth Organ: Bhanu Gupta, R. D. Burman
• Saxophone: Manohari Singh
• Tenor Sax: Shyamraj
• Trumpet: George, Castro, Joseph, Bosco, Kishore Sodha, Raj Sodha
• Trombone: Blasco, Mans, Raj Sodha
• Clarinet: Mehraj Deen, Hussain Darbar
• Shehnaai: Sharad Kumar

Several Hindi films made after Burman's death contain his original songs or their remixed versions. Dil Vil Pyar Vyar (2002), which contains several re-arranged hit songs of Burman, was made as a tribute to him. Jhankaar Beats (2003), which catapulted the music director duo Vishal-Shekhar into the limelight, is also a tribute to him. In Khwahish (2003), Mallika Sherawat's character is an Burman fan; the film features repeated references to him. In 2010, Brahmanand Singh released a 113-minute documentary titled Pancham Unmixed: Mujhe Chalte Jaana Hai, which received critical acclaim. The music of Lootera (2013) is a tribute to Burman. Other films which credit R. D. Burman include Gang (2000) and Monsoon Wedding (2001, for Chura liya hai).

A number of Indian remix albums feature Burman's songs, which are also popular in the country's pubs and discos. Several of his compositions were re-mixed by the South Asian DJs in the United Kingdom and North America, and feature in popular albums such as Bally Sagoo's Bollywood Flashback. Kronos Quartet's You've Stolen My Heart (2005) contains Burman's compositions sung by his wife Asha Bhosle. In the 2012 film Khiladi 786, Music Director, Composer, Singer and Actor Himesh Reshammiya-composed song Balma is also a tribute to R.D. Burman.

In 1995, Filmfare Awards constituted the Filmfare RD Burman Award for New Music Talent in his memory. The award is given to upcoming music talent in Hindi cinema. In 2009, the Brihanmumbai Municipal Corporation named a public square in Santa Cruz after Burman.

Burman inspired many later Bollywood music composers, such as Vishal-Shekhar. Jatin-Lalit are considered to have carried on Burman's legacy through the 1990s. Notable musical assistants to Burman include Manohari Singh and Sapan Chakraborty. His instrumentalists included Hari Prasad Chaurasia, Shiv Kumar Sharma, Louis Banks, Bhupinder and Kersy Lord. He is also noted for his partnership with the lyricist Gulzar, who wrote the words for several of his finest compositions.

Pancham Unmixed, a winner of 2 National Awards, is a 113-minute biopic on Burman, directed by Brahmanand Singh. A postage stamp, bearing Burman's face, was released by India Post to honour him on 3 May 2013.

On the anniversary of his 77th birthday on 27 June 2016 Google had a Doodle of R.D Burman on its Indian Home Page.

Out of Burman's 331 released film scores, 292 were in Hindi, 31 in Bengali, 3 in Telugu, 2 each in Tamil and Oriya, and 1 in Marathi. Burman also composed for 5 TV Serials in Hindi and Marathi.

Pancham's non-film music comprises few albums, including Pantera (1987), a Latin Rock album produced by Pete Gavankar (father of Janina Gavankar). The album was an international collaboration, for which Burman partnered with Jose Flores in San Francisco. In 1987, Burman, Gulzar and Asha Bhosle worked on an album titled Dil Padosi Hai, which was released on 8 September 1987, Asha Bhosle's birthday. Burman and Asha Bhosle also recorded a song with Boy George. In addition, he scored a large number of non-film songs in Bengali, which are available in different albums, and from which many numbers were later adapted in Hindi films. Burman also did playback singing in eighteen films for which he himself composed the scores.

Awards and recognitions :

Though Burman laid the foundation for numerous Bollywood music directors to pave the path for the future of music in Bollywood cinema, he was awarded a total of only three Filmfare Awards, one of which was awarded posthumously (for 1942 : A Love Story).

Filmfare Awards :

Wins :

1. 1983 – Best Music Director – Sanam Teri Kasam
2. 1984 – Best Music Director – Masoom
3. 1995 – Best Music Director – 1942 : A Love Story

Nominations :

1. 1972 – Best Music Director – Caravan
2. 1974 – Best Music Director – Yaadon Ki Baaraat
3. 1975 – Best Music Director – Aap Ki Kasam
4. 1976 – Best Music Director – Khel Khel Mein
5. 1976 – Best Music Director – Sholay
6. 1976 – Best Male Playback Singer – "Mehbooba Mehbooba" from Sholay
7. 1977 – Best Music Director – Mehbooba
8. 1978 – Best Music Director – Hum Kisise Kum Naheen
9. 1978 – Best Music Director – Kinara
10. 1979 – Best Music Director – Shalimar
11. 1981 – Best Music Director – Shaan
12. 1982 – Best Music Director – Love Story
13. 1984 – Best Music Director – Betaab
14. 1985 – Best Music Director – Jawani
15. 1986 – Best Music Director – Saagar

R.D. BURMAN'S FILMOGRAPHY WITH SUPER STAR RAJESH KHANNA :

Background Music Composer : Aradhana (1969)

Music Director :

1) Anokha Rishta (August 29, 1986)
2) Shatru (August 15, 1986)
3) Oonche Log (1985)
4) Alag Alag (1985)

5)  Aar Paar (1985)

6) Awaaz (November 23, 1984)

7) Agar Tum Na Hote (November 4, 1983)
8) Ashanti (May 7, 1982)
9) Kudrat (April 3, 1981)
10) Aanchal (September 18, 1980)
11) Phir Wohi Raat (August 15, 1980)
12) Red Rose (1980)
13) Naukri (1978)
14) Chalta Purza (1977)
15) Karm (1977)
16) Bundalbaaz (1977)
17) Mehbooba (1976)
18) Maha Chor (1976)
19) Aap Ki Kasam (May 3, 1974)
20) Hum Shakal (1974)
21) Ajnabi (1974)
22) Namak Haram (November 23, 1973)
23) Raja Rani (1973)
24) Mere Jeevan Saathi (1972)
25) Shahzada (1972)
26) Apna Desh (1972)
27) Shehzada (1972)
28) Amar Prem (1972)
29) Kati Patang (1971)
30) The Train (April 10, 1970)
31) Baharon Ke Sapne (1967)

Playback Singer:

1) Apna Desh (1972)

http://www.youtube.com/watch?v=YfjnEqMbBpg

2) The Train (April 10, 1970)

Shankar Jaikishan

Profession: Music Director, Bollywood.

Shankar was born in Punjab and got trained under Husnlal Bhagatram.He later settled down in Hyderabad, Andhra Pradesh. JaiKishan hails from Panchal, Gujarat. Jaikishan strangely enough was a carpenter before the duo met and paired up. In the beginning of their career they assisted the then-famous Husnlaal-Bhagatraam.

Their career started as music director from Raj Kapoors Barsaat in 1948. From then on , Shankar- Jaikishan have done more than 250 films together.They were then the most successful pair of music directors and probably are the most famous . Such was their passion for music that they were honored with the maximum number (nine) of Filmfare awards in the Indian film industry.

Shankar - Jaikishan made a great impact right since they started. Their tunes range from pure Indian classical based (O Basanti pawan paagal, dil ek mandir hain..) to more westernised tunes (Raat ke hamsafar, sukoo sukoo..). They had a distinct style of music and they used it very well for different stars making the right choice of music and singers. Much of Raj Kapoor's and Shammi Kapoor's success was because of shankar - jaikishan's music. Along with Raj Kapoor they have given us some excellent films which will be cherished forever.

Both Shanker and Jaikishan worked independently of each other.After the initial couple of years Shanker tuned lyricist Shailendra’s songs and Jaikishan tuned Hasrat Jaipuri’s songs only, with very few exceptions, the most noteworthy of which are, Shailendra's ‘Oh basanti pawan pagal’ and ‘Mera naam Raju’ from Jis Desh Mein Ganga Behti Hai and ‘Jeevan ke do rahe par’ from Choti si mulakat tuned by Jaikishan and Hasrat's Jab ishq kahin kho jata hai from Arzoo, ‘Taron se pyare’ from Deewana, ‘Kaise samjhaoon’ from Suraj and ‘Dekha babu ched ka maza’ from Shararat, tuned by Shanker.


They suddenly became the most sought after duo after composing music for Raj Kapoor’s Barsaat in 1948. Songs like ‘Jiya bekaraar hai’ and ‘Barsaat mein humse mile tum’ became a rage. ‘Barsaat’ also became a starting point of the pair’s long and successful association with the R.K. Banner. Superhit music in films like Aah, Aag, and Awara followed in the early fifties. The song ‘Ghar aaya mera pardesi’ went on to become a benchmark in composing and picturising a dream song. The music in R.K. films was outstanding anyway but two films really are in a league of their own, Shree 420 and Sangam. ‘Pyaar hua ikraar hua’ and ‘Ramaiyyaa vasta vaiyya’ from Shree 420 and ‘Dost dost na raha’ and ‘Har dil jo pyaar karega’ were musical masterpieces.

Later on their relationship was not the same as before .Jaikishan took to the bottle and work got neglected . It was Jaikishan’s death that physically separated the duo but towards the end of their careers they were not on talking terms.

Awards And Honors:
Award Song-Movie
Filmfare Award - 1956 Chori Chori
Filmfare Award - 1959 Anari
Filmfare Award - 1960 Dil Apna Aur Preeth Parai
Filmfare Award - 1962 Professor
Filmfare Award - 1966 Suraj
Filmfare Award - 1970 Pehchaan
Filmfare Award - 1971 Mera Naam Joker
Filmfare Award - 1972 Be-Imaan
Best Of Shankar- Jaikishan:
Song Movie

Awaara Hoon ,Ya Gardish Awaara
Mera Joota Hai Japani Shree 420
Pyaar Hua Ikraar Hua Shree 420
Duniya Na Bhaye Basant Bahar
Sur na saje kya gaau main Basant Bahar
Ajeeb Daastaan Hai Yeh Dil Apna Aur Preeth Parai
Yaad kiya dil ne kahaan ho Patita
Aajao Tadapte Hain Armaan Aah
Raja Ki Aayegi Baaraat Aah
Bahaaron Phool Barsaao Suraj
Ruk Ja, Ruk Ja O Jaanewaali Ruk Ja Kanhaiya
Aaya Na Humko Pyar Jatana Pehchaan


A) ANDAZ - 1971

1) Hasrat Jaipuri> Asha Bhosle, Mohammad Rafi, chorus:
dil use do jo jaan de de, jaan use do jo dil de de.

2) Hasrat Jaipuri> Mohammad Rafi, Suman Kalyanpur, Sushma Shreshta (Purnima),
Pratibha: hai naa bolo bolo paapaa ko mammi se, mammi ko paapaa se, pyaar hai,
pyaar hai.

3) Hasrat Jaipuri> Asha Bhosle:
mujhe pyaas, aisi pyaas lagi hai, meri pyaas, meri pyaas ko bhujaa de, aa ke
bhujaa, aa ke mitaa.

4) Hasrat Jaipuri> Mohammad Rafi, Pratibha:
sun lo sunaataa hoon tumko kahaani rooto naa hamse o gudiyon ki raani, re mammaa
re mammaa re.

5) Shailendra> Asha Bhosle:
dur, dur, durr zindagi ek safar hai suhaanaa, yahaan kal kyaa ho kisne jaanaa

6) Shailendra> Kishore Kumar:
zindagi ek safar hai suhaanaa, yahaan kal kyaa ho kisne jaanaa

7) Shailendra> Kishore Kumar:
zindagi ek safar hai suhaanaa, yahaan kal kyaa ho kisne jaanaa (1:31min; slow)

8) Shailendra> Mohammad Rafi, Kishore Kumar:
haste gaate jahaan se guzar duniyaa ki tu paravaah na kar
muskuraate huye din bitaanaa, yahaan kal kyaa ho kisne jaanaa
zindagi ek safar hai suhaanaa, yahaan kal kyaa ho kisne jaanaa


B) DIL DAULAT DUNIYA - 1972:

1) Verma Malik> Asha Bhosle, Usha Khanna, Rekha:
deep jale dekho kaise karte hai humko ishaare
deep nahin gori, dil ki dhadkan hai dil ko pukaare

2) Verma Malik> Sharada, Kishore Kumar, Asha Bhosle:
masti aur jawaani ho, umr badi mastaani ho,
aur dil mein beimaani hoto phir pyaar bhi hogaa
bilkul, iqraar bhi hogaa, bilkul, deedaar bhi hogaa, ajee bilkul

3) Hasrat Jaipuri and Neeraj> Kishore Kumar, Asha Bhosle, chorus:
o meri laara loo, main teraa pappi loo, jee chaahe chhoom loon

4) Hasrat Jaipuri and Neeraj> Kishore Kumar:
ruk, ruk, ruk ruk ruk, ruk meri raani,
na kar aana kaani tum ko kahaani nazar ki zabaani, o Mona Lisaa, o Mona Lisaa

5) Shailey Shailendra> Kishore Kumar:
saath mein pyaara saathi hai, raat bhi yeh madhu masti hai
aise mein ab tum hi kaho, need kisi kab aati hai.


C) PAPI PET KA SAWAL HAIN - 1984 :

1) M. G. Hashmat> Sharada, chorus:
haai, marhabaa, marhabaa, I am Laaolaa ...
Hotel mein botal khullegi har shaam jisko peena hai woh chale aayiye

2) Vishveshwar Sharma> Kishore Kumar:
jab dushman ho gayaa waqt waqt se ladna hi hogaa
har dard wafaa kar dil mein tamaasha karnaa hi hogaa, yeh zindagi, hey zindagi

3) Prabha Thakur> Prabha Thakur:
mose chatni pisaave, chhailoo chatni pisaave
kaisa bedardi tumhe na marriage ki baat

4) Prabha Thakur> Asha Bhosle:
ho o, na main muhabbat na main tijaarat, khilona ban ke main aagayi hoon
he baat parde ki ... hai parda, main aaj parde mein aagayi hoon

5) M. G. Hashmat> Suresh Wadkar, Kishore Kumar:
namaste yaa salaam kehane mein, jhukne mein arz kuch nahin ...
aaj ki duniyaa mein betaa baap se hoshiyaar hai

6) Hasrat Jaipuri> Anuradha Paudhwal, Sharada:
wahi pyaar ke khudaa jin pe hum fidaa hai dil ki saada, apni jaan ki qasam

7) Vishveshwar Sharma> Kishore Kumar, Lata Mangeshkar:
paapi pet ka sawaal hai, ho, paapi pet ka sawaal hai
roti se bachke nikhaljaaye koyi zamaane mein kiski majaal hai, sab ka ek
jaisa haal hai (part1)

8) Vishveshwar Sharma> Kishore Kumar, Lata Mangeshkar:
yeh duniyaa khel madaari ka, chaalaki ka hoshiyaari ka ...
paapi pet ka sawaal hai, ho, paapi pet ka sawaal hai
roti se bachke nikhaljaaye koyi zamaane mein kiski majaal hai, sab ka ek jaisa
haal hai (part2).

N. Dutta

Datta Naik, a local resident of Goa, started his film career as a music assistant of the great composer S D Burman. Datta assisted Dada Burman in a number of films. Datta was very impressed with the revolutionary songs of lyricist Sahir Ludhiyanvi. When Datta got his first chance to compose independently for Raj Khosla's Milaap (1955), he insisted for Sahir as the lyricist. The result was some very beautifully songs like 'Ye Baharon Ka Sama..' (Hemant,Lata), 'Jaate Ho To Jaao Par Jaoge Kahan..' (Geeta), etc. The music of Milaap became so popular that Datta came into the category of film industry's most eminent musicians.

Some unforgettable and mersmerising compositions which give the evidence of Datta's musical dexterity are: 'Sitare Raah Takte Hai..' (Lata), 'Main Tumhi Se Poochhti Hoon..' (Lata) from the film Black Cat. 'Aurat Ne Janm Diya Mardon Ko..' (Lata), 'Sambhal-e-Dil..' (Asha-Rafi) from the film Sadhna' 'Maine Chaand Aur Sitaron Ki Tamnna Ki Thi..' (Rafi) from the film Chandrakanta, 'Ashkon Me Jo Paya Hai..' (Talat) from the film Chandi Ki Deewar, 'Kis Jagah Jaayen..' (Asha) from Light House, 'Ab Wo Karam Karen..' (Rafi) from the film Marine Drive, 'Daaman Me Aag Laga Baithe..' (Rafi), 'Tere Pyar Ka Aasra Chahta Hoon..' (Mahendra) from the film Dhool Ka Phool, 'Aaj Ki Raat Nahi Shikwon..' (Mahendra) from Dharamputra and 'Laal Laal Gaal..' from the film Mr. X.

N Datta also gave music in the film named 'Datta Naik'. He had a very strong and long association with Sahir Ludhiyanvi as his lyiricist in most of his films, till Chehre Pe Chehra (1980). Datta Naik was a senible music director who use minimum orchestra to develop the required atmosphere as expressed in the song. He passed away on December 30, 1987.

N. DUTTA'S FILMOGRAPHY WITH SUPER STAR RAJESH KHANNA :

Badnam Farishte - 1971 (Rajesh Khanna's Special Appearance)