The Sculptors of Film Songs – 13 – Ramprasad Sharma & Sons

Originally in Gujarati, by Piyush M Pandya

Translated by Ashok M Vaishnav

The title of this episode may sound like a typical name we were used to see on the signboards in the markets of any town during ’50 to ‘70s. The signboard with such a name painted on a board of the shops would further read “Wholesale Merchants of Grains” or “Wholesale Cloth merchants” etc. Well, what that has to do with this series about musicians and arrangers? Is the present episode about some such firm which would probably had been associated with ‘selling’ music instruments?

Well, No. Ours is a narrative of three generations of artists who have been the practicing musicians in the world of Hindi film music: Ramprasad Sharma, a complete music director, researcher, composer and arranger with an in-depth knowledge of all known musical instruments, their notations and playing techniques in Indian as well as western styles; his sons: Pyarelal, Gorakhnath, Ganesh, Anand, Naresh; and the grandsons: Monty and Mithun. As is the case with most of the second and third tiers of artists like arrangers and musicians under the label ‘Music Director’, these names would not make some sense with most of us, unless we further qualify Pyarelal with suffix ‘of Laxmikant Pyarelal duo’.

Ramprasad Sharma

Ramprasad Sharma (1900 -1995) belonged to Gorakhpur in the then United Provinces (present day Uttar Pradesh). The band master of Bharatpur State recognised Ramprasad’s flare for instrumental music. Ramprasad played trumpet here.  Ramparasad Sharma then played in Agra Military Band. This groomed him into the art of music arrangement to rise to the position of Band Master in a circus. He toured Delhi, Lahore and Calcutta with the circus. He settled for some time in Calcutta and worked for Columbia and New Theatres. At that stage, he mastered playing ten instruments and had acquired good knowledge of intricacies of classical raags.

He came to Bombay in 1938 and played in many studios. He got his first break as music director for ‘Nayi Baat’ (1947). He composed music for six more films – ‘Shakti’ (1948, with Mohammad Azim Baig as co-music director), ‘Banoo’ (1949), ‘Bedard’ (1949), ‘Anyay’ (1949), ‘Dolti Naiyya’ (1950). Though the music for these films had freshness in compositions, the songs could not attain commercial success. His last film was ‘Magic Carpet’ (1964), by which time his son Pyarelal too had created space as music director with Laxmiikant.

Kali ghatao jao sajan ko samajao | Arman bhara dil baith gaya | Pardesi piya to se lage jiya | Jhan Jhanan baje dil ka sitar – Shakti (1948) – Suraiya – Lyrics: Asad Jafri – Music: Ramprasad / Mohammad Azim Baig

The variety and richness in compositions, rhythm, melody and selection of instruments is remarkable.

Kya sach hai qasam woh bhulaane lage hain  – Bedard (1949) – Lalita Deolkar – Lyricist: Abdul Gaffar Badar – Music: Ramprasad Sharma

Rich orchestration with multiple instruments, different approach for composing both interludes and the corresponding orchestration speak volumes for Ramprasad Sharma’s creativity and depth of knowledge of composting a song.

Samjhe the ke guzrenge din chain aur khushi mein – Baanoo (1949) – Mohammad Rafi – Lyrics: ? –  Music: Ramprasad Sharma

The song truly reflects the mood of introspection. This time the composition is not an easy-to-sing one.

Duniya mein raha aaj nahin koi humara – Dolti Naiya (1950) – Rajkumari Dubey – Lyricist: Prakash – Music: Ramprasad Sharma

One more illustration of Ramprasad Sharma’s composition competence!

Husnwale se na milana ye daga dete haiN – Magic Carpet (1964) – Janibabu Qawwal, Mubarak Begum, chorus – Lyrics: Arsh Farooqui – Music: Ramprasad Sharma

Ramprasad Sharma, even after a gap of fourteen years, has not lost touch with creativity as can be observed in the manner in which he has composed this qawwali.

In the ironical ways of film world, talent and success, like our goddesses Laxmi and Saraswati, invariably are found to take divergent paths. For Ramprasad Sharma, too, the fate had not chosen the path of success. As such, for livelihood, he had to depend on his skills as arranger and trumpet player to work with music directors like Naushad, C Ramchandra and others.

We will take up a couple of samples of songs where trumpet-play of Ramprasad Sharma has added that unique identity to the song.

Awaz de kahaN hai – Anmol Ghadi (1946) – Noorjehan, Surendra – Lyrics: Tanveer Naqvi – Music: Naushad

There would hardly any Hindi music fan who would not be aware of this song. But, the musicians who contribute to the popularity of such songs remain equally unknown until it is specifically informed that the magically poignant notes of trumpet, from 1.37 to 1,52, in the interlude, are being played by Ramprasad Sharma.

Suhani raat dhal chuki na jaane tum kab aaoge- Dulari (1949) – Mohammad Rafi – Lyrics: Shakeel Badayuni – Music: Naushad

Introductory notes (0.06 to 0.09) in the prelude, countermelody note @1.13-1.14 and lead interlude play from 1.48 to 2.02 so soulfully has added to the forlorn state of the mood of the song.

Though Ramprasad Sharma stepped into Mumbai’s film world to make his living as a music director and a trumpet player, intrinsically he was a devoted musician artist. So, he could never get along easily with other commercial musicians and artists, making him a fish out of water. There was a time when the family could get a square meal only when Pyarelal, then hardly in double-figure age, brought some money from the stray work he could get as violin player at different studios. That was also when Ramprasad Sharma took up the challenge of not surrendering to his current fate. He started to teach many of the willing pupils everything they wanted know in music. Ramprasad Sharma has been a guru for an overwhelming number of people ranging from slum dwelling children to great maestros like Hridaynath Mangeshksar, Uttam Singh, Surendra Sodhi, Anu Malik, Zarin Daruwala, Mahavir Prasad, to name a few. Even Naushad, C. Ramachandra, Abdul Halim Zafar Khan and Faiyaz Khan have, to different extents, learnt certain notations/techniques from Ramprasad Sharma.

Above all, he was noble, humble, selfless, extremely caring human being, who always bore a burning fire within himself to impart knowledge to everyone around him without any catch to it.

Pyarelal (Sharma)

As the indivisible half of the Laxmikant-Pyarelal duo, the eldest son of Ramprasad Sharma, Pyarelal (B:1940) neither needs any introduction to himself or his work. He started playing violin as young boy and had attained the status of grade A artist by the time he was midway into his teens. Just one illustration would suffice to demonstrate his skill and status as the violin player.

Main ye soch kar uske dar se chala tha ke wo rok legi mana legi mujhko – Haqueeqat (1964) – Mohammad Rafi – Lyrics: Kaifi Azmi – Music: Madan Mohan

The background narrative of the opportunity that came to Pyarelal is best read in his own words: ’The recording of the song Main Ye Sochkar Uske Dar Se Uthaa Thaa was going on. For the rehearsal, there were eight violins, one piano and one flute. The rehearsal continued for a long time. Rafisaab did the last rehearsal at 8.00 pm. Then Madanji and Chetan Anand discussed something between themselves. Immediately thereafter, Madanji called Master Sonik (of Sonik Omi duo) and said: “Arrange a solo piece for Pyare”. At that time Jerry, Oscar, Anthony, Durado and Narvekar, all very reputed violinists were present, but he chose me. Sonikji prepared a piece within three quarters of an hour that matched the song. Madanji approved of it and then I rehearsed the piece. Robert (Correa) accompanied me on the piano and Sumant Raj played the flute. The arrangements were modified five to six times and the final recording was done. Little did I know that the small piece I played would make history.  …. The credit goes to Madanji who selected me from the eight well established violinists and got the piece played to a specific manner.”

https://youtu.be/2oY-oNtVXuU?si=cPI5MV_oAdOjnxOF

Gorakhnath (Sharma)

Gorakhnath Sharma (28 December 1946 – 26 January 2018), the second son of Ramprasad Sharma’s six sons and two daughters, learnt the basics of music form his father. He mastered the art of reading music notations and the art of playing various string instruments from him. Gorakh Sharma has played the mandolin, mandola, rubab, and numerous types of guitars like the acoustic, jazz, twelve-string, and electric guitar. Not only this, he was the first to have played the Bass guitar in the Indian film industry.

He began his musical career at the age of 14 as a mandolin player, when he got the break as a mandolin player for Chaudahavi ka chand ho ya aftab ho (Chaudahavi Ka Chand, 1960 – Mohammad Rafi – Lyrics: Shakeel Badayuni – Music: Ravi) @0.57 to 1.05, 2.18 to 2.23, 3.26 to 3.32.

https://youtu.be/lJlbhcvUTV4?si=11kzOhbB6cD3qwgd

He then went on to learn guitar from Anibal Castro, who was a known guitarist. Gorakhnath became a trained, unique guitarist whose mandolin playing ability when merged with guitar created the magic. He was initially a part of a small group named Baal Sureel Kala Kendra which would go to small cities to perform. The group consisted of Meena Mangeshkar, Usha Mangeshkar, and Hridaynath Mangeshkar, along with Laxmikant Kudalkar, his brothers Pyarelal, Ganesh, Anand, and others.

During his entire music career spanning over 40 years, Gorakhnath has played various string instruments in more than 1000 songs in over 500 films. Here are few songs that showcase his signature-style guitar play:

Mere mehaboob qayamat hogi – Mr X in Bombay (1964) – Kishore Kumar – Lyrics: Anand Bakshi – Music: Laxmikant Pyarelal

Guitar comes in small strokes in the interludes but does not fail to register its presence.

Nazar na lag jaye kisiki nigahoN pe – Night In London (1968) – Mohammad Rafi – Lyrics:Anand Bakshi – Music: Laxmikant Pyarelal

The song opens with strokes of guitar and continues in lower octaves through the prelude, keeps support in counter melody and then takes the lead during the first prelude to follow violins in the second interlude.

https://youtu.be/Hwhrtp5nDMo?si=eUm3QFAX9J6tqlXl

SaansoN ki jarurat hai jaise – Aashiqui (1990) – Kumar Sanu – Lyrics: Samir – Music: Nadeem Shravan

Gorakh Sharma plays a Guitar solo in climax scene in Aan Milo Sajna 1970

Gorakh Sharma solo clips with other music directors

YT has several clips wherein Gorakh Nath is playing guitar in different live programs. Of these, the one which would mandatorily be included is the theme music of Karz, which has become synonymous with Gorakh Nath’s guitar.

Ganesh (Sharma)

Ganesh, along with Shashikant (the brother of Laxmikant) had assisted LP in their earlier films. Ganesh had good grip over writing the notations. Ganesh also went on to independently compose music for 16 films, of which the one song that has survived the passage of time is Hum tere bin jee na sakenge sanam (Thakur Jarnail Singh, 1966 – Asha Bhosle – Lyrics: Asad Bhopali)

Other Members of Sharma Family

Mahesh paired with another musician, Kishor to compose music for two three films which did not fare well. He too was a good violin player.

Naresh also had created his own space as string instrument player.

In the next generation, Monty, the son of Anand Sharma, is known for composing the music of Sanjay Leela Bhansali’s Sawariya (2007)

Mithun (son of Naresh) Sharma is known for composing music for films like Aashiqui 2, Jism 2 etc.

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We look forward to the saga of contribution that the Sharma family has made to the Hindi film music in the book-in-making by Pyarelal. 

Credits and Disclaimers:

1. 1. 1. The song links have been embedded from the YouTube only for the listening pleasure of music lovers. This blog claims no copyright over these songs, which vests with the respective copyright holders.
      2. The photograph is taken from the internet, duly recognising the full copyrights for the same to the either original creator or the site where they were originally displayed.

References:

https://www.madanmohan.in/html/tribute/collegues/pyarelal_sharma.html

P.S. This is the re-posting of article originally published on Songs of Yore as  The Sculptors of Film Songs (13): Ramprasad Sharma & Sons