The Sculptors of Film Songs – 14 B – Homi Mullan

Originally in Gujarati, by Piyush M Pandya

Translated by Ashok M Vaishnav

There are many instruments being used in a film song which neither easily come to notice nor its name is known. In such cases, one can hardly expect that the player of such instrument be known. And yet, when one listens to the song, the effect that these instrumental pieces create invariably leaves a distinct, everlasting impression.

If this sounds like too farfetched proposition, please listen to this song:

For such a well-known Door Gagan Ki ChhaoN Mein (1964) song (Hemant Kumar – Lyrics: Shailendra – Music: Kishore Kumar), the rhythm instrument is known as ‘sticks’, but name of the player who played this instrument remains not known.

There are around 40 such known instruments, known as ‘other rhythm instruments.

One of the very early known player of these instruments ih Hindi films is Homi Mullan (1940 – 2015).

Born in a Parsee family at Mumbai, Homi lost his mother at a very early age. As a result, his maternal uncle took him along to Calcutta. His uncle was a keen music follower, and as such, The young Homi used to accompany him whenever his uncle would be visiting stalwarts like Pankaj Malik, Hemant Kumar, Shyamal Mitra. This initial spark soon got transformed into the flame, leading Homi Mullan to regularly undergo training in music.

Not before long, Homi Mullan started being groomed as assistant to V Balsara[1] in Calcutta. Here he used to play piano, accordion and other instruments for Balsara in his orchestra.

Ami Cheye Cheye Dekhi – Deya Naya (1963) – Shyamal Mitra – Lyrics: Gauriprasanna Mazumdar – Music: Shyamal Mitra

A very young, charming in moustache, Homi Mullan is actually seen playing accordion @ 01.6 to 0.21 and 1.06 to 1.12.

In the clip below, Homi Mullan is seen playing piano in a later day public program. If one watches closely, it can be noted that unlike most of piano players, Homi Mullan moves his fingers perpendicular to keys rather than parallel to the key board as we normally see most of the piano players.

It is perhaps this non-traditional intuitive approach to playing an instrument that perhaps led Momi Mullan to so successfully switch on to playing the ‘other’ rhythm instruments later on.

While at Calcutta, Pankaj Mullik too recognised talents of Homi Mullan and invited Homi Mullan to join as his assistant when he was at the wee end of his career. Not before long, Homi Mullan went to become a very important member of Shaymal Mitra and Salil Chowdhury teams too.

Homi Mullan (extreme right) playing accordion during a Bengali stage program

Homi Mullan used to frequently play accordion at the stage programs of Manna Dey. Homi Mullan’s music talents was also called upon regularly by the then a very big name in Calcutta’s records industry, HMV, too.

However, it seemed that fate was calling Homi Mullan to further expand his talents on the larger platform of the Bombay film industry. That Homi Mullan’s uncle, Manek Mullan, already lived in Mumbai, was a good catalyst for Homi Mullan to settle in Mumbai. Already a thriving network of contacts of his guru, V Balsara, too was a strong point in the favour. Balsara handed Homi Mullan a letter of introduction to his close friend and well-known percussionist, Cawas Lord.[2]

Cawas Lord (right) with Homi Mullan

During one of the meetings with Cawas Lord, Salil Chowdhury noticed Homi Mullan. Since he already knew Homi, Salil Chowdhury called Homi to a recording of his song and suggested that Homi play a ‘support’ rhythm instrument. That was THE proverbial turning point in Homi Mullan to transform from piano and accordion to the master of other rhythm instruments. [Note: The exact details of the composition under discussion is not known.]

Homi Mullan initially was getting work for the backgroundscore related to work. But soon he graduated to becoming the core team of percussionists, under the guidance of Cawas Lord, for S D Burman. Since S D Burman always loved to experiment with different music instruments, Homi Mullan went on to master what is known as non-traditional, support percussion instruments in S D Burman orchestra team,

O Panchhi Pyare Sanjh Sakhare Bole Tu Kaunsi Boli – Bandini (1961) – Asha Bhosle – Lyrics: Shailendra – Music: S D Burman

The song plays the sound of the grains being winnowed by the jail inmates.

Homi Mullan explains how that winnowing sound was generated.

https://youtube.com/clip/Ugkxa777AMmHAI1zRopmUZ1udMMUDVX1a3Cq?feature=shared

Mo Se Chhal Kiye Jay Hai Hai SaiyaN Beimaan – Guide (1965) – Lata Mangeshkar – Lyrics: Shailendra – Music: S D Burman

Playing any instrument for S D (and for that matter even for R D, too) is highly challenging. Here ghangahru had to be played at the fast pace of Waheeda Rehman’s dance steps.

Homi Mullan has played all the ghungharu pieces in the background scores too in the film.

In a career spanning over 40 years, Homi Mullan has played a number of instruments like, duggi, bongo, congo, maadal, castanets, sticks, glockenspiel, triangle, xylophone, vibraphone etc.

In this clip he explains this whole range of instruments and also plays breath-taking demonstration of these instruments:

Interestingly, Homi Mullan did play accordion in a few of Hindi film songs.

Ek Din Bik Jayega Mati Ke Mol – Dharam Karam (1977) – Music: R D Burman

https://youtu.be/6Pg9UqEl9xg?si=IxwG5_AZ2U43gwmg

Main Aayi Aayi Aa Ja – Love Story (1981) – Music: R D Burman

https://www.youtube.com/watch?v=q7iZe8GY8jw

As Homi Mullan narrates in an interview along with Kersi and Burjor Lords, he also has played a long piece of accordion for a background track of Shalimar (1981), composed and arranged by Kersi Lord. That piece can be heard in this clip @

Here are some songs whereat Homi Mullan ‘support rhythm instruments’  play in fact seem to take the centre stage

• • Duggi (kettle drum) Oh Mere Dil Ke Chain (Mere Jeevan Saathi, 1972), Dil Aisa Kisi Ne Mera Toda (Amanush,1975) Aane Wala Pal (Golmaal, 1978) etc.
  • Kokiriko, a Japanese percussion instrument, in Gulaabi Aankhein (The Train, 1970)
  • The African harp called kalimba was deployed in Aise Na Mujhe Tum Dekho (Darling Darling, 1977)
  • The triangle chimed in Aao Na Gale Lagao Na (Mere Jeevan Saathi), and
  • The maracas for the tune of Kabhi Palkon Pe Ansoon (Harjaae, 1981).

You Tube has many other clips depicting art and imagination of Homi Mullan’s skills in using ‘the minor’ percussion instruments. However, we conclude our present episode here with a RSTV interview of Homi Mullan by Irfan

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 photographs are taken from the internet, duly recognising the full copyrights for the same to either the original creator or the site where they were originally displayed.

 

[1] The Sculptors of Film Songs (7): V Balsara

[2] The Sculptors of Film Songs (12): The “Lords”

The Sculptors of Film Songs – 14 A – Bhanu Gupta

Originally in Gujarati, by Piyush M Pandya

Translated by Ashok M Vaishnav

The world of science is replete with cases where some great inventions happened from the inadvertent errors. One most famous example is that of Penicillin. Sir Alexander Fleming was working on a cure for Pneumonia, rampant during WWI. In 1928, Dr Fleming observed that a particular type of mould growing on a Petri-dish of Staphylococcus bacteria seemed to be preventing the bacteria around it from growing. We know that accidental discovery of the mould as almost cure-all, Penicillin.

However, in the days of full-scale live recording, when one small error would result in a re-take, imagining that such cases in the world of film music composition would have created some unusual pieces may seem to wishful thinking. But, in the case of Bhanu Gupta, such an error did create history.

The rehearsal for Chingari Koi Bhadake (Amar Prem) was in full session. Bhanu Gupta was to play a very specific chord (combination of several notes to played together) on guitar at the very beginning of the prelude. In one such practice iteration, Bhanu Gupta committed an error. A perfectionist that he was, Bhanu Gupta was totally abashed. RD also noticed that error. The recording room went dead silent. After a while RD broke that silence and said that Bhanu (Gupta) will now play that incorrect chord only in the song! In fact, on several occasions later on, he used to say that Bhanu had made the song unique by that “creative” error.

Here is the clip that explains now that famous ‘million-dollar mistake’.

Bhanu Gupta’s first brush with musical instrument was also, an error, error of luck. Because of his working knowledge of Japanese language, during WWII, Bhanu Gupta got the job of translator at a monthly wage of Rs. 400/- to help interaction between Japanese soldiers and the Burmese local traders. As a chance happening Bhanu saw a British soldier playing harmonica (the mouth organ) during his the then visits to the Rangoon Port. He started learning the instrument and mastered it in so short time, that the British soldier gave that harmonica as a gift to Bhanu when his ship sailed out from Rangoon.

While in Burma, for some time Bhanu Gupta was associated with Netaji Subhash Chandra Bose. Worsening political situation of Burma by the end WWII led Gupta family to shift to Calcutta. Since Bhanu Gupta was a qualified oil technologist, he easily got a job at Caltex at Calcutta. While at Calcutta, Bhanu Gupta was drawn towards cricket. He was a very active player at the local cub level. He played some first division  matches in the company Cricket Greats like Pankaj Roy, Bapu Nadkarni, Subroto Guha and Roy Gilchrest,  Bhanu Gupta did keep playing harmonica alongside, but, he was not serious about playing harmonica as a career. However, as it was perhaps destined, Bhanu Gupta’s growing expertise of harmonica started getting him invitations to play the instrument in the clubs of Calcutta. Soon he started getting contacts for playing harmonica at a few leading clubs, tilting the scales in favour of taking over armonica playing as a professional career.

He shifted to Bombay in 1958. He soon started getting a few odd jobs too. Bipin Dutt gave him a first break in the films. Unfortunately, that film sunk. However, C Ramchandra noticed him and offered him a part in his orchestra for his next film, Paigam (1959). Unfortunately (for us), no details of his contributions in the songs or background music of the film seem to be available He then started getting regular work. During one of these recordings, he came across an unclaimed guitar, lying in shambles somewhere in the studio. Bhanu Gupta repaired it, and in due course went on to master guitar too.

Bhanu Gupta was now an accepted name, be it harmonica or guitar. It was Bhanu Gupta who introduced and trained Bhupinder Singh to acoustic guitar. Under his mentorship, Bhupinder so mastered the acoustic guitar that he replaced his senior Dilip Naik in RDB’s team.

Here are some very well-known pieces that Bhanu Gupta has played on harmonica and guitar.

Rahi Manwa Dukh Ki Chinta Kyun Satati Hai  – Dosti (1964) – Mohammad Rafi – Lyrics: Majrooh Sultanpuri – Music: Laxmikant Pyarelal

There are many conflicting views on who has in fact played the harmonica in this song. In the clip here, Bhanu Gupta himself confirms that it was he who played these pieces.

This is the original song.

Another very touching harmonica-based music piece, that would come up in our memory, is from Sholay (1974)

R D Burman himself was an ace harmonica player, and has conceived and played several memorable pieces for S D Burman. Here he has handed over the harmonica to Bhanu Gupta.

Bhanu Gupta’s mastery over guitar can also be heard in the title music of Sholay.

Here Bhanu Gupta is recreating that guitar play.

The clip here below narrated Bhanu Gupta’s untold story, in his own words (in Bengali):

We will take up one more song that has Bhanu Gupta’s highly imaginative guitar play.

Dekhiye Sahibo…. Woh Koi Aur Thi Ye Koi Aur Hai – Teesari Manzil (1966) -Mohammad Rafi, Asha Bhosle – Lyrics: Majrooh Sultanpuri – Music: R D Burman

How wonderfully the subdued soft melody is created in prelude by the guitar, and then in total contrast, high-octave guitar play resonates in the first and third interludes!

Bhanu Gupta narrates how RDB got the idea for the tune of Musafir Hun Ho YaroN (Parichay, 1972)

Here are some more songs that has Bhanu Gupta’s prominent guitar play:

Ek Chatur Nar Badi Hoshiyar – Padosan (1968)

Tere Bina Zindagi Se Shikwa NahiN – Aandhi (1975)

Aise Na Mujhe Tum Dekho – Darling Darling (1977)

YT has many clips whereat we get to listen how Bhanu Gupta created his well-known guitar pieces across several film songs.

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 either the original creator or the site where they were originally displayed.

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.

+                                        +                                       +

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

The Sculptors of Film Songs – 12 – The “Lords”

Originally in Gujarati, by Piyush M Pandya

Translated by Ashok M Vaishnav

Even in the absence of authentic statistics, there is unanimity among Hindi film historians that, from 1947 to 1987, one or other member of the Lord family – father Cawas Lord, the elder son Kersi Lord and the younger son Bujorji Lord – has, on an average, played in every third song recorded in Bombay. Jazz and Latino music became integral to Bombay film music largely due to the Lords.

CAWAS LORD

Cawas Lord (1911 – 2007) was born to a very strict and traditional Parsi family from Pune. Young Cawas was so much interested in music that at the age of 12 he migrated to Mumbai. Here, his musical career at Bombay commenced by playing military drums and bagpipes under various military bandleaders. By ’30s Cawas Lord had started playing percussion instruments for earliest talky films. He is said to have arranged background score for India’s fist talky film Alamara (1931).

After the war, he returned to Mumbai and joined the band of the jazz trumpeter, Chic Chocolate, as a drummer. Cawas Lord soon became an integral part of bands at several clubs in the 1940s. It was at Taj (Mumbai) that C Ramchandra spotted Cawas Lord playing the drums and invited him to join his orchestra. That also was the period of prohibition in then then Bombay state. So, Cawas Lord, too, was on a look out for a steady source of income. Chic Chocolate and Cawas Lord were soon to become the backbone of C Ramchandra’s pioneering use of Western tunes and western instruments in Hindi films, with trailblazing songs like Gore gore o banke chhore (Samadhi, 1948), Bholi surat dil ke khote…– Albela (1951), Eena meena dika (Asha, 1957).

The famous story goes on to narrate that a Latin band, The Gagimbas, did a show at the Taj. Cawas bought all their instruments before they left and went on to pioneer the use of western percussion instruments like Bongo, Conga and many other small Latin American instruments, Of course, initially such radical experiments met with the resistance from the tradition bound film music world. the response to such radical experiments. Cawas Lord patiently persisted in his effort. Entry of other Goan arrangers and instrument players also helped. He went on to play these instruments in around 25,000 songs, for almost every music director, in his long active career.

Among many such instruments that he introduced, one that perhaps is more easily recognised as clopping, the sound beat of horse hoofs, played on an instrument called Duyuglar. In this video clip, an illustration of that instruments can be seen in O P Nayyar songs from Phir Wahi Dil Laya HuN (1963) song, Banda parwar thaam lo jigar and Naya Daur (1957) duet Mang ke saath tumhara and Tum Sa Nahin Dekha‘s (1957) path-breaking YuN to hamne laakk haseeN dekhe hai @2.10 to 2.57.

With Naushad, some of the now known experiments that Cawas Lord successfully deployed are: Gungaroo in O jaanewale balamwa (Ratan, 1944), Mohe panghatpe nadlal chhed gayo re (Mother India,1960), Madhuban mein radhika (Kohinoor, 1960), Bngo in Tara ri tara ara ri (Dastan, 1950), and clopping beat in Bachpan ke din bhula na dena (Deedar, 1951).

Kersi started accompanying his father from a young age and his association with films goes back to the time when he was 13. Once when he was accompanying Cawas Lord to a recording of Naushad’s song, he was fiddling with bongo. Naushad noticed and suggested that Cawas include Kersi too in the orchestra. That song was:

Lo pyar ki ho gayi jeet – Jadoo (1951) – Lata Mangeshkar – Lyrics: Shakeel Badayuni – Music: Naushad.

Some more songs that Naushad has deployed castanets, played by Cawas Lord are: Dhadke mera dil mujhko jawani haye na bhaye (Babul, 1950);  Jab nain mile naino se (Jadoo, 1951); Tu kaun hai mera kah de balam (Deedar, 1951). Kersi Lord went on to become a known name within the film music circuit over the years.

Cawas and his sons Kersi and Burjorji Lord also were quite close to father and son – SD and RD – Burmans. In one of the interviews, Kersi Lord recalls how the three played percussion in Aaye haye dilruba.. ..Pappa jamalo (Dr. Vidya, 1962). Incidentally Dr Vidya was the film when SD had passed on the baton to RD as his full-scale assistant. Cawas Lord played for RD from his very first film Chhote Nawab (1961) through till his last film 1942 A Love Story (1994):

Matwali aankhonwale – Chhote Naab (1961) – Lata Mangeshkar, Mohammad Rafi – Lyrics: Shailendra – Music: R D Burman

Cawas Lord plays bongo in a very innovatively distinctive style that helps put the motion of the song in a lilting mode, accentuated by a soft support of castanets (incidentally being played by Helen on the screen, and Kersi Lord off the screen).

Rooth na jana tumse kahuN to – 1942 A Love Story (1994) – Kumar Sanu – Lyrics: Javed Akhtar   – Music: R D Burman

Cawas’s bongo sounds a fresh as it was in 1961. As it happens, the musical arrangement for the song was done by Pyarelal (of Laxmikant-Pyarelal) duo.

Kersi Lord

Kersi Lord (B: 14 February 1935 – D: 16 October, 2016) was the eldest of three children of Cawas and Banubai Lord. Banubai and her brothers were also trained musicians.  His younger sister Hilla was a talented pianist, but she never took it up at the professional level. The younger brother, Burjorji, was an ace percussionist.

So much fascinated was Kersi with the music that he used to bunk school and attend music sessions with his father. It is said that after the recordings, Naushad would pack Kersi off to the local railway station to go to school, but that could not wean Kersi away from his love for music. He went on to master several percussion instruments and introduced these into the Hindi film songs as well. He also tried his hands with playing other instruments like vibraphone, xylophone and the glockenspiel. His playing glockenspiel, yielding the cigarette lighter sound in Main zindgai ka saath nibhata chala gaya (Hum Dono, 1961 – Mohammad Rafi – Lyrics: Sahir Ludhiyanvi – Music: Jaidev) is just one illustration of how innovative Kersi Lord was.

Kersi had played glockenspiel previously for Nanhi pari sone chali (Sujata, 1956- Geeta Dutt – Lyrics: Majrooh Sultanpuri – Music: S D Burman). The soft chiming that we hear in the song is glockenspiel effect. And it is no coincidence that Jaidev was the assistant to SDB in the film.

Cawas Lord also introduced Kersi to playing piano accordion. His training on piano under Roda Khodaiji came in as big help in Kersi Lord’s progress on piano accordion. His expertise on piano accordion is validated by S D Burman handing over to him how to play the instrument the way he felt it best so as to reflect the mood for Roop tera mastana (Aradhana, 1969 – Kishore Kumar – Lyrics: Anand Bakshi – Music: S D Burman).

Kersi Lord blended his imagination with tough training he had undergone to learn the Indian classical music to come up with this with brisk high-low spikes mixing with long smooth slurring of the piano accordion notes.

Of course, this was not the first time that Kersi was playing accordion for S D Burman. One such well-known experiment was Achhaji main haari chalo maan jao (Kalapani, 1958- Mohammad Rafi, Asha Bhosle – Lyrics: Majrooh Sultanpuri- Music: S D Burman)

Kersi has played piano accordion with many other music directors.

Rut jawaaN jawaaN raat meherbaaN – Aakhri Khat (1967) – Bhupinder – Lyrics: Kaifi Azmi – Music: Khayyam

Listening to accordion in counter music support of the song is a sheer pleasure!

Interestingly, the song has Bhupinder playing the guitar and Chic Chocolate playing trumpet (0.49 to 0.55, 2.56 to 2.59) on the screen.

Some other instruments that Kersi Lord has played in the Hindi film songs are, like,

Jaane kya tune kahi jaane kya maine suni – Pyaasa (1957) – Geeta Dutt – Lyrics: Sahir Ludhiyanvi – Music: S D Burman

Kersi Lord plays Chinese temple blocks in sync with bongo in very innovative style across the whole song.

https://youtu.be/pNk8BMxnGYI?si=nh6KoKipgeaIUL5K

Aayie meharban baithiye jaan-e-jaaN  (Howrah Bridge, 1958 – Lyrics: Qamar Jalalbadi- Music: O P Nayyar)

Kesri Lord has played Chinese temple blocks as percussion support from 0.53 to 1.31 and similarly whenever the mukhada comes up with every interlude, in sync with O P Nayyar’s style of mixing different percussion instruments seamlessly intermixing between mukhadas and interludes.

https://youtu.be/go4ixEgnecg?si=bvynhN-LbA-GMlw4

Kersi Lord is also credited with introduction of Moog Synthesizer. In an interview with Anirudha Bhattacharjee and Balaji Vittal (authors of RD Burman: The Man, The Music) he recalls having used Moog in the second interlude – 2.27 to 2.42- of Ye dosti na todegein – Sholay (1975) – Kishore Kumar, Mohammad Rafi – Lyrics:  And Bakshi – Music: R D Burman

How ironical it is that the innovative experiments of use of instruments like Moog or tools like programmed music that RD-Kersi brought in to add freshness to the music in the new genre action films went to toll the bell to end the days of live music in the music room with the rise of digitally created sounds in the music labs!

https://youtu.be/Bx5sqAE86e0?si=0_j9GxNH7pb1Gijr

One more facet of Kersi Lord’s musical personality was his orchestra arrangements.

Naushad invited him to arrange the songs for Saathi (1968) which Naushad wanted in totally different style since it was the beginning of his second innings. Kersi Lord’s imaginative creativity is reflected in the use of mridangam (played by Palghat Mani Iyer)  so unsually melodious manner in Mera pyar bhi tu hai (Mukesh, Suman Kalyanpur- Lyrics: Majrooh Sultanpuri).

https://youtu.be/AKHkNzEScsg?si=14r2mQ_kZeIlO3W2

Naushad also handed over background music arrangement baton to Kersi for Pakeeza (1972). Kersi Lord (and for that matter even his younger brother Burjorji) always asked for a separate credit line in the titles. Since that did not come through for even his score for Pakeeza, Kersi restricted his offerings to play the instruments only.

Some of the other arrangements that stands to the officially not acknowledged credit to Kersi Lord are:

Tum jo mil gaye ho to yeh lagata hai – Hanste Zakhm (1973) – Mohammad Rafi – Lyrics: Kaifi Azmi – Music: Madan Mohan

Kersi’s creativity is reflected in deft use of two rhythms in the song to reflect the different moods.

https://youtu.be/7cQaLY4sUDo?si=HVIu30J13AV_4G68

Instrumental theme music – Dharmatma (1975)

Intro theme music (Shalimar, 1978)

Burjorji Lord is on the drums, Hariprasad Chaurasia plays flute and accordion is played by Homi Mullan.

Burjorji Lord

Burjor Lord was also proficient in playing several percussion instruments. However, he felt that he should focus on one instrument and carve out his own space. That instrument was drum set.

So much he was confident on his drum play that he was said to be ready to forego an invitation by Enoch Daniel to a West Indies tour. He considered the fee offered to him too inadequate for a drum player of his calibre. Enoch Daniel explained to him that he may be well known in India, but no one knows him in West Indies. As the story goes, he ultimately did join that tour. On the very first performance of that tour, his photograph was on the first page of the local newspapers!

Cawas Lord, left is seen with both sons – Bujor, centre, and Kersi, right.

Of some 12,000 songs he has played drums and other percussion instruments, in a career spanning 30 years (1958 to 1988), Burjor Lord seemed to have had a special relationship with Mohammad Rafi. Just one glance at a very small sample of songs should suffice to validate this statement:

Lakhon hai nigahoN mein – Phir Wohi Dil Laya Hun, 1963 – Music:O P Nayyar – wood blocks

Ek haseen sham ko dil mera kho gaya – Dulhan Ek Raat Ki, 1967- Music: Madan Mohan – wood blocks

Pukaarta chala hooN main – Mere Sanam, 1965 – Music: O P Nayyar – vibraphone

Deewana mujh sa nahiN is ambar ke neeche – Teesri Manzil, 1967 – vibraphone

Ek tha gul aur ek tha bulbul – Jab Jab Phool Khile, 1965 – xylophone

Gulabi ankhein jo teri dekhi – The Train, 1970 – Music: R D Burman – drums

Kya hua tera wada – Hum Kissi Se Kam NahiN, 1977 – Music: R D Burman – drums

Burjor Lord – In conversation with Manek Premchand presents many other songs wherein Burjor Lord has played different instruments.

Burjor Lord decided to hang his drum sticks in 1988, because of being frustrated with the  politics of the film music world and not prepared to compromise art of instrument playing with the new age of digitally created sounds.

Rudrdeep Bhattacharjee, the director of documentary “The Human Factor” aptly sums the Lords saga as, “The story of the lords is not theirs alone. It represents thousands of other composers…….”

Credits and Disclaimers:

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:

The wizardry skills of Cawas Lord

The Lord’s Touch – Kersi Lord

The Lord’s Touch – Burjor Lord

Mohammad Rafi: Voice Of A Nation – Sujata Dev

Lord of the music room – Anirudh Bhattacharjee, Balaji Vittal

P.S. This is the re-posting of article originally published on Songs of Yore as The Sculptors of Film Songs (12): The “Lords”

The Sculptors of Film Songs – 11 – Goody Seervai

Originally in Gujarati, by Piyush M Pandya

Translated by Ashok M Vaishnav

It was almost after 1943 that the new crop of music directors started using western musical instruments in the orchestration of the Hindi film songs. C Ramchandra, because of his association with trumpet player Chic Chocolate and jazz drummer Kawas Lord, went in almost overdrive by ecen experimenting with using western tunes in the songs. Music directors like Anil Biswas, Naushad, S D Burman etc. further expanded the range by combining Indian classical and folk music with the western music and the western musical instruments like violin, chello, guitar etc. It was this trend in orchestration of Hindi film music that led the search for the instrumentalists to hotels, clubs and functions of the communities at the big cities like Bombay, Calcutta, where the strong culture of bands consisting of Goanese and Parsi instrumentalists had had developed very well. It was at one of such bands that Chocolate and Lords met Goody Seervai and were immediately impressed with Seervai’s style of playing the accordion. They immediately introduced Seervai to C Ramchandra and Naushad.

Till that time, the changing pattern of orchestration was still lacking the presence of an accordion. So, C Ramchandra and Naushad lost no time in putting in Seervai’s accordion in their respective songs of Samadhi and Dastaan.

Gore gore o banke chhore kabhi meri gali aaya karo – Samadhi (1950) – Lata Mangeshkar, Amirbai Karanataki, chorus – Lyrics: Rajendra Krishna – Music: C Ramchandra

The accordion has melted with other instruments like trumpet, flute etc. in prelude, interlude and countermelody.

Ta ri ta ri aa ri…. Ye sawan rut tum aur hum – Dastan (1950) – Mohammad Rafi, Suraiya – Lyrics: Shakeel Badayuni – Music: Naushad

Arranged by Sebastain D’Souza, accordion gets its own distinct identity with which we are now so familiar in the later songs.

Even though Samadhi song is said to have been recorded earlier, since this song was seen earlier on the screen, it is now being credited as the first song ever to have used accordion in Hindi film songs.

Lo pyar ki ho gayi jeet balam hum tere ho gaye – Jaadu(1951) – Lata Mangeshkar – Lyrics: Shakeel Badayuni – Music: Naushad

This song can be considered to have further cemented the position of accordion in Hindi film song orchestration. The opening strokes of accordion so magically set the atmosphere for mesmerizing gaze of Nalin Jayawant. It then virtually sets to pace of the rhythm as it also adds to the seducing effect in the counter melody.

This was also the time when Shankar Jaikishan duo were also on the rise. They, along with their arranger Sebastian D’Souza, used the unconventional skills of Goody Seerwai’s for some of the most memorable songs of the Hindi film history:

Ek bewafa se pyar kiya – Awara (1951) – Lata Mangeshkar – Lyrics: Hasrat Jaipuri – Music: Shankar Jaikishan

The song opens with the notes of accordion bellow going wide open, in sync with the open doors of the hall. Accordion then plays the key role in the interludes.

If we track the video frames closely we can see Goody Seerwai, with his side to the camera @ 1,29 turning to face the camera by 1.31, fully enjoying his accordion play.

Sunate the naam jiska bahar se – Aah (1953) – Lata Mangeshkar – Lyrics: Hasrat Jaipuri – Music: Shankar Jaikishan

Here the song opens with tantalizing notes of accordion, coming in for brief counter melody support at 0.23 etc. and then again opening the interlude @ 1.21 to 1.26,

Andhe jahan ke andhe raste – Patita (1953) – Talat Mahmood – Lyrics: Shailendra – Music: Shankar Jaikishan

The open accordion notes fill in the prelude, move with rhythm notes during the interlude @ 0.55 to 1.04, creating its own mood while opening the interlude @ 1.42 such that the entire composition seems to go ethereal.

Naino se nain hue char – Aurat (1953) – Lata Mangeshkar – Lyrics: Hasrat Jaipuri – Music: Shankar Jaikishan

The prelude opens with notes of piano and ends with short notes of accordion. Accordion then keeps support through the counter melody with fleeting notes and then takes over interlude from 0.51 to 1.04, playing the supporting role during the second interlude from 1.24 to 1.37 etc.

Aa neele gagan tale pyar hum karein– Badshah (1954) – Hemant Kumar, Lata Mangeshkar – Lyrics: Hasrat Jaipuri – Music: Shankar Jaikishan

The accordion keeps support with soft counter melody play while moving with the rhythm during the interlude.

Manzil wohi hai pyar ki– Kathputli (1957) – Subir Sen – Lyrics: Shailendra – Music: Shankar Jaikishan

Our normal impression of the song would be a piano dominant orchestration. But here, too, accordion makes its presence felt during the prelude from 0.16 to 0.35 while piano supports the counter melody. Then, the accordion smoothly ends the interludes from 1.43 to 1.47, 2.46 to 2.49, and briefly takes up the centre stage from 3.38 till 3.51.

https://youtu.be/zSNA8WVIJqw?si=3IoO0YTEbYxThRzy

Tu roop ki raani main choroN ka raja – Roop Ki Raani ChoroN Ka Raja (1962) – Talat Mahmood, Lata Mangeshkar – Lyrics: Hasrat Jaipuri – Music: Shankar Jaikishan­­

In the prelude accordion sounds like strokes of guitar, but in the interlude, it becomes innovatively expansive.

We will end the saga of SJ- Seerwai combination by recalling some very well-known songs, wherein the impact of accordion has played a distinct role in shaping the character of the song:

Aa ja sanam Madhur chandani mein hum – Chori Chori (1956) – Lata Mangeshkar, Manna Dey – Lyrics: Hasrat Jaipuri – Music: Shankar Jaikishan

Dheere dheere chal chand gagan mein – Love Marriage (1959) – Mohammad Rafi, Lata Mangeshkar – Lyrics: Hasrat Jaipuri – Music: Shankar Jaikishan

Kahe zoom zoom raat ye suhani – Love Marriage (1959) – Mohammad Rafi, Lata Mangeshkar – Lyrics: Hasrat Jaipuri – Music: Shankar Jaikishan

Sab kuchh shikha hamne na shikha hoshiyari – Anadi (1959) – Mukesh – Lyrics; Shailendra – Music: Shankar Jaikishan

Dil ki nazar se nazaroN  ki dil se – Anadi (1959) – Lata Mangeshkar, Mukesh – Lyrics; Shailendra – Music: Shankar Jaikishan

Another music director who was known to experiment with the way instruments were played in his songs was O P Nayyar. As can be expected O P Nayyar has used Goody Seerwai’s accordion with striking results in many of the songs. Here are some such songs:

Babuji dheere chalna pyar mein zara sambhalana – Aar Paar (1954) Geeta Dutt – Lyrics: Majrooh sultanpuri – Music: O  P Nayyar

Right from the first stroke in the prelude, thru counter melody and interludes, accordion is enticing as Geeta Dutt is in rendering of the song. The deft and complicated pieces of accordion belong to the times when final recordings used to take place in one shot!

Woh baat jis pe dhadake jiya – Ham Sab Chor Hai (1956) – Asha Bhosle – Lyrics: Majrooh sultanpuri – Music: O  P Nayyar

Here too right from the prelude through counter melody strokes and interludes accordion comes in different, captivating, styles.

https://youtu.be/BECno1IhuXM?si=8tNUECr00Rs0hbHW

Dekh ke teri nazar – Howrah Bridge (1958) – Asha Bhosle, Mohammad Raf i– Lyrics: Majrooh sultanpuri – Music: O  P Nayyar

This is the song which remained under the shadow of massive popularity of other songs like Mera naam chnin chin chu or Aaiye meherban. But the intricate and yet melodious way the accordion is played in the song should provide the acid test for anyone aiming to reach professional excellence to test his /her proficiency.

In spite of so much of the popularity and respect that Goody Seerwai got in the film world, it seemed that his first love was arranging and playing for the bands. That caused him to frequently reach very late for the rehearsals, earning strong displeasures of almost all music directors. Once he was so late for a song rehearsal for Shankar Jaikishan that they chose to use the services of Seerwai’s own under study Sumit Mitra. The time and tide do not stop for anyone. In the case of Goody Seerwai too, his own inner circle friend and well-wisher Kawas Lord trained his son Kersi Lord for the accordion. Of course, Goody Seerwai perhaps never seemed to rue these developments. Ultimately, the loss was ours, the fans of Hindi film music.

We end remembrances of Goody Seerwai by listening to one song from a record he cut with another close friend and associate, Kersi Mistry.

Saathi re tujh bin jiya udas…..

Seerwai’s accordion skill can be judged by the way he recreates the vocal singing of such complex composition on his accordion.

Credits and Disclaimers:

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.

P.S. This is the re-posting of article originally published on Songs of Yore as The Sculptors of Film Songs (11): Goody Seervai

The Sculptors of Film Songs – 10 – Van Shipley

Originally in Gujarati, by Piyush M Pandya

Translated by Ashok M Vaishnav

(Valentine) Van Shipley (B: 30-8-1927 | D: 8-3-2008), though, commenced his career in Hindi films by playing violin, he is perhaps better known as ‘The Man with Golden Guitar’. His mother, too, was a killed guitar player. Valentine’s three brothers and two sisters were talented musicians. However only Valentine Van Shipley went to become the professional musician. Van Shipley took his first violin lessons from Allahabad- based violinist, Gagan Chatterjee. While he was learning Hindustani classical music from noted khayal singers Ustad Bande Hasan Khan and his son, Ustad Zande Hasan Khan, he also took lessons in western music. He continued his training in violin from Ustad Allaudin Khan while he was with AIR, Lucknow. While at Lucknow, he further benefited by way of additional training in sarod from Ustad Ali Akbar Khan, who was the then director of AIR Lucknow. Ustad Vilayat Khan was his classmate. He had friendship relationship with even Pandit Ravi Shankar who he had met in 1961.

Van Shipley’s interest in Hindustani classical music led him to develop eight-string guitar in place of the usual five-stringed ones so as to facilitate playing classical raags on guitar. It would indeed have been a great opportunity if we can get to listen his   Columbia shellac record of Raag Jogiya and Raah Yaman Kalyan. Van Shipley also designed an electric violin, which he called Gypsy Violin. It is said that he mostly used this guitar subsequently. However, we do not have any authentic data of such recordings.

Whether by destiny or by his own choice, he moved to Pune to join Prabhat Studio. Here his first job was to assist Husnlal Bhagatram for their maiden film, Chand (1944). While in Pune, among many lasting friendships Van Shipley developed were the ones with the then another struggling future stars, Dev Anand and Guru Dutt. When Prabhat Studio split, Van Shipley moved to Bombay.  His earliest works here were films like Nargis (1946), Anmol Ghadi (1946) and Mera Suhaag (1947). Soon, he was working with music directors like Khemchand Prakash, C Ramchandra, Anil Biswas, Roshan and Ghulam Haider.

One the most referred to version of Van Shipley’s initial bonding with Raj Kapoor is Raj Kapoor liking Van Shipley’s performance, in 1947, which he was performing in response to Nutan’s invitation at St. Xavier’s College, Mumbai. That chance relationship is said to have prompted Raj Kapoor using Van Shipley for all the solo violin pieces in Barsaat (1949)

[Note: Please refer to a few of the authentic blogs which carry this story: Van Shipley – Cinemaazi.com | The Masters: Van Shipley – Conversations Over Chai | The Vivid – Van Shipley – Dinesh S Ghate – Swaralap.com]. However, another article, Background notes: Menezes, Narvekar, and the untold history of violinists in Hindi film music – Rudradeep Bhattacharjee – Scroll.in, puts across a totally different version.

I have one clip wherein credit is given to Van Shipley for violin recitals in Barasat:

However, since I do not have access to any more third-party authentic source to validate either versions, I have chosen to leave the matter over here and move on with our subject of focus.

Van Shipley’s next major association with RK Films was by way of playing electric guitar piece for iconic dream sequence for Awara (1951). Yet another song for which we get an authentic reference to the electric guitar play of Van Shipley in an RK movie is:

Yeh shaam ki tanhaiyaN – Aah (1953) – Lata Mangeshkar – Lyrics: Shailendra – Music: Shankar Jaikishan

The electric guitar can be heard in interlude @ 1.02 to 1.10.

Even though Van Shipley is being credited with contributing his magic of either violin or electric or Hawaiian guitar in more than 1500 songs, there are too few authentic references to the specific songs from where we can listen to such pieces. Here are a few ones that I could lay hand on:

Dil jalta hai to jalne de – Pehli Nazar (1945) Mukesh – Lyrics: Dr Sardar ‘Aah’ Sultanpuri – Music: Anil Biswas

It is violin this time, which seems to follow voice of Mukesh as a shadow in the song.

And now listen to its instrumental version, played on violin by Van Shipley

Mera sundar sapna beet gaya – Do Bhai (1947) – Geeta Dutt – Lyrics: Raja Mahendi Ali Khan – Music: S D Burman

The song opens with prelude dominated by electric guitar play.

We would certainly have heard these two songs from Mahal (1949) many times. However, let us listen to them again focusing on Van Shipley’s play of guitar in these songs.

Ayega aanewala – Mahal (1949) – Lata Mangeshkar – Lyrics: Nakhshab Jarchavi – Music: Khemchand Prakash

The prelude of the song is all piano. But as the song runs into its normal flow, electric guitar helps in deepening the mood at every interlude. The guitar is so seamlessly interwoven with the interlude music that one may need to listen these pieces such that focus is to filter out the guitar.

Muskil hai bahot muskil – Mahal (1949) – Lata Mangeshkar – Lyrics: Nakhshab Jarchavi – Music: Khemchand Prakash

Electric guitar comes in brief strokes (0.18-0.20 / 1.51-1.53) but does make distinct impact even if we listen to song in our normal way.

Van Shipley – slide guitar in background pieces of Sazaa (1951)

Jiya ho jiya ho kuchh to bol do – Jab Pyar Kisi Se Hota Hai (1961) – Mohammad Rafi – Lyrics: Hasrat Jaipuri – Music: Shankar Jaikishan

The electric guitar can be heard in interlude @ 1.12 to 1.20, on a different note @ 1.28 to 1.30, and similarly in the second interlude as well. That small piece is again very smartly used as countermelody piece @ 2.44 to 2.46.

Even more fascinating electric guitar play is in the credit titles of the song, wherein all that was heard in vocals is replicated in electric guitar play:

His first independent album – incidentally titled The Man With Golden Guitar, which was to become eponymous identity of Van Shipley – was released in 1962. From then onwards, he went on releasing one album every year, till 1982.

We will try to make up the paucity of more songs which have authentic information about Van Shipley’s role as instrumentalist by picking up a few representative instrumental versions that Van Shipley played for his independent albums.

First a few songs on violin:

Dam Bhar Jo Idhar Munh Phere

Gumnam hai koi badnam hai koi

Jago Sonewalo

And some of his guitar songs:

Tum bhi bhula do (Jugnu, 1947 – Noorjehan)

Shola jo bhadake

Patli kamar hai

Teri talash mein

Dhire dhire machal aye dil-e-beqarar

Kya jaanu sajan hoti hai kya gam ki shaam

This list can go on. However, in order to remain within decent limit of size of the blog post, we will conclude with one clip from a radio program.

A Tribute to Van Shipley – Radio Ceylon

The clip has Aaiye meharban and Tum jo mil gaye ho as Van Shipley’s guitar versions, and Rahe na rahe ham, Tu pyar ka sagar hai and Ankhon se jo utari hai tasveer dil mein as violin versions.

As handsome as Van Shipley was, it was obvious that he would get roles to play on the screen for films like Fareb (1953), Dharampatni (1955) and Carnival Queen (1955). According to his own notes, he has acted as hero too in a couple of films. In this dance competition clip form Cha Cha Cha (1964), Van Shipley can be seen – wearing striped T-shirt – in the crowd of fans (@ 6.08 – 6.13 and 6.18 – 6.25):

In another clip, he can be seen playing guitar with as much grace as perhaps the main dancers Bela Bose and Helen.

He has been honoured with many awards in India and abroad. In 1967, he was felicitated with an international award for Best Instrumentalist of the Year. He has a rare honour of performing for the for several heads of state and other such dignitaries when they would be visiting Delhi.  Van Shipley was always willing to play for charitable causes like fundraisers for relief measures following various natural disasters such as flood, famine, drought, and for causes such as the Red Cross, Police Welfare, Poor Students and the Blind, Retired Army, Navy and Air force Personnel, Kashmir Floods, Prime Minister’s Relief Fund, etc.

Van Shipley could speak impeccable Urdu. In fact, he had his own calligraphy set so that he can write the language. If this was not enough, he was a fine painter and a keen photographer too.

He died of heart attack in 2008. But the legacy of his music lives on in his family as well as in the hearts of fans of violin and guitar music.

Credits and Disclaimers:

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.

P.S. This is the re-posting of article originally published on Songs of Yore as The Sculptors of Film Songs (10): Van Shipley

The Sculptors of Film Songs – 9 – Dattaram

Originally in Gujarati, by Piyush M Pandya

Translated by Ashok M Vaishnav

Dattaram (Wadkar) (1929 – 7 June 2007), is, unfortunately, remembered either as one of those talented music directors who could not get the commercial success he deserved or as assistant to Shankar Jaikishan who handled the percussion part of the orchestration. However, lamenting over this stark reality of the ways of Hindi Film music world, Dattaram’s nonrecognition as music director or as arranger also hides his outstanding contribution as an outstanding player of dholaki and other percussion instruments.

[Please visit Saaj Tarang special episodes on various percussion instruments like, Dholaki, Dholak, Pakhavaj, Mridangam, Tabla Tarang, Bongo and Folk Rhythm instruments.]

Born in Goa, Dattaram had had a miserable childhood. His mother, too, being a good singer, they were advised to go to Mumbai to try out the luck. Here, his mother sent young Dattu to ace classical tablla player Pandharinath Nageshkar. Later, Dattaram’s training progressed under another guru, Yashwant Kelkar. Yashwant Kelkar introduced Dattaram to Sajjad Hussain, who himself was an expert mandolin player as well. Dattaram received here training on classical raags. It was here that Dattaram’s knowledge base of music broadened along with the knowledge of the commercial aspects of the world of music.

Dattaram was also a keen wrestling learner. He regularly used to visit a local wrestling arena, Akhara. It was here that he met Shankar (of Shankar Jaikishan duo). That this chance meeting transformed into a lifelong association is now a matter of every folk lore about Shankar Jaikishan music team. So, we will not repeat it here.

[Note: Dattaram himself also dealt with this meeting in details in the documentary – mentioned at the references at the end of this article – on him.]

Soon Dattaram was assigned the responsibility of playing tablla at Prithvi Theatres. It was here that Dattaram was noticed by Raj Kapoor. When the regular tabla player Pandharinath could not remain present at the final recording session of Awara (1951) song, Ek Bewafa se pyar kiya, Dattaram was roped in to play dholaki. Dattaram played all the variations so effortlessly, that he went on to become the percussion arranger for Shankar Jaikishan. He was officiously designated as the Assistant, along with Sebastian, for SJ team w.e.f. Nagina (1951).

Aside Trivia: HFM had two other famous ‘Datta’s – Datta Koregaonkar, a vintage era music director, who is better known as K Data and Dattarm Naik, also an independent music director of Goan origin, better known as N Datta.

Apart from being a percussionist par excellence, Dattaram’s sense of rhythm also was extraordinary. In order to validate this claim, we will recall some of his famous percussion compositions and arrangements with Shankar Jaikishan.

Raja ki aayegi barat – Aah (1955) – Lata Mangeshkar – Lyrics: Shailendra – Music Shankar Jaikishan

The dholaki rhythm indeed adds its own beauty to the latent poignancy of the song.

Please note subtle change in the beat @ 1.17.

Mud mud ke na dekh mud mud ke – Shree 420 (1955) – Asha Bhosle, Manna Dey, chorus – Lyrics: Shailendra – Music Shankar Jaikishan

The song is set to SJ’s favourite waltz rhythm. The first part is supported by soft bass guitar for the rhythm. The song changes the pattern @2.31 and then @2.46 to brisk dholaki play as Manna Dey takes over the vocals. Noteworthy is quick change of dholaki beat @ 3.08.

Ramaiya vasttavaiya maine dil tujhko diya – Shree 420 (1955) – Lata Mangeshkar, Mohammad Rafi, Mukesh, chorus – Lyrics: Shailendra – Music: Shankar Jaikishan

It is same dholaki, or rather an ensemble of dholakis, here too, but while keeping one dholaki to maintain the rhythm, Dattaram has been able to set the variations in the use of additional dholakis to match the different moods of the songs.

We now compare three Lata Mangeshkar – Manna Dey duets from Chori Chori. (1956). Our aim is to range of the highly imaginative rhythms as typical examples of Dattaram’s capabilities as percussion arranger:

Aja sanam madhur chandani mein hum tum mile to viraane mein a jayegi bahar – Chori Chori (1956) – Lata Mangeshkar, Manna Dey – Lyrics: Hasrat Jaipuri – Music: Shankar Jaikishan

Prelude commences with brief accompaniment of short stokes of accordion with dholaki (0- 0.07 to 0.17) to continue with different combinations of violins and accordions as base rhythm as well orchestration patterns as Lata Mangeshkar and Manna Dey weave mesmerising spell.

https://youtu.be/nIkFW78x6UA?si=OvsV8KkSX2ds-2vB

Yeh raat bheegi bheegi ye mast najhare – Chori Chori (1956) – Lata Mangeshkar, Manna Dey – Lyrics: Shailendra – Music: Shankar Jaikishan

Dattaram now weaves guitar, bongo/congo and dholaki percussion instruments family combination in conjunction with brief alteration in the beat (e.g., @ 1.29 and similar other palaces) to a very lilting rhythm pattern.

https://youtu.be/f1DZxkiMjRo?si=C7BLs9AN2Ed9FeYS

JahaaN main jaati huN wahaN chale aate ho – Chori Chori (1956) – Lata Mangeshkar, Manna Dey – Lyrics: Shailendra – Music: Shankar Jaikishan

Here Dattaram combines dholaki with puppet-show style dance rhythm.

https://youtu.be/lVJYXbjefCs?si=sMt1nU3meAdN8dec

We will take up one more example to demonstrate Dattaram’s range as percussion arranger:

Woh chand khila woh tare haNse – Anari (1959) – Lata Mangeshkar, Mukesh – Lyrics: Hasrat Jaipuri – Music: Shankar Jaikishan

Fast paced prelude takes a momentary pause @ 0.30 to commence the main song composition. Similar pause @ 0.53 for Mukesh’s intervention adds to the mood of romance. In the interludes the rhythm support moves to bongo in tune with accordion orchestration. In the interlude parts of the small pause, like @ 2.20, with a brief change in the dholaki beat, is Dattaram’s unique style.

Every song Dattaram has arranged for SJ that with dholaki as the percussion instrument will have such interesting variations in the regular pattern. That brief variation is now known as Dattu Theka. Let us try to clearly visualize this unique variation of pattern with the help of an example:

Ye chaman hamara apna hai – Ab Dilli Door NahiN (1957) – Asha Bhosle, chorus – Lyrics: Shailendra – Music- Dattaram

The prelude commences on the notes of string instruments. Then @ 0.13, dholaki enters with staccato style beginning, later to turn into a regular rhythm. However, that regular rhythm very deftly weaves a seamless brief variation so as to inject a very unique, multiple combination of the rhythm patterns. Similar experiments can also be observed in the interlude parts of the song.

When so required, Dattaram has used tabla and other percussion instruments with equal ease. However, we need to specifically highlight the innovative use of duff. As he narrates in the herein specially referred interview video clip, use of fingers, instead or usual use of stick, to play the duff is testimony of Dattaram’s immense reserves to come up with imaginative and equally effective experiments.

Dil ka haal sune dilwala – Shree 420 (1955) – Manna Dey – Lyrics: Shailendra – Music: Shankar Jaikishan

Here too one cannot miss variations in the regular rhythm pattern, e.g., between 1.00 to 1.07 etc.

Another very famous example of use of duff is in the title song of Jis Desh Men Ganga Baheti Hai

HothoN pe sacchai raheti hai – Jis Desh Mein Ganga Baheti Hai (1960) – Mukesh – Lyrics: Shailendra – Music: Shankar Jaikishan

The prelude itself demonstrates use of duff being played with sticks. Listening to the use of multiple percussion instruments is a bonus.

Mera naam raju gharana anaam – Jis Desh Mein Ganga Baheti Hai (1960)    – Mukesh – Lyrics: Shailendra – Music: Shankar Jaikishan

Here duff is played with fingers.

Dattaram worked as assistant music director for only Shankar Jaikishan, even after the death of Jaikishan in 1971. Dattaram’s talent for his rhythm innovations were duly recognised by several other music directors. Sadly, much of the authentic details of these contributions remain undocumented. Such was the respect that Dattaram commanded that he would be called in to play dholaki (or tablla as the case is) almost at eleventh hour. Here are some of the very well-known songs:

Saari saari raat teri yaad sataye – Aji Bas Shukriya (1958) – Lata Mangeshkar – Lyrics: Farooq Qaiser – Music: Roshan

The regular dholak player of the Roshan team was not available during the final take of the song. Dattaram was called in as SOS. It is said that Dattaram sat down to understand the song and the composition. He then conjured up the rhythm. And then, the song went through, as the first take itself.

Salil Chowdhury and Dattaram had so good a chemistry that Salil Chowdhury called in Dattaram to compose and play the rhythm for three songs for Madhumati (1958). Salil Chowdhury simply gave Dattarm the brief of the music composition and requested Dattaram to compose the rhythm as would suit him. Dattaram came up with different rhythms on tabla for each of the three songs as suited to the mood and situation of the respective songs, while maintaining the unique style of Salil Chowdhury os song composition.

Aaja re pardesi – Madhumati (1958) – Lata Mangeshkar – Lyrics; Shailendra – Music: Sallil Chowdhury

Ghadi dhadi mera dil dhadake – Madhumati (1958) – Lata Mangeshkar – Lyrics; Shailendra – Music: Sallil Chowdhury

Suhana safar aur ye mausam haseen – Madhumati (1958) – Mukesh – Lyrics; Shailendra – Music: Sallil Chowdhury

Dattaram never hesitated to play for new music directors as well.

Mere dil mein hai ek baat keh do to bhala kya hai – Post Box No. 999 (1958) – Manna Dey, Lata Mangeshkar – Lyrics: P L Santoshi – Music: Kayanji Veerjii Shah

In those early days, Kalyanji Veerji Shah used to play string instruments for Shankar Jaikishan. So, when he ventured on his own it was but natural that when he wanted the distinct ‘dattu theka’ based rhythm for his composition, Dattaram was called upon to play the dholaki..

Laxmikant – Pyarelal were assistant to Kalyanji Veerji Shah in this film. When they became independent music director team, Dattaram would be called in to play very special rhythms, particularly after Jaikishan’s death when the flow of music to Shakar trickled down heavily. Raj Kapoor had so close bond with Dattaram that when Raj Kapoor handed over reins to LP in Bobby (1973), Dattaram was the mainstay of rhythm department. Dattaram then continued working for LP for many good years, till Prem Granth (1996).

Even Naushad had included Dattaram on the technical side of rhythm composition for Pakeeza (1972).

Dattaram is on records to have independently composed music for 19 Hindi, and one Magadhi, Marathi and Bhojpuri films each. Since much as been said about the misfortune of Dattaram as music director that we would not repeat that painful narrative. I have selected two sets of articles as additional refences and highlighted at the end of the present article so as to bring up key details of this aspect of Dattaram’s career on the same page.

When all is said and done, the sad fact remains that we have to remain contended with the solace that even if Dattaram did got success by the normal standards of the HFM industry, his very distinct contribution as one of the most creative beat and rhythm wizard does remain permanently etched in the annals of the HFM history.

Credits and Disclaimers:

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.

Additional References:

Masti Bhara Hai Sama – Dattaram Reminisce – Documentary

Dattaram Part 1: Under the shadow of big banyan tree with songs of Mukesh and Manna Dey and Dattaram Part 2: Breaking out of the Banyan Tree with ‘Other’ Singers

A series of Dattaram’s compositions as an independent music director – Dilli’ – so near and yet too far.

 

P.S. This is the re-posting of article originally published on Songs of Yore as The Sculptors of Film Songs (9): Dattaram

The Sculptors of Film Songs – 8 – Ramlal

Originally in Gujarati, by Piyush M Pandya

Translated by Ashok M Vaishnav

For most of the Hindi Film Songs fans, the name Ramlal should be able to recall the songs of ‘Sehra’ or ‘Geet Gaya PaththoroN Ne’. If such is the case, then mention of Ramlal in this series of Musicians and Arrangers would not be simply incongruous?

Howsoever Ramlal’s music for these two films is applauded, the fact remains that, such exceptional success did not bring him any more substantive work but in fact has effectively overshadowed his lifelong work as one of the most outstanding flutes and shehnai player of the Hindi film industry.

We will, therefore, focus on his work as an instrument player.

Ramlal (a.k.a. Ramlal Choudhary) had music instinct from the childhood. Being born and brought up in Banaras (UP, India), he was attracted to shehnai because of the influence of another Banarasi legend, Ustad Bismillah Khan. Ramlal’s instinct for wind instruments also brought him under the influence of Pannalal Ghosh. Thus, he had attained excellent command over playing shehnai and flute at the early stage of his life.

[Please visit exclusive episode on Shehnai @ Saaj Tarang to know more on shehnai – the instrument and its varied role in the film music.]

As the destiny would have it, Ramlal was spotted by another Banarasi music personality, Ram Ganguly. On Ram Ganguly’s invitation, Ramlal landed up in Bombay in 1944. Ram Gangly immediately settled him in the music team of Prthvi Theatres on a monthly salary of Rs. 80/-.When Raj Kapoor entrusted the music of his maiden film, Aag (1948) to Ram Ganguly, he appointed Ramlal as his assistant. Unfortunately, it seems luck had made up its mind to deal cruelly with Ramlal from then only. The credit titles of Aag do not mention Ramlal as assistant music director. However, his work as flute player in almost all songs did catch the attention it so richly deserved.

Dekh chand ki aur musafir dekh chand ki aur – Aag (1948) – Shailesh, Shamshad Begum – Lyrics: Saraswati Kumar ‘Deepak’- Music: Ram Ganguly

Flute from the very beginning of the prelude (@0.05 till 0.23, 0.41 till 0.56) undoubtedly catches the attention. Then @1.17 to 1.27 and @ 1.34 to 1.41 it blends with other string instruments to set the stage for the opening notes of the song, and literally ushers in the song @ 1.46 to 1.57. Flute remains the lead countermelody instrument. Perhaps more interesting is the way flute replicates the sounds of oar hitting the river water (in the interlude @2.39 to 2.44 before reverting back to the original tune of the song, till 2.51. Its countermelody support to string instruments (from 3.39 till 3.56) marvellously accentuates the feeling of the rising wave.

Zinda huN is tarah ke gham-e-zindagi nahiN – Aag (1948) – Mukesh – Lyrics: Behzad Lakhanavi – Music: Ram Ganguly

Flute is used as counter melody instrument, starting with prelude. What is very noteworthy is that the flute comes in for very short pieces but still has its impact on the song.

https://youtu.be/LHnSr82qQ34?si=7iDz7NmFtUeTAcT8

Apart from these two songs, one may pick up any song from the film, like Kahe koyal shor machaye re; Na aankhoN mein aansoo, Raat ko ji chamake tare/.  Every fleeting piece of flute therein would not fail to catch attention. Solah baras ki bhayi umariya has exquisite pieces of shehnai.

In 1950, highly reputed film producer of that time, Pyarelal Santoshi launched ‘Taangewala’, with Raj Kapoor and Vyjayantimala in the lead. The music score for the film was entrusted to Ramlal. However, financial difficulties forced the project to be shelved. By that time, Ramlal had composed several songs.

Fortunately, two of these songs were used in ‘Naqaabposh’ (1956). The remaining six songs of this film are composed by Dhoomi Khan.

O re dilwaale apna bana le – Naqabposh (1956) – Asha Bhosle – Lyrics: Hasrat Jaipuri – Music: Ramlal

Ramlal has composed the song with Arabic orchestration. However, since the film was ‘B’ grade project, the song too fizzled out soon from the memory of the fans.

Ham tumhaare hain talabgaar tumhein kya maaloom– Husn Baanoo (1956) – Sudha Malhotra – Lyrics: Sahir Chandpuri – Music: Ramlal

Ramlal has come up with a very pleasing composition here too.

Barring some exceptions like these, as independent music director, Ramlal had now been employed as a full-time instrument player by V Shantaram for his Rajkamal Kala Mandir. One can pick up any song from the films produced in those by this production house, if one hears a piece of flute it will have been played by Ramlal. Here are some representative songs:

Aye kale badal bol – Dahej (1950) | Gaya andhera hua ujala – Subah Ka Taara (1952) | Dil dil se kah raha hai – ParchhaiN (1952) | Apni ada par main huN fida – Teen Batti Char Rasta (1953)

The year 1959 was a watershed year for Ramlal in so far as his association with shehnai is concerned with one song from Navarang and sevral songs of eponymous titled Gunj Uthi Shehnai.

Tu chuupi hai kahan– Navrang (1959) – Manna Dey, Asha Bhosle, chorus – Lyrics: Bharat Vyas – Music: C Ramchandra

The song remains another landmark in Hind films as dream sequence song. Every instrument used in the orchestration of the song has its distinct effect. We normally are tuned to associate shehnai with its traditional playing style, in folk or in classical music. However, the soft wailing piece in shehnai, as played by Ramlal, @0.53 to 1.07, which again comes up @2.01 to 2.11 puts the use of shehnai into very different league.

Gunj Uthi Shehnai (1959), obviously, revolves around shehnai. As such, Vasant Desai had approached ace Shenai player, Ustad Bismillah Khan, to play shehnai for the film. Ustadji agreed to play only the standalone classical pieces. So, it was Ramlal who was the obvious choice to fill that void. As mentioned in the interview referred to at the end of the article, Ramlal was promised a special mention in the credit titles in the film. Unfortunately, that promise remained unfulfilled. But Ramlal’s shehnai in the songs and the background score does remain immortally etched into the annals of HFM.

The initial pieces of shehnai (from 0.18 till 0.50), which also remains the theme piece of shehnai across the film, being played Ramlal, so easily blends with the Ustad Bismillah Khan’s subsequent solo performance during the entire credit title score of the film. The full-scale song based on this theme piece is –

Tere sur aur mere geet – Gunj Uthi Shehnai (1959) – Lata Mangeshkar – Lyrics: Bharat Vyas – Music: Vasant Desai

Ramlal’s shehnai easily matches the Lata Mangeshkar’s soft humming in the prelude. Similarly, shehnai matches the soft flute notes in the interludes. Use of shehnai pieces in the countermelody support puts Ramlal’s virtuosity into a different orbit.

Teri shehnai bole sun ke dil mera dole– Gunj Uthi Shehnai (1959) – Lata Mangeshkar, Mohammad Rafi – Lyrics: Bharat Vyas – Music: Vasant Desai

The soft wailing notes of pathos is generally the trademark use of shehnai. However, Vasant Desai’s composition calls for the soft rendition that Ramla has so magically reproduced. The theme music piece also then blends in with a slightly different beat.

Jeevan mein piya tera saath rahe– Gunj Uthi Shehnai (1959) – Lata Mangeshkar, Mohammad Rafi – Lyrics: Bharat Vyas – Music: Vasant Desai

The song opens with soft wailing notes of separation, so effectively accentuated by shehnai. Then as the songs moves into the mood of heightened happiness of the meeting between the separated love birds, Ramlal dons the role of playing the flute across the song.

https://youtu.be/1kl3pkHBmhs?si=fy-YvbfrP2JJq_JL

We will end the success saga of Ramlal in Gunj Uthi Shehnai with one more ingenious variation of the theme shehnai music pipes.\

Haule haule ghunghat pat khole ke balamava bedardi – Gunj Uthi Shehnai (1959) – Lata Mangeshkar, Mohammad Rafi, Chorus – Lyrics: Bharat Vyas – Music: Vasant Desai

Note the highly innovative use of traditional style of playing shehnai in the folk tunes, for the soft intense call for meeting now in a different setup (@ 1.18 till 1.58). If all these variations were not enough, Vasant Desai and Ramlal come up with even more innovative solo lead play of shehnai (from 4.58 till 6.24) wherein the traditional soft wailing of shehnai notes create the mood of collective exuberance. The shehnai then so easily slips into the countermelody support in the end notes of the song.

With such exceptional success ultimately, Ramlal was able to convince V Shantaram to entrust him with yjr music of Rajkaamal’s next venture – Sehra (1963). The rousing success of the music for the film then led to Ramlal being handed over the reins of V Shantaram’s the then dream project, Geet Gaya PaththaroN Ne (1964). In the fitness of the class of the music, much has been said about each of the songs from these two films, so we will avoid the repetition., save taking special note of Ramlal’s unusual contribution as instrumentalist as well as innovativeness as a music director.

Taqdeer ka fasana ga kar kise sunae – Sehra (1963) – Mohammad Rafi – Lyrics: Hasrat Jaipuri – Music: Ramlal

Just note how even a small prelude note piece (till 0.20), which continues till 0.34 as countermelody support has created the mood of one of the most iconic songs of HFM. Of course, shehnai keeps supporting the orchestration across the whole song.

Lagi mast nazar ki katar – Sehra (1963) – Mohammad Rafi – Lyrics: Hasrat Jaipuri – Music: Ramlal

Ramlal has so successfully been able to tame the loudness of the situation where the amplified wavy movement of a galloping camel into a very unique song.

In the interview referred to at the end, he very candidly gives credit to this idea to his wife Rita and her sister.

Mandve tale gareeb ke do phool khil rahein hai – Geet Gaya PaththaroN Ne (1964) – C H Atma – Lyrics: Hasrat Jaipuri – Music: Ramlal

V Shantaram perhaps has chosen to help C H Atma in his last days by giving him this cameo role. But Ramlal has converted that opportunity, like an alchemist, to create one of the all-time great songs of C H Atma. However, use of rubab, the Afghan string instrument, as the lead instrument and unbelievable harmonium support in the countermelody would perhaps pale before the way Ramlal has been able to modulate the failing sound of ageing C H Atma for such a slow-paced song.

Note: That it is harmonium in the countermelody support is mentioned by Ramlal himself in the interview referred to at the end, when he talks about this song.

The vicious competition of HFM easily succeeded in pushing Ramlal from the height of success, and corresponding elite lifestyle, to the living on the Rs. 700 a month government dole in the later years of his life. Not only that, but there is also hardly any worthwhile documentation of his work as shehnai and flute player.

I have banked heavily upon the Vividh Bharati interview by Kamal Sharma, referred to at the footnote of the article, to dig out some more songs wherein Ramlal has played these instruments –

Gore gore haathoN mehndi laga ke – Parineeta (1953) – Asha Bhosle, chorus – Lyrics: Bharat Vyas – Music; Arun Kumar Mukherjee

We get to listen here shehnai as is being played at the marriage functions. Of course, Ramlal has left his indelible imprint the way shehnai vibrates so vividly, say @1.28 to 1.32 etc.

Aaye na balam vaada karke – Shabab (1954) – Mohammad Rafi – Lyrics: Shakeel Badayuni – Music: Naushad

The brief note at the very beginning even shadows the superb, deep-throated, shehnai rendition @ 0.32 to 0.40. and even more noteworthy is the way Ramlal has handled shehnai notes in the gayaki (singing) mode @ 1.21 to 1.28, 2.28 to 2.34 etc. in the interludes.

Beqas pe karam kijiye sarkar-e-madina – Mughal-e-Azam (1960) – Lata Mangeshkar – Lyrics: Shakeel Badayuni – Music: Naushad

In an otherwise violin dominant orchestration, so brief notes of shehnai, as @ 1.38 -1.40, 2.00 to 2.03 etc. leave a profound impact.

Sanwariya re apni Meera ko bhul na jaana – Aanchal (1960) – Suman Kalyanpur – Lyrics: Pradeepji – Music: C Ramchandra

In the first happy version shehnai is used quite selectively, but nonetheless is so innovatively, e.g., what was played on cello @ 0.50 to 0.54 is so imaginatively replayed on shehnai @1.57 to 1.59 (repeating @ 3.01 to 3.04 and then a little more extended @ 3.54 till 3.60, again @4.09 to 4.11). Then in sad version shehnai takes over for the very opening stroke of the prelude, countermelody intervention accentuating the pathos (@6.31 to 6.35, again @ 7.36 to 7.40).

Haye sawan ban gaye nain piya bin – Krorepati (1961) – Asha Bhosle – Lyrics: Hasrat Jaipuri – Music: Shankar Jaikishan

Perhaps one of the rare songs wherein SJ have used shehnai as an integral part of multi-instrument orchestra. It is so interesting to note the deft use of shehnai across the song, albeit in SJ’s signature higher-scale composition,  e.g., Shehnai repeats the notes (@ 016 to 0.19) that violin ensemble plays @0.11 to 0.14; shehnai taking over high-scale rendition of mukhada in the interlude (0.54 to 1.08).

How one would wish to keep on getting to listen to such innovative and unconventional play od shehnai ………..!

Credits and Disclaimers:

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 photographs are 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.

Additional References:

UJALE UNKI YADON KE RAMLAL

P.S. This is the re-posting of article originally published on Songs of Yore as The Sculptors of Film Songs (8): Ramlal

The Sculptors of Film Songs – 7 – V Balsara

Originally in Gujarati, by Piyush M Pandya

Translated by Ashok M Vaishnav

V(istasp Ardeshir) Balsara (B: 22 June 1922) – D: 24 March 2005) was a trinity of instrumentalist, music director and arranger talents. He was considered uncrowned wizard of instrumental orchestration. A master keyboardist, he was so an ace player of instruments like harmonium, organ, piano, piano accordion, melodica and univox that he is considered instrumental in popularising these instruments in the recording industry. Rich in the knowledge of Indian and Western classical music, he has left behind a legacy of his recorded albums of Indian and Western music and the fusion of both these schools. He has also composed music for around 12 Hindi films and 32 Bengali films and several timeless non-film compositions.

Born in a Zoroastrian (Parsi) in Bombay, the toddler V Balsara’s first teacher of music was his mother, Nazamaye. Vistasp gave his first public performance at the age of six. He played pedal harmonium at a packed CJ Hall in Bombay. By 1942, barely sixteen years of lad, Vistasp was assisting music director Ustad Mustaq Hussain for the film Badal. He had been able to carve out a place for himself at Filmistan studio under music directors like Madan Mohan Khemchand Prakash and Ghulam Haider.

V Balsara’s maiden assignment as independent music director was Circus Girl (1943). He got other films, O Panchhi, in 1944, jointly with Vasant Kumar Naidu, and Rang Mahal (1948) with K Datta.

Bachpan tum mera daaman chhod zara – Rang Mahal (1948) – Shalini, Anant Marathe – Lyrics: Shiv Kumar – Music: V Balsara

This is good testimony of V Balsara’s skill in weaving complex orchestra in a pleasing, if little unorthodox, composition.

In the meanwhile, HMV picked him up in 1947 as Orchestra Director. He met here who’s who of the music world. This platform also provided V Balsara to publish several of his NFS albums.

Roothi huyi taqdeer ko ab kaise manaauN – NFS (1949) – Mukesh – Lyrics: Madhukar Rajasthani – Music: V Balsara

Keeping in line with the accepted practice, music plays secondary role in this very low-scale rendition by Mukesh. Use of soft piano notes as counter melody support validates V Balsara’s hold over the instrument.

Ye hawa ye fiza ye bahaarein – NFS (1950) – Geeta Dutt – Lyrics: Not Known – Music: V Balsara

V Balsara’s soft piano counter melody support with use of choir orchestra format in the prelude and interludes amplifies the mood in Geeta Dutt’s mellifluous voice.

Mera pyar mujhe lauta do – NFS – Talat Mahmood – Lyrics: Sajjan – Music: V Balsara

V Balsara has used musical support to the minimum so as to enable Talat Mahmood’s singing to convey the full feelings.

Among various contacts that V Balsara had developed, his association with Shankar Jaikishan and RK banner is almost a folklore tale now.

Awaara Hoon – Harmonium recital – V Balsara

As we shall see a little later, if V Balsara himself would not have clarified, the jury would still have remained divided whether it was accordion or harmonium in this song.

Equally stunning is the use of harmonium in Yaad kiya kahaaN ho tum (Patita, 1953) and  Ek bewafa se pyar kiya (Awara, 1955), for which V Balsara’s instrumental versions do not seem to be available.

Aye mere dil kahiN aur chal – Harmonium recital – V Balsara

In this excerpt from a Doordarshan interview, we can directly hear from horse’s mouth that the  instrument that one may usually believe as accordion is in fact a harmonium.

Na tum humein jano – Harmonium recital – V Balsara

One more fine example of the way V Balsara’s fingers play with harmonium keyboard to create its own magic.

KahiN deep jale kahiN dil – Harmonium recital – V Balsara

Even when one does listen to the way harmonium creates the haunting atmosphere, one may not believe that that sound is from what is considered to be a simple listless reed instrument with very limited range!

V. Balsara: Harmonium Dance Tune (1)

One simply remains awestruck the way V Balsara plays with harmonium keys.

V. Balsara: Harmonium Dance Tune (2)

In this part V Balsara plays the tunes in relatively easy rhythm, but his handling of harmonium remains a matter of wonder!

There is one record standing to the credit of V Balsara, which can also be considered to have received same amount of listless attention that the work of V Balsara in Hindi films also has received.

Kisi ke zulm ki tasveer hai mazdur ki hasti kisi ke zulm ki – Madmast (1953) – Mahendra Kapoor, Dhan Indorewala – Lyrics: Maanav – Msuic: V Balsara

It is widely believed that Mahendra Kapoor’s singing career in Hindi films took off after he had won the 1957 Metro-Murphy Singing Contest. As was promised, it was Naushad who gave him the break with Chand Chhupa Aur Taare Doobe (Sohini Mahiwal, 1958).

However here is a duet which predates that (solo) ’debut’ by a good five years!

In fact, the film had another duet for Mahendra Kapoor, with S D Batish – Unhe dekhe to wo munh fer karke muskurate hai.

However, the large-hearted V Balsara has never made any special efforts to claim this credit.

V Balsara’s career as music director and the arranger had now reached the critical mass. But before, it can attain escape velocity, a trajectory changing event shaped up. The period is sometime 1953 or thereabout. Bengal’s noted harmoniumist, tabla payer and musicologist Jan Prakash Ghosh invited V Balsara to participate in a public programme which had luminaries like Pankaj Mullik, Juthika Roy and such other who’s who of the then Bengal music scene. As the saying goes, it was a case of love at first sight for V Balsara for the city of Calcutta. He decided to stay back there and then.

He lost no time in learning the Bengali language and became as fluent as he was with Hindi, English or Gujarati (his Parsi-accented mother tongue). Even though now away from the mainstream Hindi cinema, his contacts with Bombay remained live and he did continue his working association with Bollywood.

We will take up just three songs that V Balsara composed in this period to showcase what Hindi film industry potentially lost.

Nazaaron mein ho tum khayaalon mein ho tum – NFS ’60 – Manna Dey – Lyrics:  Chandrasekhar Pande – Music: V Balsara

It should not surprise if any buddying youngster would not borrow the song to propose to his beloved!

BTW, the song is composed on Raag Pahadi.

Ye aawaara raatein ye khoyi si baatein – NFS ’60 – Manna Dey – Lyrics:  Madhukar Rajasthani – Music: V Balsara

If you listen to this song with your eyes closed, it is guaranteed that you will immediately be pulled into the dream trance.

More naina sawan bhado tori reh reh yaad sataye – Vidya Pati (1964) – Lata Mangeshkar – Lyrics: Prahlad Sharma – Music: V Balsara

Opening with the wailing notes of Shehnai, the Raag Sivranjani based song, creates a surrealistic haunting effect.

V Balsara’s repertoire of Begali films include, Maa, Chalachal (1956), Panchatapa (1957), Subho Bibaha (1959), Manik, Kanchan Kanya (1969), Panna and Pathey Holo Dekha (1968), Joy Baba Baidyanath (1979) as music director. He has left the imprint of his music in about 30 Bengali films as Orchestra Conductor, background music, assistant music director apart from being an independent music director.

Once settled in Calcutta, V Balsara took up learning Indian classical music from Muneshwar Dayal of Gaya and took interest in Rabindra Sangeet. He even has written notations for several of Rabindra Sangeet compositions. He also underwent extensive training under Hildafield, a German musician, for honing his piano skills. This videoclip so nostalgically captures V Balsara’s life at Calcutta.

One can listen to many of V Balsara’s instrumental compositions on YT.  Here is a representative selection:

INDIAN folk Tunes – V. BALSARA on UNIVOX

In the first part of this vinyl record, V Balsara has replicated folk tunes on Clarinet, Kasthya Tarang, Flute and Shehnai, and then on the second side, has played Bihari, Assamese, Gujarati, Rajasthani, Bengali and Punjabi folk tunes on Univox.

Raaga Yaman – V Balsara

V Balsara has played Raag Yaman on piano!

Sindhu Bhairavi – Jnan Prakash Ghosh and V Balsara

In this Jugalbandhi, V Balsara plays the keyboard.

Raga – Piloo Folk Dhoon – V Balsara

Kalayani Rao is on Sitar and V Basara on piano.

Lara’s Theme by Balsara & His Singing Sitars

V Balsara has even experimented with playing the original Lara’s theme on sitar

Raag Mood – A V Balsara instrumental album

Parts of his orchestra albums were often used by AIR and Radio Ceylon as filler after the end of a radio programme.

LIVE Solo Piano Concert by V BALSARA (Last Concert) |

This video shows how active V Balsara was almost till the end, even though he had lost his wife and two sons in the twilight years.

YT has all 13 episodes of Life Biography on V BALSARA (Full version)   V Balsara – Musical Man | A Biographi… 

Apart from the extensive performing part of his musical career, among several books that V Balsara has written is a technical book where he has tried to explain to Western musicians how to apply chords in Indian ragas. Besides writing books on instrument lessons and on guidelines for playing Indian ragas on Western instruments, V Balsara also wrote his autobiography Nana Ranger Dinguli, which was published later.

Those who were close to V Balsara recall that he was a very jovial person in the true mould of a Parsi. But when it came to professional work his commitment was rock-like unwavering.

I would conclude this episode of a small part of V Balsara’s varied music spectrum with a Gujaarti NFS –

Mahtab sam madhuro dilkash deedar taaro – NFS – Mukesh – Lyrics: Dara Printer – Music: V Balsara

Knowing fully well that the song is inspired from Que Sera Sera, V Balsara’s adaptation feels still so innovative!

Credits and Disclaimers:

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 photographs are 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.

Additional References:

V Balsara – Musical Man | A Biographical Series by RVC MUSIC

https://www.cinemaazi.com/people/v-balsara

P.S. This is the re-posting of article originally published on Songs of Yore as The Sculptors of Film Songs (7): V Balsara

The Sculptors of Film Songs – 6 – S Hazara Singh

Originally in Gujarati, by Piyush M Pandya

Translated by Ashok M Vaishnav

In the initial phase of film music, the instruments like harmonium, shehnai, flute, sarangi were used mainly for the music support of a film song. However, with advent of new generation of experimentalist music directors like Pankaj Mallik, Anil Biswas, Khemchand Prakash etc. instruments like piano and different types of violins, accordions, guitars, pianos, saxophones etc. also found way into the film music compositions. With arrangers and instrumentalists from Goan Christian Western music also joining the film music industry, the film music underwent a fundamental shift.

In this period of transformation of Hindi film music, sometime around 1942, in the city of Karachi, of the then undivided India, a young man worked as craftsman of peti (harmonium). He also was very good at crafting the reeds as well as ‘tuning’ of the assembled harmonium pieces. Not before long, he also started working on different string instruments. As the providence would have, he took special liking for guitar. Another famous saxophone player of the Hindi music circuit, Ramsingh, would keep ferrying between Bombay and Karachi for the recordings. He noticed this young man and invited him to Bombay. After initial hesitation, somewhere around 1947, the young man did land up in Bombay. The luck was favourable to him as he immediately got his chance to play guitar in the Khemchand Prakash orchestra for the two iconic songs Aayega Aanewala and Muskil Hai Bahot Muskil Hai (Mahal, 1949).

The two songs put the young man into a higher orbit of respected instrumentalists. Since there was another popular Hazara Singh, a vocalist in Punjabi cinema, our young man, Hazara Singh, added S (Sardar) as prefix to his name.  We now know that young guitarist as S Hazara Singh. Even though he was proficient in playing all types of guitars, S Hazara Singh’s main body of work for the songs and the background scores is with lead guitar and Hawaiian guitars.

[Note: To know more about three basic types of guitar, please visit Saaz Tarang episodes on  acoustic guitar, Hawaiian guitar and bass guitar.]

Tum na jaane kis jahaaN mein kho gaye – Sazaa (1951) – Lata Mangeshkar – Lyrics: Sahir Ludhianvi – Music: S D Burman

Opening with harmonium, piano and violin ensemble prelude, Hawaiian guitar enters @ 0.44-0.49, it remains the fulcrum of the orchestration of the whole song, in the counter melody as well as interludes.

Jinhe naaz hai hind par woh kahaN hai – Pyasa (1957) – Mohammad Rafi – Lyrics: Sahir Ludhianvi – Music: S D Burman

Hazara Singh’s guitar play adds pathos to the voice of Mohammad Rafi.

https://youtu.be/7R7Jon3tAxc

S Hazara Singh has played guitar for almost all the music directors of that era, but he was the mainstay guitarist for O P Nayyar.

Mera naam chin chin chu – Howrah Bridge (1958) – Geeta Dutt – Lyrics; Qamar Jalalabadi – Music: O P Nayyar

Use of Hawaiian guitar of higher than normally played scale right from prelude and into the interludes is simply astounding.

Hazara Singh has played this song on one of his instrumental records as well. We can see how deftly he slides over the scales to create the effect of the complete song.

Hazara Singh’s initial exposure to musical instruments was as a mechanic. As such, he was always very keen to experiment with the different technical aspects of the construction of the instrument to innovate the sound it would be able to create. His experimented with creating a ‘double-necked’ guitar. That guitar had two necks and fretboards joined together, each one having six strings. Hazara Singh would use this guitar to create a very different effect.

Deewana hua badal – Kashmir Ki Kali (1964) – Mohammad Rafi, Asha Bhosle – Lyrics: S H Bihari – Music: O P Nayyar

Immediately after sitar and santoor play the opening notes, Hazara Singh plays it again with his double guitar, but to what different dramatic effect!

https://youtu.be/xporgGtIcH0

Pukarata chala huN main – Mere Sanam (1965) – Mohammad Rafi – Lyrics: Majrooh Sultanpuri – Music: O P Nayyar

Here the lead guitar provides the prelude and interlude as well as rhythm support.

LakhoN hai yahaN dilwale – Kismat (1969) – Mahendra Kapoor – Lyrics: S H Bihari – Music: O P Nayyar

Even the tom-fooling ways of Biswajeet playing guitar on the screen fails in breaking the spell of mesmerizing effect that the actual play of lead guitar creates.

https://youtu.be/3mqqy4t92P0

Nadi ka kinara ho – CID 999 (1967) – Asha Bhosle – Lyrics: Varma Mallik – Music: O P Nayyar

How innovatively Hazara Singh plays with scales and chords over his fretboard to create that magic effect in the interlude that lingers on even after the song is long over.

In all probabilities the lead guitar would have been Dilip Naik, another regular guitarist on O P Nayyar orchestra.

Kitana haseeN hai yeh jahaN – Hum Saya (1968) – Asha Bhosle – Lyrics: Hasrat Jaipuri – Music: O P Nayyar 

Lead guitar is used to provide rhythm and counter melody support in the pieces based on the western music mould.

Aao huzur tumko sitaroN mein le chaluN – Kismat (1969) – Asha Bhosle – Lyrics: S H Bihari – Music: O P Nayyar

The intoxicating mood that the initial strokes of lead guitar creates sets the stage for Asha Bhosle and saprosaxophone to build upon.

https://youtu.be/Wi8AYgQi6ko

Chal akela chal akela – Sambandh (1969) – Mukesh – Lyrics: Kavi Pradeep – Music: O P Nayyar

Guitar comes in quite unusual fashion @ 0.35 to 0.41, and at the end of orchestral music of interludes.

https://youtu.be/7foIRabYXG0

Having covered some of the representative O P Nayyar songs with Hazara Singh’s wide variety of guitar play, we will take up a few more songs from other music directors as well.

Tera teer o bepeer dil ke aarpaar hai – Shararat (1957) – Lata Mangeshkar – Lyrics: Shailendra – Music: Shankar Jaikishan

Opening with mandolin prelude piece the songs would have remained one of those Shankar Jaikshan – Shailendra – Lata Mangeshkar happy dance number with multi-instrument orchestra music for interludes. But Sebastain has imaginatively inserted Hawaiian guitar pieces @0.17 to 0.26 and then @0.34 to 0.44 of the mukda, subtly replicating the main tune, which has been so innovatively executed by Hazara Singh that adds to the song that extra flavour. The mukhda lines in the same style repeat in the song as well.

Jiya ho Jiya ho …. kuchh bol do – Jab Pyar Kisi Se Hota Hai (1961) – Mohammad Rafi – Lyrics: Hasrat Jaipuri – Music: Shankar Jaikishan

Guitar also matches high speed beat of the song at the beginning and end of the interlude pieces.

Beat-wise and place-wise following the same pattern, in the female version of the song the guitar also reaches higher scale to match the fairly high-pitched female scale of the song.

However, even more interesting is the use of Hawaiian guitar in the credit titles score (till 1.44). The lyrics part of the song (बोल) of the mukhda is reproduced by the guitar.

Aa ja aa ja main huN pyar tera – Teesri Manzil (1966) – Mohammad Rafi, Asha Bhosle – Lyrics: Majrooh Sultanpuri – Music: R D Burman

The long prelude is all Hawaiin guitar, with percussion support of drums. In all probabilities, more than one guitarist would have played as a unit for such stunning piece. The guitar also has a dominant role during interlude pieces.

Tum ko piya dil diya kitane naaz se – Shikari (1963) – Lata Mangeshkar, Usha Mangeshkar – Lyrics: Farooq Qaiser – Music: G S Kohli

If first interlude and the end piece are all Punjabi theka, second interlude is all Hawaiian guitar with dholak in percussion support!

The guitar albums records S Hazara Singh had received excellent response in the market.

One can listen to several of his such records, mainly songs of ‘60s, on YT. However, how I would wish we could have got to listen to these shellac records –

Number HMV N. 15937 – having Preet laga ke main ye phal paya (Aakhein, 1950 – Music: Madan Mohan) on one side and Teri Duniya Mein dil lagata nahi (Baware Nain, 1950 – Music: Roshan), OR,

Number HMV – N. 92616, having instrumental versions of  Int ki dukki paan ka ikka (Howarah Bridge, 1958 – Music: O P Nayyar) on one side and Masti bhara hai sama (Parvarish, 1958 – Music: Dattaram) on the other side, OR

Number HMV N. 92640, having Lovely lovely on one side and Pehla pehla pyar hai (both from College Girl, 1960- Music: Shankar Jaikishan).

In the glitter of his dazzling guitar performances, S Hazara Singh’s prowess of playing violin or clay violin has been so much shadowed that one may wonder whether this would indeed be true!

Though S Hazara Singh took his final exit from the mundane stage of the world on 3^rd January 1972, his path-breaking work on guitar in Hindi films remains immortal.

Credits and Disclaimers:

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 photographs are 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.

Additional References:

https://www.youtube.com/@SmrutiGandhaMarathi/featured

P.S. This is the re-posting of article originally published on Songs of Yore as The Sculptors of Film Songs (6): S Hazara Singh