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Re live Rafi Sahab

2 Legends

When we talk about the combination of Rafi Sahab and R.D. Burman and about their partnership,  some of the finest songs that were composed by RDB trying to resurface on the thin layer of memory instantly  such as – “Tum bin jaoun kahan”, “Ni sultana re pyar ka mausam aya”  “ kitna pyara wada” , “Arrey ho goriyan kahan tera desh re”,  “Chura liya hai tumne jo dilko”, “Yeh ladka hai alla kaisa hai diwana”,  “Hai agar dushman zamana gham nahi”, “Kya hua tera wada”,  “Chand mera dil”, “Pal do pal ka saath hamaara” and Maine poocha chand se. RD Burman started his journey withChote Nawab in 1962 with the help of the man with the golden voice, Mohammad Rafi.

Major songs in the film was sung by Rafi and RD Burman commanded respect in the musical community of that period, who were still mesmerised with the classical compositions of Naushad, folk songs of SD Burman, western effects of Shankar Jaikishan, OP Nayyar, Salil Chowdhury, Ghazals of Roshan, Madan mohan. RD Burman had other skills like playing the mouth organ, tabla and other related instruments and he showed his skill while playing the mouth organ for Laxmikant Pyarellal in the film Dosti, 1964 where Rafi had galvanised the silver screen with his tragic andaz.

RDB created western composition in “Ao Twist Karen” for Manna Dey in Bhoot Bangla. But he received the maximum appreciation from music lovers with his compositions in the film Teesri Manzil, 1966. All the songs were sung by Mohammad Rafi. All the songs were superhits, including “O haseena zulfonwali”, “Aja aja”, “Dewaana mujhsa nahin”, “ janeman janeja, tumne muhhe dekha hoker meherban”, “O mere sona re sona re sona re.” However, let us not forget that RDB used Rafi extensively during late sixties as his main playback singer right from the first movie. He gave hit music with Rafi in Teesri Manzil, Chhote Nawaab, Caravan, Pyaar ka Mausam, Chandan ka Palna, The Train, Abhilasha, Adhikar, etc. Later during late seventies he returned to Rafi and gave hits likeShaan, Hum Kisise Kum Nahin, Abdullah, Zamane ko Dikhana Hai, etc.

Today when people remember RDB, they remember him as a great musician and a greater human being.   It is a curious thing that R D Burman also goes by the name of Pancham. Story goes that when veteran Ashok Kumar saw Sachin Dev Burman’s newborn uttering the syllable ‘Pa‘ repeatedly, he nicknamed him Pancham. And the name stuck. To many, he’s still Pancham Da. The man who added his unique dash of pep and verve into Hindi film music starting with the 60s. The first music director who added a pinch of Rock ‘n’ Roll to lilting Hindi tunes. And created a brand of music so distinctly his own, that even his father, the older Burman came to be proud of his son’s unconventional music.  Tublu!! That’s what RDB was called when he was born. If you see his early pictures, he quite did justice to this name.

Mehmood Saab had gone to sign Sachinda for his first production but it is said that Sachinda was not convinced about working with a new production house and Mehmood Saab signed RDB for his aptly titled debut, Chhote Nawab! When Chhote Nawab was released, 1961, Sachinda was one of the biggest names in the industry. Already a legend, with a huge fan following and a queue of producers waiting to sign him for their next venture. Amidst all this, Rahul Dev Burman made his quiet entry into films. Not many would have noticed this film and its music and those who did, may not have realized that this album and this man, will be discussed for ages to come.

Rafi Sahab with RD Burman

Starting independent music composing in 1961 withChhote Nawaab, he did 331 Films and 4 Non-Film Albums. Before coming onto his own, he assisted his father S.D. Burman for long. Out of his 331 released movies 292 were in Hindi, 31 in Bangla, 3 in Telugu, 2 each in Tamil & Oriya and 1 in Marathi. RD also composed for 5 TV Serials in Hindi and Marathi. He also scored a large number of non-film songs inBangla ((also known as Pooja songs or modern songs), which are available in different albums. He did a song for a small documentary film called Maa Ki Pukaar too, in 1975.  R.D. Burman made his acting debut in Mehmood’s ‘Bhoot Bangla‘. Later in ‘Pyar Ka Mausam‘ too he gave a hilarious performance as Mr. Popat Lal. RDB was appreciated, loved, respected & adored by all alike Classes to Masses.

TRIVIA:

• Pancham introduced the twin track effect in ‘Baharon Ke Sapne‘. which he later used to create the mesmerizing ‘qatra qatra miltee hai‘ (Ijaazat) and a few more songs.

• He also pioneered the use of electronic organ in Indian Films with the song ‘O mere Sona re‘ (Teesri Manzil).

• RD was, as Gulzar says, as good a craftsman as he was a musician. He picked the sounds for his songs from very indigenous sources.

• In ‘Chura liya‘ he used the sound of a spoon hitting a glass.

• For the Kitaab song ‘Master jee kee aa gayee chitthee‘ he brought some desks from a classroom in the studio while recording and used them as percussion.

• In Abdullah he used the sound of a bamboo whistle with a balloon tied to it for a song.

• Once to get the sound of raindrops, he spent a whole rainy night in his house’s balcony recording the sound he wanted.

• In the song ‘O Manjhi Re‘ from the movie ‘Khushboo‘, R.D. Burman used bottles with water filled at different levels and created a hollow sound by blowing into them and this sound effect was used with the orchestra.

• During the recording of ‘Hum donon do premee‘ (Ajnabee) the musicians were on strike. So he improvised the song with emptied-out musical interludes and just listen the song!

• The mouth organ played in the song ‘Hai Apna Dil To Awara‘ sung by Hemant Kumar in the film ‘Solva Saal‘ is played by R.D. Burman himself.

• R.D. Burman played the mouth organ for his friends Laxmikant-Pyarelal in a song in ‘Dosti‘ and also in a movie for Kalyanji-Anandji.

• Dada Burman used Pancham’s tune ‘ai meree topee palat ke aa‘ in ‘Fantoosh‘. Pancham was only 9 when he composed the tune.

• Again next year, for Pyaasa, SD used his son’s ‘Sar Jo Tera Chakraaye‘, which became a big hit.

• Both Lata and Bhupinder won a National award for the song ‘Beeti Na Bitaayee Raina‘ from ‘Parichay‘, and this song was composed in a hotel room in no time.

• Aarti Mukherjee won a National award for the song ‘Do Naina Ek Kahaani‘ from ‘Masoom‘.

• Gulzar (best lyricist), Asha Bhosle (best female singer) won National awards for the song ‘Mera Kuchh Samaan‘ from Ijaazat.

• RDB was the first to introduce the Brazilianbossa nova rhythm in Hindi film music – the song was “Maar dalega dard-e-jigar“, sung by Asha, in “Pati Patni“. That rhythm has since been endlessly used for film music.

• R.D. Burman won the Filmfare Award only 3 times (Sanam Teri Kasam, Masoom, 1942-A Love Story) while being nominated 16 times for the award.

• Amit Kumar, Abhijeet & Shabbir Kumar were given their first breaks by Pancham.

• Jatin of Jatin-Lalit used to be in Pancham’s children’s choir.

• Nasir Hussain, for the first time after Teesri Manzil, did not sign R.D. Burman, in ‘Qayamat Se Qayamat Tak‘.

R.D.B did give Rafi Sahab best numbers that are still fondly remembered. One song which basically can be philosophy to many people is Pal do Pal ka saath hamara. I’ve noticed, be it any program that is a tribute to Rafi Sahab, it either ends with Tum Mujeh Yun Bhula Na Paavoge or Pal Do Pal Ka Saath Hamaara.

Some unforgettable Solos of Rafi with RDB:

• Tumne Mujhe Dekha, Hokar Meherbaan – Teesri Manzil (1966)
• Zamane ne Mare Jawaa Kaise-Kaise – Baharon ke Sapne ( 1967)
• Tumhe Dekha hai Maine Gulsitaoon Mein – Chandan ka Palna (1967)
• Wadiyaan Mera Daman – Abilasha (1968)
• Tum Bin Jaoon Kahan – Pyar ka Mausam (1969)
• CheKhush Nazare,chekhush Nazare – Pyar ka Mausam (1969)
• Mere Liye Aati Hai sham – Raton ka Raja (1970)
• Gulabi Aakheen Jo Teri dekhi – The Train (1970)
• Rekha O Rekha, Jab se tumhe Dekha – Adhikar (1971)
• Koi Aur Duniya Mein tumsa hasin hai – Pyar ki Kahani (1971)
• Ae Jaanewafa Aisa bhi kya tum to khaafa – Chhalia (1973)
• Jab ek kaaja se gujro to ek aur kaaja mil jaati hai – Devta (1978)
• Jaag devta, naag devta  – Shalimar (1978)
• Aa gaye yaaro Jeene Ke din – Phir Wohi Raat (1980)
• Aate Jaate hue main sab pe nazar  – Shaan (1980)
• Maine Poocha Chand Se  – Abdullah (1980)
• Kaun Kisi ko Bandh saaka  – Kaalia (1981)
• Dukh Sukh ki har ek Mala Kudrat hi piroti ha – Kudrat (1981)

Some unforgettable duets of Rafi and Lata with RDB:

• Matwaalee aankhon waale – Chhote Nawaab (1961)
• Nagma Hamara Gaayegaa Ye Zamana – Bundalbaaz (1976)
• Kitnaa Pyaaraa Waadaa Hai – Caravan (1971)
• Kahe Ko Bulaya – Humshakal (1974)
• Gori Ke Haath Mei Jaise Ye Chhallaa – Mela (1974)
• Rut Hai Milan Ki Saathi Mere Aa Re – Mela (1974)
• Mohabbat Mein Ajii Kyaa Apnaa Imtihaan Denge – Phandebaaz (1978)
• Ni Sultana Re Pyar Ka Mausam Aayaa – Pyar Ka Mausam (1969)
• Mujhse Bhalaa Ye Kaajal Teraa Nain Base Din Rain – The Train (1970)
• Lehra Ke Aayaa Hai Jhonka Bahaar Ka – Waris (1969)
• Kabhi Kabhi Aisa Bhi To Hota Hai – Waris (1969)

Some unforgettable duets of Rafi and Asha with RDB:

• Aaja Aaja Main Hu – Teesri Manzil (1966)
• Haseena Zulfon Wali – Teesri Manzil
• Mere Sona Re  – Teesri Manzil
• Chura Liya Hain Tumne – Yadon ki Barat (1974)
• Hai Allah yek ladka – Hum Kisise Kum Nahin (1978)
• Hai Agar Dushman Zamana – Hum Kisise Kum Nahin
• Pal do Pal ka Saath – The Burning Train (1979)
• Aa raat jaati hai chupke se mil jaaye dono – Benaam (1974)
• Rakkassa Mera Naam,Ae Sahib sabko salaam – The Great Gambler (1978)
• Pucho na yaar kya hua – Zamane ko Dikha Hai (1981)

The only duet RDB sang with Rafi Sahab was “Yamma Yamma” from Shaan.

Mohammed Rafi received the National Film Award for Best Male Playback Singer for the song Kya Hua Tera Wada from Hum Kisi Se Kum Nahin (1977), composed by RD Burman.

For all the glory he had earned, RDB was an introvert when it came to self-publicity. This resulted in his losing out on many prestigious ventures. Directors who dropped him without any tangible reason included greats like Ramesh Sippy and Shekhar Kapoor. Subhash Ghai had once assured him that they would work together. In reality, he never did. Yash Copra dropped him even after the grand success of Deewar. Manmohan Desai, having used RD for Aa Gale Lag Jaa, his best musical by a mile, never said a word in RD’s favour in the future. But these were not isolated incidents. RD was in reality an inarticulate dipsomaniac whose world revolved around his music and his close circuit of friends. Even when he got cheated, he had no real clout in the Bombay film circle to voice his opinion, let alone bloat it. His last years were rooted in disappointments that were directed at various levels, mainly at the way the music industry promoted non-talents for reasons other than music. Like every superstar, RDB needed to be constantly reminded of his greatness, the lack of which forced him into a self-appointed seclusion. Sachin Bhowmick, his chum and confidante, summed it up as, “It was loneliness which killed him. Loneliness which is supposed to be the critical foe of heart patients.”

1994 had finally arrived. The New Year had begun with a big bang. High hopes, high spirits and great expectations for happiness, peace and prosperity. There was no place left for sadness or gloom. And yet, it found its insidious way into our hearts on that unfortunate winter morning.   January 4,1994, 3:45 am R.D.Burman, one of the greatest music directors of all times passed away after suffering two heart attacks, one after the other. Indian cinema had lost another genius.

Manoharida's Contribution in Pujo

                                                 

                                                   Unforgettable composition of RD

TEAM RD

MANOHARI DA

One of the senior most member of R D Burman team, and without whom pancham’s music would not have been the same as what we hear today. Always, in credit titles in movies composed by Pancham, carried 3 important names of Basu-Manohari & Marutirao as his assistants and arrangers.

Manoharida  is considered Master of instruments like Alto Saxophone and also other blowing instruments such as many types of flute,(English flute, Pan flute, recorder, piccolo etc)clarinet and had played mandolin too in few recordings in 1960s.

Manohari da alongwith Basu da( Basu Chakravarty, Pancham’s  another assistant) came from Kolkata with music director Salil Chowdhury  to Mumbai. He was associated in playing sax there  in jazz bands as well as in the Calcutta Symphony Orchestra.

Basu & Manohari da were friends together and knew no one in Mumbai music scenario of films. Salilda introduced  Manoharida to S D Burman and started playing as musician with Sachin da and gradually came into arranging the music with so many instruments he had played and had knowledge of Brass instruments comprising of Trombones, Trumpets, Tubas, Tennor sax etc. In those days even pancham assisted dada burman alongwith manoharida and after the death of Sachinda Manohari da carried on as an arranger with pancham da.

Manohari da mainly handled the brass section and Basu da who later joined as an arranger too with pancham handled the string section of violins, violas, chellos, guitar, santoor etc.

Manoharida used to play saxophone in music clubs of Kolkata, and was so good in playing jazz style, which pancham couldn’t miss it hearing and over the years, made use of saxophone in such beautiful manner in his songs, that you can hardly miss Manoharida’s sax in any of Pancham’s compositions.

Even in S D Burman’s compositions, one cannot miss Manoharida’s sax playing  like in Guide’s Gata rahe mera dil, Sharmilee’s Khilte hain gul yahan, Jewel thief’s  Raat akeli hai….innumerable songs indeed,where one cannot move ahead while humming these songs, you unknowingly hum dada’s saxophone pieces too..they are mixed up so well in the composition. S D Burman gave Manoharida’s first break in Shakti Samanta’s  film Insaan Jaag Utha…and then on Manohari da was with Burmans through out, with occasional playing for sax & flute with other music directors like Roshan, Laxmi-Pyare, Shankar Jaikishan, Kalyanji Anandji etc.

Manohari da had arranged saxophone for Laxmi-Pyare’s  score of Amir Gareeb which had main hero Dev Anand as saxophone player. Kishore kumar’s main aaya hoon from Ameer Gareeb became immensely popular with Dada’s sax in foreground.

Manohari da was very strict when it came to arranging of music in studio, he was popularly known as “soldier” for his nature which was so strict and observed discipline all the time.

Many times he used to compose the interlude parts of songs in the car itself while going to filmcenter for recordings. Music was all the time on the minds of these great geniuses like Manohari da and pancham.

I had opportunity of  carrying Manoharida in my car twice to Pune for our Panchammagic shows and shared some great moments with him. We also interacted a lot for our instrumental shows which we conducted showing people, what brass, violins, pianos and other percussion instruments were all about in pancham’s songs. Manohari da was used to be commander in chief, arranging all the music played by his original  team mates as well as other established musicians.

In rehearsals we came to know, how each and every piece of instrument and music was important to him and was so keen on getting it perfect to achieve the correct result. All musiscians were so humble with Manohari da’s instructions and followed his arrangements with equal craftsmanship.

Even though he was not keeping well lately, manoharida was playing sax in live shows in very big way and he used to play many songs, solo  entirely on sax. His favourite solos were “Khoya khoya Chand” from Kala Pani, “Gulabi aankhen” from The Train, “O Mere Dil Ke Chain” from Mere Jeevan Saathi, “Ye Jo Mohobbat Hai” from Kati Patang etc, which always used to get never ending applause from audience.

Manohari da’s saxophone creations to name few,  “aaja aaja” from teesri manzil, “mehbooba” from Sholay,” “Ye Jawani” from Jawani Diwani, “Gata rahe mera dil” from Guide, and has endless list with pancham and S D Burman. With others like Shankar Jaikishan’s he had great playing in “Aji Roothkar Ab Kahan Jaiyega” from Arzoo, “Hai Duniya Usiki” from Kashmir Ki Kali with O P Nayyar, “Janam Janam Ka saath hai” with Shankar Jaikishan, “Jiska mujhe tha intezaar” from DON for Kalyanji Anandji, “Main aaya hoon” from Amir Gareeb for Laxmi –Pyare…the list is literally never ending.

He had played mandolin for pancham’s “Tum bin jaun kahan” alongwith Kishore Desai in Pyar Ka Mausam and  “Dil Jo Na Kah Saka” from Bheegi Raat for music director Roshan.

The success he has got is for mainly his style of playing saxophone in jazz style and was very expressive in his blowing of saxophone, for example who will forget the sax pieces he had played in “Roop Tera Mastana” from Aradhana..just mind blowing and so romantic. He had played it in two tone as well.

Born on 8^th March 1931, Manohari da also had composed music independently for films like Subse Bada Rupaiyya, Nargis, Chatpattee alongwith Basudev Chakravarty.Their duo was known as Basu-Manohari. “Dariya Kinari ek bunglow” and the “The whole thing is that ke bhaiyya” became super duper hits those days from Subse bada Rupaiyya.

Manohari da graced many shows of panchammagic, and loved all of our members so much. I still remember the standing ovation he used to get after the playing, be it flute or saxophone.We had great felicitation on stage by making wearing him a traditional Pagdi, and he looked so humble, always joining hands to audience and so much respect he was reciprocated with.

Such a fine artiste left for his heavenly abode on 13^th July 2010 and industry will miss him as musician and conductor-arranger of songs but, never the less artistes like Manohari da will always live in music lovers’ minds with his fabulous saxophone sound for as long as music exists , which is eternal.

"PYAR HUA HAIN JABSE"BY KISHOR & LATA,M:R.D BURMAN-"ABHILASHA

 Combination of Legends like Kishore da, RDB, Lata & Majrooh sir. Very lovely romantic melody
 Unforgettable Manohari da ..,,,,interludes

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Great song of Rafi sahab and Lata ji with great music of R.D. Burman

Rut Hai Milan Ki Sathi Mere Aa Re - Mela (1971) - HD

A little we know about RD 2

In the 1970s, RD Burman became highly popular with the Kishore Kumar songs in Rajesh Khanna-starrer movies.^[8] Kati Patang (1970), a musical hit, was the beginning of a series of the 1970s films directed by Shakti Samanta of Aradhana fame. Its songs Yeh Shaam Mastani and Yeh Jo Mohabbat Hai, sung by Kishore Kumar, became instant hits. Apart from Kishore Kumar, RD Burman also composed several of the popular songs sung by Mohammed Rafi, Asha Bhosle and Lata Mangeshkar.

In 1970, RD Burman composed the music for Dev Anand's Hare Rama Hare Krishna (1971).^[15] The Asha Bhosle song Dum Maro Dum from this film proved to be a seminal rock number in the Hindi film music.^[8] The filmmaker Dev Anand did not include the complete version of Dum Maro Dum in the movie, because he was worried that the song would overshadow the film.^[6] In the same year, RD Burman composed the music for Amar Prem. The Lata Mangeshkar song Raina Beeti Jaaye from this soundtrack is regarded as a classical music gem in Bollywood.^[8] RD Burman's other hits in 1971 included the romantic song Raat kali ek khwab mein from Buddha Mil Gaya and the Helen-starrer cabaret song Piya Tu Ab To Aaja from Caravan. He received his first Filmfare Award nomination for Caravan.

RD Burman's collaboration with lyricistGulzar, proved one of most successful of his career

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

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

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

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