Date: 18th November 2007
Venue: Sri Gujarati Seva Mandal, Matunga
I had been awaiting this very eagerly. For once, this programme was postponed. Usually the programmes at Sri Gujarati Seva Mandal, Matunga take place on every second Sunday of the month. But as 11th November was a ‘New Year’ the Mandal decided to postpone it to the following Sunday. Although it clashed with the day my office staff were going for a picnic, I opted for this rare opportunity to listen to Pankaj Mullick songs. The table honours were shared by Subash Bhatt, Mahendra Oza and Sharad Desai. Even though I was late as usual thankfully, I didn’t miss out on any songs. It was 10:25 a.m. when the programme started.
As I took out my scribbling pad and began jotting down the details, a gentleman sitting next to me enquired with me if I was a journalist. I told him that I was not one and was just taking report for one of the online music groups. He informed me that his daughter, who was based in UK, had seen the post about this event in one of the yahoo groups and had informed him about the same.
Our conversation was cut short by Mahendra Oza’s announcement that the programme was about to begin.
1. Lag Gayi Chot Karajwa Mein – Film Name: Yahudi Ki Ladki Singer: Kundan. Lal. Saigal
When the song ended, Sharad Desai informed us that Pankaj Mullick and Raichand Boral were pioneers in music direction. In fact Pankaj Mullick holds the record of taking music classes on radio for 30 years.
2. Man Ki Ankhein Khol Baba – Film Name: Dhoop Chaon Singer: K.C. Dey Lyricist: Pandit
Sudarshan Music: R. C. Boral-Pankaj Mullick
Here Mahendra Oza introduced Mr. Vaidya to everybody present.
3. Sharaabi Soch Na Ithna – Film Name: Mukti Singer: Pankaj Mullick Music: Pankaj Mullick
4. Aakhir Woh Din Aaya Aaj – Film Name: Dharti Mata Singer: Pankaj Mullick Lyricist: Pandit
Sudarshan Music: Pankaj Mullick
Sharad Desai informed us that the records of Dharti Mata are not available as most of them were destroyed in the fire.
5. Ek Bangla Bane Nyaara – Film Name: President Singer: Kundan Lal Saigal Lyricist: Pandit
Sudarshan Music: R. C. Boral-Pankaj Mullick
Sharad Desai mentioned that the film President has been a prominent part in many of the literary works in Indian Cinema. The three Bose brothers Mukul, Nitin and Devki deserve a special mention here.
6. Sundar Naari Preetam Pyaari – Film Name: Manzil Singer/s: Pankaj Mullick Lyricist: Arzoo
Music: R. C. Boral
7. Piya Milan Ko Jaanewaale – Film Name: Kapal Kundala Singer/s: Pankaj Mullick Lyricist: Arzoo
Music: Pankaj Mullick
Sharad Desai informed us that the prints of ‘Kapal Kundala’ were damaged. Also he pointed out that O.P. Nayyar might have been somewhere inspired by the tunes of ‘Doctor’ and ‘Kapal Kundala’.
8. Bedardi O Bedardi Tu Kya Dekh – Film Name: Aandhi Singer/s: Pankaj Mullick Music: K.C. Dey
9. Yeh Raatein Yeh Mausam – Private Song Lyricist: Faiyaz Hashmi
10. Pran Chaahein Nainan Na Chaahe – Private Song Lyricist: Pandit Bhushan
Sharad Desai pointed out that the westernization of the song was suggested by Rabindranath Tagore.
11. Karun Kya Aas Niraas Bhayee – Film Name: Dushman Singer/s: Kundan. Lal. Saigal Music:
Pankaj Mullick
Here Sharad Desai mentioned that the film ‘Dushman’ was based on the fight against the epidemic TB. The British Commission had written to the New Theatres to make a film on TB and New Theatres promptly made a film on this very subject.
12. Yeh Kaun Aaj Aaya Savere Savere – Film Name: Nartaki Singer/s: Pankaj Mullick Lyricist: Arzoo
Lucknavi Music: Pankaj Mullick
13. Madhbari Ruth Jawan Hain – Film Name: Nartaki Singer/s: Pankaj Mullick Lyricist: Arzoo
Lucknavi Music: Pankaj Mullick
Pankaj Mullick had acted in this film along with Leela Desai.
14. Aye Kateeb-E-Taqdeer Mujhe – Film Name: Meri Behen Singer/s: Kundan. Lal. Saigal Lyricist:
Pandit Bhushan Music: Pankaj Mullick
15. Duniya Rang Rangeeli Baba Duniya – Film Name: Pankaj Mullick, Kundan. Lal. Saigal & Uma
Shashi Lyricist: Pandit Sudarshan Music: Pankaj Mullick
Sharad Desai informed us that Khwaja Ahmed Abbas’s ‘Dharti Ke Lal’ was made on the same lines as ‘Dharti Mata’.
16. Main Kya Jaanu Kya Jaadu Hain – Film Name: Zindagi Singer: Kundan. Lal. Saigal Lyricist:
Kidar Sharma Music: Pankaj Mullick
Sharad Desai here pointed out that ‘Doctor’ was originally a Bangla film which was dubbed in Hindi. And although he had seen the movie thrice the film never gave him the impression of a dubbed one. ‘Anand Ashram’ had glimpses of ‘Doctor’.
17. Guzar Gaya Woh Zamana Kaisa Kaisa – Film Name: Doctor Singer/s: Pankaj Mullick Lyricist:
Arzoo Lucknavi Music: Pankaj Mullick
18. Do Naina Matwaare Tihaare Hum Par Zulm Karein – Film Name: Meri Behen Singer/s: Kundan.
Lal. Saigal Lyricist: Pandit. Bhushan Music: Pankaj Mullick
Sharad Desai made us aware that Pankaj Mullick had acted in the film ‘Doctor’. The song ‘Aayee Bahaar Aaj’ was picturised on him. He was shown as standing on the foot board of a train and lad in Dhoti Kurta, with a belt worn over the dhoti.
19. Aayee Bahaar Aaj – Film Name: Doctor Singer: Pankaj Mullick Lyricist: Arzoo Lucknavi Music:
Pankaj Mullick
20. Chale Pawan Ki Chaal – Film Name: Doctor Singer/s: Pankaj Mullick Lyricist: Arzoo Lucknavi
Music: Pankaj Mullick
21. Chupona Chupona O Pyari Behaniya – Film Name: Meri Behen Singer/s: Kundan. Lal. Saigal
Lyricist: Pandit Bhushan
22. Ho Gaya Dil Aur Aankh Mein – Private Song Singer/s: Pankaj Mullick
23. Mere Hatile Shyam – Private Song Singer/s: Pankaj Mullick Lyricist: Pandit Madhur
24. Ram Naam Ghanshyam Naam – Film Name: Yaatrik Singer/s: Biren Bali Music: Pankaj Mullick
25. Tere Mandir Ka Hoon Deepak – Private Song Singer/s: Pankaj Mullick Lyricist: Pandit Madhur
26. Jab Chand Mera Nikla – Private Song Singer/s: Pankaj Mullick Lyricist: Faiyyaz Hashmi
27. Prem Bel Mein Phool Na Patte – Private Song Singer/s: Pankaj Mullick
28. Na Kar Ithna Pyaar Panchi Na Kar – Private Song Singer/s: Pankaj Mullick
Thus ended a programme on Pankaj Mullick.
Tuesday, December 18, 2007
Thursday, November 15, 2007
MOHAMMED RAFI PROGRAMME AT GUJARATI SEVA MANDAL
Date: 8th July 2007
I turned up quite late for this event. In fact I missed 4 songs from the start of the programme. However, Subash Bhatt was kind enough to supply me with a list of all the songs that were played on that day.
The ones I missed were:
Song Movie Name Music Director Year
1). Kehke Bhi Na Aaye Tum Safar C.Ramachandra 1946
2). Yahaan Badla Wafa Ka Jugnu Feroze Nizami 1947
3). Watan Ki Raah Mein Shaheed Ghulam Haider 1948
4). Aye Mohabbat Unse Milne Ka Bazaar Shyam Sunder 1949
Even the song ‘Mohabat Ke Dhoke Mein’ from Pyar Ki Jeet (1949) was nearing its end when I made my way inside the Mandal Hall. This was followed by ‘Ek Jhoot Hain Jiska’ from Jaadu (1951). The next song a duet with Lata ‘Hum Tum Yeh Bahar’ from Bahar (1952) must have come as a relief even for the audience after some 4-5 sober songs. The next song was the popular ‘Man Tarpath Hari Darshan Ko Aaj’ from Baiju Bawra. Then another duet with Lata ‘Sun Mere Sajnaa’ from Aansu (1953) was played. Then it was ‘Hum Laaye Hain Toofan Se’ from Jagruti (1954) which followed.
A lesser heard number ‘Daulat Ke Jhoote Nashe’ from Oonchi Haveli (1955) was played next. The S. N. Tripathy tuned ‘Parvar Digar E Alam’ was the next song to follow from the Fantasy film Hatim Tai (1956). The genre then shifted to a duet ‘Dil Ka Na Karna Aithbaar Koi’ from Halaku (1956). Then the audience was treated to the lovely ‘Zara Saamne Tho Aao Chaliye’ from Janam Janam Ke Phere (1957). Next followed ‘Do Ghadi Woh Jo Paas Aa Baithe’ from Gateway Of India (1957). ‘Mohabaat Zinda Rehti Hain’ from Changez Khan (1957) was the last song before the intermission.
When we returned back to our seats after the intermission we were treated to the lovely solo ‘Zindagi Bhar Gham Judaai Ka’ from Miss Bombay (1957). This was followed by the O.P. Nayyar tuned Rafi-Asha duet ‘Raat Bhar Ka Mehmaan Andhera’ from Sone Ki Chidiya (1958). Lata joined Rafi this time around for the duet ‘Chaahe Paas Ho Chaahe Door Ho’ from Samrat Chandragupt’ (1957) which was the next song. It was Lata again for ‘Kuhu Kuhu Bhole Koyalia’ from Suvarna Sundari (1958).
Then Nanji Bahadur came on stage to recollect his early days along with Mohammed Rafi. He recollected how he along with Rafi used to drink Lassi for 5 annas. The cost was shared by them equally. At that time Nanji was getting 100 Rs per month.
Once, Ghulam Haider had called upon Nanji and Rafi for an audition for his film ‘Beheram Khan’ (1946). Ghulam Haider rejected both of them after hearing the auditions. Nanji then went on to hum ‘Badi Der Bhayi’. He informed us that he was one of the musicians for this composition. And before Rafi was an established singer he had sung many a chorus songs along with Rafi. The last song was the haunting ‘Saathi Na Koi Manzil’ from Bambai Ka Babu (1960).
I turned up quite late for this event. In fact I missed 4 songs from the start of the programme. However, Subash Bhatt was kind enough to supply me with a list of all the songs that were played on that day.
The ones I missed were:
Song Movie Name Music Director Year
1). Kehke Bhi Na Aaye Tum Safar C.Ramachandra 1946
2). Yahaan Badla Wafa Ka Jugnu Feroze Nizami 1947
3). Watan Ki Raah Mein Shaheed Ghulam Haider 1948
4). Aye Mohabbat Unse Milne Ka Bazaar Shyam Sunder 1949
Even the song ‘Mohabat Ke Dhoke Mein’ from Pyar Ki Jeet (1949) was nearing its end when I made my way inside the Mandal Hall. This was followed by ‘Ek Jhoot Hain Jiska’ from Jaadu (1951). The next song a duet with Lata ‘Hum Tum Yeh Bahar’ from Bahar (1952) must have come as a relief even for the audience after some 4-5 sober songs. The next song was the popular ‘Man Tarpath Hari Darshan Ko Aaj’ from Baiju Bawra. Then another duet with Lata ‘Sun Mere Sajnaa’ from Aansu (1953) was played. Then it was ‘Hum Laaye Hain Toofan Se’ from Jagruti (1954) which followed.
A lesser heard number ‘Daulat Ke Jhoote Nashe’ from Oonchi Haveli (1955) was played next. The S. N. Tripathy tuned ‘Parvar Digar E Alam’ was the next song to follow from the Fantasy film Hatim Tai (1956). The genre then shifted to a duet ‘Dil Ka Na Karna Aithbaar Koi’ from Halaku (1956). Then the audience was treated to the lovely ‘Zara Saamne Tho Aao Chaliye’ from Janam Janam Ke Phere (1957). Next followed ‘Do Ghadi Woh Jo Paas Aa Baithe’ from Gateway Of India (1957). ‘Mohabaat Zinda Rehti Hain’ from Changez Khan (1957) was the last song before the intermission.
When we returned back to our seats after the intermission we were treated to the lovely solo ‘Zindagi Bhar Gham Judaai Ka’ from Miss Bombay (1957). This was followed by the O.P. Nayyar tuned Rafi-Asha duet ‘Raat Bhar Ka Mehmaan Andhera’ from Sone Ki Chidiya (1958). Lata joined Rafi this time around for the duet ‘Chaahe Paas Ho Chaahe Door Ho’ from Samrat Chandragupt’ (1957) which was the next song. It was Lata again for ‘Kuhu Kuhu Bhole Koyalia’ from Suvarna Sundari (1958).
Then Nanji Bahadur came on stage to recollect his early days along with Mohammed Rafi. He recollected how he along with Rafi used to drink Lassi for 5 annas. The cost was shared by them equally. At that time Nanji was getting 100 Rs per month.
Once, Ghulam Haider had called upon Nanji and Rafi for an audition for his film ‘Beheram Khan’ (1946). Ghulam Haider rejected both of them after hearing the auditions. Nanji then went on to hum ‘Badi Der Bhayi’. He informed us that he was one of the musicians for this composition. And before Rafi was an established singer he had sung many a chorus songs along with Rafi. The last song was the haunting ‘Saathi Na Koi Manzil’ from Bambai Ka Babu (1960).
Friday, November 9, 2007
KISHORI AMONKAR PROGRAMME AT MATUNGA
Date: 9th November 2007
Venue: Dadar Matunga Cultural Centre, Matunga (West) Time: 7:00 A.M.
On the auspicious day of ‘Laxmi Poojan’ what better than spending the early morning hours listening to pure classical music, I thought. And so early morning, I started for Matunga to attend a Recital programme by renowned vocalist Shrimati Kishori Amonkar. Raju had already purchased the passes for this programme on the day before for 100 Rs. each.
I reached Dombivli station by 5:50 A.M. Raju informed me that he had caught a local from Kalyan which I boarded at 6:00 A.M. But we met only at Matunga station due to some miscommunication. It was 7 already when we made a dash for the Dadar Matunga Cultural Centre. We reached the venue by 7:20 A.M. We had to deposit our cell phones at the counter itself. Chappals had to be removed and kept in a plastic cover. This was more of a baithaki. We seated ourselves on the floor. Kishori Amonkar was yet to arrive.
There must have been a crowd of more than 150 people. I was a bit surprised by the turnout. And what pleased me more was the large number of youngsters among the huge populace. By around 7:30 A.M. Kishori Amonkar entered the un-lit stage and was greeted to thunderous applause by the audience. She started in the darkness with ‘Hey Rasiya’. I couldn’t control my sleepiness and was dozing off often in the serene atmosphere that the Tanpura had created along with Kishori Amonkar’s vocals. Raju kept nudging me when I was dozing off. After this soothing rendition the lights came on stage and Kishori Amonkar started off with ‘Nainwa Barse Sajni’. This time I was somewhat active and listened attentively. This rendition ended by around 9 A.M. Kishori Amonkar said that after 15 minutes there was going to be an intermission. Most gathered misunderstood the quote and rose to have breakfast outside. Kishori Amonkar then lightly remarked that it seems everyone was hungry as all had prepared to leave for some light snacks on her announcement.
She then went on to render ‘Gale Lag Jaa More Sajna’. It finished by around 9:30 A.M. After that there was an intermission. We went outside and had Batata Wada and tea. I was a lot refreshed by now. By 10 A.M. the programme restarted after the intermission. Mr. Vilas Khatri, a music lover was called upon to felicitate Kishori Amonkar and the accompanying artists. The Harmonium was played by Suyog Kundalkar, Tabla by Vishwanath Shirodkar, Violin by Milind Jaikar, Vocal support and one of the Two Tanpura was by Nandini Bedekar and lastly Kishori Amonkar’s grand daughter Tejashree Amonkar played the other Tanpura. Along with vocal Kishori Amonkar was also playing the Harp.
Kishori Amonkar later pointed out the peculiarities of ‘Jaipur Gharana’, to which she belongs. Then she went on to render ‘Devi Durga Sada’, ‘Dagar Chalath Mora’ and finally ‘Naina Bichaaye Taadi Angnaa’. Everyone rose to give Kishori Amonkar a final round of applause. It was around 11:30 A.M. when we came out of the venue. There was a sale on book and compact discs going outside the centre. Raju purchased a book on Raagas and we made our way to the station to return home.
Venue: Dadar Matunga Cultural Centre, Matunga (West) Time: 7:00 A.M.
On the auspicious day of ‘Laxmi Poojan’ what better than spending the early morning hours listening to pure classical music, I thought. And so early morning, I started for Matunga to attend a Recital programme by renowned vocalist Shrimati Kishori Amonkar. Raju had already purchased the passes for this programme on the day before for 100 Rs. each.
I reached Dombivli station by 5:50 A.M. Raju informed me that he had caught a local from Kalyan which I boarded at 6:00 A.M. But we met only at Matunga station due to some miscommunication. It was 7 already when we made a dash for the Dadar Matunga Cultural Centre. We reached the venue by 7:20 A.M. We had to deposit our cell phones at the counter itself. Chappals had to be removed and kept in a plastic cover. This was more of a baithaki. We seated ourselves on the floor. Kishori Amonkar was yet to arrive.
There must have been a crowd of more than 150 people. I was a bit surprised by the turnout. And what pleased me more was the large number of youngsters among the huge populace. By around 7:30 A.M. Kishori Amonkar entered the un-lit stage and was greeted to thunderous applause by the audience. She started in the darkness with ‘Hey Rasiya’. I couldn’t control my sleepiness and was dozing off often in the serene atmosphere that the Tanpura had created along with Kishori Amonkar’s vocals. Raju kept nudging me when I was dozing off. After this soothing rendition the lights came on stage and Kishori Amonkar started off with ‘Nainwa Barse Sajni’. This time I was somewhat active and listened attentively. This rendition ended by around 9 A.M. Kishori Amonkar said that after 15 minutes there was going to be an intermission. Most gathered misunderstood the quote and rose to have breakfast outside. Kishori Amonkar then lightly remarked that it seems everyone was hungry as all had prepared to leave for some light snacks on her announcement.
She then went on to render ‘Gale Lag Jaa More Sajna’. It finished by around 9:30 A.M. After that there was an intermission. We went outside and had Batata Wada and tea. I was a lot refreshed by now. By 10 A.M. the programme restarted after the intermission. Mr. Vilas Khatri, a music lover was called upon to felicitate Kishori Amonkar and the accompanying artists. The Harmonium was played by Suyog Kundalkar, Tabla by Vishwanath Shirodkar, Violin by Milind Jaikar, Vocal support and one of the Two Tanpura was by Nandini Bedekar and lastly Kishori Amonkar’s grand daughter Tejashree Amonkar played the other Tanpura. Along with vocal Kishori Amonkar was also playing the Harp.
Kishori Amonkar later pointed out the peculiarities of ‘Jaipur Gharana’, to which she belongs. Then she went on to render ‘Devi Durga Sada’, ‘Dagar Chalath Mora’ and finally ‘Naina Bichaaye Taadi Angnaa’. Everyone rose to give Kishori Amonkar a final round of applause. It was around 11:30 A.M. when we came out of the venue. There was a sale on book and compact discs going outside the centre. Raju purchased a book on Raagas and we made our way to the station to return home.
Friday, October 19, 2007
REMEMBERING PANCHAM-A SESSION AT MATUNGA GUJARATI SEVA MANDAL
Date: 10th June 2007
This event was a much anticipated one. It had a lot of firsts. It was the first time that the organizer was not going to be Subash Bhatt. Kushal Gopalka, anardent music lover was going to host this session.
Also, instead of songs being played from a cassette a compact disc was going to be used. Kushal also brought in a Mixer. It was a Yamaha EMX 2300. The mixer was being handled by a person called Kishore. Three musicians from Pancham’s camp were present, viz Kancha, Y. S. Mulkhi and Homi Mullah.
The first song was ‘Ghar Aaja Ghir Aayee’ from Chote Nawab. Here we were informed by Kushal that Acharya had played the sitar for this song. Herein it was mentioned that Laxmikant Pyarelal had complimented Rahul Dev Burman on the song ‘Piya Tu Ab Tho Aaja’. From the sixties it was a giant leap to the 70’s with the next song ‘Aapsa Koi Haseen’ from Chandi Sona. After this song, Homi Mullah expressed condolences to Dattaram, who had passed away a week back.
The next song was ‘Achi Nahin Sanam Dillagi’ from Rakhi Aur Hathkadi. Kushal remarked that Majrooh Sultanpuri had always maintained that he loved working with Pancham the most. Then Amit Kumar’s ‘Bade Acche Lagthe Hain’ from Balika Badhu was played. Followed by, Asha’s seductive ‘Aao Naa Gale Laga Lo’ from Mere Jeevan Saathi. The triangle in this track is by Homi,
with Manohari on the flute. Homi mentioned that he was nervous when he saw around 100 musicians working for Pancham. Then the folkish song ‘Dilbar Dilbar’ from Caravan was played. Anil Biswas had complimented Pancham on this song. Kawas Lord had played the Bongos. And Amrut Rao had played the Tamarind. The next song was the Bhupinder-Lata duet ‘Beethi Na Bithayi Raina’ from Parichay. Followed by, ‘Gum Hain Kisi Ke’ from Rampur Ka Lakshman. Basu Manohari and Maruti Rao were the assistants in this film. The next song was the Bhupinder ‘Ek Hi Khwaab Kahin Baar’ from Kinara. Bhupinder used to play guitar in the Mehboob Studios during those days. The next song to follow was the Mukesh-Lata evergreen duet ‘Kahin Karthi Hogi Woh Mera’ from Phir Kab Milogi. The clarinet piece in this composition is by Manohari.
The band wagon jumped backwards with the Popular Padosan song ‘Main Chali Main Chali’. Homi played the cycle bells in this composition. Then again it was a giant leap to 80’s with ‘Kya Yehi Pyar Hai’ from Rocky. The introduction piece was a discovery actually. Bhanu Gupta was playing this tune just off record when Pancham suddenly heard it and was impressed by it. The rest is history. The next piece was the Sholay sound track. The tabla tarang was by Abhayankar. The use of stereophonic record was done for the first time. After that the song ‘Sargam Ke Saathi’ from Parichay was played. The romantic track ‘O Hansini Kahaan Udh Chali’ from Zehreela Insaan followed next. The Rhythm was played by Kawas. Accordion was by Kersi Lord. The session went into a classical mood with the ‘Gori Tori Painjaniyaan’ from Mehbooba. Followed by, the haunting ‘O Majhi Re’ from Khushboo. The work on the bottle is by Basu. One of the flute is played by Manohari while the other by Hariprasad Chaurasia. What better song to follow this song than ‘O Mere Dil Ke Chain’ from Mere Jeevan Saathi. The Duggi is by Homi. Then ‘Thak Jhoom Naacho,
Nashe Mein Chur’, another folkish number from Kaala Sona was played. Afterwards, Mahendra, one of the members of the Gujarati Seva Mandal felicitated Mulkhi, Homi Mullah and Kancha. A person from Colaba, Mr. Parvez Katrak was also honoured. There was an interval after the felicitations.
Post interval session started with ‘Maine Poocha Chand Se’ from Abdullah. Here we all were introduced to C.I.D Vijay from the nearby police station. After that Aandhi’s duet ‘Tere Bina Zindagi Se was played. The Madhak was played by Kancha for this composition.
Then ‘Tumhein Chodke Tho’ from Basera was played. The Base Guitar is by Tony Vaz. It was a giant leap backwards, some 20 years behind to be precise. ‘Hawa Ke Saath Saath’ from Seeta Aur Geeta was next. Base Guitar was played by Charanjeet for this number. Then the romantic ‘Phir Wohi Raat Hain’ from Ghar was played. The 4 Madhals were used by Kancha. ‘Yeh Zamin Gaa Rahi Hain’ from Teri Kasam was the second last song. Followed by, ‘Rimjhim Gire Sawaan’ from Manzil. The organizers requested Y. S. Mulkhi to say something about his earlier works. Mulkhi began by saying that he along with Bhanu Gupta had been playing Flute and Guitar respectively since 40’s. They had worked under Salil Choudhury, Ravindra Jain and Jaidev to name a few. He had patronized Pankaj Udhas, Anup Jalota and Peenaz Masani under Polydor as Arranger. The session ended with Mr. Katrak reciting some dohas of Kabir.
This event was a much anticipated one. It had a lot of firsts. It was the first time that the organizer was not going to be Subash Bhatt. Kushal Gopalka, anardent music lover was going to host this session.
Also, instead of songs being played from a cassette a compact disc was going to be used. Kushal also brought in a Mixer. It was a Yamaha EMX 2300. The mixer was being handled by a person called Kishore. Three musicians from Pancham’s camp were present, viz Kancha, Y. S. Mulkhi and Homi Mullah.
The first song was ‘Ghar Aaja Ghir Aayee’ from Chote Nawab. Here we were informed by Kushal that Acharya had played the sitar for this song. Herein it was mentioned that Laxmikant Pyarelal had complimented Rahul Dev Burman on the song ‘Piya Tu Ab Tho Aaja’. From the sixties it was a giant leap to the 70’s with the next song ‘Aapsa Koi Haseen’ from Chandi Sona. After this song, Homi Mullah expressed condolences to Dattaram, who had passed away a week back.
The next song was ‘Achi Nahin Sanam Dillagi’ from Rakhi Aur Hathkadi. Kushal remarked that Majrooh Sultanpuri had always maintained that he loved working with Pancham the most. Then Amit Kumar’s ‘Bade Acche Lagthe Hain’ from Balika Badhu was played. Followed by, Asha’s seductive ‘Aao Naa Gale Laga Lo’ from Mere Jeevan Saathi. The triangle in this track is by Homi,
with Manohari on the flute. Homi mentioned that he was nervous when he saw around 100 musicians working for Pancham. Then the folkish song ‘Dilbar Dilbar’ from Caravan was played. Anil Biswas had complimented Pancham on this song. Kawas Lord had played the Bongos. And Amrut Rao had played the Tamarind. The next song was the Bhupinder-Lata duet ‘Beethi Na Bithayi Raina’ from Parichay. Followed by, ‘Gum Hain Kisi Ke’ from Rampur Ka Lakshman. Basu Manohari and Maruti Rao were the assistants in this film. The next song was the Bhupinder ‘Ek Hi Khwaab Kahin Baar’ from Kinara. Bhupinder used to play guitar in the Mehboob Studios during those days. The next song to follow was the Mukesh-Lata evergreen duet ‘Kahin Karthi Hogi Woh Mera’ from Phir Kab Milogi. The clarinet piece in this composition is by Manohari.
The band wagon jumped backwards with the Popular Padosan song ‘Main Chali Main Chali’. Homi played the cycle bells in this composition. Then again it was a giant leap to 80’s with ‘Kya Yehi Pyar Hai’ from Rocky. The introduction piece was a discovery actually. Bhanu Gupta was playing this tune just off record when Pancham suddenly heard it and was impressed by it. The rest is history. The next piece was the Sholay sound track. The tabla tarang was by Abhayankar. The use of stereophonic record was done for the first time. After that the song ‘Sargam Ke Saathi’ from Parichay was played. The romantic track ‘O Hansini Kahaan Udh Chali’ from Zehreela Insaan followed next. The Rhythm was played by Kawas. Accordion was by Kersi Lord. The session went into a classical mood with the ‘Gori Tori Painjaniyaan’ from Mehbooba. Followed by, the haunting ‘O Majhi Re’ from Khushboo. The work on the bottle is by Basu. One of the flute is played by Manohari while the other by Hariprasad Chaurasia. What better song to follow this song than ‘O Mere Dil Ke Chain’ from Mere Jeevan Saathi. The Duggi is by Homi. Then ‘Thak Jhoom Naacho,
Nashe Mein Chur’, another folkish number from Kaala Sona was played. Afterwards, Mahendra, one of the members of the Gujarati Seva Mandal felicitated Mulkhi, Homi Mullah and Kancha. A person from Colaba, Mr. Parvez Katrak was also honoured. There was an interval after the felicitations.
Post interval session started with ‘Maine Poocha Chand Se’ from Abdullah. Here we all were introduced to C.I.D Vijay from the nearby police station. After that Aandhi’s duet ‘Tere Bina Zindagi Se was played. The Madhak was played by Kancha for this composition.
Then ‘Tumhein Chodke Tho’ from Basera was played. The Base Guitar is by Tony Vaz. It was a giant leap backwards, some 20 years behind to be precise. ‘Hawa Ke Saath Saath’ from Seeta Aur Geeta was next. Base Guitar was played by Charanjeet for this number. Then the romantic ‘Phir Wohi Raat Hain’ from Ghar was played. The 4 Madhals were used by Kancha. ‘Yeh Zamin Gaa Rahi Hain’ from Teri Kasam was the second last song. Followed by, ‘Rimjhim Gire Sawaan’ from Manzil. The organizers requested Y. S. Mulkhi to say something about his earlier works. Mulkhi began by saying that he along with Bhanu Gupta had been playing Flute and Guitar respectively since 40’s. They had worked under Salil Choudhury, Ravindra Jain and Jaidev to name a few. He had patronized Pankaj Udhas, Anup Jalota and Peenaz Masani under Polydor as Arranger. The session ended with Mr. Katrak reciting some dohas of Kabir.
Sunday, March 18, 2007
Manna Dey Event In Mumbai
Manna Dey ----- Ek Shaam Hamare Manna Da Ke Naam
Even though I came to know of this event rather late, I was able to book my ticket for the programme and attend it altogether in a single day. I purchased Balcony seats early morning and rushed back to my office by around 1 P.M.
The programme was in the evening. I left my office by around 6 P.M. Thanks to a colleague who offered me a lift up to the station. She was however little bit surprised that I was going all alone.
I reached the Auditorium by around 7 P.M. It took some five more minutes before I had occupied my seats. The curtains were there still so I was not that late. Just ahead of me a person was sitting. I casually asked him If Manna Dey had arrived. He looked rather surprised. He said that obviously he must have come. As we started talking Perry, for that was his name said that he was in two minds while coming to this event, whether to attend or not? He did consider Manna Dey the only living legend so this must be worthwhile. Perry has some talent. He takes notes and makes tunes.
I glanced across the stage. Still the Curtains were there. There were some video songs played of his on the Video screen. Songs included Professor, Awaara, Love & God, Raat Aur Din, Shree 420, Ujala, Bawarchi and Waqt.
Then there was an announcement that Manna Dey had arrived. Then Khurana Saab, who has been accompanying Manna Dey in all his programmes, came to take centre stage when the Curtains were drawn finally. He introduced us to Shailaja Subramaniam who was going to sing some songs before Manna Dey would take over.
Shailaja started with ‘Raina Beethi Jaayein’. Then went on to sing ‘Yeh Hain Reshmi Zulfon Ka Andheraa’ and ‘Kuch Dil Ne Kahaan’ .This was followed by the introduction of another singer, this time a male—Rana Chatterjee. He started with ‘Aa Chalke Tujhe Main Leke Chalun’ and then sang ‘Mohabbat Zinda Rehti Hain’.
Then Khurana Saab announced the arrival of the Legend, Manna Dey. All rose to give him a thundering applause. Manna Dey seated himself on a cushion with a harmonium in front of him. He started with ‘Bhay Banjana Vandana Sun Hamaari’. Before singing, the song Manna Dey had mentioned that he would start with some songs then will sing some audience choices. Luckily, for me, even before I could think whether I would be able to listen to one of my favourite songs, I was pleasantly surprised when he mentioned about Kanu Roy and how he had died in a very young age. He then sang ‘Hansne Ki Chaah Ne’. Followed by ‘Phool Gendwa Na Maaro’, ‘Jhanak Jhanak Tori Baaje Payaliya’, ‘Abhi Tho Haath Mein Jaam Hain’, ‘Aye Meri Zohra Zabeen’.
The one non-film song he sung was ‘O Sajni, Sajni, Nathni Se’.
Then Sheela, another female singer accompanied Manna Dey in singing some duets such as ‘Sochke Yeh Gagan Jhoome’, ‘Dil Ki Girah Khol Do’, ‘Main Tere Pyar Main’ before stopping for an interval.
Anil Trivedi the organizer announced the intermission. Post interval Sheela Verma came on to sing songs ‘Rasm-E-Ulfat Ko’, ‘In Aankhon Ke Masthi Ke’ and ‘Waqt Ne Kiya Kya Haseen Situm’. Then Anil Trivedi called the Guest of Honour Mr. Nautiyal on to the stage. He mentioned that Manna Dey had sung for as many as 19 languages and overall 2,500 songs.
After that, Anand Daulat felicitated him with a shawl and bouquet of flowers. When the felicitation was over Manna Dey resumed with his songs. He sang some verses of ‘Madhushaala’. On request from some of the Bangla audience, he sang one Bangla number, which had lyrics by Pulok Banerjee. It went something like ‘Tumi Ek Jhot Ne’.
He followed this song with ‘Poocho Na Kaise Maine Rain’, ‘Aayo Kahaan Se Ghanshyam’, ‘Laaga Chunri Mein Daag’, and finally ‘Aye Mere Pyare Watan’, which was the last song.
Anil Trivedi then came along to mention the names of the members of the musical troupe. Mahendra Gokhale was on the synthesizer, Guitar by Richard, Tabla by Indranath Mukherjee, Dholak by Shyam and Side Rhythm by Waman Kohli.
I returned home remembering an evening well spent.
Even though I came to know of this event rather late, I was able to book my ticket for the programme and attend it altogether in a single day. I purchased Balcony seats early morning and rushed back to my office by around 1 P.M.
The programme was in the evening. I left my office by around 6 P.M. Thanks to a colleague who offered me a lift up to the station. She was however little bit surprised that I was going all alone.
I reached the Auditorium by around 7 P.M. It took some five more minutes before I had occupied my seats. The curtains were there still so I was not that late. Just ahead of me a person was sitting. I casually asked him If Manna Dey had arrived. He looked rather surprised. He said that obviously he must have come. As we started talking Perry, for that was his name said that he was in two minds while coming to this event, whether to attend or not? He did consider Manna Dey the only living legend so this must be worthwhile. Perry has some talent. He takes notes and makes tunes.
I glanced across the stage. Still the Curtains were there. There were some video songs played of his on the Video screen. Songs included Professor, Awaara, Love & God, Raat Aur Din, Shree 420, Ujala, Bawarchi and Waqt.
Then there was an announcement that Manna Dey had arrived. Then Khurana Saab, who has been accompanying Manna Dey in all his programmes, came to take centre stage when the Curtains were drawn finally. He introduced us to Shailaja Subramaniam who was going to sing some songs before Manna Dey would take over.
Shailaja started with ‘Raina Beethi Jaayein’. Then went on to sing ‘Yeh Hain Reshmi Zulfon Ka Andheraa’ and ‘Kuch Dil Ne Kahaan’ .This was followed by the introduction of another singer, this time a male—Rana Chatterjee. He started with ‘Aa Chalke Tujhe Main Leke Chalun’ and then sang ‘Mohabbat Zinda Rehti Hain’.
Then Khurana Saab announced the arrival of the Legend, Manna Dey. All rose to give him a thundering applause. Manna Dey seated himself on a cushion with a harmonium in front of him. He started with ‘Bhay Banjana Vandana Sun Hamaari’. Before singing, the song Manna Dey had mentioned that he would start with some songs then will sing some audience choices. Luckily, for me, even before I could think whether I would be able to listen to one of my favourite songs, I was pleasantly surprised when he mentioned about Kanu Roy and how he had died in a very young age. He then sang ‘Hansne Ki Chaah Ne’. Followed by ‘Phool Gendwa Na Maaro’, ‘Jhanak Jhanak Tori Baaje Payaliya’, ‘Abhi Tho Haath Mein Jaam Hain’, ‘Aye Meri Zohra Zabeen’.
The one non-film song he sung was ‘O Sajni, Sajni, Nathni Se’.
Then Sheela, another female singer accompanied Manna Dey in singing some duets such as ‘Sochke Yeh Gagan Jhoome’, ‘Dil Ki Girah Khol Do’, ‘Main Tere Pyar Main’ before stopping for an interval.
Anil Trivedi the organizer announced the intermission. Post interval Sheela Verma came on to sing songs ‘Rasm-E-Ulfat Ko’, ‘In Aankhon Ke Masthi Ke’ and ‘Waqt Ne Kiya Kya Haseen Situm’. Then Anil Trivedi called the Guest of Honour Mr. Nautiyal on to the stage. He mentioned that Manna Dey had sung for as many as 19 languages and overall 2,500 songs.
After that, Anand Daulat felicitated him with a shawl and bouquet of flowers. When the felicitation was over Manna Dey resumed with his songs. He sang some verses of ‘Madhushaala’. On request from some of the Bangla audience, he sang one Bangla number, which had lyrics by Pulok Banerjee. It went something like ‘Tumi Ek Jhot Ne’.
He followed this song with ‘Poocho Na Kaise Maine Rain’, ‘Aayo Kahaan Se Ghanshyam’, ‘Laaga Chunri Mein Daag’, and finally ‘Aye Mere Pyare Watan’, which was the last song.
Anil Trivedi then came along to mention the names of the members of the musical troupe. Mahendra Gokhale was on the synthesizer, Guitar by Richard, Tabla by Indranath Mukherjee, Dholak by Shyam and Side Rhythm by Waman Kohli.
I returned home remembering an evening well spent.
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