Film: Aa Gale Lag Ja (1973)

Producer: A. K. Nadiadwala

Director: Manmohan Desai

Lyricist: Sahir Ludhiyanvi

Singer:  Kishore Kumar

Although the song is emotional and has tragic touch it is still very dynamic, and going with this aspect , similar to “dil ke zarokhon mein” from Brahmachari( MD: S-J). Thats because the Hero is a roller skating champion and most of the songs are on skating background , hence  that dynamics is part of the character of the Hero.

Pancham always scores in the opening itself and this song is no exception to it, the mix of violent violins , emotional accordions and the dynamic brass leaves you spellbound.

Kishore then takes over the song in his complete control with his superb renditions. We have been enthralled by his unique use of yodeling in the happy or light mood songs but here we have a surprise when he does a similar sort in this sad song in “o jaan-e-jaan-hooo…aa.. janeman“.

The song goes better and better from prelude to mukhada to interlude to antara.

Kishore starts the antara starts with a controlled voice but see how he is taken over by the emotions and at its end (just after the yoddle) a fantastic violins rushing to the foreground and taking us to the mukhada.

Now I want to highlight this very end situation as I perceive it. He seems to be at the brink of emotional outburst at “poochhogee jab bhi..” and the violins give him just that breathing period while say, consoling him.

Kishore is so much at the low that even after that fantastic violin bridge he enters in the mukhada hummimg “hoon..hoon..hoon..hoon” and not “naa koi dil mein samaya” ( which is only at the start and the end).

A special mention needs to be mentioned about Kishore’s pronunciation of select words which adds a great value to the word and the song. Just two examples

1 Consider his rendering of  “nishaani” in

“tum jo mujhe de gayee ho

ek khubsoorat nishaani” and

2. the way he embraces the word “liptaake” in

“liptaake seene se usko

kat jaaye gee zindagaanee”

Use of the orchestration is just fantasrtic and that of the church bells very innovative and effective due to its perfect placement.

As I mentioned, this song has that dynamics of roller skating and Pancham doesn’t miss the opportunity to simulate it. Just listen to the rhythm particularly in the antara which goes something like “tik tak.. taak..doo.doo”  simulating perfectly the strides of the skating and also sounds so well gelled and effortless

The movie version has those inquisitive questions posed by Sharmila to Shashi in the preceding scenes that keep  haunting Shashi but he cant reply her on her face directly due to his own “majboori”, Then we have this lovely song where he opens himself ,actually answering her queries,

Doesnt then the back-questioning “jaanti ho? ” after mukhada and every antara sound more meaningful and touching, then?

Saahir’s perfect mukhada still haunts me whenever I get emotional over Pancham and Kishore, make me sing “Naa koi dil mein samaayaa..naa koi pehlu mein aaya, jaake bhee paas rahe tum hee”

Sudhir Kulkarni

panchammagic.org

Film: Raaja (1975)

Producer: Sandow M.M.A.Chinnappa Devar

Director: K.Shanker

Singer: Kishore Kumar

Raaja is a relatively lesser known film of Pancham, For me , too, the only childhood memory of Raaja was the radio promos presenting the “whaao whaao” song ( kaun hoon main..kaun hai too). Later on, thanks to the HMV compiled album “Tumke Milke”, I met a superlative duet “jee chaahe” by Kishore-Lata. While the EP gave me the cute solo by Lata, “saiyaan too hai naam kaa”, the VCD presented the Asha romantic, “mere roothe balam se” . And then it also had this lovely breezy solo by Kishore, composed by Pancham for that lively and lovely Rishi Kapoor, “Kal yahaan aayi thi who”.

The start of the song which has the combination of charging and dynamic violins and strumming on foreground that reminds me of the start of “Maangi thi ek dua” (Shakti), the common feature being the sheer excitement , be it the arrival of “babe” or a “baby” in a man’s life.

Kishore’s singing has that authority equally complemented by Bakshi-ji’s mukhada “kal yahan aayi thee woh..aaj phir aayegi wo” demanded by the situation and the lovely dreaming along the extended ending of “aaye to haaye mazaa aa jaaayeeeeeeeeeeeee”.

The interludes have the same combination of shooting violins, romantic flutes, the strumming and the keyboard phrases. The sort of drunken and lazy-cozy feeling that’s given by those keyboards is well complemented on-screen by showing multiple mirror images of the heroine

The antaras have some interesting structure which open with the exuberant first phrase followed by the linger on second one ( like “dilbar jaani” or “de gayi dhokha”) with the lovely yodeling touch by Kishore The repeat happens but the linger is again on second and not the fourth phrase.

The brief but leisurely strumming and the windup by violins thereafter to crossover to mukhada tune just shows the total control Pancham possesses over the composition.

The skipping of mukhada “kal yahan” after the first antara and the entry straightaway into the second interlude just complements the excitement graph and enhances the pace, something you can surely expect from Pancham to break the pattern and please the listener with the unexpected twist.

Kaash..Pancham phirse aa jaaye..to kitna mazaa aa jaaye. Missing you, badly, Pancham.

Aa jaao yaa bulaa lo.

Sudhir Kulkarni

panchammagic.org

Words and Tune

 A personal account of the Panchammagic show organized by Panchammagic.org, at Tilak Smarak Mandir, Pune, January 4, 2012, on the 18th death anniversary of Pancham.

I have a few regrets in life, one of which is I had not learned Marathi, though being born and brought up in a small town in Maharasthra (my mother-tongue is Sindhi).  Though I had picked up some words of Marathi and could understand most of it, but spoken Marathi is still beyond me.

More of it later.

Another regret was though I knew of a wonderful Pancham show being organized every year on 27th June and 4th January by passionate Pune Pancham fans, since last 11 years, I had, till yesterday had not attend it even though Pune is just a few hours’ journey from my home.  Well, this regret is now longer a one, as I attend Panchammagic show yesterday, January 4, 2012, which was 18th death anniversary of dear Pancham, courtesy Sudhir Kulkarni.  The following is the report.

The show was to start at 7:30 p.m.  Sudhir had warned me well in advance about the show timings and also of the evening Pune traffic. Well, The Train was on time and thanks to a benign auto walla I reached half an hour before the start of the show.  It was a pleasure to meet Sudhir in person (he is Param Pancham Bhakt, and no picture of himself but of Pancham on his FB, thankfully I had several of mine on FB so Sudhir could recognize me instantly).  Sudhir also introduced me to Ashutosh Soman and Rahul Pande.

The show began a little after 7:30 p.m. A word about Tilak Smarak Mandir. I was quite impressed by the auditorium, in general, the seats and the audio system in particular.

It is quite a huge auditorium, with the balcony.  Fittingly it is named after one of the great sons of Mahrashtra.  Soon the hall begin to fill with Pancham fans and before the show began, it was full of ardent Pancham fans — Old, middle-aged (like me), and young ones.  The person on left and right of me were in their early or mid 20s. Pancham fans everywhere, it seemed almost surreal.  I had a very good seat, I/12, and had a clear, and centric view of the stage.  Soon, the curtains lifted and the auditorium was filled with magical Pancham sounds — the prelude music of medley songs of HKKN.  Oh, what a great start, I said to myself.  Whistling, foot taping and the echo of Wackao. Great ambience. Soon the first host of the show, Ashutosh Soman began the proceedings, in Marathi.

For a moment, honestly, I was taken aback.  But soon realized that I am in Pune which is the cultural capital of Mahrashtra, I should have learned Marathi. So I had to pay extra attention to what Ashutosh was saying.  I would understand that the show was begun correctly with a homage and tribute to departed souls who were associated or worked with Pancham.  Tributes were paid to Mrs. Vandana Vitankar, who wrote both the Marathi serial title songs which were composed by Pancham , ”Yaala jeevan aise naav” and “Shodhu kuthe kinara”, Gautam Rajadhyaksha, Sachin Bhowmick, Shammi Kapoor ji and Dev Saab.

About Shammi Kapoor ji, Ashutosh read out a quote by Hrithik Roshan, in TOI, which is worth repeating it –

“… the death of Shamji should not be mounred, but rejoiced.  He lived a full life,for him I would not say rest in peace, RIP, but DIH, Dance in Heaven”.

About Dev saab, Ashutosh said that Panchammagic could not invite him for a show and this will always remain a regret for the group.

After the curtain raiser and HKKN tune, pianist. Chitti Pillai played Yaadon Ki  About Chitti Pillai– Very humble person. He was a popular musician in stage shows, Manoharida spotted him and brought him to RD camp in 1988. Chittiji was part of RD’s Dubai, S. Africa and the very last Cochin shows. We approached Chittiji at the 11th hour really, on 31st Dec. But without any tantrums, he graciously accepted our invitation. So special thanks to him. [This paragraph added by Ashish Kashikar, one of the organizers of the show.]

The 2nd host of the evening, Ankush Chinchankar, then took over. In chaste and fluent

Marathi, which I was beginning to follow (for this had to thank 3 of my office colleagues,

with whom I had worked for last 24 years and acquired a workable knowledge of

Marathi). In clear and to the point words, Ankush introduced the theme of the evening — words and tunes. How difficult it is to fit words into a tune.

One of lyrics who could do it fluently and whose words were as good as the tunes

they were set in was Majooh.  Ankush said that they could not invite Majrooh saab

earlier to talk about his association with Pancham, his son, Andaleeb, has been invited to share Majrooh saab’s association with Pancham. Hence the tag of this year’s programme — Yaddon Ki Baraat. Majooh penned numours lyrics — 402 to be exact — which were set to tune by Pancham. Several short audio clips of Pancham-Majrooh songs were played.

Ankush then invited Andaleeb on stage and began an engrossing conversation with him. Andaleeb at the beginning apologies for not being well versed with Marathi, and said that he will talk in Bombaiya Hindi.  Ankush begun by asking Andaleeb, why Sultanpuri after Majrooh saab’s name.  Andaleeb said that Majrooh saab’s real name is Asrar ul Hassan Khan, but since they were from Azamgarh, district Sultanpur, his father had decided to add Sultanpuri in honour of the district he was from.

Andaleeb then went back in time, Yaddon Ki Baraat, and shared several memories about Pancham.  Andaleeb said at his home, they always referred to Pancham as Pancham Bhaijaan (how endearing, I said to myself).  Pancham’s relations with Majrooh were very very cordial. Among Andaleeb’s memories, these two remained etched in my memory.

Andaleeb, when he has about 11 years old, had gone with Majrooh Saab for recording of a Pancham song – rut hai milan ke, from Mela.  Pancham, Majooh and Andaleeb had gone to singer’s cabin to give last minute instructions to Rafi saab and Lata ji just before the recording, and left the singer’s cabin, but Andaleeb had remain in the singer’s cabin through the recording of the song.  Andaleeb said it is greatness of both Rafi saab and Lata ji that none of them had shooed him away, and allowed him to remain in the singer’s cabin. 

  Another unforgettable incidence Andaleeb mentioned as about movie Yaddon Ki Baraat.  Nasir Hussain had requested Majoorh saab that the lyrics of movie should not be too poetic as the story involves youngsters who are not supposed to have poetic learnings. Majrooh saab had written lyrics of a song, of which tune was already approved by the director.  On hearing the lyrics, Nasir saab was upset with Majrooh and said he do not want poetry in the lyrics and almost rejected the song.  Pancham had then intervened and had said to Nasir saab that the lyrics written by Majrooh saab fits both the meter and the tune of the song and the lyrics should be retained. Despite being the captain of the ship, Nasir saab had relented and given in to Pancham’s suggestion.  No prize for guessing the song – the song in question was Churaliya hai, which had remained a cult song. 

Andaleeb stressed the point that earlier it was respect for each other’s work and the earnestness of the work was the reason behind the gems of songs created.Andaleeb said that we all love the songs penned by Majrooh saab, but he took great pains to fit the exact words in the songs, keeping in mind the characters who will be emoting them on screen. Majrooh saab was an avid reader and everyday before retiring he had a book in his hand.  He knew how to play around with words. One example Andaleeb gave of a song from Inkaar, which was directed by Raj Sippy, who was present among the audience.  Majrooh saab was stuck at a word and called his driver, who was Marathi speaking and ask him what is the Marathi word for black ant, mungda, the drive had replied.  That is how the song Mungda was written.

Several genre of Pancham songs, written by Majrooh saab were discussed. Ankush wondered why Waadiya mere daman from Abhilasha was a tandem song, which could easily have been a Rafi-Lata song. An interesting and innovative editing of these two similar, yet different song was played for us, as a Rafi-Lata duet.  Similarly, tum bin jaaon kahan, Kishore and Rafi version were innovatively edited and played as a male duet. This song really brought the house down with cries of once more.

Andaleeb also remember about how Rishi Kapoor was not sure that a better qawwali can be created in HKKN, after Parda hai parda in AAA, which was released that year, which accorrding to Rishi was the ultimate.  Pancham took this as a challenge and created an all-time great qawwali.

Before the half time break, Ankush invited Raj Sippy, pianist Chitti Piillai, Homi Mullan ji and Chaitanya Padukone on stage and a new year 2012 calendar designed by Panchammagic.org was released.  A copy of this calendar was given to all in the audience.

During the break I was keen to meet Ashish Kashikar and Amod Kashikar.  I spotted Rahul Pande near the stage and asked him for Ashish. It was a pleasure to meet Ashish in person, who in turn introduce me to Amod, who stood shyly nearby.  I chatted a little while with Amod and congratulated Amod for his wonderful creation RD Filmography and wished him success for his innovative idea. Sudhir also joined us and enquired if I was enjoying the evening, which I certainly was.

After the break, Ashutosh introduced RD Filmography Android application, which is created by Amod Kashikar. This free searcable application lists all the 292 Pancham albums, with songs and lyrics names, and is for Android 2.1 version onwards and is available in Android Market for free download.  Ashutosh said the copyright issues were being sorted out so as to play YT songs when clicked on songs. This application, which is already available on trial basis, since past week, in the Android market already had more than 1000 downloads. This innovative application was then officially released to big applause from Pancham fans.

Ankush then invited the other guest of the evening, Chaitanya Padukone on the stage. Ankush mentioned that it is the first time that a journalist, who happens to be a Pancham fan, was invited to talk about Pancham.  Chaitanya, who writes regularly for Mid-Day, Mumbai, said that Pancham was responsible him taking up the profession of journalism.

Chaitanya had gone to meet Pancham after he had been awarded FF for Sanam Teri Kasam.  He had said to Pancham that I am your big fan and wanted to do an interview with you. Pancham had replied that you cannot be a fan and also take my interview. Pancham advised him to come back as a journalist and as a critic and then take his interview. This has inspired Chaitanya, who also is an amateur musician, to take up journalism as career. Chaitanya shared several memories of Pancham. He said Pancham was fond of four Fs — Food, Fish, Football and Fusion music. Pancham had told him that he do not like to create western style tunes and classical compositions give him creative satisfaction.  Ankush asked Chaitanya that we all are fans of Pancham, but who were Pancham fan of. Chaitanya said Pancham was fan of Jaikishan of SJ, and greatly admired the songs created by Jaikishan.  Since football was passion with Pancham, he was fan of great football player Pele and had his pictures all over on his walls.  Pancham was also fan of singer Louis Armstrong, and like Louis, Pancham wanted to be known as unconventional singer.

Once Chaitanya had asked Pancham what is the connection of football and music and Pancham had replied both these have scores, and like in football, if Pancham scored a hit song he used to refer to it as goal ho gaya.  Chaitanya also shared two heart-breaking stories about Pancham in his later years. At the launch of DPH at Hotel Taj Mahal Pancham had told him how he felt upset and disheartened at the unceremonious way he was removed from Ram Lakhan. And at the success party of QSQT, where Pancham was the chief guest, he was sidelined and was sitting all by himself in a corner. Chaitanya was asking everyone for Pancham and no one seems to knew. Pancham had spotted him and asked a waiter to point out Chaitanya to him.  Truly heart-breaking.

Chaitanya had also brought his own bongo drums on which he gave a very good demonstration of soul beats used in various Pancham songs like Dum maro dum, jaane ja dhoondata phir raha.

The last guest of the evening was pianist Chitti Piillai, who was

associated with Pancham team in the later years. He had played piano in

Tumse milke song in Parinda and in later Pancham movies.  Ankush

mentioned that it is the first time an acoustic piano has been brought

to stage for Panchammagic programmes.  Chitti Piillai played several

Pancham tunes on the piano which really mesmerised all.  My favourite

were three ultimate piano songs – pyaar diwana hota hai and suhane

chandini raatein and hamein aur jeene ke.  Words cannot describe the magical ambience created when Chitti Piillai played several lovely Pancham tunes on piano which had all of us in a spellbind.

Ankush then invited Homi ji on stage and requested for tune on piano. Homi ji said that he has not touched piano for the last 20 years but he will play a tune for the Panchammagic.  He played a western tune to a great applause.  Homi ji endearingly mentioned that he had leanred to play the piano to earn the love of his (would be) wife.

The last tune played on piano by Chitti Piillai was Jeevan ke din chotte sahi, with with the programme ended to a great applause.

Before curtains were drawn for the evening, Ankush announced that this yar’s 27th June programme will be the 25th programme of Panchammagic and it will be something special and hoped to see us all again.

*************

Disclaimer: This is a personal account of the show, as I saw, heard and as my mind registered it.  It is written from  memory, i.e. without any aid of technology.  I apologize for any error, omission or incorrect reporting. It is possible that I might have misheard or misunderstood something which is written above.

*************

Raju Bathija

panchammagic.org

Photo Courtesy: Mahesh Ketkar , panchammagic.org

Film: Ek se bhale do(1985)

Producer: K D Mehta

Director: S V Rajendra singh

Lyrics: Anjaan

Singer: Kishore Kumar, Shailendra singh, Anuradha Paudwal, Chorus

Audio On: T-series

Whatever the year, Pancham created magic – and 1985 was the year Rahul Dev Burman covered all sorts of genres – from thrillers to love triangles, from socials to inane comedies, from loud melodramas to masala potboilers – and amazingly produced OSTs that were so rich, so diverse, and were absolute musical blockbusters, all – including all the beautiful interludes, preludes and orchestration. It’s impossible to fathom how he did this in a year where, to a large extent, farmaish programs on Vividh Bharati, loudspeakers and canteens, insisted on blaring the grating “Tumse milkar, na jaane kyon” (all versions), “Teri meherbaniyaan” or something dissonatingly similar. However, just one of those rich soundtracks that from “Ek se bhale do”, RD’s magnificent overture, “Band to bajega”. What a superb start to the song (onscreen, Kumar Gaurav dreaming of marrying Rati Agnihotri), with the catchy wedding band piece (and the film’s missing the fun-filled gibberish that Kishore Kumar spews out in the studio version, pity), and the rich bass that comes in, the 80s “too too”, followed by the catchy, haunting piece on the synthesizers that Pancham had used earlier in “Main awara banjara” (Ye to Kamaal Ho Gaya, but different pace and sound!), and Usha Khanna had copied for “Ho gaye diwane” (Laila). And when Kishore begins with “Band to bajega”, and the keyboards filling the gaps with that sound, you know it’s a fun ride all the way. How beautifully the mukhda rises with each line till “Aaja aaja aaja aaja”, the superb drums, and then Anuradha Paudwal takes over. The first interlude has that haunting synthesizer piece again, followed by the dreamy, trademark RD raindrop/snowfall/waterfall-like keyboards, followed by that marvellous piece on guitar – what a piece it is, how many composers made such small, incredible beauties for their interludes? The dreamy chorus picks up the piece, and the dreamy piece ends with the sudden burst of the band brass piece – what a touch that is! The antara is hopelessly catchy, with the bass, and the drums, all crisp and smooth. And I love the way Pancham pauses the antara for synthesizer filler after “Kab se tarse hain, ab na tarsenge, pyar barsega jaani”. And the cross-over tune again soars, not connecting to the mukhda end or beginning, it goes in its orbit, and then the violins give it a final propel, and suddenly it’s back to the mukhda. All this happens so smoothly, so beautifully, it’s amazing how RD makes the overlay between two seemingly disparate pieces but connects them so brilliantly. The second interlude has some beautiful haunting chorus to launch it, and it sails across smoothly, followed by the equally beautiful violins that tell their own story, leading to the catchy antara opening, where it’s now Shailendra Singh for the intruding Amjad Khan onscreen. Note that here, there’s no pause for the first antara line, it’s just the funny duet between Kishore and Shailendra Singh. However, when Shailendra sings the mukhda, there’s no “kwon-woo-wo” sound on the keyboards – just Kishore doing hilarious versions of “pa pa” – again, a subtle, super, Pancham touch. And when Kishore sings the mukhda, it’s Anuradha Paudwal who fills in that keyboards sound with “tara ra ra rum”! The last interlude opens with the “Yeh To Kamal Ho Gaya” piece again, the raindrops sound, and then some marvelous trumpets and violins. The music then changes pace and rhythm, comes closer to sounding like the band again. In this antara, RD gets back the pause after “Log jalte hain, jinko milna hai, wo to milte hain aise” – and this time again, his genius – the pause is not filled by a laidback synthesizer, but a more urgent, almost frantic, superb bass and hi-hats, because the lovers are being pursued by Amjad onscreen – what a touch! And the antara ends superbly, this time the inimitable Kishore-Pancham team in form, with the “garooooor, garooor, garoooor”, and then the guitars. The song ends with a magnificent crescendo of violins and brass, ending the dream as well. Ironically (not surprisingly), the Times Of India’s movie review at that time said something like, “One expects R.D. Burman’s music to liven up the proceedings but disappoints.” Right. Band to sab reviewers ka baj hi gaya, only Pancham isn’t here to see the fun.

Vineet Upendra

panchammagic.org

पहिलेपणाची नवलाई किंवा अपुर्वाई ही शब्दातीत असते! पहिलं प्रेम, पहिला पगार, पहिली गाडी, पहिला स्पर्श…..अगदी थेटच बोलतो, रागावू नका, पहिलंवाहिलं चुंबन…..य गोष्टी अशा असतात की त्यांच्या आठवणी नि अनु्भूती आयुष्यभर चिरतरूण आणि टवटवीत असतात.

माणसाच्या आयुष्यात त्यानंतर अनेक उलथा-पालथी होतात, घडामोडी घडतात..कधी तो आणखी कोणाच्या प्रेमात पडतो, नविन चांगली नोकरी त्याला मिळते. तो आणखी मोठी गाडी विकत घेतो…पण तरीही त्याच्या मनाच्या एका कोपरात त्याच्या पहिलेपणाची आठवण त्याला साद घालतच असते.

व्यावसायिक कलावंताच्या आयुष्यात त्याला मिळालेल्या पहिलंवाहिल्या संधीचे आणि यशाचे स्थान हे असेच अविस्मरणीय असते. यशाची उत्तुंग शिखरे पादाक्रांत केल्यावर आणि अपुर्व नावलौकिक मिळाल्यानंतरही तो कलावंत पहिल्या संधीला आयुष्यात कधीही विसरत नाही.

आपल्या अतिशय हटके अशा संगीतशैलीने चित्रपटसंगीतामधे स्वत:चे पंचमयुग आणणारा राहुलदेव बर्मनच्या आयुष्यातसुद्धा असेच महत्व ’तिसरी मंझील’ या चित्रपटाला आहे. आता तुम्ही म्हणाल का बरे? छोटे नवाब का नाही? तो तर पंचमचा पहिला चित्रपट, स्वतंत्र संगीतकार म्हणून त्याचे पदार्पण!

खरे आहे, १९६१ साली मित्रवर्य मेहमूदच्या या चित्रपटाद्वारे रुपेरी पडद्यावर ’संगीतकार राहुलदेव बर्मन’ अशी अक्षरे उमटली. ’घर आजा घिर आयी’ सारखं लताचं अप्रतिम सोलो आणि अरेबियन स्टाईलचं लता-रफीचं मस्त युगुलगीत – मतवाली आखोवाले या दोनच गाण्यांनी आपल्या आगमनाची आणि आपल्या वेगळेपणाची झलक पंचमने चित्रजगताला दाखवून दिली होती.

६० च्या दशकामधे हिंदी चित्रपटसंगीत आपल्या वैभवाच्या परमसीमेवर होते आणि पंचमची गाठ शंकर-जयकिशन, ओ.पी.नय्यर, मदनमोहन, नौशाद, सी.रामचंद्र, रोशन, सलील चोधरी आणि दस्तुरखुद्द स्वत:चे वडिल एस.डी.बर्मन यांच्याशी होती. या प्रत्त्येक संगीतकाराची स्वत:ची संगीतशैली होती आणि या महारथी संगीतकारांच्या मांदीयाळीमधे स्वत:चे स्वतंत्र रोपटं रुजवण्याची अवघड कामगिरी त्याला पार पाडायची होती.

१९६१ च्या छोटे नवाब नंतर १९६५ पर्यंत मधली ४ वर्षे पंचमला एकही चित्रपट मिळाला नाही. या मधल्या काळात तो आपल्या वडिलांकडेच सहाय्यक म्हणून काम करीत राहिला. ’जिगरी दोस्त’ मेहमूदने ’भूत बंगला’ चं संगीत पुन्हा एकदा पंचमला दिलं आणि पुन्हा एकदा लताचं ’ओ मेरे प्यार आजा’ सारखं सुंदर गाणं, किशोरचं अर्ध्या रात्री जागं करणारं – जागो सोनेवालो आणि शास्त्रीय बाजाची गाणी गाणारा मन्ना डेंच्या आवाजामधे झींग आणणारं – आओ ट्विस्ट करे…अशी गाणी देऊन पंचमने पुन्हा एकदा आपले वेगळेपण अधोरेखित केले. त्यानंतर मेहमूदचाच ’पती पत्नी’ आणि फिरोज खानचा ’तिसरा कौन’ हे चित्रपट त्याने केले पण फारसा काही उपयोग झाला नाही. चित्रपटक्षेत्रात यश मिळवायचं, आघाडीच्या संगीतकारांत स्थान मिळवायचं तर मोठ्या बॅनरचा, आघाडीच्या नायकाचा सिनेमा संगीतासाठी मिळायला हवा किंवा संगीतप्रधान सिनेमा मिळायला हवा, पण ते मिळणार कसे? कारण दिलीप-देव-राज-शम्मी-राजेंद्रकुमार यांच्यासारख्या मोठ्या स्टार्सचे सिनेमे शंकर-जयकिशन, ओ.पी., नौशाद, एस.डी. यांच्याकडे होते आणि इतरांसाठी मोठी स्पर्धा होती.

दुसरी गोष्ट म्हणजे एस.डी.बर्मन स्वत: दर्जेदार आणि लोकप्रिय संगीत देत असताना, त्यांच्यासमोर त्यांच्या मुलाला कोण संगीतकार म्हणून घेण्याची रिस्क घेणार हा प्रश्न होताच. मेहमूदने ही संधी पंचमला दिली पण तो पडला एक विनोदी अभिनेता. त्य पलीकडे दुसरी मोठी संधी पंचमला आता हवी होती आणि यासाठी त्याला अशी एक व्यक्ती हवी होती की जिला पंचमच्या गुणवत्तेविषयी खात्री असेल आणि जी त्याला मोठा चित्रपट देऊ शकेल. आयुष्यामधे कोणत्याही क्षेत्रामधे नुसती गुणवत्ता असुन चालत नाही, तर त्याचे महत्व ओळखणारा व त्याला योग्य ती संधी देणारा गॉडफादर ही लागतो.

हा गॉडफादर पंचमला मिळाला तो गोल्डी उर्फ विजय आनंदच्या रुपाने! ’नौ दो ग्यारह’ पासून ’नवकेतन’ मद्ये काम करताना सचिनदांबरोबर गाण्यांच्या सिटींग्जच्या निमित्ताने गोल्डीची पंचमबरोबर अनेकदा भेट व्हायची. दादांबरोबर सहाय्यक म्हणून काम करताना पंचमचे गाण्यामधील सर्जनशील योगदान, नाविन्यपूर्ण सूचना, वेगळा विचार करायची पद्धत…या गोष्टी गोल्डीने त्याच्या सराईत नजरेने टिपल्या होत्या. समवयस्क असल्याने त्याची छान गट्टी जमायची आणि त्या मैत्रीतुन पंचमचे वेगळेपण त्याच्या नजरेत भरले होते.

एक प्रगल्भ दिग्दर्शक म्हणून गोल्डीचा नावलौकिक दिवसेंदिवस वाढत होता, त्यामुळे ’नवकेतन’ च्या बाहेरही त्याने दिग्दर्शक म्हणून काम करावे अशी अनेक निर्मात्यांची इच्छा होती. एक दिवस निर्माते नासिर हुसेननी त्याच्यासमोर असा प्रस्ताव ठेवला. ’जब प्यार किसीसे होता है’ च्या सुपरहिट यशानंतर त्यांना देवआनंद बरोबर दुसरा सिनेमा करायचा होता आणि हा सिनेमा स्वत: दिग्दर्शित न करता तो गोल्डीने करावा अशी त्यांची इच्छा होती. देवाआनंदच हिरो असल्यामुळे आणि मनाप्रमाणे काम करायची मुभा असल्याने देवशी विचारविनिमय करुन गोल्डीने आनंदाने ह प्रस्ताव स्वीकारला आणि त्याला पंचमची आठवण झाली. या नव्या चित्रपटाद्वारे आपल्या दिग्दर्शनाखाली आपण पंचमला सादर करु असे त्याने ठरवले आणि नासिरचा होकारही घेतला.

ही बातमी समजल्यावर पंचमच्या आनंदाला पारावार उरला नाही. कारण देवाआनंद सारख्या मोठ्या स्टारचा आणि नासिर हुसेन सारख्या बड्या निर्मात्याचा चित्रपट त्याला प्रथमच मिळत होता आणि तेही विजय आनंद सारख्या संगीताची उत्तम जाण असलेल्या दिग्दर्शकाबरोबर! पंचमसाठी ही सुवर्णसंधी होती…

कथा-कल्पना तयार झाली, गाण्याच्या जागा तयार झाल्या आणि मोठ्या उत्साहाने पंचम झपाटून कामाला लागला. देव हिरो असल्याने आणि नवकेतन मधे खूप काम केले असल्याने ’त्या’ स्टाईलने संगीत देणे फारसे अवघड नव्हते. त्यामुळे देवची रोमॅंटिक इमेज समोर ठेऊन त्याने म्युझिकवर विचार करायला सुरुवात केली. पण ’हाय रे किस्मत’! दुर्दैव पुन्हा त्याच्या आड आले.

एका पार्टीमधे चित्रपट नायकावर चालतो की दिग्दर्शकावर या वादाचे रुपांतर पाह्ता पाहता टोकाच्या भांडणामधे झाले आणि एकमेकांचे जानी दोस्त असलेले नासीर हुसेन आणि देव आनंद यांच्यामधे कायमची दरी पडली.

देवने ’तिसरी मंझिल’ मधे आपण काम करणार नाही असे जाहिर केले आणि इकडे पंचमची अवस्था बिकट झाली. नासिरने याआधी शम्मी बरोबर ’तुमसा नही देखा’ केल्यामुळे त्यांची छान जोडी जमली होती. त्यामुळे त्याने गोल्डीला शम्मीचा पर्याय दिला व गोल्डीनेही तो स्वीकारला. पण त्यामुळे पंचमला वाटले की आता आपली ही संधी गेली कारण शम्मीच्या चित्रपटांचे संगीतकार होते शंकर-जयकिशन!

आणि तसेच झाले. शम्मीने एस.जे. चा आग्रह करायला सुरुवात केली. पंचमसारख्या नवोदित संगीतकाराबरोबर काम करायची रीस्क तो घ्यायला काही केल्या तयार होईना. याला समजावयाचे कसे असा प्रश्न गोल्डीपुढे पडला आणि हुशार गोल्डीने विचारपूर्वक एक तोडगा काढला.

तो शम्मीला भेटला व म्हणाला, ’ हे बघ शम्मी, तुझा एस.जे. चा आग्रह मला पटतोय, समजतोय. पण एक गोष्ट लक्षात घे, तू सुद्धा कधीतरी नवोदित होतास आणि तुलाही कुणीतरी रिस्क घेऊन ब्रेक दिलाच ना? पंचम एक गुणी संगीतकार आहे, मला त्याच्या गुणवत्तेविषयी खात्री आहे आणि सर्वात महत्वाचे म्हणजे तू त्याने केलेल्या चाली ऐक, त्या जर तुला नाही आवडल्या तर तुझ्या म्हणण्याप्रमाणे आपण एस.जे. ना घेऊयात, मी तुला अडवणार नाही’.

गोल्डीचा हा तोडगा शम्मीने मान्य केला आणि मग गोल्डीने काही दिवसांनी शम्मी आणि पंचमची बैठक ठरवून टाकली. आता खरी पंचमच्या सर्जनशीलतेची कसोटी होती. शम्मी चित्रपटात आल्यामुळे संगीताचा सगळा बाजच बदलून जाणार होता. देव आणि शम्मी ही गाण्यांच्या सादरीकरणाची दोन टोके होती. एक हळुवार रोमॅंटिक तर दुसरा रंगेल-धसमुसळा! देवची शैली पंचमच्या परीचयाची होती तर शम्मीची स्टाईल त्याच्यासाठी एकदम नविन…त्यात शम्मीचे शंकर-जयकिशन लाडके! त्याच्यावर त्यांचा प्रभाव! तो पुसुन टाकुन त्याला आपल्या चाली कशा काय आवडतील यावर पंचमने विचार सुरु केला. गोल्डीने सर्वांच्या विरोधात जाऊन पंचमसाठी ही संधी आणली होती. आणि पंचम साठी ही सुवर्णसंधी होती. त्याच्यातल्या ’जिनीयस’ संगीतकाराला हे एक आव्हान होते. आणि ती संध्याकाळ आली.

मनोहरी, मारुती अशा निवडक साथीदारांना पंचमने बरोबर घेतले होते. शम्मी, गोल्डी सगळी मंडळी जमली. खाण्या-पिण्याची जय्यत तयारी होतीच. थोड्या वेळाने शम्मीने गाण्याची फर्माईश केली. तो जरा अनिच्छेने लांबच बसला होता. पंचमने हार्मोनियम पुढ्यात घेऊन त्याला एक चाल ऐकवली. रिदमची आणि संगीताची उत्तम समज असलेल्या शम्मीचे कान ती चाल ऐकून टवकारले गेले. टुणकन उडी मारून तो पुढे आला आणि ते पुन्हा ऐकायची फर्माईश केली. ती ’हटके’ चाल ऐकून तो खुळावला होता आणि ते गाणं होतं – ओ हसीना जुल्फोवाली जाने जहा…

’आजा आजा’ ची जगावेगळी चाल ऐकून तर तो वेडाच झाला. एखाद्या गाण्याची चाल अशी कशी असू शकते या विचारात तो पडला होत. आतापर्यंत कधीही न ऐकलेलं आणि कल्पना न केलेलं काहीतरी अद्भुत त्याच्यासमोर घडत होतं…त्याच्या आवडत्या पहाडी धुनची फर्माईश त्याने पंचमला केली आणि पंचमने त्याला ऐकवलं – ’दिवाना मुझसा नही…’

बस! अलिप्तपणे आणि काहीशा अनिच्छेने भेटीला आलेल्या शम्मीने आनंदाने पंचमला कडकडून मिठी कधी मारली ते त्याला समजले नाही. खुष होऊन त्याने गोल्डीला त्याच्या चॉईसची दाद दिली आणि तिसरी मंझील चा संगीतकार म्हणुन अधिक्रुतरीत्या पंचमची निवड झाली.
अभिनंदनाचा पहिला फोन पंचमला केला तो संगीतकार जयकिशन ने! याला म्हणतात निकोप स्पर्धा आणि खिलाडुव्रुत्ती!

गाण्यांची अरेंजमेंट करताना आपल्या बासु, मनोहरी, मारुती या कल्पक साथीदारांच्या मदतीने पंचमने अक्षरश: बहार उडवुन दिली. पाश्च्यात्त्य संगीतातल्या जॅझ चा सुंदर वापर त्याने केला. ड्रम्स चे अप्रतिम सोलो पीसेस – जे ’आजा आजा’, ’ओ हसिना’, ’तुमने मुझे देखा’ मधे ऐकायला मिळतात. रिदम मधील नावीन्यता, ओ हसिना मधला लक्षात राहणारा ट्रॅंगलचा आवाज, याच गाण्यामधे तीन अंतर्‍यांसाठी शम्मीच्या हातात दिलेली सॅक्सोफोन, ट्रंपेट आणि ट्रंबोन ही तीन वेगळी वाद्ये, अंतर्‍याला सूर बदलणारी ’तुमने मुझे देखा’ ची अतिशय मेलोडियस आणि अनोखी चाल, गायकाच्या श्वासाची परीक्षा घेणार्‍या ’आजा आजा’ आणि ’देखिए साहेबो’ अशा जगावेगळ्या चाली…

खुप काही नवीन असे पंचमने रसिकांसमोर आणले. आशा-रफी सारख्या कसलेल्या गायकांनाही सुरुवातीला हा नविन प्रकार फारसा भावला नव्हता पण त्यांनीही नंतर या कल्पकतेला मनापासून दाद दिली. शम्मीतर उत्साहाने गाण्यांच्या रेकॉर्डिंगला हजर होता कारण रफीसाहेबांनी गायलेलं आता आपण पडद्यावर कसे सादर करू या विचारांनी तो झपाटलेला असे.

शैलेंद्र, हसरत आणि आनंद बक्षी यांच्या बरोबर काम केल्यानंतर ’तिसरी मंझील’ च्या निमित्ताने पंचमने मजरुह सुलतानपुरीं बरोबर प्रथम काम केले आणि हे सूर पुढे अनेक फिल्म्स मधे जुळले.

पंचमने संगीतबद्ध केलेल्या या अनोख्या गीतांमधे आपल्या नशील्या, दिलखेचक अदाकारीने शम्मीने आणि आपल्या अफलातुन कल्पक चित्रीकरणाने गोल्डीने अनोखे रंग भरले. अक्षरश: चार चांद लावले.

’तिसरी मंझील’ रिलीज झाल्यावर पुढे काय झाले तेही सांगायची गरज नाही. शमीच्या संपूर्ण चित्रपट कारकिर्दीमधे ’तिसरी मंझील’ हा चित्रपट सर्वार्थाने खूप उजवा आणि वेगळा वाटतो हे माझे आवडते मत आहे.

पंचमला एका मोठ्या ब्रेकची गरज होती आणि ’तिसरी मंझील’ च्या रुपाने ती पूर्ण झाली. १९६६ च्या या रिलीजनंतर बहारोंके सपने, अभिलाषा, पडोसन, प्यार का मौसम, वारिस असा प्रवास करत ’पंचम एक्सप्रेस’ ७० च्या दशकामधे पोहोचली आणि मग कटी पतंग, अमरप्रेम असा प्रवास करत आणि लोकप्रियतेची स्टेशन्स पार करत करत ती बुढ्ढा मिल गया, कारवा पार पाडत १९७१ च्या ’हरे राम हरे क्रुष्ण’ पर्यंत पोहोचली…आणि तमाम तरुणाईला ’दम मारॊ दम’ च्या नशेवर झुलवत तिने पंचमचा ट्रेंड आणला…’पंचमयुग’ आणले…

आपल्या आयुष्यात पुढे उत्तुंग व्यावसायिक यश पंचमने पाहिले आणि अनुभवले..पण व्यावसायिक यश कशाला म्हणतात हा सुंदर अनुभव त्याला ’तिसरी मंझील’ ने दिला. पंचम सारखंच उत्तुंग यश मिळवलेल्या संगीतकार रवी आणि लक्ष्मीकांत-प्यारेलाल यांनी त्यांच्या घरांची नावे काय ठेवली होती माहिती आहे? – ’ वचन’ आणि ’पारसमणी’….त्यांचे पहिले गाजलेले चित्रपट! आयुष्यातल्या पहिल्या यशाची महती ही अशी असते!!

चंद्रशेखर महामुनी

• Year: 1966
• Producer: nasir husain
  
• Director: vijay anand
  
• Lyricist: majrooh sultanpuri
  
• Cast: shammi kapoor,asha parekh,premnath,helen

We cannot put into words, the ‘firsts’ of our life, first salary, first watch, first car, first love or yes, the first kiss. They are forever young and fresh in our heart and mind.

As we grow, we face so much of happenings in  life, so many events, so many people that we come across or so many things that we achieve… but still, the firsts remain at their special place.

For artists, it is the first opportunity one gets to express oneself through his/her art. Even as he evolves and becomes successful or popular, the first major break never leaves him. A real ‘unforgettable’ of his life.

Teesri Manzil is such one break for Pancham that became the milestone of his career. Chhote Nawab was the film where for the first time on silver screen appeared… Music Director Rahul Dev Burman. Lata’s brilliant Ghar Aaja Ghir Aai and Rafi-Lata’s Arabian styled Matwali Aankhonwale announced his ‘arrival’ on the musical scene. Making his presence felt through sheer brilliant and freshness.

And to think of it… the time when legends like S J, SDB, MadanMohan, OP Nayyar, C Ramchandra, Roshan, Salilda were around, at the zenith of their careers, ruling the hearts of the audiences through their own styles and patterns. Difficult it was! To be even get noticed, leave alone being

After Chhote Nawab, Pancham had no film for four years and he continued to assist Dada Burman before Mehmood once again handed over to him his next film, Bhoot Bangla. And once again, the palette of multi-culoured songs was explored.

O Mere Pyaar Aaja, Jago Sonewalo, Aao Twist Karen underlined Pncham’s individuality. This was followed by Pati Patni and Teesra Kaun but in spite of the brilliant Maar Dalega or Kajare Badarawa Re, these films went unnoticed.

Pancham needed a big banner for a major successful break, maybe a film with a superstar or a musical where he would showcase his talent and originality. And all major films of the time were with the likes of SJ, OP, SD, Naushad who were strongly associated with Raj-Dilip-Dev or Shammi.

Secondly, when his father, Dada Burman was churning out non-stop melodies, who would have dared to opt for Pancham? Mehmood did but after all he was seen as just a comedian and didn’t have any standing as a director. So Pancham badly needed some stalwart producer/ director who would have faith in Pancham’s capacity and would offer him this opportunity. Like other fields in life, one needs a Godfather since sheer talent doesn’t always fetch you work.

And Pancham got one in Goldie aka Vijay Anand, who had seen him work as Dada’s assistant during music sittings for ‘Nau Do Gyarah’ under the banner of Navketan. And Goldie had not missed suggestions or concepts Pancham had came up with during those sittings. And being of the same age, he could relate easily to Pancham and soon became a good friend.

Goldie had started to be seen as a big name I direction and even producers outside Navketan were keen to work with him. As such Naseer Hussain offered him a film and that too with Dev Anand as hero, Dev being an obvious choice after the success of Jab Pyar Kisise Hota Hai.  Goldie consulted with Dev and easily accepted this offer and yes, he didn’t forget to involve Pancham. Pancham was so happy and jubilant. He was thrilled with this idea of working with big names and being associated with a director of Goldie’s caliber and musical taste. It was indeed a Golden Opportunity.

Since Pncham had earlier worked nder Navketan, he knew the style of Dev Anand and what he might be expecting. He started off composing tunes keeping in mind Dev as the hero. But it was not to happen. Over a trivial debate in a party as to who is responsible for the success or popularity of a film, a director or a hero, the duo of Naseer and Dev split and Dev left the film.

Naseer had worked with Shammi also and the hit Tumsa Nahi Dekha prompted him to sign Shammi and even Goldie accepted this. Pancham felt that all was lost now because he knew how close Shammi was to Shankar Jaikishan and Shammi started insisting on having SJ as Music Director. He was not ready to face the risk of working with this new guy on the scene, RD Burman. Reading this tricky situation Goldie came up with an idea that later proved to be a master stroke.

He convinced Shammi that every new talent needs some chance somewhere and insisted that he listened to Pancham’s tunes first and then decide whether to retain him or not. A hesitant Shammi finally nodded and a meeting was confirmed. This was Pancham’s real test. He had to mould his musical expressions to suit to the image and style of Shammi Kapoor which was in total contrast with Dev Anand’s. it was a sudden transition of a romantic, chocolate hero to a rugged, flamboyant playboy. RD was well conversant with Dev’s image but Shammi’s kind of hero was new for him and to adopt music to suit him and moreover music that will triumph over SJ’s influence on Shammi. Goldie had got him thus far and now it was left to Pancham’s genius to do the magic.

The ‘now famous’ sitting  started with Pancham getting Maruti and Manohari as assistants and a reluctant Shammi sitting at the far corner. Pancham started on his harmonium and rendered a tune. And there was Shammi, taken aback and suddenly ‘involved’ with the proceedings. He requested Panhcam to recite it once more. He was crazy now with the tune which later became, ‘O Hassena Zulfonwalee’.

And he became mad with ‘early trends’ of Aaja Aaja which as a tune was beyond his comprehension. Something that was unprecedented and hitherto untouched or unrevealed was getting unfolded in front of him.  Shammi wished to have something in his favourite Pahadi Tune and to his amazement; he was listening to ‘Deewana Mujh Sa Nahin’…

The reluctant Shammi was now ecstatic and it was a signal of not just approval but he seemed moved. It was evident that Pancham had bagged the film. And the first man to congratulate him was Jaikishan, such was a healthy competition in those old days.

Teesri Manzil’s musical arrangement was a novelty and Pancham excelled with the company of Basu, Manohari and Maruti as his assistants. Styled in jazz and mixed effortlessly with Indian musical notes, it was orchestration that was original and unique. Opening solo pieces on drums in Aaja Aaja, also heard in O Haseena and Tumne Mujhe Dekha,  The novelty in rhythm patterns, the triangle in O Haseena, the trumpet-sax and trombone in Shammi’s hand for three interludes of this same song, the note shifts in Tumne Mujhe Dekha’s melodious tune or the strange but dazzling ‘voice culture’ of Aaja Aaja and Dekhiye Saahibon.

There was so much of freshness and innovation in this music. Even the versatile singers Rafi- Asha were astounded by the way they were made to sing and who later on were showering praise on Pancham for his originality and concepts. And Shammi had made it a point to be present at each recording as he was thrilled with the thought of how he would be dancing and singing those numbers on screen.

Having worked earlier with Shailendra, Hasrat and Anand Bakshi, it was for the first time that Pancham was working with Majrooh and the combo continued to mesmerize audience for years to come.

Shammi literally lived this music on screen and appeared like man possessed. Goldie as usual was brilliant in picturisation.

And what happened with the releaseof Teesri Manzil is history. My personal opinion is that this film is the best and completely one of its kind in in Shammi Kapoor’s luminous career.

The trend was set. RD had arrived. Only to be followed by Baharon Ke Sapne, Abhilasha, Padosan, Pyar Ka Mausam, Waaris and on… and through the 70s with Kati Patang, The Train, Amar Prem , Budhha Mil Gaya, Caravan…

And in 71, with Dum Maro Dum, he made the entire youth of this nation to dance to his tunes.

Pancham became a grand success in years to come and ruled the world. Still Teesri Manzil is the ‘opening’ in his popular and hit films. The likes of Ravi and Laxmikant Pyarelal have named their bunglows after their repective first successes, namely ‘Vachan’ and ‘Parasmani’. Such is the significance or meaning of the first success…

Chandrashekhar Mahamuni

Film: Warrant (1975)

Producer: N.P.Singh

Director: Pramod Chakravorty

Lyrics: Anand Bakshi

Singer:  Kishore Kumar & Chorus

Kya baat hai, kya baat hai, kya baat hai are the only words in Dev Anand style which I can say for this song.  Pancham always created best of his tunes for Dev Saab. The song is situated in Goa that’s all pancham wanted to know. He has used perfect Goan music, chorus and what not.

Beginning of the song has exactly the same style of chord (This is only on LP) which was used in Bombay to Goa’s Dekha Na Hai Re…  Rhythm starts in typical goan fashion in 6/8 form. Chorus once again takes you to old Goa, singing in Konkani.  The accordion supports the Goan tune along with Trumpet. Then comes the first new instrument which was indigenized version of South African Kalimba made out of umbrella ribs. The same sound was heard in Raja Rani’s “Jab Andhera Hota Hai” and background of Sholay played by none other than our PanchamMagic’s senior most member and Pancham’s original artist Mr. Homi Mullan.

Kishor’s special Dev Anand suited voice portrays Devsaab in front of the eyes. The song starts in same 6/8 pattern rhythm. However there is a dramatic change as soon as first interlude music starts. It starts with typical Banjo in Spanish/Hawaiian style but the rhythm pattern is now 2/4. Very short M1 once again and antra starts continuing 2/4 pattern. The link line which is nothing but the replica of sign line (Sajan Sajani Ki Akela zara chodo) comes back in 6/8 pattern.

It is unbelievable what pancham did by continuously changing the beat patterns from 6/8 to 2/4 to 6/8 again. I do not think any other MD has even thought of doing so, forget doing it. Second interlude music (M2) carries the 6/8 pattern with chorus singing same Konkani words. Once again the switchover from 6/8 to 2/4 comes from chorus singing “Zuilili Zuilili Zuilili…..” and antra continues in 2/4 just like 1^st one. M3 continues with typical Goan band in 6/8 (reminds me of Bachke rahena re baba ) again chorus helps Pancham to bring it back to 2/4 pattern with their “Zuilili Zuilili..” At the end of the song chorus takes over where Kishorda has left and fades out the song with trumpet overlaps.

All in all the song gives perfect feel of songs sung in Goa during marriage times.  A perfect song for the situation of Marriage and background of Goa.

Ankush Chinchankar

panchammagic.org

Film: KalaSona
Lyrics: Majrooh Sultanpuri
Audio on: HMV
Year :1975
Singer: Asha Bhosale + Asha Bhosale & Pancham

Pancham was always different from other music directors. One can see these unique features in this song. Film Kala Sona was released in 1975, produced by Harish Shah and directed by Ravi Nagich.

Total length of the song is 5 minutes and 45 sec  out of which 1 minute and 28 sec is intro music. Which means almost 25% of the song is intro music. Lets now analyze the song by parts :

Intro Music :

Music starts with gongs on Bass guitar and Ashaji’s dual voice in two octaves, followed by tumba pick up and fast rhythm pattern. Kersiji’s  synthesizer which is playing just three  notes and brilliantly followed by brass section. Violins giving exact western style of feel to support brass section and one must listen to the marathon efforts by Amrutrao Katkar to support rhythm section with his speedy Reso Reso pattern.

I don’t know how Pancham and Kersiji must have thought of using simple frequency generator to give the effect of an old door opening (not at all used in visual).  Pancham’s voice with chorus once again gives overall grip to the fast rhythm. The intro ends with drum & timpani sound.

The Song :

Ashaji starts the song in her normal scale and once again perfectly supported by Bass Guitar gongs (as heard in intro).  Pick-up was Marutirao’s specialty which he has demonstrated once again in this song. Even the rhythm pattern throughout the song is reverse of what we hear normally which is “ Tak Tak dugu dugu”  completing 4/4 pattern.

Ashaji’s second voice follows in chord fashion generating perfect haunting effect which was done with pancham’s special technique of “Voice over Voice”. I must state here that in the year 1974-75 there were no computers to support such technique which is so simple now. All these efforts put in were manual recording of two tracks. Hats off to Pancham and Ashaji for these novelty ideas.  If we listen carefully we can understand that the cross line after “La La La” is picked up by second Ashaji which once again means that the home work done before recording must be great. One Ashaji ends and the other starts, sometimes they overlap in chord fashion. All these juggleries done in one song?

Interlude Music

1^st interlude starts with Marimba effect on which superimposes the brass and other string instruments. Since the intro music was long Pancham must have made short M1. The second interlude music is quite interesting.  Guitar Santoor combo with very odd timings starts the M2, the violins follow usual pattern, superimposed by brass section. All of a sudden drum set declares a stop and a small DIMDI starts with Kersiji’s high pitch synth supporting instrument. Male Chorus starts “Hay Ho” which itself is having variety of timing within. Ashaji  overlaps once again the rhythm with her “La La La La…”. The rhythm pattern once again goes back to “Tak Tak Dugu Dugu”  to continue the antara.

Antara

Antara pattern is also very odd as far as Indian songs are concerned. No one must have used such a phrase which is supported in chord once again by second Ashaji.  The end of the song is usual fade out type with both Ashaji overlapping each other.

One more great thing about this song was that Ashaji’s two voices were used for two dancers while pasteurizing. Helenji’s dance in Egyptian style make over with another co-dancer. One can see the contented looks of Firoz Khan, Danny and Imtiaz Khan watching the dance in the frame. All in all the music and the visual is a treat to eyes and ears.

Once again hats of Pancham, his team and Ashaji for a great song. Last point regarding this song from my side would be that what Pancham did manually in 1974-75 is so simple with new computer technology in 21^st century  but unfortunately Pancham is no more and no other Music director has guts to create such wonder.

Ankush Chinchankar

panchammagic.org