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Sanjeev Kohli on Sachin Dev Burman (Part I) HD
Madan Mohan had worked as an assistant to Burman Dada in two films, 'Do Bhai' (1947) and in Munimji (1955). Here, His son Sanjeev Kohli narrates how Lata and Rafi, who had not sung for a period of four years, came together once again in 1967 to record their first song ‘Dil pukaare, aa re aa re’, composed by Burman Dada for Jewel Thief. The event was held in Shanamukhananda Hall, attended by the legends of the film industry and other dignitaries. The show held was only for invitees. The song clip, and the photos here are meant only for research purpose, and no copyright infringement is meant. We will give due credit, if it is brought to our notice. Some of the photos were handed over by Sanjeev ji himself, and we are grateful to him for having given us time. ………………………………… (Mail received from Sanjeev ji before the interview) "We sincerely believe that Burmanda is one of the most respected personalities of our country, FOREVER!.. always held in very high esteem by Madanji , and obviously by Madanji's family. We would do anything to show our respect to someone we have always loved.. and spent some memorable times with when we were children. Even though we are Madan Mohanji's family, we have equal respect for all his contemporaries, and of course Burmanda has pride of place among them." Sanjeev Kohli
Lyricist Gopaldas Neeraj on Sachin Dev Burman (Part II) HD
Note: The photos and video clips have been used for research purpose with due credit where we could locate them. Any missing credit, shall be acknowledged as soon as it comes to our notice. …………………………………………………………………………………………………………………… When we had met Neeraj ji, we introduced ourselves as S.D. Burman’s fans. Neeraj ji replied, “I too am S.D. Burman Sahib’s fan”. This is what Neeraj ji told us during the interview, some of it before we recorded him: Before composing music, S.D. Burman would try to understand the story, and create tune according to the situation. To get to the core of the scene, sometimes Burman Dada would even enact the role of the actor on whom the song was to be picturised. There has never been, and never will be, another music director like Dada. Dada had this quality, a great quality, that he would completely be immersed in his music, all of the twenty-four hours. Not interested in his own publicity or in any gossip, he would not go anywhere to promote himself. All day long, one would find him at home. During the afternoons he would be awake, and in the evenings too, always involved in his music creating tunes, creating immortal melodies! Dada’s specialty was, that he would not bother to stick to the tune of a mukhda or antara. After the mukhda, he would bring a change in the antara’s tune. And, in the same antara too, there will be a change. I asked Dada, why does he do that? He replied, “Else it becomes monotonous. If you keep one tune of both mukhda and antara, one tune only for all, it becomes monotonous. This style, this was S. D. Burman’s signature style. There is a difference in the tune of the Mukhda and the antara. In each antara itself he changes the tune. He gives the variation in the tune of the same antara. Otherwise it would become monotonous! Giving a few examples, Neeraj ji sings along. (Loosely translated from Hindi in which Neeraj ji spoke.)
Lyricist Gopaldas Neeraj on Sachin Dev Burman (Part I) HD
Professor Gopaldas Neeraj had a great desire to write lyrics for composer S. D. Burman Dada. When Prem Pujari was announced, Dev arranged his meeting with Dada, who explained the situation to Neeraj, giving him the most difficult tune to write on. Dada told Dev Anand that if Neeraj couldn’t write on that tune, he won’t be engaged to write lyrics. Neeraj came back and wrote: Rangeela re, tere rang mein, yun ranga hai, mera mann Chaliya re, na bujhe hai, kisi jal se, yeh jalan Both, Dada and Dev Anand, loved the lyrics, and Neeraj wrote all the songs of Prem Pujari, rest is history. Neeraj also wrote for four more movies with music by Burman Dada. All the songs became super-hit. Neeraj in the interview says that Dada loved to experiment, which others would not dare. Enjoy the interview. Note: The song clips used in this interview are only for research purpose. Due credit has been given to the owners of copyright, wherever we could find it on the Net. Only for one song, ‘Dil aaj shayar hai, gham aaj nagma hai’ remains to be credited, which will be done as soon as it is known.
Music Arranger Manohari Singh on S.D. Burman (Part III)
Other Inputs by Manohari Singh and His Family Members: Manohari Singh had visited the office of M/s Hindustan Recording Company sometime in 1945-1946 for work, and found two photographs hanging there, one of K. L. Saigal and the other of a gentleman wearing a turban (saafa), and looking regal. He asked them as to who was the turbaned gentleman in the photograph, and was told that it was Kumar Sachin Deb Burman. Being from the Royal family of Tripura, he was wearing a turban. On Meera Devi Burman: Manohari Singh’s daughter Mithu had this to say about Meera Devi Burman: ‘We (she and some of her siblings, in all there were five sisters and two brothers), studied in boarding schools and stayed in hostels. Whenever we came to visit our parents in Bombay for our holidays, Mrs Burman would insist that we go over to her large house and enjoy ourselves. She would regularly send over her car with driver to fetch us so that we had no excuse whatsoever. We would all go over to spend the day’. Mrs Manohari Singh, who used to accompany the kids, agreed with this statement. SDB's height: On being asked, Manohari Singh said that Dada was very tall, and, his height would be about 6 feet. * * * * *
Music Arranger Manohari Singh on S D Burman Part II
Manohari Singh started working for S.D. Burman in 1958. As per him, Burman Dada was hospitalized first time due to eye operation (1964), when he also had a minor heart attack. After that, Burman Dada had no major problem till 1975 when he had a major heart attack following a paralytic stroke in 1974. Manohari ji talks about Aradhana (1969), for which Burman Dada had composed music. Monohari ji had done the entire arrangement for all the songs of Aradhana. As per him, Kishore Kumar had suggested some changes, putting stress on some words in the song ‘Roop tera mastana’, improving it. Burman Dada approved the changes and appreciated Kishore’s suggestions. Manohari ji tells us that when Dada expired (October 31, 1975), his ‘Mili’ film had been released, and the songs were playing on the neighborhood radio. Those gathered to pay their last respects commented, ‘He is no more, his body is lying in repose, and his new film has been released. Till end he composed great music’. It is recommended that viewers also see Kersi Lord’s interview in conjunction with this video: 'Roop tera mastana' from Aradhana (1969) - Kersi Lord's Interview https://www.youtube.com/watch?v=KIPgAsPGTbA
Vocalist Tulika Ghosh on S D Burman (Part III) HD
He was tall, fair and slim. What a personality! He would wear white dhoti and a kurta. Once in while he will also be in a lungi. He never indulged in gossip, or talking about others. He would just… if any topic arose… You know any ‘ninda ya par ninda, ya uske baare mein koi ninda kare’ (talking ill about someone, or if he is told someone was talking ill about him), he would just change the topic and change the subject. He was not interested.
Music Arranger Manohari Singh on S.D. Burman (Part I)
Manohari Singh: He (S.D. Burman) always maintained a style of his own. He always gave good music and his songs used to be like nature, like 'matti smell', like earth smell. His music used to be like that. Folk tunes, Bhatiali, all this sort of ...east Bengal Bhatiali and east Bengal folk tunes also, all natural tunes of our nature, not ready made composed but natural songs. From that kind of tunes he used to develop and make songs.
Vocalist Tulika Ghosh on S. D. Burman (Part II) HD
Tulika ji, “Nobody can replicate Sachin da's voice. Nobody can ever copy that (voice). Breaking of the voice for folk music, or even thumris, it is a very difficult thing because it has to be natural. The slight crack of that voice, which is so very beautiful as far as folk is concerned. This kind of breaking of voice, I think only Begum Akhtar and Barkat Ali Khan sahib, that is Bade Gulam Ali Khan sahib’s younger brother, who had this typical, beautiful way of breaking voice.” Tulika ji also tells how Sachin da sang ‘Allah megh de pani de’ for hours on end, creating variations in the song, holding attention of all the topnotch musicians who had collected for the musical conference. ...................................... About Tulika Ghosh With a sound foothold in traditional knowledge of Raagdari and compositions, Tulika's involved vocal recitals leave an indelible impression because of the energy that emanates from her consistent search for true and living expression. Tulika has performed in various parts of India. She has also appeared in U.S.A., France, U.K., Germany, Bangladesh and Japan. Her vocal recitals are frequently broadcast on Radio & Television
Vocalist Tulika Ghosh on S. D. Burman (Part I) HD
Vocalist Tulika Ghosh’s father Pandit Nikhil Ghosh used to accompany S. D. Burman on private musical soirees, live programs and music conferences during their Calcutta days. She has the firsthand knowledge about the maestro S.D. Burman. Her elder brother Pandit Nayan Ghosh is a renowned tabla and sitar maestro. Both Tulika ji and Nayan ji have shared with us several anecdotes on Burman da which they had heard from their father late Pandit Nikhil Ghosh. Tuilka was indeed fortunate to have her voice honed by three traditions: her father and mentor tabla maestro Pandit Nikhil Ghosh, patriarch of Banaras Gayaki Pandit Hanuman Prasad Misra and Ustad Khadim Hussain Khan and Ustad Yunus Hussain Khan - the authoritative figures in Agra-Atrauli Gharana.
‘Ghum bhulech nijhum’ – A Tribute to S.D. Burman by Girindra Majumdar
S. D. Burman wrote in his autobiography ‘Saragmer Nikhad’, “I used the rhythm of Ghazal in the mukhda and geet in the antara. The first line was, ‘Hum bekhudi mein tum ko pukare chale gaye’. I used Mohd Rafi for this song. Rafi sang it extremely well, with the tone up to my satisfaction.” It was sarangi player Pandit Ram Narayan who heard the Muharram song, ‘‘Le rasool se jo musalmaan badal gaya’ based on Marsiya tune. He told about it to S. D. Burman who was always on the lookout to popularize folk tunes. He composed two songs on the tune, ‘Ghum bhulechi nijhum’ in Bangla and Hindi version ‘Hum bekhudi mein’ in Kala Pani (1958). Both, the Bangla song sung beautifully by Dada, and its Hindi version by Rafi became super hits and shall continue to charm music lovers for all time to come. Singer and ardent fan of S.D. Burman, Girindra Majumdar sings the Bangla version in this video. He hails from Tripura state and has done research on Sachin Dev Burman, documented by him in a video. He is the recipient of ‘Sachin Sanman Award’ given in the memory of Burman Dada.
Girindra Majumdar sings ‘Shono go dokhino hawa’ and ‘Khaayi hai re humne’
Girindra Majumdar from Tripura has studied Sachin Dev Burman's music and is a recipient of 'Sachin Sanman' an honor which is bestowed in memory of Sachin Dev Burman. It is said that Lata had heard ‘Shono go dokhino hawa’, the Bengali original song of ‘Khaayee hai re humne qasam’ long ago and wanted to do the Hindi version. But, she herself accepted that she would not sing unless she could perfect it. That took her many years till Talaash in 1969. She accepted she was nowhere near SDB. ‘Shono go dokhino hawa’ means ‘Southern wind blows from ocean bringing moisture and has a soothing comfort’. Many songs in Bengali refer to it. The houses in Bengal are built so that they have south openings. ‘Khaayi hai re humne’ is a beautiful song is based an equally beautiful composition in Bengali; ‘Shono Go Dokhino Hawaa’ sung and composed by Sachinda with lyrics written by his wife Meera Devi.
Anitaa Padhye on Sachin Dev Burman (Part V) HD
Anitaa-ji met R.D. Burman many times and developed a good rapport with him. RD used to tell her that his late father S. D. Burman’s voice was unique, a trait which he had inherited from his father as a gift. In the mid-sixties, when RD’s career was not taking of, SD being unwell used to be concerned about his son’s career. SD told both Dev Anand and Vijay Anand to give him work. They both promised SD that they will engage son RD to compose. When Vijay Anand got Nasir Hussain’s Teesri Manzil (1966) Vijay Anand tried and finally got RD the music direction of the film. RD used to miss his father a lot. He used to listen to his father’s songs and become emotional. How his father brought him up with love and care. To know more about Anitaa-ji, see her interview on YouTube: https://www.youtube.com/upload
Anitaa Padhye on Sachin Dev Burman (Part IV) - HD
During the rehearsal of ’Raat akeli hai’ song from Jewel Thief (1967), Asha Bhosle was not able to sing it the way Burman Dada wanted. So, Dada explained to her to sing it softly as if speaking to someone in the ear, then suddenly raise the voice how a child shouts a ‘kook’ in someone’s ear. We are also told what son RD. Burman thought about his father S.D. Burman.
Kamini Kaushal on Sachin Dev Burman – Part II (HD)
Kamini ji on Sachin Dev Burman: “ (He was) very, very pleasant, utter Gentleman. He never raised his voice. He always talked in undertones. Calm and quiet, nothing loud about him. No gesture was loud, no notes were loud, no tone was loud ever. He was absolutely genteel, genteel Bengali.” Kamini ji tells us how her song ‘Mera dil tarphake kahaan chalaa’ from Shabnam (1949) was picturised, where, except for one shot, both Dilip Kumar and Kamini Kaushal shot the scenes separately, to be merged later.
Anitaa Padhye on Sachin Dev Burman (Part III) - HD
Music of Pyaasa: ‘Sar jo tera chakraaye’ song from Pyaasa (1957), has been researched and commented upon by three persons, all of whom were present and have given first hand account: (1) Abrar Alvi on ‘Sar jo tera chakraye’: "S. D. Burman, who was composing the music for the film, was asked to copy the song note for note. Of course, Dada Burman was very upset by the instruction. He came to me and said, “What is this that Guru is asking of me, public mujhe marega. Please explain to him, he listens to you, let me put in a little of my own tune into the song . . . change it a bit . . .’ But Guru was adamant– the tune would have to be copied hundred percent in the mukhda at least. ‘Let him do what he wants in the antara,’ he decreed and Burman Dada had to be content with that. However, the music director waved his baton effectively enough to blend the tune with his own melody in such a manner that no one really noticed the surgery, and the song remains a hit even today. ‘In fact, later, when the producer of Harry Black and the Tiger visited India, he heard the song and not only failed to recognize the tune, but commended Dada on it’ Abrar laughs." (Source: ‘Ten Years with Guru Dutt – Abrar Alvi’s Journey’ by Sathya Saran) (2) Kersi Lord in his YouTube interview on Pyaasa, watch from 8.00 minutes https://www.youtube.com/watch?v=mHI3QtLTfJY (3) And now this video, as narrated by by Anitaa Padhye, who met Devi Dutt a number of times. Devi Dutt was Guru Dutt’s younger brother.