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Moti Lalwani and Richa Lakhanpal.
Jayanta Vishmadev Chattopadhyay on Kumar Sachin Dev Burman
Jayanta Vishmadev Chattopadhyay “From the way Kumar Sachin Dev Burman sang in Calcutta under my father Vishmadev Chattopadhyay, it was obvious that he had a lot more capacity. He would have done very well in singing career, had he continued in Calcutta.” (Loosely translated)
Ranjit Gazmer on SD Burman and RD Burman - Part Seven
Ranjit Gazmer is a well-known music director in his own right in Nepali Films. In his songs there is flavour of SD Burman’s folk music as per his own admission. He says that there has been no other music director of SD Burman’s calibre. There’s magic in his songs, and his songs are evergreen, as if they have been composed now. Ranjit Gazmer is the last sitting member of the SD Burman and RD Burman team. He worked with SD from 1969-’70 to 1975, and with RD till his last film ‘1942 – A Love Story’ released in 1994. Here he narrates interesting anecdotes on both SD Burman and RD Burman.
Brahmanand Singh on S.D. Burman and R.D. Burman - Part II
Brahmanand Singh (born 3 May 1965) is a national-award winning filmmaker, and a vastly published author based out of Mumbai, India. He is best known for his films like Kaagaz Ki Kashti, a biopic on Jagjit Singh and his feature-length documentary on R. D. Burman, Pancham Unmixed: Mujhe Chalte Jaana Hai. He has also won the REX-Karmaveer-Chakra Awards, in partnership with the United Nations, for transforming lives through social impact projects and ideas of hope. Siingh's latest feature project, Jhalki  is a feature film that attempts to create public awareness of the global problem of child trafficking and child labor at a large scale through an engaging drama. (Wiki)
Brahmanand Singh on S. D. Burman and R. D. Burman Part I
‘Bandish ki chalan aisi honi chaahiye, Ki jaise Badshah ki sawaari aa rahi hai!’
S. D. Burman - Minimum Music Maximum Effect - Part II
Whether it was the number of instruments, or it was the prelude and interlude music, Burman Dada used minimum instruments to create maximum effect, Burman Dada was a genius in the art of composing music, and geniuses don't need too much music to create a soothing effect of melodic music for the soul, or background music for the effect. Music director Shantanu Moitra (Parineeta 2005) had this to say in his interview with us: "The simplicity and the authority of the composition, which is not marred by arrangement, which is not marred by sound; he (Burman Dada) had the confidence of pulling off a song – with just with one ektara, one khol, one tabla. That’s the command of the composer! I mean, that is what inspires me the most."
Bablu Chakravorti and his wife Tripti on S D Burman - Part 5
Bablu Chakravorty was S. D. Burman’s last arranger in Mumbai. He did music arrangement for four films of Dada which were Chupke Chupke (1975) Mili (1975) Arjun Pandit (1976), and Barood (1976). Bablu’s most memorable work for Dada was in the film Mili. Mili had a very sad song, ‘Badi sooni sooni hai’, sung by Kishore Kumar. During its rehearsal, Kishore had come to Dada at his ‘The Jet’ bungalow. Those days the singers used to visit music director for rehearsal. During rehearsal, while Dada was singing ‘Badi sooni hai’, there was so much pathos in his voice that Kishore started crying. Soon after the rehearsal was over, he left saying that he was not ready for the recording of the song. When ready, he will inform Dada about it. Within a short time thereafter, Dada had stroke and had to be hospitalized. ………………………………………………………………………………… To learn the depth of Dada’s sadness, we recommend a video on YouTube with title, ‘Kishore Kumar in his own voice remembering S D Burman’, uploaded by a fan, the link of which is: https://www.youtube.com/watch?v=glAYOM3gKhk&t=3s
Peeyush Sharma on S D Burman
Peeyush was born and raised in culturally rich, Calcutta. His mother has been a renowned singer of the bhajans and ghazals. From very early in life, Peeyush developed an ear for music. During his school and college days he would participate in music and stage programmes. From his early years he became a collector of music in form of vinyl records. In his interview Peeyushji tells us how junior music directors used to compose their tunes, and come to SD Burman to get them approved by him.
S. D. Burman Remained Calm and Composed, Creating Immortal Music
S. D. Burman Remained Calm and Composed Creating Immortal Music Ameen Sayani tells us how senior music directors took a delegation to The Ciba Geigy to protest with the sponsors of the weekly ‘Binaca Geetmala, a popular hit parade program, complaining that their songs were being neglected in their Hit Parade. Then they organised a live show and gave their own selection of songs. S.D. Burman was not part of the delegation to Ciba, nor a part of the team which organised the live show. Note:In ‘Geetmala Ki Chhaon Mein’ CD Volume 23, ‘Songs and Storms’ – 1965 (Part I), Ameen Sayani has spoken in detail about this episode. It is worth buying the VOLUME 23 by music lovers. Yogesh (Lyricist) tells us how Burman Dada, not interested in the CMDA, would come to the balcony of his home and drop the contribution from there. Music Director Pyarelal tells us that Burman Dada would rarely attend the meetings of CMDA (Cine Music Directors Association), but when he did, it was only for a short time after which he would slip away while others would be arguing vociferously on various issues including demand to increase of the royalties. Homi Mullan, percussionist and a sitting member in Burman Dada’s team says that everyone was definite that Dada’s music in Guide would get the award, but they were surprised that it lost. Waheeda Rehman tells us that everyone was sure that Guide (1965) with its beautiful music will win the award. When Guide side-tracked and the award went to Suraj with much inferior music, she found SD Burman calm and composed. Nov 6, 2020
Gulzar on S. D. Burman - Part I (Rev I)
Gulzar describes how he met Bimal Roy who explained the situation to him. Sachin-da used to visit Bimal Roy’s office to discuss the tune. Pancham used to accompany his father bringing along his ‘dagga’ (left side of percussion instrument tabla, also known as baya) for rhythm. Sachin-da asked Gulzar to write according to the tune, asking him not to sing it to Bimal Roy. Gulzar did not know how to sing, and he would not be able to bring out the emotions in the song. The song became a superhit song. It remains so till date.
Poornima (Sushma) Shreshtha on S. D. Burman (Rev I)
FAIR USE OF COPYRIGHT MATERIAL FOR RESEARCH HAS BEEN DONE Poornima (Sushma) Shreshtha fondly reminiscences how Burman Dada tried to help her by giving her singing assignments, after her father (46) died suddenly when she was only 11. Dada also asked son Pancham to make her sing in his films where he was the music director. Both Dada and Pancham literally forced Raj Kapoor, to create a scene in his film 'Dharam Karam' with music by Pancham, to give her a singing assignment. Poornima remembers fondly how Dada used to feed her rosogollas, every time she met him.
Music Director Pyarelal on S.D. Burman - Part II (Rev I)
FAIR USE OF COPYRIGHT MATERIAL HAS BEEN DONE FOR RESEARCH PURPOSE. Initially, Pyarelal ji didn’t allow us any recording. In that period whatever Pyarelal ji said was lost, as we could not tell him to repeat. During that period Pyarelal ji, while praising father and son, had said was that R.D. Burman was ‘Gold’, and Burman Dada was a ‘Diamond’. After a while, Pyarelal ji relented and allowed us to record. He continued talking, not even waiting for the camera to be set up; hence viewers will notice that the camera starts midway while he is talking. Pyarelal ji says that Dada was a very Simple person, busy in his own work, not involved in anything else. He was fond of good lyrics and took interest in rhythm. He would proceed only after he had overseen everything. Dada would personally make his singers Lata-ji, Kishore-ji, Rafi sahib and others to rehearse before recording. He also tells us how the classic song ‘O re maajhi’ from Bandini (1963) was recorded without lights in the dark. I am sure fans will enjoy this interview, which is Part II. I have still lot of footage to share. Enjoy.
S D Burman and his Dance Songs
Vijay Anand on S. D. Burman: Burman Dada had a very big role to play. Nothing was possible without him. We used to finalise the scene or script only after talking to him. What would be the ‘situation’ of the song, what kind of a backdrop would be needed, the kind of costumes the characters would wear, what kind of dialogues they would have, who all would be in that scene, what is the objective of the song… all these issues were discussed with Burman Dada. Once all of these details were sorted, the composing would begin. His inputs were very critical for us in everything. Several times we had changed the song situation altogether on his advice. We have even tweaked the story content (on his suggestion). His understanding about cinema was very sharp and mature, especially about music and songs. The dance steps and style, rhythm, execution… all these would be designed in his mindscape at the very outset. Then he would suggest the ideas to us. We used to highly respect his opinions. Source: https://learningandcreativity.com/silhouette/vijay-anand-interview/
Aslam (Driver) on S. D. Burman Dada (Part Four)
Shakti Samanta Presents Mercedes to Sachinda (One of the anecdotes) After the phenomenal success of Aradhana', mainly due to its music, one day Shakti ji landed at 'The Jet' bungalow where Dada lived. He drove in a brand-new Mercedes 125, while his driver was driving his car. He went up to meet Dada, leaving after few minutes in his car with his driver at the wheel. It was later known that Sachinda had declined to accept the Mercedes, saying that he was very happy with his two cars (Fiat 1961 and 1968 models), adding that he had no use for a third car. Samanta left the keys of new car, insisting that Dada use the new Mercedes, and if Dada doesn't like it, he will take it back. Dada did not even sit in the Mercedes, which was lying unused in the garage, regularly cleaned by Dada's driver Babu (nickname). After few days, Samanta sent a driver to collect the Mercedes. (Source: Aslam, who heard it from his boss R.D. Burman, as well as his father Babu, who was S. D. Burman's driver.)
Aslam (Driver) on S D Burman Dada (Part Three)
Aslam's father Babu used to work for Burman Dada. Aslam was engaged by Dada to work for son Pancham, who stayed nearby in 'Sur Mandir' on 15th Road, opp. Khar Gymkhana, where now a building by name 'Fortune Heights' has come up. Initially, Meera Dev Burman used to pay Aslam. After Pancham's work picked up, his wife Rita started paying Aslam.
Music Director Shantanu Moitra on S D Burman
Excerpts from our meeting with Shantanu Moitra (SM) SM: I have quite a few recordings of Burman-da in Bengali. Question: Raw recordings? SM: No, Studio recordings. But, many of them have not been made. He was very good with tappa, a form of Keertan, Many of SD Burman’s Hindi compositions are based on keertan. He was very much influenced by keertans. The brilliance of him was that though he adapted many of his songs to Hindi, the Hindi audience never could make out that they are Keertans, which is the genius of that man. But if you were to skip the arrangement, and just listen to the melody, you will know… ‘Phoolon ke rang se’ is a keertan. It’s a hardcore keertan. SM sings Bangla song, ‘Borne Gondhe Chonde Geetite’. “It is a tappa set. Tappa, tappa set.’ (SM sings along with theka.) ‘Barne gandhe chhonde geetite hridoy-e diechho dola’. It’s a keertan. SM (continues excitedly) Imagine, to take that traditional form, and put in a contemporary situation like this, with Dev Anand singing, ‘Phoolon ke rang se’. That’s is the genius of this guy! His influences were not… music kya hota hai ki hum kuch influences hote hain. We get influenced by the whole package, sound… SM: He had the ability, to completely disassociate the influence, and just take that melody out, and add a new colour, add a new clothing to it, so that becomes something new. That’s very difficult to do as a creative person, as a composer. Bahut mushkil hai, bahut mushkil hai! * * * * *