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Moti Lalwani and Richa Lakhanpal.
S. D. Burman Biography by Girindra Majumdar - PART 1 (HD)
Purnendu Kishore Dev Burman (from the royal family) on Sachin Dev Burman: "Sachin Dev Burman was my uncle. I knew him well. His father Nabadweep Chandra, well known as Bada Minister of Tripura, was brought back from Comilla by Birendra Kishore. After completing his studies, uncle Sachin started learning music at Calcutta from Krishna Chandra Dey known as Kanakesto. That time his father was sick in Calcutta and we too were in Calcutta that time. Then I was too young as 7/8 yrs old. After that we lost contact for a long time” “Sachin Karta would come to Tripura very frequently in his childhood. One day he heard a Baul song from my elder sister. He asked her where she had learnt it from. She replied – she learnt this from one Fakir Shaheb Ali who would come along with his Dotara from East Bengal. Next time the Fakir came when Uncle Sachin was also there, he would then learn from Shaheb Ali daily at 8.00 a.m and 4.00 p.m. The fakir sang mostly Baul songs. Uncle Sachin would write down those songs. He would record some of them later” “Next we met In 1960, one day around 10.30 am I saw Sachin Karta wearing a dhoti, standing at a bus stop in Bombay. He recognized me and wanted to know my whereabouts and offered me to come to his bungalow. When I offered him a lift in my car. uncle asked me whose car was it? On being told that it was the Gwalior Maharaja's car, he refused to get in. Then we both went to his bungalow by bus. That day he kept asking about everybody there in Tripura including my parents, he had a lot of affection for my mother” ”I saw about a 1,000 cassettes there in a showcase in his bungalow and a tape recorder too, I asked him as to whom these belonged. he replied, ‘All these are for my son Rahul, who is very talented, and greatly interested in music. I have archived my own music, so that he can get some help from these and can use these. I am preserving these for him'. This was the last time we met. “ (Source: Biography in Bangla by Sachin Samman Awardee Shri Girindra Mazumdar, who has done research on Karta and his music.)
Lyricist Gopaldas Neeraj on S. D. Burman - Part II (Rev I)
Neeraj on S.D. Burman: Burman Dada had this quality, a great quality, that he would be completely immersed in music all of twenty-four hours. Not interested in his own publicity or in any gossip, he would not go anywhere to promote himself. All day long, you go in the evening he is at his home, in the afternoon also he is awake, always involved in his music, creating tunes! And what immortal melodies he created! His speciality was that he would not bother to stick to the tune of the mukhda and the antaras. After the Mukhda, he would give the break of the antra’s tune. (Source: Our interview with Neeraj)
S D Burman and his Lyric Writers
In this video, Gulzar, Majrooh, Ranjit Gazmer (Kancha), Meena Kapoor (Singer), and Neeraj have spoken about S.D. Burman and his grip on the lyrics written by him. Gulzar, whom himself is a renowned writer, has gone on record that every each and every lyric writer wrote his best poetry for S.D. Burman. To a pointed question, “Did he mean that Shailendra, who wrote regularly for Shankar-Jaikishan, wrote better lyrics for Burman Dada”, Gulzar said ‘Yes’. S.D. Burman was pioneer in composing tune first, and asking the poet to write to the meter of his tune. He realized way back in his Calcutta days before coming to Bombay (Mumbai) that there were limitations on the composer if there were pre-existing words. Watch video ‘S.D. Burman Pioneer in creating Tune First’ on YouTube link: https://www.youtube.com/watch?v=fNSr0w8H1GM&t=3s Subsequently, two of our geniuses, Begum Akhtar and Gulzar, have gone on record ‘Sur’ or tune is more important than poetry. Read Below: Begum Akhtar The queen of the Ghazals and melody has subsequently gone on record that, “The ‘sur’ of the singer should make the desired impact. Lyrics come later”. (Source: ‘A tribute to the queen of Ghazals’ an article by Amarendra Dhaneshwar in Mumbai Mirror dated February 22, 2009.) Gulzar: “I believe that in any song that becomes a hit, the primary factors are the rhythm and the tune. The words follow. In fact, the quality of the words depends on how much it matches the melody and the beat. That is why I consider the role of the lyricist as secondary to that of the composer.” (Source: ‘Bollywood melodies by Ganesh Ananthraman (Page 133)
S D Burman Dada and his Passion for Paan
Almost everyone who worked Burman Dada has said that Dada would not part with his paans. No one knows the reason behind it. In this video we learn Dada's passion for paan and the reason behind his not sharing his paans. Fair non-commercial use of copyright material has been done for our Research purpose, with due credits as below: Saregama YouTube sdburman.net ‘Composer with The Royal Touch' by Nalini Uchil - Star & Style, Oct. 11 – 24, 1985) Video Interviews by Moti Lalwani and Ms Richa Lakhanpal In case anyone has been left out, necessary amendment shall be carried out asap.
Incomparable Sachin Dev Burman Part II (HD)
Pandit Shiv Kumar Sharma speaks about Burman Dada’s personality, his aura, his sense of humour, his thinking and his music. Speaking about other music directors, he tells us that one could easily connect a song with the usual style of its composer. However, Dada’s music could not be identified with any of his earlier styles. Every time it would be different. (Loosely translated)
Incomparable Sachin Dev Burman - Part I (HD)
This is the second edition of the biography, 'Incomparable Sachin Dev Burman' authored by HQ Chowdhury, or HQ, as he is fondly called by his friends and admirers. The first edition, a hard copy, now out of print, was published from Bangladesh where he lives. The second edition (revised) is now published from India. HQ is recipient of Sachin Dev Burman Award from Tripura Government, in 2006.
Ranjit Gazmer on S D Burman Dada (Part Six)
Ranjit Gazmer, fondly called Kancha, is the last living musician who worked with both S. D. Burman Dada and his son Pancham. His memory is very good and he recounts several interesting anecdotes.
Gracious S.D. Burman Always Encouraged his Contemporaries (Part II)
Note: Fair use of copyright material like a song clip has been done by the up-loader. In this video, Pandit Shiv Kumar Sharma, Rhythm Players Homi Mullan and Amrut Rao, Rhythm Arranger U.K. Dubey and Music Director Anand reminisce how Burman Dada would appreciate compositions of other music directors. In addition to the incidents mentioned in this video, there were a number of incidents where Burman Dada used to compliment his peers and encourage his assistants to give out their best. While Shiv Kumar Sharma ji had spoken during ‘Sun Mere bandhu Re’ book launch program which was recorded by me as the book’s researcher, Homi Mullan, Amrut Rao, U. K. Dubey, and Music Director Anand had spoken during their interview with us. The anecdote about Roshan being complimented by Burman Dada is from my memory of the 1960s, as it appeared in one of the film magazines.
Gracious S D Burman Always Encouraged his Contemporaries (Part II)
In this video, Pandit Shiv Kumar Sharma, Rhythm Players Homi Mullan and Amrut Rao, Rhythm Arranger U.K. Dubey and Music Director Anand reminisce how Burman Dada used to appreciate compositions of other music directors. In addition to the incidents mentioned in this video, there were a number of incidents where Burman Dada used to compliment his peers and encourage his assistants to give out their best. While Shiv Kumar Sharma ji had spoken during the ‘Sun Mere Bandhu Ray’ book launch which was inaugurated in our presence and the recorded by us, Homi Mullan, Amrut Rao, U. K. Dubey, and Music Director Anand had spoken during their interview with us. The anecdote about Roshan being encouraged by Burman Dada is from my memory from the 1960s, which appeared in the film columns and magazines of those days. Moti Lalwani (Supported by Richa Lakhanpal) Note: Fair use of copyright material like video and song clips have been done by the uploader.
Gracious S D Burman Always Encouraged his Contemporaries (Part I)
In Part I of this series, we bring out how Burman Dada always had a word of encouragement and appreciation for others. Dada would call up his peers and juniors to compliment them on their achievements, compositions, and encourage those who were struggling. He had always a word of praise for others’ work. It showed that he was not afraid of competition that he might thereby create. Madan Mohan’s Official Website Maintained by his son Sanjeev Kohli, has this to say about S.D. Burman Dada, when Madan Mohan was struggling initially: "He (Madan Mohan) continued his struggle. In the midst of all the heart-breaks and disappointments, he found a friend, philosopher and guide in music director S. D. Burman who met him at Filmistan Studios. S. D. Burman encouraged him and predicted that someday he would be a great music director. He was the first to assure Madan that he had the stuff in him to make it big on his own merit. Madan assisted S.D. Burman in the film Do Bhai." http://www.madanmohan.in/html/the_legend/his_journey/his_journey.html Even though the website mentions one film i.e. Do Bhai, Madan Mohan also assisted Burman Dada in Munimji (1975), as disclosed by Sanjeev Kohli, Madan Mohan’s son in his interview. Those who have spoken about Burman Dada include Music Director Madan Mohan’s son Sanjeev Kohli, Music Arranger Kersi Lord, Music Director Khayyam, Lyricist Yogesh Gaur, and Music Director Shankar. The first four had spoken during our interviews, while Music Director Shankar had spoken during Jaimala program of Vividh Bharati. *****
Sachin Dev Burman and his 'Aradhana' - Part III
Sachin Dev Burman and his 'Aradhana' (Part III) This video may be viewed along-with our earlier two videos, viz. Sachin Dev Burman and his 'Aradhana' (Part I) and Sachin Dev Burman and his 'Aradhana' (Part II). Sachin Dev Burman and his Aradhana (Part I) In this part, Rakesh Bakshi (son of lyricist Anand Bakshi of Aradhana), Shakti Samanta himself, the author HQ Chowdhury from Bangladesh who met Shakti Samanta, Manohari Singh who was the Chief Assistant in Aradhana, Kersi Lord who played beautiful accordion pieces in 'Roop tera mastana' song, Homi Mullan (percussionist in Aradhana), Amrut Rao Katkar (Rhythm player in Aradhana), U.K. Dubey (Rhythm player who played during 'Kora kagaz tha yeh man mera' in Aradhana, Aslam bhai (Driver of R.D. Burman) have all spoken that S.D. Burman was hale and hearty and he composed all songs of Aradhana. Sachin Dev Burman and his Aradhana (Part II) In this part, Kishore Kumar (courtesy: Ameen Sayani), Leena Chandavarkar, Pulak Bandhyopadhyaya (Bangla writer, lyricist and composer), Raju Bharatan (Journalist and author) have been quoted in support of our research material. ............................................................................ Fair use of copyright material has been used for research purpose. All copyrights belong to the original copyright holders.
S. D. Burman and his Music Room
We learn here how Burman Dada used to compose tunes in his sitting room, and when he wanted to relax, how used to play a game of cards called "Patience' or Solitaire, only to get back to his passion of creating immortal and evergreen music.
Waheeda on S.D. Burman - Her most favourite Music Director (HD)
Question: Waheeda-ji, Dada Burman ke baare mein aap kuchch kehna chaahenge? Waheeda on S.D. Burman, her Most Favourite Music Director: “Main itna kahoongi ki mere itne barson mein jo bhi achche hain, magar my most, most, most-favorite music director hai S. D. Burman. I just love him, I just love him. He was a sweetheart! Not only as person, as a music director too. He was great. Waheeda on S. D. Burman, her most favourite music director, “I’ll say that in all my years in the film-industry, there were so may good music directors. But, my most, most, most-favorite music director hai S. D. Burman. I just love him, I just love him. He was a sweetheart! Not only as person, as a music director too. Absolutely great!”
SD Burman Pioneer in Creating Tune First (HD)
S. D. Burman - Pioneer in Creating Tune First By Moti Lalwani Preamble: In the early days, a director would narrate the scene to the songwriter, who would then write lyrics based on the scene. The director and the songwriter would then go to the music director who would compose the tune based on the scene and the meter of the lyrics. S. D. Burman realized that this system had a handicap for the music director who could not use his creativity freely. He believed that for the song’s popularity, it was necessary to have a good tune, based on which the songwriter could always fill in the words to suit the tune. The majority of songs created with the tune first became more popular, remaining etched in the memory for a longer period. The trend caught on with other music directors too, creating tune first followed by lyrics. It became a norm thereafter for majority of the songs. Dada’s Bangla Music from 1932: Burman Dada started recording his songs from 1932. His friend and Bengal’s most popular writer Ajay Bhattacharya wrote for about 30% of Dada’s Bangla songs from 1933 to 1943. Unfortunately, Ajay expired in 1943, at the young age of 37. Besides personal loss, Dada felt the need for a writer who could write on his tunes. There were lyricists all over Bengal, queuing to write for Dada. But he was very selective. The poet, apart from the “music sense”, should be able to fit his words into Dada’s tune. When lyricist Mohini Chowdhury went to Dada’s house, Dada showed him a chair and said in Bangla, “Boshen ei khaney. Ei chair khanai Ajoy boito. Shurer opor gaan likhtey parben to?” (“Sit in this chair. Ajoy used to sit here. Can you write on tunes?”) “I will try”, said Mohini Chowdhury, who had tremendous respect for Ajay Bhattachrya. (‘Incomparable Sachin Dev Burman’ by HQ Chowdhury) Hindi Music from 1946: Music Director Uttam Singh: “Hamari industry mein ek asool tha, ki director, song writer ke paas jaaya karte the. Aur song writer se kehte the ki yeh mera scene hai, yeh meri situation hai, ispe aap gaana likhiye. Tab, us gaane ko leke, director aur writer, sangeetkar ke paas jaaya karte the. Aur phir sangeetkar gaane ki dhun banate the. Yeh silsila bahut saal tak chalta raha. Is silsile ko break kiya Shri S. D. Burman Saheb ne. Maine unke paas bahut kaam kiya, aur main unko hamesha ‘Baba’ kaha karta tha. Woh Dada ke naam se jaane jaate the, lekin main unko Baba kaha karta tha, jaise father hote hain. To (pehle) dhun banane ka jo silsila shuru hua hai, yeh Burman saheb se shuru hua hai.” (Source: Saragama 5 CD Series ‘Legends – S. D. Burman’) Some Protests: Naturally there were some protests too by lyric writers who were not used to writing on the tune. Well-known writer Kaifi Azmi, whose first Hindi film ‘Buzdil’ was released in 1951 with music by S.D. Burman, said in an interview: Kaifi Azmi, “S.D. Burman sahib ke saath raat ko jaake mile hum, aur unhonein tune di. Wahaan yeh hota hai, ki gaana tune par likhna padta hai. Pehle music director ek tune banaa leta hai. Bilkul waisa hai jaise kabar khod di, aur yeh ki murda lao, is size k murda le aao. To kabhi murda ka sar bahar reh jaata hai, kabhi paon bahar reh jaata hai. Magar hamaare us gaane mein yeh tha ki poora fit baith gaya tha. Us se log samajhe ki yeh achche-achche murde gaadh lenge is liya is ko is ko rakho.” (Souce: Kafi sahab's interview: https://www.youtube.com/watch?v=wo5Dxye1W-A&app=desktop) Support on Tune First: Though Burman Dada was the pioneer, much later some of the stalwarts supported the trend of tune first: Begum Akhtar: The queen of the Ghazals and melody has subsequently gone on record that, “The ‘sur’ (tune) of the singer should make the desired impact. Lyrics come later”. (Source: ‘A tribute to the queen of Ghazals’ an article by Amarendra Dhaneshwar in Mumbai Mirror dated February 22, 2009.) Gulzar: “I believe that in any song that becomes a hit, the primary factors are the rhythm and the tune. The words follow. In fact, the quality of the words depends on how much it matches the melody and the beat. That is why I consider the role of the lyricist as secondary to that of the composer.” (Source: ‘Bollywood melodies by Ganesh Ananthraman – Page 133) Conclusion: It has been an accepted fact that S.D. Burman had the highest number of hit songs as compared to his output during active period from 1946 to 1975. There were a number of reasons for that, tune first being this being one of them.
Durga Puja in The Land of S D Burman (Tripura)
This video should be seen in conjunction with the two earlier videos, namely ‘Sachin Dev Burman Memorial Govt Music College’ and ‘S.D. Burman Birth Anniversary Celebrations in Agartala’. This part is the culmination of our memorable trip to Agartala from October 1st to 3rd in 2011 which remains etched forever in our memory, to the land of Sachin Dev Burman. We were fortunate that our trip coincided with the start of Durga Puja period. After site seeing during the day time, we went around watching different pandals with Durga Ma installed in them. There was music everywhere, which sounded pleasing to the ears. People in their finest attire were on the road, visiting pandals after pandals. Sachin da has said in his autobiography, As the saying goes, “In the Royal Palace of Tripura everyone sings, from the King to the Servants. Nobody is born there who cannot sing: Farmers, boatmen, fishermen, weavers, labourers, all sing there while doing their jobs. People there have god-gifted voice and music-sense. I am from that soil of Tripura; probably that is why my life passed by singing. Music is my first love.” (Moti Lalwani and S. Natraj)