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Moti Lalwani and Richa Lakhanpal.

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:

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! * * * * *

'Sar jo tera chakraaye' Composed by S D Burman

‘Sar jo tera chakraaye’ in Pyaasa Composed by S.D. Burman In England, Guru Dutt brought picked up records of a film which was initially named ‘Harry Black’. I had read it decades back. Later, the film was rechristened as ‘Harry Black And The Tiger’ for the Indian audiencew. After so many years, one doesn’t find Harry Black on internet, though I am sure about it. In India, ‘Harry Black And The Tiger’ was released in 1958 as per the available data, while Pyaasa was released in 1957. How come Pyaasa song was inspired from the English film? There are two explanations for this: 1. Guru Dutt must have got records of ‘Harry Black’. 2. The records of ‘Harry Black’ (possibility the film too) may have been released before the release of Pyaasa in 1957. 3. The following sentence from the book, ‘Ten Years With GURU DUTT’, says it all: “It was from the film ‘Harry Black and the Tiger’, which, though Guru Dutt did not know it then, would be released later in India.” (Page 71) From above, t is clear that the English tune was available to Guru Dutt before the release of ‘Harry Black And The Tiger’. …………………………………………………………………………………….. ‘My Father My Friend’ (Interview of Pancham) This interview of Pancham was conducted by Mr Raajan Baalaa, which appeared in The ‘Free Press Journal’ dated 26th Oct 1975. The interview was taken on Wednesday 23rd Oct 1975, 11 am Film Centre Tardeo (background music arrangement of Dharam Karam was going on) ... just a few days before SDB was no more. Pancham: “I had developed an ear for music and did my own compositions. Most of them were 'chaalu' tunes. Nothing serious till then. One day my father while on a brief visit to Calcutta asked if I had composed anything. I sang a song for him ---- my own.” (details of song truncated as a respect for Pancham's later year's admission, that he did a grave mistake by telling in public through interview/s that he had composed song/s for his father. So, request his "real" fans to follow suit and see just the real purpose which follows in the paragraph below) ………………….. I have shared only one para of what Pancham is supposed to have said, followed by comments, within brackets, by a very senior SD-RD fan. Readers are free to understand what is said within the brackets. I have complete interview with me, as shared by this fan in our SDB group on SDB. When I asked him, which was/were the song/s truncated (hidden) by him, he has told me that as both SDB and RDB are no more, let their soul rest in peace.

Did S D Burman stop composing for Dev Anand

Vijay Anand “Other studios like R.K. stuck to their music directors and lyricists. On the other hand, we didn’t bother to retain such brilliant talents as Guru Dutt, Chetan Anand, S.D. Burman and R. D. Burman which led to Navketan’s downfall.” FILMFARE, MAY 1999

Lyricist Neeraj on S. D. Burman (Part II) Rev II

Neeraj on S.D. Burman: Burman Dada had this quality, a great quality, that he would be completely immersed in his music for twenty-four hours. He was not interested in his own publicity, or in any gossip. He would not go anywhere to promote himself. All day long, he was involved in his music, creating immortal tunes! (Source: Our interview with Neeraj)

S. D. Burman Biography by Girindra Majumdar - Part V (Final)

Whenever Sachin Karta visited Tripura with his family, Brajen Biswas would accompany him. At the time of Kiran Karta’s death, he travelled with Karta and Meera Devi to their Tripura. On the way, the steamer halted at Tarpasha. Karta saw a young girl crying, asking around if anyone had seen her parents and her brother. Sachin Karta learnt that she had been married off at a very young age. After marriage, she had refused to go to her in-laws’ house. Her parents had forced her to go, promising to bring her back soon. Realising that this was good situation for a song, Sachin Karta asked Brajen to write down the lyrics as dictated by him. The song was ‘Ke jash re, Bhati gang baiya.’ It became a memorable song. ‘Ke jash re, bhati gang baiya’, sung and composed by Sachin Karta.

S. D. Burman Biography by Girindra Majumdar - PART IV (HD)

The legendary classical singer Biman Mukhopadhya on Sachin Dev Burman: "Nai ba ghumole priyo…’, sung by K. L. Saigal and composed by my guru Shubol Dasgupta, became very popular in the early 1940s. Sachin Karta then requested my guru to compose a song that will even outlive Karta himself, Shubhol Dasgupta and the lyricist. The song thus created was ‘Kaatha kao, Dao shara...’ In 1975, when Karta passed away, this song was played on Akashvani. The song had become immortal."

S D Burman Biography by Girindra Majumdar Part III HD

Biman Mukhopadhya (Classical Singer): In my childhood, I saw him for the first time at theatre actor Shanti Gopal's house in Bagh Bazar. Before that, I had only heard his recorded songs on my father’s gramophone. His soft and melodious voice greatly appealed to me, making me very fond of him. During that time, there were no microphones. Dada would sing in the open yard, all by himself, playing on his harmonium, accompanied by Paresh Bhattacharya on the Tabla. Once, during the recording of ‘Ghum bhulechi nijhum’, Kumar Birendra Narayan, whom he called ‘Mama’, and we called ‘Shanuda’, was playing the flute. When Mama made a mistake, Sachin Karta was livid, and asked him to leave. My friend Nirmal Biswas was playing Esraj. Sachin Karta directed him to play Esraj in place of flute, thereby completing the three minutes of recording.

S D Burman Biography by Girindra Majumdar - Part II (HD)

Continuing from Part uploaded a few days ago, we are sharing Part II of the biography painstakingly produced by one of the ardent fans of Sachin Karta as known in North East, or Burman Dada in Hindi speaking million of fans of him.

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.)