Showing posts with label GULZAR. Show all posts
Showing posts with label GULZAR. Show all posts

GULZAR.. Basking in the bask of Boskiyana !

नाम सोचा ना था, है की नहीं
'अमाँ' कहके बुला लिया इक ने
'ए जी' कहके बुलाया दूजे ने
'अबे ओ' यार लोग कहतें हैं
जो भी यूँ जिस किसी के जी आया
उसने वैसे ही बस पुकार लिया..

तुमनें इक मोड़ पर अचानक जब
मुझको 'गुलज़ार' कहके दी आवाज़
एक सीपी से खुल गया मोती
मुझको एक मानी मिल गए जैसे
आह ! ये नाम खुबसूरत हैं
फिर मुझे नाम से बुलाओ तो..

Its said that a poet or a writer becomes one amongst the top league when he is capable of giving himself a suitable sobriquet.. and who better than Gulzar sa'ab to symbolize this.. he is not just a legendary filmmaker, but is a sensitive one.. he is not just a terrific lyricist, but is a contemporary one.. he is not just an articulate story-teller, but is an evocative one.. and above all he is not just a magical poet, but is a passionate one..

वो जो शायर था चुप-सा रहता था
बहकी-बहकी-सी बातें करता था
आँखें कानों पे रख के सुनता था
गूँगी खामोशियों की आवाज़ें!

जमा करता था चाँद के साए
और गीली- सी नूर की बूँदें
रूखे-रूखे- से रात के पत्ते
ओक में भर के खरखराता था

वक़्त के इस घनेरे जंगल में
कच्चे-पक्के से लम्हे चुनता था
हाँ वही, वो अजीब- सा शायर
रात को उठ के कोहनियों के बल
चाँद की ठोड़ी चूमा करता था..

Guess in this aforesaid poem, Gulzar sa'ab epitomizes himself and how eloquently does he do that ! To quote Bhooshan Banmali : “A poet is a conch-shell that gives voice to the emotions. A lyricist sings of dreams. A visionary is a painter who plays with rainbows. A thinker ponders upon human relationships like a monk who holds council with the trees of forest. A rare blend of all these is Gulzar."

He is diverse yet he co-joins every emotion.. he is hard hitting yet he playfully touches the sensitive chords of every heart.. he is authentic yet he makes us believe that he is penning our words.. he is complicated yet easily emotes the truest of human emotions with ease.. he is the man who makes us lose track of everything and also the one who leads us to the correct path of thought.
Gulzar sa'ab embellishes, enhances, enchants, encompasses, embarks and emphasizes every emotion of life with its encoring empathy.

Just look back to the past 40 years and you will find his presence in every special moment of your life.. he played with us in our childhood through his songs, witnessed our romantic moments with his shayari, stood by us in tough times with his positive stories.. emotionally moved us, thoughtfully challenged us, artistically expanded our horizons and in the end made us believe that 'Meri Awaaz Hi Pehchhan Hain..' and remained with us in this journey from being to becoming like an incandescent light.

His works are not confined to specifications, he is the like the flowing breeze.. his sensitivities and sensibilities are unique, he is like the norm effacing constructor (In his own words, "I did not start from literature, but met a maikhana on the way. Still I kept writing..").. his existence can not be overlooked, we have experienced his craft over the television screen, his masterstrokes on the silver-screen, his brilliance on our bookshelves.. he makes every place his own.. and rightfully so we have given him a place on the highest pedestal in our hearts.

Its rightfully said, that "Gulzar’s lyrics transcend social barriers, be it a rickshaw-puller or a Sufi saint, he touches them both. The lyrics are not about words or rhythms, but about interpreting the world.".. and what more this journey of glory and creating something reverent in this already dilapidated world is still at its peak.. he makes the youth groove but still regales the yesteryear generation with his writing panache.

(acknowledgment to 'प्रीत Ji to candidly permit me to use these lines from her wall.. originally written by another Gulzar-ian bhakt Shivam Sharma ).

रोज़ की बात नहीं, ऐसा कुछ एक बार होता है,
अल्फाजों को जब एक शख्स से प्यार होता है,

मीर-ओ-ग़ालिब जब सींचते हैं खुद इक गुलशन को,
तो सदियों बाद कहीं एक 'गुलज़ार' होता है.

So obviously enough, its impossible to capture this man under one frame coz he has been versatile, vibrant and voluminous in his resplendent repertoire.. but here is an honest attempt to do so.. Gracious, Glorifying Gulzar for an hour.. his words, his voice, his songs.. the magic continues with the master is still at creating masterpieces, magically !

Gulzar Saab - 50 Years Of Glory - The Journey Of Songs.!!!!!!

Gulzar - The Bard Of Bollywood.!!!!





This song reverberates in your ears and you cant get over it! Vishal Bharadwaj has come up with the score of his lifetime!

It has so many instruments so effectively used that even with the use of them the entire song gives a minimalistic use of instrument feel... thats where the song wins!

Firstly, the stunning use of the Ghatam.. the way the ghatam comes into picture at around 2:22 is superfine... but actually that is not when it enters the song.. its there right from the beginning... soft, subtle in the background!
Then the exceptional use of the Flute... both the base flute and the piccolo are used so so beautifully following each other after the first stanza that it takes the song to a new high!
The Sarangi in the second stanza interlude again gives the song a new dimension..
And all this stops at a moment and you have a chasm... ahhh... what a piece !!! BLISS !!

And in all this Latadi stands tall like a force to reckon with... she literally maneuvers through the song so fluidly that you flow along with her.. the 'Meend' and exquisite 'Thehrav' in her voice is mirror-cracking!
A song worth listening a thousand times... Gulzar sa'ab embellishes each moment of it with his picturesque lyrics..stunning!

music



pancham and bhupendra

mohmd .rafi with his wife




Old codes Singers Asha Bhonsle (centre) and Kishore Kumar (right) with a sessions musician

Sarangi maestro Padma Vibhushan Pt. Ram Narayan...he played Sarangi pieces in many of the popular HFM songs
pic :courtesy  Shyam Uttarwar


pancham

salil da
any guess ?


R.D BURMAN AND S.D BURMAN



PANCHAM SUR (R.D BURMAN)
GULZAR,BHUPENDRA,LATA JI , PANCHAM

Salil Chaudhary



What do I write about a man who has done absolute justice to precisely every genre of music.. For a man whose music was way ahead of its times.. For a man who probably holds the distinction of being the only composer composing music in as many as 10 Indian languages (Hindi, Bengali, Malayalam, Tamil, Kannada, Telugu, Assamese, Gujarati, Oriya and Marathi).. For a man whose music transcends us into a complete alien world by reaching some amazingly stratospheric heights of creative genius.. SALIL CHAUDHARY means all this and much much more!

I am absolutely dumb-struck by the way Salilda fuses his tunes and molds them effortlessly in the requirements of the various languages.. for me he was THE MAN who proved that music knows no boundaries!!! And that is precisely what I would love to highlight now in this post...
To highlight this genius of his, here is a set of tunes he used in as many as 4 Indian languages... 4 languages which are phonetically and characteristically different than each other.. and what is outstandingly brilliant is that fact that though the tune structure remains the same, each song stands its ground firmly...solidly!

This tune was first made and used for the KANNADA film Samasayaphala (1971) where Ku.ra.Seetharama Shastry wrote 'Harusha Doorada Mearu..' sung by P. Susheela. Here, the use of the Sitar, Tabla, Flute, Violins makes it sound extremely fresh..the tempo of this song is something that is class.. Tabla outstanding (mark the symphony at M2)

In response to this came the next song in HINDI where Latadi sang 'Madbhari Ye Hawayein..', penned by Gulzar for Anokha Daan (1972). That prelude kills, the highlight here are the Flute pieces. Mark the racing Violins in the interludes. Again the Tabla spells magic.

The third time this tune was used was in MALAYALAM for the film Devdasi (1978) where Sabita Chowdhary sang 'Ini Varu Ten Nilaave..' penned by ONV Kurup. This version is something starkly different than the first two. Its softer, more classical-ish, more slower in tempo. The Flute and Tabla ofcourse mark there presence with aplomb...what takes the cake are the Sitar pieces. Fabulous!

The fourth time this tune was used was in Salilda's home-pitch BENGALI in 1980 as a private recording by Sabita Chowdhary as 'Aar Kichu Naai Mone..' Again Salilda gives it a different feel. The interludes are the highlights here..he adds a completely different sound to it with keeping all the basic ingredients the same..



...and yes, that is what makes him SIR Salil... he very truly never got his due.. he is never discussed when people talk about reformations and changes in HFM.. Salilda gave HFM a new face... the freshness, the life, the truthfulness in his tunes is something that has boldly written his name in the annals of Hindi Film Music. There is so much to him apart from Madhumati and Parakh...there are so many angles and facets to this mind-boggling personality... Salilda deserves and rightfully so, a place in the highest rungs of music history. Hats off to this true-blue legend.. a master!!