AMRUTACHA GHANU.. The Blissful Cloud!

AMRUTACHA GHANU.. The Blissful Cloud!
By Apoorv Moghe

There are a few people who are made for a specific thing in life and there is no one better than them at it. If the entire Indian music is a song, then the Mangeshkar family is the Prima Donna of it. And if the Mangeshkars are the prime reason of the existence of rich music, then this gentleman is the substance in the existence!

A man who in a way changed the norm to 'there is a man behind a woman's success' by being the genius behind the masterpieces rendered by the stellar sisters…a man who inadvertently became the musical thread that joined generations through their cultures…a man whose stature is so calm and composed that his complicated and 'oh-so-difficult' tunes exude the same soothing quality to the ears…a man who crafted music defying the boundaries of creativity and excellence. Though the youngest of the Panchratna, nowhere less in the shine and shimmer, BHAVGANDHARVA PANDIT HRIDAYNATH MANGESHKAR is the epitome of timeless fascinating music that lilts in the air for eternity!

Being the only son of Master Dinanath Mangeshkar and following up sisters of the eminence of Lata Mangeshkar, Meena Khadikar, Asha Bhosle and Usha Mangeshkar, ever since his birth on October, 26th 1937, baaLaasaheb (बाळासाहेब - as he is fondly called) certainly had a fighter's life to live, with not just the Everest of expectations on him but also due to physical disabilities which made me confined to the four walls of the house in his childhood. But that is what masters are made of…this inability to walk and play in a way opened doors to the world of literature for this wonder boy. For someone who has read a vast majority of all the books ever written in Marathi and a similar lot in other respected languages, this was indeed a boon as baaLaasaheb went on to compose some of the greatest works of legendary literary geniuses of the likes of MeeraBai, Ghalib, Sant Dnyaaneshwar, Sant Kabir, Surdas, Samarth Ramdas, and many more over the years.

And it is these very years that chiseled out a stoic yet sensitive singer-composer out of Hridaynath Mangeshkar! Unfortunately, his illustrious father died when he was hardly four so his musical journey was started by inheriting his father's compositions from his elder sisters, which later solidified when he began his formal training from Indore-gharaana maestro, Ustaad Amir Khan. This was the time when the musician in him gave a headway to compose his first two delightful songs viz. Surdas's 'nisdin barsat nain hamaare..' and MeeraBai's 'barse bundiyaaN saawan ki..', both sung by LataDi in 1954, which ably and aptly showcased what musical magnificence was on its way later.

In the meanwhile he also sang a few songs in his silken soft voice in Vasant Desai's 'Shyaamchi Aai' (Marathi), S.D.Burman's 'Babla', Naushad's 'Baiju Baawra' and 'Deewana' and Roshan's 'Sanskaar' around 1952-1953…but he found his foothold when he started composing more often from the second half of the fifties for films and more importantly and significantly for his non-film singles and albums. With every film--- from his Marathi output as Akash Ganga (1958), Antaricha Diva (1960), Pawanakathcha Dhondi (1966), Dharmakanya (1968), Ha Khel Sawalyancha (1976), Chaani (1977), Jait Re Jait (1977), Sinhasan (1979), Sansar (1980), Umbartha (1981), Mahananda (1984), Sarja (1987), Nivdung (1989), He Geet Jeevanache (1995), Sail (2010) to his Hindi output as Prarthana (1969), Harishchandra Taramati (1970), Chakra (1977), Dhanwaan (1981), Subah (1982), Mashaal (1984), Pyaari Bhabhi (1986), Lekin (1991), Maya Memsaab (1993), Laal Salaam (2003)----baaLaasaheb has shown that albeit limited, but his film compositions are of the highest rung in terms of melody and technical richness…an example of which is Lekin where he fused traditional bandish’s with an ode to his gurus Ustaad Amir Khan and his father (‘jaa jaa re paThikwa..’ is the Gujri ToDi that reminisces of his association with Khansaheb.)

His non-film output is probably even better…better in terms of the free use of all his prowess and expertise and even in terms of the difficulty in structure..his oddity with the taal in 'saaNwar re, saaNwar re..' or his minimalistic instrumentation in 'jeevalagaa rahile re..' or his simplicity in 'mogaraa phulalaa..', the essence of his music has always been timeless and special. This essence had another special fragrance to it when he composed in Bengali…being an ardent follower of Salil Chaudhary, he followed the footsteps of his self-confessed guru in using the tunes of his Marathi hits and translating them into Bengali, coincidentally most of which had lyrics by SalilDa himself and mostly sung by LataDi and AshaTai (interestingly singing the other's original Marathi song in Bengali at times). And how can we at all forget the Lata-Hridaynath collaboration to come up with albums like Chaala Vahi Desh, Meera Bhajans and Meera Sur Kabeera (probably making him the only composer to compose 3 separate albums on the writings of MeeraBai). If his music created the serenity and sanctity with these albums, it was the Ghalib Ghazals that made us restless and pensive…this album is probably one of the finest soundtracks ever, which just goes to show how eclectic baaLaasaaheb is. Such was the brilliance of this man that no genre has been left untouched…his koLigeets (कोळीगीते - the fishermen songs), his patriotic songs (works of Sawarkar and ShivkalyaaN raaja), his devotional songs (the works of the various saints), his impeccable use of folk music in Jait Re Jait, classical form in Lekin, the lavaNi's, abhang's, romantic duets, sad ditties…Hridaynath Mangeshkar enlivens every emotion known to the human heart through his soulful music.

If his music transports you down melody lane where his 'sur' floats around and the 'taal' dances to its glee with the 'laay', its the effervescence of his voice that makes you linger back and relish the atmosphere when he is behind the microphone…be it the delectable, knee-weaking romance of 'laajun haasNe..' or the valor of 'shoor amhi sardaar amhaala..', be it the smirking poignancy of 'yeh duniya kaisi haiN bhagwaan..' or the childlike innocence in 'chhaDi laage chham chham..', be it the philosophy of 'maanasicha chitrakaar to..' or the sad wail of 'ti geli tevha rimjhim..', Pandit Ji is the ultimate altruistic Santa Claus who gifts each of his music lovers with moments worth a lifetime!

No wonder singers like LataDi, AshaTai, UshaTai, KishoreDa, Mahendra Kapoor, KishoriTai, HemantDa, Ravindra Sathe, Satyasheel Deshpande and composers like Lata Mangeshkar, Naushad, S.D.Burman, Vasant Desai, Vasant Prabhu, Roshan, Shrinivas Khale, Yashwant Deo, Datta Dawjekar as also lyricists like Pt. Narendra Sharma, Sahir Ludhiyanvi, Javed Akhtar, Gulzar, B.R.Tambe, Aarti Prabhu, G.D.Madgulkar, Grace, Suresh Bhatt, Mangesh Padgaonkar, Shanta Shelke, N.D.Mahanor, Sudhir Moghe and many others have had a distinguished association with baaLaasaheb on musical levels that became standards!

Pandit Hridaynath Mangeshkar is undoubtedly the Midas of music and his place in film/non film music is not just irreplaceable but is ethereally and eternally cemented in the deepest crevices of all the hearts of all the music lovers. His impeccable memory, his wonderful orations of his experiences, his relentless energy to create something new and different over the years, his command over the language, his eloquence in recreating the humongous reading he has done, his grace and dignity that is seen not only in his presence but also is present in his compositions…compositions which resemble like a free spirited bird which sways through the clouds spreading happiness, compositions which represent the clouds themselves who get a silver lining because of him, which shower on us bliss, joy and pure, unadulterated feeling of being alive every time we pass under it.

At times, I feel he truly exemplifies this feeling (a part of his song from a Marathi film)..

बंधनी आहे तरी ही मुक्त झालो आज मी
पंख झालो या स्वरांचे विहरलो मेघांतरी
(Even if I am shackled, I feel free today,
Donning the wings of the 'sur', I flutter gleefully through the clouds.. )

Pandit Ji's life has been symbolic of struggle with determination, creativity with passion, encompassing of feelings with grace, knowledge with wit, massive leap with firm groundedness.. he is truly the shadow of Master Dinanath Mangeshkar, whose hands have been strongly held on one side by LataDi and on the other by AshaTai but yet has a strong existence of his inner soul, inner self..

आनंद-दुःख यांचे नाते मुळी जुळेना
ओठावरील माझ्या गाणे तरी ठरेना
सुखदायी गीत होते सार्याच भावनांचे
स्वर शब्दरूप होती आनंदल्या मनाचे
(The relation of happiness and sadness is bemusing,
but the song on my lips is relentlessly continuing,
every emotion transforms into a blissful song,
with the sur taking the place of the words in my happy heart, to sing along..)

May this song never get off-key and keep keying into the lives and hearts of all his followers…Pandit Hridaynath Mangeshkar is indeed the 'Hriday-Nath'!

KOI DIL MEIN ZAROOR REHTA HAI

Accidently unearthed a small listing that I had done few months back on the LataDi solos composed by PanchamDa over the decades.. ofcourse its a personal choice and it might just have switched places on the chart by now for me too.. but for me this is my playlist for the night today ! Blissful indeed.. thought of sharing the pleasure and happiness this is going to give me with the fellow magnificient Panchamites.. Wishing the queen the glory of the throne all over again.. she ruled, she rules and will always rule ! ♥

Here are the 60s:
 1. 'Ghar Aaja Ghir Aaye..' (Chhote Nawaab)
 2. 'Sharm Aati Hai Magar..' (Padosan)
 3. 'Waadiyaan Mera Daaman..' (Abhilasha)
 4. 'O Mere Pyar Aaja..' (Bhoot Bangla)
 5. 'Bhai Battur..' (Padosan)
 6. 'Aaja Piya Tohe Pyar Doon..' (Baharon Ke Sapne)
 7. 'Kajrare Badarwa..' (Pati Patni)
 8. 'Na Jaa O Mere Humdum..' (Pyar Ka Mausam)
 9. 'Churake Dil Ban Rahe Ho..' (Chhote Nawaab)
10. 'Main Na Milungi Nazar Hatalo..' (Pyar Ka Mausam) ..

and the 70s:
 1. 'Raina Beeti Jaye..' (Amar Prem)
 2. 'Do Nainon Mein Aansu Bhare Hai..' (Khushboo)
 3. 'Rimjhim Gire Saawan..' (Manzil)
 4. 'Mere Naina Saawan Bhado..' (Mehbooba)
 5. 'Jiya Na Lage Mora..' (Buddha Mil Gaya)
 5a. 'Saawan Ke Jhoole Pade...' (Jurmaana)
 6. 'Kis Liye Maine Pyar Kiya..' (The Train)
 7. 'Aaj Kal Paao Zami Par..' (Ghar)
 8. 'Pyaasa Mera Dil..' (Ehsaan)
 9. 'Baahon Mein Chale Aao..' (Anamika)
 9a. 'Din Jaa Rahe Hain..' (Doosri Seeta)
 10. 'Aa Meri Saathi Aa..' (Chhalia)
 10a. 'Aaj Jo Meri Hansi Udaayi..' (Gomati Ke Kinaare)
10b. 'Ek Din Hansana..' (Benaam) ..

 the 80s: 
 1. 'Jaane Kya Baat Hai..' (Sunny)
 2. 'Bhor Bhaye Panchhi..' (Aanchal)
 2. 'Aisa Sama Na Hota..' (Zameen Aasmaan)
 3. 'Tumse Milke Zindagi Ko..' (Chor Police)
 4. 'Tere Liye Palkon Ke..' (Harjaee)
 4a. 'Saagar Kinaare Saanjh Sakare..' (Saagar)
 5. 'Jaane Kaise Beetegi..' (Basera)
 6. 'Aaja Sar-e-Baazar Tera..' (Alibaba aur Chalis Chor)
 7. 'Din Pyar Ke Aayenge..' (Saverewali Gaadi)
 8. 'Jahan Pe Savera Ho..' (Basera)
 8a. 'Yeh Faasle Yeh Dooriyaan..' (Zameen Aasmaan)
 9. 'Tujhse Naaraz Nahi..' (Masoom)
 9a. Hawayein Prabhaati Sunaayein.. (Shubhkaamna)
 10. 'Ae Ri Pawan..' (Bemisaal)
10a. 'Bindiya Tarse Kajra Barse..' (Phir Wohi Raat)
** *Paas rahta hai door rehta hai_

 Mentioning 90s as a separate decade, so that I get the liberty for the 80s ;-) :
 1. 'Sili Hawa Chhu Gayi..' (Libaas)
 2. 'Kuch Na Kaho..' (1942 A Love Story)
 3. 'Phir Kisi Shakh Ne..' (Libaas)

Be thy own palace or the world's thy jail. - John Donne

Being in a prison / jail / custody / captivity is no doubt torturous and negative.. but there are some moments in our life with captivate us and we feel safe being in someone's custody!

पंछी से छुडाकर उसका घर, तुम अपने घर पर ले आये,
ये प्यार का पिंजरा मन भाया, हम जी भर भर कर मुस्काये,
जब प्यार हुआ इस पिंजरे से, तुम कहने लगे आज़ाद रहो..
हम कैसे भुलाएँ प्यार तेरा, तुम अपनी जुबां से ये न कहो
अब तुमसा जहाँ में कोई नहीं है, हम तो तुम्हारे हो बैठे,
तुम कहते हो के ऐसे प्यार को भूल जाओ,
हम तेरे प्यार में सारा आलम खो बैठे...

Stone walls do not a prison make, nor iron bars a cage.
Feel free.. feel loved..

by - apoorv

What do I say today? How do I even start? Do I have the words, the emotions, the attributes, the annotations, the prowess to even start taking about the voice that has made my life worth living? This day is more special to me than even my own birthday.. it gave me something that I can never repay back.. and I am happy to be indebted for life!

Lata Mangeshkar and Mehndi Hasan together! Something that happens once in a blue moon.. and we are fortunate that we are able to witness that blue moon.. MAGIC ALLOVER!

Yes, both the voices have aged.. (who knows if we would even be alive till their ages, forget working with such inexplicable enthusiasm) but is the charm lost? Naah.. not for me atleast! The way she sings 'Tujhe Chhu Loon To Phir Zinda Lage Hai..' for the second time, does it for me! Goosebump session starts...

Mayuresh Pai's amazing ghazal album, Farhat Shahzad's wonderful words (and Javed Akhtar at his best in the other songs).. this is SARHADEIN !!

जब दर्द के घने बादल घिर के आते है और तन्हाई आस-पास मंडराती है, तब कही से एक आवाज़ आती है जो दिल को ठंडक और सुकून दे जाती और कहती है की 'आज नहीं कोई अपना जिसे ग़म ये सुनाये..', जब ख़ुशी से ज़िंदगी सराबोर हो तब एक आवाज़ आती है और कहती है, 'आज फिर जीने की तमन्ना है..', जब प्यार करने को मन ललचाये तब एक आवाज़ फिर से कह उठती है, 'प्यार को हो जाने दो, प्यार में खो जाने दो..'

और पता नहीं ज़िंदगी के ना जाने ऐसे कितने जज़्बात है जिनके साथ एक आवाज़ का साथ हमेशा रहा है.. पता नहीं ज़िंदगी में क्या रह जाता गर ये एक आवाज़ हमारा हाथ थामे हमें चलना नहीं सिखाती.. कुछ भी हो हालत, कुछ भी हो जज़्बात, एक आवाज़ की जादू, एक आवाज़ का नशा हमेशा वही रहेगा.. और ये आवाज़ उस शक्सियत, उस एक हस्ती की है जिसने हमें ज़िंदगी के मायने सिखा दिए... लता मंगेशकर!!

८२ साल की आवाज़ में आज भी उतनी ताक़त है की हमारी रूह काँप उठे, साथ में वो अपनापन भी है की उसी रूह को हौले से छुले.. हर लम्हा जिस आवाज़ के साथ बिताया है, उस आवाज़ को आज जन्मदिन पर ढेर सारी शुभकामनाएँ.. अपनी माँ के बात अगर किसी आवाज़ ने मुझे सहलाया है तो

वो लतादी की है...

A voice that transcends places, distances and time.. a voice that elevates a human soul to stratosperic levels, making every living moment sublime! To that voice, to that phenomenon, to that magnum opus.. to Lata Mangeshkar... HATS OFF! Thank you Latadi for just about everything...

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!

ye bekasi ke andhere: LATA

Chambal Ki Rani (1979) was another film of Naushad which is not often discussed! It was again an all Lata album..all the four songs in the film had Lata as a singer. Personally, I have heard only two songs from the film, one of them in this.

This is certainly the Naushad who is a tad lower in the output as compared to the classics he scored for decades before. But, this song does have glimpses of him esp. in the end parts when the Sitar sets in (though had I not known this was Naushad, I would have considered this as a say Khayyam composition)...but a nice song nevertheless. Penned by Jaan Nisar Akhtar (another rare combination who had just an Aaina (1977) done together before this).

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Song Exposition: 'Ae Dil-e-Nadaan..'

Ae Dil-e-Nadaan...

Lata Mangeshkar (Razia Sultan - 1983)
Jaan Nisar Akhtar, Khayyam

We start with the Santoor beats which create a resonating effect with the exceptional pauses in between them...these chasms are so instrumental in creating the effect in this song...just like the long, unending distances in the desert, these pauses define the emptiness of the heart...it aches and longs for love just like a peddler longs for water and food while traveling in the desert...The emotion on 'Dil-e-Naadaan' shows how empty the heart is of any positive feels or filled to the brim with sadness...this contrast yet equivalence of the two emotions is depicted so ably that you shudder!!!

The tabla and Violins join in the terrific Santoor...and so does the reverberating voice of Latadi...this sounds just like a Lata-Santoor duet when she hums alongwith it...The class interludes with the Santoor, Violins and the Dhol is a lead-way to the wonderful antras where Lata ably brings the pathos in her voice..mark her expression at 'Kaisi Uljhan Hai..'! The way she pronounces 'Ek Saaya Sa Rubaru Kya Hai..' literally makes us feel that there is a shadow down there deep in the sands of the desert..

The second interlude starts and enters the Sarangi magic...and the melancholy, desperation, helplessness, loneliness of the character comes to the furor..
'Kya Qayamat Hai, Kya Musibat Hai,
Keh Nahi Sakte Kiska Armaan Hai,
Zindagi Jaise Khoyi Khoyi Hai, Hairaan Hairaan Hai...'
The journey towards the end starts...everything is lost, nothing is visibly in sight just as the empty, barren desert...yet the end is not in sight just as the unendingness of the desert, the desperation surmounts all...and this is so beautifully depicted through the music pieces..Latadi hits the highest chord with utter pain in the heart with 'Kya Qayamat Hai..Kya Musibat Hai..', the background score keeps the tempo at a single pace ably showing that the monotony in life is terrible. And the journey proceeds (zindagi ki jagdojehat badhti rehti hain, aant nazar nahi aata...sab kuch gumsum hain...')
...and this is exactly what happens next...a loooooong killing pause,
'Ye Zami Chup Hai, Aasmaan Chup Hai..'
the helplessness increases manifold...not even the ever-so-alive nature is able to find an answer to her restlessness, incompleteness...but even then the heart beats (which is emphatically depicted by the Tabla beats)..and the unending struggle continues unwillingly...
This is the pinnacle point of the song, the pauses shake you up..they bring a lump to your throat...the lengthiness of this pauses surrounds you and make you take notice!!!

What a melody...its very rare that the human emotions are elaborated and expatiated so accurately through a string of instruments and this song gets placed inadvertently in the highest possible rung! Khayyamsaab comes up with a career-defining score, his brilliance is so evident when he uses just the Santoor, Tabla, Sarangi and Dhol to weave an entire long-lasting emotion..his minimalistic instruments give the required poignant feel to the song which is so so well put to life my this lady called Lata Mangeshkar...she simple stays there forever..her 'thehraav', her detailing, her full-throated desperation and the deep-down emptiness in the voice creates a complete picture of the song.
A certain mention of Jan Nisar Akhtar for his superlative lyrics which stand up and demand the command they get...finally, Hema Malini and Kamal Amrohi together make the song a thoughtful picturesque treat...this is a song of true emotions..of teamwork that makes songs last till eternity!!!

Song Exposition: 'Aaj Koi Nahi Aapna, Kise Gham Ye Sunayein..'

Aaj Koi Nahi Aapna, Kise Gham Ye Sunayein..

Lata Mangeshkar (Agnipariksha - 1981) 
Yogesh, Salil Chaudhary

This prelude is probably one of the best to have been created in HFM...with that exceptional use of the Flute and the Santoor Salilda manages to created that ripply effect to perfection (even in the picturization there is a small shot with the water body)...the way the Piano base enters soothing the Flute ripples..and then the Santoor...and the Trumpet...back to the Flute...all ably describe the flickery state of mind of the lead character! She tries to soothe them but all that comes back to haunt her (I havent seen the film but this is what I could guess)...and then enter's that lady who has been at her outstanding best under this master!!

The mukhda has those complex jumping notes, which Lata easily sings to perfection. Again in these high jumps, just probably goes to show the instability of the character's mind.
If the prelude was something out-of-the-world, the interludes will blow you off literally from your feet. The Flute (which was Salilda's best and most used instrument, you can see the variety with which he used the Base Flute, the Piccolo Flute in all his songs and yet sounded different every other time), the racing Cello's is the best part IMO, it reaching a pinnacle and they give way to the Trumpets...soothing down our already raced heartbeats (also in the picture you can see by then Parikshit Sahani walks on a road which is quietened and wet 'after' the rains...even the nature comes to normal and soothes itself with this ensemble of instruments)..in all this not to forget the background support of the Guitars...they unknowingly kept the interlude pieces glued to each other!

The antra is BLISS...the emptiness, helplessness in Rameshwari's character is brought to life by Lata!! This has the Salil stamp all over it...top class! The Tabla play is a treat...the small lehra at the cross line is lovely! When Lata stomps on the 'sam' with 'AAJ koi Nahi..', that feeling is inexplicable!!

The second interlude(M2) is again an ensemble of instruments ably weaved! The Sitar (again a Salil favourite), the Cello (again Salil manages to get the restlessness in the character out with the amazing use of these instruments)...the way he fuses the Sitar with the Cello with that small Flute piece is brilliant!

What a song! How do you even find accurate words to elaborate this humdinger of a song...many may say the Lata strained her voice at one point in the song, for me, no one else could have sung this song with this conviction and this perfect amount of emotion she lent to it! Commendable how she creates that atmosphere in mere 5 minutes! Master Salil was at his rocking best...this is changing with times...who said he was a composer of the 50s...this is what he offered to you in the 80s and with a quality that not many can match! True genius! Way way ahead of his time!!

This song also has as a Bengali counterpart which actually came first, 'Aaj Tabey Eituku Thaak..' which has a quintessential Bengali touch to it..its more subtle and softer with a lot of Sitar in it and a different instrumentation entirely! Another treat for sure!
But this tune was originally made for a Malayalam film titles Pratiksha in 1975 where Yesudas sang it as 'Aathira Poovaniyum..' which had a fair amount of Tabla...but IMO the third counterpart stands tall amongst them in terms of orchestration and singing!!

Here is the Bengali version of this masterpiece ! Lata-Salil magic regales !
'Aaj tobe ei tuku thak '



The journey from MalayaLam to Bengali to Hindi really is an ascending excellence.. with Salilda bettering himself with each version.

Aathira poovaniyaan - Pratheeksha (1979)

The Faces for THE Voice...: LATA MANGESHKAR

1ST ROW : Saadhika,Chandni,Kanchan,Simran,
2nd row :Meena T,Deepa Sahi,ANJALI DEVI,Mohini

 3rd row :Fatima Sheikh,Shilpa Shirodkar,Shikha Swaroop,KULDIP KAUR

4th ROW :Sanjana Kapoor,GEETANJALI,Radhika,Madhavi

5TH ROW: Sudha Chandran,JAYASUDHA,Sadhana Singh, Debashree Roy

1st ROW : Ameeta, Amrita Singh, Anita Guha, Aruna Irani.
2nd ROW: Asha Parekh, Ayesha Jhulka, Babita, Bhagyashree.
3rd ROW :Vimla, Bina Rai, Bindiya Goswami, Bindu . 

       4th ROW:Deepti Naval, Dimple Kapadia,Divya Bharati, Farha. 
5th ROW : Farida Jalal, Geeta Bali, Helen, Hema Malini.

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

Geeta Dutt's Lovely female duets

Our dear friend and a kid with ocean of knowledge on the golden era of HFM, Apoorv Moghe has written this exclusive article for us on our special request. We are thankful to Apoorv.
We are presenting some lovely female-female duets of Geeta ji with her co-singers, one per singer. Hope you will appreciate our post.

• GEETA DUTT – ZOHRABAI AMBALEVALI

One was a top-bracket singer in the 40s…other was just making a ground for herself. Together, they created one absolutely delightful duet. Had Zohrabai managed to extend her career in the 50s..we certainly would have had a beautiful showcase of tremendous singing of this interesting pair of singers. But that was not to be! Nevertheless, we have 5 wonderful songs that feature these two singers in the span of 4 years from 1948 to 1952 of which 3 are trios and 1 a quadruplet with only one genuine duet.

This duet that I am talking about is from the film Dil Ki Basti (1949) which was composed by Ghulam Mohammaed and written by Khumar Barabankvi. The song was ‘Hasrat Bhari Nazar Ko..O Pardesia O Rasiya..’

A very simple tune…but put to life by Zohrabai and Geetaji…Geeta sounds extremely different in this one. The rawness in her voice is so unlike her voice in the later years that this makes this song a very melodious listen. Zohrabai, on the other hand, in her typical heavy voice holds her own…also I guess she gets a larger portion to sing in the song and she has completely justifies it. Even the chorus sounds nice

This one is indeed a rare pick…and the playfulness in the voices of both Geetaji and Zohrabai are addictive.
Ghulam Mohammed comes up with a very fresh tune using both the singers beautifully. Love the flute after the words ‘Ghar Ka Bhedi Lanka Dhaye..’ in the last stanza.

• GEETA DUTT – SUDHA MALHOTRA

Two absolutely different yet versatile voices, one had a sweet edge whereas the other had a rounding feel..so whenever they came together behind the mike, something different was on cards. Together they sang some 7 songs in a span of 15 years of which 5 were pure duets and 2 were trios…starting with Vinod’s Ootpatang (1955) upto Shankar-Jaikishan’s Jwala (1970).

Among all these songs, probably the most well-known of all is ‘Na Main Dhan Chahoon Na Ratan Chahoon..’ from Kala Bazar (1960) which is undoubtedly and by far their best song together! But I would like to mention one more song of this duo which unfortunately isnt very well known!

This one is from the film ‘Fashionable Wife (1957)’, ‘Sadak Pyar Ki Kadak Badi Hai Har Kooch-e-Bazaar Mein..’ What a song! Geetaji and Sudhaji have set themselves absolutely free in this full-on entertaining song! (Totally opposite to the feel ‘Na Main Dhan Chahoon..’ gives..shows the versatility of both these singers) Each holds her distinctive style..Geetaji in her sultry, highly emotive voice maneuvers through the song effortlessly..the way she infuses that western feel in her voice especially when she ends the cross-line in the mukhda and the antra is a pleasure to hear. Sudhaji, on the other hand. was a revelation! I personally, was pleasantly surprised to hear her this ‘avataar’! She was in a frolicking mood..the way she picks up the lines from where Geetaji end, her outrageous pronunciation of the words giving them a comic feel, the ‘Arerere’, ‘Oho’, ‘Aiee’ and the way she infuses life in them is top-class!!

Bharat Vyas has come up with some fantastically funny lyrics…and yes, not to forget Suresh Talwar’s outstanding composition…the use of the Saxophone, Accordion, Mandolin, Flutes to go along with the fantastic interludes is sheer fun! 3 minutes of ‘KADAAAK’ singing and music!

• GEETA DUTT – SUMAN KALYANPUR

One combination which could have had done wonders had they sung more frequently together certainly was this duo of Geeta and Suman.

Together only for 6 songs of which 2 were triplets…these 4 duets were versatility personified. If one was a Indian-Western fusion in ‘Sabko Bhagwan Dekh Raha..’, one was a pleasant treat in ‘Phulwa Band Mehke..’. But one duet that really appeals my senses was composed by Kalyanji-Anandji and written by Prem Dhawan for the 1962 released film Gangu.

This song ‘Ye Mehki Mehki Raatein, Ye Chand Sitare….’ was a brilliant amalgamation of the singing abilities of both Geetaji and Sumantai…it is a fusion of Mujra and a Lori.

Geetaji starts the Mujra part and sings with such elan, that you keep lauding the versatility of the this voice. Exquisite singing of the adlib. Superb use of the Harmonium and Mandolin to add to the ‘leheja’ of the song. The way she picks up the antra is outstanding. Majoritively she has only a backing Sarangi for company but she towers all with her strong sur..

Sumantai enters with such amazing sweetness in the song, which is a lori piece, that the entire mood gets a different lift. Her depiction of the motherly love in her voice is so real that it gets you engrossed.
This song is a indeed a treat to the listeners. It really is tough to catch your individual singing moods when you are singing a duet and when the portions that you are singing are absolutely contrast to each other. Superb!

• GEETA DUTT – MEENA KAPOOR

Among the 7 songs (3 duets, 3 trios and 1 non-filmy) these two wonderful ladies sang together, I personally have heard only one..which happens to be their first song together.
The film was Aadhi Raat (1950), where Rajendra Krishna wrote and Hansraj Behl composed the words ‘Maine Balam Se Poocha Miloge Kahan..’

A very interesting song, as Meenaji gets to sing probably the entire song with Geetaji chipping in only with ‘He Lala La O Re Lala..’ along with the chorus. But even then this song is worth hearing twice. But for me it is primarily for the arrangement and the orchestration of the song. The prelude itself is more than 2 minutes long even when the total duration of the song being about 3 minutes. Very differently composed by Hans Raj Behl with the beautiful use of the piccolo sounding Flute. A very different song..novel..worth listening!

• GEETA DUTT – SHAMSHAD BEGUM

Two absolutely sensational voices!! Geetaji and Shamshadji, whenever came together created magic. One was the queen of the soulful renditions and the other was a master of enticing and entertaining numbers. Geeta-Shamshad sang quite a few songs in the late 40s. Probably Shamshad was one of the accompaniments in which can be Geeta’s first ever song from Bairam Khan (1946).

This camaraderie which started then lasted until 1957 where they sang there last duet for Hemant Kumar’s Yahudi Ki Ladki.
Tough to choose one song, actually I had a close take in between ‘Door Nagariya Tori..’ from Sapna (1952) and ‘Jiya Ka Diya Piya Tim Tim Kare..’ from Sunehre Din (1949)..but then there was one song which was hard to neglect and that is my pick.

Snehal Bhatkar’s ‘Mere Dil Ki Dhadkanon Mein..’ from Suhaag Raat (1948).
I had to select this song primarily because of two reasons..one was the very different and innovative way of making the lead singers sing and second was the exceptional composition and arrangement.

This was really a ‘duet’ with both Geeta and Shamshad singing the entire song literally ‘together’. There were no separate lines for either of them and so it increased the difficulty level of the singing because both had to be in perfect sink with each other and so were they. Not for once, can you say that they shied away from each other and tried to overhaul the other. Perfect example of true musical geniuses and they did not let go with the feel or the emotional content even for once. Snehal Bhatkar was extremely innovaive in his arrangement, the tempo changes and the change in the ‘taal’ as well was tremendous. All in all a song not to miss.

• GEETA DUTT – ASHA BHOSLE

This was horribly tough! And I am sure going to curse myself for choosing just one (if I could). Two of the most expressive voices together and you just do not have to think of anything else but pure bliss!!! I have very rarely seen two female voices complimenting each other as much as Asha and Geeta. Both had the ability to squeeze in the best possible emotions in any given song…extremely versatile..graceful..sultry…serene..talented..outstanding!
Honestly, whenever I sit down to think about this pair..the first song (I guess pretty obviously) that comes to my mind is ‘Janu Janu Re..’ from Insaan Jaag Utha (1959)…so this time I made a genuine attempt to select a song completely neglecting this song.

It gets really tough to select one of your favorites when you have dishes full of mouth-watering delicacies. Plenty of songs literally hovered around me when I started thinking of the songs from these two maestros..but my mind was constantly coming back to one song and that is what I have selected today.
The outrageously outstanding duet from Nau Do Gyarah (1957) composed by one man who used them the best, S.D.Burman and penned by a lovely poet Majrooh Sultanpuri…’Kya Ho Phir Jo Din Rangeela Ho..’

What all should I say about this song! I doubt if anyone in this world could refrain themselves from tapping their feet at this stupendous song! Asha and Geeta in full force, at their best…fun..frolic..sheer entertainment!
Geeta was groovy, oomphy in this one…the way she says ‘Neela’ is oh my god! She sounds so sultry, so mellifluous..Mark the way she sings ‘Kya Ho Phir Jo Duniya Soti Ho..’ what a husky voice!!! Tremendous!

Asha, she is a gem!! She was in total command in this one…her fabulous breath-control, her expressions were absolutely bang on! The little giggle, the throw of the voice, the modulations, the way she starts with ‘Aaha’ is like the icing on the cake. The masti in her voice is contagious!!

SDB also was in stunning form in this one, his use of the Mandolin, Clarinet, Trumpet, Accordion in the effusively built prelude was brilliant! The change in the mood in the song when the song shifts from Geeta to Asha was so ably shown with the instruments as well to go alongwith the voices..hats off to this team of Asha-Geeta-SDB! Groooooooooovy…..

• GEETA DUTT – LATA MANGESHKAR

I was trying to run away from this, but finally I have to put my hands down and acknowledge two of the BEST singers ever to have graced this Hindi Film Music Industry..Lata Mangeshkar and Geeta Dutt!

I just cannot annotate any of them in simple plain words…selection of one songs is a Herculean task..probably even impossible!
And if I am not wrong, the Bhav Gayaki Queen, Geetaji had the longest association with the Nightingale of India, Latadi in terms of years..a camaderie of 23 superb years from 1947 to 1970!!

And in all these years, they kept us entralled with their mesmerizing singing…so many dulcet duets that its highly unfair to nick-pick one! The best undoubtedly is ‘Aakhiyaan Bhool Gayi Hain Sona..’ and I am sure even the consensus would be the same! It was an exhibition of flawless singing..without any second thoughts it takes the first place in my selection. But, I am not considering that. A few more songs I am a die-hard fan off are ‘Bechain Dil Khoyi Si Nazar..(Yahudi-1958)’, ‘Pyar Bhari In Aankhiyon Mein..(Parbat-1952)’, ‘Sabz Gumbad Ke Makeen..(Son Of Sindabad-1958)’ and ‘Tum Bansi Ho Main Taan..(Radha Krishna-1954)’

But my choice is this resonating song composed by Iqbal Qureshi from Panchayat (1958) penned by Shakeel Nomani..’Ta Thaiyya Karte Aana..’
This song is a ‘Hit’ right from the word go! The way it starts with Latadi starting exactly on the ‘thaap’ of the Tabla sets the mood. Lata sounds honey-dipped-sugar-coated in this..Geeta sounds swirly and swishy! For me, these two voices are like made for each other, They match each other note to note, are a complete treat to the ears when put together. And this song is a testimony to this!

Latadi is exemplary when she sings the antra, the lilt in her voice in the cross-line of the antra is extremely laudable. Love the way she leaves the line with ‘Ta Thaiyya’ and pronounces the word ‘Sadqe’ in the last stanza.
Geetaji in her nasal-ish tone sounds so delectable that you all over fall in love with this voice.
So much so say, but anything that I say about these two giants wont suffice to the level of their greatness.
Iqbal Qureshi comes up with a stunner of a song..what an sensational use of the Flute and the Tabla! Not to forget the Clavioline..Fantabulous!
Its a sin to miss this song…


Acknowledgements:
(Apoorv is the force behind one of the best websites (www.rarelatasongs.com) created on the most popular singer of India, Lata ji. He is a dear friend and an avid music lover with wide knowledge and interests in music. We are thankful to Apoorv for coming up with this excellent article for us on this special occasion.)

(courtesy: www. geetadutt.com)