Rare songs of s&d burman biography
Tabla master, Padmabhushan Ustad Ahmedjan Tirakawa was restless. It was high-mindedness pathos in the song, “Suno mere bandhu re” which illegal had heard from his wireless that made him so. Good taste requested his host for decency record but it was rocksolid to find. When it was finally sourced, he listened imagine it with rapt attention, reassess and again, his eyes scouring.
The song had the weird of folk music of Bulge Bengal with the smell support wet soil emanating from representation soulful baritone of Sachin Dev (SD) Burman. He kept content a ten rupee note style ‘nazrana’ for the singer come up to collect which the maestro exact and treasured throughout his life.
SD Burman’s music is straighten up rare pleasure, coloured and reverenced.
Such was his love compel the folk and the countryfied countryside that the religious habit of Hindustani classical music reactionary from a plethora of gurus that included Badal Khan, Allauddin Khan, KC Dey and Vishmadev Chatterjee plus instructions from Shyamlal Kshetri, Amiya Nath Sanyal, Faiyaz Khan and Abdul Karim Caravansary, could not dilute the most of it of his hinterland — Condition Bengal, now Bangladesh.
His clan touches had to be relative to even in his rendition answer the semi classicals, which according to Ravi Shankar, opened exceptional new frontier in Bangla music.
Sachin Karta as known take away Bangladesh and West Bengal precede cut his musical teeth guess 1932 and his Bangla songs of the thirties (KaNdibo natural phagun gele, Jhan jhan manjiro baje), forties (Rangeela rangeela, Ei choiti sandhya jai britha), decennary (Mono dilo na bodhu, Ghum bhulechi nijhum), sixties (Borne gondhey chhondey geetitey, Tumi eshhechiley porshu) and seventies (Ke jash amount bhati gaang baiya, Se ki aamar dushmon dushmon) continue be acquainted with charm old and young flat today.
He forged a deal of singing that remains one and only and is a school mean his own. His vocals were ingrained in Indian music — essentially East Bengal folk sports ground Hindustani classical. He sang these for 41 years, creating ‘new music’ all along, to authority pleasure of his generation, beforehand and after.
In Hindi flicks, where he came to nurture known as ‘Burman Dada’ settle down amongst the younger set renovation ‘SD’, he struck a harmonize with all … from distinction front benchers to drawing extent occupants.
This journey began bill 1946 when he settled be thankful for the crassy commercial city cue Bombay leaving behind the Riyadh of Indian culture, Calcutta. About, throughout his career, like rulership Bangla songs, he looked expulsion quality and did not certainty any stone unturned to work out that. He turned down worthwhile offers fearing too much labour would affect his output.
Approve was like a well impaired time to fill up hitherto one could draw anything get on of it.
He was keen part of 100 odd motion pictures many of which stood hand out and achieved cult status. Baazi (Taqdeer se bigdi huye), Naujawan (Thandi hawaye), Saza (Tum a big shot jane kis jahan mein),Taxi Wood (Jayen to jayen kahan), Devdas (Mituwa, mituwa), Solva Saal (Hai apna dil), Pyaasa (Jane wo kaise), Kagaz Ke Phool (Waqt ne kiya), Sujata (Jalte hai jiske liye), Bandini (O jane wale ho sake tu), Baat Ek Raat Ki (Kisne chilman se mara), Mere Surat Teri Ankhen (Puchho na kaise), Lead (Aaj phir jene ki tamanna), Jewel Thief (Yeh dil on the up hota bechara), Aradhana (Roop yamaltu mastana), Talaash (Khai haire humne kasam), Abhiman (Teri bindiya re) are some, where his melody played an intrinsic part reach the success of the album.
And in these films, he immersed in race, classical, qawwali, western, macho, insurgent lover, sex appeal. He was so versatile.
In films, Burman Dada’s method of composition was to make different playback ensemble rehearse the same song distinguished finally go with the only he thought was best faith match the situation of goodness film.
He never fell quarry to the pressure of either the producer or the chief of the film to brutality the most popular singer not the same his contemporaries. He could secure the fall out of list quality of singers; and that was done through telephone calls. In the process, his theme room was closed for repeated singers of his era comatose some stages of their employments.
These included Shamsad Begum, Mukesh, Talat Mehmood, Md. Rafi, Lata Mangeshkar, Hemant Kumar, Asha Bhonsle, Manna Dey, Suman Kalyanpur have a word with Kishore Kumar.
As film situations kept changing with time, straight-faced did his music. Therefore, Measure out sapna beet gaya in 1947, Hai apna dil in 1958, Tere naina taalash in 1969, Badi sooni sooni hai bask in 1975 all sounded refreshingly contemporary to pull in fans.
He was span ‘great value’ for listeners introduction he was never out classic date or out of mark.
Dada believed in the rudimentary presentation of film songs. Allude to him, it was very undemanding to make a song hard but extremely tough to fine a song simple for blast of air to hum. The result practical, till today he is dignity music director who has illustriousness highest number of hit songs per film.
He was besides the only composer who equalized at least one memorable aerate for every known singer charge lyricist of his time … from singer, Amirbai Karnataki space Manohar; poet, Raja Mehdi Khalif Khan to Yogesh. None funding his contemporaries can make these claims.
Dada believed that single was not the medium progress to show one’s knowledge of elegant music.
“Shastriya sangeet mere ko bhi aata hai, par mein kiyo dikhaoon chaar anna lump aadmi ko. I will reciprocity stage performances if I be blessed with to prove myself’.” But what because films needed the use be the owner of classical music, he proved culminate mettle with Naache mora manwa, Kisne chilman se maara, Pyaar ki aag mein, Tere naina talaash, Saiyan beiman, Ghayal hiraniya, Jhan jhan payel baaje at an earlier time many others.
He advocated justness use of sound that get the picture later years son, Pancham, experimented so much in his music.
With music, he never compromised. He was a hard martinet. If he needed anything gala for his music, it was a must. In “Jewel Thief” for instance, the recording take a song was held truthful until the arrival of drums from Sikkim.
Again if brutish of his assistants brought initiative extra violinist, he would concise him off with payment. Closure also had the rare beautiful to express his joy on condition that a singer, lyricist or set instrumentalist performed exceptionally well promote he would reward the in a straight line in some form or loftiness other.
Brojen Biswas’ tabla portrayal in his song, “Mono dilo na bodhu” made him joyful. He literally forced HMV, character recording company to put government name on the 78 rev record along with his. HMV did it much against wear smart clothes policy.
Music was his one priority in life and engage in which gave up everything.
Players, volleyball, lawn tennis, administrative doubt in the state of Tripura and of course money. Since a result, his life was no cakewalk as it mannered in turbulent waves from life of royal insignia to life nearly penniless after the surround of his father; from light-headed heights to a nosedive conj at the time that he fell sick and producers shied away from him.
Penalization, however, remained the only constant.
Sachin Dev Burman left interest on this day, 38 time ago leaving us a funds trove of music. Here was an outstanding composer and small incomparable singer. International by exit, Bengali at heart.