advertisement
I first met RD Burman in August 1993. Asha Bhosle’s son-in-law ( now estranged) Hemant Kenkre (a good friend) called me to give the good news that Asha was ready to give an interview on the eve of her 60th birthday.
During that shoot, I met RD Burman, who was working on the music of 1942: A Love Story. I did an interview with RD on Asha and her songs and on SD Burman.
These interviews were done for Newstrack (TV Today). I have tried to put down whatever I remember in a narrative form from my scratch notes.
RD Burman: It was Dada (SD Burman) who from start to finish shaped my music. I was living with my naani in Calcutta and my father Dada Burman and mother Meera Burman were in Bombay. My father was trying to make his music career. First he tried in the 50s but got frustrated and came back to Calcutta. Later, he went to play another baazi with Guru Dutt’s film Baazi and he won.
I was not good in studies, my hobbies were football and my mouth organ. Naani was pareshan with me, so when my parents came to Calcutta, she wailed – just take away your son, I can’t control him.
I didn’t know how a big composer and singer my father was and I had a habit of pinching and mixing tunes so I started playing my tunes on the mouth organ. Dada heard me out and asked, ‘What are you playing? Be honest, are these tunes really yours? Remember, originality is something you cultivate here and now or never. We are going to Bombay, and we will be back in three months. Meanwhile, you will learn the tabla.’
I was taken aback...tabla? What’s there to learn in tabla? Dada said - ‘Plenty. To be a composer you must develop a sense of rhythm and while playing tabla, whatever comes to your mind, convert it into the tunes. Don’t bother about quality just learn and learn’.
Pandit Brijen Biswas was my first teacher and he taught me the intricacies of the tabla, later Pandit Samta Prasad who played the tabla in Dada’s Naache Mann Mora (Meri Surat Teri Aankhen) taught me. I learnt the sarod from Ustad Ali Akbar Khan, sitar from Annapurna Devi, wife of Ravi Shankar.
Dada’s idea to put me in music ka mahaul and in live contact with these great artists, to ensure that I got the benefit of that kind of musical atmosphere before I step in to Bombay’s commercial music mahaul, really helped me. I was able to create pure classical notes as well as all that jazz and rock and roll.
RD Burman: So I was in Bombay assisting my father, my mother Meera Burman was also a great folk singer and used to assist my father.
RD Burman: (smiles) I had gone to see Dev Anand’s Funtoosh and found that one of my tunes was used, Aye Meri Topi Palat Ke Aa..., so I asked my father, and he said - ‘Yes, I have used your tune, you should consider that an honour. It means you have really come up with something good. In any case, it was light comic one, let’s see how good you are in coming up with some serious compositions, that will be the day.’
Another thing that I learn from Dada is that you must be clear in your head about what you want best as a composer. I tell you, Dada was composing for Bombai Ka Babu, for one particular song, Chal Re Sajani Ab Kya Soche... I suggested Hemant Kumar but Dada flatly refused. He knew whom to get, Mukesh was his choice.
RD Burman: There was a misunderstanding, but both were more than eager to work together. I got my first movie from Mehmood, who is a great friend (at that time Mehmood was alive). So Mehmood came to Dada and asked him if I could be spared for his film Chote Nawab. I asked Dada, can I ask Lataji to sing for my film. Dada readily agreed, in fact he wanted to me to get Lata. Darte darte main Lataji ke paas gaya... she immediately said yes. It was a classical song, Ghar Aaja... so Dada aur Lata ka patch up ho gaya.
RD Burman: Yes, phir maine Mehmood ki do aur films ki. 1965 mein Bhoot Bangla aur Teesra Kaun.
RD Burman: It was laughter riot... with Mehmood you can’t remain serious.
RD Burman: Not exactly, I was assisting him, that time there was a film, Talash, Dada was doing that film aur main assist kar raha tha. Bhoot Bangla mein bhi ek semi classical song tha... Lataji ne gaya tha, O Mere Pyaar Aa Ja... but my father was not impressed. See, in Bhoot Bangla all other songs like - Jago Sone Walon..., Aao Twist Karein... that inside bhoot bangle wala sequence, woh khel khel mein ho gaya.
RD Burman: I played mouth organ, rest was Dada and only Dada. The first interlude music I did for Dada was for the Pyaasa song, Jaane Kya Tune Kahi...
RD Burman: Teesri Manzil, the 1966 Nasir Hussain film Teesri Manzil, it was godsent for me.
RD Burman: Only I know how I managed to... shuru shuru mein Nasir sahib told me that Dev Anand is the hero but dates ka kuch chakkar tha... so Shammi Kapoor saheb ko sign kiya. Maine socha main toh gaya as Shammi’s favourite was Shankar Jaikishan. He was skeptical about me, but Nasir Hussain told Shammi - ‘pehle aap Pancham ko sun lo agar pasand nahin aaya toh SJ ko bula lenge’.
RD Burman: You know, Rafi saheb was Shammi Kaooor’s on screen voice, plus he was number one and Nasir Hussain was a Rafi fan, even then I had to work hard to get Aaja Aaja Main Hoon Pyaar Tera... . Asha was also nervous, she used to practice Aah Aah Aaja in her car, uska driver sochta tha madam ka gala kharab hai. Rafi ka range kamaal ka thha... khas kar Shammi par toh bilkul fit hota tha. Rafi ka woh gana O Mere Sona Re... aur Deewana Mujh Sa Nahin... woh toh sirf Rafi hi kar sakta tha.
RD Burman: Wahi toh keh ra ha hoon, it depends on the heroes also, kis hero par kaun singer fit baithega. Rajesh Khanna par Kishore was perfect.
RD Burman: Rafi saheb toh ek hi tha... maine unke saath 100 gana banaya... and he was the best... God gifted.
RD Burman: Yes, Kishore dost tha lekin Rafi saheb toh guru thhe. I have been seeing him singing when I was a kid. Dada ke liye, pehle Dev Anand ke liye Rafi saheb gaate thhe.
RD Burman: Again it was a Nasir Hussain film. Jeetendra thha, but I used Rafi and Kishore in Pyar Ka Mausam for the same song - Tum Bin Jaun Kahan... you judge yourself.
RD Burman: Kati Patang... uske pehle bhi Rajesh Khanna ka ek picture kiya thha, Baharon Ke Sapne, Chunri Sambhal Gori... Manna De ne gaya thha, usi waqt Padosan bhi kiya thha.
RD Burman: Nahin, Bhoot Bangla was fun but Padosan was a seriously made comedy film. Kishore was the best choice for the movie and dekho Kishore aur Manna De ne how perfect they were.
RD Burman: Not exactly, for him I was his assistant and had to learn a lot...
RD Burman: Amar Prem, Dada really felt proud. I got him to sing one song also, Doli Mein Bithai Ke Kahan.... When he heard the song, Chingari Koi Bhadke... he was impressed, in fact he was present during the recordings of all songs of Amar Prem. My mother was very happy, when she asked my father about the music, Dada said - after all he is my son.
RD Burman: Yes, after Aradhana, I started working on Jawani Diwani, kaam toh karna thha, but yes gaane khoob chale.
RD Burman: It was Asha’s... neeche sur mein gaana is very difficult.
RD Burman: No, no... it was much later.
RD Burman: Much later...
RD Burman: Haan.
RD Burman: One thing is there, we are musically inclined to each other. Asha is coming today, ask her.
( I was thrilled, Asha was also coming here, I would try my luck to see if I could interview them together)
RD Burman: Anand Bakshi is great, he can write on any situation, soulful wordings. His words, aisa lagata hai ki wof sirf aap ke liye likh raha hai. Majrooh saheb ne bhi mere liye bahut likha... Caravan, Yaadon Ki Barat, Hum Kisi Se Kam Nahin, bahut likha, Mehbooba, Kudrat - both were on punarjanam, needed haunting tunes yet not horror, both movies starring Rajesh Khanna and Hemaji... Anand Bakshi ke saath toh kitne films kiye, Apna Desh, Sholay, Aap Ki Kasam. Uska range dekho gaana likhne ka... very passionate... situations ko samjhta hai, tune ko jaanta hai pakdta hai.
RD Burman: It comes naturally. I don’t sit with orchestra, bas aa jaata hai. Woh Rajesh Khanna ki film thhi Mere Jeevan Saathi, that song - O Mere Dil Ke Chain... I was in the shower humming something, suddenly in a flash I got the tune, bahar aa kar tape recorder par record kiya, there are many songs which came as a flash.
RD Burman: Dabboo (Randhir Kapoor), usne Raj Kapoor saheb ko mera naam suggest kiya. Raj saheb ne bula liya.
RD Burman:
RD Burman: I had met Gulzar during Dada’s Bandini days, he wrote one song, later in 1972 in Parichay, usne ek mukhada diya, Musafir Hoon Yaaro Na Ghar Hai Na Thikana... Maine kaha go home, I’ll get the tune. Raat ko 1 baje maine phone kiya, gaadi lekar aa... let’s go for a drive and hum Bandra mein ghoomte rahe, dashboard par thak thak karte raha aur tune aa gaya.
RD Burman: Yes, Bhupendra is an awesome singer specially if it’s written by Gulzar. He understands the nuances of Gulzar’s poetry, bahut badhiya gaata hai lekin utna chala nahin and he is a great guitar player so he knows the tune. He played the guitar in Yaadon Ki Baarat.
RD Burman: I like all the songs but Kishore’s Musafir Hoon Yaaron... and Lata and Bhupendra’s duet Beeti Na Bitaye Raina... bahut unique hai. Phir Gulzar ke saath kiya - Aandhi, Khushboo. Ab Aandhi ke saath politics hua, I don’t know but it was a great experience working with Gulzar. Ab dekho, Dancing Jack (Jeetendra) ko kitna serious bana diya, gaane bhi chale aur film bhi.
RD Burman: I was recording Bengali pujo songs, Gulzar liked one song. There only he put it in Hindi words and bola, yeh gaana mera ho gaya - Tere Bina Zindagi Se Koi Shikwa Nahin...
RD Burman:
RD Burman: Yes, he wears only white colours and he calls me ‘Lal Kauwa’ because I love red colours.
RD Burman: Gulzar came to me with Mera Kuch Samaan... I got frustrated and told him that the only thing left for you to do now is get The Times of India to me to
set to music. Ironically, both Asha and Gulzar got the National Award for the song.
RD Burman: Yes, ab main demand mein nahin hoon, log synthesizers par music banate hain. I can’t do that, I need a full music arranger. I can’t cheat people, also I can’t sell myself. Sab ko pata hai main kya hoon, kaisa music banata hoon, ab toh woh singers bhi kahan hain.
RD Burman: We are still working on the songs. Kuch gaana hua hai, kuch dubbing baaki hai.
RD Burman: No, no, Vidhu had come with the idea for sentimental music. He wanted to create the musical aura of that era. I am trying to create it using folk, Rabindra sangeet etc.
RD Burman: It will remind listeners of the golden era of music, this I promise...
RD Burman: Only if I get Anand Bakshi to capture it in his words, moods, emotions that I want...
And thats the time Asha Bhosle enters, I had met her few months back, she had done her first TV interview at Gautam Rajyadakha’s house on the eve of her 60th birthday. Newstrack’s story was titled ‘Sexy At Sixty’. So I asked her if we could get her interview with RD together, she had just landed, finally both agreed.
Asha Bhosle: Hamari shaadi... ab hum toh 20-22 wale nahin thhe... hum dono mature thhe... music ka hamara rishta hai aur hote hote shaadi main badal gaya. Pancham jaante hain ki main kya hoon aur main jaanti hoon ki Pancham kya hain. Sur ka naata hai hamara.
Asha Bhosle: Pancham se puchhiye, bataao...
RD Burman: I used to send flowers anonymously. Ek baar recording kar rahe thhe. Main, Asha aur Majrooh saheb thhe, tabhi phoolwala bouquet de gaya aur inhone phool phenk diya, kaun bhejta hai yeh phool daily - I kept quiet, then Majrooh saheb told her - this is the culprit.
Asha Bhosle: Yeh mere peechhe pade thhe, Asha tumhara sur bahut achha hai, main tumhari awaaz par fida hoon. Finally, kya karti? Ok, kar diya.
MK Jha: What were the reactions from your sister, family?
Asha Bhosle: Didi ne aaj tak iss baare mein kabhi kuch nahin bola, na mujh se, na Pancham se.
Asha Bhosle: Bahut hain, Pancham mere liye jazzier zyada karte thhe, very complicated. Ek tha The Burning Train, Parveen Babi ka - Teri Nazar Hai Mujh Pe... Caravan ka Daiyyan Ye Main Kahan Aa Phasi..., Piya Tu Ab Toh Aaja... The Train ka O Meri Jaan Maine Kaha. But, my all time favourite is Do Lafzon Ki Hai Dil Ki Kahani....
Ek baar hum car mein jaa rahe thhe Khandala, ya pata nahin kahan. Pancham dono pair seat par rakh kar baithe thhe aur car ki chhat par fingers se baja rahe thhe, wahi se tune mili - Khullam Khulla Pyaar Karenge Hum Dono..., yeh shaadi se pehle ki baat hai.
RD Burman: Dono ka comparison nahin ho sakta. Dono supreme singers hain. Ab ek family se hain, sisters hain, toh log kuch bhi bolte hain. Ab dekho, Monica O My Darling... is still popular aur Naam Gum Jaayega... is equally popular. Both sisters have their distinctive qualities and I use them in my music.
RD Burman: Everyone wanted contemporary trendy music...
RD Burman: Kaam dena bandh kar diya thha, but I don’t have regrets, let people judge.
(At The Quint, we question everything. Play an active role in shaping our journalism by becoming a member today.)