AB: Anil Biswas
TB: Tushar Bhatia

AB: namashkaar! is shrinkhalaa mein ab main baap beTe ki baat karoonga. pehle main Sachin da ki baat karoonga, phir main Rahul Dev Burman ki baat karoonga, jisko main hamaare yug ke aaKhiri diya hai jo bujh gaya hai, lekin uske jaisa ‘all rounder’, yaani sarva guN sampanna jisko kehte hain hindi mein, waisa aur hoga nahin. ab main mere bahut puraane dost, baDe magar puraane dost Shri S D Burman, yaani Sachin Dev Burman ke baare mein kuchh bolna chaahta hoon. ek baat main tumko bataana chaahoonga ki main, Sachin da aur Saigal, ham teeno ek ‘company’ ke ‘artistes’ the, Hindustan Musical Products & Varieties Syndicate Limited.

TB: Kalkatte mein?

AB: Kalkatte mein. main 1932 ki baat kar raha hoon, ham teeno bahut dost the aur teeno ek dam ‘last’ nikalte the aur ek saath chal ke apne apne ghar jaate the. unhone teen Khaas kism ke cheezon ko hindi filmon mein laaye. haalaanki Borisal ke taraf ke ‘folk’ pehle ham leke aaye the, aur uske baad ye Tripura zila ke jo Khaas ‘folk’ ke rang hai, aur ek leke aaye jo unka apna ek rang tha, aur ek unhone aur hamne, dono ne, rachana ke jo baap hain Rabindranath Tagore, unse thoDa thoDa liya hai, aur keertan ka rang, jo unhone bhi liya hai, hamne bhi liya hai, dono paagal the uspe, “mora gora rang lei le”

TB: aa ha ha

AB: subhaan allah! laajawaab gaana hai! keertan ang ka gaana hai. do aadmiyon ki aawaaz sun kar meri aankhen khud ba khud band ho jaati hai ki inko aankhon se, kaano se nahin, dil se suno. ek hai Mehdi Hassan, jab Gazal gaata hai, aur ek hai S D Burman, jab wo apni aawaaz mein gaata hai na, apne aap hi aankhen band ho jaati hain. unki aawaaz mein unhi ka ek gaana suno, bol hain “sun mere bandhu re”, Sujata film hai aur wo Khud gaa raha hai.

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Song: sun mere bandhu re (Sujata)
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AB: ab gurudev ko usne apnaaya hai aur kaise apnaaya hai uska ek rang tumko dikhaana chaahta hoon. ek gaana hai unka “aise to na dekho”. iska mool gaana gurudev ka hai, (sings) “aami tomaay joto shuniye chhilem gaan aami tomaay joto…”. aise tha gaana, Sachin da ne kya kiya, off (sings) “aise to na dekho”. yeh Sachin da ki Khoobi hai. yeh Khoobi hamaare tumhaare liye Khaaseeyat rakhti hai, ‘composers’ ke liye, ki kisi ka rang agar lo, to uska rang agar laal ho to kaalaa kar do, aur ana banaa lo is tareeke se.

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Clip: aise to na dekho (Teen Deviyan)
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AB: ab shaabaash baap ke shaabaash beTe pe aate hain, jinke liye ek shabd main keh sakta hoon ki ‘laajawaab!’ aur uska naam hai Rahul Dev Burman. jisko log Pancham ke naam se jaante hain, kya Khoobsoorat naam hai na Pancham? aisa ‘allrounder’ na huya hai kabhi na hogaa. That includes his father, and myself and all the other music directors. main yeh cheekh ke kehna chahta hoon. aisa kabhi aur hoga nahin aur iske saath jo hai na hamaara yug Khatam ho jaata hai. dekho jis sahajta ke saath woh sanjeeda gaana tayyaar karta tha na, usi sahajta ke saath woh “aa aa aaja aa aa aaja” jaise saans waala gaana bhi tayyaar karta tha. yeh sab golmaal woh karta tha. ek ek karke tumko gaana sunaate hain na! pehle tumko sunaate hain “mitwa”. film Parichay ka gaana hai. yeh jo aawaaz hai na, thoDaa sa naak se, thoDaa sa gale se, aur thoDaa saa ‘bass’ lagaa ke, kyaa Khoobsoorat cheez hai, thoDaa saa naak to lagaana hi hai, dekho gaane mein kahin na ma aa jaayega, usmein naak to aana hi hai, lekin Saigal mein jo ek naakeeyat tha, jisko main kahoonga, woh baat Bhupendra mein bhi tha. aur kya baat hai uski aawaaz mein, meri zubaan ban ho jaati hai uski taareef mein, bas yeh gaana suno tum.

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Song: mitwa bole meeThe bain (Parichay)
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AB: yeh to ho gaya sanjeeda gaana. ab uski Khud ka suno. usne bahut kam gaaya hai lekin jahaan bhi gaaya hai na, usne sab ko baiTha ke rakh diya hai. aawaaz ko ek ajeeb kism se badal leta tha, aisa maaloom hota tha ki koi KhoonKhaar sher jo hai na woh Gurra raha hai. woh gaana hai film Sholay mein (sings in Pancham’s style) “mehbooba mehbooba”. woh gaana sunaao bhai, mujhse to hoga nahin!

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Clip: mehbooba mehbooba (Sholay)
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AB: aur uske saath mein woh kya gaana hai, “aaja aaja main hoon pyaar tera”. bahut hi achchha gaana hai, aur usmein saans mein jo lay mein usne kiya tha na, main agar umra baDaa nahin hota na to main usko praNaam kar letaa.

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Clip: aaja aaja main hoon pyar tera (Teesri Manzil)
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AB: aur ek ‘last’ gaana jo main sunaane jaa raha hoon, usko phir usi sahajta se usne banaaya hai, film hai Amar Prem, aawaaz hai kishore Kumar ki, gaana hai “kuchh to log kahenge, logon ka kaam hai kehna”. jawaab nahin hai gaane ka aur bolon ka bhi!

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Song: kuchh to log kahenge (Amar Prem)
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END OF EPISODE 9

EPISODE-10
**********

AB: Anil Biswas
TB: Tushar Bhatia

TB: shrotaaon namaskaar! daadaa, Rasikeshu ki nauvee kaDee tak aap film jagat ke kai naami sangeetkaaron se hamaara parichay karwa chuke hain, aur aaj aap kinke baare mein bataane jaa rahe hain yeh jigyaasa unke man mein bhi hai aur zaahir hai, mere man mein bhi hai.

AB: achchha, dasvee kaDee mein ham Roshan aur Madan Mohan ko lete hain, jo hamaare do bahut hi diggaj sangeetkaar huye. Roshan ke liye log kehte hain ki qawwali ka baadshaah hai. qawwaali ka baadshaah wo hai lekin mujhe Roshan ke sangeet se aisa lagta hai jaise kaano se dil ke andar madhu Tapak rahaa hai. Roshan mere peeTh peechhe aake baiThta tha, ek din main “kahaan tak Gham uThaaye ham” ‘tune’ kar raha tha, aur ye mere peechhe baiTha huya tha. to mujhe kuchh sisakne ki aawaaz aayi. to maine poochha ki kaun hai bhai? to kehne lagaa rote rote ki mujhse aisa gaana kabhi nahin banaaya jaayegaa. maine kahaa ki tu kaahe aisa baat karta hai, tu dilli se chalke aaya hai, aur mere paas baiTha huya hai, ek to tera aana vyarth hai aur yeh mera apmaan hai ki mere paas baiTha hai aur kehta hai ki mujhse nahin hogaa. main aaj yeh ailaan karta hoon ki tu ek din itna achchha ‘music’ degaa ki jab tak ‘film music’ bajta rahegaa tab tak log tujhe bhulaa nahin paayenge. Bawre Nain mein usne yeh siddha karke batlaaya ki haan aisaa hi tha. pehla gaana jo main sunaana chaahoonga woh Bawre Nain ka hai, aur Rajkumari ka gaaya huya hai, “sun bairi balam sach bol re ib kya hogaa”.

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Song: sun bairi balam sach bol (Bawre Nain)
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AB: achchha, ek jo Kidar Sharma ne mujhe ek maan diya tha, ‘climax’ ke ‘scene’ mein kuchh ‘music’ unko pasand nahin aa raha tha, Roshan ka, to usne kya kiya maaloom hai, woh jis gaane ke upar maine Roshan ko phaTkaara tha, “kahaan tak Gham uThaayen ham”, to usne kahaa ki ‘Anil, maine tujhe maan diya samajh yaa chori kiya jo kuchh bhi samajh, mujhe koi ‘music’ soojhtaa nahin tha, maine yeh “kahaan tak Gham uThaaen ham” usey ‘orchestra’ mein bajwaa ke maine ‘picture’ Khatam kar liya’. This was very great, bahut baDi baat thi. doosra gaana hai Chitralekha ka, Rafi ka, bahut hi achchha, bahut hi Khoobsoorat ‘tune’ kiya huya, “man re tu kaahe na dheer dhare”.

TB: shaayad yaman pe aadhaarit hai

AB: Khaas karke

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Song: man re tu kaahe na dheer dhare (Chitralekha)
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AB: teesra gaana main sunaana chaahoonga zabardasti, woh gaana hai “teri duniya mein dil lagta nahin waapas bulaa le”. usko maalik ne uThaa hi liya. bahut dukh hai is baat ka magar gaana sun lo.

———— ——— ——— ——— ——— —
Song: teri duniya mein dil lagta nahin (Bawre Nain)
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AB: ab isi kaDee mein Madan Mohan ka bhi main naam lena chaahta hoon, Madan Mohan, jo Gazal ka baadshaah kehlaate the. Madan ka ‘music’ mujhe bahut pasand tha, lekin Madan ka aur mera itna mel milaap nahin tha jitna ki Roshan ke saath. Madan jab bhi kuchh karta tha kuchh alag hi haT ke karta tha. uski Gazlen bhi alag hoti theen. jahaan pe ek jagah usne Ghalib ko leke shuru kiya, aur phir usko geeton mein Dhaal diya.

TB: jee bilkul! film Mausam ka woh geet “dil DhoonDtaa hai phir wahi fursat ke raat din”.

AB: magar mujhe Gazal ke siwaay aur bhi gaane pasand hai wo tumko main sunaa deta hoon. “phir wohi shaam wohi Gham wohi tanhaai hai”.

TB: “dil ko samjhaane teri yaad chali aayi hai”

AB: tumko to maaloom hi hai

TB: arey mera ‘favourite’ gaana hai

AB: shrotaaon ko bhi sunne do, Talat ka gaaya huya.

———— ——— ——— ——— —-
Song: phir wohi shaam wohi Gham (Jahan Ara)
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AB: Madan ki main jitni taarif karoon utni kam hai, woh kaun si ‘picture’ mein uska woh gaana hai “mataae”?

TB: “ham hain mataa-e-koochaa- o-baazaar ki tarah”

AB: Dastak kaa gaana. ab woh gaana sunte hi mere rongTe khaDe ho jaate the. aur seedhee seedhee yeh bhairavi mein hai, aur bhairavi ek sadaa suhaagan raag hai, kabhi bhi tumko naaraaz nahin karegaa, kabhi tumko niraash nahin karegaa. tum usko virah mein piro lo, aanand mein piro lo, kuchh bhi kar lo, aur Madan, phir dekho unka woh gaana “mera saaya saath hogaa”.

TB: nand mein hai jo

AB: aa haa, kyaa Khoobsoorat gaana hai us raag mein, aanandi mein! koi jawaab hai? achchha yeh main kahoonga ki shaayad usko kuchh Gussa aaya thaa yaa rashq aaya tha ki Anil Biswas de sakta hai to main bhi de sakta hoon.

TB: achchha (laughs)

AB: is tarah se uska kehna tha. jo bhi ho cheez to achchhi aayi hai!

TB: jee

AB: sangeetkaaron mein unka naam, jitne bhi baDe sangeetkaar hain na unke saath mein unka naam likha jaayega, ismein mujhe bilkul bhi shaq nahin hai. iske baad doosra gaana hai “teri aankhon ke siwaa duniya mein rakha kya hai”. Chirag film ka gaana hai yeh aur Rafi ne gaaya hai.

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Song: teri aankhon ke siwaa duniya mein (Chirag)
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END OF EPISODE 10

EPISODE-11
*********

AB: Anil Biswas
TB: Tushar Bhatia

TB: Rasikeshu shringkhalaa ki in kaDiyon mein ham vikhyaat sangeet nirdeshak shri Anil Biswas ji se baat karte chale aa rahe hain. aaj bhi hamaare saamne Anil da maujood hain. daadaa, aapka swaagat hai praNaam!

AB: jeete raho, aur hamaare tamaam sunnewaalon ko bhi ham namashkaar karte hain.

TB: aaj tak to ham Rai babu, Pankaj babu, Kamal Dasgupta ji, Khemchand Prakash ji, Vasant Desai saahab, C Ramchandra, Naushad saahab, Roshan saahab, Madan Mohan, in sab ka ‘music’ sunte aa rahe hain. aaj dada aap kiska ‘music’ bajaane wale hain?

AB: Tushar, suno. iske pehle hamaare do ‘episodes’ mein ham ek martaba do pahalwaan, do baap beTe, aise do do karke liye the na?

TB: jee

AB; ismein bhi ham do aadmi ko lenge. un logon ka unmaan hogaa do mahaa paagal sangeet premee. aur do aise log hain jo apne ko saani naheen rakhte. ye do, Nayyar Nayyar hain, Salil Chaudhury Salil Chaudhury hain, in dono ne apni apni jagah alag alag cheezen dee hain aur do bilkul alag.

TB: jaise swayam wo hain

AB: bilkul swayam wo hain

TB: dada, Nayyar saahab ki to Khaas baat hai

AB: dekho, Nayyar ki jo ‘music’ ka ‘character’ hai na, jinse log jaante hain unko, aur ham aisa gaana lenaa chaahte hain jis gaane se Nayyar saahab Nayyar saahab bane. woh Aar Paar ka hai na “yeh lo main haari piya”

TB: aa ha ha, woh bhaDakti huyi ‘rhythm’ aur Geeta ji ki shoKhi bhari aawaaz.

AB: bahut bahut achchhi hai, usko sunaa do.

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Song: yeh lo main haari piya (Aar Paar)
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AB: ham yeh naheen bhoolenge ki O P Nayyar saahab sirf aise hi karte the. unka ek sanjeeda gaana bhi main sunaana chaahoonga jo mujhe bahut prabhaavit kiya hai. woh gaana hai “chain se hamko kabhi”, yeh gaana suna do. aur ham Nayyar saahab ko namashkaar hi karenge, woh hamse chhoTe hain

TB: wo aapko guru maante hain

AB: ham unko yahaan se namashkaar karenge ki ‘hello OP, tum kaise ho?’ aasha karta hoon ki sunenge.

———— ——— ——— ——— ——— ——-
Song: chain se hamko kabhi aapne jeene na diya (PJPVNJ)
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TB: ab dada, kuchh Salil da ki baaten hon?

AB: haan ye doosra paagal hai. maine to pehle hi kahaa hai ki in logon ka koi saani naheen hai. main jaise yeh kahoonga ki Sachin da ne jaise aawaam ko lok sangeet se parichit karwaaya hai, yeh aadmi, main laDkaa hi kahoonga, ki mere saamne laDka hi tha, yeh aadmi hamko aur hindustaan ke logon ko ‘western music’ ke jo daayare hain na, usse parichit karwaya hai.

TB: bilkul bilkul

AB: uska pehla gaana tum sunoge to tumko pataa chal jaayegaa, Mozart ka ‘symphony’ hai, film Chhaya ka yeh geet hai “itna na mujhse tu pyaar baDhaa”.

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Song: itna na mujhse tu pyaar baDhaa (Chhaya)
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AB: aur doosri taraf ‘Indian Classical Music’ aur North Bengal aur Assam ke ‘folk music’ ka bhi kya sundar prayog unhone kiya hai. to chalo jaldi jaldi do aise geet sun lete hain. pehla gaana hai ‘classical based’, film Parakh se, “o sajnaa barkhaa bahaar aayi”.

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Song: o sajnaa barkhaa bahaar aayi (Parakh)
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AB: aur doosra gaana hai film Madhumati ka, “chaDh gayo paapi bichhua”. kitna sundar pahaaDi lok sangeet kaistemaal Salil ne kiya hai is gaane mein. isko sunaa do.

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Song: chaDh gayo paapi bichhua (Madhumati)
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END OF EPISODE 11

EPISODE-12
*********

AB: Anil Biswas
TB: Tushar Bhatia

TB: Rasikeshu, is shringkhalaa mein ek baar phir varishTh sangeetkaar Shri Anil Biswas ji ka swaagat hai.

AB: ham namashkaar karte hain.

TB: dada, pichhle kuchh dino se aap anek sangeetkaaron aur unki visheshtaaon ke baare mein bataate chale aa rahe hain, aur mujhe vishvaas hai ki shrotaaon ko bhi meri tarah bahut hi mazaa aa raha hai.

AB: mujhe itna achchha lag raha hai ki main beeta huya kal hoon, aur tum aaj ho, main tumhaari baat sun raha hoon, mujhe kuchh mil raha hai, tum meri baaten sun rahe ho, tumko kuchh mil raha hai. aur sunnewaalon ko (laughs) dono ke paas se kuchh na kuchh to mil hi raha hoga. aaj ham jin logon ko yaad karne waale hain wo praNamya hain, ham praNaam karte hain dono ko, haalaanki dono hamaare se umar mein chhoTe hain. umar mein chhoTa hone se kuchh naheen hota hai, jo praNamya hain, unko praNaam karne mein koi kharaabi naheen hai. ye log hain, ek hai Sajjad, aur ek hain Jaidev. dono ko ham mahaa sangeet nirdeshak kehte hain. ye log ek ek ‘school’ hain.

TB: dada, Sajjad saahab ki kuchh yaaden?

AB: hmm yaad to hai. maut se pehle unse meri baatchit to hoti thi. wo keh rahe the ki ‘dada, main to naheen aa sakta hoon, agar takleef na ho to aap mere yahaan aa jaaiye’. aur kai martabaa gale lag jaaiye ki ‘aap jab chale gaye to itni takleef huyi ki ek hi aadmi jisko ham kuchh izzat ki nazar se dekhte the, aap chale gaye to bahut Kharaab lagaa mujhko, aur is baar jane se pehle mujhse milke jaaiyegaa aap’. aur yeh baat karne ke baad wo uparwaale se milne ke liye chale gaye. aur woh naheen huya, uska mujhe man mein zaroor dukh hai, jo main bataa naheen saktaa. do gaane main unke sunaanaa chaahta hoon, do in do gaano ka, unka jo ‘school’ hai, woh pramaaNit ho jaayegaa agar sunnewaale dhyaan se sune to. ek pehla gaana main sunaana chaahta hoon jo Khaas “Sajjadian” hai, woh hai “badnaam mohabbat kaun kare”. is gaane ka jo aandolan hai na, uska jawaab naheen, laajawaab hai. chalo bhai, is gaane ko sunaao.

———— ——— ——— ———
Song: badnaam mohabbat kaun kare (Dost)
———— ——— ——— ———

TB: dada, Sajjad saahab ka ek aur gaana jo aaj tak logon ko yaad hai, “ye hawa ye raat ye chaandni”, yeh bahut mashahoor huya tha. aapne ab kaun sa geet chuna hai?

AB: jo mujhko achchha lagaa na woh ek rawaani hai, jisko kehte hain hawaa ka jhonkaa, yaa tum isko samundar ka tarang keh sakte ho. iska ‘revision’ jo unhone kiya hai na, jaise ek lahar ke baad ek lahar aanaa, woh gaana hai “dharti se door gore…

TB: …baadalon ke paar aaja”. yeh to Geeta ji aur Asha ji ka ‘duet’ hai

AB: isko is tarah se unhone sajaaya hai, ‘divide’ kiya hai, woh ‘composers’ ke liye ek seekhne jaisi baat hai. to main to abhi gaya guzra hoon, tum logon ke liye hai, tum log ispe Gaur karna.

TB: zaroor dada

———— ——— ——— ——— ——— ———
Song: dharti se door gore baadalon ke paar aaja (Sangdil)
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TB: kya Khoobsoorat gaana chunaa aapne dada! doosra naam aapne Jaidev ji ka bataaya. to unki saangeetik pratibha ke baare mein kuchh bataaiye.

AB: main phir se kahoonga, ye bhi ek praNamya aadmi hain, unke dhun sunke, unke dhuno ko main praNaam karta hoon. main tumko ek baat bataata hoon, woh yeh, kisi ne mujhse yeh kaha tha ki dada, aapne to itne bahut kuchh kiya hai, aapko kaisa lagta hai koi gaana? maine kahaa ki itne saare gaane kiye hain to koi bhi gaana sunta hoon to yaad aata hai ki maine bhi kabhi is tarah se kiya tha, dhaivat hai to maine bhi is tareeke se kabhi kiya tha. to hamko rashk naheen hota ki hamne aisa naheen kiya. unhone kahaa ki aapko koi gaane ke liye rashq naheen hota hai? to main kahaa ki haan, mujhe ek gaane ke liye rashq hota hai ki haaye kaash main is gaane ki dhun ko tayyaar karta to main bahut Khush hotaa, jo sabke dilon mein, sabke zubaan pe hai! “allaah tero naam, eeshvar tero naam”. to woh gaana tum sab ne sunaa hai. lekin aaj main unke kuchh Khaas ‘composition’ sunaana chaahta hoon, aur wo sunaane se pehle main tumko yeh bataana chaahoonga ki unke aur mere dilee taalmel huya karti thi, woh yeh ki woh bhi naye naye ko pakaD kar laate the, aur unmein se jismein bhi aasha ki koi kiraN dikhaaee deti hai na, unko wo saamne kar dete the. aur kitni kamee reh jaati na, wo unko shaKhseeyat aur ‘tune’ se poora kar dete the.

TB: aapne bhi kai gaayakon ko pehle pahal gawaaya, Mukesh ji, Sudha Malhotra ji, Talat Mahmood saahab,

AB: Begum Akhtar ka naam mat bhoolo

TB: naheen naheen

AB: Begum Akhtar, Zohrabai, sabko hamne pehle pahal gawaaya hai, aur inhone bhi aisa kiya hai. ismliye maine in gaano ko chunaa hai. aur Gaman ke dono gaane hain, ek Suresh Wadkar se gawaaya hai, aur ek gaana Chhaya Ganguly se gawaaya hai. pehla gaana hai “seene mein jalan” aur Suresh Wadkar ne gaaya hai.

———— ——— ——— ——— ——— ——— -
Clip: seene mein jalan aankhon mein toofaan sa kyon hai (Gaman)
———— ——— ——— ——— ——— ——— -

AB: Suresh Wadkar, Chhaya Ganguly, ye dono us waqt naye the, aur ajeeb-o-Gareeb baat hai ki in gaano ko, aur in gaano ke racheyta Jaidev ji ko aur Chhaya ji ko President’s Award mila hai. mujhe Khushi isliye zyaada hoti thi ki jiskomain bahut maanta hoon ki Gazlen jo hain na, woh tarannum numaa honi chaahiye. Gazlon mein jo sher hain na, woh nikharke aata hai baahar. us tareeke se unhone Chhaya se gawaaya tha. aur phir usmein ek “Jaidevian” (laughs) chamak paidaa kar diya tha jisne sabko moh liya tha. aur maine yeh gaana kahaan sunaa maaloom hai? main us waqt Mussoorie mein tha. garmi mein main hameshaa Mussoorie chalaa jaata tha, ek hamaari dost thi, Kamla Lal, woh ab guzar gayi hai, unhone kahaa ‘Anil, tujhe aaj nayi aawaaz sunaa rahe hain’. aur unhone mujhe yeh gaana sunaaya tha aur wahaan pe baiThkar maine woh gaana sunaa tha.

———— ——— ——— ——— —–
Song: aapki yaad aati rahi raat bhar (Gaman)
———— ——— ——— ——— —–

TB: dada, is ‘haunting’ Gazal ke baad ab aap Jaidev ji ka kaun sa geet sunaayenge?

AB: main Jaidev ka wohi cheez sunaana chaahta hoon jo mere dil mein bhi ek chubhan Daal diya hai. tum samajh gaye?

TB: bilkul samajh gaya, “ek meeThee si chubhan”

AB: haan (laughs)

TB: Reshma Aur Shera

AB: haan, yehi gaana hai jo hamaare dil ko bhi chubh gaya hai.

———— ——— ——— ——— ——-
Clip: ek meeThee si chubhan (Reshma Aur Shera)
———— ——— ——— ——— ——-

EPISODE-13
*********

Rasikeshu, is shrinkhalaa ki aaj se prasaarit honew aali kaDiyaan hamaare atithi, suprasiddha varishTh sangeetkaar Shri Anil Biswas ke saath unki patni evam suprasiddha gaayikaa Shrimati Meena Kapoor se kee gayi baatchit par aadhaarit hongi. aap dono se baatchit kee hai yuvaa sangeetkaar Shri Tushar Bhatia ne.

AB: Anil Biswas
MK: Meena Kapoor
TB: Tushar Bhatia

TB: aap sabhi rasikon ko mera namaskaar! shrotaaon, ap sabko yeh jaankar prasannata hogi ki aaj se sangeet sarita ki is shrinkhalaa mein bhaag lene ke liye aayeen hain suvikhyaat paarshva gaayikaa shrimati Meena Kapoor ji, jo hamaare poojya daadaa, Anil da ki jeevan sangini bhi hain. Meena di aur Anil da, main apni or se aur apne shrotaaon ki or se is kaaryakram mein aapka haardik swaagat karta hoon.

MK: Sangeet Sarita ke shrotaa gaNon ko meraa pyaar bharaa namashkaar!

AB: mera bhi

TB: apne sudhi shrotaaon ki jankaari ke liye yeh bataa doon ki Anil da ke sangeet nirdeshan mein gaane se pehle Meena ji ne anya diggaj sangeetkaaron ke liye 62 gaane gaa chuki theen. yeh sangeetkaar the Sachin Dev Burman, Sajjad saahab, Madan Mohan ji, Roshan, ityaadi. Anil da, ab tak aapne apni pasand ke sangeetkaaron ki priya rachnaayen sunvaaee aur un sangeetkaaron ke baare mein hamein bataaya. doston, hamaare yahaan bahut saare diggaj sangeetkaar huye hain, koi Gazal banaane mein maahir to koi qawwaali banaane mein. koi yugal geeton ke pranitaa to koi chalte geeton ka raajaa. magar Anil da ne sangeet ke har roop ko baDi hi sahejta se aur saphalataa se apne rang mein Dhaalaa hai, chaahe woh Khayaal ang ho yaa Thumri ang, daadraa ho yaa Gazal, bhajan ho yaa lori, alag alag praant ke lok geet, desh prem ke geet, ‘theatre’ ho yaa samooh geet, praNay geet yaa saahitya ki koi bhi kriti, Anil da ki har rachanaa ek jeevant moorti ki tarah hai, har geet ki apni sugandh hai, apna saundarya hai, apni daastaan hai. main to kahoonga ki unka har geet apne aap mein ek misaal hai. bachpan se hi main aapka sangeet suntaa aa raha hoon aur uske maadhyam se hamesha mujhe aapke viraaT darshan hote rahe hain. aapki rachanaaon mein raag sangeet ka pravaah prabal hai, hameer, bihaag, darbaari, pilu, gaaraa, bhairavi, bahaar, in sabko aapne baht hi laakshaNiktaa se istemaal kiya hai, hai na?

AB: tum jab kehte ho to hogaa zaroor

TB: kyon na is shrinkhalaa ka ham ek Khayaal ang ke gaane se shuruaat karen jiski misaal aaj tak sangeetkaaron mein dee jaati hai? woh gaanaa, didi aapko bhi yaad hogaa Hamdard ka gaana.

MK: jee haa

TB: “hritu aaye hritu jaaye sakhi ri”

MK: bilkul, bilkul yaad hai

TB: jo dada aapne chaar raagon se banaaya tha

MK: jee haan, jaise gaur saarang, gaur malhaar, phir mere Khayaal se jogiyaa, aur phir bahaar.

TB: to sunvaa dete hain woh gaana

AB: haan sunaaiye

MK: zaroor sunaaiye.

———— ——— ——— ——— —–
Song: hritu aaye hritu jaaye sakhi ri (Hamdard)
———— ——— ——— ——— —-

TB: achchha didi, mujhe aapka gaaya huya ek aur gaana yaad aa raha hai.

MK: kaun sa?

TB: film Sautela Bhai ka, “laagi naahi chhoTe raamaa”

MK: o hoooo

TB: uske baare mein kuchh bataaengi?

MK: zaroor bataaungi. yeh gaanaa “laagi naahi chhoTe raamaa” raag jhinjhoTi par aadhaarit hai. main itna zaroor kehna chaahoongi ki isko gaate huye mujhe bahut hi mazaa aaya tha kyonki is gaane mein mera, chhoTa munh aur baDi baat keh rahi hoon haan, mera aur Lata ji, yaani Lata Mangeshkar ji ke saath baraabar ka Takkar lene ka mauka mila tha. ab ismein main kahaan tak saphal huyi hoon, yeh to main aap logon ke vichaar par chhoD deti hoon.

TB: to gaana sunvaa den.

———— ——— ——— ——— –
Song: ab laagi naahi chhoTe raamaa (Sautela Bhai)
———— ——— ——— ——— –

END OF EPISODE 13

EPISODE-14
**********

AB: Anil Biswas
MK: Meena Kapoor
TB: Tushar Bhatia

TB: Sangeet Sarita ke sabhi shrotaaon ko Tushar Bhatia ka namaskaar! shrotaaon, kal ham Anil da aur Meena didi se unki Khayaal ang ke rachnaon ke baare mein baat kar rahe the. aj ham kuchh Thumri aur daadre ang ke baare mein bolenge. dada, aapne Thumri aur dadra ke gaane bahut diye hain. aur didi aapko zaroor yaad hogaa, inka ek abhut mashahoor gaana mujhe yaad aa raha hai “tumhre kaaraN”.

MK: haaaaan. achchha achchha, Rajkumari ji ne gaaya tha.

TB: jee, kaisa tha didi?

MK: aisa naheen tha (sings) “tumhre kaaraN hamaar jiya jaaye jee…”

TB: waah didi. achchha dada, yeh gaana gaaraa mein tha na?

AB: gaaraa ang mein tha.

TB: aaj ki kaDi mein kyonki hamne Thumri aur daadra ang ke gaane liye hain, isliye dada, mujhe yaad aa rahi hai Begum Akhtar ji ki, jo Akhtaribai ke naam se bhi prasiddha theen. aapne unse bhi gawaaya tha. is baare mein kuchh bataayenge?

AB: woh baat aisi bani thi ki jab Roti ‘picture’ banne waali thi, to wo Mehboob saahab ne aakar bola ki Sardar Akhtar gaayengi. maine bolaa ki gaana phir waisa hi banegaa. to woh chiDh kar bole ki kya tujhe Akhtaribai Faizabadi chaahiye? maine kahaa mangwaa de.

TB: achchha?

AB: pataa naheen kya baat huyi ki Akhtaribai ko mangwa diya unhone. ye unki ‘heroine’ ke roop se ek hi ‘picture’ mein kaam kiya, uske baad unhone kaam naheen kiya. to unse maine sab kuchh gawaane ki koshish kiya tha, Gazal bhi, Thumri bhi

TB: daadra bhi hai usmein.

AB: Khayaal mkaine naheen gawaaya kyonki koi ‘chance’ naheen tha usmein Daalne ke liye. to maine unko maddenazar rakhte huye yeh gaana pehle shuru kiya tha, main gaake bataayun?

TB: jee jee bilkul!

AB: (laughs) mujhe to aayegaa naheen, baharhaal woh gaana tha (sings) “ulajh gaye nainwaa…”. yeh mukhDaa tha uska. aur Arzoo saahab kehne lage ki dekh ek tihaai banaake laaya hoon. “ulajh gaye nainwaa”, yeh ek tihaai banta hai. maine kahaa Theek hai. magar iske saath mein, yeh daadre ka ek roop hai, yeh mukhDaa ho gaya na, iske baad bahut Khoobsoorat Khoobsoorat sher aate hain. inmein se ek sher main paDhoonga hi paDhoonga

TB: jee zaroor

AB: isko suno, aur isko ulTwaasi kehte hain. ismein tha ki “kheen ras ki boond zara si jalti aag bujhaaye, jalti aag bujhaaye baalam bujhi aag dehkaaye”

TB: kya baat hai!

AB: ulajh gaye nainwaa chhooTe naheen chhuDaaye”

TB: aa ha ha

AB: yeh gaana tha, aur yeh gaana itna maqbool huya tha ki main bataa naheen saktaa. us waqt tum log bahut chhoTe…

TB: naheen us waqt main paidaa bhi naheen huya tha, baad mein maine Roti ‘picture’ jab ‘panorama’ huyi thi. usmein daadraa ke alaawaa kuchh Gazlen bhi theen.

AB: to chalo bajaao.

———— ——— ——— ——— ——–
Song: wo hans rahe hain aahen kiye jaa raha hoon main (Roti)
———— ——— ——— ——— ——–

TB: dada, Hamdard mein aapne bahut maqbool gaane, aur bahut Khoobsoorat kism ke gaane the, didi, aapko yaad hogaa!

MK: haan, mujhe to yaad hai.

TB: dada, aapko yad hai woh daadraa Manna da ka gaaya huya?

MK: haan woh (sings) “tere naina raseele kaTeele lacheele haaye raam…”

———— ——— ——— ——— ——— —
Song: tere naina raseele kaTeele lacheele (Hamdard)
———— ——— ——— ——— ——— —

TB: dada, ek daadraa ang ka gaana mujhe Khaas pasand hai, “matwaali naino waali ke main waari waari jaayun”. is gaane mein didi aapko yaad hoga ki mukhDaa kaharwa mein hai aur antaraa daadre mein hai.

MK: haan kuchh kuchh hai, haalaanki mujhe yeh gaana Khaas yaad naheen hai.

TB: yeh Beqasoor ka gaana hai.

MK: achchha

AB: main bataata hoon. yeh bhi daadre ka ek tareeka hai, ki ek lay mein shuru karo, phir doosre lay mein, jaisa unhone kahaa ki “tumhre kaaraN hamaar jiya jaaye”. uske baad phir unhone sher paDhna shuru kiya. aur phir tihaai ke saath aa jaata hai “tumhre kaaraN”. ismein bhi ek tareeka hai. alag alag tareeka hai khaas daadre ki. kuchh to dohaai se shuru karte hain.

TB: aisa to naheen ki daadraa sirf daadraa taal mein hota hai?

AB: naheen naheen naheen, daadraa ek ang ka naam hai bhai

TB: ek Khaas Banaaras ka, UP ka

AB: poorab ka kehte hain isko.

TB: achchha achchha

AB: ismein Banaaras aa jaata hai, Lucknow aa jaata hai. ismein ek Khaas tareeka hai ki mukhDe ko agar tum kaharwa mein gaa lo, to antaraa ko daadre mein karne ke baad mein phir laggi ke saath mein phir mukhDe pe aa jaao. ye sab seekh dene ke liye ham thoDe baiThe hain. gaana bajaa do agar tumhaare paas hai to. hamaare log bahut samajhdaar baiThe hain, wo Khud hi samajh lenge ki ismein kya baat hai.

———— ——— ——— ——— ——— ———
Song: matwaali naino waali ke main waari waari (Beqasoor)
———— ——— ——— ——— ——— ———

TB: shrotaaon, Anil da ne sangeet rachnaaon mein nit naye prayog kiye. aisa hi ek aur mashahoor geet hai jise Anil da ne zara haT kar banaaya tha. bol hai “tumhaare bulaane ko jee chaahta hai”. yeh geet aaj bhi bahut lokpriya hai. dada, iske baare mein kuchh bataayenge?

AB: woh aise hi tha, ki ham yahi chaahte the ki woh sunne mein Thumri mein, magar ho Gazal. to asal mein Gazal thi aur Thumri ang mein maine usko gawaaya tha.

———— ——— ——— ——— ——— -
Song: tumhaare bulaane ko jee chaahta hai (Ladli)
———— ——— ——— ——— ——— -

AB: isi tareeke se ek Thumri ko maine Thumri ke tareeke se hi gawaaya tha “beimaan tore nainwa nindiya na aaye”

TB: aa haa haa

AB: woh bhi Thumri ang ka gaana tha, magar woh Gazal naheen thi. yahi farjk hai dono geeton mein.

———— ——— ——— ——— ——— –
Song: beimaan tore nainwa nindiya na aaye (Tarana)
———— ——— ——— ——— ——— –

END OF EPISODE-14

EPISODE-15
**********

AB: Anil Biswas
MK: Meena Kapoor
TB: Tushar Bhatia

TB: Sangeet Sarita ke sabhi rasik jano ko Tushar Bhatia ka namaskaar! dosto, pichhli kuchh kaDiyon se is shrinkhalaa mein Anil da aur Meena ji se baatchit karte aa rahe hain. aap dono ko namaskaar! shrotaaon, kisi bhi gaane mein kaavya paksh bahut mahatvapoorN hote hain. agar kavita mein, bolon mein bhaavon ki gehraaee hai, to uske sangeet mein bhi gehraaee aa jaati hai. Anil da bhi ek aise sangeetkaar hain jinke rache geet saahityik geeton ki ksheNee mein rakhe jaa sakte hain. unke ek ek geet mein saahitya ka saundarya samaaya huya hai. asal mein inke geet saahityik drishTi se itne praaNvaan hain ki yeh jigyaasa uThti hai ki iske peechhe kya kaaraN hai? to kyon na Anil da se hi poochha jaaye.

AB: dekho iska kaaraN yeh hai ki, tumhe main bataana chaahoonga ki maine karm jeevan mein jab pair rakha tha na, to main ek ‘lyricist’ ke roop mein aaya tha, ‘lyricist-composer’ .

TB: achchha?

AB: aur tumko main bataa chuka hoon ki gurudev ka aashirvaad mujhe kaise mila huya hai. ab wo kavitaaen main bataane jaayunga to wo doosri baat ho jaayegi, magar saahitya mere paas meri maataaji se aayi. meri maa, mere ekmaatra guru maantaa hoon. uske baad sab, Rabindranath bhi hain. ek baat main kahoonga ki ek baar main ek gaana kahin se bhi uThaa liya na, aur usko hamne istemaal kiya to wo bhi hamaare guru ho gaye. duniya mein saare, dekho, seekhne ka koi ant naheen hai, aur duniya mein tum jisse jo seekho, usko guru maano.

TB: jee. didi, aapko yaad hogaa ki dada ne bahut baDe ‘writer/poets’ ke saath kaam kiya hai Arzoo Lucknowi saahab, Dr Safdar Aah, Pt Narendra Sharma ji, Sahir saahab, Shailendra, Prem Dhawan ityaadi, dada inke saath apkaa kya sorf film ka ‘relation’ hota tha yaa kuchh uThna baiThna bhi hotaa thaa, charchaayen bhi hoti theen?

AB: filmon mein aane ke baad main saahitya ko bahut ‘miss’ kar raha tha. to apne aap ko bachaane ke liye aur mere andar chhoTaa sa ek jo saahityakaar baiTha tha na (laughs), usko bachaane ke liye hamne kuchh aisa kiya tha, hamaare ghar mein ek manDali baiThte the jiska naam tha ‘ravivaasar’ . har itvaar ko ham kuchh log aise mil baiThte the, jo kavi bhi hai aur hamaare saath man ka mel bhi hai, dost bhi hai. aur us din hamaari baat yeh hoti thi ki ham aaj film ki baat naheen karenge.

TB: achchha achchha

AB: samjhe? is ‘ravivaasar’ mein aise aise log aaye, tumko kya bataayen, yeh hamaare liye jeevan ka ek hissa ho gaya. sabse baDi baat yeh huya ki in logon ke saath reh kar maine un logon ko bhi seh liya jo sehneeya naheen the. har itvaar ko, kaafi samay tak yeh silsila chalta raha, jahaan pe ham log Geetaa

MK: Ramayan

AB: Ramayan, Mahabharat, Khalil Gibran, Rabindranath Tagore, haan J Krishnamurthy, in sabko leke ham charcha karte the.

TB: dada, us din aap Kabeer saahab ka ek dohaa bhi sunaa rahe the!

AB: Kabeer ko main ‘the greatest’ log kavi, aur uspe ‘greatest’ falsafaa, zindagi ka falsafaa. aur woh mauji bhi the. yaani apne baare mein mazaak karne mein unka saani naheen tha. to unhone ek baar aisa keh diya, Amritlal Nagar ne mujhe ek baar sunaaya tha, ek doha to dil mein baiTh gaya. wo kehte the ki “joochhenge to kahenge abahoo kahaa na jaaye, kaa jaane man maskaraa laDe kidho bhagi jaaye”

TB: aa ha

AB: waah, kya baat hai! mujhe abhi jee karta hai ki bas Kabeer hi sunaata rahoon.

TB: dada, ek aur doha tha jismein Surdas, Tulsidas, in sabka zikr tha.

AB: yeh kahaavat hai, kisi ne yeh kahaa hai, kavita bhi kaha hai ki “khari baat so julaahaa kaheegaa”, ‘kaheegaa’ ka matlab ‘keh gaye’, “anyas kahe anooThi”, ‘anooThi’ matlab Surdas ji. “bachi khuchi so gusaiya kaheegaa”, yaani Tulsidas ji, “bachi khuchi so gusaiya kaheegaa, aur baaki sab jhooThi”.

TB: shrotaaon, main aapko bataana chaahoonga dada ke sangeet ki Khaas baat, aur Meena ji to iski gawaah reh chuki hain, ki dada jis shabd ko dhun mein baandhte hain, us shabd ki ‘feeling’ unke sangeet se tapakti hai. jaise shabd alag hain, waise unke antare alag hote hain, har shabd ka uchchaaraN, uska ‘meter’, uski kahaan saans lene ki jagah, ye sab Meena ji to saamne baiThi hain aur gawaah reh chuki hain, baharhaal, ek gaanaa saahitya ka jo bahut Khoobsoorat hai aur aapki dhun hai. Meena ji, aapko yaad hogaa!

MK: kaun sa?

TB: “main unki ban jaayun re”

MK: o ho ho, yeh to mera bahut hi pyara gaana hai, yaani Parul ji, didi, Parul Ghosh.

TB: Pt Narendra Sharma ji ka likha huya. dada, ismein Khaas ‘line’ kaun si hai jo Tees uThaati hai?

AB: bas yahi baat main kehna chaahta tha ki jis gaane mein Tees uThaane waali koi baat naheen ho, us gaane ko main sweekaar naheen karta tha. to ismein pehla gaana Narendra Sharma ka, Bombay talkies mein mere saath. samjhe? aur usmein Tees uThaane waala jo ‘line’ tha na, woh yeh tha ki “main man hi man ang lagaayun door haDi sharmaayun”

MK: aah

AB: “main unki ban jayun re, main unki ban jayun”

———— ——— ——— ——— ———
Song: main unki ban jayun re (Hamari Baat, 1943)
———— ——— ——— ——— ———

TB: didi, main iska jawaab aapse chaahoongaa, maine sunaa hai ki ‘dada is a task master’

MK: ‘He is’

TB: unke gaano se bhi zaahir hota hai, aur uchchaaraN, anuswaar

MK: bilkul

TB: kahaan pe deergh hai kahaan arasva hai, kahaan pe hakaar aana hai, kahaan pe akaar aana hai, kahaan pe ‘nasal’ hai, kahaan pe khulaa hai, ye sab dada ke us fitrat ki gawaah hai jo saahitya mein Doobe huye hain. to did, bataaiye ki aap dada se gaane seekhte waqt kis tarah se aap ne kaam kiya?

MK: matlab, maine?

TB: jee

MK: (laughs) main auron ke baare mein to naheen bataa sakti hoon lekin main bahut ‘impatient’ hoon, woh kuchh bataane se pehle hi main kuchh soch ke, yaa kuchh sun ke, unke kehne se pehle hi seekh leti thi.

AB: baat aisi thi ki main auron ko seekhaata tha aur ye usse pehle hi seekh leti thi.

MK: naheen naheen, aisi baat naheen hai, kyonki main bahut ‘impatient’ hoon ‘by nature’, isiliye kabhi kabhi koshish karti thi ki kahin se gungunaakar. ..

AB: baat aisi hoti thi doosre din agar main us gaane ke leke agar baiThaa, to kabhi kabhi aisa hota hai ki kal jo seekhaya aaj kuchh doosre tarah ka ho gaya, to ye dauD ke aati thi, kehti thi ‘aisa naheen tha, kal aapne waisa seekhaaya tha’ (MK laughs). to unko kaise yaad rehta tha mujhe bhi taajub hota tha.

MK: Khair wo kaam to mujhe ab bhi karna paDtaa hai.

TB: mujhe yaad aa raha hai ek gaana, haalaanki jo bhaarat ki pehli dhaaraavaahik, doordarshan pe thi, Humlog.

MK: achchha Humlog!

TB: jismein aapne gaana gaaya tha ‘title music’ bhi, aur bhi kuchh gaane gaayeen theen, aur dada ka bahut Khoobsoorat ‘music’ tha, woh Faiz saahab ka kalaam tha. kuchh aapko yaad hai to kuchh hamare liye…

MK: achchha achchha woh… (sings) “aaiye haath uThaayen, ham bhi, ham jinhe rasm-e-duyaa yaad naheen, ham jinhe soz-e-mohabbat ke siwaa koi but koi Khudaa yaad naheen, aaiye haath uThaayen, ham bhi”.

AB: to Tushar ji, aap sangeetkaar hain, sangeet digdarshak bhi, ismein poore ke poore bhairavi mein kehen ke baad mein “aaiye” kaa shuddha dhaivat aapko kaisa lagaa?

TB: kya baat hai dada, main kya kahoon! mujhe gurudev Rabindranath Tagore ki kavita yaad aa rahi hai “aami obaak hoye shuni tumi kemon kore gaan koro he gunee”.

END OF EPISODE-15

EPISODE-16
**********

AB: Anil Biswas
MK: Meena Kapoor
TB: Tushar Bhatia

TB: shrotaaon, baatchit chal rahi thi saahitya ki. main aapko bataana chaahta hoon ki Bangla, Hindi aur Angrezee ke alaawaa Urdu saahitya ka bhi Anil da ne gehra adhyayan kiya hai. dada, kal batchit ke dauran zikr aaya tha Faiz Ahmed Faiz saahab ka. to kripaya unke baare mein kuchh bataaiye.

AB: ab tum Faiz ka naam mat lo, main ro paDoonga. main tunko ek baat bataata hoon. Faiz ki aur hamaari dosti jo thi na, uspe log rashk karte the. Faiz yahaan pe aata tha, yaani Delhi, log unko poochhte the ‘aap aaj kahaan jaayenge, aapka ‘programme’? ‘ ‘dekhiye aaj main JNU mein kuchh ‘lecture’ dene jaa raha hoon’. aur wo aake baiThte the hamaare ghar mein. ‘aaj thoDaa sa gaana bajaana ho jaaye! wahaan pe sookhi sookhi baaten karni paDegi, sookhe sookhe log hain, mujhe achchha naheen lagta hai’ is kism ki baaten karte the. ek zamaana tha jab main gaana gaaya karta tha. yeh kehte huye mujhe sharm aati hai (laughs)

TB: naheen dada, aapke kitne saare ‘records’ hamaare paas hain.

AB: main gaa naheen sakta iska mujhe dukh hai. ek shaam maine Shaam-e-Faiz kiya tha. to dekho kitna ‘humorous’. ham baDi door tak Faiz ko gaate huye chale gaye. beech mein jab ruke to Faiz ne kahaa ki ‘Anil, doosre kisi ka Gazal gaayo, kyonki daad dene ko jee karta hai, main apni Gazal pe kaise daad doon?’ aur woh raat to poori kaT gayi. doosre din hamne naashta kiya, aur maine kahaa ‘ab to main tumko ‘plane’ mein biThaa ke hi ghar jaayunga, usse pehle ghar naheen jaayunga’. aur waisa hi huya. wahaan pe jis ghar mein gaana bajaana hota tha, Khaas kar do ghar the, ek ghar mein main kirtan gaata tha, ek ghar mein main Gazal gaata tha. ek mein chandan ki Khushboo aur ek mein jaafraan ki Khushboo.

TB: kya baat hai!

AB: asal mein kya huya, woh gaana gaate gaate savera ho gaya aur jinke ghar mein gaate the na, unke nam the ??? Bilgrami aur Mariam Bilgrami. unke bagair, maine Gazal ka jo ‘anthology’ likha hai na, wo unke bagair mumkin naheen ho sakta tha. unhone mujhko Urdu se pehchaan karwaya. aur unke gehraaiyon tak jaane ke liye bahut tayyaari kiya tha. to unke ghar Gazal gaata tha. aur main falaana falaana falaana, gine chune logon ko bulaa kar unko saamne biThaa deta tha aur unki aankhon mein dekh kar gazal gaayo.

TB: bilkul bilkul!

AB: jinko ahd-e-zabaan aur ahd-e-mauseeqee, dono ki samajh ho, samjhe na?

TB: jee jee

MK: aap Khaas kar ke yeh Gazal gaate the na, (sings) “tere Gham ko jaan ki talaash thi, teri jaan nisaar chale gaye”.

AB: Faiz ko jab ham chhoDne gaye, Mariam ne poochha ki ‘aapne itne Gazlen sune, itni saari baaten aapne kee hai, dada ke baare mein kuchh naheen kahaa?’ aaj main tumko woh cheez kehne waala hoon jo main amuman kehta naheen hoon ki usmein apna ‘trumpet’ bajaana hota hai, apna Dhol bajaana hota hai.

TB: naheen

AB: magar yeh main tumko kahoonga to tumko pataa chalegaa ki Faiz mein aur mujhmein sambandh kaisa tha, aur meri Gazal gaane ki jo shaili hai na, usko kya ahmeeyat dete the. to Mariam ne kahaa ki ‘aapne sab ke baare mein itna kahaa, dada ke baare mein kuchh naheen kahaa’, to Faiz bahut dheere se bolta tha, ‘haan haan bhai kahenge kahenge, unke baare mein bhi kahenge, ab aisi baat to naheen hai ki bas itna kehke chhoD de ki aap ne bahut achchha gaana gaaya, aapne bahut achchhi tareeke se gaaya, aapke talaffuz bahut achchhi hai bangaali hone ke baawjood, yeh sab kehnewaali baaten hain, unke baare mein bhi kahenge’. ye sab kehkar wo chale gaye. aur jaane ke baad Mariam ke paas unhone chiTThi likhi aur usmein likha ki yeh Anil ke liye hai. yeh mere paas unki hastaakshar mein “mohabbat se, Faiz” likha huya, mere paas abhi bhi maujood hai. unhone yeh kahaa tha ki “har ek harf-e-tamanna is istaraar mein hai, ki phir naseem ho darbaar-e-yaar- e-bandaa nawaaz”. iske baad mere baare mein kahaa “har ek Gazal ka safeena is intezaar mein hai, ki aaye misl-e-sabaa phir Anil ki aawaaz’. ‘sabaa’ ka matlab…

TB: waah

AB: iske baad mein main Gazal gaane ke baad mein kabhi kisi se daad naheen maangta hoon. yeh harf-e-aaKhir ho gaya hamaare liye to. samjhe na?

TB: jee. dada, aapki sangeet rachnaaon mein Gazal ki adhikta hai, aur isi baat par mujhe raag bhairavi par aadhaarit film Milan ki ek gazal yaad aa rahi hai. “jisne banaa dee baansuri geet usi ke gaaye jaa”. didi, yeh Parul ji ka hai?

MK: haan, Parul ji ka.

TB: dada iske baare mein kuchh kahiye.

AB: iske baare mein itna hi kehna chaahoonga ki Arzoo saahab ne 22 Gazlon ka ek sangrah likha tha, uska naam tha ‘Sun le Baansuri’. usmein kisi bhi Gazal mein unhone Arbi, faarsi, kisi bhi shabd ka istemaal naheen kiya, uski pehli Gazal yeh thi “jisne banaa dee baansuri geet usi ke gaaye jaa, saans jahaan tak aaye jaaye ek hi dhun bajaaye jaa”.

MK & TB: aa haa haa haa

———— ——— ——— ——— —–
Song: jisne banaa dee baansuri (Milan, 1946)
———— ——— ——— ——— —–

TB: dada, jaise ki aapne bataaya, yeh Gazal to Arzoo saahab ke deewaan se thi, isko aap ne film mein kaise istemaal kar liya?

AB: woh Arzoo saahab se haath joD kar ke, wo mujhse bahut pyaar karte the. bole ki ‘beTaa, tum maangoge, main naa kaise kar sakta hoon!’ aur phir maine unse aur bhi gaane likhwaaye the Milan ‘picture’ mein. “suhaani beriyaa beet jaaye” tumko yaad hogaa.

TB: bilkul yaad hai

AB: agar ho sakta hai to woh gaana bhi sunaa denaa.

———— ——— ——— ——— ——-
Song: suhaani beriyaa beet jaaye (Milan, 1946)
———— ——— ——— ——— ——-

END OF EPISODE-16

EPISODE-17
**********

AB: Anil Biswas
MK: Meena Kapoor
TB: Tushar Bhatia

TB: shrotaaon ko Tushar Bhatia ka namaskaar, aur namaskaar Anil da ko, Meena di ko.

AB & MK: namashkaar!

TB: dada, zikr Gazal ka chal raha hai, aur ek Gazal mujhe aap ka bahut pasand hai, agar ijaazat ho to sunvaa doon?

AB: bajaa lo, haan.

TB: shaayar hain Prem Dhawan, film hai Badi Bahu.

———— ——— ——— ——— ——— ——–
Song: badli teri nazar to nazaare badal gaye (Badi Bahu)
———— ——— ——— ——— ——— ——–

TB: dada, yeh koi Khaas raag tha?

AB: jab tum vichaar karne baiThoge na, tab tum dekhoge ki jitna ho sakta hai main raagon ke nazdeek rehne ki koshish karta hoon.

TB: jee

AB: jahaan pe jitna milta tha Daal dete the, jahaan naheen ho sakta wahaan Anil Biswas aa jaate the.

TB: dada, aap ne ek kitaab bhi likhi hai Gazal-e-laung.

AB: yeh ek ‘research’ ki kitaab hai. jab bhi maine Gazal ke baare mein kisi se daryaaft kiya ki bhai Gazal kya hai, to ahl-e-zabaan jo hai na, wo kehte hain ki yaar Gazal Gazal hai, Gazal ke baare mein kya hai, woh to Gazal suno aur uska mazaa lete raho. maine kahaa ki naheen main iske maa baap ko jaanna chaahta hoon ki yeh kahaan se aaya hai, iska vansh kya hai, kab se shuru huya hai. to kehte hain ki uske liye tumko jaake ‘library’ mein baiThna paDegaa. aur mera ‘library’ tha Mariam Belgrami aur unke ‘husband’ Naki Belgrami jo usi ke andar the, Steel & Mines ke. aur kaise maine shuru kiya tha batayun?

TB: jee

AB: Kalkatta mein baiThke yeh mehfil mein ek martabaa Gazal gaa raha tha, aur wahaan ke jitne tarun gaane waale, sab aakar baiThe the. baad mein mujhse kahaa gaya ki ham log yeh utsukta leke aaye the ki aap Anil Biswas jaise ‘music direction’ karte hain, waise hi gaate bhi hain kya. baharhaal jitna ‘music direction’ maine kiya, jitne gaane mere huye hain, usmein wo Khayaal, Thumri, Gazal sab maujood hai, saare ke saare hamne gaa ke batlaaya hai sab ko. to wahaan pe log aah aah waah waah kar rahe the. to maine beech mein se harmonium band karke unse poochha ki tum log aah aah waah waah kyun kar rahe ho? to bole ki dekhiye, mujhe Gazal ki woh Khaas mujhe yaad hai, ki “chale bhi aao ke gulshan ke kaarobaar chale”

MK: “gulon mein rang bhare baad-e-naubahaar chale”

AB: Faiz.

MK: bilkul

AB: aur main Khaas kar Faiz ko gaata tha. mujhe jo mazaa aata tha na uske saahitya ka uska jawaab naheen. aisa naheen ki unse baDe koi huye naheen, unse pehle Ghalib bhi the. Ghalib kehte hain ki “reKhtaa ke tum hi maahir naheen ho Ghalib, sunte hain ki ek zamaane mein Mir bhi the”. baharhaal usko maine bhaTiyaar mein tayyaar kiya tha.

TB: dada, ‘tune’ yaad hai aapko?

MK: (sings) “gulon mein rang bhare baad-e-naubahaar chale”

AB: (sings) “chale bhi aao ke gulshan ke kaarobaar chale”

AB: to Malabika ne poochha ki gazal agar bhaTiyaar mein ho sakta hai to kyaa baat hai ki ham log Gazal kyon naheen gaate? maine kahaa ki kyon naheen gaati ho? boli ki dada, hamaare yahaan koi shikshak naheen hai, koi seekhaane waala naheen hai, yahaan tak ki koi aisi kitaab naheen hai ki jisko paDh ke ham Gazal ke baare mein jaane. to us din maine unko ‘promise’ kiya tha ki Gazal ki pehli seeDhee jo hai na, woh main tumhaare liye prastut karoonga. us din se mere andar ‘challenge’ aa gaya hai, aur uske baad main 6 saal tak isko jaanne ki koshish karta raha, aur naki Belgrami, Mariam Belgrami, allaah unki aatma ko shaanti de, wo log kahaan kahaan se cheezen mangwaa kar dikhaate the aur tum yakeen jaano, ki 100 Gazlen chunne ke liye main kam se kam 3000 Gazlen…

MK: ‘It was a regular research work’.

AB: maine kya kiya ki pehle to angrezi mein usko likha tha. uska jo parichay hai, aur usko 8 ‘authorities’ ke paas bheja tha. Faiz Ahmed Faiz, Safdar Aah Sitapuri, Ali Sardar Jafri, Mehdi karke ek doosre aadmi the, aur Sikandar Ali Wajd. Sikandar Ali Wajd ne bahut achchhi baat kahi ki isey paDhke jo baaten hamko maaloom naheen thi woh bhi maaloom ho gayi. Sardar Jafri ne mujhe ‘challenge’ kiya tha ki ‘dada, ye sab kuchh to tune kar liya hai, magar uski jo Khaas ‘technique’ hai, radeef-o-kaafiye ka, uska tu kya karegaa?’ to doosre din maine, ’18th century’ ke ek kavi hain Musafi, Chhoti Bahen ke likhne waale, unke Gazal maine le liye, main tumko bataana chaahta hoon ki radeef-o-kaafiya kya hota hai.

TB: jee

AB: kaafiya yeh hai ki chhal ke saath bal, bal ke saath nal, nal ke saath kal, yeh chhand mel, isko kehte hain kaafiya. aur uske baad ek shabd, yaa ek ‘phrase’, yaa ek ‘line’ woh radeef banke aate the magar har sher ke saath uske taalluqaat jo hai na, woh banaa rehna chaahiye. tumko bataayunga to tumko pataa chal jaayegaa. dekho Chhoti Bahen hai, “Khwaab tha ya Khayaal tha kya tha”, ab ispe tumko, kaafiya batlaate raho, “Khwaab tha yaa Khayaal”, ‘la’ jo hai na yeh hai chhand mel, ‘tha kya tha’ yeh hai radeef. ab dekho kis tarah se banke aate hai woh, “Khwaab tha yaa Khayaal, tha kya tha, hijr tha yaa vishaal, tha kya tha”. to yeh tha. isko maine ‘verbative’ karke batlaaya tha. jaise ki hai Bangla mein ki “kolponaa ki chhilo shwopon”, ‘shwopon’ kya hai jaan lo, yeh hai kaafiya, iske saath milegaa, aur “tha kya tha” main bataayunga, “kolponaa ki chhilo shwopon, kee chhilo she, biroh chhilo ki chhilo milon, kee chhilo she”. yeh hai radeef-o-kaafiya ka. maine unka ‘challenge’ qubool kar liya aur baad mein kitaab mein bahut saari Gazlen hain jinmein radeef-o-kaafiya ke saath tumko milegaa aur phir aise hi hamne chhand ke baare mein kahaa, aap agar gaane waale hon, to aapko daadraa, kaharvaa, japtaal, roopak, iske chhand hamko maaloom ho, to aapko Bahar-e-Ramal paDhne ki zaroorat naheen paDegi, jaise “woh jo ham mein tum mein qaraar tha, tumhe yaad ho ke na yaad ho”. achchha yeh saat maatraa mein hai na?

TB: jee

AB: wo, jo, ham, mein, tum, mein, qaraar, tha, tumhe, yaad, ho, ke, na, yaad, ho. shri, raam, chandra, kripaalu, bhaja, man, haran, bhav, bhay, daarunam . ismein fark kya hai, agar isko jaan jaayen to usko bhi jaan jaayenge, kahin jaane ki zaroorat naheen paDegi. us kitaab ko paDhoge na to maine teen maatraa, chaar maatraa, paanch maatraa, saat maatraa, aaTh maatraa ka vargikaraN kiya hai. to Gazal rang ka yeh itihaas hai.

TB: dada, isliye pataa chalta hai ki aapke Gazlon mein aisa rang kahaan se aaya. dada, ek aur Gazal yaad aa rahi hai mujhe, “mohabbat tark kee maine…”

MK: aa ha ha

TB: Doraha film ka. dada, Sahir saahab bhi…

AB: mujhe kehne mein zara bhi hichkichaahaT naheen hai, aur ismein baDappan jo hai na Prem Dhawan ka tha. bataata hoon tumko. Doraha ke dekh rekh ke liye wo Production Manager the, likhne waale bhi the aur zyaadatar wo ‘production manage’ karte the. Sahir saahab unke saath raha karte the us samay. pehle pahal aaye the wahaan pe. jaane ki jagah naheen, dost hai. to Prem ne bahut saare logon ko dil mein bhi rakha hai aur ghar mein bhi rakha hai, ‘beginning’ mein, usmein Sahir bhi ek the. to kuchh to kaam karna chaahiye na unko! to jab aur koi kaam naheen milaa to unhone Sahir ko yeh kaam de diya Doraha mein ki jo ‘artiste’ ko jo ‘dialogue’ likh ke dena hai na, uska kaam tum karte raho, ‘because he was in-charge’, unhone ‘producer-director’ ko bataa diya ki is kaam ke liye inko rakha hai. yeh karte the Sahir saahab. ‘situation’ aaya jahaan pe Gazal ki zaroorat thi, to Prem ka baDappan dekhiye ki mujhse kahaa ki ‘main likh sakta hoon, magar mere paas ek Gazal likhi huyi hai, aap isko paDho, agar aapko pasand aaye to hi main bataayunga ki yeh kiski likhi huyi hai’. to maine Gazal paDhee “mohabbat tark kee maine gareebaan see liya maine”, to maine kahaa bilkul yeh ‘situation’ pe baiThta hai. to usne ek chithraa dikhaaya, woh chhoTe ‘leaflets’ jaise hote hain na, uska ek majmuyaa thoDaa sa chhapaa tha, usmein yeh Gazal tha aur usne dikhaaya ki Sahir Ludhianvi naam ke ek shaayar ka yeh Gazal hai, aur mujhe yeh kehne mein zaraa bhi hichkichaahaT naheen aayi ki yeh Sahir saahab ka ‘entry’ tha Doraha film mein, ‘with this Gazal’.

TB: usi ko sunvaa den?

AB: haan sunaayo, bahut Khoobsoorat Gazal hai.

———— ——— ——— ——— —–
Song: mohabbat tark kee maine (Doraha, 1952)
———— ——— ——— ——— —–

END OF EPISODE-17

EPISODE-18
**********

AB: Anil Biswas
MK: Meena Kapoor
TB: Tushar Bhatia

TB: shrotaaon, aap ko pataa hogaa ki aajkal hamari baatcheet Anil da aur Meena di se Gazal ke baare mein chal rahi hai. didi, Anil da ne Gazlon ki bandishon mein kai adbhut prayog bhi kiye hain. inhone Gazlon ko kabhi ‘duet’ ke roop mein prastut kiya, kabhi qawwaali ke roop mein, kabhi mujron ke roop mein, yaa kabhi ‘solo love song’ ke roop mein. ek gaanaa mujhe yaad aa raha hai “reh reh ke tera dhyaan sataata hai kya karoon”, yaa phir woh ‘duet’ “door hote naheen jo dil mein raha karte hain”.

MK: bilkul!

TB: ek aur ‘duet’ Gazal jo aaj tak prasiddha hai, aur jo jhaptaal mein hai.

MK: “zamaane ka dastoor”?

AB: ab dekho, ismein Gazaleeyat bhi hai, saahitya bhi hai, aur lay ki Khoobi bhi hai. jab hamko aise mil jaate hain na, tab aise hi mil jaate hain. ek Gazal mujhe aur mili thi, Mushkil Badayuni ne likhi thi, haalaanki unke saath maine kaam naheen kiya, yeh Gazal thi “har qadam zahamaten har nafas uljhanen, zindagi raqf hai dard sar ke liye”. ismein ek sher hai jo main paDhnaa chaahoongaa.

TB: irshaad!

AB: “raaygaan keejiye aap sajde mere, mera kya hai main uTh kar chalaa jayungaa, kal kahin aap hi ko na kehna paDe ki ek jabeen chaahiye sang-e-dar ke liye”. jab main rahoonga naheen tab meri jo maathaa hai na, yahaan pe paTak paTak ke main Khoon ba Khoon kar diya hai, aapko yeh lagega ki hamaare sang-e-dar ke liye aisi jabeen chahiye jo Khoon se lathpath ho.

MK: par Tushar ji, aap to woh gaanaa sunaane waale the, “zamaane ka dastoor hai yeh puraana”.

TB: prastut hai!

———— ——— ——— ——— ——— –
Song: zamaane ka dastoor hai yeh puraana (Lajawab)
———— ——— ——— ——— ——— –

TB: shrotaaon, yeh laajawaab Gazal film Lajawab se thi, iske shaayar hain Prem Dhawan saahab, jinhone dada ke liye bahut saare geet aur Gazlen likhi hain. baharhaal ek aur Gazal yaad aa rahi hai jismein dada ne ‘experiment’ kiya hai usko ektaal mein baandh kar. didi, aapko bhi yaad hogi, hemant raag mein thi woh aur film thi Jalti Nishani. ismein Khayaal ang nazar aataa hai.

MK: kaun sa tha Tushar ji?

TB: “rooTh ke tum to chal diye ab main duya ka kya karoon, jisne hamein miTaa diya aise Khuda ka kya karoon”. Qamar Jalalabadi saahab ki likhi huyi Gazal hai.

MK: bilkul bilkul

TB: dada, ‘normally’ is ‘meter’ mein daadraa taal ka vazan rakha gaya hotaa, lekin aap ne ismein ektaal?

AB: mujhe bahut pasand hai kyonki daadraa mein chhoTi moTi cheezon ke saath bajaane waali cheez hai, jahaan pe sanjeedgee chaahiye, wahaan pe main ektaal.

MK: ektaal wohi na (sings ektaal)

AB: bilkul bilkul, yahi hai. zaraa yaad karke dekho, abhi Meena ji ne thoDi der pehle jo gaayaa thaa “aayiye haath uThaayen ham bhi”, “ham bhi” ke baad jo ‘orchestra’ hai na, ektaal bajtaa hai uske peechhe. logon ne hamko daad bhi diye, kahaa ki wahaan bhi aapne ektaal ko naheen chhoDaa!

TB: shrotaaon, Anil da ki ek Khaas baat hai ki aap ek behatareen tablaa nawaaz bhi hain. table ke alaawa Dhol, khol, mridang bhi poori dakshataa ke saath bajaate hain. shaayad yahi vajah hai ki inke sangeet mein itni ‘variety’ paayi jaati hai. to pesh hai ektaal mein nibaddha raag hemant par aadhaarit yeh Gazal, jiske shaayar hain Qamar Jalalabadi, aur film ka naam hai Jalti Nishani.

———— ——— ——— ——— ——–
Song: rooTh ke tum to chal diye (Jalti Nishani)
———— ——— ——— ——— ——–

TB: dada, aapki ek aur Gazal yaad aa rahi hai jo tarannum ki shaili mein hai aur khuli Gazal ki tarah hai. shaayar hain Rajinder Krishan, swar hai Mukesh ji ka, film Aaram. shrotaaon, ismein jo ‘piano’ bajaa hai uspe zaraa Gaur keejiyegaa.

———— ——— ——— ——— ——— —
Song: ae jaan-e-jigar dil mein samaane aaja (Aaram)
———— ——— ——— ——— ——— —

END OF EPISODE 18

EPISODE-19
**********

AB: Anil Biswas
MK: Meena Kapoor
TB: Tushar Bhatia

TB: shrotaaon namaskaar! Rasikeshu, is shrinkhalaa ki kaDiyon mein hamein suron se bheegone padhaare hain maananiya Shri Anil Biswas ji aur Sushree Meena Kapoor ji. aap dono ko mera praNaam!

MK: praNaam!

TB: ab tak ham charcha kar chuke hain Khayaal, Thumri, daadraa aur Gazlon par. sangeet ka baDaa hi Khoobsoorat aur manbhaavan rang hai lok sangeet. ise sangeet ka praaN bhi kaha gaya hai.

MK: bilkul!

TB: har sangeet wahaan se udbhav huya hai

MK: bilkul bilkul

TB: dada, aap ka janm bangaal mein huya hai, zaahir hai ki banglaa sangeet to aapke Khoon mein basaa huya hai. lekin aap ke sangeet mein desh ke har praant ka rang nazar aata hai. ek Punjabi rang mein Dhalaa huya gaana mujhe yaad aa raha hai, didi aap hi ka gaaya huya, “kachchi hai umariya”.

MK: mujhe yaad hai ki yeh geet maine apni chaheti ‘heroine’ Meena ji ke liye gaaya tha. Meena Kumari.

AB: achchha ismein Khaas baat yeh thi ki “kachchi hai umariya” Punjab se shuru hoke Bangaal mein jaake khatam hota hai.

MK: o haan shuru hote hi (sings) “raadha sang khele holi govinda”, yeh to Maratha ang huya

AB: haan, lekin uske baad (sings) “govindaaaaaa. ..”

MK: vaishNav ‘style’ ka

AB: haan. woh jaise “gopaal gopaal” gaaya tha na Parul ji ne, waise ismein “govinda govinda”. magar iski ‘beginning’ ki jo sur, jahaan se maine liya hai, woh tum sunoge to (laughs)

MK: haan haan haan haan, woh Punjab se hi hai, (sings) “aDi re aDi … moti pe adi, laagi saundhi jaDee, doodh pee le baalma, main to kadadh khaDi…”

AB: maine lagaa diya usko.

TB: haan haan

AB: uske beech mein ‘music’ aaya tha na!

MK hums the tune.

AB: yeh Madras ka hai (everybody laughs). Madras mein saamp khelaane waale aise gaate hain. woh beech mein laga diya kyonki woh iske bahut nazdeek the. maine kahaa chalo Punjab se shuru karte hain, phir Madras hote huye ham Borisal chale jaayenge.

TB: arey kya baat hai! ismein bahut bhadakti huyi ‘rhythm’ aur zordar ‘chorus’ aur didi ne…

AB: Holi ka gaana tha na!

TB: to yeh gaana sunaa dete hain

AB: isko zaroor sunaao.

———— ——— ——— ——— ——–
Song: kachchi hai umariya (Char Dil Char Rahen)
———— ——— ——— ——— ——–

TB: ek aur sundar rang hai Rajasthan ka. jitna sundar yeh pradesh hai, utna hi sundar yahaan ka sangeet hai. jahaan tak mujhe yaad hai aapne Ladli film mein ek aisa hi gaana diya tha. didi, aapko yaad hai?

MK: bilkul yaad hai

TB: “aagre ko ghaagro”?

MK: (sings) “aagre ko ghaagro mangwaa de raja devariya tore paiyaan paDoon”

TB: dada, kuchh bataayenge iske baare mein?

AB: bataane ka kya hai, mujhe shauk tha. jab main Bangal se yahaan aaya tha main koop-manDook tha. koop-manDook jaante ho na? kooyen ka menDhak. main jaanta tha ki mujhe sab kuchh aata hai. yahaan pe aake dekhaa ki main kooyen ka menDhak hoon aur seekhne ke liye bahut kuchh hai. aur mujhe yeh shauk tha ki main apne desh ke har praant ko jaanoo aur jaanne ke baad mein ek praant ko doosare praant ke saath milaaoon, unko parichay karwaayun ki yeh woh hai aur isko aapke saath milaaya hai.

TB: yaani ki “mile sur mera tumhara” sahi maayne mein

MK: ekdam

AB: Meena ji se ek anurodh hai ki yeh jo Bihar ke saath mein, yaa UP ke saath mein Haryana mila huya hai, uska ek TukDaa sunaa deejiye.

MK: achchha woh jo hai, (sings) “gharwaa ke jat kaam din raat kare ham, arey baiThe baiThe hukam chalaaye re bidesiya”. iske saath phir inhone Haryana ko milaaya hai, jaise (sings) “saperaa been bajaayo ri, tu to mhaar gali mein aayo ri…”, (sings) “mora naram karejwa Dol gaya”, yeh jo hai na “mora naram”, yeh kahaan ka hai, Rohtak, Haryana. to yeh inhone milaaya hai.

———— ——— ——— ——— –
Song: mora naram karejwa Dol gaya (Arzoo)
———— ——— ——— ——— –

TB: dada, Rajasthani lok sangeet mein maanD, sooraTh, des ki suraavaliyaan paayi jaati hain. “aagre ko ghaagro”, is geet ko aapne sirf 3/4 suron mein baandhaa hai.

MK: naheen 3 suron mein naheen, unka alag sa ek ‘style’ hota tha, mains unaa deti hoon aapko, maine ek dafaa sunaa tha, unse seekhaaya gaya tha, (sings) “dal baadal beech chamke ji taaraa, saanjh samay piu laage ji pyaara…”. mere Khayaal se Sajjad saahab is lay se kaafi prabhaavit the. is maatraa se.

AB: lay aur sur se bhi.

TB: dada, C Ramchandra ka gaana bhi aisa hi tha

AB: (sings) “dheere se aaja ri akhiyan mein nindiya aaja ri aaja”, yeh bhi yaheen se liya huya hai. achchha iska udbhav, main jab bachcha tha na bairaagi ke paas yeh sunaa tha, (sings) “shaadhur shonge prem toronge prem preete mor aay maatha, o guru kolpotoru joDiye dhoro aamaar duTi bhokti lotaa”. ab dekho, yeh ek hi cheez hai na! maine dekhaa yeh zameen ki jitni cheezen hain na, kahin na kahin…

MK: uska apna hi ek Khoobsoorti hai.

TB: aur milte hain

AB: kahin na kahin jaake woh mil jaate hain.

TB: shrotaaon, Rajasthan se ab aate hain Maharashtra mein jahaan lok sangeet ki bahut samriddha parampara hai, jaise laavaNi, puwaaDaa, phupaaDi ityaadi. film Pardesi mein alag alag praant ka lok sangeet Anil da ne baDe hi Khoobsoorat andaaz mein piroyaa hai. isi film ka ek geet hai jismein ‘chorus’, Dholki ki thaap aur Meena ji ki shoKhi bhari aawaaz ne jo jaadoo jagaaya, woh aaj tak barqaraar hai.

MK: woh Marathi ‘folk’ se liya gaya tha waise, “Doongari sheth maaze aika”.

TB: aapko yaad hai woh?

MK: “rimjhim rimjhim”, ‘same’ hi ‘tune’ hai. aap ‘record’ sunaaiye.

———— ——— ——— ——— ——— ——
Song: rimijhimi barse paani aaj more anganaa (Pardesi)
———— ——— ——— ——— ——— ——

END OF EPISODE 19

===============================================================================================================

PARTHA CHATTERJEE

A splendid effort to introduce to the public the real music-makers behind Hindi film songs.

SONGS have always been the mainstay of Hindi cinema or what is popularly known as Bollywood. Even today, when technology and its attendant vice, cacophony, have virtually taken over, music albums of commercial Hindi films continue to sell very well not only at home but abroad where there are large emigre populations from the Indian subcontinent. Singers, lyricists and composers – they are actually known as music directors – continue to be loved and acknowledged by an adoring public, but the people behind the scenes who have made a particular song a huge hit remain unknown. They include various musicians who form the orchestra and arrangers who write down the notations both in the Western and Indian styles, direct the musicians and conduct the orchestra during the recording of the songs. Gregory D. Booth, an anthropologist from Auckland, New Zealand, has made a splendid effort to bring to the forefront the real, unsung heroes behind the creation of Hindi film songs. He has, through painstaking research, located and talked to old and new musicians, arrangers, sound recordists and other personnel connected with the making and recording of songs. Behind the Curtain: Making Music in Mumbai’s Film Studios is Booth’s heartfelt and deeply perceptive tribute to the people without whom the recording of film songs in Mumbai would not have been possible. His book records a large chunk of oral history of an art form that the Hindi film song was, and occasionally is even today despite the trying circumstances in which it is made.

There is an indifferent 2005 snapshot of Anthony Gonsalves, master orchestrator and fine violinist, who worked with composers such as Shyam Sunder, S.D. Burman and Madan Mohan. He was the teacher of Pyarelal Sharma of the famous Laxmikant-Pyarelal composer duo. He taught his protege, as he taught many a young musician, violin, European staff notation and Western music theory, including the rules of harmony. He underlines his own role thus: “I was known for my willingness to teach. I would teach anyone. I didn’t mind about religion or caste or any of those things. Lata [Mangeshkar, the famous singer] arranged a hall for me in Bandra so I could teach there. I taught how to play for the films because mostly they had not done this kind of work before.”

Anthony Gonsalves’s photograph suggests the anonymity thrust upon him by the Mumbai film industry despite his huge contribution towards the making of its most vital component – music. A similar fate awaited other very talented Roman Catholic musicians from Goa. Among them were Sebastian D’ Souza, arranger for Shankar-Jaikishan and O.P. Nayyar, whose hand in the phenomenal success of their music in the 1950s and the 1960s was never publicly acknowledged and was predictably forgotten; ‘Chick’ Chocolate, trumpet player and arranger; and Braz Gonsalves, saxophonist and Jazz band leader.

Rarely did a musician become a successful composer. Laxmikant Kudalkar, a mandolinist, teamed up with the violinist Pyarelal Sharma to form the highly successful Laxmikant-Pyarelal duo. A bit earlier, in the late 1950s, the musician duo of Kalyanji-Anandji came on the scene. They, too, had a long career lasting over two and a half decades. Kalyanji had shot to fame imitating the sound of the been on his newly acquired claviolin, an electronic musical instrument, for the song Man Doley Mora Tan Doley under composer Hemant Kumar’s guidance in the film Nagin. The year was 1954.

A less, far less, satisfying career in composing came Dattaram Waadkar’s way. He was the life and soul of Shankar-Jaikishan’s rhythm section, bringing forth all his knowledge of Indian and Western percussion instruments. There is a photograph of him playing the tabla at a Shankar-Jaikishan rehearsal with the great Lata herself. Composing under his first name, Dattaram revealed a flair for melody as well. The song Meethi Meethi Baaton Se Bachna Zaraa from the film Qaidi Number 911 was a nationwide hit. This was followed by an even more successful bunch of songs for another film, Parwarish. But success as a music director (the composers of film songs were a modest lot, they never thought of themselves as artists), for reasons unknown, eluded Dattaram.

Then there is the strange case of G.S. Kohli, whose pulsating dholak graced so many of O.P. Nayyar’s compositions. His skill as an arranger was duly recognised by his mentor. Kohli’s songs for Shikari caught the listening public’s imagination, especially Tumko Piya Dil Diya. Again, for some inexplicable reason, Kohli’s career as a music director came undone.

The tabla player Sattar teamed up with his colleague Lala to compose music for films. The Lala-Sattar duo also fizzled out after a few films. It is widely believed that most instrumentalists and arrangers who aspire to compose for films can at best achieve modest success. The latest example is former arranger Uttam Singh, whose composing talent is way ahead of his contemporaries but has not received the recognition it deserves.

The pay for musicians and arrangers in the olden days ranged from poor to, at best, modest; the better ones were, of course, compensated adequately. Dattaram Waadkar recalled the pay scales from the 1950s: “Then in recordings we were paid by the CMA [Cine Musicians Association] rates – 85 rupees per shift [for A grade] or 110 for first class, like that. My rate was special, 120 rupees.”

A lot of songs were being recorded then, as were background scores to films. A good musician could earn an acceptable living from films in Bombay, sometimes a little more. Producers, many of them of the fly-by-night type, would want the services of the musicians for little or no money. After a recording, a producer asked participating musicians to come for their money to his office after a few days. One of them, Cawas Lord, went to collect his dues. The wily producer asked him what instrument he had played in that particular session. Lord told him that he had played the maracas. The producer replied, “I can’t hear any maracas! Why should I pay for something I can’t even hear?”

THE HINDU PHOTO LIBRARY

Music icon R.D. Burman (left) at work with father S.D. Burman, a file photograph. The two had unique styles.

The formation of the Cine Musicians Association in 1952 remedied the situation quite a bit. Instrumentalist, arranger and composer, Vistasp Balsara (better known as V. Balsara) recalled how bad things were before: “Work had to be stopped due to non-payment and all that. It was about the rate; the producers were not willing to pay our rate. This was sometime in 1951, just before the CMA was started.” Once an agreement was reached about session timings and a structure for overtime, the CMA saw to it that it was paid on time. Jerry Fernandes, then a young musician, recalled, “Once we founded the CMA, then the producers had to bring the money on the set [meaning, the recording studio] itself. And if they didn’t pay, we didn’t play. If they don’t pay, we send them a notice, and if nothing comes, then we tell the musicians, ‘Don’t play for this man.’”

The Hindi film industry suffered from a bad debt syndrome. Things came to a head in 1974 when musicians went on strike for four months, suffering great hardships. There was an improvement in their situation over time. In the mid-1980s, the musicians were earning a reasonable living. Bosco Mendes, who played the trombone, was working two or three times a week. Many people were working 14 hours a day. It was an interesting, even adventurous, life then for a musician.

By far the richest film industry in India, the Hindi film industry was, until recently, when the distinct possibility of an overseas market comprising a large subcontinental audience opened up, reluctant to adopt new techniques and technologies for sound recording. The soundtrack for Sholay, possibly the greatest blockbuster in Hindi cinema, was done on a six-track mono with one track for the monitor. In effect, it was five-track recording. The music had to be taken to London to be transferred to stereo. But that was in 1975. Dolby sound came in 15 years ago. Its acceptance until recently was reluctant. Musicians and arrangers carried on despite the odds and often produced exceptional results.

A.R. Rahman was seen as the man who threw the spanner in the works. Shankar Indorkar, a veteran oboeist, summed up the nearly changed musical scene in Hindi films: “I got called to Madras [Chennai] to his studio. In his studio there were so many keyboards, it was as if every keyboard that ever came to India ended up in his studio. Like, you know that claviolin that Kalyanji-Anandji used? I used to see that in their music room a long time ago. From that instrument to the latest instrument, he [Rahman] had everything. He was a keyboard director.”

Rahman made Indorkar play for half an hour. “Play anything, whatever you want,” he said. It was evident that Indorkar’s oboe and English horn would be in Rahman’s computer and would be used with suitable alterations or as they were, as and when the occasion rose. Other composers have followed suit. Viju Shah, son of Kalyanji, has also gone electronic. His compositions, like Rahman’s, have a distinctly synthetic feel.

The last true composer in Hindi cinema was Rahul Dev Burman, whose grasp of both Hindustani classical – he had learned the tabla and also the sarod, the latter from Ustad Ali Akbar Khan – and jazz was enviable. He died in the mid-1990s. Since then composers have come and gone, their songs as ephemeral as the films that featured them.

Musicians and arrangers loved and remembered the old composers as much for their melodies as their generous, colourful personalities. O.P. Nayyar was easily the most adored music director of his time. He appreciated his musicians wholeheartedly. In a particular recording session, he gave Jerry Fernandes an extra thousand rupees for playing a beautiful obbligato (counter-melody) that was not written into the orchestral score.

These days producers with huge, inflated budgets cut corners when it comes to putting music into their films. They just do not want to spend money on the music or devote the required time. Recording studios have shrunk in size. As one seasoned musician observed, certain recording studios look like small bathrooms. Musicians no longer play or rehearse together. It is just one person at a time being fed other parts of the so-called score through a pair of headphones.

Booth deserves thanks from all lovers of old Hindi film music. He has done what no Indian scholar has done – he has brought to light and put into perspective the struggles of the many talented musicians working in Hindi films for well over 60 years.

COURTESY : http://www.hinduonnet.com/fline/fl2621/stories/20091023262107200.htm

Date of Birth: 19-2-1912

Death: 07-03-1965

Amirbai Karnataki was born in Bilgi, a village in Bijapur district.
Amirbai’s father was a weaver. Of his five daughters Gauharbai and
Amirbai earned fame and fortune. Amirbai had passed matriculation. She
came to Mumbai when she was only 16 years old. The incharge of HMV
made her sing a qawaali which gave her immense popularity. Elder
sister Gauhar was an actress and Amirbai became an actress with
`Vishnubhakti’ . But what changed her fortunes was `Kismat’ (1943).
Anil Biswas made her sing some memorable songs for the film and her
voice reached very nook and corner of the country.

Amirbai was a singing star and then became a playback singer. She
earned great fame till 1947. Bharathhari, Caravan, Amrapali, Shikari,
Aath Din, Leela, Sindoor were some films where her voice created a
magic spell. Later it was Lata’s turn to rule the singing world.
Amirbai started acting along with giving playback. In stunt oriented
films she played the heroine’s role and in good films she played
character actor roles. She gave music in `Shehnaaz’.

She had married Badri Kanchwala, editor of `Paras’.

Songs :

1). Aye Dil Tujhko Neend Na Aayi Mohammed Rafi

2). Mohabbat Mein Khudaya Aise Guzri Mohammed Rafi

3). Taqdeer Ne Hasaa ke Humein Phir Amirbai Karnataki

4). Dard Baksha Gham Diya Amirbai Karnataki

See also:

http://en.wikipedia .org/wiki/ Amirbai_Karnatak i

http://www.chakpak. com/celebrity/ amirbai-karnatak i/15029

As An Actor
Jadui Angoothi (1964) (Released)
Dark Street (1961) (Released)
Boy Friend (1961) (Released) …… Madan’S Mom
Bedard Zamana Kya Jane (1959) (Released)
Khota Paisa (1958) (Released)
Mr X (1957) (Released)
Janam Janam Ke Phere (1957) (Released)
Pawan Putra Hanuman (1957) (Released)
Hum Panchhi Ek Daal Ke (1957) (Released)
Subah Ka Tara (1954) (Released)
Aansoo (1953) (Released)
Deewana (1952) (Released)
Lav Kush (1951) (Released)
Bedardi (1951) (Released)
Roop Basant (1949) (Released)
Sipahiya (1949) (Released)
Rambaan (1948) (Released)
Jadui Bansari (1948) (Released)
Hatimtai (1947) (Released)
Kismat Ka Sitara (1947) (Released)
Nargis (1946) (Released)
Ramayani (1945) (Released)
Maali (1944) (Released)
Station Master (1942) (Released)
Sardar (1940) (Released)
Hamara Desh (1940) (Released)
Narsi Bhagat (1940) (Released)

Playback Singer
Sholay (1953) (Released)
Usha Kiran (1952) (Released)
Lav Kush (1951) (Released)
Saggai (1951) (Released)
Deepak (1951) (Released)
Bikhare Moti (1951) (Released)
Ghayal (1951) (Released)
Samadhi (1950) (Released)
Sindoor (1947) (Released)
Elaan (1947) (Released)
Leela (1947) (Released)
Shikari (1946) (Released)
Hum Ek Hain (1946) (Released)
Amrapali (1945) (Released)
Basant (1942) (Released)

Source: internet

Courtesy : ramaswamy21in@yahoo.com

EPISODE-8
*********

AB: Anil Biswas
TB: Tushar Bhatia

TB: aaj ki kaDi mein phir ek baar Tushar Bhatia aur ham sab ke priya Anil dada ka namshkaar!

AB:ham sab ke pyaare honge Anil dada Khud bhi namashkaar kehna chaahta hai. aaj main do mard maraaThaa ko laaya hoon. mard maaraaThe to dekhe honge. ek ka naam hai Vasant Desai aur doosre ka naam hai C Ramchandra. dono ko ek saath main isliye laana chaahta hoon kyonki dono agar akhaaDe mein utar jaaye na to kaun jeetega kaun haarega pataa nahin. mujhe to itna pataa hai ki Vasant Desai jeetegaa kyonki woh pahalvan tha zyaada.

TB: achchha?

AB: iske ‘muscles’ agar tum dekhte to poochhte ki yeh sangeetkaar hai yaa kushtigir hai. hamaare liye kehte the ki aapka hanumaan hoon main. woh chuTkula yeh hai ki Aashirwaad film ko ‘privately’ dikhaane ke liye Delhi aaye the. wo aur Hrishikesh. mere ghar aaye dono. main beemaar tha us waqt. maine kahaa ki main to nahin jaa sakta. to usne kya kiya, paTThe ne, mujhe kandhe pe uThaa liya aur kahaa ki ‘tera hanumaan kisliye hai’. to mujhe uThaake gaDi tak kandhe pe uThaake leke chale gaye. woh baat bhulaaye nahin bhoolti. achchha main tumhe ek anokha gaana sunaata hoon, “jhir jhir barse saawani akhiyaan”.

———— ——— ——— ——— ——— —
Song: jhir jhir barse saawani akhiyaan (Aashirwaad)
———— ——— ——— ——— ——— —

AB: ab suno unka ek jhalak jo ‘classical music’ ki taraf jaata hai. Guddi ‘picture’ ki baat karta hoon. Vani Jayram ki pehchaan yaheen se huya tha. yahaan pe usne gaaya tha “bol re papeehara”. gaana suno aur mehsoos karo ki malhaar ka kitna Khoobsoorat istemaal kiya hai.

———— ——— ——— ——
Song: bol re papeehara (Guddi, 1971)
———— ——— ——— ——

AB: isi kaDi mein doosre pahalvaan ka naam hai C Ramchandra. pehle pahalvaan, uske bad sangeetkaar. 6 feet ek inch ka tha wo, aur main jab uske saath khaDaa ho jaata tha na woh kehta tha ki ‘tu mera baap hai’. main bolta ‘dhut, main tera baap hota to tu itna baDaa mere se nahin ho sakta tha’ (laughs). C Ramchandra ke baare mein kehte huye mera jee bhar aata hai. C Ramchandra ‘physical’, yaani sashareer mera ‘assistant’ tha. doosre log kehte hain wo mera guru hai, ye hai wo hai, ye unka baDappan hai, lekin ye paTThaa aisa karta tha, Indore mein Khaas kar ke baat huyi ki ‘main Anil biswas ka assistant tha’, yeh baat baDe aksharon mein chhaapeeye aur unko bhej deejiye. kisko? Anil Biswas ko.

TB: dada, lekin inka ‘music’ to bahut alag tha aap se?

AB: dekhiye, kaafi der tak jab woh mere saath chalaa, to uske baad uske do ek ‘picture’-on ke baad kisi ne usse kaha ki ismein Anil Biswas ki boo aati hai. unko phir yahi lagaa hoga ki kisi baDe peD ke neeche ghaas ugte nahin hain, to usne ek gaana banaake laaya huya tha, Bombay Talkies mein tab main baiTha huya tha, peechhe peechhe se P L Santoshi. to aakar bola ki ek gaana banaaya hai, sun lo, sunne ke baad joote maar lena par meri ek baar sun lena. gaana kaun sa tha maaloom hai? “aana meri jaan meri jaan sunday ke sunday”. maine kahaa waaqai tu joote khaane ke qaabil hai. bola ki main joote khaa leta hoon. lekin ek baat mujhe bolna hai ki kab tak main ‘Number-2 Anil Biswas’ bankar rahoonga? log mujhe taanaa dete rehte hain. main chaahta hoon ki mera ek vyaktitva gaThan ho. to usse bhi Kharaab hoga, usse bhi haraab hogaa, lekin jo bhi hoga mera apna hogaa. to uske baad mera jo hai na ek dam se ghanTi baj gayi. maine usse kaha ki mera aashirvaad hai aur yeh gaana jo hai na yeh to ‘popular’ hona hi hai. hoga hi! aur mera aashirvaad hai uske saath mein to hona hi chaahiye. aur ho gaya. magar woh gaana main sunaana nahin chaahta hoon.

TB: to kaun sa gaana sunaayenge dada?

AB: “eena meena Deeka”. ek ajeeb hi rang tha uska. koi ‘meaning’ tha. ek hamaare bangladesh ka gaana yaad aa gaya tha mujhe isi tarah ka. uska bhi koi matlab nahin hota hai.

———— ——— ——— —–
Clip: eena meena Deeka (Asha, 1956)
———— ——— ——— —–

TB: dada, C Ramchandra ji ki sabse lokapriya film thi Albela. is film kakoi gaana sunaana chaahte hain?

AB: woh gaana sunaana chaahta hoon, “bholi soorat”.

———— ——— ——— ——— ——-
Song: bholi soorat dil ke khoTe (Albela, 1951)
———— ——— ——— ——— ——-

AB: sun liya na “bholi soorat”? aur jiske liye wo badnaam ho gaya tha ki Anil Biswas ka rang laga huya hai tumhaare sangeet mein, uska ek gaana sunaata hoon to bura to nahin maanoge?

TB: nahin dada

AB: shrotaaon maaf karna, darasal thoDe se mere rang mein ranga huya hai to isliye mujhe aur bhi zyaada pasand hai. woh lori hai “dheere se aaja ri akhiyan mein nindiya aaja ri aaja”.

———— ——— ——— ——— ——— —
Song: dheere se aaja ri akhiyan mein (Albela, 1951)
———— ——— ——— ——— ——— —

END OF EPISODE 8

Programme by MUSICOLOR

Hello Friends,

Musicolor is organising a grand musical nite ‘Tumsa nahin Dekha’ – Hits of O P Nayyar on 10th December at Dinanath Mangeshkar hall, Vile Parle (East) at 8:30pm. Singers Shrikant Narayan, Vrushali Patil, Sagar Savarkar and Supriya Joshi will sing evergreen hits of O P Nayyar from films like Kashmir Ki Kali, CID, Mere Sanam, Aar Paar, Mr & Mrs 55, Phir Wohi Dil Laya Hoon, Kismat, Twelve O’ Clock, Tumsa Nahin Dekha, Yeh Raat Phir Nayi Aayegi, Baap Re Baap, Humsaya and Naya Daur. The programme circular is attached with this mail. Kindly check.

Regards,
Rajesh Subramanian

n.ramaswamy@gmail.com

 Source: Yogesh Yadav’s book titled ‘Film Sangeetkar Suvarna Yugwale’

Year of Birth: 1915

 Death: 25-01-1991

Adi Narayan Rao, despite being a music director from South India (Tamil MD to be more specific) had done amazing work. He composed songs based in Hindustani classical music which had mixed raags.

Adi Narayan Rao’s first film came in 1946. When he earned a name in Tamil film industry he started a production company called ‘Anjali Pictures’ for which he himself gave music. The film’s heroine was Anjali Devi, a famous cine-star in Tamil and his wife too. Film was an average one but one song from the film ‘Kuhu Kuhu Bhole Koyaliya’

 This particular song was made up of Sohni, Bahar, Jaunpuri and Yaman raags.

Adi Narayan Rao gave music for 6 Hindi films in all. There was another notable film for which he scored music namely ‘Phoolon Ki Sej’. The Manna Dey-Lata Mangeshkar duet from the film, even though popular among listeners, never touched the heights of ‘Kuhu Kuhu Bhole Koyaliya’.

 There was a Marathi film ‘Mahabhakt Tukaram’ for which he composed music and it starred Anjali Devi.

There were four more films in the 70s for which he composed music but that were not worth mentioning.

Related links:

http://www.chakpak.com/celebrity/adinarayana-rao-p./filmography/17831 

http://www.hummaa.com/music/artist/9173/P+Adi+Narayana+Rao

http://www.bhaavana.net/ghantasala/0202.html

EPISODE-6
*********

AB: Anil Biswas
TB: Tushar Bhatia

AB: mere rasik shrotaaon, Punjab ki bat karte karte ham Ghulam Haider ki guNon mein Doob gaye the, Punjab se aur bhi kai guNi log aaye the, agar ham unki bhi baaten nahin karenge to naainsaafi ki baat hogi. pehle main naam lena chaahoonga Feroz Nizami ka. film ka naam hai Jugnu, aur kya joDi hai Rafi aur Noorjehan ki. gaana.

———— ——— ——— ——— —
Song: yahaan badlaa wafaa ka (Jugnu, 1947)
———— ——— ——— ——— —

AB: doosra naam Hafiz Khan ka hai. tumne shaayad naam bhi nahin sunaa hogaa!

TB: nahin, nahin sunaa hai dada

AB: haan, aur bahut logon ne nahin sunaa hogaa, maine bhi nahin suna tha, lekin jab gaane ki baat aayi to maine poochh liya tha kisi se, kyonki gaana yaad tha lekin ‘music director’ ka naam maaloom nahin tha. dekho amar gaane aise hi hote hain, aur gaane ke bol hain “bulbulo mat ro yahaan, aansoo bahaana hai manaa”, film ka naam tha Zeenat, aur gaane waali theen Noorjehan.

———— ——— ——— ——— —
Song: bulbulo mat ro yahaan (Zeenat, 1945)
———— ——— ——— ——— —

AB: sun liya?

TB: jee dada, darbaari mein tha shaayad!

AB: kaisa lagaa?

TB: kya baat hai!

AB: aur kya baat hai sunaata hoon. teesra number hai Khurshid Anwar ka. ye bhi aise aadmi the, us din main Suraiyya ke saath baiTha huya tha, wo dikhla raheen theen ki kis tarah se wo kehte the, ki hamonium pe haath rakhke keh dete the ki aise hona chaahiye, aise hona chaahiye, lekin kaise hona chaahiye yeh naheen bataate the. yeh Khurshid Anwar ka gaana hai, main boloonga aur tum kahoge ‘haaaaan’. “paapi papeeha re pee pee na bol bairi”

TB: aa ha ha ha

AB: ‘picture’ ka naam hai Parwana aur gaanewaali hain kaun?

TB: Suraiyya ji

———— ——— ——— ——— ——— ——— -
Song: paapi papeeha re pee pee na bol bairi (Parwana, 1947)
———— ——— ——— ——— ——— ——— -

AB: lo Suraiyya ko to tum ne sun liya, ab chautha naam hai Husnlal Bhagatram, inka naam to tumne sunaa hogaa?

TB: jee bilkul suna hai, Pyar Ki Jeet, Badi Bahan

AB: kya kya hai aur kya kya nahin, magar inke baDe bhaai ka naam itna nahin huya jitna ki hona chaahiye tha. ki main unko asal mein bahut zyaada guNi maanta hoon. yeh nahin ki main Husnlal ko guNi nahin maanta hoon, ‘he was one of the finest’, ek bahut achchha insaan, gaane waala aur ‘violin’ to kya bajaate the, tumko kya bataayun. baharhaal unke baDe bhaai ka naam hai Amarnath. ek gaana mujhe yaad hai “haath seene pe jo rakh do to qaraar aa jaaye”. yeh Mirza Sahiban ‘picture’ ka hai.

TB: Noorjehan aur G M Durrani ji ka gaaya huya hai

AB: dekho Durrani bhi aa gaye ismein, aaie shrotaaon yeh gaana hamaare liye aap sun leejiye.

———— ——— ——— ——— ——— —–
Song: haath seene pe jo rakh do (Mirza Sahiban, 1947)
———— ——— ——— ——— ——— —–

END OF EPISODE 6

EPISODE-5
*********

AB: Anil Biswas
TB: Tushar Bhatia

TB: shrotaaon, namaskaar! pichhle kuchh dino se Rasikeshu, is shrinkhalaa mein ham varishTh sangeetkaar Shri Anil Biswas ji se unake kuchh sangeet ke saathidaaron ke baare mein kuchh batchit karte aa rahe hain.

AB: main aaj Master Ghulam Haider ke baare mein baat karna chaahoonga jo mere bahut kareeb ke dost ban gaye the. ab hain nahin hamaare beech, chale gaye, lekin wohi aadmi the pehli martabaa jo Bombay mein jo aaye the, Punjab ki jo bhangDaa waali jo masti hai, uski ‘rhythm’ ko leke aaye the aur phir Bombay ki film industry mein chhaa gaye. inka tumne woh Khazanchi film ka gaana sunaa “saawan ke nazaare hain”, tumne woh gaana zaroor sunaa hogaa!

TB: jee jee

AB: mere Khayaal se shaayad ‘whistling’ bhi unhone usi ‘picture’ mein shuru kiya tha. jiske baad hamne bhi kiya tha “dheere dheere aa re baadal”. achchha woh gaana sunaate hain tumko, chanchal aur shoKh gaanon mein iska misaal nahin hai. Ramola aur laDkiyaan ‘cycle’ pe aati hain, aur phir udhar se laDke aate hain, aur gaane mein hi no jhonk chal raha hai. “saawan ke nazaare hain aa ha aa ha”

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Song: saawan ke nazaare hain (Khazanchi, 1941)
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TB: shrotaaon, is gaane mein ‘chorus’ ke saath jo mukhya aawaazen theen wo theen Shamshad Begum aur swayam Master Ghulam Haider saahab ki.

AB: ab main unki dosti ke baare mein kuchh kehna chaahta hoon. itne achchhe aadmi the, itne achchhe dil ke maalik the, main ek baar gaya tha ’43 mein, meri ‘Kismet’ banne ke baad mein, wo sirf sone ke liye ghar jaate the, aur saara din aur raat hamaare saath bitaate the aur ghar bhi kyaa jaate the. 5 baje jaate the aur 8:30 baje aa jaate the hamaare saath ‘breakfast’ karne ke liye. baharhaal, usmein mera ek laabh kyaa huya maaloom hai, woh jab ham kaam Khatam karke 11 baje faarikh ho jaate the, uske baad mein Bade Ghulam Ali Khan saahab ke ghar mein jaake wo paanch din tak, tum yakeen jaano, hamaare kaanon mein Bade Ghulam Ali Khan saahab chaar chaar ghanTon tak amrit barsaate rahe. aur woh jo hai na hamaare liye itni baDi daan thi jisko main bhulaaye nahin bhulaa saktaa hoon. yeh ek to unki dosti, aur meraa laabh. tumko yeh baat main zaroor bolna chaahoonga ki mera ek gaana ‘Roti’ mein “sajnaa saanjh bhayi sajnaa saanjh bhayi aan milo aan milo”, sunaa tumne?

TB: jee bilkul! Sitara Devi ji ne gaaya hai

AB: jee haan. to yeh gaanaa sun sun ke unhone mujhse yeh kahaa tha ki jaise Ghalib ne kahaa tha Mir ko ki tu mujhe yeh sher de de aur mujhse saaraa deewaan le le, aise hi unhone mujhse kahaa thaa ki Anil, tu yeh gaana mere naam kar de aur maine jo kuchh bhi aaj tak kiya hai tu le le. maine usko ulTaa kahaa thaa, Zamindar film mein Shanta Apte ka ek gaana tha, “chhup gaye man mein mere o baalmaa, nainawaa ki sui ooi”, maine unse kahaa tha ki tu mera sab gaana le le aur mujhe woh dil mein chubhne waala sui de de.

TB: kya baat hai! daadaa, kabhi aap dono milke gaana bajaana saath mein hota tha?

AB: naheen, woh bilkul vyast rehte the, ‘piano’ ke upar hi baiThe rehte the, uske upar so jaate the. ek gaana main sunaana chaahta hoon ki kahaan woh “saawan ke nazaare hain” aur kahaan yeh gaana hai!

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Clip: tu kaun si badli mein mere chaand (Khandan, 1942)
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AB: main Punjab ki baat karte karte Punjabiyat mein itna Doob gaya tha ki Punjab ke ek ratna, Punjab ke hote huye bhi wo Punjab se alag kuchh kehte the, yeh sangeetkaar the Shyamsundar ji, jo kisi taaruf ke mohataaj nahin hain.

TB: unka koi Khaas gaana jo aapko pasand ho?

AB: Gaon Ki Gori ka gaana hai, Noorjehan ji ka gaaya huya “kis tarah bhulega dil unka Khayaal aaya huya”

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Song: kis tarah bhulega dil (Gaon Ki Gori, 1945)
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TB: daadaa, Shyamsundar ji ke aur koi gaane?

AB: unke do gaane shrotaaon aur tumko na sunvaayun to ek bahut hi naainsaafi ki baat hogi. suniye yeh gaana mere pyaare doston, gaana film Bazar ka hai.

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Song: saajan ki galiyaan chhoD chale (Bazar, 1949)
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AB: ek gaana aur sunaana chaahta hoon jo aap ham aur sangeetkaaron ke liye bhi ek prerNaa daayak cheez hai. woh gaana hai “bahaaren phir bhi aayengi”.

TB: daadaa yeh gaana Lahore film ka hai shaayad!

AB: Lahore film ka hai, yeh gaana suno.

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Song: bahaaren phir bhi aayengi (Lahore, 1949)
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END OF EPISODE 5

 ********* AB: Anil Biswas TB: Tushar Bhatia

TB: Rasikeshu ke shrotaaon ko Tushar Bhatia ka namaskaar! aaj phir ek baar ‘studios’ mein padhaare hain cine jagat ke varishTh sangeetkaar Shri Anil Biswas ji. praNaam daadaa

AB: jeete raho

TB: daadaa, pichhle teen dino se ham sun rahe hain Shri R C Boral ji ke gaane, Shri Pankaj Mullick…

AB: Kalkatte mein ham Hindustan Recording Company mein kaam karte the, woh gaana sunte hi man mein aisa baiTh gaya tha aur woh gaana sunte hi maine jaan liya tha ki ye aadmi ek din bahut baDaa sangeet rachanaakaar banegaa. aur wo siddha karke dikhaaye hain. jab wo Bombay aaye, aur Mahal ‘picture’ mein “aayegaa aanewaalaa” jaise gaane se saare desh ko nawaazaa, yeh to sab ne sunaa hai, magar ek gaana jo mere dil ko bahut chhoo jaata hai, woh hai Rajkumari ka gaaya “ghabraake jo ham sar ko Takraaen to achchha ho”. tumne yeh gaana sunaa hai? TB: jee bahut sunaa hai AB: bahut achchha gaana hai, phir se suno aur hamaare shrotaaon ko sunaao.

 Song: ghabraake jo ham sar ko Takraaen (Mahal, 1949)

AB: yeh jo gaana aapne sunaa, yeh Khemchand ji ki aaKhiri tasveer thi Mahal, magar unhone kamaal to aate hi shuru kar diyaa tha, jab unhone Tansen mein Saigal ko dhrupad mein “sapta suran teen graam”, is dhrupad ang ka gaana gawaaya tha. iske baare mein ham kehna chaahenge. Tansen se, yaa Tansen ke naam se jab bhi gaanaa gawaaya gaya hai Khayaal gawaaya gaya hai. magar yeh shaayad bahut log naheen jaante honge ki Tansen ke ‘time’ mein Khayaal tha hi naheen. yeh Maan Singh Tomar ke waqt se shuru huya tha Gwalior mein. to unke samay mein sirf dhrupad hi tha aur ye Khemchand Prakash ji hi hain jinhone dhrupad se hi ‘introduction’ karwaaya Tansen ko. “sapta suran teen graam”, dhrupad ang ka yeh geet jo Tansen mein hai Saigal ki aawaaz mein, isko sun lo.

Song: sapta suran teen graam (Tansen, 1943)

AB: ab dekho ek gaana unka jo mere man ko bahut dheere se chhoo jaata hai, dheere se, aur woh gaana hai “chanda re jaa re jaa re”. is gaane ko main bhool naheen sakta. tum bhi suno aur shrotaagaN aap bhi suniye.

Song: chanda re jaa re jaa re (Ziddi, 1948) 

 END OF EPISODE 4

Contributed by soojoi_india@yahoo.co.in

********* AB: Anil Biswas TB: Tushar Bhatia

TB: shrotaaon ko hamaara namaskaar! aaj Rasikeshu shrinkhalaa ki teesri kaDee hai. to aap apne rasikon ko kya sunaane waale hain?

AB: aaj rasikon ko main ras bhare gaane sunaane waala hoon. aur uska racheyta hai ek rasik aadmi, uska naam hai Kamal Dasgupta. shaayad unka naam bahut zyaada sune nahin honge, lekin unka naam jo hai na hamaare dil mein ras ke saath bhara huya hai. tumko unke gaane sunaayunga. unhone bahut zyaada ‘picture’-en to kee nahin hain, lekin Jawab ‘picture’ ka ek gaana, woh bhulaaye nahin bhoolta, tum bhi hamaare saath sahmat hoge

TB: jee bilkul

AB: “kuchh yaad rahe to sun kar jaa, haan kar jaa yaa naa kar jaa”

TB: daadaa, Kanan Devi ki aawaaz mein yeh geet hai na?

AB: yeh Ghazal hai. pehle isko suno, phir doosra gaana sunaayunga.

Song: kuchh yaad rahe to sun kar jaa (Jawab, 1942)

TB: is Khoobsoorat Ghazal ke baad ab shrotaaon ko kya sunaane waale hain?

AB: iske Ghazal ke baad ek bhajan sunaate hain. yeh unki film ‘Hospital‘ se hai, aur Kanan Devi ka gaaya huya. to yeh suno “prabhu ji, tum raakho laaj hamaari”.

TB: shrotaaon ki jaankaari ke liye ham bataa den ki Pandit Bhushan ji ka likha huya yeh bhajan raag piloo par aadhaarit hai.

Song: prabhuji tum raakho laaj hamaari (Hospital, 1943)

TB: ye to ho gaye Kamal Dasgupta ji ke film ke gaane. shaayad unhone Gair filmi geeton ke liye bhi bahut kaam kiya tha!

AB: bahut kiya tha aur usmein se main tumko ek bahut hi achchha gaana sunaane waala hoon.

TB: achchha?

AB: haan. dekho, unhone jahaan jahaan bhi gaana tayyaar kiya hai, rachanaa kee hai, wo ras barsaaye hain. aur tumhe ye naam maaloom hai kya, Tapan Kumar kaa naam sunaa tumne?

TB: jee naheen daadaa, wo kaun?

AB: “jee naheen daadaa” ka kya matlab? yeh jo aaj hamaare prasiddha gaayak hain Talat Mehmood, unhone Tapan Kumar ke naam se wahaan par Bangla gaana, aur Hindi/Urdu gaana, dono gaaye hain. achchha yeh suno, is gaane ke naam se shaayad tumko yaad aa jaayegaa, yeh Talat se unhone gawaaya hai, Tapan Kumar ke naam se haan! “tasveer teri dil mera behla na sakegi”. tumne yeh gaana sunaa naheen hai?

TB: jee sunaa hai, aur shrotaaon ko bhi sunaa dete hain. saath hi yeh bhi bataa den ki Talat saahab ki yeh pehli ‘record’ thi, Kamal Dasgupta ne swar niyojan diya hai, aur likha hai Fayyaz Hashmi saahab ne.

Song: tasveer teri dil mera behla na sakegi (Non-film, 1944)

END OF EPISODE 3

Courtesy :  soojoi_india@yahoo.co.in

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