S.D.Burman: Centenary Celebrations

Today is his 100th Birth Anniversary.

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S.D. Burman proved that age is no impediment for creativity. He was the only great composer who remained in high demand right till the end of his life, unlike his contemporaries who gradually faded away. His greatest gift lay in the fact he could be equally jazzy and trendy in a dhoti. His grip on Indian folklore, his sound classical base, his capacity to absorb from the scene around him made him the greatest all-rounder in Indian Film Music. And to think he never sat down on a harmonium to compose! His tunes would come to him in a flash on a long walk or a drive or even out fishing at sea!

Born in the royal family of Tripura in North-East India, he began his training in classical music under his father, sitarist and Dhrupad singer Nabadwipchandra Dev Burman. He later continued his training under Ustad Badal Khan and Bhismadev Chattopadhaya.

His early work for radio was based on East Bengali and North-Eastern folk-music. In the early 1930s he made a reputation for himself as a singer of folk and light classical music. (Consequently his film compositions were often influenced by his huge repertory of folk-tunes from the Bengali, Bhatiali, Sari and Dhamail traditions of the North-East)

He made his film debut singing in Yahudi ki Ladki (1933) but the songs were scrapped and re-sung by Pahadi Sanyal! His first film as a singer was finally Sanjher Pidim (1935). He became a music director initially in Calcutta in the late 1930s before moving to Bombay in 1944.

In Bombay, he began with Filmistan's Eight Days (1946) but his first major breakthrough came the following year with the company's Do Bhai (1947). The song Mera Sundar Sapna Beet Gaya sung by Geeta Dutt is remembered till today and was her breakthrough song into the film industry!

Shabnam (1949) was his biggest hit with Filmistan with the multi-lingual song Yeh Duniya Roop ki Chor sung by Shamshad Begum becoming the rage of the day. But disillusioned with the materialism of Bombay, he left the Ashok Kumarstarrer Mashaal (1950) incomplete and decided to board the first train back to Calcutta. Fortunately he was dissuaded from doing so.

Burmanda composed the music for Dev Anand's production company, Navketan's first film Afsar (1950). With the success of their second film, Baazi (1951)he made it to the top and a long association with Navketan and Dev Anand was on its way.

Baazi's jazzy musical score revealed a new facet to singer Geeta Dutt's singing. Till then she was mainly known for weepy sad songs and bhajans. The sex appeal in her voice and the ease with which she went western was marvellous to behold. While every song in the film was a raging hit, one stood out for special appeal - Tadbir se Bigdi Hui Taqdeer a ghazal that was occidentalized into a seductive song!

Burmanda could at once be a light and a serious in-depth composer. When Guru Duttmade comparatively light-weight films like Baazi and Jaal (1952), Burmanda reflected their mood with compositions like Suno Gajar Kya Gaye or De Bhi Chuke Hum and when Guru Dutt made his somber masterpieces - Pyaasa (1957)and Kaagaz ke Phool (1959), he was right on target with Jinhe Naaz Hai Hind and Waqt ne Kiya Kya Haseen Situm.

Burmanda's zest for life showed through his music. He was right there on the front bench to cheer his favourite football or hockey team. Such was his enthusiasm that he once offered music to go with a hockey match! The very name of his house 'The Jet' signified a composer who was up to date with the times.

Ill health caused a slump in his career in the early 1960s but his compositions for Bandini (1963), Guide (1965), Jewel Thief (1967) and Aradhana (1969) showed that S.D. Burman could still dictate trends. Aradhana was responsible in Kishore Kumar's second coming and went on to make him the top male playback singer of Hindi Films.

Burmanda was also responsible along with O.P. Nayyar into shaping Asha Bhosle as a singer of repute. A scrap with Lata Mangeshkarin 1958 led him to using Asha as his main singer in the 1958 - 62 period which saw her go from strength to strength.

As a singer, his thin but powerful voice was often used as bardic commentary e.g. Wahaan Kaun hai Tera from Guide or Safal Hogi Teri Aradhana from Aradhana. Abhimaan (1973) stands out for his outstanding musical score among his later films.

Burman da amar rahe..

He will live in our heart forever..everytime we hear his compositions, everytime we hum those songs, everytime we listen to music we are greatful to him for the wealth the heritage he left for us.

I bow in front of a legend, the Pride of Indian film music.

My salute to him !!!

Sachin Dev Burman

Early days

S D Burman was born in Comilla, Bengal (now in Bangladesh) in British India. He was born in the royal family of Tripura, and began his training in classical music under his father, sitarist and Dhrupad singer Nabadwipchandra Dev Burman. He later continued his training under Ustad Badal Khan and Bhismadev Chattopadhaya. His early work for radio was based on East Bengali and North-Eastern folk-music. In the early 1930s he made a reputation for himself as a singer of folk and light classical music. (Consequently his film compositions were often influenced by his huge repertory of folk-tunes from the Bengali, Bhatiali, Sari and Dhamail traditions of the North-East India).

Music career

S D Burman composed music for 89 movies. Agneepath (1990) had an uncredited song composed by him - Nazar lagi raja tore bangle par from Kalapani (1958). He also sang as a playback singer for about five movies for which he composed music. He also sang for one of the songs of Amar Prem (1971), a film whose music was composed by his son, Rahul Dev Burman. S.D. Burman's compositions have been mainly sung to a large extent by the likes of Lata Mangeshkar, Mohammad Rafi, Geeta Dutt (wife of Guru Dutt and a playback singer herself), Manna Dey, Shamshad Begum and Kishore Kumar. Mukesh and Asha Bhonsle have also sung songs composed by him. He has also sung a number of private songs and bhajans. Notable ones being "Dheere se jana bagiyan mein" and "Kaun nagariya javun re Bansiwale..".

1930s

He made his film debut singing in Yahudi ki Ladki (1933) but the songs were scrapped and re-sung by Pahadi Sanyal. His first film as a singer was finally Sanjher Pidim (1935). He became a music director initially in Calcutta with Rajgee (1937). He moved to Bombay in 1944.

1940s

In Bombay, he began with Filmistan's Eight Days (1946) but his first major breakthrough came the following year with the company's Do Bhai (1947). The song Mera Sundar Sapna Beet Gaya sung by Geeta Dutt was her breakthrough song into the film industry.

Shabnam (1949) was his biggest hit with Filmistan with the multi-lingual song Yeh Duniya Roop ki Chor sung by Shamshad Begum becoming the rage of the day.

1950s

Disillusioned with the materialism of Bombay, S D Burman left the Ashok Kumar starrer Mashaal (1950) incomplete and decided to board the first train back to Calcutta. Fortunately, he was dissuaded from doing so.

In 1950s, S D Burman teamed up with Dev Anand's Nav Ketan Productions to create musical hits like Taxi Driver (1954), Munimji (1955), Paying Guest (1957), Nau Do Gyarah (1957) and Kalapani (1958). The songs sung by Mohammad Rafi and Kishore Kumar became popular. Burman da composed the music for Dev Anand's production company Navketan's first film Afsar (1950). With the success of their second film, Baazi (1951) he made it to the top and a long association with Navketan and Dev Anand was on its way. Baazi's jazzy musical score revealed a new facet of singer Geeta Dutt, who was mainly known for weepy, sad songs and bhajans. While every song in the film was a hit, one stood out for special appeal - Tadbir se Bigdi Hui Taqdeer, a ghazal that was occidentalized into a seductive song.

He also gave music for Guru Dutt classics - Pyaasa (1957) and Kaagaz Ke Phool (1959). The soundtrack of Devdas (1955) was also composed by him. House No. 44 (1955), Funtoosh (1956), Solva Saal (1958) and Sujata (1959) were other S D Burman hits. When Guru Dutt made comparatively light-weight films like Baazi and Jaal (1952), Burmanda reflected their mood with compositions like Suno Gajar Kya Gaye or De Bhi Chuke Hum and when Guru Dutt made his somber masterpieces - Pyaasa (1957) and Kaagaz ke Phool (1959), he was right on target with Jinhe Naaz Hai Hind and Waqt ne Kiya Kya Haseen Situm.

In 1957, S D Burman fell out with Lata Mangeshkar and adopted Asha Bhosle as his lead female singer. The team of S D Burman, Kishore Kumar, Asha Bhosle and lyricist Majrooh Sultanpuri became popular for their duet songs. Thus, he was responsible along with O.P. Nayyar for shaping Asha Bhosle as a singer of repute.

In 1958, S D Burman gave music for Kishore Kumar's house production Chalti ka Naam Gaadi.

1960s

Ill health caused a slump in his career in the early 1960s but he gave many hit films in late 1960s. In 1961, S D Burman and Lata Mangeshkar came together during the recording of R D Burman's first song for the movie Chhote Nawab. They reconciled their differences and started working again in 1962.

The Dev Anand-S D Burman partenership continued to churn out musical hits like Bambai Ka Babu (1960), Tere Ghar Ke Samne (1963), Teen Devian (1965), Guide (1965) and Jewel Thief (1967).

Other S D Burman hits from this period were Bandini (1963) and Ziddi (1964).

Aradhana (1969) is considered a landmark score in the Bollywood history. The music of the movie shaped the careers of singer Kishore Kumar, lyricist Anand Bakshi, filmmaker Shakti Samanta and R D Burman (associate music director). It was responsible in Kishore Kumar's second coming and went on to make him the top male playback singer of Hindi Films.

1970s

Dev Anand and S D Burman continued their musical partnership in Prem Pujari (1970).

Sharmilee (1971), Abhimaan (1973), Mili (1975), and Chupke Chupke (1975) are other classics from this period.

S D Burman went into coma while recording the song Badi sooni sooni (sung by Kishore Kumar) for the film Mili. He died on October 31, 1975 in Bombay (now Mumbai).

Singing style

As a singer, his thin but powerful voice was often used as bardic commentary e.g. Wahaan Kaun hai Tera from Guide or Safal Hogi Teri Aradhana from Aradhana. Abhimaan (1973) stands out for his outstanding musical score among his later films.

Awards and Recognitions

• The Sangeet Natak Akademi award - 1958.

External links

• Sachin Dev Burman at the Internet Movie Database
• A website dedicated to Sachin Dev Burman

Thank you SS for the article

Check this sitehttp://www.sdburman.net/

Hi Deepak,

I don't read posts often here, so I missed this article that you posted.

S.D.Burman was really one of the greatest musical composers of all time!!! He was so versatile, and some of his compositions were so much ahead of their time. He WAS and probably will ALWAYS remain my favorite music director. I remember growing up in Delhi, I always used to look for films which had his music... the great thing about his albums were that each and every song would be a classic... not just one or two songs!!! My favorite albums of his from the mids 60s/early 70s were Jewel Thief, Aradhana, Guide, Tere Mere Sapne, Talaash, Ishq par zor nahin, Prem Pujari, Sharmilee, Anuraag, Abhimaan, etc.

Thanks for posting this article honoring such a great composer.

Vinaya.

Thanks saap Bhai....

Lets get the old SDBurman article to the front page today.

We can go through the articles....

Facts:
Kumar Sachin Deb, as he was known in his younger days, came to Calcutta with the reputation of a budding folk singer. Incidentally, his roots are at Royal family of Tripura. His guru Krishna Chandra Dey was , a blind singer, was also the uncle of Manna Dey. Dada's first attempt in films was as an actor-singer for the film Yahudi ki Ladki where he was replaced at the last moment by another stalwart of yesteryears Pahadi Sanyal. Dada came to Bombay in 1941, not as a composer but in the capacity of a playback singer. The first solo he sang was for a film Taj Mahal. The composer was Madhavlal Master.

Disillusioned with Bollywood, Dada once left Bombay in 1951, only to return back after some time. Manna Dey completed the score of Mashaal, which Dada had left incomplete. Dada had a unique way of judging the vocal condition of singers. Very early in the morning after his morning walk he used to call them from his 'Jet Bungalow', and Listen to the singers' voice over the phone. One day when Dada was in the way of routine morning walk, he saw a person was saying that "He is the father of Rahul Dev Burman" by pointing him. As Dada returned home he hugged pancham. this was the moment in his life bigger than his all successful films.

During recordings Dada used to control all aspects of recording, ie. Orchestral Architecture and oral tuning of singers. Once it happened that an extra violinist was playing in the orchestra. Dada instantly sought to know through recordist's mike that why that unwanted violinist was there. "But dada, he has alreadycome and and we have to pay him," reply came. "Then pay him and let him go!, I want one, and only one violin in this song." Dada said. Jaidev Verma, Dada's assistants was a sarod player cum guitarist who achieved a generous amount of success as the composer of films like Hum Dono, Prem Parvat and Kinare Kinare. Though the last release was Tyaag, the last song dada had composed from his hospital bed was Badi sooni sooni hai for film Mili, after 2 days of this song recording dada went in comma, which led him to attained his heavenly bliss.

C. Ramachandra on request by the studio owner, partially arranged the music for "Shikari" Dada's first film as a composer in Bombay, With a condition that his name should not appear on the record.
He Used to go to the The Bombay Powai Lake for fishing on holidays and often used to spend the entire day fishing, often without much success.
There'd be good-natured bantering between them. "Baba," Pancham would pout, "you don't give me enough pocket money." And Dada would laugh back, "Oi Pancham, when are you going to contribute to the kitchen expenses?"

Whenever the son would try to shuffle out quietly from the music room, Dada would say, "Jao jao, I know you want to smoke a cigarette."
When Panchamda and ashaji planned to get marry, They convey their concerns to Dada. sitting next to Dada, ashaji waiting for his words, after a long silence he told that Pancham is our only son, a divine gift God blessed us after a lot of prayers. now he is in your hands with a hope that both you will devote to music and give new dimensions. When Dada hummed the tune for Yeh raat yeh chandi phir kahan (Jaal), Sahir laughed. When Dada suggested that he would use Hemant Kumar's vocals for this number, Sahir was in raptures. Dada stuck on to his choice and the song was a very big hit.

In "Chhod do aanchal, zamana kya kahega". Asha Bhonsle responded with "Aah", Dada of course asked her to begin the song with that "Aah" to react in a manner as if somebody was pulling her saree. Lata did not sing for Dada for a stretch of five years. When she did come back, it was with a vengeance and her first number with Dada was a remarkable piece in musical artistry was Jogi jab se tu aaya mere dwaare (Bandini). For Panchamds's composition Chunri sambhaal gori. Dada give the final touch by simply introducing an exclamation 'aha' between the lines of the Mukhda when sung in refrain.

Danny Danzogppa made a moderate debut as a playback singer in the duet 'Mera naam aao, mere paas aao' with Asha for the film Yeh Gulistan Hamara' His part of the song was featured on Johnny Walker.
Kaahe ko roye, Chahe jo hoye sung by Dada (Hindi) was retained in both the Hindi and the Bangla (dubbed) version of the film "Aradhana".
During the one-year coma preceding his death Dada rarely reacted to any external stimuli, When Panchamda gave him the news that East Bengal had drubbed Mohan Bagan 5-0 in the IFA Shield final. He did smile, faintly, once.

For his compositions he used to take inspiration from real life events and feelings. he used to roam aound on the roads. It's very rare that sat down with a harmonium to compose music. like for "jaayen to jaayen kahan" he might have got lost, for "ye raat ye chaandani phir kahaan" might be composed at looking through a window on a moonlit night, Looking far away at nothing in particular, as if looking for some lost treasure, he gave us the gems, "tum na jaane kis jahan mein kho gaye".
He was a great innovator when it came to experimenting with instruments in a composition and well known for his last minute improvisations.

The trend in the industry where they believed in the principle of one playback singer for one hero in one film, for them, it was mukesh for Raj Kapoor, Kishor Kumar for Rajesh Khanna, Mohd.Rafi for the irrepressible Shammi Kapoor and Dilip Kumar. but Dada was differ from them. Repeatedly, he used more than one voice for the same artiste in the same film. Dada chose the playback singer depending on Mood and the situation where his song would be used in the film and not by which voice matched the actor's voice most. Thus, Kishore Kumar, Mohammed Rafi and Mukesh sung for Amitabh in Abhiman and no one in the audience could noticed the switch while watching the movie. Similarly Rafi, Kishore and Manna Dey offered their voices for Dev Anand in Manzil. On Raj Kapoor in the film Pyaar Dada first experiment with the voice of Kishore Kumar. In the meanwhile, he was experimenting with the voice of Mukesh on Dev Anand and Dilip Kumar. In "Sagina" Kishor Kumar's voice used for Dilip Kumar. Surprisingly he has used Manna Dey on Kishor Kumar in "Naughty Boy".

When things went to dada. sitting next, ashaji waiting for his words, after a long silence he told that Pancham is our only son, a divine gift God blessed us after a lot of prayers. now he is in your hands with a hope that both you will devote to music and give new dimensions.

Cewl! Thanks guys for all the wonderful information about Sachin Da the Great! Don't we all miss his melodious music!!


mqt

Dada was absolutely inimitable, unequalled and the only one who had both depth and breadth in his music. Long live his music!

Originally posted by: Qwest

Facts:
Kumar Sachin Deb, as he was known in his younger days, came to Calcutta with the reputation of a budding folk singer. Incidentally, his roots are at Royal family of Tripura. His guru Krishna Chandra Dey was , a blind singer, was also the uncle of Manna Dey. Dada's first attempt in films was as an actor-singer for the film Yahudi ki Ladki where he was replaced at the last moment by another stalwart of yesteryears Pahadi Sanyal. Dada came to Bombay in 1941, not as a composer but in the capacity of a playback singer. The first solo he sang was for a film Taj Mahal. The composer was Madhavlal Master.

Disillusioned with Bollywood, Dada once left Bombay in 1951, only to return back after some time. Manna Dey completed the score of Mashaal, which Dada had left incomplete. Dada had a unique way of judging the vocal condition of singers. Very early in the morning after his morning walk he used to call them from his 'Jet Bungalow', and Listen to the singers' voice over the phone. One day when Dada was in the way of routine morning walk, he saw a person was saying that "He is the father of Rahul Dev Burman" by pointing him. As Dada returned home he hugged pancham. this was the moment in his life bigger than his all successful films.

During recordings Dada used to control all aspects of recording, ie. Orchestral Architecture and oral tuning of singers. Once it happened that an extra violinist was playing in the orchestra. Dada instantly sought to know through recordist's mike that why that unwanted violinist was there. "But dada, he has alreadycome and and we have to pay him," reply came. "Then pay him and let him go!, I want one, and only one violin in this song." Dada said. Jaidev Verma, Dada's assistants was a sarod player cum guitarist who achieved a generous amount of success as the composer of films like Hum Dono, Prem Parvat and Kinare Kinare. Though the last release was Tyaag, the last song dada had composed from his hospital bed was Badi sooni sooni hai for film Mili, after 2 days of this song recording dada went in comma, which led him to attained his heavenly bliss.

C. Ramachandra on request by the studio owner, partially arranged the music for "Shikari" Dada's first film as a composer in Bombay, With a condition that his name should not appear on the record.
He Used to go to the The Bombay Powai Lake for fishing on holidays and often used to spend the entire day fishing, often without much success.
There'd be good-natured bantering between them. "Baba," Pancham would pout, "you don't give me enough pocket money." And Dada would laugh back, "Oi Pancham, when are you going to contribute to the kitchen expenses?"

Whenever the son would try to shuffle out quietly from the music room, Dada would say, "Jao jao, I know you want to smoke a cigarette."
When Panchamda and ashaji planned to get marry, They convey their concerns to Dada. sitting next to Dada, ashaji waiting for his words, after a long silence he told that Pancham is our only son, a divine gift God blessed us after a lot of prayers. now he is in your hands with a hope that both you will devote to music and give new dimensions. When Dada hummed the tune for Yeh raat yeh chandi phir kahan (Jaal), Sahir laughed. When Dada suggested that he would use Hemant Kumar's vocals for this number, Sahir was in raptures. Dada stuck on to his choice and the song was a very big hit.

In "Chhod do aanchal, zamana kya kahega". Asha Bhonsle responded with "Aah", Dada of course asked her to begin the song with that "Aah" to react in a manner as if somebody was pulling her saree. Lata did not sing for Dada for a stretch of five years. When she did come back, it was with a vengeance and her first number with Dada was a remarkable piece in musical artistry was Jogi jab se tu aaya mere dwaare (Bandini). For Panchamds's composition Chunri sambhaal gori. Dada give the final touch by simply introducing an exclamation 'aha' between the lines of the Mukhda when sung in refrain.

Danny Danzogppa made a moderate debut as a playback singer in the duet 'Mera naam aao, mere paas aao' with Asha for the film Yeh Gulistan Hamara' His part of the song was featured on Johnny Walker.
Kaahe ko roye, Chahe jo hoye sung by Dada (Hindi) was retained in both the Hindi and the Bangla (dubbed) version of the film "Aradhana".
During the one-year coma preceding his death Dada rarely reacted to any external stimuli, When Panchamda gave him the news that East Bengal had drubbed Mohan Bagan 5-0 in the IFA Shield final. He did smile, faintly, once.

For his compositions he used to take inspiration from real life events and feelings. he used to roam aound on the roads. It's very rare that sat down with a harmonium to compose music. like for "jaayen to jaayen kahan" he might have got lost, for "ye raat ye chaandani phir kahaan" might be composed at looking through a window on a moonlit night, Looking far away at nothing in particular, as if looking for some lost treasure, he gave us the gems, "tum na jaane kis jahan mein kho gaye".
He was a great innovator when it came to experimenting with instruments in a composition and well known for his last minute improvisations.

The trend in the industry where they believed in the principle of one playback singer for one hero in one film, for them, it was mukesh for Raj Kapoor, Kishor Kumar for Rajesh Khanna, Mohd.Rafi for the irrepressible Shammi Kapoor and Dilip Kumar. but Dada was differ from them. Repeatedly, he used more than one voice for the same artiste in the same film. Dada chose the playback singer depending on Mood and the situation where his song would be used in the film and not by which voice matched the actor's voice most. Thus, Kishore Kumar, Mohammed Rafi and Mukesh sung for Amitabh in Abhiman and no one in the audience could noticed the switch while watching the movie. Similarly Rafi, Kishore and Manna Dey offered their voices for Dev Anand in Manzil. On Raj Kapoor in the film Pyaar Dada first experiment with the voice of Kishore Kumar. In the meanwhile, he was experimenting with the voice of Mukesh on Dev Anand and Dilip Kumar. In "Sagina" Kishor Kumar's voice used for Dilip Kumar. Surprisingly he has used Manna Dey on Kishor Kumar in "Naughty Boy".

When things went to dada. sitting next, ashaji waiting for his words, after a long silence he told that Pancham is our only son, a divine gift God blessed us after a lot of prayers. now he is in your hands with a hope that both you will devote to music and give new dimensions.

Very interesting article especially the paragraphs on how he called singers on the phone to judge their vocal conditions and the one on the song Chhod do aanchal, zamana kya kahega. Also, actor Danny Danzongpa made his debut as a playback singer?! Wow, this is all news to me. 😆

SolidSnake, thanks for starting this thread on a wonderful music composer.