IMMORTAL SD BURMAN

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punjini

@punjini

Dazzler

Posted: 17 years ago

#221

Wow, more and more articles emerge. Indeed he is Karta!!

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bablee rai

@shabari

Dazzler

Posted: 17 years ago

#222

Originally posted by: punjini
Wow, more and more articles emerge. Indeed he is Karta!!

👏congrts...for begining this post on 1st may and still going strong..it's been a great change from the normal contradictions and varied opinions people have about celebrities..but here is one post where all are unanimous in their love, respect and adoration for this wonderful talented personality.👏

great indeed.keep it up.

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Kumar

@trishancku

Voyager

Posted: 17 years ago

#223

http://epaper.hindustantimes.com/artMailDisp.aspx?article=31 _10_2007_540_001&typ=1&pub=264

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punjini

@punjini

Dazzler

Posted: 17 years ago

#224

Another highly informative and interesting article Trishankuji! Let me again listen to those pieces he mentioned where Samta Prasad and Ali Akbar Khan have played. I knew that a genius was playing the tabla in "Naache man mora"!

Couldn't quite understand what was meant by the last paragraph about "hum bekhudee mein". I think it will be clearer in the continuation article.

It is a pity that RD was not given the music of the Hindi version of Shankarabharanam to compose. I never found the music of Sur Sangam remarkable. Maybe RD would have made a difference?

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Anuradha Ravi

@Anuradha

Inactive

+ 3

Posted: 17 years ago

#225

Originally posted by: Barnali

Here's an article on her...it was written quite long back by someone Named Ritu...

Genius comes in pack of three

Interesting article indeed.. Behind every successful man there is a woman!! And what do I say about Panchamda.. I remember the famous saying - Baap sher toh Beta sava sher!! I hope I am right..

Have anyone of you tried comparing these two legends?? I am really interested in doing it 😳

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advil

@advil

Inactive

+ 3

Posted: 17 years ago

#226

Some more pics of the musical family.....Presenting Sachin Dev Burman, Meera Dev Burman and Rahul Dev Burman....

Meera Dev Burman was a music student of Amita Sen, who was trained in Rabindranath Tagore's Shantiniketan. S D Burman, fell in love with Meera when he met her at the All India Music Conference in Allahabad in 1937.Thereafter, Meera become Burmanda's student and married him the same year

Even though she did playback for a few songs , she preffered to be dada's sounding board as well as assistant rather than pursue playback singing.

Despite a huge age gap,she got married to Burmanda in 1938.

Meera Dev Burman with baby Rahul .

Picture credit : Pawan Jha and Bheemsing Rohangdale

Edited by advil - 17 years ago

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punjini

@punjini

Dazzler

Posted: 17 years ago

#227

The marriage photo is great! and a little funny too. 😆

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advil

@advil

Inactive

+ 3

Posted: 17 years ago

#228

Originally posted by: punjini
The marriage photo is great! and a little funny too. 😆

😆😆😆 Wonder how they balance that hat on the head... seems to uncontrollable..

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Bob Chowdhury

@Qwest

Inactive

Posted: 17 years ago

#229

NOSTALGIA - To father with love

Pancham's concluding notes on S D Burman

Raju Bharatan

As we looked aghast at the Dekha kiye tumhen turn he was giving to Hum bekhudee mein, Dada Burman demanded to know why we were not playing along. From among Dev Anand, Raj Khosla and me, the secondnamed - as the Kala Pani director and a singer himself - finally made bold to say we felt Dada was ruining a beautiful tune by introducing a passage that sounded off-track and wasn't blending. Discussions galore Whereupon Dada really lost his cool and, turning to me, said: "You want to be a composer, don't you, Pancham, and you say this (Dekha kiye tumhen ) turn I'm giv ing the tune isn't blending, it's offtrack? I'm disappointed in you, Pancham, what calibre of a composer are you? Just you guys play on and see how I get Rafi to blend it in the final recording." Blend, it finally did - ever so beautifully. This proved Dada had an audio-visual mind, he could envision 'a-tune-within-a-tune'. In that moment, I realised how much I still had to absorb from Dada as a would-be composer. Lessons, lessons Another thing I learnt from Dada, is that at all times it's better to be plain-speaking to avoid all chance of misunderstanding later. Dada was never wishywashy. Take the time we recorded Chal ree sajnee as a background number for Bambai ka Babu. I felt the song was ideally suited to the vocals of my resonant pet then - Hemant Kumar. But Dada firmly ruled out Hemant, saying his vocals had begun deteriorating. Manna Dey was considered next, but Dada felt the Chal ree sajnee tune didn't suit his voice. Talat Mahmood was rejected instantly by Dada on the ground that too much 'vibration' had crept into his voice. If Kishore Kumar had the vocals to go with the tune, Dada shrewdly sensed that this singer wouldn't be overkeen to perform in a 'background' number, since the main playback for Dev Anand, in Bambai ka Babu, was Rafi! That's how Mukesh came into the picture, though Dada agreed to test him out rather reluctantly. Upon his arrival for rehearsal at our Sion residence, Dada frankly told the singer: "Look, Mukesh, I don't promise I'll retain your voice in Chal ree sajnee. If after rehearsal, in the final take, I find your rendition unsatisfactory, I retain the right to scrap the song!" "But you always have that right, Dada," noted Mukesh - as the soul of tact. "All I know, is you've called me after years, so I'll put in my best. After that, as the song's composer, it's your privilege to retain or reject me, Dada!" One point I must make here that Dada bowed to no singer. When he felt Kishore Kumar wasn't giving cent per cent, he turned to Rafi - for Dev Anand, mind you - with total lack of inhibition. When he brought back Kishore, Dada did so on his own terms. Yet, it was from Dada I learnt how to draw the best out of Kishore. Dada's technique was to send the tune's spool-tape in advance to Kishore. I found Kishore sounding peerless once this spool-tape was made available to him beforehand. Then and there, I decided Kishore would be my first choice as singer, once I had the freedom to pick my own voice. That Dada spool-tape worked wonders with Kishore. Today Dada's no more, but I owe all I am to him. Which other princely father would've agreed to his son's going into such an uncertain field as films in the then faraway city of Bombay? In fond memory Dada had vision, he instinctively sensed music was in my blood. Yet not once was he soft with me as his first assistant. In fact, more than once, he harshly pulled me up in the presence of all those musicians. It hurt like hell at the time, but I saw there was merit in Dada's argument that he was dealing with his chief assistant - not his son - here. Each time Dada so openly scolded me, it was when I'd failed to do my first-assistant homework. Today I know that it's his rounding that's equipped me for the job. When the time for me to compose by myself came, Dada just let me go, saying he had nothing left to teach me. He loved my tunes in Amar Prem, the film was my mum Meera's favourite too.

"After all, whose son is Pancham?" I last remember Meera asking Dada.

Edited by Qwest - 17 years ago