Friday, June 19, 2009

SD Burman, His music became younger and contemporary with every passing film.

The Most Revolutionary Concept In Education PLANMAN CHE CENTRE FOR HIGHER EDUCATION, Supported by IIPM India’s Leading B-School

From boatmen music to "Guide"

From kay jaas rey bhaati gaan gaiya, the original SD bhatialy (boatmen’s folk song) to kanto say khinchti yeh anchal (film Guide), a rare song that starts – unlike most Indian songs – from the third octave, he was one genius who subsumed the oldest and newest, and married them off in film after film. Music was in the blood of this prince from the Dev Burman dynasty of Tripura, so much so that he nicknamed his son “Pancham” the fifth note (Pa), the only constant in the Indian octave system that has no mellow or sharp inflection. From the Bengali maestro KC Dey to Ustad Alauddin Khan, he trained under only the best. He composed music for 100 movies, and sang in some too. But he sang only those numbers that were rustic and rural in tone and tenor and melancholic in emotion (Doli main bithai kay kahan, or Prem kay pujari, et al). Interestingly, he also did a singing role in an Urdu film “Selima”.

In the 1950s, he tied up with Devanand’s Navketan Productions and dished out masterpieces in films like "Taxi Driver", "Munimji", "Paying Guest" etc.

Given his gift for musical pathos, it was natural that his next assignments would be for Guru Dutt ("Pyasa", "Kagaaz Ke Phool"), and later for the Bimal Roy stunner "Sujata". Says composer Ravindra Jain: “His music became younger and contemporary with every passing film." And singer Kumar Sanu says he still delves into SD’s music for inspiration. It is a fitting requiem that the 1990 film, "Agneepath" had an uncredited composition from him, the song Nazar lagi tore bangle par, composed for the 1958 films "Kalapani". Not too many composers would be plagiarised so long after death!


Interviews:Vimalendu Singh and Prakriti Raj. Research: Prachi Mehrotra and Smriti Das


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Source : IIPM Editorial, 2008
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