Pancham Da's death anniversary, 1/4/2011, 12:00 am

More than a composer (from Deccan Herald)

http://www.deccanherald.com/content/125433/more-composer.html

*"*
More than a composer Ranjan Das Gupta
*RD Burman is still remembered as a music director of high calibre and also
as the uncrowned King of Music in the 70s and 80s.*
 [image: soulful R D Burman was not just a music director but a prolific
singer too.]He was also a singer of merit, which was clearly overshadowed by
his success as a music composer. Although he might not have had the depth
and range of his father, S D Burman, R D Burman did usher in a new trend in
music in the Hindi film industry as a singer.

R D Burman’s journey as a playback singer began with the track Meri Jaan
Maine Kaha from The Train in 1970. He sang this song with Asha Bhonsle,
giving a forceful yet musical effect to his voice. Eventually, the song
proved to be a super hit. Hearing Meri Jaan Maine Kaha, both, S D Burman and
Salil Chowdhury, instructed R D Burman to carry on singing, whenever he
received a good opportunity.

*Mass popularity
*
R D Burman, in association with Asha Bhonsle, rendered a number of sizzling
hits in jazz, flamingo, rock and roll as well as disco genres of music
during the 70s. Some of their memorable numbers include Piya Tu, Duniya
Mein, Dil To Mane Na and Gulabi Aankhen. All these numbers garnered mass
popularity, which encouraged R D Burman to experiment with his voice. And he
did! He sang one line (Daddy Ka Mummy Ka) in the antara of the song Phoolon
Ka Taro Ka (Hare Rama Hare Krishna) sung by Lata Mangeshkar. R D Burman knew
that it would be wrong if he tried to emulate Lata Mangeshkar and her style
of singing. Therefore, he rendered the line by lowering his tone, thereby
making his voice sound melodious.

When S D Burman requested R D Burman to sing a song with himself and Lata
Mangeshkar (the climax song of Yeh Gulistan Hamara), R D Burman was nervous
at first. After his father rebuked him for not confident enough to sing
along, R D Burman accepted the opportunity as a challenge.

As Lata rendered the track Raina Jagi Jagi sonorously, R D sang the antaras
in Naga musical style with equal gusto. Of course, both were overshadowed by
S D Burman’s performance in the song. In fact, R D Burman said that he was
pleased to know that his performance was eclipsed by his father’s rendition
as he had still a lot to learn from the musical legend.

R D Burman is also remembered for his renowned solo singing performances.
What leads the pack is Mehbooba Mehbooba in Sholay, followed by songs in the
films Hum Kisi Se Kum Nahin and Shaan. Perhaps,  his most well-known solo is
Dhanni Dhanni Aankhon Mein, written by Gulzar for Kitab. In this number,
which had a conglomeration of Spanish interludes and Indian ragas in light
mood, R D Burman exuded emotions not heard in any of his earlier numbers.

In the 80s, R D Burman introduced the vocoder in his compositions,
especially while singing. He introduced this to give an additional effect in
the background score of Sagar.

By the mid 80s, R D Burman was getting tired of redundant musical and
singing styles in the Hindi film industry. He understood well that quality
of music was no more as it used to be in the 50s and 60s.  Therefore, he
experimented with English songs in his second western album, Panthera,
recorded solely at the studio of Francis Ford Coppola in Los Angeles. It is
believed that once Coppola attended one of the recordings and appreciated R
D Burman’s music. Hearing his arrangement of music and bold delivery of
English lyrics in his songs, Coppola told Burman that he was a highly gifted
musician.

After R D Burman married Asha Bhonsle, he sang most of his songs with her.
Once, he confessed that none of those duets were serene and will never be
remembered.

Speaking about quality, R D Burman lamented that he never received deserving
lyrics, which were suitable for his voice, except the haunting number from
Kitab. Instead, singers like Mohammed Rafi, Manna De, Kishore Kumar, Lata
Mangeshkar and Asha Bhonsle were the ones who had the opportunity to sing
songs with soulful lyrics while R D Burman composed music for the songs they
sang.

By the 90s, R D Burman became increasingly frustrated as a musician. It is
said that once he cried in front of Salil Chowdhury in Kolkata stating that
he was losing his musical touch. Salil, who was also a family friend of the
Burmans, consoled his beloved student and encouraged him. He told him that
he still had lots of untapped potential as a musician.

And then came the gem of all R D Burman’s songs — Hum Na Samjhe The from
Gardish. This track was undoubtedly his most touching and memorable
performance after Dhanni Dhanni... Also, very few people know that R D
Burman was in tears after recording the number.

R D Burman passed away 17 years ago on January 4. Throughout his career, he
tried to regain his midas touch in the field of music. R D Burman was also
fighting a lone battle against the gross commercialisation of Hindi playback
songs. He might not be remembered as a legendary singer like Rai Chand
Boral, Pankaj Mullick, S D Burman or Hemant Kumar, but the few numbers he
sang still make us sit up and take notice. His voice and music is timeless.

*"*
Regards
Pinak Pal
www.coolfunnytshirts.net
*Go Bizarre!*

[Non-text portions of this message have been removed]

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Pritam gets threat calls for Dum Maro Dum remix (from ndtv.com)

http://movies.ndtv.com/movie_story.aspx?Section=Movies&ID=ENTEN20110165208&subcatg=MOVIESINDIA&keyword=music&nid=76431

*"*
*Pritam gets threat calls*

<http://movies.ndtv.com/movie_story.aspx?Section=Movies&ID=ENTEN20110165208&subcatg=MOVIESINDIA&keyword=music&nid=76431&cp>

Pritam Chakraborty is more puzzled than frightened. Ever since it was
announced that the music composer will remix the iconic Asha Bhosle track
Dum maro dum for Rohan Sippy's upcoming film
of the same name that is scheduled to release  next month, he has been
getting threat calls.

When contacted, Chakraborty did not deny that he was under threat. "It is
true. Ever since I remixed Dum Maro Dum, I've been getting aggressive calls.
It's not as if they want to kill me. I think they want to kill my remix. All
these calls express anger and outrage. 'How dare you?' is what they say," he
said.

This isn't the first time Chakraborty has remixed an iconic song. In the
past, he has remixed RD Burman's Duniya Mein Logon Ko for the film Once Upon
A Time In Mumbaai. "*I even re-did something as sacrosanct as Man Dole from
the classic by Lataji in Nagin. But no one ever questioned me. But now, for
the first time in my career I'm being threatened.*"

It isn't as if Chakraborty is shaken. But he is baffled. "*These threats
make me realise how iconic Dum Maro Dum is. The purists are going to be
completely shocked by what we've done to the number. The lyrics are much
more hard-hitting than the original. Not a word is the same. And my
composition is far more gritty than the original. I think once the outraged
purists hear my song they will be convinced my Dum maro dum bears hardly any
resemblance to the original,*" he says. In the meantime, Chakraborty is
being cautioned by family and friends to tighten his security. Laughs the
composer, "Oh come on! No one has ever been killed for a song."

*"*
Regards
Pinak Pal
www.coolfunnytshirts.net
*Go Bizarre!*

[Non-text portions of this message have been removed]

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Re: More than a composer (from Deccan Herald)

When did pancham sing Gardish song?


- Nitin Patnia

Sent on my BlackBerry® from Vodafone Essar

-----Original Message-----
From: Pinak Pal <pinakregister <at> gmail.com>
Sender: pancham <at> yahoogroups.com
Date: Mon, 3 Jan 2011 10:08:00 
To: <pancham <at> yahoogroups.com>
Reply-To: pancham <at> yahoogroups.com
Subject: [Pancham] More than a composer (from Deccan Herald)

http://www.deccanherald.com/content/125433/more-composer.html


*"*
More than a composer Ranjan Das Gupta
*RD Burman is still remembered as a music director of high calibre and also
as the uncrowned King of Music in the 70s and 80s.*
 [image: soulful R D Burman was not just a music director but a prolific
singer too.]He was also a singer of merit, which was clearly overshadowed by
his success as a music composer. Although he might not have had the depth
and range of his father, S D Burman, R D Burman did usher in a new trend in
music in the Hindi film industry as a singer.

R D Burman’s journey as a playback singer began with the track Meri Jaan
Maine Kaha from The Train in 1970. He sang this song with Asha Bhonsle,
giving a forceful yet musical effect to his voice. Eventually, the song
proved to be a super hit. Hearing Meri Jaan Maine Kaha, both, S D Burman and
Salil Chowdhury, instructed R D Burman to carry on singing, whenever he
received a good opportunity.

*Mass popularity
*
R D Burman, in association with Asha Bhonsle, rendered a number of sizzling
hits in jazz, flamingo, rock and roll as well as disco genres of music
during the 70s. Some of their memorable numbers include Piya Tu, Duniya
Mein, Dil To Mane Na and Gulabi Aankhen. All these numbers garnered mass
popularity, which encouraged R D Burman to experiment with his voice. And he
did! He sang one line (Daddy Ka Mummy Ka) in the antara of the song Phoolon
Ka Taro Ka (Hare Rama Hare Krishna) sung by Lata Mangeshkar. R D Burman knew
that it would be wrong if he tried to emulate Lata Mangeshkar and her style
of singing. Therefore, he rendered the line by lowering his tone, thereby
making his voice sound melodious.

When S D Burman requested R D Burman to sing a song with himself and Lata
Mangeshkar (the climax song of Yeh Gulistan Hamara), R D Burman was nervous
at first. After his father rebuked him for not confident enough to sing
along, R D Burman accepted the opportunity as a challenge.

As Lata rendered the track Raina Jagi Jagi sonorously, R D sang the antaras
in Naga musical style with equal gusto. Of course, both were overshadowed by
S D Burman’s performance in the song. In fact, R D Burman said that he was
pleased to know that his performance was eclipsed by his father’s rendition
as he had still a lot to learn from the musical legend.

R D Burman is also remembered for his renowned solo singing performances.
What leads the pack is Mehbooba Mehbooba in Sholay, followed by songs in the
films Hum Kisi Se Kum Nahin and Shaan. Perhaps,  his most well-known solo is
Dhanni Dhanni Aankhon Mein, written by Gulzar for Kitab. In this number,
which had a conglomeration of Spanish interludes and Indian ragas in light
mood, R D Burman exuded emotions not heard in any of his earlier numbers.

In the 80s, R D Burman introduced the vocoder in his compositions,
especially while singing. He introduced this to give an additional effect in
the background score of Sagar.

By the mid 80s, R D Burman was getting tired of redundant musical and
singing styles in the Hindi film industry. He understood well that quality
of music was no more as it used to be in the 50s and 60s.  Therefore, he
experimented with English songs in his second western album, Panthera,
recorded solely at the studio of Francis Ford Coppola in Los Angeles. It is
believed that once Coppola attended one of the recordings and appreciated R
D Burman’s music. Hearing his arrangement of music and bold delivery of
English lyrics in his songs, Coppola told Burman that he was a highly gifted
musician.

After R D Burman married Asha Bhonsle, he sang most of his songs with her.
Once, he confessed that none of those duets were serene and will never be
remembered.

Speaking about quality, R D Burman lamented that he never received deserving
lyrics, which were suitable for his voice, except the haunting number from
Kitab. Instead, singers like Mohammed Rafi, Manna De, Kishore Kumar, Lata
Mangeshkar and Asha Bhonsle were the ones who had the opportunity to sing
songs with soulful lyrics while R D Burman composed music for the songs they
sang.

By the 90s, R D Burman became increasingly frustrated as a musician. It is
said that once he cried in front of Salil Chowdhury in Kolkata stating that
he was losing his musical touch. Salil, who was also a family friend of the
Burmans, consoled his beloved student and encouraged him. He told him that
he still had lots of untapped potential as a musician.

And then came the gem of all R D Burman’s songs — Hum Na Samjhe The from
Gardish. This track was undoubtedly his most touching and memorable
performance after Dhanni Dhanni... Also, very few people know that R D
Burman was in tears after recording the number.

R D Burman passed away 17 years ago on January 4. Throughout his career, he
tried to regain his midas touch in the field of music. R D Burman was also
fighting a lone battle against the gross commercialisation of Hindi playback
songs. He might not be remembered as a legendary singer like Rai Chand
Boral, Pankaj Mullick, S D Burman or Hemant Kumar, but the few numbers he
sang still make us sit up and take notice. His voice and music is timeless.


*"*
Regards
Pinak Pal
www.coolfunnytshirts.net

*Go Bizarre!*


[Non-text portions of this message have been removed]



------------------------------------

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------------------------------------

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Re: More than a composer (from Deccan Herald)

Probably, Mr. Gupta got carried over here.
Even i dont remember any RD version of the same number.
The song no doubt was a brilliant sentimental / emotional number which had
come after long time.
I remember going to the movie just for Pancham.
Turned out to be a good movie and one of Jackie's best alongwith Kaash and
Angaar.

Regards
Pinak Pal
www.coolfunnytshirts.net
*Go Bizarre!*

On Mon, Jan 3, 2011 at 7:13 PM, Nitin Patnia <nitinpatnia@...> wrote:

>
> When did pancham sing Gardish song?
>
>
> - Nitin Patnia
>
> Sent on my BlackBerry® from Vodafone Essar
>
> -----Original Message-----
> From: Pinak Pal <pinakregister@...>
> Sender: pancham@...
> Date: Mon, 3 Jan 2011 10:08:00
> To: <pancham@...>
> Reply-To: pancham@...
> Subject: [Pancham] More than a composer (from Deccan Herald)
>
> http://www.deccanherald.com/content/125433/more-composer.html
>
> *"*
> More than a composer Ranjan Das Gupta
> *RD Burman is still remembered as a music director of high calibre and also
> as the uncrowned King of Music in the 70s and 80s.*
>  [image: soulful R D Burman was not just a music director but a prolific
> singer too.]He was also a singer of merit, which was clearly overshadowed
> by
> his success as a music composer. Although he might not have had the depth
> and range of his father, S D Burman, R D Burman did usher in a new trend in
> music in the Hindi film industry as a singer.
>
> R D Burman’s journey as a playback singer began with the track Meri Jaan
> Maine Kaha from The Train in 1970. He sang this song with Asha Bhonsle,
> giving a forceful yet musical effect to his voice. Eventually, the song
> proved to be a super hit. Hearing Meri Jaan Maine Kaha, both, S D Burman
> and
> Salil Chowdhury, instructed R D Burman to carry on singing, whenever he
> received a good opportunity.
>
> *Mass popularity
> *
> R D Burman, in association with Asha Bhonsle, rendered a number of sizzling
> hits in jazz, flamingo, rock and roll as well as disco genres of music
> during the 70s. Some of their memorable numbers include Piya Tu, Duniya
> Mein, Dil To Mane Na and Gulabi Aankhen. All these numbers garnered mass
> popularity, which encouraged R D Burman to experiment with his voice. And
> he
> did! He sang one line (Daddy Ka Mummy Ka) in the antara of the song Phoolon
> Ka Taro Ka (Hare Rama Hare Krishna) sung by Lata Mangeshkar. R D Burman
> knew
> that it would be wrong if he tried to emulate Lata Mangeshkar and her style
> of singing. Therefore, he rendered the line by lowering his tone, thereby
> making his voice sound melodious.
>
> When S D Burman requested R D Burman to sing a song with himself and Lata
> Mangeshkar (the climax song of Yeh Gulistan Hamara), R D Burman was nervous
> at first. After his father rebuked him for not confident enough to sing
> along, R D Burman accepted the opportunity as a challenge.
>
> As Lata rendered the track Raina Jagi Jagi sonorously, R D sang the antaras
> in Naga musical style with equal gusto. Of course, both were overshadowed
> by
> S D Burman’s performance in the song. In fact, R D Burman said that he was
> pleased to know that his performance was eclipsed by his father’s rendition
> as he had still a lot to learn from the musical legend.
>
> R D Burman is also remembered for his renowned solo singing performances.
> What leads the pack is Mehbooba Mehbooba in Sholay, followed by songs in
> the
> films Hum Kisi Se Kum Nahin and Shaan. Perhaps,  his most well-known solo
> is
> Dhanni Dhanni Aankhon Mein, written by Gulzar for Kitab. In this number,
> which had a conglomeration of Spanish interludes and Indian ragas in light
> mood, R D Burman exuded emotions not heard in any of his earlier numbers.
>
> In the 80s, R D Burman introduced the vocoder in his compositions,
> especially while singing. He introduced this to give an additional effect
> in
> the background score of Sagar.
>
> By the mid 80s, R D Burman was getting tired of redundant musical and
> singing styles in the Hindi film industry. He understood well that quality
> of music was no more as it used to be in the 50s and 60s.  Therefore, he
> experimented with English songs in his second western album, Panthera,
> recorded solely at the studio of Francis Ford Coppola in Los Angeles. It is
> believed that once Coppola attended one of the recordings and appreciated R
> D Burman’s music. Hearing his arrangement of music and bold delivery of
> English lyrics in his songs, Coppola told Burman that he was a highly
> gifted
> musician.
>
> After R D Burman married Asha Bhonsle, he sang most of his songs with her.
> Once, he confessed that none of those duets were serene and will never be
> remembered.
>
> Speaking about quality, R D Burman lamented that he never received
> deserving
> lyrics, which were suitable for his voice, except the haunting number from
> Kitab. Instead, singers like Mohammed Rafi, Manna De, Kishore Kumar, Lata
> Mangeshkar and Asha Bhonsle were the ones who had the opportunity to sing
> songs with soulful lyrics while R D Burman composed music for the songs
> they
> sang.
>
> By the 90s, R D Burman became increasingly frustrated as a musician. It is
> said that once he cried in front of Salil Chowdhury in Kolkata stating that
> he was losing his musical touch. Salil, who was also a family friend of the
> Burmans, consoled his beloved student and encouraged him. He told him that
> he still had lots of untapped potential as a musician.
>
> And then came the gem of all R D Burman’s songs — Hum Na Samjhe The from
> Gardish. This track was undoubtedly his most touching and memorable
> performance after Dhanni Dhanni... Also, very few people know that R D
> Burman was in tears after recording the number.
>
> R D Burman passed away 17 years ago on January 4. Throughout his career, he
> tried to regain his midas touch in the field of music. R D Burman was also
> fighting a lone battle against the gross commercialisation of Hindi
> playback
> songs. He might not be remembered as a legendary singer like Rai Chand
> Boral, Pankaj Mullick, S D Burman or Hemant Kumar, but the few numbers he
> sang still make us sit up and take notice. His voice and music is timeless.
>
>
> *"*
> Regards
> Pinak Pal
> www.coolfunnytshirts.net
> *Go Bizarre!*
>
>
> [Non-text portions of this message have been removed]
>
>
>
> ------------------------------------
>
> -----------------------------
> http://www.panchamonline.com/Yahoo! Groups Links
>
>
>
>
>
> ------------------------------------
>
> -----------------------------
> http://www.panchamonline.com/Yahoo! Groups Links
>
>
>
>

[Non-text portions of this message have been removed]

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Re: More than a composer (from Deccan Herald)

Well written .. thanks

________________________________
From: Pinak Pal <pinakregister@...>
To: pancham@...
Sent: Mon, 3 January, 2011 10:08:00 AM
Subject: [Pancham] More than a composer (from Deccan Herald)

http://www.deccanherald.com/content/125433/more-composer.html

*"*
More than a composer Ranjan Das Gupta
*RD Burman is still remembered as a music director of high calibre and also
as the uncrowned King of Music in the 70s and 80s.*
[image: soulful R D Burman was not just a music director but a prolific
singer too.]He was also a singer of merit, which was clearly overshadowed by
his success as a music composer. Although he might not have had the depth
and range of his father, S D Burman, R D Burman did usher in a new trend in
music in the Hindi film industry as a singer.

R D Burman’s journey as a playback singer began with the track Meri Jaan
Maine Kaha from The Train in 1970. He sang this song with Asha Bhonsle,
giving a forceful yet musical effect to his voice. Eventually, the song
proved to be a super hit. Hearing Meri Jaan Maine Kaha, both, S D Burman and
Salil Chowdhury, instructed R D Burman to carry on singing, whenever he
received a good opportunity.

*Mass popularity
*
R D Burman, in association with Asha Bhonsle, rendered a number of sizzling
hits in jazz, flamingo, rock and roll as well as disco genres of music
during the 70s. Some of their memorable numbers include Piya Tu, Duniya
Mein, Dil To Mane Na and Gulabi Aankhen. All these numbers garnered mass
popularity, which encouraged R D Burman to experiment with his voice. And he
did! He sang one line (Daddy Ka Mummy Ka) in the antara of the song Phoolon
Ka Taro Ka (Hare Rama Hare Krishna) sung by Lata Mangeshkar. R D Burman knew
that it would be wrong if he tried to emulate Lata Mangeshkar and her style
of singing. Therefore, he rendered the line by lowering his tone, thereby
making his voice sound melodious.

When S D Burman requested R D Burman to sing a song with himself and Lata
Mangeshkar (the climax song of Yeh Gulistan Hamara), R D Burman was nervous
at first. After his father rebuked him for not confident enough to sing
along, R D Burman accepted the opportunity as a challenge.

As Lata rendered the track Raina Jagi Jagi sonorously, R D sang the antaras
in Naga musical style with equal gusto. Of course, both were overshadowed by
S D Burman’s performance in the song. In fact, R D Burman said that he was
pleased to know that his performance was eclipsed by his father’s rendition
as he had still a lot to learn from the musical legend.

R D Burman is also remembered for his renowned solo singing performances.
What leads the pack is Mehbooba Mehbooba in Sholay, followed by songs in the
films Hum Kisi Se Kum Nahin and Shaan. Perhaps,  his most well-known solo is
Dhanni Dhanni Aankhon Mein, written by Gulzar for Kitab. In this number,
which had a conglomeration of Spanish interludes and Indian ragas in light
mood, R D Burman exuded emotions not heard in any of his earlier numbers.

In the 80s, R D Burman introduced the vocoder in his compositions,
especially while singing. He introduced this to give an additional effect in
the background score of Sagar.

By the mid 80s, R D Burman was getting tired of redundant musical and
singing styles in the Hindi film industry. He understood well that quality
of music was no more as it used to be in the 50s and 60s.  Therefore, he
experimented with English songs in his second western album, Panthera,
recorded solely at the studio of Francis Ford Coppola in Los Angeles. It is
believed that once Coppola attended one of the recordings and appreciated R
D Burman’s music. Hearing his arrangement of music and bold delivery of
English lyrics in his songs, Coppola told Burman that he was a highly gifted
musician.

After R D Burman married Asha Bhonsle, he sang most of his songs with her.
Once, he confessed that none of those duets were serene and will never be
remembered.

Speaking about quality, R D Burman lamented that he never received deserving
lyrics, which were suitable for his voice, except the haunting number from
Kitab. Instead, singers like Mohammed Rafi, Manna De, Kishore Kumar, Lata
Mangeshkar and Asha Bhonsle were the ones who had the opportunity to sing
songs with soulful lyrics while R D Burman composed music for the songs they
sang.

By the 90s, R D Burman became increasingly frustrated as a musician. It is
said that once he cried in front of Salil Chowdhury in Kolkata stating that
he was losing his musical touch. Salil, who was also a family friend of the
Burmans, consoled his beloved student and encouraged him. He told him that
he still had lots of untapped potential as a musician.

And then came the gem of all R D Burman’s songs — Hum Na Samjhe The from
Gardish. This track was undoubtedly his most touching and memorable
performance after Dhanni Dhanni... Also, very few people know that R D
Burman was in tears after recording the number.

R D Burman passed away 17 years ago on January 4. Throughout his career, he
tried to regain his midas touch in the field of music. R D Burman was also
fighting a lone battle against the gross commercialisation of Hindi playback
songs. He might not be remembered as a legendary singer like Rai Chand
Boral, Pankaj Mullick, S D Burman or Hemant Kumar, but the few numbers he
sang still make us sit up and take notice. His voice and music is timeless.

*"*
Regards
Pinak Pal
www.coolfunnytshirts.net
*Go Bizarre!*

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Aanewala Pal Jaanewala Hai

On the 17th death anniversary of our beloved Pancham, I thought I will write about a song that is close to my
heart, a song for generations to cherish. I have always wondered why this song creates magic every time I
listen to it. How did people feel when the song played the very first time on the radio? How did the musicians
feel on their way back home after recording this masterpiece? 

Trying to figure out Pancham song is like finding out what goes behind a delicately prepared dish. You can
probably figure out some of the ingredients, but recreating it is another thing. You mostly end up
marveling at it.

The melancholic feel is set right from the beginning with a beautiful arpeggio of bells (gosh why don't they
use bells in today's songs anymore?). Hear how a sharp note (dang dang) keeps the rhythm while the arpeggio
is playing. A subtle bass appears twice: once in the middle and once towards the end to set up the scene for
the oncoming avalanche of trumpet and sax. I think the song is in F major scale and the bell arpeggio is
around Fmaj chord. What follows is loud trumpets crescent to a point where the bass, chords and alto sax
takes over to hit the Bbmaj chord and then the sax continues to explore Bbmaj chord. It then tries to come
back to the home note of F (Fmajor scale starts with F), but it stops just one note short in G instead and
Kishore's humming takes over from F. 

The song uses a very popular chord progression of I-IV-V. This means the chords used will be made of the first
note (F), IV note (Bb) and V note (C) of the underlying scale. So in this case the chords are Fmaj, Bbmaj, and
Cmaj. Kishore's humming sets the tone accordingly. I love the way the song picks up speed from the bells all
the way to Kishore's humming. It feels like we just boarded a train and it gradually picked up speed to set us
in a rhythmic journey. The bells are like the warning bells before departure, whistle of the train are the
trumpets,  sax sets the train to motion and the singing starts after the train picks up speed! In fact the
drums in the song do indeed sound like they are inspired by the sound of train and tracks. Aaanewala Pal
Jaanewala hai...the song needs a melancholic treatment with a feel of passage of time. How many times do
you hear the music so perfectly create a mood for the words to follow? 

Now there are numerous songs based on I-IV-V chord progression, but what makes this song unique is the
intervals chosen for the melody and Kishore Kumar's truly inimitable open singing. Kishore kumar's
singing is reminiscent of melancholic renditions of Sinatra. Listen to the continuous transitions in
walaaa...pal and wahan dastaa...an bani. A slight reverb is used to enhance this effect and together with
the strings accompanying the vocals, it creates a magical spell. Of course, I can't say enough about
Gulzar's words.

In the following lines, I will mark chords I use by the letter before the words. (F) Aanewalaa (Bb) pal
(C)Jaanewala (F) hai. Pal is note D which is VI from the root node F and is the second note in Bb chord. So when
the vocals go from F all the way to D, it creates enormous tension, a long stretch, which should be resolved,
but guess what it doesn't resolve, it keeps stretching further to the E note (2nd note in C chord). I think
this is what hooks you to the song right away, and then the tension resolves with return to A (2nd note of F
chord) followed by the strings taking it all the way down back to F. The movement from V back I is called a
perfect cadence and it indeed is perfect in this composition. If you play the keyboard and keep playing
around the first line, it is so beautiful that you can keep playing it for hours (I envy the guitar players at
this point).

(F) Ho sake to (C) Isme (C) Zindagi (F) beetado. This line has a very strong contrast compared to the first
line. While the first line sounded sad and tense, the second line is more playful, and the drumming changes
to create this effect. A subtle flute follows the voice â€" this is another one of pancham’s trick
we here in other songs such as hume tumse pyar kitna. The phrase has simple I-IV-I interplay. But the
contrast grabs your interest instantly and you wait for the what happens next..wow..you wouldn't have
expected this..the next phrase walks you through the entire octave..(F)pal (Bb)jo yeh (C)jaane
(Bb)wala (C)hai ho (F)ho. 
Wow.

What follows is an accordion like instrument (anyone knows what it is?). It goes on like a butterfly hopping
from flower to flower...and the best part is the rolls it has at the end of each phrase (twice). I wonder if it
was a spontaneous improvisation while the song was recorded. Then strings come back and then 12-string
guitar chords, followed by gentle strums before the antara starts. One of the reasons why I am a big fan of RD
works between 78 to 84 is because of the frequent use of 12 string guitar. Ghar, Masoom, kudrat, Manzil and
many more. Don't know if anyone else used it at that time, but really his choice of this instrument is very
interesting because it sounds like a blend between santoor and sitar and gives Indian feel to western ideas.

(F)Ik baar yun mili (Am) massom si kali (C) khilte hue (Bb)kaha (Bb) ushbaas (C)main chali 

(F)Dekha to yahin hai (C) Dhoonda to nahin hai...followed by one more octave trip

This ends with 12-strings chords again followed by strings then more strumming of guitar. The pitch bends
here give a nice effect to the arpeggio. A change of scene, it is as if a station is approaching and looks like
the train will stop, but we just look at the people waiting at the station and the train picks up speed and
moves on. Strings move the song along with some really touching sax joining it. At this point you are not
sure if you'd reflect on the words just said or just get yourself lost in the sax. Somehow to me the phrases
here bring back a old memories, then the second antara comes, followed by the mukhda again and then the song
just fades away guided by trumpets…

Miss you Pancham.

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17th death anniversary of Pancham da

Namaste,Sub sadsiyo ko,                                      Aaj Pancham da ko gujare hue 17 saal
ho gaye.Lekin aisa lagta hain jaise ki abhi yeh kal ki hi baat hogi.Dukh is baat se aur hota hain ki last year
Manohari da bhi hame chhod kar chale gaye.Shayad aaj Manohari da hote to aaj bhi weh kahin na kahin
programme kar rahe hote.Jab akhiri baar un se baat hui thi to unnohne kaha ki abhi July mein Bombay mein
programme hain,wahan jana hain.Lekin weh programme weh kabhi nahin kar paye.Pichhle saal jab maine
Manohari da ke dehant par Kersi Lord sahaab ko phone kiya tha to unnohne mazaaq mein kaha ki aaj phir purani
jodi mil gayi hain,sub logo ne mil kar upper party ki hogi.                                    
 Ab bhi jab bhi main in logo ko phone karta houn to  unse yehi kehta houn ki apni tabiyat ka khayal rakhiye
kyon ki aap sub hamare liye legend hain.Aap logo ke sahare hi hum hain.Pancham da ke liye to main
 sirf yehi keh sakta houn ki jab tak hum zinda hain Pancham da hamesha hamare liye zinda rahengeaur hamare
sath rahenge.Hum Pancham da ko nahin dekh sakte,lekin weh to hume dekh sakte hain.
                                                                  Balwant Singh        
                                                      (Ek chhota sa fan)

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Celebrating R. D. Burman - Pancham Express --- 412011

http://www.esnips.com/doc/02f356da-f186-43c1-b00d-24532f6b82c5/2761939-----411994-THE-MUSICAL-JOURNEY

LOVENJOY -- The Magical Music of Rahul Dev Burman - Pancham.
kishor

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Re: Pancham Da's death anniversary, 1/4/2011, 12:00 am

How can I join the chat? Through Yahoo Messenger?
Pls lemme know

--- In pancham@...,
pancham@... wrote:
>
> Reminder from: pancham Yahoo! Group
>  http://groups.yahoo.com/group/pancham/cal
> 
> Pancham Da's death anniversary
> Tuesday January 4, 2011
> All Day
> (This event repeats every year.)
> 
> Notes:
> A chat session remembering loRD.
> 
> 
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