Rd Burman as a SingerBurman as singer
Burman. The Golmaal shark Bhai Sab Golmaal.
Six things you may not have known about RD Burman after a new book
Rahul Dev Burman, one of the most famous Bollywood composer of all times, would have turned 77 on Monday." Pancham Da (as he was affectionately called), the mastermind who forever transformed the tone of Hindi movie scores, was a lateral thinker, a trailblazer who brought new arrangments and the influence of global jazz to his work.
This and more is described in the new handbook by Chaitanya Padukone R.D. Burmania (Panchamemoirs), which can now be pre-ordered on-line and will soon be available in bookshops. Today "45-plus," is a financial pro who has also worked as a show biz reporter for more than three years.
His journalism began his carreer with an introductory talk with Burman for Mid-Day in 1983, which came about because he was a "passionate" aficionado of the writer and was looking for a good reason to talk to him in detail. Remembering that after being given the go-ahead by the newspaper editors, he arrived in a Burman recorded backgroundmusic and asked for an audio-view.
"Padukone asked me why I wanted to talk to him," says Padukone in a telephone call to HuffPost India. "And when I said why, he said,'If you're my big admirer, you shouldn't be interviewing me. You come back and you' re a hard-core reviewer and you' re interviewing me. A" stunned" padukon made two more tries and eventually succeeded in getting the interviewer about 10 day later by beginning a lifelong friendhip with Burman until he died prematurely in January 1994 at the early age on.
His new 214-page volume contains facts and little-known stories about the man he names his "Guru", including testimonies and articles by Amitabh Bachchan, Lata Mangeshkar, Zeenat Aman and the former cricket player Sunil Gavaskar. Burmese was known above all for his soundtrack, but one of his non-film works was the small Pantera record (not to be mistaken for the US heavymetal band), which connected latino influences with influences from the worlds of skirt, jazzmusic and funky tunes.
Padukone says it was included in the United States in'83-84, but not published until'87. It was made by Pete Gavankar, who was resident in the USA and had good connections to the musician. "The reaction here was very mild," says Padukone.
"It hadn' t worked, but the track did, and it made him very glad that Hindi audiences had listened to at least one of his melodies from South America. The introductory song'I'm Falling In Love With A Stranger' is set in the backdrop of this sequence, whose texts, according to Padukone, were written by Burman.
Burmese was known for the unmistakable growling he gave to his voice when he sang tunes like "Mehbooba Mehbooba" from Ramesh Sippy's Sholay (1975), which Padukone says are stylistically influenced by the legendary Louis Armstrong of US music. "Padukone was intrigued by Louis[Armstrong] and didn't want to be a stereotype as a mime singer.
" In' Raat Gai Baat Gai' by Dev Anand Zeenat Aman-Star Darling (1977) at one point (the 2:22 marker in the above video) you can hear a beats that doesn't seem like a traditional drums. When depicting the track, it is Aman who creates the rhythm by knocking different parts of her own bodies (and some extras).
Burman was playing this tune in the salon on the back of one of his familiar percussionist, Amrutrao Katkar. "He asked Amrutrao to take off his shirts during the recording," says Padukone. And then he was playing a Latino beats on his back, with a mike that recorded everything.
" Myanmar had a preference for using spontaneous, foley-inspired technique or uncommon instrumentation to produce interesting tones and rhythm in his tunes, which are displayed similarly on the monitor. In' Chura Liya Hai Tumne' by Yaadon Ki Baaraat (1973) the spoon-on-glass tone, which was audible at the beginning, is an real shot of a jar hit by a teaspoon.
Once, in the midst of an interviewer with Padukone in a record studios foyer, Burman got up and went to one of the stands to speak to his arrangeur Babloo Chakravorty about a brain wave he just had. "Very often he did that - stopped in the central movement and then spoke to Babloo-da and said: "Yahaan a isa metal rackho, hahaan silver rakho" and then returned to the interview," he says.
Claiming to have written the song'Kancha Re Kancha Re' by Hare Rama Hare Krishna (1971) in his dreams. Like many Bollywood writers, Burman's melodies were often "exalted" directly or partly from West German origin. Padukone says, however, that unlike many musical filmmakers, he was always truthful about the source and did not regard it entirely as'theft'.
A lot of people know figures like "Mehbooba Mehbooba" (inspired by Demis Roussos' interpretation of the Cypriot melody "Say You Loves Me") and "Mil Gaya Humko Saathi" (whose muqhda is similar to the guitars introduction of ABBA's "Mamma Mia"), which were made at the request of the movie's creators and took the unlikely juridical steps at the times when Bollywood was an independent industy.
Padukone insisted that in most cases Pancham Da would be able to change a tune beyond our comprehension by quoting the example of "Chura Liya Hai Tumne", whose opening chord resembles that of Bojoura's "If It's Tuesday, This Must Be Belgium". "But then he took the tune and added so many arrangments and levels," he says.