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Theke ke Thekedar: Sachin Dev Burman (1906 - 1975)
January 7, 2007
A beat in a song is a strange thing. Most often composers use it as a simple benign metronome, providing a reference point for the orchestra and the singer to move around and periodically return to. Sometimes it can be overpowering as in O. P. Nayyar's compositions tightly reigning the singers to its unchanging and unyielding authority. Between these extremes lies a third role: percussion as accompanying singer with equal role and prominence with the singer and the beat making openings for one another as in a duet. None used this to sweeter effect and success than the master Sachin Dev Burman. Here are 5 five songs that best illustrate this:
Mora Gora Ang laile, Mohe Shaam Rang Daide: Bandini - the first that Lata recorded for S. D. Burman after almost six long years during which a misunderstanding separted them. The return was special. Gulzar's sensitive lyrics, Nutan's grace and beauty, Lata at her melodious peak and that swaying beat of the tabla combine beautifully to make this classic. Shot at night, the percussion shifts from a cricket's chirp to thunder and then back to the gentle swaying of the Roopak taal. Naache Man Mora Magan from Teri Surat Meri Aankhen is one of the most innovative uses of Bhairavi in a song. Almost always used in slow melodies (Ravi Shankar's composition Sanware, Sanware from Anuradha is the only other Bhairavi set to a fastish beat), Burman set this Bhairavi to a thrilling tempo. In a televised tribute after Burman's passing, Maruti Keer a percussionist in Burman's team played the taal with great gusto, and then broke into sobs as he finished. Rafi too rose to the occasion, swaying his voice langourously on the line Jhoola Jhule Sakhiyan.. Inspite of the fact that this film had songs musically far more complex than this one, listening to Naache Man Mora never fails to lift your spirits. Sachch Hue Sapne Mere, Jhoomle O Man Mere from Kala Bazaar with the beateous Waheeda Rehman doing a rough cut dance on the beach must remain one of the fluffiest pop-corn moments in popular hindi cinema. The beat is infectious and the melody difficult to put out of your mind once you have heard it. Similar to this one is the Tere Ghar Ke Samne song: Yeh Tanhayee Hai Re Hai....Thamlo Bahen. In both, the percussion is an active participant with a mind of its own changing with every line, speeding up slowing down and playing bols round the singer. Jaise Radha ne Mala Japi Shyam Ki from Tere Mere Sapne is one Burman's sweetest songs. Swaying as if intoxicated, the beat is there to adorn Lata's melodious line endings with the flute moving teasingly at both ends. This film also has a Asha song Tha Thai Tath Thai shot on a dancing Hema Malini and it is difficult to choose beteen the two. But if push comes to shove, the first one wins out for it sheer sweetness. And now for the last - the best: Piya Tose Naina Laage Re from Guide and possibly the most "compleat" song ever composed. The full version of this song is an 8 minute marathon - and it leaves you wishing it had a few more verses at the end. A music arranger whom I met told me that the tabla for this song was played by Shivkumar Sharma the famous santooriya who was then an important part of the Burman team.