PanchamMagic Show Report : At Pune, 27th June 2007

Guests : Shri Homi Mullan, Shri Indru Atma & Pt. Ulhas Bapat

27th June, 07...Its been 68 years after Pancham was born; the Panchammagic team, with its never ending quest to unearth finer aspects of the composer’s artistry, has ensured that the 70s trend-setter is still around...Can anyone but Panchammagic promise you so much and ensure to keep your passion constantly aroused? Certainly not...So what does this R-Dent RD fan do? Nothing, but to dash to the vibrant city of Pune to pay modest tributes to the little composing giant called Rahul Dev Burman!!!

The wait was over...curtains began to unfurl. With blessings from the loRD, host Ankush Chinchankar welcomed fans and guests to the show and introduced Panchammagic’s new theme ‘Kaleidoscope’. Just as the optical instrument enables us to view varying colors and patterns through its tube of mirrors, Panchammagic has attempted to look at RD Burman’s musical output differently, offering more and more unique perspectives to the composer’s versatile creations. The daring theme ‘Use of musical instruments and back-ground music’ guaranteed an eventful evening to celebrate Pancham’s rare musical acumen...An in-born wizardry to integrate newer and newer sounds...an expertise that has forever left us spellbound and wanting for more!!!

Hindi film music lovers have known the Vibraphone and Xylophone as support instruments, quite often played in the background. Ankush posed a remarkable contrast in the way Pancham used them to create musical phrases that have, by now, become legendary. The interlude fillings of the Vibraphone in “O haseena zulfonwali” (‘Teesri Manzil’, 1966) and Xylophone in “Golmaal hai bhai sab golmaal hai” (‘Golmaal’, 1979) clearly promote the view.

Another uncommon use by RD - the Bagpipe, usually associated with Police and military bands. Notice how its treatment gives a different color to the prelude music of “Jab chaha yaara tumne” (‘Zabardast’, 1985). And enjoy these musical notes to comprehend Pancham’s strong affinity for the unusual - the single ‘Matka’ in “Toone o rangile” (‘Kudrat’, 1981), combined Matkas in “Jaane de gaadi” (‘Aanchal’ 1980) and the ‘Tabla Tarang’ (an arrangement of Tablas), in the interludes of “Humein tumse pyaar kitna” (‘Kudrat’, 1981). Awe-inspiring stuff!!!

Add some more atypical names to the list - the ‘Donkey Jaw’ (akin to a pair of tongs) and the ‘Bamboo Tarang’ (assortment of canes). Lend your ears to the extended intro piece of “Ye kaun aaj aaya” (‘Bandhe Haath’, 1973) to live through this combination coupled with the Tabla Tarang. You can literally feel the gradual build-up to the song... Hats off to you Pancham!!! The exclusivity in your music will continue to regale us for years to come!!!

Ankush welcomed the 1st guest for the evening, Shri Indru Atma, as the Bamboo Tarang clangs in “Sang mere nikle” (‘Phir Wohi Raat’, 1980) and “Nahin lagta” (‘Jail Yatra’, 1981)faded away gradually. Belonging to the very city of Pune, Indru Atma, brother of well-known singer C.H Atma, is known to play several small instruments that generate distinct musical sounds and effects.

Beginning with the Bamboo Tarang, he explained how it came in to existence. “While the major notes originated from overseas, the minor notes have found their footing in India”, he emphasized. Its clear use in almost the entire song “Barah bajegi suiyon jaise” (‘Jhoota Kahin Ka’, 1979) is a pertinent example. Ditto with the beginning of “Dekho maine dekha” (‘Love Story, 1981).

Playing a series of instruments, Indruji recreated a familiar morning ambience combining the chirping of birds and moving bullock carts with a blowing conch...used in RD’s back-ground scores. Some more Pancham ‘Prayogs’ followed – the closed fist playing of the Dafli in “Dilbar dilse pyare” (‘Caravan’, 1971) and the use of three Matkas in “Ek ladki ko dekha” (‘1942 – A Love Story, 1993).

Fondly remembering his association with RD, Indruji recounted how the composer’s sharp ears were every ready to pick up musical pieces played around him, often asking them to be replayed .The session concluded with his live playing of dissimilar yet attractive instruments like the Maracas, Resso Resso, Wooden Blocks, Gongs and the Khanjri. A terrific treat for the August gathering that had come to experience every moment of RD Burman’s birthday occasion...

It was now the turn of the 2nd guest, Shri Homi Mullan, to take centre stage. Homiji has been a key member of the trend-setting musical team of the Burmans since 1970. Starting his learning days in erstwhile Calcutta, Homi Mullan moved to Bombay to make a career for himself. Beginning with playing the Piano and the Accordion, he specialized further in the 'Duggi', the instrument he is primarily associated with.

Among the many other noteworthy percussion instruments, Homiji has also learnt and played the Triangle, Castanet, Melodica, Resso Resso, Cobasche and the Conga. “Panchamda ke saath kaam karne bahut mazaaa aaya”, he exclaimed. Displaying amazing energy and unbridled passion, Homiji delighted viewers with the live click sound of the Castanets, so wonderfully heard in the title track of ‘Betaab’ (1983). Not to forget the fabulous rhythm created on the thighs, reliving the interludes of “Yunhi Gaate Raho” (‘Saagar’, 1985). ‘Out-of-the-world’ thinking from Pancham and phenomenal execution from the master musician!!!

Some more of such spirited playing had the audience sit up and take notice of this multi-faceted musician - the ‘Kalimba’, a mini Piano of sorts, in “Jhuk Gayi Aankhen” (‘Bhola Bhala’, 1978) and “Dhadkan pal pal” (‘Arjun’,1985); the ‘Afro-harp’, made out of Umbrella strings, in “Sun bhai baarati” (‘Warrant’, 1975) and the metallic Triangle in “Aao na gale lagao na” (‘Mere Jeevan Saathi’, 1972).

More peculiar sounds followed - the thunderstorm effect, the ‘snake bite’ and the frog effect. Add the Cobasche in “Tujhme kya hai deewane” (‘Bade Dil Wala’, 1983), and collision of Sandpaper in “Hoga tumse pyara kaun” (‘Zamane Ko Dikhane Hai”, 1981)...You can’t but wonder at RD’s incomparable knack of drawing the best out of his musicians. Two more live renditions to further this sentiment – the incredible Accordion in the instrumental ‘Countless Caper’ (‘Shalimaar’, 1978) and the delightful Castanets playing in “Aaya hoon main tujhko” (‘Manoranjan’, 1974). Truly, multitalented performers like Homi Mullan happen once in a generation!!!

The first half concluded with a crisp ceremony to announce the recent release of R D Burman’s songs in video. Presented by Shemaroo India Pvt. Ltd and compiled by Panchambhakt Jai Shah, the songs have been released as 6-Vcd and 4-Dvd packs. Titled ‘R D. Burman - The Immortal Collection’ and ‘R. D.Burman – Ultimate Unremix’ the videos include many of Pancham’s popular, ‘not-so-easily available’ and less heard compositions.

The curtains re-opened to everybody’s pleasant surprise – renowned Santoor maestro Shri Ulhas Bapat taking the role as anchor. Ulhasji has been a permanent associate of RD’s musical team since the late 1970s; adorning many of his tunes with the lovely notes of the string instrument. Explaining the differences between classical and film music, he candidly elaborated “Though both have their own challenges, film musicians are posed with the added challenge of hitting the correct notes because they work as part of a team. They need to be involved all the time”. Ulhasji, your riveting Santoor pieces in “Chand roz aur meri jaan” (‘Sitamgar’, 1985) certainly vindicate the viewpoint!

Parading through the less explored territory of back-ground music, the Santoor-vaadak detailed technical aspects that go in to composing such music, especially in scenes without dialogue. “The composer has to understand the language of cinema”, Ulhasji remarked. Observe the delicately shot scene from ‘Ratnadeep’ (1979) involving Girish Karnad and Hema Malini. Mark the contrast in moods so beautifully expressed with the Cello, Viola and bass Guitar (depicting Karnad’s initial mental turbulence) and later the Sitar, Sarod and Santoor (representing romance) as he enters the room. Great conception and accomplishment by Pancham and his team of musicians!!!

Some more scenes to illustrate how back-ground music helps articulate the underlying message - Santoor and Violin combination to transform a serious mood to light in ‘Kasme Vaade’ (1978); the fine use of Santoor to convey Rishi Kapoor’s swinging feelings in ‘Yeh Vaada Raha’(1982) and Sanjeev Kumar’s touching silence in ‘Namkeen’(1982). Thanks Ulhasji for bringing these forth...You have certainly whetted our appetite to delve into such delicate nuances of RD’s music that otherwise go unnoticed...We commit to explore more...

The mother of all scenes - the splendidly shot sequence from Gulzar’s ‘Chatran’ (1988). Expertly handling the situation with a mix of the Flute and the Santoor, the RD-Gulzar rapport here is to be seen to be believed!!! The use of Xylophone showing the dog-insect fight and the climax with the dog and cat, deliver absolute knock-out punches. Also listen to the mind-blowing Violin and Pakhawaj that accompany. Perhaps, this is where RD excelled in…..getting to the soul of things, using the right blend of instruments to paint living celluloid frames...even if they did not involve humans!!!

“With the death of Pancham, the laykaar was orphaned” Ulhasji touchingly noted. He concluded with a medley of RD Burman’s compositions on the Santoor – the beautiful “Pyar ke mod pe” (‘Parinda’, 1989), the pleasant “Naa teri haan bani” (‘Bindiya Chamkegi’, 1983), the loving “Gulmohar gar” (Devata, 1978) and the sugary “Tere liye palkon” (‘Harjaee’, 1981).

Another Panchammagic evening of Pancham's magic had just concluded... An evening that rejoiced over Pancham’s astonishing sense of sound, exulted over Pancham’s penchant for musical improvisations and prided over Pancham’s love for instruments. The Panchammagic mission continues... And as the dawn of 04th Jan, 2008 arrives, Pancham fans wait for another drop of the Panchamrut – a concoction that promises to be an extract of the Pancham melody, an epitome of the Pancham experiment and a representation of the Pancham grandeur.
Pancham-packed all the way!!!

Shankar