Blast from the past

The tie is tatty, the suit shines with age. He’s 80 years old and needs regular dialysis. Every time he stood up from the red moulded-plastic chair on stage, he grimaced at the pain in his knees. At the mike, his mouth opened wide to show his tongue licking his lower lip. He seemed to suffer from twinges elsewhere as well; when he raised his hand to count off the beat at the start (always a simple count, not for him the “hwunn, two, HWUNN two THREE”), the arm never rose above the shoulder.

But then he raised his saxophone to his lips. And even now, even five decades and more after he started recording, we were in thrall from the first note. Sweet and true like honey on a winter morning, he held the melody for the 30 men on stage, some of them his comrades since 1958, some who were still in school when his friend and leader died in 1994, all of them united in memories. Manohari Singh – saxophonist, composer, grand old man of the orchestra and above all, comrade-in-arms to RD Burman for nearly 30 years, from the days of Chhote Nawaab­ to the swan song of 1942: a Love Story.

Ranged around him were 13 other stalwarts of the RD legend. Bhanu Gupta on rhythm guitar and harmonica, Ramesh Iyer on lead, Franco Vaz inside the circle of his drums, Kishore Sodha with his trumpet, Shyam Raj alternating between clarinet and tenor sax, Pradipta on the mandolin. It was … eerie. It was my childhood revived. For nearly 30 years now, RD Burman has had a pre-eminent niche in my personal pantheon. But frankly, I was at the concert not for the music but to satisfy my curiosity, to see the men (no women in those days!) who’d made the music. Then they struck up. Nothing very iconic, just the title song from Shaan with full oom-pah. And the hair stood on end on my forearms.

The entire evening was like that. Music straight up, no frills or showmanship, some memories of RDB from the MC, (Ankush, who works for Siemens in Pune but travels everywhere for RDB shows and memorabilia), and total involvement from the vocal audience. The concert was linked to the launch of a documentary on RDB by Brahmanand Singh. Funded by Shemaroo, this DVD release is in the same no-frills style – fixed-cam interviews of the people who knew RD, reminiscences of the way he made his music, intercut with some stock footage and some rare old photographs and recordings. Essential for RDB fans, pretty good even for others who may not share my passion.

The high point for me came right after the interval when, on request, they played the Sholay theme. Even unrehearsed, they were so GOOD. Good music and nostalgia, what a combination. They’ll be back next year – those of them who are still around. I’ll be waiting.

Midnight shakes the memory

I was goofing off, replying to comments on Facebook, when I realized that most of the answers that come to mind are lines from songs. So then I got to thinking (and then I got to weeping / I really had a flash this time / Gonna set my watch back to it / ‘cause you know I’ve been through it …) about lines that resonate in the memory (as a madman shakes a dead geranium, and yes, I KNOW that’s not from a song).

What fun. Let’s play at lists. Lines – lines from songs - that you think are great. Or maybe almost great. Or maybe just lines that stick in the mind. (Nothing from Robindro Shongeet, that needs a whole separate volume.) And while we’re at it, cokernuts all round if you get the sources for all of mine.

· How terribly strange to be seventy

· And the flowers bloom like madness in the spring

· Freedom’s just another word for nothing left to lose

· In sooney andherey aankhon mein / aansoo ke jagah aata hai dhuan

· Jee mein aata hai tere daman mein sar chhupa kar hum rote rahein

· I sit by the window and I watch the cars roll by / I fear I’ll do some damage one fine day

· Jo aankh se naa tapka woh lahoo kya hai

· Forsaken, almost human, he sank beneath his wisdom like a stone

· Ko jon aar hridoy diye gaaitey jaane

· And the Indian said, Nothing at all

· Wiping the dirt from his hands as he walks from the grave. No-one was saved.

· Just the way it changes, like the shoreline and the sea

· Ei aaNdhaarey, megher-o chhaya-e, akasho paarey

· The arc of a love affair / His hands rolling down her hair / Love like lightning shaking till it moans

· Hum thahar jaayen jahan, usko shahar kahte hain

· To dance beneath the diamond sky with one hand waving free / silhouetted by the sea

· Bhuley jaao phike chNapa rong ti tomaye manaye bhari

· It’s the dirty story of a dirty man, and his clinging wife doesn’t understand

· I was lying in a burned out basement with the full moon in my eyes

· And how many times can a man turn his head and pretend that he just doesn’t see

· Borney gondhey chhondey geeti-te, hridoye diyechho dola

· But she breaks like a little girl

· And so it goes, and so will you too I suppose

More to come, I’m sure.

Idea from KM - This Can Be A Meme.

Meh, Mame, May We?

Living in the past

Saturday night at the Calcutta Club. I associate the members there with soulful swaying to Robindroshongeet with their eyes shut (or even worse, half-shut to indicate a kaalchaaraal intoxication), but this was an evening with Amit Kumar. He would have preferred to be known as Amit Ganguly, son of the far more famous Abhas Kumar Ganguly aka Kishore Kumar, but he had to accede to the demands of the Hindi film circuit.

He started with the same musical salutation his father used to start HIS stage performances. Then went on to belt out song after song from his father’s oeuvre. His voice was full, chest-deep, melodious. His pleasure in music-making was obvious. He looked at least 10 years younger than his 57. And he dished out nuggets between the songs, anecdotes about how “amader Ponchu” (Pancham) lifted a mukhda here, an antara there, from sources as diverse as Frank Sinatra and Rajasthani folk tunes. Yes, even within the same song (Raju chal Raju, now which film was that? Dharmendra in a travois behind a white horse - Azaad, I think). He brought down the house with his account of how Sapan Chakraborty had composed a soulful tune for Amitabh Bachchan in “Zameer” – mimicking him, eyes half-closed, teeth protruding slightly – and Kishore Kumar had trashed it right away. “THIS song? For Amitabh Bachchan? Won’t do! What? YOU are the composer, and you have to ask ME what to do? STEAL a tune! Lift it!” And then proceeded to modify a Nat King Cole song (something about falling leaves) to produce Tum bhi chalo, hum bhi chalein.

Right through the evening it was evident how Amit Kumar idolized his father, but what was touching was the way he referred to him as a friend, someone whom he could fight and disagree with but a person who never lost his respect. He sang his own songs too – Bade acchey lagtey hain, Yaad aa rahi hai and on my request, Mayabini from the 1996 album – but his heart seemed to be in his father’s memories. Sumit Kumar, his brother, younger by 30 years, came on afterwards, but sadly his voice just doesn’t make the grade. I left at that point, wondering why for a man who can sing like Amit Kumar does, the biggest hit in recent years is ­Dil mein baji guitar.

To lighten the gloom

In the middle of a Working Weekend, my spirits are lightened by a URL - http://www.tropicalglen.com/ sent to me by a Kind Person (Who thus Proves that Some Bosses can Be Nice and thus Gives Me Hope).

How many of you knew that BJ Thomas and Leo Sayer were actually on the charts apart from the One Song Each that We All Know About? Well, OK, stop showing off, I didn’t.

Besides, it’s nice to go back through the years and haul out people like Gordon Lightfoot and James Taylor. Not to mention the “Oh-was-THAT-the-year-they-did-Hotel-California” kind of murmur.

But no Eric Clapton ANY year? Have to go back and look for Those Numbers, folks. See you after the 31^st. “If I be alive, and your mind hold, and your Dinner worth the eating”. (Act I, Scene II, if I recall aright, and God bless Mr. Vijayan Bala for drumming the possibilities of blank verse into our thick heads.)

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