Guest article by Ashok M Vaishnav
(When I mentioned that I would need help from our guest authors from the SOY-community to dedicate the year of 2025 to RD Burman in a befitting manner, Ashok M Vaishnav offered to write a few articles on instrumental improvisations by RD Burman. He has already anchored a series on Arrangers and Musicians on SOY. Having written on percussion and string instruments in the series, Ashok ji writes on the third major group of instruments: wind or blow instruments, with focus on Manohari Singh.
Ashok ji is a retired mechanical engineer, and now a freelance consultant, based out of Ahmedabad. Thank you Ashok ji for another nice article in the series of tributes to RD Burman. – AK)
The three assistants who played key role in arranging the music for R D Burman were masters of three different instruments – Maruti (Rao Keer) was a percussionist, Basu (Chakraborty) was a cellist and Manohari (Singh) was an ace blow instrumentalist. It would be too presumptuous to judge that these instruments seemed to find major space in R D Burman’s music because of these three artists. In fact, as one scans through the spectrum of R D Burman’s music, quite a wide variety of instruments can be heard, many of them used quite innovatively as well. As I worked for the third article in the present series of R D Burman and His Orchestration Improvisations, with the abundance of material available on the internet, I have observed the presence of a wide range of instruments in the orchestration.
As such, basing the individual article around specialization of each of the three assistants of R D Burman would not stand the validity. I have curated the songs around the three broad categories of musical instruments: percussion, string and wind. It is incidental that each of his most famous instrumentalists specialised in one basic group of instruments. The present article on Improvisation of Blow Instruments in R D Burman’s Orchestration has Manohari Singh as the centre piece.
1. Title music of Pati Patni (1966) seems to provide a good beginning to the present article as it showcases use of tenor saxophone, trumpet, flute, whistling and harmonica. A seamless blend of tenor saxophone and trumpet provides the base, with flute (@0.34 to 0.38, 2.02 – 2.04, 2.22 to 2.30), whistling (0.49 to 0.51) and harmonica (1.28 to 1.43) etc. in the orchestration of the title music.
https://www.youtube.com/watch?v=e3OKHYx541I
I will now take up some of the interesting examples of improvised use of different blow instruments, beginning with the (English) flute.
[Note: I have used the term (English) flute in the article because to the best of my knowledge, Manohari Singh generally used to play that flute. However, I do not claim any authoritative rationale for use of the term (English) flute even when other types of flutes too may have been used.]
2. Aaja aaja main hun pyar tera – Teesri Manzil (1966)
In a song known for its dominance of bass guitar and drums, notes of flute (1.58 to 2.07 etc.) mark the cute presence.
https://youtu.be/EOgirs8vE_A?si=RD7C598XdEvGd91k
3. Aao na gale lagao na – Mere Jeevan Sathi (1972)
Here too, in a signature R D Burman tune, mellifluous notes of flute (1.18 to 1.31 etc.) mesmerise the listener.
https://youtu.be/nJIPEcYwnHg?si=8SMfgipdB9mwVYWy
4. Saawan ke jhule pade – sad version – Zurmana (1979)
In a song which has otherwise sitar and violin leading the orchestration, multiple flutes @ 2.16 to 2.32 create deep pathos.
https://youtu.be/0VbyQ5tdavI?si=L5QkPniJct0KgGId
5. Ye shaam mastani – Kati Patang (1971)
Manohari Singh was as much an ace (English) flute player as he was known for his deft saxophone play. His prowess of whistling is not that well-known. But one can find reasonably reliable information that he has played the whistling for the prelude of the song (0.05 to 0.12, 0.17 – 0.19).
https://youtu.be/lbfWsIpXsCA?si=cBUtcsQmZ1I5dADy
6. Manohari Singh’s whistling prowess is so innovatively harnessed by R D Burman in the title music of Sholay (1973), from 2.09 to 2.24, as well.
https://youtu.be/DUPCTMEhrFA?si=fn6qtgmmih0KZ-Yl
And now some saxophone improvisations –
7. O haseena zulfonwali – Teesri Manzil (1966)
Just one stroke of Alto Saxophone (1.46-1.47) is more than enough evidence of Manohari Singh’s wizardry and innovation with saxophone.
https://youtu.be/TfTpZVgc05o?si=Tg7D3IVptXk_sgKx
8. Mehbooba mehbooba – Sholay (1973)
The simultaneous foot-tapping of spectators at the show and the string notes of bass guitar smoothly blend with the soft opening notes of tenor saxophone (0.25 to 0.27). Then the soft shrill of tenor (played most expressively, as described by many specialists over different video clips on YT) leads the scene to go into a long shot.
This song has used another improvisation in what can be described as ‘not-a-musical-instrument’. What we hear till 0.05 is in fact blowing of breath from the mouth over a beer bottle. This piece was executed by Basu Chakraborty.
https://youtu.be/AgkfoRWOnoc?si=r9JoZYt1cmOWtlu4
9. Raah pe rahate hain – Namkeen (1982)
As the song progresses on RD’s signature Pancham beat rhythm, we keep listening to guitar and violins maintaining orchestration support. Then comes second interlude amidst drizzling fog, where the flute provides the effect of the mood. The rain clears up and the third interlude plays strokes of regional chorus singing with violin as obligato support. But on the next turn of the hilly road, as the camera goes in the long shot, tenor saxophone (said to have been played by Shyam Raj) comes in.
https://youtu.be/CpYuH4Cc8Mk?si=PtkznMmt73HRtBsL
Trumpet always had a very special place in Hindi film songs. If we search YT clips, we will come across several clips of live programs where Kishore Sodha, a prominent trumpet player of RD team, can be seen playing trumpet for RD songs. I have picked up some of the representative cases here.
10. The title track of Shalimar (1978), was arranged by Kersi Lord. The trumpet chords can be heard @ 0.30 to 0.35, then as counter melody type support @ 0.57 till 1.16 and as a lead again @ 1.43 till 2.27.
https://youtu.be/YUtskD4jujI?si=vVDnyIHV48MIegdE
11. O hansini meri hansini – Zehreela Insaan (1974)
The song opens with yodelling type extended alaap which then gets transformed into bass notes of trumpet from 0.51 to 1.01, ending with soft strokes @ 1.05. At the first interlude (1.50 to 2.08) bass scales of trumpet seem to stream out over the slopes of a hill. In the second interlude, the trumpet blends with soft notes of guitar (3.12 to 3.17) and merges into the notes of violin. In the next interlude (4.20 to 4.38), it seems to fill the vast expanse of the hill as the trumpet gradually rises to higher scale.
https://youtu.be/Zw8ocQ6c7A8?si=Uewjf8y862rOyI48
12. Rimjhim gire saawan – female version – Manzil (1979)
The male version of the song seems to be so much suited to the notes of trumpet played by Kishore Sodha in the instrumental version. However, only in the female version, we find the key to this in the fleeting strokes @ 1.04 -1.06; 1.12 – 1.14 and 1.33 – 1.35.
https://youtu.be/6C7R_CUJgHQ?si=TSk-9TnZtWPFNCho
The (piano) accordion, which uses blow of air from the bellows, has held a place of pride in Hindi film music. R D Burman perhaps has not used accordion as the lead instrument – Agar saaz chheda taraane baneinge – Jawani Diwani (1972 ) – as much as it was used by music directors of the earlier generation, like Shanker-Jaikishan. However, we find some noteworthy instances of its improvised usages.
13. For the background track of Shalimaar (1981), composed and arranged by Kersi Lord, Homi Mullan has played a long piece of accordion. That piece can be heard in this clip @ 2.29 – 2.51. In the clip below, Homi Mullan narrates this in an interview along with Kersi and Burjor Lord. For the records, it should be noted that Homi Mullan used to play accordion in his early days at Kolkata. But once he settled at Mumbai, his focus was on playing ‘minor other’ rhythm instruments (ref: Remembering Pancham – I)
https://youtu.be/xHVbQrlQ58A?feature=shared
14. Tum ko laga mil ke – Parinda (1989)
In a song which has piano as the lead instrument, accordion (credited to have been played by Suraj Sathe) smoothly chips in @ 1.22 to 1.29.
https://youtu.be/cRzIqA83c8I?si=GQiEuNQeuRMSCl5U
15. Chhoti si kahani – Ijaazat (1982)
In the prelude (0.12 to 0.24), accordion joins to create the playful flow of mountain streams to smoothly merge into notes of taan, repeats @ 0.59 – 1.06 and 2.22 to 2.27. The two fleeing stokes @ 1.44 and 1.46 are simply master strokes.
https://youtu.be/4GWmE0VbNbk?si=bm3BoTnNbgel9ggo
R D Burman is now famously known have played the harmonica in Hai apna dil to aawara (Solwaan Saal, 1958) or LP’s legendary musical hit Jaanewalo zara mudke dekho mujhe (Dosti, 1964) that R D Burman’s tryst with blow instruments would remain incomplete if harmonica is not represented in the discussion.
16. One of the most celebrated pieces of harmonica play is from love theme in Sholay (1973). It is a sort of musical monologue by Jay, corresponding to silent suffering of solitude by Radha.
https://youtu.be/gnz2PY83dxw?si=o3OZCw_7WnlaVDzF
This piece is said to have been arranged by Basu Chakraborty and played by Bhanu Gupta, as demonstrated in this clip:
https://youtu.be/SU242kdnG8U?si=9GwVbA0BC5dziUsk
In order to emphasize the place that harmonica had in the music of R D Buman, I have selected one song each, spaced a decade apart from each other.
17. Aaj hua mera dil matwala – Chhote Nawab (1961)
Beautiful notes of soft harmonica play @1.08 to 1.14 and 2.11 to 2.17 stand out with Mehmood shown playing the harmonica on the screen.
https://youtu.be/WHexLpQD7Yo?si=oHnEP3jb60lcH22_
18. Aaj unse mulaqat – Paraya Dhan (1971)
The prelude opens with flute, but it seems that from 0.17 to 0.23 harmonica seems to lend counter melody support. One of the very typical ways of playing the harmonica is used @ 2.32 to 2.50.
https://youtu.be/djy6oEPd0Vo?si=_Pb-4uRpD8HfWKqM
19. Dukki pe dukki – Satte Pe Satta (1981)
Though being seen to play very playfully on the screen, harmonica has been set to soft scale @ 0.30 to 0.36 and at several other occasions by Sachin.
https://youtu.be/C-8TuDKTEIk?si=YYYZnKqZKNIrQvcT
20. Kya bura hai – Libaas (Not released)
In a song composed in lilting rhythm, the harmonica makes its presence felt @18.32 to 18.44.
https://youtu.be/thvyu23lPDM?si=pWjIBXfaOHqCW06M
Fully aware that there will be many more similar instance, we conclude the present article.
We will take up R D Burman and His Orchestration Improvisations – Vocals in the next, and last article in the present series.
Credits and Disclaimers:
1. The song links have been given from the YouTube only for the listening pleasure of music lovers. This blog claims no copyright over these songs, which vests with the respective copyright holders.
2. The photograph is taken from the internet, duly recognizing the full copyrights for the same to the either original creator or the site where they were originally displayed.
{ 8 comments… read them below or add one }
As I could see orchestra played a prominent role in the compositions of RDB just like OP Nayyar and some others. Most of it was western based and title music was unique as it could be seen in several early movies of his especially the seventies films and unlike several other early composers RD just like SD had a very significant orchestra. However, this I could not experience with the later composers and the melody was not heard!
BALASUBRAMANYAM #1
It is almost true for post-70s music that melody had taken a back seat, save a song here or a song there.
RD did start his career with melody as the strong base. But, response to his that music in early films was what can be called a commercial success.
He rode the wave of success, after Teesri Manzil, on aggressive western style compositions.
Vaishnav ji
Your articles on Orchestration and musicians are a treat to read. They have highlighted the contributions of those who have always been away from the limelight.
One thing about RDB and his musicians is that they had great respect for each other. From Ranjit Gazmer to Manohari and Bhanu Gupta to Pt Ulhas Bapat all have expressed their love and respect for RDB in a number of interviews.
I am a RDB fan but I feel that in the late seventies and afterwards he focussed more on experimentation neglecting melody (with few exceptions ) .
For this article my picks are
1 Raju chal raju – Azad- AB- KK
https://youtu.be/hcWnJv19-l0?si=I9S_aTJ_zKqAzCDP
A less famous song using whistling
2 Bachana ye hasino – HKKN- Majrooh
https://youtu.be/kXjh0cIyty4?si=04l9gFXucPiqIszi
Trumpet very prominently used in the prelude.
Rahul Bhagwanrao Muli #3
R D and LP, both started very promisingly, but once they joined the rat race of churning out albums on mass scale, they lost the melody.
SJ also can be considered as a case of similar situation. They could maintain melody till the beginning of ’60s, even though they used to create anything form 60 8songs a film. Eventually, the assembly line technique took the toll.
Ashok Vaishnaw Ji
At the outset, kudos to you for an excellent research and detailed analysis on the orchestration in RDB’s music . Personally some of the songs listed here are not my cup of tea.
Regarding your comments about Shankar Jaikishan , bracketing them with RDB & L-P , especially on the ‘so-called’ loss of melody in 60’s, I would beg to differ.
Assuming that when you meant the melody was there till early 60’s, let me list few songs from 1965 onwards. Now if someone feels there is no melody in these songs , it is purely their personal opinion. By that logic , almost 75% of the songs that have been appearing in the overdose of Pancham blogs in SOY for the last few months qualify for being out of melody, in my humble opinion!
1)1965-Aarzoo-Bedardi Baalma Tujhko Mera Man-Lata/Ae Phoolon Ki Rani-Rafi/Aji Rootkar Ab Kahan-Rafi & Lata versions
2) 1966-Amrapali-almost all the songs
3) 1966-Gaban-Ehsan Mere Dil Pe tumhara-Rafi
4) 1966-Love in Tokyo-Koi Matwala Aaaya Mere-Lata/Oh Mere Shah-E-Khuba-Rafi/Aaja Re Aaa Zara-Rafi ( that vibrato–ufff-superb)
5) 1966-Suraj-Itna Hai Tumse Pyar-Rafi & Suman/Baharon Phool Barsao-Rafi( Allergic to many SOYers!)/Chehre Pe Giri Zulfen-Rafi
6) 1966-Teesri Kasam-if anyone can say masterpieces in this film are not melodious then something is seriously wrong!!
7) 1967-An Evening In Paris-Raat Ke Humsafar-Rafi & Asha
8) 1967-Deewana-Taron Se Pyare-Mukesh/Ae Sanam Jisne Tujhe-Mukesh
9) 1967-Hare Kanch Ki Choodiyan-Panchee Re O Panchee-Rafi & Asha
10) 1967-Raat Aur Din-Title song both Mukesh & Lata/Phool Sa Chehra-Rafi/ Aawara Hai Mere Dil-fast & slow versions by Lata/Dil Ki Girah Khol Do-Lata & Manna Dey
I can go on till 1970-Mere Naam Joker that I consider personally one of the greatest works of SJ for RK-Just because the film flopped, people don’t talk about the music. Even in 1971 Lal Pathar- Unke khayal aaye tho by Rafi ; Geet gata hoon mein by Kishore and Re Man Sur Mein gaa by Asha and Manna da…
For many who love bashing Shankar’s independent compositions, I can list out some of his good songs even in mid -70’s. Example even as late as 1979 in Atmaram there was a great duet by Rafi & Lata-Tumhare Bin Guzare Hai Kai Din Ab na guzrenge….But what use? The SJ bashing will continue till eternity just for their Beimaan & Pehchan awards!!
S-J had the unique distinction of having composed a huge number of songs that remain popular even today, and no one can ever match their ability to compose even 7-8 songs in a film and all becoming super hits.
I had written earlier also that for any creative artist there is always a peak and then slide starts. For SJ the peak lasted almost 20 years, which is unique. To conclude, I would say even if we accept the general myth that their music deteriorated after 60’s , what they created before that was simply great and will always remain among the best music of Hindi Film Music.
Sivanandam # 5
I too am quite a strong follower of SJ, But when I made that statement about they having melody, it was in the context of the comparison of their work before 60s and after 60s.
If we look at their work before 60s, it would (perhaps) be easier to list their ‘more run-of-the-mill’ songs as it is easier to list their melodious songs after 60s.
So is the case with even LP and RD too.
My basic contention simply was that as these music directors ran into rat race of mass production, melody ( in general) suffered.
I do agree that Shankar, when he had go solo after Jaikishan’s death, did give good songs. But, these can better be qualified more as exceptions to the rule.
In fact, if I had good knowledge of appreciating the play of musical instruments, I would have loved to a full series of SJ’s experiments with orchestration.
I hope there would be someone who will come up with such work.
Thanks for your response Vaishnav ji. I think it is the case with even stalwarts like Naushad, SDB , C Ramachandra.or for that matter any music director…maintaining melody for more than 20 years is difficult..but I find many ..even very knowledgeable music lovers/ authors singing out SJ as if only their creative juice dried up. Anyhow I very well know that this will continue here and in other forums also.
Personally I like to take the good from all and ignore the mediocre.
SJ , SDB & Salil da were far ahead in orchestration but we see very less articles about that.
Like I mentioned somewhere else for a majority only RDB pioneered orchestration!! At least SOY celebrates all and so when I see some myths continued in such a learned forum, I try to chip in..maybe to the irritation of others!!!
Sivanandam #7
Reaching the loss of creativity, after an age or by overuse, is all together a different, or quite an accepted phenomenon.
Most of the prominent music directors of 40s and 50s reached the stage of fading creativity associated with age, even though they did not over do.
Orchestration got its unique space during the early 40s, pioneered mainly by Anil Biswas and very effectively used by other music directors like Khemchand Prakash, Sajjad Hussain, Ghulam Haider and the likes. Nausshad did give it the newer perspective. Subsequent music directors, aided by very competent and versatile arrangers, added new dimension of use of variety of tunes and instruments as well as number of instruments.