Tributes to OPN
Ketan
From Times of India. Some errors but one of the better write-ups. Atleast they
get the songs right. The earlier "Jhumka Gira re" was a stock story filed by
PTI, which was picked up by all newssources and repeated without cross-checking.
There are pics in the Monday additon of TOI. IBN also had a video clip of his
body and people coming to pay their last respects.
As for my comment about the world being a sadder place, sure he might have
stopped composing some 30 plus years ago, but as can be seen from the old
episodes of SRGMP, these MDs can still play a vital role in shaping the future
generation of singers(see article below). Who would you rather have as
judges--Anil Biswas, Naushad and OPN or Himesh, Aadesh and Ismail Darbar?
Besides, when a person(artiste) of this caliber passes away, the world loses all
hope of even tapping into their fading memories. On Sunday we lost some
knowledge. Now all we are left with is information.
Ketan
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Sultan of rhythm O P Nayyar dead
Ambarish Mishra I TNN
Mumbai: His songs transformed Bollywood’s destiny. He reigned the Hindi filmdom
with style and pizzazz. Renowned music director Omkar Prasad Nayyar passed away
in suburban Thane on Sunday, leaving behind a legend called O P Nayyar.
The maverick, fabulously talented composer, who celebrated his 81st birthday on
January 16, died of cardiac arrest on Sunday morning. He was cremated at Thane.
In the fiercely-competitive, boxoffice driven world of Hindi cinema, Nayyar
stood alone—and aloof. He had no godfathers, no ace banners. Naya Daur was a
feather in B R Chopra’s cap. But, the veteran producer-director never repeated
Nayyar even once. Ditto with Abdul Rashid Kardar and Shakti Samantha.
“I would never stand up when a producer or a distributor came to the recording
studio. I would never let the financier or distributor whet my composition,’’
Nayyar once told this correspondent in a long-winding interview spread over a
few weeks in the 1980s. “But, Lord Krishna knows that I am tremendously
satisfied with my work. I am happy that I lived and worked on my own terms and
conditions. This is my Punjabiyat.’’
Nayyar loved Punjab—especially Lahore, his birth place. In the 1990s, Sultan
Arshad Khan, music connoisseur and general manager of Pakistan International
Airlines (PIA), tried to goad Nayyar into visiting Lahore as PIA’s special
guest. The maestro, however, turned down the proposal, saying, “Old memories
will kill me.’’
Memories of K L Saigal (“Saigalsaab brings a lump in my throat even today,’’ he
would say). Memories of Nisbet Road, Macloid Road, the Gramophone recording
studio and the AIR station—places which young Omkar would frequent as a lad in
quest of a song. “Nayyar was a young boy when I first saw him at the Gramophone
Company’s studio in Lahore. He would come there on a bicycle. The seniors would
ask him to run the errands—he would bring us ice-cream or soda or some such,’’
well-known playback singer Shamshad Begum said recently, while recalling her
Lahore days.
Dalsukh Pancholi, the doyen of Lahore film industry, gave Nayyar his first break
in Bollywood in 1952. Aasman was followed by Baaz and Chham Chaamachham—all
super flops, though. However, distributor K K Kapoor assuaged a distraught
Nayyar and introduced him to Guru Dutt who was busy planning Aar Paar. Guru Dutt
was a tad skeptical of the lanky, 20-something music director. However, his
wife, Geeta, strongly stood by Nayyar. The rest, as they say, is history.
Aar Paar, CID and Mr & Mrs ’55 form the endearing Guru-Geeta-Nayyar trilogy with
lilting songs such as
Kahin pe nighaahein, kahin pe nishana, Boojh mera kya gaaon re, Yeh lo main hari
piya and that ultimate Mumbai anthem: Yeh hai Bombay meri jaan. Shamshad Begum
and Geeta Dutt brought out the sensuality in his songs with elan. Mera naam chin
chin choo from Howrah Bridge turned Nayyar into the undisputed sultan of rhythm.
The clip-clop ‘ghoda-gaadi’ beat, which he borrowed from New Theatres’ Raichand
Boral, earned him a special niche in Bollywood.
More films followed, including Bhagambhag, Mister Lamboo, Johnny Walker,
Cartoonist M.A., and Kalpana and Raagini (both films boast of classical numbers
although Nayyar claimed that he was not trained in ‘Raagdaari’).
Naya Daur kick-started, as it were, the Nayyar-Asha Bhosle partnership. The
exceptionally creative alliance which has lent a rich subtext to the Bollywood
folklore reaped a harvest with songs such as Yehi woh jagah hai, Balama khuli
hawa mein, Chhotasa balama, Raaton ko chori chori, jale mora jiyara, Zara haule
haule chalo more sajana, Jaaeye aap kahaan jayenge and Chain se humko kabhie,
aap ne jeene na diya.
Mohammad Rafi too came into his own when belting out robust Nayyar songs.
After a brief lull, Nayyar re-discovered himself with Tumsa Nahin Dekha, a
Shammi Kapoor flick. Kashmir Ki Kali, Sharmila Tagore’s debutante flick opposite
Shammi, was a runaway hit, thanks to Nayyar’s toetapping numbers such as
Deewaana hua badal.
Unmindful of the absence of big banners, Nayyar continued his tryst with fame,
if not commercial success, with films such as Yeh Raat Phir Na Aayegi, Mere
Sanam, Ek Musafir Ek Haseena and Baharein Phir Bhi Aayengi. His songs became as
much a talking point in film circles as his mood swings and fights with
producers.
The 1970s saw R D Burman’s rise and Nayyar retired into exile. His phone was
always off the hook and fans who turned up at his Churchgate apartment were
firmly turned down by him. Later, Nayyar left his Churchgate flat and retired to
a suburban flat of his friend in Virar.
Last month, Nayyar shifted to a new residence—located somewhere
deep in the backwaters of Thane, he told this correspondent over the phone. “I
don’t know how I am going to travel any more. I have gone further away from the
city and people,’’ he added. On Sunday, he left for an undisclosed destination.
------------------------------------------------------------------------------
A last musical soiree with the maestro
S Balakrishnan I TNN
Mumbai: On January 26, O P Nayyar was a little unwell. Nevertheless, he agreed
to attend a programme titled ‘Phir Wohi Dil Laya Hoon’ organised by a city NGO,
Desh Seva Samiti, since it was an evening of his songs. He travelled all the way
from Thane, where he lived, to the Mysore Association hall in Matunga for the
event with assistant commissioner of police Y D Tapase, his neighbour and
long-time fan.
He could not sit through the evening, but for the time he was there he was alert
as ever. From the front row, he told a singer Bina Desai to bring a certain
“sharpness’’ to the song ‘Thandi hawa kali ghata...’ Replying to the
felicitations, he said with modesty, “I have no knowledge of the sa, re, ga, ma
of music. Whatever I composed was because of God’s ‘meherbani’.’’
Talking to this correspondent, he said a line from the song ‘Dil ki awaz bhi
sun, mere fasane pe na ja’ (Humsaya) summed up the tragedy of his life. The line
he referred to was ‘Waqt insaan pe aisa bhi kabhi aata hai, raah mein chhodke
saaya bhi chala jaata hai’ (There are occasions in a person’s life when even his
shadow deserts him).
He was very emotional that evening and could not oblige all his fans who vied
for his autograph. Before leaving the hall, he quietly asked if he could have a
peg of Scotch whisky. Being a dry day, this correspondent, who was escorting him
out of the hall, could not oblige him. With a hug Nayyar said, “May be some
other time.’’ That day will now, unfortunately, never come.
--------------------------------------------------------------------------------
His work was different from his contemporaries. One could always identify an OP
song. He left his distinct mark on his songs. I never sang for him, but contrary
to what people say we did not have any quarrel.
—Lata Mangeshkar, singer
It is a great loss to the film industry. He was a very innovative composer and
created a special style which both Mohamed Rafi and Asha Bhosale translated
through their songs. He was the one who gave Asha Bhosale that style. I remember
he gave me eight tunes for my film Kashmir Ki Kali in just four hours.
—Shammi Kapoor, actor
I met him while he was composing the music of Sone Ki Chidiya. Around then I had
composed the songs for Lala Rukh but had not received the remuneration. I was
really unhappy. He saw that and called me and asked me what the problem was. I
told him I had not received the payment and didn't know how I would keep my
domestic commitments. He took me to his office and gave me Rs 500.
— Khayyam, music composer
Surjit Singh
Ketan wrote:
> From Times of India. Some errors but one of the better write-ups. Atleast they
> get the songs right. The earlier "Jhumka Gira re" was a stock story filed by
> PTI, which was picked up by all newssources and repeated without cross-checking.
> There are pics in the Monday additon of TOI. IBN also had a video clip of his
> body and people coming to pay their last respects.
>
> As for my comment about the world being a sadder place, sure he might have
> stopped composing some 30 plus years ago, but as can be seen from the old
> episodes of SRGMP, these MDs can still play a vital role in shaping the future
> generation of singers(see article below). Who would you rather have as
> judges--Anil Biswas, Naushad and OPN or Himesh, Aadesh and Ismail Darbar?
> Besides, when a person(artiste) of this caliber passes away, the world loses all
> hope of even tapping into their fading memories. On Sunday we lost some
> knowledge. Now all we are left with is information.
>
>
> Ketan
> -------------------------------------------------------------------------------
>
>
> Sultan of rhythm O P Nayyar dead
The earliest song I remember is leke pahla pahla pyaar. But did not
really know who the MD was. The next memory is reshami salwar kurta
jaalii ka. Then I went to Ludhiana and remember clearly when my uncle
saw Tumsa Nahin Dekha. He saw it after the movie celebrated silver
jubilee and they distributed ladoos and gave paper handkerchiefs withh
the lyrics of all the songs. I wish I had kept them, not the ladoos but
the handkerchiefs. The first movie of him that I saw was Kashmir Ki
Kali. Wow, every song was a hit, just like Nagin's, in my memory. Saw a
few more and then not much.
One of his best songs for me is bekasi had se jab guzr jaye from Kalpana.
In Ragini 1958, there is a song chhed diye mere dil ke tar kyon by
Amanat Ali and Fateh Ali. Does anybody know more about these two and
whether OPN composed this one or used a pre-existing cheez or something?
Overall, a rarity among Hindi film composers. I wish he had written his
detailed memoirs. May his soul RIP.
Sukesh
Regards
Sukesh
Satish Kalra
quick in compiling a tribute to OPNayyar last night, not a mean job
considering the program is in audio-video format. I appreciate his efforts
in putting together songs and clips from OPN's various films, though most
songs shown were from Aar Paar, and Mr. & Mrs. '55.
His tribute was marred, however, by the way he pronounced the name: in
iTrans, he said it as "o.nkar prasaad naiyyar".
It was so jarring to the ears. And I did not expect someone like Mr. Sharif
to mess up on te name and its diction.
I urge all RMIMers to send him an email at ab...@tvasiausa.com bringing this
lapse to his attention, and asking him to announce the correct anme in one
of the future programs. You can also fax him at 732-650-1112.
--
Happy Listenings.
Satish Kalra
Satish Kalra
news:oMudncw4rvQQzyLY...@comcast.com...
> Mr. Shiraz Sharif of the TV Asia channel 613 on the Dish Network was very
> quick in compiling a tribute to OPNayyar last night, not a mean job
> considering the program is in audio-video format. I appreciate his
> efforts in putting together songs and clips from OPN's various films,
> though most songs shown were from Aar Paar, and Mr. & Mrs. '55.
>
> His tribute was marred, however, by the way he pronounced the name: in
> iTrans, he said it as "o.nkar prasaad naiyyar".
Sorry for the self follow-up.
I forgot to write that his correct name should have been pronounced, in
iTrans, as "o.mkaar prasaad naiyyar".
Sukesh
The Illustrated Weekly Of India, etc. in the 60s & 70s are cases in
point.
Possibly that what OPN himself had preferred.
Regards
Sukesh
Asif
> > feather in B R Chopra's cap. But, the veteran producer-director never repeated
> > Nayyar even once. Ditto with Abdul Rashid Kardar and Shakti Samantha.
> > "I would never stand up when a producer or a distributor came to the recording
> > studio. I would never let the financier or distributor whet my composition,''
> > Nayyar once told this correspondent in a long-winding interview spread over a
> > few weeks in the 1980s. "But, Lord Krishna knows that I am tremendously
> > satisfied with my work. I am happy that I lived and worked on my own terms and
> > conditions. This is my Punjabiyat.''
> > Arshad Khan, music connoisseur and general manager of Pakistan International
> > Airlines (PIA), tried to goad Nayyar into visiting Lahore as PIA's special
> > guest. The maestro, however, turned down the proposal, saying, "Old memories
> > will kill me.''
> > Memories of K L Saigal ("Saigalsaab brings a lump in my throat even today,'' he
> > would say). Memories of Nisbet Road, Macloid Road, the Gramophone recording
> > quest of a song. "Nayyar was a young boy when I first saw him at the Gramophone
> > Company's studio in Lahore. He would come there on a bicycle. The seniors would
> > well-known playback singer Shamshad Begum said recently, while recalling her
> > Lahore days.
> > Dalsukh Pancholi, the doyen of Lahore film industry, gave Nayyar his first break
>
> > It is a great loss to the film industry. He was a very innovative composer and
> > created a special style which both Mohamed Rafi and Asha Bhosale translated
> > through their songs. He was the one who gave Asha Bhosale that style. I remember
> > he gave me eight tunes for my film Kashmir Ki Kali in just four hours.
>
> > I met him while he was composing the music of Sone Ki Chidiya. Around then I had
> > composed the songs for Lala Rukh but had not received the remuneration. I was
> > really unhappy. He saw that and called me and asked me what the problem was. I
> > told him I had not received the payment and didn't know how I would keep my
> > domestic
>
>
> read more »
It was nice to hear your memories of those days, finally, Professor
Sahab. Please share more in future. And thanks, Ritu, for your
memories on another thread.
I had discovered OPN with 'Aankhon hi aankhon mein ishaara ho
gaya' (C.I.D., 1956) when I was 10 years old. There were several
Gramophone records in Dad's collection, and there was this disc
featuring 'Aankhon hi aankhon mein' on one side and 'Boojh mera kya
naanv re' on the other. The way Rafi sings 'aa ~' to join Geeta
Dutt's finishing lines delighted me a lot, and the music was just
fantastic. I still remember I played that record again and again.
Soon I chanced upon 'Ye chaand sa raushan chehra' (Kashmir Ki Kali,
1964) on another record, and it became my favorite record throughout
my childhood. It was ecstatic to hear Rafi changing gear and hitting
lower notes in the antara 'Har subah kiran ki kaali, hai rang tere
gaalon ka'. Years later I saw the film on TV and was thrilled by the
hero Shammi Kapoor's antics on the shikaara while singing this song.
The song does not sound like such a bubbly ode to the heroine as
Shammi made it to look, but it was great to know he did his part in
making this song such a timeless classic.
In those days while I was busy learning how to play the radio after a
successful tryst with the Gramophone, I heard 'Jaaiye aap kahaan
jaayenge' (Mere Sanam, 1965) one day and I was simply stunned. I had
never heard Asha singing like the way she did in this song - 'jab
utthoge meri betaab nigaahon ki tarah, rok legi koi daali meri baahon
ki tarah'. Only OPN could have got her to sing like this, and
thankfully, together they never attempted to create another song like
that - it fittingly remains one of a kind! Unfortunately, we did not
have any disc of Mere Sanam and I became restless. Thankfully, I
found a booklet of the film's lyrics in my brother's collection and I
quickly memorized the entire song. The other songs in the booklet
seemed beautiful too - 'Pukaarta chala hoon main gali gali bahaar ki'
and 'Ye hai reshmi zulfon ka andhera'. Such lovely words! Over the
next few months I got to listen to all the songs from Mere Sanam on
the radio, and decided this was OPN's finest musical score even though
I had yet to hear his other scores too. The prelude and interlude
music in 'Pukaarta chala hoon main' was heavenly, and I often pinched
myself to believe my ears - was it a '60s music or a more modern
tune?
Subsequently, I discovered his other evergreen albums, song by song,
like Phir Wohi Dil Laya Hoon (1963), Yeh Raat Phir Na Aayegi (1966),
Bahaaren Phir Bhi Aayengi (1966), and Mr. and Mrs. 55 (1955), and I
finally realized I loved his music too much even though by now I had
already become a R.D. Burman devotee. The music of Mr. and Mrs. 55
had typical early '50s flavor about it, yet Rafi's 'Dil par hua aisa
jaadoo' sounded very upbeat and clearly ahead of its time. The way he
sings 'sun pyaare apni to qismat badal gayi' gave me goosebumps in
those days and stil does. I think that's when OPN moulded him into
singing all those romantic ditties in an intoxicating style. The Rafi-
Geeta duet 'Udhar tum haseen ho' never fails to regale me with its
undercurrent of love and lovely music. When I heard Rafi crooning
'Banda parwar thaam lo jigar' (Phir Wohi Dil Laya Hoon), I immediately
felt this was my top favorite Rafi solo and one of the finest OPN
compositions, and I have not changed my mind ever since. Just like in
'Ye chaand sa raushan chehra' (Kashmir Ki Kali), in this song too Rafi
surprised me by starting an antara on a lower scale and so beautifully
softly: 'meri nigaah-e-shauq se bachkar yaar kahaan jaaoge'. I knew
it was OPN at his composing best. A few years later, when I saw the
film at the Filmistan in Gwalior, I was excited to see Joy Mukherjee
serenading Asha Parekh with this gem of a song while she blushed away
to glory. It was a perfect song, a perfect music, a perfect singing,
and a perfect picturization. Next day I returned to the theatre just
to see this great song again on the silver screen. When I saw
Dharmendra belting out that eternal classic 'Badal jaaye agar maali'
in Bahaaren Phir Bhi Aayengi and Sharmila Tagore chanting the
evergreen 'Yehi wo jagah hai' in Yeh Raat Phir Na Aayegi, I figured
that OPN's music was an essential part of those love stories set in
the vales and dales of Kashmir of those good, old days.
Those days are long gone, and so is my childhood. But OPN's music
will live on in my heart forever. Alwida Nayyar Sahab!
Asif
Narsingh
Bridge).
Narsingh
Abhijit
Nice write-up. Some more OPN songs that I did not find in other posts
and are worth a mention because of their popularity:
mujhe dekh kar aapakaa muskaraanaa
- Ek Musafir Ek Hasina
mai.n pyaar kaa raahii huu.N
- Ek Musafir Ek Hasina
tum ruuTh ke mat jaanaa
- Phaagun
ruup teraa aisaa, darapaN me.n naa samaay
- Ek Bar Muskuraa Do
tuu auro.n kii kyo.n ho gayii
- Ek Bar Muskuraa Do
tum jo hue mere hamasafar raste badal gaye
- 12 O' Clock
kaisaa jaaduu balam tuune Daaraa
- 12 O 'Clock
laakho.n hai yahaa.N dilavaale
- Kismat
vo hasiin dard de do jise mai.n gale lagaa luu.N
- Hamsaaya
dil kii aavaaz bhii sun mere fasaane pe na jaa
- Hamsaaya
raat bhar kaa hai mehamaa.n a.Ndheraa
- Sone Ki Chidiyaa
piyaa piyaa piyaa meraa jiyaa pukaare
- Baap Re Baap
tumhaaraa chaahane vaalaa khudaa kii duniyaa me.n
- Kahin Din Kahin Raat
na jaane kyuu.n hamaare dil ko tumane dil nahii.n samajhaa
- Mohabbat Zindagi Hai
merii jaan tum pe sadake, ehasaan itanaa kar do
- Saawan Ki Ghata