OPN on SaReGaMaPa
Ashok
anchored it and had enjoyed. I hadn't watched it since he left.
I had an occasion to watch an installment past Friday. It is now
presented by Shaan, who I am told is a popular Indipop singer and
an occasional playback singer. For a while in between , I believe
it was compered by the sons of Amjad Ali Khan. The program is now
called SaReGaMaPa. I wonder if it will become a full octave in the
coming years!
A bunch of people of younger generation, including a fan of Shaan,
were watching the program when I was called in. They couldn't
recognize the judge and for a long time the MC didn't use his
name. "I have seen his face somewhere. Must be a lyricist". It
turned out to be OP Nayyar. The confusion that it might be a
lyricist arose becuase the MC had talked about a lyricist. The
'Kismat' song "kajaraa mohabbatavaalaa" was being presented.
The wife and the daughter of the late lyricist SH Bihari were
present as guests.
OP Nayyar was terrific. I was impressed by his bearing and diction
and things he had to say and the way he said them. For example,
toward the close, he first called the losing pair to stage and
gave them very considered feedback, emphasizing their strengths
to start with and going on to the weaknesses they should address,
specifically, pronunciation. He even showed them how they tended
to pronunce "Gham" and "Khwaab" and how they should! He was so
stylish in evertything he did and said that my brother was
impelled to comment: Did he ever act? He should have. He would
have outdone Dev Anand!
Shaan asked OP a question about other music directors and his
influences ("... jinhe aap aadarsh maanate hai.n"). OP said
an interesting thing. The timing of his arrival on the music
scene was such that all the top music directors of the period
were his seniors! He started by complimenting Shankar-Jaikishan
(the keyword that in my mind is "kamaal ke"). He added that he
liked the music of SD Burman and RD Burman. But above and his
beyond, he said, his favourites from the era were C. Ramchandra
and Roshan.
From the participants, as the events contiuned, he requested
songs by his two favourite music directors. No one came forth
with a CR song, but two Roshan songs did show up:
. man re
. nigaahe.n milaane ko jii chaahataa hai
One participant did have surprise up her sleeve. She announced
that she was going to present the 'Sautela Bhai' song
. jaa mai.n tose naahi.n boluu.N
It appeared OP didn't remember the song or at least who composed
it. I was pleasantly surprised when Shaan filled in saying that
it was a composition of Anil Biswas. OP's face lit up and he
said "whaa re whaa". It was fun watching OP thoroughly enjoy the
rendition of a great Lata song.
When asked his opinion of new music, OP said that he didn't
listen to it. Whenver someone plays today's music in his presence,
he would say "ba.nd karo"!
The program ended with Shaan asking OP to render a song of his
and OP asking Shaan to join in. The others around also joined
in:
dil kii aawaaz bhii sun
Ashok
kamalakar pasupuleti
These filmi personalities keep changing versions every time.OPN
mentioned in an interview and also on Vividh Bharati that he stayed
with Prem Dhawan when he came to Bombay and used to attend regular
recording sessions of Anil Biswas for whom Dhawan Sab was the lyricist
and had all the praises for AB and gone to the extent of telling that
for many decades we cant find a composers like him.
What has happened to his previous statements.
kp
Ket...@att.net
p_kam...@hotmail.com says...
>> Shaan asked OP a question about other music directors and his
>> influences ("... jinhe aap aadarsh maanate hai.n"). OP said
>> an interesting thing. The timing of his arrival on the music
>> scene was such that all the top music directors of the period
>> were his seniors! He started by complimenting Shankar-Jaikishan
>> (the keyword that in my mind is "kamaal ke"). He added that he
>> liked the music of SD Burman and RD Burman. But above and his
>> beyond, he said, his favourites from the era were C. Ramchandra
>> and Roshan.
>
>These filmi personalities keep changing versions every time.OPN
>mentioned in an interview and also on Vividh Bharati that he stayed
>with Prem Dhawan when he came to Bombay and used to attend regular
>recording sessions of Anil Biswas for whom Dhawan Sab was the lyricist
>and had all the praises for AB and gone to the extent of telling that
>for many decades we cant find a composers like him.
>
> What has happened to his previous statements.
Would you consider Anil Biswas as being from OPN's era? Do remember that OPN's
answer is specific to MD's of his era. S-J and CR therefore qualify. AB doesn't,
IMO.
Ketan
@hindimidi.com HindiMIDI
emotionally), how Prem dhavan accepted him in his family, when he (OP) did
not have a place to stay.
- Surendra
[Bhool Chook Leni Deni]
--
(Have you hummed your favorite song today)
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"kamalakar pasupuleti" <p_kam...@hotmail.com> wrote in message
news:d3eaeae5.02120...@posting.google.com...
kamalakar pasupuleti
Certainly NOT - All I mentioned was how he got inspired by ABs
compositions and conducting the orchestra during the recordings of
early 1950s.
kp
Cricfan
> anchored it and had enjoyed. I hadn't watched it since he left.
> I had an occasion to watch an installment past Friday. It is now
> presented by Shaan, who I am told is a popular Indipop singer and
> an occasional playback singer. For a while in between , I believe
> it was compered by the sons of Amjad Ali Khan. The program is now
> called SaReGaMaPa. I wonder if it will become a full octave in the
> coming years!
It was rather banal during the days of the Khan siblings. Shaan,
albeit
not in the same class of Nigam has restored some sort of class to
the programme. Apparently, in India, they're currently having a
children's special. We, in the US, get a delayed version of SRGMP.
Were you able to see the recent finals (3-4 weeks back)? That
featured Ustad Ghulam Mustafa Khan as the judge. The quality of
singers was very good. A lady from Assam (the eventual winner)
sang NFAK's "Nit Khair" really well.
There are two drawbacks to the current format. One, the selection
of secondary chief guests (is there such a term?). These are usually
sub-editors of publications or MD's of corporate houses who,
seem out of place in that setting. The other is the audience
swaying left and right like they were in a rocking Virar local.
The latter seems to be an endemic problem in most song based
programmes.
>
> A bunch of people of younger generation, including a fan of Shaan,
> were watching the program when I was called in. They couldn't
> recognize the judge and for a long time the MC didn't use his
> name. "I have seen his face somewhere. Must be a lyricist". It
> turned out to be OP Nayyar. The confusion that it might be a
> lyricist arose becuase the MC had talked about a lyricist. The
> 'Kismat' song "kajaraa mohabbatavaalaa" was being presented.
> The wife and the daughter of the late lyricist SH Bihari were
> present as guests.
>
I didn't see the above programme. But O. P. Nayyar is quite easy to
spot
since he rarely ventures outdoors without his trademark suit and hat.
I have not
seen him in any Saregama (the classic versions) or Antakshari without
the hat. In fact, irrc, he even wore the hat in the brilliant
multi-judge
finals of the classic saregama (anyone remember the "proposal" to Anil
Biswas?)
Recent guests in SRGMP included Anandji and Gulshan Bawra.
Regarding "ucchaaran" - and people may stone me for this - one
of the best programmes I saw was a tribute to RDB hosted by Anu Malik
(the very esteemed one :-)) It was shown a week or two after RDB's
death and featured Malik's critical appraisal of the nuances of each
of 10 songs that were showcased. Most of my friends and I were quite
surprised by the quality of his input. He spent quite a lot of time
talking about subtleties of pronunciation of words in relation to the
meaning. For example, he dwelved deep into a lecture on how the words
"Chura liya" of the song of the same title was sung by Asha. Malik did
the show in a very informal style, as if he was talking to friends at
his place. He sat on a diwan with a harmonium and played key elements
to show how they could've been composed.
Most of us had been used to tribute shows that feature guests who do
not have anything special to offer in terms of insight. However, Malik
was quite a welcome change. [I have this show on video tape in India]
Cheers
Arun
Ashok
>
>I have not
>seen him in any Saregama (the classic versions) or Antakshari without
>the hat. In fact, irrc, he even wore the hat in the brilliant
>multi-judge
>finals of the classic saregama (anyone remember the "proposal" to Anil
>Biswas?)
I don't know of it. Tell me.
>Regarding "ucchaaran" - and people may stone me for this
Here's one. I don't know about crude languages, but in refined
languages like Sanskrit and Kannada, it is "uchchaaraN". (If you
are using "c" for the "ch" sound, it would be "uccaaraN".)
- one
>of the best programmes I saw was a tribute to RDB hosted by Anu Malik
>(the very esteemed one :-)) It was shown a week or two after RDB's
>death and featured Malik's critical appraisal of the nuances of each
>of 10 songs that were showcased. Most of my friends and I were quite
>surprised by the quality of his input. He spent quite a lot of time
>talking about subtleties of pronunciation of words in relation to the
>meaning. For example, he dwelved deep into a lecture on how the words
>"Chura liya" of the song of the same title was sung by Asha. Malik did
>the show in a very informal style, as if he was talking to friends at
>his place. He sat on a diwan with a harmonium and played key elements
>to show how they could've been composed.
>
>Most of us had been used to tribute shows that feature guests who do
>not have anything special to offer in terms of insight. However, Malik
>was quite a welcome change. [I have this show on video tape in India]
>
>Cheers
>Arun
I am not surprised. I had noticed in a couple of articles where
Anu Malik was interviewd that he could be interestingly analytical
about compositional aspects.
Ashok
xss
> seem out of place in that setting. The other is the audience
> swaying left and right like they were in a rocking Virar local.
> The latter seems to be an endemic problem in most song based
> programmes.
Heh. I find it very entertaining, especially when they're
all horribly out of phase. Some of them sway with their eyes
closed as though in a trace and suddenly open their eyes and
look around self-consciously.
s.
Cricfan
> In article <a636609b.02120...@posting.google.com>, asi...@my-deja.com says...
> >
> >I have not
> >seen him in any Saregama (the classic versions) or Antakshari without
> >the hat. In fact, irrc, he even wore the hat in the brilliant
> >multi-judge
> >finals of the classic saregama (anyone remember the "proposal" to Anil
> >Biswas?)
>
> I don't know of it. Tell me.
At one point during a discussion, Rajkumari looked at Anil Biswas and
said "Anilji...(pause)...mein to AnilDA nahin kahoongi". To satisfy
the curiosity of the judges and the audience, she said that she
would've married him if only he had asked her to. :-)
Cheers
Arun
Nazir Patel
awful compared to the youth's singing.
"kamalakar pasupuleti" <p_kam...@hotmail.com> wrote in message
news:d3eaeae5.02120...@posting.google.com...