Saat suron ka sargam--Sadhana Sargam
Ke...@iag.net
http://www.timesofindia.com/today/29mbom28.htm
Saat suron ka sargam...
Whoever changed her name to Sadhana Sargam sure knew what she was about. This is
one singer who has had both an enviable classical training and grooming for
non-classical, the first from the likes of Pandit Jasraj and the other from
Kalyanji of Kalyanji-Anandji fame.
Surprisingly or perhaps not so surprisingly, it is whizkid A R Rehman who has
used her voice most consistently. For those who saw Deepa Mehta's Earth the
number Banno Rani..." will remain with us for a long time. And who can forget
the outstanding Chanda se poochenge hum saare sawaal nirale.... from Sapnay?
Hers was the voice which stood out amongst six different singers for its
subtleness. Says Sadhana "I'd sung for Rehman in Hindustani but it was just one
antara - Kashtiyan bhi lag gayi. So when he called me for Sapnay I wasn't sure
what he had for me. But when Rehman calls you go without asking questions
because you know it's going to be worth it - he's a reserved person and talks
very little but he makes you give your best. He keeps a cassette ready wherein
he has sung the song himself and listening to it makes your work so much easier,
he allows any number of retakes. If you've sung half a line beautifully and
haven't sustained that in the other half, he'll retain that half and make you
work on the other half. The result is magnificent. In the recording of Sapnay
itself, I realised that my voice sounded better. And Rehman makes his pleasure
very evident when he likes something you've done... then he won't even be shy. I
didn't realise then that the song was going to be so well received."
Her recent Banno Rani has again fetched her accolades but unfortunately it is
only when one hears anything as beautiful as this number and searches for the
name of the singer that one is reminded of this media-shy singer. Sadhana has
been in the industry for 14 years now but has remained low profile, and it is
only when we listen to her songs like Jeeya nahin laage from Pighalta Aasman and
Dheere dheere aap mere dil ke mehmaan ho gaye from Baazi, Teri umeed tera
intezar from Diwana or the songs of Pehla Nasha that you are aware that she's
been around. Most of her songs have been noteworthy. One of her many
achievements was the Kabhi Kabhi number from Amitabh Bachchan's Aby Baby album.
"When they invited me to sing this number, I didn't even get to meet Amitabhji -
I sang my portions and he sang his later. It was some time later that I met him
at a party and he said, `Our song is no. 5 on the charts,'" she recalls and
admits, "of course, I was thrilled."
"These days," she notes, "I'm fortunate that composers think of me when they
have something worthwhile - they've never given me just anything to sing - the
fact that my name comes to their mind when they have such numbers makes me very
happy, it also helps me improve myself."
It is this constant desire to improve herself that has helped her become the
singer she is today. "My first guru was my mother Neela Ghanekar, and till today
I sit with Kalyanjibhai and do my riyaz. I still feel there are flaws that I
could work on," she says with modesty. The lady is being unduly modest because
the effortlessness of her voice is a marvel - it is after long that one gets to
hear such fluidity of expression and subtlety of emotion. But Sadhana is only
dismissive about all the praises heaped on her as she says, "There is no end of
polish one can acquire through discipline." She has sung Kabhi Aansoo with
Pankaj Udhas and her next album, titled O My Love, which has soft pop-ish
numbers with music by Sandesh. Despite the many highlights in her career,
Sadhana remembers with a thrill the words of praise her idols, the Lata
Mangeshkar had for her. Sadhana says with almost naive pleasure, "Once Lataji
said that Suresh Wadkar and I were the most noteworthy singers and I'll always
remember that."
Sadhana has sung for almost every composer be it Nadeem Shravan, Viju Shah,
Anand Milind, Laxmilal-Pyarelal, Kalyanji-Anandji, Rajesh Roshan... her Oye Oye
from Tridev will be remembered for long, so will Saat samundar paar from
Vishvatma and Saat saheliyan from Karishma Kudrat Ka. Her song for the tele
serial Mahabharat - Binati suniye naath hamari is still fresh in our minds.
Sadhana brings to a song the emotions that touch the heart.
Lata Khubchandani
Chetan Vinchhi
Thanks for the article.
Ke...@iag.net wrote:
>
> http://www.timesofindia.com/today/29mbom28.htm
>
> Saat suron ka sargam...
Something wrong here. It is either "kaa sa.ngam" or "kii saragam". I
think the latter makes more sense in the context.
> Sadhana brings to a song the emotions that touch the heart.
So true. From whatever I have heard of her, that seems to be Sadhana's
major strength. However, the author may have gone a little overboard
while praising her "classical" abilities. She is probably capable of
singing more classically oriented songs than, say, Alka. (BTW, has she
sung any classical numbers?) But she is not even close to other talents
this very industry has or has had. (even if - nay, *especially* if - you
define "industry" to be "Lending your voice to heroines/actresses" :) )
C
Manish Parikh
Manish
Pancham forever
<Ke...@iag.net> wrote in message news:7vb7gk$1d...@drn.newsguy.com...
>
> http://www.timesofindia.com/today/29mbom28.htm
>
> Saat suron ka sargam...
> Sadhana brings to a song the emotions that touch the heart.
>
> Lata Khubchandani
>
SKalra902
Everywhere, they wroship the rising sun. And so is the case these days for
Rehman, who is revered like no one else.
Even when he copies, no music critic brings it out, but if any one else does,
they are torn to pieces. ( BTW, I am not trying to defend any of them,
either.)
I am referring to the "banno rani...." song from 1947 (or Earth), in which the
stanza begins exactly like "sab jo gaye baag mera budhdha bhii chala gaya" from
Raj Kapoor/SJ's Sangam. Earlier, for Dil Se, 'ai ajnabi' notes were similar
to SJ's 'dhire chal dhire chal ai bhigi hawa' from Boy Friend.
I don't care if they (the music critics, singers, etc.) praise Rehman to the
sky.
The singers, of course, would be understandably biased in his favor. But the
critics, at least, should be objective.
The credit I give to Rehman is for the variety of voices he uses for his songs.
Like in even having Lata sing in Dil Se, S. Sargam in 1947, and Sujata Trivedi
in Takshak for "boondon se baatein".
Sujata Trivedi has also been around in the industry for about ten years, at
least. I first heard her with Nitin Mukesh in 1991 in concert tour in 1991.
Finally she has gotten a break! (Like Kavita Krishnamoorthy, who accompanied
various singers, most often Manna Dey, in concert tours abroad, before being
recognized by Bollywood MDs.)
Happy listenings.
Satish Kalra
hn...@yahoo.com
Ke...@iag.net wrote:
>
> http://www.timesofindia.com/today/29mbom28.htm
<snippedit>
> very little but he makes you give your best. He keeps a cassette
ready wherein
> he has sung the song himself and listening to it makes your work so
much easier,
Is that necessarily a good idea - providing the singer with a recording
of the song sung by hinself, that is? Where does the singer's
contribution come in? Just the voice?
Hema.
Sent via Deja.com http://www.deja.com/
Before you buy.
hn...@yahoo.com
Chetan Vinchhi <cvin...@lucent.com> wrote:
> So true. From whatever I have heard of her, that seems to be Sadhana's
> major strength. However, the author may have gone a little overboard
> while praising her "classical" abilities. She is probably capable of
> singing more classically oriented songs than, say, Alka. (BTW, has she
> sung any classical numbers?) But she is not even close to other
Who is "she" in the parentheses- Sadhna or Alka? I would doubt the
existence of any classically oriented song from Alka - well, okay i am
prejudiced. But I do remember one such song by Sadhna - "more ghar
aaye saanvariyaa". I don't know other info about the song. Sadhna has
also given some TV performances earlier in her career. I remember
seeing her a few times on the "sugam sangeet" programs and she would
sing some clasically oriented songs. "garajat barasat saavan aayo re",
that she sang along with Sonali Bajpayee, is one such song fresh in my
memory.
Arun Sampath
the most underrated singer of this era. For her talent, she could well have
been on equal or atleast competitive terms with the likes of Anuradha, Alka
and Kavitha. Just like Suman Kalyanpur didn't get opportunites in proportion
to her talent in the golden era, Sadhna for some unexplained reason, seems
to be facing a similar fate now. Is it because that she doesn't have a
godfather or a powerful backer from the music industry?
Arun
Arun Sampath
> of the song sung by hinself, that is? Where does the singer's
> contribution come in? Just the voice?
>
> Hema.
I have read/seen articles/programs where many MDs (some of them with a
harmonium) actually sing the song for the singer before the rehearsal. For a
fact, I know that Ilaiyaraja does that often. Also, it is said that some MDs
record the songs with amateur artist(s) and hand over the cassette to the
main singer(s) and later dub them in their voices. So I don't see a problem
with ARR employing this technique.
Arun
Srinivas Ganti
> > Is that necessarily a good idea - providing the singer with a
recording
> > of the song sung by hinself, that is? Where does the singer's
> > contribution come in? Just the voice?
> I have read/seen articles/programs where many MDs (some of them with a
> harmonium) actually sing the song for the singer before the rehearsal.
MD being a good singer helps.However Live interaction with the singer is
much better than providing a recording of the song.In an interview Asha
recollets how SDB (whom she called Guruji) used to reharse with her and
KK and get the song as he wanted.Todays MD's dont spare much time in
reharsals with the singers as they work on too many assignmets at a
time.Sometimes the singers don't even know the star cast in the movie, a
far cry from the days when KK used to modulate his voice according to
the screen personality.
Srinivas.
Ke...@iag.net
>
>In article <7vb7gk$1d...@drn.newsguy.com>,
> Ke...@iag.net wrote:
>>
>> http://www.timesofindia.com/today/29mbom28.htm
><snippedit>
>
>> very little but he makes you give your best. He keeps a cassette
>ready wherein
>> he has sung the song himself and listening to it makes your work so
>much easier,
>
>of the song sung by hinself, that is? Where does the singer's
>contribution come in? Just the voice?
It is as much a good idea as it was when Madan Mohan provided a copy of "Naina
barse rimjhim" to Lata in his voice. Since we know how that song turned out, I
don't see why Lata would feel hampered by ARR's singing.
Ketan
Chetan Vinchhi
Sorry for the ambiguity, I meant Sadhana. Although the same question
when applied to Alka is not devoid of interest.
> But I do remember one such song by Sadhna - "more ghar
> aaye saanvariyaa". I don't know other info about the song.
Details, anybody?
> "garajat barasat saavan aayo re",
> that she sang along with Sonali Bajpayee, is one such song fresh in my
> memory.
It is not too fresh in my memory, but I am fairly certain it is
not "the" 'garajat barasat saawan aayo re'. It was a monsoon melody
and probably had very similar opening words.
C
Ehari
>Subject: Suman of the 90s?? Re: Saat suron ka sargam--Sadhana Sargam
>From: "Arun Sampath" as...@hotmail.com
>Date: Mon, 01 November 1999 12:02 PM EST
>Message-id: <7vkh2p$1...@nntpb.cb.lucent.com>
Another surprise about sadhna sargam is, she turns out to be the most preferred
hindi female singer among tamil MDS now, after the sucess of vennilave
vennilave ( chanda re chanda re). Almost all the leading MDS in tamil have used
her for at least one song.
She also figured in the lovely duet tera pyari ki hai in the movie chhaila,
under illayaraja.
e.hari
>
>
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Ehari
>From: skal...@aol.com (SKalra902)
>Date: Sun, 31 October 1999 04:33 PM EST
>Message-id: <19991031163323...@ng-cq1.aol.com>
>
>Thanks for the article, Ketan.
>
>Everywhere, they wroship the rising sun. And so is the case these days for
>Rehman, who is revered like no one else.
>
>Even when he copies, no music critic brings it out, but if any one else does,
>they are torn to pieces. ( BTW, I am not trying to defend any of them,
>either.)
>
>I am referring to the "banno rani...." song from 1947 (or Earth), in which
>the
>stanza begins exactly like "sab jo gaye baag mera budhdha bhii chala gaya"
>from
>Raj Kapoor/SJ's Sangam. Earlier, for Dil Se, 'ai ajnabi' notes were
>similar
>to SJ's 'dhire chal dhire chal ai bhigi hawa' from Boy Friend.
He is doing this quite frequently these days. The first instance is - ' varai
en thozi' the first few lines sounded like ' sona sona re'.
Recently in kadahlar dinam he tried the same gimmicks in two songs.
The anupallavi of the song Roja roja is ther rip off from the old MSV classic
- sippi irrukuiddu and another song - enna velai alage is the lift off from -
thanga padakathin mela - another MSV old classic. As you mentioned, it is just
first few lines.
Though they are not big crime to
strip off the respect he is getting, I wish, he would refrain from doing this
in future.
>
>I don't care if they (the music critics, singers, etc.) praise Rehman to the
>sky.
>The singers, of course, would be understandably biased in his favor. But the
>critics, at least, should be objective.
>
I think, there is no harm in pointing his -ve side, once in a while. To me,
1947 earth, is
very overrated. But still, he never ripped off any song completely, and of
course there are lot of past masters, who are still regarded great,
irrespective of their alleged plagarisms.
>The credit I give to Rehman is for the variety of voices he uses for his
>songs.
He is very good at it. He has introduced so many new talented singers, in tamil
music.
>Happy listenings.
>
>Satish Kalra
>
>
>
>
>
>
>
Ehari
>From: "Arun Sampath" as...@hotmail.com
>Date: Mon, 01 November 1999 12:40 PM EST
>Message-id: <7vkj9s$1...@nntpb.cb.lucent.com>
>
>> Is that necessarily a good idea - providing the singer with a recording
>> of the song sung by hinself, that is? Where does the singer's
>> contribution come in? Just the voice?
>>
>
>
>I have read/seen articles/programs where many MDs (some of them with a
>fact, I know that Ilaiyaraja does that often. Also, it is said that some MDs
>record the songs with amateur artist(s) and hand over the cassette to the
>main singer(s) and later dub them in their voices. So I don't see a problem
>with ARR employing this technique.
>
>Arun
harmonium and he just writes music notes and distribute to his group. I am not
sure, whether he records the songs in a cassette too.
>
e.hari
>
>
>
>
>
>
>
>
Arun Sampath
> harmonium and he just writes music notes and distribute to his group. I am
not
> sure, whether he records the songs in a cassette too.
Sorry for ambiguous wording. I don't know anything about whether he plays
the harmonium or whether he records it in a cassette. What I meant was that
oftentimes he himself sings the tune for the singer. Anyway, as you mention
about the notes that he writes, it is claimed that sometimes he composes a
song in as little as 15 minutes right in front of the group. I don't know
how much of this is true because I read this in an article.
Arun
Snehal B. Oza
>> But I do remember one such song by Sadhna - "more ghar
>> aaye saanvariyaa". I don't know other info about the song.
>Details, anybody?
Don't have Pstats but it's beautiful song. Is it from Imaandaar ? If not can
someone remind me the classical number from this film, composed by KA.
Thanks
Snehal
Surajit A. Bose
skal...@aol.com (SKalra902) wrote:
> Raj Kapoor/SJ's Sangam. Earlier, for Dil Se, 'ai ajnabi' notes were similar
> to SJ's 'dhire chal dhire chal ai bhigi hawa' from Boy Friend.
This particular pair of songs has come up earlier on RMIM. But actually I
think "ai ajanabii" sounds a lot more like a KK song from the early 80s,
"kaaTe nahii.n kaTate ye din ye raat." Wish I could remember more about
the song.
-s