MD: Anil Biswas (minus) Ramsingh & Anil Biswas (with) Ramsingh
BCSP
so and the same topic dealt with him personally during a discussion
with him at Cuffe Parade in 1999.
The content matter in principal was:
=======================
Dada Sir: It is my personal study of your genre of composing music
commencing from your films of 1938/39 - Take away Ramsingh from Anil
Biswas & the latter's music gets DILUTED like 'chaalu chai' despite
the outlines of the tune being good-n-appealing.
Ramsingh, the saxaphone wizard was a wonderful arranger of orchestra.
Dada adds further he would compose the tune and the antaras and hand
them over to Ramsingh to do the rest of the job. Ramsingh never needed
to be told anything further - his ornamentation faculties were
peerless. Dada further adds: Ramsingh knew exactly where and at which
points of the song the sax pieces/interludes were needed alongwith
the duration + the intensity of the sax pieces !
Prior to 1937, Ani Biswas could have given music for any no.of films :
No Value - a big zero !
14/4
Chetan Vinchhi
>
> Prior to 1937, Ani Biswas could have given music for any no.of films :
> No Value - a big zero !
Your earlier thesis was that singer is zero. It is the MD who is the
creator of the song. Now it is the MD who is zero. It is the arranger/
conductor who creates the song. Next, it will be the saxophone (or
violin or sarangi or tabla) player who creates the music, making the
arranger a big zero. I can see where this is going. Finally, it will
be the peon who turns on the power switch (or maybe the security guard
who opens the studio doors) who is the ultimate creator. Without them,
I agree that everyone else is a big ZERO :)
C
BCSP
You have misunderstood me, pls
=====================
This too as you have said above, was mentioned in my earlier letter to
AB, as well as discussed with him on that day.
" The MD is the supreme architect of any song that he composes or
carves the outlines like a master tailor. At this stage, the SINGER is
nowhere in the scenario, etc as mentioned earlier "
Thus, the success of the song FIRST goes to the MD...and after
that...others. One should not forget the Arranger / Asst MD of their
very important roles played ON PAR with the 'singing voice(s)' - The
musicians involved too have their share of success ! Isn't it!!
Ask me why?
Here is a vivid example:
The general procedure that was in practice during any film song
recording at HMV studio for the 78rpm record manufacturing...was -
after the rehearsals the FINAL TAKE follows with the MD sitting beside
the sound recordist in his cabin with both of them viewing the ongoing
live recording in progress through the transparent glass window.
During the session of recording in progress, the MD is monitoring the
proceedings through his EYES as well as EARS simultaneaously. He is
fully empowered to cry 'CUT' at any instant of the live session...if
he feels something or anything not upto HIS EXPECTATIONS either from
the musician(s) or the singer.
If all i/was found OK, the MD concerned has to APPROVE THE FINAL TAKE
as OK and sign accordingly infront of the Recording Manager on the
necessary forms. The approved take is then dispatched to Dumdum for
onward process.
The example that I wanted to show is of a musician , a trumpet player
in a lovely tuned number: Panghat pey muraliya baaje....Suraiya from
ISHARA ('43) under MD: Khurshid Anwar. If you listen to 78rpm record
carefully, in the second antara piece, the trumpet player 'bungles' at
that nick moment and this can clearly be noticed. The fuinniest part
of the whole thing is: How did the MD approve the final take as OK???
14/4
suhas
A song is team work -Starts with lyricist and ends with listener. It
can be as strong as its weakest link.
BCSP
Lecture-baaji-wala kahan chhup gaya ?
------------------------------------------------------
Where is the BULL SHIT chap gone ?
14/4
Chetan Vinchhi
>
> > > Prior to 1937, Ani Biswas could have given music for any no.of films :
> > > No Value - a big zero !
>
I don't think so. I was merely applying the time-proven method of
mathematical induction which, I am sure, a veteran Xavierite can
appreciate :)
C
suhas
J agate ho.let sleeping dog lie.
Sanjeev Ramabhadran
Not sure why this is so difficult to understand, but "big picture"
tradeoff decisions have to be made. Even your omnipotent MDs do not
have the studio resources at their disposal indefinitely.
Sanjeev
dn.usenet
"BCSP" <sjhhhtm@ gmail.com> wrote :
>
> The MD is the supreme architect of any song that he composes or
carves the outlines like a master tailor. At this stage, the SINGER is
nowhere in the scenario, etc as mentioned earlier
You make extremely trivial statements and think that you are relating
profound insights. Worse still, your statements tend to be silly in the
extreme. The singer is quite often in the scenario because an MD often
composes a tune depending on who is available to sing it. This was thousand
times truer when only actors sang their own song. It was also truer during
the era you focus on, when studio X generally was tied only with a few
male/female singers. For instance, heroines tended to get more difficult
songs in films in 1950s because of Lata. None of the male singers were
particularly adept at singing classical-based songs. In the next decade,
Jitendra Abhisheki composed his more difficult natya-geets or bhav-geets for
male singers because he had good male voices available at his disposal: JA
himself, Vasantrao Deshpande, Ramdas Kamat. Female songs were less difficult
because nobody comparable to Abhisheki or Vasantrao was part of the
natyasangeet scenario in 1960s.
You have no clue when Ram Singh joined Anil Biswas' camp, how saxophone does
not play all that important role in AB's music, choose to overlook that AB
could call upon the greatest flute-player of the last century and yet his
songs are less flute-centric than Hridaynath Mangeshkar's who has made
better use of flute than any other MD, have no real idea what Ram Singh did
for AB, but touting Ram Singh's prowess, you think, will make you look
smart. It makes you look like a fool.
BCSP should start its study from ABC. Pick up the oldest available
(Ayodhecha Raja) soundtrack and check how simple the female songs by Durga
Khote are, and how difficult the male songs sung by Govindrao Tembe himself.
- dn
BCSP
Nani, you are a KID still....repeat a KID still. You are only crazy of
Lata, Anil Biswas & Naushad and Marathi MDs . You haven't any inkling
of the rest of world of MDs.
How the hell can you know except on paper print. Cine MUSIC has tio be
listened to or heard thro the ears-n-mind . You have no source at all
except Dalwadi's trash and YOU TUBE.
You have been unable to to answer my querry about Naushad of the
KOHINOOR song ?
=======================================================
Why?
A Naushad diehard is supposed to know everything about Naushad's
profile -
About Anil Biswas I had posted 2 songs : Without Ramsingh & With
Ramsingh.
What did you infer from that?
===================
Unless you answer my questions to the point your posts stand IGNORED
as of now - since the the arguements are not BALANCED i.e. you evade
my replying my questions.
Did you see the COLOSSAL BLUNDER Hamraz has done in GK-II for the
film: GAON/'47 !!
=======================================================
15/4