Madan Mohan Tribute By Hemant Parikh must Read 20th July
par...@ibm.net
Madan Mohan Kohli
was only 51 when he passed away, having created a trove of Lata tunes for
us to treasure. And Madan Mohan was something more than the ghazal. He
brought, to a litany of Lata tunes, a classical touch of his own. Some of
these tunes are capsuled here in this anniversary tribute by Raju
Bharatan.(Screen July 15,1994) Madan Mohan died in the year 1974, when
Laila Majnu half complete was left to finish by Jaidev. Comipled by
Hemant Parikh
Come July 14,1994 and we enter our 20th year
without Madan Mohan, With Lata Mangeshkar. With Woh chup rahen to mere
dil ke daag jalte hain. "Madan bahut hi surile the", Lata is on ‘I
Remember’ record as saying. "Achcha sur lagata tha!" C. Ramchandra’s
verdict on Madan Mohan clinches Lata’s comment. Lata is on further
record as saying she was coming to grips with the murkis in that
surpassingly lovely "Mera Saaya" number, Nainon mein badra chhaye to go
on Sadhana, when Madan Mohan heard certain musicians going off key and
lost his cool. "Besuraa bajate ho, sur ke saath beimaani karte ho, sharam
nahin aati!" he shouted at those errant musicians. This was in tune with
what recordist Mangesh Desai had once told me : "There is no composer
more difficult to please at a recording than Madan Mohan. He takes the
life out of you".
He took the life out of them because he staked
his reputation on a composition like Naino mein badra chaaye. The
unalloyed sweetness Madan achived here in Lata’s voice is something rare
in his repertory. Sweetness in Lata’s voice, Madan knew, was something
easily achieved. That sweetness would owe its entire entity to Lata’s
unique singing persona. But it was never enough that there was enoughly
of only Lata in a Madan tune. There had also to be enough of Madan! That
is way you did not always find Madan Mohan settling for you Lata’s
sweetness alone. The tune had additionally to have something that Lata
could unfold under the bountiful baton of Madan Mohan and Madan Mohan
alone. Like what was unfolded on "Jahanara" Mala Sinhaas Woh chup rahen
to mere dil ke daag jalte hain.
‘Ghazal Ka Shehzadaa’ is what Lata called Madan
To writer on Madan Mohan’s ghazals, there fore, would be the done thing.
C Ramchandra had a baton point when I identified Madan Mohan as the
uncrowned king of the ghazal. C. Ramchandra said: "What do you mean Madan
was only good at composing ghazals? Madan was good at every single thing
he composed. It’s a popular misconception that he was only good at
ghazals. He was once my assistant, so I had a total insight into his
potential. Madan’s light com-positions have the same individualistic
quality as his serious songs. What’s more, I don't think any one of us
had his knack of picking the right instruments for the right song".
C. Ramchandra himself was a taskmaster in the
choice of the right instrument, so that this was no ordinary tribute. I
therefore take C. Ramchadra at hisword-
that Madan was good at every thing he composed and turn the focus on his
peerless classicism while tuning a variety of songs. Take Nainon mein
badra chhaye itself. It could be in Dhaani or in Bhimpalasi, depending
upon how you choose to interpret it while it could be in either raag, the
beauty of Madan classical composition lay in the fact that he never
seemed obsessed with the raag. The raag just flowed from his tune.
Naino mein badra chaye is a Classic which with
the film "Mera Saaya" was a classic for Sadhana-Sunil Dutt starter. The
filming in Udeypur’s lake palace had the classical Rajasthani feeling,
and the melody of nature feeling and lyric of the emotional feeling Sunil
suffered after losing Sadhana. Only Madan’s great understanding of
situation had helped him to come up with "Mera Saaya" tunes.
Naushad wore his Bhaiavi as a badge when he
composed some thing like Do hanson ka joda bichchad gayo re to go on
Vy-jayanthimala in "Ganga Jamuna". Madan Mohan, by contrast, had the gift
of being able to make the raag sound secondary as he came over, in the
same Bhairavi, on "Anpadh" Mala Sinha as: Hai isi mein pyaar ki aabroo.
This Lataised Bhairavi was something Naushad personally identified on TV
as a dimension of the raag’s exploitation he envied.
Shankar summed up Madan Mohan’s specialist talent
in this direction tellingly when he noted: "Jis mosiqaar ko sur ka gyaan
hota hai woh sur mein bajaa hi leta hai". That is why it is point less to
wonder whether Madan Mohan intendended Nainon mein bad-ra chaaye to go
in Bhimpalasi or in Dhaani. Madan always played in sur and the tune came
to him in a flash. Lata was there to do the rest. After that, he left it
to you to decide whether the raag was Bhimpalasi or Dhaani.
If it is a Madan Bhairavi to match Hai isi mein
pyaar ki aabroo you want, you have it, from the same Lata, In "Dekh
Kabira Roya", as Tu pyaar kare ya thukraaye. The remarkable thing about
Lata’s rendition here is you never find Madan Mohan striving for the
Bhairavi effect, it just comes naturally. Here is where Madan Mohan was
totally different from the Punjab school of composers dominating our film
music in the late l94O’s and early 195O’s. Even O.P. Nayyar, for all his
sheen of modernity, Came with an overlay of Pilu. But not once could you
scent the dehati Punjabi at work in a Madan Mohan composition.
I do not say this in a derogatory light. It is my
considered view that the Punjab school produced some of the finest music
in our films. But always you got the impression that it was music
literally rooted in the Punjab soil. Here is where Madan Mohan was
di-ametrically different. He was the artistic aristocrat at work. The son
of Rai Bahadur Chuni Lal, the Filmistan chief, at work. Madan Mohan’s
best music belonged to the drawing room, That is why Madan had problems
consistently equating with the masses. He was essentially a composer for
the classes.
His classicism sprang spon-taneously from the
station in life to which he belonged. He was one of those men who had to
make a thorough study of whatever he took up. I did not meet Madan Mohan
merely in the music room. I encountered him ever so often , at a cricket
match, a badminton match, a tennis match. And I was not allowed to
discuss music when we met at such venues. All discus-sion had mandatorily
to be on the game in progress! Madan could discuss the finer points of
cricket. tennis and badminton with the same precision as the finer points
of Lata’s vocals in Hum pyaar mein jalne waalon ko ("Jailor"). Madan
Mohan had a finely honed mind. And that not only on music. He was a man
of taste in every sense of the word.
That is why no female singer existed for him
beyond Lata "the nearest thing to vocal perfection I have known". It is
this vocal perfection you find in play as you hear, in peerless Pilu,
Lata’s Maine raang li aaj chunariya, going on Nutan in "Dulhan Ek Raat
Ki". Without straining in any way, Madan here manages to get his Pilu
across. Madan had this knack of putting the raag across in a vocal
language that even the simpleton could follow. While tuning for the
simpleton, Madan re-tained the purity of the raag more than did most
composers.
Even when employing a raag rarely used in films,
Madan could do so with telling results - as we saw in the way he
exploited, in Lata’s voice, Komal Asavari in the "Anpadh" solo: Woh dekho
jala ghar kisi ka. The better - known Madan classic in Lata’s voice from
"Anpadh" is, of course, the Yaman solo on Mala Sinha: Jiya le gayo ji
mora sanwariya. But is this Lata solo by Madan not a clever repeat? Was
the original by Lata not even more captivating? Oh yes, it was, its
Jaltarang effect in Yaman can never be forgotten as it came over in a
"Bahana" strain of Jaa re badra bairi jaa rejaa re.
To one man, and one man alone, goes the credit
for popularising Jaa re badra bairi jaa re jaa re some three years before
the film came. That man is Gopal Sharma. Gopa1 Sharma at Radio Ceylon,
fascinated by the Madan tune, missed no opportunity to play this
euphonious Lata solo in Yaman. As the man who initiated the ‘Sargam’
programme over Radio Ceylon, I asked Gopal Sharma, years later, whether
he knew Jaa re bairi ja re to be in Yaman Gopal Sharma, with commendable
frankness , admitted that he knew no Yaman or any raag, for that matter,
he just loved the tune, so he played it! Thank you from a legion of
listeners, Gopal Sharma, your legendary Radio Ceylon reputation derives
from the fact that, to the end, you remained first a listener, only then
an announcer.
Truth is, I knew nothing about raags either those
days! Like in the case of Gopal Sharma, Tu jahaan jahaan chalega mera
saaya saath hoga appealed to me merely as the theme song of "Mera Saaya"
ghosted by Lata. It is only now I can pick it out as Nand. Here is yet
another raag rarely heard in films, yet note how arrestingly Madan Mohan
has explored Nand on a now a Sadhna looking a dream. now shattering the
dream!
On which raag was based the Madan Mohan tune
handpicked by Lata as one of her ten bests on the occasion of her
silver jubilee? My reference is to the Lata solo placed on Anita Guha in
"Chacha Zindabad": Bairan neend na aaye rnohe bairan neend na aaye. This
one is in Kaafi, isn’t it, Lataji what made you prefer it to, say, that
"Dekh Kabira Roya" stunner in Ahir Bhairav. Meri veena tum bin roye. Is
it Lata’s tone or Madan’s tune you pick out here! I take it there must
have been purely personal reasons for Lata’s Kaafi choice of Bairan neend
na aaye mohe less, it is not that I love Meri veena tum bin roye more!
If after Kaafi and Ahir Bhairav, it is in Khamaj
you seek to savour Lata and Madan, you are welcome to take your choice
from Meri aankhon se koyi neend liye jaata hai ("Pooja Ke Phool"), Khanak
gayo haay bairi kangana ("Rishte Naate") and Aap ki baaten kahen ya apna
afsaana kahen ("Dil Ki Raahen"). The choice here is from Lata, Lata, Lata
and Madan, Madan, Madan! My own pick is Meri aankhon se koyi on Mala
Sinha, as bringing out the mood musician in Madan Mohan.
Every composer had a favourite raag, Madan had
none. Look at the flair and imagination with which he scored for a theme
in mime like Chetan Anand’s "Heer Ranjha". Sachin Dev Burman paid Madan
Mohan the ultimate tribute when he told me he himself could not have
scored "Heer Ranjha" with half the felicity Madan Mohan did. Which tune
in the film, I asked Dada Burman, had he liked best, revealingly Dada
Burman replied that you could judge "Heer Ranjha" only in the totality of
its score, not by a single tune. Not even by Do dil toote do dil haare,
so touchnigly interpreted in Maand by Lata on Priya Rajvansh?
Do dil toote is distinctly Maand, but Lata’s
"Jahanara" heart stoper, Haal-e-dil yun unhen sunaya gaya aankh hi ko
zabaan banaya gaya, is in Sur Malhar or inMian Ki Malhar? Once again,
depends upon how you choose to hear it. It is this perfection to hear,
this sensitivity to discern, that you needed to develop to attune to the
subtleties and nuances of Madan Mohan’s Lata tuning. It has taken me the
best part of 35 years to try and develop this perception, this
sensitivity.
But, even now, I am still learning from the
repertoire of Lata and Madan. Even now I can only tell that Unko yeh
shikayat hai from "Adalat" is in Maalgunji, Baiyyan na dharo from
"Dastak" is in Charukeshi, I have not yet developed the perception and
the sensitivity to prefer the one definitively over the other.
And I hope I never develop such sensitivity and
perception. For I feel I was much happier when I could insinctually
appreciate a Lata Madan composition for what it was - a Lata Madan
composi-tion. How I crave for a re-gifting to me of the elfin innocence
with which I took in, during my impressionable youth, such Lata-Madan
gems as Dukhiyare naina dhoondhe piya ko ("Nirmohi"), Sitaron se
poochchon nazaron se poochchon ("Dhoon"), Chaand madham hai aasmaan chup
hai ("Railway Platform"), Mukh mod na lena saajana ("Ashiana"), Meri
aankhon ki neend le gaya ("Madhosh"). Woh jo milte the kabhi ("Akeli Mat
Jaiyo"), Tum ho saath raat bhi haseen hai ("Mohar"), Preetam meri duniya
mein ("Ads"), Maane na maane na haaye balam pardesiya ("Jagir"), Nainon
mein pyaar dole dil ka qaraar dole ("Sheroo"), Ajab hai yeh duniya ajab
zindagi hai ("Naya Aadmi"), Chal diya mera dil tod ke ("Fifty Fifty"),
Sapne mein sajan se do baaten ("Gateway of India") and Chain nahin aaye
("Samundar").
Madan Mohan was still a struggling composer when
he created these tunes. And it is when you are struggling that you really
create. Later, at least in the l970’s, I felt Madan Mohan became rather
stylised. In other words , he was, I felt, composing to live up to his
reputation as the ‘Ghazal King’. I feel this cramped his style in the
matter of being a freewheeler composer - a must for films.
But this is a matter of opinion. What is not a
matter of opinion is that Madan Mohan, from early in life, was a ‘Baghi’
with a compos-ing cause. A ‘Baghi’ whose Lata oeuvre abides in our minds
and hearts as Hamare baad ab mehfil mein afsaane baiyan honge/ Bahaaren
hum ko dhoondhengi magger hum tum judder hongi....
This article is based on Lata Manatees, so
offcourse it was Lata’s shade and it is in this shade Madan became
really popualr. But the fact is that what ever Madan Mohan composed was
Univerasal, some singers which are Big Names did even sing thier best
songs under Madan Mohan. Here I must say that one has to turn to, HMV
Music Cassettes and their Treasures. I mean Anmol Ratan and Golden
Collection Cassettes.
These tapes have been compiled by Sanjeev Kohli,
son of Madan Mohan and Senior Marketing Consultant of HMV. Sanjeev has
put together some of the best songs of each singers, music directors and
not to miss Lata Mangeshkar’s Shradhanjli. In this day and age of 1994
with big competition from other cassette companies HMV has challenged
with the grate Old Is Gold treasures of Hindi Film Songs and with it the
Memory, History and Love for Indian Music.
Mohammad Rafi Sings for Madan Mohan, Anmol Ratan
Aakhri geet mohabbat ka, Film: Neel Aakash (1965)
Aap ke pehloo mein aakar ro diye, Film: Mera Saaya ( 1966)
Basti basti parbat parbat, Film: Railway Platform (1965)
Ek haseen shaam ko dil, Film: Dulhan Ek Raat Ki ( 1966 )
Ek kali muskarayee, Film: Ek Kali Muskarayee (1968)
Kisi ki yaad mein duniya ko, Film: Jahan Ara (1964)
Main nigahen tere chehre se, Film: Aap Ki Parchaiyan ( 1964)
Mein yeh sochkar, Film: Haqeeqat ( 1964 )
Mere pyaar mein, Film: Suhagan (1964)
Rang aur noor ki baarat, Film: Ghazal (1964)
Saawan ke mahine mein, Film : Sharaabi (1965)
Tere dar pe aaya hoon, Film: Laila Majnu ( 1976 )
Teri aankho ke siwa, Film : Chiraag (1969)
Tujhe kya sunaoon, Film: Aakhri Dao ( 1958)
Tum jo mil gaye ho, Film: Hanste Jakham (1973)
Tumhari zulfon ke saayen mein, Film : Naunihal(1967)
Yeh duniya yeh mehfil, Film: Heer Ranjha(1970)
Yehi hai tammana, Film: Aap Ki Parchaiyan ( 1964 )
Yoon rootho na haseena, Film : Neend Hamari Kwaab Tumhare ( 1960 )
All Time Greats Mohammed Rafi sings for Madan Mohan (Vol 1-2)
Among the finest songs of Mohammed Rafi are those
tuned by music director Madan Mohan. Besides rendering with felicity the
favourite "ghazal" oriented songs of the maestro, the singer has also
harnessed his melodious voice, trained in classical music and versatile
to sing with rare appeal the composer's melody rich numbers of various
types.
In a two cassette compilation HMV offered some
time ago a selection of Madan Mohan songs sung by Mohammed Rafi for
various films released in fifties six-ties and the seventies. The flow of
melody that characterise the composer’s offerings is evident in the very
first number the sad reflective Tujhe kya sunaoon main dilruba, tere
samne hai mera hal written by Majrooh Sultanpuri for "Aakhri Dao"(1958).
The next is a ballad like song on life Basti basti parbat parbat gata
jaye banjara written by Sahir Ludhianvi for "Railway Platform"(1955),
Sunil dutt’s debut making film (the song, however, was picturised on
co-artiste Manmohan Krishna). This is followed by a lilting, somewhat gay
number, the Rajendra Krishna - written Zameense hamen aasman par from
"Adalat" (l958) which Rafi sings with Asha Bhonsle and chorus. Then comes
the brisk-paced romantic song Yehi hai tamanna tere ghar ke samne meri
jan jaye written by Raja Mehdi Ali Khan for "Aap Ki Parchhaiyan" (1964).
This is followed by two moving Kaifi Azmi
-written numbers from the war film, "Haqeeqat" (1964). They are the
plaintive, "ghazal"-oriented Main yeh sochkar which is set in the
plaintive "raag Darbari Kanada" and the heart rending call to countrymen
by dying jawan Kar chale hum fida jano tan sathiyon, ab tumhare havale
watan sathiyon sung with great feeling by Rafi in an emotion- charged
voice. Because of some technical defect the song gets abruptly cut.
On the flipside, there are capti-vating "ghazal"
oriented romantic numbers like the Rajendra Krish-na - written (he has
one more number) and tenderly rendered Mujhe le chalo from "Sharabi"
(1965), the Sahir Ludhianvi written heart-warming number Rang aur noor ki
baraat kise pesh karoon from "Ghazal" (1964), Hasrat Jaipuri written (he
has twa more num-bers), the titillating Tu mere saamne hai, teri zhulfen
hai khuli from "Suhagan" (1964) and Raja Mehdi Ali Khan’s Aakhri geet
mohabbat ka sunalon to chaloon from "Neela Aakash" (1965).
The second cassette has some striking numbers,
which are a tribute to the creative genius of the composer as well as to
the singing versatility of the play-back star. A real gem among them is
the Majrooh Sultanpuri -written Tumse kahoon ek baat,
halke halke halke from "Dastak" (197O). It is part humming, part
whispering and part crooning, all of which has rendered with captivating
grace and grate feeling through voice-modulation. As for the composer, he
has given audio perspective to a tender, heart-warming romantic scene.
Then there are such numbers as Kaifi Azmi’s Meri awaz suno pyar ka raaj
suno with hauntiag tune and musical embellishment, and from "Naunihal"
(197O) the gay; joyous songs Ek haseen sham ko dil mera kho gaya written
by Raja Mehdi Ali Khan for "Dulhan Raat Ki" (1966) and Yun rootho na
haseena written by Rajendra Krishna for "Neend Hamari Khwab
Tumhare"(196O).
The Majrooh-written "ghazal" oriented number set in
swinging waltz, Teri ankhon ke siwa duniya mein rakha kya hai from
"Chirag"(1969), the Kaifi Azmi written song of intense love, conveyed
both by the composer through his score and by the singer through his
charged voice Tum jo mil gaye ho to yeh lagta hai ke jahan mil gaya is
from "Haste Zakhm" (1973) and the Sahir written "qawwali" type -number
Tere daar pe aaya hoon, kooch kar ke jawoonga, jholi bhar ke jaaonga ya
mar ke jawoonga from "Laila Majnu"(1976).
Geeta Dutt sings Aye dil mujhe bata de form "Bhai Bhai" only one hit
Geeta number.
Ten Classic Picks
1) ln an article this quizmaster ghosted for O.P. Nayyar in Film-fare,
that composer was insistent that it should be mentioned that he
‘borrowed’ Rafi-Manna Dey’s. Tu hai mera prem devta in "Kalpana" from
Madan Mohan’s Lata-Manna dey duet, Preetam daras dikhaao, in ‘Chacha
Zindaba’. In which raag are these two duets?
Lalit
2) A highly popular Asha-Rafi duet on Mala Sinha- Dharmendra in "Neela
Akash", as tuned by Madan Mohan, was Aap ko pyaar chhupane ki buri aadat
hai In which raag?
Des
3) Usha Mangeshkar went along with Manna Dey in Madan Mohan duet from
"Dil Ki Raahen" : Apne suron mein mere suron ko mila lo, Know the raag?
Maanj Khamaj
4) How visually over powering was the effect of the darbar scene in
which, in front of Mala Sinha, who is the picture of melancholy, Minu
Mumtaz and Aruna Irani put over that class Madan Mohan duet : Jab jab
tumhen bhulaya tum aur yaad aaye. Name the raag in Madan wrapped the
tune.
Gaara
5) No less creative was Madan Mohan in that fantasised duet filmed on
Mala Sinha and Bharat Bhooshan in the same "Jahanara"-: Baad muddat ke
yeh ghadi aayee aap aaye to zindagi aayee. Both Suman and Rafi are in
terrific voice here. In which raag.
Chhayant
6) One of the more diverting sequences in the Hrishikesh Mukherjee movie
starting Rajesh Khanna as "Bawarchi"- was the Manna Dey -Lakshmi Shankar-
-Nirmala Devi- Haridranath Chhatopadhyay humdinger: Bhor aahi gaya
andhiyaara. Identify the raag used by Madan Mohan here.
Alaya Bhilawal
7) And now on to the triumvirate of Dilip Kumar, Raj Kapoor and Dev
Anand. If it was in Jaunpuri that S.D. Burman composed . Jaayen to jaayen
kahaan for Dev Anand in "Taxi Driver", if it was to Bhairavi that Shaker
tuned Ai mere dil kahin aur chal for Dilip Kumar in "Daag", in which raag
did Madan Mohan. in "Ashiana", set Main paagal mera manva paagal for Raj
Kapoor?
Kedar
8) What a pity "Dekh Kabira Roya" was a sput flop.It had, in black and
white, a music score to match the one, in colour, by Madan Mohan in
"Jahanara". Man-na Dey’s Kaun aaya mere man ke dwaare on Anoop kumar in
"Dekh Kabira Roya" rates as a classic to this day. There was no end of
confusion about whether Madan Mohan had scored Kaun aaya in Bageshri or
in Rajeshri. This quizmaster took the point to Manna Dey himself. In
which of the two raags did Manna Dey identify Kaun aya to be ?
Rageshri
9) Manna Dey was also asked, in same breath, to figure out why his Bairan
ho gayi raina from the same "Dekh Kabira Roya" did not at all prove
popular compared to Kaun aaya. " If I knew the reason why", said Manna
Dey. "wouldn’t I have sung Bairan ho gayi, too in the style in which I
knew it would be popular!" In which raag had Madan Mohan cast Bairan ho
gayi raina for Manna dey?
Jaijaiwanti
10) We started with duets, so let us end with one. For a change, it was
Asha, not Lata, who excelled in this Madan Mohan duet with Rafi in
"Aakhri Daao" on Nutan and Shekhar: Humsafar saath apna chhod chale.
Excelled in which raag.
Gaara
Here some more addition 20 / 7 / 96 By Hemant Parikh.
*Madan Mohan 14th July, 1974 ( Born - 1923). He was 51, Born in Punjab,
His full Name was Madan Mohan Kohli.
His first 4 films as follows.
1950 - Aankhen - Samshad Begum & Madan Mohan sang * Hamse Na Dil Lagana
Musafir ( Lata Mangeshkar was supposed to sing this for him in this film.
Note whenver Lata did not sing for Madan Mohan or Opee Nayyar they went
to ask Samshad Begum)
1951 - Ada - Saawri soorat man bhaye
1952 - Aashiana - Mera karara leja
1953 - Baaghi - Hamare baad ab mehfil mein afsane baya honge, Baharen hum
ko dhundhegi, na jane hum kahan honge.
* Beghum Akhtar loved Madan Mohan’s Qadar Jane Na that she personally
rang him and listened to the song for 27 mins. In the same film there was
hit umber Geeta Dutt’s Aye dil Mujhe Bata de.
* It was said that his composition In Anapadh .. Apki nazron ne samjha
pyar ke kabil mujhe was composed by him in the lift. And Naushad had
commented that he would exchange the entire repotire of his songs for
this one Madan Mohan Tune.
* Naina barse rij him in Wo Kaun Thi was recorded by Madan Mohan Him
Self. When the picturisation was taking place Sadhana found it difficult
to sing this number. Lata had to dub the song later when the
picturisation was finished as she was sick ealier.
* His last film was Laila Majnu. The song Koi patthar se na maro was No.1
in Binaca Geetmala. Jaidev assisted him in this films. And Jaidev also
Completed Laila Majnu’s Music.
* His films for Chetan Anand had hit music. Eg Haqeeqat, Heer Ranjha,
Hanste Zakhm & Hindustan Ki Kasam. NOTE THE LETTER "H" being common.
* And Common letter "A" films, Aankhen, Ada, Aap Ki Parchaiya, Adalat and
Anpadh.
* He was known as Ghazal - King. He had never won an Best Music Director
Filmfare Award. He assisted S.D.Burman in the film Do Bhai .
* Lata Mangeshkar and Mohammed Rafi remained his favourite singers. But
not to forget Asha Bhonsle, Samshad Beghum, Geeta Dutt, Kishore Kumar,
Talat Mahmood, Mukesh and Buhpinder sang Hit songs for him. I remeber
reading that Even Jagjit Singh liked his style.
* He had worked with famous Lyric writers like Raja Mehndi Ali Khan,
Majrooh
Sultanpuri, Rajendra Krishan, Kaifi Aazmi, Sahir Ludhianvi, Hasrat
Jaipuri and Gulzar.
* His son Sanjeev Kohli is the Senior Marketing Consultant of HMV in
India. He has compiled together popular albums like The Golden
Collection, Anmol Ratan and Rare Gems. We should be more than thankful to
this Father-Son music contibutors.
My Father wrote:
Madan Mohan ji ne aise anmol get hindi film jagat ke liye banaye the jo
maushiqui ki duniya ke kayam rahne tak aane wali nashal ko apne madhur
suron se bahlate rahenge. Wo hai Madan Mohan Ke Geet.
My Father and Mother were always fond of him. Since I was little I have
been hearing his music. I have one tape which we took to my mums village
in India, and heard it every day every hour for more than a week. Then I
did not realise that it was Madan Mohan’s music and Lata mangeshar is
singing and today My Passion and knowledge has ever so increased. I am
more than happy to shre these details with Music Lovers.
I have shared my information on Radio with New Zealand listeners. My
listeners I talk to much and I am not effective talker ( Born in Gujrat)
so I have decided to stop my Radio announcement and Go to India next year
and live there and learn more. I hope then I still share my information
with you people.
Soon I am posting Tribute details about Geeta Dutt, Mohammed Rafi and
many more. So keep reading and reply if you’d like. To Sammimudin sorry
if there is any copyright rules from Screen details. But I am very good
friend of Raju Bharatan ( I inteviewd him last year on this occasion) and
he knows lots more, lets hope he has a computer and shares his
information with the rest of the World.
Hamare baad ab mehfil mein afsane baya honge, Baharen hum ko dhundhegi,
na jane hum kahan honge.
From Hemant Parikh
par...@ibm.net
P.O.Box - 5956,
Wellesley St,
Auckland.
New Zealand.
Ph: 0064 9 629 3598
Mobile: 0064 21 629 359
Sanjeev Ramabhadran
Thank you so much for posting the wonderful article - I loved reading
it.
I have that Rafi-Madan Mohan comilation - it is wonderful, though the
song "Mujhe Le Chalo" is still my favorite!
One nitpick - Main Yeh Sochkar Uske Dar Se Utha THa is NOT in Darbari
Kanada (it very clearly uses shuddh nishad).
Please continue posting!!!
Sanjeev
Harish Suvarna
Parikh saab,
Thank you very much for your article. I hope the RMIM
database manager will put this in to the archives.
We are awaiting keenly for your next set of 'a' 'an' 'the'.
--
Harish Suvarna
su...@mti.sgi.com
Ravi Krishna
par...@ibm.net wrote:
: Madan Mohan Kohli
: was only 51 when he passed away, having created a trove of Lata tunes for
: us to treasure. And Madan Mohan was something more than the ghazal. He
Excellent article even though one gets an impression that it is more of a
tribute to Lata rather then Madan Mohan. Anyhow Lata and MM were a fantastic
combo and gave some of the best film music.
