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| Manohari Singh
Photo source: YouTube
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Then, I went back and re-read his articles, wondering how to use them best. I first thought I could add this interview under my article as a sort of complement to it. Then, I thought perhaps I should write a post about Manohari Singh first, and then put up this interview as the second part; again, that would have made Ashwin's article just an add-on to mine. While I still intend to write a comprehensive article on Manohari Singh to add to my The Masters category, I decided to let Ashwin's article stand as its own exclusive post.
Without much further ado, let me present guest writer Ashwin Panemangalore to my readers.
Ashwin is an electrical engineer by profession, and after a long stint as a Business Unit Head at L&T, he headed a group of companies in software and instrumentation before retiring in 2008. Since then, he has been indulging his passion for jazz. He has written reviews of several jazz concerts in India and is the proud possessor of several jazz anthologies. Fascinated by the use of jazz, Indian classical and Western classical techniques in old Hindi film music, he embarked on a quest to interview musicians who had participated in its creation to find out how they had gone about it.
Many of them had unfortunately passed away, but those he met revealed a wealth of information which he transcribed into articles for the print media. The music of that era is one of our richest cultural legacies in the performing arts and Ashwin strongly believes that its creators have never been given their just due. This article, as the others, is a bid to shine some of that spotlight on these under-appreciated musicians.
Ashwin is an electrical engineer by profession, and after a long stint as a Business Unit Head at L&T, he headed a group of companies in software and instrumentation before retiring in 2008. Since then, he has been indulging his passion for jazz. He has written reviews of several jazz concerts in India and is the proud possessor of several jazz anthologies. Fascinated by the use of jazz, Indian classical and Western classical techniques in old Hindi film music, he embarked on a quest to interview musicians who had participated in its creation to find out how they had gone about it.
Many of them had unfortunately passed away, but those he met revealed a wealth of information which he transcribed into articles for the print media. The music of that era is one of our richest cultural legacies in the performing arts and Ashwin strongly believes that its creators have never been given their just due. This article, as the others, is a bid to shine some of that spotlight on these under-appreciated musicians.
Over to Ashwin.
Manohari Singh, the versatile reedman and arranger was the sheet anchor behind the creative RD Burman. He had a strong sense of harmonic structure and scripted written scores for a variety of instruments. Playing alto and soprano saxophones, clarinet and flute, he arranged almost everyone of RD’s tunes on all of the films that they worked together and soloed on most of them. Here, he talks about his life and experiences, his colleagues and what it was like in the halcyon days of the Hindi film music world.
Manohari Singh, the versatile reedman and arranger was the sheet anchor behind the creative RD Burman. He had a strong sense of harmonic structure and scripted written scores for a variety of instruments. Playing alto and soprano saxophones, clarinet and flute, he arranged almost everyone of RD’s tunes on all of the films that they worked together and soloed on most of them. Here, he talks about his life and experiences, his colleagues and what it was like in the halcyon days of the Hindi film music world.
How did your musical journey begin?
I come from a family of musicians originally from Khatmandu.
At age 7, I picked up the flute. My father played in an orchestra for a British
audience. I grew up in Batanagar near Calcutta, where many Czech musicians lived and worked in the shoe factory. I first learnt to play the clarinet under Czech clarinet player Joe Newman. Discipline was arduous and as a result, we reached a high level of performance at a young age. I played in my first
concert when I was fourteen.
Later, I moved to Calcutta and played for the New Theatre where Pankaj Mallick was a prominent figure. So were Kamal Das Gupta and Hemant Kumar. The night club scene was active at the time and we played in dance music bands there. Louis Banks uncle was one of the musicians. I was exposed to all kinds of music forms from Western classical to pop and dance music to Bengali geet.
Later, I moved to Calcutta and played for the New Theatre where Pankaj Mallick was a prominent figure. So were Kamal Das Gupta and Hemant Kumar. The night club scene was active at the time and we played in dance music bands there. Louis Banks uncle was one of the musicians. I was exposed to all kinds of music forms from Western classical to pop and dance music to Bengali geet.
Who brought you to Mumbai and how did you get your first break?
Salil Chowdhury persuaded me to come to Bombay in 1958;
my colleague Basu had come earlier. For a long time, I didn't have much work.
Anil Biswas was no longer in demand and
I tried with others with little success. SD Burman finally gave me my break
with Sitaron se Aagey. Later, I worked with OP Nayyar and Salil Chowdhury as well as the others.
Which are the most memorable movies for which you played and arranged music?
It is difficult to single some out but what comes to mind is Insan Jaag Utha, Chotte Nawab, Bhoot Bungla, and [1942 A] Love Story. I remember [1942 A] Love Story very sadly. RD had passed away and Basuda and I completed the score and the music in a sorrowful frame of mind. The music of Guide and Tere Mere Sapne had the most impact on me; I also remember doing the background music for The Burning Train, and Jewel Thief, as also Bandini.
Which are the most memorable movies for which you played and arranged music?
It is difficult to single some out but what comes to mind is Insan Jaag Utha, Chotte Nawab, Bhoot Bungla, and [1942 A] Love Story. I remember [1942 A] Love Story very sadly. RD had passed away and Basuda and I completed the score and the music in a sorrowful frame of mind. The music of Guide and Tere Mere Sapne had the most impact on me; I also remember doing the background music for The Burning Train, and Jewel Thief, as also Bandini.
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| Manohari Singh with Mohammed Rafi, Sumant Raj, and Hariprasad Chaurasia |
It was a collaborative effort at all times. I was helped by my colleagues Basu and Maruti Rao. The musicians were all thoroughly professional and we all worked together; it was a family. I have many friends who played the same instruments as I did, and we all had a lot of fun together.
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| Manohari Singh with Joe Gomes |
We had between 60-80
musicians in the orchestra. Most of the musicians
came from well trained, solid backgrounds. As arrangers, we wrote the score for each musician. We used about 30 violins and violas, 6 cellos, 16
brass instruments (trumpets, trombones), reed instruments like flutes and
clarinet, guitars, mandolins (you know, Laxmikant was a great
mandolin player!), and about 15 rhythm
instruments like dholaks, drums, tympanis, and bongos. We had to manage all of them and ensure a perfect finish. But the musicians were all highly disciplined and played
perfectly and it was a very satisfying experience.
In all, there were only about eight microphones. Nowadays, you have one for each instrument and all kinds of special effects. Sound engineers like Kaushik, Minoo Katrak, Robin, BN Sharma, etc., were veterans and captured those sounds on the equipment of that time.
How was it like to work with RD Burman?
RD was very keen on a rich big band sound. We went to America and visited Detroit and heard the band of Stan Kenton live. It was wonderful!
Are there other arrangers whom you would like
to mention?
In all, there were only about eight microphones. Nowadays, you have one for each instrument and all kinds of special effects. Sound engineers like Kaushik, Minoo Katrak, Robin, BN Sharma, etc., were veterans and captured those sounds on the equipment of that time.
How was it like to work with RD Burman?
RD was very keen on a rich big band sound. We went to America and visited Detroit and heard the band of Stan Kenton live. It was wonderful!
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| RD Burman's Orchestra |
Sebastian [D'Souza] was great. He used 40 violins and did some
wonderful, memorable work. Pyarelal too was a genius.
You are an accomplished jazz musician. Who were your greatest influences?
I was influenced first by Artie Shaw on the clarinet, and
then by Benny Goodman. On alto sax, my idol was Johnny Hodges, and it was a great
experience playing Glenn Miller's Moonlight Serenade in the midnight darkness in the old days in
Calcutta.
Any fellow musicians you would like to mention?
There were so many great ones - Narvekar and Karnad (violins), George Fernandes (trumpet), the Lord
brothers, Kersi, and Buggie (drums); Father Cawas Lord even
played bagpipes. Anibal (Crasto) was excellent on guitar as well as trombone.
How should the honours for creating a song be shared?
Fifty per cent should go to the arranger and the musicians, and the
other fifty percent to the director, singer and lyric writer. It is everyone’s
effort.
Finally, do you think the golden era of Hindi film songs can return? With the kind of music heard nowadays, will the wheel turn full circle?
No chance! That era will never come back. How many people
will you find learning the violin or the clarinet, and who has the patience ? The
culture has changed and so have the times.
Here are some classic examples of the orchestration
and arrangements by Manohari Singh. He is backed by some great musicians like
the Lord family, Homi Mullan, Maruti Rao, Sumant Raj, Acharya, Dilip Naik, Bhanu
Gupta, Basu Chakraborty, George Fernandes, the Monserate brothers, Leslie
Godinho, and so many others.
1. Mere Sapnon ki Rani from Aradhana
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One of Manohari’s earlier works which was
handled by RD Burman for his father. A violin (strings) section intro preludes
the lovely harmonica sound, and is ideal for the scene. Flutes (Sumant Raj and Manohari) and strings make for an appropriate setting with powerful vamps on the accordion by Kersi Lord. The rhythm instruments of congas, bongos, scratcher and
so on are Homi Mullan’s domain, ably supported by Buggie Lord. A super
arrangement using a variety of solo instruments to provide an all-round setting.
2. Aane wala pal from Golmaal
An interesting arrangement. Lovely trumpet intro by
George Fernandes. The orchestral
strings (violins, viola) sections fill the passages broken by guitar ( Dilip Naik) and trumpet (George Fernandes) solos.2. Aane wala pal from Golmaal
3. Meri nazar hai tujhpe from The Burning Train
CoC Disclaimer: The interview was originally published in its entirety in the publication dna. It is being reproduced here with the explicit permission of the author, Ashwin Panemangalore.
A powerful brass ensemble section with
trombones and trumpets played by the Monserate brothers, alternating with string vamps and rhythmic explosions of
congas, bongos (Homi Mullan) and tabla (Maruti Rao). The sitar by Acharya takes over for an interlude, culminating in a
delicate Spanish guitar solo by Bhanu Gupta. Once again, a lonely trumpet solo by
George Fernandes, before the singer comes on and the rhythm flows. An amazing
arrangement combining the best of western big band brass, strings and
Indian melodic and rhythmic instruments.
4. Dekho maine dekha hai from Love Story
4. Dekho maine dekha hai from Love Story
Another example of a superlative
arrangement by Manohari. One needs to listen to this track several times from
start to 0.20 to decipher which instrument comes in and out in quick succession. Kersi Lord is known to play a
variety of them. Dilip Naik’s guitar and Kersi's accordion are followed by strings and
the jal tarang with a clavioline for the oriental been-like effect, which continue
with fills throughout the track. Kersi's ingenuity on these instruments makes for wonderful repeat listening.
The score is so tight throughout. Full
credit to Manohari and Basu Chakraborty for the score.
5. Roop Tera Mastana from Aradhana
A dramatic string entry, followed by Kersi on the accordion with a powerful intro, followed by the vibraphone by Buggie, and George soloing on the trumpet. Manohari comes in with a delectable alto sax solo after the thunder clap. Enjoy the super sound of each of these instruments with an excellent easy paced rhythmic backing.
A dramatic string entry, followed by Kersi on the accordion with a powerful intro, followed by the vibraphone by Buggie, and George soloing on the trumpet. Manohari comes in with a delectable alto sax solo after the thunder clap. Enjoy the super sound of each of these instruments with an excellent easy paced rhythmic backing.
©Ashwin Panemangalore for Conversations Over Chai
Photos are the property of the late Manohari Singh and his family.
Photos are the property of the late Manohari Singh and his family.
CoC Disclaimer: The interview was originally published in its entirety in the publication dna. It is being reproduced here with the explicit permission of the author, Ashwin Panemangalore.
