Sonorous ACCORDION and LAXMIKANT-PYARELAL Symphonic Orchestra

Sonorous ACCORDION  and  LAXMIKANT-PYARELAL Symphonic Orchestra

ACCORDION, a box-shaped musical instrument driven by the  bellows is widely used in Hindi Film Music. It sounds sonorous when orchestrated for film songs. Many music directors have used ACCORDION in their songs. 

This sonorous musical instrument is played by various accordionists, the musician playing Accordion.  Many accordionists can be named.  Vistasp Balsara who started playing for Raj Kapoor’s ‘Awaara’ and continued in many of the hit songs composed by Shankar-Jaikishan. 

Accordionist Goody Seervai started with music director Naushad for ‘Dastaan’ 1951. Later Goody Seervai also played for Shankar-Jaikishan and O P Nayyar. 

Enoch Danial was one of the finest accordionists played for music director Hemant Kumar in ‘Bees Saal Baad’.

In the sixties and  seventies Kersi Lord also played the accordion for many songs. Kersi Lord was a multi-instrumentalist.  Interestingly music director Anil Biswas was also a good accordionist.

Through the songs of ‘Sangam’ 1963, ‘har dil jo pyar karega another specialist accordionist Sumit Mitra who claimed to have played the accordion for 13,000 songs, started with Shankar-Jaikishan. After the death of Jaikishan Sumit Mitra permanently shifted to Laxmikant-Pyarelal orchestra and played for the duo for many years. 

Laxmikant-Pyarelal & accordionist Sumit Mitra

Undoubtedly Shankar-Jaikishan has utilized the accordion to the maximum. More than 50 %, estimated, of the songs composed by Shankar-Jaikishan have been orchestrated with Accordion. Listing out a few hit songs orchestrated with Accordion by various music directors. 

Naushad

–Dil Dhadak Dhadak …M.Rafi-Suraiyya ‘Dastaan’ 1950

–Tara Ri Tara Ri ….    M.Rafi-Suraiyya ‘Dastaan’ 1950

Shankar-Jaikishan

–Awara Hoon  … Mukesh  ‘Awaara’ 1951

–Ek Bewafa Se  …Lata     ‘Awaara’   1951

–Sunte The Naam …Lata   ‘Aah’ 1953

–Pyar Hua Ekrar Hua ….Lata-Manna Dey   ‘Shree 420’

–Aaja Sanam Madhur ….Lata-Manna Dey  ‘Chori Chori’  1956

–Chhotisi Ye Duniya ….Kishore Kumar ‘Rangoli’ 1961

Datta Ram

–Mastibhara Hai Sama ….Lata-Manna Dey  ‘Parvarish’ 1958

O P Nayyar 

Babuji Dheere Chalana ….Geeta Dutt   ‘Aar Paar’  1954

Dekh Ke Teri Nazar ….Asha Bhosle    ‘Howrah Bridge’ 1958

Hemant Kumar

Bequrar Kar Ke  …Hemant Kumar ‘Bees Saal Baad’ 1962

S D Burman

Roop Tera Mastana …Kishore Kumar ‘Aradhana’  1969 

Kalyanji-Anandji

Chale The Saath Milkar  …Rafi  ‘Haseena Maan Jayegi’  1968

R D Burman

Ek Din Bik Jayega ...Mukesh ‘Dharam Karam’  1975

Ravi

Ye Parda Hata Do ….Asha-Rafi  ‘Ek Phool Do Mali’ 1969

Chitragupt 

Ye Parbaton Ke Dayare ….Lata-Rafi ‘Vaasana’ 1968

Rajesh Roshan

Na Bole Tum Na  …Asha Bhosle-Amit Kumar  ‘Baton Baton Mein’ 1979

There are many songs which are orchestrated with accordion, composed by Laxmikant-Pyarelal, right from the duo’s very first song from the first film ‘Parasmani’,1963.  

Parasmani’ and ‘Dosti’ also start the long lasting association of accordionists Sumit Mitra with the music directors Laxmikant-Pyarelal. 

Parasmani’, 1963. 

–hasta hua noorani chehra’.  Lata-Kamal Barot

–chori chori jo tumse mili  .‘   Lata – Mukesh

Dosti’ 1964, ‘

–gudiya hamse roothi rahogi’  Lata

koi jab raah na paye’.  Rafi

Following of the Laxmikant-Pyarelal compositions, on ACCORDION are not considered for the discussions, as these songs have been discussed in the other BLOGs and also in WEB.

Mere Hamdam Mere Dost 1968

–Na Ja Kahin Ab Na Jaa….Rafi

-Chalkaye Jaam ..Rafi

Inteqam 1969

–Kaise Rahoon Chup ….Lata 

Pyasi Shaam  1969

–Ye Kaisa Gham Sajna ….Lata

Humjoli   1970

Dhal Gaya Din Ho Gayi  …..Asha Bhosle – Mohammad Rafi

Shor   1972

–Jeevan Chalane Ka Naam …Mahendra, Manna Dey, Shyama C.

Bobby 1973

A sheer magic of Sumit Mitra with Laxmikant-Pyarelal.

–Main Shayar To Nahin …Shailendra Singh

–Pyar Mein Sauda Nahin ..Manna Dey – Shailendra Singh

–Chabi Kho Jaye … Lata-Shailendra  (The song is discussed in details, below)

–Background Music …Melodious glimpses of Accordion.

Badalte Rishte 1978  (I feel sorry for not considering this song)

Superbly played accordion by Sumit Mitra. 

–Na Jane Kaise Pal Mein …Mohammad Rafi – Kishore Kumar Suman Kalyanpur.

Apart from Sumit Mitra, Laxmikant-Pyarelal have also taken the services of accordionist Kersi Lord and Arun Paudwal for many songs. Famous accordionist Enoch Danial was used by Laxmikant-Pyarelal for composing the background music of the films. 

Let us review a few of the best songs composed by Laxmikant-Pyarelal on ACCORDION.       I have tried to brief, how beautifully the ACCORDION is executed in the song.  

It is worth mentioning that Laxmikant-Pyarelal did some experiments while orchestrating ACCORDION. ‘Bobby’ 1973 and ‘Ponga Pandit’ 1975.

(1)  ‘Bobbychabi kho jaye’ The ‘rhythm’, with IRANI SANTOOR, played by Pandit Shivkumar Sharma and ACCORDION played by accordionist  Sumit Mitra.  

(2) ‘Ponga Pandit’ tere milane se pehle. Prelude’, interludes and ‘postlude HARMONIUM played by Babu Singh and ACCORDION played by multi-instrumental Kersi Lord. 

Let us review as many as 16 songs. 

Hasta Hua Noorani Chehara  “PARASMANI” 1963

(Singers Lata Mangeshkar – Kamal Barot  Songwriter Farooq Quaisar)

Laxmikant-Pyarelal’s first song composed. The ”prelude” of 27 seconds with a massive orchestra sets the mood of the song. It is mellifluously decorated with rich orchestra arrangements, involving ACCORDION. The ACCORDION is awesomely orchestrated in ‘mukhada’ as filler. First ‘interlude’ starts with the ‘strokes’ of the  ACCORDION, played by Sumit Mitra.  ACCORDION is sweetly used in first interlude with FLUTE, VIOLINS, VIOLA etc with the fast “DHOLAK” rhythm.  ACCORDION is also used melodiously in ‘antara’ / stanzas, as a filler.  Enjoy as many as 7 strokes of the ACCORDION in the second ‘interlude’. Later it is very well synchronized with the VIOLINS, FLUTE and MANDOLIN. This song is an immortal one and is still popular. This is a TOP HIT song. 

Yeh Dard Bhara Afsana   “SHREENAN  FANTOOSH” 1965

(Singer Kishore Kumar  / Songwriter Anand Bakshi)

Laxmikant-Pyarelal was able to get the best output from Kersi Lord  when he played the ACCORDION for this beautiful song.

ये दर्द भरा अफसाना, सुनले अनजान ज़माना जमाना 

मैं हूँ एक पागल प्रेमी मेरा दर्द न कोई जाना                      

In the mid-sixties Kishore Kumar was passing through the lean period of his musical career. Laxmikant-Pyarelal composed some of the best songs for Kishore Kumar. This song is one of them. A beautiful GEM of a song from this combo. A song which shows Laxmikant-Pyarelal class and talent right in the beginning of their career. The entire song is woven around the glimpses of ACCORDION. ACOUSTIC GUITAR, symphony VIOLINS are beautifully orchestrated in ‘interlude’ ‘prelude’ and ‘postlude’. Western style, ROCK N ROLL, rhythm.

Mere Sune Jeevan Ka Aasra     “AASRA”   1966

(Singer Asha Bhosle / Songwriter Anand Bakshii)

ASHA BHONSLE & Laxmikant-Pyarelal at their melodious Best. “Prelude” of 28 seconds, full of SITAR, is mesmerizing. Entire song is woven around the glimpses of ACCORDION and VIOLINS in the “interludes”, with  DHOLAK rhythm. The words written by ANAND BAXI are very touching and meaningful expressing Mother’s Expectation from her Child. “AASRA” 1966. Filmed by Balraj Sahani and Nirupa Roy.

Kya Miliye Aise Logon Se        “IZZAT”   1968

(Singer Mohammad Rafi / Songwriter Sahir Ludhiyanvi)

This song is filmed on Dharmendra.  Once again the ACCORDION is awesomely used throughout the song. 8 seconds of ‘prelude’ starts with ACCORDION intermixing with VIOLINS. Brilliant take off by rafi saab, क्या मिलिए sss ऐसे लोगोसे।, singing ‘pause’ of 4 seconds, highlighting ACCORDION. Again Rafi saab  नकली चेहरा सामने आये असली सूरत छुपी रहे   singing ‘pause’ of 4 seconds, highlighting ACCORDION, playing the tune of the song. This is repeated many times throughout the song. First and third ‘interludes’ are awesomely orchestrated with ACCORDION ending synchronizing with VIOLINS. Again at the end of each antara / stanza the ACCORDION is used as ‘filler’. The best feast of ACCORDION from champion accordionist  Sumit Mitra.

Ek Banjara Gaye        “JEENE KI RAAH”  1969

(Singer Mohammad Rafi  / Songwriter Anand Bakshi)

Laxmikant-Pyarelal have composed this song with zero ‘prelude’ but a mind-boggling display of GUITAR (played by late Gorakh Sharma), ACOUSTIC GUITAR and ACCORDION, played by none other than accordionist  Sumit Mitra.  Interludes are awesomely instrumented with symphony style of VIOLINS synchronizing with ACCORDION. It has conventional DHOLAK rhythm. Filmed on Jeetendra – Tanuja. 

Dil Ki Baatein Dil Hi Jane   “ROOP TERA MASTANA” 1972

(Singer Kishore Kumar – Lata Mangeshkar  / Songwriter Asad Bhopali)

Proficient accordionist  Sumit Mitra played the ACCORDION for this lovely song.

The beauty of the song is excellently played ACCORDION in ‘mukhada’. Particularly  two awesomely generated, ear-pleasing ‘strokes’ of ACCORDION. These ‘strokes’ can be heard many times. Beautiful romantic song. 51  seconds of ‘prelude’ orchestrated with melodious tune by using GUITAR, VIOLINS, synchronised  with accordant BONGO DRUM. First ‘interlude’ is full of GUITAR, VIOLINS and very well executed  ACCORDION. Second interlude is full of VIOLINS and GUITARS.. This superhit duet is filmed on Jeetendra and Mumtaz. 

Chabi Kho Jaye             “BOBBY”   1973

(Singer Lata Mangeshkar – Shailendra Singh / Songwriter Anand Bakshi)

One of the best songs composed by Laxmikant-Pyarelal using Huge, Enriched and Melodious Orchestra arrangements. It has >>Three differently tuned “Antaras” + Three differently composed “Interludes”…MESMERISING ORCHESTRA arrangements. In this song the ACCORDION is played for the maximum time, it is the instrument which is tunefully played in every alternate line of ‘mukhada’, it is also played awesomely in the Toe Stepping RHYTHM Intermixing of IRANI SANTOOR”+ ACCORDION + BONGO Drums.  ACCORDION is also used to start the first ‘interlude. Beautifully orchestrated as a ‘feelar’, in every alternate line of the ‘antara’ and finally ACCORDION is played, jointly with SAXOPHONE, in ‘postlude’. Laxmikant -Pyarelal must have given tough time to accordionist Sumit Mitra.

Apart from ACCORDION, other instruments like IRANI SANTOOR, ACOUSTIC GUITAR, SAXOPHONE,, VIOLINS, MOUTHORGAN, FRENCH HORN and VIOLAS are wonderfully orchestrated in this song. The song is filmed on Rishi Kapoor and Dimple Kapadia.

Ye Jo Public Hai     “ROTI”  1974

(Singer Kishore Kumar  / Songwriter Anand Bakshi)

Catchy tune. ‘Prelude’ of 30 seconds with prominent use of ACCORDION. Both the interludes, In surround sounds and also as filler, in ‘mukhada’ as well as ‘antara’.  ACCORDION is mellifluously orchestrated. It is filmed on Rajesh Khanna. Once again it is Sumit Mitra in action on accordion. 

Aadmi Jo Kehta Ha      “MAJBOOR”    1974

(Singer Kishore Kumar  / Songwriter Anand Bakshi)

Laxmikant-Pyarelal have extracted some beautiful work on ACCORDION from Accordionist Sumit Mitra. Both the interludes with different tunes on ACCORDION. Synchronization of Kishore Kumar’s singing as well as the ‘strokes’ of ACCORDION, at the end of both the antaras. Don’t forget to listen to the superb display of ACCORDION in ’postlude’ of 33 seconds. Other features of the songs are:-

PRELUDE of 144 seconds. To decorate the song with the phenomenal “Long Prelude” was a normal practice for the Music Directors Laxmikant-Pyarelal. There are many songs, composed by the duo, with the long “prelude”. Today’s song has Mind-Boggling “Prelude” of 144 seconds. This prelude is mellifluously orchestrated in a SYMPHONY style with solo VIOLIN, CELLOs, FLUTE & VIOLINs. Brilliant take off by Kishore Kumar at 2.24. Apart from the long prelude in ‘symphony’ style, both the “interludes” are brilliantly composed, by using different tunes, with ACCORDION and VIOLINS. The song is filmed on Amitabh Bachchan.

Tere Milne Se Pehle     “PONGA PANDIT”  1975

(Singer Lata Mangeshkar  / Songwriter Rajendra Krishan)

An intoxicated melody, a sheer magic from Lata Mangeshkar and Laxmikant-Pyarelal. Beautifully orchestrated in western style. This song is special and unique in terms of orchestra arrangement. Both HARMONIUM as well as ACCORDION are used in the ‘prelude’ ‘interlude’ and ‘postlude’. HARMONIUM is played by Babu Singh, famous accordionist Kersi Lord has played the ACCORDION.  

‘Prelude’ of 36 seconds is marvelously orchestrated with SAXOPHONE, VIOLINS, GUITAR, ACCORDION and HARMONIUM. Almost the same instruments are played in both the ‘interludes’. ACCORDION and HARMONIUM “jugal bandi” in ‘postlude’. It is filmed on Ranadhir Kapoor – Neeta Mehta.

Anhoni Ko Honi Kar De      “AMAR AKBAR ANTHONY”  1977

(Singers  Kishore Kumar, Mahendra Kapoor, Shailendra Singh  Songwriter Anand Bakshi)

Very popular peppy song. Filmed on Amitabh Bachchan, Vinod Khanna and Rishi Kapoor. Enjoy ‘prelude’, mesmerizing display of ACCORDION for 44 seconds,wonderfully orchestrated. ACCORDION is melodiously displayed in the ‘interludes’,‘mukhda’ and ‘antara’ as surround sounds. Sheer magic of ACCORDION. Once again it is Laxmikant-Pyarelal’s symphonic work on ACCORDION from Accordionist Sumit Mitra. 

Aate Jaate Khoobsurat     “ANURODH”    1977

(Singer Kishore Kumar  / Songwriter Anand Bakshi)

Excellently rendered by Kishore Kumar. Beautiful, Melodious ‘rhythm’. First ‘interlude’ full of ACCORDION. Filmed on Rajesh Khanna. Accordionist Sumit Mitra. 

Premi Prem Karana Jane    “PARAVARISH” 1977

(Singer Mohammad Rafi, Kishore Kumar & Shailendra  / Songwriter Majrooh Sultanpuri)

This wonderful song is filmed on Amitabh Bachchan, Vinod Khanna and Shammi Kapoor. This song has very delicate use of ACCORDION, in ‘interludes’. Looks nice to see Shammi Kapoor playing ACCORDION. 

Sheesha Ho Ya Dil        “ASHA”   1980

(Singer Lata Mangeshkar  / Songwriter Anand Bakshi)

Filmed on Reena Roy. Typical Laxmikant-Pyarelal composition, a superhit song, completely woven around the glimpses of ACCORDION awesomely orchestrated on DHOLAK ‘rhythm’. 

This time the Accordionist is Arun Podwal.

Dillagi Ne Di Hawa     “DOSTANA” 1980

(Singers Asha Bhosle-Kishorekumar / Songwriter Anand Bakshi)

Once again it is versed Sumit Mitra on ACCORDION.  34 seconds of ‘prelude’ starts with ACOUSTIC GUITAR, VIOLINS and wonderfully orchestrated ACCORDION. Melodious DHOLAK rhythm. Awesome display of GUITAR and VIOLINS in the first interlude.Second ‘interlude’ is tunefully overlapping ACCORDION and symphony style VIOLINS. Awesome display of ACCORDION in ‘postlude’. It is filmed on Amitabh Bachchan – Zeenat Aman.  

John Johny Janardan    “NASEEB”   1981

(Singer Mohammad Rafi  / Songwriter Anand Bakshi)

Super Hit song filmed on AMITABH BACHCHAN. Orchestrated in BRASS instruments. BUT at the end of each antara ACCORDION ‘stroke’ synchronized with other BRASS is ear-pleasing. All the ‘interludes’ are composed wonderfully, in particular, third ‘interlude’ is worth watching/listening to,  Raj Kapoor playing ACCORDION. Once again it is Laxmikant-Pyarelal’s symphonic work on ACCORDION from Accordionist Sumit Mitra. 

Magnetizing display from Accordionist Sumit Mitra on ACCORDION for Laxmikant-Pyarelal composition. Just fabulous. Please watch and listen to. 

Ajay Poundarik, Atlanta (Georgia), USA. 11th October, 2020.

11th October, 2020

 

Published by

ajaypoundarik

I am a Mechanical Engineering Graduate. Boiler Proficiency Engineer. Deeply In Love With Hindi Film Music When I Was Eight Years Of Age, Since 1963. I Have A Liking For All Contemporary Music Directors Compositions. I Am A Fan Of Laxmikant-Pyarelal Music. I Have Grown-Up By Listening To Laxmikant-Pyarelal Music. I Like Test Cricket Only. Worked In The Capacity Of General Manager For The Fields Of Project Implementation, Facility Management, Construction Management and Plant Maintenance In INDIA, NIGERIA & AFGHANISTAN.

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