Mellifluous Use of FLUTE : Laxmikant-Pyarelal Canorous Orchestra

Mellifluous Use of  FLUTE :  Laxmikant-Pyarelal Canorous Orchestra 

Hindi Film Music orchestra is full of various musical instruments. FLUTE is the most commonly used in most of the songs. Any devotional song featured the FLUTE. But there are also several songs in which the Flute is used in various ways. 

Flute is a natural fit in some situations like Lord Krishna songs. Almost all the music directors have a liking for the Flute and broadly used it. Many music directors have also created some different types of sound by synchronising the Flute with other instruments. 

Flutists like Sumant Raj, Pannalal Ghosh, Nityanand Haldipur, Hariprasad Chaurasia, Raghunath Seth and many, have contributed heavily in bollywood music. 

There are two musical hit movies woven around the glimpses of Flute. Raja Nawathe’s  Basant Bahar 1956 music by Shankar-Jaikishan, Flute played by Pannalal Ghosh

The other musical hit was Subhash Ghai’s Hero, 1983, music by Laxmikant-Pyarelal. Flute played by Pandit Hariprasad Chaurasia who was a regular musician in Laxmikant-Pyarelal orchestra, in sixties and seventies. 

Highlighting  few of the songs on Flute, composed by various music directors.   

Naushad 

Tu Mera Chand Main Teri Chandani      “Dillagi”  1949

S D Burman

Jaye To Jaye Kahan          “Taxi Driver”  1954

Shankar-Jaikishan       

Main Piya Teri Tu Mane      “Basant Bahar”  1956

Roshan

Bahot Diya Denewalene    “Surat Aur Sirat”      1962

Salil Chudhari  

Jaa Re Jaa Re Uda Jaa Re    “Maya”    1961

Kalyanji-Anandji        

Jis Dil Mein Basa Tha            “Saheli”   1965

Ravi

Neele Gagan Ke Tale                 “Humraaz”  1967

R D Burman

Aaja Piya Tohe                             “Baharon Ke Sapne”  1967 

Jaidev 

Ye Din Aur Unki Nigahon Ke         “Prem Parbat”   1973

Shiv-Hari

Tere Mere Hothon Pe            “Chandni”   1989

Flute was extensively utilised by Laxmikant-Pyarelal in their conorous as well as enrich orchestra arrangements right from the duo’s first film Parasmani, 1963. Flutist Pandit Hariprasad Chaurasia, maximum contribution for Laxmikant-Pyarelal. Flutists Sumant Raj, Nityanand Haldipur, Raghunath Seth etc have also contributed to the Laxmikant-Pyarelal orchestra. 

It must be noted that Laxmikant-Pyarelal have composed close to 30 songs on Lord Krishna and all these songs are orchestrated with Flute.

Listing out a few hits, 10 songs, below and considered 14 songs for review. 

1 Mere Dil Mein Halki Si       Lata Mangeshkar    ‘Parasmani’  1963.

   Beautiful use of Flute in ‘mukhada’ as a filler.

2 Chahunga Main Tujhe     Mohammad Rafi     ‘Dosti’  1964.

   Jazz Flute / Bamboo Flute in prelude and interludes

3 Julmi Hamare Sanwariyan   Lata Mangeshkar  ‘Mr X In Bombay’  1964. 

   34 seconds prelude Flute

4 Jyot Se Jyot Jagate Chalo   Mukesh     ‘Sant Gyaneshwar’   1964

   Awesome use of Flute in prelude, interludes and as a filler. 

5 Bada Natkhat Hai Tero Nandlal      Lata     “Aasra”   1966

Second interlude Flute is mellifluously orchestrated. 

6 Ram Kare Aisa Ho Jaye   Mukesh     “Milan”    1967

Entire song is woven around the ear-pleasing glimpses of Flute 

as a ‘filler’ and also in all the interludes.

7 Tauba Ye Matwali Chaal     Mukesh     “Patthar Ke Sanam”  1967

Prelude and interludes are orchestrated with Flute.

8 Hi Hi Yeh Majboori     Lata        “Roti Kapda Aur Makan”   1974

Prelude and interludes.

9 Yashomati Maiyya Se   Lata-Manna Dey    “Satyam Shivam Sundaram” 1978

Prelude and interludes.

10 Tere Mere Beech Main     Lata – SPB          “Ek Duje Ke Liye”     1981

Flute is orchestrated in the first interlude.

Meri Dosti Mera Pyar          DOSTI  1964

(Majrooh Sultanpuri / Mohammad Rafil)

Honeyed and melodious, Rafi Saab is  singing from the heart. Prelude of 11 seconds is orchestrated with VIOLINS and MANDOLIN. The best part of the song is the use of FLUTE with DHOLAK, in the first interlude as well as third interlude.  Second interlude has ACCORDION, GUITAR and  MANDOLIN. FLUTE is also orchestrated as filler, in ‘mukhada’ . Simple but sweet orchestral arrangements with an awesome DHOLAK rhythm . The FLUTE is played by Pandit Hariprasad Chaurasia. 

Sakhi Ri Pee Ka Naam        SATI SAVITRI   1964

(Pandit Bharat Vyas / Lata Mangeshkar)

Extremely melodious tune and composition. Awesome Take off by Lata ji सखी री सखी री पी का नाम, नाम न पूछो.  Delicate use of FLUTE  in both the Interludes. That second interlude FLUTE mesmerizes. FLUTE is also used as a filler in ‘antara’.  DHOLAK is worth listening to. The FLUTE is played by Pandit Hariprasad Chaurasia.

Nind Kabhi Rehati Thi      AASRA   1966

(Anand Bakshi / Lata Mangeshkar)

This is an extremely melodious romantic song starts with the ‘humming’ by Lataji for first 10 seconds, we get first beautiful “pause” at 0.10 – 0.13, second, after rendering ‘ नींद कभी रहती थी आँखों मैं at 0.20 – 0.23, third after rendering word ’sanwariya’ at 0.33 – 0.36, this pause gives you to listen to the beautiful ‘RHYTHM’ created for this lovely song. You will listen to all these “pauses” regularly till the end. Don’t forget to listen to the ‘pause’ at 3.58 to 4.01 to highlight the FLUTE. The entire song, mainly interludes, are woven around the glimpses of FLUTE (by Pt. Hariprasad Chaurasiya) and SANTOOR (by Pt. Shivkumar Sharma) and SYMPHONY style VIOLINS (at the surround sound of Lataji, in ‘mukhada’ and ‘antara’). The rhythm of DHOLAK and TABLA is worth listening to as it is of different flavor. On the top of everything…the chemistry of Lataji & LP worked miracles. Filmed on Mala Sinha.

Suno Sajna Papeehe Ne                    AAYE DIN BAHAR KE   1966

(Anand Bakshi / Lata Mangeshkar)

The most liked Lata-LP song .TWEETING sounds of BIRDS have been effectively used by music directors Laxmikant-Pyarelal in many of the songs. This song has a wonderful prelude of 10 seconds, full of TWEETING sounds of BIRDS. The song is awesomely orchestrated with SANTOOR, (by Pt. Shivkumar Sharma ) FLUTE (by Pt. Hariprasad Chaurasiya ) and SITAR with mellifluous TABLA rhythm. Lata Mangeshkar is simply outstanding in rendering this gem, filmed on Asha Parekh – Dharmendra.

Jare Kare Badara       DHARTI KAHE PUKAR KE      1968

(Majrooh Sultanpuri / Lata Mangeshkar)

This is also an extremely melodious gem. Orchestra covers 75% use of FLUTE. 24 seconds of prelude is FLUTE synchronised with GHUNGROO BELLS and a ‘pause’. The song has a beautiful DHOLAK rhythm. First and second interludes are melodiously orchestrated FLUTE. Second interlude is BANJO sound and GHUNGROO BELLS overlapping sound effects. The song is an addict one just one reason, FLUTE. The FLUTE is played by Pandit Hariprasad Chaurasia. Postlude of 20 seconds is full of SITAR, played by Ustad Rais Khan. Filmed on actress Nanda. 

Mehfil Soyee Aisa Koi       INTAQUAM    1969

(Rajinder Kishan / Lata Mangeshkar)

An astonishing cabaret song, wonderfully orchestrated with BONGA DRUM and  ACOUSTIC GUITAR  rhythm. Mind Boggling  display of JAZZ FLUTE intermixed with ACOUSTIC GUITAR. BRASS instruments are amazingly orchestrated throughout the song. It is filmed on Helen. 

Sajna O Sajna        ABHINETRI       1970

(Majrooh Sultanpuri / Lata Mangeshkar)

Pandit Hariprasad Chaurasia and Pandit Shivkumar Sharma have played the FLUTE and SANTOOR, respectively, under music directors Laxmikant-Pyarelal. 

Starts with astounding display of SANTOOR followed by melodious DHOLAK rhythm, synchronized with ACOUSTIC GUITAR. Awe-Inspiring take off by Lataji सजना ssss ओ सजना   6 seconds singing ‘pause’…..’stroke’ of SANTOOR, at 0.29. It is repeated again. First interlude starts with FLUTE. SANTOOR is played in the interlude. Second interlude starts with SANTOOR and it ends with FLUTE. Third interlude starts with Symphony VIOLINS, SANTOOR takes over and now listens to the best part of the Orchestra of  the song, overlapping sound effects of Lataji’s HUMMING, SANTOOR and FLUTE. It;s ear-pleasing. Filmed on Shashi Kapoor – Hema Malini.

Aaya Re Khilonewala Khel Khilone        BACHAPAN  1970

(Anand Bakshi / Mohammad Rafi)

An extremely melodious song. 25 seconds of prelude is full of FLUTE, ( played by Pandit Hariprasad Chaurasia ), supported with VIOLINS and CELLOS. Astonishing take off by Rafi आया रे खिलौनेवाला खेल खिलोने लेके आया रे, synchronising tuneful DHOLAK rhythm. First interlude is full of FLUTE. Awesome use of FLUTE as a filler, in antara. Second and third interludes are orchestrated with symphony VIOLINS as well as CELLOS. There  is wonderful rhythm as well as singing ‘pause’ to highlight SANTOOR. The stroke of SANTOOR (played by Pt. Shivkumar Sharma) at the end of each antra gives an ear-pleasing moment. Filmed on Sanjeev Kumar.

Sham Dhale Jamuna Kinare       PUSHPANJALI    1970

(Anand Bakshi / Manna Dey – Lata Mangeshkar)

Laxmikant-Pyarelal  AMAZING WORK ON FLUTE :  played by Pandit Hariprasad Chaurasia. In the interlude, the overlapping sound effects  of FLUTE  with  MANDOLIN  and VIOLA are worth listening to. Great Composition. Wonderful execution of CHORUS

Dard-E-Dil Badhata Jaye         BUNIYAD 1971

(Anand Bakshi / Lata Mangeshkar)

Cabaret song with Melody. Laxmikant-Pyarelal’s work is characterized by a notable openness to a wide variety of musical styles and instruments. Classical ragas mix with JAZZ horns, WAH-WAH GUITAR, FLUTE, funk and disco RHYTHMS, and the insistent beat of the DHOLAK.  How brilliantly the western instruments like BAMBOO FLUTE and GUITAR are synchronized with Lata’s sweet voice, in this mellifluous orchestra arrangement . All the three interludes have different tunes.During sixties & seventies Lata and Laxmikant-Pyarelal combination have delivered some of the most melodious songs to the Indian Film Industry and this is one them.This is one of the sweetest cabaret song sung by Lata for Laxmikant-Pyarelal. Filmed on Actress Bindu.

Man Ki Pyas Mere           JAL BIN MACHHLI NRITYA BIN BIJLI   1971

(Majrooh Sultanpuri / Lata Mangeshkar)

The prelude of 28 seconds of SANTOOR and FLUTE is mind-blowing. Use of minimum musical instruments. Entire song is woven around the glimpses of FLUTE (played by Pt. Hariprasad Chaurasia) and SANTOOR (played by Pt. Shivkumar Sharma). Excellent “DHOLAK”/“tabla’ rhythm. An addict song. Filmed on Sandhya.

Ding Dong O Baby Sing A Song,             HERO   1983

(Anand Bakshi /Manhar Udhas & Anuradha Paudwal)

Western style orchestra arrangements and rhythm. Prelude of 40 seconds is mind-boggling, in particular the use of BAMBOO-FLUTE and ACOUSTIC GUITAR. Anuradha Paudwal has brilliantly synchronized her voice with the “filler” of glimpses of the JAZZ FLUTE. One will wonder how nicely the ’SITAR’ is used in the song, immediately after the words “ding dong” .”sing song” stroke of SITAR…BRASS instruments, SAXOPHONE are orchestrated in the “interludes”. It is also a “rock n roll” style orchestra.

Lambi Judai             HERO   1983

(Anand Bakshi / Reshma ) 

What a composition in ‘punjabi folk’ style. Minimum orchestra to give excellent ’throw’ of voice of Reshma. FLUTE, RUBAB and GUITAR are excellently exhibited in the entire orchestra. Mesmerizing ‘rhythm’. Second interlude full of the theme tune of the film, FLUTE,  played by Pandit Hariprasad Chaurasia, mesmerizes.  “Postlude” is also beautifully decorated with FLUTE, BANJO and GUITAR ( from 4.00 to 4.34).

FLUTE THEME MUSIC…Pandit Hariprasad Chaurasiya…Excellently composed tune on FLUTE ….mellifluous efforts by Laxmikant-Pyarelal.

Ajay Poundarik

Vadodara 

30th April, 2021.

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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