Author: ajaypoundarik

Sound of SHEHNAI :: Laxmikant-Pyarelal Enrich Orchestra 

SHEHNAI  Originated from India. Mostly used in North India. It is must in Indian Weddings,  It is especially played when the bride leaves his father’s place but this time it sounds sad. 

Shehnai player,  late Ustad Bismillah and SHEHNAI have become a synonym in India. In the Year 1958 Producer / Director Mr. Vijay Bhatt had made the movie “Goonj Uthi Shehnai”. The film’s story was based on Shehnai Player. Lots of scope for Shehnai. Late Ustad Bismillah Khan have played the Shehnai for the background music as well as for the songs composed by the music director Vasant Desai.

Actually SHEHNAI was not utilized as much as Sitar, Flute, Sarod and Santoor etc in the  Hindi Film Songs. However, many music directors orchestrated SHEHNAI in their songs.

Music Director Ramlal who composed the music for V Shantaram’s “Sehra” 1963, was a very good SHEHNAI player. He played the Shehnai for many hit songs including Raj Kapoor and Laxmikant-Pyarelal classic “Satyam Shivam Sundaram” 1978, ‘rang mahal ke dus darwaze’ rendered by Lata Mangeshkar – Bhupendra Singh. 

Use of SHEHNAI by various music directors. 

Ram Ganguli

Zinda Hoon Is Tarah   “Aag” 1948

Naushad

Aaye Na Balam Vada Kar Ke    “Shabab” 1954

Pee Ke Ghar Aaj                      “Mother India”  1957

Salil Chaudhari

Jhoome Re Kali Bhanwara     “Naukari”     1954

Chitragupt

Chal Ud Ja Re Panchhi          “Patang”   1957

Vasant Desai

Tere Sur Aur Mere Geet   “Goonj Uthi Shehnai”  1958.

N Dutta

Tu Mere Pyar Ka Phool   “Dhool Ka Phool” 1958

C Ramchandra  

Tu Chhupi Hai Kahan     “Navrang”  1959

S D Burman

Chal Ri Sajni    “Bambai Ka Babu”   1960

Roshan 

Aap Ne Yaad Dilaya          “Aarti”  1962

Ramlal 

Taqdeer Ka Fasana       “Sehra”  1963

Ravi

Babul Ki Dua Leti Ja         “Neel Kamal”  1968

Khaiyyam

Kabhi Kabhi Mere Dil Main   “Kabhi Kabhi”   1976’

Laxmikant-Pyarelal also composed some melodious songs, harmonizing Shehnai, in their enrich orchestra arrangements. Few of the songs are considered for the review. 

Songs Not Reviewed :–

Koi Shahari Babu “Loafer” 1973

Ni Main Year Manani “Daag” 1973

Meri Kismat Main “Prem Rog” 1981

Likhanewale Ne Likh Dale “Arpan” 1983

SHEHNAI player late Ustad Bismillah Khan praised of Laxmikant-Pyarelal for the beautiful use of SHEHNAI in the songs ‘Main To Deewana’ and ‘Ram Kare Aisa Ho Jaye’ both from the super musical hit film “Milan”, 1967.

Chori Chori Jo Tum Se Mili      “Parasmani” 1963

(Lata Mangeshkar – Mukesh   /  Farooq Qaisar)

Use of SHEHNAI and MANDOLIN in “Prelude” and all the “interludes” are worth listening to.

Itni Jaldi Kya Hai Gori         “Sati Savitri” 1964

(Lata – Usha – Kamal Barot  / Pandit Bharat Vyas

A wedding and slightly naughty song, beautifully decorated with glimpses of FLUTE, SHEHNAI and DHOLAK. Don’t forget to listen to the MANDOLIN in “Prelude”.

Mubarak Ho Sabko Sama Ye Suhana      “Milan”  1967

(Mukesh / Anand Bakshi )

Singer Mukesh is simply the best choice for this song. Sad songs starts with ‘zero’ prelude. Ravishing DHOLAK rhythm, intermixed with DUFF, at some places. FLUTE is awesomely used as filler in the mukhada. First ‘interlude’ MANDOLIN, beautifully orchestrated followed by superb display of symphony style VIOLINS. Second ‘interlude’ starts with VIOLINS, later tunefully  intermixed with SHEHNAI. Third ‘interlude’ beautiful display of FLUTE. First and third  ‘antaras’ are melodiously filled with FLUTE. The second  is filled with SHEHNAI. ‘Postlude’ of 12 seconds is synchronization of FLUTE, MANDOLIN and SHEHNAI, sounds well. Filmed on Sunil Dutt and Nutan.

Khushi Ki Woh Raat Aa Gayi     “Dharti Kahe Pukar Ke”  1969 .                                          (Mukesh / Majrooh Sultanpuri)       

One of the excellent songs on SHEHNAI. “Prelude” of 57 seconds mesmerizes. It is awesomely orchestrated with SHEHNAI and FLUTE with astounding  DHOLAK rhythm. Second ‘interlude’ is superbly orchestrated with synchronization of SHEHNAI and SITAR.The postlude is full of SHEHNAI. Filmed on Jeetendra. 

 Jawani O Diwani Tu Zindabad     “Aan Milo Sajna” 1971 (Kishore Kumar  / Anand Baksh)i

Kishore Kumar-Rajesh Khanna at it’s best. Enchantingly orchestrated 39 seconds ‘prelude’ with MANDOLIN, SHEHNAI / NADASWARAM and VIOLINS. All these musical instruments are once again used, with different tune, in the interludes. DHOLAK rhythm is fantastic, in particular the “pick-up” at 0.56/0.57.

Hathon Mein Mehandi        “Uphaar” 1971

Lata Mangeshkar  /  Anand Bakshi

The perfect wedding song, sweet and melodious, as well. Excellent “prelude”, starting from 0.41 to 1.14 This song is a ‘folk’ showing traditional Rajasthani “ KATHPUTLI”. HAND DRUMS and the “BOLI” / “SHRUTTI” (This is a musical instrument made of two thin and small bamboo strips which have a reed in between and produces a sharp sound by blowing air in and out on it) are beautifully decorated in the orchestra to give the traditional “FOLK” touch. Lata Mangeshkar has brilliantly synchronized her voice with Laxmikant-Pyarelal’s orchestra arrangements.

Shehnai Baje Na Baje     “Shor”  1972

(Lata Mangeshkar / Verma Malik)

Lata Mangeshkar’s “humming” “aa oomm  oomm aa oomm oomm” and few string instruments in the “prelude” of the song are beautifully synchronized with “Jaya Bhaduri”s swinging action. The “Dholak” rhythm is absolutely “ear-pleasing”. Interludes are orchestrated with SHEHNAI and RUBAB.

Rang Mahal Ke Dus Darwaze   “Satyam Shivam Sundaram”  1978

(Lata Mangeshkar – Bhupendra Singh / Vitthalbhai Patel)

SHEHNAI is prominently, efficaciously and mellifluously orchestrated in “Prelude”, “Interlude” and “Postlude” and also as a ‘filler’ in ‘antara’. At some places SHEHNAI is wonderfully synchronized with male singer Bhupendra Singh rendering.

Chalo Re Doli Uthao        “Jaani Dushman”  1979

(Mohammad Rafi  / Verma Malik)

One of the finest compositions on SHEHNAI. ‘Prelude’ CHORUS Humming. SHEHNAI used in interlude is wonderful. Filmed on Jeetendra, Neetu Singh, Shatrughn Sinha

Tere Haathon Mein Pehna Ke    “Jaani Dushman”  1979

(Mohammad Rafi – Asha Bhosle  / Verma Malik)

Mesmerizing composition. “Prelude” of 40 seconds. SHEHNAI and NADASWARAM are awesomely intermixed followed by VIOLINS in SYMPHONY style then “folkish” DHOLAK rhythm and then glimpses of HARMONIUM. All the “interludes” are also orchestrated with the above musical instruments in addition it has a “CLAPPING” in the “rhythm”. Filmed on Jeetendra – Neetu Singh.

Ladaka Tumhara Kunwara Rah Jata   “Krodhi”  1980

(Kishore Kumar – Lata Mangeshkar  /  Anand Bakshi)

Tere Mere Beech Main   “Ek Duje Ke Liye” 1981

(Lata Mangeshkar – S P Balasubramaniam  / Anand Bakshi)

Composed in Hindustani Classical Raag “SHIVRANJANI”. 16 seconds of ‘prelude’ orchestrated with glimpses of GUITAR, Symphony style CELLOs, and VIOLINS and awesome aalaps by Lataji. Excellent “DHOLAK” rhythm. SANTOOR, FLUTE, VIOLINS and SHEHNAI are mellifluously decorated in the orchestra. 

Ye Galiya Ye Chaubara      “Prem Rog”  1982

(Lata Mangeshkar  /  Santosh Anand)

Wonderful traditional wedding song. Awesome DHOLAK rhythm, SHAHNAI is wonderfully orchestrated in the second interlude. 

Ajay Poundarik, Vadodara (Gujarat).

 SAXOPHONE ::  Laxmikant-Pyarelal Enrich Orchestra.  

Bollywood film music is principally for transferring affection. The harmony, theme, rendering style and the variations in carols are all creative processes to convey affections. Apart from these creative processes, the musical instruments which are played in the orchestra also have a key role to play in conveying empathy. 

Music directors normally choose instruments based on the range of the instrument and how it can support and convey the primary emotion in the song. Many of the instruments serve a single purpose and primarily support a limited range of exciments. However, a Saxophone is a versatile instrument & many of the many composers have displayed it effectively to convey many moods through the songs by using Saxophone.

The sounds of Trumpet and Saxophone are confused. Trumpets are classified as ‘brass instruments’ and saxophones are classified as ‘woodwind instruments’.

Music directors from Bollywood have used SAXOPHONE in their respective orchestra. Quantity wise it is used by R D Burman, Laxmikant-Pyarelal, S D Burman, Kalyanji-Anandji. However, the best utilization of Saxophone is done by the music directors Shankar-Jaikishan and O P Nayyar, strictly my personal opinion

Saxophonists Ram Singh, Amar, Annappa ,Brave, Johney Gomes,  Sumaent Raj, Shyam Raj Manohari Singh, Raj Sodha, Suresh Yadav, Kadri Gopinath have contributed to  play Saxophone with the music directors. 

Most of the Laxmikant-Pyarelal compositions, till 1974,  Saxophone is played by Manohari Singh for the songs, Jane Kaisa Hai   and Meharban Mehboob Aansoo Ban Gaye Phool, 1969. Mere Dil Ne Tadap Ke Anurodh, 1977. Later Saxophonist Suresh Yadav contributed a lot for Laxmikant-Pyarelal.  Saxophonist Shyam Raj has played the Saxophone for Mr. India songs,  Hawaa Hawaai and Kate Nahin Katate.  

Listing out few songs on Saxophone, composed by various music directors.

S D Burman

— Ye Kisne Geet Chheda           Meri Surat Teri Aankhen 1963

—  Gata Rahe Mera Dil               Guide 1965

—  Roop Tera Mastana                Aradhana  1969  

Naushad

— Mujhe Duniyawalo                    Sharabi  1964

— Mera Pyar Bhi Tu Hai               Saathi  1968

Salil Chaudhari                             

— Jare Jare Ud Jare Panchhi       Maya 1961

–Zindagi Kaisi Hai                       Anand  1971

— Gujar Jaye Din                          Annadata  1972 

Roshan

— Dil Jo Na Keh Saka                 Bhigi Raat  1965

— Duniya Kare Sawal                  Bahu Begum 1967

Shankar-Jaikishan

— Bedardi Balama                       Aarzoo  1965

— Aaj Kal Tere Mere                    Bramhachari  1968

— Ai Sanam Jisne Tujhe               Diwana 1968

— Janam Janam Ka Saath           Tum Se Achchha Kaun Hai 1969

— Chhoti Si  Mulaqat                    Chhoti Si  Mulaqat  1967

O P Nayyar  

–Hai Duniya Usiki                          Kashmir Ki Kali  1964

— Ye Hai Reshmi Jhuphon            Mere Sanam 1965

–Huzure Wala                               Yeh Raat Phir Na Aayegi  1969

— Main Pyar Ka Raahi                   Ek Musafir Ek Hasina  1962

— Yahi Wo Jagah Hai                     Yeh Raat Phir Na Aayegi 1966

Madan Mohan

–Woh Bhuli Dastan                        Sanjog  1961

–Shokh Nazar Ki Bijliya                 Woh Kaun Thi  1964

Ravi

–-Aage Bhi Jane Na Tu                  Waqt  1965 

–Zindagi Ittefaq Hai                       Aadmi Aur Insaan  1969

Chitragupt 

— Jag Dil-E-Diwana                     Oonche Log 1965

Kalyanji-Anandji 

— Tumhe Yaad Hoga                   Satta Bazar 1959        

— Humsafar Mere Ham Safar      Purnima 1965  

–Na Na Karte Pyar                      Jab Jab Phool Khile 1965

— Bekhudi Main Sanam               Haseena Maan Jayegi  1968

— Zuban Pe Dard Bhari               Maryada  1971

R D Burman 

— O Haseena Zulfonwali           Teesari Manzil  1966 

— Jis Gali Main Tera Ghar          Kati Patang  1970

— Kabhi Karti Hogi                      Phir Kab Milogi 1974

— Keh Du Tumhe                        Deewar  1975

–O Hansini Kahan Ud Chali       Zehreela Insaan 1975

Glimpses of saxophone can be heard in the Laxmikant-Pyarelal orchestra in many songs. 

Laxmikant-Pyarelal had a very good association with Saxophonist Manohari Singh since 1958. He had come to Mumbai in mid fifties. Since their younger days they were very good friends and worked a lot together, with Kalyanji Virji Shah, then, (Kalyanji-Anandji)

There are many songs in which Laxmikant-Pyarelal has incorporated saxophonist Manohari Singh in Jazz flute or saxophone, till early seventies. Later saxophonist Shri Suresh Yadav played the saxophone in Laxmikant-Pyarelal orchestra

Ke Main Aaya Hoon   and  Dev Anand 

The song Ladies and Gentlemen, Ke Main Aaya Hoon,,, sung by Kishore Kumar for the film Amir Garib, 1974, composed by Laxmikant-Pyarelal is one of the nonpareil songs composed on SAXOPHONE, played by Manohari Singh.

This song, Main Aaya Hoon, is one of the toughest and very complicated saxophone prelude and interlude pieces. Manohari Singh himself said in an interview that this piece composed and written by Pyarelalji is the hardest ever saxophone piece I have played in HFM.

Actor Dev Anand who was to act on this song as a saxophonist, had to carry out practice sessions for 15 days to look like an impeccable / perfect saxophonist on the screen. 

Laxmikant-Pyarelal’s songs on Saxophone are divided into Two Parts.  First part contains only a list with the exact act / display of SAXOPHONE.

Second Part is the detailed review of a few of the songs.

Part I

List of Laxmikant-Pyarelal’s songs on Saxophone. The line below  indicates the exact display of Saxophone. There are still many songs, the list is endless. However, if anyone wants add the song, it can be added in “BLOG” comments, below.                                                                              

— Chalo Sajna Jahan Tak Ghata Chale                       Mere Humdam Mere Dost  1968

(Prelude is full of VIOLINS and SAXOPHONE. Second interlude starts with  SAXOPHONE)

 — Chalkaye Jaam Aaiye Aap Ke Naam                        Mere Humdum Mere Dost  1968

(Use of ACCORDIONS, VIOLINS and SAXOPHONE ( in second interlude ) is mind-boggling)

— Jaane Kaisa Hai Mera Deewana     Aansoo Ban Gaye Phool   1969

(Beautifully orchestrated, take off , SAXOPHONE in the first interlude)

–Phool Hai Baharon Ka            Jigri Dost  1969

(Prelude and Interludes full of SAXOPHONE)

–Das Gayi Nagin Si      Himmat  1970

(SAXOPHONE is awesomely orchestrated in ‘prelude’ and ‘interludes’) 

–Achha To Hum Chalte Hai         Aan Milo Sajma  1971 

The orchestra arrangement is mesmerizing use of IRANI SANTOOR,  SAXOPHONE and VIOLINS is just brilliant and ear-pleasing, as well.

— Patta Patta Buta Buta Hal Hamara Jane            Ek Nazar 1972

(Second Interlude has incredible use of SAXOPHONE as well as SYMPHONY style VIOLINS. 

— Piya Ka Ghar Hai               Piya Ka Ghar 1972

(Third interlude awesome use of SAXOPHONE)

–Chabi Kho Jaye            Bobby  1973

(Massive orchestra. SAXOPHONE, synchronized with FRENCH HORN  in third interlude. Postlude interlude SAXOPHONE harmonised with ACCORDION)

–Kahan Hai Deewana        Loafer  1973

(First interlude SAXOPHONE)

–Nahin Nahin Jana Nahin       Zinda Dil  1975

(First Interlude starts at 0.47 stupefying orchestration of SAXOPHONE and ‘symphony’ VIOLINS overlapping the CHORUS)

— Yaar Dildar Tujhe Kaisa Chahiye       Chhaila Babu  1977

(Orchestrated on ‘pop’ composition, unique rhythm. SAXOPHONE, VIOLINS, GUITAR are mellifluously executed in ‘prelude’ as well as in ‘interludes’)

–Kate Nahin Katate, I Love  you.              Mr. India    1988 

(SAXOPHONE in first interlude)

Part II

Review of the songs.

Mere Dil Main Halki Si       Parasmani   1963

( Singer Lata Mangeshkar    Songwriter Asad Bhopali  )

“Interludes” are instrumented with FLUTE , SAXOPHONE and VIOLINS . Rhythm with BONGO Drums, leaves you speechless.

Khoobsurat Haseena Jaan-E-Jaa          Mr. X In Bombay      1964

( Singer Kishore Kumar – Lata Mangeshkar   Songwriter  Anand Bakshi)

Excellent composition, from Laxmikant-Pyarelal, in western style orchestra arrangements. “Prelude” is wonderfully decorated with the use of SAXOPHONE, VIOLINS and FLUTE is worth listening to.

Rokna Hai Agar      Jaal   1967                                                                                                               (Singer Lata Mangeshkar    Songwriter Raja Mehadi Ali Khan)

50 seconds of ‘prelude’ playing SAXOPHONE overlapping dialogue, beautiful take off ‘symphony’  VIOLINS at 37. A little ‘pause’ and a phenomenal start by Lataji 50 seconds, रोकना है अगर...Word चाँद is repeated many times in the entire song and every time how beautifully she has used different and distinct style of uttering the word “चाँद “. 

All the three interludes have different tunes and different ‘rhythm’ and are orchestrated with the mellifluous use of super-imposing sounds of SAXOPHONE, symphony VIOLINS and GUITAR. 

Brilliant use of VIOLINS as a ‘filler’ in all the three “antara”.

Not to forget the “rhythmic” “pause” at the end of each ‘antara’. 

The song has a sweet and melodious DHOLAK rhythm.

Dhadaka Hai Dil Main Pyar Tumhara      Jaal   1967                                                                                                               (Singer Lata Mangeshkar    Songwriter Raja Mehadi Ali Khan)

Brilliant take-off by SAXOPHONE in Second Interlude. Just Mesmerizing. 

An outstanding composition in Western Style. “Prelude” of 46 seconds is full Lataji AALAPS as well as HUMMING,  brilliantly synchronized with Symphony style VIOLINS. How softly Lataji has rendered the words ‘Abhi Abhi’ (अभी अभी), followed by BASS GUITAR, as filler. Lataji has sung entire song with lots of variations.  The rhythm is full of ACOUSTIC GUITAR and the BONGO DRUMS….SAXOPHONE , VIOLINS, BASS GUITAR, ACCORDION and VIOLAs are brilliantly executed in all the “interludes”. Mesmerising Orchestra Arrangements. The song is filmed on Mala Sinha. 

Gore Gore Chand Ke Mukh Par        Anita  1967                                                                                  ( Singer Mukesh  Songwriter Aarzoo Lucknavi )

Very Very Sweet Song. Mukeshji sounds simple and beautiful. Besides ‘romantic’ words this song has the “interludes” full of FLUTE, CLARINET and SAXOPHONE. (Third Interlude). 

Hui Sham Unka Khayal      Mere Hamdam Mere Dost   1968

( Singer Mohammad Rafi   Songwriter Majrooh Sultanpuri)

“Prelude” is full of SAXOPHONE and PIANO with other western instruments, sets the mood of the song. A mesmerizing composition and mellifluous orchestra arrangements. Entire song is woven around the glimpses of SAXOPHONE, ACOUSTIC GUITAR & CLARINET. In all the “interludes”. Overlapping sound effect of SAXOPHONE/CLARINET with PIANO is just brilliant. VIOLA , GUITAR, CELLOS & VIOLINS are also brilliantly executed in the entire song. Another beauty of the song is it’s “ rhythm” DHOLAK / TABLA are used only in “antara”…all the “interludes:” are without any rhythm but just ear-pleasing. An addict song for me. One of the finest compositions from Laxmikant-Pyarelal …MOHAMMAD RAFI is simply outstanding.

Mehrabaan  Mehaboob Dilbar Jaan-E-Man …. (Aansoo Ban Gaye Phool, 1969)

(Singer  Asha Bhonsle  Songwriter Taj Bhopali)

Intoxicated melody and ‘rhythm’. One of the best songs composed by Laxmikant-Pyarelal for Asha Bhonsle. The song is completely woven around the glimpses of SAXOPHONE synchronising with “aalap” and “humming” by Ashaji. Westernized orchestra with excellent use of SAXOPHONE, GUITAR and the SYMPHONY style VIOLINS. Beautiful and frolicsome Helen dancing effortlessly. 

Tik Tik Tik Mera Dil Dole …. Humjoli 1971

(Singers Lata Mangeshkar-Mohammad Rafi    Songwriter Anand Bakshi)

Distinguishable composed melodious Cabaret song in the duet form. “Prelude” 34 seconds is consists of Lataji’s aalap in western style. Fasttrack BONGO rhythm. All the “interludes” are awesomely orchestrated in JAZZ flavored,  with BRASS instruments, including SAXOPHONE, BASS GUITAR. All the three ‘antaras’ are mellifluously ‘filled’ with Lataji’s rendering ‘aalaps’ (second antara) as well as Rafi sahab’s vocal ‘aalaps’ ( first and third antara) followed by “filling” with SAXOPHONE. The pair of Mumtaz-Jeetendra  looks charming as cabaret dancers. A superhit song, still popular.

Jadugar Tere Naina              Man Mandir   1972                                                                                                                      (Singer Lata Mangeshkar-Kishore Kumar  Songwriter Raendra Krishan)

An extremely Melodious duet. Ear-Pleasing BONGA DRUM rhythm. Use of IRANI SANTOOR and SAXOPHONE in the interludes is mind-blowing.

Aa Aa Aaja Kuchh Keh Ja            Raja Jani 1972

(Singer  Lata Mangeshkar   Songwriter  Anand Bakshi)

Extremely Sweet Song. Lata Mangeshkar / Laxmikant-Pyarelal at their melodious best.  30 seconds of ‘prelude’.  The song starts with glimpses of MANDOLIN, BANSURI, VIOLINS,  Lataji’s humming and absolutely stupefying, 4 seconds DHOLAK rhythm (0,26 to 0.30). First ‘interlude’ is full of RAVANHATTA and VIOLINS. Second ‘interlude’ starts with GUITAR but the second interlude is dominated by the wonderful display of SAXOPHONE, mind boggling. 

Ladies and Gentleman …Main Aaya Hoon        Amir Garib  1974

(Singer  Kishore Kumar    Songwriter Anand Bakshi)

One of the nonpareil songs composed on SAXOPHONE.

Prelude of 64 seconds is full of SAXOPHONE, BRASS instruments, ACOUSTIC GUITAR and CHORUS, awesomely synchronized with the SAXOPHONE.

Mukhada of the song is ‘filled’ simultaneously with CLARINET and VIOLINS. It has a wonderful westernized ‘rhythm’ of BONGO Drums intermixed with ACOUSTIC GUITAR.

Another beauty of the song, in each ‘antara’/stanza Kishore Kumar’s rendering is sweetly surrounded with symphony style VIOLINS as well as CHORUS (with low volume). .

First ‘interlude’ has GUITAR, VIOLINS.

Second ‘interlude’ instrumented with BRASS instruments SAXOPHONE.

Third ‘interlude’ has hypnotising SAXOPHONE overlapped with CHORUS and ACOUSTIC GUITAR.

Sham Bhigi Bhigi            Gehari Chal 1974 

(Singer Asha Bhosle   Songwriter Rajendra Krishnan) 

Awesomely rendered by Asha Bhosle. 

Soft Rhythm of BONGO Drums, use of SAXOPHONE, as a filler and in both the interlude is at it’s best. Birds-TWEET, JAZZ FLUTE and GUITAR, synchronized with the SAXOPHONE, sounds ear-pleasing throughout the song. Actress BINDU looks beautiful while dancing. ASHA BHONSLE sounds superb.

Main Na  Bhoolunga      Roti Kapda Aur Makaan    1974

(Singer Mukesh – Lata Mangeshkar Songwriter Santosh Anand)

Splendid composition, From Laxmikant-Pyarelal. Orchestrated melodiously. Wonderful DHOLAK rhythm. Rhythmic ‘PAUSEs’. Awesome take off by Mukesh-Lata मै ना भूलूंगा ssss मै ना भूलूंगी ssss, rhythmic pause, highlighting DHOLAK rhythm, mesmerizes the listeners. CHORUS sound is distinctively used in the song. First ‘interlude’ is harmonised by the synchronisation of SITIAR, VIOLINS, CELLOS, FLUTE and Lata ji AALAPS. Second ‘interlude’ has a mind-boggling display of SAXOPHONE and VIOLINS.Third interlude with FLUTE, VIOLINS and Lataji AALAP. Glimpses of VIOLINS are excellently used as a ‘filler’ in mukhada as well as in antara. Another beauty of the song is the third antra’s overlapping sound effect of Mukesh – Lata voices in synchronization with symphony style VIOLINS. Manoj Kumar – Zeenat Aman.

Aaja Aaja Mere Dil Ne Tadap Ke           Anurodh  1977

(Singer Kishore Kumar  Songwriter Anand Bakshi)

An extremely melodious composition.  SAXOPHONE has been orchestrated in the second interlude and it is significantly synchronised with VIOLINS. In addition to this, SAXOPHONE displayed the surround sounds of Kishore Kumar in ‘antaras’. 

Om Shanti Om                                  Karz  1980

(Singer Kishore Kumar  Songwriter Anand Bakshi)

Spellbind, Huge and Enrich  orchestra arrangements in western style,  throughout the song. Despite Kishore Kumar’s usual shouts and Laxmikant-Pyarelal’s boisterous orchestra, the melody part of the song is not lost. The song has become a youth anthem. Kishoreji sounds  like a ‘man’ of the age of 30. This composition from Laxmikant-Pyarelal  came up with a solid riposte to their critics. All the BRASS musical instruments like TUBA and FLUGELHORN, SAXOPHONE and CLARINET along with GUITAR are wonderfully orchestrated in enrich orchestra arrangements with the powerful western ‘beats’.

Ek Do Teen Char       Tezaab  1987

(Singer Alka Yagnik  Songwriter Javed Akhtar)

Massive orchestra with SAXOPHONE orchestrated in Second Interlude.

Hawa Hawai          Mr. India   1988

(Singer Kavitha Krishnmurthy   Songwriter Javed Akhtar)

Gargantuan Orchestra  with SAXOPHONE orchestrated in First Interlude.

Kehna Na Tum Ye Kisise    Pati Patni Aur Tawaif  1990

(Lyricist:-  Anand Bakshi   Singers Mohammad Aziz – Salma Agha)

An extremely melodious duet. ‘Prelude’ is full of GUITAR, VIOLINS and the SAXOPHONE. Enjoy mind-boggling solo PIANO in the first interlude. Second interlude is wonderfully orchestrated with SAXOPHONE, with surround songs of VIOLINS. Third interlude is decorated with MANDOLIN as well as SAXOPHONE. Another beauty of this song is the overlapping sound effect of the rendering from Mohammad Aziz and Salma Agha. filmed on Salma Agha – Mithoon Chakarawrthy  

DOSTI  Title Music…….Dosti  1964

SAXOPHONE played by Shree Manohari Singh. The MOUTHORGAN played by Mr. Milon Gupta who also played the Mouthorgan in Laxmikant-Pyarelal’s ‘Chabi Kho Jaye’ “BOBBY” 1973 and ‘Gadi bula rahi hai’ from “DOST” 1974.

Ajay Poundarik

Vadodara (Gujarat)

INDIA.