Zindagi ka Safar with Anandji

by | June 14, 2016, 15:21 IST

Follow On
Zindagi ka Safar with Anandji


That the score of Don composed four decades ago can set Gen-now grooving today is sufficient proof of their timelessness. While his partner in rhythm, older brother Kalyandji passed away more than a decade ago (August 24, 2000), Anandji feels his presence all the time. “I miss him dearly whenever I’m honoured with awards,” he says. “I am emotional, I cry easily. All comedians in the world are emotional. Bob Hope, Mehmood, IS Johar, Kishore Kumar... all,” says Anandji who was also loved for his mimicry.

Known as Bade Miyan and Chote Miyan, composers Kayandji-Anandji, between the ’60s-’80s, had many firsts to their credit. They were the first to use the clavioline to play the nagin been. First to acquaint the industry with rap with Tumko humpe pyaar aaya (Jab Jab Phool Khile). First to organise music shows. First to bring in the azaan in a Hindi film (Himalaya Se Ooncha). First to work with many first time directors, singers and lyricists.... Also, their genius lay in their variety, from the folk-based music of Saraswatichandra to the funky beats in a Feroz Khan film.



 

 

w

 

 

SHOW TIME

Brought up in old world Girgaum, Anandji recalls that he grew up in an atmosphere rich in culture, stalwarts like V Shantaram and Durga Khote being their neighbours. “We’d  participate in the Sarvajanik Utsav, Navratri and Ganpati celebrations. I’d play the table,” says Anandji. Later, they started an orchestral group called Kalyanji Virji and Party and held musical shows. A young Kalyanji got a new electronic instrument called the clavioline from abroad. “With this instrument we played the been (the music to entice snakes) for a snake sequence in Nag Panchami (1953), the music of which was scored by Chitragupt. People came to watch the film just to listen to this music,” he earmarks their debut in film music.

THE SNAKE CHARMERS

The duo was asked to play the been once again in the Hemant Kumar composed film Nagin (1954). The hit numbers featured in the Binaca Geet Mala with Man dole mera tan dole being a chartbuster. “Soon our nagin tune was being played in mandirs, navratri and even shaadis,” he beams. The duo then went on to compose songs for films like Samrat Chandragupta (1958, Chahe paas ho) and Dil Bhi Tera Hum Bhi Tere (1960 - Mujhko is raat ki tanhai). Himalay Ki God Mein and Jab Jab Phool Khile both in 1965 further strengthened their position.

NATIONAL AWARD

It was the music of Saraswatichandra (1968) that endorsed the genius of the brothers, more so because the classical tunes came soon after their modern rhapsody in Haseena Man Jayegi. Also, the Govind Saraiya film, an adaptation of the similarly titled Gujarati novel by Govardhanram Madhavram Tripathi, was a challenge. “It was a white and black film. It had a new hero - Manish. We had to include the pre-Independence tempo and mood in the music.” Fearing that the film wouldn’t run, the composers tried to popularise the songs much before the release. Chandan sa badan, Phool tumhe bheja hai, Chod de sari duniya, Hamne apna sab kuch khoya... were instant hits.” Though they were raag-based the bhaav (emotional) was more important and the score won them a National Award.

BHARAT KI KHOJ


The brothers were known to contribute to the lyrics/ picturisation of the songs. “In Manoj Kumar’s Upkar (1967), the song Kasme vaade was to appear before the interval. We feared the audiences would get bored and run away half way through the film more so because it was to be filmed on Pran, a ‘villain’,” says Anandji of Pran’s career-defining song. “But when we attended the premiere in Delhi, the audience began clapping on the song!”

Manoj Kumar’s Purab Aur Pashcim (1970) was again a test because it traversed the East and the West. “Koi jab tumhara was filmed in London. The hero’s an Indian so the rabab was used to make it soulful.”

Kora Kagaz was the only film for which they won the Filmfare Award. “Interestingly, the title song Mera jeevan kora kagaz is sung in a male voice (Kishore Kumar) but filmed on a female character (Jaya Bhaduri). When we were recording the song, Kishoreda said that the song should include a positive para too. He joked, ‘Kolyonji-Anondji better add that antara now. If you call me to sing it again you’ll have to pay me again’. Being under great duress, I somehow suggested the lines,

Dukh ke andar

Sukh ki jyoti

Dukh hi sukh kya gaan

Dard sehkar janam leta har koi  insaan...”

 

 

s

 

 

BHAI BHAI

Anandji denies any ego clash with his brother. “My dad had warned me about ego problems creeping in. He said, ‘Kalyanji’s better looking. His pictures will be printed more. You shouldn’t feel offended’. I replied I wouldn’t. But he said ‘your wife will mind’. I said that wouldn’t happen too. I reassured him saying ek suraj banega, ek chand!” Their younger brother Babla, who also worked with them was an expert in western rhythms. “He travelled to Africa and the West Indies for shows. He introduced the rotodrums (Laila main Laila in Qurbani) the congo and other Latin beats in film music. While Kalyanji introduced the electronic synthesiser, I relied more on folk music. Also Kalyanji had great sense of story, song picturisation and editing. I was good in mimicry. Initially, Kalyanji was shy on stage. Later he opened up; his witty one-liners were a rage.”

SUNSET…

Almost 10 years before Kalyanji passed away, the duo had quit the music scene. “Soon after Tridev (1989) and after his son Viju Shah had begun making a name for himself, Kalyanji said, ‘Ham ab yeh dukaan bandh karte hai. Let the children work instead, times are changing’. After having done more than 250 films, there was nothing left for us to do. We retired at our peak and diverted towards social work. Like my dad would say, “Learn from nature! When the shadows grow very long it’s sunset time.”


MEMORIES AND MUSIC

Darpan ko dekha (Upasana, 1971): I was in Nairobi at the Thika waterfalls, when I saw a blind man enjoying the sound of the waters. But he couldn’t help lament, ‘I wish I could see it!’ Darpan ko dekha was inspired by this incident.

 


Zindagi ka safar (Safar, 1970) :
Zindagi ka safar is an introspective song. So we asked Kishoreda to keep a distance from the mike and sing. I pulled his cheeks in appreciation.

 
O saathi re (Muqaddar Ka Sikander, 1978) : A dear friend had just passed away. His relatives, who were first concerned about saving him, immediately began discussing the last rites. This inspired the thought tere bina bhi kya jeena!

More on: Filmfare