Anil Biswas - Page 3

The song link didnot work but gave me some songs that now I can search more Also

In memory of Anil Biswas..check this out
http://www.searchamovie.com/

The song link didnot work but gave me some songs that now I can search more Also

In memory of Anil Biswas..check this out
http://www.searchamovie.com/

Swar_Raj let me see if I can get the songs uploaded somewhere. I hav mst of them with me.

Film biographies are often nothing but eulogies. Sharad Dutt endeavours to set this anomaly right with his work on Anil Biswas, the man whose melody forced filmmakers to leave the shores of Bombay for the plains of Delhi, writes SURESH KOHLI.

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IN THIS festival of books on films and film people, mostly apologies literally, it is heartening to come across one that excels both in research and content, "Ritu Aaye Ritu Jaaye", the life story of legendary music director, Anil Biswas in Hindi. An unconventional biography, so to say. A narrative that while relying heavily on memories seeks to relate them to both time and space; a book that while banking substantially on facts does seek to incorporate views and opinions of others and expressions that do not necessarily conform to the subject's reflections alone. And in the process what essentially starts as a journey of discovery becomes the narrative for the rediscovery of the life and times of a man who to a large extent helped shape the course of Hindi film music, in particular from 1930s to '60s. Divided into three distinct sections, the first deals with birth, growth and early influences. The influences include meetings with legends like the fiery poet Qazi Nazrul Islam, and the nationalist Rabindranath Tagore. Meetings that meant learning, and imbibing from diverse schools of thought, and temperament. The early experiments with film music in Bombay, starting with "Dharam ki Devi" in 1935, and then associating with Mehboob Khan for "Jagirdar", and continuing that association in later films like "Ali Baba", "Aurat", "Roti", and also Bombay Talkies' productions like "Basant", "Kismet", "Jwar Bhata", "Milan". Anil Biswas's recollections of the composing of the immortal patriotic "Door hato ai duniya walo" from "Kismet" make compelling reading, especially on how his and poet Pradeep's joining the orchestra at the last minute brought the eventual flavour to the song. And how a strategy was devised to fool the British censors. It is narratives like this that make history. The section also recounts at some length how Biswas introduced Talat Mahmood in "Arzoo", and resurrected the sagging career of Mukesh with "Dil jalta hai to jalne de" in "Pehli Nazar". For the author Sharad Dutt the book, that deservedly won the National Award for the Best Book on Cinema, is the culmination of a dream, a desire redeemed. As he explains: "When he did not open up in our conversations I requested him to write his autobiography or memoirs. Apart from being a leading music director Anilda had also penned some very good lyrics in Bengali, he even wrote some essays (losing the manuscript of which he vowed never to write again), and translated into Bengali the selected ghazals, from those of Amir Khusroo to the contemporaries, of 68 Urdu poets - that can even be set to music. This versatility confirmed my belief that if he wanted he could write his memoirs beautifully...But my pleas went in vein. I was repeatedly disappointed until one day he surprised me saying: 'Why don't you write the book? You have the desire, and enough knowledge of Hindi cinema.' I sought to dismiss the whole thing by saying it would be virtually impossible resurrecting his early days in Calcutta and Bombay, and for which there hardly existed any material. But I was wrong, when he volunteered: 'I will help you with that. But you will have to do the writing'."
And that's how the journey of rediscovering the life story of music maestro Anil Biswas began some six years ago. Unfortunately, he did not live long, and the journey of his long innings ended a few months ago. He would certainly have rejoiced at the recognition bestowed to the story of his life, written by one whose knowledge of Hindi music is extraordinary, and who was at least one admirer Anil Biswas would have been content with, if that had been the case. Anil Biswas left Bombay, and made a home in Delhi where he first directed the National Orchestra at All India Radio till 1975 before taking up an advisory assignment with the Jawaharlal Nehru University. To Anil Biswas also goes the credit for composing the background music for Hindi television's first soap opera, "Hum Log". The second section deals with Biswas's pronounced views on music, and a compilation of his translations of over a 100 Urdu ghazals. The third and concluding section consists of his filmography that ended, rather abruptly one should say, with Motilal's "Choti Choti Baten" in 1965. The author has devised an interesting narrative style to unfold various aspects of the subject's life, a narrative that frequently alternates between first and third person without ever losing the grip. The clever interpolation of factual with the biographical are culled both from published material and long interactive sessions with the late music director.

An unusual narrative that might set a new trend in redeeming interesting, valuable nostalgia from a fast fading, disappearing past with rich and varied overtones.

Swar_Raj - gret topic, great post as usual 👏👏👏

Dil jalta hai, to jalne de
…Remembering Anil Biswas
(http://dignityfoundation.com/archt82.html)

Age is no bar to the meeting of kindred minds. Mumbai-based music composer Tushar Bhatia recalls his poignant friendship with one of the virtuosos of Hindi film music, Anil Biswas, who passed away recently.

"I discovered Anil Biswas's work a little later than I discovered other musicians. When I first listened to Anil Biswas's music, I almost put it away, thinking this is dangerous, (because it was so good.) Those days, as an 18-year-old, I was revelling in the compositions of Naushad and O.P.Nayyar. I later realised that even Naushad had looked up to Anil Biswas.

As I explored Biswas's music, I found that anything and everything he composed was exceptionally melodious. There were many subtleties and underplayed movements in his music. It was effortless, natural like mother's cooked food, sans gimmicks and exotica. This man was not trying to impress. But the pure aesthetics of his music left you moved. Again, the standard of poetry, be they ghazals, thumris, kajris he composed was extremely high. He got poets to write for him and the lyrics he set to music were always superlative. This was because he was a poet himself, something I learnt later.

His ghazal Kuch aur zamana kehta hai sung by his wife Meena Kapoor is my personal favourite. Other compositions that particularly appeal are: Dil jalta hai to jalne de, Sine mein sulaghte hai armaan, Door papiha bole, Rasiya re, Ai dil mujhe aisi jagah le chal, Zamane ka dastoor hai yeh purana, Papiha re mere piya se kahiyo jaaye…

I first Anilda in 1986. Those days I was working with HMV. I learnt he had come down to Mumbai from Delhi, where he lived, for a recording of Meena Kapoor's cassette of bhajans. I rushed to Western Outdoor Studios to meet him. He was well into his 70s then, and I was around 23. I was dumbfounded to be actually face to face with this great composer. I couldn't say much. I met him again at the hotel later and told him I was his fan. I gifted him a recording of my composition Mere praano se pyaare written by poet Narendra Sharma, who had been introduced to the Hindi film world by Anil Biswas.

In 1996, singer Chaaya Ganguly, who was producing Sangeet Sarita for AIR, conceived a programme presenting Anil Biswas. During the rehearsal, she found that he was presenting other composers' songs and not his own. Anilda suggested that I select his songs and interview him for Sangeet Sarita. He said he had confidence in me as I was a composer. I was flustered initially at the thought. Finally the programme was relayed in 26 episodes. Anilda was thrilled with its structuring. He wrote a letter to me complimenting me on the editing. That's how we started writing letters regularly to each other. He would address me as 'To my dear pagla' and sign 'Affectionately yours, mahapagal' ( Pagla means crazy, mahapagal -- completely crazy)

Whenever he came down to Mumbai, we would spend a lot of time together, though it never seemed 'enough' for me. There was always so much to discover, learn and understand. He would be here for two-three months in a year. He loved Mumbai, more than Delhi. We talked a lot about music. I would satisfy my curiosity about old compositions and their orchestration.

When I visited Delhi, I would unfailingly meet him. Meenaji would cook for me. Anilda would often take me out for Chinese or South Indian dinner. After featuring in the 'Sa re ga ma' programme, he had become greatly popular. People would recognise him and he would be amused. Once while we were at a restaurant, he told me with childish delight about how the hotel staff would recognise him and greet him. Proving him right, the steward and the manager came to our table and talked to him. He was thrilled.

He had a tremendous zest for life, even at 89. I have not seen someone as fit as he was at 89. We travelled together to Pune once and twice to Ahmedabad for programmes. He loved mithais of all kinds. Last year, he had a prostrate operation. As soon as he was wheeled out of the operation theatre, he asked me, "Mithai laya?" (Got sweets for me?") When the nurse said he could have only liquid food on that day, he promptly instructed, "Get Rasamalai." (Rasamalai is a syrupy sweetmeat.)

We had an intimate relationship. He looked at me as a friend, brought himself to my level and was interested in my professional and personal life. Even ten days before his death, he called me up to inquire after my father's health, since my father had been ailing.. I could discuss anything under the sun with him. He also confided a lot in me. I have met many composers, but I have not felt as relaxed with anyone else.

Sometimes, I would massage his feet. He liked it but Meenaji would protest. One day he told Meenaji, "He can do it for me. Yeh mera beta hai."

Of late he would talk a lot about the Vedas, Upanishads, Kabir and always, always Rabindranath Tagore whom he regarded as sarvashrestha vagyakaar (supreme composer-writer). Once while discussing a Bengali song, I asked him whether he had composed it. He immediately chided me saying, 'You're mad. That is such a celestial tune. How can that be mine? Of course, it is Tagore's.' He never flaunted his work. He would say Tushar knows more about my music than I do. He sang fabulously to the end. Whenever we met, he would sing Tagore's songs.

He would observe me, there's a lot of dukh (sadness) in life and little sukh (happiness). So we must cherish those happy moments when they come. But he also maintained, that happiness and unhappiness may come and go, 'Lekin dard aur anand hamesha rehta hai.' (Pain and joy in life are everlasting) Though he liked solitude and was detached from his glory, he could easily bring himself to participate in all things around him. He was always involved, fully alive. I told him last year, how in spite of leaning heavily towards philosophy, which is dry, he has not lost his sense of rasa (charm) in life. He smiled.

Last December, while I was in Delhi, I went shopping with Anilda and Meenaji. The road being uneven, dada was holding my hand and walking. He turned and said, 'Aaj tumne mera haath pakda, main kaise tumhara shukriya ada karoon' (Today you held my hand and helped me walk, how will I thank you?'). I stopped, touched his feet there on the road and replied, "Aapke sangeet ne jo mujhe jeevan bhar ka sahara diya, to uske liye main kaise aapka shukriya ada karoon?' (Your music has become a source of strength for the journey of my life, how do I thank you that?) He would modestly say, if any man finds a drop of happiness from my songs, then I am fulfilled.

I had an image of Anil Biswas, the musician, before I met him. The real man turned out to be bigger than the image."

(As told to Munmun Ghosh)

Thank you Barnali di, you made my day. Here is a brotherly 🤗 for you.

Anil Biswas was one of the best composers of his time. He was the master of classical based music.

Originally posted by: Barnali

Swar_Raj let me see if I can get the songs uploaded somewhere. I hav mst of them with me.

That will be awesome 😛

Thanks Anol ji..I envy Tushar bhatia 😊 lucky him
Also Barnali ji..Great info. i have not read the book but will be getting it now for sure 😛

Originally posted by: apparaohoare

Thank you Barnali di, you made my day. Here is a brotherly 🤗 for you.

Anil Biswas was one of the best composers of his time. He was the master of classical based music.

Thanx appa 😛

Now let me get those songs uploaded and post them here.

Originally posted by: Barnali

How apt that the name of this book is "Ritu aaye ritu jaaye..." - one of the best compositions of Anil da from Hamdard (along with "Pee bin soona").

P.S. thanks to everyone who's contributed to this thread... 👏