{"id":3766,"date":"2017-10-01T00:00:59","date_gmt":"2017-09-30T18:30:59","guid":{"rendered":"https:\/\/learningandcreativity.com\/silhouette\/?p=3766"},"modified":"2017-10-01T00:17:06","modified_gmt":"2017-09-30T18:47:06","slug":"sd-burman-music-ek-nazar-1951","status":"publish","type":"post","link":"https:\/\/learningandcreativity.com\/silhouette\/sd-burman-music-ek-nazar-1951\/","title":{"rendered":"Ek Nazar 1951: A Precursor to SD Burman’s Music Trends"},"content":{"rendered":"
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Lata Mangeshkar, Mohd Rafi, Dada Burman<\/p><\/div>\n

The year was 1951 and the Hindi film music scene was witnessing a spate of highly creative output from established music composers and lyricists as well as new, upcoming talents.<\/p>\n

Anil Biswas, C Ramchandra, Husnlal Bhagatram and Naushad were in top form. Biswas had released Aaram, Tarana, Bari Bahu<\/em> and Do Sitare<\/em>. Naushad had\u00a0 Jadoo<\/em> and Deedar<\/em>. \u00a0C Ramchandra was full throttle into the hit mode with Sagai, Shabistan, Khazana, Nadaan, Albela <\/em>and Ustad Pedro<\/em>.\u00a0 The brothers, Husnlal Bhagatram had Afsana, Sanam<\/em> and Shagan<\/em> and Sajjad Hussain composed for the popular Hulchal<\/em> and Sainyan<\/em>.<\/p>\n

Among the stalwarts the new band of music makers were making their presence felt. Shankar Jaikishen with Barsat<\/em> behind them, were all set to release Badal, Nageena, Kali Ghata<\/em> and Awara<\/em>. Roshan had his share with Humlog<\/em> and Malhar<\/em> and Madan Mohan started off with Ada<\/em> and Madhosh.<\/em><\/p>\n

Rafi\u2019s support pillar, Shyam Sunder gave an earthy Punjabi musical hit in the low budget, Dholak<\/em>. In such a musical competition that contained all shades and hues, SD Burman knew he would have to establish his own unique identity.<\/p>\n

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SD Burman’s releases in 1951 – Baazi, Bahar, Buzdil, Ek Nazar, Naujawan<\/em> and Sazaa<\/em><\/p><\/div>\n

This year Dada Burman had 6 releases – Baazi, Bahar, Buzdil, Ek Nazar, Naujawan<\/em> and Sazaa<\/em>. All musically hits, these six films ensured a total of 46 songs in that year. He was composing with a variety of lyricists – Rajendra Krishna in Bahar, Ek Nazar <\/em>and Sazaa<\/em>, Sahir in Baazi, Naujawan<\/em> and Sazaa<\/em>, Kaifi Azmi and Shailendra in Buzdil.<\/em> After giving all India hits in previous years with Shabnam<\/em> and Mashaal<\/em>, he was keen to consolidate his footing in the Bombay film world. This was his opportunity. He was not only working with a range of lyricists, he was also trying out all different singers as well and signed these films with a variety of producers and directors. His directors in 1951 were, Guru Dutt, M V Raman, Shahid Lateef, OP Dutta, Mahesh Kaul and Fali Mistry.<\/p>\n

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Geeta Dutt and Guru Dutt with SD Burman and RD Burman<\/p><\/div>\n

Very early in his composing career, both in Bengal and Bombay, Dada knew that his compositions were carried to the public ears through the vocals of the singers. If the voice failed, his song would fail too. He became choosy and ruthless with the voice that he picked and dropped for his tunes. He tried out all different voices to take his best pick. As a reflection on his career, we now well understand this streak in Dada that he knew best which voice would best suit which of his tune. Thus in 1951, we find he used the vocals of Lata, Rafi, Geeta, Kishore, Talat, Shamshad, Surinder Kaur, Hemant Kumar, Sandhya Mukherji and a lesser known, Pramodini.<\/p>\n

Needless to say, he was settling into his musical grooves.<\/p>\n

Ek Nazar<\/strong><\/em><\/p>\n

However, in these half dozen musical offerings this year Ek Nazar, <\/em>is less remembered. It was produced by Kuldeep Sehgal and directed by OP Dutta (father of JP Dutta) and starred Rehman with Nalini Jaywant, also, Karan Diwan, Gope and others.<\/p>\n

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Rajinder Krishan (Pic: Internet)<\/p><\/div>\n

All lyrics for Ek Nazar<\/em> songs were written by Rajendra Krishna. Rajendra Krishna was a maverick lyricist. A sort of precursor to the style of song writing that became imminent to the Hindi film song. He could write deep philosophical songs, geets, ghazals, romantic duets, yearning in love ballads, naughty and witty interactive numbers and what not! It would not be wrong to say that he set the track that was to be successfully followed by Majrooh, Anand Bakshi and Gulzar in later years.<\/p>\n

Significantly, if one gives a close look at the songs, we find they were a precursor to Dada’s hits that would follow later, styles that would evolve and set precedents and experiments that would become the hallmark of the singers. Let\u2019s look at some of the 9 songs in Ek Nazar<\/em>.<\/p>\n

——-<\/p>\n

Dard laage pyara pyara pehle pehle pyar ka<\/em><\/strong><\/p>\n

Filmed on Nalini Jayawant on screen the song starts with different mood music till the first line by Lata takes over. With chirpy Punjabi tune, dholaki with the spoon-hit beat and tappa style of composing; it sounds as if Dada was trying out his hand at a territory so far established by music directors such as Shyam Sunder, Vinod and Husnlal Bhagatram. Even the orchestration in interlude sounds such. One can only wonder, if SDB was trying to prove that he could compose this variety too, or was it the producer pressure, but the song remains a delight for the listeners.<\/p>\n