संगीतकार आणि गायक/गायिका

सुधीर फडके एक गायक म्हणून मेलोड्रॅमॅटिक स्कूल मधे येतात . दुसरे मराठी गायक जयवंत कुलकर्णी याच प्रकारचे गायक आहेत. हिंदी मधे आशाबाई , रफी साहेब, मन्ना डे व किशोरकुमार हे या प्रकारचे गायक आहेत. यात कुणासाठी तरी स्वता: अभिनय करीत गायचे असा प्रकार असतो. अलिकडेच एका मुलाखतीत आशाताईनी या गायकीचा उल्लेख एका समारंभात केला आहे. याचा अर्थ बाकीचे गायक अगदी प्लेन गातात असे नव्हे पण अभिनयाचे प्रमाण कमी असते. गीत जर मेलोडृमोटिक प्रकारचे असेल तर संगीतकार अशा पैकी कोणातरी गायकाची निवड करतो. याच निकषावर फडक्यानी आशाबाईंची निवड केली आहे.' कशी नशीबानं थट्टा' हे पिंजर्‍यातील गीत राम कदम यांच्या कडून फडक्याना मिळालेच याचे कारण असेच आहे. आता दुसरा भाग असाही असू शकतो की त्यावेळी लताबाई हिंदीत अग्रेसर असल्याने त्यांचा गाण्याचा दर मराठी निर्मात्याना परवडणारा नसावा. त्यामुळे 'आशा" हीच मराठी निर्मात्यांसाठी आशादायक ठरली असावी.

मराठी गाण्यांमध्ये आशा भोसले यानी जे करून ठेवलेय त्याला तोड नाही. अगदी लता ताई पण तिथे २ नंबर ला येतील

एक अति अति अतिशय गाजलेले गाणे मज सांग लक्ष्मणा जाऊ कुठे पतिचरण पुन्हा मी पाहू कुठे

मराठी चित्रपटाचे लता आशा मानधन घेत नसत असे ऐकून आहे

म्हणजे १. लता ने भरपूर मराठी गाणी गायली पण बाबुजींकडे फार नाही २. शैली वेगळी / मेलोड्रामाटीक हा मुद्दा फारच पटतो आहे तथापि ह्या दोन प्रतिभावंतांना एकत्र येणे विशेष कठीण नवते... ३. मानधन हा मुद्दा नसावा ४. त्यांच्यात काही वाद नव्हते (निदान नसावेत) त्यामुळे तोही मुद्दा निकालात... मग ....हे काय फक्त आपले दुर्दैव? ????

गीत रामायणामधे त्यांनी सीतेकरीता लता मंगेशकर यांचीच निवड केली होती. पण तिच्या तारखा मिळाल्या नाहीत. रेकॉर्डिंग पुणे आकाशवाणीवर होत असे. मग लताऐवजी माणिक वर्मांना घेतले. पुढे केव्हातरी लतादिदींची एक तारीख मिळाली. तेव्हा मज सांग लक्ष्मणा जाऊ कुठे हे रेकॉर्ड झालं. त्या गाण्याला रसिकांनी उदंड प्रतिसाद दिला. लता मंगेशकर व बाबुजी यांच्यात काही वाद असतील असे नाही वाटत.

लताबाई यांचे 'आली हासत पहिली रात' संगीतकार वसंत प्रभू चित्रपट शिकलेली बायको. आशाबाईंचे "थंडगार ही हवा त्यात मंद गारवा " चित्रपट एक धागा सुखाचा संगीत राम कदम www.youtube.com/watch?v=5_kzdUFkExA ही दोन्ही गीते अभ्यासा , लक्षपूर्वक ऐका. लताबाईंचे गाणे हे गायिकेने गायलेले वाटते तर आशाबाईंचे गाणे त्या चित्रपटातील पात्राने गायलेले वाटते. कोणत्यातरी संगीतकाराने म्हटले आहे- इफ लता सिंग्ज विथ थ्रोट आशा सिंग्ज विथ सोल ! "

आशा की लता हा जुना वाद आहे राहुल देव बर्मन यांचे आशाच्या करीयरमधे मोठे योगदान आहे आप की कसम मधे करवटे बदलते रहे इ. गाणी लताला आहेत. आशाला एकही नाही. अमर प्रेम मधे 'रैना बीती जाय' लताला आशाला एकही नाही अनामिकामधे - बाहो मे चले आओ हे लताला परिचय मधे बीती ना बीताई रैना कटी पतंग - मुख्य गाणे ना कोई उमंग है - हे लताला आणि मेरा नाम है शबनम हे कॅबेरे स्टाईलचे गाणे आशाला कुणीसं म्हटलय आर डी ने आपली सर्वोत्तम गाणी लताला दिली आणि उरलेली आशाला दिली.

कलाकारांच्या तुलना करणे खरेच आवश्यक असते का ? मला वाटते लता आणि आशा यांची तुलना करणे अशक्य आहे. दोघेही समर्थ आणि परिपूर्ण आहेत. कलेच्या ओघात गाण्याची शैली , एखादे गाण्याचे भाव यांचा अभ्यास म्हणून तुलना मंजूर आहे पण ती संशोधनाच्या बाजाने झालेली असावी , केवळ निमित्त मात्र तुलना करून काहीही साध्य होणार नाही. बाबुजींनी "लोकप्रिय , भावपूर्ण व सोप्पी " गाणी केली हे सत्य आहे. खळे किंवा हृदयनाथ यांच्या प्रमाणे ती अस्सल नाहित असे ही कोणाचे मत असू शकते. बाबुजींनी प्रामुख्याने चित्रपट संगीत केले. खळे किंवा हृदयनाथ हे भावगीताचे राजे आहेत. बाबूजींचा "मेलोड्रामा" ही त्या चित्रपटातील गाण्याची मागणी आहे. माझ्या वचनानुसार ललिता फडके (बाबुजींच्या पत्नी) व लता बाई हया चांगल्या मैत्रिणी होत्या. लता बाई सुध्दा बाबूजींचे नाव आस्थेने घेतात आणि त्यामध्ये कोणताही दुरावा दिसत नाही. एखाद्या गायकाने एखाद्या संगीतकाराकडे कमी काम केले याचा अनर्थ करणे योग्य नाही. येथे मानधनाचा ही मुद्दा आला आहे - आता काय बोलावे ? गाण्याचा आनंद लुटण्यासाठी ह्याची खरच गरज असते का ? कलाकारांना खूप मानधन मिळावे आणि त्यांनी आपली सर्वोत्तम कला ईश करावी एवढाच रसिकांनी विचार करावा . कोणी गुणी कलावंत आर्थिक विवंचनेत असेल तर मात्र मानधनाचा विचार रसिकांनी जरूर करावा. मराठी मध्ये लता बाई नं २ वर येतील असे ही एक क्लेश कारक विधान आहे. कोण ठरवते हे क्रमांक ? "अगा करुणा करा" हा एक तोडी समजून ऐकला की बोलती बंद होईल नंबर देणाऱ्यांची. किती गाणी गायली ? असा किलो चा भाव असेल आणि कोणी लताबाईंना २/३ नंबर देत असेल तर देवू दे..... भाव म्हणाल तर आशा वरचढ असे ही एक तुलनात्मक विधान आहे. दोघीही तितक्याच समर्थ आहेत. एखाद्या गाण्यात कुठे कोणी कमी जास्त असेल पण म्हणून असे "वरचढ"" ठरवणे स्वतः आशाबाईना ही अमान्य असेल.

हा आशा लता ह्यांच्या तुलनेचा मुद्दाच नाहीये... बाबुजींनी लताबरोबर फार गाणी केली नाही ह्याची काही तात्विक कारणे आहेत का? वरील चर्चेतील असे मुद्देच पुढील चर्चेत यावेत..

ओपीनी सुमन कल्याणपूर यांचा वापर केला नाही. सी रामचंद्र यानी रफीचा फारसा वापर केला नाही. एस डी बर्मन यानी महेंद्र कपूर यांचा वापर क्वचितच केला. रवी यानी तलतचा वापर बहुदा केलाच नाही. सलील चौधरी यानी रफीपेक्षा मुकेशच अधिक पसंत केला. रवी यांचा प्रेफरन्स लता पेक्षा आशा ला जास्त दिसून आला आहे. नौशाद नी मुकेशचा वापर अंदाज नंतर एकदम साथी या चित्रपटात केला. नय्यर यानीही फक्त दोन चित्रपटातच मुकेशचा वापर केला. मराठीत यशवंत देव व श्रीनिवास खळे हे कोणत्याही आवाजाच्या आहारी गेलेले नाहीत तर गीताची मागणी पुरी करणारा योग्य पुरवठादार गायक निवडणे हा त्यांचा " उसूल" राहिलेला आहे. दत्ता डावजेकर यांचेही असेच आहे. वरील सर्व विधानांचा सखोल मागोवा घेतला तर असे दिसून येईल की एखादा संगीतकार एखादा गायक एखाद्या गीतासाठी का निवडतो हे अनेक गोष्टींवर अवलंबून असते. नय्यर साहेबांच्या गीतात तानेचा प्रभाव १९५९ नंतर वाढल्याने आशाबाईना मादकतेसह तान येत असल्याने त्याना प्रेफरन्स मिळत गेला असे मी तरी मानतो. त्यांच्या नय्यरशी असलेल्या वैयक्तिक मैत्रीचा यात संबंध नाही असे माझे स्पष्ट मत आहे. बाकी आशाबाई सीमा देव आणि हेलन या दोघींचाही आवाज आहेत. किती फरक आहे सीमा व हेलन मधे? आहे ना ? रफी देवआनंद साठी गाताना व शम्मीकपूर साठी गाताना जॉनीवॉकर साठी गाताना क्रमाने चॉकलेट हिरो, रांगडा हिरो, व विनोदी पात्र उभे करताना दिसतात ना ? असे आहे का मुकेश वा तलत यांचे ? काही गायक हे आवाजाने गाजतात तर काही गायकीने . नरेंद्र चंचल, अझीज नाजा, शैलेंद्र सिंग. हेमंत कुमार हे खास आवाजाचे मालक आहेत खास गायकीचे नाहीत.

हे आपलं बाबुजी आणि लताबाईंचं अतिशय आवडतं गाण. तुनळीवर हे गाण बाबुजींच्या आवाजातही उपलब्ध आहे.

प्रत्येक संगीतकाराचे एक स्वप्न असते लताला घेऊन गाणे करावे. संगीतकार अनेक झाले आणि होतील पण सगळ्यांचाच हा प्रेफरन्स राहीला. जयदेव एस डी बर्मन नौशाद रोशन सलीलदा (आपले डॉ नव्हेत) मदनमोहन जतिन ललित ए आर रेहमान खय्याम संगीतकार असे अनेकजण झाले गायिका त्यामानाने फार कमी बा द वे ओ पी ने लतासाठी प्रयत्न खूप केला अगदी ब्लँक कॉल्सही केले, अगदी मागेच लागला होता जणू 'फिर वही दिल लाया हूं' हे त्याचे स्वतःचेच गाणे होते तो संगीतकार म्हणून असेलही थोर पण माणूस म्हणून लताजींना तो पटला नाही तेव्हा लताने त्याला 'नाही' सांगितले याने तिला घेतले नाही हे खरे नाही त्यात पुन्हा वय झाल्यावर बरेच कलाकार संताचा आव आणतात आणि कहाण्या पसरवतात. बाबुजींचे मत मात्र लताबद्दल नेहमीच चांगले होते त्यांच्यात वाद नव्हते. फक्त लताजी हिंदीत होत्या (मुंबईत) बाबुजी होते मराठीत. त्याकाळी प्रभात इ मुळे चित्रपटाचे यापुढे केंद्र पुणे राहील असा त्यांचा अंदाज होता आणि ते पुण्यातच अडकून राहीले त्यामुळे लताजी, बाबुजी एकत्र फारसे येऊ शकले नाहीत माझ्या अंदाजाप्रमाणे वसंत प्रभू मुंबईत होते.

प्रत्येक संगीतकाराचे एक स्वप्न असते लताला घेऊन गाणे करावे. मागे एकदा मी आशाताईंची मुलाखत मराठीमधे दूरदर्शन वर पाहिली होती. त्यात यानी स्पष्ट विचारले होते. " दीदीची गाणी मी काहीतरी प्रमाणात गाउ शकेन पण दीदी गाउ शकेल का मी गायिलेली काही गाणी ? " ही मुलाखत मी प्रत्यक्ष पाहिली आहे. ऐकीव माहिती नाही. नुकतेच एका मोठ्या कार्यक्रमात मात्र त्यानी वेगळे विधान केले आहे. त्या म्हणाल्या दीदीने प्रयत्न केला असता तर ती ही माझ्यासारखी गाणी गाउ शकली असती. हे तर अनेकानी पाहिले असेल कारण त्याला फार दिवस झालेले नाहीत. आता वरच्या विधानाबद्द्ल... लताबाईंचा आवाजच इतका अलौकिक आहे. उर्दू संस्कृत उच्चार उत्तम आहेत. पण प्रत्येक प्रकारचे गीत त्या जर गाउ शकत्या तर आशाबाई या आज सर्वात जास्त गीते गाणारी जगाच्या इतिहासातील गायिका कशी ठरली असती ? लताबाईंची अनेक भांडणे संगीतकारांशी व्यक्तिगत पातळीवर झाली आहेत.हेच त्यानीच अलिकडे आय बी एन लोकमत वर सांगितले आहे. लताला घेऊन गाणे करायचे हे काही ग्रेट स्वप्न नव्हे तिच्या बरोबर दीर्घ कारकीर्द करणे हे खरे स्वप्न आहे. व ते फार मोठ्या प्रमाणात ज्याना जमले आहे ते लक्ष्मीप्यारे व मदनमोहन. समजा द्रेरे कान्हा चोळी लुगडी हे गीत गाण्यासाठी राम कदम ना लताबाई न मिळत्या तर राम कदम काय अधुरे राहिले असते ? . त्यांची कारकीर्द त्या अगोदरच फुललेली होती. बाकी हे गीत लताला दिले असते तर नय्यरच्या आयुष्याचे सोने झाले असते असे एकही नय्यर गीत मी तरी १९६२ पासून ऐकलेले नाही.

चर्चेने जे वळण घेतले आहे त्याने हतबुद्ध ! चौरा यांची स्वाक्षरी इतकी आवडली की माझ्यासाठी त्यांत खालीलप्रमाणे सुधारणा करुन वापरायचे डोक्यांत आहे. विचाराधीन स्वाक्षरी : आपल्याला अक्कल आहे असे समजणे हे आपली अक्कल वाहू लागल्याचे पहिले लक्षण आहे ! !

> मला आपल्या मुलाशी कॅरम खेळणार्‍या रफीमधे रस नाही हे अगदी बरोबर

माझ्या एका मित्राने गीता दत्त्त या गायिके वर पत्र लिहिले From: Anil Joshi/CT/IBU/TCE Date: 04/26/2012 05:32PM Subject: A Forgotten Gem : Geeta Dutt Dear All, It was all about three years back, along with my friends and colleagues of TCE listening to some musical TV Program in the project GH in Bangalore, there was a song in playing probably sung by Geeta Dutt originally. Listening to that I made a comment something like: She ( Geeta Dutt) was really a singer of caliber who can fused the emotions into her singing. She also had an unusual voice with a exceptional ability to emote entire range of emotions. She had an incomparable voice that was different than other Female Singers ( no factual comparison was / is intended ) of her time, very enchanting and ever capable of pleasing to the listeners. A voice that tugged at music lovers’ heartstrings. While the fact is that she had no formal training for ‘Music’. And no one was contrary to this. After having made this comment my mind made a commitment to myself that I will make a collection of Geeta Dutt’s songs. And after the accomplishment, I will share it with all those who want to have it without anything in return. Such promised was proclaimed. Very recently, I accomplished the task; but mere collection of Songs did not satisfy me. I was tempted to write a tiny feature about Geeta Dutts life and her singing. During that through internet I came to know that already a full length book is written on her. I felt that I should present the peculiarities of Geeta Dutt's singing to the future listener of good Music, through this tiny feature. And the result is a feature titled-A Forgotten Gem : Geeta Dutt. Soft copy of the same is attached; it also contains few photographs of GD. It is sent for your reading. Another attachment is soft copy of list of the GD’s Songs, fully indexed which I have compiled; anybody, recipient of this mail and ardent lover of this kind of Music, who wish to have this collection; please let me know. Best Regards, Anil Joshi इतकि सुन्दर माहिति आहे. List of Geeta Dutt’s Songs No Lyrics Artist Music By Title Year Mera Sundar Sapana Beet Gaya (*) Geeta S D Burman Do Bhai 1947 Yaad Karoge Yaad Karoge Geeta S D Burman Do Bhai 1947 Unse Kehana Ki Pal Bhar Ke Liye (*) Geeta Vinod Ek Thi Ladki 1949 Ghugat Ke Pat Khol (*) Geeta Bulo C Rani Jogan 1950 Mat Ja Mat Ja Jogi (*) Geeta Bulo C Rani Jogan 1950 Ae Ri Mein To Prem Diwani (*) Geeta Bulo C Rani Jogan 1950 Baat Chalat Nai Chunari (*) Geeta Dhaniram, R Sudarshanam Ladki 1950 Khayalon Mein Kisike Is Taraha (*) Geeta, Mukesh Roshan Baaware Nain 1950 Tadbir Se Bigdi Hui Taqdeer (*) Geeta S D Burman Baazi 1951 Aaj Ki Raat Piya (*) Geeta S D Burman Baazi 1951 Dekh Akeli Mohe Barkha Sataaye Geeta S D Burman Baazi 1951 Bhagwan Do Ghadi Jara Geeta S D Burman Bahar 1951 De Bhi Chuke Hum Dil Nazara Geeta, Kishore S D Burman Jaal 1952 Jai Jadish Hare Geeta, Hemant Hemant Kumar Anand Math 1952 Dekho Jadu Bhare More Nain (*) Geeta O P Nayyar Aasman 1952 Zara Saamne Aa Geeta O P Nayyar Baaz 1953 Ae Dil Ae Diwane Geeta O P Nayyar Baaz 1953 Aai Birha Ki Raat Geeta S N Tripathi Nav Durga 1953 Aa Jaan –E- Wafa (*) Geeta Basant Prakash(.) Anarkali 1953 Hoon Abhi Mein Jawan Geeta O P Nayyar Aaar Paar 1954 Sun Sun Sun Zalima (*) Geeta, Rafi O P Nayyar Aaar Paar 1954 Babuji Dheere Chalana (*) Geeta O P Nayyar Aaar Paar 1954 Yeh Lo Mein Hari Piya (*) Geeta O P Nayyar Aaar Paar 1954 Mohhabat Karlo Jee Bhar Lo Geeta, Rafi O P Nayyar Aaar Paar 1954 Kaise Koi Jiye Zeher Hai Zindagi Geeta Timir Baran , S K Pal Baadbaan 1954 Na Yeh Chand Ho Ga(*) Geeta Hemant Kumar Shart 1954 Chand Ghatne Laga Geeta Hemant Kumar Shart 1954 Banki Adaye Dekhna Geeta Salil Chaudhari Amanat 1955 Hum Se Bhi Karlo Do Mithi (*) Geeta N Dutta Milap 1955 Jate Ho To Jao Par Geeta N Dutta Milap 1955 Aan Milo Aan Milo Shyam Geeta, Manna Dey S D Burman Devdas 1955 Mohabbat Ka Natija Geeta Hemant Kumar Arab Ka Saudagar 1955 Dil De Dala Nazarana Geeta O P Nayyar Musafir Khana 1955 Thandi Hawa Kali Ghata(*) Geeta O P Nayyar Mr & Mrs 55 1955 Jaane Kahan Mera Jigar Gaya Ji(*) Geeta O P Nayyar Mr & Mrs 55 1955 Hum Ko Chhod Ke Kahan Jaoge Geeta O P Nayyar Shrimati 420 1956 Tumahi Ne Dard Diya(*) Geeta, Rafi O P Nayyar Chhoo Mantar 1956 Jab Badal Lehraya (*) Geeta O P Nayyar Chhoo Mantar 1956 Jata Kahan Hai Diwane (*)` Geeta O P Nayyar C I D 1956 Aankho Hi Aankho Mein Ishara(*) Geeta, Rafi O P Nayyar C I D 1956 Yeh Hai Bombay Meri Jaan(*) Geeta, Rafi O P Nayyar C I D 1956 Hum Aap Ki Ankho Mein (*) Geeta S D Burman Pyaasa 1957 Aaj Sajan Mohe Ang Laga Lo(*) Geeta S D Burman Pyaasa 1957 Jaane Kyaa Tuune Kahii Jaane (*) Geeta S D Burman Pyaasa 1957 Yeh Rah Badi Muskil Hai Geeta Madan Mohan Gateway of India 1957 Jab Tum Nahin To Chand Sitare(*) Geeta Hemant Kumar Kitana Badal Gaya Insan 1957 Madbhari Hain Pyar Ki Palken Geeta Hemant Kumar Faishon 1957 Aai Re Ghir Ghir Geeta Hemant Kumar Miss Mary 1957  List of Geeta Dutt’s Songs 49 Tum Jo huye Mere Hamsafar (*) Geeta, Rafi O P Nayyar 12’O Clock 1957 50 Kaisa Jadoo Balam Tune Dara (*) Geeta O P Nayyar 12’O Clock 1957 51 Tora Manwa Kyon Ghabaraye Re(*) Geeta N Dutta Sadhana 1958 52 Aey Dil Mujhe Bata De (*) Geeta Madan Mohan Bhai Bhai 1958 53 Duppata Mera Mulmul Ka Geeta, Asha Madan Mohan Adalat 1958 54 Mera Nam Chin Chin Chu (*) Geeta O P Nayyar Howarah Bridge 1958 55 Mujhko Tum Jo Mile (*) Geeta, Hemant Mukul Roy Detective 1958 56 Do Chamakati Ankho Mein Geeta Mukul Roy Detective 1958 57 Karib Aao Na Tadpao Geeta Shankar Jaikishan Love Marriage 1959 58 Ankinya Bhul Gayi Hai Sona Geeta, Lata & Chorus Vasant Desai Gunj Uthi Shehanai 1959 59 Gumsum Sa Yeh Jahan Geeta, Hemant Hemant Kumar Duniya Jhukati Hai 1959 60 Waqt Ne Kiya Kya Haseen Sitam (*) Geeta S D Burman Kagaz Ke Phool 1959 61 Nanhi Kali Sone Chali (*) Geeta S D Burman Sujata 1959 62 Bachpan Ke Din Bhi Kya Din Geeta S D Burman Sujata 1959 63 Janu Janu Ri (*) Geeta, Asha S D Burman Insan Jag Uttha 1959 64 Na Mein Dhan Chanhun (*) Geeta, Sudha S D Burman Kala Bazar 1960 65 Rimjhim Ke Tarane Leke Aayee (*) Geeta, Rafi S D Burman Kala Bazar 1960 66 Hum Bhi Hai Aur Tum Bhi Ho Geeta, Lata, Mukesh Shankar Jaikishan Jis Desh Mein Ganga …. 1960 67 Beete Nahin Rat Sanam Geeta, Mukesh Chitragupta Hum Matwale Nujawan 1961 68 Na Jao Saiyan Chhuda Ke Baiyan (*) Geeta Hemant Kumar Sahib Bibi Aur Gulam 1962 69 Piya Aiso Jiya Mein Samay Gayo (*) Geeta Hemant Kumar Sahib Bibi Aur Gulam 1962 70 Chale Aao Chale Aao Geeta Hemant Kumar Sahib Bibi Aur Gulam 1962 71 Ankho Mein Tum Dil Mein Tum (*) Geeta Salil Chaudhary Half Ticket 1962 72 Mein Tere Pyar Mein Geeta, Manna Dey S D Burman Ziddi 1964 73 Aaj Ki Kali Ghata Geeta Kanu Roy Uski Kahani 1966 74 Mera Dil Jo Mera Hota Geeta Kanu Roy Anubhav 1971 75 Koi Chupake Se Aake Geeta Kanu Roy Anubhav 1971 76 Mujhe Jaan Na Kaho Meri Jaan (*) Geeta Kanu Roy Anubhav 1971 (*)Recommended for listening Note (.) Anarkali” (1953) is a musical blockbuster which has great songs following one after another. The music of this movie is composed by C Ramchandra. Legend has it that the producer approached C Ramchandra to compose the music of this movie on the condition that all songs to be picturised on Bina Roy were to be sung by Geeta Dutt). But C Ramchandra insisted on using Lata’s voice. Then the producer signed up Basant Prakash as music director. Basant Prakash composed one song which was recorded in the voice of Geeta Dutt. Then he was unable to continue, as he fell ill. The Producer then compelled to go back to C Ramchandra, who recorded all female playbacks in Lata’s voice. But the one Geets Dutt’s song (A Jaan – E –Wafa) which was already recorded was allowed to remain in the movie and it was picturised on Bina Roy. The last Musical Signature of Late Geeta Dutt was ‘Mujhe Jaan Na Kaho Meri Jaan’ year 1971, she breathe last on 20th day of July 1972, in Harksian Das Hospital. This list more than amply strengthens the belief that God sends all good things in limited amount. 25_04_2012 A Forgotten Gem:Geeta Dutt Geeta Dutt (1930 -1972) Blazing vividness she came and blazing vividness she went. That sums up the life of Geeta Dutt (nee Roy), the singer with the enchanting melodic voice that defied convention. Geeta Roy was born into a rich zamindar's family in Faridpur, East Bengal (now in Bangala Desh), 23rd Nov, in the year 1930. But the ‘Quit India’ movement of 1942 took the shape of an anti-landlord movement and greatly affected the fortunes of Geeta’s family. In 1942 when she was just twelve her parents shifted to Mumbai and took up residence in a modest apartment in a crowded Hindu colony of Dadar. The magic of Geeta Roy was discovered when she was overheard singing by a neighbour K Hanuman Prasad, in her Dadar apartment. The neighbour K. Hanuman Prasad, a composer and music director, who took Geeta under his patronage, trained and groomed her in singing and later launched her into singing in the movies. In 1946, she got her first break when got an opportunity to sing in mythological film Bhakta Prahlad (1946) for which Hanuman Prasad was the Music Director. She was given only two lines to sing in the movie “Suno Suno Binatee Hamari Prabhuji”. She was just sixteen at that time. But those two lines mesmerized everyone in the recording studio. And that was enough to change her destiny. S.D.Burman noticed and appreciated her voice and offered her a solo in Do Bhai (1947). Out of the nine songs in the film, the newcomer in the industry, Geeta Roy, was given six songs-four solo numbers and two duets and history was created with “Mera Sundar Sapna Beet Gaya”, filmed on Kamini Kaushal. The music of that film clicked in a big way particularly “Mera Sundar Sapna Beet Gaya”' 1 a pathos-ridden melody. She was only seventeen then. And also who can forget Geeta’s touching number “Yaad Karoge Yaad Karoge, Ek Din Hum Ko Yaad Karoge” (At least some day, you will remember me) is from the same film. Geeta Roy, with the splendor of her voice and finer expressions was the first superstar of Hindi film music. Between 1947 and 1950, she reigned as the undisputed Queen of Hindi film music. There are eleven (11) solo songs sung by Geeta Roy in Kedar Sharma’s hit Jogan (1950) and most of them are Meerabai’s devotional songs. These musical gems include “Ghunghat Ke Pat Khol,” “Eri Mein to Prem Diwani,” “Mat Ja Mat Ja Jogi” and the nearly climatic Meera rendition in Geeta Dutt's mellifluous voice. But year 1951 also saw the release of a film, Baazi. Film Baazi (1951) with its fast, jazzy tracks changed the trend and that “Tadbeer Se Bigadi Hui Takdeer Bana Le” became a rage and Geeta Roy's image was never the same. The film, a crime thriller, directed by first time director Guru Page 2 of 9 Dutt was a trend setter of sorts, leading to a spate of urban crime films. The jazzy musical score revealed a new facet to Geeta Roy's singing. The appeal in her voice and the ease with which she went western was marvellous to behold. There were other songs in the film to her credit. Under the direction of S.D. Burman, she sang many beautiful songs for this film viz. “Aaj ki raat piya”, “Dekh Aleli Mohe Barkha Sataye”; while every song in the film was a intense hit, but one stood out for special appeal was- “Tadbeer Se Bigadi Hui Takdeer Bana Le”2 . This momentous track in the film was actually a Ghazal penned by Lyricst Saahir Ludhianvi, which S D Burman decided would sound better as a jazzy, peppy number instead a Ghazal. Recorded as such in Geeta’s voice – much to the dismay of Saahir Ludhianvi – the track took the nation by storm and remoulded Geeta’s image in the listeners’ mind as being more than just a Ghazal singer. The nation had been introduced to the variety that was Geeta Dutt’s forte. From then on in the 1950s for a club dance or a seductive song number, the first choice was Geeta Roy. (Late) Dev Anand has said on more than one occasion that people saw this film several times only for this song sequence. Her popularity and position was established firmly with Baazi, but the Baazi songs also caused music directors thereafter to offer her mainly the light, westernized and club numbers. However, with 1950 came a voice named Lata Mangeshkar, who took the whole country by storm. Only two singers managed to survive Lata’s onslaught: Geeta Roy and Shamshad Begum and although relegated to number two spot, Geeta managed to hold her own against Lata for more than a decade. While Lata’s sister Asha was still struggling to make a mark as a singer in the film industry. The year 1952 was the busiest in Geeta’s career. During this year she sang for at least 30 different films. [[During the recording of the Baazi’s songs she met the young director of the film, Guru Dutt. Thus blossomed a romance and after a whirlwind romance an impulsive extrovert Geeta Roy Chowdhuri all set to become Geeta Dutt. Geeta married to Guru Dutt on 26 May 1953 and had three children Tarun and Arun and a daughter Nina. After marriage Geeta went on to sing some of her best songs in her husband'sfilms, while continuing singing in various outside assignments as well.]] It was S.D. Burman who got her to sing light music numbers with a classical touch in all-time in great films like ‘Devdas’ and ‘Pyaasa’. Another genre of songs that Geeta Dutt mastered was the Bhajans. There was this distinct tranquility in her voice that was best suitable for Bhajans. A couple of examples are – “Jai Jagdish Hare” from Anand Math (1952), “Aaj Sajan Mohe Aang Laga Lo”3 from Pyaasa (1957), “Tora Manva Kyon Ghabaraaye Re” Sadhana (1958) and “Na Main Dhan Chanhu” from Kala Bazar (1960), co-singer Sudha Malhotra. In year 1952, came Omkar Prasad (O P) Nayyar, who used Geeta's voice in Aaasmaan (1952). This was the first film of O P Nayyar as an independent Music Director. This film flopped but Geeta’s “Dekho Jadu Bhare Morey Nain” remains one of the all time favorites of her fans. O P Nayyar used Geeta’s voice again in Baaz (1953). This one also bombed at the box office but songs like “Zara Saamne Aaa” and “Ae Dil Ae Diwane” from Baaz make enchanting listening even now. Another music director who shaped the voice of Geeta effectively was none other than O. P. Nayyar. In spite of a trail of flops in Nayyar's career till then, Geeta recommended Nayyar's name when husband Guru Dutt produced Aaar Paar (1954) and she was very right because every song of Aaar Paar (1954) became a wild hit. Apart from Geeta Dutt, the other playback singers were Shamshad Begum and Mohammad Rafi. Subsequent to the success of Aaar Paar, O P Nayyar did not have to look back for many more years. From the Aaar Paar (1954), Geeta Dutt could easily be labeled as versatile female singer of (old) Bollywod. Her voice was full of Expressions be it like a warning of “Babuji Dheere Chalana” or scolding in the duet as “Sun Sun Sun Zalima Page 3 of 9 (as“Ja Ja Ja Bewaafa”); or an submissive romantic call in “Yeh Lo Mein Hari Piya” is always enthralling. Even these days these songs from Aaar Paar captivate the listeners. It is the magic of Geeta’s voice and talent of O P Naayar. Subsequent to Aaarpaar (1954), came Mr & Mrs 55 (1955). Remember her song of this film “Tandi Hawa Khali Ghata Aahi Gayee Jhoom Ke” (cool breeze and rain cloud have moved in dancing) that Geeta’s voice was a fresh breeze and rain cloud combined. Music critics say -when she sang you can feel the cool breeze of a cloudy day. And later came the Film C I D (1956). Among the three movies above C I D was a big hit on box office because of O P Nayyar’s music. Apart from Geeta Dutt’s two duets with Mohammad Rafi and one solo in this movie,“Jata Kahan Hai Diwane” will always be remembered. Shamshad Begum’s contribution to this movie as a singer was also notable. It is slightly difficult to believe that the same voice that tugged at music lovers’ heartstrings with “Waqt Ne Kiya Kya Haseen Sitatam” Kagaz Ke Phool (1959), the ruthlessness of the time is conveyed so deeply, was also the same voice that expressed the unbridled joy and heartiness in the club dance song “Mera Naam Chin Chin Choo” 4 Howrah Bridge (1958). Even today, this song is a raging hit. In the same film, Howrah Bridge (1958) another memorable romantic song - Aayiye Mehebaan- was given to Asha. One should note here that O. P. Nayyar chose Geeta over Asha for the jazzy club song “Mera Naam Chin Chin Choo”5 . But then, the genius of the (late) Geeta Dutt lay in the immense variety of expressions that she was able to capture in her voice almost effortlessly. Geeta made her mark as a vocalist recording one more genre of songs that is Gazals, like “Aa Jaan–eWafa” Anarkali (1953) and “Jab Tum Nahin to Chand Sitare Mein Kya Karun” Kitana Badal Gaya Insan (1957) are worthy to note. On personal front she was an extrovert, a fun-loving person and a doting mother. The famous lullaby “Nanhi Kali Sone Chali” from Sujata (1959) is a testimony of a mother in her. God knows, how many Indian kids were lulled to sleep by this lullaby. By the late fifties, her marriage had run into rough weather and was on the rocks. Her life was fraught with personal problems and old faithful like O.P. Nayyar and S D Burman were reluctant to work with her. However in the year 1962, Sahib Bibi Aur Gulam, another Guru Dutt’s film was an isolated success. The character of Chhoti Bahu in Sahib Bibi Aur Ghulam (1962) is undoubtedly one of the greatest written for mainstream Indian cinema. Meena Kumari immortalized the tragic Chhoti Bahu with a stellar performance. Anguish, devotion, desire, selfdisgust, rebellion and a suppression every little facet that constituted the complex character of Chhoti Bahu, also a truthful wife, comes to life in the song “Na Jao Saiyyan Chhuda Ke Baiyan” of Sahib Bibi Aur Gulam ((1962) and which is enduring. Another Song from the same movie “Piya Aeiso Jiya Mein Samay Gayo Re” indicative of fervor fused with love and emotions. These two numbers were girls’ favorite in Antaksharies at that time (it may be so still today, who knows). But very few know the heart melting voice behind these classics is of Geeta Dutt. [[Guru Dutt'sliaison with Waheeda Rehman and Geeta's refusalto work in his projects, along with his apparent refusal to let Geeta work on outside projects broke the marriage. To calm down the things Guru Dutt launched a film Gauri(1957) with her in the lead. She wasto be launched as a singing star and it was to be India's first film in cinemascope but the film was shelved after just a few days of shooting. This was the time when one heard complaints from music directors about her not being easily available for either rehearsals or for recordings. She also neglected her riaz. And to make things worse both took to drinking heavily. And Geeta and he could never really get back together. It issaidPage 4 of 9 his death due to an overdose of sleeping tablets in his drink was an accident but the cause of death remains amystery. GuruDuttleftthis world onOctober 10, 1964. Geeta Dutt was a broken woman, shattered by his death. She now had neither her singing nor her husband; Asha Bhosale had not only taken her place but had gone beyond her. Geeta Dutt suffered a nervous breakdown. When she recovered she found herself in a financial mess. She did try to resume singing again, cutting discs atDurga­Puja and giving stage shows, even acting in aBengali film,Badhu Bharan (1967) as heroine, but nothing seems to work out either. But her health kept failing as she drank herself to a point of no return. She died of cirrhosis of the liver, at the early age of 41. But not before she showed she still had itin her were she given amike to sing.]]  Music director Kanu Roy in his maiden venture as music director gave her one of the two songs in Uski Kahani (1966), the one is unforgettable “Aaj Ki Kali Ghata Mast Matwali Ghata”. This Kanu Roy composed song has minimal orchestra, the words drop like a gentle drizzle and have mystical quality. Lyrics are of Kaifi Azami. The songs of Basu Bhattacharya's Anubhav (1971), Music Director Kanu Roy, ''Koi Chupke Se Aake”, “Mera Dil Jo Mera Hota” and “Meri Jaan Mujhe Jaan Na Kaho”, and represent some of the finest work that Geeta Dutt ever did. These poems like lyrics are of Gulzar. In her little lifespan and career she has delivered many memorable songs. Even during the last year of her life, she delivered something as soft and romantic as “Meri Jaan Mujhe Jaan Na Kaho”, in the movie Anubhav (1971). The soft, romantic type of song flowered in Geeta's melodious and expressive voice. Geeta's singing in Anubhav demonstrates how much she still had to offer even at the fag-end of her life. This was her last Musical Signature over the time. Anubhav (1971) showed clearly that in spite of all the calamities, she could sing and sing well enough. [[This enthralling voice,sweet like honey that explored an array of genre and emotions became silent on 20th ofJuly 1972, atthe age of 41, inHarkishandasHospitalMumbai.]] What attracts our attention each time we listen to Geeta Dutt’s song is the effortless ease with she swings and flies through the songs given to her. Among her contemporaries, female singer of Hindi Film industry, she was the one with least training in music (The only training she received was from Hirendranath Nandy, a family relative, back home). Her natural singing style was not familiar with techniques of singing6 . But she was able to bring to all the songs that she sang a remarkable feel. Her liaison with the beats was total and incomparable. It is said that she sang over 1500 songs in her life in many languages like Hindi, Bengali, Bhojpuri, Marathi7 , Gujarati8 , Punjabi, Nepali etc. She sang with almost all the singers of the 40s, 50s and 60s and worked with over all composers of that time barring very few exceptions. She is known as “Queen of Bhaav Gayaki” for her ability to fuse the right emotions in the songs she sang. The “Queen of Bhaav Gayaki” is no more. The first thing that strikes when we listen Geeta Dutt’s singing is that she never sang but just glided through the tunes. Though Music world lost this great voice forever, her singing will remain immortal, in the hearts of listeners ever. −−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−−− Notes 1. Do Bhai (1947) was the debut film for the famous Lyricist Raja Mehandi Ali Khan. 2. While singing this song, during old days, lots of people used to make mistake by interchanging the word Tadbeer (action) with Taqdeer (luck) and they used to sing Taqdeer Se Bigdi Hui Tadbeer Bana Le. And this confusion continues even today when some people hum this song. 3. In this song, “Aaj Sajan Mohe Ang Laga Lo/Janam Safal Ho Jaaye” S. D. Burman effectively used Bengali lilt in Geeta’s voice and turned a Bengali devotional song into a melodious memorable Hindi Page 5 of 9 bhajan. This bhajan was picturized on two street singers (Pyaasa 1957) who are shown singing while Waheeda Rehaman looks on at Guru Dutt expressing her longing for him within the story of the movie. This song was composed by Maestro S.D.Burman where he incorporated shades of RagaDesh using Baul style of singing; Baul style of singing is very popular in Bengal. 4. The Lyricist of the Songs “Mera Nam Chin Chin Choo” and “Aaieye Meherban” is Qmar Jalalabaadi (his real name Om Prakash Bhandari); Who also wrote famous songs like “Ek Dil Ke Tukade Hazar Hue” (Pyar Ki Jeet 1948) and also “Din Hai Suhana/Aaj Pehali Tarikh Hai” (Pehali Tarikh 1954).(Recall recent Ad of Cadury’s Milk Chocolate used it as a jingle. The original song, sung by Kishore Kumar, Music By (late) Sudhir Phadke has been recreated by Shankar-Ehsaan-Loy and sung by Kshitij Wagh for this ad film, was a most popular song of Radio Ceylon for almost thirty three years). 5. (Late) O P.Nayyar once had following comment on Geeta Dutt-“There was a unique quality in Geeta’s voice. Give her a western style tune and right after that give her a complex classical composition, she will sing both types of songs with equal ease. For seductive songs, Geeta gave a tantalizing lilt and fascinating curves and hence was ideal choice for such types of songs. Geeta Dutt is an asset to any music director”. O. P. Nayyar proved his point in one of his most jazzy songs ever “Mera Naam Chin Chin Choo” of Howrah Bridge (1958) 6. Ms Haimanti Banerjee, multiple National Award-winning film-maker and author of the biography, Geeta Dutt – The Skylark: says “Her (Geeta’s) voice was never limited to the classical mould. There was such joie de vivre (joy of life) in her singing and such variety in her tonality that she brought a wave of freshness to whatever she sang. The kind of vocal jugglery she practiced that captivate listeners even today. 7. Five decades ago, the renowned Marathi poet Vasant Bapat wrote a brace of songs - one an angry, anguished lament by Seeta when she is banished to the forest by the Lord Ram, the other a soft, romantic 'bhavgeet'. He got the well-known Marathi 'bhavgeet' singer and composer G N Joshi to tune them. Who did this duo of Marathi artistes choose to sing these songs? Any guesses? The improbable choice made by Vasant Bapat for a singer whose mother tongue was Bengali and who became famous primarily for her Hindi film songs: Geeta Dutt. The choice turned out to be truly inspired. Geeta Dutt may not have a perfect Marathi accent, but she brings to the songs great ease of rendition and a rare depth of feeling - both hallmarks of her singing in any case. The Song “Jaa Saang Laksmana Ramrajala” lyrics capture Seeta's anger and humiliation at being abandoned. It is said that Geeta Dutt’s rendition strikes the perfect tone. Interestingly, this song has a comparison point - and a formidable one. 'Geet Ramayan', the famous musical odyssey put together by the lyricist Ga Di Madgulkar and the composer Sudhir Phadke, has only one song sung by none other than the legendary Lata Mangeshkar - "Maj Saang Laksmana Jaau Kuthe ". This song is set in the same situation as the Geeta Dutt song: the abandoned Seeta addressing Lakshman when he is leaving her in the forest. Madgulkar's lyrics take the standard line on the story: his Seeta is distraught but still submissive to her fate. In the Geeta Dutt song, on the other hand, Vasant Bapat portrays an angry - even sarcastic - Seeta: "Go, tell the king that Seeta now understands his idea of justice. The only other song (Genre: Marathi Bhavgeet) - “Mukya Mansache Bol Sajana Abol Jhale Bol” again demonstrates Geeta's skill at conveying the feelings underlying the words. "The words of my mute mind have become soundless..". The fact that Marathi was not a familiar language for her is clear at a few places in the song but it takes nothing away from the ambience she creates. Sadly, these two songs form the only significant Marathi output in Geeta's voice. For reasons unknown, these lovely songs did not lead to more – the listeners, are the losers for it. Geeta Dutt sang in Marathi just once more, for the film "Swapna Techa Lochani" (1967). The song, "Ganapati Baapa Morya, was written by Shanta Shelke and the music direction was by Aadil Ahmed. (if Anybody have audios of above these Marathi songs, I would like to share ,please) 8. Geeta has recorded many songs in Gujarati too (one like Albelo Rasiyo Phagun Aayo), more than anything els

मी फक्त माहितीकरिता मित्राचे पत्र उधृत केले कि त्या काळात गीता दत्तने बरिच चांगली गाणी गायिली. हाच फक्त उद्देश होता. लताला कमी लेखण्याचा उद्देशच नव्ह्ता. मी स्वतःच लताचा चाहता आहे. तिच्या आवाजाला तुलनाच नाहि. महेश नामजोशी

या बद्दल मला विशेष माहिती नाही..प्रदिपजींनी दिलेली माहिती चांगली आहे..