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Yaad karoge, Yaad karoge..

Thursday, July 18th, 2013

Geeta Dutt

“HUMBLE TRIBUTES TO MY FAVOURITE PLAYBACK SINGER WITH A DIFFERENCE…! GEETA DUTT JI……!”
Playback Singer Geeta Dutt Ji held a rare mellifluous Tone in her magical voice that could ignite Passion and Emotions into every Music Lover’s Heart at any point of time. Her exclusive versatility also enabled her to swap songs from Traditional to Western Tunes without even skipping a rhythm or a tune truly imbibed in her natural talent. When the new Queen of Melody Lata Mangeshkar Ji arrived in the Indian Music scene then, it was Geeta Ji’s reining fluidity in her supreme sweet voice that kept her still popular in the Playback Industry. Geeta ji’s command in the studios would have sustained for the rest of her life had it had not been for her troubled personal life. I would like to focus on her musical talents instead.
The epic song “Yaad Karoge, Ek Din Humko Yaad Karoge” from “Do Bhai” couldn’t have been more apt for anyone than the Playback Singer herself — Geeta Dutt Ji.


Even till her 41st Death Anniversary on the 20th July this year, her exceptional melodious voice that immortalized songs like “Waqt ne Kiya”, “Babuji Dheere Chal Na”, “Jaane Kya Tune Kahi” & the Rocking “Mera Naam Chin Chin Choo” still continues to enthrall Music Lovers all over the globe. Many of her songs have been Re-Mixed today to become huge chartbusters entertaining the younger generation till date.
Geeta Ji was one of Ten children born to a rich Bengali Zamindar, Shri Debendranath Ghosh Roy Chowdhary and his wife Amiya Devi, at Faridpur, Bangladesh in 1930. In the year 1942, at the age of twelve, having shifted over to an apartment at Dadar, Mumbai, she was overheard by Music Director Pandit Hanuman Prasad, passionately singing in her Balcony. He was bowled over and totally impressed with her amazing talent, and thus decided to train her to make her sing a couple of lines in her debut mythological film “Bhakt Prahlad”. With recent discoveries, we have found that she did sing a couple of songs for the film Adhaar in the year 1945 itself. So it is now unclear who gave the first break to her as a playback singer.

During the initial stages of her career, Geeta Ji it is wrongly believed that she was considered only for Devotional songs. Even though her songs written by “Meera Bai” from the film ‘Jogan”, “Ghunghat Ke Pat Khol Re, Tohe Piya Milenge” & “Main Toh Girdhar Ke Ghar Jaaungi” were adorable super hits in that period, she did sing a very good number of happy and romantic songs in that period.
From 1947 till 1949, Geeta Ji remained the Queen of Playback Singing, moving from strength to strength. On the release of Baazi (1951), a crime thriller which featured Jazz-based songs, a sensual side was instantly revealed in her voice, which instantly became a hit with music crazy listeners and with all the popular Music Directors then. They started composing more rocking & sensuous numbers keep her in mind. Geeta Ji’s versatility was thus showcased to the world disclosing the flexibility in her God gifted voice.


Raju Bharathan, a renowned Music Critic wrote about Geeta Ji in a Filmfare Magazine then, “Geeta Dutt was Thandi Hawa and Kaali Ghata, all rolled into one. She could be Sensual and Sensitive at the same time. From singing 12 solo Bhajans in one movie “Jogan”, she moved on to jazzy Musical scores without a thought, or a break in her voice”, a Grand Tribute to the Playback Singer!
Composers Sachin Dev Burman Saab popularly called as Burmanda, and O.P. Nayyar Saab gave Geeta Ji, their best ever tunes of her career which turned out to be some of her most popular songs. Burmanda who gave her recognition with his jazzy “Baazi” compositions, preferred to use that special lilt and pulse of Geeta Ji’s voice for Traditional Indian melodies too. In fact no other singer apart from Geeta Ji has truly embodied the spirit of Burmanda’s music. Nayyar Saab on the other hand, developed Geeta Ji’s voice more for Westernized songs and under his compositions, Geeta Ji could sing for just about any genre of song.
The 50s was the Golden period of Geeta Ji’s career. She sang some of her biggest hits during this period. “Aaj Sajan Mohe Ang Lagalo, Thandi Hawa Kali Ghata, Ja Ja Ja Ja Bewafa” and her popular duets like Ankhon Hi Ankhon Mein, Jaane Kahan Mera Jigar Gaya Ji, Aan Milo Shyam Saaware” and many more — all belonging to this period. In fact so popular was Geeta Ji’s style of singing that Music Directors then used to ask the new Playback Singer Asha Bhosle Ji to adapt Geeta Ji’s flair and approach.”
Many of Geeta Ji’s songs of that era have been Remixed recently. “Tadbeer Se Bigdi Hui Taqdeer Bana Le” was used in Abhishek Bachchan’s film “Bluffmaster”. The Remix version of “Yeh Lo Main Hari Piya” from the film “Aar Paar” is immensely popular and has literally floored the new generation kids.

Film “Baazi” that added a fresh buzz to Geeta Ji’s professional career, also brought good news on the personal front. During the shoot of this movie she met then-upcoming Director Guru Dutt Saab. The couple fell in love and got married on May 26th, 1953 and thus Geeta Roy became Geeta Dutt.

With husband Guru Dutt Saab’s untimely demise in 1964, Geeta Ji unfortunately suffered a nervous breakdown. It is said when she recovered, she realized her place in the Studios was replaced by other Singers. She attempted to revive her career by cutting discs during Durga Puja Festivals and performing stage concerts but her career did take a plunge, far from recovery. However she fought her way back, delivering a stunning performance in the film “Anubhav” (1971), which also turned out to be her last performance. She ultimately succumbed to the dreadful disease, Cirrhosis of Liver and passed away on July 20th, 1972. But even after her death, her voice still rings with that special memorizing lilt…!


It is such an irony that one of her most popular melodies so truly symbolized the story of her entire career. “MERA SUNDER SAPNA BEET GAYA, MAIN PREM MEIN SAB KUCH HAAR GAYEE, BEDARD ZAMAANA BEET GAYA, MERA SUNDER SAPNA BEET GAYA”…..!!
MY HUMBLE TRIBUTES AND PRANAMS TO GEETA DUTT JI ON HER DEATH ANNIVERSARY TODAY. SHE WAS AN ARTISTE WHO INSPIRED AND BECAME AN IDOL FOR SUBSEQUENT LEGENDS AND A ROLE MODEL FOR ASPIRING ARTISTES FROM EVERY GENERATION TILL DATE.

Acknowledgements:

We are grateful to our dear friend Shri Gautam Dey ji for this wonderful write-up on Geeta ji as a tribute to her.

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Koi door se aawaaz de..

Thursday, July 18th, 2013

Geeta Dutt

Geeta Dutt : 23rd November 1930 – 20th July 1972

Chale Aa Rahein Hain Lutaane Ko Jaan
Kaise Kaise Hamare Bhi Hain Mehrbaan …

{Geeta Dutt…Film:Ladaaki (1950s, unreleased), Music: Vinod}

As the above lovely song plays in the background it also revives so many beautiful memories of songs that over the years have been an inseparable part of my life. These were friends in my joys, sharing every moment of my happiness, and also my inspiring force during spells of distress, confusion, and loneliness. No wonder music is one of the most beloved human experiences containing all the emotions and sentiments of life. It is the precious gift of God that sustains, shelters, heals and elevates the soul.

20th July, 2013 marks the 41st death anniversary of one of the most beloved singers of Indian cinema, Geeta Dutt, who left us prematurely at the age of 42 in the year 1972 after suffering liver failure. She possessed an elegantly attractive appearance and kept a humble profile throughout her life. A versatile songstress, she was much more than a gifted artiste to whom music was as natural as breathing. The sweetness and agility of her voice, and her captivating musical interpretations were extraordinary.

It was velvety, rich, varied and soulful; it had clarity and depth and it was unfailingly pure. In her relatively short but a very eventful career she had experienced nearly every facet of life: the crisis ridden humble childhood grappling with migration, resettlement, and destitution; the perpetual spirit to see things through and rise to any challenge; the chance discovery of her prodigious skill and initial grooming by musicians; the abrupt rise to professional fame; a troublesome love-marriage with a maverick filmmaker; the tragic struggle for survival, and a persistent willpower to combat adversity till her unfortunate demise.

Although her personal life has been much explored, sensationalized, discussed, debated and argued I somehow feel her melodious and meritorious singing contribution has failed to stimulate the same thoughtful responsiveness. This may be because when she left the scene she was partly forgotten by the film world and her leaving was not much noticed in the cine world and it didn’t disturb the ever changing music scenario. Occasional feature on this wonderful artist via Radio, TV and literature was inadequate, conflicting and confusing; the focus swiftly shifting on to her personal life.

A peek into her career will indicate her phenomenal contribution to the Indian music and the inconceivable void that her premature demise has left. From 1945 to 1972 she had recorded approximately 1500 plus songs under different categories working under various composers in languages like Hindi, Bangla, Punjabi, Gujarati, Marathi, Nepali, Bhojpuri etc. This is a huge body of work and a keen exploration into her songs will reveal a remarkably wide range.

She had the natural ability to express a myriad of emotions adapting to the mood of the song delving deep into depth of lyrics, displaying maturity beyond her years. One feels an amazing enchantment upon tuning into her flawless, delectable and infallibly seductive voice. It felt as if she had the emotional connect with the character emoting those lines on-screen. She made up for her lack of classical training with near-precise breath control and an outstanding ability to adjust the pitch appropriately while singing. Blessed with a distinct voice, immense stamina, and unique ability to perceive subtle changes between moods and emotions she would leave a special mark on her songs performing with artistic sensitivity. Tuning into her light/semi-classical, western influenced, and folk & traditional songs one would witness great variety and a distinct flavor in each song, something with catches the attention of the listener. She was spontaneous with clean intonation and a tremendous sense of rhythm, and a decent vocal range. One may seldom find her screaming/going loud in her songs.

One interesting aspect of her songs was that they always sound fresh and non-repetitive even though most film/song situations were same. So where she had sung extremely pathos-ridden sad songs she had given us lively sad numbers in medium to fast rhythm. Similarly she had given us variety of musical entertainment in her romantic numbers, western styled club songs, lullabies, devotional songs, sensuous and teasing numbers etc. In western based melodies and club songs she was (and is) unparalleled. Her vibrant and seductive voice texture was just perfect for such songs which had the power to enthrall listeners. Club songs lost its melody and became loud once she left the scene.

A majority of her songs with some very talented but unremembered composers has failed to reach the average listener. She had recorded some of her best songs for these brilliant yet rarely discussed composers viz Chitragupt, Master Ghulam Haider, Hansraj Behl, Avinash Vyas, Bulo C Rani, Gyan Dutt, S.N. Tripathi, N.Dutta, Husnlal Bhagatram, Vasant Desai, Snehal Bhatkar, Vinod Eric Roberts, Khwaja Khurshid Anwar etc. They not only gave her memorable melodies but also shaped her singing style.

Thanks to the selfless efforts of the rare collectors, researchers and her devout fans many of her unheard melodies are being made accessible to the music lovers via various web and musical forums and social networking sites. It would be a wonderful tribute to her and these forgotten composers if music companies come up with compilations on her rare and lesser heard recordings.

Exploring her previously unheard melodies has been a wonderful and satisfying experience for me which helped put things into right perspective. It was a pleasant surprise to discover so many cheerful, fun-filled and lively songs at the initial part of her career i.e late 1940s. It has truly busted several myths like before mid-1950s she was chiefly considered safest choice for extremely sad songs and devotional singing. It was pleasing to discover that she was amongst the top choices of composers since the initiation of her career and by early 1950s she was already well established and immensely popular singer with an enormous variety in her work. During such exploration I discovered some of the most beautiful and previously unheard songs sung by this greatly gifted singer. I am mentioning a few of them as under:

1940s

1. Tumhe Sajan Manaye Tum Rooth Jaana …. Milan 1946, Music: Anil Biswas
{Extremely sweet song with reflects her young, pure and unadulterated voice with negligible instrumental intervention}


2. Ho …Nayeen Baharein Aayeen Tum Hee Na Aaye …. Raasta 1947, Music: Zafar Khursheed
{A lively and cheerful rendition sung by for a character waiting in anticipation of her beloved. Her youthful and vivacious charm is mesmerizing}

3. Main Hoon Phoolon Ki Rani …Pehli Pehchaan 1947, Music: Bulo C Rani
{A sprightly rendition of this delicate composition by the singer wherein she glides though the mukhda and antara, each one composed in a different rhythm, with effortless ease.

4. O Raja Re Mujhe Apni Bana Le Re …Leela 1947, Music: C. Ramachandra
{A fun-filled and jovial solo radiating once more the youthful charm of the singer’s wholesome voice. I really loved the way she uses the teasing tone to entreat her beloved}

5. Mujhe Bawari Bawari Log Kahein Main Geet Piya Ke Gaati Hoon … Film: Mere Bhagwan (1947), Music: Sajjad Hussain
{While the innocence in voice is but natural at such a young age what is simply unbelievable is the ease with which she puts passion and devotion into demanding compositions. Her singing truly touches the soul}

6. Aaja…Aaja Re Pardesi Ho Baalama Ghata Chhayi Hai … Movie: Padmini 1948, Music: Master Ghulam Haider
{An exquisite singing exhibiting such a mastery of rhythm with an overflow of passion in this beautiful song of longing. The hardest of hearts would melt hearing the grief-ridden “aajaa..” in the beginning and end}

7. Sun Sun Ri Bulbul Deewani ….Film: Jeene Do 1948, Music: Nashaad
{Sweet and lively song of love, secrets and promises}

8. Rhum Jhum Matwale Baadal Aa Gaye …Film: Suhaag Raat 1948, Music: Snehal Bhatkar
{A mesmerizing folk inspired duet with Rajkumari wherein both singers captivates the listeners with their vocal charm}

9. Bulbul Ko Mila Phool Toh Nadi Ko Kinara … Film: Meri Kahaani 1948, Music: K.Datta
{A lively melodious duet with Surendra Nath about love in a simple yet an arresting composition}

10. Yeh Kaun Mere Ghar Aaye …Film: Zevrat 1949, Music: Hansraj Behl
{A lively solo sung upon arrival of the beloved}

1950s

1. Kaisi Murali Bajaayi Shyam Ne …Film: Nishana 1950, Music: Khwaja Khursheed Anwar
{A sweet, passionate and mature rendition of an alluring bhajan like composition with melodious flute accompanying pleasant vocal all through the song}

2. Dil Ka Pehle Pehl Chhot Khana..Haaye…Bhula Nahi Mujhko Yaad Hai Film: Pyar Ki Baatein 1951, Music: Bulo.C.Rani
{She had sung some of her most beautiful songs under Bulo C Rani and combination creates magic once more in this sweet song. The spontaneous “haaye” is extremely pleasing to the ears}

3. Thee Aur Mulaqat Who Ab Aur Mulaqat Hai …Ho Re ….Film: Nirmal 1952, Music: Bulo C Rani
{An enticingly appealing composition … the fillers like “Ho Re” and “Aa Ja..” creates the magical effect}

4. Kisi Ke Pyar Ko Hans Hans Ke Thukrana Nahi Accha… Film: Nishan Danka 1952, Music: Basant Prakash
{Soft and slow melody which adds to the variety in her sad numbers}

5. Dekh Duniya Kahegi Tujhe Bewafa … Film: Haar Jeet 1954, Music: Pandit S D Batish
{A lively western styled composition that opens on a poignant and pleading yell at the beloved who is about to leave. The singer shifts into a cheerful but persuasive note to prevent her beloved from leaving.}

6. Thandi Hawaon Mein Taaron Ki Chhaon Mein … Film: Bahu 1955, Music: Hemant Kumar
{A sweet, happy, and melodious Romatic duet with Talat Mahmood. Her ability to effectively portray the passionate emotions of a person in love is simply amazing}

7. Jaan Gayi Hoon Pehchaan Gayi Hoon …Film:Teen Bhai 1955, Music: Arun Kumar
{A complex composition with fast and peppy rhythm in mukhada and semi-classical/ghazal styled antaras which she glides through smoothly}

8. Ye Shokh Ada Ye Mast Hawa …Movie:Son of Alibaba 1955, Music: Sardul Kwatra
{A melodious romantic duet with Shaminder}

9. Jiyara Baat Nahi Maane Kisi Ki … Film: Sailaab 1956; Music: Mukul Roy
{A sublime and lively solo depicting the restless emotions of a person in love composed by her brother}

10. Main Tere Dil Ki Duniya Mein Aake Rahungi …Film: Naya Paisa 1958, Music: S Mohinder
{A beautiful and lively solo with yodeling as filler]

1960s

1. Bheegi Bheegi Mehki Mehki Raat Hai …Do Aadmi 1960, Music: S.N. Tripathi
{A refreshing club styled song with great melody. She sounds spirited as ever even though her personal life was going through turbulent times. This speaks volumes about her exceptional vocal gift and perhaps her desire to break free from the unnerving struggles of life}

2. Yeh Chand Yeh Sitare Yun Kar Rahe Ishare …Film: Mohabbat Ki Jeet 1960, Music: Mohd Shafi
[A lively melody displaying emotions of a person falling in love}

3. Ek Dil Tha Mera Jo Tera Ho Gaya …Film:Chhupa Rustam 1965, Music: Bulo C Rani
{A song recorded perhaps post turmoil period in her life when she was trying to give her life and career a second chance. The song shows that the passion, emotions and the lively voice was still intact and it needed only love, support and encouragement to survive which the indifferent film industry perhaps couldn’t extend}

4. Aaj Ki Kaali Ghata …Film: Uski Kahani 1966, Music: Mukul Roy
{Extremely reflective and thoughtful rendition with poignant lyrics perhaps touching upon an unsteady part of her life}

5. Tumsa Meet Mila Dil Ka Phool Khila … Film: Midnight 1972, Music: Subir Sen
(A romantic duet with Talat Mahmood and perhaps the last duet of film career. Their voices had changed but not the spirit)

Acknowledgements:

We are grateful to our dear friend Manoj Tripathi for this wonderful write-up as a tribute to our beloved Geeta ji.

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A heartfelt tribute

Monday, November 26th, 2012

Geeta Dutt

Dearest Geetaji,
No words can be enough for us, your fans, to thank you!

At best we can only thank God for creating your extraordinary voice and salute to your parents for blessing India with an artist like you!

I have no doubt that you know us : your fans and admirers…. just as we feel that we know you!
The songs that you sang, sadly became quite prophetic…but one song I would request you to re-record: in heaven and send it to us with slightly changed words for all of us: your masterpiece …. as ‘ yaad karoge …har din hum ko yaad karoge!’

I prey today on your 82nd birthday that you are in a land of peace!

Miss you ever so much!

Tushar Bhatia

Acknowledgements:

We are grateful to our dear friend and mentor, composer Shri Tushar Bhatia ji for this tribute to Geeta ji on her birth anniversary. The invitation card in Gujrati is the invite for Tushar ji’s tribute show for Geeta ji in Ahmedabad in the year 2010.

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A fan’s tribute: Vol.7

Friday, November 23rd, 2012

OPN GD cassette
OP Nayyar-Geeta Dutt:-

The lady who graced the earth with her sweet voice and the king of melody when both of them met together, there were subtle songs that touched the inner soul through these soft melodies.

Yes, I am talking about Geeta Dutt and OP Nayyar. Both were closely associated with each other right from the start of OP Nayyar’s career. I am sharing few of my favorite songs of this immortal combination:-

1) Dil Hai Deewana Jawan Hai Zamana
The 1st song which is my evergreen favorite is the fantabulous number from Aasmaan(1952), which was Nayyar Saheb’s first movie as an independent composer. Nayyar Saheb has indulged himself in light orchestration for this great number and the gentle use of harmonium and accordian pieces makes it an enlightening and sweet melody. The Sarangi played in the antras makes it a divine melody Geeta ji was very well equipped with Nayyar Saheb and understood his compositions very well and sung this song very well.

She has sung the antras in a low tone and the alaaps, that she has added in it makes it more fascinating. Also, great lyrics written by Prem Dhavan, making the song an immortal one. The song is “Dil Hai Deewana Jawan Hai Zamana” and only Geeta ji could have sung it so well.

Here is the link for this song:-

2) Kaisa jaadu balam tune

My 2nd most favorite song is one of those gems from 12’O Clock(1958) that they created together, A song gives a smile on our face when we listen it..Geeta Dutt ji has excelled herself in this number and establishes a kind of “Nasha” in this song that indebts our mind..I don’t think any other singer could have done justice for this song other than Geeta Dutt, her voice modulation for Waheeda is also great, I am completely sunk in it, and its impossible to come out when We start listening it..The way Geeta Dutt sings “Nanha Sa Dil Hamara..”, is simply marvelous..

Guru Geeta OPN

Nayyar Saheb’s composition is just out of the world…Starting with a light sound of Sitar and flute, with the effective use of Dholaks and flute in the antras, He has incredibly used a brilliant orchestration for this song…
Great lyrics by Majrooh Saheb..Nayyar Saheb and Majrooh worked together for many movies and gifted us some of the best numbers, that are popular and effective even today…Overall, an immortal classic…

Here is the link for this song:-

3) Aye watan ke naujawaan

Baaz(1953), was not very successful in the Box-Office, but each and every song was classic and had its own class…This song can fall under the category of a patriotic song. We are facing so much injustice in our country, no water for the poor people still in many villages, there is limited supply of electricity, people are facing unbearable difficulties..Its time for all of us to unite and fight together for what is happening towards our motherland…

This song gives us the message that Its We who are not coming together, arrange social meetings and private gatherings and do not allow any external elements to enter our country and be faithful towards the motherland and work together to achieve the goal….Hats off to Majrooh…

Nayyar Saheb has composed this patriotic song so well, with the use of violins showing us to go forward and speak against the injustice, with the help of flute he has explained us we are so sad…With the light sitar tunes, he has taken us to the path where many people are beaten, They are not allowed to raise their voice…An excellent composition with the help of heavy orchestration composed beautifully by Nayyar Saheb from which we can take it as an inspiration..

Geeta Dutt ji has sung the song absolutely brilliantly for Geeta Bali, starting with the alaap, taking it furthur and singing the Mukhda in the high notes, singing some part of the antra in lower notes, but in a fast pace and the Mukhda again in lower notes..At the end, The way She sings the high pitch, The song enters straight in our heart and takes us to another world…She has done perfect justice to this incredible number..

The chorus of this song is also marvelous, also the humming and the alaap part of the chorus is simply exquisite…A perfect ending for the song by the chorus and Geeta Dutt ji….Superbly penned by Majrooh Saheb, gifting us one of the best melody from Baaz(1953).

Here is the link for this song:-

4) Raat Nasheeli Rang Rangili

My next favorite song is “Raat Nasheeli Rang Rangili” from Choomantar(1956). Geeta ji has taken this song to a completely different level. I always say this song can be considered as a duet of Geeta ji and the Sarangi which is played in the background. Both of them are in a perfect collaboration.

Especially in the antras, where Geeta ji has sung “Man Mein Nache Rhimjim Saare” and the sarangi is played. Really, “Man Naach Uththa Hai Aise Gaano Ko Sunkar”..
Here is the link for this song..

5) Pom pom pom , baaja bole

From the last many years, when somebody’s birthday arrives and on my each birthday, I never fail to listen this song, This is a kind of celebration song from Aasmaan sung by Geeta ji, She could sing any genre of songs.

Geeta Dutt and OPN

This is the one of the finest example of her versatility. I am assuming this song to be picturized on Asha Parekh as it was her first movie and she must have been a child artist at that time, but no confirmation as video is not avaiable. But, this song is one of the finest melody of the combination of Nayyar Saheb, Pren Dhavan ji and Geeta ji..

Here is the link for the song…

There are many more favorites of the immortal combination of Nayyar Saheb and Geeta ji, but these 5 solos hold a special place for me.

Acknowledgements:

We are grateful to our dear friend Nikhil Iyer for writing this special tribute.

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GEETA ROY/DUTT- A STORY IN PICTURES…

Thursday, November 22nd, 2012

Pic tribute

On the eve of her birth anniversary, here is a picture tribute to our beloved singer Geeta Dutt ji.

Acknowledgements:

We are grateful to our dear friend Priya for this wonderful graphic.

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Shankar Jaikishan-Geeta Dutt : Tribute by Nikhil Iyer

Thursday, November 22nd, 2012

SJ with Geeta ji

When we talk of Shankar Jaikishan, then we only think of singers like Rafi, Mukesh, Lata, Asha, etc. Geeta Dutt too has sung for Shankar Jaikishan, but only few songs. but those songs too hold a special place in our heart.

Lets see those songs.
1) The very first song that Geeta ji sang for Shankar Jaikishan, was in Parbat(1952). when SJ were at the peak of their career.

This song is a trio of Geeta ji, Rafi Saheb and Lata ji.Some people call it a rare song,but this is not a very rare song as its frquently played in the radio ceylon.
All the 3 singers have sung it beautifully. Great lyrics penned by Shailendra.

“Kya Batoon Mohabbat Hai Kya”..

2) Geeta Dutt sang only 2 songs in Parbat. The second song is a duet with Lata ji. The flute played in the song is excellent.
I loved the way Geeta Dutt sang “O Suhani Kehte Hain” in the 1st antra. We all feel something abt the voice of Geeta ji, the way its so soothing and touching.
Finely composed by Shankar Jaikishan and written by Hasrat Jaipuri.

“Pyaar Bhari In Aankhon Mein”..

3) The next song is from Yahudi(1958). Everything is so precious about this song. There is no words to praise this fabulous number.
Lata Mangeshkar and Geeta Dutt’s wonderful rendition, Helen and Cuckoo’s great dance, Shankar Jaikishan’s excellent composition with the use of mandolin, violins, accordian and flute to blend the melody and last but not the least classic
lyrics written by Shailendra.

“Bechain Dil Khoyi Si Nazar”..

4) The next song is a duet that Geeta ji and Kishore Da sang together in Shararat, a fantastic romantic beauty sang very well by both of them. Fantastic composition by Shankar Jaikishan and nicely written by Hasrat Jaipuri. This was the rare example where Geeta ji sang both the songs for the main heroine (Meena Kumari) for a film which had music by Shankar Jaikishen.

“Dekh Aasmaan Mein Chand Muskuraaye”..

5) Geeta ji sang 2 classic duets in Shararat(1959). Again with Kishore, a fantastic melody. Loved the mandolin and accordian that is played in the song. One of the finest melodies. Hats off to Kishore Da, Geeta ji, Shankar Jaikishan and Hasrat Saheb.
“Tune Mera Dil Liya”..

6) Love Marriage(1959), had 2 Geeta Dutt beauties, First one is a duet with Rafi Saheb “Dil Se Dil Takraye” By hearing this song by Geeta ji, I always feel she should
have sung more songs for Shankar Jaikishan. Geeta ji has an amazing breadth control,
this aspect of Geeta ji we can see in the antras, the way she has sung this
classic. The chorus singers have also made a nice contribution in this song.
Fine lyrics by Shailendra..

7) Another classic from Love Marriage by Geeta ji. She has taken this song, to a different level, also the mandolin played is superb.
Written by Shailendra.
“Kareeb Aao Na Tadpao”

8 ) The next song is a fantastic duet with Kishore Kumar from Krorepati(1961). A very peppy duet nicely rendered, composed and written.
“Kabul Ki Mein Naar”..

9) This one is the most popular song in my view which Geeta ji sang for Shankar Jaikishan.
Its a 7 minute song and each second is worth of it.
An important aspect of this song is it had 5 singers, Manna Dey, Lata, Geeta, Mukesh
and Mahendra Kapoor. All of them sang it very well.
Also, this song is the first song which does not start with the actual line.
It starts with “Hai Aag Hamare Seene Mein” instead of “Hum Bhi Hain”.
the same trend was continued by Op Nayyar in “Deewana Hua Badal” which was started “Ye Dekh Ke Dil Jhooma”
and later by SD Burman in Aaj Phir Jeene Ki Tamnna Hai” which started with “Kaanton Se Khichke”
Overall a fantastic melody where everybdy’s contribution makes it an all time classic..

10) The next song is from Film Hi Film(1983).
This song was recorded for an unreleased movie Saajan Ki Galiyan, which had Dev Anand in the leading role. Nicely rendered by Rafi, Geeta Dutt and Suman Kalyanpur.
Lyrics by Hasrat Jaipuri..
“Hum Khoob Jaante Hain”.

11) The last song that Geeta ji sang for Shankar Jaikishan was in Jwala(1970).
This was a trio sung by Lata, Geeta and Sudha Malhotra and this was the last
released movie of Madhubala. Songs of this movie were recorded earlier and the movie relased
late.
Lyrics by Rajinder Krishan..
Haule haule ek bhi na ghunghroo bole

Geeta ji sang 1 to 2 songs in an unreleased movie Ek Tha Ek Thi Rani too
in the late 50’s, but there is no confirmation abt this information
I have just merged all the songs of Geeta ji and Shankar Jaikishan together.
Today looking back, I do feel that Geeta ji should have sung more songs for Shankar Jaikishan,but now that’s history.

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Exclusive: Tribute by Madan Mohan ji’s daughter

Thursday, November 22nd, 2012

Madan Mohan films

We are highly grateful to Sangeeta Gupta ji, eldest daughter of the maestro composer Madan Mohan sahab for writing this tribute to Geeta ji on our special request.

….”I have always loved Geeta Dutt – the singer and the person (from what I heard from my mother) My obvious first like for her was “Aye Dil Mujhe Bata De” from the film Bhai Bhai as I was more familiar with that song. The earthy quality of her voice drew me to her songs, especially the beautiful ones she sang for the great S.D.Burman and Hemant Kumar – my most favourite being the ones from Sahib Bibi aur Ghulam and of course the sensational “Waqt ne kiya kya haseen sitam” – just pierces your heart. Even her later songs like the ones from Anubhav – “Meri Jaan, mujhe jaan na kaho” never failed to raise such romance in the air. Amazing range from romantic songs, to bhajans, naughty ones and cabarets – Geetaji was a rage all over. She remains etched in the memories, and hearts like “aiso jiya mein samaye gayo re ke main tan man ki sudh budh ganva baithi”.

Madan Mohan Geeta Dutt

COMPOSER MADAN MOHAN CONDUCTIING GEETA JI IN A MUSICAL SHOW

I believe that it must possibly mean the aye dil mujhe bata de song…”One of Madanji’s biggest hits came from Geeta Duttji. A chart buster from the film Bhai Bhai – released in 1956 from the AVM studios. Lyrics and dialogues by Rajinder Krishan and music by Madan Mohan. Looking at the photograph carefully – the one of Madanji conducting Geeta Duttji, I see a familiar face, and can now guess where this photograph was taken. The photograph was taken at the wedding of the daughter of Mr. Lakhanpal, owner of Murphy Radio, who was a very, very dear family friend and Dad used to arrange all the music programmes at the weddings of their daughters. At a later occasion I remember they had Talat Mahmood also sing for one of the evenings

In this film Rajinder Krishanji named the heroine as Sangeeta and my mother was not too happy about this….. they kept the name, I am told.I have not seen the movie, but these are memories I have….”

Madan Mohan and Geeta Dutt

With Madan Mohan and Lata Mangeshkar during the recording of the song Oonchee Neeche Raahein from the film Baap Bete

What a lovely smile all three of them are sharing during the recording!

Samundar recording

Listen to this song here:

One can see Geeta ji and Madan ji during the recording of a song for the film Samundar (1957)

Geeta Dutt and Madan Mohan at a musical evening along with the organisers….
Madan Mohan and Geeta Dutt

In the mid-sixties a musical event was organised in Delhi on a very large scale by the government after the war to raise funds. Seen here are Hasrat Jaipuri, Achala Sachdev, Sadhana, Madan Mohan and Geeta Dutt.

Madan Mohan and Geeta Dutt

I love all geeta dutt songs, especially the ones she sang for the great S. D. Burman. The song Waqt ne kiya is such a favourite and have been singing this over the years, can never tire of it. Even love the song Meri Jaan, mujhe jaan na kaho meri jaan from the film Anubhav is a hot favourite of mine……HER VOICE JUST PIERCES THE HEART.

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A fan’s tribute: Vol. 5

Wednesday, November 21st, 2012

Geeta Dutt

Having been brought up in a middle class Bengali family in a small township of Assam, listening to Hindi songs was a taboo in our house for a long time. So, quite naturally, I became familiar with Rabindrasangeet and Modern Bengali songs of Hemanta, Manna, Dhananjay, Shyamal, Manabendra, Sandhya and others first and then, much later I started exploring the Hindi singers, who then gradually became more obsessive for me over the years. Recalling my childhood days, I remember, my father used to bring cassettes of Bengali songs of different artists every now and then, and whenever a new cassette used to come at our house, we used to listen to that repeatedly for 2-3 days! Difficult to believe such days existed in today’s world of i-Pods and mp3 players. Anyways, one day we got an ensemble cassette of Geeta Dutt (in Bengali, it was written “Dutta”, whether it was goofed up with the Bengali surname or done intentionally, I don’t know) and remember, Lata, Asha, Kishore and Rafi had yet to make their entries in our house by that time.

So came my first reception to the songs of Geeta Dutt- the immortal creations like Nishi raat banka chand aakashe, Ei sundar swarnali sandhyay, Tumi je aamaar, Shudhu ektukhani chawa etc etc. First impression is the last impression, they say, and it was for me as well. Geeta Dutt sketched out to be a singer of soft, melodious and sometimes slow songs for me for a long time. And trusting my father to the full, I had confirm belief that Geeta Dutt must be one of those “good singers” like Hemanta or Shyamal and not a “notorious lot” like the Hindi film singers ☺

Of course, in 1996, after listening to the first Geeta Dutt Hindi film songs collection, things changed. But, surprisingly, for many music lovers, Geeta Dutt is remembered more in Bengal for her soft, slow and soothing melodies and quite contradicting to her popular, club song singing image (especially in the fifties) in Hindi movies.
Geeta Dutt’s Bengali repertoire is indeed very different from her Hindi image. When you listen to her in songs like “Koi door se awaz de” or “ Mujhe jaan na kaho meri jaan”, you might sometimes desperately wish why but why the music directors did not give her more of such songs?

Whereas, in Bengali, I sometime really miss more of her peppier and foot tapping numbers which she sang in Hindi. (Though she has the distinction of singing the very first cabaret song in Bengali film.) Even in Hindi, the sober, serious shade of Geeta Dutt was utilized more by the lot of Bengali MDs like Hemant, Salil, Timir Baran,Kanu Roy and S D Burman; with a big exception from Avinash Vyas who gave some sparkling gems of deep emotional songs to Geeta Dutt. Pankaj Mullick never worked with Lata or Asha, but he gave as many as five songs to Geeta ji in Zalzala(1952). The forties and the early fifties really belonged to this marvellous lady. She even bettered Kishore Kumar in the latter’s strong forte- naughty songs- in “De bhi chuke hum” for the film Jaal (1952); she was as if dominating the male singer with sheer confidence there! The kind of confidence with which she used to pull off those numbers those days, are beyond expressing in words.

Geeta Dutt’s Bengali work has that sharp distinction of being in a different segment altogether. Of course, she was very busy in Mumbai (then Bombay) in those days of the fifties, but still could manage to find times to record for Bengali non film albums and some highly memorable movies like Harano Sur, Hospital, Luko Churi. Guru Dutt started making a Bengali movie called Gouri in around 1954 for launching Geeta as a heroine, but the movie was never completed. S D Burman was the music director and some songs were recorded. Very recently, the song “Jaani bhromara kaino” (which was never released on records) was discovered through great contribution by SIRC.

S D Burman also used Geeta in other Bengali films like Samar(1950)- which was a remake of Bombay Talkies’Hindi movie Mashal released in the same year.

This 23rd November would be Geeta ji’s 82nd birth anniversary. A lady with great talent and versatility introduced so many concepts those days which were beyond imagination. One of her song in Jaal Saaz was banned also those days for being too bold. She broke traditions and orthodox in Hindi and stuck to them with equal ease in Bengali- amazing!!
The brand of Geeta Dutt is just like her- blend of spirit and soberness- excelling in each of them!
My salute to the Original Queen of Playback Singing in India.

Acknowledgements:

We are grateful to our dear friend and a huge fan of Kishoreda, Shri Arghya Dutta for writing this special tribute on our request. Arghya has his own blog page here.
He has also written articles on Kishoreda on our sister website dedicated to the great singer/actor/composer Kishoreda.

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A fan’s tribute: Vol. 4

Wednesday, November 21st, 2012

Geeta Dutt

Geeta Dutt ji’s songs are often played at our house. The songs are an integral part of our lives. For me it was always the voice that appealed to me, than the melody. Much later I saw the picturarisation of those songs. I was pleasantly surprised to notice that whoever did the lipsync of the songs all performed it well. For me there were no mismatch with faces and voice.

Geeta Dutt has an unique voice, a seductive touch in her voice, especially the first start in her one of my fav songs.
Aye Dil mujhe bata de tumhein kis pe aagaya hai.

In most of her songs there is a kinda chedd chaad / teasing way imbedded. the playfullness in her voice the on screen acting and the music what a song the lyrics do comes alive. There is something with her voice which you could not easily hear in other voices there was something so familiar so trusted so as if it was our own voice. Altough She sung marvelous still we could identify our self with her voice.

The song Na jao Saiyan Chura Ke Baiyan kasam tumhari main roh paroongi..again you hear that teasing way so endearing the way she sings this song. As if the face expressions are hearable in the voice.

The song Aaj Sajan mohe ang lagale janam saphal ho jaye..so much sincerity in her appeal the actress on the screen to me very much able to express the voice and the feeling and depth the voice carries .

There is a big cute factor in the voice of Geeta Dutt ji she could easily become a voice of a kid and in this song you can hear that very well. This is a rare song “Haath pasaare raste raste” from the film Ek ke Baad Ek.

The song. Aaja chhaye kaare badra.I love so much. An old film song which has to me such a modern outcome, a melodious voice doing different things with her voice in this song. She sings for both the dancers in this song.

Very recently I was introduced to this song. She sings this soothing and sensuous song in her sexy voice. so beautiful no need for music, powerful voice very mature and again such a good example of a voice that we could identify our own voice with.

while thinking about just a few favorites, I had to drop many other songs,, so I decided to mention only solo’s and still there were too many good fav solo’s of her. I feel like mera Sundar sapna beet gaya lo khatam kahani hogayee and I had to stop with this beauty of a song playing in the background while I am writing this article.

Acknowledgements:

We are extremely grateful to our dear friend Arati ji for writing this article on our special request.

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A fan’s tribute: Vol.3

Wednesday, November 21st, 2012

Geeta Dutt

Why one likes or remembers a song is a question which can have multiple answers. One can remember or like a song for its melody, for its composition or for the voice or for the lyrics and the thought it may project and convey to the listener. All these are valid and important reasons to remember ,like and appreciate a song but the most important reason and requisite of a song for which one likes and remember a song is the emotional content of the song. In my personal view, if a singer’s voice is able to communicate, express and emote the inbuilt thought in the lyrics in a manner that the listener can connect and visualise the thought of the song at emotional level without any visual prop , the song becomes immortal.

Geeta Dutt’s is such a voice which gives the complete emotional graph of the song in the most vivid manner that the listener does not need any visual prop to live the song with the singer. If I may use the expression ‘ Bhaav Gayaki’ as the yardstick then Geeta Dutt’s voice is without a parallel in Indian film songs.

Her’s is certainly not a voice that has gone broad or heavy on account of continuous and rigorous practice of classical music. It carries a slight or minute trembling effect in such an accurate proportion that it makes her singing sweet, lilting, full of emotion and it also helps in creating that complete emotional graph of the song covering the widest spectrum of emotions.
Geeta Dutt’s voice certainly covers the widest emotional spectrum in her singing. Be it the shade of resigned in ‘thehero zara si der…’ in Savera 1958, plaintive and accepting in ‘Waqt ne kiya kya haseeen sitam…’ in Kagaz ke phool, soft and tender in ‘ hawa dheere aanna…’ in Sujata, Buoyant and enthusiastic in ‘ do camakti aankhon mein…’ in Detective, light-hearted and coquettish in ‘ kaisa jaadu balam tune ….’ in 12 o’clock , childlike with a sense of wonder and love in ‘ phulwa ban mehake…’ . I can go on and on to illustrate the various emotional shades which Geeta Dutt’s voice has covered as the variety of emotions her voice gave shape to is countless.

But let me specially mention two emotional shade of Geeta Dutt’s voice which are specially close to my heart and which I personally feel she excelled beyond words in bringing these shaded live through her voice. The first one is ‘Shringaar’ the way Geeta Dutt created a complete and one of the best and most melodious graph of this emotion in ‘Piya aiso jeeya mein samay gayo re …’ in Sahib Bibi Ghulam is just matchless. I am yet to come across a musical rendering which can surpass this song as far as depicting and expressing ‘Shringaar’ through the voice and melody is concerned.

The second emotional shade which Geeta Dutt’s voice gave shape to is the feeling or emotion is Divine, sublime or the emotion to express the wish to merge once soule with the ultimate sublime through Shrinagaar and Bhakti at the same time. Now this is a very difficult feat to achieve. Because this is rather one unusual emotive state and singing tone which is required to sing Indian non- ritualistic or devotional music. Compositions of this class described loosely as Bhajans are melodically simple but complex at the expression level as content wise these compositions are not directed at anybody in particular and hence become relevant to all. Such songs are inevitably addressed to a power or a force which is outside and beyond confines of human world. The consequence is that such compositions require an involved singing that is not ’emotional’ in the usual sense of the world. Through her renderings, Geeta Dutt is very often, and successfully able to evoke this mercurial psychological state. And ‘Aaj sajan mohe ang lagale…’ from Pyasa is the finest example of this expression.

I salute to this voice who always lived the song she rendered in its totality , Geeta Dutt Ji we really miss you !

Acknowledgements:

1) We are extremely grateful to our dear friend Arun Mudgal ji for writing this article on our special request.

2) Certain inputs for this article were from Shri Ashok Da Ranade ji’s book and the rest is Arun ji’s listening analysis.

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