table tennis. His first
independent composition which I sang was Maar dalega darde jigar (Pati Patni).
That was the beginning; we worked together on many films. I came to know him
better. I even attended his wedding!
Didn't R.D.Burman live in his father's shadow?
No. Temperamentally, the two were very different. Sachinda was more like a raja,
Pancham was more of a commoner, he mixed with others freely... some people said
that Pancham copied his father's music, I don't think so. Ever since he became a
music director in his own right, he lived separately. Sachinda preferred folk
tunes while Pancham would incorporate several kinds of music into his
compositions.
Pancham had a great deal of respect for his father - and dada was fond of his
son. I remember Sachinda saying with pride that someone on the road had cried
out, "Dekho, woh R.D.Burman ka baap ja raha hai."
According to you what was the hallmark of R.D.Burman's music?
His music had some aag, fire in it. His rhythms were challenging. Like O haseena
zulfon waali (Teesri Manzil). He was among the first music directors to blend
foreign and Indian styles. Pancham started the double bass here.
He introduced me to jazz music, and he'd listen to Santana, Blood Sweat and
Tears and the Rolling Stones. He also loved classical music; after all he'd been
a shishya of Ali Akbar Khan.
What was he like as a husband?
He was crazily in love with me. But he was more of a friend than a husband. He'd
grown up all alone, he'd spent most of his childhood with his grandmother in
Calcutta. So he didn't understand the routines involved in a marriage, he
couldn't understand why one had to ge ..... |
