RMIM Archive Article "376".
From the RMIM Article Archive maintained by Satish Subramanian
#
# RMIM Archives..
# Subject: Salil interview - part 1
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# Posted by: Chandrashekhar (shekhar@emirates.net.ae)
# Source: Khaleej Times
# Author: Chandrashekhar (shekhar@emirates.net.ae)
#
Subject: The Great Salil...1
Dear RMIMers
My thanks to Pradeep Dubey for having incited me to
reproduce this article, which was published in Dubai's
"Khaleej Times" on 19 November 1992, the maestro's 67th
birthday. It came about as a result of an informal chat
that I had two months earlier in his modest flat in
Andheri in Bombay. I scribbled notes as he spoke during
the interview, but had to transcribe it as though told to
me in the first person beause that's how the editor
wanted it. I'd like to think that there are no errors,
because Salil himself asked to see the proofs for
verification before it got into print. I found him warm
and communicative, with an impeccable command of English.
I'd appreciate your comments...
Regards, Shekhar
EARLY LIFE
I was born in Assam in 1925. My father, who was a doctor,
had an enormous collection of both Indian and Western
classical music, so the works of Beethoven, Mozart and
the like were familiar to me right from childhood. Like
my father, my elder brother was a good musician and
classical singer, but more actively so. he had formed an
orchestra called Milan Parishad, was a versatile
instrumentalist, and had played for many silent films.
Being always in this environment of music, I couldn't
help being similarly influenced!
As I grew up, I began to write as well, and churned out
many patriotic songs in Bengali and Hindi, during the
days of our freedom struggle. These songs are popular
even to this day. However, my brother was equally firm
that my education should not be neglected. Thus, I took
my BA in English, and subsequently did my MA in Bengali.
BOMBAY, BIMAL ROY AND "DO BIGHA ZAMEEN"
Hrishikesh Mukherji had always been a good friend, right
from our very early days in Calcutta, where he and Mrinal
Sen worked as laboratory assistants at New Theatres. At
that time Bimal Roy was looking for a script for his next
venture. I was introduced to him by Hrishikesh, and later
the script was approved. When Bimal said that
negotiations were underway with Anil Biswas to compose
the music, Hrishikesh was quick to point out that music
was, in fact, my forte! Bimal appeared sceptical about
entrusting a rank newcomer with the script as well as the
music for what was to be his maiden production
venture. Fortunately for me, an informal evening had
already been organised where I sang and played on the
harmonium, and this convinced Bimal that I was good
enough! Thus, I made my debut with "Do Bigha Zameen".
BACKGROUND MUSIC
You've asked me why I have done so many background music
scores for the songless films that crop up from time to
time. This requires a certain degree of skill in timing
the length of the footage with the duration of the piece
to be recorded. I had established some sort of reputation
for this soon after I had begun composing regularly in
Bombay.
I remember once there was a knock on my door at about 2
am and I found Bimal Roy, Hrishikesh and S.D. Burman
standing on my doorstep, the latter wearing a worried
expression. Sachinda had been signed up for Bimal's
"Devdas", but apparently Bimal had not been happy with
his background music for the climactic reels of the
film. So, at short notice early the next morning, I was
compelled to compose and record four reel's worth of
music for the ending of "Devdas", uncredited, as our
relationships were very cordial.
TUNES AND LYRICS
Although I had a firm grounding in classical music, I
was, and am of the opinion that music should be free,
unconventional, and unpredictable in its flow. That's why
I've never adhered firmly to any arohana and avarohana,
or allowed them to restrict me in my
composition. Sometimes this could get too tricky for
singers. Did you know that one Rafi-Lata duet needed more
than 12 takes, because Rafi couldn't get a grip on the
erratic scale changes of a particular line? ("Maya"'s
"Tasveer teri dil mein").
I've worked with many lyricists but Shailendra was always
my favourite. We made a perfect team, and he's written
some of my best songs. Being unorthodox in approach, and
not wanting to compose for a pre-written lyric, my tunes
would invariably composed first, and then Shalilendra
would write the words accordingly.
(Tomorrow - Salil on singers, the brief association with
Raj Kapoor, and recording the unique "Lagi nahin choote
ram" with Dilip Kumar)
From the RMIM Article Archive maintained by Satish Subramanian