National award-winning authors and columnists Anirudha Bhattacharjee and Balaji Vittal are back doing what they’re best at — writing about music. Besides their understanding of the nuances of Hindi film music, it’s their captivating storytelling that makes for lively weekend reads. After their tryst with R D Burman, they travel back in time to recapture the journey of his illustrious father S D Burman in the book S D Burman, The Prince Musician, the Comilla-born who remained a reluctant Mumbaikar until his passing away. The authors take us through an enigmatic musical journey.
The book on the son first and the father next. Was that planned?
Anirudha No, nothing of the sort. We had only RD in mind when we wrote R D Burman-The Man and music. S D Burman came in much later. There was a lot of material which we could use. Westland got in touch with us around mid-2012, by then the plan was already in our mind. Getting interviews was the main roadblock, it was managed well courtesy some well-meaning friends.
Balaji There was no bandwidth to think beyond R D Burman at that point in time. But we are grateful for the opportunity to take it forward from there.
How similar were the sensibilities of both the Burmans?
A: After all, it is the same family. And S D Burman had only one son; naturally he hogged all the attention, as a result of which R D Burman got the best possible education on music then. Indian classical music was a common factor. You would find very similar ragas used by both father and son. SD’s folk was sourced mostly from Bengal while RD used more of northeastern folk (Nepal / Sikkim). And both kept the USPs short, whetting your appetite. Reason why their songs are in demand even after so many years.
B: RD imbibed his father’s sense of melody. And in the last decade of his career SD Burman kept his mind open to modernity and innovation just like his son did. In the 1960s they formed an unbranded Burman duo. And how much they contributed to history!
Three books on Hindi film music consecutively, how have you matured as co-authors?
A: That is for the readers to decide. We think that the understanding has deepened and the coordination improved.
B: True, and we are still learning. The journey has just begun and we want to make sure it is as enjoyable as the days and night on Jadavpur University campus.
Did you intend to put a spotlight on SD’s music in some of the lesser known films?
A: No, not really. Merit and availability of information was the focus.
B: We tried to table many unexplored facts about SD Burman.
What fascinated you about S D Burman, the man beyond his music?
A, B His strength of character. His taking stand on issues related to his work. He was not a fence sitter, he hardly compromised. His never-say-die attitude. His perception management. And the great ability to change with time.
How difficult is it to not be merely consumed by nostalgia when writing about the 50-70s Hindi music?
A,B Nostalgia is always there, hence, we get hooked on to subjects like the Burmans. Having said that, our head rules the heart. I feel a narrator / writer should try and tell the story in a bland manner. The content should evoke emotions for the reader.
There have been biographies of SD Burman by popular authors like HQ Chowdhury, Sathya Saran, Khagesh Dev Burman and others. What do you think is the USP of your book?
A,B I have read Chowdhury’s book. It is a delightful book, where the emphasis is more on SD’s association with Bengal and the history of the Bengali light / semi-classical song. We consciously avoided that route as it would result in duplication. Our narrative is more related to the history of the times. Also, the intent was to cater to a pan-India readership, as a result of which, Hindi cinema and songs have been given wider coverage. Some of the major films in SD’s career have also been discussed in detail. Like his first Hindi film Shikari, his magnum opus Guide, and the film which catapulted him to stardom – Aradhana. The stories are new, never told in this manner anywhere. Having said that, certain things cannot change. The royal family story remains the same, though we would have liked to add some more stuff which we gathered from our visit to Bangladesh. Also, SD’s life as a child, as a teenager, and as a struggling musician in Calcutta, are all sourced from publicly available material.
What about S D Burman does the film industry miss today?
A, B His simplicity of tunes, his minimalistic arrangement where there is a fine balance between the melody, rhythm and the fillers. There was an unspoken quietness about his songs. His usage of folk was extremely smart; he never succumbed to mushiness which goes with the medium. Today even sad songs are loud. And despite the superior technology, there is lot of noise in the system which does not translate into music. (S. D. Burman: The Prince-Musician, published by Westland Publications is available in stores for ₹ 800)