A 2 Year Old Interview, The Musical Maverick Options

[asad]

Here is an interview of OP Nayyar.

O.P. Nayyar – The Musical Maverick!
by Dr.Mandar V.Bichu

June 6, 2003. It's almost 9.30 p.m. The goal is simple. We want to
meet O.P.Nayyar – the legendary music maestro, the creator of some of
the most scintillating tunes in Hindi film music. The setting is
extremely informal. We have gathered in the drawing room of Shobhana
and Chandramohan's Dubai- home. These singers-cum-organizers of the
recently concluded, O.P. Nayyar musical show- Phir Wohi Dil Laya Hoon
are a wonderful couple - passionate about music, pleasant in their
attitude and perfect as our hosts. Me, my dear friend Shekhar
(Dr.Chandrashekhar) and his charming mother – all are waiting for the
great man to arrive. Hoping that it should be a meeting to remember.
Hesitant that it might all just fizzle out. You know how celebrities
are!

Then he walks in - tall, erect and handsome – showing little if any
evidence of his 78 years. That famous all white attire complemented by
that even more famous black felt hat. After the introductions and
awkward pleasantries are over, I just quietly click on a MP3 file in
my laptop. C.H.Atma's sonorous, Saigal-esque voice starts resonating
from the computer speakers – Is Bewafa Jahan Mein Wafa Dhoondhate
Rahe. O.P. - (well, that's what the music lovers all over the world
call him!), gives me a startled look and smilingly asks, "From where
did you get that song? That's the first ever film song I composed for
Aasman. It was 1952. I was just about twenty-five then." The next
moment, he is further floored by Shekhar's request to sign on the
jacket cover of the long-play record of Sambandh. "Oh, what a request!
This is my life's best work and for the first time, somebody is asking
me to sign on it!"

The barriers are broken. He knows that he is surrounded by some real
admirers who have actually delved deep into his music. "Please don't
use the tape-recorder. It makes me nervous." His first sentence
deprives me from recording these priceless conversations but later he
compensates by allowing me to video-shoot his wonderful rendition of
Chain Se Humko Kabhie Aap Ne Jeene Na Diya. The way he chides
Shobhana, (who is singing with him and whom he fondly calls ‘Bahu')
into taking that extra- effort to bring out the exact tonal expression
is something extra-ordinary. "She sings better than you, Beta"- he
mockingly tells Chandramohan, who (like any good husband!) promptly
nods in agreement. Chandramohan's three- year old daughter plays with
O.P.'s hat, making fun of his bald head. Sipping his cool drink he
looks at her indulgently in a grandfatherly way and one by one answers
our queries.

The man is frank and forthright, giving two hoots to conventional
celebrity wisdom of speaking the diplomatic lingo. He uses language
that the purists would certainly deem un-parliamentary – it is crude
and rude at times. His gestures and expressions are often dramatic. He
doesn't avoid controversies, in fact invites them. But sitting next to
him, we can see that it is just a no holds barred, straight from the
heart talk from a man who has seen it all! The next three hours we
are treated to some of the most colorful insights into Hindi film-
world from the Golden era of fifties and sixties. In O.P.'s inimitable
Punjabi- styled Hindi that lost era comes back to life – bringing
countless nostalgic memories with it. Triumphs and torments, sex and
scandal, controversies and contradictions – this O.P. talk has it all!

At 1 a.m. we all leave Chandramohan's place and wave good byes. An
unforgettable evening has finally come to an end. What appears later
is just an edited, encapsulated version of our conversations during
this evening, yet it is as fascinating as the man and his music! So go
on, enjoy yourselves!


Q. From the slow and sad Aasman songs like Is Bewafa Jahan Mein to
the sizzling entertainers like Babuji Dheere Chalna of Aar Paar – it
was a quantum leap in just three movies. How did this all happen?

"You see, I am a very sentimental man. In my first three movies, I
tried to make such music. None of it worked. Everybody rejected it. I
was dejected and depressed. I was even thinking of quitting it all. I
was then told by my well-wishers that fast music sells and I switched
my style just to survive. One thing I would tell you about my tunes. I
created tunes according to situations in the films. Beauty often
inspired me to make music since I am also a romantic man. Rest just
happened. It was as if God was giving me the helping hand."

Q. What was the role of Guru Dutt in this transformation?

"I personally never felt Guru Dutt knew a great deal about music. I
still remember his initial reaction to Babuji Dheere Chalna. He told
me, "The mukhda (the opening) is excellent but the antara (stanza)
lacks something." I asked, "What exactly is that ‘something'?" He
said, "I don't know – just do something with it." I just waited for
two weeks, I didn't change a single note but after that, Guru accepted
the same tune on my assurance that I have done ‘something'!

All say Pyaasa is a masterpiece but take away Sahir's poetry and
S.D.Burman's music and what is left? The way S.D. composed for Jinhein
Naaz Hain Hind Par is pure genius. Just listen to the lines- Kahan
Hain, Kahan Hain, Kahan Hain – every line is differently embellished.

After ‘Mr.and Mrs.55', I parted ways with Guru Dutt. We both were too
egoistic to be compatible. But after many years, for ‘Baharein Phir
Bhi Aayengi', he literally pleaded me to do the music.

Talking of Guru Dutt, I always feel a pang of guilt. He used to
confide his personal problems in me. His wife Geeta and his flame
Waheeda, both had deserted him in the end and he was pretty disturbed.
At around 2.a.m., the same night that he committed suicide, my wife
told me, "Raj Kapoor has phoned for you. He is saying that Guru Dutt
is totally inebriated and is crying inconsolably, repeatedly calling
for Nayyar Saab!" I was too tired and sleepy to go. I just told my
wife to give some excuse.

The next morning 10 o'clock, I had an appointment with Guru at his
residence. I reached there and Abrar Alvi – his dialogue writer told
me, "Guru has gone." Incredulously I asked, "Where?" He said, "Guru
Dutt is dead! His dead body is inside!"

True to my straight talking nature, I just blasted those two women for
ruining Guru's life – Geeta – right there in front of Guru's dead body
in the drawing room and Waheeda – at the time of funeral! Waheeda as
it is used to hate me as I had once told Guru Dutt, "She looks like a
Govanese Aayah!"

Q. And what about Geeta Dutt – as a singer? I feel, percentage-wise,
Geeta sang more hits for you, even compared to Asha.

(O.P. dramatically stands up, removes his hat and bows to me.)

"What an observation! You are absolutely right. Geeta Dutt had the
most original voice in film music. She was the one who introduced me
to Guru Dutt. She sang so many hit songs of mine in films like Aar
Paar, Mr. and Mrs.55, Musafirkhana and Miss Coca Cola. Later as I
started using Asha's voice more and more, Geeta was neglected and I
feel sorry for that. I would even go to the extent of saying that
later she was literally blocked from singing in my music by my then
premier singer!

Like her late husband, Geeta has also left a deep emotional scar on my
mind. Once she called in the middle of the night and said, "Nayyar
saab, do you still recognize my voice? I am Geeta. Aap To Humein Bhool
Hi Gaye!" I felt so sad and guilty. That time I could just give her
some assurance but it was futile."

Q. What are the exact words that Geeta sings in the CID song – Jaata
Kahan Hai Deewane? They sound like Fifty – Kuchh Tere Dil Mein Fifty –
Kuchh Mere Dil Mein Fifty.

"The word is not ‘Fifty' but a meaningless – ‘Fiffy'. Just like ‘Adi
Tappa' and ‘Lara Lappa'. Censors then had given us a lot of trouble by
saying that ‘Fiffy' is an obscene word!"



Q. How did you transform Asha Bhosle into such a versatile singer?
Wasn't she heavily influenced by Geeta Dutt in her early career?

"Hundred percent right! Asha was introduced to me by lyricist
P.L.Santoshi at the time of Chham Chhama Chaam – my second movie. At
that time, she was not only influenced by Geeta, but she was also
under heavy (inferiority) complex of Lata. As if she was torn between
their styles. What I did was to give her confidence and to help her
come out of that complex. This process started from the time of Naya
Daur. To Asha's credit, it must be said that she never shied away from
practice. In fact, she would be the one who would ask me for more
rehearsals even if I felt she was singing the song well. I can proudly
claim that more than S.D. Burman, more than R.D.Burman, more than
anybody else, it is O.P.Nayyar who has really moulded her voice.
Unfortunately today she refuses to acknowledge that fact!"

Q. Wasn't romance one of the major inspiration for your tunes for her?

Definitely, love makes you do extra-ordinary things!

Q. Is it true that Kishore Kumar covered up for Asha's mistake in Piya
Piya Piya Mera Jiya Pukare in Baap Re Baap?

That's hogwash! I don't know why Asha said so in her interview. I
distinctly remember her making that mistake of singing out of turn, as
I was going to cut it for retake, Kardar – the film's director told me
to let it remain. It was he who said ‘I will manage it while filming'.
He made Kishore cover the heroine Sheela Ramani's face when that wrong
line starts! Kishore was just an actor in that movie, how he could
decide about such a thing?

Q. Now - the eternal question. Why didn't you ever use Lata's voice in
your music? Wasn't she supposed to have come for the Aasman song that
was finally sung by Raj Kumari? In Harish Bhimani's book on Lata, she
claims to have been held up by rain and being not able to come for the
recording.

" It's all humbug! I never ever summoned her for any of my songs. I
needed a powerful, full- throated, sensuous voice and she had this
thin, thread-like voice, which was not at all suitable for my music.
Another thing is about my inspiration coming from beauty. Lata with
her plain, ordinary looks never could inspire me as a composer!

At the same time, let me say this once and for all and remember I am
swearing this on my food– even though I never ever worked with Lata, I
still consider her as the Number 1 singer in India. Asha tried hard to
take her place but could never achieve that. Lata was just supreme, a
God given voice! Her work with almost any composer – be it Madan
Mohan, Roshan, S.D. Burman or Shankar- Jaikishan was exemplary. Just
imagine Madan Mohan's ghazals being sung by Shamshad or anyone else.
They wouldn't have reached the same artistic height as they did with
Lata's voice.

We had cordial relations but still I remained suspicious about her. I
remember, once she called me for lunch and I was first watching what
she was eating and then eating the same thing after her!

Once she said to me, "These film- songs are becoming so predictable.
Just by listening to the Mukhda, you can predict the Antara." I said,
"Lata bai, you may say this about other composers but this O.P. Nayyar
challenges you now to predict his song's Antara after listening to its
Mukhda." After that challenge, she simply vanished from there!"

Q. You also rejected Madhya Pradesh Government's Lata Mangeshkar
Award.

"You see Beta, that award was worth cash 1 lac rupees, all tax-free
and remember- I was in dire straits those days, having been separated
from my family. Still I rejected that award on three counts – one, it
was a crooner's award given to a composer; two- I had never worked
with Lata and three- I don't believe in instituting awards in living
person's name! I stood up for my principles- that's all!"

Q. In spite of your long-standing partnership with Mohammed Rafi, how
come you two separated in the late sixties?

Throughout my career, I have been famous for my punctuality. Rafi had
given me a time for recording a song from Saawan Ki Ghata. The
musicians were all set. Rafi came late for that recording and said,
"Sorry, I was stuck up in Shankar- Jaikishan's recording." I said,
"You had given me the time by your choice. So I gather, you have time
for Shankar- Jaikishan and not for O.P. Nayyar. Now onwards,
O.P.Nayyar will not have time for Rafi." I cancelled the recording in
front of shell shocked musicians and told the accountant to charge the
expenses for the cancelled session to my account!

After three years, Rafi came to my house crying like a baby. I also
broke down. Both of us touched each other's feet. I said, "Rafi, by
coming here today you proved that you are much greater than O.P. You
could overcome your ego. I could not!"

He often used to sing – Yuun To Humne Laakh Sangeetkaar Dekhe Hai,
O.P.Nayyar Sa Nahi Dekha! (I have seen many a composer but never one
like O.P.Nayyar!) He also used to tell me, "Aapke music se hijda bhi
jawan mard ban jaayega!"("Your music could turn a eunuch into a
he-man!")

Q. What about Mahendra Kapoor?

"I used him as replacement for Rafi. I used to call him Çharan Das for
he used to touch feet of practically any Tom, Dick and Harry. I found
this extra- humility phony. He might have sung quite a few good songs
for me but just listen to Do Ustaad title track to know how off-key he
could be! Purposely I kept that Besuraa singing so that one day, I
could show him how bad he could be!"

Q. You Used Manna Dey with Rafi for Tu Hai Mera Prem Devta.

"Well, Rafi was far too superior to Manna Dey there! Manna Dey would
take around four- five takes to get it right."


Q. You practically had a spat with everybody in the film industry.

"You said it! In one of the filmi parties, I heard song-writer Sahir
Ludhiyanvi telling somebody that he had made S.D.Burman. He had said
the same about Khayyam also. I got very angry. If this man could say
such a thing for a great composer like S.D.Burman, then what was there
to prevent him from saying the same about me? I just cut off relations
with that man.But it was tue that Sahir helped Khayyan get films!

Once, Dev Anand took my 9 a.m. appointment. Film director Shakti
Samanta had recommended my name to him. I waited till 9.05 a.m. and
then walked off to my recording studio. Dev arrived at my place
exactly two minutes later and was extremely annoyed to find me gone.
Needless to say, he never used my music in his films!

Raj Kapoor once tried to pressurize me into taking Mukesh instead of
Rafi for songs of Do Ustaad. He tried to do it cleverly. He came to my
office, listened to my tunes- dancing all the time while listening and
then quietly he popped up the question, "Just tell how these tunes
would sound in Mukesh's voice?" Mincing no words, I said, "They would
sound shit." Further, I just told Sheikh Mukhtar – who was the
producer and Raj's co-star in the film, "If Mukesh is going to sing
these songs, just take your signing amount back." Raj relented but
then we never worked together again!

Dilip Kumar and I were very close initially. He used to call me
‘Johnny'. At the screening of Naya Daur, Dilip needled me – "Johnny,
your songs are very good but background score is pretty weak." I got
my revenge in the Naya Daur celebration party. There Dilip came and
boasted, "Johny, did you see how well I have danced on your songs?" I
shot a quick repartee, "O.P.Nayyar's music makes even a third rate
actor dance. It has such energy!" He got so bugged that he totally
avoided me in future. Yet, at the time of making his film Leader, he
always used to compare its music, which was given by Naushad with my
music in Ek Musafir Ek Haseena and used to admit in private – "O.P. is
superior!"

Q. You even once made Kishore sing in Rafi's voice.

"Yes, in Raagini for the classical song Man Mora Baawra, I made Rafi
give playback for Kishore Kumar. I was annoyed with Kishore's
tomfoolery during the recordings and wanted to teach him a lesson.
Kishore – who was the hero of the film, then went and complained to
his brother Ashok Kumar – who was also the producer but Ashok refused
to interfere with my decision.

Ashok Kumar later acknowledged publicly that as a producer, it was my
music that really helped him sell Kalpana and Raagini."


Q. Tell us more about Naya Daur – your only Filmfare winning score.

"I thought that was a ridiculous film – a Tonga versus motor car
theme. I did it because one of my benefactors- one film distributor
Mr. K.K.Kapoor told me to do it as a favour. So even when my then
market rate was Rs.35,000/-, I just charged Rs.18,000/- for that film.
Once the film was released, all the major reviews headlines
highlighted my music. "Nayyar Novelty in Naya Daur" and the likes!
Chopra did not like this focus on me and the result was same- we never
worked together!"


So who was your favourite film-maker?

"I consider Shashidhar Mukherji- father of Joy Mukherji and Dev
Mukherji, as the pioneer film-maker in Hindi film industry. He not
only created films, he created stars and personalities; he created
institutions like Filmistan and Filmalaya. He made the best use of my
music. Tumsa Nahi Dekha, Ek Musafir Ek Haseena, Sambandh, Ek Baar
Muskura Do – making music for all his films gave me a lot of
satisfaction.

For Sambandh, I worked on the music for 1 and half years even though I
had earlier promised to finish it within 6 months. Some detractors
used to say, "How this frivolous composer is going to compose music
for a serious theme like Sambandh?" But Mukherji saab never gave any
importance to such people. He brought in veteran lyricist Kavi Pradeep
to work with me and together, we made some great songs in Sambandh.
When he paid me Rs.1,80,000/- - a price much higher than he paid any
composer, he told me, "Nayyar, you might not be knowing your true
price but I do!"

Q. But you seldom got big film banners to work with. Mostly you had to
work with B-and C-grade films.

"Let me correct you, I never had to work with B- or C-grade
film-makers. I worked only because I got my price. I must confess that
struggle in my early life had made me a money-minded man. I was like a
prostitute - ready to work with anybody who was willing to pay me
well. Like Dara Singh who came to me for Nasihat. I told him straight
away, "You have come to a white elephant. I will charge you three
lacs!" He just said, "Papaji – I am a Pahilwan (wrestler) on the mat,
but you are a Pahilwan in the music field. I will pay whatever you
want!"

But after getting my price, I never compromised on the quality of my
work, that's why even the music of those mediocre films is memorable
even today!

While we were recording Yaar Baadshah for CID 909, I got a phone call
informing about my son's accident. He was hit by a car. Thinking of
the expenses the producer would have to bear if I cancelled the take,
I stayed put, did not inform anybody of the mishap and finished
recording in 1 and ½ hours. I believe in fate – I thought if my son
was going to survive he would. Later, I told Asha to reach the
hospital and call me in the studio. She went after admonishing me for
being heartless. Later she called from hospital and said, "He is okay.
It's just a collar-bone fracture!"

Q. Tell us about your style of working.

"As I told you before, tunes came to me naturally. I have never had
any formal musical training. I don't know anything about Raagas and
other intricacies of music. Yet I could compose classical songs like
Dekho Bijali Dole and Chhotasa Baalma. Master classical singer Amir
Khan -saab once told me, "What are you talking about not knowing
raagas? I counted no fewer than 16 different raagas in your Sambandh
tune- Akeli Hoon Main Piya Aa!"

I believed in intensive preparation. My singers would come to me and
rehearse the song for a few days. Then in a single take the recording
used to be over. Even the musicians used to applaud the speed with
which my songs used to get recorded. Still I feel and even Asha has
confirmed in her interviews that my singers could bring only about 80%
of what I actually composed and that too, because they were really
good!

According to me, in any song 50% credit goes to lyricist, 25 % to
singer, 15% to composer and 10% to ornamentation. Many composers are
cross with me for making this statement. But this is what I sincerely
believe. I never even attended any music directors' meetings. How can
dogs ever unite? They must keep barking at each other!

Sebastian was my main assistant. I knew him from my Lahore days when
he used to work as the band- leader in Stephen Hotel. He would arrange
my orchestra. G.S.Kohli was a good tabla player and assisted me in
rhythm. The final decision about all orchestration was always mine.

Rais Khan's sitar and Ram Narayan's saarangi had a major role to play
– much more than Shiv Kumar Sharma's santoor and Hari Prasad
Chourasiya's flute. Very few people know that the famous O.P.
-saarangi was always a combination of saarangi and cello. To get that
famous staccato effect, I used four clarinets which were played by
artists like Abdul, Ram Singh and Ganga Ram. I never harmonized
violins the way Shankar- Jaikishan or Madan Mohan did. My strings
played straight, complementing the main melody. At times I used
unusual instruments like the harp in Yaar Baadshah Yaar Dilruba from
CID 909.

I always supervised the orchestra and recording ever so minutely,
that's why those recordings still sound so fresh and crisp."

Q. Main Pyar Ka Raahi Hoon, Balma Khuli Hawa Mein, Chain Se Humko
Kabhie---so many of your hit songs never made it to the screen. How
did that happen?

"It was just fate. At the time of editing, they felt that the song was
not fitting into the film and they cut it. Invariably this would
happen with some beautiful tune. Such was the case with another
beautiful song - Humne To Dilko Aap ke Kadmon pe rakh Diya. Jaata
Kahan Hai lost out because of censors. But who can change destiny?
That's life!"

(This interview was published, but I forget the source. )

[orbitor13]

WOW...........VERY INTRESTING...


THANKS FOR BRINGING IT HERE MAN....



irfan...

[mohd2004]

Thanks a lot for bringing this article to HF.

Mohd.

[aek]

Wow ! Did not know B.R Chopra had issues with the music of Nayaa Daur. A osng like "Aana hain tou aa raah main"...is just out of the world.

[myawan]

Great one!