JAZZ Flavored "opera"::Laxmikant-Pyarelal Music.

JAZZ Flavored "opera"::Laxmikant-Pyarelal Music.

Jazz first came to India in the 1920.  The Goans learned Western music including jazz under Portuguese rule and then infused it into Indian cinema so that it spread from entertainment purely for the elite to the general public via Bollywood soundtracks.

Honestly I don't think Bollywood songs can truly be called JAZZ  songs. BUT “Jazz flavored” and  there are many. Many songs ‘preludes’, ‘interludes’ as well as ‘postludes’ have been decorated with JAZZ style orchestra arrangements.

Bollywood has been adapting Jazz style to their songs from time immemorial. Music composers C Ramchandra, S D Burman, O P Nayyar, Shankar-Jaikishan, Laxmikant-Pyarelal, RD Burman and many music directors have elements of jazz in so many of their songs. There is a lot of scope to use jazz in Bollywood music, because the genre is adaptable, flexible and rhythmic. It swings. It’s modern and progressive, and adds a certain gusto to the song arrangements.

Laxmikant-Pyarelal (1969) 

Laxmikant-Pyarelal have composed many of the such “Jazz Flavoured” songs. Selected the best of the lots for the review purpose.

Laxmikant-Pyarelal, Pt. Hariprasad Chaurasiya (left side partly hidden)

The orchestra arrangements in “PRELUDES” and “INTERLUDES” used to be the assets of the songs composed by Laxmikant-Pyarelal. It would be more proper to listen to the songs,listed below, after reading the write up, explaining peculiarities, for each of the songs,you will enjoy it, more.

Mera Naam Hai Jameela …. (Night In London, 1967)

(Singer :- Lata Mangeshkar,  Lyricist:- Anand Bakshi)

JAMEELA ssssssss:: JAMEE sssssssLA::JAMEELA::    HELEN has gamboled this CABARET song with Rich Orchestral Arrangements, with the distinctive style. Almost NINE different versions of rendering the word “JAMEELA” by Lata Mangeshkar in this song. “Prelude” of 50 seconds, consists of heavy orchestration,  is worth to listen to. All the three “Interludes” have different tunes. Use of the BRASS instruments, in entire song, is the asset of the orchestra arrangements. The entire song is brilliantly synchronized with the fast rhythm of BONGO DRUMS. Electric GUITAR is also used in-between the orchestra.

The another beauty of the song is Lata Mangeshkar’s sweet ‘tone’ is being surrounded by the MALE CHORUS, in all the ‘antaras’.

Lata Mangeshkar has sung many of cabaret songs under Laxmikant-Pyarelal, this is the ‘first’ one.

Aa Jaan-E-Jaan …. (Intaquam, 1968 )

(Singer :- Lata Mangeshkar,  Lyricist:-Rajendra Krishan)

One of the best Cabaret song in Hindi Film Music.  Laxmikant-Pyarelal’s Heavy and Rich Orchestration, Lata Mangeshkar’s extremely soft rendering, Helen’s malleable gamboling and best choreographed by P. L. Raj.  “Prelude” of over 70 seconds is full of BRASS and TRUMPETS, musical instruments, is mesmerizing. Brilliant take off by Lataji.. ‘aa jaane jaan’ than ‘ear-pleasing’ pause for 3 seconds,  forced the listeners to concentrate on ‘euphonic’ RHYTHM orchestrated for this gem of song. Just listen how beautifully Lataji renders the ‘Aa lala lala lala lala’ is a ‘killer’. No other singer could have managed to bring such finesse into that expression. Laxmikant-Pyarelal have extraordinarily orchestrated this cabaret with maximum use of BRASS, TRUMPET, SAXOPHONE, CLARINET, GUITAR  and JAZZ FLUTE without disturbing the melody paft of the song. Despite being a cabaret song the dance by Helen ji looks so graceful, totally devoid of vulgarity. The song became an instant hit on the charts and still popular, even today.

Tik Tik Tik Mera Dil Dole …. (Humjoli 1971)

(Singer :- Lata Mangeshkar-Mohammad Rafi,  Lyricist:- Anand Bakshi)

Distinguishable composed melodious Cabaret song in the duet form. “Prelude” 34 seconds is consists of Lataji’s aalap in western style. Fasttrack BONGO rhythm. All the “interludes” are awesomely orchestrated in JAZZ flavored,  with BRASS instruments, including SAXOPHONE, BASS GUITAR. All the three ‘antaras’ are mellifluously ‘filled’ with Lataji’s rendering ‘aalaps’ (second antara) as well as Rafi sahab's vocal ‘aalaps’ ( first and third antara) followed by “filling” with SAXOPHONE. The pair of Mumtaz-Jeetendra  looks charming as a cabaret dancers. A superhit song, still popular.

Dard-E-Dil Badhta Jaye …. (Buniyaad 1972)

(Singer :- Lata Mangeshkar,  Lyricist:- Anand Bakshi)

This is an OUTSTANDING composition in western style with JAZZ flavoured orchestra. You can have an idea about the "Chemistry" between LP and  Lata, how brilliantly, LP orchestra has synchronized JAZZ FLUTE with Lata's voice, in the beginning of the each of the “interludes”.

Sham Bheegi Bheegi Badan Jal Raha Hai …. (Gehri Chaal 1974)

(Singer :- Asha Bhosle,  Lyricist:-Rajendra Krishan)

Melodious Cabaret Song: Soft Rhythm of BONGO Drums, use of SAXOPHONE, as a filler and in both the interlude is at it's best. JAZZ FLUTE and GUITAR, synchronized with the SAXOPHONE, sounds ear-pleasing throughout the entire song. Actress BINDU looks beautiful while dancing.  ASHA BHONSLE sounds superb.

Dhak Dhak Dhadke….    (Pagli 1974)

(Singer :- Asha Bhosle,  Lyricist:- Anand Bakshi)

Entire song is orchestrated in western style with SAXOPHONE, GUITAR and VIOLINS. Actress BINDU dances superbly. Asha Bhosle rendering is simply superior.

Wai Wai Mein Jal Gayi…(Gaddar 1974)

(Singer :- Lata Mangeshkar,  Lyricist:- Anand Bakshi)

What a sensational rendering by Lata Lata Mangeshkar. JAZZ FLUTE, SAXOPHONE and GUITAR are preeminently orchestrated with different style of ‘rhythm’. Padama Khanna is simply superb.

Hungama Ho Gaya….(Anhonee 1974)

(Singer :- Asha Bhosle,  Lyricist:- Verma Malik)

Today’s ‘hot cake’. Full credit to Laxmikant-Pyarelal, Asha Bhosle and the dancer BINDU. Excellent use of GUITAR. Cinematographer S Ramchandra has wonderfully shot the song by  synchronising ithe the ‘rhythm’.

Hawa Hawai….(Mr. India 1987)

(Singer :- Kavita Krishnamurthy,  Lyricist:- Javed Akhtar)

This is too, today’s sensation. Use of BRASS instruments mainly SAXOPHONE is just brilliant. VIOLINS, GUITAR and CHORUS are excellently surrounded in the song. Second ‘interlude’ is beautifully overlapped with the rhythm of CLAPPING and SAXOPHONE.

This song gave name / fame to both Sridevi and Kavita Krishnamurthy. 

Om Shanti Om …. (Karz 1980)

(Singer :- Kishore Kumar,  Lyricist:- Anand Bakshi)

Spellbind, Huge and Enrich  orchestra arrangements in western style,  throughout the song. Despite Kishore Kumar’s usual shouts and Laxmikant-Pyarelal boisterous orchestra, the melody part of the song is not lost. The song has become a youth anthem. Kishoreji sounds  like a ‘man’ of the age of 30. This composition from Laxmikant-Pyarelal  came up with a solid riposte to their critics. All the BRASS musical instruments like TUBA and FLUGELHORN, SAXOPHONE and CLARINET along with GUITAR are wonderfully orchestrated in enrich orchestra arrangements with the powerful western ‘beats’.

Jumma Chumma….(Hum 1991)

(Singer :- Sudesh Bhosle,  Lyricist:- Anand Bakshi)

“Prelude” of 75 seconds, with beautiful glimpses of GUITAR sets the mood of the song. All the BRASS musical instruments like TUBA and FLUGELHORN, SAXOPHONE and CLARINET along with GUITAR are wonderfully orchestrated as a ‘filler’ (after rendering ‘jumma chumma de de’). Despite Sudesh Bhosle’s  usual shouts and Laxmikant-Pyarelal boisterous orchestra, the melody part of the song is not lost. The song has become a youth anthem.

Ajay Poundarik

Cleveland, Avon (OHIO)

USA