Guest article by Piyush M Pandya (Gujarati original) and Ashok M Vaishnav (English translation)
(Ramprasad Sharma may be an unfamiliar name to many, but Laxmikant-Pyarelal duo were the biggest guys on the film music scene. They broke all the records: for number of films for which they composed music, total number of songs by them, total number of songs for the biggest singers, Lata Mangeshkar and Rafi. They went through the grind, climbing all the ladders from the beginning: musician, arranger, assistant music director and finally the pinnacle. Pyarelal was the son of Ramprasad Sharma, who was a highly respected musician, scholar, music director and teacher in the 40s and early 50s. His other sons too, namely Gorakhnath, Ganesh, Anand, and Naresh; and grandsons Monty and Mithun all came into music.
Ramprasad’s pupils include a galaxy of well-known names who came to him to learn notation. He did not achieve great commercial success as a music director, and had to work for other music directors like Naushad and C Ramchandra. The trumpet in ‘Suhani raat dhal chuki’ was played by Ramprasad Sharma. I profusely thank the guest authors Piyush M Pandya and Ashok M Vaishnav for covering an important personality and his family in the series on Arrangers and Musicians. – AK)
The title of this episode may sound like a typical name we were used to seeing on the signboards in the markets in any town during the 1950s to ‘70s. The signboard would further read “Wholesale Merchants of Grains” or “Wholesale Cloth merchants” etc. Well, what has that to do with this series about musicians and arrangers? Is the present episode about some such firm which probably had been associated with ‘selling’ music instruments?
Well, No. Ours is a narrative of three generations of artists who have been practicing musicians in the world of Hindi film music: Ramprasad Sharma, a complete music director, researcher, composer and arranger with an in-depth knowledge of all known musical instruments, their notations and playing techniques in Indian as well as western styles; his sons: Pyarelal, Gorakhnath, Ganesh, Anand, Naresh; and the grandsons: Monty and Mithun. As is the case with most of the second and third tiers of artists like arrangers and musicians under the label ‘Music Director’, these names would not make sense with most of us, unless we further qualify Pyarelal with the suffix of ‘Laxmikant-Pyarelal duo’.
Ramprasad Sharma
Ramprasad Sharma (1900 -1995) belonged to Gorakhpur in the then United Provinces (present day Uttar Pradesh). The band master of Bharatpur State recognised Ramprasad’s flare for instrumental music. He played the trumpet here. He then played in Agra Military Band. This groomed him into the art of music arrangement to rise to the position of Band Master in a circus. He toured Delhi, Lahore and Calcutta with the circus. He settled for some time in Calcutta and worked for Columbia and New Theatres. At that stage, he mastered playing ten instruments and had acquired good knowledge of intricacies of classical raags.
He came to Bombay in 1938 and played in many studios. He got his first break as music director for ‘Nayi Baat’ (1947). He composed music for six more films – ‘Shakti’ (1948, with Mohammad Azim Baig as co-music director), ‘Banoo’ (1949), ‘Bedard’ (1949), ‘Anyay’ (1949), ‘Dolti Naiyya’ (1950). Though the music for these films had freshness in compositions, the songs could not attain commercial success. His last film was ‘Magic Carpet’ (1964), by which time his son Pyarelal was making moves as music director with Laxmikant.
1. Kaali ghatao jao sajan ko samajhao | Arman bhara dil beet gaya | Pardesi piya tose laage jiya | Jhan jhanan baaje dil ka sitar – Shakti (1948) – Suraiya – Lyrics: Asad Jafri – Music: Ramprasad / Mohammad Azim Baig
The variety and richness in compositions, rhythm, melody and selection of instruments is remarkable.
2. Kya sach hai qasam wo bhulaane lage hain – Bedard (1949) – Lalita Deolkar – Lyricist: Abdul Gaffar Badar – Music: Ramprasad Sharma
Rich orchestration with multiple instruments, different approach for composing both interludes and the corresponding orchestration speak volumes for Ramprasad Sharma’s creativity and depth of knowledge of composting a song.
3. Samjhe the ki guzrenge din chain aur khushi mein – Banoo (1949) – Mohammad Rafi – Lyrics: ? – Music: Ramprasad Sharma
The song truly reflects the mood of introspection. This time the composition is not an easy-to-sing one.
4. Duniya mein raha aaj nahin koi humara – Dolti Naiya (1950) – Rajkumari Dubey – Lyricist: Prakash – Music: Ramprasad Sharma
One more illustration of Ramprasad Sharma’s competence in composition!
5. Husnwale se na milna ye daga dete hain – Magic Carpet (1964) – Janibabu Qawwal, Mubarak Begum, chorus – Lyrics: Arsh Farooqui – Music: Ramprasad Sharma
Ramprasad Sharma, even after a gap of fourteen years, has not lost touch with creativity as can be observed in the manner in which he has composed this qawwali.
In the ironical ways of film world, talent and success, like our goddesses Laxmi and Saraswati, are often found to take divergent paths. For Ramprasad Sharma, too, the fate had not chosen the path of success. As such, for livelihood, he had to depend on his skills as arranger and trumpet player to work with music directors like Naushad, C Ramchandra and others.
We will take up a couple of samples of songs where trumpet-play of Ramprasad Sharma has added that unique identity to the song.
6. Aawaz de kahan hai – Anmol Ghadi (1946) – Noorjehan, Surendra – Lyrics: Tanveer Naqvi – Music: Naushad
There would hardly any Hindi music fan who would not be aware of this song. But, the musicians who contribute to the popularity of such songs remain equally unknown until it is specifically informed that the magically poignant notes of trumpet, from 1.37 to 1,52, in the interlude, are being played by Ramprasad Sharma.
7. Suhani raat dhal chuki na jaane tum kab aaoge – Dulari (1949) – Mohammad Rafi – Lyrics: Shakeel Badayuni – Music: Naushad
Introductory notes (0.06 to 0.09) in the prelude, countermelody note @1.13-1.14 and lead interlude play from 1.48 to 2.02 so soulfully has added to the forlorn state of the mood of the song.
Though Ramprasad Sharma stepped into Mumbai’s film world to make his living as a music director and a trumpet player, intrinsically he was a devoted musician artist. So, he could never get along easily with other commercial musicians and artists, making him a fish out of water. There was a time when the family could get a square meal only when Pyarelal, then hardly in double-figure age, brought some money from the stray work he could get as violin player at different studios. That was also when Ramprasad Sharma took up the challenge of not surrendering to his current fate. He started to teach many of the willing pupils everything they wanted know in music. Ramprasad Sharma has been a guru for an overwhelming number of people ranging from slum dwelling children to great maestros like Hridaynath Mangeshkar, Uttam Singh, Surendra Sodhi, Anu Malik, Zarin Daruwala, Mahavir Prasad, to name a few. Even Naushad, C. Ramachandra, Abdul Halim Zafar Khan and Faiyaz Khan have, to different extents, learnt certain notations/techniques from Ramprasad Sharma.
Above all, he was noble, humble, selfless, extremely caring human being, who always bore a burning fire within himself to impart knowledge to everyone around him without any catch to it.
Pyarelal (Sharma)
As the indivisible half of the Laxmikant-Pyarelal duo, the eldest son of Ramprasad Sharma, Pyarelal (B:1940) needs no introduction. He started playing violin as a young boy and had attained the status of grade A artist by the time he was midway into his teens. Just one illustration would suffice to demonstrate his skill and status as the violin player.
8. Main ye soch kar uske dar se utha tha ke wo rok legi mana legi mujhko – Haqeeqat (1964) – Mohammad Rafi – Lyrics: Kaifi Azmi – Music: Madan Mohan
The background narrative of the opportunity that came to Pyarelal is best read in his own words: “The recording of the song Main ye sochkar uske dar se utha tha was going on. For the rehearsal, there were eight violins, a piano and a flute. The rehearsal continued for a long time. Rafisaab did the last rehearsal at 8.00 pm. Then Madanji and Chetan Anand discussed something between themselves. Immediately thereafter, Madanji called Master Sonik (of Sonik Omi duo) and said: ‘Arrange a solo piece for Pyare’. At that time Jerry, Oscar, Anthony, Durado and Narvekar, all very reputed violinists were present, but he chose me. Sonikji prepared a piece within three quarters of an hour that matched the song. Madanji approved of it and then I rehearsed the piece. Robert (Correa) accompanied me on the piano and Sumant Raj played the flute. The arrangements were modified five to six times and the final recording was done. Little did I know that the small piece I played would make history. …. The credit goes to Madanji who selected me from the eight well-established violinists and got the piece played in a specific manner.”
https://youtu.be/2oY-oNtVXuU?si=cPI5MV_oAdOjnxOF
Gorakhnath (Sharma)
Gorakhnath Sharma (28 December 1946 – 26 January 2018), the second son of Ramprasad Sharma’s six sons and two daughters, learnt the basics of music form his father. He mastered the art of reading music notations and the art of playing various string instruments from him. Gorakh Sharma has played the mandolin, mandola, rubab, and numerous types of guitars like the acoustic, jazz, twelve-string, and electric guitar. Not only this, he was the first to have played the bass guitar in the Indian film industry.
He began his musical career at the age of 14, when he got the break as a mandolin player for Chaudahavin ka chand ho ya aftab ho (Chaudahavi Ka Chand, 1960 – Mohammad Rafi – Lyrics: Shakeel Badayuni – Music: Ravi) @0.57 to 1.05, 2.18 to 2.23, 3.26 to 3.32.
https://youtu.be/lJlbhcvUTV4?si=11kzOhbB6cD3qwgd
He then went on to learn guitar from Anibal Castro, who was a known guitarist. Gorakhnath became a trained, unique guitarist whose mandolin playing ability when merged with guitar created magic. He was initially a part of a small group named Baal Sureel Kala Kendra which would go to small cities to perform. The group consisted of Meena Mangeshkar, Usha Mangeshkar, and Hridaynath Mangeshkar, along with Laxmikant Kudalkar, his brothers Pyarelal, Ganesh, Anand, and others.
During his entire music career spanning over 40 years, Gorakhnath has played various string instruments in more than 1000 songs in over 500 films. Here are few songs that showcase his signature-style guitar play:
9. Mere mehaboob qayamat hogi – Mr X in Bombay (1964) – Kishore Kumar – Lyrics: Anand Bakshi – Music: Laxmikant Pyarelal
Guitar comes in small strokes in the interludes but does not fail to register its presence.
10. Nazar na lag jaye kisi ki rahon pe – Night In London (1968) – Mohammad Rafi – Lyrics: Anand Bakshi – Music: Laxmikant Pyarelal
The song opens with strokes of guitar and continues in lower octaves through the prelude, keeps support in counter melody and then takes the lead during the first prelude to follow violins in the second interlude.
https://youtu.be/Hwhrtp5nDMo?si=eUm3QFAX9J6tqlXl
11. Saanson ki zaroorat hai jaise – Aashiqui (1990) – Kumar Sanu – Lyrics: Samir – Music: Nadeem-Shravan
12. Gorakh Sharma plays a Guitar solo in climax scene in Aan Milo Sajna 1970
13. Gorakh Sharma solo clips with other music directors
YT has several clips wherein Gorakh Nath is playing guitar in different live programs. Of these, the one which would mandatorily be included is the theme music of Karz, which has become synonymous with Gorakh Nath’s guitar.
Ganesh (Sharma)
Ganesh, along with Shashikant (the brother of Laxmikant) had assisted LP in their earlier films. Ganesh had a good grip over writing the notations. He also went on to independently compose music for 16 films, of which the one song that has survived the passage of time is Hum tere bin jee na sakenge sanam (Thakur Jarnail Singh, 1966 – Asha Bhosle – Lyrics: Asad Bhopali).
Other Members of Sharma Family
Mahesh paired with another musician, Kishor to compose music for two three films which did not fare well. He too was a good violin player.
Naresh also had created his own space as string instrument player.
In the next generation, Monty, the son of Anand Sharma, is known for composing the music of Sanjay Leela Bhansali’s Saanwariya (2007)
https://youtu.be/Zhe3k7bbCGk?si=hNqQh4xX25gTuZDV
Mithun (son of Naresh) Sharma is known for composing music for films like Aashiqui 2, Jism 2 etc.
https://youtu.be/kPwsMDhFn74?si=ynmdemsYEv0DRM-z
Panditji deserved some award or honour for at least his one generous act. He never charged anybody for teaching how to play the violin. Not only this, he has made groups out of slum dwelling children and turned them into deft players of an instrument as difficult as the violin. Not one, not two, but more than two hundred such children have learnt from him and have moved on from rags to riches! In the cine music world, in almost every song recording, there were at least a few musicians who had learnt from Panditji. And there still are!
We look forward to the saga of contributions of the Sharma family to the Hindi film music in the book-in-making by Pyarelal.
Credits and Disclaimers:
1.The song links have been embedded from the YouTube only for the listening pleasure of music lovers. This blog claims no copyright over these songs, which vests with the respective copyright holders.
2. The photograph is taken from the internet, duly recognising the full copyrights for the same to the either original creator or the site where they were originally displayed.
References:
https://www.madanmohan.in/html/tribute/collegues/pyarelal_sharma.html
{ 24 comments… read them below or add one }
Oh!
Very interesting and informative.
Never knew, Monty Sharma, mithun and Mahesh from the duo Mahesh Kishore were related to Pyarelal.
Kaali ghatao jao is my all time favourite and still I wasn’t aware that the composer Ramprasad was Pyarelal Sharma’s father.
March 28 was Ganesh Sharma’s 24th death anniversary and I published a post on my blog to commemorate it.
Thanks for the post. Enjoyed it.
Anup
🙂
Nicely written and very informative article. A family with musicians.
Mehfil Mein Meri #1
I have read your article on Ganesh. It indeed does full justice to his potential.
Thank you for the appreciation of the present article.
R Vasudevan #2
Thank you so much for the appreciation of the present article.
Ashok Ji & Piysuh Ji,
As usual a very well researched , informative article on Pt Ram Prasad Sharma. Ganesh’s one more famous song is :
Dil ne pyar kiya hai ek bewafa se from the film Shararat (1972), lyrics by Hasrat Jaipuri, sung by Rafi.
In SOY , under the Rafi’s songs with Unknown Composers, I had mentioned this.
Sivanandam # 4
Indeed Dil Ne Pyar Kiya Hai is an outstanding composition that does validates capabilities of Ganesh.
Here is the link to the song:
https://youtu.be/TNPAUd5t-a4?si=l_D66-CUbZfWd5uH
Very interesting facts about Ramprasad Sharma has been revealed in this article.
Thank you Piyushji and Ashokji for this well researched and informative article. I find the bulk of the details were on Ramprasad Sharma and Gorakhnath Sharma and briefly touching upon the other Sharmas. Pyarelal definitively needs a separate series of article.
The information on Ramprasad Sharma was interesting and new to me. Gorakhpur, Bharatpur, Agra, Delhi, Lahore, Calcutta and finally Bombay; It is very much evident that all the struggles he had undergone, learning and experience he had painstakingly gathered in course of his arduous journey made him a wise man and also a good human being. He initiated his sons into music at an early age and guided them to become talented musicians. But his most commendable achievement is enabling music learning for underprivileged children and instilling skill and confidence in them to become good musicians. Salutes to the unsung hero of HFM, Ramprasad Sharma.
Frankly speaking, except Pyarelal, the names of other Sharmas were lesser known or even unknown to me. I came to know about Ramprasad Sharma only in 2020, when I got a copy of V Balsara’s autobiography (as dictated to Shukla Ghoshal and transcribed in Bengali by her). While recalling the names of his colleagues during early period of his career, Ramprasad Sharma’s name finds mention. It did not evoke much curiosity in me then. But when I revisited that particular portion after reading about him in this post, I realized its significance.
Balsara holds Ramprasad in high esteem.
“Whenever you speak about trumpet playing in HFM Ramprasad’s name will automatically come first. His trumpet playing was soft and mellifluous. He could play music of any genre in any scale with ease. ”
Balsara recalls an incident;
“In one of the recording sessions, the recordist felt that the sound of the trumpet was somewhat loud and he asked Ramprasad to move back slightly away from the microphone. Instead Ramprasad moved closer to the microphone and produced a soft and soothing sound. Later he explained that what matters is the control of volume by the player and not the distance from the microphone.”
Balsara mentions how he and colleagues were amazed at the maturity of Pyarelal and Ganesh as musicians at that tender age. He also mentions the name of Nathuram, Ramprasad’s disciple, who later became one of the trumpet players in SJ’s team.
Piyush ji, Ashokji,
The Sharmas indeed were a very talented lot! That the violin is one of the toughest instruments to play is something I know for sure as my daughter goes for violin classes. It takes a long time to actually understand how to play basic notes. The violin played by a beginner sound like a wailing cat. Pt.Ramprasad Sharma and his sons are indeed a blessed lot!
There is another Sharma – son of yesteryear music director -who was a sitarist par excellence and played for films – Pt. Ashok Sharma . Pt Ashok Sharma was the son of the music director Pt.Bhagatram and husband of the great sarodiya Vidushi Zarine Daruwala.
As I understand, Pyarelal is the eldest of the brothers followed by Ganesh, Gorakhnath, Anand, Mahesh and Naresh, in that order and only Pyarelal and Naresh are alive today.
The anecdote on how Pyarelal came to play the solo violin piece for the film Haqeeqat (1964) was interesting. Thanks too for the link to the full song with violin piece played by Pyarelal.
I hope adding a few lines here on Pyarelal would not be inappropriate. It relates to pre 1963 period, before he along with Lakshmikant became full fledged MDs. I read in one of the two books, available on LP, that at the age of 12 Pyarelal made his debut as a musician for a song in Bulo C Rani’s Jogan (1950). The book, ” Music by Lakshmikant Pyarelal : The Incredibly Melodious Journey”, was written by Rajiv Vijayakar. If this information in its entirety is correct, then Pyarelal must have been born in the year 1938 or before. The other possibility is that Pyarelal must have made his debut as a musician at the age of 10 or even before. Incidentally, Jogan was produced under Chandulal Shah’s banner Ranjit Movietone. Around this time, Pyarelal was with Ranjit Movietone, performing threefold-duties – as a musician, as a ‘extra’ child artist and as a violonist for owner, Chandulal Shah’s pleasure.
Pyarelal also played the violin in the choir during Church services at St. Michael’s Church in Mahim, where he attended evening/night school.
About mid 50s Pyarelal was working with C Ramchandra and Chitragupt. In 1956, he and Lakshmikant travelled to Madras with CR for the film Devata. Meanwhile, Pyarelal began to arrange for CR, though according to Pyarelal his first break as an arranger was in the 1958 movie Phir Subah Hogi, which incidentally was Khayyam’s first film as a independent composer. And when Kalyanji-Anandji began their careers as independent composers, first they employed Sebastian as their arranger. But SJ objected to this and Sebastian had to leave. Lakshmikant who was already working for KA, suggested Pyarelal’s name. Thus, together, they worked first for KA in Chandrasena(1959). According to Pyarelal, Kalyanji liked to work with him, while Anandji preferred Jai Parte. Later, in several KA films, LP were billed as Associate Music Directors – Himalay ki god mein, Jab Jab Phool Khile, Juari among other films. Pyarelal also arranged for dubbed version of South Indian films and also did extensive work on the BGM of other films. Pyarelal along with Lakshmikant also worked with many more composers who mattered, like Naushad, S D Burman, SH, Roshan, Ravi, Madan Mohan, O P Nayyar, Hemant Kumar Usha Khanna and lastly R D Burman. They arranged for RDB’s first two films Chhote Nawab (1961) and Bhoot Bangla (1965). The last film in which they arranged and also played was Roshan’s Bahu Begum (1967), four years after their debut as independent composers.
Thank you, Ashokji and Piyushji, for this very informative article on the men behind the scenes.
Venkataraman Ji -Ref # 10–wow -thanks for huge amount of information on Pyarelal! I never knew most of these.
SOY is really an encyclopedia for HFM!
By the way, AK Ji the right side panel on Music Directors still has some famous one missing-RD Burman and Laxmikant -Pyarelal. I know they had started well after SOY’s tag line time period of ’30 s to ’60 s, but many of their early compositions are gems. Personally I am not a fan of RDB but his classical based songs are too good. Same with L-P ;- their early songs were trend setters for the exceptional rhythm patterns.
KB #6
Thank you for your appreciation .
N Venkataraman # 7, # 8, #10
Thank you so much for providing so vital information about Ramprasad Sharma and Pyarelal. Ramprasad Sharma more like other contemporary musicians has indeed been ‘unsung’.
Pyarelal’s contribution as arranger has remained hidden under the dazzle of the success of LP as music directors.
Anita # 9
Thank you so much for enriching information on Ashok Sharma. I wish some day SoY will be able to carry full posts on hin as well Zarin Daruwala, for her ole as film musician who played Sarod in the Hindi films. Of course, YT has many great performances as classical Sarod player.
Anu Warrier # 11
Great feeling to reciee the generous appreciation from you.
Sivanandam #12
It certainly would be interesting to re-visit the early songs of LP and RD, before they went mass-scale, riding on the wave of success
Venkataramanji @10,
Thanks a lot for the superb additional information on Pyarelal, L-P. One minor point: You say Phir Subah Hogi (1958) was incidentally also the first film of Khayyam as an independent music director. I thought his first film as independent music director as ‘Khayyam’ came at least five years earlier, Footpath (1953).
Sivanandamji @12,
I do follow what the readers say in their comments and these are lodged in my subconscious. RD Burman and L-P started well before the end of my tagline, though they burst forth in a big way after the end of the period. L-P happen to be my great favourites, they turned out to be the biggest on all parameters. It would be difficult to overlook them.
AKji @ 14,
You are right. I failed to recall at the time of writing. I stand corrected. Thank you AKji.
Ak @14,
You wrote.
“I thought his first film as independent music director as ‘Khayyam’ came at least five years earlier, Footpath (1953).” Ashokji wrote
“Akele Mein Wo Gabarate To Honge – Biwi (1950) – Lyrics: Wali Sahab – Music: Sharmaji (a.k.a. Khayyam)”
Yesterday before my usual peek at SOY’s comment i wandered into Ashokji’s blog.
I am so happy I did that. Ashokji has done a wonderful tribute post on Rafi.
The quote above is from that post.
I would request all SOY members { Hans in particular, His assosiation with C.Ramchanra is mentioned there) to have a look at that post he has meticulously shown the trailer of “Rafi” that later transpired in the magna opus “Rafi Saab”.
Thanks Ashokji.
And I want to thank you and Piyushji for your series on ” deserving musicians” Thanks once again/
I am extremely sorry for not commenting earlier. I kept thinking of piggybacking Rajaj’s comment on The “Lords” but missed that bus too.
Mumbaikar 8,
So it has to be much before Phir Subah Hogi (1958). In Biwi, he gave music under the name Sharmaji.
Thanks a lot for your appreciation. You are never too late to comment.
AK,
Duh me! I forgot to paste the link I would like SOY members to have a look at Ashokji’s blog.
Here it is.
https://amvaishnav.wordpress.com/tag/mohammad-rafi-solo-songs-of-40s/
Piyush ji and Ashok Vaishnav ji,
My compliments on another remarkable post in this series.
Individuals like Ramprasad Sharma are God’s blessings bestowed on human beings. Ramprasad was so talented and so humble. When he taught music he did so wholeheartedly, without favour or prejudice.
Regards.
mumbaikar8 # 17 & 19
Thank you for appreciation for the present post.
I, indeed, am grateful for bringing up my post “Mohammad Rafi Birth Centenary: Remembering Some Happy Solo Songs of ‘40s” here. However your praise for it rather too generous than what it truly deserves!
Ashok Kumar Tyagi # 20
The world of HFM is truly ironical. The talented and generous and humble souls too, like Ramprasad Sharma do not get in return to what they give to HFM.
Of course, by blessing him so taleneted and successful sons and grandsons, the God had made due amends.
Ashokji
This post can not be merely defined as bio of a music arranger as was evident in similar posts of past but also embraced his music composing abilities. He indeed is a original like Sajjad Hussain who was not given his due recognition. This does not seem to have had any impact on his life and he had distinguished himself as a music teacher with elan. He was fortunate to see the success of next generation from the family. I appreciate your efforts of restitution of his place among the blog followers.
Song No. 2 had I heard before this post, I would have assumed it to be that of Khemchand Prakash as I can see some similarity with a song from Mahal.
I am reminded of the achievements of a similar musical family, i.e. Von Trapp who migrated to US from Salzburg, Austria in 1939 quietly and sang as a family music troop throughout US. The film “Sound of Music” is based on them but changed quite a lot from reality to dramatize it like their last minute daring escape into Switzerland with their musical instruments, a mere fiction.
D P Rangan #23
Thank yo so much for your very detailed response.
It is interesting to note that you could feel parallel of his music to that Khemchand Prakash. That speaks volumes for the quality of Ramprasad Sharama’s music.
Such appreciations possibly keep such artists remain most creative.