A TONGA RIDE DOWN MEMORY LANE

 

Long before the concept of fusion music captured the public's imagination, the illustrious composer OP Nayyar was already masterfully intertwining Western instrumentation with the rich tapestry of Indian rhythms. His creations, which remain timeless classics, echo through the ages, a testament to his genius. OP's profound admiration for the pulsating beats of Punjab inspired him to weave the dholak and tabla into melodies that might have otherwise adhered strictly to Western influences.

Consider the exuberant Jaiye Aap Kahan Jayenge from Mere Sanam in 1965 or the enchanting Aaiye Meherbaan from Howrah Bridge in 1958. The latter, a vibrant nightclub number, showcases a jazz ensemble where the bongo effortlessly melts into the tabla during the antara, exemplifying his innovative approach.

OP 's compositions are characterized by a vigorous percussive foundation, often drawing from folk traditions, as seen in his numerous Punjabi-inspired tracks from films like Naya Daur in 1957, featuring Ude Jab Jab Zulfein Teri and Reshmi Salwar Kurta Jaali Ka. Moreover, his rhythmic ingenuity is unparalleled—who else has crafted as many tonga songs as he did?

The enchanting rhythm of 'Clip-Clop-Clip-Clop' transcends the mere presence of the horses that drew the cart or the man who claimed ownership of it; this melodic sound is, in essence, the signature of OP, who has, in an unofficial yet undeniable manner, laid claim to its essence.

The genius of OP is exquisitely evident in his masterful application of this 'patented rhythm' in enchanting tracks such as Maang Ke Saath Tumhara in Naya Daur, Piya Piya Piya in Baap Re Baap, and Zara Haule Haule Chalo inSaawan Ki Ghata. However, the pièce de résistance for me is undoubtedly Banda Parvar, Thaam Lo Jigar in Phir Wohi Dil Laya Hoon.  As the legendary Rafi skillfully traverses the emotional landscape—perhaps more aptly described as hills and valleys of the heart, given that many of these melodies are vibrant outdoor celebrations of romance—a sarangi introduces a subtle melancholy, beautifully balanced by the uplifting strains of soaring violins. The outcome? A whimsical boy-girl duet transformed into a masterpiece of high art.

In 1994, when Raj Kumar Santoshi embarked on a nostalgic journey, paying tribute to the lighthearted comedies of the era with his now cult classic Andaz Apna Apna,  he enlisted the talent of music director Tushar Bhatia to craft the enchanting melody Elo Ji Sanam, which elegantly captured the whimsical rhythm of 'Clip-Clop, Clip-Clop.'

The other staple you readily associate with OP is the voice of Asha Bhosle. The unmistakable essence of Asha Bhosle is inextricably linked to the illustrious compositions of OP. In the hands of a different maestro, a piece like Akeli Hoon Main Piya Aa in Sambandh – with its intricate taans and delicate murkis, weaving through various ragas – would have naturally gravitated towards the other Mangeshkar sister, Lata. Yet, OP and Asha, in a bold declaration that the Lata-Madan Mohan partnership could not monopolize the realm of semi-classical masterpieces, infuse this poignant ballad with profound emotion and enchanting allure. On the other hand, the sultry allure of Yeh Hai Reshmi Zulfon Ka Andhera in Mere Sanam presents a tantalizing journey, where the languorous mukhda transitions into an antara that elevates the rhythm to an exhilarating crescendo before gently descending. It encapsulates the essence of foreplay, climax, and afterplay.

It would be remiss to overlook the other gems from this remarkable album, for how could one mention Asha in Yeh Hai Reshmi without acknowledging her in Jaayiye Aap Kahaan Jaayenge? Similarly, one cannot disregard Rafi’s spirited Huye Hain Tumpe Aashiq Hum, where the sitar gracefully embraces the melody, or his enchanting Pukarta Chala Hoon Mein, where a guitar accompanied by castanets echoes that iconic 'Clip-Clop-Clip-Clop' rhythm, albeit at a more languid pace, inviting a meditative state – a hallmark of Rafi’s most romantic offerings. This meditative quality is further enhanced by the beautifully crafted Aap Ke Haseen Rukh Pe in Bahaaren Phir Bhi Aayengi, Dil Ki Aawaz Bhi Sun in Hum Saaya, and Mujhe Dekhkar Aap Ka Muskurana in Ek Musafir Ek Hasina – the latter of which was reimagined by Jatin-Lalit as Mujhe Raat Din in the 1999 Sangharsh; and how poetic that this new rendition is graced by Rafi’s 'Ekalavya,' Sonu Nigam.

Let us gracefully transition our attention from Rafi and the enchanting world of romance to the exuberant Kishore, whose vivacious spirit radiates in that whimsically delightful number in Ragini, where he charmingly proclaims, Main Bangali Chhokra Karoon Pyaar ko Namaskaram. The girl, with her playful charm, retorts, Main Madrasi Chhokri, Mujhe Tumse Pyaaram. Yet, the pinnacle of collaboration between OP and Kishore is perhaps their stirring rendition of  Kitne Atal The… Tu Auron Ki Kyon Ho Gayi in Ek Baar Muskura Do. This poignant tale of heartbreak, typically slow and sorrowful, is instead invigorated with a tempo that feels more akin to an energizing treadmill session, complemented by guitar interludes. It seems OP, having had limited chances to collaborate with Kishore, endeavored to make each partnership exceptional—save for the occasional traditional piece like Meri Neendon Mein Tum in Naya Andaz, where Kishore and Shamshad Begum deliver a charming yet classic romantic duet.

However, it is not for such conventionality that we exalt Shamshad Begum. Her radiance shines in Ab To Jo Hone Laga in Mr. & Mrs. 55, and Kabhi Aar Kabhi Paar in Aar Paar, alongside her spirited performances in the CID classics Kahin Pe Nigahen, Kahin Pe Nishana and Boojh Mera Kya Naam Re. These soundtracks, while showcasing her extraordinary talent, also highlight another remarkable vocalist, Geeta Dutt. In CID alone, she graced us with the romantic Aankhon Hi Aankhon Mein and the sultry Jaata Kahan Hai Deewane, culminating in the unforgettable Eh Dil Hai Mushkil… Yeh Hai Bombay Meri Jaan, a timeless masterpiece that retains its allure even after almost seventy years.

Do not merely take my word for it; OP's music indeed transcends the boundaries of time. Consider the recent Salaam-e-Ishq in 2007, where Shankar-Ehsaan-Loy seamlessly incorporated a remix of Babuji Dheere Chalna into the film. While the dholak may have been replaced by digital drums, the essence of OP's melody continues to resonate profoundly.

Commemorating the illustrious legacy of OP Nayyar on the occasion of his 99th birth anniversary today.