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

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

Pandit Ram Prasad Sharma was one of the lesser known music directors who started his formal tryst with Bollywood as a music director. None of his films looks familiar to me. These films were probably not successful at the box office. In keeping with the Bollywood tradition where talent has no value unless it is converted into box office success, Pandit Ram Prasad Sharma had to work as an assistant to some of the well-known music directors or play the trumpet or violin for which he was regarded as a master player.

I wish to explicitly state one of Panditji’s proud accomplishments for which he should have been presented with some award or honour. 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 definitely 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 have learnt from Panditji. And there still are!

Well known music composer Mahesh Ramprasad Sharma who has given music in films like the Salman Khan starrer Sanam Bewafa, has sadly passed away.  Mahesh and his friend Kishore Sharma, gave music in many films like Ikke Pe Ikka, Chand Ka Tukda, Balwan, Ek Hi Raasta, Kamsin, and Nazar Ke Saamne.