Shuklas : Musical Maestro- C.Ramchandra Ramchandra Chitalkar- (1918-1982)
Posted 11 May 2006 - 12:28 PM
Narhar Chitalkar Ramchandra popularly known as C Ramchandra (or Ramachandra Chitalkar) was a Bollywood composer.
C Ramchandra was born in 1918 in Putnatambe, Maharashtra. He is best known as C.Ramchandra but also signed his name as Annasaheb (in films Bahadur Pratap, Matwale, Madadgaar), Ram Chitalkar (Sukhi Jeevan, Badla, Mr Jhatpat, Bahadur, Dosti) and Shyamoo (Yeh Hai Duniya).
Ramchandra often sang and acted in Marathi films under the name R. N. Chitalkar. He was a music student under Vinayakbua Patwardhan at Gandharva Mahavidyalaya music school, and later joined the film industry playing the lead in Y. V. Rao's flop, Naganand. He had some bit roles at Minerva Movietone (Saeed-e-Havas, Atma Tarang).
He was harmonium accompanyist for Minerva composers Bindu Khan and Habib Khan. He debuted as music director in Tamil films with Jayakkodi and Vanamohini. He broke through as composer in Bhagwan Dada's Sukhi Jeevan, establishing a long-term association that culminated with the musical megahit Albela. Influenced by Benny Goodman, he introduced the alto sax in combination with guitar and harmonica, also whistling in one of his most famous songs, Aana meri jaan Sunday ke Sunday in Shehnai. He used a bongo, oboe, trumpet, clarinet and sax combination for Shola Jo Bhadke in Albela. Shin Shinaki Boobla Boo featured him singing the title song with Lata Mangeshkar assimilating some rock rhythms. He introduced scat singing for Ina mina dika in Aasha. Worked on Marathi, Telugu, Tamil and Bhojpuri films. He turned producer with New Sai Produtions in 1953 (Jhanjhar, Lehren, Duniya Gol Hai). To overcome a fallow period in the late 60s, he relaunched himself as music director, producer and actor in successful Marathi films: Dhananjay, Gharkul. His autobiography in Marathi was published in 1977.
He died in 1982
(The source of following material is : Neha Desai-http://thaxi.usc.edu/rmim/cisb/Profiles/CRamchandra.html)
Name : C Ramchandra
Full / Real Name : Ramchandra Narahar Chitalkar
Born : 1918
Died : 5 Jan 1982
Notable Films : Anarkali, Azad, Albela, Asha, Jhanjhar, Navrang, Parchhain, Patanga, Sagai, Stree, Yasmin
Contributed by : Neha Desai
Chitalkar Narhar Ramchandra, also called Annasaheb fondly, was born in 1918 in Punatambe, Maharashtra. He studied music under Vinayakbua Patwardhan at Gandharva Mahavidyalaya music school. His first movie as an actor was Y.V.Rao's flop NAAGANAND. After a short stint with Marathi cinema, then Centered around Kolhapur, he veered towards Bombay and landed in a film directed by Sohrab Modi for his Minerva Movietone. Modi despaired over young Ramchandra's acting ability but recognised his ability as a harmonium player. A fateful shift to the music department followed. He became a harmonium accompanyist for Minerva composers Bindu Khan and Habib Khan in a 1939 film PUKAAR. He debuted as a music director in Tamil films with JAYAKODDI(1939) and VANMOHINI. His first Hindi movie as an independent MD was SUKHI JEEVAN(1942)for Master Bhagwan, which established a long-term association that culminated with the musical megahit ALBELA. Briefly turned producer with New Sai Prod. in 1953 with JHANJHAR, LEHAREIN, and DUNIYA GOL HAI.
Influenced by Benny Goodman, he introduced e.g. the alto sax in combination with guitar and harmonica, also whistling in one of his most famous songs 'aana meri jaan Sunday ke Sunday' in SHEHNAI. He also used a bongo, oboe, trumpet, clarinet and sax combination for 'shola jo bhadke' in ALBELA. He also introduced scat singing in AASHA. In SHIN SHINAAKI BOOBLA BOO, he featured his own voice along with Lata's to sing the title song, and incorporated the authentic blue note and rhythm. The raw blue sound seems not have been capitalized on by our composers. The Kishore- Rafi duet from OP's BHAAGAMBHAAG ("chhoD chaley pyaari duniyaa ko") and Asha's brilliantly rendered "tum jaiso.n ko to paayal mei.n baandh loo.n" from RD's GARAM MASAALA are by far the only ones that readily comes to mind.
He sang a number of songs using the name 'Chitalkar', mostly of his own composition. He was a tellingly effective match for Bhagwan (Albela) and for Raj Kapoor (Sargam), but did not quite do justice to this aspect of his music. For Azad, he had lined up Talat Mahmood to sing "kitna haseen hai mausam" but an emergency kept the singer from attending the recording. Ramchandra went ahead and recorded the song in his own voice, doing a fairly good imitation of the famed Talat tones.
Outside of the Hindi space, Anna worked on Marathi, Telugu, Tamil and Bhojpuri films. His style has inspired an entire generation of composers from the South. Quite a few of them have gone to school on the soft Chitalkar signature.
His fallout with Lata also signalled a major downturn in his music and his popularity. The Lata solo from the 1966 PAAYAL KI JHANKAAR ("tu aaye na aaye magar jaane waale") may well be her last song for CR. To overcome a fallow period in the late 60s, he relaunched himself as music director, producer and actor in successful Marathi films: DHANANJAY, GHARKUL. His autobiography in marathi called 'majhya jeevanachi sargam' (Melody of my life) was published in 1977.
On 22nd December 1981, he was admitted to the KEM hospital in Mumbai. He had been suffering from ulcers for some time. He was 72 when he breathed his last on 5th January, 1982. His death left behind a vacuum and a silence.
Always open and generous, Ramchandra created one of the strongest musical signatures in the business. The gentle orchestration, the clean melody devoid totally of unnecessary complications, a light approach to orchestration except when the situation really demanded it, total understanding of the Mangeshkar voices - the end result carried that unmistakable CR stamp.
He was not in the least embarrassed about borrowing the occasional musical phrase from his colleagues, as exemplified by the opening bars of "tum kyaa jaano", a Hemanta Mukherji orignial from the Bengali SOORYATORAN. Perhaps there was a special bond between the two contemporaries. Perhaps they shared their views on the virtues of simplicity. One doesn't quite know.
Ramchandra sings: Dheere se aaja
1 Dheere se aaja – C Ramchandre sings in a private concert*
Dheere se aaja – Lata – film Albela 1951
2 Jab dil ko satae gham – Lata & chorus – film Sargam 1950
3 Kat’te hain dukh main yeh din – Lata – film Parchhain 1052
4 Kitna haseen hai mausam – Lata & Chitalkar –film Azad 1955
5 Koi kisi ka deewana na bane’ – Lata- film Sargam 1950
6 Maar katari mar jana – Ameer Bai – film Shehnai 1948
7 Mehfil main jal uthi shama – Lata – film Nirala 1950
8 Mohabbat bezaban hogi – Talat & Lata – film Saqi 1952
9 Mohabbat esi dhadkan hai – Lata – film Anarkali 1953
10 Mohabbat main ese’ zamane’ – Talat & Lata – Sagai 1951
11 Naam bade darshan chhote’ – Chitalkar – film Albela 1951
12 O aasman wale’ – Lata – film Anarkali 1953
13 Qismat ka likkha ho kar rahega - Lata – film Sagai 1951
14 Shola jo bhadke’ – Lata & Chitalkar – film Albela 1951
15 Tum apni yaad bhi – Talat & Lata – film Yasmin 1955
16 Wo ham se chup hain – Lata & Chitalkar – film Sargam 1950
17 Wo paas aa rahey hain – Lata – film Samadhi 1950
18 Shaam dhaley – C Ramchandra sings in a private gathering*
Shaam dhaley – Lata & Chitalkar – film Albela 1951
Posted 08 July 2006 - 09:46 PM
Posted 29 December 2006 - 05:50 PM
aisi muhabbat se ham baaz aaye Lata Mangeshkar - Chitalkar Ramchandra Pyarelal Santoshi Nirala
dekho jee dekho taare ko taara kehta hai Lata Mangeshkar - Chitalkar Ramchandra Pyarelal Santoshi Nirala
dil mein kisike rehna ho to kiski izaazat chaahiye Shamshad Begum -, Chitalkar Ramchandra -Chitalkar Ramchandra Pyarelal Santoshi Nirala
ho bajoo baajoo mera dil hai nikhattoo Chitalkar Ramchandra - Chitalkar Ramchandra Pyarelal Santoshi Nirala
jor laga do jor Lata Mangeshkar - Chitalkar Ramchandra Pyarelal Santoshi Nirala
kehnewaale sachch keh gaye hai Chitalkar Ramchandra - Mohammed Rafi -Chitalkar Ramchandra Pyarelal Santoshi Nirala
majboor meri aankhen barbaad mera dil Lata Mangeshkar-Chitalkar Ramchandra Pyarelal Santoshi Nirala
mehfil mein jal uthi shama parwaane ke liye Lata Mangeshkar - Chitalkar Ramchandra Pyarelal Santoshi Nirala
mehfil mein jal utthi shama parvaane ke liye Lata Mangeshkar - Chitalkar Ramchandra Pyarelal Santoshi Nirala 1950
muhabbat meri rang laange lagi hai Shamshad Begum -Chitalkar Ramchandra Pyarelal Santoshi Nirala
Posted 04 July 2007 - 10:51 PM
Shamshad Begum-Sanvariya-Duniyawalo deel kholker hanso-Music-C.Ramchandara (Sursangat.com).mp3
Posted 08 July 2007 - 07:38 PM
Posted 11 March 2008 - 11:09 AM
His autobiography, apparently, was available for only a small time-frame. Someone(no names have been named in the article but one can guess) picked up all the copies from the market overnight. Because it probably had many facts which were best left undisclosed.
Posted 08 April 2008 - 08:19 PM
Posted 31 July 2008 - 12:42 AM
Posted 02 July 2009 - 08:05 PM
By Ashwin Pane, Mangalore
Circa 1956 C Ramachandra the prolific film music director ( a misnomer for composer)
has been entrusted with the score for ‘Aasha’. One of the songs calls for a fun and spice
melody designed to titillate the senses. CR immersed in creative thought in his music
room, is distracted by his kids playing outside. Distraction turns to interest. He captures
the Eeni Meeni which becomes ‘Eena Meena ……this soon enfolds into “ Eena Meena
He shares it with his assistant John Gomes. Together they create “..Eena Meena Deeka..
De Dai Damanika..”. John being a Goan adds the’ maaka naka ‘ ( ‘I don’t want’ in
konkani).The lyric develops, longer on each phrasing, gathering tempo till “ram pam po.”
John is ecstatic.He promptly whistles an elegant 16th note 4 bar bridge and notates it
immediately. Later he employs a 2 man saxophone section for the part.The voices come
on to finish the 1st chorus to the infectious rhythm. “Eeena Meena Deeka” is born.
Many ‘Aasha’ showings later the song is on everyone’s lips.The film is eventually gone
but, with apologies to Irving Berlin… the melody lingers on.
Circa 2006 The JJ Bhabha theatre. A 16 piece German big band is wading through a
string of Broadway hits, strange to most in the audience. The band soon strikes the notes
of ‘Eena Meena Deeeka’ specially arranged for them by the Mumbai maestro, Louis
Banks. A roar of recognition lights up as the audience delightedly surprised, claps and
foot taps its way through the song. Banks however has not been content just to reproduce
the melodic line..Individual scores painstakingly created and written for brass and reed
sections act as counterpoint, add body and a new feel to the song conceived by CR was
thin on instrumentation. The original has been transformed into an orchestrated piece
written specially for this band and its individual players but with the same lilt and feeling
generated by the composer. Banks’ arrangement of the composition has given it his own
What makes this song and so many others of that era between the 40s and the 70s
cherished two generations later, across waves of contemporary hindi film music most of
which are forgotten quicker than the waves die. The old hindi film song stands like a
monument on the shore weathered by the winds of time and the gentle lap of these waves
to be admired across generations.
And there are many such monuments along an endless musical shoreline built by a
legion of architects, engineers and craftsmen who valiantly worked with their age old
tools creating priceless works of art each unique in shape, form and styling to create a
rich heritage of that golden era of the music.
And who are they ? Enshrined in the media and in memory are the architects.. the music
directors .. Naushad, C Ramachandra, Shankar Jai Kishan , Madan Mohan, N Dutta, Usha
Khanna, S D Burman, Jaidev, O P Nayyar and later RD, Laxmikant Pyarelal, Kalyanji
Anandji ….supported by their famous lyricist partners like Shakeel, Sahir Ludhianvi,
Majrooh Sultanpuri,Qamar..…. enhanced by the lilting voices of the legends Lata, Asha,
Geeta Dutt, Kishore Kumar, Manna Dey,Talat, Mukesh, Hemant Kumar,Mohamed
But architects alone cannot build an edifice. They require a band of engineers and
craftsmen dedicated to the task who will transform the architects ideas into exotic reality
of a song comprising orchestra and singer to produce a rich listenable tapestry of sound .
Some of these orchestras which accompanied the legends on those famous compositions
spawned 40 and at times 60 musicians performing on a variety of musical instruments
ranging from Indian to Latin to Western popular and Western classical.The result you
have violins, sarangi or sitar, trumpets, clarinet, saxophones , piano ,guitar, Indian
bamboo flute, double bass, congas, western drums. Each instrument has its own space its
own role which the arranger used to distinction.
C Ramachandra (center) with John & Joe Gomes
Consequently, each song represented a rich unparalleled texture of music singularly
unique in its creative output of outstanding melody, blended harmony, engaging lyrics,
ethereal voice and delectable rhythm. The lyricists were scholars and poets from UP
largely Muslim, while the composers and directors were from parts of the North mostly
Hindu. The arrangers who were often Goan had the skills to notate music (translate the
ideas of the composer into sheets of written notations which a schooled musician could
read and play) and create harmonies.
The perfect blend of each of these talents made for the everlasting value of the old hindi
film song. Examine the cross section of those who populate the current film music world
and it is not difficult to determine the cause of the lack of durability of today’s output.
Mark Machado (piano) with John,Joe,Francis Vaz and others in rehearsal
Listen closely to the songs of that era, for example the songs made famous by Talat .The
music is rich with a variety of instruments playing counterpoint.The fills in the space
between the lines of an antara and the stanzas are engaging. And the strings in the
background serve as velvet backing to Talat’s voice.
During the same period worldwide, bands had typically, 16 piece orchestras across a
narrow spectrum of instruments, brass (trumpets, trombones ), reeds (saxophones,
clarinets) and rhythm (bass, drums).Names like Benny Goodman and Glenn Miller hit
the marquee. Stan Kenton in America was hailed a great big band leader with 40 pieces
.sometimes up to 70.Kenton has carved out his name in the history of American popular
music. Thanks to the practice there to recognize arrangers and document such
contributors, Nelson Riddle and Billy May who arranged music for the singing greats like
Frank Sinatra and Ella Fitzgerald have carved out their name in the history of American
Ask any avid listener of old hindi film songs about who arranged that music or what was
behind the director and the singer. Chances are, he would not have even thought about it.
And this, when these arrangers utilized their imagination across a wider range of
instrumentation that the Americans or Europeans knew. With no recognition and no
documentation four decades of effort by an unsung band of dedicated artistes threatens
to be buried forever in the sands of time.
But what is an arranger? He is someone who adapts a musical composition for voices,
instruments, and performance styles working in close collaboration with the composer or
director. He determines the structure of the melodic line, enlarges the composition by
creating harmonies, selects the instruments which would be deployed to play them,
decides where they come in either as solos or as accompaniment or as fills between
stanzas or as backdrop to the singer. He sets the rhythms and the instruments for the
rhythms. As he does this, he is notating his thoughts into sheet music for each
instrument or a section of instruments comprising two or more playing in unison e.g.
violins .It’s a painstaking development process with revisions and changes to suit the
composer, the singer or musicians. The arranger of the old hindi film song is its unsung
Who were those engineers who conceived and painstakingly got together those
craftsmen to perform ? They were the assistant directors read arrangers. Names like
Anthony Gonsalves, John Gomes, Joe Gomes, Sebastian D’Souza, Manohari Singh,
Kersi Lord, Chic Chocolate, Y S Mulky and several others.They were the arrangers and
themselves super musicians. John and Joe excelled on clarinet, violin and alto sax.
Manohari is a master of all these reed instruments and Chic Chocolate was known for his
trumpet. Mulky is an accomplished pianist and accordion player. All were well schooled
on musical theory, the tool for the construction of a piece.
A little known fact concerns Pyarelal of the famed Laxmikant Pyarelal duo. Pyare as he
was affectionately known, was an accomplished violinist of the western classical school
who was taught by Anthony Gonsalves mentioned above. He nursed ambitions to
perform in the west like Zubin Mehta but was persuaded by Laxmi not to do so. Anthony
was recognized by Pyare in the song by that name in “Amar Akbar Anthony”.
Pyare was the arranger while Laxmi composed as they together put their stamp on over
And who were the craftsmen ? Jazz music scrupulously documents all musicians in a
record down to the recording engineer, the studio, the date of recording and equipment.
The Indian film music world has been blissfully neglectful of all this. Consequently the
craftsmen were uniformly unrecognised and unwritten about. All are today either old and
neglected or dead. Sadly, in an era of a distribution explosion of this music across the
internet and the media where the tunes they performed on reach millions across a new
generation in mind boggling volumes.
Names like Anna Joshi (tabla) Amancio D’Silva, guitar, Francis Vaz, drums, Enoch
Daniels, accordion, Kartik Kumar, sitar, George Fernandes trumpet, Mark Machado
piano. the Monserrate brothers and many more performed and soloed on so many of the
songs which continue to delight the senses.
The following is reported on Manohari Singh, belatedly recognized on his 75th birthday
for his work across 4 decades by the Indian Express, Pune ...
“…….An illustrious career spanning over four-and-a-half-decades, Singh still wishes real
musicians behind film songs, be brought to the forefront. “These are people who sit in a
recording studio and play deserve as much credit as music directors and singers do,”
says Singh who was very fond of his colleague and ace trumpeter George Fernandes.
“He lent his talent to the famous song ‘Aane Wala Pal Jaane Wala Hai’ from Golmaal.
But how many people know about Fernandes?” sadly questions Singh..”
But more on these engineers , the craftsmen and their experiences is the scope of articles
Posted 15 January 2011 - 11:45 PM
Song ; mere man ka bawra panchi kyon bar dole..
A tribute to the dancing queen Padmini
Movie ; Amar Deep (1958)
Singer ; Lata Mangeshkar
Lyrics: Rajinder Kishan
Music Director: Ramchandra C
Cast: Dev Anand, Johny Walker, Pran, Ragini, Vaijayantimala
Director: T. Prakash Rao
Producer: Shivaji Production
Genre: Romance / Family drama