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 sur 
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 THE MUSIC DIRECTOR- ISMAIL DARBAR...
THE MUSIC DIRECTOR- ISMAIL DARBAR
Coming from a family of four generation musicians, is Ismail Darbar. An exponent of the violin, he worked for nine years as a session violist for leading music directors. Lady luck's shine increased on Ismail Darbar when he met director Sanjay Leela Bhansali, for whose film Hum Dil De Chuke Sanam, he composed the music. With the director's keen ear for music, the result, was sheer magic! Filmgoers were astonished by the exemplary quality, melody and originality of the musical score. Sanjay Leela Bhansali and Ismail Darbar have bedecked Devdas with nine songs that speak not only the story of the film but also the story of melody and passion at their entwined best.
____________ "I am a dreamer,I collect all the smiles from My yesterday,
Neatly pack them into words and hide them in my heart,
I call them "MEMORIES" Music has no boundary.
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#1 30 Mar 2007 22:02
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| Thanks for the useful Topic sur : |
| Music (01 April), |
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sur
Joined: November 2006
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Location: Virginia
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Re: THE MUSIC DIRECTOR- ISMAIL DARBAR...
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As far as Sanjay Leela Bhansali is concerned, Ismail Darbar’s lilting music, is his surprise packet in ’Hum Dil De Chuke Sanam’. The transition of Ismail Darbar from a sessions violinist to an independent music director is another addition to the annals of the film industry folklore. A homeboy from Surat, Ismail found his true calling, that is, music when he was bundled off to Mumbai at the age of fourteen, for being the proverbial brat at home. <p>Violin was a true calling, and under the tutelage of Pt. Ram Prasad Sharma and Shri Ganesh, Ismail honed the art of playing the instrument as a true master.
As is the case of every prominent musician, and for the ’square meal’ factor, Ismail turned to playing the violin for every prominent music director of the day. The list includes great masters like R.D. Burman, Laxmikant-Pyarelal, Jatin-Lalit, Anand-Milind and Viju Shah. Having observed the masters at work for close to fourteen years, the ambition to turn an independent music director started germinating. Sanjay Leela Bhansali had met him
briefly during his first film, ’Khamoshi’, when Ismail was working along with Jatin-Lalit as one of the main violinists.
Imagine Sanjay’s surprise (and slight scepticism!) when a mutual friend suggested Ismail Darbar’s name even before the former had decided on a music director for ’Hum Dil De Chuke Sanam’. Always the proverbial nice guy, Sanjay decided to present to Ismail two very difficult situations and asked him to come up with the tunes for them, thinking that Ismail may not be able to measure up. To his further surprise, when Ismail belted out the couple of tunes that Sanjay Leela Bhansali found brilliant. So, briefly, that is how a new music director emerged on the horizon of the Hindi film Industry.
Sanjay has proved to be a great mentor, as Ismail would admit repeatedly, and their collaboration as resulted has been a splendid mix of folk, classical and popular music in form of nearly a dozen impressive compositions. It is very important, according to Ismail, to add a footnote of acknowledgement to the lyricist of ’Hum Dil De Chuke Sanam’, and his old friend, Mehboob. In his own little humble manner, Ismail simply states that the tremendous plaudits which are bound his way, are also due to his lyricist. Add to this underplayed humble disposition,and with his commitment to stay away from the herd, and do limited assignments, Ismail Darbar is here to stay.
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____________ "I am a dreamer,I collect all the smiles from My yesterday,
Neatly pack them into words and hide them in my heart,
I call them "MEMORIES" Music has no boundary.
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#2 30 Mar 2007 22:08
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sur
Joined: November 2006
Posts: 10620
Location: Virginia
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Re: THE MUSIC DIRECTOR- ISMAIL DARBAR...
Baaz
By Taran Adarsh
 Every human being has a split personality. The story of Kapishek Films P. Ltd.'s BAAZ – A BIRD IN DANGER, directed by Tinu Verma, revolves around one such person.
He resides in the scenic hill station town of Nainital. Neha Chopra [Karisma Kapoor], an interior designer, is hired by Mayor Jai Singh Dabral [Jackie Shroff] to beautify his old bungalow. But she is least aware that the human 'baaz' is all set to make her a prey.
Who is this 'baaz'? Is it the Mayor Jai Singh Dabral or her neighbour Raj Singh [Dino Meora] or is it Harshvardhan [Sunil Shetty]? Nonetheless, all three are in love with the beautiful Neha, which means one wants to make her his prey and the other two want to save her from the clutches of the human 'baaz'?
Preeti Rastogi [Preeti Jhangiani], a well-wisher of Neha, gets to know the secret of the human 'baaz', but in doing such a daring act, loses her life. So does Neha fall prey to 'baaz'?
The story of BAAZ – A BIRD IN DANGER takes off on an interesting note when the winner of the beauty contest [Aditi Gowitrikar] is brutally murdered by the serial killer, who leaves his trademark needle and dagger next to her dead body. The director succeeds in building the suspense by keeping the identity of the suspect concealed.
However, the pace slackens once the focus shifts to Karisma Kapoor. From here, the story deviates to the romantic track, when she develops a strong affection for Dino, which culminates into love when he saves her from a fatal accident. The story comes to a standstill at this juncture.
It is only towards the interval point that the story gathers momentum, when Karisma finds the trademark instruments of the killer at Dino's place. The goings-on become interesting, but the pace drops, picks up, drops again in the post-interval portions.
The second half has several unwanted sequences and how one wishes the editor would've used the scissors judiciously. For instance, a lengthy, imaginary sequence, where the police superintendent catches the prime suspect murdering Karisma, followed by a water fight, was just not required. Actually, the sequence confuses the viewer no end.
 The script [Shyam K. Goel] has several loopholes, with several questions left unanswered. One wonders why the writer chose to show Jackie Shroff as a wayward person. Or Dino Morea acting suspicious all the while. In fact, one scene shows him tearing Karisma's painting with a knife, which is left unexplained till the very end.
On the other hand, there do exist a handful of sequences that deserve mention, but individual sequences cannot uplift a mediocre script to great heights. Yet, the scene depicting Aditi's sister, who comes out of coma before she dies of a shock, is well executed.
The action scenes in the climax, when Karisma is rescued, are also noteworthy. The haunting background score [Ismail Darbar] enhances the impact to a major extent.
Directorially, Tinu Verma shows promise in the second half, although the screenplay lets him down. Tinu follows the rules of a thriller, but the film somehow lacks the grip to keep the viewer enthralled. The goings-on are not as terrifying or pulsating as one would've expected them to be, thanks to a bland screenplay.
 Ismail Darbar's music is easy on the ears, but the film lacks a haunting score so vital for a genre like this. 'Chehre Pe Din Hain Zulfo Mein Raat Hain' and 'Ae Subah Tu Shabnami' are decent numbers.
Cinematography [Raju Kay Gee] is good. Dialogues [Sanjay Masoom] are just about okay. Editing [Keshav Naidu] is loose.
Karisma Kapoor looks lovely and does a decent job. Dino Morea is likeable, showing vast improvement over his previous performances. Jackie Shroff is convincing in the role of an eccentric Mayor. Sunil Shetty springs a surprise, delivering a competent performance. Preeti Jhangiani makes her presence felt. Suhasini Mulay is just about okay.
On the whole, BAAZ – A BIRD IN DANGER stands on a weak foundation – the script. Pitted against two more films as also the World Cup will also tell on its business.
____________ "I am a dreamer,I collect all the smiles from My yesterday,
Neatly pack them into words and hide them in my heart,
I call them "MEMORIES" Music has no boundary.
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#3 30 Mar 2007 22:13
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sur
Joined: November 2006
Posts: 10620
Location: Virginia
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Re: THE MUSIC DIRECTOR- ISMAIL DARBAR...
Ismail Darbar
Devdas will make every Indian proud, says Ismail Darbar
Ismail Darbar is restless. The much awaited Sanjay Leela Bhansali film, Devdas' release is around the corner and the three film-old music composer has put in his best to come up with original and melodious compositions. He shares his experience of working on the film's score
Your album, Devdas, is making waves. How does it feel?
It feels ecstatic. I have worked very hard on the project for over two years and I feel I have done justice to the complexities of a classic film like Devdas.
What was the brief given to you by Sanjay Leela Bhansali?
Sanjay is a hard taskmaster, is very clear about the situations, song picturisation, the kind of lyrics and the musical quality of his films. Particularly for Devdas, he had worked out every minute detail about the pathos, intensity and melody he had conceived. Mercifully, both of us bond very well and I am glad I have been able to deliver. Also, Nusrat Badr, the son of the poet Bashir Badr, has done a marvellous job in his debut film.
Did you see the earlier versions of Devdas?
No I have only heard that two versions were made and both were classics. When Sanjay narrated the climax to me over the phone much before the film actually took shape I knew what precisely he was looking for. I must tell you that I was so moved by his narration that at the end of it, I had tears in my eyes. The task ahead was very daunting — to equal S D Burman's and K L Saigal's work in the earlier films.
Do you think you have achieved what you set out to?
You have to tell me how you feel about the music. I can't judge my own creations.
You have introduced Shreya Ghoshal in five solo and duet numbers. Wasn't it a big challenge to bypass your other favourites, Kavita Krishnamurthy and Alka Yagnik, in favour of a rank newcomer?
Sanjay had heard Shreya on the Sa Re Ga Ma show and found her very promising. He asked me to hear her once. But when I heard her first, she didn't impress me much. She made me listen to her Bengali numbers. But when she sang some of Lataji's songs, I marvelled at her sheer range and emotive strength. For a 17 year old then, it was no mean achievement to sing Lataji's hits with so much competence. Kavita has sung for Madhuri, who plays Chandramukhi and Shreya has lent her voice for Parvati, enacted by Aishwarya. Kavita and I very comfortable with each other and she is the only one who does regular riyaaz, among singers. Her expression in all the numbers is outstanding and mind you, the songs were not added as an afterthought but woven around the narrative.
Do you insist on your conviction about the choice of the playback singers or it's the producer or the director's prerogative?
Sanjay had recommended Shreya strongly. But the final choice was mine.
Have you seen the completed version of the film?
Yes I have. I am proud to say that Sanjay has made a classic which would make our country proud. The film will showcase before the world what Indians are capable of producing. Every constituent of the film - be it the emotional strength, the characters, the script and the sets are simply outstanding. The interplay between characters is so profound and yet so human that I am confident that the film is going to enjoy a tremendous run at the box office. And the critics too cannot find any faults with the deep underlying message which is pure love and what it should aim to accomplish. The film shows raw, pure emotions. In today's time such sublimity has so much relevance.
Weren't Lataji and Ashaji supposed to sing for the film too?
Yes, I am afraid that has remained a dream and is yet to be fulfilled. What can I say about the two legends? They are incomparable but due to age fast catching up, it wasn't possible for them to sing on high notes with ease. I am sure they can but doing rehearsals with Lataji would have been taxing on her health. My compositions invariably touch the highest notes.
But doesn't Kavita too have a rather bass voice?
I know, but she has youth on her side and can master a composition within days. Ashaji still can but we'll have to work it out some time later for some other film.
Why do you take on such few films?
Unfortunately I was totally committed to Devdas as I said earlier and didn't have time for anything else though Afzal Kahn's Mehbooba, Boney Kapoor's Shakti and a couple of more are in the pipeline. I have to be completely attuned to the director of the film to be able to bring out the best in me. I cannot have a lackadaisical attitude towards work. I have to get completely immersed in the plot, situations, etc to 'feel' the song first. But there are some interesting films I have signed recently. You will listen to a lot of my songs in the months to come
____________ "I am a dreamer,I collect all the smiles from My yesterday,
Neatly pack them into words and hide them in my heart,
I call them "MEMORIES" Music has no boundary.
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#4 30 Mar 2007 22:16
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sur
Joined: November 2006
Posts: 10620
Location: Virginia
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Re: THE MUSIC DIRECTOR- ISMAIL DARBAR...
Devdas: Legendary love story
Dharam Pal 
Aishwarya as Paaro
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SANJAY Leela Bhansali’s Rs 30-crore magnum opus Devdas is undoubtedly the year’s most eagerly awaited film. In which Shah Rukh Khan plays Devdas, Aishwarya Rai plays Paaro and Madhuri Dixit is Chandramukhi. Devdas’ music rights have been purchased at a whopping Rs 12 crore by Universal Music. It has also made headlines because it is one of the five films picked from all over the world that would be screened at the Cannes International film Festival to be held this month. Devdas is scheduled to be released in India on June 14. Love stories formed a large chunk of the socials in the early days of cinema. These films were about legendary love pairs like Laila Majnu and Shirin Farhad. This continued till Devdas came and swept away everything. It was the ultimate in love and was based on Sarat Chandra’s story. It was made by New Theatres and directed by P.C. Barua, with himself playing Devdas in Bengali version and K.L. Saigal playing Devdas in the Hindi one. The re-make of Devdas in 1955 by Bimal Roy, starred Dilip Kumar as the tragic hero with Motilal as his happy-go-lucky friend. Devdas is based on Sarat Chandra Chattopadhyay’s love story of Devdas and Paaro. When Paro is married off to a rich elderly widower, a love-sick Devdas’ life loses direction and he is guided by friend Chunnilal to Chandramukhi’s kotha where he finds solace in drink. 
Madhuri is expected to give a memorable performance as Chandramukhi |
As the director Sanjay Leela Bhansali puts it, Devdas was not just the most widely read story, it has also entailed a national movement in Indian literature touching every heart... . It was a story that tirelessly lingered at the back of my mind. "So, Sanjay Leela Bhansali was at it for many months, playing for Aishwarya Rai old video clippings of the classical Devdas so that she got a feel of things. Madhuri Dixit was signed as Chandramukhi for an astounding sum of money, while Shah Rukh Khan was cast as classic lovelorn hero. The director, Sanjay Leela Bhansali, is convinced that this film based on literature with the classical old-world charm will definitely find takers even in the 21st century. To recreate old traditions, lifestyle and culture, the filmmaker Bhansali has lavishly mounted the film without offending the spirit of Devdas. It is a tribute to a great story and makes emotion its hero. The main assets of Devdas are that Madhuri Dixit is in a role that will showcase her histrionic and dancing skills. Shah Rukh Khan has a good opportunity to prove himself in yet another ‘powerful’ role that can immortalise him as the greatest lover of all time. Jackie Shroff plays the pivotal role of Chunnilal. Jackie’s mere presence in a film lends a feeling of rock solid stability to it. Ismail Darbar, (Hum Dil De Chuke Sanam), has come up with a classical, creative and original score. Ismail Darbar’s thumri picturised on Madhuri Dixit and the rain song with Aishwarya Rai holding a lighted diya are said to be something special. Debutant lyricist Nusrat Badr’s lyrics are said to be ‘different’. What’s more, cinematographer Binod Pradhan’s excellent camerawork, Bela Sehgal’s reputation as editor and Sanjay Leela Bhansali’s conviction and self assured direction are also the plus point of Devdas. Bhansali’s remake of the classic Devdas will definitely prove him to be a master filmmaker. Film pundits in Bollywood are anxiously waiting for the release. And despite a huge budget and formidable cast, Bollywood’s pundits are apprehensive as to how contemporary cine-goers used to seeing Hindi film loverboys will take to this tragic story of unrequited love. Despite this Devdas is a movie to watch. ____________ "I am a dreamer,I collect all the smiles from My yesterday,
Neatly pack them into words and hide them in my heart,
I call them "MEMORIES" Music has no boundary.
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#5 30 Mar 2007 22:25
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sur
Joined: November 2006
Posts: 10620
Location: Virginia
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Re: THE MUSIC DIRECTOR- ISMAIL DARBAR...
| Ismail Darbar | |
  Profession: Music Director, Bollywood.
Ismail Darbar comes from a family of four generation musicians. Ismail Darbar was born to noted clarinet and saxophone player Husain. Ismail was initially trained by his father. He also learnt how to play violin. Afterwards he learnt music from Pandit Ramprasad Sharma, the late father of composer Pyarelal and later on from Ganesh (Pandit's son), who scored music in the '60s and '70s for films like Ek Nanhi Munni Ladki Thi, Ek Nari Do Roop. Before stepping into the commercial world of filmi music he did the title-track of a TV serial and an album with Zee Music, neither of which saw the light of day. An exponent of the violin, he worked for nine years as a session violist for leading music directors Laxmikant Pyarelal, Kalyanji Anandji, Bappi Lahiri, Rajesh Roshan, Anand-Milind, Nadeem-Shravan, Jatin-Lalit and even A.R.Rahman. Lady luck's shine increased on Ismail Darbar when he met director Sanjay Leela Bhansali(ismail was recommended by the singer Kunal), for whose film Hum Dil De Chuke Sanam, he composed the music. With the director's keen ear for music, the result, was sheer magic! Filmgoers were astonished by the exemplary quality, melody and originality of the musical score. Bhansali had recognized him as a musician with Jatin-Lalit during his Khamoshi. He asked Ismail to sing out tunes, did not like the first lot, but fell for what was to be finally become the title-track. He even named the film after it, instead of the original names he was having - Aafreen and Duvidha and named it Darbar Sahab.Even though Darbar’s first score has not received any awards that do the rounds nowadays, the composer himself is least affected by it. He nevertheless received Filmfare's R.D.Burman Award for Best Musical Debut of 1999.This was the turning point in his career when he composed for Hum Dil De Chuke Sanam a musical hit.The nicest things about this film were the songs . The songs in this film were well-researched and relied heavily on Rajasthani folk music. The song 'Aankhon is gustakhiyan' is beautifully picturised. Another good song is the title song 'Dholi taro' .Expectations were very high from him after his debut. Sanjay Leela Bhansali and Ismail Darbar have bedecked Devdas with nine songs that speak not only the story of the film but also the story of melody and passion at their entwined best.For the musical hit Devdas (2002), Ismail scored soulful music . This film got the international attention with its magnificent sets and cast ( Aishwarya Rai , Madhuri Dixit , Sharukh Khan ) and magical music 'Bairi Piya', 'Maar dala'.His other films include Tera Jadoo Chal Gaya,Mehbooba and Deewangee.Ismail always wants to stick to quality and originality in his future projects. | Awards And Honors: | | Award | Song-Movie | | Stardust Award - 2004 | | | V Shantaram award / RACE - 2003 | Devdas |
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____________ "I am a dreamer,I collect all the smiles from My yesterday,
Neatly pack them into words and hide them in my heart,
I call them "MEMORIES" Music has no boundary.
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#6 30 Mar 2007 22:30
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sur
Joined: November 2006
Posts: 10620
Location: Virginia
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Re: THE MUSIC DIRECTOR- ISMAIL DARBAR...
Music of the heart
Tracking Ismail Darbar  The late nights have taken their toll. And Ismail Darbar could well fit into the role of Devdas. He's grown a beard and his eyes are bloodshot. "Well... after composing the music for Devdas, some influence is bound to rub off on me," he smiles sheepishly when I comment on his appearance. Even though he's busy recording songs for Nitin Manmohan's next at a suburban recording studio, he makes time for a short chat.
Without wasting time, I ask why he refused to score the background music of Devdas. Reports say that director Sanjay Leela Bhansali is very upset with his decision to let his assistant Monty work on the score. "Hold it, " he cautions, "this is only partly true. I did refuse to work on the background score but Sanjay isn't angry with me. I explained to him that I wouldn't be able to give my 100 per cent to the score and that I didn't want to do a half-hearted job. When he asked me to suggest someone, I felt Monty, who'd worked with me on Sanjay's Hum Dil De Chuke Sanam, would be able to handle it. Monty was so charged when Sanjay and I approached him that he postponed his wedding."
The music director admires Sanjay Bhansali's passion for Devdas. "The making of Devdas hasn't been hassle-free. Sanjay has lived Devdas. I'd heard the climax of the film two-and-a-half years ago and when I saw the rushes recently, I was amazed to find that he hasn't compromised on his vision."
Before signing Ismail, Sanjay had sittings with several other music directors for Devdas. Grins Ismail, "He was irritated when I quoted Rs 60 lakhs as my price. Later, I felt ashamed. Sanjay is my godfather, maybe I shouldn't have been so stubborn. But fortunately for me, Sanjay too felt I deserved the amount. I refused 32 films to accomodate Devdas. Finally both of us are happy with what we've got."
Since music is his livelihood, how could he afford to let go of 32 films? Doesn't he feel insecure? "Not at all," he states. When Sanjay offered me Hum Dil... , he'd stipulated that I'd have to give up playing the violin which I'd been doing for 20 years. And I did. Life is all about taking risks. I'm content with the six films I have on hand. Anyway, what's the worst that can happen? I'll have to go back to playing the violin, that's all."
The music of Devdas is very different from the trendy, fast, hip numbers being churned out these days. Was it difficult to compose the classical tunes? Explains he, "Composing the music wasn't as difficult as weaving the songs into the soul of the film. As it is, Sanjay has a terrific sense of music and won't settle for anything but the best. If he likes a song, he okays it immediately. We think alike and work well together, believe it or not I composed only 18 tunes for the nine songs we needed."
Ismail Darbar was unaware of the story of Devdas before he began working on the film. Laughs he, "All I knew was that there was a lovelorn alcoholic by that name. Later, I heard of the earlier film featuring Dilip Kumar, Suchitra Sen and Vyjayanthimala." The music director chose fresh singers to croon the songs of Devdas. Will the raw lot be able to do justice to playback? Answersw he, "Sanjay and I didn't think this would make a difference. Sanjay wanted a fresh voice for Paro, so we took Shreya Ghoshal."
Usually when a film doesn't do well, the blame squarely rests on the music director's shoulders. Ismail begs to differ. Says he, "A director is solely responsible for the success or failure of every department of the film. That goes for the music too. He's the one who okays the songs for his film. Directors usually sign music directors for their commercial value. Ideally, they should first finalise their subject and then sign whoever is best suited for their project---A.R. Rahman, Ismail Darbar, Aadesh Shrivastava or Anu Malik... whoever."
So what does he think of jhatak-matak item numbers like Phatela jeb sil jaayega, Aati kya Khandala and Ishtyle? "Who am I to criticise anyone else's music?" he counters, adding, "But it's not what I call music. One can listen to such songs only for a few days. Such inane compositions kill the very soul of music." On the other hand, he also states that the majority of film- makers are reluctant to take risks. So they opt for commercially viable music. He says, "When people heard the title song of Hum Dil... they said that the rhythm was too slow. Ironically, Sanjay offered me the film after hearing that very tune."
Ismail feels that after Raj Kapoor, Sanjay is the only director who understands music. What about Yash Chopra? Ismail says, "Yash Chopra, Karan Johar and Aditya Chopra prefer music compositions on a particular scale because they're sure they'll succeed. They don't have the guts to try something new."
Sanjay Bhansali and Ismail Darbar spent five days with Birju Maharaj to compose one mujra for Devdas. Asserts Ismail, "I don't think a mujra like this has been composed in the history of Hindi cinema. Any other director would have hovered around the popularity of Pyar kiya to darna kya (Mughal-e-Azam). But Sanjay has gone in for something completely different. He doesn't think commercial." Neither, it seems, does Ismail.
What the music director yearns is a place in the annals of Indian film history. Asks he, "We still remember personalities like K. Asif, Mohammad Rafi, Guru Dutt... I'm not greedy for bungalows or swanky cars. I'm happy with whatever little I have. Generations to come won't remember the wealth that I amassed. It's my work which will speak for me, long after I'm dead and gone. I want to ensure that."
____________ "I am a dreamer,I collect all the smiles from My yesterday,
Neatly pack them into words and hide them in my heart,
I call them "MEMORIES" Music has no boundary.
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#7 30 Mar 2007 22:32
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sur
Joined: November 2006
Posts: 10620
Location: Virginia
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Re: THE MUSIC DIRECTOR- ISMAIL DARBAR...
Music : A.R. Rahman, Ismail Darbar
Lyrics: Javed Akhtar and Blaaze( English)  
Subhash Ghai?s magnum opus KISNA has created a buzz in the industry with the introduction of 2 new actresses, a period setting a la Lagaan and a huge budget. But the biggest attraction is the eager anticipation of the music of the film composed by A.R Rahman and Ismail Darbar. I had the opportunity to listen to the 2 set CD of Kisna and would like to share my thoughts with you: The first piece is the instrumental theme of Kisna by A.R Rahman which is flute piece that sets a delicate web of music in the listener?s mind. This segues into ? Hum hain is pal yahan? based on the theme music which is a melodious number with poignant overtones of love and loss. Udit Narayan and Madhushree sing with precision and finesse, Madhushree?s voice appears to flirt with the music creating a masterpiece of a song. ? Woh Kisna hai? marks Ismail Darbar?s introduction in the album and boy, he blasts in with a bang! Powerful and ebullient vocals by Sukhvinder Singh, excellent choral support and enthralling music makes this a rhythmic toe-tapping number which is a rejoicing depiction of the legend of Radha and Krishna. A superb piece! Udit Narayan and Alka Yagnik team up under Ismail Darbar for ? Tu itni pagli kyon hai? which is a playful duet with both singers effortlessly weaving their way through the song. ? Aham Brahmasami? is a gem of a number with profound lyrics, heartfelt vocalization by Sukhvinder Singh, a powerful rhythm base and a brief but eloquent appearance by Alka Yagnik. Its ancient theme is wonderfully adaptable to today?s audience without sacrificing any of its poignancy. Excellent, Mr. Darbar! ? Chilman uthegi nahin? is the much-talked about Quawwali featuring Sushmita Sen. Hariharan and Alka Yagnik perform well but I felt the song tries to do too many things, it has classical overtones, folk rhythms and of course, the quawwali itself. I felt a bit confused after hearing the song, somewhat analogous to the feeling after overeating. Too much of a good thing, I?m afraid. Rashid Khan tugs at the heartstrings in the number ? Kahe ujadi mori neend?. The classical Raaga and his amazing voice are overpowered by background music that suggests tension, sorrow and conflict. ? My wish comes true? by A.R Rahman is a song in English with Sunitha Sarthy. The song is superbly rendered by Ms Sarthy with perfect enunciation. The music with a recurring background melody with folk overtones provided a backdrop to the song about a moment of love. The song climbs to a crescendo of choral arrangements, rhythm and melody encompassing the listener in the glory of music. Alka Yagnik impresses in the song ? Wohi din aa gaya? about a bride-to- be at the eve of her marriage. It has a lively rhythm and makes easy listening. In addition, there are Mantras (chants) that are harmonized versions of the traditional form. A piano/flute jugalbandi forms the second theme piece in the same tune as the first with the piano leading the score and the flute following along, then interpolating in a series of increasingly complex improvisations on the basic phrase. All in all, this album is worth buying and listening to for the sheer genius of A.R Rahamn, the bold, colorful tunes of Ismail Darbar and a talented team of singers and musicians.
____________ "I am a dreamer,I collect all the smiles from My yesterday,
Neatly pack them into words and hide them in my heart,
I call them "MEMORIES" Music has no boundary.
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#8 30 Mar 2007 22:37
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sur
Joined: November 2006
Posts: 10620
Location: Virginia
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Re: THE MUSIC DIRECTOR- ISMAIL DARBAR...
A friend after listening to the soundtrack of Kisna, Subhash Ghai’s latest film epic set to release in January 2005. E-mail and told me to buy Kisna CD?
Posted by reeta on Wednesday, January 12, 2005 (EST) I grabbed the CD a few hours before heading to the airport in Delhi the week it released. Hearing that it had music composed by AR Rahman, I knew it was a must-have so without a listen, I emailed my friend to go get it. A few days later I was hoping he hadn’t listened to me. Kisna The Warrior Poet—just what is this subtitle about, he shouts out commands in iambic pentameter?—starring Vivek Oberoi and newcomers Isha Sharvani and Antonia Bernath tells a story of north India, set in 1947 and, at first glance, it has the look and feel of Lagaan. But the resemblance ends there if one goes by the soundtrack. Yes, it has music composed by AR Rahman, but only two songs and the theme music (three versions). The remaining tracks are composed by Ismail Darbar, who gave us the hauntingly beautiful melodies of Hum Dil De Chuke Sanam and Devdas (need we say more?), has done a fine job, but the difference between the two music directors is crystal clear. One needn’t read the credits to figure who has composed which tracks. Kisna made waves in November when its new face, Isha Sharvani performed the ‘rope dance’ for the opening ceremonies of the International Film Festival of India in Goa. Ghai is also donating Rs.2.5 million to the Indian Ocean tsunami relief efforts, according to the official Kisna website But first the music. The Kisna theme, composed by ARR grabs your attention as it is meant to, but is all too short and sweet. Dialogue rudely interrupts the mood next but with Udit Narayan’s gorgeous voice in Ham hain iss pal yahan, all is forgiven. Can it be that this man’s voice just gets better and better with time? Maybe, but only with certain music directors. Undoubtedly, this song, oozing romance, is the best of the CD with vocals that send your heart soaring. And of course, it is one of the ARR compositions. Give the next two tracks a pass. Woh Kisna hai is loud and just too…well, how to put it, too filmi?? And Tu itni pagli kyo hai makes the listener want to segue into Mai aisa kyo hoon from Lakshya. Chilman uthegi nahin is the stereotypical filmi qawwali, which is not necessarily a bad thing, but it’s not one of those that goes on to become a classic. Five tracks and so far only the first two are stellar. Seven more to go but sadly, it doesn’t get much better. Aa gaya vo din has shades of ARR from his early movies, but it’s not ARR! Sukhwinder’s vocals are impressive, however, in this piece, but as a banna-banni song it really doesn’t make the grade. Neither does Aham Brahmasmi which truly grates. Kaahe ujadi more neend sung by Ustad Rashid Khan probably most evokes what Ghai was trying to get at with the subtitle “Warrior Poet”…sweeping crescendos worthy of an epic, there’s much too much going on by way of instrumentation, interfering with the vocals. The next track, Ga, tu aisi dhun mein ga, is one of those predictable elements in a Ghai film--kids chorus, catchy refrain, but it comes as a great relief when the song ends and we’re treated to the second version of ARR’s theme music with its flute, the piano, a lilting melody—simplicity that erases the noise of previous tracks. The theme music is like others ARR has composed (think Bombay, for example), it stays with you long after the disc comes to a stop. It should have been the last cut but instead the CD continues with My Wish, also composed by ARR. I had high hopes for this track but there’s just too much of a pop music thing going on with the song. If only it had been more like the Hindi-English duet of Lagaan, which fit so well, but My Wish is too 90’s for a film set in 1947. Still, after a few listens, it will grow on you…as a pop song, not to be associated with a grand epic about a warrior poet of India A choral version of ARR’s Kisna theme closes out the CD, but except for the rumbling bass (perhaps the sound of moviegoers exiting the theater?), it’s not as memorable as earlier versions of the theme. The soundtrack of Kisna is uneven at best. Too much going on with instruments, too many tracks, which is probably apt for an epic, I suppose. And no, I didn’t forget Javed Akhtar’s lyrics; they just didn’t strike me as memorable-they may be after viewing the movie. For those of us who set the bar high for Subhash Ghai after Taal, Kisna may be a disappointment, but at least there is Ham hai iss pal yahan to listen to over and over again. The soundtrack of Kisna comes in a variety of formats: the 16-track double-CD package, the single CD with 12 tracks and a 7-track cassette. Take your pick!
____________ "I am a dreamer,I collect all the smiles from My yesterday,
Neatly pack them into words and hide them in my heart,
I call them "MEMORIES" Music has no boundary.
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#9 30 Mar 2007 22:46
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sur
Joined: November 2006
Posts: 10620
Location: Virginia
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Re: THE MUSIC DIRECTOR- ISMAIL DARBAR...
| I won't compromise on quality: Ismail Darbar | | Document.write: Habib Shaikh, IANS |
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| National Award winning composer Ismail Darbar says he rejected 32 proposals after the success of "Hum Dil De Chuke Sanam" because he would not compromise on quality. "If I only wanted to make money in the world of film music, I could have accepted any of those 32 offers. But, no, I want to create immortal melodies," Darbar told IANS. He was in the city to attend a social function and also meet old friends in his native state of Gujarat. He won the National Award for "Hum Dil De Chuke Sanam" directed by Sanjal Leela Bhansali. The director gave him another opportunity in "Devdas" and Darbar delivered haunting melodies for the classic tale of love and loss. The acclaimed director, however, did not opt for Darbar's music in his much-talked-about next venture, "Black". "Bhansali and I are friends as well as foes," he said with a smile. "He may give me an opportunity in his next project," he added. Darbar's most awaited release is Subhash Ghai's "Kisna". "Ghai wanted A.R. Rahman to compose music for the ambitious film, but Rahman was busy with a number of national and international projects. It was Rahman who suggested my name to Ghai. "That was how Ghai contacted me. However, he convinced Rahman to compose two numbers for the film." Darbar is very fond of "Yeh Chilman Uthegi Nahin", an 11-minute qawwali he has composed for the big banner film. "I have attempted a fusion of the Sufi qawwali tradition and Western music. I am sure it will appeal to all generations," he said. While two of his five films have left critics and fans craving for more, he regretted that his music in "Tera Jadu Chal Gaya", "Mehbooba" and "Diwanagi" had turned out to be entirely forgettable. "Still, two out of five is not a bad ratio," said the son of a saxophone player from the south Gujarat city of Surat. "I am happy when some fans tell me that my music reminds them of the music composed by the all-time great Naushad. I wish I were born 25 years ago. "I could have then worked with my favorite musicians like Madan Mohan and I would have had to work harder to compete with the likes of Naushad, Ravi, Shankar-Jaikishan and Laxmikant-Pyarelal. I could have then had my compositions sung by my most favorite singer, Mohammed Rafi. "The increasing craze for remixes only proves that old is gold. Singers like Talat Mehmood and Mukesh were original diamonds. Compared to them, most of those around us today are like artificial diamonds," Darbar said. "Among the current generation, I am amazed by the energy Anu Malik has. As for singers, Sukhwinder Singh is the one who makes my task easiest. I also love Udit Narayan's voice." |
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____________ "I am a dreamer,I collect all the smiles from My yesterday,
Neatly pack them into words and hide them in my heart,
I call them "MEMORIES" Music has no boundary.
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#10 30 Mar 2007 23:01
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sur
Joined: November 2006
Posts: 10620
Location: Virginia
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Re: THE MUSIC DIRECTOR- ISMAIL DARBAR...
Music launch event.
____________ "I am a dreamer,I collect all the smiles from My yesterday,
Neatly pack them into words and hide them in my heart,
I call them "MEMORIES" Music has no boundary.
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#11 31 Mar 2007 23:14
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sur
Joined: November 2006
Posts: 10620
Location: Virginia
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Re: THE MUSIC DIRECTOR- ISMAIL DARBAR...
ID
____________ "I am a dreamer,I collect all the smiles from My yesterday,
Neatly pack them into words and hide them in my heart,
I call them "MEMORIES" Music has no boundary.
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#12 31 Mar 2007 23:19
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sur
Joined: November 2006
Posts: 10620
Location: Virginia
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Re: THE MUSIC DIRECTOR- ISMAIL DARBAR...
Ismail Darbar faces the camera for the first time
Ismail Darbar scaled the popularity charts after he gave musical hits like 'Hum Dil De Chuke Sanam', 'Devdas' and many more. But this is the first time that he will be seen in a video.
 In his new album 'Rasiya Saajan', which has music composed by him, Ismail Darbar will be facing the camera for the first time. This album is produced by Mauj and some of the songs have been sung by Zubin, the singer who became known for his first song 'Ya Ali' from 'Gangster'. Two songs have been sung by Sa Re Ga Ma Pa contestants Nihira Joshi and Twinkle. There are six songs in the album. Lyrics are by A.M.Toraz.
Indya.com visited the sets of this video shoot at Sankaraman Studios in Goregaon. The entire unit is waiting for Zubin to arrive. Says Darbar about his new album, "It is not necessary that every music album should be different. In fact people should be able to relate to the album. This album has romantic songs so the new generation will surely be able to relate to it. I'm little bit nervous because I'm facing the camera for the first time."
We talk of the missing Zubin. It is 10.30 at night and Zubin is still to arrive. Says Darbar, "I heard his voice and I liked it so I offered this song to Zubin because it suits his voice. When I asked him, he was a little skeptical and said "I'm not a pundit, I have never sung a classical song. However he then accepted the offer."
Apparently Zubin wanted to record the song sitting on the floor. So Darbar organized it in such a way that it became possible. "We arranged a carpet for him and recorded the songs. But you can make out that he has worked hard for this. This is not a pure classical song, it's a semi classical song. All songs have style and they will touch your heart."
Was he nervous about facing the camera for the first time? Says Darbar, "Acting will be time pass for me. But if such a role comes then I'll definitely do that. By the way Sanjay had offered me a negative role in Devdas, but I had rejected it."
S.Ramachandran, director of the video (also the director of Asha & Friends) said: "This video only has romantic numbers. This is my fourth video. Before this I did a video for an album called Asha & Friends. We are planning to release this album as soon as possible."
Ismail's forthcoming projects are Sanjay Leela Bansali's Saawarya and one English movie called "Unforgettable". Meanwhile, Zubin is still to arrive. The real star in an Ismail Darbar story is not Darbar, but his singer! With that lovely discovery, we leave the sets…
____________ "I am a dreamer,I collect all the smiles from My yesterday,
Neatly pack them into words and hide them in my heart,
I call them "MEMORIES" Music has no boundary.
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#13 01 Apr 2007 12:10
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sur
Joined: November 2006
Posts: 10620
Location: Virginia
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Re: THE MUSIC DIRECTOR- ISMAIL DARBAR...
I would like to share this with you all thought very interesting.... But I came across this movie whose Music Director is Ismail Darbar. http://www.raaga.com/channels/hindi/movie/H001030.html And interesting enough, one of the Song is sung by Aadesh Shrivastav. I could not believe it, until I heard it myself..... The film is released in 2006 and this 2005 articles show what AS thought about ID.....  | Husn - Love & Betrayal (2006) | | MUSIC: | Ismail Darbar | | CAST: | Yuvaraj Parashar, Nethra Raghuraman, Parmeeta Katkar |
After all the fights we see on TV, I though these people may not be looking eye to eye with each other.... But guess not, they all work "together"...... I am wondering why Ismail chose Aadesh to sing this song? ____________ "I am a dreamer,I collect all the smiles from My yesterday,
Neatly pack them into words and hide them in my heart,
I call them "MEMORIES" Music has no boundary.
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#14 01 Apr 2007 23:32
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sur
Joined: November 2006
Posts: 10620
Location: Virginia
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Re: THE MUSIC DIRECTOR- ISMAIL DARBAR...
War of the music composers, literally
Subhash K Jha August 22, 2005  The temperature on Zee TV's talent-scouting contest Sa Re Ga Ma Pa Challenge has been rising by the week, what with the judges -- Himesh Reshmmiya, Jatin, Lalit, Aadesh Shrivastava and Ismail Durbar -- forming their own caucus of favourite students, or gharanas, as they were politely called.
But politeness was thrown to the winds during the shooting of the popular show when two of the judges lost their cool and hurled abuses, as viewers -- including producer Gajendra Singh -- gazed in horror. "The confrontation with Ismail Durbar had been building up ever since we started judging Sa Re Ga Ma Pa Challenge," says Shrivastava. "His (Durbar's)attitude is high-handed and arrogant and unacceptable to the other judges. He has no respect for anyone, not even for those boys and girls who come from far-flung places like Assam and Manipur with dreams of becoming singers. Ismail addresses them so rudely on camera, contestants are reduced to tears. I told him to be more considerate. But he's beyond reason," he adds. The flashpoint reached two weeks ago during the last stint of the show's recording when Durbar made fun of Shrivastava's knowledge of classical music. "He implied that he was the master of the ragas while Himesh, Jatin, Lalit and me were just novices who knew nothing about classical music. He forgets I'm from a musical family. I've used classically trained voices like Richa Sharma and Hema Sardesai, and used ragas in my tunes whenever possible. When Ismail made snide references to my abilities, I couldn't take it any more. I ticked him off good and proper. We'd have probably gone further in our fight but I don't come from the same background as he does. I held my peace. But we decided we would not sit on the same platform as Ismail Durbar. Thank god the camera wasn't on when this happened.  "I felt he insulted (flautist) Pandit Hari Prasad Chaurasia when he commented about one of his (Chaurasia's) disciples, 'Yeh sab ki bansuri bajaa dega.' Wasn't that a dig at the famous flautist? Ismail is always making such comments. His war cry, 'Yalgaar!' (attack) makes him sound like a padosi from the neighbouring mulk. I told him that. And what are his credentials? He played the violin in the third row of Jatin-Lalit's orchestra before Sanjay Leela Bhansali discovered him. His only claim to fame is Bhansali's Hum Dil De Chuke Sanam and Devdas. The worst mistake he made was to fight with Bhansali, his mentor. All his other scores have failed miserably. He bragged that he discovered Shreya Ghosal when everyone knows it's Bhansali who found her."
Aadesh is unsure about returning to judge Sa Re Ga Ma Challenge. "I have other commitments. I'm supposed to sing my own composition based on the Vedas at the opening of the Berlin Film Festival on September 21. I can't be frittering away time in fighting over lost causes. I believe in the power of a music contest like Sa Re Ga Ma to foster new singing talent for our film industry. In fact, I'm using two contestants from the show -- Himani from Faizabad and Rajiv from Chamba -- to perform a thumri in Kalpana Lajmi's Chingari. Though the soundtrack is done, I felt it wasn't complete without a thumri."
____________ "I am a dreamer,I collect all the smiles from My yesterday,
Neatly pack them into words and hide them in my heart,
I call them "MEMORIES" Music has no boundary.
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#15 01 Apr 2007 23:40
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