El cuarteto de cuerdas más moderno de la música clásica, esta vez nos descubre el maravilloso mundo de la música popular de la India, de la mano de uno de sus mejores compositores de bandas sonoras, R. D. Burman (Rahul Dev) y lo realiza a través de su musa inspiradora, la super estelar cantante Asha Bhosle, dueña de voz asombrosamente bella. Un disco exótico y embriagante, para degustar lentamente. Digno de tu celular, como para ir escuchando y descubriéndolo.
Artista: Kronos Quartet and Asha Bhosle
Álbum: You've Stolen My Heart
Subtítulo: Songs From R.D. Burman's Bollywood
Año: 2005
Género: Classical Crossover, World Music, Soundtrack, Bollywood
Duración: 63:56
Sello: Nonesuch
Nacionalidad: USA, India
Subtítulo: Songs From R.D. Burman's Bollywood
Año: 2005
Género: Classical Crossover, World Music, Soundtrack, Bollywood
Duración: 63:56
Sello: Nonesuch
Nacionalidad: USA, India
Lista de Temas:
1. Dum Maro Dum (Take Another Toke)
2. Rishte Bante Hain (Relationships Grow Slowly)
3. Mehbooba Mehbooba (Beloved, O Beloved) (instrumental) 4. Ekta Deshlai Kathi Jwalao (Light a Match)
5. Nodir Pare Utthchhe Dhnoa (Smoke Rises Across the River) (instrumental)
6. Koi Aaya Aane Bhi De (If People Come)
7. Mera Kuchh Saaman (Some of My Things)
8. Saajan Kahan Jaoongi Main (Beloved, Where Would I Go?) (instrumental)
9. Piya Tu Ab To Aaja (Lover, Come to Me Now)
10. Dhanno Ki Aankhon (In Dhanno’s Eyes) (instrumental)
11. Chura Liya Hai Tum Ne (You’ve Stolen My Heart)
12. Saiyan Re Saiyan (My Lover Came Silently)
Alineación:
- Asha Bhosle / vocals (1, 2, 4, 6, 7, 9, 11, 12)
- Hank Dutt / viola (1-12), Farfisa Organ (1, 2, 7, 12), Hohner Pianet (2, 4, 7, 8, 9), synthesizer (2, 4, 5, 7, 9, 12), accordion (3, 11) theremin (6), organ (6. 8)
- David Harrington / violin (1-12), tambourine (2), mouth percussion (2), bow percussion (2), chang (2), autoharp (2), Korg MS-20 (2), vocal percussion (2. 6), hammered violin (4), match (4), frame drum (5), harmonium (5), gongs (6), autoharp (6, 7, 8), cymbal (6), triangle (7), piano (9, 11), trumpet violin (9), glass (11)
- Jennifer Culp / cello (1-12), electric bass (6, 10, 12)
- John Sherba / violin (1-12), bow percussion (2), hammered violin (4), trumpet violin (4, 6, 11, 12),
- Zakir Hussain / Indian trap set (1, 4, 11), tambourine (1, 4, 11), madal (1, 3, 8, 11), tabla (2, 4, 5, 7, 8, 10), tabla tarang (2, 6), batajon (3, 9), djembe (6, 8, 9, 12), bass drum (6), shaker (10, 12), talking drum (12), frame drum (12)
- Wu Man / pipa (1-4, 6-9, 11, 12), liu qin (2, 3, 4, 11, 12), electric sitar (2, 7), gong (6)
- Judith Sherman / finger cymbals (1)
- James Quinn / breath (1)
- Scott Fraser / electric sitar (2), guitar (11)
- Anand Bhosle / vocal percussion (6)
- Enrique Gonzalez Müeller / vocal percussion (6), breath (9)
- Gustavo Santaolalla / vocal (9)
Disco completo
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| Booklet #1 |
Producción:
Produced by David Harrington
Co-produced by Scott Fraser and Judith Sherman
Engineered by Scott Fraser
Assistant engineers: Enrique Gonzalez Müeller (The Plant), Marc Dimmitt (Studio D Recording), Gustavo Santaolalla’s vocals recorded by Anibal Kerpel
Recorded June 2004-Jaunuary 2005 at The Plant (Sausalito, CA), Studio D Recording (Sausalito, CA), La Casa Studios (Los Angeles, CA), the Kronos rehearsal space (San Francisco, CA), and hotels in Vienna, Austria, and Paris, France
Edited and Mixed by Scott Fraser and David Harrington at Architecture (Los Angeles, CA)
Additional editing assistance by Jay Cloidt
Mastered by Scott Fraser at Architecture
Arrangements by David Harrington; tracks 3, 5, 8, 10 arranged by Stephen Prutsman, with David Harrington. Transcriptions from original recordings by Ljova. Music Preparation by Hank Dutt.
Design by Doyle Partners
Cover photography and photograph of Kronos and Asha Bhostle and R.D. Burman by Gautam Rajadhyaksha
Executive Producer: Robert Hurwitz
Produced by David Harrington
Co-produced by Scott Fraser and Judith Sherman
Engineered by Scott Fraser
Assistant engineers: Enrique Gonzalez Müeller (The Plant), Marc Dimmitt (Studio D Recording), Gustavo Santaolalla’s vocals recorded by Anibal Kerpel
Recorded June 2004-Jaunuary 2005 at The Plant (Sausalito, CA), Studio D Recording (Sausalito, CA), La Casa Studios (Los Angeles, CA), the Kronos rehearsal space (San Francisco, CA), and hotels in Vienna, Austria, and Paris, France
Edited and Mixed by Scott Fraser and David Harrington at Architecture (Los Angeles, CA)
Additional editing assistance by Jay Cloidt
Mastered by Scott Fraser at Architecture
Arrangements by David Harrington; tracks 3, 5, 8, 10 arranged by Stephen Prutsman, with David Harrington. Transcriptions from original recordings by Ljova. Music Preparation by Hank Dutt.
Design by Doyle Partners
Cover photography and photograph of Kronos and Asha Bhostle and R.D. Burman by Gautam Rajadhyaksha
Executive Producer: Robert Hurwitz
Valoración según distintas fuentes:
www.discogs.com / 4,1 - 21 votos
www.amazon.com / 4,4 - 12 reseñas
itunes.apple.com / 4 - 15 reseñas
www.allmusic.com / 9/10 - Reseña de Sean Westergaard
Este álbum fue nominado para los Grammy Awards de 2006 en la categoría Best Contemporary World Music Album. Pero el disco resultó ser demasiado “difícil” para los miembros de la Academia, que no llegaron a comprenderlo y solo fueron capaces de nominarlo en su versión 48ª, en la categoría # 73 antes mencionada, otorgándole el premio al disco en vivo Electroacústico del sobrevalorado Gilberto Gil. También cabe destacar que entre los nominados en esta categoría estaba el disco Rise de Anoushka Shankar la joven sitarista, hija del genial Ravi Shankar.
About This Album
Apuntes sobre "nuestro" Kronos Quartet
You’ve Stolen My Heart: Songs from R.D. Burman’s Bollywood is an homage to Burman, one of Bollywood’s greatest composers, with vocals from Bhosle, one of India’s most acclaimed singers, on eight of the twelve tracks; it features Kronos members playing vintage electronic instruments, among other departures. The world’s largest film industry by far (nearly doubling Hollywood’s annual output), India’s Bollywood is famed for its musical extravaganzas, and Rahul Dev “R.D.” Burman was Bollywood’s pre-eminent film composer from the 1960s through the '80s. His more than 300 scores complemented the films’ effervescent visuals with an unpredictable range of musical styles—Indian classical and folk music, swing jazz, psychedelic rock, circus music, mariachi, and more.
The voice heard in many of Burman’s best loved songs was that of his wife, the iconic Bollywood “playback singer” Asha Bhosle. With more than 1,000 films and 13,000 recorded tracks to her credit, Bhosle is widely considered the most recorded vocalist in the world. As the New York Times says: “When an actress in [Bollywood] films opens her mouth to sing, there’s a good chance that the sweetly modulated voice that comes out will belong to Asha Bhosle.”
“Kronos has explored the marriage of music and film for many years, so immersing ourselves in the music of R.D. Burman’s Bollywood was natural,” says Kronos Quartet violinist and Artistic Director David Harrington. “Burman’s music transcends any categories of ‘Bollywood’ or ‘film music.’ To me, it stands on its own as some of the most inventive, far-reaching, and fun music of the late 20th century. In working with Asha Bhosle on You’ve Stolen My Heart, our first album with a lead singer, Kronos has experienced not only Burman’s living legacy, but also one of the most talented and generous artists I know of. Asha truly is the Queen of Bollywood.”
Inspired by Burman and Bhosle, Kronos ventured into novel instrumental territory on You’ve Stolen My Heart, augmenting its acoustic sound with keyboards, percussion, and other instruments—all played by the Quartet members. Longtime collaborators Zakir Hussain (tabla and a variety of other percussion instruments) and Wu Man (Chinese pipa and other stringed instruments) also lend their virtuosity.
The Kronos Quartet was joined by Asha Bhosle for a series of performances during the 2005–2006 season: at the Yerba Buena Center for the Arts in San Francisco; Royce Hall in Los Angeles; the Barbican in London; and Carnegie Hall in New York, as part of the six-concert Kronos: Live Mix Festival. Wu Man and Zakir Hussain joined the group at Carnegie Hall.
Customer Review from
itunes.apple.com / Amazon.com
You've Stolen My Kronos (4 stars)
by Akimon / Akimon Azuki
Esta crítica es ciertamente pertinente, porque demuestra lo que puede pasar en un principio al oír este disco en forma preconcebida, hasta por personas versadas tanto en la música de Bollywood, como del Kronos Quartet.
Esta crítica es ciertamente pertinente, porque demuestra lo que puede pasar en un principio al oír este disco en forma preconcebida, hasta por personas versadas tanto en la música de Bollywood, como del Kronos Quartet.
This is a strange production: the famous string quartet's take on R.D. Burman's music left me rather confused at first. But I do like it more and more as I keep discovering very interesting nuances in the musical fabric. My introduction to Kronos was through the violent soundtrack to Requiem for a Dream, and I was hoping for something radical here, a jazzy classical Bollywood fusion, but they almost disappear in the mix. The first question may be "Where's Kronos?" I have been listening to Bollywood soundtracks for years and my Bollywood playlist has hundreds of songs, many procured here on iTunes: everything from good ol' Kishore Kumar to all the latest flicks, and this Kronos outing would blend in there just fine. And that's the problem- some tracks on this CD sound just like the originals, especiallly Dum Maro Dum. But there are some enhancements, too subtle to pick up at first: strange sound of the instruments, old fashion keyboards adding surreal touch, dissonances and weird sounds- elephants, occasional laughter, and a wicked James Bond thing in Saiyan Re Saiyan, plus that woozy feel of string quartet gone native. Asha Bhosle's voice is as good as ever- her and her sister, the great Lata Mangeshkar are like Placido Domingos of the Indian music, and will only retire when they are 120 years old. And I really loved the subdued, instrumental Mehbooba Mehbooba- if you know the raunchy original version, from the Sholay movie soundtrack, it's something new and different. In essence, Kronos have stripped these compositions, leaving the skeleton and adding their own subtle colors. Nothing radical- but it is a gentle, tickling listening pleasure... Once you have ingested a whole lot of mainstream Bollywood songs and yearn for something new and interesting, you should get A.R. Rahman's Dil Se soundtrack and start exploring the brave new world of remixes, but if this music is new for you, Stolen Heart will serve as a great Bollywood appetizer, and a very tasty Kronos dish, all at once.
Apuntes sobre "nuestro" Kronos Quartet
Para el Kronos Quartet, Latinoamérica nunca estado demasiado distante de su mira, comenzando por Astor Piazzolla que los conociera hacia el final de su vida, se entusiasmara con el proyecto del grupo y se comprometiera a escribir una suite para ellos, en el cual él mismo participaría y que resultaría ser su última grabación en estudio, la reconocida placa Five Tango Sensations de 1991, que ya se ha comentado oportunamente. El también argentino, oriundo de la ciudad de La Plata, Osvaldo Golijov, ha visto representadas sus partituras: The Dreams and Prayers of Isaac the Blind de 1997. Por esa misma época, en el marco de uno de los festivales organizados por la ciudad de Buenos Aires, el Teatro Colón recibió al Kronos Quartet en una función donde se notaba quienes ya éramos admiradores del cuarteto y los neófitos, en la primera mitad el público estaba frío, pero ya en la segunda parte todo el mundo se había entusiasmado. Nuevamente junto a Golijov, han colaborado para la película The Man Who Cried/2001, de Sally Potter. Al año siguiente editarán el disco Nuevo/2002 dedicado a los compositores mexicanos desde el gran Agustín Lara, pasando por Severiano Briseño, Juan García Esquivel, Alberto Domínguez, Silvestre Revueltas, la cubana Margarita Lecuona, B. García de Jesús y J. Elizondo, y hasta Roberto Gómez Bolaños (el mismo Chespirito), también las nuevas generaciones serán tenidas en cuenta: Ariel Guzik, Café Tacvba, el autor de narcocorridos[i] Chalino Sánchez, y terminando el disco, un remix de Plankton Man, el trabajo que fuera arreglado mayormente por Golijov, también contó con una pieza suya escrita para la ocasión. Al año siguiente, un viejo conocido nuestro, el oscarizado Gustavo Santaolalla invitó al Kronos a participar de la banda sonora de la película 21 Gramos/2003 del director mexicano Alejandro González Iñárritu, hoy convertido en toda una estrella de Hollywood. Nuevamente el Kronos es convocado por Golijov, esta vez para interpretar las piezas Tenebre 1 y 2 de su disco Oceana/2007, editado por la Deutsche Grammophon.nte
[i] Proximamente nos introduciremos en el mundo de los Narcocorridos o también llamados Corridos Prohibidos.
Apuntes sobre Asha Bhosle
Su biografía es tan horriblemente larga, que luego de varios intentos infructuosos, noté que la versión en español de Wikipedia, es sumamente "resumida", porque la versión inglesa es el doble de larga. Para colmo de males, tuve que incorporar el apartado de la versión inglesa de su relación con su hermana mayor Lata Mangeshkar, otra cantante tan importante como la misma Ashaji, también con miles de grabaciones, para que se pueda entender la importancia eclipsante de ambas mujeres en el panorama musical de su país. Asi que excusas mediante por la longitud, aquí les dejo esta "corta" biografía y más abajo un video que mal resume su historia en 9 minutos, recuerden pinchar en los subtítulos. Una anécdota sobre el profesionalismo de Asha: durante la grabación de este álbum, todo el mundo quedó sorprendido cuando al finalizar su primera jornada de grabación, ella había sido capaz de terminar sus 8 temas!
Asha Bhosle
From Wikipedia, the free encyclopedia
Asha Bhosle1 (devánagari: |आशा भोंसले) (Goar, Sangli, Maharashtra, 8 de septiembre de 1933) cantante indiaconocida por ser la voz de muchos playbacks que se realizan en las películas de Bollywood, aunque su repertorio es mucho más amplio. Su carrera comenzó en 1943 y ha estado activa seis décadas participando en más de 950 películas de Bollywood2 y varios discos.3 Su hermana Lata Mangeshkar suele acompañarla..
Asha Bhosle es una de las voces más versátiles del sur de Asia: su repertorio pasa por la música típica de bandas sonoras, pop, ghazal, bhajan, música clásica india tradicional, folk, qawwali o Rabindra Sangeet. Ha cantado en más de 14 lenguas, entre ellas hindi, maratí, bengalí, guyaratí, punjabi, tamil, inglés, ruso, nepalí o malayo. Y se cree que ha cantado más de 12.000 canciones4 pero esas estimaciones son difíciles de comprobar.
Índice
[mostrar]Biografía
Asha Bhosle nació en la aldea de Goar, en Sangli, Maharashtra, en el seno de una famila maratí, su padre, PanditDinanath Mangeshkar era un actor de teatro y un cantante clásico. Cuando Asha tenía nueve años, su padre falleció y la familia se mudó de Pune a Kolhapur y más tarde a Bombay. Ella y su hermana mayor Lata Mangeshkar(con la que siempre se le ha asumido una supuesta rivalidad) comenzaron a cantar y actuar para mantener a la familia, la primera canción de Asha fue Chala Chala Nav Bala de la película maratí Majha Bal (1943). La música de la película fue compuesta por Datta Dawjekar. Su primera intervención en una película en hindi fue Saawan aayapara Chunariya de Hansraj Behl (1948).5 Con 16 años se fugó con su amante de 31, Ganpatrao Bhosle (1916-1966), y se casó con él en contra de la voluntad de su familia. Ganpatrao era el secretario personal de su hermana, pero el matrimonio fue un fracaso, ya que su marido y su familia política la maltrataban.6 y ella regresó a casa de su familia con dos hijos y embarazada del tercero. Continuó cantando en películas para ganar dinero.
Por aquella época, había otras cantantes como Geeta Dutt, Shamshad Begum y su hermana Lata Mangeshkar que monopolizaban los papeles vocales de las heroínas cinematográficas, y Asha Bhosle fue la voz de las malas de las películas y de muchos papeles de películas menos importantes. En los años 1950, cantó más playbacks que nadie en Bollywood, pero casi siempre para películas de serie B o C. Los primeros compositores de sus canciones fueron A R Qureshi, Sajjad Hussain o Ghulam Mohammed, pero ninguna de estas canciones fueron hits.5 Su canción deSangdil (1952), protagonizada por Dilip Kumar y compuesta por Sajjad Hussain tuvo cierto éxito. Bimal Roy le ofreció la oportunidad de cantar en Parineeta (1953) y Raj Kapoor le ofreció la oportunidad de cantar Nanhe munne bachche con Mohammad Rafi en Boot Polish (1954), que se hizo muy popular. También cantó para películas en maratí como Majha hoshil Kaa?, Khedyamadhle ghar kaularu, bugadi mazi y Nach re mora.
Con O. P. Nayyar empezó en C.I.D. (1956), con la que cosechó grandes éxitos comenzando por Naya Daur (1957).
En 1966, sus interpretaciones para duetos de películas del director musical Rahul Dev Burman en Teesri Manzilfueron muy aclamadas, y siguió con este director en los 1970. Se casó con él y durante los 1960 y los 1970, cosechó mucho éxito dándole voz a la bailarina Helen, con quien dice que preparaba sus interpretaciones en canciones como Piya tu ab to aaja (Caravan), O Haseena Zulfon Wali (Teesri Manzil), oYeh Mera Dil (Don). EnUmrao Jaan (1981) y Ijazat (1987), cantó canciones ghazal. Su actividad bajó en los años 1990, de 1994 data su hitRangeela y de 2005, con 72 años, Lucky Lips, de la película en tamil Chandramukhi.
Interpretaciones más importantes
Fueron muy famosos sus duetos con Rafi como Maang ke saath tumhara, Saathi haath badhana o Uden jab jab zulfein teri, letra de Sahir Ludhianvi y compuestos por O P Nayyar
- Teesri Manzil]], 1966
Pasó al pop con Rahul Dev Burman en Teesri Manzil (1966). La primera vez que oyó Aaja Aaja, creyó que no podría cambiar al estilo de música occidental, pero después de 10 días, grabó ésa y otras como O Haseena Zulfonwali yO Mere Sona Re
En los 1980, la consideraban una cantante de canciones cabareteras y pegadizas donde no existía mucho sentimiento, pero gracias a canciones ghaza como Dil cheez kya hai, In aankhon ki masti ke, Ye kya jagah hai doston y Justju jiski thi. Estas canciones le supusieron su primer premio como homenaje a su carrera y su versatilidad.
Con 62 años, cantó Tanha Tanha y Rangeela Re para la joven actriz Urmila Matondkar.
Asociaciones con directores musicales
O.P. Nayyar
Sus colaboraciones juntos son parte de tradición de Bollywood, fue el único que creyó en ella cuando nadie apostaba por su carrera y también había rumores sobre un posible romance. Se conocieron en 1952, para la grabación musical de Chham Chhama Chham.7 Primero la llamó para Mangu (1954) y grabaron para muchas películas como Naya Daur (1957), Tumsa Nahin Dekha (1957), Howrah Bridge (1958), Ek Musafir Ek Hasina (1962), Kashmir Ki Kali (1964), etc. Entre sus canciones más populares están Aao huzur tumko (Kismat), Jaaiye aap kahan (Mere Sanam) etc. O.P. Nayyar solía usar al dúo Asha Bhosle-Mohammad Rafi para los duetos de las películas. Se separaron por motivos no muy claros el 5 de agosto de 1972.
Khayyam
Empezó con él en Biwi (1948). Khayyam le compuso en los 1950, donde sus canciones Dard, Phir Subah Hogi y sobre todo Umrao Jaan fueron grandes éxitos.
Ravi
Comenzaron conVachan (1955) del film Chandamama door ke y después estuvieron juntos en Gharana, Grihasti, Kajal, 'Phool Aur Patthar, Waqt, Chaudhvin Ka Chand, Gumrah, Bahu Beti, China Town, Aadmi Aur Insaan, Dhund, Humraaz, oKajal.
Sachin Dev Burman
Es un de los grandes compositores de Bollywood, su distanciamiento con Lata Mangeshkar, de 1957 a 1962, hizo que Asha grabara con él varias canciones en varias películas: Kaala Pani, Kaala Bazaar, Insaan Jaag Utha, Lajwanti, Sujata oTeen Deviyaan (1965).
Rahul Dev Burman (también comocido como Pancham)
Asha lo conoció estaba en décimo curso (mientras era ayudante de su padre) y ya tenía dos hijos, grabaron canciones de varios estilos en los 1970 y 1980, para películas como Mera kuch saaman, Khaali haath shaam aayi hai, Katra Katra. Se casó con él en 1980 y siguieron juntos hasta su muerte (para ambos fue su segundo matrimonio).
Ilaiyaraaja
Este prolífico compositor trabajó con ella en los 1980 para películas como Moondram Pirai (1982) (Sadma, en el remake hindi, 1983). Siguieron en los 1990 con películas como Shenbagamae (Enga Ooru Paattukkaaran, 1987, tamil). En 2000, Asha cantó un tema de él para la película política Hey Ram de Kamal Haasan.
A. R. Rahman (actual compositor estrella, el de Slumdog Millionaire)
Participó con él en películas como Rangeela (1994), tuvieron éxito con canciones como Tanha Tanha oRangeela Re.
Otros compositores
Jaidev, C Ramchandra, Kishore Kumar, Naushad, Madan Mohan, Shankar-Jaikishan, Anu Malik, Salil Chaudhary, Laxmikant-Pyarelal, Naushad, Ravindra Jain, N Dutta, Hemant Kumar".8 Naushad, later in his life, also admitted that he has been unfair to Asha Bhonsle. Asha has also worked with other noted Bollywood composers like Jatin Lalit, Bappi Lahiri, Kalyanji-Anandji, Usha Khanna, Chitragupt, and Roshan.
Música fuera de Bollywood
Maratí
A Asha Bhosle y a su hermana Lata Mangeshkar se les considera dos iconos de la música maratí (maratí es su lengua materna). Asha ha cantado canciones fuera del cine dentro del género Bhaav Geet, que consiste básicamente en canciones basadas en poemas de poetas notables. Un buen ejemplo, es su álbum Rutu Hirawa ("Temporada verde"), compuesto por Shreedhar Phadke.
Las composiciones de Hridayanath Mangeshkar cantadas por ella han llegado a ser muy populares dentro de la música maratí. Como ocurre con sus canciones en hindi, sus canciones en maratí varían desde canciones occidentalizadas como Ruperi Walut ("nos vemos en las playas plateadas de las arboledas de los cocoteros") a cl clásicos como Tarun aahe Ratra Ajuni ("La noche es joven aún"). Estos bhajans maratíes son muy populares entre los maratíes, quienes la llamanAshatai (tai es hermana mayor en maratí). Un buen ejemplo es su versión del poema de Dnyaneshwar, Kanadawo Vithallu.
Álbumes
En los 1990, Asha mezcló su música con elementos modernos y diferentes, algo que no gustó mucho a los puristas. En 1997, Asha sacó con Leslie Lewis un álbumindipop llamado Janam Samjha Karo que le valió el premio MTV de ese año. En 1995, Asha pasó por la ceremonia gatha bandan con el maestro Ali Akbar Khanpara aprender el repertorio clásico de Maihar gharana (escuela estilística de música clásica india), también pasó por las manos de su padre Allauddin Khan(maestro de Ravi Shankar). Más tarde, Asha y Ustad Ali Akbar Khan grabaron varias canciones para Legacy, un álbum con el que se llevaron un nominación en los premios Grammy.
Animó al compositor pakistaní Adnan Sami con su carrera y participó con él en sus álbumes Kabhi to nazar milao y Barse Badal, un álbum de música clásica india donde aparece en la canción.
El director B R Ishaara le propuso componer la música de una de sus películas, pero ella no aceptó y no comenzó a componer hasta 2002 con Aap Ki Asha, donde ponía música a letras de Majrooh Sultanpuri (sus últimas letras).
Asha ha cantado ghazals para muchos álbumes como Meraj-E-Ghazal, Aabshar-E-Ghazal o Kashish. En 2005, Asha sacó un disco homónimo (Asha) como tributo a los grandes maestros del género: Mehdi Hasan, Ghulam Ali, Farida Khanum y Jagjit Singh. Del álbumos destaca ocho de sus ghazals favoritos como Aaj Jaane Ki Zid Na Karo de Farida Khanum, Chupke Chupke de Ghulam Ali, Aawargi, Dil Mein Ek Lahar, Ahista Ahista de Jagjit Singh y 'Ranjish Hi Sahi, Rafta Rafta y Mujhe Tum Nazar Se Mehdi Hassan.
Existen numerosos recopilatorios de sus canciones, como en que editó EMI India por su 60 cumpleaños en 1993 en 3 cassettes: Bala Main Bairagan Hoongi, The Golden Collection: Memorable Ghazals y The Golden Collection: The Ever Versatile Asha Bhosle (44 canciones populares de películas).
Conciertos y colaboraciones con artistas extranjeros
En los 1980 y 1990, Asha realizó conciertos en varios países, entre los que destacan una en Estocolmo donde pudo salir al paso cuando sufría una gastroenteritis debida a una vertiginosa gira y un concierto con Sudesh Bhosle en Londres para ayudar a las personas mayores de la India y se tuvo que ampliar a más de 20 conciertos, cuando sólo tenían planeados 12.
- Boy George (Bow down mister) y Stephen Lauscombe a mediados de los 1980.
- Code Red y The Way you Dream con Michael Stipe para la película Bulletproof Monk en 1997. Ese mismo año, British band Cornershop le rindió un homenaje con Brimful of Asha, que más tardé mezcló Fatboy Slim y que utilizó Nelly Furtado para su disco "I'm Like A Bird"
- "The Way You Dream" con Michael Stipe en 2002
- Sarah Brightman usó "Dil Cheez Kya Hai" como melodía introductoria de "You Take My Breath Away" de su disco Harem.
- El cuartero estadounidense Kronos Quartet, regrabaron varas canciones de ella en 2005. Los dejó anonadados cuando a pesar de sus 70 años, pudo grabar 4 canciones en un día.
- En 2005, el grupo Black Eyed Peas utilizaron su canción "Aye Naujawan Hai Sab Kuchchyahan" en su single "Don't Phunk With My Heart".
- A fines del 2006, colaboró con el australiano Brett Lee en "you're the one for me" y para la película pakistaní Mein Ek Din Laut Kay Aaaonga.
Premios
Filmfare Awards:
- 1967 — Garibon ki suno (Dus Lakh, 1966).
- 1968 — Parde mein rahne do (Shikar, 1968).
- 1971 — Piya Tu Ab To Aaja (Caravan, 1971).
- 1972 — Dum Maro Dum (Hare Rama Hare Krishna, 1971).
- 1973 — Hone Lagi Hain Raat (Naina, 1973).
- 1974 — Chain se Humko Kabhi (Pran Jaaye Par Vachan Na Jaaye, 1974).
- 1977 — Yeh Mera Dil (Don, 1978).
- 2000 — Filmfare Lifetime Achievement Award
Indian National Awards:
- 1981 — Dil Cheez Kya Hai (Umrao Jaan).
- 1986 — Mera Kuch Samaan (Ijazat).
Grammy Award
- 1997 nominación de Legacy, con Ustad Ali Akbar Khan.
Maharashtra State Awards
- Ha recibido diez y siete a lo largo de su carreta.
Otros:
- 1987 — Nightingale Of Asia Award (de la asociación indopakistaní en el Reino Unido).
- 1989 — Lata Mangeshkar Award (Government of Madhya Pradesh).
- 1997 — Screen Videocon Award (por el álbum Jaanam Samajha Karo).
- 1997 — MTV Award (por el álbum Jaanam Samajha Karo).
- 1997 — Channel V Award (por el álbum Jaanam Samjha Karo).
- 1998 — Dayawati Modi Award [1][2]
- 1999 — Lata Mangeshkar Award (Government of Maharashtra).
- 2000 — Singer of the Millennium (Dubái).
- 2000 — Zee Gold Bollywood Award (por Mujhe rang de de Thakshak).
- Dadasaheb Phalke Award, por sus contribuciones al cine indio.
- 2001 — MTV Award (for Kambakht Ishq).
- 2002 — BBC Lifetime Achievement Award (entregado por el primer ministro británico Tony Blair).
- 2002 — Zee Cine Award (por Radha kaise na jale de Lagaan).
- 2002 — Zee Cine — Hall of Fame
- 2002 — Screen Videocon Award (por Radha kaise na jale de Lagaan).
- 2002 — Sansui Movie Award (por Radha kaise na jale de Lagaan).
- 2002 — Swaralaya Yesudas Award for outstanding contributions to Indian music
- 2004 — Living Legend Award por la Federación de la cámara India de Comercio e Industria. (FICCI). [3]
- 2005 — Most Stylish People in Music [4]
Doctorados honoris causa en las universidades de Amravati y Jalgaon y Freddie Mercury Award por sus logros extraordinarios en las artes.
El Birmingham Film Festival le rindió un tributo especial en noviembre de 2002.
Vida personal
Asha vive en Bombay y ha tenido tres hijos y 5 nietos. El mayor Hemant Bhosle (más tarde Hemant Kumar), dejó rápido una carrera musical para hacerse piloto Su hija mayor, Varsha, que era columnista de The Sunday Observer y Rediff, se suicidó a los 56 años en 2012 y la pequeña Anand Bhosle (que la acompaña en este disco), ha estudiado cinematografía y económicas. Su nieto Chaitanya (Chintu) Bhosle (hijo de Hemant) también se ha aventurado en el mundo de la música con una banda de chicos "Band of Boys".
Sus hermanas Lata y Usha Mangeshkar hacen playbacks para películas también y su hermana Meena Mangeshkar y su hermano Hridayanath Mangeshkar son directores de música (además de hacer playbacks).
Asha es además una gran imitadora de voces y una cocinera excelente y posee un 20 % de un restaurante en Dubái, Asha's, de cocina india tradicional. Ella cuida la cocina y la decoración y ofrece un curso de seis meses a los cocineros.9 10 Ahora prepara su biografía.
Rivalidad con Lata Mangeshkar (tomado de la versión en inglés)
Asha's sibling rivalry with Lata Mangeshkar is often talked about, in spite of their insistence that these are just tales. As young children, they were very close. As a child, Lata used to carry Asha all the time. They were so inseparable that when Lata went to school she would take Asha with her. One day the teacher protested and said that they cannot have two students on one fee. Lata refused to return to school without Asha and quit her studies.
Lata considered Asha's act of eloping with her lover as irresponsible, leaving her alone to sing and earn for the family. This led to tensions between them. Asha herself accepted in an interview — "It was a love marriage and Lata didi did not speak to me for a long time. She disapproved of the alliance." At one time, their relationship was very adversarial and there have been periods of non-communication.
In her initial days in the industry, Asha always played second fiddle to her elder sister. Some say that Lata had once criticised Asha's relationship with O. P. Nayyar. This widened the rift between the two sisters and O P Nayyar also decided that he would never work with Lata. O.P. Nayyar had once revealed "Asha and Lata, staying in opposite flats at Bombay's Peddar Road, shared a maid. Said maid's, responsibility was to come and tell the younger sister that Lata had just recorded something wonderful for Asha to lose her vocal poise. Such was her Lata phobia that it took me some months to convince Asha that she had a voice individualistic enough to evolve a singing style all of her own." Asha once said that she has worked for years to create a voice and a style that was different from Lata, so that she could carve her own niche and not be banished to live in her sister's shadow.
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| Saaz de 1998, 148 min., dirigida por Sai Paranjpye, música de Zakir Hussainy Bhupen Hazarika inspirada en la relación de Asha y Lata. |
The movie Saaz, was supposedly based on Lata and Asha's rivalry. Asha said about the movie — "To have two women in long plaits, take a couple of incidents and exaggerate them into a 3-hour film is such a waste of time." In the last few years, Asha and Lata have often been seen in public, enjoying each other's company. In an interview with The Times of India, Asha once said – "I remember, sometimes both of us would be at a function and some industry types would ignore me and interact only with her, as if to prove their loyalty. Later, didi and I would have a good laugh!"
Referencias
- ↑ Asha Bhosle has been credited variously as Asha, Asha Bhosle, Asha Bhonsale, Asha Bhonsle, Asha Bhonsley, Asha Bhosale and Asha Bhosley (See her IMDb entr for details). She is often referred to as Ashaji — the Hindi suffix ji denotes respect.
- ↑ «IMDb entry». IMDb. Consultado el 3 de mayo de 2006.
- ↑ Es difícil valorar el número de discos editados y vendidos, ya que en la India no se emplea un registro tan minucioso como en Estados Unidos o Europa y se estima que las copias piratas son también abundantes, no obstante se pueden cuantificar en millones.
- ↑ Muchos fans dicen que más de 20.000 canciones. (Jyothi Venkatesh. «Asha Bhosle: Sa Re Ga Ma…». Vashi2Panvel.com. Consultado el 3 de mayo de 2006.), En una entrevista le preguntaron si había cantado más de 25.000 canciones y respondió:, "… no hay cantante en el mundo capaz de cantar 25.000 canciones. Prefiero seguir siendo humilde como la única persona que ha llegado a cantar el máximo número de canciones, 12000. Si se canta una canción al día, son 365 canciones al año y 3650 canciones en diez años. En los alrededor de 60 años de mi carrera, habré cantado unas 12000 ya que a veces he cantado cuatro en un día." En los años 1980 y 1990, el libro Guinness de los Récords mencionaba que Lata Mangeshkar habría cantado no menos de 25000 canciones y Mohammad Rafi 28000, pero el mismo libro decía que habían grabado 6000 y 4956 canciones respectivamente, mientras que Asha Bhosle habría grabado 12000. (Raju Bharatan (23 de agosto de 2006). «How fair were they to Mohammed Rafi?: Page 7». Rediff.com. Consultado el 28 de abril de 2007.) The Guinness entry was removed in 1991.
- ↑ a b «Asha, 70 years, 70 landmarks». 8 de septiembre de 2003. Consultado el 11 de noviembre de 2006.
- ↑ Only Asha: Asha Bhosle
- ↑ «Asha Bhosle was the best person I ever met, An interview with O.P. Nayyar». Indya.com. Archivado desde el original el 28 de noviembre de 2015. Consultado el 11 de noviembre de 2005.
- ↑ «Articles on Asha Bhosle — A voice for all seasons: Taken from Girija Rajendran's article for the Hindu». Consultado el 3 de mayo de 2006.
- ↑ «Yet Another 'First' National Chain Planned». Menu magazine. Archivado desde el original el 28 de noviembre de 2015. Consultado el 11 de noviembre de 2005.
- ↑ Milind Pappu. «Asha Bhosle Live in Dubai». Mouthshut.com. Consultado el 3 de mayo de 2006.
Asha Bhosle - Biography
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Apuntes sobre R.D. Burman
Lo señalado más arriba para Asha, se aplica también para el prestigiado Burman, un compositor de una carrera demasiado dilatada, teniendo en su haber 331 películas, con todo lo que ello implica: éxitos, fracasos y críticas, máxime teniendo en cuenta que se murió con apenas 54 años, así que toda su trayectoria se realizó en menos de 30 años. Un personaje que revolucionó la música de su país, incorporando las últimas tendencias occidentales. Comenzando a trabajar desde muy jovencito, llevado de la mano de su padre, el también aclamado compositor Sachin Dev Burman. Acompañado de un grupo estable de unos 40 músicos, todos de primer orden, me imagino que su estudio, más que parecerse al de un solitario Beethoven, se asemejaría más al de un Velásquez o un Rubens que contaban con grupos de trabajo específicos para poder ejecutar docenas de pinturas a la vez. Al igual que con Asha, les dejo un video de unos 10 minutos que sintetiza su biografía, recuerden encender los subtítulos.
R. D. Burman
From Wikipedia, the free encyclopedia
Rahul Dev Burman (Bengali pronunciation: [Rahul Deb Bôrmon]; 27 June 1939 – 4 January 1994) was an Indian film score composer, who is considered one of the seminal music directors of the Indian film industry. Nicknamed Pancham da, he was the only son of the composer Sachin Dev Burman.
From the 1960s to the 1990s, RD Burman composed musical scores for 331 movies. He was mainly active in the Hindi film industry as a composer, and also provided vocals for a few of compositions. RD Burman did major work with Asha Bhosle (his wife) and Kishore Kumar, and scored many of the songs that made these singers famous. He also scored many songs sung by Lata Mangeshkar. He served as an influence to the next generation of Indian music directors, and his songs continue to be popular in India even after his death.
In 1970, RD Burman composed the music for Dev Anand's Hare Rama Hare Krishna (1971). The Asha Bhosle song Dum Maro Dum from this film proved to be a seminal rock number in the Hindi film music. The filmmaker Dev Anand did not include the complete version of Dum Maro Dum in the movie, because he was worried that the song would overshadow the film.[6] In the same year, RD Burman composed the music for Amar Prem. The Lata Mangeshkar song Raina Beeti Jaaye from this soundtrack is regarded as a classical music gem in Hindi film music. RD Burman's other hits in 1971 included the romantic song "Raat kali ek khwab mein" from Buddha Mil Gaya and the Helen-starrer cabaret song "Piya Tu Ab To Aaja" from Caravan. He received his first Filmfare Award nomination for Caravan.
In 1972, R D Burman composed hit music for several films including Seeta aur Geeta, Rampur ka Lakshman, Mere jeevan saathi, Bombay to Goa, Apna Desh and Parichay. His success continued with hits such as Yaadon Ki Baaraat (1973), Aap ki Kasam (1974), Sholay (1975) and Aandhi (1975). He also composed a song for a small documentary film called Maa Ki Pukaar, in 1975. After his father SD Burman went into coma, R D Burman also completed the music of Mili (1975).
Mohammed Rafi received the National Film Award for Best Male Playback Singer for the song Kya Hua Tera Wada from Hum Kisise Kum Naheen (1977), composed by RD Burman. RD Burman continued to compose several popular songs for films such as Kasme Vaade (1978), Ghar (1978), Gol Maal (1979), Khubsoorat (1980). He received his first Filmfare Best Music Director Award for Sanam Teri Kasam (1981). In 1981, he also composed hit music for Rocky, Satte Pe Satta and Love Story.
Last days[edit]
During the late 1980s, RD Burman was overshadowed by Bappi Lahiri and other disco music composers. Many filmmakers stopped patronizing him, as films featuring his compositions flopped at the box office one after the other. Nasir Hussain, who had signed him up for every single of his productions since Teesri Manzil (1966), did not sign him up for Qayamat Se Qayamat Tak (1988). Hussain defended RD Burman in press, saying that the latter did not give weak music in Zamane Ko Dikhana Hai (1982) and Manzil Manzil (1984). He also said that the composer was going through a lean phase during the recording of Zabardast (1985). But after these three films flopped, Hussain stepped down as a director, and his son and successor Mansoor Khanswitched to other composers. The filmmaker Subhash Ghai promised RD Burman Ram Lakhan (1989), but gave it instead to Laxmikant-Pyarelal, who had earlier played in Burman's orchestra.
RD Burman suffered from a heart attack in 1988, and underwent heart bypass surgery a year later at The Princess Grace Hospital in London. During this period, he composed many tunes, which were never released. He composed music for Vidhu Vinod Chopra's movie Parinda in 1989. He composed one song called Chhod Ke Na Jaana which was sung by Asha Bhosle for the movie Gang. But since the movie took too long to release and due to his untimely death, director Mazhar Khan signed in the then little known Anu Malik for the music of the movie. Thenmavin Kombath, a Malayalam film by Priyadarshan was the last film he signed, but he died before he could score for the film. The music of 1942: A Love Story (1994) was released after his death, and was highly successful. It posthumously won him the third and last of his Filmfare Awards. As per Lata Mangeshkar, he died too young and unhappy.
Style
RD Burman has been credited with revolutionizing the Bollywood music.[20] He incorporated a wide range of influences from several genres in his scores. Burman's career coincided with the rise of Rajesh Khanna-starrer youth love stories. He made electronic rock popular in these popular love stories.[3] He often mixed disco and rock elements with Bengali folk music.[21] He also used jazz elements, which had been introduced to him by the studio pianist Kersi Lord.[22]
According to Douglas Wolk, RD Burman "wrapped sugary string swoops around as many ideas as he could squeeze in at once".[2] Biswarup Sen describes his popular music as one featuring multicultural influences, and characterized by "frenetic pacing, youthful exuberance and upbeat rhythms".[23]
RD Burman was influenced by Western, Latin, Oriental and Arabic music, and incorporated elements from these in his own music.[24] He also experimented with different musical sounds produced from methods such as rubbing sand paper and knocking bamboo sticks together.[10] He blew into beer bottles to produce the opening beats of Mehbooba, Mehbooba. Similarly, he used cups and saucers to create the tinkling sound for the song Churaliya Hai from the film Yaadon Ki Baaraat (1973).[25] For Satte Pe Satta (1982), he made the singer Annette Pinto gargle to produce a background sound.[10] He also used a rubbed a comb on a rough surface to produce a whooshing sound in the song Meri Samne Wali Khidki Main from the movie Padosan (1968)
On multiple occasions, RD Burman experimented with recording the same song with different singers. For Kudrat (1981), he recorded the light version of the song Hume tumse pyar kitna in the voice of Kishore Kumar, while the classical version was recorded in the voice of Parveen Sultana. In Pyar Ka Mausam (1969), he recorded the song Tum bin jaun kahan in the voices of Kishore Kumar and Mohammed Rafi separately.
RD Burman sometimes used the Western dance music as a source of inspiration for his compositions. As was common in Bollywood, some of his songs featured the tunes of popular foreign songs. Often, the filmmakers forced him to copy these tunes for the soundtracks, resulting in allegations of plagiarism. For example, Ramesh Sippy insisted that the tune of the traditional Cyprus song Say You Love Me (arranged and sung by Demis Roussos) be used for Mehbooba Mehbooba (Sholay, 1975), and Nasir Hussain wanted to use ABBA's Mamma Mia for Mil gaya hum ko sathi. Other examples of RD Burman songs inspired by foreign numbers include Aao twist karein from Bhoot Bangla (Chubby Checker's "Let's Twist"), Tumse milke (Leo Sayer's When I Need You), and Zindagi milke bitaayenge (Paul Anka's The Longest Day) and Jahan teri yeh nazar hai (Persian artist Zia Atabi's Heleh maali) and Dilbar mere (Alexandra's Zigeunerjunge). (Por esta razón le han arreciado críticas ultimamente)
R D Burman (Pancham Da) - Biography | The Jewel of Bollywood
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Invitados Especiales
Cabe destacar que el disco tiene dos invitados muy reconocidos, Zakir Hussain, el percusionista hindú, gran maestro de tabla, frecuente compañero de John McLaughlin y cuyo disco Making Music está reseñado en este sitio; y Wu Man, una compositora e intérprete de origen chino que toca la pipa, un instrumento similar al laud pero de cuatro cuerdas, con un amplio reconocimiento en Estados Unidos, donde ha ganado infinidad de premios y ha sido reconocida con numerosas becas y honores, frecuente invitada del Kronos, también ha trabajado para los compositores Tan Dun y Lou Harrison. Una curiosidad trae el disco, visto desde nuestros lares, y es la intervención de Gustavo Santaolalla en el tema 8 en que lo único que hace es gritar quejumbrosamente "¡Monika, oh my darling!" como contraparte de Asha. Si alguien tuviera la oportunidad de entrevistar a Gustavo, le preguntaría, como llega un argentino a cubrir una "vacante" en medio un grupo de hindúes y norteamericanos.
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| Booklet #7 |
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| Booklet #8 |
Las canciones de disco en versiones originales
Song 1: Dum Maro Dum
Movie: Hare Ram Hare Krishna (1971)
Director: Dev Anand
Singers: Asha Bhosle and Usha Uthup
Music Director: R.D.Burman
Lyricist: Anand Bakshi
Actors: Zeenat Aman and Dev Anand with chorus
Versión Original
Película completa
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| Booklet #9 |
Song 2: Rishte bante hain
Album: Dil Padesi Hai (1985)
Singers: Asha Bhosle
Music Director: R.D.Burman
Lyricist: S. S. Gulzar
Song 3: Mehbooba Mehbooba
Movie: Sholay (1975)
Director: Ramesh Sippy
Singer:
Original composer: Michalis Violaris (griego)
Music Director: R. D. Burman
Lyricist: Anand Bakshi
Actors: Dharmendra, Sanjeev Kumar, Hema Malini, Amitabh Bachcham
Discusión: Burman declaró el tema como propio, omitiendo que fuese del griego Violaris (l. y m.) y cambiándole el nombre original Ta Rialia (Dinero).
Versión Original
Película completa
Versión: Demis Roussos canta la versión original con letra en inglés como "Say You Love Me"
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| Booklet #10 |
Song 4: Ekta Deshlai Kathi Jwalao (Light a Match)
Album: Dil Padesi Hai (1985)
Singer: Asha Bhosle
Music Director: R.D.Burman
Lyricist: Gauriprasanna Mazumder
Versión Original (la imagen es actuada)
Song 5: Nodir Pare Utthchhe Dhnoa (Smoke Rises Across the River)
Singer: R. D. Burman
Album: Dil Padesi Hai (1985)Music Director: R. D. Burman
Lyricist: Sachin Bhowmick
Versión Original
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| Booklet #11 |
Song 6: Koi Aaya Aane Bhi De (If People Come)
Singer: Asha Bhosle
Película: Kaala Sona (1975)
Music: R D Burman
Lyrics: Majrooh Sultanpuri
Director : Ravi Nagaich
Starring: Feroz Khan, Parveen Babi, Danny Denzongpa, Imtiyaz, Farida Jalal, Helen,
Bailarinas: Parveen Babi, Helen
Un usuario comenta: Sizzling dance track. Asha Bhonsle sings for both Helen and Parveen Babi in two different octaves superimposed on each other brilliantly by Panchamda's trademark twin track wizardary. Hats off to the bongo player. I think it is Maruti Rao Keer. Helen and Parveen Babi deliver a knockout dance performance and look like two slithering snakes.
Película completa
Song 7: Mera Kuchh Saaman (Some of My Things)
Singer: Asha Bhosle
Película: Ijaazat (Permiso) (1987)
Music: R D Burman
Lyrics: Gulzar
Guión y Dirección: Gulzar
Actores: Rekha, Naseeruddin Shah and Anuradha Patel
Nota:. In 1986, RD Burman composed songs for Ijaazat; the score is regarded as one of his best. However, the film belonged to the Parallel Cinema genre of (art films), so it did not stop the decline of RD Burman's commercial film career. All four of the songs in Ijaazat were sung by Asha Bhosle and written by Gulzar. RD Burman was greatly appreciated by the critics for setting the non-rhyming lyrics of the song Mera Kuchh Saamaan to the music. While both Asha Bhosle (Best Female Playback) and Gulzar (Best Lyrics) received National Awards for the score, RD Burman received none.
Película completa (parte 1 de 10)
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| Booklet #12 |
Song 8: Saajan Kahan Jaoongi Main (Beloved, Where Would I Go?)
Singer: Lata Mangeshkar
Película: Jaise Ko Taisa (Ojo por ojo) (1973)
Music: R D Burman
Lyrics: Gulzar
Director: Murugan Kumaran
starring: Jeetendra, Reena Roy, Ramesh Deo, Srividya, Anwar Husain, Kamini Kaushal, Mohan Choti
Nota 1: La película resultó un mega éxito.
Nota 2: En este tema tenemos la posilidad de oir a Lata Mangeshkar, la no menos famosa hermana mayor de Asha Bhosle.
Película completa (subtitulada)
Song 9: Piya Tu Ab To Aaja (Lover, Come to Me Now)
Singer: Asha Bhosle
Película: Caravan (1971)
Music: R D Burman
Director: Nasir Hussain
Actores: Jeetendra, Asha Parekh Aruna, Irani Madan, Puri Mehmood,
Bailarina: Helen
Nota: Piya Tu Ab To Aaja is considered to be one of the best songs ever sung by the veteran Asha Bhosle for which she also won the Filmfare Best Female Playback Singing Award.
Seleccionar Tema# 1
Película completa
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| Booklet #13 |
Song 10: Dhanno Ki Aankhon (In Dhanno’s Eyes)
Singer: R D Burman
Película: Kitaab (1977)
Music: R D Burman
Lyrics: Gulzar
Director Gulzar
Actores: Uttam Kumar, Vidya Sinha, Shreeram Lagoo, Keshto Mukherjee and Asit Sen
Película completa enlace
Song 11: Chura Liya Hai Tum Ne (You’ve Stolen My Heart)
Singer: Mohammad Rafi & Asha Bhosle
Película: Yaadon Ki Baaraat (1973)
Music: R D Burman
Lyrics: Majrooh Sultanpuri
Director Nasir Hussain
Actores: Dharmendra, Zeenat Aman, Vijay Arora, Tario, Neetu Singh
Película completa
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| Booklet #14 |
Song 12: Saiyan Re Saiyan (My Lover Came Silently)
Singer: Asha Bhosle
Película: The Train (1970)
Music: R D Burman
Lyrics: Anand Bakshi
Director Ravikant Nagaich
Actores: Rajesh Khanna, Nanda, Helen, Rajendra Nath, Madan Puri
Bailarina: Aruna Irani
Película completa (subt. inglés)
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| Booklet #15 |
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| Booklet # Cover |
La pequeña Asha flanqueada por el Kronos
Una crítica de la presentación en vivo, en el Yerba Buena Center, L.A., el 22/09/2005
However, the Kronos Quartet represented a new level of collaboration for Asha-ji and I was curious as all heck to see how it would turn out on September 22, 2005, at the Yerba Buena Center Theater in San Francisco, the first of a limited set of dates. I needn't have worried - Asha-ji sounds as great as ever. But first things first - the first half of the concert was devoted to Kronos premiering San Francisco based minimalist composer Terry Riley's The Cusp of Magic, a work in six parts. In tone, the parts varied from apocalyptic (The Cusp of Magic) to staccato (Buddha's Bedroom) to whimsical (The Nursery). The latter, in particular, was augmented by a backdrop of noises from stuffed animals, the last sound of the movement being that of a lone toy frog being wrung. Throughout, I was impressed by the sheer aural variety on offer, not to mention the virtuoso ensemble playing. In addition to Wu Man on pipa, the Quartet featured David Harrington on violin (and various percussive instruments), John Sherba on violin, Hank Dutt on viola and keyboards and Jeffrey Zeigler on cello. In addition, we had the wild and wacky samples being triggered from time to time. A good harbinger for the second half and the main event!
"Atithi Deva Bhava - the guest is god. You are my guests and I'll try my best to please you," were Asha-ji's opening words when she strode to the stage at the start of the second half of the show. Apart from a little feedback in the first song and perhaps the hint of a cracked voice in another, this was an audio sensory experience. That included Asha-ji's banter between shows. She apologized for her poor command of English and asked band leader David Harrington to translate the song titles. Her in-song banter quickly endeared her to the audience, an eclectic mix of desis and the San Francisco art crowd. The choice of songs was inspired - a mixture of Bollywood staples such as Dum Maro Dum ("Take Another Toke") and Chura Liya Hai Tum Ne ("You've Stolen My Heart") with more leftfield titles. "They picked the most difficult songs," she complained to the audience at one point, rather jokingly of course and that endeared her to us all the more. Of the more adventurous songs, we were particularly impressed by the choice of two Bengali songs of R. D. Burman. Asha-ji sang Ekta Deshlai Kathi Jalao ("Light a Match") with all the coquettishness of a sixteen year girl. For Nadir Pare Uttche Dhoa ("Smoke Rises Across The River"), she took a break, and Quartet played with all the might and passion of many times their number. Upon returning, she commented that, accustomed as she was to working with hundreds of musicians at any given time, she found Kronos' versatility to be simply amazing. Their arrangements sparkled as well - subtly extending Asha-ji's vocals in one song, setting up a counterpoint in another, they were always less than obvious. By the time she started Piya Tu Ab To Aaja ("Lover Come To Me Now"), the incongruous sight of a grandmotherly figure providing breathy, panting vocals had been replaced by that of a diva still in regal command of her faculties (if you closed your eyes).
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| Asha, "ellos han elegido las canciones más difíciles," atrás, Wu Man y David Harrington |
I found the audience attendance for the first show to be disappointing but, in retrospect, it was to be expected given the eclectic nature of the musical marriage. I understand the attendance was much higher the next day and, overall, CD sales outside the hall were unusually brisk. A good harbinger of things to come perhaps?
Kronos Quartet discography (sinopsis hasta 2014)
From Wikipedia, the free encyclopedia
43 Studio albums
2 Compilation albums
3 Video albums
5 Soundtrack albums
29 Contributions
The discography of the Kronos Quartet includes 43 studio albums, two compilations, five soundtracks, and 29 contributions to other artists' records. The Kronos Quartet plays contemporary classical music and was founded in 1973 by violinist David Harrington. Since 1978, they are based in San Francisco, California. Since 1985, the quartet's music has been released on Nonesuch Records.
Early recordings by the quartet contain contemporary classical music and adaptations of more popular music, such as jazz and rock and roll. Since the 1980s, and especially with the release of Cadenza on the Night Plain, written as a collaboration between composer Terry Riley and the quartet, much of the quartet's repertoire and album releases contain music written especially for them, by composers such as Terry Riley, Kevin Volans, Henryk Górecki, and Ástor Piazzolla. Their music "covers a who's who of 20th century-composers", as one critic noted in 1998.
Kronos has recorded five soundtracks including the 1998 score by Philip Glass for the 1931 silent movie Dracula, and has contributed to the soundtracks of five other movies, including Heat and 21 Grams. Outside the genre of classical music, Kronos has collaborated with a great number of other artists, especially pop artists, such as Joan Armatrading, Dave Matthews Band, Andy Summers, Nelly Furtado, and Nine Inch Nails.
The quartet has achieved considerable commercial and critical success and by 1998 (the year of the quartet's 25th anniversary) had sold more than 1.5 million albums. Many of Kronos' albums have ranked on various Billboard charts; the 1992 album Pieces of Africa[i] reached #1 in the Top World Albums chart. The quartet won a Grammy for the 2003 album Lyric Suite.
[i] Pieces of Africa, está en nuestras alforjas y podría llegar a ser subido a pedido del personal.
R.D. Burman Discography (Síntesis)
Main article: R.D. Burman discography
See also: Unreleased songs of R. D. Burman
Out of RD Burman's 331 released movie scores, 292 were in Hindi, 31 in Bengali, 3 in Telugu, 2 each in Tamil and Oriya, and 1 in Marathi. RD also composed for 5 TV Serials in Hindi and Marathi.
Pancham's non-film music comprises few albums, including Pantera (1987), a Latin Rock album produced by Pete Gavankar (father of Janina Gavankar). The album was an international collaboration, for which RD Burman partnered with Jose Flores in San Francisco.[41] In 1987, RD Burman, Gulzar and Asha Bhosle worked on an album titled Dil Padosi Hai, which was released on 8 September 1987, Asha Bhosle's birthday. RD Burman and Asha Bhosle also recorded a song with Boy George.[42] In addition, he scored a large number of non-film songs in Bengali, which are available in different albums, and from which many numbers were later adapted in Hindi films. Burman also did playback singing in eighteen movies for which he himself composed the scores.
¿Qué son los Playback Singer ?
From Wikipedia, the free encyclopedia
* Los nombres destacados en negrilla, son una guía para quien quiera comenzar a investigar más sobre estos artistas tan sobresalientes.
A playback singer is a singer whose singing is pre-recorded for use in movies. Playback singers record songs for soundtracks, and actors or actresses lip-sync the songs for cameras, while the actual singer does not appear on screen.
South Asia
South Asian movies produced in the Indian subcontinent are particularly known for using this technique. A majority of Indian movies as well as Pakistani movies, typically include six or seven songs. After Alam Ara (1931), the first Indian talkie film, for many years singers made dual recordings for a film, one during the shoot, and later in the recording studio, this practice continued till 1952–53. Popular playback singers in India enjoy the same status as popular actors, and music directors, such as Rahul Dev Burman (1939–1994), Ilaiyaraaja and A. R. Rahman, also receive wide public admiration. Most of the playback singers are initially trained in classical music, though they later often expand their range.
Mohammad Rafi and Ahmed Rushdi, both are regarded as two of the most influential playback singers in South Asia. The sisters Lata Mangeshkar and Asha Bhosle, who have mainly worked in Hindi films, are often referred to as two of the best-known and most prolific playback singers in India. In 1991, Mangeshkar was cited by the Guinness Book of World Records for having sung more than 30,000 solo, duet and chorus-backed song recordings, more than any other singer in the world. However, her name was removed in 1991 and replaced by another Indian playback singer, Dr K J Yesudas in 1991 (More than 60,000 and still singing). Statistics say he has sung in all 22 Indian languages except Assamese and Kashmiri. He has also sung in other languages like Sanskrit, Malaysian, Russian, Arabic, Latin and English and got 7 national awards for best singer - All India Record. 43 state awards from all over India (23-Kerala, 8-Tamil Nadu, 6-Andhra Pradesh, 5-Karnataka, 1-West Bengal) - All India Record. In 2011, Guinness officially acknowledged Lata Mangeshkar's sister Asha Bhosle as the most recorded artist in music history, surpassing her sister.
Famous Pakistani playback singers include Ahmed Rushdi, Mehdi Hassan, Shafqat Amanat Ali, Nazia Hassan, Alamgir, Masood Rana, Adnan Sami Khan, Noor Jehan, Mala, Atif Aslam, Rahat Fateh Ali Khan, Ali Zafar, Ghulam Ali, Runa Laila, Hadiqa Kiani, Alycia Dias, Saleem Raza, Akhlaq Ahmed, Mujeeb Aalam, Asad Amanat Ali Khan, Bashir Ahmad, Ustad Amanat Ali Khan, Abrar-ul-Haq, Abida Parveen, Adnan Sami Khan, Ali Azmat, Brian O'Connell, Farrukh Fateh Ali Khan, Fariha Pervez, Ghulam Haider, Humera Arshad, Jawad Ahmad, Sajjad Ali, Salma Agha, Muhammad Juman, Ustad Nusrat Fateh Ali Khan, Waqar Ali, Zohaib Hassan and A Nayyar.
Popular Indian singers include Bhupen Hazarika[1], KJ Yesudas, S. P. Balasubrahmanyam, Mukesh, (Talat Mahmood), Manna Dey, Hemant Kumar, Mahendra Kapoor, Noor Jehan,(Shamshad Begum), (Suraiya) ( Mubarak begum) Sandhya Mukherjee, Sabina Yasmin, Kishore Kumar, Geeta Dutt, Anuradha Paudwal, Arijit Singh, S.P. Balasubramaniam, K. S. Chitra, S. Janaki, Vani Jayaram, Papon, P.Susheela, P. Leela, S.P.Sailaja, Swarnalatha, Shreya Ghoshal, Sadhana Sargam, Alka Yagnik, Kavita Krishnamurthy, Mano, Sujatha Mohan, Anuradha Sriram, Harini, Udit Narayan, Kumar Sanu, Sonu Nigam, K.K., Shaan, Himesh Reshammiya, Mika Singh, Rajesh Krishnan, Sunidhi Chauhan, Shweta Subram, Swetha Mohan, Zubeen Garg.
Hollywood
Playback singing is not as common in contemporary Hollywood given the fact that musicals are not as frequent. It was, however, more widely used in the past. Notable Hollywood performances include Marni Nixon in West Side Story for Natalie Wood's portrayal of Maria, Deborah Kerr's Anna Leonowens in The King and I and Audrey Hepburn's Eliza in My Fair Lady, Bill Lee singing for John Kerr's Lieutenant Cable in South Pacific and for Christopher Plummer's Captain von Trapp in The Sound of Music, Lindsay Ridgeway for Ashley Peldon's character as Darla Dimple in the animated film Cats Don't Dance, Claudia Brücken providing the singing voice for Erika Heynatz's character as Elsa Lichtmann in L.A. Noire, and Betty Noyes singing for Debbie Reynolds in Singin' in the Rain, a movie in which playback singing is a major plot point.
Latinoamérica (agregado mío)
Las telenovelas latinoamericanas siempre han utilizado esta técnica, ultimamente la exitosa novela colombiana La Hija del Mariachi, de amplio recorrido regional, el trío protagonónico fue doblado. Actualmente, en la novela argentina Educando a Nina el cantante cuartetero está siendo doblado.
¿Que es Bollywood?
From Wikipedia, the free encyclopedia
Bollywood is the sobriquet for the Hindi language film industry based in Mumbai, the most populous city of the Republic of India. The term is often loosely used as a synecdoche to refer to the whole of Indian cinema; however, Bollywood proper is only a part of the large Indian film industry, which includes other production centres producing films in many languages.
Bollywood is one of the largest film producers in India, representing 43% of net box office revenue, while Telugu cinema, and Tamil cinema representing 36%, and rest of the regional cinema constitutes 21% as of 2014, Bollywood is also one of the largest centers of film production in the world. It is more formally referred to as Hindi cinema. Bollywood is one of the biggest movie industries in the world in terms of the number of people employed and the number of films produced. In 2011, over 3.5 billion tickets were sold across the globe which in comparison is 900,000 tickets more than Hollywood. Bollywood produced 252 films in 2014 out of the total 1969 films produced in India.
Etymology
The name "Bollywood" is a portmanteau derived from Bombay (the former name for Mumbai) and Hollywood, the center of the American film industry. However, unlike Hollywood, Bollywood does not exist as a physical place. Some deplore the name, arguing that it makes the industry look like a poor cousin to Hollywood.
The naming scheme for "Bollywood" was inspired by "Tollywood", the name that was used to refer to the cinema of West Bengal. Dating back to 1932, "Tollywood" was the earliest Hollywood-inspired name, referring to the Bengali film industry based in Tollygunge, Calcutta, whose name is reminiscent of "Hollywood" and was the centre of the cinema of India at the time. It was this "chance juxtaposition of two pairs of rhyming syllables," Holly and Tolly, that led to the portmanteau name "Tollywood" being coined. The name "Tollywood" went on to be used as a nickname for the Bengali film industry by the popular Kolkata-based Junior Statesman youth magazine, establishing a precedent for other film industries to use similar-sounding names, eventually leading to the term "Bollywood" being coined. However, more popularly, Tollywood is now used to refer to the Telugu Film Industry in Telangana & Andhra Pradesh. The term "Bollywood" itself has origins in the 1970s, when India overtook America as the world's largest film producer. Credit for the term has been claimed by several different people, including the lyricist, filmmaker and scholar Amit Khanna, and the journalist Bevinda Collaco.
Recuerda, "La mejor manera de aprender, es enseñar".
Que grande Dark-ius!!! Discazo y totalmente documentado al detalle, un lujo que sólo se encuentra en el blog cabezòn!!!
ReplyDeleteDark-ius; tenemos un disco subido y listo para reseñar de Ravi Shankar, que un caberón se había comprometido en reseñar y no tuve màs noticias. ¿Le querès hacer la reseña? Cualquier cosa arreglamos por mail.
Esto es un verdadero lujo, CalleNep seguro se va a dar una panzada de música con èsto
... lo estoy escuchando, qué dizcazo!
ReplyDeleteThis comment has been removed by the author.
ReplyDelete¿Vio troesma? Uff, mucho camello, primero para juntar y "pior" pa' reseñar, y encima en idioma hindi! jaja
ReplyDeleteEl videoclip del tema 9 Piya Tu Ab To Aaja (Lover, Come to Me Now) es una jukebox de la actriz y bailarina Helen, con varias actuaciones, que las disfruten también, acompañad@s de un cocktelito...
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