omplete school; he began to assist his father. i remember
yelling at him then - I was already married. I had children and looked
matronly.. he was thin and gawky. I knew more about life than he did; I told him
that he should have finished his studies. Years later, Pancham told me that he
was upset by what I'd said. "If I'd run after books, I wouldn't have become a
music director."
Which was the first song you did for him?
He'd started working with his father in films like Nau Do Gyarah. In our free
time, we'd go into an adjoining room and play table tennis. His first
independent composition which I sang was Maar dalega darde jigar (Pati Patni).
That was the beginning; we worked together on many films. I came to know him
better. I even attended his wedding!
Didn't R.D.Burman live in his father's shadow?
No. Temperamentally, the two were very different. Sachinda was more like a raja,
Pancham was more of a commoner, he mixed with others freely... some people said
that Pancham copied his father's music, I don't think so. Ever since he became a
music director in his own right, he lived separately. Sachinda preferred folk
tunes while Pancham would incorporate several kinds of music into his
compositions.
Pancham had a great deal of respect for his father - and dada was fond of his
son. I remember Sachinda saying with pride that someone on the road had cried
out, "Dekho, woh R.D.Burman ka baap ja raha hai."
According to you what was the hallmark of R.D.Burman's music?
His music had some aag, fire in it. His rhythms were challenging. Like O haseena
zulfon waali (Teesri Manzil). He was among the first music directors to blend
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