Whenever I think of Madan Mohan Sahab, some thoughts come to my mind which I want to share with you. When the child is born, mother and father, grand parents keep their name to the child. So that's how Madan Mohan's name was kept. When the child was growing, parents or grand parents didn't know what he was going to be. But the power who has given him birth, he knew what he was going to be. Madan Mohan could not become Air Marshal Madan Mohan or Commander Madan Mohan or Brigadier Madan Mohan. He became Master of Music. MM stands for both Madan Mohan and Master of Music.

There is an incidence I want to share with you that happened in 1962. In those days all the music directors used to encourage good musicians, good artistes, singers, lyricists whatever. So my father sent a message that "my son who is 14 years old plays the violin, could you give some time to listen to him?" After procuring appointment, my father took me to Madan Sahab but I didn't get time so we came back. We went on another day, still the same. Third time, I got a chance. During those days he lived in Pedder Road. We went in and were ushered to a music room. I still remember that place. I opened the violin in front of him and played one polka - a piece of western classical music. I played that piece for about five minues and all the while I was observing him. He too was all attention on me. After playing the polka, he just gestured to continue and I played one of his songs. I don't remember which. He didn't say a word after that and I packed my instrument and we came back. After a few weeks I got a message to come for a recording. That was a great day for me. From that day till he passed away I was associated with him. Gradually my name started climbing in the list and eventually I occupied the top position. Violinists were anyway rated high in any music director's list those days which has been replaced by keyboards now.

I will narrate another incidence related to him. We musicians used to assemble at the studio at 9.00 am.Madanji always came around 10 - 10.14. From 9 'O clock until he came, arrangers like Kesriji, Masterji or Gyan Verma used to set the music and Madanji - after he came - would listen to the music and then proceed with the other things. One day when I entered the studio at 9.00 am I heard someone singing in the singer's cabin which was almost closed. Masterji was there and he gestured all of us to keep silence. Nobody dared to have any rehearsal, any music session or open one's instrument and tune it. We quietly listened to that singing which had a lot of pathos in it, lot of anxiety was there. Believe me, it went on for almost one and a quarter hour non-stop. At 10.15 suddenly the singing stopped, the cabin door opened and Madanji emerged. That mood of his we had never seen before and never afterwards. Here were many questions in my mind, how come he came so early, why he was singing so desperately etc but I didn't dare ask because I was a small musician which I am still. Once he calmed down he said, let us start the work and didn't say anything about what happened. After two or three days we came to know that on that particular day, Madanji had met with a serious road accident at Khandala. His car had been severely damaged but he was saved. In that disturbed mood he had come directly to the studio and to calm down himself, resorted to singing. Even the music director has to take the help of music. That is the power of music. Till today I don't know how he came from Khandala to Tardeo early on that morning.

With all said and done, I should confess that my association with him was just as a musician. I was playing for him. What I could see was that he was really a Brigadier and Commander and Air Marshall put together in recording theatres. He was having a war of music through his recordings. Here I would like to share with you an incidence which is of great importance to me. The occasion was during the recording of a song for Hindustan Ki Kasam. The arranger was Gyan Verma who was his last arranger. Gyanji started rehearsal at 9.15 am. We checked introduction music, we checked first music, we checked second music, we checked obligato of sign and antara, we checked rhythm, everything. By 10.30 am Madanji came. "Yes Gyan, make me hear sign", so we played sign. He said "Yes, play again". We played 2-3 times and he said "OK, play antara" We were about 70 to 80 musicians at that time. We played the antara and he said "OK, go ahead, play introduction music" and we played that too. He said "OK play first music". The moment the first music was played, he said "What rubbish Gyan? Kya Hai Yeh?" You would not believe it, all the musicians, the whole lot became just absolutely silent. Nobody dared to play a note or even to speak. All were silent. Suddenly something came to my mind. I took my violin and started playing the sign. See, any composer's weakness is his own music. He looked at me with angry eyes but that anger got gradually subsided as I was playing his music, not mine. That was some sort of an approval to go ahead. I kept playing and he kept on staring at me. Suddenly after playing the sign, I played something else of my own. He suddenly got up and came to me and asked "What did you play?" I got scared. Literally! I thought he will throw me out because he was a terror in recording theatres. In a trembling voice I said "Nothing sir". He said "Uttam, you know what you have played. Play it now" he commanded. And when order comes from Commander, you have to obey. So I played that piece. I don't have the cassette of that song here but I can hum for you the song (here Uttamji sings the mukhda along with the music piece that he dared to insert).

Har Taraf Ab Yahee Afsaana Hain... The piece I played on my violin was:

P D N I S R G I R S - I - - - I SR G RG I M M -P I M R - I - G M I P I P I P I

Among the 70 to 80 musicians I was the only one standing, besides Madanji and playing with all eyes on me. Madanji turned to Gyanji and said "Gyan, this will be the first music" That was a great day for me which I will cherish forever.

There is virtually no end if we talk about Madanji. These composers, by this I mean Madan Sahab, Naushad Sahab, Roshanji, all the music directors have given us a path to walk, path to drive, path to go forward. We are still enjoying the fruits of their labour and becoming proud that I have composed this. I've done this. I've done that. NO. They have already done that. In this context I would like to mention about a song that I composed. While composing this song one phrase comes and I know that this phrase is Madanji's. Belive me, I have tried my best to wriggle out of that phrase but I could not do so because that was the only path to come back to the sign from antara (sings the song, the mukda of which is reproduced below)

Savera Hua, Andhera Mita, Woh Aasmaan Ka Panchhiyon Ka Kaarwaan Chala

Pehchaana? Dekhiye (sings the last two lines of antara which tend to continue to "Betaab Dil Kee Tamanna Yehee Hai"). I was trying my best to come out but I could not (Demonstrates again with different combinations) Baat Hee Naheen Ban Tee.

This song was sung by Shri.Suresh Wadkar some 15 years ago. Unfortunately due to my bad luck and Sureshji's bad luck, it never got released. But I still remember this song because I have taken notes from Madanji. I humbly state that my tribute to Madanji is music and only music.

Madan Sahab Ke Baare Mein Hum Jo Bhi Bolenge, Jitna Bhi Bolenge, Kam Hai. I still feel that face, feel that walk - he really used to walk like a military man, he never looked like a musician. But his appearance was totally different and inner side was totally different. Absolutely two images. His soul was totally music but his approach towards human beings was totally marshal type. When he was doing music, background music or the song music, I have no words to express. Only I can say that we are the few lucky people like Keserji. But Keserji is luckier because he used to sit with him, he has listened to him when he was singing or composing. When we used to come for recording, everything would have been finalized. We never got any chance to sit next to him, or to know what he used to do, how he used to compose, how he used to write song to a notation writer and to the arranger. But Hamaare Liye Madan Mohan Ka Naam, Unkee Tasveer Hamaare Aankhonke Saamne Hai because I have been associated with him for so long.

There was a great soul which Madanji introduced to the industry and that was Master Sonik Sahab. Jitna Bhee Ghazlein Ya Geet Aaaj Aapne Suna Hain, they must have been composed more than 50 years ago. Most of these have been arranged by Sonik Saheb. The whole industry used to call him Masterji but Madanji used to call him sonik. His addressing Sonik's name was always like scolding, never "Sonik, Kaise Ho" but a stern "SONIK". Arre Hum Logon Ka To Chhod Yaar, Masterji Ko To Pyaar Se Bulao. Never! Only his soul was music. That's why his music is still living because his music was all soul. See, body has to depart but the soul will remain. We are still talking about him because his soul is still here, through his music. He has given the soulful music to the world of music.

(At this point Shri.Uttam Singh took out his violin and played a raga followed by a western classical piece and culminated it with "Lag Ja Gale Se")

To end my lecture, I would like to narrate an incidence that occurred about 550 years ago involving Guru Nanak Sahab. Guruji was always accompanied by Bala and Mardana playing his Rabab and they traveled together from place to place singing Gurubani. In a particular village that they went, the villagers were very rude to them. They didn't give water or food or anything. So Guru Nanak Sahab told Bala and Mardana "Let us go from here" and while leaving the place gave them the blessing "Base Raho" meaning be here or be prosperous or Khush Raho. After few days they went to another village where the people of the village served them with the best of food, respect and everything. Guru Nanak Sahab was there for about 15 days. And one day he told Bala and Mardana "Let us go from here to another village" While leaving he told the villagers "Ujda" meaning get lost, don't stick here, you go, Ujdad Jao. Bala and Mardana were really surprised. They said "Guru Nanak Sahab, Kuchh Samajh Mein Naheen Aaaya, Yeh Kya baat hai! Jinhone Aap Ko Taqleef Dee Unhe Aapne Kaha Base Raho Aur Jinhone Aap Kee Seva Kee Unhe Aapne Kaha Ki Ujad Jao" Guruji said "Baat yeh Hai Ki Jo Bhure Aadmi Hain Woh wohi waheen Rahe To Achcha Hai Is Liye Maine Unko Kaha Ki Tum Yehi Base Raho Aur Jo Achcha Aadmi Hai Unko Kaha Ki Ujad Jao, Matlab Ki Woh Jahaan Bhi Jayenge Achcha Hi Phailaayenge.

To Main Unkee Bani Ko quote Karte Aaj Aap Sabko Dhanyawaad Deta Hoon Aur Aap Logon Ko Bahut Bahut Dhanyawaad Is Liye Deta Hoon Ek BARC Ke Andar Madan Mohan Ka Day Yeh Sochnewali Baat Hai Jo Kaam Hamara Industry Ko Karna Chahiye Woh Aap Log Kar Rahe Hai Is Liye Maine Woh Quote Kiya Ki Aap Log Baahar Jaayiye.

(This article excerpted from the book "Madan Mohan - An Unforgettable Composer" by V.M.Joshi)