O P Nayyar, A Musician of Substance Options

[Nimii]

OP Nayyar: Musician of substance

Manjulaa Negi

O P Nayyar turned 17, on January 16 in 1943. This was also the year when he composed two songs in Lahore, one of which was Preetam aan milo. After the Partition the young poet and aspiring musician moved with his family to Amritsar. A friend of Nayyar sent his poetry to Dalsukh Pancholi, the filmmaker. Soon the young prodigy from Amritsar was called to Bombay. He was signed up to make music for Pancholi's Aasman, and that is where his career began.

But Nayyar music, though good, wasn't enough to save the film or the day. He worked next with Guru Dutt and Geeta Bali in Baaz but the film bit the dust as well. And when P L Santoshi's Chham Chhama Chham also didn't click at the box-officer, Nayyar decided to pack bags and return to Amritsar. But those that fate has decreed for greatness, rarely miss the bus.

So, before leaving for Amritsar Nayyar went over to collect some money that Guru Dutt owed him. Since Guru too was broke, he offered O P Nayyar music for his next film, Aar Paar! But merely asking Nayyar to come on board wasn't enough, so Guru went about collecting funds for the film and from those he parted with Rs. 2000 as signing amount to the musician.

Each of the numbers was a super hit, be it Kabhi aar, kabhi paar (a Shamshad song which is being mauled today in the name of remixing), Babuji dheere chalna (Geeta Dutt), Sun sun, sun zalima (Rafi and Geeta Dutt), Yeh lo meri haari piya (Geeta Dutt), Mohabbat kar lo, ji bhar lo, aji kisne roka hai (Rafi and Geeta Dutt). With that musical hit under their belts, both Guru and Nayyar went on join hands on other successful projects like Mr. and Mrs. 55 and C.I.D.

Nayyar's taste for the good life began to surface when he purchased for himself a Chevrolet, preferring to stay at Churchgate (prime South Bombay) and smoking only YSL while sipping Johnny Walker Black. The 40s and the 50s saw OP Nayyar become a top notch music maker at a time when other greats like SD Burman, Shankar-Jaikishen, Roshan and Naushad were ruling the roost. But Nayyar's music brought with it the freshness of the open landscape and the energy of youth.

He also turned out to be the only musician who chose not to work with Lata Mangeshkar ever, for she had failed to turn up at a recording. Nayyar was known for his punctuality and rarely, if ever, tolerated latecomers. He is said to have declared that if she could do without him, he'd make it equally big without her. For her part, Mangeshkar maintains that she had indeed gotten late and was too scared to call him the same day or the next fearing his wrath, putting off calling him until it was way too late to explain anyway. But Lata's loss turned out to be Asha Bhosle's gain for she got to sing the best of Nayyar's compositions.

(source: http://www.hindustantimes.com/news/181_1199839,00110003.htm)

[deewani]

Personal favorites he will always be remembered for:

Aaiye Meherban - Howrah Bridge
Aankhon Se Jo Utri Hai Dil Mein - Phir Wohi Dil Laya Hoon
Aao Huzoor Tum Ko - Kismat
Leke Pehla Pehla Pyar - C.I.D.
Babuji Dheere Chalna - Aar Paar
Chhupnewale Saamne Aa - Tumsa Nahin Dekha
Ek Pardesi Mera Dil Le Gaya - Phagun
Ishaaron Ishaaron Mein Dil Lene Wali - Kashmir Ki Kali
Kajra Mohabbat Wala - Kismat
Kehin Pe Nigahen Kehin Pe Nishana - C.I.D.
Mera Naam Chin Chin Chu - Howrah Bridge
Reshmi Salwar Kurta Jali Ka - Naya Daur
Roop Tera Aaisa Darpan Mein Na Samaye
Sar Par Topi Laal Haath Mein Reshmi Ka Roomal Oye Tera Kya Kehna
Taarif Karun Kya Uski (Yeh Chand Sa Roshan Chehra)
Tum Rooth Ke Mat Jaana - Phagun
Uden Jab Jab Zulfein Teri - Naya Daur
Yeh Hai Reshmi Zulfon Ka Andhera
Zara Haule Haule Chalo More Sajana - Sawan Ki Ghata


Aaj Amit Kumar ki baat yaad aa rahi at the concert....was saying ke sab uppar chale gaye aur jo nahin gaye unki bhi baari aanewali hai, sab uppar jaake ek cricket team mein khel rahe honge.