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Balsara and His Singing Sitars - JPop.com
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Balsara and His Singing Sitars

Balsara and His Singing Sitars

Balsara and His Singing Sitars


Born in June 1922, Balsara learnt music from his mother Nazamaye, and gave his first solo performance at the age of six with the pedal harmonium, in use in those times, at a packed C J Hall in Mumbai. Barely ten years later, the young lad was assisting famous Music Director Ustad Mustaque Hussain, in a Bombay film production ‘Baadal’ and had made a place for himself as a permanent assistant music director at the Filmistan studio under popular directors Madan Mohan, Khemchand Prakash and Ghulam Haider. Read more on Last.fm
Born in June 1922, Balsara learnt music from his mother Nazamaye, and gave his first solo performance at the age of six with the pedal harmonium, in use in those times, at a packed C J Hall in Mumbai. Barely ten years later, the young lad was assisting famous Music Director Ustad Mustaque Hussain, in a Bombay film production ‘Baadal’ and had made a place for himself as a permanent assistant music director at the Filmistan studio under popular directors Madan Mohan, Khemchand Prakash and Ghulam Haider. Balsara had his brush with the who’s who of the music world after he became the orchestra director of music company HMV in 1947 and then switched over to the R K Films banner three years later to work with the likes of Shankar Jaikishan and Naushad. As the Founder Secretary of peer bodies like Bombay Cine Musicians’ Association and Bombay Cine Music Directors’ Association, Balsara earned the love and respect of his associates and young musicians. Basking in the audience appreciation during a musical soiree in Kolkata’s Hindustan Park in 1953, the young musician decided to make this cultural capital his home a year later with a prized film assignment ‘Agni Pariksha’. At the coveted New Empire Theatres, he charmed audiences again in 1962 arranging music for Rabindranath Tagore’s celebrated play ‘Debatar Grash’ while debuting his own group the Indian Symphony Orchestra. He gave Kolkata another first — the city’s maiden stereo recording in 1970 — when he put together ‘The Sound of Music’ recording strains of four Indian instruments in one album. He had to his credit numerous popular film albums, both in Hindi and Bengali, a language he chose to speak more frequently in and with much more ease than his native Gujrati. From the obscure ‘Circus Girl’ in 1943 to O Panchi, Rangmahal, Madmast, Talash, Char Dost, Vidyapati and Pyar in Hindi to Madhu Shraboni, Joy Baba Baidyanath, Maa, Chalachal, Panchatapa, Subho Bibaha, Manik, Kanchan Kanya, Panna and Pathey Holo Dekha in Bengali, he had an enviable repertoire. Balsara who was greatly influenced by western music learnt to play the piano from Hildafield, a German musician. His knowledge of the piano made him use it to play Indian classical music also with ease. He mastered the technique of using the instrument for playing Indian classical music from Muneswar Dayal of Gaya. He was equally at ease with string and wind instruments.

Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply..
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