Dwijen Mukherjee was playing badminton with Salil Chowdhury. The former was not too keen initially to render “Aye Dil Kahan Teri Manzil” in Hindi. During the game, Salil Chowdhury addressed him as tumi (you). The singer knew well that when unhappy Salil Chowdhury addressed others as tumi . In normal situations he called colleagues apni (you with respect). After Dwijen Mukherjee agreed, Salil Chowdhury recorded the song for Maya in three takes. Dwijen Mukherjee’s solo with background voices of Lata Mangeshkar created musical history.
The crooner admits singing for Dev Anand was a real honour for him. It was the Hindi version of the same composer, singer’s Bengali number, “Ek Din Jabo Je Chole”.
The sonorous, melodious, aristocratic singer Dwijen Mukherjee is highly respected for his immortal songs “Pallabini Go Sancharini”, “Abar Dujane Dekha” and “Ore Amar Mon”.
Excerpts from an interaction
Did you follow Pat Boon while singing “Phir Ek Bar Kaho”?
Certainly I did not. “Phir Ek Bar Kaho” is a beautiful romantic number of Maya which I sang along with Lata Mangeshkar. It was tuned by Salil Chowdhury. Majrooh Sultanpuri’s lyrics were so heart touching. The composition had brilliant Western counters which Salil Chowdhury composed with expertise. If I blatantly imitated Pat Boon, Salil Chowdhury would have never allowed it.
Distinguish between Salil Chowdhury and Nachiketa Ghosh as composers.
I simply cannot. Both were great in their own ways. Salil Chowdhury had an additional advantage of being a lyricist himself. No other composer experimented with Western classical music and Indian folklore like he did. Nachiketa Ghosh was very strong with an Indian classical background. He had sound knowledge of Western music also. It is wrong to compare one great with another.
You ushered the swinging era with your super hit “Joubon Tarange”
(Smiles) “Jouban Tarange” is a very different song from others I rendered. It possessed that rare musical lilt with Western melody and beats. The romanticism in it pours out like a fountain but never goes sensual. It has a serene appeal. The song is a lover’s confession musically to his beloved.
Don’t you feel Mohammad Rafi scored above you singing “Zindagi Hai Kya” the Hindi version of “Pallabi Go Sancharini”?
There is not an iota of doubt about it. Rafi Sahab was a thorough gentleman and iconic playback singer. The way he sang “Zindagi Hai Kya” is peerless. Hear him singing the lines “Hoton Se Meetha Meetha”. Affection, feelings and emotions blended so excellently with melody. I really felt I achieved something worthwhile as a singer when I learnt he was full of praise for my “Pallabi Go Saneharini”.
You were very effective with Rabindra Sangeet and Mahalaya songs
Rabindra Sangeet is for the soul of every genuine music connoisseur. Lyrics by Tagore are sublime and singing them in the right spirit and note was a true challenge for me. Tagore songs clear human mind of pettiness. Mahalaya ushers in the coming of Durga Puja. Songs centred around Mahalaya theme have that divine effect. It is a genuine cause and you will hear Shyamal Mitra, Tarun Bandapadhyay and above all Pankaj Mullick at their very best singing, reciting Chandipath for Mahalaya.
