Memory’s Gold

A twenty-something Gupta landed in Bombay,made usual rounds of studios and made inroads into the close-knit Bengali artiste community in Mumbai. He soon started playing the harmonica in reputed music director Madan Mohan’s troupe. “I was talented and job offers poured in,” says Gupta. That was the easy part. Gupta’s career took a jumpstart soon after. “One day,I went over to Salilda’s (Salil Chaudhury) place for a visit. One my way out,I noticed a dusty old guitar lying next to the door. I asked Salilda if I could have it,and he said yes,” says Gupta. On his way back home,Gupta got new strings for the guitar and a book on guitar-playing. “Within weeks I was adept at it and would strum it all day long,” says Gupta. His incessant strumming attracted the attention of some important people. “Quite a few composers lived in my apartment block. Usha Khanna was one of them. Needless to say,famous composers walked in and out of our building all day long. Madan Mohan was one of them,he heard me play and insisted that I play guitar for him too,” says Gupta,who was in the city to play for music directors Munna Raj for an album.

By mid 1960s,Gupta was an established musician in the Bombay film industry. But he was still not sure what he wanted. “I was waiting for that watershed moment. You know the moment when everything is clear,” he smiles.

And that moment came in the form of a meeting with RD Burman. “I had actually played for Pancham (RD Burman) quite a few times before. But this particular meeting was different. I wanted some advice from him as I was recording an international album for EMI. He asked me to forget about the album and play the guitar. I played for him all night,” says Gupta.

Then,there was no looking back. Teesri Manzil was the first film that they collaborated for,other hits followed. “It was three-decade-long collaboration. I assisted him in almost all his films and albums,” states Gupta. His association with Burman,raised many an eyebrow,claims Gupta “After Ek chatur naar from Padosan became a cult hit,many big composers of that time approached me. They wanted to know how Pancham manage to blend classical music with comedy in that song. They wanted the secret recipe. I couldn’t give them any answer because it was nothing but the work of sheer genius,” he says.

There were moments when Gupta was overwhelmed with Burman’s generosity too. “While composing the title song of Yaadon Ki Baarat,Pancham was particularly disturbed. He couldn’t concentrate. The tune he composed wasn’t all that great and I told him so. He asked me if I have some suggestions and I hummed the tune that eventually was used. He was ecstatic and asked me to hum the tune for Nasir Hussain (the producer of the film) too. He loved it. But Pancham was quick to acknowledge that it was my tune when he could have easily passed it off as his own,” claims Gupta.

Burman will always hold a special place in his heart. “He was an inspiration. Even during the leanest days,he never really compromised. He smiled and braved all storms,” says Gupta.