Guest article by Ashok M Vaishnav as a tribute to Ajit Merchant on his 95th birth anniversary (b. 15 August 1925 – d. 28 March 2011)

(Talents from various regional languages have enriched Hindi film music. Music directors and singers from Bengal have occupied a central place in Hindi film music. From the recent generation AR Rahman has been incredibly successful in both Tamil and Hindi. Due to some quirk of fate similar success has eluded those from Gujarat, though they gave some immortal songs in Hindi, and occupy an iconic place for their contribution in Gujarati film music and Theatre. Ajit Merchant is one such talent whom Ashok M Vaishnav pays a tribute on his 95th birth anniversary.

Ashokji is an engineer by profession, and after retirement he is engaged in management training. He has a deep interest in music. SoY regulars know him as the creator of the mega series, Multiple Version Songs, and his deep analytical interest in exploring various facets of songs. He has been also introducing us to Gujarati music. Thank you Ashokji for highlighting the contribution of Ajit Merchant to Hindi and Gujarati film music. – AK)

Ajit Merchant (15-8-1925 | 28-3-2011) belongs to that Hindi cinema club which includes some incredibly talented but commercially not successful Music directors as members. These music directors have their names in the roll of honours, on account of just a Song or two from the few that they could get to compose in their career.

Ajit Merchant was born in (then) Bombay to a business community known as Kutchhi Bhatia. His father, a criminal lawyer by profession, was a keen follower of classical music. An adolescent Ajit too would accompany his father to the classical music concerts. However, in the initial phase of his career, young Ajit Merchant worked as a drama artist. Many of the stage personalities of those days were also associated with radio feature programmes. One such person was Chandravadan Chimanlal (C C) Mehta, who was an already established and respected name in the Gujarati stage circuit as a playwright and the director.

It was around 1945 that CC Mehta was finally rehearsing for his radio feature about south Gujarat based sailor community. Avinash Vyas was the music director for that radio feature. As required by the AIR rules of those days, the music director of the feature also had to remain present at the rehearsal. Unfortunately, Avinash Vyas was not available on that day. Since the programme was already notified in the next schedule, it was sacrosanct that it had to be aired at the appointed time. One thing followed another, and the dice of fate rolled in favour of Ajit Merchant for that job. The two songs that he composed for that feature were liked by all and were well received. Later, when he produced a Gujarati film on that very subject – Divadandi (1950) / The Lighthouse – he recorded one of the two songs in the voice of Meena Kapoor: Pandadi si hodi dejo (Give me a leaf like boat).

Ajit Merchant soon started working as assistant to Ashok Ghosh, who was composing music for a film for Ranjit Movietone in those days. He got his first independent assignment as music director for Refugee (1948). The film, however, did not succeed. He also got an opportunity to compose music for a Gujarati film, Kariyawar (1948) – Dowry – which also was not a major success. Ultimately, his career as music director of films remained confined to eight B grade Hindi films and nine Gujarati social films – of which one did not reach censor certification. Ajit Merchant could still carve a place for himself in roll of honours on the strength of these three songs:

1. Taari aankh no afini taara bol no bandhani, Taara roop ni oonam no pagal hu ekalo (Indolent by your eyes, addicted by your speech, I am the only one madly in love of your full-moon-like beauty) – Divadandi (1950) – Lyrics: Venibhai Purohit

Ajit Merchant who had undertaken production of this film under Neelam Films (named after his wife) was thrust upon one more song at the very late stage of the film production. It was not yet decided whether the song would be filmed on the hero or not – ultimately it was filmed on the villain – and whether it would pass through the editor’s scissors too. Engrossed in these pressures, his music mind was toying with two tunes at that time for the song – drum beats of Rock round clock – which too has inspired a legion of dance tunes later on; and the tune of Vasant ritu ali ali (Chandidas, 1934 – Uma Shashi – Music: R C Boral – Lyrics: Agha Hashra Kashmiri). The song was ultimately recorded in the voice of Dilip Dholakia. Raj Kapoor, who happened to be present at the recording, congratulated Ajit Merchant for the song and is believed to had said that this song will be an immortal one. That prophecy has come so true. Sixty years after the release, the song is still remembered by each passing generation. Raj Kapoor is even said to have used the base notes of the tune for the initial lines of his song Mera joota hai Japani (Shree 420, 1955).

The song has inspired many mod songs: Chanda loriya sunaye (Naya Sansar, 1955 – Music: Chitragupta), Raat ne ghesu bikharaye (Sapera, 1961 – Music – Ajit Merchant); Haayi hayiga jabili (Velugu Needadu, 1961- Music – P Nageshwar Rao); Mera naam hai chameli (Raja Aur Rank, 1968 – Music – Laxmikant Pyarelal).

2. Laagi ram bhajan ni lagani laagi (getting absorbed in the adoration of Ram) – Bahuroopi (1969) – Jagjit Singh – Lyrics: Venibhai Purohit

When Ajit Merchant presented a young turbaned Sikh to Minoo Katrak, the sound recordist who was highly respected for his sense of music, Minoo Katrak was not ready to try one more voice that he had brought up. He was somehow convinced to listen to the young man’s voice on the microphone without any music support. The test did not last more than a few words. So pleased was Minoo Katrak with that voice that the song was immediately recorded with full orchestra and okayed at the first take.

That was maiden film song by Jagjit Singh. He made it a point to pay tribute to Ajit Merchant for this window that he had opened up. The song is also included in Jagjit Singh’s 2004 album, Muntazar.

It so happens that the second song that Jagjit Singh recorded for films is also composed by Ajit Merchant.

2A Ghanshyam gupchup gupchup bhatake bhatake, e man ne vaat achanak malati (Dark clouds keep wandering silently in the eyes, when the heart suddenly lands up on track) – Dharati Na Chhoru (1970) – Jagjit Singh, Suman Kalyanpur – Lyrics: Venubhai Purohit.

Ajit Merchant has very skilfully pitched Jagjit Singh on a high scale at the beginning of each stanza.

3. Roop tumhara aankhon se pi lun, kahe do agar tum mar ke bhi jee lun – Sapera (1961) – Manna Dey – Lyrics: Indeevar

This is one song that has put Ajit Merchant’s name in roll of honours of Hindi film music. The song opens with a prelude of soft violins on the base rhythm support of guitar and then a few soft strings of violins keep company across the song, in the form of countermelody. The interlude music erupts with an ensemble of flutes in the lead. Manna Dey also goes into high scale in the first line to come down to the normal base tone in the second line. Overall, the song leaves you in the trance when it ends.

It was not only the Hindi film music world that dealt unfair treatment to Ajit Merchant. He had worked as music director at AIR for around 10 years. Fed up with petty politics, when he gave up that job, all his work was wiped out from the AIR library archives by his opponents. Gone with that was an invaluable treasure of some rare NFS that he had recorded with a wide range of singers.

Theatre continued to give him work and acceptance. He has composed music for around 200-250 Marathi, Gujarati and Hindi plays. However, there is no established set up to record the soundtracks of the plays. So, his work at the theatre again is lost with the passage of time.

Ajit Merchant also composed music for a few ad film jingles and a few documentaries. His work here also does not seem to have been documented.

If it were not for the internet, and the enterprising spirit of some ardent YT uploaders, all the songs composed by Ajit Merchant would have been consigned to the pages of historical archives like HFGK, or to the private treasures of some music lovers. Of some 50+ songs that he got to compose for his eight Hindi films, about a third of the songs are still available for us to listen on YT. I have brought them up here.

4. Ujadi hui ishq ki duniya tere bagair – Refugee (1948) – Sulochana Kadam – Lyrics: Pandit Fani

The song is set to typical vintage era style composition.

After, the first film, Ajit Merchant got his next call only in 1956.

5. Panchhi gaane lage prabhati, aaya sharad savera, jaag sundari – Indra Leela (1956) – Lyrics: Saraswati Kumar Deepak

Ajit Merchant moved with the times in his composition style. Here we get Mohammad Rafi in his basic elements, right from base scale beginning to the higher scale ending of the prelude couplet to the judicious variations to match the lyrics.

6. Sun lo jiya ki baat… ho piya kar lo jiya ki baat – Indra Leela (1956) – Asha Bhosle – Lyrics: Saraswati Kumar Deepak

When the surrounding environment is conducive to tender feelings, it is time to exchange sweet talks with each other. Asha Bhosle is quite playful in this gay mood song.

7. Koi lakh kare chaturai, karam ka lekh mite na re bhai – Chandi Pooja (1957) – Singer and Lyrics: Kavi Pradeep

Almost all the songs that Pradeep rendered were resoundingly popular.

8. Ek dharti ka rajkumar, dekho ji chala hai hawa pe sawar – Chandi Pooja (1957) – Shamshad Begum – Lyrics: Kavi Pradeep

I recall that in our pre-teen years in late 50s/ early 60s, I looked forward to listening this song on Radio Ceylon, along with the iconic children-story song of K L Saigal, Ek raje ka beta le kar udanewala ghoda (President, 1938 – Music : R C Boral- Lyrics: Kidar Sharma). Listening to this song today is still so pleasant to the ears. Ajit Merchant has presented Shamshad Begum in her full flow, at this relatively fag end of her career.

9. Ae ji, o ji kaho, badi aaj ki daravani hai raat, zara jagate rahena – Chandi Pooja (1957) Mohammad Rafi, Shamshad Begum – Lyrics: Kavi Pradeep

The song has been presented as a playful repartee of small talk dialogues between the two love birds, while seemingly on a horse cart ride.

10. Ritu raja ne teer chalaya, jiya lalachaya….sajaniya aa – Ram Bhakt Vibishan (1958) – Sudha Malhotra – Lyrics: Saraswati Kumar Deepak

The season of Vasant is when the nature is at her full beauty. Wasps hum their love with eye to eye contact with flowers, fairies merrily roam the skies. Under such compelling environment, our heroine enjoins her friends to lay a swing of flowers underneath the moon and weave the braid of her hair with flowers.

11. Raat ne gesu bikharaye, mera dil mujhko tadpaye, kisne chheena hai bolo mere chand ko – Sapera (1961) – Manna Dey, Suman Kalyanpur – Lyrics: Indeevar

In the second half of 50s, when Mohammad Rafi was expanding his reign as the first choice playback singer for the mainstream heroes, Manna Dey was frequently used as voice for upcoming talents, particularly for the duets, by the not-from-the-first-row music directors. Most of these duets remain etched in the memories of the Hindi film lover generation of those times.

Ajit Merchant has used a variation of his famous ‘Tari aankh no afini’ tune here.

12. Bairi chhed na aise raag dil mein jaag uthe aag – Sapera (1961) – Suman Kalyanpur – Lyrics: Indeevar

Ajit Merchant has based snake charmer tune for this song. He has created that musical effect by innovative use of flutes and other instruments.

13. Main bhi hun majboor sajan dil bhi hai majboor – Challenge (1964) – Mukesh, Asha Bhosle – Lyrics: Prem Dhawan

Set to Mukesh’s natural range for such pensively romantic songs, Ajit Merchant whets his appetite for creativity by higher-scale violin ensemble play in the interludes.

14 Badle re badle re badle re, rang badle zamana kai, hai mohabbat wahi ki wahi – Challenge (1964) – Lata Mangeshkar – Lyrics: Prem Dhawan

Ajit Merchant’s touch can be seen the way Badle Re repeats thrice before the initial lyrics come into play. He then uses these very Badle Re melodiously in chorus form in higher scales, supported by brief pieces of flutes in the counter melody. One song has so much of variety so creatively weaved in!

15. Mohabbat mein kiya mujh ko badnam yun zamane ne…. Main ho gai badnam tere liye – Challenge (1964) – Asha Bhosle – Lyrics: Prem Dhawan

The opening notes of harmonium foretell that the song is mujra dance, which is further validated as Asha Bhosle sets the tone in the prelude couplet. But Ajit Merchant cannot be easily confined to a given template. The main song comes up as a soft complaint in Asha Bhosle’s voice. However, the intensity of the feelings is reflected in a higher scale rendition of interlude orchestration pieces and the opening of stanza by her.

16. Qatil hai teri har ada, har dil hai tujh pe fida, raahi bhale apni manzil bhule dekh ke chehra tera – Lady Killer (1968) – Mukesh – Lyrics: Indeevar

Hindi crime thriller movies mandatorily have villains and his cohorts operating their search operation on the dance floor, the dancer or her camouflaged lead male actor accomplice – who is easily identified by the audience – throw in a catchy song, lyrics of which have very clear message that everyone except villains get easily. Music directors and lyricists have invariably come up with songs that have kept the audience glued to the seats. Ajit Merchant’s adaptability to the film situation is evidenced at every stage of the song.

17. Chacha ne chachi ko chandi ki chamchi se chutney chatai – Lady Killer (1968) – Manna Dey, Krishan Kalle – Lyrics: Indeevar

Indeevar has very craftily woven repeated rhyming of alphabet ‘Ch’ in each word of the opening line. Ajit Merchant has set the throw of each word in a similar mischievous style. By weaving in the song in western dance style, he has given enough elbow room to the director to create smokescreen to build the environment for showing a back-stage sinister plot being played. At the end, the director gives a Hitchcock-style jolt by depicting a murder being executed when the audience is engrossed in the mood of the song.

18. Auron ka chahera paon tera…. diwana hai sara gaon tera – Lady Killer (1968) – Mahendra Kapoor – Lyrics: Indeevar

Ajit Merchant has skilfully roped in Mahendra Kapoor for a standard sulking-pacifying play-acting song.

Even with just a third of the songs available, we get a reasonable glance at the wide range of singers, song styles, song compositions and orchestrations that Ajit Merchant has been able to commandeer. If it were not either because of the insidious tweak of the destiny or perhaps his own lesser love for film music in comparison to that for the theatre, we would have had more songs under Ajit Merchant’s baton, from the films that might have succeeded at the box office.

Sources credit acknowledgement:
1. Sketch – Young Ajit Merchant – Urvish Kothari’s post: અજિત મર્ચંટની વિદાયઃ ભીની આંખે છેલ્લી સલામ (Thumbnail picture, left)
2. The background of process of composition of Taari aankh no afini – Biren Kothari’s post તારી આંખનો અફીણી’: સર્જનની સફર.
3. Background story of recording of Laagi Ram bhajan ni  lagani laagi – Biren Kothari’s article, ‘દીવાદાંડી સમા સંગીતકાર અજિત મર્ચંટ  in the Gujarati Magazine ‘Aha Zindagi’.

Disclaimer:
Song links have been embedded from the YouTube only for the listening pleasure of the music lovers. This blog does not claim any copyright over these songs which belongs to the respective owners, such as Saregama India Limited.