RD Burman 86th Birth Anniversary: Pt. Ronu Majumdar Recalls His Musical Genius

On June 27, 2025, we mark the 86th birth anniversary of one of the most popular and revolutionary music composers and singers of his time – Rahul Dev Burman, lovingly known as Pancham Da. He is credited with bringing a musical revolution to Hindi cinema. Some consider him the last true emperor of music. Many also believe he pioneered the fusion genre in Indian film music.

Rahul Dev Burman’s Iconic Journey in Bollywood

Born on June 27, 1939, in Calcutta, Rahul Dev Burman was the son of music legend Sachin Dev Burman, a celebrated composer and lyricist in Hindi cinema. His mother, Meera Dev Burman, was a lyricist too. Pancham Da composed music for 331 films. His debut as an independent music director was in the film Chhote Nawab (1961). He passed away on January 4, 1994, after a heart attack. He had suffered from heart problems for about six years before his death and had undergone surgery in 1988 following an earlier attack. He even made a cameo appearance in Mehmood’s film Bhoot Bangla.

He collaborated extensively with legendary singers like Kishore Kumar, Lata Mangeshkar, Asha Bhosale, and Mohammed Rafi, and also worked closely with noted flautist Pt. Ronu Majumdar from 1980 till his last days. In this heartfelt tribute, Pt. Majumdar shares some unheard stories and memories of his time with Pancham Da.

When did you first meet Pancham Da?

I was 18, purely a classical flautist, and had never thought of playing in films. During a recording of a song by Ravindra Jain at Radio James Studio, I was playing the flute. That’s when the famous shehnai player Dakshina Mohan Tagore (a.k.a. Dukhiji) noticed me. He was moved by my performance and told me, “Pancham Da needs a flautist. Come with me.”

 He took me to Film Center, where Pancham Da was recording a song for the film Love Story. Amit Kumar and Lata Mangeshkar were singing. There were over 100 musicians! I was overwhelmed. Dukhiji introduced me to Pancham Da, who asked me three questions. The first was if I knew Raag Khamaj. When I said yes, he was delighted. I played a bit for him, and he hugged me. I later learned that Khamaj was his favorite raag – he was the "king of Khamaj" (for example, the song ‘Kuch To Log Kahenge’ is in this raag).

 He gave me the opportunity to play in the song ‘Yaad Aa Rahi Hai’ from Love Story, and from that day in 1980 until his final days, I remained closely associated with him. We explored many ragas and did a lot of experimental work together – right up to 1942: A Love Story.

Tell us about playing for Kuch Na Kaho in 1942: A Love Story

While I was recording the flute for’ Kuch Na Kaho’, Pancham Da seemed to sense his end was near. He came to me and said, “This song will become a hit, and so will your flute. People will recognize you for this.” And it happened exactly that way. The flute plays a dominant role in this track, beautifully sung by Lata Mangeshkar and Kumar Sanu.

Was there ever a difficult moment working with him?

Never. I understood his creative temperament. Pancham Da could extract sound from even raw skin — he was that experimental. Once, for a song in Arjun, he asked me to do “fluttering” (a sound like a scooter). Now, a flute doesn’t “flutter,” but I did what he asked, and he was happy. He treated even the smallest musician with love.

Any conflict while recording songs?

Once, while recording Main Thak Gaya Hoon from Musafir (sung by Kishore Kumar), Pancham Da was pleased, but Gulzar Saab wasn’t. He told me to listen to the words and reflect their emotion in my playing. I realized he wanted the sorrow in the lyrics to be echoed by the flute. I adapted, and he hugged me afterward. Even in Parinda, I played flute for the villain’s theme!

Other memorable musical moments?

The song Aisa Sama Phir Na Hoga from Zameen Aasmaan starts with my alaap before Lata Mangeshkar takes over. I learned from Pancham Da how to elevate a song. Even today, whenever I compose a tune, I see his face — his frankness, his friendship with musicians, and how he got the best out of them.

Your favorite memory with Pancham Da?

He was at his most creative during his baths! At his Marine Lines flat, I was playing ‘O Majhi Teri Naiya Se Chuta Kinara’ (from Khushboo).  He suddenly rushed out of the bathroom, still covered in soap and a towel, and said, “There’s a flute piece from my father’s song ‘O Jaane Wale Ho Sake To Laut Ke Aana’. Let’s use it here.” He went back to bathe, and I added the piece. When he returned, hair combed and dressed, I played him the song. He smiled and said, “Jiyo!” He later recorded the track in his own voice.

Did being a singer help him as a composer?

Absolutely. SP Balasubrahmanyam used to say that no one, not even Lata Mangeshkar, could sing Beeti Na Bitai Raina better than Pancham Da. As a singer himself, he could guide vocalists on emotions, tone, and mood. He was a master of vocal modulation.

Tell us about the mysterious duet in Shaan – Yamma Yamma

Ramesh Sippy had made Sholay and then Shaan, where Kulbhushan Kharbanda played the villain Shakaal. The song Yamma Yamma needed a mysterious tone. So Pancham Da sang it himself along with Mohammed Rafi.

What made his musical style unique?

His constant experimentation. Pancham Da pioneered fusion music — mixing Western and Indian elements long before anyone else. Listen closely to Jaane Jaa Tumne Mujhe Dekha, and you’ll notice the layers. He also mastered classical compositions, like Naam Gum Jayega in Raag Yaman, which moves people with its sheer purity.

Even after 30 years of his passing, his music lives on. Most requested tracks in orchestras today are his. In fact, his legacy grew even stronger after his death.

Why was he isolated towards the end?

One key reason: Nasir Hussain, his long-time collaborator, replaced him with Anand-Milind for Qayamat Se Qayamat Tak. Pancham Da couldn’t believe it. His closest allies had abandoned him when he needed them most.

Is Subhash Ghai partly responsible for his downfall, as many believe?

Yes, it’s said in the documentary Pancham Unmixed. I too believe it. Ghai had promised him Ram Lakhan, but while Pancham Da was away for heart surgery in London, Ghai gave the film to Laxmikant-Pyarelal. Pancham Da was devastated. He said to me, “Did I become so insignificant that he didn’t even tell me?” It shattered him.

But then Vidhu Vinod Chopra gave him 1942: A Love Story. I was present when Vidhuji told him, “Don’t lose your confidence. You are the best.” At that time, no distributor would buy a film with Pancham Da’s name. Yet, Vidhuji stood by him. Sadly, Pancham Da didn’t live to see its success.

After the film’s release, Filmfare even created a special RD Burman Award, first awarded to Vishal Bhardwaj for Maachis, where I also played the flute.

Tell us about the famous dual versions of “Humein Tumse Pyaar Kitna”

In Kudrat (1981), Pancham Da got Kishore Kumar and Parveen Sultana to sing two versions. He wanted to show that commercial singers are not inferior to classical ones, and vice versa. While Sultana ji brought classical richness, Kishore da added commercial brilliance. The pathos Kishore put in the word “jaante” is unmatched.

He did a similar dual rendition with Kishore and Mohd. Rafi for Tum Bin Jaoon Kahan. Though opinions vary, Kishore’s version became a superhit.

What made the Pancham–Gulzar partnership so special?

They had deep mutual respect. I’ve seen them argue and disagree, but without ego. Gulzar was the master of words. Take the line Kabhi Kabhi Sab Apna Lagta Hai — it reflects Vedantic philosophy in just one phrase. Their emotional and intellectual chemistry was rare.

Did Pancham Da elevate Indian music to a global level?

Absolutely. He created a private album with Boy George which was recorded at Sunny Studio (Dharamendra’s studio in Mumbai), with flutist Dinesh Pandit flying in from London. The album made waves internationally. Also, his song Mehbooba Mehbooba stunned the Western world.

Was Mehbooba Mehbooba a copied tune?

Not at all — it was inspired, not stolen. Even I’ve composed a song Koi Akela Kahan (lyrics by Nida Fazli) which carries Pancham Da’s influence. Being inspired is not theft. Mehbooba was far superior to the source, which is why it became a hit in America too.

Do you agree with Salil Chowdhury’s statement: “There never was and never will be another Pancham”?

Yes. Salil da truly loved Pancham Da. And I fully agree. Today’s composers rely on copy-paste. In studios, only programmers are present, not real composers. Programmers don’t understand the soul of a song. Pancham Da even revolutionized background music.

You were very close to Pancham Da for 14 years. What was your view of his relationship with Asha Bhosale?

Let me say this — Pancham Da brought out the best in Asha Ji. They lived like husband and wife. He helped her realize the depth of her Western musical sensibilities. He made her complete.

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