"The villagers' speech is captivating"

Famous singer Asha Bhosle sang this song in the evergreen ‘Chino’ form three and a half decades ago. Although the villager’s voice in the song enchanted, in reality, her singing deeply enchanted the Nepalis. Asha’s velvety voice, which had enchanted her for years, will never hum a song again.

She passed away on Sunday at the age of 92 at Breach Candy Hospital in Mumbai. The hospital confirmed that she passed away due to ‘multi-organ failure’. Asha’s death has shocked not only the Indian but also the Nepali music industry. Director and lyricist Yadav Kharel is in mourning over the news of Asha’s death. ‘I am deeply saddened,’ says Kharel while paying tribute to Asha. Asha's song 'Gaihri Khetko Shirai Hanyo...' in the film 'Prem Pind' directed by Kharel became a timeless song. Songs and their tastes change with time. But Asha's voice is followed by every new generation. Yadav recalls meeting Asha while recording songs for 'Prem Pind', 'She was very simple and kind-hearted. She never bargained for money while working.' After Asha came to the studio, she remembers singing the song with great effort in Nepali words after looking at the music notation. Yadav had told Asha on the phone while recording in Mumbai, 'Sir, you have to sing my song.' Asha was ready immediately. "After preparing all the notes, he would come to the studio at the appointed time and sing the song," Yadav recalls, not only with Asha but also with all three sisters of the Mangeshkar family (Lata, Asha and Usha) who have a separate record of singing. Asha has sung more than a dozen Nepali songs.

Asha, who gave voice to Kiran Kharel's composition 'Basant Nai Basan Khochha Yahan' in 'Maitighar' directed by BS Thapa, which was released nearly 60 years ago, to Jayadev's music, then sang in two dozen Nepali films including 'Jhjalko Lere Aayechha Sawan...' in 'Basuri' directed by Tulsi Ghimire and 'Mirmire Sanjhma Simsime Pani...', 'Euta Manche Man Pra', 'Kin Gadhe Cha Dhukdhuki Mutuko', 'Diyo Bali Sanjhko', 'Aaj Hamro Bhet Bhako Din'. Be it ‘Yati Khair Maya Diyou’ from ‘Kanyadaan’, ‘Maya Ta Maya Ho’ from ‘Lahure’ or the last song he sang, ‘Chanchal Hawa’ from the Nepali film ‘Karodpati’, they are equally resonant even today.

Musician Shambhujit Baskota had collaborated with Asha on four songs, ‘Euta Mancheh Pandhe’ and ‘Timro Aankhonko Sagarma’ from the film ‘Chelibeti’, ‘Gaihrikhetko Shirai Hanyo’ from ‘Prem Pinda’ and ‘Chanchal Hawa’ from ‘Karodpati’. He recalls that these moments made him feel like a musician. Asha was very fond of Shambhujit. He calls Asha an 'incarnation of Saraswati' and a 'goddess', and says, 'She always loved me like a brother.' He first met Bhosale around 2044/45 while shopping at the big market in Kathmandu. During the meeting, Shambhujit introduced him. That acquaintance gradually turned into intimacy. 'Big singers would not invite people to their homes and would come to the studio to learn. But Didi invited me to her home and taught me to sing songs like 'Chelibeti' and 'Prem Pinda,' says Baskota. Shambhujit felt that Asha was covered in music from head to toe. 'Looking at her, I would experience a kind of heavenly bliss,' he recalls.

A few years ago, when we met in Nepal for a Sadhana Kala program, Asha had asked Shambhujit with a heartfelt heart, ‘When will you come to Bombay?’ He had promised to come soon. Asha had also expressed her interest in working with Shambhujit at that time. For Baskota, collaboration with Asha and her voice are like a blessing. ‘This is like a gift for me, which I will never forget,’ he says with reverence.

Asha, who adorned the entire era of music with the magic of her voice, had a life no less than a struggle. Born in 1933 in a musical environment, music was not just a passion for Asha. It was the family’s legacy. After the untimely death of her father, Pandit Dinanath Mangeshkar, she was forced to find work in the streets of Mumbai at a young age to shoulder the financial burden of the family. Her sister Lata Mangeshkar was a famous singer. It was very difficult to stand out in the shadow of her fame. In the early days, she had to sing songs that other famous singers would dismiss as ‘second-rate’. ‘I would always stand on the other bank and look at the river and think that even if I was thrown into deep water, I would swim out,’ she would quote this phrase on various occasions.

Asha did not compete with Lata’s sweetness and classical purity. Instead, she made her voice ‘bold’, playful and modern. She credits this to composers OP Nayyar and RD Burman. Many anecdotes of Asha’s collaboration with RD Burman are famous. While recording ‘Dum Maro Dum’, Asha was initially hesitant to sing this song. Because it was a very new style for her. But Pancham Da reminded her, ‘If anyone can sing this song, it is only Asha.’ Eventually, she sang it in such a way that even today, that song is considered the foundation of modern pop music.

There are also stories about the diversity of Asha’s voice. When musician Khayyam proposed Asha, who is known for her cabaret and disco songs, to sing ghazals, many thought that Asha could not. But she filled such depth in ghazals like ‘In Aankhon Ki Masti Ke’ and ‘Dil Chij Kya Hai’ that she received her first National Award for ghazals. While recording the song, she told Khayyam, ‘I am not afraid to sing this ghazal, but I am worried about how pure it will sound in my voice.’

She has sung in more than 11,000 songs in her lifetime. She has sung in more than 20 languages ​​including Nepali, Marathi, Bengali, Tamil, Telugu and English.

Asha Bhosle's musical journey began in 1943 with the Marathi film 'Majha Baal'. She sang the song 'Chala Chala Nav Bala' at the tender age of 10. In Bollywood, she was heard through 'Sawan Aaya' in the 1948 film 'Chunriya'. She reached the height of commercial success with 'Naya Daur' in 1957.

She revolutionized the Western style of 'cabaret' and 'pop' singing with songs like 'Aaja Aaja, Main Hoon Pyar Tera', 'O Haseena Zulfon Wali' and 'Piya Tu Ab To Aaja'. On the other hand, she proved the depth of classical singing with ghazals like 'Dil Chij Kya Hai' and 'In Aankhon Ki Masti Ke' from the film 'Umrao Jaan'. Similarly, ‘Chura Liya Hai Tumne Jo Dil Ko’, ‘Dum Maro Dum’ and the famous song ‘Tanha Tanha’ of the 90s made her a beloved singer of every generation.

Asha used to say towards the end of her life, ‘I will sing till my breath supports me, because my voice is my real identity.’

One of the people who closely observed Asha in Nepal is musician Ranjit Gajmer. In Ranjit’s autobiography ‘Mohani Madalko’ written by journalist Shekhar Kharel, Asha had sent words filled with love, ‘When Ranjit first came to Panchamji (RD Burman) with Manohari Singh, he had a madal in his hand.’ Panchamji also named her ‘Kancha’ from the first song ‘Kanchha Re, Kanchha Re’ of the film ‘Hare Ram Hare Krishna’. His hill songs and madal added double the flavor to Panchamji's songs. Madal started resonating in every song of RD Burman. Kanchha also gave me a chance to sing in his songs from Nepali films. I didn't understand the lyrics of the songs. But, his wife Kusum would tell me about the songs.

She herself keeps swinging inside the book that Asha had gifted. In the book, Ranjit recalled the evening of 2019. When Asha had sung with Ranjit in 'Musical Journey of Ranjit Gajmer with Asha Bhosle'. Milan Moktan and Asha Gautam of Sadhana Kala Kendra had requested Ranjit to bring Asha Bhosle for that program. Asha used to charge one crore rupees for a program. They did not have the capacity to give that much money. But the only character who had the ability to bring it was Ranjit. Ranjit went to meet Asha in Mumbai. During the meeting, she told Ranjit, ‘Kancha, you are old. I am older than you. But I don’t look that old. Because I exercise. I pay attention to what I eat. I am also practicing. I am currently recording some old songs.’

During that meeting, Asha asked, ‘How much budget have you allocated for me?’ Milan said, considering it awkward. ‘A program for 10 lakhs?’ Asha’s son said with a laugh. ‘Anand, this is Kancha’s request. There is no room for us to say no,’ Asha agreed, expressing her immense love for Ranjit.

Ranjit is currently in great grief. In a phone conversation with Kantipur, he said, ‘I am not in a position to talk much right now. It is very difficult for me.’ Ranjit had spoken to Asha only a few days ago. ‘Didi had said, ‘How is it there, and this is what is happening here.’ But today I heard this news. I cannot express what is happening to me,’ Ranjit said emotionally.