Bugadi Mazi Sandli Ga

I learned something new from Rambhau with every song. He was my guru when it came to the songs I sang under his guidance. Once, he told me, “Usha tai, even Lavani has different types and styles. There are several forms, such as Baithakichi Lavani (performed while seated), Boardavarchi Lavani, Ubhi Lavani (performed standing), Halichi Lavani, and Mahrakichi Lavani. You have to sing a Lavani according to the style and character of the song.”

He himself had a remarkable command of the nuances of pronunciation. Once, a song contained the word Malhari. Instead of pronouncing it in its standard form, he personally sang it for me to demonstrate how it should be pronounced in the Lavani style. He also instructed me that when the word Kambarpatta appeared in a Mahraki Lavani, it should be sung as Kamharpatta. He would demonstrate the subtle nuances of pronunciation in a way that matched his expectations and then guide the singers to reproduce them.

— Usha Mangeshkar

My First Song with Rambhau: “Ashi Kashi Odh Bai”

I was invited to record my first song with Rambhau, “Ashi Kashi Odh Bai,” alongside Usha tai Mangeshkar. It was my first formal meeting with Rambhau, and, truthfully, I was nervous! He was such a great composer, and virtually every leading singer of that era had sung under his direction. I was completely new to the field.

Rambhau was seated at the harmonium in the singers’ booth, dressed in white trousers, a tucked-in white shirt, and a white Nepali-style cap. I entered nervously, touched his feet, and introduced myself, saying, “I am Suresh Wadkar!”

Rambhau affectionately asked me to sit beside him, and I immediately felt at ease. After that, I worked with him on many, many songs.

— Suresh Wadkar