When one is born in a family comprising musicians of high repute, one is bound to be drawn towards music. Vishwaraj Pandit was born to Pandit Pratap Narayan and his uncle was Pandit Jasraj, a legend whose contribution to Indian classical music shall be remembered and celebrated forever. While Vishwaraj was naturally inclined towards music, he also understood the kind of responsibility he was expected to shoulder. From a very young age, Vishwaraj started learning the tabla under the tutelage of his illustrious father. He also brushed his skills as a vocalist and learnt to play the harmonium, an instrument which he would later use to create mellifluous compositions.
In the ‘70s, Vishwaraj began his career as a professional musician while accompanying his sister Sulakshana Pandit on the stage as a percussionist. In the same decade, he started touring with some of the most renowned artists of the time, including Kishore Kumar. In the ‘80s, he adopted the name Mandheer when he started working on films as a composer with younger brother Jatin Pandit. In the film and music industry, many continue to address him as Mandheer Pandit. In the ‘90s, Vishwaraj supported his brothers Jatin-Lalit in their musical endeavours as they started composing for films as a duo.
While Vishwaraj has retired from professional life, music continues to be an integral part of his life. He is grateful for the long and eventful journey he has had in music and feels blessed to have gotten the opportunity to be a musician in this lifetime. He is an artist whose journey and accomplishments need to be documented more often.
In this interview, Vishwaraj talks about his journey as a musician, the bond he shares with children Shraddha, Yash and Shweta, supporting brothers Jatin-Lalit, touring with Kishore Kumar in the ‘60s and ‘70s, accomplishments, unfulfilled dreams and more.
You have worked in the industry as a musician, tabla player, percussionist and composer. You have also imparted knowledge to a large number of disciples as a music teacher. Your journey as a musician started way back in the ‘70s. What are your earliest memories of music?
As a child, I started learning music from my father. I learnt Indian classical music for several years. My father had a very good knowledge and understanding of the tabla. I learnt the instrument from him. Slowly, I got interested in composing music. Soon, I got into music direction with my brother Jatin as Mandheer-Jatin.
Your real name is Vishwaraj Pandit. Why did you use the name Mandheer to compose music for films?
On documents, my name has always been Vishwaraj Pandit. People in my family felt Vishwaraj, as a name, was not matching with Jatin. I feel it would have been better if I had started out as a solo composer. Everybody, including my father, suggested I take Jatin along. That’s how we started composing in films as Mandheer-Jatin.
Your father Pandit Pratap Narayan was a Hindustani classical vocalist. He did a couple of films as a composer as well. Did you learn from somebody else also?
I mostly learnt music from my father. I got the opportunity to spend some time with tabla players. I feel fortunate to have been guided by a lot of learned gurus. I had the opportunity to learn from Ustad Ahmad Jankar Gwah who was a highly renowned player. In Kolkata, I got the chance to learn from Gyan Ghosh ji. Ustad Allah Rakha Khan saab also had a huge influence on my life. Shyamta Prasad ji inspired me a lot. I consider all these individuals to be my gurus.
Which part of the country were you born in?
I was born on 1st September 1951 in Mandla, Madhya Pradesh. However, we soon moved to Kolkata. Most of my childhood was spent there. Most of my memories are from Kolkata. We migrated to Mumbai. We used to speak mostly in Hindi. I used to converse with my mother in Marwari at times. I would speak to my father in Hindi and Urdu. We were four sisters and three brothers. Maya was the eldest sister. She passed away at a very young age. A brother also passed away when he was very young. I was the third-born child of my parents. After me, Sulakshana, Jatin, Sandhya, Vijayta and Lalit were born.
Your journey as a musician started with doing stage shows with your sister Sulakshana. How were those days like?
I worked with all the top singers of that time. I did several shows with artists like Kishore da, Mukesh ji and Rafi saab. I used to play the tabla. I did a world tour with Kishore Kumar. I used to sing as well. I used to accompany Kishore da on his songs. My journey in music started at a very young age. As a child, I remember performing some tabla solos. I worked quite a bit with Laxmikant-Pyarelal. In the ‘90s, I mostly worked with Jatin and Lalit.
Your debut film as a composer was ‘Dil Hi Dil Mein’ (‘1982). The film had several beautiful melodies. Four songs (‘Bheegi Bheegi Wadi Mein’, ‘Geet Wafa Ke’, ‘Jawab Jiska Nahin’ and ‘Nath Chehre Pe Saja Le’) were sung by Mohd. Rafi. My favourite song, however, was ‘Tere Bina Jiya Na Lage’ sung by Sulakshana Pandit and written by Mahendra Dehlvi. Was it difficult for new music composers to get opportunities around that time?
Yes, it was very difficult. Those times were very different. Now, a lot of producers are willing to work with new talent.
Which instrument did you use to compose tunes?
I used the harmonium.
Do you have a favourite composition?
Every composition I made came straight from the heart. That’s why all the songs I made are special for me.
When you worked with Jatin as a composer duo, what was the process like? Did you divide responsibilities?
No, there was no such division as such. Both of us were composers. Sometimes, he would come up with a tune and at times, I would create a composition. There were also occasions when we would develop a tune together. I used to focus on rhythm patterns, pickups and how to break a song into different parts. We would have an arranger. I would not arrange the song completely but sometimes, I would make music pieces that would be used in the song.
You are one of those composers who had the good fortune of working with both Mohd. Rafi and Kishore Kumar. While Mohd. Rafi sang four songs in ‘Dil Hi Dil Mein’, Kishore Kumar lent his voice to ‘Yeh Sach Hai Ki Jeevan Mein’ from ‘Wafaa’ (1990).
These were legends who have left behind a legacy of several thousand songs. My experience of working with them was very good. When I would work with such legends, I would feel that I have achieved something in life. They were very supportive of us. Rafi saab was a versatile singer. I remember Lata ji once mentioning that there is nobody like Rafi saab and there would be nobody like him for the next hundred years. Kishore da was very fond of Rafi saab. He used to give him a lot of respect. There was no rivalry between them. When Kishore da acted in films, Rafi saab sang for him.
The tune for ‘Ak Dil Mera Kanwara’, which Mandheer-Jatin composed for ‘Bhai Ka Dushman Bhai’ (1986) was re-used by Jatin-Lalit as ‘Ek Dil Tha Paas Mere’ ‘Jab Pyaar Kisise Hota Hai’ (1998).
Jatin and Lalit were fortunate to have me around. Whenever they faced any difficulty, I would resolve it. I have helped them on several songs.
In the ‘90s, you were credited as an associate music director on several films which Jatin-Lalit worked on including ‘Jo Jeeta Wohi Sikandar’ (1992) and ‘Kabhi Haan Kabhi Naa’ (1994).
Some of the filmmakers recognized my contribution. Mansoor (Khan) bhai ensured that I get credit for ‘Jo Jeeta Wohi Sikandar’. Salim (Aftab) bhai gave me prominent credit in ‘Aadmi’ (1993). At that time, they were busy. I got the songs approved.
Did the three of you ever think about working as a trio? In the late ‘90s, Shankar Mahadevan, Ehsaan Noorani and Loy Mendonsa formed a trio and started working on films as Shankar – Ehsaan – Loy.
This trend of composers working as a trio came in much later. Earlier, there was no such concept of three composers working together. Mansoor bhai said that since I have contributed so much to the album of ‘Jo Jeeta Wohi Sikandar’, my name should be there in the credits. At that time, recordings used to happen at my house Aashiana in Juhu. We would start at 12 a.m. and go on till 6 a.m. Lalit would play the guitar or congo. Jatin would supervise the recordings. Jatin and Lalit would know which songs are composed by me. They would ask me if they could use my compositions. I happily gave away many of my songs to them.
You made a lot of sacrifices for your brothers.
There was a lot of competition then. If I had not pushed them, they might not have gotten a big platform to showcase their talent. When they were starting out, all the legendary composers were around and it was difficult to get a breakthrough. I supported and guided them to the best of my abilities.
In the ‘80s, Jatin and you were composing for films. How did he decide to team up with Lalit in the ‘90s?
Jatin told me that Lalit wanted to work with him as a partner. Most of the songs in ‘Yaara Dildara’ were composed by Lalit for a private album. The songs were recorded in England. I worked towards Indianizing those songs. Lalit wanted to be a part of the team. For years, I continued working with them. They got married and a lot of things came into their lives. I worked with them till ‘Fanaa’.
As a composer, you worked with wonderful lyricists like Anjaan, Aish Kanwal and Mahendra Dehlvi.
Yes, it was wonderful working with all of them. I had a long association with Mahendra Dehlvi. I was very close to him. He wrote many songs composed by me. He had written some beautiful lines for ‘Pehli Pehli Baar Baliye’ but for some reason, they were not used. I clearly remember the lines, “kar ke naina chaar chhaliye, dil ko gaye haar chhaliye, dekha tujhe pyaar ho gaya, dil ka qaraar kho gaya”.
You played the lead in a film called ‘Idd Mubarak’ (1988). How did that happen?
I had recorded the song ‘Saare Jahaan Ko’ as a singer for the film. The producer wanted a new face for the film. They looked for new actors for some time but could not find the right actor for the part. Eventually, they asked me to play the lead role in it.
Did you have an interest in acting?
I always had an inclination towards acting. Unfortunately, I could not explore this space much. I acted in another film called ‘Rishte Door Ke’. The film had Naveen Nishchol, Aarti Gupta and me in the lead roles. I remember seeing the film at a trial show. Unfortunately, it never released. Jatin and I had done the music for the film.
‘Idd Mubarak’ had some wonderful songs by composer Kamal Rajasthani. He was an extremely underrated composer who composed beautiful melodies for a few other films like ‘Mere Gharib Nawaz’ (1973). He gave singer Anwar his first song in the form of ‘Kasmein Ham Apni Jaan Ki Khaye’ (‘Mere Gharib Nawaz’). His compositions were rich and had a lot of depth.
Yes, he was an extremely talented composer. He passed away a long time back.
You sang songs for a few other films as well. You sang the rhythmic ‘Hum Geet Gaane Lage’ in ‘Murde Ki Jaan Khatre Mein’. The film had music by a lesser-known composer called Bawre.
The songs of that film were recorded at Famous Studio. I had to struggle a lot as a singer as very few composers and producers were interested in trying out new voices.
Sulakshana Pandit and you played an important role in shaping the lives of your siblings.
Sulakshana is a few years younger to me. The other siblings were much younger to us. Sulakshana and I used to run the household. We shouldered all the responsibilities. She started working in 1962 and contributed a lot to the family. She always wanted to see her brothers and sisters happy and did a lot for them. She sent Lalit to study in Panchghani at a highly reputed boarding school.
Your legacy has been taken ahead by your children. While Shraddha and Shweta are into music, Yash has made a name for himself as an actor.
I wish and pray they continue to grow in their careers. They respect their elders and have received a lot of blessings from them. I just wish Jatin and Lalit had supported them a little more. The initial support matters a lot. Shweta and Shraddha had sung a duet in ‘Soch’ (2002) called ‘Hasata Hai Rulata Hai’. Those who were present at the recording had gone crazy. I was there. My father trained them in music. Because of that, their foundation was strong. Yash has had a flourishing career in television. He is a very good-looking man and a very good actor. If given the right opportunity in films, he can do very well there also.
Do you keep a tab on the work they do?
Yes, I go through all of their work.
Your wife Swarna Pandit has been a pillar of support in your life. When Raj Kapoor was making ‘Henna’ (1991), he wanted to cast her in the titular role. She was associated with the reality show ‘Sa Re Ga Ma’ (later renamed as ‘Sa Re Ga Ma Pa’) in its initial days and contributed greatly to its format. How would you describe your presence in your life?
She is a very intelligent person. I could not study beyond a point because of circumstances. She, on the other hand, is a highly educated person. She has helped keep all our lives in order. My wife ensured that our children received the right kind of education. She would take Shraddha and Shweta to my father and made sure they learnt music properly.
How do you remember your mother Kamla Pandit?
I feel my mother’s blessings continue to be with the family. She was a disciple of Prabhupad ji at the Hare Krishna temple. She used to do a lot of chanting. Jatin and Lalit got a lot of success because of her prayers and blessings.
How do you look at the career trajectory of Jatin-Lalit?
They are my brothers and I feel extremely happy to see them being so successful. I just feel they could have done a lot for others. A while back, Lalit honoured me through Javed saab at Shanmukhananda Hall. However, I believe they could have done more. I don’t think I got my due from them. They were extremely talented composers. Had they not split, they would have been working very well till now.
Which is your favourite composition by Jatin-Lalit?
There are many favourites. ‘Khamoshi’ was a very good album.
Can you elaborate on your contribution to Jatin-Lalit’s music?
Films like ‘Kabhi Haan Kabhi Naa’, ‘Raju Ban Gaya Gentleman’ and ‘Khiladi’ had songs by all the three brothers. ‘Dekha Teri Mas Nigaahon Mein’ was composed by me. I wrote the mukhda as well. I have written the mukhdas of many other songs. ‘Pehli Pehli Baar Baliye’ from ‘Sangharsh’ (1999) was composed by me. Apart from composing the tune, I had written its mukhda.
You have taught several people as a music teacher.
I used to teach the tabla. Imparting knowledge to students was a wonderful experience.
What kind of interactions you had with your uncle Pandit Jasraj?
I learnt a lot by observing him. The entire family used to love him. Whenever he would visit us, our happiness would know no bounds. Apart from being a legendary vocalist, he used to play the tabla very well.
Aadesh Shrivastava was your brother-in-law. Did you ever work with him on some project?
I played the tabla on a few songs composed by him.
Did you work with the other popular composers who were active in the ‘90s?
I interacted with them but never had the opportunity to work with them.
Who are your all-time favourite composers?
There are many. As a youngster, I was greatly inspired by the compositions of Madan Mohan and Roshan. Apart from the music they created, one was also inspired by the way they worked. After Roshan saab would compose a tune, he would ask whether it resembled any other song. If somebody said a ‘yes’, he would scrap it and create a new composition. He was very particular about presenting the listeners with fresh melodies.
Do you feel you did not promote your work enough?
Yes! My journey was filled with difficulties and I never had the time to think about myself. I used to look after Sulakshana’s work. Then, I supported my brothers in their careers.
How do you spend your days now?
I am retired from professional life now. However, I am constantly in touch with music. Music has been a blessing in my life and I will carry it in my heart till my last breath.