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Sachin Dev Burman (SD Burman): Simplicity was his forte

Saturday, February 27th, 2010

Sachin Dev Burman (SD Burman): Simplicity was his forte

Courtesy: K. PRADEEP (The Hindu 2009)

S.D. Burman, whose birth centenary falls this year, was a trendsetter in more ways than one.

SD was the first of those music directors who insisted on composing the tune before listening to the lyrics.

sdburman-mohdrafi (Sachin Dev Burman (SD Burman))

sd burman- mohd rafi (Sachin Dev Burman (SD Burman))

A CLASS APART: Music director S.D. Burman records a song. Accompanying him on the sitar is his son Rahul Dev Burman.
Sachin Dev Burman (1906-1975) stands alone in a world where very often mediocrity is hailed as talent and plagiarism as genius. His songs had a stamp of his inimitable style, simple tunes backed by simple orchestra thereby emphasising the melodic content of the song.

A scion of a princely family in Tripura, SD, as he was sometimes called, picked up early music lessons from his father Nabadweep Chandra Dev Burman.

Student days

During his college days at Comilla Victoria College, near Dhaka, SD was forced to spend a few years in hiding. There was a conspiracy in the royal palace and a threat to SD’s life. His father sent him to the jungles bordering Bengal and Assam. His association with wandering minstrels and Adivasis enabled him to add a new dimension to his music. The haunting folk style that SD later used in some of his immortal songs were perhaps influences from the days of exile.

S.D.Burman and Kishore Kumar

S.D.Burman and Kishore Kumar

Back home, SD travelled to Calcutta for his post-graduation. Here, he came under the magic spell of Bengali music as propagated during those days by musicians like K.C. Dey, the popular actor-singer. SD began learning classical music under Dey and later under great exponents like Ustad Badal Khan, Ustad Bishwadev Chatterjee, Girija Shankar Chakravarthy and the sarod under Ustad Allauddin Khan.

In 1927, SD faced the microphone for the first time. He sang a few songs for All India Radio. Hindustan Records contracted him to record semi-classical songs. That record, which had the song `Dheere je jaana baghiyan me… ,’ became popular.

BurmanFamily The Comilla Branch of the Tripura Royal Family   Back Row (L to R) SDB's Brother (unidentified), SDB's elder brother Lt Col Kumar Kiran Dev Burman, Father, Nadadwip Chandra Dev Burman, SDB's brother-in-law, unidentified   Middle Row (L to R) SDB Sister(unidentified), SDB's Sister-in-law Aparna Devi, SD Burman (small child next to her), Mother Nirupama Devi, Uidenitfied, SDB's sister, SDB's sister   Sitting in Front All unidentified.

BurmanFamily The Comilla Branch of the Tripura Royal Family Back Row (L to R) SDB's Brother (unidentified), SDB's elder brother Lt Col Kumar Kiran Dev Burman, Father, Nadadwip Chandra Dev Burman, SDB's brother-in-law, unidentified Middle Row (L to R) SDB Sister(unidentified), SDB's Sister-in-law Aparna Devi, SD Burman (small child next to her), Mother Nirupama Devi, Uidenitfied, SDB's sister, SDB's sister Sitting in Front All unidentified.

In the 1933 film `Yahudi Ki Ladki’ he recorded a couple of songs but was rejected for his strong Bengali accent and pronunciation. Punkaj Mullick, who was the music director for this film, replaced SD with Pahadi Sanyal. Though SD did manage to sing in a couple of films like `Sita’ he realised that his future was not in singing. SD decided to try his hand at composing music. He also tried acting. He appeared in a small role in Dhiren Ganguly’s film `Birodhi.’

The Bengali film `Rajashri,’ released in 1937, marked the beginning of his career as music composer. SD went on to make music for a few Bengali films such as `Rajkumar Nirbashan,’ `Jeevan Sangini,’ `Chadmabeshi,’ and `Matir Ghar.’

Move to Mumbai

In 1940, SD moved to Mumbai to become a playback singer. SD sang his first solo `Prem ki pyari nishani… ‘ in the film `Taj Mahal’ (1941). He made his debut as a music director in the 1946 film `Shikari.’ A duet from this film `Har din hai naya, har raat nirali hai… ,’ sung by Ashok Kumar and Amirbai Karnataki, became a super hit.

A couple of songs from the film `Eight Days,’ released the same year also turned into hits. This included the immortal `Ummeed bhara panchi… ‘ that he sang. But the film that really sent his stock rising was `Do Bhai’ (1947). All the songs from this film became hits. The film also became a watershed in the career of Geeta Dutt. Two songs `Mera sunder sapna beet gaya… ‘ and `Yaad karoge yaad karoge… ‘ became all-time hits and still remain favourites. In a career spanning more than four decades SD composed music for over 90 films. He was strongly inspired by the two powerful streams of music in Bengal, the Vaishnav and the Sufi styles. But when it came to his own musical creations, SD seemed to be more influenced by the Sufi style than anything else.

SD was very choosy and took time for his compositions. He often recommended other music directors if he found the films not his cup of tea. It is said that SD never allowed his assistants to create music for him. SD was a perfectionist who always insisted on numerous rehearsals and was even prepared to put off recordings till he got what he wanted. SD was also the first of those music directors who insisted on composing the tune before listening to the lyrics.

It was SD who stopped the trend of one singer singing for one particular hero, like Mukesh for Raj Kapoor or Kishore Kumar for Rajesh Khanna. SD used more than one voice for the same actor in the same film. He used a singer to suit the mood and the situation in the film. He had Mukesh, Rafi and Kishore singing for Amitabh Bachchan in the film `Abhimaan.’

Fine sportsman

A fine sportsman, SD was passionate about tennis, football and volleyball. His famous altercation and subsequent patch-up with Lata Mangeshkar was once summed up by SD in a typical `tennis-speak.’ He said: “Lata was always my first serve. Asha (Bhonsle) became my second serve, once again I got my first serve Lata back.” SD also found time to pen his autobiography titled `Sargamer Nikhad,’ which is in Bengali.

SD went into a coma while recording for the film `Mili’ and passed away on October 31, 1975.

Sachin Dev Burman (SD Burman): My Favorite Music Composer

Saturday, February 27th, 2010

Sachin Dev Burman (SD Burman): My Favorite Music Composer

Known as “Sachin Karta” to the music connoisseurs of Kolkata, “Burman Dada” as fondly called by the musicians of Bombay, “Shochin Deb Bormon” by the radio listeners of Bangladesh and West Bengal, India, “S.D. Burman” by the film cine goers or simply “SD” by his “jeans” filmi fans — he created songs that bore the stamp of his inimitable genius, abounding in variety yet retaining the distinction of his style. Drawing from the vast store of folk music-forms and from the classical teachings, as the mood called for, he produced what is known as the Sachin Dev Burman music which is at once rotund, vibrant and unorthodox both in form and substance.

Sachin Dev Burman was born October 10, 1901 as one of the nine children of Prince Komilla of Tripura. Sachin Dev underwent classical training from his father, Sitar player and Dhrupad singer Nabadweep Chandra Dev Burman. He later trained under Ustad Badal Khan and Bhishmadev Chattopadhyay and this classical training gave him a firm rooting for the music that he was to compose later in life.After his father’s death Sachin left home, travelled for years in the forests of Assam and Tripura from where he gained his formidable knowledge and rich repertoire of the rich folk of that region and Bengal. Later he became a disciple of Ustad Aftabuddin Khan, becoming an ace flautist, and starting his own music school, ‘Sur Mandir’ in Calcutta in the 1930’s. He rose to be a popular singer there, learnt more under the illustrious K. C. Dey. He also scored music for Rajkumar Nirshoney, a Bengali film, in 1940. He married Meera, an accomplished singer in 1938. Rahul Dev Burman was born a year later.

SD_Burman_stamp Sachin Dev Burman (SD Burman)

SD_Burman_stamp Sachin Dev Burman (SD Burman)

Dada left for Bombay against his will in 1944 at the request of Sasadhar Mukherjee of Filmistan, to do two films, Shikari and Aath Din. But Bombay was no cake walk. Despite the musical success of Shikari and Aath Din and later on Do Bhai, Vidya, Shabnam, Dada was still not considered a force. Frustrated, Burman decided to pack up for Kolkata. It was at this point Ashok Kumar put his foot down. “Compose the music for Mashaal and then you are free”. Dada took up the baton again. Mashaal was a super hit. The song ” Upar Gagan Vishal”, became a rage. It also launched Manna Dey in a new fold. After that it was just a matter of time before Dev Anand, who had struck a rapport with this kindred progressive soul, launched his own banner Navketan, and signed S. D. Burman for Baazi. This 1951 hit, along with Jaal (1952) and his AVM hits Bahar and Ladki clinched Dada’s success story, and his career never flagged till 1974 when he quit signing films from ill – health.

sd_burman_asha_bhonsle (Asha and R.D. Burman with her in-laws)

sd_burman_asha_bhonsle (Asha and R.D. Burman with her in-laws)

sd_burman_meera (a file photo of the late S.D. Burman and wife Meera)

sd_burman_meera (a file photo of the late S.D. Burman and wife Meera)

Dada Burman has the highest average of hit songs among any composer in Hindi films. Obviously, such success stemmed from his unshakeable belief in himself, and he was known to refuse films where the filmmaker wanted ‘hit’ songs. “I compose only good songs”, he would tell this brigade. S. D. Burman won only a few awards – because he never cultivated them but his greatest triumph lay in the fact that his choosiness made every score count. There was a time in Bombay when the lyrics were set to tune by the music directors. Dada changed the theory. The tune first, the lyrics later. Today nine out of ten songs are composed in this manner. Also for every song sequence Dada had many alternative tunes thus giving the producers a wide choice. Dada would often compose a tune instantly, and his music had a strong foundation of folk and classical and was known to innovate by mixing them with Western arrangements. He was averse to commercialization, but he would also aver that a tune should be so simple that ‘even my servant should be able to sing it’. When necessary, he would compose exquisite classical numbers, but he would always say that film music was not the medium to show off one’s classical prowess.

A CLASS APART: Music director S.D. Burman records a song. Accompanying him on the sitar is his son Rahul Dev Burman.

A CLASS APART: Music director S.D. Burman records a song. Accompanying him on the sitar is his son Rahul Dev Burman.

He would scoff at the so–called indispensability of a singer. When Lata Mangeshkar refused to record with him, he delivered hit after hit with Asha Bhosle and Geeta Dutt and only made with her because his son Pancham wanted her to sing his career first song. He groomed singers like Asha Bhosle, Kishore Kumar and even Hemant Kumar and made Rafi sing in a soft, crooning fashion when others wanted high pitched or maudlin vocals from him. Dada Burman would practice consciously forgetting a song that he had recorded so that it would not subconsciously permeate in a later composition. His firm base and his selective nature kept his music fresh and no song of his ever gave a déjà vu feeling of an older song.

Dada received the prestigious Sangeet Natak Academy Award and the Padmashree for his contribution to music. He got a national award for singing in 1969 for ‘Kahe Ko Roye Hoye Jo Hoye..’ (Aradhana). Earlier in 1934 in Kolkata, Dada was awarded a gold medal in All Bengal Classical Music Conference in which Ustad Fayyaz Khan, Ustad Allauddin Khan, Bishwadev Chatterjee participated. In Agartala, a bridge has been dedicated in his memory. S. D. Burman awards are given from Agartala every year to upcoming artists.And in Bombay Sur Singar Samsad Academy presents S. D. Burman awards to musicians involved in films.

Dada left for heavenly abode on October 31, 1975 after a paralytic stroke felled him a year earlier. There was a time when the royal family of Tripura criticized him for making a living out of music as it brought down the image of royalty. Dada was hurt and slowly he snapped his ties with Tripura. Today, the Tripura royal family is known for Sachin Dev Burman !!

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Shabnam
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Afsar
Baazi
Bahaar
Bujdil
Ek Nazar
Naujawan
Saza
Jaal
Laal Kunwar
Armaan
Baabla
Jiwan Jyoti
Shehanshah
Angaarey
Chalis Baba Ek Chor
Radha Krishna
Taxi Driver
House No.44
Munimji
Society
Devdas
Funtoosh
Mad Bhare Nain
Miss Indai
Nau Do Gyarah
Paying Guest
Pyaasa
Chalti Ka Naam Gadi
Kala Pani
Sitaron Se Aage
Solvaa Saal
Insaan Jaag Utha
Kaagaz Ke Phool
Lajwanti
Sujata
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Saaz
Apna Haath Jagannath
Bambai Ka Babu
Bewaqoof
Ek Ke Baad Ek
Kala Baazar
Manzil
Miyan Biwi Raaji
Baat Ek Raat Ki
Dr. Vidya
Naughty Boy
Bandini
Meri Surat Teri Aankhen
Tere Ghar Ke Saamne
Benazeer
Kaise Kahoon?
Ziddi
Guide
Teen Deviyan
Jewel Thief
Aradhana
Jyoti
Talaash
Ishq Par Zor Nahin
Prem Pujari
Gambler
Naya Zamana
Sharmeeli
Tere Mere Sapne
Anuraag
Ye Gulistan Hamara
Zindagi Zindagi
Abimaan
Chhupa Rustam
Jugnu
Phagun
Prem Nagar
Sagina
Us Paar
Chupke Chupke
Mili
Arjun Pandit
Baarood
Tyaag
Deewangee
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Sachin Dev Burman (SD Burman): A Legendary Figure

Saturday, February 27th, 2010

Sachin Dev Burman (SD Burman) A Legendary Figure

Source: Online web documents

Kumar Shri Sachin Dev Burman (Bengali: শচীন দেব বর্মন; 1 October 1906 – 31 October 1975), also credited as Burman da, Kumar Sachindra Dev Barman, Sachin karta or S. D. Burman, was one of the most famous music composers for Hindi movies and a Bengali singer and composer. His son Rahul Dev Burman also achieved great success as a Bollywood music director in his own right. S D Burman composed music for 100 movies, including Bengali films.
S.D. Burman’s compositions have been mainly sung to a large extent by the likes of Lata Mangeshkar, Mohammad Rafi, Geeta Dutt, Manna Dey,Kishore Kumar, Asha Bhonsle and Shamshad Begum. Mukesh and Talat Mahmood have also sung songs composed by him. He also sang about 20 film songs (inclusive of Bengali films) for which he composed music though he may not have been the music director of the films

Early life
S. D. Burman was born on 1 October 1906, in Comilla, British India, now in Bangladesh, to Nirmala Devi and Nabadwipchandra Dev Burman, the second son of ‘Ishanachandra Dev Burman’, Raja of Tripura, (r. 1849-1862). Sachin was the youngest of the five sons, of his parents, who had nine children in all.
He began his training in classical music under his father, who was a sitarist and Dhrupad singer.
He did his B.A. from Calcutta University  He started his formal music education by training under the famous musician K. C. Dey from 1925 to 1930; thereafter in 1932 he came under the tutelage of Bhismadev Chattopadhaya, who was only three years his senior. This was followed by training from Kahifa Badal Khan, Sarangi player, and Ustad Allauddin Khan. Eventually he got K.C. Dey, Ustad Badal Khan and Allauddi Khan into Agartala, noted Bengal poet laureate, Kazi Nazrul Islam also spent time in their family home, Comilla House, in Agartala.

Sachin Dev Burman (SD Burman)

Sachin Dev Burman (SD Burman)

1930s
He started working as a radio singer on Calcutta Radio Station in 1932, where his early work was based on East Bengali and Tripuri folk-music, and soon made a reputation for himself in folk and light classical music, consequently his film compositions were often influenced by his huge repertory of folk-tunes from the Bengali, Bhatiali, Sari and Dhamail traditions of Tripura Kingdom. In the same year, his first record was also released (Hindustan Musical Product), with “Khamaj” semi classical, E Pathery Aaj Eso Priyo on one side and the folk Dakle Kokil Roj Bihane on the reverse side” on 78 rpm for Hindustan Records . In the following decade he reached his peak as a singer, cutting as many as 131 songs in Bengali, and also sang for composers like Himangsu Dutta, RC Boral, Nazrul Islam and Sailesh Das Gupta.

Sachin Dev Burman (SD Burman)

Sachin Dev Burman (SD Burman)

In 1934, he attended the All India Music Conference, at the invitation of Allahabad University, where he presented his Bengali Thumri, at to an illustrious audience, with the likes of Vijaya Lakshmi Pandit and the inimitable Abdul Karim Khan of Kirana Gharana. Later in the year he was invited to Bengal Music Conference, Kolkata, which was inaugurated by Rabindranath Tagore, here again he sang his thumri, and was awarded a Gold Medal .

pyasa (Sachin Dev Burman (SD Burman))

pyasa (Sachin Dev Burman (SD Burman))

He built a house, in Southend Park, Ballygunge, Kolkata, and in 1937, at the All India Music Conference, Allahabad, he met a music student at Rabindranath Tagore’s Shantiniketan, Meera Dasgupta (1923-2007), the granddaughter of Justice Raibahadur Kamalnath Dasgupta from Dhaka; soon she became his student and they married on 10 February 1938 in Calcutta , though having married a non-royal, created a furor within the royal family, and subsequently he severed his ties with the family, and forfeited his inheritance  The couple’s only child, Rahul Dev Burman was born in 1939, and later, both Meera Devi and Rahul assisted, S.D. Burman with some of the musical compositions. S D Burman also did a singing role in Urdu film Selima (1934) and another role in Dhiren Ganguli’s film, Bidrohi

(1935)
As a music composer, he started with Bengali plays, Sati Tirtha and Janani, and eventually gave his first score in film, Rajgee in 1937, his second film Rajkumarer Nirbashan (1940) became a hit, there was no turning back after that. He gave successful music in Bengali films like, Jevaan Sangini, Protishodh (1941), Abhoyer Biye (1942), and Chaddobeshi (1944) , he continued giving music in Bengali cinema, even after he moved to Bombay in 1944, and started the second inning of his musical career, giving music for over 17 Bengali films in the all .
He made his film debut singing in Yahudi ki Ladki (1933) but the songs were scrapped and re-sung by Pahari Sanyal. His first film as a singer was finally Sanjher Pidim (1935).

guide (Sachin Dev Burman (SD Burman))

guide (Sachin Dev Burman (SD Burman))

1940s
In 1944, he moved to Bombay, at the request of Sasadhar Mukherjee of Filmistan, who asked him to give score for two Ashok Kumar starrers, Shikari (1946) and Aath Din , but his first major breakthrough came the following year with the company’s Do Bhai (1947). The song Mera Sundar Sapna Beet Gaya sung by Geeta Dutt was her breakthrough song into the film industry. In 1949, came Shabnam, his biggest hit yet with Filmistan, especially noticeable for its multi-lingual hit song Yeh Duniya Roop ki Chor, by Shamshad Begum, which became a rage in those days

1950s
Disillusioned with the materialism of Bombay, S D Burman left the Ashok Kumar starrer Mashaal (1950) incomplete and decided to board the first train back to Calcutta. Fortunately, he was dissuaded from doing so.
In 1950s, S D Burman teamed up with Dev Anand’s Nav Ketan Productions to create musical hits like Taxi Driver (1954), Munimji (1955), Paying Guest (1957), Nau Do Gyarah (1957) and Kalapani (1958). The songs sung by Mohammad Rafi and Kishore Kumar became popular. Burman da composed the music for Dev Anand’s production company Navketan’s first film Afsar (1950). With the success of their second film, Baazi (1951) he made it to the top and a long association with Navketan and Dev Anand was on its way. “Baazi”‘s jazzy musical score revealed a new facet of singer Geeta Dutt, who was mainly known for melancholy songs and bhajans. While every song in the film was a hit, one stood out for special appeal – “Tadbir se Bigdi Hui Taqdeer”, a ghazal that was occidentalized into a seductive song.

He also wrote music for the Guru Dutt classics – Pyaasa (1957) and Kaagaz Ke Phool (1959). The soundtrack of Devdas (1955) was also composed by him. House No. 44 (1955), Funtoosh (1956), and Solva Saal (1958) were other S D Burman hits. In 1959 came Sujata, a masterpiece by Bimal Roy, and S D created magic again with “Jalte hai jiske liye” by Talat Mamood. When Guru Dutt made comparatively light-weight films like Baazi and Jaal (1952), Burmanda reflected their mood with compositions like Suno Gajar Kya Gaye or De Bhi Chuke Hum and when Guru Dutt made his somber masterpieces – Pyaasa (1957) and Kaagaz ke Phool (1959), he was right on target with Jinhe Naaz Hai Hind and Waqt ne Kiya Kya Haseen Sitam. In 2004, the soundtrack for Pyaasa was chosen as one of “The Best Music in Film” by Sight & Sound, the British Film Institute magazine.

In 1957, S D Burman fell out with Lata Mangeshkar and adopted her younger sister Asha Bhosle as his lead female singer. The team of S D Burman, Kishore Kumar, Asha Bhosle and lyricist Majrooh Sultanpuri became popular for their duet songs. Thus, he was responsible along with O.P. Nayyar for shaping Asha Bhosle as a singer of repute, who became his daughter-in-law after she married Rahul Dev Burman .
In 1958, S D Burman gave music for Kishore Kumar’s house production Chalti Ka Naam Gaadi, the same year he was awarded the Sangeet Natak Akademi Award for Music direction, and remains the only music director to have won the prestigious award .

1960s
Early on in his career, he refused to allow his voice be lip-synced on film by actors [4], as a result, even later on, in Hindi cinema, his thin yet powerful voice was often used as bardic commentary to haunting results, as in Ore Majhi Mere Sajan Hai Us Paar Bandini (1963), Wahaan Kaun hai Tera from “Guide” (1965) and finally Safal Hogi Teri Aradhana from Aradhana (1969) [15], for which he received the National Film Award for Best Male Playback Singer for the year, 1970 .
Ill health caused a slump in his career in the early 1960s but he gave many hit films in late 1960s. In 1961, S D Burman and Lata Mangeshkar came together during the recording of R D Burman’s first song for the movie Chhote Nawab (1961). They reconciled their differences and started working again in 1962.
The Dev Anand-S D Burman partnership, under Navketan banner, continued to churn out musical hits like Bambai Ka Babu (1960), Tere Ghar Ke Samne (1963), Teen Devian (1965), Guide (1965) and Jewel Thief (1967). In 1963, he composed songs for Meri Surat Teri Aankhen and Manna Dey sang the song “Poocho Na Kaise Maine” in raga Ahir Bhairav. This song is based on a Bengali composition by Kazi Nazrul Islam, Aruno-kaanti ke go jogi bhikaari, based on raga bhairavi (morning raga)[citation needed].

Other S D Burman hits from this period were Bandini (1963) and Ziddi (1964). In Bandini, Sampooran Singh (well known as Gulzar), made his debut as a lyricist with the song “Mora Gora Ang lai le, mohe shaam rang daai de”. Guide (1965) starring Dev Anand, was probably the best of his work during the time with all the songs super hit as well as the film; but unfortunately it did not receive the Filmfare award in best music director category for that year, which remained always a discussion among the Bollywood film pandits.

Aradhana (1969) is considered a landmark score in the Bollywood history. The music of the movie shaped the careers of singer Kishore Kumar, lyricist Anand Bakshi, filmmaker Shakti Samanta and R D Burman (associate music director). For the song “Mere Sapno ki raani”, Sachin Dev made R.D play the mouth organ[citation needed]. It was responsible in Kishore Kumar’s second coming and went on to make him the top male playback singer [citation needed] of Hindi Films.
Dev Anand and S D Burman continued their musical partnership in Prem Pujari (1969).
S D Burman was a frank and outspoken man, with a strong sense of self-pride. He openly criticized people whom he disliked or whose abilities he suspected (like the singer Mukesh). But he was widely respected by the industry as a cranky genius.

1970s

Tere Mere Sapne (1971), Sharmilee (1971), Abhimaan (1973), Prem Nagar (1974), Sagina (1974), Chupke Chupke (1975), and Mili (1975) are other classics from this period.

S D Burman went into coma soon after recording the song Badi sooni sooni (sung by Kishore Kumar) for the film Mili. He died on 31 October 1975 in Bombay (now Mumbai).

On 1 October 2007, marking his 101st birth anniversary, India postal department released a commemorative postage stamp, in Agartala, where an exhibition on his life and work was also inaugurated; the state government of Tripura, also confers the yearly, ‘Sachin Dev Burman Memorial Award’ in Music

Cultural references

British singer of South Asian heritage, Najma Akhtar, recorded a Shanachie Records CD of Burman’s work, Forbidden Kiss: The Music of S.D. Burman, an album of covers of Burman compositions.
The Indian cricketer Sachin Tendulkar was named after the composer by Sachin’s grandfather, who was an ardent fan of S. D. Burman.
The singer and mimicry artist Sudesh Bhonsle frequently parodies the nasal high-pitched voice and idiosyncratic singing style of S. D. Burman.

Filmography
 Rajgee (1937)
 Jakher Dhan (1939)
 Jevaan Sangini (1940)
 Protishodh (1941)
 Abhoyer Biye (1942)
 Chaddobeshi (1944)
 Shikari (1945)
 Aath Din (1946)
 Shabnam (1949)
 Baazi (1951)
 Jaal (1952)
 Baaz (1953)
 Taxi Driver (1954)
 Munimji (1954)
 Devdas (1955)
 Pyaasa (1957)
 Nau Do Gyarah (1957)
 Chalti Ka Naam Gaadi (1958)
 Solva Saal (1958)
 Kaagaz Ke Phool (1959)
 Sujata (1959)
 Kala Bazar (1960)
 Bambai Ka Babu (1960)
 Baat Ek Raat Ki (1962)
 Tere Ghar Ke Samne (1963)
 Bandini (1963)
 Ziddi (1964)
 Guide (1965)
 Jewel Thief (1967)
 Prem Pujari (1969)
 Aradhana (1969)
 Ishq Par Zor Nahin (1970)
 Sharmilee (1971)
 Naya Zamana (1971)
 Tere Mere Sapne (1971)
 Anuraag (1972)
 Phagun (1973)
 Jugnu (1973)
 Chhupa Rustam (1973)
 Abhimaan (1973)
 Phagun (1973)
 Prem Nagar (1974)
 Zameer (1974)
 Sagina (1974)
 Chupke Chupke (1975)
 Mili (1975)
 Chupke Chupke (1975)

Awards and recognitions
 1934: Gold Medal, Bengal All India Music Conference, Kolkata 1934
 1958: Sangeet Natak Akademi Award
 1958: Asia Film Society Award
 National Film Awards
 1970: National Film Award for Best Male Playback Singer: Aradhana: Safal Hogi Teri Aradhana
 1974: National Film Award for Best Music Direction: Zindagi Zindagi
 1969: Padma Shri
 International Jury on Folk Music

Filmfare Awards
 1954: Filmfare Best Music Director Award: Taxi Driver