Na. Dho.

 I first met Na. Dho. Mahanor twelve years earlier at Shri Ramdas Bhatkal's residence. I was just out with my second album, Ratra Bhizali, and it was a closed gathering with Ramdasji, Na. Dho. and Saumitra (Kishor Kadam). Ramdasji asked me to sing something for Na. Dho. and I remember having sung Divelaganichi Vel, Na. Dho's own poem from his collection, Raanaatlya Kavita. For years, I have began my concerts with this song.

Last month, when I met the farmer poet again in Nitin Desai's office in Powai, the last thing I expected was for him to recognise me. Not only did Na. Dho. recognise me, he also reminded me of the songs that I had sung that evening twelve years ago. Great men become greater when they put ordinary people at ease. That is precisely what Na. Dho. did to me. I felt confident that I could do this job.

Because Ajintha was on my mind for the last several years, I had got that strange feeling in my stomach. I was tentative and edgy and felt more responsible after Balgandharva because Nitin Dada had repeated me. It was a compliment as well as a challenge and I had warmed up to it. Mandar Joshi read out his first draft of the screenplay and I instantly knew that a great deal of this film would rest on the music. The story of Ajintha has the potential to be poetry on celluloid and music would play a major part to bring that effect. After the story session, Na. Dho. called me near him and said:
"I am certain you are the right man for the job. You'll do well."
His words have gone a long way in boosting my confidence. For the person who has worked with the likes of Hridaynath Mangeshkar and Anand Modak, I knew very well that for him I was as good as a rookie composer. I took his blessings and said I would do my best.

Well, this was one month back and in my next post, I would like to describe our visit to Ajintha and Palaskhed.