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Pancham who for years had had no takers for his revolutionary brand of music suddenly found himself giving the reigning masters, Shankar-Jaikishen a run for their ratings in 1966. Nasir quickly signed the young Burman for not just Teesri Manzil but Baharon Ka Sapne too. “He’s on,” Shammi told Nasir when Pancham was through. From the pahaldi ‘Deewana mujhsa nahin.’ to the oh-so-westernised ‘Aaja aaja main hoon pyar tera.’ Pancham was mesmerizing. But as the music played on he sat up and slowly started inching closer to Pancham. Shammi who had mentally vetoed Pancham, was lolling negligiently when he struck the first note. Shammi and Nasir drove up to be introduced to Pancham. An innovative mix of rock-and-roll, the twist and jazz that he thought was perfect for Shammi Kapoor who had modeled himself on Elvis Presley and James Dean.Īt 7 p.m. And perhaps realising that this could be his breakthrough film Pancham got cracking and by the day of the sitting was ready with 30-35 compositions. From a very young age his father SD Burman had let him handle his orchestra and Goldie knew that the boy had it in him to be a great composer. He could play every instrument from the harmonium and tabla to drums, trumpets and the bongo. His own collection of Western music was enviable and his knowledge prodigious. Pancham was a keen student of Western music and had several friends who played in orchestras abroad. “And remember you are not composing for a deboniar Dev but a flamboyant Shammi Kapoor.” Goldie knew this could be Pancham’s big break. If Shammi approved of Pancham’s music he was on. Realising that a confrontation was brewing, Nasir diplomatically suggested a sitting with Pancham after 10-12 days for which Shammi Kapoor would be invited. Take him or Shankar-Jiakishan.” He even convinced Jaikisan to slash his fees for this film. The star when approached hollered,”Who is this Pancham?” When told that he was SD Burman’s son, Shammi argued, “SD Burman is Dev Anand’s music director. “We can’t afford to antagonise Shammi,” he reasoned. But he had to get Shammi Kapoor’s consent first. Nasir was willing to try out Pancham after Goldie assured him that the boy was very talented and he would get great work from him.

Dev and Goldie would constantly reassure him, “Pancham nikal jayega.” Dada wanted the Anand brothers to give Pancham a break in one of their films and Goldie had decided to entrust him with the compositions of Jewel Thief when Teesri Manzil came along. Those days dada was very worried about Pancham.

He could play everything from the harmonium and sitar to the tabla and mouth organ,” Goldie remembers. When I was working on my first film, Nau Do Gyarah he would often accompany Burmanda (his father, SD Burman) to music sittings.

But Goldie had in mind a newcomer called RD Burman who had to his credit a bit role in Mehmood’s Bhoot Bangla and the score of Chota Nawab. The other choice was OP Nayyar who was another Shammi Kapoor regular. Goldie on his part was very sure that Teesri Manzil would be a musical because Nasir was famous for his musicals and Shammi was a musical star.The obvious choice for music director were Shankar-Jaikishen who were the reigning composers of the time and had scored the music for Nasir’s earlier hits-Tumsa Nahin Dekha, Dil Deke Dekho and Jab Pyar Kissi Se Hota Hai.