“Jinke naghmon ne ghar kar liya avam ke dilon main…………..”

SJ+-+Stamp

Postage Stamp on Shankar-Jaikishen : Thanks to the Post & Telegraph Deptt. Govt. of India

Meet with other SJ fans on facebook on following address
https://www.facebook.com/groups/shankarjaikishenemperors/

”Unhe mausiqi ka badshah kyon na kahoon!”
”Unhe saazon ka shahenshah main kyoon na kahoon”
”Jinke naghmon ne ghar kar liya avam ke dilon main,
“Unhe is sadi ka chamatkar main kyon na kahoon”,,,,,,,,,,,,, Ajay Kanagat (A SJ fan)

GATEWAY OF STUFFS ON SHANKAR-JAIKISHAN

                           

               JODIs ARE MADE IN HEAVEN

One often wonders are meetings ‘By Chance’ or are they meant to happen….take Shanker-Jaikishan meeting…During his early years, Shankar worked at Prithvi Theaters, and used to frequently visit the office of a Gujrati director Chandravadan Bhatt who had promised Shankar that he would give him a break as a Music Director as and when he produced a film. (cast ur thoughts to how Dev Anand and Guru Dutt met and made a pact to work together – another By CHANCE meeting u think?????). Any way getting back to Shanker…. It was outside the office of Mr Bhatt that Shankar saw `ek dubla patla sunder `ladka’ also sitting there, at Mr Bhatt’s office on a number of occasions. Although they never spoke to each other, one fine day, Shankar took the initiative of starting the conversation and then discovered that his name was Jaikishan and he too used to visit the same producer in search of some work related to music and that he was a Harmonium player. Shankar later recollected that their vibes were right from the very beginning….they developed liking for each other (rather than any feelings of rivalry which could have been natural since both were visiting Mr Bhatt for similar reason) and it was he who then and there assured Jaikishan of the job of a Harmonium player at Prithvi Theaters (without asking Prithviraj Kapoor, fondly referred to as `Papaji’). Of course, later, Papaji honoured Shankar’s selection and gladly accepted Jaikishan as a Harmonium player at Prithvi. Soon, the two of them developed very close friendship. It was during this phase that Shankar and Jaikishan developed a very deep bond of friendship, mutual understanding and regard for each other and made up their mind to work together as a musical team. While working at Prithvi Theater, Shankar and Jaikishan, apart from working in the music department there, used to compose tunes and were in touch with Raj Kapoor, who was working as an assistant to the famous director Kidar Sharma and was aspiring to be an actor/director. Thus, the three had met at Prithvi Theater, run by Raj Kapoor’s father, Prithviraj Kapoor. Raj Kapoor made his debut as a director with the film “Aag” in 1948. While the film received a mixed response at the box office, its musical score by music director Ram Ganguli, assisted by Shankar and Jaikishan proved to be quite popular. However, during the recording of some song for his new venture `Barsaat’, Raj Kapoor had some serious differences with Ram Ganguly, the music composer of the film and decided to assign its music to Shankar who insisted on taking Jaikishan as his partner and thus came into existence the new pair of music directors named `Shankar-Jaikishan’ who gave landmark, path-breaking and trend-setting music for the RK production `Barsaat’ in 1949. So it seems jodies are preordained, by the Almighty….HE also ensures we meet ‘By Chance’.….. RAB NE BANA DEE JODI………< h3 style=”text-align:justify;”>contributed by

Umesh Hindocha ji

WELCOME!!! to the World of  Shanker-Jaikishen’s  memories. The duo who ruled the Music Scenario of Hindi Film Music with their debut film Barsaat for continuous 20 years like Emperors of Melody are still now most listened but less mentioned.  It is a humble effort to spread information about them, their films and music to their die hard fans. You will find rare articles, photos, stories, anecdotes about them here.

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Audio / Visual links of SJ Albums

http://shankarjaikishan.wordpress.com/current-status-of-visitors/download-listen-audiovideos-of-shankar-jaikishan-albums/

SHANKAR JAIKISHAN IN THE EARLY FIFTIES WITH LATA MANGESHKAR AND RAAG BHAIRAVI

Written by Shri Shashibhushan Hegde

Crtsy-Sudarshan Talwarji

This photo courtesy; Sudarshan Talwar, Kolkata

               An ardent Shankar Jaikishan fan is invariably in love with the early fifties.  At least I am. 

                   Their compositions in the early fifties immediately remind us of the following things:

1.      Lots of Lata Mangeshkar (Films like Poonam, Aurat, Mayur Pankh, Kali Ghata etc feature Lata in each and every song!)
2.      Lots of Raag Bhairavi – SJ were so much influenced by the Raag and they brought out the glory of this ‘Sadasuhagan’ Raag like no one else has been able to do. (6 songs in Barsaat were in Bhairavi, 5 out of 9 songs in Aurat were in Bhairavi….these are just two examples)
3.      Very very rich in melody with minimal orchestration.
The orchestration for these songs was very limited considering the huge orchestra that SJ used during most of their lifetime.  These songs would have at the most half a dozen violins, mandolin, some times a Sitar or a Piano, flute and of course the glorious Dholak. 
Raag Bhairavi was employed in unbelievably wide range that is astounding.  They would come up with a sad song, a peppy song, a devotional song, a philosophical song……..all in Raag Bhairavi.
I am definitely not brash when I say Lata Mangeshkar’s career took off because of SJ.  There is no other composer who gave so many songs to her early in her career in the early fifties.
Presenting a few select songs in different moods and shades but all are based in Bhairavi and sung by Lata.
1.       Hum se na poochho koi pyar kya hai – Film: Kali Ghata(1951) Lyricist: Hasrat Jaipuri.
You haven’t heard this song if you haven’t heard the prelude of this song, which is GORGEOUS!  The Grand Piano prelude is definitely one of the finest of all time.  The mandolin, flute pieces and the Dholak stand out as usual.
2.       Taqdeer ka shikwa kaun kare – Film: Poonam(1952)  Lyricist: Hasrat Jaipuri.
If the previous song was a peppy one, this is an out and out sad song in Bhairavi. But what a composition! Years back, in 1988, HMV had brought out a 2 cassette set “All time Greats – Shankar Jaikishan).  This was the opening song of the album. (The first three songs that I am featuring in this article featured in that album)
The Sitar and violins pieces in the prelude and the fabulous couplet “Chand poonam ka khila…..” and the short mandolin link line that precedes the song create a totally apt ambiance for the song. Pay heed to the Dholak…..so much in sync with the singer.
                               http://www.youtube.com/watch?v=w4KHi0wqYtE
3.      Mohabbat ki dastan aaj suno – Film: Mayur Pankh (1953), Lyricist: Hasrat Jaipuri
I would rate this as one of the best song ever written, composed and presented.  What a beauty in Bhairavi that depicts an ode of love.
This composition is as smooth as silk, as pure as milk and as delectable as honey!  The mandolin, harmonium, flute, minimal violins and the Dholak drift you off to the world of melodious trance in a jiffy!
http://www.youtube.com/watch?v=p3nWQK7VaOY4. Ulfat ka saaz chhedo chanda suhana hai – Film: Aas (1953), Lyricist: Hasrat Jaipuri
A fabulous, evergreen beauty the tune of which has been copied by a Greek band years later!  Interestingly as in all songs in this category, the mandolin has an imposing presence in addition to the accordian and Dholak never fails to catch attention.
http://www.youtube.com/watch?v=lLpC77POXi05. Ja ja ja re ja re ja – Film: Naya Ghar (1953), Lyricist: Shailendra
A song which I consider 24 carats of pure bliss! Look at the pace, speed and the pep the composition delivers.  The Dholak, mandolin, accordion compliment Lata word to word.  If there was ‘Happiness Quotient’ for songs, this would score 10 out of 10 – good enough to drift anyone into happiness.
http://www.youtube.com/watch?v=nXEZg6aoJFM  

6 Mori bipda aan haro – Film: Pooja (1954), Lyricist: Shailendra

 Though rarely heard, this in my opinion is one of the finest bhajans created in film music.  By SJ standards, this is a very simple composition orchestration wise.  But the mimimalistic music with the flute, mandolin, Dholak and absolutely adorable tune along with Lata’s excellent rendering make this a really special song.
http://www.youtube.com/watch?v=HYCYDHRgVwAThe tunes and music apart, it is the verses of Hasrat Jaipuri and Shailendra which have given tremendous value addition to these compositions as always.Though there are many dozens of songs that fall in to this category, I have chosen half a dozen covering different moods and shades, albeit the same Raag – the Sada suhagan ‘Bhairavi’ of which there was no better exponent than Shankar Jaikishan in Indian film music.

Simkie’s Choreography in the Awara Dream Sequence (Hindi, 1951)

Courtesy:  http://cinemanrityagharana.blogspot.in/2013/04/simkies-choreography-in-awara-dream.html

 

Simkie’s Choreography in the Awara Dream Sequence (Hindi, 1951)

When I first heard that Uday Shankar’s early dance partner Simkie choreographed the famous dream sequence in Awara (Hindi, 1951), I was quite surprised!  That song and dance sequence is one of the most iconic and well-known from the “golden era” of Hindi cinema.  But the real eye-opener was seeing that Simkie’s choreography is taken straight from the Uday Shankar playbook as evidenced by the dances in his 1948 dance film Kalpana (which we can now watch in full thanks to Pad.ma!).  A few sources had mentioned the influence of Kalpana on Awara‘s dream sequence before, but now we can see the evidence for our own eyes.  And what an influence; it’s direct and unmistakable!

Awara‘s dream sequence is comprised of three segments filmed in three different spaces which Gayatri Chatterjee in her National Award-winning book Awara sees as representing the “Earth-Hell-Heaven triptych.”  “Tere Bina Aag Yeh Chandni” is the name of the song for the first two segments (earth and hell) though some have listed the second hell segment as a separate song “Mujhko Chahiye Bahar.” “Ghar Aya Mera Pardesi” is the song for the last segment (heaven).

The “Earth” and “Heaven” Segments

In the first and last segments, the dancers’ graceful side-to-side movements, arm postures and trajectories, and hand gestures are clearly directly inspired by Shankar’s choreographies especially Kartikeya and Rasa Leela (click on the links to watch them inKalpana), and these movements are echoed in the “dancing” by lead Nargis as well.  The arm movements the dancers are performing at the beginning of the clip below be seen in Amala Shankar’s Manipuri dance, and the spins at 6:24 are also seen identically in Kalpanain a few places.

Left: Awara   Right: Kalpana     Could it be any more obvious!

Instead of doing a comparison video, I’ve displayed the dream sequence videos below and linked to or described the inspirations in this post.  The first segment runs til 1:07, and the last segment starts at 2:46.  Note: The official clip below leaves out the two-minute introduction featuring some imaginative set design and the introduction of the dancers; the whole dream sequence in its entirety can be viewed here.

Isn’t the “South Indian” vibe of Nargis’ dance posing and costume starting at 5:32 interesting!  I wish more footage had been included since the Bharatanatyam/Kuchipudi inspiration is obvious and would have added a third “style” of choreography to the dream sequence.  The giant Nataraja statue provided the perfect background!


“Hell” Segment
 

The middle segment in which Raj Kapoor’s character descends into “Hell” dramatically shifts the style of choreography from slow-paced grace to aggressive, forceful movements, but they are still taken straight from Shankar’s creative style and are a testament to his ability to express varied emotions and ideas.  The wide half-seated posture, back and forth movements, and finger-spread hand shimmies all have direct parallels in movements seen in Kalpana particularly the Naga tribal dance and Astra Puja/Sword Dance.

While I had shown in my last post that the “finger-spread hand shimmies” as I’m calling them had inspiration from Kathakali dance from southern India, another blogger made a very interesting connection to another likely source of inspiration: Kecak dance from Bali, Indonesia. The similarities are obvious in not only the individual dance movements but also the way the group is spatially arranged.  I became convinced of this connection after reading that Uday Shankar had visited Indonesia to observe its indigenous dance forms in 1935.  In excerpts from Shankar’s diary about the trip, “Ketchok” is among the dances he notes watching in addition to “kabbiyar, “lagon,” “krish,” and “Wayang Koolit” shadow-puppet play (Abrahams).  Intriguingly, Shankar mentions having dinner with Mr. Spiers.  I wonder if “Mr. Spiers” is a mispelled reference to “Walter Spies” who supposedly was instrumental in popularizing Kecak dance in the 1930s!

Here is a cinematic view of the Kecak dance in the film Baraka.  Shankar’s inspiration is obvious!

The Making and Themes

Awara‘s dream sequence reportedly took three months to shoot and was not formally planned until mid-shooting.  The sets were designed by M.R. Achredkar and a chemist was hired to create the “cloud effect” with dry ice.  Some sources note the sequence’s ideas were inspired from some Hollywood musicals of the time (the dream sequence in An American in Paris was allegedly one), but Kalpana gives plenty of set design inspiration all on its own with the grandiose objects, flames, and smoke columns.  And by the way–there are a few sources, including The Hindu, who incorrectly cite Zohra Segal as the choreographer for the dream sequence!

Thematically, the book Global Bollywood: Travels of Hindi Song and Dance gives an interesting perspective on the meaning behind the sequence:

“Integrating narrative and lush spectacle, this scene condenses the themes of the film and prefigures the ending. At the same time, it functions as a metacomment on popular filmmaking with its amalgam of”art” and “kitsch” and marks a transition in narrative modes–from romantic realism to melodrama.  Through visual icons and “universal” signifiers, such as a staircase that leads in one direction to an idyllic world represented by a tower set amid fluffy clouds and in another to a hell represented by flames and grotesque statues, the sequence captures in shorthand the social gap that separates the principals and the various conflicts encountered by the hero. Its innovative use of space, perspective, and the movement of bodies visually realizes Awaara’s critique of the existing social order as the hero plaintively cries, “Mujhko yeh narak na chahiye; mujhko phool, mujhko geet, mujhko preet chahiye” [I don't want this hell; I want flowers, I want music, and I want love], even while it relocates this critique in the individual.”

Dancers – The Little Ballet Troupe, and Helen!
I was very surprised to read in Chatterjee’s book that the dancers in the dream sequence were from Shanti Bardhan’s Little Ballet Troupe!  Shanti Bardhan was part of Uday Shankar’s Center in Almora for a few years before striking out on his own, performing with the Indian People’s Theater Association (IPTA), and then forming his own Little Ballet Troupe in 1952.  Another surprise find about the dream sequence: famous Cabaret film dancer Helen was supposedly among the background dancers in what would be her first screen appearance!  Can anyone spot her?
Uday Shankar’s Influence on Film Dance
While it has been thrilling to see the impact Uday Shankar had on one of the most well-known songs in Hindi cinema, his influence was not restricted to Awaraalone.  V.A.K Ranga Rao in his article “Dance in Indian Cinema” reveals that Shakar’s influence on 1950s and 60s film dance was “immeasurable.”  While Shankar’s only film Kalpana was an unsuccessful flop, his influence on film dance spread through the students and dancers that worked with him during the making ofKalpana and earlier at his novel training Center in Almora.  These dancers “received the kind of allround training that was unthought of in [the] Indian dance world” until then and many of them became “independent choreographers” and worked in cinema spreading “the Uday Shankar turn of limb, taste of aesthetics around” not only in choreography but also visual presentation.  Among them, Narendra Sharma, Sachin Shankar, Zohra Segal, Guru Dutt, and more all choreographed for films.  Researching their work in films seems to have proven Ranga Rao’s assertion true which I’ll be highlighting in future posts. It seems Shankar’s influence on cinema through his trainees is a subject that hasn’t received much attention…making it an ideal research project for yours truly!  I’m also happy to be covering Hindi cinema which doesn’t get much exposure on this blog. :)

Sources:

Abrahams, Ruth Karen.  The Life and Art of Uday Shankar.  PhD Dissertation.
Bardhan, Gul.  Rhythm Incarnate: Tribute to Shanti Bardhan.
Chatterjee, Gayatri.  “The Hero’s Fears and Nightmares.”  Awara.
Encyclopaedia Brittanica. Encyclopaedia of Hindi Cinema.
Gopal, Sangita and Sujata Moorti.  Global Bollywood: Travels of Hindi Song and Dance.
Ranga Rao, V.A.K.  “Dance in Indian Cinema.”   Rasa: The Indian Performing Arts in the Last Twenty-five Years.

Bin dekhe aur bin pehchaane : A discussion

 

 

My first day in Cairo… I head down to breakfast at the hotel I am staying in… I start to eat and suddenly my attention drifts to the tune being played. It sounds familiar and I recognise it. It is this song! Did not know that this sing was originally an Arabic song

http://youtu.be/nhIBPZEXWL4

BIN DEKHE AUR BIN PEHCHANE -FILM JAB PYAR KISI SE HOTA HAI.MOHD RAFI.mpg
youtu.be

  • Raj Chandarana The tune for the song came from Ron Godwin’s Dancing Eyes. Shankar Jaikishen were great fans of Ron and often based their work on his compositions
    http://m.youtube.com/watch?v=iquXllKrxmo#
  • Asha Sridhar Well Raj, there is also an Arabic tune. So I don’t which of the 3 came first.
  • Raj Chandarana fascinating , would love to hear the Arabic tune. Yes agreed it could be based on that. Pretty sure Bin Dekhe .. Was not the original though. There was a write up on SJ compositions inspired by RGs work . I think it was Dattaram who wrote it or mentioned in an interview . anyway Bin Dekhe is a wonderful and I love it .
  • Arunesh Gupta thnx raj chandarana ji 4 this wonderful post thnx again
  • Asha Sridhar Yes and even though it is a copy, SJ had their own take on it.
  • Raj Chandarana Ashaji , I’m curious , in which way did SJ have their own take on Rons tune. They are identical compositions. Would love to learn more.
  • Asha Sridhar Haha  I get a slightly more Indian flavour
  • Raj Chandarana Hmm.., interesting.
  • Raj Senani I don’t think all of Ron Goodwin’s compositions are ORIGINALLY his ! IMO, most of them are derived/inspired from folk music of Arabian countries, Iran and others. I heard one of the so-called `HIS” compositions in Tehran in 2012 and confirmed (again and again) from very knowledgeable Iranian friends that that particular Ron Goodwin’s composition was, indeed, based upon an Iranian folk tune. So-much-so for Ron Godwin’s assumed `originality’ !!
  • Deepak Kadam Very nice post
  • Raj Chandarana Raj ji
    Very informative .must stress I have not said Ron Godwin’s ORIGINAL tunes. More to the point his compositions ( however he may been inspired) . It is a documented fact that SJ took a lot of inspiration from RG and famously … Ghar Aya mere paradesi .. In AWARA from Arabian tune which SJ openly admitted , it was a tune that Raj Kapoor liked so they used it as it was. 
    There is no negativity towards SJ here, but at the same time must remain open minded about how our Heros SJ used all the available resources to them to create their own, Just like the present day composers turn to SJ , LP KA. RDB For inspiration.
  • Rama Narayana Raj Chandaranaji…It is true that SJ copied these songs mentioned by you 100% including interludes…But the orchestration and use of selective sets/types of instruments in it and tune adoption ( aur iss dhun kaa Hindikaran) has the stamp of their intelligence ! Bombay is the Gateway of India for importing any thing ! Regarding Ghar aaya Mera Pardesi ..they had nicely adopted the tune and moulded it in Raag Bhairavi !As you rightly mentioned … SJ used all the available resources to them to create their own …sometimes adopted and sometimes modified the resources !
  • Sudarshan Pandey As Raj Chandarana ji has said, we should not get hurt or irritated or dislike if we get to know or someone says that SJ were inspired by some certain tune. This is a good comment because in those days there were very few people who could afford to buy music records of foreign musicians. SJ or whoever music director used to listen a good tune they wanted their fans to listen to that tune. We should be grateful to these music directors. 

    SJ fans can feel very proud that each and every tune they picked, they polished and decorated that tune with their color and ornaments producing Indianised version of that particular tune which according to me were far better than the originals.

    And the on the top, sometimes using foreign tunes were either their choice or choice by actor, director, producer etc etc and music directors were agree to oblige their request.

    We should keep in mind that working on other’s tune and making it more attractive is always a tough job.

  • Rama Narayana It is true.. Sudarshan Pandeyji and Raj Chandaranaji ! I said it in other words..even if they had adopted some foreign tunes, they with their skill improvised them and made them memorable ! You both have nicely detailed their passion in creating music ! Both of them lived, breathed, understood fully well Indian classical music and also western style of music and experimented fusion music and created many memorable hits which we enjoy them even today and the generations in future will also enjoy ! That’s why they are Great Legends and Trend setters!
  • Nikhil E Iyer The most difficult thing in life to take inspiration from something and creating an own tune keeping the inspiration in mind…that’s why SJ were the masters-they got inspired and decorated that inspiration with their self ideas and unique abilities taking the music to another level keeping our ‘hindustani’ flavour alive..
  • Asha Sridhar Well, just because SJ were inspired at times, it does not mean that they didn’t do anything originally. One of my friends, who is not a very big Naushad fan, always says snidely that Naushad was not very original because he was always inspired by classical raagas
  • Raj Chandarana This type of comments really goes to show that there can not be a reasonable discussion On the matters of above. Yes we all love SJ and Naushad and Madan Mohan and S D Burman and anyone else you care to name. We should really stop treating them as celestial beings. They were as mortal as the rest . It is their creative talents that we love and respect and endeavor to learn more about . Through exchange of views and debates we are able to do so. But it seems that any and all points that may appear slightly negative are rejected by many who can not see beyond the fact that these people could do no wrong. Well there have been no suggestions that SJ didn’t do anything original . It is through the availability of information over the internet that we can , as die hard fans , discover what inspired SJ, Naushad and many more. How many in the 1950′s knew that there were Arabic tunes or western tunes incorporated in their favourite songs? How many knew in the 1960s that SJ’s .. Dekho Aab to .. was based on a Beatles song , and Kaun hai Jo sapno me aaya was based on an Elvis Presley song. How many knew that Naushad used western Waltz in many of compositions? 
    I would urge people to remain open minded and look at the wealth of information available to us now and learn about their beloved SJ , LP, Naushad. .KA , etc. you will enjoy their music even more . 
    The choice remains with you.
  • Asha Sridhar Raj, you are right. It is important to enjoy the music…
  • Raj Chandarana To address the comment that Naushad was not very original because he was inspired by classical ragas … 
    One must first understand classical ragas before making such comments. Classical ragas are not composed pieces of work like western symphonies that can be copied in entirety . There are fixed ascending and descending notes in a raga scale and each raga has a time frame and mood. From this basic information the composer had to create his own composition. 
    Raga music is improvised depending on the mood , seasons, time of day etc. 
    Naushad ‘s. O Duniya ke rakhwale. From Baiju Bawra was based in Raga Darbari . So for this Naushad would have selected the notes of Darbari because it matched the mood required for the song. Then he would have to create a composition on the mood and in the framework of Darbari. 

    Important to remember Raga music is improvised never written. Raga Darbari played by Ustad Vilayat Khan will be different to Darbari played by Pandit Ravi Shankar. Yet it will remain in the same framework. 

    So to conclude was Naushad not original because he was inspired by RAGAS ? In my opinion he was Original. But in his use of western waltz he was not original.

  • Asha Sridhar Raj, it was a light hearted comment and not to be taken seriously lol
  • Rama Narayana Raj Chandarana ji.. I am to add to what you mentioned above… Even when the composers use classical raagas, they are not purely based on a particular Raaga and they mix other notes too to beautify the tune …that is their talent ..for example the composers start a tune in Raag Bhairav, evolve it into Raag Bhairavi and conclude it into Raag Ahir Bhairav (Jaagte Raho : Jaago Mohan Pyaare-by SalilDa) ! Same Raag Bhairavi SJ used to build up various moods in various situations…like Jaanewale Zara Hoshiyar…Juhi Ki Kali Meri Laadli…Ramaiah Vastaavaiah…Hum Kaale Hain To Kya Hua Dilwale Hain … Main Piya Teri Tu Maane Yaa Na Maane…Man Re Koi Bataa Kyaa Gaoon..Joshe Jawani Haye Re Haye..Mere Mann Ki Ganga..and so on…SJ and Naushad Saheb were brand ambassadors of Raag Bhairavi..SJ even used all Janya Raagas of Bhairavi ! Music was their life Style/soul… They even ventured to create fusion music(Indian and Western) in films and in private albums like “Raaga Jazz Style” even when they were very young ! We have very talented composers who left for us a TREASURE of Music..it is only our turn to ENJOY them !
  • Raj Chandarana Rama Narayana ji , well said. This shows that the raga inspired comopsitions can be said to be original. I have 3 copies of the album Raga Jazz Style . Master piece of composing.
  • Rama Narayana Raj Chandaranaji…To our surprise …The Arabian tunes match with the notes of Raagas Bhairav and Bhairavi,whereas the Western tunes with those of NatBhairavi and Keervaani…When tunes are made in Indian films, we enjoy the songs without being aware of the fact that they are based on classical Raagas or adopted ones from music abroad ..that is the beauty of experimentation done by our composers ! As you said rightly… our compositions, based raagas, can be termed to be original but at the same time, compositions based on same raaga may be mistaken for copied tunes! Sir… Indian classical music is our cultural heritage..Filmy composers like Shanker-Jaikshen, Naushad Saheb,Roshan,SachinDevBurman, MadanMohan, SalilDa,NayyerSaheb and so on …they all kept it alive through their lovely melodies based on Indian classical Raagas with their unique styles … Morover, Home made food is always tasty and healthy ! It is nice to interact with you RajSaheb!
    20 hours ago · Edited · Unlike · 3
  • Raj Chandarana Bravo. My hat off to you for your knowledge. I am very passionate about Raga music ( however I am not a musician) . Over the years I have sat with vilayat khan , Ravi Shankar, Rais Khan , Bismillah Khan and many more and discussed raga music . Even the most accomplished of western musicians have been to India to learn the basics of raga music, Yehudi Menhuin, Dave Brubeck, John Coltrain are just some. This action alone gives great respect to our Raga music.
    22 hours ago · Edited · Unlike · 4
  • Raj Chandarana Ashaji Thank you for posting Bin dekhe …. It has meandered into an interesting interaction.
  • Asha Sridhar I loved reading all the comments. Thanks to all contributors for making this an interesting and informative thread.
  • Rama Narayana Raj Chandaranaji..!I salute to you Rajsaheb for your association with so many great musicians ! But I am not that expert classical knowledgeable person… whatever I have learnt from “Vividh Bharati : Sangeeth Sarita/Swar Sudha Programmes” and interviews with great musicians/maestros, their published articles, I dared to place here some views of mine out of my meagre and mere observation on the filmy songs vis-à-vis the classical traditional collection I have with me…Really I do not know classical in depth…It is again not like OPNayyer Saheb’s statement…(he used to say “ I don’t know classical”) a Composer who composed “Tu Hai Mera Prem Devta”(Kalpana) in Raag Lalit and “Man Mora Bawra” (Raagini) in Raag NatBhairavi and tuned almost 80 percent of his songs in Raag Peelu alone ! It is really a great pleasure for me to have interaction with you,Sir ! Asha Sridharji I could interact with such a knowledgeable person because of your sharing of this song here ! Regards !
    20 hours ago · Edited · Unlike · 5
  • Krishnakumar Bhagwat Nice song with foot tapping music…..
  • Sudarshan Pandey Dear Raj Chandarana ji, you said, “that there can not be a reasonable discussion On the matters of above.”
    But you will appreciate that your discussion proved it very reasonable for many of us. Sir, this is open forum and you will find here people with no knowledge, or very less knowledge or misinformed etc etc. So please don’t get disheartened by few comments by people having wrong information. Raga Based songs should not be taken as a identification for not being original. Even you will get few people who are more vocal against such inspirations and straightway call the music director with taunt. But we should not get disturbed by these acts or comments and our job is to make these people understand about the misconceptions. Such discussions helps to clear many doubts in mind of ordinary listeners. Thanks a lot to Rama Narayana ji, Asha Sridhar ji and you sir.
    13 hours ago · Like · 1
  • Raj Chandarana Sudarshan Pandey ji , absolutely correct. A point well made and noted. Thank you.
    7 hours ago · Edited · Unlike · 1
  • Raj Chandarana Rama Narayanaji – it is I who should salute you. I have no formal training in music . It is just sheer passion , lots of listening and reading.
    7 hours ago · Unlike · 2
  • Maruti Rao V I have never seen a thread like this before and the discussion that has opened up has revealed such an valuable information on Ragas, SP ji the whole discussion has to be documented. Before such eminent and knowledgable people like Raj ji and Rama ji, our knowledge on everything looks limited. We are indeed privileged to have such extraordinary people here.
    7 hours ago · Unlike · 2
  • Rama Narayana It is amazing that the discussion started with “Bin Dekhe aur Bin Pehchane” and the comment series also went as a flow of views from us bin dekhe aur bin pehchane (none of us knows one another) but it went on well and we enjoyed ..Thanks to this SJ forum for being a platform for such interesting interactions on … copying (adopting tunes from abroad)…. composing on getting inspired by other tunes…using various classical Raagas as basis for composing filmy songs…the fusion music and so on !Various Maestros presented their tunes basing on same Raaga by treating it differently…even same music director used the same Raaga in different situations suitable to the filmy situational requirements …that shows their creativity and talent ! They are no less to any pure classical artistes ! Raj Chandarana ji, Sudarshan Pandeyji, Maruti Rao V ji…! Happy to be with you all without knowing much about one another (Bin Dekhe aur Bin Pehchane)…!!!! Further let us look forward..we will be knowing and realising more about aspects of this sort from one another ! Regards !
    5 hours ago · Unlike · 2
  • Rama Narayana Special thanks and regards to Asha Sridhar ji !
    5 hours ago · Unlike · 1
  • Neeraj Mittal Ron Goodwin’s Music for an Arabian Night has been a big source of inspiration for our MDs. This number appears in that album. Then Old Beirut inspired Koi Bulaye Aur Koi Aaye. Inspiration for Kahin karti hogi Woh Mera intezar, Baje Payal Chhun Chhun hoke Beqarar etc. can be traced to this album. Asha Sridhar ji will hear many more familiar tunes in Cairo.
    Thanks Raj Chandarana ji, Sudarshan Pandeyji, and Rama Narayanaji for the interesting discussion.
    5 hours ago · Unlike · 2
  • Rama Narayana Very interesting info Neeraj Mittal ji ..Thanks for highlighting such aspects of composing…It is interesting also to note that the Arabian tunes have some affinity towards Raag Bhairav (in Carnatic classical music it is equivalent to Raag Maayamaalava Gowla) ! Bhairav being the Raaga-thought itself, SJ used all raag-lets (Janya Raagas) of Bhairav…Sindhu Bhairavi, NataBhairavi, Ahir Bhairav and so on..to make their creative tunes ! They were born for Creative and Trend-setting Music !
    4 hours ago · Unlike · 2
  • Neeraj Mittal It is always a pleasure to just read the comments of people like you on this forum. It helps me appreciate music better. Chandarana ji has commented above that tune is a straight lift. I feel that there is nothing wrong in it because a song is not just the melody but the orchestration, tempo, harmonies, and the way it is sung are also very important. There are very few songs that can be called plagiarized. If you listen to Nazrul Islam’s Aruno Kanti Kego Jogi, you will find that entire tune without any change, was used by S D Burman in Poochho na kaise Maine rain Bitai, but the moods of both the numbers are quite different. I shall not like to call it plagiarism just because a tune inspired a team of lyricist, MD, and singer to create something entirely new and different. I shall request Sudarshan Pandeyji, and other Admins to invite knowledgeable members in the debate for their views.
    4 hours ago · Unlike · 1
  • Raj Chandarana Neeraj Mittal ji . This is wonderful information. I am not an expert on Bengali folk melodies but have often come across SD Burman songs that have originated from the folk traditions 0f Bengal . Going back to BIN DEKHE BIN PECHHANE… If Rafisahab were to sing the lyrics to Ron Goodwins piece the song would be the same. The mood and the tempo is the same in SJ version. Would any one agree with me that a tune played on a piano and then on a the flute still remains the same tune but different sound ? It is this I try to point out that the tunes remain the same with maybe different orchestration. Plagiarism is not a term I like to use , I think the creative mind should take from everything around it and and then set about doing its work. If we were to take the discussion a lot deeper than it can be said hypothetically IF SJ copied the tune exactly note for note then it is plagiarism but with a change in just one note makes it a different composition in which case it can be said that SJ were inspired by a particular tune and not copied it. 

    It would be very interesting to take part in other debates. Always looking to learn , I find it allows me to enjoy the songs even more.

  • Neeraj Mittal Nazrul Islam was an Indian Bangla poet. He was a revolutionary and was known as Vidrohi Kavi. In 1972 he was invited by Bangladesh government to live in Dhaka where he lived till his death. He wrote and composed numerous songs, collectively known as Nazrul Geeti, and some of them are considered to be in the same class as Rabindra Sangeet. I give the link to the Nazrul song.

    http://youtu.be/f_tI1LPeTWk

  • Sudarshan Pandey When such discussions happen, I feel proud of SJ and their ardent fans for making the group more vibrant and useful. And as advised by Maruti Rao V ji, I am here for its documentation. Doing it in few minutes. Everyone who participated and shared views deserve kudos for their intensity.

HMV writes about music of Jis Desh Mein Ganga Behti Hai

 

Friends, Please see the HMV statement regarding JISDESHMEGANGABAHATIHAI 1960 Music on their LP cover…….
The music on this record is taken from the soundtrack of R.K.films stupendous production “ Jis Deshme Ganga Baheti Hai” featuring Indian screen’s top star Rajkapoor and Padmini. The theme of the film is the strange story of the progress of a strange pilgrim, a simple hearted child of the soil,who sings his way into the hearts of men where for centuries the monster of hate and crime has resided. The music is provided by the ace team of music directors ShankarJaikishan who in their own words were guided by a single thought that the music of this film must present the genius of the land,with this end in view they have had to resort to a great deal of inspired choral singing, utilize folk styles typical of the music of the soil, and assemble perhaps the most varied and extensive orchestra used in any recent Indian film. Rhythm is the dominating feature of the musical score of “JDMGBH” and in composing this score the music directors appear to have been conscious of one striking truth that rhythm evokes similar reactions to each beat from diverse people and signifies the one new of life. The songs renderings which have done full justice to the music are mainly by the ever popular playback singers Lata and Mukesh whereas other artists who have ably assisted them in certain numbers are Asha,Geeta Dutt,Manna dey and Mahendra kapoor.

List of Music arrangers who worked with SJ

 

 

Friends…SJ-Arrangers list..

List of pictures:- SJ ARRANGERS

1)BARSAAT-1949-NO ASSISTANCE-shown
2) AWARA-1951-SONNY CASTELINO
3)BADAL-1951-NO ASSISTANCE-shown
4)KALIGHATA-1951-NO ASSISTANCE-shown
5)NAGINA-1951-NO ASSISTANCE-shown
6)DAAG-1952-NO ASSISTANCE-shown
7)PARBAT-1952-
8)POONAM-1952-DATTU WADKAR(DATTARAM)
9)AAH-1953-NO ASSISTANCE-shown
10)AAS-1953-DATTARAM
11)AURAT-1953-NO ASSISTANCE-shown
12)BOOT POLISH-1953-NO ASSISTANCE-shown
13)MAYUR PANKH-1953-NO ASSISTANCE-shown
14)NAYA GHAR-1953-
15)PATITA-1953-NO ASSISTANCE-shown
16)SHIKAST-1953-DATTARAM
17)BADSHAH-1954-
18)POOJA-1954-
19)SEEMA-1955-NO ASSISTANCE-shown
20)SHREE 420-1955-DATTARAM// SEBASTIAN
21)BASANT BAHAR-1956-NO ASSISTANCE-shown
22)CHORI CHORI-1956-NO ASSISTANCE-shown
23)HALAKU-1956-DATTOO
24)KISMAT KA KHEL-1956-NO ASSISTANCE-shown
25)NEW DELHI-1956-SABESTIAN
26)PATRANI-1956-DATTARAM WADKAR//LALUUBHAI NAIK
27)RAJHATH-1956-NO ASSISTANCE-shown
28)BEGUNAH-1957-
29)KATH PUTLI-1957-NO ASSISTANCE-shown
30)BAAGHI SIPAAHI-1958-
31)YAHUDI-1958-DATTARAM
32)ANARI-1959-DATTARAM and SABESTIAN
33)CHHOTI BAHEN-1959-DATTARAM and SABESTIAN
34)KANHAIYA-1959-NO ASSISTANCE-shown
35)LOVE MARRIAGE-1959-DATTARAM and SABESTIAN
36)MAIN NASHE MEIN HOON-1959-DATTARAM and SABESTIAN
37)SHARARAT-1959-DATTARAM
38)UJALA-1959-NO ASSISTANCE-shown
39)COLLEGE GIRL-1960-NO ASSISTANCE-shown
40)DIL APNA AUR PREET PARAI-1960-DATTARAM and SABESTIAN
41)EK PHOOL CHAR KANTE-1960-DATTARAM// SABESTIAN
42)JIS DESHMEN GANGA BAHETI HAI-1960-DATTARAM//SABESTIAN
43)SINGAPORE-1960-DATTARAM//SABESTIAN
44)AAS KA PANCHHI-1961-NO ASSISTANCE-shown
45)BOY FRIEND-1961-DATTARAM
46)JAB PYAR KISISE HOTA HAI-1961-DATTARAM//SABESTIAN
47)JUNGLEE-1961-DATTARAM//SABASTIAN
48)KROREPATI-1961-NO ASSISTANCE-shown
49)ROOP KI RANI CHORON KA RAJA-1961-DATTARAM//SABASTIAN
50)SASURAL-1961-DATTARAM//SABASTIAN
51)AASHIQ-1962-DATTARAM//SABASTIAN
52)ASLI NAQLI-1962-DATTARAM//SABASTIAN
53)DIL TERA DIWANA-1962-DATTARAM//SABESTIAN
54)HARIYALI AUR RASTA-1962-DATTARAM//SABESTIAN
55)PROFESSOR-1962-NO ASSISTANCE-shown
56) RUNGOLI-1962-NO ASSISTANCE-shown
57)DIL EK MANDIR-1963-DATTARAM//SABESTIAN
58)EK DIL SAU AFSANE-1963-SABESTIAN
59)HAMRAHI-1963-DATTARAM//SABESTIAN
60)APNE HUYE PARAYE-1964-DATTARAM//SABESTIAN
61)APRIL FOOL-1964-SABESTIAN//DATTARAM
62)AYEE MILAN KI BELA-1964-SABESTIAN DESUZA
63)BETI BETE-1964-DATTARAM//SABESTIAN
64)RAJKUMAR-1964-DATTARAM//SABESTIAN
65)SANJH AUR SAVERA-1964-NO ASSISTANCE-shown
66)SANGAM-1964-NO ASSISTANCE-shown
67)ZINDAGI-1964-NO ASSISTANCE-shown
68)ARZOO-1965-DATTARAM//SEBASTIAN
69)GUMNAAM-1965-DATTARAM
70)JANWAR-1965-DATTARAM//SEBASTIAN
71)AMRAPALI-1966-DATTARAM//SEBASTIAN
72)BADTAMEEZ-1966-NO ASSISTANCE-shown
73)GABAN-1966-DATTARAM//SEBASTIAN
74)LOVE IN TOKYO-1966-DATTARAM//SABESTIAN
75)PYAR MOHABBAT-1966-DATTARAM
76)STREET SINGER-1966-NO ASSISTANCE-shown
77)SURAJ-1966-SEBASTIAN//DATTARAM
78)TEESARI KASAM-1966-DATTARAM//SEBASTIAN
79)AMAN-1967-DATTARAM//SABESTIAN
80)AN EVENING IN PARIS-1967-DATTARAM
81)AROUND THE WORLD-1967-NO ASSISTANCE –shown
82)CHHOTISI MULAQAT-1967-NO ASSISTANCE-shown
83)DIWANA-1967-NO ASSISTANCE-shown
84)GUNAHON KA DEVTA-1967-DATTARAM
85)HARE KANCH KI CHOORIYAN-1967-NO ASSISTANCE –shown
86)LATT SAHEB-1967-NO ASSISTANCE-shown
87)RAAT AUR DIN-1967-DATTARAM//SEBASTIAN
88)BRAHMACHARI-1968-SABESTIAN
89)DUNIYA-1968-NO ASSISTANCE-shown
90)JHUK GAYA AASMAN-1968-DATTARAM//SEBASTIAN
91)KAHIN AUR CHAL-1968-
92)KANYADAAN-1968-DATTARAM//SABESTIAN
93)MERE HUZOOR-1968-NO ASSISTANCE-shown
94)SAPNON KA SAUDAGAR-1968-NO ASSISTANCE-shown
95)SHIKAR-1968-NO ASSISTANCE-shown
96)BAALAK-1969-
97)BHAI BAHEN-1969-NO ASSISTANCE-shown
98)CHANDA AUR BIJLI-1969-NO ASSISTANCE-shown
99)JAHAN PYAR MILEY-1969-DATTARAM//SABESTIAN
100)PRINCE-1969-NO ASSISTANCE-shown
101)PYAR HI PYAR-1969-DATTARAM//SABESTIAN
102)SACHAAI-1969-NO ASSISTANCE-shown
103)SHATRANJ-1969-NO ASSISTANCE-shown
104)TUMSE ACHHA KAUN HAI-1969-DATTARAM//SABESTIAN
105)YAKEEN-1969-DATTARAM//SABESTIAN
106)BHAIBHAI-1970-DATTARAM//SABESTIAN
107)DHARTI-1970-DATTARAM//SABESTIAN
108)JWALA-1970-DATTARAM
109)MERA NAAM JOKER-1970-NO ASSISTANCE-shown
110)PAGLA KAHIN KA-1970-DATTARAM//SABESTIAN
111)PEHCHAN-1970-DATTARAM//SABESTIAN
112)TUM HASEEN MAIN JAWAN-1970-DATTARAM//SABESTIAN
113)UMANG-1970-NO ASSISTANCE-shown
114)ALBELA-1971-DATTARAM//SABESTIAN
115)ANDAZ-1971-DATTARAM//SABESTIAN
116)BALIDAN-1971-DATTARAM//SABESTIAN
117)DUNIYA KYA JAANE-1971-DATTARAM//SABESTIAN
118)EK NARI EK BRAHMACHARI-1971-NO ASSISTANCE-shown
119)ELAAN-1971-DATTARAM//SABESTIAN
120)JAANE ANJAANE-1971-DATTARAM//SABESTIAN
121)JAWAN MUHOBBAT-1971-SEBASTIAN//DATTARAM
122)KAL AAJ AUR KAL-1971-NO ASSISTANCE-shown
123)LAL PATTHAR-1971-NO ASSISTANCE-shown
124)MAIN SUNDAR HOON-1971-DATTARAM//SABESTIAN
125)NADAAN-1971-DATTARAM//SABESTIAN
126)PARDE KE PEECHHEY-1971-DATTARAM//SABESTIAN
127)PATANGA-1971-DATTARAM//SABESTIAN
128)PREETAM-1971-DATTARAM//SABESTIAN
129)SEEMA-1971-DATTARAM//SABESTIAN
130)YAAR MERA-1971-DATTARAM//SABESTIAN
131)AAN BAAN-1972-DATTARAM//SABESTIAN
132)AANKH MICHOLI-1972-NO ASSISTANCE-shown
133)AANKHON AANKHON MEIN-1972-NO ASSISTANCE-shown
134)BANDAGI-1972-
135)BEIMAAN-1972-DATTARAM//SEBASTIAN
136)DIL DAULAT DUNIYA-1972-DATTARAM//SABESTIAN
137)JANGAL MEIN MANGAL-1972-SABESTIAN//DATTARAM
138)RIVAAJ-1972-DATTARAM//SABESTIAN
139)AAJ KI TAAZA KHABAR-1973-DATTARAM//SABESTIAN
140)-ARCHANA-1973-NO ASSISTANCE-shown
141)CHORI CHORI-1973-DATTARAM//SABESTIAN
142)DAAMAN AUR AAG-1973-DATTARAM//SABESTIAN
143)DUR NAHEEN MANZIL-1973-DATTARAM
144)NAINA-1973-NO ASSISTANCE-shown
145)PYAR KA RISHTA-1973-DATTARAM//SABESTIAN
146)CHHOTE SARKAAR-1974-DATTARAM//SABESTIAN
147)INSAANIYAT-1974-DATTARAM//SABESTIAN
148)-INTERNATIONAL CROOK-1974-
149)MERA VACHAN GEETA KI KASAM-1974-DATTARAM//SABESTIAN
150)RESHAM KI DORI-1974-SEBASTIAN//DATTARAM
151)TARZAN MERA SATHI-1974-
152)VACHAN-1974-DATTARAM//SABESTIAN
153)DO JHOOT-1975-DATTARAM//SABESTIAN//DHIRAJ SHARMA
154)LOVE IN BOMBAY-1975-
155)NEELMA-1975-DATTARAM//SABESTIAN
156)SAAZISH-1975-DATTARAM//SABESTIAN
157)SANYASI-1975-SABESTIAN//DATTARAM//DHIRAJ SHARMA
158)DHOOP CHHAAON-1977-SABESTIAN//DATTARAM
159)DUNIYADARI-1977-DATTARAM//DHIRAJ SHARMA
160)MAHFIL-1978-DATTARAM//SABESTIAN
161)ATMARAM-1979-DATTARAM//DHIRAJ SHARMA
162)GANGA AUR GEETA-1979-
163)THE GOLD MEDAL-1979-NO ASSISTANCE-shown
164)GARAM KHOON-1980-DATTARAM
165)CHORNI-1981-NOT VISIBLE CLEARLY but it is there
166)NAARI-1981-
167)EENT KA JAWAB PATTHAR-1982-NO ASSISTANCE-shown
168)FILM HI FILM-1983
169)PAPI PET KA SAWAL HAI-1984-NO ASSISTANCE-shown
170)INTEQAAM KI AAG-1986-NO ASSISTANCE-shown
171)KAANCH KI DEEWAR-1986-DANIEL
172)KRISHNA KRISHNA-1986-KISHORE SHARMA//DANIEL
173)GORI-1991-
174)-BOMBAY TALKIE-1971-
175)TEE MEE NAVHECH(MARATHI)-1970)-
176)AVAN(TAMIL)-1953-
177)JEEVITHA CHAKRAM(TELUGU)-1971-
178)PREMALEKHALU(TELUGU)-1953-
179)EVEREST(DOCUMENTARY)-1968-
180)RAAGA-JAZZ-STYLE-1968-

By Mukund Marulkar ji

Interesting data about TITLE SONGS by S-J

 

 

 

Friends…I have just worked out and listed out “TITLE SONGS” of ShankarJaikishan music directors scored for 185 films as below—-

1) Total songs scored——1350 nos


2)Total songs as TITLE SONGS—-114 nos
3)Total songs written by Shailendraji—34 nos
4)Total songs written by Hasarat Jaipuri—53 nos
5)Total songs written by Rajendra Krishna—06 nos
6) Total songs written by Vishweshwar Sharma—05 nos
7)Total songs written by Indeevar—03 nos
8)Total songs written by Neeraj—-03 nos
9)Total songs written by Verma Malik—-02 nos
10) Total songs written by Gulshan Bawara—02 nos
11)Total songs written by S.H.Bihari—1 no
12)Total songs written by Shaily Shailendra–1 no
13)Total songs written by Sudhakar Sharma—1 no
14)Total songs written by Upendra Jha—1 no
15)Total songs written by Majrooh Sultanpuri—1 no
16)Total songs written by Azeez Kashmiri—1 no.

Mukund Marulkar's photo.

Shri Mukund Marulkar

Filmfare nominations of SJ

Filmfare nominations of SJ
1) Chori Chori
2) Yahudi
3) Anari
4) Chhoti Bahen
5) Dil apna aur preet parai
6) Jis Deshmein Ganga Behti Hai
7) Professor
8) Dil Ek Mandir
9) Sangam
10) Arzoo
11) Suraj
12) Diwana
13) Brahmachari
14) Chanda Aur Bijli
15) Pehchan
16) Andaz
17) Mera Naam Joker
18) Beimaan
19) Resham Ki Dori
20) SanyasiTwenty Nominations in music in twenty years is still a record!

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