Friends….today (Birth-13 April 1925-Death-15 March 2009) being death anniversary of Lyricist Verma Malikji, I am giving his contribution to ShankarJaikishan from 1970 to 1979.
1)Total songs written=30 nos 2)Pehchan-1970=3 songs a)Sabse badaa naadaan wohee hai jo samjhe naadaan mujhe-mukesh b)Kar le dil kee baat aaj mauqaa hai-lata,mukesh c)Wo paree kahaan se laaun,teree dulhan jise banaaun-suman,mukesh,sharda,chorus.
3)Balidan-1971=6 songs a)O jhoothee muhobbat ke bhooke-lata b)Chale aao dil mein bachaake nazar-lata c)Pranaam karo is dhartee ko-mahendrakapoor d)manjeeraa baaj rahaa chhun chhun-mahendrakapoor e)Pranaam karo is dhartee ko-Krishna kale,chorus f)Haay ree daiyaa muee main to –asha,mahendra kapoor
4)Elaan-1971= 1 song a)Aath mein aath ko jamaa karo-sharda 5)Seema-1971= 3 songs a)Ladkee chale jab sadkon pea aye qayaamat-kishore b)Kispe hai teraa dil naam lenaa mushkil-asha,rafi c)Dil meraa kho gayaa,kho jaane do-asha,kishore 6)Aankhon aankhon mein-1972=5 songs a)Gaya bachpan jo aaee jawaanee to chunaree-lata b)Teree umar naadaan hai thahraa huaa toofaan hai-kishore c)Goraa rang meraa goree baahein golgol-asha,usha d)Do baatein pyaar bharee kar loon-asha,kishore e)Ho teraa meraa mel hai milaayaa raam ne-asha,kishore,chorus
7)Beimaan-1972=6 songs a)Dekho jee raat ko julam ho gayaa-asha b)Na izzat kee chintaa fikra koee apmaan kee-mukesh c)Ye raakhee bandhan hai aesaa-lata,mukesh d)Ham do mast malang pilaayen-kishore,mahendra e)Patlaa patlaa reshamee kurtaa-mahendra,asha,chorus f)Main chalee hoon wahaan meraa pyaar-asha,sharda,chorus
A tribute to ace movie maker, Amiya Chakravarthy, on his death anniversary.
Shankar Jaikishan and Amiya Chakravarty, An Awesome Association
When two extremely talented parties come together, the result will be stupendous. That’s what happened to Shankar Jaikishan’s association with ace producer/director, Amiya Chakravarty. SJ and Chakravarty came together in Badal. They continued to work for the next five consecutive years in Daag, followed by Patita, Badshah, Seema and ending with Kathputli. All movies had excellent albums with top actors in the lead. While SJ had a deep knowledge in music and could play several instruments, Amiya Chakravarty’s talent lay in writing producing and directing movies. Thus, the combo worked very well, creating great movies with outstanding music.
Badal (1951): The movie, directed by Amiya Chakravarty, came within two years of SJ’s debut in movies. It was based on Robin Hood of Sherwood Forest, starring Premnath and Madhubala in the lead. There are eight songs in the album with Lata singing seven of them, six of which are solos and a duet with Mukesh who also sang a solo. The movie was one of the top grossers of the year.
Daag (1952): The movie was produced and directed by Amiya Chakravarty. Dilip Kumar, Usha Kiran and Nimmi were cast in the lead. The super hit album has a total of nine solo songs. Lata sang five and Talat four. One is a tandem song sung by Lata in a slow version. Talat sang the other two in a fast and slow versions. The movie was a hit at the box office with Dilip Kumar winning his first Filmfare Award for Best Actor.
Patita (1953): Amiya Chakravarty produced and directed the movie. Dev Anand, Usha Kiran play the leading roles. There are a total of six songs in the beautiful album. Talat sang three solos, Lata sang two solos and a duet with Hemant Kumar. It fared very well at the box office.
Badshah (1954): Amiya Chakravarty directed the movie with Pradeep Kumar, Usha Kiran and Mala Sinha in the lead. There are eight songs in the album. Lata sang five solos and a duet with Hemant Kumar. Spare SJ Lahiri and Hemant Kumar sang a solo each. The movie had a successful run at the box office.
Seema (1955): The critically acclaimed movie is one of the highest grossing movies of the year. It is written and directed by Amiya Chakravarty. It has Balraj Sahni and Nutan in the lead. The album has seven tracks with every one of them a hit. Lata sang four songs, Rafi two and Manna Dey one. Chakravarty won a Filmfare Award for Best Story and Nutan for Best Actress.
Kathputli (1957): The movie is co-produced by Amiya Chakravarty. It is also written and partially directed by him. Due to his sudden death, it was completed by Nitin Bose. It stars Vyjayantimala and Balraj Sahni in the lead. The album is extremely popular. It has eight songs, Lata sang six solos, one duet with Mukesh and Subir Sen sang a solo.
The untimely death of Amiya Chakravarty brought an abrupt end to his very successful association with SJ that could have brought forth many more classics.
Seen in the picture below are (L-R): Shankar, Hasrat, distributer Kamat, Amiya Chakravarty with sarod exponent Ali Akbar Khan at the rehearsal of Suno Chhoti Si Gudiya Ki Lambi Kahani for Seema.
“TITLE SONGS” of Shankar-Jaikishan music directors who scored music 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 Majahrooh Sultanpuri—1 no 16)Total songs written by Ajij Kashmiri—1 no.
After Filmfare Award 1966 in photo session, actors David, Devanand, Waheeda Rahman and music director Jaikishan are seen
Friends….
from 4-5 days I was thinking about SJ-Lata combination in my mind. I realized that she sang for SJ continuously from 1949 to 1984(36 years) in 125 films counting total songs 469 Nos( solo-319 Nos Duets-133 Nos and other group songs 17 Nos). Shankar Jaikishan used her versatile voice keeping in mind for female song as per situation and composed the tune to suite her singing talents. She also niceheartly cooperated them, that’s why all her songs are emotional,attractive,appealed to heart and unforgettable.Her “aalaps”are mostly outstanding.Her pronouncations were so clear that listeners get hummed easily with correct lyric words. The yearwise her contribution is stated below- 1)1949—10 songs 0ne film 2)1951—24 songs Four films 3)1952—21 songs Three films 4)1953-46 songs Seven films 5)1954—11 songs Two films 6)1955—13 songs Two films 7)1956—51 songs Seven films 8)1957—10 songs Two films 9)1958—11 songs Two films 10)1959—31 songs Seven films 11)1960—27 songs Five films 12)1961—27 songs Seven films 13)1962—25 songs Six films 14)1963—09 songs Three films 15)1964—26 songs Eight films 16)1965—06 songs Three films 17)1966—17 songs Six films 18)1967—12 songs Five films 19)1968—13 songs Six films 20)1969—10 songs Five films 21)1970—15 songs Five films 22)1971—17 songs Ten films 23)1972—05 songs Five films 24)1973—04 songs Two films 25)1975—11 songs Two films 26)1977—05 songs Two films 27)1978—01 song One film 28)1979—02 songs Two films 29)1980—02 songs One film 30)1981—04 songs Two films 31)1984—01 song One film 32)Unreleased film—02 songs
🌷A Tribute to legendary Lata Mangeshkar on her 1st Death Anniversary🌷 ✍🏻 06 फ़रवरी 2022 के दिन लता मंगेशकर के महाप्रयाण के पश्चात् आज उनकी प्रथम पुण्य तिथि पर उनकी पुण्य स्मृति को प्रणाम🙏 92 वर्ष 04 माह और 08 दिन की अपनी जीवन अवधि की यात्रा पूर्ण करके लता मंगेशकर जिस अनन्त यात्रा पर निकल चुकी हैं वहाँ से लौट कर आने का कोई मार्ग नही है. तार सप्तक पर ध्वनित हुए लता के दीर्ध सुर के आलाप की टंकार इस सृष्टि में अभी भी गुंजायमान है। उनके देह की इह लीला पर विराम अवश्य लग चुका है परन्तु आत्मा से झंकृत होते सरगम की वृष्टि अभी भी ब्रह्माण्ड को भिगो रही है. प्रकाशन विभाग, सूचना एवं प्रसारण मन्त्रालय, भारत सरकार द्वारा वर्ष 1945 से निरन्तर प्रकाशित होने वाली ‘साहित्य और संस्कृति’ की मासिक पत्रिका ‘आजकल’ के मार्च 2022 अंक में प्रकाशित उन पर विशेष श्रद्धांजलि आलेख जो उनके निधन पर श्रद्धा सुमन के रूप में प्रकाशित किया गया था, आप सब के अवलोकनार्थ यहाँ संलग्न है। लता मंगेशकर की पुण्य तिथि पर उन्हें हार्दिक श्रद्धांजलि एवं आत्मिक नमन🙏 ॰ डॉ॰ राजीव श्रीवास्तव Dr Raajeev Shrivaastav
[‘AajKal आजकल’, an oldest prestigious monthly Hindi magazine of literature & culture being published since 1945 by the Publications Division, Ministry of Information and Broadcasting, Government of India.]
FRIENDS….….I am giving here list of Producers with their SHANKARJAIKISHAN MUSIC PICTURES for your references. 1) RAJKAPOOR=Barasat,Awara,Boot polish,Aah,Shree420,Jis desh mein ganga baheti hai,Sangam,Mera naam joker and Kal aaj aur kal,Avan( Tamil),Prem lekhalu ( Tamil). 2) BHAGWANDAS VERMA=Badal,Parabat,Pooja and Baaghi sipaahi. 3) KISHORE SAHU=Kalighata,Mayurpankh,Kism at ka khel and Hare kaanch ki choodiyaan. 4) DALSUKH M PANCHOLI=Nagina(old). 5) AMIYA CHAKRABORTY=Daag,Patita,Badsha h,Seema (old),Apne hue paraye and Pagla kanhi ka. 6) AJITKUMAR CHAKRABORTY=Kathputli. 7) P N ARORA=Poonam,Halaku (D D KASHYAP ) and Dil daulat duniya. 8) DEVENDRA GOEL=Aas. 9) MUNSHI RAM VERMA=Aurat. 10) D D KASHYAP=Nayaghar. 11) RAMESH SAIGAL=Shikast. 12) R CHANDRA=Basant bahar. 13) L B LACHHMAN=Chori chori,Anadi and Asli nakli. 14) MOHAN SAIGAL=New delhi. 15) SHANKARBHAI BHATT=Patrani and Hariyali aur rasta. 16) SOHRAB MODI=Rajhath. 17) MAHIPATRAY SHAH AND ANUPCHAND SHAH=Begunah. 18) SAVAK B VACHA=Yahudi. 19) L V PRASAD=Chhoti bahen,Sasural,Hamrahi and Beti bete. 20) SANT SINGH PACHHI=Kanhaiya. 21) SUBODH MUKHARJEE=Love marriage,Junglee and April phool. 22) NARESH SAIGAL=Main nashe mein hoon and Boy friend. 23) H S RAWAIl=Shararat and Roop ki rani choronka raja. 24) F C MEHRA=Ujala,Singapore,Professo r,Amprapali,Lal patthar,Prince and Elaan. 25) B L RAWAIL=College girl. 26) S A BAKAR=Dil apna aur preet parai. 27) HARDEEP CHATRATH and SHYAM DHAWAN=Ek phool char kante. 28) J OM PRAKASH=Aas ka panchhi,Aayee Milan ki bela and aankhon aankhon mein. 29) NASIR HUSSAIN=Jab pyar kisise hota hai. 30) OM PRAKASH SAIGAL=Krorepati. 31) BUNNY RUBEN and VIJAY KISHORE DUBEY=Aashiq. 32) B R PANTHALU=Dil tera diwana. 33) RAJINDER SINGH BEDI AND AMAR KUMAR=Rungoli. 34) SRIDHAR=Dil ek mandir,Dharti and Duniya kya jaane. 35) R C TALWAR=Ek dil sau afsane. 36) G N VELUMANI=Rajkumar. 37) SEVANTILAL SHAH=Sanjh aur savera. 38) RAMANAND SAGAR=Zindagi and Aarzoo. 39) N N SIPPY=Gumnaam. 40) BHAPPI SONIE=Janwar,Tum haseen main jawaan and Preetam. 41) JAGDISH VERMA=Budtameez. 42) B N SONTHALIA and R K SORAL=Gaban. 43) PRAMOD CHAKRABORTY=Love in Tokyo and Tumse achha kaun hai 44) SHANKAR MUKHERJEE=Pyar mohabbat. 45) CHANDRASHEKHAR=Street singer. 46) S KRISHNAMOORTHY=Suraj. 47) SHAILENDRA= Teesari kasam. 48) MOHAN KUMAR=Aman. 49) SHAKTI SAMANTA=An evening in paris and JAANE ANJAANE. 50) PACHHI=Around the world,International crook and Eet ka jawab patthar. 51) UTTAM KUMAR=Chhoti si mulaqat. 52) MAHESH KAUL=Diwana. 53) DEVI SHARMA=Gunahonka devta. 54) HARI VALIA=Latt sahib and Dur naheen manzil. 55) JAFFER HUSSAIN=Raat aur din and NEELIMA. 56) G P SIPPY=Brahmachari and Andaz. 57) AMARJEET=Duniya. 58) R D BANSAL and RAMESH LAMBA=Jhuk gaya aasman. 59) Producer is not known,but Director VIJAY ANAND=Kahin aur chal. 60) RAJENDRA BHATIA=Kanyadaan, Jangal mein mangal and Aaj ki taaza khabar. 61) MALIKCHAND KOCHAR and VINODKUMAR=Mere huzoor and Aanbaan. 62) B ANANTHASWAMI=Sapnon ka saudagar. 63) ATMA RAM=Shikar, Chanda aur bijli and Umang. 64) JAYMALA=Baalak. 65) B S RANGA=Bhai bahen 66) LEKH TANDON=Jahan pyar miley. 67) RAJA RAM and SATISH WAGLE=Pyar hi pyar and Yaar mera. 68) M C RAMAMURTHY=Sachaai, Parde ke peechhe and Bandagi. 69) S S VASAN=Shatranj. 70) DEVEN VERMA=Yakeen and NADAAN. 71) RATAN MOHAN=Bhaibhai. 72) M V RAMAN=Jwala. 73) SOHANLAL KANWAR=Pehchan,Seema(new),Be-imaan, Do zoot, Sanyasi,Duniyadari,Atmaram,Naa ri and Papi pet ka sawal hai. 74) SANAT KOTHARI=Albela. 75) ARUN VERMA=Balidan. 76) P GANGADHARA RAO=Ek nari ek brahmachari. 77) HARDEEP CHATRATH and KRISHAN KAPOOR=Jawan mohobbat. 78) M MURUGAN, M KUMARAN, M SARVANAM and M BALU=Main sundar hoon. 79) KEDAR KAPOOR and R S SHARMA=patanga. 80) E V RAJAN=Aankh micholi. 81) K C BOKADIA=Rivaaj. 82) J L MIRCHANDANI and K T GOPAL=Archana. 83) KEWAL P KASHYAP=Chori chori (NEW). 84) J P GUPTA and RAJHANS=Daaman aur aag. 85) BALUBHAI SHAH=Naina. 86) TONY WALKER=Pyar ka rishta. 87) BANY TALWAR=Chhote sarkaar. 88) JAGDISH VERMA and SATPAL VERMASJ-Producers,Directors By Mukund Marulkar on Friday, July 13, 2012 at 7:10am
FRIENDS….….I am giving here list of Producers with their SHANKARJAIKISHAN MUSIC PICTURES for your references.
1) RAJKAPOOR=Barasat,Awara,Boot polish,Aah,Shree420,Jis desh mein ganga baheti hai,Sangam,Mera naam joker and Kal aaj aur kal,Avan( Tamil),Prem lekhalu ( Tamil). 2) BHAGWANDAS VERMA=Badal,Parabat,Pooja and Baaghi sipaahi. 3) KISHORE SAHU=Kalighata,Mayurpankh,Kism at ka khel and Hare kaanch ki choodiyaan. 4) DALSUKH M PANCHOLI=Nagina(old). 5) AMIYA CHAKRABORTY=Daag,Patita,Badsha h,Seema (old),Apne hue paraye and Pagla kanhi ka. 6) AJITKUMAR CHAKRABORTY=Kathputli. 7) P N ARORA=Poonam,Halaku (D D KASHYAP ) and Dil daulat duniya. 8) DEVENDRA GOEL=Aas. 9) MUNSHI RAM VERMA=Aurat. 10) D D KASHYAP=Nayaghar. 11) RAMESH SAIGAL=Shikast. 12) R CHANDRA=Basant bahar. 13) L B LACHHMAN=Chori chori,Anadi and Asli nakli. 14) MOHAN SAIGAL=New delhi. 15) SHANKARBHAI BHATT=Patrani and Hariyali aur rasta. 16) SOHRAB MODI=Rajhath. 17) MAHIPATRAY SHAH AND ANUPCHAND SHAH=Begunah. 18) SAVAK B VACHA=Yahudi. 19) L V PRASAD=Chhoti bahen,Sasural,Hamrahi and Beti bete. 20) SANT SINGH PACHHI=Kanhaiya. 21) SUBODH MUKHARJEE=Love marriage,Junglee and April phool. 22) NARESH SAIGAL=Main nashe mein hoon and Boy friend. 23) H S RAWAIl=Shararat and Roop ki rani choronka raja. 24) F C MEHRA=Ujala,Singapore,Professo r,Amprapali,Lal patthar,Prince and Elaan. 25) B L RAWAIL=College girl. 26) S A BAKAR=Dil apna aur preet parai. 27) HARDEEP CHATRATH and SHYAM DHAWAN=Ek phool char kante. 28) J OM PRAKASH=Aas ka panchhi,Aayee Milan ki bela and aankhon aankhon mein. 29) NASIR HUSSAIN=Jab pyar kisise hota hai. 30) OM PRAKASH SAIGAL=Krorepati. 31) BUNNY RUBEN and VIJAY KISHORE DUBEY=Aashiq. 32) B R PANTHALU=Dil tera diwana. 33) RAJINDER SINGH BEDI AND AMAR KUMAR=Rungoli. 34) SRIDHAR=Dil ek mandir,Dharti and Duniya kya jaane. 35) R C TALWAR=Ek dil sau afsane. 36) G N VELUMANI=Rajkumar. 37) SEVANTILAL SHAH=Sanjh aur savera. 38) RAMANAND SAGAR=Zindagi and Aarzoo. 39) N N SIPPY=Gumnaam. 40) BHAPPI SONIE=Janwar,Tum haseen main jawaan and Preetam. 41) JAGDISH VERMA=Budtameez. 42) B N SONTHALIA and R K SORAL=Gaban. 43) PRAMOD CHAKRABORTY=Love in Tokyo and Tumse achha kaun hai 44) SHANKAR MUKHERJEE=Pyar mohabbat. 45) CHANDRASHEKHAR=Street singer. 46) S KRISHNAMOORTHY=Suraj. 47) SHAILENDRA= Teesari kasam. 48) MOHAN KUMAR=Aman. 49) SHAKTI SAMANTA=An evening in paris and JAANE ANJAANE. 50) PACHHI=Around the world,International crook and Eet ka jawab patthar. 51) UTTAM KUMAR=Chhoti si mulaqat. 52) MAHESH KAUL=Diwana. 53) DEVI SHARMA=Gunahonka devta. 54) HARI VALIA=Latt sahib and Dur naheen manzil. 55) JAFFER HUSSAIN=Raat aur din and NEELIMA. 56) G P SIPPY=Brahmachari and Andaz. 57) AMARJEET=Duniya. 58) R D BANSAL and RAMESH LAMBA=Jhuk gaya aasman. 59) Producer is not known,but Director VIJAY ANAND=Kahin aur chal. 60) RAJENDRA BHATIA=Kanyadaan, Jangal mein mangal and Aaj ki taaza khabar. 61) MALIKCHAND KOCHAR and VINODKUMAR=Mere huzoor and Aanbaan. 62) B ANANTHASWAMI=Sapnon ka saudagar. 63) ATMA RAM=Shikar, Chanda aur bijli and Umang. 64) JAYMALA=Baalak. 65) B S RANGA=Bhai bahen 66) LEKH TANDON=Jahan pyar miley. 67) RAJA RAM and SATISH WAGLE=Pyar hi pyar and Yaar mera. 68) M C RAMAMURTHY=Sachaai, Parde ke peechhe and Bandagi. 69) S S VASAN=Shatranj. 70) DEVEN VERMA=Yakeen and NADAAN. 71) RATAN MOHAN=Bhaibhai. 72) M V RAMAN=Jwala. 73) SOHANLAL KANWAR=Pehchan,Seema(new),Be-imaan, Do zoot, Sanyasi,Duniyadari,Atmaram,Naa ri and Papi pet ka sawal hai. 74) SANAT KOTHARI=Albela. 75) ARUN VERMA=Balidan. 76) P GANGADHARA RAO=Ek nari ek brahmachari. 77) HARDEEP CHATRATH and KRISHAN KAPOOR=Jawan mohobbat. 78) M MURUGAN, M KUMARAN, M SARVANAM and M BALU=Main sundar hoon. 79) KEDAR KAPOOR and R S SHARMA=patanga. 80) E V RAJAN=Aankh micholi. 81) K C BOKADIA=Rivaaj. 82) J L MIRCHANDANI and K T GOPAL=Archana. 83) KEWAL P KASHYAP=Chori chori (NEW). 84) J P GUPTA and RAJHANS=Daaman aur aag. 85) BALUBHAI SHAH=Naina. 86) TONY WALKER=Pyar ka rishta. 87) BANY TALWAR=Chhote sarkaar. 88) JAGDISH VERMA and SATPAL VERMA=insaaniyat. 89) VINOD KUMAR and A NARANG=Mera vachan geeta ki qasam. 90) T C DEWAN=Resham ki dori. 91) JEMINI DEWAN=Tarzan mera sathi. 92) TEJNATH ZAR=Vachan and Garam khoon. 93) SHUBIR MUKHERJI=Love in Bombay. 94) KALIDAS=Saazish. 95) S N JAIN=Dhoop chhaaon. 96) KRISHAN KUMAR=Mahfil 97) S V MUNGARE=Ganga aur geeta. 98) SHAM BEHL=The gold medal. 99) V K SOOD=Chorni. 100) SHAHAB AHMED=Film hi film. 101) SURJEET KUMAR NANDA=Inteqaam ki aag. 102) KAMAL CHOWDHURY and M N YASIN=Kaanch ki deewar. 103) UPENDRA JHA=Krishna Krishna. 104) VIJAY VEER SINGH TYAGI=Gori. 105) ISMAIL MERCHANT and JAMES IVORY=Bombay talkie. 106) V CHANDRAKANT=Tee mee navhech. 107) GANGADHAR RAO=Jeevitha chakram(TELUGU). 108) ARUN CHAUDHURI=Everest (kanchanganga) Documentary film. 109) J K NANDA=Chalak (Unreleased). 110) RAVINDRA DAVE=Nagina (new). (Unreleased). 111) BADRI PRASAD JOSHI=nain mile chan kahan (Unreleased) 112) JIA-UL-HAQ HASAN SIDDIQUI=Naseeb ki baat (Unreleased). 113) MANOHAR DEEPAK=Panee (Unreleased). 114) KAMAL CHOWDHURY=Waqt ka sakandar (Unreleased). 115) A A M NOORANI= Watan (Unreleased). 116) THE GRAMOPHONE COMPANY OF INDIA LTD= Raaga-jazz style(1968)…INSTRUMENTAL.
The composer duo and singer had a three decade long association. They worked together in fifteen movies with nineteen songs. All her songs were either duets or trios with the exception of one solo which stands as one of her best.
Shankar Jaikishan and Usha Mangeshkar
Raj Hath (1956): Produced and directed by Sohrab Modi, the movie has Pradeep Kumar and Madhubala in the lead. There are twelve songs in the album. Shailendra wrote seven songs and Hasrat, five. Rafi and Manna Dey sang one solo each. Lata sang eight solos and two duets, one with Mukesh and the other with Usha Mangeshkar.
Patrani (1956): Shankerbhai Bhatt produced the movie and Vijay Bhatt directed it. Vyjayantimala and Pradeep were cast in the lead roles. There are a total of seven songs in the popular album. Shailendra wrote six of them and Hasrat wrote one. Lata sang all the songs with five being solos, a duet and a trio with Usha Mangeshkar with sister, Meena, joining them.
Main Nashe Mein Hoon (1959): Mahipatray Shah produced the movie with direction by Naresh Saigal. Raj Kapoor was cast opposite Mala Sinha. The album features nine songs. Shailendra wrote five songs, Hasrat wrote four and Mirza Ghalib one. Mukesh sang two solos and one duet with Lata. The latter sang one solo and two duets, one with Mukesh and the other with Raj Kapoor. Rafi, Asha and Usha sang a solo each. Incidentally, this Usha sang for SJ went on to become extremely popular.
Professor (1962): Produced by F. C. Mehra, the movie is directed by Lekh Tandon. Shammi Kapoor played the lead opposite new comer, Kalpana. There are six songs in the album with Hasrat writing four and Shailendra two. Rafi sang two solos and two duets with Lata. Lata and Asha sang a duet and a trio was sung by Manna Dey, Asha and Usha.
Gumnaam (1965): N. N. Sippy produced the whodunit movie with direction by Raja Nawathe. Manoj Kumar and Nanda were cast in the lead. There are eight songs in the album. Shailendra and Hasrat wrote four songs each. Rafi sang two solos and two duets, one with Sharda and the other with Mehmood. Lata sang two solos and Sharda sang one. Asha and Usha sang a duet.
Pyar Mohabbat (1965): Produced and directed by Shankar Mukherjee it has Dev Anand and Saira Banu in the lead. Shailendra wrote five of the nine songs in the album while Hasrat wrote four. Rafi and Sharda sang two solos each, while Lata and Asha, each, sang one solo. Rafi sang two duets, one with Asha and another with Manna Dey. A third duet was sung by Asha and Usha.
Parde Ke Peechhey (1971): M. C. Ramamurthy produced the movie and K. Shankar directed it. Vinod Mehra and Yogita Bali are lead actors. Rajinder Krishan wrote the entire album. Kishore Kumar sang a solo. Lata and Asha sang two solos each. The latter sang a trio with Shamshad Begum and Usha.
Aankhon Aankhon Mein (1972): J. Om Prakash produced the movie and Raghunath Jhalani. Rakesh Roshan played the lead opposite Raakhee. There are six songs in the album. Lata sang a solo. Kishore Kumar sang one solo and three duets with Asha. The latter, also, sang a duet with Usha.
Jangal Mein Mangal (1972): Rajendra Bhatia produced and directed the movie with Kiran Kumar and Reena Roy in the lead. There are seven songs in the album. Hasrat and Neeraj wrote them. Kishore Kumar sang two solos and one duet with Rafi. Asha sang three solos and one duet with Usha.
Aaj Ki Taaza Khabar (1973): Produced and directed by Rajendra Bhatia, the movie has Radha Saluja play the lead opposite I. S. Johar. There are five songs in the album written entirely by Hasrat. Asha and Kishore Kumar sang two solos each with the latter singing a duet with Usha.
Do Jhoot (1975): Sohanlal Kanwar produced the movie and Jyu Thakar directed it. Vinod Mehra and Moushumi Chatterjee acted in the lead. M. G. Hashmat wrote three songs with Vitthalbhai Patel, Verma Malik and Vishweshwar Sharma writing a song each. Lata sang a solo and two duets, one with Kishore Kumar and another with Usha. She also sang a trio with Rafi and Nitin Mukesh. Usha, also, sang a duet with Kishore Kumar and a trio with Manna Dey and Mahendra Kapoor.
Dhoop Chhaon (1977): S. N. Jain produced the movie and directed by Nitin Bose. It has Sanjeev Kumar and Hema Malini in the lead. There are five songs in the album. Kaifi Azmi, Vitthalbhai Patel, Vishweshwar Sharma and Virendra Mishra wrote a song each. Lata and Rafi sang a solo each while Asha sang two. A duet was sung by Usha and Kalyani Mitra.
Duniyadari (1977): The movie was produced by Sohanlal Kanwar and directed by Ram Kelkar. It has Nutan, Parikshit Sahni, Vinod Mehra and Bindiya Goswami in key roles. There are six songs in the album. Vishweshwar Sharma and M. G. Hashmat wrote two songs each while Vitthalbhai Patel and Prabha Thakur, each, wrote a song. Lata sang a solo and duets with Rafi, Kishore Kumar and Usha. A multi singer song was done with Rafi, Anwar, Shobha Gurtu, Nasir Chopra and Khan Saheb.
Naari (1981): The movie is produced by Sohanlal Kanwar and directed by Saharan K. Chand. Rakesh Roshan, Sarika and Neeta Mehta played the key roles. M. G. Hashmat wrote the entire album with six songs. Usha, Lata, Sushma Shresta, Kishore Kumar and Amit Kumar sang one solo each. A duet was sung by Yesudas and Amit Kumar.
Inteqam Ki Aag (1986): Surjeet Kumar and Nanda produced the movie, while Shiv Kumar directed it. Vinod Mehra and Kaajal Kiran were cast in the lead. There are four songs in the lead. Indeevar and Mahendra Dehlavi wrote two songs each. Rafi and Asha sang a solo each and a duet together, while Sushma Shrestha and Preeti Sagar sang another duet.
Shankar’s untimely death brought the long association to an abrupt end.
Seen in the picture below are (L-R): Usha Mangeshkar, Shankar and Sulakshana Pandit at the rehearsal of Ek Tha Kanha Ek Thhi Radha for Aatmaram.
By Lakshmi K Tummala, President, Shankar Jaikishan Fans’ Association International, Hyderabad
Friends…187)SHANKARJAIKISHAN KE GAIR-FILMY GEET-15 songs and One Background Music for documentary. 1)Baar baar mujhko aazmaaeeye,mere dil ko todiye jodiye-Aadil Bhesadiya-Sharda 2)Milaa thaa koee hamein yaad hai to bas itnaa..ham teraa intazaar karte hain,aa bhee jaa tujhse pyaar karte hain-Aarti Mukharjee-Kafeel Azar 3)Jaan-e-tamanna,jaan-e-bahaaraa,zaraa ruk jaanaa-Shailendra Singh-Shaily Shailendra 4)Yaad kartaa hoon,choom letaa hoon,,man hee man hanstaa hoon-Aarti,Shailendra Singh-Sharda 5)Hamse koee pyaar karo jee,kamse kam ek baar karo jee-chorus-Sharda 6)Naujawaan jaagaa hai lab pe ye taraanaa hai,saathee re chalet chalo,hausalaa hamaaraa ye,waqt kaa ishaaraa ye,naee raah chalet chalo-Aadil,Ravindra Bijoor,chorus-Amir Qajalbaksh 7)Ham naujawaan hai wvatan ke,chalnaa hai chalte raheinge,jo deep hamne jalaaye woh deep jalte raheinge-Aadil,Ravindra,chorus-Amir Qajalbaksh 8)Apne desh kaa sundar sapnaa,ye gulshan hai saaraa apnaa,pyaar ke bande ,pyaar ke raahee,pyaar muhobbat naaraa apnaa-Aadil,Ravindra,chorus-Amir Qaajalbaksh 9)Ae watan ham tere naujawaan hai,ae chaman ham tere paasabaan hai,manzeelein khud hamein dhoondatee hai ham to badhataa huaa kaarawaan hai-Aadil,Ravindra,chorus-Amir Qaajalbaksh 10)Sharaab chhod do ye bachche ho jaate hain barbaad-Aadil,Ravindra,chorus-Amir Qaajalbaksh 11)Dekho na aanch aaye tirange kee shaan ko-Mukesh,chorus-HJ 12)Watan ke naam ke liye-Rafi,chorus-Qazi Saleem 13)Hai raaj ko is samay ne rulaayaa,laadlee mere naazon kee paalee,teree dole chalee motiyonwaalee-Mukesh-HJ 14)Although we hail from different lands,we share one earth,remember friends,the world is one-Rafi-Harindranath Chattopadhyay 15)It’s lover’s duty,the she I love is a beautiful,dream come to,I love her-Rafi-HC. 16)EVEREST-1968-Doc umentary- This 80 minutes documentary depicts the third expedition of the conquest of the Mount Everest on February 24,1955.The people in the expedition were Lt. Commander M.S. Kohli,Major Kumar,Mulkraj,Ravat,Vora,B.P.Singh,Ahuluvalia,Bhaga,Joseph,Bahuguna,Seena,Navang Bangu,Dr. Telang,Dr. Chakraborty,Rana,and Balakrishnan.Zul Velani wrote the script for the documentary.SHANKARJAIKISHAN scored the background music.Sebastian was credited with the arrangement and the assistant music director was Dattaram. B.N.Sharma recorded the score for this documentary.Kanchanganga was the title of the documentary,when released in Hindi.Friends…187)SHANKARJAIKISHAN KE GAIR-FILMY GEET-15 songs and One Background Music for documentary. 1)Baar baar mujhko aazmaaeeye,mere dil ko todiye jodiye-Aadil Bhesadiya-Sharda 2)Milaa thaa koee hamein yaad hai to bas itnaa..ham teraa intazaar karte hain,aa bhee jaa tujhse pyaar karte hain-Aarti Mukharjee-Kafeel Azar 3)Jaan-e-tamanna,jaan-e-bahaaraa,zaraa ruk jaanaa-Shailendra Singh-Shaily Shailendra 4)Yaad kartaa hoon,choom letaa hoon,,man hee man hanstaa hoon-Aarti,Shailendra Singh-Sharda 5)Hamse koee pyaar karo jee,kamse kam ek baar karo jee-chorus-Sharda 6)Naujawaan jaagaa hai lab pe ye taraanaa hai,saathee re chalet chalo,hausalaa hamaaraa ye,waqt kaa ishaaraa ye,naee raah chalet chalo-Aadil,Ravindra Bijoor,chorus-Amir Qajalbaksh 7)Ham naujawaan hai wvatan ke,chalnaa hai chalte raheinge,jo deep hamne jalaaye woh deep jalte raheinge-Aadil,Ravindra,chorus-Amir Qajalbaksh 8)Apne desh kaa sundar sapnaa,ye gulshan hai saaraa apnaa,pyaar ke bande ,pyaar ke raahee,pyaar muhobbat naaraa apnaa-Aadil,Ravindra,chorus-Amir Qaajalbaksh 9)Ae watan ham tere naujawaan hai,ae chaman ham tere paasabaan hai,manzeelein khud hamein dhoondatee hai ham to badhataa huaa kaarawaan hai-Aadil,Ravindra,chorus-Amir Qaajalbaksh 10)Sharaab chhod do ye bachche ho jaate hain barbaad-Aadil,Ravindra,chorus-Amir Qaajalbaksh 11)Dekho na aanch aaye tirange kee shaan ko-Mukesh,chorus-HJ 12)Watan ke naam ke liye-Rafi,chorus-Qazi Saleem 13)Hai raaj ko is samay ne rulaayaa,laadlee mere naazon kee paalee,teree dole chalee motiyonwaalee-Mukesh-HJ 14)Although we hail from different lands,we share one earth,remember friends,the world is one-Rafi-Harindranath Chattopadhyay 15)It’s lover’s duty,the she I love is a beautiful,dream come to,I love her-Rafi-HC. 16)EVEREST-1968-Documentary- This 80 minutes documentary depicts the third expedition of the conquest of the Mount Everest on February 24,1955.The people in the expedition were Lt. Commander M.S. Kohli,Major Kumar,Mulkraj,Ravat,Vora,B.P.Singh,Ahuluvalia,Bhaga,Joseph,Bahuguna,Seena,Navang Bangu,Dr. Telang,Dr. Chakraborty,Rana,and Balakrishnan.Zul Velani wrote the script for the documentary.SHANKARJAIKISHAN scored the background music.Sebastian was credited with the arrangement and the assistant music director was Dattaram. B.N.Sharma recorded the score for this documentary.Kanchanganga was the title of the documentary,when released in Hindi.
शंकर जी (जयकिशन जी) को उनके जन्मशताब्दी वर्ष पर इन शब्द सुमनों द्वारा विनम्र अभिवादन !
‘दो भटकते राही – ‘शंकर – जयकिशन’, बंबई में आ मिले मंज़िल पर – चंद्रवदन भट ऑफीस, मायानगरी बंबई, दो दिलों की कश्ती आ लगी साहिल पर – ‘पृथ्वी थिएटर्स’, मुस्कुराते जागे एक संग दो मुक़द्दर’ – राज साहब की फ़िल्म ‘बरसात’ में स्वतंत्र संगीत निर्देशन का मौका …
फिर …
‘२१ अप्रेल १९४९’ को बंबई के सिनेमा घरों की ओर जानेवाली सडकोंपर सिनेमा प्रेमियों की भीड उमडी थी, इसी दिन राज साहब की फिल्म ‘बरसात’ प्रदर्शित हुई थी, यह लोग बेताब थे, इस फ़िल्म के गीत पर्देपर देखने के लिए … एक युवा जोडीकी संगीत सफ़र की यह शुरुआत थी … फ़िल्म के शुरू होते ही श्रेय नामावली में (Titles) Music – Shankar – Jaikishan, Lyricist – Hasrat Jaipuri – Shailendra यह चार नाम पहली बार परदेपर दिखाई दिए, जो फ़िल्म का प्रमुख आकर्षण थे…’शंकर – जयकिशन’ इस नवोदित और युवा संगीतकार द्वयी का संगीत, और शैलेंद्र – हसरत इन नौजवां युवकों द्वारा लिखे गीत, उस दिन बहुचर्चित विषय बना था … इन चार युवकों नें हिंदी सिनेमा संगीत की दुनिया मे पहला कदम रखा था … ‘एस-जे’ ने इसी फिल्म से स्वतंत्र संगीत निर्देशन का ‘आगाज’ किया था … उस दिन शाम के ढलते ढलते ‘अंजाम’ यह था क़ि, युवा ‘एस-जे’ और उनकी धुनों से सजे गीत हर किसी के दिलमें जा बसे थे, साथ में ‘शैलेंद्र – हसरत जयपुरी’ जैसे युवा गीतलेखक, जो इन गीतों के रचनाकार थे … बंबई के साथ और बाद में जहां जहां बरसात प्रदर्शित हुई वहां उसे सफलता ही मिली…भारतवर्ष के तमाम संगीत शौकीन जो बदलाव चाहते थे, वोह ‘एस-जे’ लेकर आये थे हिंदी सिने संगीत में … नयी रचनाओं के साथ, नयी कर्णमधुर धुनों से सजे गीत लेकर …चार होनहार युवक, शंकर – हैदराबाद, जय – वंसदा (गुजरात), शैलेंद्र – मथुरा तो हसरत जयपुरी – ‘गुलाबी शहर’ जयपूर से बंबई आए थे … क़िस्मत आजमाने, आँखों में सप��शंकर जी (जयकिशन जी) को उनके जन्मशताब्दी वर्ष पर इन शब्द सुमनों द्वारा विनम्र अभिवादन !
सौ साल पहले हमें तुमपे नाज़ था … आज भी है और कल भी रहेगा !!!
‘दो भटकते राही – ‘शंकर – जयकिशन’, बंबई में आ मिले मंज़िल पर – चंद्रवदन भट ऑफीस, मायानगरी बंबई, दो दिलों की कश्ती आ लगी साहिल पर – ‘पृथ्वी थिएटर्स’, मुस्कुराते जागे एक संग दो मुक़द्दर’ – राज साहब की फ़िल्म ‘बरसात’ में स्वतंत्र संगीत निर्देशन का मौका …
फिर …
‘२१ अप्रेल १९४९’ को बंबई के सिनेमा घरों की ओर जानेवाली सडकोंपर सिनेमा प्रेमियों की भीड उमडी थी, इसी दिन राज साहब की फिल्म ‘बरसात’ प्रदर्शित हुई थी, यह लोग बेताब थे, इस फ़िल्म के गीत पर्देपर देखने के लिए … एक युवा जोडीकी संगीत सफ़र की यह शुरुआत थी … फ़िल्म के शुरू होते ही श्रेय नामावली में (Titles) Music – Shankar – Jaikishan, Lyricist – Hasrat Jaipuri – Shailendra यह चार नाम पहली बार परदेपर दिखाई दिए, जो फ़िल्म का प्रमुख आकर्षण थे…’शंकर – जयकिशन’ इस नवोदित और युवा संगीतकार द्वयी का संगीत, और शैलेंद्र – हसरत इन नौजवां युवकों द्वारा लिखे गीत, उस दिन बहुचर्चित विषय बना था … इन चार युवकों नें हिंदी सिनेमा संगीत की दुनिया मे पहला कदम रखा था … ‘एस-जे’ ने इसी फिल्म से स्वतंत्र संगीत निर्देशन का ‘आगाज’ किया था … उस दिन शाम के ढलते ढलते ‘अंजाम’ यह था क़ि, युवा ‘एस-जे’ और उनकी धुनों से सजे गीत हर किसी के दिलमें जा बसे थे, साथ में ‘शैलेंद्र – हसरत जयपुरी’ जैसे युवा गीतलेखक, जो इन गीतों के रचनाकार थे … बंबई के साथ और बाद में जहां जहां बरसात प्रदर्शित हुई वहां उसे सफलता ही मिली…भारतवर्ष के तमाम संगीत शौकीन जो बदलाव चाहते थे, वोह ‘एस-जे’ लेकर आये थे हिंदी सिने संगीत में … नयी रचनाओं के साथ, नयी कर्णमधुर धुनों से सजे गीत लेकर …चार होनहार युवक, शंकर – हैदराबाद, जय – वंसदा (गुजरात), शैलेंद्र – मथुरा तो हसरत जयपुरी – ‘गुलाबी शहर’ जयपूर से बंबई आए थे … क़िस्मत आजमाने, आँखों में सपने सजाये, इस भूलभुलैय्या वाली मायानगरी में … और अपने पहले ही प्रयास में वें चारों सफल हुए थे. ‘बरसात में हमसे मिले तुम सजन तुमसे मिले हम बरसात में’, ‘जिया बेकरार हैं’, ‘हवा में उडता जाये’, ‘मैं जिंदगी में हरदम रोता’, ‘मुझे किसी से प्यार हो गया’, ‘अब मेरा कौन सहारा’, ‘छोड़ गए बालम’, ‘पतली कमर’, ‘मेरी आँखों मे बस गया कोई रे, ‘बिछड़े हुए परदेसी’….. सब गीत बेहद लोकप्रिय हुए … अपनें धुवांधार संगीत से ‘एस-जे’ की जोडी ने संगीत के मैदान पर पहली बाज़ी जीत ली थी, हर किसीं का मन मोह लिया था … ‘बरसात’ की अपार सफलता से तीन बातें एक साथ हो गयी थी, एक तो राज साहब को इस जोड़ी की क़ाबिलीयत पर यक़ीन हो गया था, वोह अपनी शुरुआती फिल्मों की असफ़लता के ‘चक्रव्यूह’ से बाहर निकल गए थे, उनकी करिअर को दिशा मिल गयी थी, दूसरी बात उन्होंने RK स्टुडियो खरीद लिया था, …तीसरी और सबसे महत्वपूर्ण बात यह थी, ‘एस-जे’ के क़दम उस ‘संगीत सम्राट’ के सिंहासन की ओर बढ़ गए थे, जो उन्हें दूर से इशारा कर रहा था … और दूरी ज्यादह नहीं थी. १९५१ में आवारा प्रदर्शित हुई और भारत की सीमा लाँघकर ‘एस-जे’ ने दूसरा क़दम सीधा विदेश में रक्खा … रूस, चीन, बल्गेरिया, टर्की के युवक रास्तों पर ‘आवारा हूँ’ यह गीत गाकर झूमने लगे,नाचने लगे थे … सभी गीत झक्कास थे, एस-जे अपनी दूसरी ही फ़िल्मसे ‘जगन्मान्य’ हो गए थे … तरोताज़ा, मदमस्त धुनें बनाकर वें विश्व में अपनी पहचान बना चुके थे … फिर संगीत प्रेमियों ने तुरंत उन्हें ‘संगीत सम्राट’ के सिंहासन पर बिठा कर उनकी ताज़पोशी कर दी थी.
‘आवारा हूँ’, ‘तेरे बिना आग ये चाँदनी’ ‘घर आया मेरा परदेसी’, ‘दम भर उधर मुंह फेरे’, ‘हम तुझसे मोहब्बत करके सनम’ ‘एक बेवफ़ा से प्यार किया’, ‘जबसे बलम घर आएं’, ‘आ जाओ तड़पते हैं अरमाँ’ …. यह गीत लोकप्रियता की चरम सीमा लांघ गए थे …
‘बरसात’, ‘आवारा’ के बाद अगले १० साल में उनकी ‘आह’, ‘पतिता’, ‘शिकस्त’, ‘दाग’, ‘मयुरपंख’, ‘श्री ४२०’, ‘राजहठ’, ‘पटरानी’, ‘न्यू दिल्ली’, ‘बसंत बहार’, ‘चोरी चोरी’, ‘कठपुतली’, ‘छोटी बहन’, ‘हलाकू’, ‘यहूदी’ आदि फिल्में प्रदर्शित हुईं और वें इन फिल्मों में बेहतर से बेहतरीन गीत पेश करते गए … ‘बसंत बहार’ का ख़ास जिक़्र करना चाहूंगा … यह फ़िल्म ‘LITMUS TEST’ थी और ‘एस-जे’ इसमें आसानी से अव्वल नंबर्स लेकर उत्तीर्ण हुए थे … इस फिल्म के सब गीत रागदारी पर आधारित थे, विभिन्न रागों का प्रयोग किया गया था और उन्हें इस प्रयोग में जबरदस्त कामयाबी मिली थीं.
‘केतकी,गुलाब,जूही,चंपक बन फूले’ – राग – ‘बसंत बहार’, ‘सूर ना सजे’ – राग – ‘पिलू बसंत’, ‘जा जा रे जा बालमवा’ – राग ‘झिंझोटी’, ‘नैन मिले चैन कहाँ’ – राग – ‘रागेश्री’, ‘दुनिया ना भाये मुझे’ – राग ‘तोड़ी’, ‘कर गया रे मुझपे जादू’ – राग ‘रागेश्री’, ‘बड़ी देर भयी’ – राग ‘दरबारी’
एस-जे का यह मुँहतोड़ और क़रारा जवाब था, उन लोगों को जो, उन्हें सिर्फ पश्चिमी ढंग की रचनाओं का संगीतकार मानते थे, जो एस-जे की क़ाबिलियत पर प्रश्नचिन्ह लगाते थे … ‘बसंत बहार’ के बाद यह लोग हमेशा के लिए ख़ामोश हो गए … ‘पटरानी’ की रचनाएँ भी इसी स्तर की थी, तो ‘हलाकू’ और ‘यहुदी’ में अरेबिक ढंग का संगीत था, जो उन फिल्मों की ज़रूरत थी… बसंत बहार के बाद एस – जे और खुल कर, आत्मविश्वास के साथ अपनी रचनाएँ पेश करने लगे … उनकी संगीतशैली में अब और ख़ुमार आया था …पश्चिमी, अरेबिक, और शास्त्रीय संगीत तीनों ढंग में उन्होंने अपनी रचनाएँ पेश की थी और संगीत रसिकों के लिए यह बेशक़ीमती उपहार था … परिपूर्ण अभ्यास, कठोर संगीत साधना से उन्होंने संगीतकला को नया आयाम दिया था, नयी पहचान दी थी …
‘एस-जे’ की इन फिल्मों के कुछ यादगार गीत …
‘पतिता’ – ‘याद किया दिलने कहाँ हो तुम, ‘है सबसे मधुर गीत वो’, ‘किसी ने अपना बनाके मुझको’ … ‘आह’ – ‘आजा रे अब मेरा दिल पुकारा’, ‘रात अँधेरी दूर सवेरा’, ये शाम की तनहाइयाँ’ … ‘श्री ४२०’ – ‘रमैय्या वस्तावैया’, ‘मेरा जूता है जापानी’, ‘इचक दाना बिचक दाना’, ‘प्यार हुआ इकरार हुआ’, ‘दिल का हाल सुनें दिलवाला’ ‘दाग’ – ‘ए मेरे दिल कहीं और चल’, ‘शिकस्त’ – ‘जब जब फूल खिले’, ‘कारे बदरा तू ना जा’, ‘चमके बिजुरियां’ ‘पटरानी’ – ‘चंद्रमा मदभरा, ‘बसंत बहार’ – ‘केतकी, गुलाब, जूही, चंपक बन फूले, सूर ना सजे, ‘राजहठ’ – ‘ये वादा करो चाँद के सामने’, ‘कठपुतली’ – ‘बोल री कठपुतली’ ‘छोटी बहन’ – ‘जाऊँ कहा बता ए दिल’, ‘भैया मेरे राखी के बंधन को निभाना’, मैं रंगीला प्यार का राही’ … ‘यहूदी’ – ‘ये मेरा दीवानापन है’, ‘मेरी जां मेरी जां’, ‘ ‘हलाकू’ – ‘दिल का ना करना एतबार कोई’, ‘अजी चले आवो’, ‘आजा के इंतजार में’ ‘चोरी चोरी’ – ‘आजा सनम मधुर चाँदनी में’, ‘पंछी बनू उडती फिरुं’, ‘अनाडी’ – ‘वो चांद खिला’, ‘सब कुछ सीखा हमनें ना सीखीं होशियारी’, ‘कन्हैया’ – ‘मुझे तुमसे कुछ भी ना चाहिये’, ‘
‘चोरी चोरी’ (१९५६) के अफ़लातून संगीत के लिए उन्हें ‘फ़िल्म फेयर पुरस्कार’ से सन्मानित किया गया …यह उनका पहला पुरस्कार था …शास्त्रीय संगीत के साथ पाश्चिमात्य,अरेबिक ऐसे सब संगीत प्रयोग सफल हुए थे … अब एस-जें के सामने मुक़ाबले में कोई खड़ा नही था, मुकाबला ख़ुद से ही था … संगीत साम्राज्य के वोही चक्रवर्ती सम्राट है इस बात को लेकर, अब किसी के मनमें कोई आशंका नहीं थी. एस-जें का साज़गार तबला, हारमोनियम, सतार, बांसरी, ढोलक, डफली, मटका, सनई इन पारंपारिक वाद्यों के साथ पियानो, गिटार, अकॉर्डियन, व्हायलिन, मँडोलिन, इलेक्ट्रिक गिटार, सैक्सोफोन, इलेक्ट्रिक ऑर्गन, ट्रम्पेट, बोंगो, कोंगो ऐसी आधुनिक साजों से सजा था, इन अमोघ अस्त्रों का अपनी फिल्मों में चतुराई से प्रयोग करके एस-जें लगातार रसिकों के दिलों का वेध लेते रहे, उन्हें सम्मोहित करते रहे…५० – ६० साजिंदे चक्रवर्ती सम्राट एस-जे के दरबार में हाज़िर हमेशा हाज़िर रहते थे … ‘दत्तू ठेका’ तो घर घर में पहुँच चुका था…साथ कविराज – हसरत यह दरबारी राजकवियों की जोडीद्वारा निरंतर बेहतरीन गीत निर्मिती हो रही थी. १९६० से एस-जे पूरी सुरीली लय में थे, उनके द्वारा संगीतबद्ध की कई बेहतरीन फिल्में प्रदर्शित हुई. इनमें से कुछ प्रमुख थी, ‘जिस देश में गंगा बहती हैं’, ‘असली नकली’, ‘जब प्यार किसी से होता है’, ‘ससुराल’, ‘दिल अपना और प्रीत पराई’, ‘एक दिल सौ अफ़साने’, ‘आशिक़’, ‘कन्हैया’, ‘दिल एक मंदिर’, ‘जंगली’, ‘प्रोफेसर’, ‘दिल तेरा दीवाना’, ‘हमराही’, ‘जिंदगी’, ‘राजकुमार’, ‘संगम’, ‘लव्ह इन टोकियो’, ‘आरजू’, ‘जानवर’, ‘सूरज’, ‘तीसरी कसम’, ‘गबन’, ‘सांझ और सवेरा’, ‘आम्रपाली’, ‘अँन इव्हिनिंग इन पँरिस’, ‘दीवाना’, ‘दुनिया’, ‘मेरा नाम जोकर’, ‘प्रिंस’, ‘पहचान’, ‘ब्रह्मचारी’, ‘शिकार’, ‘रात और दिन’, ‘संन्यासी’, ‘अंदाज’ आदि इन फिल्मों में उनके अप्रतिम धुनों से सजे गीतों से उनका संगीत साम्राज्य और बढ़ता गया … अजरामर गीतों से समृद्ध होता गया.
‘एस-जे’ के ‘फ़िल्म फेअर पुरस्कार – १) १९५७ – चोरी चोरी, २) १९६० – अनाडी, ३) १९६१ – दिल अपना और प्रीत पराई, १ ४) १९६३ – प्रोफेसर, ५) १९६७ – सूरज, ६) १९६९ – ब्रम्हचारी, आख़री की ‘हॅट्रिक’ ७)१९७१ – पहचान, ८)१९७२ – मेरा नाम जोकर, ९) १९७३ – बेईमान.
शानदार उपलब्धी …. भारत सरकार द्वारा ‘पद्मश्री’ पुरस्कार से सन्मानित …
उनकी रागदारी पर आधारित कुछ रचनाएं …..
सदा सुहागिन राग – ‘भैरवी’
बरसात में हमसे मिले तुम सजन – बरसात रमैय्या वस्तावैय्या – श्री ४२० मेरा जूता हैं जापानी – श्री ४२० तेरा जाना दिल के अरमानों का लूट जाना – अनाडी दोस्त दोस्त ना रहा – संगम तुम्हें और क्या दूं मैं – आयी मिलन की बेला राजा की आयेगी बारात – आह कैसे समझाऊँ बडी नासमझ हो – सूरज जा जा रे जा बालमवा – बसंत बहार
राग – ‘शिवरंजनी’ आवाज़ दे के हमें – प्रोफेसर बहारों फूल बरसाओ – सूरज ओ मेंरे सनम दो जिस्म मगर – संगम दिलके झरोंखें में तुझको बिठाकर – ब्रम्हचारी चंद्रमा मदभरा – पटरानी
राग – ‘किरवाणी’ आई झुम झुम रात ये सुहानी – लव्ह मैरीज गीत गाता हूं मैं – लाल पत्थर याद ना जायें बीतें दिनों की – दिल एक मंदिर तुम्हें याद करते करते – आम्रपाली तुम जो हमारे मीत ना होते – आशिक जब भी ये दिल उदास होता हैं – सीमा मन रे तू ही बता क्या गाऊँ – हमराही
राग – ‘जयजयवंती’ मनमोहना बडें झूठें – सीमा सूनी सूनी सांस के सितार पर – लाल पत्थर
राग – ‘दरबारी कानडा’ हम तुझसे मोहब्बत करके सनम – आवारा तू प्यार का सागर है – सीमा कोई मतवाला आया मेरे द्वारे – लव्ह इन टोकियो छम छम बाजे रे पायलिंया – जाने अनजाने
राग – ‘झिंझोटी’ जा जा रे जा बालमवां – बसंत बहार जाऊँ कहाँ बता ए दिल – छोटी बहन तुम मुझे यूँ भूला ना पावोगे – पगला कहीं का
राग – ‘पहाडी’ मेरी अंखियों में बस गया कोई रे – बरसात प्रीत ये कैसी बोल – दाग मोरा नादान बालमा – उजाला
राग – ‘पिलू’ अजहूं ना आये बालमा – सांज और सवेरा दिन सारा गुजारा तोरे अंगना – जंगली मुरली बैरन भयी रे – न्यू दिल्ली
राग – ‘दरबारी’ राधिके तू ने बंसरी चुराई – बेटी बेटे झनक झनक तोरी बाजे पायलियां – मेरे हुजूर बड़ी देर भयी – बसंत बहार मुझे तुमसे कुछ भी न चाहिये – कन्हैया
राग – ‘भूपाली’ नील गगन की छांव में – आम्रपाली सायोनारा – लव्ह इन टोकियो
राग – ‘भीम पलासी’ देखो मेरा दिल मचल गया – सूरज तड़प ये दिन रात की – आम्रपाली
राग – ‘रागेश्री’ मेरे संग गा गुनगुना – जानवर कर गया रे मुझपे जादू – बसंत बहार नैन मिले चैन कहाँ – बसंत बहार
राग – ‘जोगिया’ दिल एक मंदिर है – दिल एक मंदिर
राग – ‘यमन कल्याण’ एहसान तेरा होगा मुझपर – जंगली
राग – ‘चारुकेशी’ बेदर्दी बालमा तुझको – आरजू
राग – ‘पिलू-बसंत’ सूर ना सजे – बसंत बहार
राग – ‘तोडी’ दुनिया ना भाये मोहे अब तो बुला ले – बसंत बहार
राग – ‘तिलक कामोद’ हम तेरे प्यार में सारा आलम – दिल एक मंदिर
राग – ‘गारा’ उनके खयाल आयें – लाल पत्थर
राग – ‘बसंत बहार’ केतकी,गुलाब,जूही चंपक बन फूले – बसंत बहार इनके अलावा ऐसे सेकड़ों बहारदार गीत रचे थे, एस-जे की जोडीने .. वाकई अचाट, अफाट, अफ़लातून, अगम्य, अतर्क्य काम था यह...रात रात जाग कर उन्होंने अपना साम्राज्य खड़ा किया था ... सालोंसाल संगीत की उपासना कर, इस साधकद्वयीने साक्षात 'माँ सरस्वती को प्रसन्न किया था, सर पर माँ का 'वरदहस्त' होने की वजह से, गीत को किस राग में बाँधना, किस गायक /गायिका से /किस नायक /नायिका के लिये गवाना, ५०-६० साजिंदे संभालना, उन्हें स्वरलिपी लिखकर देना यह सब बहुत जटिल था,लेकिन इन प्रतिभासंपन्न संगीत सम्राटोंनें उसे आसान बना दिया. 'एस-जें' का संगीत, उनके सभी गीत हमारे ह्रदय में सदा बसे रहेंगे ..उनके कुछ विविधता भरे गीत ... मेरे और आपके भी पसंदीदा.
‘केतकी,गुलाब, जूही,चंपक बन फूले’ – पं.भीमसेन जोशी – मन्ना दा की जुगलबंदी अविस्मरणीय.
‘याद किया दिल ने’ – हसरत-एस-जे-लता-हेमंत कुमार का बेहद खूबसूरत, मनमोहक गीत.
‘आ अब लौट चले’ – व्हायलिन की झंकार, लताजी के आलाप हृदयस्पर्शी.
‘ये मेरा प्रेमपत्र पढ़कर’ – इस गीत का लुत्फ़ उठाना है तो, यह गीत परदेपर शुरू होने से पांच मिनट पहले ध्यान से देखियेगा फिर आप एस-जे के क़माल की, उनके करिश्मे की खुल कर दाद ज़रूर दोगे.
‘दोस्त दोस्त ना रहा’, ‘दिलके झरोखें में तुझको बिठाकर’ – एस-जे के सर्वोत्तम पियानो गीत.
‘हर दिल जो प्यार करेगा’ – त्रिकोणीय सुंदर प्रेमाभिव्यक्ती … राधासे एकतरफ़ा प्रेम करनेवाले सुंदर का भरी महफिल में मुहब्बत का खुला इज़हार, ‘राधा’ संयम से वास्तव बयां करती है, तो ‘गोपाल’ सुंदर की दोस्ती के खातिर अपना और राधा का प्यार बख़ूबी छुपाता है, और जब वोह ‘अपना के हर किसीको बेगाना जायेगा’ कहता है, तब ‘संगम’ का अंत क्या होगा ? यह समझ में आता हैं.
‘आ गले लग जा’ – एप्रिल फूल के इस गीत की प्रस्तावना (Prelude) ८.३० मिनट की.
‘देखो अब तो किसको नहीं है खबर’ – गिटार वादन झक्कास, आशा – रफ़ी साहब ने इसे मस्ती में गाया है, पश्चिमी ढंग का, ‘बीटल्स’ के “I wanna hold your hand” पर आधारित, लेकीन ‘ओरिजिनल’से भी बेहतरीन.
‘आजा रे आ ज़रा आ लहराके आ ज़रा आ’ – गिटार, वादन और रफ़ीसाहब का ‘मिडास टच’.
‘ये मेरा दीवानापन हैं’ – प्यार में टूटें हुए दिल की पुकार … तब भी और आज भी.
‘ये शाम की तनहाइयाँ’, ‘रसिक बलमा’, ‘तेरा जाना दिलके अरमानों का लूट जाना’, ‘बेदर्दी बालमा तुझको मेरा मन याद करता हैं’ – प्रेमी के विरह में प्रेमिका अक्सर इन्ही गीतों कों गुनगुनाती है.
‘ए फूलों की रानी बहारों की मलिका’, ‘ऐ गुलबदन’ – प्रेमिका की तारीफ़ प्रेमी आज भी ऐसे ही करता है.
‘अजी रूठकर अब कहाँ जाईयेगा’ – प्रेमिका की मीठी और सुरीली तकरार
‘प्यार आँखों से जताया तो बुरा मान गये’ – और ये प्रेमी की तकरार.
‘दिन सारा गुजारा तोरे अंगना’ – घर लौटने की इजाजत मांगती प्रेमिका.
‘होठों पे सच्चाई रहती हैं’ – भारतीय संस्कृती की पहचान, हर भारतीय इसे अभिमान से गायेगा, अव्वल नंबर का ‘मातृभूमि वंदन गीत’… कविराज ख़ुद डफली बजानें में माहिर थे, … राजसाब ने इसी डफली का साथ लेकर, अपनी फ़िल्म ‘जिस देश में गंगा बहती है’ का ‘राजू’ साकार किया था.
‘बहारों फूल बरसाओ’ – बँडपथक का अत्यंत प्रिय गीत, विवाह समारंभ में इसे अवश्य बजाया जाता है, हसरत साहब का पहला ‘फ़िल्म फेयर पुरस्कार’ विजेता गीत.
‘तुम्हें याद करते करते’ – सितार – सरोद लाजवाब, लताजी का अत्युत्कृष्ट गीत, कविराज – एस-जे का शायद आखरी.
‘सजन रे झूठ मत बोलो’ – ‘त्रिकालाबाधित सत्य’, ‘कविराज’ शैलेंद्र जी की सरल शब्दावली और एस-जे की सुरीली धुन, सदाबहार,अविस्मरणीय गीत.
‘आजा सनम मधुर चाँदनी में’, ‘दिल की नज़र से’, ‘वो चाँद खिला’ – शीतल चाँदनी रातों में घूमते हुए प्रेमी – प्रेमिकाओं के होठों पर होते है यह प्रेमगीत.
‘सब कुछ सीखा हमने ना सीखी होशियारी’ – असामाजिक तत्वों पर कविराज जी का प्रहार … यहां होशियारी का अर्थ मक्कारी होता हैं … इस देश के करोड़ो ईमानदार लोगों का कालजयी गीत … अकॉर्डियन पीसेस जबरदस्त.
‘हम भी है तुम भी हो’ – ‘सत-असत’ दोनो पहलू दर्शानेवाला गीत, कविराज जी की ‘प्रगल्भता’ लफ्जों में, एस- जे की ‘प्रतिभा’ धुनों में दिखाई देती हैं …एक बेहतरीन गीत जो, आज भी हृदय में बसा हुआ हैं.
‘तेरे बिना आग ये चाँदनी’ और बादमें आनेवाला ‘घर आया मेरा परदेसी’ – आवारा का यह भव्य ‘स्वप्न दृश्य गीत’ सिर्फ़ ‘न भूतो न भविष्यती’ … फिर कविराज और एस-जे लाजवाब,
‘हम तुझसे मोहब्बत करके सनम’, ‘रात अँधेरी दूर सवेरा’ ‘आजा रे अब मेरा दिल पुकारा’ – हसरत साब सिर्फ़ रोमँटिक शायर नही बल्कि सिद्धहस्त कवि थे …ये दर्दभरे गीत उनकी क़ाबिलियत की पुष्टी करते है.
‘अजहूँ ना आएँ बालमा’ – यह हसरत साहब की शास्त्रीय रचना अभी भी उतनी ही ताजगीभरी.
‘चाहे कोई मुझे जंगली कहे’ – सिर्फ़ और सिर्फ़ शम्मी कपूर के लिए बनाया गया. ‘जानेवाले ज़रा होशियार’ – सॅक्सोफोन मस्त, ‘राजकुमार’ शम्मी कपूर’ छा गए थे. आसमान से आया फरिश्ता’ – मदमस्त संगीत एस-जे का, ऐसे स्टंटस् उस दौर में शम्मी कपूर की ख़ासियत. ‘बदन पे सितारें’ – ‘एस-जे’ का झक्कास ऑर्केस्ट्रा. ‘खुली पलक में झूठा गुस्सा’ – वाकई जीना भी मुश्क़िल मरना भी मुश्क़िल कर दिया था एस-जे ने. ‘मेरी मोहब्बत’, ‘एहसान तेरा होगा मुझपर’, ‘तुम मुझे यूँ भूला ना पाओगे’ – भावुक ‘शम्मी’ गीत.
कविराज १९६६ में तो जयभाई १९७१ में, शंकर जी, हसरत साहब से, अलविदा कहकर इस दुनिया से चल दिये … महफ़िल सुनी सुनी हो गई थी … शंकर जी तन्हा हो गए थे … पहली मुलाक़ात से १९७१ तक उन्होंने जयकिशन जी को अपने छोटे भाई की तरह संभाला था … जयसाहब – पल्लवी जी की शादी में ‘कन्यादान’ की रस्म शंकरजी ने ही पूरी की थी …जयभाई मिलनसार व्यक्ति थे, फुरसद में फ़िल्म जगत की पार्टियों में जाते थे … तो शंकरजी ज़्यादा उन व्यक्तियों से मिलते थे जो संगीत जगत से संबंधित थे … फुरसद में भी संगीत की बारीकियां सीखते रहते … दोनों १० – १२ वाद्य बजाना सीखें थे … शंकरजी कुश्ती के शौक़ीन थे और ‘भरत नाट्यम’ में महारत हासिल थी … दोनों दिलदार थे …सामाजिक कार्यों में हमेशा आगे रहते थे … जयभाई का साथ छूटने के बाद शंकरजी ‘एस-जे’ के नाम से ही संगीत देते रहे और उनके पारिश्रमिक का आधा हिस्सा पल्लवी जी को पहुंचाते रहे …आखरी दिनों में सब क़रीबी दोस्त दूर हो गए थे, लेकिन वोह एक बहादुर योद्धा थे … अपने नाम के अनुसार ज़हर के घूंट पीते रहे …और अपना ग़म छुपाते रहे … हसरत साहब ही थे उनके साथ आख़री समय तक … २६ अप्रेल १९८७ को शंकर जी भी चले गए दुनिया से विदा लेकर और उनके साथ संगीत का सुरीला सफ़र ख़त्म हुआ … दास्ताँ खत्म हुई पर उनका संगीत अमर हैं, और सदियों तक रहेगा !
शंकर जी की खासियत …
१) मितभाषी थे २) तबले के साथ दर्जन भर वाद्य बजाने में उस्ताद थे, खासकर अपने आखरी दिनों में पियानो से उन्हें ज्यादह लगाव था ३) ‘भरत नाट्यम’ नृत्य निपुण थे … फ़िल्म – पटरानी में नायिका वैजयंतीमाला को कुछ स्टेप्स शंकर जी ने ही बताएं थे ४) अपना काम खत्म होने के बाद फिर संगीत में खो जाते थे ५) जयकिशन जी और पल्लवी जी की शादी में ‘कन्यादान’ की रस्म शंकर जी ने पूरी की थी ६) सामाजिक कार्यों में हमेशा आगे रहते थे ७) कुश्ती के शौकीन थे खुद को तंदुरुस्त रखने के लिए जिम में जाते थे … इसी आदत की वजह से दत्ताराम से मुलाक़ात हुई थी, फिर पहचान और दत्ताराम आजीवन SJ टीम के अविभाज्य घटक बन गए थे ८) नए गायक / गायिकाओं मौका देकर उनका हौसला बढ़ाते थे … शारदा जी को हिंदी फिल्म जगत में प्रख्यात गायिका के रूप में स्थापित करने का श्रेय शंकर जी को ही जाता है सच कहूँ तो ... 'एस-जे', उनका अद्वितीय संगीत यह क़िताब का विषय है, उनके सभी गीतों का यहाँ ज़िक्र और मूल्यमापन करना असंभव बात है ... १९४९ में शंकर - जयकिशन - कविराज - हसरत यह चार असामान्य कलाकार दुनिया के सामने आएं, राज कपूर साहब की बरसात में ... बरसात से ही 'संगीत सुवर्ण युग' शुरू हुआ ... अगले २० - २२ साल सर्वोत्तम हिंदी सिने गीत संगीत निर्मिती करके इन 'FANTASTIC FOUR' ने उनके गीत -संगीत द्वारा अन्य संगीतकारों के मुक़ाबले, इस 'सुवर्ण युग' को सबसे ज्यादह चमक दी, ऐसा कहा जाएं, तो ज्यादती नही होगी ... 'कविराज' शैलेंद्र - 'राजकवि' हसरत जयपुरी और अन्य गीतकारों ने आशयपूर्ण, समर्पक गीत लिख कर उन्हें साथ दी ... एस-जे ने उनके संगीत निर्देशन में सभी गायिका/गायकों से बेहतरीन गंवाया था, उनकी आवाज़ का सही उपयोग किया था ... लता, आशा, मन्ना दा, मुकेश, रफ़ी साहब, सुमन कल्याणपुर, शारदा जी इनके गायें गीत सर्वाधिक लोकप्रिय हुए थे मूल संगीत का ढांचा, नींव कायम रख कर, पारंपरिक साजों के साथ आधुनिक साजों का मिलाफ़ कर, गीतों को नया रूप देने वाले एस-जें ही थे, उनकी ज़्यादातर रचनाएँ रागदारी पर आधारित थी, गीत की प्रस्तावना (Prelude), मुखड़े और अंतरे के बीच का संगीत (Interlude), तथा गीत का अंत इन तीनों में मास्टर्स रहें, ... हिंदी फिल्मों के 'सुवर्ण संगीत युग' के आधुनिक शिल्पकार, विविधतापूर्ण संगीत निर्मिती करनेवाले,
‘चक्रवर्ती संगीत सम्राट’ ‘एस-जें’ को, ‘कविराज शैलेंद्र’, हसरत साहब को सब संगीत प्रेमियों का सलाम …!
Story about #Kahin_Aur_Chal1968 Producer #JaalMistry Director #vijayanand Lyricists #Shailendra & #HasratJaipuri Music by #ShankarJaikishan #DevAnand #AshaParekh #shankarjaikishan #shankarjaikishanji #shankarjaikishanemperorsofHFM #shankarjaikishanmaestrosofthemillennium
Raj Kapoor’s movies and Shankar Jaikishan’s music went beyond the borders to enthrall movie goers and music lovers worldwide. Music of movies by SJ kept audiences eagerly awaiting their release. They were drawn to the theaters, mainly because of the outstanding music.
When Sangam’s music was sold in London, people scrambled to the record stores to get their hands on it. The stores had to re-order many more records to meet the great demand for them. Once the release of the movie in London was announced, the shows were all sold out. The theater had to extend the days. That’s the power SJ music had over the movie which was a huge grosser at box offices all over. RK took his crew to London for the premier. Since SJ were too busy at the time, Shankar followed later, leaving Jaikishan to handle the music of Arzoo in his absence. On his return, he helped compose the qawwali ‘Jab Ishk Kahin Kho Jaye’ which was a runaway super hit. Besides attending the premier, Shankar took the opportunity to attend a Beatles concert since he was a huge fan of the Fab Four. and sought permission to use their ‘I Want To Hold Your Hand’ in Janwar.
It is important to say that the background score of Sangam was prepared by Shanker, since Jaikishan was not well at the time.
Seen in the picture below is RK receiving Shankar on his arrival for the release of Sangam in London.
Who is a hero? A person with outstanding achievements. Shankar fits the image perfectly. In a shortest span of time, he, with his music partner Jaikishan, has achieved more than any in the music industry. The vast body of work, the innumerable genres and the huge variety in composition styles created are matchless. The highest number of awards won and the consecutive number of nominations for awards were records of their excellent performance.
Who is a hero? A person who is admired for his strength. He is strong enough to withstand any adversities at any time as well as one who can show courage when faced with a problem. Shankar matches all the traits mentioned here. When he lost his close friend and associate, Shailendra and his “brother” Jaikishan, one after another, he did not allow his grief to depress him. He showed his mettle by remaining strong and totally focused on the numerous assignments on hand and, single handedly, completed them on time.
Who is a hero? He is one who is there to help another in various ways and give them strength to go on through life’s difficulties. When Mukesh wanted to pursue a career in acting and couldn’t succeed in it and was struggling financially. Shankar wanted to help him out and had him sing, “Ye mera diwana pan hai” in Yahudi against Dilip Kumar’s objection. He composed music for his close friend, actor/producer Chandrashekhar, for a nominal rupee under the pseudonym Suraj to show his love for his pal. When write/producer/lyricist, Sudhakar Sharma approached him to compose music for his movie, Gori, Shankar immediately agreed to do so with a nominal fee of Re. 1. When others composers weren’t willing to compose the background music for the Films Division documentary “Everest,” he readily agreed to do so as a complimentary gesture to show his pride in the successful expedition for which the Government of India was going to honor him with a Padma Bhushan award. Shankar wanted the government to include Jaikishan in the honor. However, he was told that it cannot be done. So, the magnanimous Shankar settled for a Padma Shree along with his “Jai” which is an unheard of act. There are many more such instances when the composer went out of his way to be there for his near and dear.
Who is a hero? A person who feels a moral obligation to act regardless of how someone treats them. Again, Shankar wins. At a time when his close associates betrayed him, the man that he was, Shankar never let that deter him from his work. He was a man of great resilience and continued to move on with his head held high. Never did he utter a negative word against the people who backstabbed him for his sentiments towards them did not allow him to. He was contented with the few loyal producers and directors who believed in him for his abilities to deliver the product.
Shankar was a man among men. He stood tall and kept the SJ flag fluttering against harsh winds of time. BRAVO, Shankar! You are a true hero!!
उम्र थी सिर्फ़ १३ वर्ष की, तब से ही संगीत से लगाव था उसे … वांसदा की गलियों में घूमना फिरना … गाव में रहनेवाली गुजरिया के लोकगीत सुनना और फिर अपने दोस्तों को हुबहू सुनाना … पिताजी चल बसे तो बड़े भाई बलवंत को घर की जिम्मेदारी आ गई थी और उसकी भी … पढाई लिखाई में ज्यादह ध्यान नहीं था … ‘टेलरी’ भी की मगर दिल नहीं लगा उसका … ‘जयकिशन डायाभाई पांचाल’ फिर एक दिन चला आया सपनों की मायानगरी में …बंबई (मुंबई) हर किसी को सहारा देनेवाली नगरी …. संगीत विशारद वाडीलाल जी के शिष्य रहे जय की, ‘हारमोनियम’ पर उंगलिया बड़ी सहजता और कुशलता से चलती थी … ‘चंद्रवदन भट्ट’ साहब के ऑफिस में अक्सर चक्कर लगाता रहता की, कुछ चक्कर चल जाये … वहां एक युवक से मुलाक़ात हो गयी, और फिर गहरी दोस्ती भी … उस युवक का नाम ‘शंकर सिंह रघुवंशी’ था, वह युवक भी संगीत निर्देशक बनना चाहता था …तबला ग़जब का बजाता था …उसे भी भट्ट साहब ने काम दिलाने का वादा किया था … दोनों का सपना, मक़सद एक था … फिर एक दिन उस युवक ने जय को कहा, पृथ्वी थिएटर में हारमोनियम वादक की जगह खाली है, क्या वहां काम करोगे ? जय ने फ़ौरन हां कहा, फिर एक नयी जिंदगी, नयी कहानी शुरू हुई, तब उन्हें भी पता नहीं था, लेकिन दिल गा रहा था …
‘कहता है दिल रस्ता मुश्किल
मालूम नहीं है कहा मंजिल’ ?
लेकिन मंजिल अब ज्यादह दूर नहीं थी … पृथ्वी थिएटर में दिन बड़े ग़ज़ब के गुजरने लगे …शंकर और जय कुछ छोटी छोटी भूमिकाएं भी निभाते नाटक में … ‘पठान’ का किरदार भी निभाते, साथ में धुनें भी बनाते … किस्मत पलटने में देर नहीं लगी … राज साहब ने १९ वर्षीय जय और २६ वर्षीय शंकर को बरसात के संगीत निर्देशन की जिम्मेदारी दी … और इस युवा संगीतकार जोड़ी ने पहले ही फ़िल्म में कम्माल कर दी, संगीत का नया इतिहास लिख दिया … इन दोनों के साथ दो नौजवाँ गीतकार भी थे शैलेंद्र और हसरत जयपुरी
एक आया था हैदराबाद से, एक गुजरात से, एक ‘रेलवे’ में (‘शैलेंद्र) था तो एक ‘बेस्ट’ में (हसरत जयपुरी)… चारों चार दिशाओं से एक जगह आये और दसो दिशाओंमें इनका बोलबाला रहा, लगातार २० बरस तक संगीत साम्राज्य पर इन्हीं का अधिराज था …शंकर जी अपने काम पर दृढ़ विश्वास रखते थे, काम के बाद भी संगीत से जुड़े रहते तो जयभाई काम के बाद अपना समय लोगों से मिलने में गवाते …जैसे की गुजराती होते है, वैसे ही बड़े ही मिलनसार थे जय …पार्टियों में जाना …लोगों से परिचय बढ़ाना, उनकी खुशियाँ और गम में शरीक होना … जिंदगी को जिंदादिली और ख़ुश मिज़ाज नजरिये से देखते थे …अब शोहरत थी, इज्जत थी, इस जोड़ी का संगीत देश के कोने कोने के साथ रूस, मिडिल ईस्ट और चीन की धरती तक पहुँच गया था लेकिन शंकर जी के साथ जय के भी कदम जमीं पर थे, नए नए प्रयोग करते थे, पारंपारिक वाद्यों के साथ ‘गिटार’, ‘मेंडोलिन’, ‘अकॉर्डियन’ आदि नए वाद्यों का भी बदलते वक़्त को भांपकर इस्तेमाल करते रहे, अजरामर धुनें बनाते रहे ….
१९६४ के बिनाका गीतमाला के अंतिम सालाना प्रोग्राम में, हसरत साहब से अमिन सायानी साहब ने एक सवाल पूछा था …
‘ये कैसे पहचाने की, कौनसी धुन शंकर जी ने बनाई है और कौनसी जयकिशन साहब ने ?
हसरत साहब का जवाब यूँ था (ऑडियो क्लिप)
‘आशिक़ाना ढंग की धुनें बनाते थे ‘जयकिशन’ साब और फलसफ़ा ढंग की, क्लासिकल ढंग की धुनें बनाते थे हमारे शंकर जी’
सैकड़ों गीतों को अमर कर दिया था जय ने शंकर भाई के साथ दिन रात एक करके, कभी कभी पूरी रात बीत जाती थी गीतों की रिकॉर्डिंग में पर मुस्कुराहट कायम रहती …उन दिनों आज जैसी सुविधाएं भी नहीं थी रिकॉर्डिंग की, लेकिन संगीत की साधना करनेवाले सच्चे फनकारों को सृजन के लिए इन की जरुरत भी नहीं थी …पाश्चात्य धुनों के साथ ‘बसंत बहार’ (१९५६) में अस्सल रागदारी पर आधारित धुनें बनाकर उन्होंने ‘हम किसी से कम नहीं’ यह दिखा दिया था … सबको मुंहतोड़ जवाब दिया था …५० और ६० के दशक केवल उन्हीं के थे … SJ की इस लोकप्रियता की वजह थी, शंकर जी को जय की आजीवन समर्थ साथ … कभी कभी शंकर जी की गैरहाजिरी में जय ही संगीत की बागड़ोर संभालते और संगीत का दर्ज़ा किसी भी कीमत पर कायम रखते (फ़िल्म – आरज़ू)
‘दो जिस्म मगर एक जान है हम
एक दिल के दो अरमान है हम’
बस ऐसे ही जिये, साथ हँसे, रोयें जय साहब और शंकर जी …
राज साहब की होली भी धूमधाम से मनाते थे जय, शंकर जी के साथ तो ‘वॉर फंड’ के लिए स्टेज प्रोग्राम में भी क़दम से क़दम मिला कर खड़े रहते और अपना योगदान देते रहते …
फ़िल्म संगम में राज साहब का एक संवाद है …
‘रोयें तो यार के काँधे पर
जायें तो यार के काँधे पर’
१४ दिसंबर १९६६ को अपना जिगरी यार शैलेंद्र के बिछड़ने पर कंधा देते वक़्त, रोते हुए जय और शंकर जी के साथ राज साब को भी यही संवाद याद आया होगा और फिर अपनी सफलता की चरम सीमा पर पहुंच कर १२ सितंबर १९७१ को जय भी चले गये अपनी सुरीली जीवनयात्रा समाप्त करके सिर्फ ४१ साल की उम्र में …शंकर जी के दोनों बाहूँ टूट चुके थे, पहले कविराज अब जय …
लेकिन शानदार कीर्तिमान स्थापित किये थे उन्होंने, सब कुछ हासिल कर लिया था …
‘नौ बार सर्वश्रेष्ठ संगीतकार का ‘फ़िल्म फेयर पुरस्कार’,
‘बिनाका गीतमाला’ इस सर्वाधिक लोकप्रिय रेडियो प्रोग्राम में १३५ – १४० ‘सरताज’ गीत
१९६८ में ‘पदमश्री’ पुरस्कार
आज जय साहब के स्मृति दिन पर ग्रुप के सभी दोस्तों के साथ उन्हें विनम्र अभिवादन !!!
1966, one of the best years in Shankar Jaikishan’s musical career, popularity wise as well as standard wise. They delivered 8 muiscal albums with diverse gener, mood and styles: Amrapali, Teesri Kasam, Love in Tokyo, Suraj, Budtameez, Gaban, Pyar Mohabbat and Street Singer. There is a score of “Amrapali” with great classical compositions on one side, and “Teesri Kasam”, one of the finest folk based score on the other side with authentic rustic Indian colours, both of them having high standards of creativity, yet with wide mass appeal. The same year, they gave the majestic “Love In Tokyo” and the Filmfare Award winner “Suraj” with all time great and popular romantic albums, where all the songs are super-hit and chartbusters. Not only that, “Budtameez” had a typical Shammi style light romantic and naughty score, whereas “Gaban” had a subtle, sober and situational score. I couldn’t think of any other contemporary film composer with such a diversity in their work, taking care of classes and masses together in a single year…!Out of them, our today’s film of interest is a rural India based unconventional social drama “Teesri Kasam”. It is a critically acclaimed Black and white film produced by Shailendra himself and directed by Basu Bhattacharya, faithfully adapted from a short story “Maare gaye gulfaam” by Phanishwar Nath Renu, written in 1954. It’s a story of a bullock cart driver Hiraaman (Raj Kapoor), a naive village man with simple philosophy in life; a nautanki dancer Hirabai (Wahida Rehman), bound in the bars of her profession and the men dominant society; and their tender innocent relationship, where both call each other as “Meeta”.Shailendra started his work on this film in 1962, but took 4 years to complete the task. He wanted Meena Kumari and Mehmood to play the leads, but ultimately RK and Wahida ji came on board to do so. RK did his friend’s film only with a token of 1 rupee, and also suggested Shailendra to add some commercial elements in the film, to which the great lyricist remained indifferent and made the film the way he wanted.To compose the film score, Shailendra chose none other than Shankar Jaikishan, as expected, and they gave some of their best compositions to their dear friend. No one might have expected at that time that SJ could come up with such a fantastic yet simple and soulful folk based soundtrack. But, they did it and silenced the critics, as they did through “Basant Bahar” in 50s. They gave an outstanding score with simple melodies rooted in North Indian folk music with the use of rustic instruments like flute, traditional strings and percussions, cow bells etc. Rarely one does see a film where music is so well integrated with the film and Teesri Kasam is one of them.The soundtrack has total 10 songs with one repeat version, out of which 7 were mainstream songs and 3 were unique situational folk songs. Each song has its own purpose and speciality in the film, and it’s interesting to know some details about them.
1. Sajan re jhoot mat bolo..Mukesh Shailendra The first and introductory song of the protagonist Hiraaman, with some excellent philosophical lyrics by Shailendra and a top notch composition by the duo. It starts with a short prelude and continues on a fast dholak-tabla beats. Both the lovely interludes have beautiful and familiar themes on flute, mandolin and group violins. Shankar Jaikishan’s magic is the ideal foil of this immoral song. This is one of most popular songs from the film till date, and will always be enlisted in the best Mujesh-SJ combinations..!Shailendra showed his great mastery…Ladakpan khel mei khoya, jawani neend bhar soya..Budhhapa dekhkar roya, budhhapa dekhkar roya…Yehi kissa purana hai…Sajan re jhoot mat bolo…
2. Duniya bananewale kya tere man mein..Mukesh (Suman Kalyanpur)Hasrat Jaipuri Second of the three evergreen Mukesh solos, and one of the two song from the pen of Hasrat Jaipuri in this Shailendra album. The song comes when Heraman carries Hirabai in his bullock cart to the nautanki place where she is supposed to perform. He narrates the tragic folktale of ‘Mahua’ in parallel with the ongoing song, and we can clearly see some resemblance of the story with their own one, in the film. SJ’s composition and orchestration is supreme and immoral. They have brilliantly brought out the soul and spirit of the lyrics in their music. The song takes off on a heavenly prelude on group violins and flute and progresses on a nice dholak-tabla rhythm. The first interlude have a mesmerizing flute theme, that we love to hum while listening the song (as done by Suman Kalyanpur in her snippet version of the song). Similarly, the second interlude have a mind blowing melody with countermelody on upper and lower violins. The song’s third stanza repeats in Suman Kalyanpur’s sweet voice in a separate part. Hasrat ji also gave his best in the style of Shailendra:Tu bhi to tadpa hoga man ko bana karToofan ye pyar ka man mein chhula kar,Koi chhabi to hogi aankhon mein teri,Aansoo bhi chhalke honge aankhon se teri..Bol kya sujhi tujh ko, kahe ko preet jagaayi..kaahe ko duniya banaayi…
3. Chalat musaafir moh liya re..Manna Day, Chorus Shailendra An all time great and world famous original folk song from the film, picturized on a group of Heeraman’s friends and fellow cart drivers. Many people think this is a traditional “Folk song” composition, but actually it’s a unique and original creation by SJ and Shailendra as per the film’s situation. The composition is simple but extremely peppy, where hardly anyone can stay without shaking the hand and legs on it. SJ used very few local instruments like harmonium, dholak and manjira, for the arrangements to maintain it’s rustic charm. The lyrics tells a story about a small bird (muniya or maina) in a cage, who used to mesmerise the passing by passengers. Later, when set free from the cage, the bird visits different shops (halwai, bajaj or tailor, paanwala) and takes away all their charms…! It’s difficult to know the exact meaning of the tale but, according me, it’s an indirect illustration of Hirabai (muniya) who first enchants Heeraman (chalat musaafir) and then, to the village people, when she comes to perform the nautanki…! It is said that no marriage function can be complete without singing this song, in many north Indian villages. Such is the charm of this immoral creation. Udd udd baithhi halwaiya dokaniyaa…Udd udd baithhi halwaiya dokaniyaa…Barfi ke sab ras le liya re pinjare wali muniyaa..Chalat musaafir moh liya re…
4. Pan khaye saiyyan hamaro..Asha Bhosle Shailendra One more chart topper and memorable song from the film, the first of the two nautanki songs in Ashaji’s versatile voice. It’s the song where Hirabai is introduced to the village people and Heeraman for the first time as a nautanki dancer. The composition is extremely catchy, fast paced and foot tapping, with brisk tabla and dafli beats. SJ used multiple flutes, group violins and strong rhythm strokes to arrange the beautiful prelude and interludes. Although the whole composition is a masterpiece, a short vibrating alaap coming in the middle of each stanzas, adds a different dimension to the song, showcasing SJ’s extraordinary composing skills. Ashaji has sung the song like no one else in the world could have, better than her. She brought out the masti and sharaarat of the song brilliantly through her voice modulations and expressions. Shailendra wrote this song for SD Burman, after observing him always eating paan and having some stains on his “makhmali kurta”. But, ultimately he gave the song to SJ and this magic was created. Bagiyaa gun gun, paayal chhun chhunChup ke se aayi hai rut matwali Aa.. aa… aa.. aa..Khil gayi kaliyaan, duniya jaane, lekin na jaane bagiyaa ka maali..Paan khaaye saiyyan hamaro..
5. Aa aa bhi jaa raat dhhalne lagi..Lata Mangeshkar Shailendra One more masterwork, and one of the two beautiful Lata solos from the film. It’s a soulful and emotional nautanki song that comes last in the film before its climax, and indicates the impending severance between Heeraman and Hirabai. Although a nautanki dance song, it is in a sad mood where Hirabai expresses her pain and pathos upon not seeing Heeraman in the show, in spite of her personal invitation.Shankar Jaikishan have brilliantly balanced both the feelings in this evergreen creation, the ‘sadness’ by it’s mesmerising composition and the ‘nautanki feel’ by its vibrant rhythm and lively orchestration, using dholak and nagada. To highlight the contrast, hey cleverly kept the rhythm fast paced in the orchestral portions and moderately slow in the singing portions.The song starts with a beautiful prelude and a heavenly prologue by Lata Mangeshkar, which is enough to make you fall for the song. The whole composition of its mukhda and stanzas is amazing, with excellent interludes using flute, mandolin and group violins. After the song, Hirabai takes a drastic and difficult decision to leave the village and Heeraman forever with a heavy heart, knowing that, being a courtesan, she will never be able to fit in the ‘goddess’ image that Heeraman created in his mind for her..Rahega ishq tera khaakh mein milaa ke mujhe,Huye hai iftedaa mein ranj intehaa ke mujhe…Aa aa bhi jaa.. raat dhalne lagi.. chaand chhup ne chala…Ufaq (transition) par khadi hai saher..Andhera hai dil mein idhar..Ufaq par khadi hai saher..Andhera hai dil mein idhar..Wahi roz ka silsilaa…Aa aa bhi jaa..
6. Sajanwa bairi ho gaye hamar..Mukesh Shailendra Sixth great song and a third of the three timeless Mukesh solos from the album. The first two were more of philosophical and guiding songs, whereas this one is a sorrowful and poignant ballad sung by Heeraman in response to a sad dialogue rehearsed by Hirabai in his cart, related to her nautanki play. The lines were: “Kahin bhi koi bhi apna nahin is zamaane mein..Na ashiyaane ke baahar na aashiyaane mein….”The song has a great immortal composition rendered fantastically by Mukesh. SJ used gentle and tranquilizing orchestration with perfect use of sitar, sarod, flute and sublime violins, to express the feel of the song. The song starts without any prelude but has two beautiful soothing interludes. Sudden change to high notes of “chithhiya ho to..” after the lower notes of “sajanwa bairi ho gaye..” sounds impressive and gives a unique eloquence to the song. Kudos to the music team for this extraordinary work.Jaaye base pardes balamva, sautan ke bharmaaye..Na sandes na koi khabariya, rut aaye rut jaaye..Doob gaye hun beech bhanwar mein, kar ke solah paar..Sajanwa bairi ho gaye hamar..
7. Haye gajab kahin tara toota..Asha Bhosle Shailendra Yet another mesmerising nautanki song, the second of the two evergreen Asha solos from the film. Just like “Paan khaye saiyyan”, this too is a lovely dance song with authentic Indian colours, in its composition and orchestration. Although less popular than the former one, it is similar in its stature and quality. The prelude and two interludes have beautiful themes where SJ did brilliant jugalbandi between mandolin, flute and violins, with its energetic rhythm. The tunes particularly in stanzas are sweet and charming. Asha ji brought out the essence and beauty of the song brilliantly, as usual. Shailendra wrote nice folksy lyrics as per the imaginary nautanki situation, where the nautanki dancer describes being molested (in a comic sense), by her “Saawariya”, “Sipahiya” and “Daroga”..!Teesra tara phool bagiyaa mein toota,Teesra tara phool bagiyaa mein toota,Phoolon se puchhe koi hai kaun jhoota..Loota re loota daroga ne loota..Haaye gajab kahin tara toota..
8. Mare gaye gulfaam..Lata Mangeshkar Hasrat Jaipuri One more delightful nautanki song and the second of the two Lata solos from the album. Although “Teesri Kasam” doesn’t have any title song, but this one is an indirect title song of the story “Mare gaye gulfaam”. The song describes nautanki scene related to failure in love and, therefore, although a dance song, has a tone of sadness. SJ created simple and sweet composition with lively orchestration and fast paced rhythm alternating between drums and tabla beats. They predominantly used clarinets, flute and group violins in its charming prelude and both the interludes. The melody repeated on clarinets after each line in the stanzas, gives an instant appeal of SJ’s unique style. They cleverly used Lata’s sober voice for the two emotional nautanki songs and Asha’s jaunty voice for the two happy nautanki songs. Hasrat Jaipuri wrote beautiful lyrics in his second of the two songs.Is pyar ki mehfil mein, wo aaye muqaabil mein..Wo teer chale dil par, hulchul si huyi dil mein…Chahat ki saza paayi,aji haan maare gaye gulfaam..
9. Laali laali doliya mein laali re dulhaniya..Asha Bhosle, children chorusShailendra A unique sweet situational song by Asha Bhosle and children chorus. The song comes with a beautiful situation where Heeraman is talking Hirabai to a village temple in his cart and a group of innocent children gets amused to see them and assumes Hirabai as a newly wed bride being carried by her groom Heeraman. Although not true, but both of them enjoy this imagination with full hearts and satisfaction, unaware of the upcoming tragedy.The whole song is composed and written from those village children’s point of view and SJ perfectly gave a matching sweet composition with mild but lovely arrangements using flute, sitaar, bells, dholaks, and gentle background violins. Ashaji sang this echoic song for a teenager girl as perfectly as she did for the mature actress in the film. SJ and Shailendra showed sheer mastery in this short creation.Lautegi jo ‘godi-bhar’, hamein na bhulana..Laddu pede laana, apne hathon se khilana..Teri sab raatein ho diwali re dulhaniya..Laali laali doliya mein laali re dulhaniya…
10. A) Kissa hota hai shuru.. (Shankar Shambhu)Main sunati hun ke maajra e ajab.. (Mubarak Begum, Shankar Shambhu)Lyrics: Traditional The fifth nautanki song from the film and the most unique and unusual one, sung by a famous qauwal duo Shankar-Shambhu. It comes as a part of a “Laila Majnu” dance play, in the film and is in a pure rustic and authentic nautanki style composition. SJ beautiful adapted awadhi folk style to compose the song and arranged it with basic ensemble of clarinet, dholak, nagada and sarangi. The 6 min long song has two distinct parts each of 3 minutes duration. The first one has a narrative style composition in Shankar-Shambhu’s high pitched voice, whereas the second part is a duet between them as Majnu and Mubarak Begum as Laila. The whole piece sounds perfect in its most raw and naive form. ******”Teesri Kasam” is always remembered for it’s mesmerising soundtrack, content and amazing performances by Wahida ji and RK. Her natural beauty and flowless portrayal of Hirabai including the expressions, gestures, grace, dance moves and dialogue delivery, all are exemplary. RK gave one of his best performance after “Jagte Raho”, although he told in one interview that he didn’t like the film much..!Unfortunately, the movie goers were not mature enough to appreciate the quality cinema at that time and this outstanding movie failed at the Box Office, in spite of its supreme soundtrack. This shock took its toll on Shailendra and he died untimely at the age of 45 on 14th December 1966, a birthday of his friend Raj Kapoor. Later the film won National Award for best feature film, but alas, he could not see this golden day. In today’s times, “Teesri Kasam” is considered a classic and one of the best content based films of hindi cinema.
Shankar Jaikishan, the masters of composition, orchestration and arrangements, have done so much innovations, variations and transformations in their music, that a whole book can be written on that. There are ample examples where they have brilliantly used their own compositions from the background scores of films to create some super-hit film songs. Few of them are ‘O basanti pawan pagal’, ‘Dekho mera dil machal gaya’, ‘Jane kahan gaye wo din’ etc. Today I will be sharing a fine example of their restructuring mastery. This particular song is from 1961’s “Boyfriend”, a Shammi Kapoor & Madhubala film with an excellent score. “Dheere chal dheere chal ae bhigi hawa” is a westernized, fast-paced romantic melodious song, and as the description suggests, it has many elements showcasing SJ’s composing mastery and magic. The mukhda tune, although Composed on few notes only, is full of extraordinary charm, and so are the beautiful stanzas with their unique structure. After the first part of the stanza, a short phrase comes “Are ho….” with rhythm change, and suddenly a rhythmic tune gets converted into to a pure melody.. It’s fantastic..! The prelude and interludes have such an excellent blend of guitar, accordion and strings on a vibrant rhythm, that we wish it never ends..! For me, this is a masterpiece song.We can find the roots of this melody, as a piece of background score (composed by SJ) for 1959’s “Love Marriage”, for a scene where Dev Anand and Mala Sinha are traveling in a train. And they transformed the theme into a whole new excellent song in a typical Shammi Kapoor style..! Even, the stanza tune of “Mere qaatil uthha botal” from ‘The Gold Medal’ also seems inspired from this composition. Later, Laxmikant Pyarelal also got inspired by the tune and composed “Kaate nahin kat te” for ‘Mr India’. “Boyfriend” has one song “Aiga aiga”, where SJ got some inspiration from Connie Francis’s “Stupid Cupid”, and it has been highlighted as a ‘copied song’ on some of the websites, but this song from the same film which has such a masterful original western composition, didn’t get the deserving appreciation. Just imagine an english song by some western artist based on SJ’s this creation, it could have been a chartbuster..!The song is picturized on Shammi Kapoor where Madhubala is pretending to be asleep and enjoying Shammi Kapoor singing a romantic song for her. Her eternal beauty and his spontaneous dance moves make the song a visual treat.. This is the only film they could do together and it’s said that Shammi fell for Madhubala’s beauty at that time and even proposed her for marriage..!
1967’s “Raat Aur Din” is one of the most classy films made in 60s. It has been always praised and remembered for its novel and bold subject, wonderful performance by Nargis ji and marvelous score by the melody makers Shankar Jaikishan. The movie was directed by Satyen Bose, and produced by Nargisji’s brother Jaffer Hussain. It’s shooting started in 1961 and took 6 years for the completion and release (owing to Nargisji’s three pregnancies). She wanted SJ to score the film and what they have delivered is beyond comparison. The story is about a protagonist suffering from Dissociative Identity Disorder or “Split Personality”, where she is a typical house maker wife ‘Varuna’, by day and changes to a shady fun loving, outgoing party girl ‘Peggy’, resulting chaos in her life. Nargisji gave an all time memorable performance in this complicated and demanding role, winning a National award for best actress, the first of its kind. This turned out to be her last film.Musically speaking, SJ gave one of their all time best scores in 60s, where each and every song set their own standards. One unique feature of the album is it’s SJ-Lata collaboration, yielding 6 magnificent Lata songs (5 solos and a duet), along with a classic Rafi solo, a Mukesh solo and a short bhajan by Bhupinder Singh.
In the year 1967 SJ gave 9 musical albums all containing fantastic songs, but 3 albums (all with 9 beautiful songs) stood out with a unique specialty:1. Raat Aur Din, as “SJ-Lata album” with 6 Lata songs and this was the last of such albums in 60s, which was a common trend in many SJ films staring from “Barsat” (except Boot Polish) until mid 60s, after which that exclusiveness ended. Thereafter only ‘Sanyasi’ came in 1975 and had 4 duets and 2 solos by Lataji. ‘Dharti’ in 1970 had 2 solos and 2 duets hy her. Jwala came in 1971 with 6 Lata songs, but all were recorded during early 60s.
2. An Evening In Paris, as “SJ-Rafi album” with 6 classic Rafi solos and a duet
3. Diwana, as “SJ-Mukesh album” will 6 marvelous Mukesh solos Each of the albums have completely different sound and genre. Raat Aur Din had a mature superlative score depicting emotional imbalance and sorrows of the psychological subject, whereas An Evening In Paris had a light, romantic, easy going, “Shammi style” chartbuster score, with no sad songs. On the other hand, Diwana had a typical RK style, philosophical and tender score with pathos of love and separation. This variety with excellence is a mirror showcasing SJ’s versatility.All the ‘Raat Aur Din’ songs have some uniqueness & special elements to be mentioned:
1: Dil ki Girah khol do.. Shailendra One of the greatest Lata-Manna Day duets, with musical eminence and richness beyond words. An astounding prelude sets a mood for the song, which later takes us to the zenith of symphonic, melodic and rhythmic experience. It’s an introductory song of Peggy and filmed on her with Firoz Khan. The fantastic interludes with high octave violins fading gradually to announce the stanzas, sounds impressive. The overall melody in this SJ jewel including it full composition, orchestration and rendition is unmatchable, immortal and evergreen.Same is the brilliance in Shailendra’s lyrics:
“Kal hum se puchhe na koi,
Kya ho gaya tha tumhe kal
Mudkar nahin dekhte hum
Dil ne kaha hai chala chal
Jo door picche kahin reh gaye
Ab unhe mat bulaao…
Dil ki girah khol do..
2. Jeena hum ko raas na aaya..Shailendra Another masterpiece, a musical expression of a pain and agony of having split persona. It has one of the best preludes ever written in hindi songs, and upon listening it carefully, you will realize the song’s mood from the very first note and following symphony. Apart from the song composition, the tunes created by SJ in its prelude and interludes are simply magnificent. Hats off to their creativity..! Similar mastery came from Shailendra’s pen too:
Daur-e-junoon mein kya kya sujhi
Kya kya hum ne kar daala
Daur-e-junoon mein kya kya sujhi
Kya kya hum ne kar daala
Khud hi garibaan phaad liya hai
Khud hi garibaan seete hai…
Jeena hum ko raas na ayaa…
3. Awara ae mere dil… Shailendra One more masterpiece, describing the state of confusion and uncertainty in the protagonist’s heart, but in a positive and accepting way, not with a misery. The song is in twos versions, a fast jazz version and a slow tranquil version, both rendered fantastically by Lataji. This slow version is picturized on Nargisji and has beautiful orchestrations including chorus, along with its masterful main composition. Slow flowing melodious tune accompanied by a moderately fast rhythm sounds magical. One more unique feature of the song, a countermelody played by chorus during its mukhda, makes it more reach and heavenly. What a perfect elucidation Shailendraji made of Varuna’s feeling in the song: Raat aur din ke ye do chehre
Kab tak pehnu kuchh to thehre
Kaun hoon mai kya hoon
Sach hoon ke saaya hoon…
Aawara ae mere dil….
4. Raat aur din diya jale… Hasrat Jaipuri Yet another masterwork, an evergreen title song, in two solo versions, one by Lata and the other by Mukesh, both having similar lyrics, rhythm and interludes. The Lata version starts with a prelude and the tempo is little faster than the other version. As expected SJ pored in their best compositions, arrangements and interludes, making it an all time great title song. Hasrat wrote:
Gehra ye bhed koi mujhko bataay
Kis ne kiya hai mujh par anyaay
Jis ka ho deep wo sukh nahi paay
Jyot deeye ki duje ghar ko sajaay….
Raat aur din diya jale….
5. Na chhedo kal ke afsaane… Shailendra One more classy composition from the film, a song where Varuna truns into Peggy during a night party after heavy drinking and bursts into singing. As per the situation Lataji sang it with a tone of insobriety, where SJ’s composition portrayed Varuna’s feeling of frailty and desperation to forget the past, brilliantly, and garnished it with a heart touching orchestration and rhythm. Shailendra wrote:
Har ek din kal ka jhagda hai
Har ek din kal ka hai rona
Ye ghadiyaan raat ki tum bhi
Na auron ki tarha khona
Jo kal hoga khuda jaane
Karo is raat ki baatein….
Na chhedo kal ke afsaane…
6. Awara ae mere dil…(Jazz version) Shailendra Another beautiful Lata solo, which is in a fast version and jazzy style. It’s a party song filmed on Laxmi Chhaya. The lyrics are same as slow version but SJ gave a new happy and peppy sound to the song by different arrangements and rhythm. There are may songs in hindi fims having happy and sad version, but here, SJ created a song in two versions, both being happy, but in two different musical styles. This is something very unique..!Shailendra wrote:
Veeranon mein sehraaon mein..
Aate jaate in raahon mein..
Tere ishaaron par
naachi mein jeevan bhar…
Aawara ae mere dil…
7. Raat aur din diya jale… Hasrat Jaipuri The title song rendered beautifully by Mukesh, is considered one of his best songs. As mentioned, the arrangements and lyrics are same as the Lata version, but with a little slower tempo. The song is not there in the film I suppose.Hasratji wrote:
Khud nahin jaanu
dhundhe kis ko nazar
Kaun disha hai mere
man ki dagar
Kitna ajab ye dil ka safar
Nadiya mein aaye jaaye
jaise laher…
Raat aur din diya jale….
8. Phool sa chehra chaand si rangat... Hasrat A beautiful romantic Rafi solo, filmed on Pradeep Kumar. it’s an outdoor picnic song on a lighter mood, where Pradeep Kumaar praises Varuna. SJ created extremely sweet, lyrical and gazal-style composition, and ornamented it with traditional orchestration using tabla, flute, sitaar and violins. Rafi sahab has done fabulous singing especially in some special “harkats” or “murkis ” added by SJ in the composition. Hasrat Jaipuri wrote:
Apni ada se aap simatna
Saaye se apne aap jhijhakana
Apni ada se aap simatna
Saaye se apne aap jhijhakana
Haath lage to kumla jaao
Aisi nazaakat kya kahiye…
Phool sa chehra..
9. Jagat me koi na tera mera... Kamlesh Verma A short but sweet bhajan sung by Bhupinder Singh and chorus, probably his one and only song with SJ. As per the situation, SJ didn’t use any orchestra, and arranged the song with two or three instruments only, yet giving it a devotional feel.Such a brilliant, realistic and magical scores are created seldomly, and may of Shankar Jaikishan scores belong to this category, eg. Basant Bahar, Dil Ek Mandir, Sangam, Teesri Kasam, Kathhputli, Seema, MNJ to name a few.There is no point in sharing a single song from this musical bouquet. Please enjoy these 37 minutes of absolute SJ magic…!
Lata discussing with Shankar Jaikishan & Nargis in the recording studio during song recording of film Raat Aur Din
One day the God decided to deliver some revolutionary music with enchanting melodies, mind-blowing harmonies, wonderful varieties and universal appeal, in hindi film music genre, and then he selected two young men with completely different background, language, culture and nature, to fulfil this task.The elder of the two, was around 25-26 years old from Hyderabad, and an expert tabla player, whereas, the younger one was around 18-19 years old from Vansada of Gujarat, and an adept harmonium player. The only similarity between them was a sheer interest in music and a staunch passion to become a successful music composer (I used the word “a composer”, as they didn’t know that they will be “composers duo” at that time).What else other than a devine destiny can it be called, that these two young souls met each other, unintentionally, at the Mumbai office of Gujarati director Chandravadan Bhatt.
Although they came for their own different purposes, their similar musical interests and natural force made them talk to each other. And immediately, a unique, unbreakable and everlasting bond developed between the two and resulted in, not only a music director duo, but the emperors of hindi film music “Shankar Jaikishan”.Everyone knows how they got their first blockbuster break “Barsaat” in 1949, and how the magical team of Shankar, Jaikishan, Shailendra, Hasrat, Lata Mangeshkar and Mukesh was formed to create a history. Naushad’s “Andaz” also came in the same year and, even Mehboob Khan, the film’s director told Naushad sahab “Barsaat ne aap ke Andaaz ko dho daala..!”The success story with many milestones and achievements continued for next two decades, and even further in a different way. Many people and factors tried to break the name and separate “Shankar” from “Jaikishan”, but failed, Even, God couldn’t break the brand, after taking away Jaikishanji forever in 1971 and later, taking away Shankarji forever in 1987. The name remained same as “Shankar Jaikishan” as ever before, even after their demise, until now, and will remain same ever after….!I just had these thoughts in my mind when I saw this beautiful picture showing these musical stalwarts in their younger years. We can clearly see the enthusiasm, confidence and conviction in their eyes, as if they are foreseeing the upcoming triumph and victory in their lives..!
भारतीय फिल्म संगीत के बादशाह शंकर जयकिशन ने संगीत का जो महाभारत स्थापित किया है….वह अनुपमेय और बेजोड़ है। हिन्दी साहित्य में जो स्थान कथा-सम्राट मुंशी प्रेमचंद जी का है वही स्थान भारतीय फिल्म संगीत के शिरोमणि शंकर जयकिशन जी का है।उस समय के दिग्गज संगीतकारों के सामने सबसे बड़ी चुनौती यही रहती थी कि शंकर जयकिशन के सामने टिकने के लिए क्या नया किया जाए कि मार्केट में जगह रखी जा सके….! सन् साठ के दशक में एक फिल्म के लिए उनकी फीस एवं लाख रुपए थी याद रहे उस समय सोने का रेट ढाई सौ रुपए तोला हुआ करता था…! संगम फिल्म के संगीत की अपार लोकप्रियता के बाद शंकर जयकिशन ने अपना पारिश्रमिक पांच लाख रुपए कर दिया था।उस समय तक उनकी ख्याति देश-देशांतर को लांघ कर विदेश तक जा पहुंची थी…रूस, जापान, चीन, तुर्की. इत्यादि में लोग उनके दीवाने थे.. आकाश को चीर देने वाली ऐसी लोकप्रियता आज तक किसी को भी हासिल नहीं हो सकी है… बड़े बड़े सेलिब्रिटी क्रिकेटर, राजनेताओं की चमक उनके सामने फीकी थी..! स्वर साम्राज्ञी लता मंगेशकर जी ने एक इंटरव्यू में स्वीकार किया है कि शंकर जयकिशन जैसा कोई नहीं हुआ.. मैंने अपने जीवन के सर्वश्रेष्ठ गीत फिल्म आम्रपाली के लिए रिकार्ड किए..। गीतों के बादशाह मुहम्मद रफ़ी की पुत्र वधू ने रफ़ी साहब के लिए लिखी पुस्तक हमारे अब्बा मुहम्मद रफ़ी, में शंकर जयकिशन के आर्केस्ट्रा की जमकर तारीफ की है… शंकर जयकिशन की व्यस्तता का आलम यह था कि उन्होंने एक साल में छह से आठ फिल्मों में संगीत दिया। बड़े बड़े संगीतकारों को काम पाने के लिए मसक्कत करनी पड़ी। जयकिशन जी जब दिवंगत हुए उस समय उनके पास सत्ताईस फिल्में थीं।भारत सरकार ने उन्हें पद्मश्री पुरस्कार से नवाजा और उनकी स्मृति में डाक टिकट जारी किया। रहती दुनिया में जब तक संगीत है शंकर जयकिशन के तराने फजाओं में गूंजते रहेंगे.. मैं करोड़ों सैल्यूट करता हूं उन्हें।
Sound recordist #MinooKatrak #Jaikishan and #Shailendra with #VijayBhatt at the recording of a song for film Hariyali Aur Raasta [photo courtesy : Kaustubh Pingle]
Who is a hero? A person with outstanding achievements. Shankar fits the image perfectly. In a shortest span of time, he, with his music partner Jaikishan, has achieved more than any in the music industry. The vast body of work, the innumerable genres and the huge variety in composition styles created are matchless. The highest number of awards won and the consecutive number of nominations for awards were records of their excellent performance.Who is a hero? A person who is admired for his strength. He is strong enough to withstand any adversities at any time as well as one who can show courage when faced with a problem. Shankar matches all the traits mentioned here. When he lost his close friend and associate, Shailendra and his “brother” Jaikishan, one after another, he did not allow his grief to depress him. He showed his mettle by remaining strong and totally focused on the numerous assignments on hand and, single handedly, completed them on time. Who is a hero? He is one who is there to help another in various ways and give them strength to go on through life’s difficulties. When Mukesh wanted to pursue a career in acting and couldn’t succeed in it and was struggling financially. Shankar wanted to help him out and had him sing, “Ye mera diwana pan hai” in Yahudi against Dilip Kumar’s objection. He composed music for his close friend, actor/producer Chandrashekhar, for a nominal rupee under the pseudonym Suraj to show his love for his pal. When write/producer/lyricist, Sudhakar Sharma approached him to compose music for his movie, Gori, Shankar immediately agreed to do so with a nominal fee of Re. 1. When others composers weren’t willing to compose the background music for the Films Division documentary “Everest,” he readily agreed to do so as a complimentary gesture to show his pride in the successful expedition for which the Government of India was going to honor him with a Padma Bhushan award. Shankar wanted the government to include Jaikishan in the honor. However, he was told that it cannot be done. So, the magnanimous Shankar settled for a Padma Shree along with his “Jai” which is an unheard of act. There are many more such instances when the composer went out of his way to be there for his near and dear. Who is a hero? A person who feels a moral obligation to maintain his integrity regardless of how someone treats him. Again, Shankar wins. At a time when his close associates betrayed him, the man that he was, Shankar never let that deter him from his work. He was a man of great resilience and continued to move on with his head held high. Never did he utter a negative word against the people who backstabbed him for his sentiments towards them did not allow him to. He was contented with the few loyal producers and directors who believed in him for his abilities to deliver the product. Shankar was a man among men. He stood tall and kept the SJ flag fluttering against harsh winds of time. BRAVO, Shankar! You are a true hero!! Rest In Peace, Great One!!
मतलब सफा-साफ है, के श्रीमान रहीम,ये बात,सदियों पहले समझा गए थे के भैया बड़ों के चक्कर में छोटे को अनदेखा न करो,क्योंकि जंहा सुई काम आती है, वँहा तलवार क्या करेगी???ये विचारणीय,सोचनीय प्रश्न उतपन्न हो गया 1964 की ब्लॉक बस्टर फ़िल्म”राजकुमार” के दौरान।किस्सा कुछ यूं हुआ कि फ़िल्म के निर्माण के समय लता जी ने रफ़ी साहब के साथ कुछ मतभेदों के चलते डुएट गानों को गाने में असहजता प्रगट कर दी थी।सोलो गाने में उन्हें कोई दिक्कत नहीं थी।दो-एक गाने इसीलिए सुमन जी के हिस्से आये। पेंच फंस गया, शंकर जयकिशन जी के सामने,जब सिचुएशन मुताबिक एक सेडयूसिंग सॉन्ग याने कामुकता का गाना प्लान हुआ।अब इस टाइप के गाने न तो लता जी गातीं थीं,न ही सुमन जी और न ही दोनों की वॉइस में वो टिम्बर-टेक्ष्चर (timber texture) था जो उत्तेजकता,कामुकता को असली रंग में रंग दे।मरता क्या न करता।लगाया गया फोन आशाजी को।आशाजी ने कहा,हूँ, गा तो दूंगी मैं पर फीस दीदी से 5 गुना लूंगी।बेचारे मद्रास प्रोडक्शन वाले सर पीटने लगे।मामला जा पहुंचा शम्मी अंकल के पास।शम्मी जी ने आशा जी की बात का समर्थन किया और कहा कि वो हैं हीं इस काबिल जो, एकमात्र इस गाने के लायक हैं।यदि गाना रखना है तो बुलाओ उसे,भले मेरी फीस कुछ कम दे देना।शंकर जयकिशन जी ने इस सिचुएशन के लिए एक POLYNESIAN रिदम-तर्ज़ सोच रखी थी।अब ये पोलिनेशियन क्या बला है??तो सुरमित्रों, प्रशांत महासागर याने PECIFIC SEE में एक टापुओं का ग्रुप है,उसमें बसने वाले सब Iseland वाले ही POLYNESIAN कहलाते हैं।हवाईन द्वीप भी उसी ग्रुप में है।अब इस किस्म की ट्यून पर उसी किस्म की रिदम ही फबती।तो ऐसे में सिर्फ और सिर्फ एक ही नाम था इंडस्ट्री में जो इसे सरअंजाम दे सके।क़ावस काका उर्फ क़ावस लार्ड।बॉंगो ड्रम के अन्य प्लेयर उनके पाये के नीचे थे सब।सुविख्यात म्यूजिशियन करसि एवम बर्जर,क़ावस लार्ड के सुपुत्र हैं।क़ावस काका ने बॉंगो ड्रम्स से हिंदी फिल्म्स सिने संगीत में ऐसा समां बांधा,के हर संगीतकार उनकी प्रतीक्षा में रहता था।यंहा प्रसंगवश सूरत के सुरमित्र,श्री जॉय क्रिस्टी जी का जिक्र छेड़ूँगा,जिन्होंने मुझे गत दिनों उनके द्वारा बॉंगो पर बजाया गया एक छोटा रिदम ग्रूव भेजा।मैं उनके फिंगर्स रोल्स से जो बॉंगो के मैचो साइड यानी छोटे डाय फ्रेम वाला ड्रम,पर लिया जाता है,से खासा प्रभावित हुआ।उसी तारतम्य में अहमदाबाद के श्री अकुल रावल ने भी बॉंगों पे सिद्धहस्त करतब बजाये।बड़े डाय फ्रेम को हैम्ब्रा कहते हैं,जिससे बास टोन और मैचो से शार्प टोन साउंड करती है,और प्रस्तुत गीत में जम के मैचो पर करतब बजाये गए हैं।तो सुरमित्रों,ये पोलिनेशियन मेलोडी शुरू होती है,अजीब से हंटरों की आवाज़ से और सिसकियों से।इसका भी विचित्र किस्सा है।वो यूँ के फ़िल्म की स्टोरी-प्लाट में राजकुमार को एक क़बीले की राजकुमारी कैद कर लेती है व फिर कैद से रिहाई कर राजकुमार के संग गुफ़ा में जाती है।गुफ़ा के अंदर से हंटरों की व राजकुमारी की सिसकियों की आवाज़ आती है।यूँ ये अनोखा ही गाना है,जिसके प्रिल्यूड में कोड़े बरसाए गए हैं।सुनिए इन हंटरों का किस्सा।बकौल शम्मी अंकल,”I was so inspired of Roman Cupid love hunter paintings,so I suggested this frame with Roman Lyre strings instruments.S-J had a wonderful insipiration,of a Polyasian tune and rhythm,so the melody became symbol of passionate desire and erotic love”आशा जीDmदिलरुबा दिल पे तूGmये सितम Cकिये जाDmकिये जारफ़ी साहबDmहम भी तो आग में जलते रहेAप्यार के शोलों पे चलते रहेA7thओ हो हो होDmM1 में जो मैं बताना चाहता हूं वो आपको तो सुनना ही होगा।ड्रम्स और बॉंगों कि जबरदस्त पेयरिंग है।बॉंगो के मैचो ड्रम पर फिंगर्स रोल्स अद्भुद हैं।शॉट में राजकुमारी की सहेलियां कमर से ड्रम्स लटकाए हुए हैं और Roman Lyre Harp को छेड़ रहीं हैं।Dm क्या बताऊँ क्या दिल का हाल हैजिस घड़ी से मिले हमGmC जैसे सैकड़ों बिजलियाँ गिरींऔर जल उठे हमdd cc a/dd cc a/dd cc a abee d dc/ee dd ce e d c e dDmहाय, क्यूं मुझे खाक करने पे तुले हो जालिम!!!आखिर क्या बिगाड़ा है,मैंने तुम्हारा?????हहह!!!वाह,क्या लगभग बुदबुदाते हुए WHISPERING DIALOGUE हैं।और ये हर अन्तरेके आखिरी में रखे गए हैं।ऐसा व्हिस्पर+डायलॉग फॉर्म तो नायाब है हिंदी सिने संगीत इंडस्ट्री में।वैसे इसे हम फर्स्ट OPERA LIBRETTO कहें इंडस्ट्री का।Libretto में Prose फॉर्म याने गद्य को गाया जाता है।इस whisper से ही कटऑफ है,फिर वापस मुखड़ा आता हैदिलरुबा दिल पे तूM2 में वापस वही ड्रम्स-बोंगॉ की जुगलबंदी।दूसरे स्टेन्ज़ा को आशाजी ने बेहद सेक्सी अंदाज़ में गाया है।कॉर्ड्स प्रोग्रेशन तो पहले जैसे हैं तो सिर्फ बोलों में फर्क है पर इसके इंटरल्यूड में गिटार के Sonata के बाद जो रफ़ी साहब ने मद्धम स्वरों में बुदबुदाया है न!उसे सुन कर कृतार्थ हो जाएंगे आप,ये नाचीज़ का दावा है।हाय दिल की गहराइयों को चीरता हुआ ये दर्द,ये कसक,ये चुभनM3 में फिर वही ड्रम्स-बॉंगों की पेशकश ये साबित करती है कि मेलोडी खड़ी ही है,इस पोलिनेशियन बॉंगो रिदम स्ट्रक्चर पर।इस स्टेन्ज़ा में हिंदी सिने संगीत का पहला रोमांटिक कन्वर्सेशन रफ़ी साहब-आशाजी ने बखूबी फुसफुसाया है।कान लगा कर मस्त सुनिए।एक और नायाब हरकत ली रफ़ी साहब ने जब आखिर में अति उच्च तार सप्तक याने Falesetto pitchपर गाया है।हम भी तो आग पे जलते रहेप्यार के शोलों पे चलते रहेओ हो हो होDmCoda music में दिलीप नाइक सर ने मेलिडी को e guitar पर ले कर fade out किया।ये गाना मेरा भी फर्स्ट लेसन था रायपुरCG के लिजेंड्री गिटारिस्ट व रिदमिस्ट, स्व रोमियो जेकब सर से।
We always wonder why songs from the past stand out compared to recent songs . There is no doubt that there are music directors and lyricists who do great work even today. Then what is lacking???Screenplay writers and directors have, over the years, lost faith in lyricists.Some writers have delivered… But not consistently… I would not name anybody in particular but in the seventies eighties and nineties very few lyricists have been able to impressIt has been a two way traffic…there has been a dearth of good screenplay writers and directors…and stars have taken over the business of film-making.Raj Kapoor, the director, from the very beginning, believed that songs were an essential part of narrating a story on screen.
After making ‘Aag’, in ‘Barsaat’, he discovered the talent of Shanker Jaikishan and Hasrat Jaipuri….Towards the end of ‘Barsaat’, Shailendra joined them. RK knew, he had a team that would literally rewrite the history of Hindi film music.All his films depended on songs to take his story forward…His first colour film ‘Sangam’ was no exception.Effectively, Sangam had two theme songs….one at the beginning of the film and one towards the end. The first is a joyful party song where, the three main characters in the film…Raj Kapoor, Vyajantimala and Rajendra Kumar actually introduce themselves to the audience….They in fact reveal to the audience the part they will be playing as the story of the film unfolds.The second is a song that comes towards the end…after most of the story has unfolded (Dost dost na raha…)”Harr dil jo pyaar karega…”, taken at face value, is a party song full of fun….started by Raj Kapoor, true to his character of a fun loving, good for nothing person who is madly in love with Radha played by Vyjantimala. BUT the words Shailendra has written, take the song to a different level….Added to this, the little touches that the director has contributed, have the desired effect on the audience.In this song, like so many of his songs, Shailendra chooses his words like a highly talented screenplay writer. According to where the song comes in the film, his words reveal certain things to the audience, yet, he makes them curious about what will happen as the film progresses…..
Writing a good screenplay is tough….but to do it with lyrics??? JUST OUT OF THIS WORLD !!!The song starts with Raj Kapoor playing the accordion that makes up the introduction music….he sings the mukhda…” Harr dil jo pyar karegaa, woh gaana gaayega,diwana saikdon mein, pehchaana jaayega….”In the interlude, he moves towards Vyajantimala, who moves away towards Rajendra Kumar, who, in turn moves away to isolate himself…Raj Kapoor sings the verse…” Aap hamare, dil ko churaa kar, aankh churaaye jaatey hain,yeh ek tarfaa, rasme wafaa hum,phir bhi nibhaaye jaatey hain, chaahat ka dastoor hai lekin, aapko hi maaloom nahin…jiss mehfil mein shamaa ho, parwana jaayega…”Vyajantimala joins in… she sings the mukhda… Raj is ecstatic… he thinks she is addressing him…After the interlude, she sings…” Bhooli bisri, yaadein mere, hanstey gaatey bachpan ki, raat biraat, chali aati hain, neend churaaney nainan ki,ab keh doongi, kartey kartey, kitney saawan beet gaye… jaane kab in aankhon ka, sharmaana jaayega…”She is addressing Rajendra Kumar… he understands…. but his loyalty towards his friend makes him awkward….The next verse is sung by Rajendra Kumar….” Apni apni, sab ne keh li,lekin hum chup chaap rahey,dard paraaya, jisko pyara, woh kya apni baat kahey, khaamoshi ka, yeh afsaana, reh jaayega, baad mere….apnaake harr kisiko, begaana jaayega…..”
When one is watching this film for the first time, the words, the expressions of the actors and the movements, sound nice and look good…. But in turn, they churn up a kind of curiosity in the mind of the audience….Raj Kapoor’s lines are a blatant expression of love and a little complaint as to how, the love of his life is not really understanding how much he loves her…He will pursue relentlessly….. ” Jis mehfil mein shamaa ho, parwaana jaayega…. “Vyjantimala expresses that she feels the pangs of love …. the seeds of which were sown in her childhood itself…. ( Her love for Rajendra Kumar ) But, her shyness, ( the typical Indian upbringing ) has stopped her, many a time from expressing this love overtly to him…. She complains…. ” Jaaney kab inn aankhon ka, sharmaana jaayega…”Rajendra Kumar expresses anguish…. He loves Vyjantimala too…. But his friendship with Raj Kapoor, and the fact that he knows how crazy his friend is about the lady, is forcing him to remain silent….” Dard paraaya, jissko pyara, woh kya apni baat kahey….”The song ends… Raj Kapoor asks people to dance… he is still playing the accordion…Rajendra Kumar requests Vyajantimala to partner him … she eagerly joins him… Raj is happy to see his best friend dance with the woman he is madly in love with… In a compact shot…. there is a romantic exchange between Rajendra Kumar and Vyajantimala… she puts her head on his shoulder… Raj notices and he is a tad envious…He suddenly starts playing the ‘Anniversary Waltz’…. ( Used as the RK theme in all his films )… it borders on sadness… Raj, then picks himself up and goes back to playing the happy notes of the song…Shanker Jaikishen stand out among the crowd of music directors…. They use the piano, the accordion and violins to perfection… Note the subtle changes in these three instruments when required to go from gaiety to seriousness…. They understand exactly what their beloved ‘Rajsahab’ wants ….. They deliver…. AND HOW !!! Very few people, including many music directors understand the importance of balancing sound levels to perfection….. They should listen to any song composed by Shanker Jaikishen…. They were the undisputed champions !The subtle changes in expressions of the three main actors…. handled excellently by the director, make this great song greater… Raj Kapoor gives his co-actors proper screen space and manages to bring out the best performances…Shailendra’s words are great… But Raj Kapoor, the director, does not let his Kaviraj down !!!!!
For those who are reading this article for the first time, I would like to inform you that I am no movie buff, but a music lover and when it comes to Shankar Jaikishan music, you may call me a die hard fan. Most of the songs are heard on a repeat mode which really puzzles my husband Jawahar. He, being a movie buff, would like to watch a different movie each time. On the other hand, if it is a SJ movie, I watch the same movie over and over again. Nothing gives me as much pleasure as when I relax with a cup of tea and listen to a Shankar Jaikishan song, nibbling away on some dark chocolates truffles.
It was one afternoon during my school days that my family went to see a movie while I opted to stay home to read a book and listen to the radio, hoping to catch some SJ songs. As I got immersed in the book, suddenly I heard a song that caught my attention. It was so mesmerizing! The DJ announced that it was from Amrapali. Was I excited about it! I had read the story about the royal courtesan, many years ago and was happy to know that a movie on her life was being made. I decided that I would definitely see this movie since it was going to have all my favorite people. Director Lekh Tandon, lyricists Shailendra and Hasrat and in addition, my most favorite actress Vyjayanthimala in the lead with Sunil Dutt playing opposite her and, above all, Shankar Jaikishan for music.
Despite eagerly waiting for the release of Amrapali, I was constantly wondering if the movie can depict her story convincingly. My father always said that when a story is well known to the public, they would already have an impression of the characters, their looks, behavior, etc. as depicted in the narration and it becomes a big challenge for the movie maker. “Well, let me check it out and see how this movie will turn out to be,” I told myself.
The big day arrived. I had my servant go to the theater and get the tickets for us for fear of them being sold out. Unfortunately, the theater was at quite a distance from my home. I rushed my sisters to get ready fast as we can’t miss even one single moment of the film. Lunch was being served and we sat at the table. Although I am a foodie, I couldn’t enjoy the meal that day as I was too excited about the movie. Being a slow poke, I was only half done when the rest of them were about to leave for the theater. I quickly joined them, half hungry. For all my anxiety, we reached the theater well in advance. I grabbed the tickets from my servant and we all quickly entered the theater. My sister bought several packets of popcorn and potato chips to munch on while watching the movie. I refused them at first thinking they would be a distraction for me, but yielded later since we had at least twenty minutes to kill before the movie began. Soon the lights turned dim and the movie started. Although the story is known to me, it seemed afresh as the movie unfolded on the screen. It was Omkar Sahib’s screenplay with Arjun Dev Rashk and Balbir Singh’s dialogue that impressed me. Lekh Tandon did a fantastic job with picking the right cast and technicians. His long training and experience paid off in creating a masterpiece of a movie. The awesome sets, excellent photography and good editing helped make for a smooth screening.
In the lead role, Vyjayanthimala simply out shone everyone else. Her beauty, grace and poise helped her live the part with me thinking that that was how beautiful Amrapali would have been to have Ajatashatru fall head over heels in love with her. One could never imagine anyone else play the character. I had met her a few years prior and was captivated by her gorgeous looks. She now looked even more gorgeous in this movie. The period costumes, designed by Bhanu Athaiya, were just beautiful on her! Although the outfits were very revealing, they were so tastefully done that there wasn’t a trace of vulgarity in them. Vyju looked simply stunning in them! It made me wonder if one of the Ajanta statues had come alive to play the part of Amrapali coz no other actor had the personality to match like Vyju did. She had a few dances to perform and every one of them was done with the utmost pizzazz. They were an audio-visual treat for me. As for Sunil Dutt, he looked so regal and convincing in his role as King Ajatashatru.
Shailendra and Hasrat’s work was exceptional. And, what can I say about SJ? The composer duo were the perfect choice for music and they once again proved that they, and they alone, could create music for this movie in such an outstanding manner. The lovely lyrics came to life with their beautiful score. The album is one of the best of SJ’s career. They had already proven their ability to compose semi-classical music before. But they took this movie as a challenge since the story belonged to a particular period in time. Being sticklers to perfection, SJ did a lot of research to learn about the musical instruments used during the Magadha period. They composed a fantastic album with five songs in all, out of which, four solos were by Lata and one sung entirely by a chorus. Lata should be ever grateful to SJ for having been given such songs to sing coz they are some of the best of her career as well.
I thoroughly enjoyed Amrapali. The movie turned out to be more than what I expected. Together, Lekh Tandon, SJ and Vyju created art and poetry on celluloid, with support from Shailendra and Hasrat, that will be enjoyed for generations to come. Incidentally, the movie was the Indian entry for the Best Foreign Language Film at the thirty ninth Academy Awards, but was not a nominee. As for myself, I gave it a AAA rating for excellence in my book. Ever since Jawahar bought me the DVD of Amrapali, I have seen it countless number of times and will continue seeing it. For this alone, I feel that the producer and director owe me a special recognition as the biggest fan of their iconic movie.
110You, Taiyeb Shaikh, Mayank Shukla and 107 others47 Comments
This morning, I called Lekh Tandon to congratulate him one more time for this celluloid masterpiece as that was the least I could do to show my appreciation.
110You, Taiyeb Shaikh, Mayank Shukla and 107 others47 Comments
Begum Akhtar sang a song for film titled PAANI. Unfortunately due to death of Meena Kumari, who was in central role in the film, the film could not be completed.
Jaikishenji was the noblest, kind-hearted person I have ever seen. Very soft spoken, full of compassion & care for others, he would not dream of hurting anyone..As pure as his heart, he wanted his life peaceful & full of joy. He was very fun loving & liked to enjoy having chums,His favorite restaurants being Gaylord in Churchgate & Bombellis in warden roadLike a shining shooting star, he will be there among a group of people with a huge crowd standing outside, drinking the ecstasy of his darshan…I have seen him many times, sitting in Bombellis in warden road, surrounded by friends whenever I drove thru that area… Off & on I used to go & join him having breakfast & we would talk about my progress. Evenings he would be in Gaylord … I have not gone there as many times as I have gone to Bombellis because evenings I would go to S J hall … But whenever I have gone there it would be a joy ride having discussions about music & enjoying the makings of a new hit.He would check up with me about my training sessions with Guruji & in the hall.He would catch me if I had played hookey & bunked the visits to the hall …‘ I hear you are not going to the hall regularly ?……May I know why ?…. He will ask.Oh, dear …. what to say!.‘ No Jai sab, I had some work last week ….‘Don’t break the training …….Sharda,……This is not something to take lightly. Be regular …..Guruji’s training is not enough ..You need to get into the ins & outs of singing a new song in the recordings!.‘ Yes, Jai sab… I will be regular & not miss.. I better not bunk, now ..I will not be able to answer Jai sab again..‘ But you are not coming …Everyone misses you, Jai sab..‘Yes. Sharda, you know, I want to be with my friends, in the evenings.I do come sometimes, in the morning. But you are not there .‘Oh, I go in the evenings Jaisab. But I will come in the morning. Tell me when you will come .. I will come .‘ It is alright .. Haan .. tomorrow I am coming .. … in the evening. Make sure, you are there … .‘Yes, Jai sab, definitely.‘ Tomorrow ‘ was a joyous day ….‘ Jai sab, I am having this get together at my place … Please come & honor me ..I will be serving idlis!.‘ Sure .. I won’t miss the idlis for anything. .. The party was total fun, with Shankersab & Jai sab, Raj Sab & other big producers whom Shankerji had invited I was having a magic carpet ride on a ‘ Whole new world ‘He also gave me valuable lessons whenever I made a visit to the restaurants to have a training session with him ..Sitting in the seats , with tea & goodies , talk about this & that , coming to titbits & technics in singing .. Small small tips which are very valuable & very very rare treasures….. the throw of the voice , the controlling of breathing & so on He had guided me on how to bring out words in a song ….It was his Diksha that gave me the idea of how to say Titli & I applied the golden lesson at the start of the song & in all the repeats of the mukhdas..Each song has a soul spot in which you have to give emphasis…That soul word has to be brought out with a special thrust.In Titli udi the soul spot was in ” Titli “And the first punch only did the magic. Like if I had sung just plain. Titli udi .. the whole song would have been lifelessBut I applied Jai sab’s tip & sang …TT…itt li udi .. & this little punch lifted the song…And later on, I had used his technic in many songs, like in Badkamma & others. In each Enkanna I had applied the push. The punch & push if you put in the right place the song gets the life..You have to apply as much power in your voice as to how far you want to throw it, like if you want to throw a ball, so much power you apply exactly which would be needed as to how far you want to throw the ball…………. You don’t want to throw it farther than you intended!..How can I thank you, Jaisab for making my, sorry, your Titli fly high .What great updesh they both had given me….simply priceless.At that time I could not absorb all that, but during the passage of time, I had worked, researched & realized the technics & have formulated a workout program capsule .. which is easy, simple & very effective.During this period we have met very often & been together many times, at functions parties shows & on other occasions the Jaikishen lighting up the scene by his wonderful personality..Suddenly, a devilish sinister black shadow descended upon them attacking them brutally from all the sides forcing them to find a strategy……fastThey were a team & were together. In a team, everyone is involved as deeply as the other no matter what work is done by who… In a war you don’t bother who shoots the enemy, it is the force .. that force is one & anyone can shoot & the point is the war is won by the force..S J was a force & they were together in that force ….In a war, you have to place your army in such a manner as to face the enemy surrounding them & make attacks & counter-attacks..This arrangement of the army is called vyuha, which were used in Mahabharat yudh & other Indian wars. There are many different vyuhas &. the commander in chief selects the vyuha according to the reports brought by the spies as to what sort of attack enemy is planning & what vyuha they are arranging. This vyuha will cover the opposite army in a proper way piercing thro the enemy army from all the sides..Jaisab worked out a strategy, forming a half circle vyuha to face the attack, making two different routes for both of them to proceed & tackle the enemy. They made an arrangement that Shankerji will manage the side of ‘ like Sharda ‘ producers & Jaisab will manage ‘ hate Sharda ‘ producers ….. This will prevent the ‘ hate Sharda ‘ producers from going away ……..Jai sab did not want to antagonize the opposition & invite more wreaths..If no one bothered about S J making me sing if there were no angry retaliation from the opposition, why would they have to work separately? Wouldnt they have been continuing like the way they were doing, before? .Now as per the new arrangement, they both started to work separately, which created some misconceptions about their work.Jaikishenji’s heart was very komal, kind & soft. His love for Shankerji was pure & steadfast. He was not able to come to terms with this new development. His pain & hurt of standing apart from Shankerji was unbearable to him & it made him turn to drink doomsville ….He was not at all overdrinking during Shree 420. Jis desh days & others.Why would he suddenly fall prey to this habit?.Who wanted to put this noble soul in such a dilemma …who wanted him to separate from Shankerji. who wanted to break this Godly jodi?……………………..Whichever female force majboored him to stand apart from Shankerji, that force did not win, after all. He never let them win. The force had to accept defeat..He could have avoided this pain by bowing & giving in to the demand, which wanted him to break up with Shankerji & give music in his own name,…just Jaikishen .But he would never think of it ……He suffered & suffered inwardly but would not bend down..HE SHOWED THE WHOLE WORLD THAT HE WOULD RATHER DIE THAN BREAK UP WITH SHANKERJI. HE DROWNED HIMSELF IN A DISASTROUS PIT REFUSING TO BOW DOWN TO THE PRESSURES BROUGHT UPON HIM.And he went as the same Jaikishen he was in 1947 ..the darling of ShankerjiThe joy of Shanker Jaikishen … Not just Jaikishen..There are rules in war also .. You must not attack anyone in the not approved manner. But here this war was not a Dharam war .. This was an Adharam war, most devilish war. All sorts of dirty tactics were applied in this war …….Shankerji & Jaikishenji both high principled, golden-hearted persons, will not stoop so low as to fight an indecent war ..Facing all sorts of mean, dirty cunning strategies they both had a testing time…If only music directors were not given the treatment of a criminal if they made other singers sing in their movies… Shankerji would not have been made to face so many atrocities. Jaikishenji would not have been made to work separately in a suicidal plan.They would not have been made to tear their paths in order to face the tornado ………………………………….Was it so disastrous if some music director takes songs with some new singers that people should attack him with so much force & vengeance? Using all sorts of dirty lowly tactics? And people saying that Shankerji had to suffer because he made Sharda sing? As if he had committed an unspeakable crime by making Sharda sing!.If only people were not so mean & cruel but be human enough as to let others also live …have a small place in the film industry & sing a few songs …what they would have lost? Ultimately we all need nothing but 6 feet of land in the end!Instead of abetting the loving team to work separately & driving Jaikishenji into an untimely end…………Shankerji did not have an iota of an idea that how Jaikishenji is letting himself being sucked into this drink pit so precipitously. Being a teetotaller himself, his evenings were not spent in the company of double-faced chameleons & cunning scoundrelsHe was spending his time going to the hall religiously, drowning in his work, composing new new tunes & discovering new phrases in music..Only, if he had some knowledge about what was going on in Jai sab’s territory, he would have definitely discouraged Jai sab from falling in the pit & saved him…. .. won’t you prefer foes than having friends like this who push you to your doom, when you are passing thru a painful period?…….. Shankerji realized the severeness of the damage when it has taken too deep a root …..his own heartbreaking in pieces, beyond repair …..bringing tears in his never got wet eyes …Jaikishenji became the Abhimanyu in the vyuha he himself created.In the prime of his life, in the peak of his carrier, leaving the whole of India in uncontrollable unforgettable grief pulling himself away from lacs & lacs of loving hands, he goes ……………………….All the blows which Shanker sab was made to take so far did not shake him one bit … But this blow hit him hard. His iron heart cracked ……..And tears fell from his eyes for the first time ………..Don’t humans have human hearts in their chests?….Cheers …. become tears
56. SJ may have the highest mukhdas of their songs later converted to movie titles:”Lal Dupatta malmal ka””Raja ki aayegi baraat””Tumse achha kaun hai””Kashmir ki Kali””Aa gale lag jaa””Aan Milo Sajna””Tumko na bhool payenge””Kuch kuch hota hai””Nain mile chain kahan””Aaja Sanam””Aa ab laut chale””Phir bhi dil hai Hindustani””Main Ashiq hoon baharon ka””Mujhe meri biwisi bachao””Kaun hai jo sapnon mein aaya””Bol Radha Bol””Buddha Mil Gaya””Dil ke Jharonke mein””Gustakhi Maaf”
57. Lata Mangeshkar and Jaikishan were both born in 1929. Shankar was elder.
58. MadanMohan, Deven Verma, Satish Wagle were Jaikishan’s very close friends and they met regularly at Gaylord’s near Churchgate, Mumbai. MadanMohan can be seen in key roles in Satish Wagle’s “Pyar Hi Pyar” and “Yaar Mera.”
59. SJ utilized Rafi and Mukesh for all three Kapoor brothers: Raj Kapoor had a Rafi song in “Ek Dil Sau Afsane” & “Mera Naam Joker” Shammi Kapoor had a Mukesh song in “Ujala” and “Singapore” Mukesh sang one song for Shashi Kapoor in “Insaniyat”
60. SJ had Mahendra Kapoor playback for Dev Anand in “Roop Ki Rani CHoron Ka Raja” (Yes, I have the video of the movie. It’s a fact!)
61. Sushama Shreshta was introduced by SJ in “Andaz” and also sang in “Seema” She later sang as Poornima. Ramesh Sippy and Salim-Javed of “Sholay” fame also started with “Andaz.”
62. SJ were signed for the following movies originally: “Bobby,” “Seeta Aur Geeta” I remember clearly having seen ads to that effect in Screen. Unfortunately, I did not save those issues.
63. Guru Dutt had one only movie as a lead actor with SJ: “Sanjh aur Savera” But his younger brother had a close relationship with SJ: Shikar, Chanda aur Bijli, Umang, Yaar Mera and Resham Ki Dori.
64. Besides Dattaram and Sebastian, SJ also had other assistants like Sonny Castellino (Awara), Dheeraj (Sanyasi), Enoch Daniels (Kaanch Ki Deewar, Gori, Krishna Krishna
65. SJ composed background music for a documentary at the peak of their career in 1967. The docmentary was “Everest” and narrated the expedition by Nawang Gombu’s team. Incidentally, this team included Dr Telang as a team doctor.
66. Shatrughan Sinha sang “Mera Joota hai japani” at a function in 1972 under Shankar’s supervision.
67. Sudha Malhotra sang the “Chori Chori” duets with Manna Dey during the 1957 function for 1956 FF awards.
68. Shankar composed Indian classical tunes for AIR Delhi in the late seventies.
69. Shankar liked Hitchcock film music.
70. Shankar was a master at playing several instruments. He could play the piano, the harmonium, the sitar, and the pakhawaj with ease. Born in Punjab, he migrated to Andhra Pradesh at a very young age. He had been a dancer in Krishna Kutty’s troupe.
71. Jaikishan was a master harmonium-player.
72. Shankar-Jaikishan approached Raj Kapoor, who was on a lookout out for new composer for Barsaat. Kapoor had noticed them as musicians earlier.
73. Coming to their working style, the duo mostly composed the tune first, since they felt it prevented monotony, as poets tended to write songs most of the time to just two or three metres.
74. Lyricists Shailendra and Hasrat Jaipuri were masters at writing in-depth lyrics to S-J’s tunes, and the composers worked with them mostly. For a couple of films they worked with lyricist Rajinder Krishan. Most of the time Jaikishan tuned with Hasrat, and Shankar with Shailendra.
75. Shankar-Jaikishan were on the RK Films pay-roll even when another composer did an occasional film.
76. They were awarded the Padmashri in 1969.
77. As S-J, they did 121 films, and later Shankar did about 30 films more.
78. The duo released a non-film record, Raga Jazz Time in the 60s and composed Hindi songs and the background score for the English film Bombay Talkie (1971).
79. Their music boosted the careers of Raj Kapoor, Nargis and Rajendra Kumar, and gave the ‘Yahoo’ image to Shammi Kapoor.
80. Through their songs popularized instruments like the violin (‘Jaane kahan gaye who din…’ – Mera Naam Joker), the piano (‘Dost dost na raha…’ – Sangam, ‘Dil ke jharaonkhe mein…’ – Brahmachari) and the accordion (‘Awara hoon…’ -Awara).
81. Way back in 1965, S-J charged a record-breaking rupees five lakhs making them the highest-paid music directors ever.
1) Asrani can be seen in the first row of chorus in the song, “Ab kahan jayen hum..” in’Ujala.’ He also appears in the movie, “Hare Kaanch ki Chudiyan” but we always think of his debut as “Umang”2) Subhash Ghai lip-synched on several songs partially in ‘Umang’ but also “sang” the Rafi song completely in the same film, “Baabul kaun ghadi..”3) Jaya Bhaduri never had the opportunity to sing a song of SJ. However, Jaya acted on the Asli Naqli song “Tujhe jeevan ki dor se” in Guddi with Dharmendra.4) Amitabh never had the opportunity to sing a song of SJ. BUt Shankar’s favorite dummy words “Tandana Tandana..” became a mukhda of his (LP) song where he mimicked Mehmood.”Tandana Tandana..” words were first heard in “MayurPankh” and later in “Gumnaam”5) “Gumnaam” becomes the only film ever that had music influenced by a Hollywood film and that influenced a Hollywood film in return! The two films are “Charade” and “Ghost World” respectively.6) “Gumnaam” had Mehmood singing “Bhai Battoor..” which later became a song in Padosan.Mehmood also sang “Lal ghoda..” in “Shatranj” which became a full-fledged song in “Kunwaara Baap”7) “Ram Teri..” song “Sun Sayba..” is influenced by “I love you..” from “Sangam”8) The tune for “Jaane kahan gaye woh din…” was first heard in background music of “Jis Desh mein…”9) The Goan tune for “Na maagoo sona chandi..” was first heard in background music of “Awara.” It was played just before the song “Dum bhar jo udhar moonh phere”10) “Jaaon kahan bata ai dil” from “Chhoti Bahen” was influenced by the title music of “New Delhi”11) “Mora nadaan balma” from “Ujala” was influenced by the title music of “Mayurpankh”12) “Kisiki muskuraton pe” from “Anari” was influenced by the background music of “Shree 420″13) “Sambhal ke karna..” tune from “Ek Phool Char Kaante” was used in the background of “Golmaal” by RDB very often. SDB also used a tune from the same movie in “Chupke Chupke”14) Besides Rajendra Kishan who wrote lyrics for “College Girl,” SJ also utilized the service of lyricist Deepak in “Boot Polish” when Shailendra was alive.15) Though Shailendra was associated with Shanker, it was Hasrat Jaipuri who wrote the lyrics in Shanker’s solo venture, “Street Singer” produced by Chandrashekhar. Hasrat Jaipuri also appears in the movie. Shanker did so under the pseudonym, Suraj. The other movie he composed music for, under this name was the Marathi, “Tee Mee Navhech.”16) Jaikishan appears in “Main Sundar Hoon” with Anand Bakshi, his only film with SJ.17) Gulshan Bawra appears in two songs of SJ in “Beimaan” and “Jungle Mein Mangal.” He did not write lyrics for these movies but wrote lyrics for other SJ films like “Chori Chori,” (new) “Jaane Anjaane,” and “Aan Baan.”18) Neeraj acted on the song “Paise ki Pehchan..” in the film “Pehchan” and also wrote the lyrics for the same.19) Neeraj and Hasrat Jaipuri teamed together for SJ in the film “Dil Daulat Duniya” for a song. Later they also wrote all the lyrics for all songs of “Jungle mein Mangal.” The results weren’t great. I like the song “Tum Kitni khoobsoorat” They also wrote lyrics for Usha Khanna’s “Paani mein jale mera gora badan..” in “Munimji” (1973).20) “Kismat Ka Khel” had a Lata song with dummy words that sounded like “Echo Echo..” Years later, Shanker used similar words in a song in “Naari” which happened to be the only SJ song sung by Yesudas (with Amit Kumar), “Neeche zameen, upar gagan..”21) Director Prayaag Raaj yelled “Yahoo..” in the “Junglee” song whereas Shanker was responsible for “Ayaya Sukoo Sukoo..” Prayag Raaj later acted in “Bombay Talkie and also directed “Insaniyat” starring Shashi Kapoor and Madhu.22) Dattaram lip-synched for the song, “Tum mere pyar ki..” from “Bombay Talkie” acting as a playback singer.23) SJ were responsible for Usha Iyer’s first film songs in “Bombay Talkie” and this was about two years before her success in “Hare Rama Hare Krishna.”24) Ustad Ali Akbar Khan played the sarod in “Suno Chhotisi Gudiya ki..” Pannalal Ghosh played the flute in “Main piya teri..”Hazara Singh played the electric guitar in “Tera teer..”Manohari played the saxophone in “bedardi Balma..”25) Bappi Lahiri’s father Aparesh Lahiri sang an SJ song in “Badshah” (I have not heard this one.)26) Famous classical singer Bhimsen Joshi sang a jugalbandi in “Basant Bahar” with Manna Dey.27) Anuradha Paudwal, Alka Yagnik, Chandrani Mukerjee, Sharda, Dilraj Kaur all sang “Ari o sakhi..” for SJ together in “Kaanch ki Deewar.” Lead Stars Sanjeev Kumar, Smita Patil and Shanker all died within months after the release of the movie.28) “Gaya Bachpan..” from “Ankhon Ankhon Mein” was the last song recorded by Jaikishan.29) The movie “Preetam” has title music that is the same as that of “Mere Sanam” of OP Nayyar. The movie was released just a few months after Jaikishan died. Does anyone have an idea why? The producer of the movie was Bhappi Sonie.30) The first SJ movie without a Lata song was “Boot Polish.” It was also the only movie of SJ with RK without a Mukesh song!31) Aarti Mukerjee sang a song for SJ in “Boy Friend” in 1960 and the next SJ song that she sang was in 1974 for “Neelma.”32) Joy Mukerjee had SJ music only in two movies: “Love in Tokyo” & “Love in Bombay”33) The first RK Films movie to win a Filmfare Award was ‘Mera Naam Joker,” the last SJ movie of SJ with Raj Kapoor was the hero!34) Omprakash, the actor, directed the Raj Kapoor starrer “Kanhaiyya” produced by his brother, Pachhi. Pachhi also produced “Around the World” and “International Crook” in which Omprakash got to sing songs on screen!35) SJ had the privilege of composing music for the only complete original color film starring Madhubala, “Jwala.”36) The first color film for which SJ composed music was “MayurPankh” starring Kishore Sahu.37) SJ composed music for several films shot on foreign locations and provided music to suit the mood: Sangam, Pyar Mohabat, Naina, Dharti, An Evening in Paris, Love in Tokyo, International Crook, Singapore, Around the World, Saazish.. International Crook was shot in Alaska.38) SJ composed music for the first 70mm film in India: “Around the World.”39) “Dream Girl is coming” was what the posters said when “Sapnon Ka Saudagar” was about to release. SJ were amongst those who chose her for the role.40) The last SJ film to have multiple songs played on Binaca Geetmala was “Sanyasi.”41) “Krishna Krishna” is the only mythological film for which SJ composed music.42) Shammi Kapoor heads the list of SJ leading men. Rajendra Kumar comes a distant second. Vyjayanthimala heads the list of SJ leading women.43) The only Dev Anand song sung by Kishore Kumar for SJ was “Dooriyan Nazdikiyan” in “Duniya.”44) “Zindagi Ek Safar hai suhana..” from “Andaz” has three voice versions: Kishore Kumar, Asha Bhonsale and Mohd Rafi.45) Hemant Kumar’s daughter Rano Mukerjee sang a few songs for SJ in the mid seventies in “Saazish,” “Resham Ki Dori,” and “International Crook.” The song that she sang for”International Crook” was not used in that film but instead found its way in the film, “Eent ka Jawab Patthar.” The song was “Poochha jo pyar kya hai..” with Kishore Kumar.46) The film “Dur Nahin Manzil” was first assigned to Roshan who died. Later SJ were signed for the same and Jaikishan died during its making. Suman Kalyanpur had sung the title song for Roshan. She also sang for SJ in the film: “Bezuban dil shor na..” The heroine was originally Nutan. She had acted in producer Hari Valia’s earlier venture, “Laatsaab” but due to a misunderstanding with Sanjeev Kumar, she stepped out and was replaced by Bindu’s sister (and Laxmikant’s sister-in-law) Reshma.47) Mohd Rafi sang two non-film English songs for SJ. They were uploaded on the site earlier.48) SJ’s first HMV LP Album had a picture of them with their two 1959 White Impala cars with fins and also their Filmfare awards.49) HMV had released a Lata LP in which all songs were composed by SJ. The songs included: “Bol ri Kathputli..” “Mohabat ki Daastan..” “Jeevan ke do rahe pe khade..”50) Anuradha Paudwal did a cover version of Lata songs for SJ for T-Series. Later, HMV released a cassette with almost the same original songs.51) Almost all SJ films were from HMV. SJ’s first movie album to be released for Polydor (now Music India) was “Love in Bombay.” “Archana” was also on Polydor. “Chorni” was with INRECO.52) There is a chowk (street junction) called “Shanker Jaikishan Chowk” close to Eros Theatre in Mumbai.53) Some of the lead dual roles in SJ films:Shararat Kishore Kumar An Evening in Paris Sharmila TagoreBhai Bhai Sunil DuttChhote Sarkar Shammi KapoorMahfil SadhanaAtmaram Shatrughan SinhaYakeen DharmendraGaram Khoon Vinod Khanna54)Some non Hindi words in SJ songs:Kali Ghata: Il ya Belle…Shree 420: Rammaiyya vastavayya…Singapore: Rasa Sayang re…Junglee: Yahoo!…Sangam: I love you…Love in Tokyo: Sayonara…Pyar Mohabat: Hooray Hooray.. Aman: Puru sato Japan..Shatranj: Badkamma Ikkad po tora..Garam Khoon: Penelope…Eent Ka jawab Patthar:
6Jagadish Tc, Tamal Kanti Pal and 4 others1 Comment1 Share
Mehboob’s Andaaz (1949) made Raj a top star and in the same year it was the passionate romance Barsaat which really reckoned Raj Kapoor as a director of much merit. Barsaat, a runaway hit, also brought to the limelight new music directors Shankar-Jaikishen, lyricists Shailendra and Hasrat Jaipuri and the actress Nimmi. The raw passion between Raj Kapoor and Nargis in Barsaat shot with a beautiful almost poetic use of light and shade drove audiences wild. The music of the film was hummed across the nation and along with Andaaz and Mahal that year, the songs were instrumental in Lata Mangeshkar’s climb to the top as a playback singer. In fact Raj Kapoor’s musical sense and feel for rhythm and involvement in music sittings have ensured the highest quality of music in his films.
The fifties saw Raj Kapoor’s greatest work as a Producer‑Director besides establishing himself as one of India’s biggest ever film stars along with Dev Anand and Dilip Kumar-the Trimurthi! Awaara (1951), the tale of a vagabond was perhaps his greatest triumph and was released in Russia as Bradyaga to unprecedented success. It’s dream sequence with huge statues set amongst the clouds to the strains of Nargis dancing to Ghar Aaya Mera Pardesi is a cine-east’s delight even today! With Awaara, Raj Kapoor created the Chaplinisque tramp, an allegory for the innocent state of mind of the post Independent Indian. This image was used once again in Shree 420 (1955) tracing the corruption of an innocent soul who comes to the city to make his living. In fact. many of Raj’s other films look at the naove simple hero used by a cruel and corrupt society like Anadi (1959).
After his break up with Nargis (their last film together was AVM’s Chori Chori (1956) though she did do a in Jaagte Raho (1956). Chori Chori was directed by Anant Thakur and produced by AVM Film company from Madras. This could explain why the film was based in the South as the hero and heroine travel all over the countryside from Madras to Bangalore. Chori Chori was inspired by Frank Capra’s 1934 comedy-It Happened One Night starring Clark Gable and Claudette Colbert. This kind of comedy was a genre that was extremely popular in the 1930s till the grim realities of World War II made their presence felt. Comedies generally worked on the battle of the sexes as the hero and heroine gave it to each other before finally falling in love. Their bickering and fighting with each other as they exchanged barbs and double entendres is what constituted the fun element of the film.
The key character in this battle of the sexes would be the heiress. She was often dizzy, saucy, flighty who fled from homes, jilted bridegroom at the altar and generally carried on with total disregard for the existence of breadlines and unemployment. Thus she was used humorously in such films as an object of contempt and ridicule. Of course by the end of the film not only does the hero snag the heiress but through him she is also humanized to see normal life and normal people quite unlike herself. And when she has to escape with the hero when her father’s detectives land up there is by behaving normal, as the normal wife of the normal hero. And during the film the hero takes on the weight of becoming the very image of the people revealing them in the process of revealing himself to the haughty, upper class heroine.
Chori Chori is a typical example of what constitutes a road film. While a popular genre in Hollywood, India has never really embraced this format and the efforts have been few-Bombay to Goa (1972) or Dil Hai ki Maanta Nahin (1992) which incidentally was also a remake of It Happened One Night and Roman Holiday combined.
Perhaps this is so because the road is an enduring theme in American culture. The road movie I in this regard like the musical or the Western, a Hollywood genre that catches peculiarly American dreams, tensions and anxieties.
Nargis is a revelation in the film as the dizzy heiress. She proves she can play screwball comedy as effectively as she could her intense dramatic roles. It is a fine perfomance with her sense of comic timing spot on. See her as the puppet in the Jahaan Main Jaati Hoon song. It is Nargis’s sense of razor sharp timing that offsets her inability. She carries off the song sequence excellently by her expressions. Raj Kapoor of course had born comic talent. He is absolutely perfect in the role of the impoverished journalist Sagar. Chori Chori marks yet another land-mark in Raj Kapoor’s illustrious acting career. Pran does his familiar bad man turn with relative ease. They are more than strongly supported by the comic element of the film-Gope, Johnny Walker and Bhagwan.
Chori Chori represents some of the finest work of Shankar-Jaikishen in their entire career. The evergreen musical score with lyrics by Shailendra and Hasrat Jaipuri ensured Shankar-Jaikishen their first ever Filmfare Award for Best Music. The film has brilliant songs with each song better than the other. First and foremost are the two all time great Lata Mangeshkar-Manna Dey romantic duets Yeh Raat Bheegi Bheegi and Aaja Sanam Madhur Chandni Mein Hum. With Mukesh trying his hand to be an actor this was the phase when Manna Dey briefly sang as the voice of Raj Kapoor in films like Shree 420 and Chori Chori.
As one hears Manna Dey one cannot but think sadly that the film industry never really gave this great singer his due. He was always regarded a poor second to Rafi, Mukesh, Kishore, Talat or Hemant Kumar which is a pity because Manna Dey was such a fine singer with an extremely strong classical base himself. Lata Mangeshkar of course leaves her stamp on the film with perhaps her greatest sad song ever-Rasik Balma. It is perhaps technically the best composition of the film and the emotion and pathos with which Lata renders this song is unbelievable. Only such a gifted singer could give such expression to words like Lata could
While Raj Kapoor continued to explore social issues-Jis Desh Mein Ganga Behti Hai (with Padmini & Pran) (1960) or complex human relationships-Sangam (Raj-Rajendra Kumar-Vyjayantimala) (1964) there is a marked difference in his treatment of the heroine who became a sex object with a high accent on her physical attributes! Reverting back to the Chaplinisque image, Kapoor made his magnum opus Mera Naam Joker (Raj-Kapoor, Dharmendra, Rajednra Kumar, Dara Singh, Manoj Kumar, Padmini, Simmi, Sonia Sahni, Pran, Rishi Kapoor) (1970) about the circus-joker who laughs on the outside and cries within and though absolutely brilliant in parts (particularly the first chapter of the adolescent hero discovering love and sex) the film, a highly self indulgent exercise flopped miserably at the box office shattering him.
‘Wattan’ was a ambitious movie being produced in late 70s by a ambitious producer A.A.M.Noorani who originally was a business tycoon and native of Muscat, UAE, but was fascinated so much by Indian movies that he decided to take nationality of India and to settle down in Bollywood with the sole ambition of becoming a high profile producer. In mid 70s he came to Mumbai(Bombay then) and studied the film production business to understand the nuances of making dreams on celluloid after which he launched his maiden venture Wattan at a grand scale. He signed stars like Ashok Kumar, Sunil Dutt, Amjad Khan, Sanjiv Kumar, Sanjay Khan, Rekha, Reena Roy, Premnath, Ranjeet, Shakti Kapoor etc for Wattan. It was to be directed by Kanak Mishra and music was being composed by Shankar-Jaikishan. Around 7 reels were shot till mid of 1978 along with recording of 5 songs out of which two were picturized. The movie was based on mutiny of 1857 which was the first struggle for freedom. Ashok Kumar, the protagonist, was playing the last Mughal King Bahadur Shah Zafar, whereas Sunit Dutt was playing a poet who was compelled to leave his pen and hold a sword for the love for his motherland. Rekha was playing his love interest on whom Amjad Khan was having a eye.Sanjay Khan was playing the role of a messenger who use to deliver messages in return of a loaf of bread or blanket.Sanjiv Kumar was playing as Mirza Ghalib. The movie was being made on a grand scale before it got shelved down unceremoniously. The reason perhaps was the untimely demise of producer Abdul Abbas Mohammad Noorani.
Album of songs used in Prithvi TheatresCourtesy Abhay AcharekarShankar Jaikishan in a play PATHAN of PRITHVI THEATRES Prthvirajkapoor with Shankar Jaikishan and Hasrat Jaipuri during #Barsaat (1949)photo courtesy Lakshmi K. Tummala
FROM SHRI (now late )PRADEEP GUPTA A MEMBER OF shankarjaikishan group on Yahoo
photo courtesy Akhtar Jaipuri (son of lyricist Hasrat Jaipuri )
A new thread of our beloved SHANKAR-JAIKISHAN’S success is going to tell us altogether a different story. Just look at the the fabulous record of their grand success: 1. SJ left an impact on the fraternity of music directors that several music directors like LP, RDB, KA, Usha Khanna, Nadeem Shravan and Anu Malik proudly declared them as their idols; 2. Film’s having SJ music got total 27 Film Fare Awards and 2 National Awards; 3. Mohd. Rafi got six Film Fare Awards out of which 3 were for SJ songs; 4. Mukesh got 4 Film Fare Awards out of which 3 were for SJ songs; 5. Manna Dey got his only Film Fare Award for SJ songs; 6. Hasrat, Shailendra, Neeraj got all their Film Fare Awards for SJ songs; 7. Asha Bhosle got maximum Film Fare Awards under the baton of SHANKAR-JAIKISHAN (RDB); 8. Manna Dey won National Awards twice, both times for SJ songs. Non of the music composers mentioned hereabove and others as well could out perform them in terms of no. of awards they bagged. Just do the simple calculation. LP, KA, RDB gave music atleast twice the no. of movies done by the duo, but still they all are far behind of our beloved SJ. Even the younger generation, which claims ARR to have equalled SJ bagging nine FFA is in fact far behind of them in terms of their grandeur. HARI ANANT HARI KATHA ANANTA. With best regards. Sincerely yours Pradeep Kumar Gupta
Late Pradeep Kumar Gupta a die hard Shankar Jaikishan fan
Attached herewith scanned page of a feature on Shankar Jaikishan and Actor Raaj Kumar written by Shri Ajit Popat in Gujrat Samachar along with its Hindi Translation and English Commentary. Enjoy
Perhaps the oldest established of the three composer duos, Shankar Jaikishan got their break in Barsaat in 1949. Having worked under the very first composer duo of Hindi films, Husnlal-Bhagatram and, later, with Ram Ganguly, these two had no conventional education. Perhaps it would be correct to say that the generation of listeners born in the early ’60s were a lucky bunch who grew up on a cocktail of the compositions this duo created!
Shankar Jaikishan (Pic: Google Image Search)
There are many websites devoted to their music, millions of fans who have, perhaps, a better handle on the intricacies of their music. Perhaps musicologist Manek Premchand’s arrow hits closest to bull’s-eye when he talks about them “Keeping one eye on newness and the other eye on simplicity. Trying variations, reversing taals, reversing the start of the sthayi into avroh. Using counter-melody, taking the saxophone here, positioning the accordion elsewhere. But with all this, never losing focus of the fact that the songs just had to be listener-friendly. S-J didn’t want to compose complex melodies that were made for the sangeet gharanas. They wanted to make, and always managed to compose, tunes that you and I could listen to and sing and enjoy long after they themselves had left the film scene. This they achieved so well.”
I admit that I have never been able to classify S-J into any mold. Nor have I been able to explain to myself what it is that defines their music. If I were to put it simplistically, I’d say they are known for a truly unique combination – a teaspoon of classical music thrown in with a pinch of melody, garnished with a lilt – and voila! Another winner! Or their orchestration. Or their simply mind blowing preludes, interludes, postludes…Or… I could go on and on. But when I became enamored of their music, I knew none of this. I knew only that I loved a lot of their songs. And even though they worked with both Hasrat Jaipuri and Shailendra together in most movies, I have chosen songs written by Shailendra, simply to reduce the variables while trying to display
In 1963 they had four releases: Hamrahi, Ek Dil Sau Afsane, Asli Naqli and Dil Ek Mandir. All of them with their favorite poets Hasrat Jaipuri and Shailendra doing the honors. I do think it’s important here to note that none of these were RK Films. Let’s see if we can unearth the genius that was S-J using their 1963 releases as a sample of their work.
Here is more than a teaspoon of classical music: Lata’s Mann re tu hi bataa kya gaaun in Hamrahi is the cry of a forlorn heart unable to contain itself and as incapable of sharing her grief. A semi-classical touch with the mellifluous sitar prelude devoid of any other instrument, joined by a few chords and Lata’s piercing address to her “mann” starts the song. In fact after each verse, the comeback to the “mann re” is devoid of any music except these guitar chords in the background. It’s almost as if the “mann” cannot take the weight of any instrument, lest it break completely. Lata’s voice, sans any melody or percussion makes a deeper impact. The tabla, the sitar, the violins, those guitar chords, used so prudently by the duo here. To end with that plaintive cry to the “mann” – just fabulous! Shailendra’s words? Haunting.
Mann re tu hi bataa kya gaaun (Hamrahi, 1963) Shankar-Jaikishan / Shailendra / Lata
To show the melody that their music is so full of, here’s an unusual Rafi-Raj Kapoor combine from Ek Dil Sau Afsane! This duet is a shock to watch for the first time as one doesn’t associate Rafi’s voice with the Showman at all. In complete contrast to the sitar and high notes in Mann re, hear how softly this one starts off! Soft and firm. Not tentative. How attractive the repeating sound of that brush on the drums is throughout the song! A simple love song, this one depends on the waltz beat and meter and the drums to slowly steal your heart. Uncomplicated, yet rich with little touches, like how the drums start up each time the mukhda starts. How the accordion flirts with the orchestra and peeks into each verse.
And Shailendra? He makes you smile here. Notice his play on words in the mukhda? One says “my world is full of you, like a garden is full of flowers.” Complete saturation. The other says “you’re unique for me, like the moon is unique in the sky.” Only one. A delight of a song that never grows old. You start listening and long after the song is over, you’re still humming, Tum hi tum ho…
Tum hi tum ho (Ek Dil Sau Afsane, 1963) Shankar-Jaikishan / Shailendra / Lata and Rafi
Let’s elaborate a little on their ‘eye on simplicity’. The song that instantly comes to mind is one from Asli Naqli sung beautifully by Lata. In a movie that boasted beautifully penned and composed, extremely popular songs like Tujhe jeevan ki dor se, Laakh chhupao chhup na sakega, Chheda mere dil ne tarana tere pyar ka, Kal ki daulat aaj ki khushiyan, this Lata-Sadhana combine comes like the freshest air of dawn, even as it has been filmed at night. A whiff of the purest air there is. A song that combines the jubilation of falling in love with the darr of being in love! Shailendra expressing this as only he can – simply, clearly. Lata and Sadhana both elevating this simplicity to the sublime.
The heady excitement, with the fear of losing something as valuable as one’s life partner dogging at the heel of this whirlwind of emotion.
Chahat ka hai harsu asar, Tujhko dekhun, dekhun jidhar…. Chalti hun main taaron par, Phir kyun mujhko lagta hai darr…
Hear how S-J create the effect they want. Do you know that the eye of a storm is quite still? This is how this song feels. The steadiness of this lady’s emotion, so believable because it is so steady; in tandem with the flourish of violins that start off the song! In the interludes, we have that accordion peeping again creating that little anxiety in the waltz-rhythm of the orchestra! The verses, where the orchestra fades to give way to the heartbeat – the tabla. The result?
Kya kaha hai chand ne, jisko sun ke chandani har lahar pe jhoom ke, kyun ye nachane lagi
To some, the two waltz songs above may seem similar, but their treatment sets them apart. While the duet is a private whispering of sweet-nothings, the Lata solo above is the sheer joy of being alive and in love with that intoxicating and oh-so-real hint of fear that doesn’t dampen the mood…that feeling of dancing on waves, or stars, remains long after the song is over.
By far, the most popular, the most classical-based album that S-J came up with in 1963 remains Dil Ek Mandir. A movie that could have just remained a tearjerker had it not been for its fine music and some wonderful performances that elevated it a notch. Meena Kumari, Raaj Kumar and Rajendra Kumar, all in their best tragic costumes. What elevates the story is the character of not only the doctor, his sacrifice, but the acceptance of this doctor’s role in his wife’s previous life by the husband, in my very humble opinion. Meena Kumari as the quintessential Indian wife, deeming her husband her devta is in her element. S-J give her two solos as the wife, both undying compositions. One that reveals a little of her struggle to accept this man as her husband, having loved another – a Hasrat Jaipuri-penned poem that adds a little shade to her cookie-cutter character, and is therefore a personal favorite.
Panchhi se chhuda kar uss ka ghar tum apne ghar par le aaye Ye pyar ka pinjra mann-bhaaya, hum jee bhar-bhar kar muskaaye Jab pyar hua iss pinjre se, tum kehne lage azaad raho Hum kaise bhulayein pyar tera, tum apni zubaan se ye na kaho Ab tum-sa jahaan mein koi nahi hai, hum to tumhare ho baitthe Tum kehte ho ke aise pyar ko bhool jao, bhool jao…
The addition of that ‘ab’, whether done to balance the meter or intentionally, is a stellar touch. I confess- what endeared this song to a younger me was that phrase, so niftily tucked into the meter – the younger me actually waiting for the second verse to hear the balam ji-part! Sometimes it’s a small thing that leads to undying love – it doesn’t always have to be something grand! 🙂
The other, Ruk jaa raat, ttheher ja re chanda, beetey na milan ki bela, written by Shailendra, an audio-visual treat, is an entreaty and a commitment all at once. An entreaty for the night to last forever. A commitment to the husband that no matter what the morning brings, her bond with him will remain eternally.
Kal ka darna, kaal ki chinta, do tan hain, mann ek hamare Jeevan-seema ke aage bhi, aaungi main sang tumhare…
The repetition of this last sentence, almost in a whisper without instrumentation, is a brilliant touch in a composition that is replete with violins, the piano, even a faint shehnai, and a beautiful tabla.
Hasrat Jaipuri writes a beautiful piece of poetry in the title song, giving a pure heart the stature of a temple, composed so beautifully with the high notes, sung with confidence by Rafi and Suman Kalyanpur. Ahh! What ideals we grew up with! These were songs that inspired way more than Moral Science lessons ever could.
Even in a feast full of satisfying courses and dishes, there is often times one that will top the others, even if by a hair’s breadth. Here it is the Rafi-crooned regret that makes my hair stand on end each time I hear it. Not only his voice and Shailendra’s poetry, but S-J’s treatment of both. Starting so unusually with a bulbul tarang that leads into the most unusual sound of the accordion – or is that an organ?-two completely opposing sounds here! The bulbul tarang is usually employed to express excitement, joy, or at least movement. The sounds of the organ/accordion here are foreboding, as if spelling doom! More than enough to get your attention toward this Raag Kirwani offering. The sound of the very same organ/accordion ends this song, maybe to denote that nothing has changed – the memories remain, as does the love. Rafi’s voice full of unshed tears, regrets, memories and a love that will not be forgotten. Shailendra’s words, unparalleled, his imagery of days past as birds that he wishes he could cage and feed pearls, keep close to his heart – Uff!
Yaad na jaaye beete dino ki (Dil Ek Mandir, 1963) Shankar-Jaikishan / Shailendra / Rafi
Is it any wonder that yaad na jaaye beete dino ki? When melody awakened us and melody put us to sleep. When life was maybe not as exciting as it is today, but it was rich. With the talent, the passion and the commitment of people like these film makers, actors, these composer duos, singers and these poets.
Such mein…din jo pakheru hote…seene se rehta lagaye….
Monica Kar has her BA in English Literature from the University of Delhi. She now lives in St. Charles, Missouri, USA, where she wears many hats. While she has worked in Publishing, Retail, Education and Construction in various roles, she has been a free-lance editor since 1987, and is currently part time editor with Learning and Creativity-Silhouette Magazine. In 2015 she started writing about her first passion – Hindi film songs of the Golden Age for an online music group. She welcomes suggestions and critiques on her writing as it makes her learn and grow as a writer.
1)Shankar Jaikishan music, synonym of Indian Film music, has far reaching impact in India and outside. The cartier replica bracelet duo moulded music and musical mood of masses since 1949, and are still considered to be the best music composers from India. The duo also contributed outside movie industry with their much celebrated albumRaga in Jazz Style, and background music for documentary Everest expeditionamong many others. If we look at the popular impact by any personalities in the Rolex Replica Watches field of music during the post independence period in India, the obvious choice is Shankar Jaikishan.
2)Shankar, the more versatile of the two, was a prolific musician with mastery over dozens of instruments, Indian classical music and dance forms. He was primarily responsible for building Shankar Jaikishan team with dedicated lyricists, music assistants, and jumbo-sized 60-pieces orchestra, and was the lead composer. On the other hand, Jaikishan was incredibly creative and legendary composer himself. He was genius of background music and romantic tunes though he too could compose songs in other genres. During initial years, all decisions about musical engagements were made by Shankar; but both started taking up assignments cheap iwc replica separately in the late sixties. They had sharp contrasts in personalities and physical appearances. Shankar was gym-savvy, non-drinker, and was a strict disciplinarian. On the other hand, Jaikishan was party-man and was very social. In fact, Jaikishan was mostly the point of contact for producers, directors and actors to incorporate their requests due to his friendly nature. Of course, both were great human beings, and were incredibly simple in spite of fame and richness.
Music director Shankar’s personal piano kept in National Film Archive of India, Pune premises
3)Shankar was entirely dedicated for musical innovations during his whole life; it was his diwanapan. He created diverse tunes and musical edifices beyond human imagination during his career spanning from 1949 to 1987. Shankar’s music has a zing that makes the listener shiver with divine thrill. His music is mostly filled with strange patterns and is difficult to copy without being identified. Some example tunes ascribed to Shankar are Awara Hoon, Yahoo! Koi Mujhe Junglee Kahe, Tera Jana, etc. Shankar used to give importance to all aspects of a song – its tune, prelude, interludes and entire orchestra Breitling Replica Watches accompanying the song. He used to emphasise on the deployment of particular instruments and the way it is done. Cheap Breitling Replica Shankar’s day used to start early in the morning and to continue until midnight. He is known to create tunes for a song instantly and is regarded as the fastest composer until today.
4)Jaikishan can safely termed as the best ever composer of romantic tunes. His ability of composing background music is breitling replica uk considered unparallel even by his contemporaries. The example tunes ascribed to Jaikishan are Teri Pyari Pyari Soorat Ko (album:Sasural), Bedardi Balma Tujhko (album: Arzoo), Yeh mera prem patra (album:Sangam), etc. He gives major emphasis to tunes in thewhole composition. He understood the taste of masses and struck right chord. Jaikishan was very social and used to spend his major off-time withfriends andBreitling Replica Watches partying. However, he was very particular when it comes to work and sticking to timelines of assignments. cheap iwc replica
5)Shankar was basically from Punjab, but his initial years were spent in Hyderabad. His full name was Shankarsingh Raghuwanshi, and he was an accomplished tabla player and dancer when he came to Mumbai. Later he assisted Husnlal Bhagatram for composing music, and took up music and stage performance assignments at Prithivi theatre. His proficiency in music and dedication was highly appreciated by his pears and seniors alike. Jaikishan,Cheap Breitling Replica whose full name was Jaikishan Dayabhai Panchal, was from a royal musician’s family of Gujurat. He was initially trained in classical music by his mother. He achieved proficiency in playing harmonium. Later he came to Mumbai, and pursued his musical interests apart from working in a factory to meet his basic needs.
6)Shankar and Jaikishan first met when both were waiting for a director outside his office seeking some musical assignment. They developed an instant bond due to similar musical interests and ambitions. In their meeting Shankar disclosed about a requirement of harmonium player at Prithivi theatre. Jaikishan expressed his interest, and Shankar recommended his name back at Theatre. Both then became colleagues, and collaborated for music assignments at Prithivi theatre. When showman Raj Kapoor, eldest son of Prithviraj Kapoor (owner of Prithvi Theatre), made his first movie Aag, Shankar Jaikishan assisted Ram Ganguly, who was heading the music division of Theatre and was the obvious choice as music composer of the film. rolex replica uk
7)While assisting Ram Ganguly in music compositions, Shankar was ambitious. He had managed to show his ability in composing music independently to Raj Kapoor. Meanwhile, the showman was looking for a new creative team for his upcoming film “Barsat”, and proposed to Shankar to become its music composer. It was a great opportunity, and Shankar and Jaikishan wanted to go together for the assignment. The music of Barsaat was a rage across India. The music was fresh accompanied by melodious tunes; and broke all barriers of music compositions for a movie. Their favourite lyricists Hasrat Jaipuri and Shailendra got associated with them from the first assignment. They used the then struggling singer Lata Mangeshkar for eight songs in Barsat, a surprise to everybody, and also for different characters in the film, another surprise! The Shankar Jaikishan duo had formed cheap iwc replica .
8)Riding over huge success in their first movie, Shankar Jaikishan needed more assignments to prove that Cheap Breitling Replica they were not just one-time phenomenon. They started taking assignments apart from those from Fake Cartier. Their albums of Awara, Nagina and Poonam among others established them as the leading composers-duo. Later, music scores of Awara and Shree 420 among others became very popular abroad. Shankar Jaikishan magic spread across globe. 9) With each movie Shankar Jaikishan brought an ever fresh blend to contemporary music. They concentrated in building unique orchestra form through great exploitation of Indian, oriental and western music, and with marathon practice hours with Cheap Rolex Replica dedicated musicians. Shankar-jaikishani Orchestra was born with Sebastian De’Souza in charge there of. Rhyme section was being looked after by Dattaram, an independent and successful music composer himself. The stage was now set for a big showdown in music scene. Shankar Jaikishan went on creating albums like New Delhi, Chori Chori, Basant Bahar, Dil Apna Aur Preet Paraye, Yahudi and Anari among others. With the sheer versatility of tunes, accompanying orchestra and perfection in subtle musical orientation, Shankar Jaikishan established their supremacy. Indian music started being identified with film music in general, and with Shankar Jaikishan music in particular. 10) Early sixties saw Jaikishan contributing almost equal number of scores as Shankar. Both released batteries of scores and surpassed all musical norms. Shankar-jaikishani orchestra started increasing to a jumbo size, and varieties of movies provided suitable platform to unleash their creativity to cartier replica bracelet its climax. Their music studio became a sacred place for all musicians and young composers. 11) Shankar Jaikishan started taking more assignments, but the quality remained intact. The series of albums with fast dance scores and slow romantic melodies became saleable pattern and success-movie-formula. Shankar Jaikishan became highest paid music directors of their time. Movies attracted people to movie halls due to a mere mention of Shankar Jaikishan as its music directors 12) With increasing work pressure, Shankar and Jaikishan started giving music independently. Lyricist Shailendra (for the next few years until his untimely death) mostly worked with Shankar and lyricist Hasrat Jaipuri with Jaikishan. Jaikishan was then a married man and started composing music from his home whereas Shankar was working from their music studio. However, there was give-and-take in a great way, and collaboration continued. 13)
With achievement of incredible fame and signing for numerous movies (see cheap iwc replica towards late sixties), the music quality deteriorated with respect to their own standard. Non-musical phenomenon entered into their musical pursuit. To add, a series of their movies crashed at box-office. Movie producers started associating with other composers as they were charging much lesser fees and could strike an acceptance among popular masses. This saw the beginning of decline of Shankar Jaikishan brand and triggered the end of Golden Era of Hindi film music. In fact, some young composers like Kalyanji-Anandji, Laxmikant Pyarelal, and R D Burman had started getting popular attention and approval with their music being moulded in the line of Shankar Jaikishan music. With Shankar and Jaikishan working separately, critics found it an opportunity to create an atmosphere of mistrust as both had then become the primary media attention and were susceptible then. Some of their sycophants and wrong friends started playing spoil-sport. Moreover, Shankar and Jaikishan started signing a large number of movies beyond their capacity, and made ways for their decline. However, they could hold their fort intact as the top music directors until Jaikishan’s death and desertion of their native R. K. Films banner. 14) Jaikishan fell ill and died in the year 1971. In late sixties, Jaikishan was producing more number of popular scores compared to his senior counterpart, and was ahead in the Breitling Replica Watches popularity chart during that time.
With Jaikishan’s untimely death, the Shankar Jaikishan brand received the fatal blow, and was not the same again. 15) Shankar kept the brand name intact by Breitling Replicaretaining the name Shankar Jaikishan even after Jaikishan’s death. But situation was quite different for genius Shankar then. The year 1971 saw release of maximum number of albums by Shankar Jaikishan that were mostly done Cheap Breitling Replica by Jaikishan. But majority of them crashed at box-office, and Shankar were in terrible pressure professionally too after loosing Jaikishan.
Shankar started completing the unfinished albums signed by Jaikishan and himself. After failed albums in 1971, Shankar was not given the 60-piece orchestra for their new albums by producers citing cost reasons. The quality of music was affected in the process. Shankar too could not reconcile with the changed scenario, and many top banners including R. K. Films distanced themselves from him due to past box-office failures.
Shankar was in dilemma.
16) In spite of all odds, Shankar continued his music pursuit single-handedly and produced some highly popular albums like Beimaan (the last film awarded by Filmfare to Shankar Jaikishan), Naina, Lal Pathar, Seema (new), Vachan, and Do Jhoot among others. By then, commercial viability of Shankar Jaikishan brand was almost at stake, and Shankar’s most trusted leiutants were about to leave for greener pasture. Shankar undertook creating album of Sanyasi as entrusted by producer and director Sohanlal Kanwar.
For all technical reasons, Sanyasi remains the last major album of Shankar Jaikishan. Its scores were so popular that everybody believed that Shankar Jaikishan brand was again going to dominate Bollywood. But it did not happen – reasons were, of course, non-musical – Shankar (Jaikishan) already had their time.
17) Even after Sanyasi, Shankar continued providing music for movies though he also associated himself with TV programs in early eighties. These years also saw some novel scores being created. Notable albums during this era are Atmaram, Garam Khoon, Chorni, and Eent Ka Jawab Patther among others. But Shankar Jaikishan brand had already gone into oblivion. 18) Shankar died in the night of April 26, 1987 due to a massive heart attack as known from his family source. The world came to know about his death a day after the cremation was over.
As their public tributes, the showman Raj Kapoor attributed the musical success of his movies to Shankar Jaikishan, and singer Lata Mangeshkar termed him as the best of the best composers. But Shankar was no more. 19) Shankar Jaikishan music has a distinct character. People easily recognise a score to be of Shankar Jaikishan if it is melodious accompanied by soothing but high octave orchestra. Their music varies from fast-paced ones to very slow ones, but each one blends with orchestra well and creates an immediate bond with music lovers. swiss replica watches 20) It is always very surprising to know that Shankar Jaikishan experimented with 90-plus singers and 60-plus lyricists. Inspite of successful music albums with particular singers or lyricists, they used to use different people every time successfully. For example, they had successfully experimented with Manna Dey in Chori Chori and with Mukesh in Yahudi. They also used to bring newcomers and could produce amazing results like Lata Mangeshkar in Barsaat, C. H. Atma in Nagina, Subir Senin Kathputli, Sharda in Suraj, and Vishweshwar Sharma in Sanyasi among others.
21) When asked, Shankar had once told that their learning started with Indian classical music, and they went ahead for other clans of music later. However, the ease of use of both Indian classical and western music, and the depth of exploitation of both to create the Shankar Jaikishani flavour is magnificent and incredible. In fact, Shankar Jaikishan were the first to successfully experiment and blend Western, Arabian, and Latin American music into Indian musical sects.
They also had a rare ability to visualize the movie picturisation to cast the playback music into appropriate mould and frequency. Jaikishan had an unparallel acumen in background music with his best scores being Sangam and Mera Naam Joker; and he was primarily responsible for background scores of Shankar Jaikishan movies till his death. Shankar was also no less in producing background music and his notable score is Sanyasi. Both used to take just three days to complete the background score of a movie.
22) Shankar Jaikishan gave birth to distinct persona for each actor in their movies. They created a chaplin-like tramp image for Raj Kapoor, panerai replica aggresive romantic image for Shammi Kapoor, and gentle and around-the-tree persona for Rajendra Kumar among others. The movies of respective actors carried music appropriate to their screen Wholesale led light bulbs persona invariably. 23) When Shankar and Jaikishan started as a team, it was a strategic decision that changed the musical history of India later. Though nobody knows the reason of going together for such an assignment as it is first-time ever in India, they perhaps understood the level of quality and effort required to convert a film into a master musical piece. They were aware of contemporary process of music compositions and settings, and wanted to bring a radical change to it. They were later successful in this and went on being the greatest. The duo started building an enviable team of large number of musicians, two proficient lyricists like Shailendra and Hasrat Jaipuri, a rhyme assistant like Dattaram, an orchestra arranger like Sebastian De’Souza. These people were great in their own faculty and knew their jobs well and exactly. However, credit of entire team management and consequent success goes mostly to Shankar Jaikishan as these team members could not create the same magic with other composers when they worked outside. It is always a point of discussion about how they could bring out such perfect scores with such a huge team when they themselves and most of their musicians had not gone through systematic study of western music schools.
Shankar Jaikishan team can be compared to any professional corporate house. Their deliveries were in time and to the perfection. Team members were also paid well. 24) Shankar Jaikishan exploited and extended musical horizon in the twentieth century, and gave young Indian Republic an expression and an identity in the field of music. They became source of inspiration to almost all young composers from sixties until today. Metamorphic forms of their scores are being represented by other composers throughout the world – title song of Hollywood blockbuster Ghost World in the year 1993, a popular album in UK, and background score of a movie by legendary movie director Satyajit Ray are the notable ones among many others. The leading Indian composers-duo in seventies, Laxmikant-Pyarelal, had set the goal of being another Shankar Jaikishan throughtout their career. The album Teesri Manzil by the music composer R D Burman, cast exactly in Shankar Jaikishani mould, is still considered to be his best; in fact, he had earned direct compliments from Jaikishan for those scores.
25) Today, Shankar Jaikishan music is popular in India and abroad due to its sheer quality. However, many of their albums are not being made available by the copyright owners. Unfortunately, many of their scores are being re-packaged in the name of actors or singers without the mention of the music composers. This commercial piracy must end, and there should be genuine and consistent effort from everybody involved to keep the treasure intact and available for music lovers. richard mille replica watches
This feature is taken from internet, that is why the blogger has not even touched misspelled words nor agree/disagree with the views shared by its writer.
Shankar Jaikishan were among the greatest musicians to have graced Hindi cinema – they were exceedingly popular and 75 per cent of their films were musical hits
Distributors play a very critical role in the film industry. There were no distributors when the first feature film, Raja Harishchandra, was released in 1913. With the advent of talkies in 1931 when Ardeshair Irani’s, Alam Ara was released, distributors became a vital force. They decided to sell the film on the basis of studios or banners. Even though films started selling in the name of actors, the films of the 1950s and 60s were sold in the name of a music duo. This magical duo was Shankar Jaikishan.
Shankar Jaikishan started their career with Prithviraj Kapoor’s Prithvi Theatre. In 1949, Raj Kapoor (Prithviraj Kapoor’s eldest son) acted in Mehboob Khan’s magnum opus Andaz with Nargis and Dilip Kumar. He was impressed by Naushad’s music in the film. Andaz was a musical jubilee hit. Raj Kapoor had decided to have music like Andaz in his next film Barsaat, the same year. Ram Ganguly was its composer. Soon, differences between Raj Kapoor and Ganguly developed and Shankar Jaikishan were brought in.
Barsaat had Lata Mangeshkar, who was trying hard to establish herself as a playback singer. Shankar had heard her earlier and brought her to give playback in Barsaat. Lata sang all the eleven numbers of Barsaat, nine solos and two duets with Mukesh. For the first time, Lata gave playback for Nargis, Nimmi and Bimla. Barsaat was a blockbuster. Its music stirred the nation. Shankar Jaikishan scaled the dizzy heights with their maiden film.
Shankar Jaikishan, Hasrat Jaipuri, Shailendra and Lata became the permanent team of R K Films. Barsaat’s music became a trendsetter. It is often said that Shankar Jaikishan gave their best to R K Films. They remained loyal to Raj Kapoor and indebted to too as he had given them their maiden break. Between 1951 and 52, Shankar Jaikishan also gave scintillating music in films outside R K Films.
Their third film was Bhagwan Das Verma’s Badal (1951) starring Prem Nath, Madhubala. Who can forget the compositions of the duo, Main rahi bhatakne wala hoon (Mukesh) Unse pyaar ho gaya dil mere kho gaya (Lata) and Dulcet duet Ae dil na mujhse chhipa kya hua (Lata/Mukesh). In the same year, Kishore Shahu’s Kali Ghata was released and the duo showed their versatility with Dil mein tu mere dil mein tu, Humse na puchho koi pyaar kya hai, Maine kya kiya sitam unke sitam ne loot liya, Ille bel laa illaa din hain pyare pyare and a romantic duet Ho madhur Milan hai sajna. The film did average business at the box office but was remembered for its hit numbers.
Shankar Jaikishan were very particular and never compromised with their singers. They gave an opportunity to C H Aatma in Dalsukh Pancholi’s Nagina. C H Aatma sang hit iconic numbers in typical K L Saigal style, Rooo main sagar ke kinare and Dil beqraar hai mera, Ek sitara hai aakash mein, Lata also sang her unforgettable sad number Tune hi mere zakhm-e-Jigar ko chhoo liya.
Seeing their popularity, legendary Amiya Chakraborty signed Shankar Jaikishan for his super hit film Daag (1952), starring Dilip Kumar, Nimmi. Shankar Jaikishan took Talat Mehmood for the first time to do playback for Dilip Kumar. They made three versions of their evergreen number Ae mere dil kahi aur chal in happy and sad versions in Talat’s voice and also in Lata’s voice.
In 1953, Raj Kapoor made a film on a Tuberculosis patient, Aah, which was directed by Raja Nawathe along with Nargis and Pran. Unlike Awara and Barsaat, the film didn’t do well at the box office. Even the re-edited version with a new end failed to impress.
In the same year, Shankar Jaikishan gave music in seven films – Aas, Aurat, Boot Polish, Mayur Pankh, Naya Ghar, Patita and Shikast. They gave enchanting melodies in these films. Zulm ki nagri mein (Lata) in Aas, Naino se nain hue chaar, Aa sun le mere dil ki pukaar, Dard-E-jigar thaher zara and Bewafa ne de diya ghum zindgani loot li (Lata) in Aurat.
Shankar Jaikishan composed a variety of songs in R K’s Boot Polish, Nanhe munhe bachche teri mutthi mein kaya hai (Asha/Rafi, chorus) Chali kaun si desh gujriya tu saj dhaj ke (Asha/Talat), a light number Lapak jhapak tu aa re badarwa (Manna De) and the title song Thehr zara o jane wale babu (Asha/Manna Dey/Madhubala Jhavri). There was also Ja re ja ranjo ghum ke andhere tu jaa (Lata) in Naya Ghar.
They gave all-time great numbers in Patita – Kisi ne apna bana ke mujhko, Mitti se khelte ho bar bar kis liye (Lata), Andhe jahan ke andhe rasre, Tujhe apne pass bulati hai teri duniya and Hain sabse madhur wo geet (Talat) and evergreen melodious romantic duets in Lata and Hemant’s voice Yaad kiya dil ne kahan ho tum. Shikast too had classical-based numbers in Raag Chandrakaush, Jab jab phool khile tujhe yaad kiya humne (Talat/Lata) and Sapno ki suhani duniya ko (Talat).
Surprisingly, in 1954, only two of their films released – Pooja and Badshah. Both the films flopped but Shankar Jaikishan gave immortal the romantic duet, set in Raag Bheem Palasi, Aa neel gagan tale pyaar hum karein (Lata/Hemant) in Badshah.
In 1955, they came back with their magical touch in Amiya Chakarverti’s Seema starring Balraj Sahni, Nutan and Shobha Khote. Their glorious gems were in their favorite Bhairvi, Suno chhoti se gudiya ki lambi kahani which starts with Ustad Ali Akbar Khan’s Sarod, and the enthralling melodies Baat baat pe rutho na, Manmohna bade jhuthe (Lata). Manna Dey’s all-time great Tu pyaar ka sagar hai and Rafi’s heart rendering Kahan ja raha hai tu ae jane wale and Hume bhi de do sahara (Rafi/Chorus) in Qawwali style.
Shankar Jaikishan, besides Raj Kapoor, worked with almost all major directors. They were in a position to dictate their own terms. They even declined the offers made by B R Chopra and V Shantaram. They did films of all genres and periods.
Shankar Jaikishan ruled the industry for more than two decades. They were at their best in creativity and versatility. If they were responsible for getting their first FilmFare Award for Sab kuch sikha humne (Mukesh) in Anari (1959) though Mukesh was their favorite, they got best of Rafi in Chahe mujhe koi jangli kahe, Ahsan tera hoga mujh par in Junglee. Ae gulbadan in Professor, Tumse se accha kaun hai in Janwar, Yaad na jaye bite dino ki in Dil Ek Mandir and Dil ke jharokhe mein in Brahmchari. After Dil Ek Mandir they started working separately, but they kept their credit intact.
Jaikishan gave scintillating melodies in Arzoo. After completing the music for Ramanand Sagar, Jaikishan left for London. When Sagar wanted to add one Qawwali, Jaikishan recommended Shankar’s name. Similarly, all songs of Teesri Kasam were recorded by Shankar.
When Jaikishan was asked to score the background music of Teesri Kasam, he realised after listening to the song that it lacked the touch of Shankar Jaikishan and suggested Shailendra, who was the producer and lyricist of the film, to include two more songs and composed two numbers penned by Hasrat Jaipuri, Mare gaye gulpham and Duniya banana wale. Though the film didn’t do well initially, it later became a Bollywood milestone.
In the 1970s, film music was changing very fast. The golden days for the trio of Dilip, Raj and Dev were over. Shammi Kapoor and Rajendra Kumar were also fading out. The new generation of Rajesh Khanna, Jitendra and Amitabh Bachchan had taken over. Rajesh Khanna preferred R D Burman but he appeared in a guest appearance and sang his iconic number in Kishore’s voice Zindgi ek safar hai suhana which was Jaikishan’s last song.
Jaikishan scummed to cirrhosis on September 1971.
In spite of differences, this was a big blow to Shankar. He didn’t take any assignment for a long period and as a result, he lost many films. Even his mentor Raj Kapoor replaced him with Laximikant Pyarelal in Bobby. Shankar’s last notable film was Sanyasi. Shankar died on April 26, 1987.
During their reign, they were also accused of plagiarism. They had copied music from Egyptian, Arabian, Italian and even tunes of Gypsy music but one thing in their defense was that they Indianised the music so well that it appeared original. They revolutionised the concept of an orchestra. They were responsible for popularising film music. 75 per cent of their films were resounding hits and many celebrated golden and silver jubilees.
They were winners of nine Filmfare Awards for Chori Chori (1956), Anari (1959), Dil Apna Aur Preet Prayee (1960), Professor (1962), Suraj (1966), Brahmchari (1968), Pahchan (1970), Mera Naam Joker (1971) and Baiman (1972). They were also recipients of Cine Goers Association Award, Bombay Film Journalist Award and Sur Singar Sansad. They were conferred the Padma Shree in 1968.
Today Shankar and Jaikishan are not amidst us but their rich legacy of music will keep them alive in memories of music lovers for many years to come.
નેટની દુનિયામા વિહાર કરતા ગઇકાલે રાત્રે ફેસબુકમાં મિત્ર દિપાલી સોમૈયાની પ્રોફાઇલ વિઝિટ કરતાં જાણવા મળ્યુ કે “સા-રે-ગ-મ-પ” માં ત્રણ ગુજરાતી ગાયકો સેમિફાઇન સુધી પહોંચ્યા છે. આનંદ થયો. સાથે સાથે આ જ વાત પર દિલીપ મહેતા સાથે ધણી ચર્ચા થઇ. નૌશાદ તેમજ શંકર-જયકિશન કેન્દ્રમાં હતા. ચર્ચા રાષ્ટ્રવાદ તથા બીજા રીલેટેડ ટોપીક પર ચાલતી હતી પરંતુ ફરી ક્યારેક. કંઇક નવું જાણવા મળે પછી એ વિશે વધારે જાણકારી મેળવવા હું કાયમ તત્પર હોઉં છુ. બસ આ જ વિચારો સાથે બે-પાંચ આર્ટીકલ વાંચ્યા. Interesting ….
મુળ ગુજરાતી એવા જયકિશન વિશે આટલી બધી ખબર ન હતી. એક સંગીતકાર તરીકેની ઓળખાણએ આજે “એક ગુજરાતી”તરીકેનું વિશિષ્ટ સ્થાન લીધુ.
આજથી 40 વર્ષ પહેલા, સન 1968માં ભારતીય શાસ્ત્રીય સંગીત અને વેસ્ટર્ન મ્યુઝિકનુ fusion કરીને “RAGA JAZZ Style” નામનો concept પૂરો પાડનાર સૌ પ્રથમ વ્યક્તિ એટલે જયકિશન. અને એ પણ ભારતમા. આ પહેલા આવુ fusion ઉસ્તાદ રવિશંકરે કર્યુ હતુ પણ તે અમેરિકામાં. આ સમયે ફિલ્મ ઉધોગના સંગીતકારો કોઇ કારણોસર હડતાલ પર હતા. બધા જ સંગીતકારો ઘરે બેઠા હતા…આવામાં HMV ના શ્રી વિજયકિશોર દુબેના મનમાં એક પરિકલ્પનાનો જન્મ થયો અને તેમને આ વિશે શંકર-જયકિશનને વાત કરી. શંકરજીને આ વાત બહુ જામી નહી તેથી તેમને વિરોધ કર્યો. જયકિશને આ વાત યોગ્ય લાગી, તેઓએ શંકરજીના વિરોધ છતાં આ ચેલેંજ ઉપાડી લીધો અને કઇક ક્રીએટીવ કરવાનું નક્કી કર્યુ. આ વાતને સ્વીકારી લીધા બાદ તેમની આખી ટીમ કાર્યરત થઇ. લોકસત્તાના સહયોગથી પ્રાપ્ત થયેલ નીચેની તસ્વીરમા આ આખી ટીમનુ કામ જોઇ શકાય છે.
પ્રખ્યાત સિતારવાદક ઉસ્તાદ રઇઝ ખા , મશહૂર સેક્સોફોન વાદક મનોહર દાદા (કાળા ચશ્મા લગાયેલ મહાશય), ડ્રમ પર છે ડ્રમબોય ગોવિંદા અને જમણી બાજુ જયકિશનજી. આ સિવાય બીજા અન્ય વાદક કલાકારોએ પણ પોતાનુ હુનર બતાવ્યુ હતુ.
જેમા,
અનંત નૈયર તેમજ રમાકાંત (તબલા)
જોન પરેરા (Trumpet)
એ ડી ટ્રેવર્સ (Bass)
દિલીપ નાયક તેમજ કેસ્ટ્રો (Electric ગિટાર)
સુમંત (Flute)
શાસ્ત્રીય રાગમાં પ્રસિધ્ધ રાગ તોડી, રાગ ભૈરવ, રાગ માલકૌંસ, રાગ કલાવતી, રાગ તિલક કામોદ, રાગ મલ્હાર, રાગ વૈરાગી, રાગ જયજયવંતી, રાગ મિશ્ર પીલૂ, રાગ શિવ રંજની તેમજ રાગ ભૈરવીનો સમાવેશ થાય છે.
આવો આ બધામાંથી “રાગ તોડી” સાંભળીયે. શાસ્ત્રીય સંગીતને સમજતા સમજતા આખી જીન્દગી પસાર થઇ જાય એમ છે. નાની નાની બાબતોને ધ્યાનમાં રાખવાની હોય છે તેમ શાસ્ત્રીય સંગીત જાણનારાઓ પાસેથી જાણવા મળ્યુ. આ બારીકતાને તો આપણે ન ઓળખી શકીએ પણ સિતારમાંથી રેલાતા સુર જ્યારે હવામાં પ્રસરાય છે ત્યારે ખરેખર દિવ્યાનુભૂતિ થાય છે.
આપણને આવા “Indo-Jazz Recording” થી પરિચિત કરાવનાર શ્રી જયકિશનને સલામ !
We have seen people come and people go, but very seldom do we come across a person who is the most evolved and complete. His insatiable interest and amazing talent in music helped him to totally focus and dedicate his entire life for his passion. He is non other than the legendary Shankar.
The master musician was the candle that shone bright to shed light around. The kind hearted and generous human was a caring relative, modest, loyal and proud gentleman, all rolled into one exemplary human being. He was a well grounded man who did not allow his super success get to his head. By the front door of his home and in his car, Shankar kept pairs of his old shoes to always remind him of his modest beginning. For that alone, my respect for the gentlemen soared very high.
Politics and showbiz are volatile fields. You are up one day and down the other. There are no permanent relationships here, only fair weather friends. With his close friends, Shailendra and Jaikishan gone, Shankar had to face the hardships of abandonment of those whom he thought were the closest. But the brave man weathered it all. His immense strength kept him going, never having to bow to anyone, never having to compromise.
Today, on his birth anniversary, it pains me no end to think that the media had deliberately chosen to ignore the vast and best contribution that he, along with Jaikishan, had made to the music world. The banner he helped create with his buddy is ignored intentionally. People might forget the great composer, but his music will never be forgotten.
Happy Birthday, Shankar!! You will continue to live in our hearts and souls forever.
Contrary to the general assumption that “Chalat Musafir Moh Liya Rem Pinjare Wali Muniya” written by Shailendra and composed by Shankar Jaikishan for film TEESRI KASAM is a folk song or based on fold tune, IT IS NOT A TRADITIONAL FOLK TUNE.
It is magic of Shailendra’s pen and baton of music directors duo Shanker Jaikishen’s thought to give a tune and structure to the lyric that not only general people and music lovers, but musicologists too started believing that it must be based on some folk music or tune.
चलत मुसाफिर मोह लिया रे पिंजड़े वाली मुनिया चलत मुसाफिर मोह लिया रे पिंजड़े वाली मुनिया उड़ उड़ बैठी हलवैया दोकनिया उड़ उड़ बैठी हलवैया दोकनिया हे रामा उड़ उड़ बैठी हलवैया दोकनिया अरे उड़ उड़ बैठी हलवैया दोकनिया बर्फी के सब रस ले लिया रे पिंजड़े वाली मुनिया बर्फी के सब रस ले लिया रे पिंजड़े वाली मुनिया बर्फी के सब रस ले लिया रे पिंजड़े वाली मुनिया हे हे हे हे …. हे रामा उड़ उड़ बैठी बजजवा दोकनिया उड़ उड़ बैठी बजजवा दोकनिया आहा उड़ उड़ बैठी बजजवा दोकनिया अरे कपड़ा के सब रस ले लिया रे…………
उड़ उड़ बैठी पनवड़िया दोकनिया उड़ उड़ बैठी पनवड़िया दोकनिया हे रामा उड़ उड़ बैठी पनवड़िया दोकनिया अरे बीड़ा के सब रस ले लिया रे……..
सामान्यतः कम फिल्मों में अच्छा संगीत देना संभव है परन्तु अधिक से अधिक फिल्मों में लोकप्रियता की बुलंदियों वाला संगीत अविराम व सतत 21 वर्षों तक देना ईश्वरीय वरदान है कहा जा सकता है। ऐसे वरदान से ईश्वर ने संगीतकार शंकर जयकिशन को नवाजा था। अपने नायाब संगीत द्वारा देश के साथ विदेशों में भी धूम मचा देने वाले वे प्रथम संगीतकार थे। लोगों में सदैव जिज्ञासा बनी रही कि आखिर इतनी लोकप्रिय धुनों मे से कोन धुन किसकी है। यह जिज्ञासा जयकिशन जी की मृत्यु के बाद शंकर जी विरोधी समूह ने और बढ़ा दी। वे सिद्ध करना चाहते थे कि धुन जय किशन ही तैयार करते थे । लोगो में भी यह जानने की इच्छा प्रबल होने लगी कि आखिर जयकिशन की रचनाएं कोन सी है। कुछ पुष्ट जानकारियों के आधार पर ज्ञात होता है कि निम्नांकित कुछ लोकप्रिय धुनों को जयकिशन ने ही रचा था – 1 जीना यहां मरना यहां(मेरा नाम जोकर) 2 तुम जो हमारे मीत न होते ( आशिक) 3आजा सनम मधुर चांदनी में हम( चोरी चोरी) 4 आवाज दे के हमें तुम बुलाओ(प्रोफेसर) 5 इस रंग बदलती दुनियां में (राजकुमार) 6 तेरी प्यारी प्यारी सूरत को (ससुराल) 7 ए मेरे दिल कहीं और चल ( दाग) 8 सनों छोटी सी गुड़िया की ये कहानी(सीमा) 9 दिल अपना और प्रीत पराई (दिल अपना और प्रीत पराई) 10 देखा है तेरी आंखों में प्यार ही (प्यार ही प्यार) 11 आए बहार बन के लुभा के (वसंत बहार) 12 दिल के झरोखे में तुझ को (,ब्रम्हचारी) 13 ओ मेरे शाहे खूब ओ मेरी (लव इन टोकियो) 14 कहे झूम झूम रात ये सुहानी ( लव मैरिज) 15 अजी रूठ कर अब कहां जाइएगा(आरज़ू) 16 रसिक बलमा (,चोरी चोरी) 17 ये मेरा प्रेम पत्र पढ़कर(संगम) ये गीत जयकिशन की संगीत रचनाओं की झलकी मात्र है। परन्तु आम जनता श्रोता उन्हें उन्हें एकीकृत रूप में देखता है। भारतीय हिन्दी फिल्म संगीत के गौरवशाली इतिहास के पृष्ठों पर जिन महान संगीतकारों के नाम स्वर्णिम अक्षरों अंकित है उनकी जगमगाती पंक्ति में शंकर जयकिशन का नाम निर्विवादत: सर्वत्र मुख व अग्रणी रूप से परि गणित किया जस सकता है। उनके जादुई संगीत ने जहां एक ओर परंपरा और आधुनिकता के मध्य अभूतपूर्व सेतु का निर्माण किया वहीं दूसरी ओर अपनी विलक्षण प्रतिभा द्वारा वाद्ययंत्रों के कुशल इस्तेमाल,नूतन प्रयोगों,भावानुकूल गीतों के संयोजन तथा शास्त्रीय व पाष्छ्यात संगीत के बेजोड़ तालमेल द्वारा जून अनगिनत सरस,मधुर, कर्ण प्रिय व मनमोहक कालजयी गीतों का सृजन किया।वे न केवल भारत वरन् समूची दुनियां में फैले बेशुमार संगीत प्रेमियों के लिए सचमुच बेहद अनमोल धरोहर है। बहुत कम प्रतिभा ऐं ऐसी होती है जिनको कालजयी होने का सौभाग्य नियति प्रदान करती है।शंकर जयकिशन का शुमार ऐसी ही कालजयी प्रतिभाओं में किया जा सकता है।वे न केवल अपने समय के सर्वाधिक लोकप्रिय संगीतकार रहे बल्कि यह कहना किंचित भी अतिशयोक्तिपूर्ण न होगा कि उनका मधुर संगीत आज भी प्रासंगिक होकर अपनी लोकप्रियता को बरकरार रखे हुए है।उनके द्वारा रचित बेमिसाल गीत आज भी दुनियां भर के संगीत प्रेमियों के कानों में रस घोलते है।
एक लोक प्रसिद्ध कहावत है कि जोड़ियां ऊपरवाला ही बनाता है ।शादी के संदर्भ में ख्यात यह कहावत संगीतकार जोड़ी शंकर जयकिशन पर सौ फीसदी खरी उतरती है। निः संदेह यह जोड़ी संगीत की नैसर्गिक प्रतिभा से संपन्न थी और नियति ने ही दोनों को मिलता भी। शंकर जी जहां नृत्य कला,सितार,पियानिं एवं अकोर्डियान बजाने में पारंगत थे तो वहीं जयकिशन जी हारमोनियम वादन में सिद्ध हस्त थे।हिंदी फिल्म संगीत की दुनियां में इस जोड़ी का मिलन ‘ मणि कांचन ‘ सिद्ध हुआ। उल्लेखनीय है कि जयकिशन दाया भाई (4 नवंबर 1932) मुंबई काम की तलाश में आए थे जहां उनकी मुलाकात दक्षिण आंध्र प्रदेश(तेलंगाना) से आए शंकर सिंह रामसिंह(15 अक्टूबर 1922)से गुजराती फिल्म निर्माता चंद्रवदन काम के सिसिले में हुई।शने: शने: यह मुलाकात प्रगाढ़ मेत्री में तब्दील हो गई।विपरीत स्वभाव इसके इन दो व्यक्तित्वों का संगीत के प्रति समर्पित भाव उभयनिष्ठ था। गठीले बदनवाले शंकर जहां धीर गंभीर स्वभाव के थे तो वहीं जयकिशन जी मस्तमौला प्रकृति के आकर्षक व्यक्तित्व के धनी इंसान थे।, शंकर जयकिशन के बृहद संगीत के कई आयाम है जो उनको अन्य संगीतकारों स्की तुलना में विशिष्ठ स्थान आसीन करते है।उनके बेमिसाल संगीत को कतिपय शीर्षकों के तहत वर्गीकृत करते हुए सुगमतापूर्वक समझा जा सकता है। ये शीर्षक इस प्रकार ही सकते है जैसे शास्त्रीय रागों पर आधारित गीत,लोक संगीत आधारित,सुकुमार भावाभिव्यक्ती प्रधान गीत,प्रेम व रूमानी भाववाले ,विरह दर्द वाले गीत,समूह गीत,नृत्य प्रधान गीत,ग़ज़ल शैली गीत,कव्वाली शैली गीत,भारतीय संगीत आधारित नृत्य गीत,पाध्छ्यात संगीत आधारित नृत्य गीत,भजन रूपी गीत, बाल गीत,प्रश्न/पहेली नुमा गीत, छेड़ छाड़ वाले गीत,हास्य प्रधान गीत,अनोखे/अटपटे बोल वाले गीत,भारतीय व पाष्छ्यात फ्यूजन गीत आदि। समग्रहतः यह सुस्पष्ट होता है कि शंकर जयकिशन के बहुरंगी गीतों का एक व्यापक अत्यंत और विस्तृत संसार है जिसने विविध भावों को अनुकूल संगीत धुनों के साथ कुशलता पूर्वक संवारा गया है।इं मनमोहक व कर्णप्रिय गीतों का कलेवर सजाने संवारने में इस संगीत निपुण जोड़ी के दक्ष निर्देशन की भूमिका प्रमुखत : रही है। लेकिन विविध का संगीत नियोजन करने में दत्ता राम व अरेंजर सेबेस्टियन की भूमिका भी अहम हुआ करती थी साथ ही विभिन्न वाद्ययंत्र वादकों का महती योगदान रहा है,जिनके वाद्यों ने शंकर जयकिशन के गीतों की प्राण वान बनाकर लोकप्रियता के बेमिसाल आयाम प्रदान किए शंकर जयकिशन के विशाल ऑर्केस्ट्रा में एक से बढ़कर कुशल वाद्य यंत्र वादकों का शुमार रहा । कुछ के नाम उस प्रकार है – 1 पन्नालाल घोष (बांसुरी) 2 लाला गंगवाने ( ढोलक) 3 उस्ताद अली अकबर खां (सरोद) 4 पं राम नारायण (सारंगी) 5 उस्ताद रईस खां (सितार ) 6 एस हज़ारा सिंह(इलेक्ट्रिक गिटार) 7 मनोहारी सिंह ( सैक्सोफोन) 8 चिक चॉकलेट (ट्रंपेट) 9 वी बलसारा (हारमोनियम) 10 गुडी सिरवाई( अकिर्डियान) 11 सुमित मित्रा (अकोर्डियान) आदि इत्यादि। कुल मिलाकर यह कहा जा सकता है कि शंकर जयकिशन का ऑर्केस्ट्रा अत्यंत समृद्ध था उसके भीतर विलक्षण प्रतिभा वाले तथा अपने अपने वाद्यों के वादन में दक्ष कलाकार शामिल थे। इन अति निपुण व दक्ष कलाकारों के समन्वय व सहभागिता से शंकर जयकिशन ने अनगिनत अमर गीतों का सृजन किया।
Page one of this data by Pashambay Baloch, Karachi Page two of this data by Pashambay Baloch, KarachiPage three of this data by Pashambay Baloch, KarachiPage four of this data by Pashambay Baloch, KarachiPage five and last of this data by Pashambay Baloch, Karachi
I came to Mumbai to try my luck in the industry.One of my friend introduced me to Bal Parte.Actually his name was Jaikumar but he was popularly known as Bal Parte. Parte was assistant to Kalyanji Anandji and Usha Khanna.One day, he called me to his music room at warli and gave me some notations to play.He liked my playing and promised me to call for K.A.Recording.He kept his word. I had hardly played two three recordings when this incident happened. It was K.A.’s recording at film centre.I thought as usual I will play with orchestra but Parteji called me aside and asked me if I can play song with artist, as regular song violinist Narvekarji was not coming due to health problem.Parteji knew that I learned Indian as well western notation.To play song violin one has to have knowledge of classical music.I said I can try. I took my violin and went to singers cabin. After some time Rafisahab came followed by Ashaji.It was for the first time i saw both the legends.I said ” Namaste ” to both but inwardly I was nervous.Kalyanjibhai explained them the tune.I checked my notations.Within half an hour both the artists were ready and all of us went to the centre of the hall for rehearsal with full orchestra.Parte and Frank farnand were counducting the orchestra.Babla was looking after rhythm section.When rehearsal was over, artists wore headphones and went in the cabin.They were given placing.I too wore headphone and full mike rehearsal started.So far it was going well. After some time Anandjibhai came out of the recording room and said, he found the song dull.He told the singers”Let us make the key half note high if both of you are comfortable.” Inwardly I become more nervous as I was not accustomed to such a sudden change.When reharsal started,I was fumbling with notes.What I was playing went directly in singers earphones.Ashaji stopped singing and told some one”Bal la bolv”(call Bal).Parteji came promptly.She said “where is Narvekarji?”He tu konala pakdun anle aahe ?”Where did you get this guy? Her words entered my ears like hot lead. I become totally numb.Rafisahab told her that he is new and we would manage.After some time when Ashaji went out of the cabin to talk to someone,Rafisahab came near me.He put his hand on my back and said”koi baat nahi.Iska dimag jaldi garam hota hai.”Some how the recording was over. This is how I met Rafisahab for the time.This small incident tells a lot about Rafisahab’s nature.I will never forget this incident but it was blessings in disguise. I started practicing more and more. Six hours a day.For years I continued practiceing. Years went by.Slowly I established myself. Started playing with almost all music directors. My first love was to play with orchestra but when need arised ,I played songs too.On many occasions I have to play with Ashaji.There was no Trace of past incident.She was comfortable with me.She would chat with me freely. I played many songs with Rafisahab too. Anil Mohile who later became arranger used to play song violin with me.Together we both played many songs with different singers. Rafisahab,Lataji,Ashaji,all of them had amazing memory. It would take hardly half an hour for them to pick up the song. Most of the songs would be recorded within four hours. As the recording techniques developed, it increased the time required for recording instead of reducing it. Rafisahab was a perfect gentleman. I’ve never seen him getting angry or being rude to anybody. Ashaji was exactly the opposite. If not in mood, she would make life miserable for the music directors or whoever in the range. I had seen her leaving the sets and music directors running after her. She is very out spoken but her anger would not last long. On the contrary Rafisahab never got angry. No matter how many retake’s he had to give he would sing till the music director was fully satisfied. Only once he lost his cool at the recording of Khayyamsahab.Khayyamsahab has habit of taking many retakes.He is never satisfied easily but that particular day after many retakes he was still not getting satisfied.He made Rafisahab sing more than 32 times.Everybody was tired.Rafisahab’s face was turning red but see his decency.Another person at his place would have walked out but he sangtill Khayyamsahab was satisfied.When Khayyamsahab came out of the recording room,he told him not to call himAgain and he never sang with Khayyamsahab again. I remember him coming in his green fiat. Later he used chevrolet models. His brother in law Zahir would always accompany him. He was kind of his secretary. He was very friendly with us.He told us many unknown facts of Rafisahab’s greatness in his personal life. Rafisahab financially helped many needy musicians, singers even music directors who were old and out of work. For some ‘Lifafa’ would be ready and reach that person every month so he does not have to come to collect it. He did it all of this very secretly.We came to know about is only because of zahir. For the poor he was a ‘Masiha. Once a musician who used to play with him wanted to buy a property.He set his eyes on one particular property which he liked very much but he has hardly twenty-five percent of the saving with him.He told his difficulty to his friend who advised him to approach Rafisahab.He was hesitant as the amount was not small but his friend convinced him to try.He went to Rafisahab’s house.He told him the reason.Without asking a single question Rafisahab went inside and came back with bundle of notes.That musician cried.In due course of time he returned the amount but it takes golden heart to help others. Memory is like a small child walking on a sea-shore. You never know which pebble he will pick and treasure for the rest of his life. I also have some pebbles that I have stored .Today is Rafisahab,s death anniversary so i want to share these incidents with you which happened long time ago. Actualy I am not an eye witness to the incidents but i got first hand information from my musician friends who always accompanied Rafisahab. Even in his famous world tour also he accompanied him. A regular player in film industry too. Before we go on with the incident, let me tell you about Narayan Naidu, a fine tabla player. I remember him for one more reason and cant resist the temptation to tell you about it. He was staying at the distance of hardly five minutes from the place where I used to stay. Every Gokul Astami he used to call his musician friends to his house for Jagran. There would be a vocal as well as instrumental program till dawn. Many musicians from film industry used to attend every year.Kalyanjibhai’s assistant Bal Parte also used to come every year. At four o clock or five o clock all would be served with rice and sambar. To come back to the point Rafisahab’s program was at Gandhi Nagar Gruh, Vadodara. In those days record dance by female dancer was a must. A dancer named Sheela Ramani who acted or better to say danced in few films and was famous. Due to some reason she could not come for the program and the ticket holder created a ruckus when they got to know this. Even few chairs were broken. Police were called. Before the situation could go out of hand, the organizers agreed to return the money to those who want to return the tickets. He was so nervous that he asked Rafi sahab to announce the same. The curtain opened and Rafi sahab appeared on the stage and announced that whoever wants thair money back can have them and program will continue without dancer. But nobody returned the tickets. as the program started,everybody forgot about dancer and the program passed on peacefully. Buji lord is good friend of mine.He is a very good drumer and vibraphone player.Buji’s father was a great persecutionist.His late brother Kercy Lord was a accomplished arranger who worked with Naushad,Madanmohan and many other music directors.Rafisahab was so close to Lord’s family that he even attended Buji’s marriage.He told me about West Indies tour which was held in year 1966. Rafisahab was accompanied by Enoc Danial, Narayan Naidu,guitarist Dilip Naik and Abdul Karim.Female singer was Minoo Purshottam.In those days she was famous stage artist.Later Dilip Naik got married to her. People were crazy for Rafisahab.For hours they would wait out side the hotel to just see him.Buji said he was surprised to see public response. All shows were housefull.He said, Once the organizer tried to accommodate musicians in different low budget hotel.When Rafisahab came to know,he told the organizer that his musicians should get the same treatment and if he has any problem,he would not mind shifting to the hotel where his musicians were accommodated. There was some type of gossip with almost all top singers but not Rafisahab.In my long carrier in film industry I never heard any body speaking against him.He was ajatshatru (person without enemy).He was not in a rat race for money. I will tell you another small incident.
Music director Srikant Telang was my close friend.Both of us were staying in same building. He gave music in five to six small budget films.It was his wish to record at least one song by Rafisahab.His budget was so small that it was impossible to call Rafisahab for singing. Amar Haldipurkar was his arrenger.He said”let us aproch Rafisahab.No harm in trying”.When reached there ,his brother in law zahir opened the door.He was the one who looked after financial affair of Rafisahab.Srikant told him about limited budget.He said “look.Rafisahab charges fifteen thousands but since I know you all,I will settle for thirteen thousand”In those days this amount was not small.Srikant’s face fell. Luckily same time Rafisahab came in the hall.Zahir told him about thirteen thousands.Looking at Srikants face he said ok ! How much you can afford?With great difficulty Srikant said”Sir my total budget is seven thousands.That including studio..Musicians charges etc.I can afford only two thousand.Rafisahab immediately said OK.Dont worry about money.Asked Zahir to write down date in diary.This was nature of Rafisahab. This was not new for Rafisahab.Years ago same thing happened with Lakshmikant Pyarelal.Only difference was he returned the money and asked to share them among themselve. You will be surprised to know that in those dayes some top singers were getting very good payment but still they charged hundred rupees extra for petrol and driver. When Lataji was fighting for royalty,she was expecting Rafisahab to tow in her line but rafisahab flatly refused.She stopped singing with him. After the release of film Aradhana,it was lean period for him.Actualy Rafisahab was supposed to sing all song of Aradhana.He sang first two songs but then senior Burmanda fell ill and R.D.took over.He wanted fresh voice and rest is history. During that period he sang many beautiful songs with other singers . Nearly two year after Rafisahab’s death, there was a recording at Bombay lab in Dadar. Music director was Roshan. He was not the famous music director Roshan but a messenger who worked with music director Ravi. He was giving music for the first movie he got. The song was being recorded at Bombay labs – As we were waiting for the rehearsal to start, And then Rafi sahab entered. All were shocked and there was pin drop silence. It was only after he came close that we realised that he must be Rafisahab’s brother and later it was confirmed. Until then we had no idea that Rafi sahab had a brother. Though they were not identical twins, he looked like Rafisahab. Later he sang few songs with some small time music directors but none of them released. Today after so many years Rafisahab is still in the heart of people.He was a great artist and great human being. Day after tomorrow on 31July all over the world his death aniversary will be observed but I am posting my tribut today on occasion of my birthday. I am not a professional writer so there are bound to be some mistakes but I have tried to write it honestly.
This picture had Dharmendra, Rajendra Kumar & Mala Sinha in lead roles. Music director Shankar of Shankar Jaikishan had recorded 3 songs for this film. They are 1) “Dhak-dhak dhadke dil mera dhadke” in the voice of Anuradha Paudwal and Mohd. Aziz, 2) “Haay-Haay main mar gayi Allah” in the voice of Kavitha Krishnamurthy & 3)”Tum to Haseen Ho Phoolon Jaisi” in voice of Shabbir Kumar.. After his untimely death, the recording of 3rd song got untraced and Sharda had to re-record it along with 2 other songs, that is why her name has been mentioned here as the music director. Unfortunately this film could not be released.
You’re writing your autobiography. What’s your opening sentence?
The legendary Shankar Jaikishan have composed music for movies of the highest number of actors and actresses. They are seen in the picture below with Zaheeda at a music event. The actress was cast opposite Dev Anand in the shelved movie Sajan Ki Galiyan.
Docterji some few things about SJ. Just for your information.
SJ recorded Mohammad Rafi’s two english songs written by Harendra Chattopadhyay.
SJ gave background music for government documentary “Everest.”
SJ first introduce #BheemsenJoshi, #KrishnaraoChonkara, #SubirSen, #Sharda, #ShushmaShrestha etc. As playback singer. And #apareshlahiri in film Badshah
They first used heroine’s voice in the songs.
Twice they won Sur Singer Puraskar. 1968 – Mere Huzur 1971 -Lal Patthar.
Twice the won Bengal Film Journalist Puraskar. 1968 -Brahmachari 1971 -Andaz.
Jaikishanji’s favourite Raga was Shivranjani.
Shankerji’s favourite Raga was Bhairavi. Jaikishanji’s daughter’s name Bhairavi was suggested by Shankerji.
Docterji some few things about SJ. Just for your information.
SJ recorded Mohammad Rafi’s two english songs written by Harendra Chattopadhyay.
SJ gave background music for government documentary “Everest.”
SJ first introduce Bhimasen Joshi, Krishnarao Chonkara, Subir Sen, Sharda, Shushma Shrestha etc. As playback singer.
They first used heroine’s voice in the songs.
Twice they won Sur Singer Puraskar. 1968 – Mere Huzur 1971 -Lal Patthar.
Twice the won Bengal Film Journalist Puraskar. 1968 -Brahmachari 1971 -Andaz.
Jaikishanji’s favourite Raga was Shivranjani.
Shankerji’s favourite Raga was Bhairavi. Jaikishanji’s daughter’s name Bhairavi was suggested by Shankerji.
By mukund marulkar
I think they were first in many perspectives.. it is still we hv to dig out… E.g . They were first to use other foreign language . words in the song… like Elle bell aare….( काली घटा )..1951…! English words.. Like wise they were masters in the songs having v long pre ludes…! Under their baton they won
1.Grans prix award for Boot police
They won Cine Goers’ Association Awards for six films . … छोटीबहन..DAPP…प्रोफेसर…Sangam…आरजू..& सूरज..
They won 2 Bombay film Journalists Awards for बसंत बह।र ..and चोरी चोरी…and they also got certy .of merit from state govt. for Basant bahar
They got Sur Shingar Sansad Award for सूरज…
In addition to they got 9 FF Awards.. under their baton 1 Lyricists got 8 ff Awards… 2 Male singers got 8 ff Awards.. 3.Female singers got 3 ff Awards..!
On the fifty seventh anniversary of Gumnaam, I share some interesting trivia on the excellent music composed by Shankar Jaikishan for the mystery movie. The rock n roll number, Jaan Pehchan Ho, created history in Hindi entertainment industry.
It was the first song from a Hindi movie, recorded in 1965, to be used decades later in Ghost World, a Hollywood movie made in 2001. https://youtu.be/VB4q9rcfvvE
Main sunati hun ke maajra e ajab.. (Mubarak Begum, Shankar Shambhu)Lyrics: Traditional The fifth nautanki song from the film and the most unique and unusual one, sung by a famous qauwal duo Shankar-Shambhu. It comes as a part of a “Laila Majnu” dance play, in the film and is in a pure rustic and authentic nautanki style composition. SJ beautiful adapted awadhi folk style to compose the song and arranged it with basic ensemble of clarinet, dholak, nagada and sarangi. The 6 min long song has two distinct parts each of 3 minutes duration. The first one has a narrative style composition in Shankar-Shambhu’s high pitched voice, whereas the second part is a duet between them as Majnu and Mubarak Begum as Laila. The whole piece sounds perfect in its most raw and naive form. ******”Teesri Kasam” is always remembered for it’s mesmerising soundtrack, content and amazing performances by Wahida ji and RK. Her natural beauty and flowless portrayal of Hirabai including the expressions, gestures, grace, dance moves and dialogue delivery, all are exemplary. RK gave one of his best performance after “Jagte Raho”, although he told in one interview that he didn’t like the film much..!Unfortunately, the movie goers were not mature enough to appreciate the quality cinema at that time and this outstanding movie failed at the Box Office, in spite of its supreme soundtrack. This shock took its toll on Shailendra and he died untimely at the age of 45 on 14th December 1966, a birthday of his friend Raj Kapoor. Later the film won National Award for best feature film, but alas, he could not see this golden day. In today’s times, “Teesri Kasam” is considered a classic and one of the best content based films of hindi cinema.
Dm
दिलरुबा दिल पे तू
हाय, क्यूं मुझे खाक करने पे तुले हो जालिम!!!आखिर क्या बिगाड़ा है,मैंने तुम्हारा?????हहह!!!
I would not name anybody in particular but in the seventies eighties and nineties very few lyricists have been able to impressIt has been a two way traffic…there has been a dearth of good screenplay writers and directors…and stars have taken over the business of film-making.Raj Kapoor, the director, from the very beginning, believed that songs were an essential part of narrating a story on screen. 
SHANKAR-JAIKISHAN 