Shankar Jaikishan : The Incessant Shower of Exuberant Melody

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WELCOME!!! to the World of  Shanker-Jaikishen’s  memories. The duo who ruled the Music Scenario of Hindi Film Music with their debut film Barsaat for continuous 20 years like Emperors of Melody are still now most listened but less mentioned.  It is a humble effort to spread information about them, their films and music to their die hard fans. You will find rare articles, photos, stories, anecdotes about them here.  Since Lyricists Shailendra and Hasrat Jaipuri were their inseparable parts, this blog is also a memorabilia of Fab Fours SJSH (Shankar-Jaikishan-Shailendra-Hasrat). 

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FOLLOWING FEATURE IS WRITTEN BY Shri Trinetra Bajpai

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अविभाज्य शंकर जयकिशन Inseparable Shanker Jaikishen

 

Shyam Shankar Sharma's photo.
Shyam Shankar Sharma's photo.
Shyam Shankar Sharma's photo.
Shyam Shankar Sharma's photo.
By : Shyam Shankar Sharma

हिंदी फिल्म संगीत की सबसे सफलतम,सबसे चर्चित,सबसे गुणी जोड़ी का उनके सजीव काल में भी तथाकथित बूद्धिजीवियों द्वारा उन्हें आलोचना का केंद्र बिंदु बनाया और उनके देवलोक गमन के बाद भी उन्हें चैन नहीं पड़ रहा अतः वो अवसर पाते ही शंकर जयकिशन जी को विभाजित करने का असफल प्रयास करते है।कितना बड़ा आश्चर्य है जयकिशन जी 1971 और शंकर जी की 1987 में मृत्यु हो जाने के बाद भी इन दोनों को अलग अलग मापदंडों पर रखा जाता है,उन्हें प्रथक प्रथक करने की चेष्टा की जाती है!
इसमे उनका भी दोष नहीं है,कमाई उन्ही समाचारों से होती है जो चर्चित है जिसे लोग पड़ सके।विभिन्न स्थानों पर हो रहे शंकर जयकिशन जी की स्मृति में रखे जाने कार्यक्रमो की निरंतर अभिवर्धी ने उन्हें चौका दिया है।
न जाने कितने संगीतकार आये गए और चले गए उन पर कभी कभार चर्चा जरूर हो जाती है किंतु उसमे विवाद का तड़का कभी नहीं लगता।इसका कारण है कि वो विशिष्ठ नहीं थे?भारत विभाजन के बाद नेहरूजी से लेकर मोदी जी तक के मध्य बहुत से प्रधान मंत्री बने किंतु इनमे से ज्यादा चर्चा उन्ही प्रधान मंत्री की होती है जो विशिष्ठ थे और है।
यही बात फ़िल्मी संगीत के परिपेक्ष्य में प्रायः शंकर जयकिशन को लेकर होती रही है।हाल ही में अहमदाबाद में हुए SJMF के रजत जयंती समोराह की भव्यता देख शंकर जयकिशन जी के ध्रुव विरोधी भी आश्चर्य में पड़ गए की शंकर जयकिशन जी लोकप्रियता तो आज भी जस की तस है और प्रबुद्ध वर्ग उनका दीवाना है,इसी कारण भव्य आयोजन हो रहे है।
अतः उनकी कलमें फिर से जहर उगलने लगी है।
शंकर जयकिशन की जोड़ी वर्ष 1971 में जयकिशन जी के अवसान के बाद टूटी यह नियति का खेल था।जयकिशन जी स्वर्गलोक सिधार गए किन्तु इस गम से शंकर जी कभी उभर ही न सके और यही से हुआ एक संगीत योद्धा के ऊपर कुप्रचार।
बड़े भाई से जब छोटा भाई छिन जाता है अथवा जवान पुत्र पिता से छीन जाता है तो जाने वाले का दर्द सभी को दिखता है,उसकी कमी नज़र आने लगती है किंतु जो इस गम को सह रहा है उसकी तो जीते जी मौत सी हो जाती है।
सभी यह स्थापित करने में लग गए कि मानो सब कुछ जयकिशन जी ही करते थे,शंकर जी के पास कोई सृजन ही नहीं था?यह एक ऐसा कृत्य है जिसका शमन करना बहुत जरुरी है।
दृश्य की जड़े हमेशा अदृश्य होती है !जिसे हम देखते है,छूते है उसकी जड़े भी अदृश्य होती है।पौधे पर लगे मुस्कराते पुष्प की सुंदरता तो हम भांप लेते है किंतु वह सूंदर क्यू बना इसको जानने की कोशिश नहीं करते!
यही हमारी गलती है,उस पुष्प की सुंदरता तो जड़ो से है,जड़ से पौधे को अलग कर दो फूल मुरझा जाएगा!
हम शंकर जी की आलोचना करते वक़्त यह भूल जाते है कि वो ही इस संगीत जोड़ी की मूल जड़ थे!
जयकिशन जी की स्थापना तो शंकर जी ने ही की थी,राजकपूर तो अपनी बरसात शंकर जी को ही देना
चाहते थे उन्हें जयकिशन जी में कोई रूचि नहीं थी,किन्तु शंकर जी की ज़िद के आगे झुकना पड़ा राजकपूर को,और बनी संगीत जोड़ी शंकर जयकिशन।
गर चाहते तो अकेले शंकर जी ही इस फिल्म को कर लेते किन्तु वह जयकिशन जी को इतना चाहते थे कि उनके बिना वह स्वयं की कल्पना ही नहीं कर सकते थे।क्यू कि एक पारखी ही हीरे को पहचानता है।राजकपूर उस वक़्त न जयकिशन जी का सही आंकलन कर पाए और न ही लतामंगेशकर का?
किन्तु शंकर जी ने दोनों का सही आंकलन किया उन्हें अवसर दिया जिसके कारण राजकपूर का फ़िल्मी साम्राज्य स्थापित हो सका RK बैनर की स्थापना हुई।यह एक ऐसा बैनर था जिसके सामने दूसरे बैनर बहुत छोटे नज़र आते थे और इसकी स्थापना की जड़ में थे शंकर जी।
जयकिशन जी,लता जी और राजकपूर को तो उनका ऋणी होना चाहिए।जयकिशन जी ने इस ऋण को सदा आदर दिया और संगीत का यह चंद्र गुप्त सदा अपने गुरु चाणक्य का अनुसरण करते हुए इस दुनिया से गमन कर गया।
जयकिशन जी का स्वर्गवास हो गया और शंकर जी की जीते जी मौत जैसी स्थति कर दी गयी ,अपमान दर अपमान,आरोप दर आरोप!निकृष्ठथा कि हदे पार कर दी गयी।शंकर जी को उम्र के पड़ाव पर जयकिशन जी के आकस्मिक निधन ने कमज़ोर जरूर किया था किन्तु वह संभल सकते थे,किन्तु RK बैनर ने उनकी पीठ पर छुरा भौक दिया और उन्हें संगीतकार मानने से ही इंकार कर दिया और यह कह दिया कि सब कुछ तो जयकिशन करते थे?राज साहिब आप तो जयकिशन जी को बरसात के वक़्त ही नकार चुके थे अतः आपको सफाई देने की आवश्यकता ही नहीं है,बिना शंकर जी के आप कुछ नहीं थे,आग की तपिश को क्या आप भूल गए?
RK बैनर से शंकर जी को च्युत करने से फिल्म उद्योग में यह संदेश गया कि शंकर जी से फिल्मे वापस लो और नवीन फिल्मे मत दो ,इसका प्रचार प्रसार युद्ध स्तर पर किया गया,जिस लता जी को शंकर जी ने स्थापित किया था वो मुकेश जी के संग मिलकर कुचक्र करने लगी,यह वही मुकेश जी थे जिन्हें शंकर जी ने बुरे हाल में पुनः स्थापित किया था और..ऐ प्यासे दिल बेजुबाँ तुझ को ले जाऊँ कहाँ और ये मेरा दीवानापन है या मोहब्बत का सरूर जैसे गाने गवाये थे जिससे मुकेश जी पुनः मूल धारा में लौट सके।
जोकर में एक गाने का टुकड़ा है…
माल जिससे पाता है,गीत जिससे गाता है उसके ही सीने में भोकता कटार है?
राज कपूर,मुकेश और लतामंगेशकर ने यही किया।
नितांत अकेले पड़े इस समय में फिल्म नगर बैनर ने साहस कर अपने आपको शंकर जी के सुपर्द कर दिया और उसके परिणाम पहचान,बेईमान, सन्यासी,सीमा,दो झूठ आदि फिल्मो द्वारा प्राप्त हुए जो आलोचको को जवाब देने के लिए पर्याप्त थे।अगर आप जयकिशन जी के बाद शंकर जी के सृजन को सुनेंगे तो आप महसूस करेंगे की शंकर जी में संगीत की अपार क्षमता थी,खुद लता जी ने स्वीकारा है शंकरजी की कंपोज़िंग सबसे श्रेष्ठ थी!किन्तु रस्सी जल जरूर जाती है किंतु बल नहीं जाते!लता जी पर यह बात सिद्ध होती है।
जब लता जी को शंकर जी ने अवसर दिया तो सब सही था किंतु अगर वो शारदा जी को ले आये तो अनर्थ हो गया,क्या नई प्रतिभाओं को अवसर देना गलत है?
शंकर जी और शारदा जी के संबंध में इतने घटिया शब्दो का प्रयोग किया गया कि उन्हें लिखते हुए ही शर्म आती है किंतु फ़िल्मी लेखकों की सौंच ही इतनी घटिया थी।
शंकर जी उसूलों में जीने वाले संगीतकार थे,ईश्वर ने उन्हें बहुत वैभव दिया था,चाहते तो वो भी शान्ति से अपना जीवन जी सकते थे,किन्तु संगीत उनकी आत्मा थी।
अतः वह मैदान में डटे रहे और इसी फिल्मी दुनियाँ ने उन्हें 50 के आसपास फिल्मे दी,कार्य सदा उनके दरवाजे पर दस्तक देता रहा,वह पहले संगीतकार थे जो आयुपर्यन्त संगीत देते रहे,जब उनका स्वर्गवास हुआ उस वक़्त भी उनके पास फिल्मे थी।
विपरीत हालातो में 50 फिल्मे प्राप्त होना कोई खेल नहीं है?इतनी फिल्मे तो कई संगीतकार कर ही नहीं पाते?
खैर जिस कारण मुझे यह लेख लिखना पड़ा उसका कारण यह था कि फ़िल्मी पत्रिका चित्रलेखा में एक लेख प्रकाशित हुआ जिसमें यह लिखा था कि एक जाने माने संगीतकार ने जयकिशन के निधन के बाद शंकर जी के साथ जोड़ी बनानी चाही तो शंकर जी ने कहा में जयकिशन के बिना कोई कल्पना ही नहीं कर सकता,मुझे भी मौत आ जाय तो अच्छा है किन्तु में जयकिशन के अलावा किसी से जोड़ी बना ही नहीं सकता।सुना है अपनी फिल्मो से प्राप्त आय का आधा हिस्सा वो जयकिशन जी पुत्री भैरवी को भिजवाया करते थे।
वक़्त गुजर जाता है और इतिहास बन जाता है।शंकर जयकिशन की जोड़ी को अन्तोगत्वा सभी संगीतकारो ने महान बताया।
शंकर जी,ख़ामोशी से इस दुनिया को अलविदा कह गए और छोड़ गए कई प्रश्न?
किन्तु उनके गीत कभी खामोश ही नहीं होते वो काल के साथ चलते चलते और जबरदस्त रूप में आज भी
भी यही कह रहे है..कि हमें शंकर जयकिशन ने बनाया है भला किसकी मजाल जो हमें मिटा सके!हम अजर है अमर है।
Shyam Shanker Sharma

Jaipur, Rajasthan.

Tribute to Jaikishan on his birthday on 4th November, 2016

आज जयकिशन जी( शंकर जी) का जन्म दिवस है।हिंदुस्तान के सबसे सुंदर और सबसे कामयाब संगीतकार जयकिशन जी को में उनके जन्म दिवस पर हार्दिक पुष्पांजली अर्पित करता हूँ। जयकिशन जी ने शंकर जी के साथ मिलकर जो संगीत इतिहास रचा उस इतिहास तक हिंदुस्तान का अन्य कोई संगीतकार पहुँच ही नहीं सकता!
जितने प्रयोग और बदलाव शंकर जयकिशन ने फिल्म संगीत में किये वो एक नज़ीर बन गए है।चाहे सचिन देव बर्मन हो,ओ पी नैयर हो,सी. राम चंद्र हो,मदन मोहन हो,पंडित रविशंकर हो ,नौशाद हो सभी ने एक मत से स्वीकार किया है कि शंकर जयकिशन जैसा संगीत कोई दे ही नहीं सकता।
शंकर जयकिशन को विभाजित कर उनका आंकलन करना सबसे बड़ी भूल है?दोनों मिलकर ही हर सृजन तैयार करते थे।
आज जयकिशन जी की जन्म तिथि है किंतु इस तिथि पर भी यह अहसास होता है कि आज शंकर जयकिशन जी की जन्म तिथि है।
हम जयकिशन जी की जन्म तिथि पर शंकर जी के बिना सिर्फ इतना ही लिख सकते है कि अप्रितम सौंदर्य के धनी, मिलनसार, शौकीन व्यक्तित्व आदि के धनी जयकिशन जी जैसा संगीतकार हिंदी फिल्म इतिहास में आज की तारीख तक तो उतपन्न नहीं हुआ?अल्पायु में जयकिशन जी ने जो कर दिखाया वो लोग दीर्घायु तक करके नहीं दिखा सके! बरसात से आरम्भ हुआ उनका संगीत सफर फिल्म अंदाज़ पर आकर यह कहते हुए समाप्त हो गया ….
जिंदगी इक सफर है सुहाना यहाँ कल क्या हो किसने जाना?
जयकिशन जी जब तक जीवित रहे तब तक शंकर जयकिशन जी की जोड़ी के सामने कोई भी संगीतकार टिक ही नहीं पाया !उनकी धुन में सजे गीत सीधे बाउंडरी के पार जाते थे और सिक्स प्राप्त करते थे ?वो एक ओवर (फिल्म) की 6 बोलो ( गीत) पर लगातार सिक्स लगाने वाले एक मात्र संगीतकार थे!सिक्स भी सभी भिन्न प्रकार के किन्तु सभी कलात्मक। जयकिशन जी कभी भी संगीत के मामले में समझौता नहीं करते थे चाहे सामने कोई भी कितनी ही बड़ी हस्थी हो !संगीत ही उनकी आत्मा थी जो शंकर जी की आत्मा के साथ एकाकार थी।
शंकर जयकिशन जी को विभक्त करने में,उनके संगीत में नुक्स निकालने के असीम प्रयास तथाकथित बूद्धिजीवियों द्वारा किये गए जो असफल रहे।
शंकर जयकिशन जी को लेकर जितना मिथ्या प्रचार प्रिंट मीडिया में किया गया उतना शायद ही किसी अन्य संगीतकार के विरुद्ध हुआ हो!
इसका मुलभुत कारण है जो अतिं विशिष्ठ होता है तो सर्वाधिक आलोचना का शिकार भी वही बनता है?
कक्षा में कोई छात्र मेघावी होता है तो अन्य छात्र उससे बेवजह ईर्ष्या करने लग जाते है,उसे अलग थलक करने के सभी प्रयत्न भी होते है।
शंकर जयकिशन जी के साथ भी कुछ ऐसा ही आरम्भ से घटित होता रहा।
राजकपूर की फिल्मे तो शंकर जी के कारण हिट हुयी थी? ऐसा इसलिए लिख रहा हूँ की प्रायः आलोचक यह सिद्ध करते आये है कि शैलेन्द्र जी के गीतों को संगीत शंकर जी देते थे और राजकपूर की कुल 18 फिल्मो में जिनमे उनकी निर्मित फिल्मे भी है में अधिकाँश गीत शैलेन्द्र जी ने लिखे थे,तो आलोचकों के हिसाब से राजकपूर की फिल्मो में मुख्य संगीत शंकर जी का ही होना चाहिए?
जयकिशन जी हसरत जी के गीतों को संगीत देते थे जो रोमांटिक होते थे वो सभी भी हिट थे?
इससे आलोचक यह सिद्ध करना चाहते थे की दार्शनिक गीतों का संगीत भार शंकर जी पर और रोमांटिक गीतों का संगीत भार जयकिशन जी के पास था!
आलोचकों की इस बात को स्वीकार भी कर ले तो शंकर जयकिशन विभाजित कहाँ हुए? शंकर जी दाए हाथ से और जयकिशन जी बायें हाथ से संगीत मैदान में बेटिंग किया करते थे और पारी को परवान चढ़ाते थे। आलोचकों के हिसाब से जयकिशन जी को राज कपूर ने कम अवसर दिए किन्तु शम्मी जी ने सर्वाधिक दिए।वस्तुतः शंकर जी ने तीन को मुख्य आधार दिया राजकपूर, जयकिशन जी और लता जी को स्थापित करने वाले शंकर जी ही थे।
जयकिशन जी बहुर्मुखी थे ऑर शंकर जी अंतरमुखी।और जब यह विपरीत ध्रुव एक हुए तो इनका नजरिया समान था,हर गीत दोनों का सामूहिक रूप से तैयार करते थे और वो होता था शंकर जयकिशन जी का संगीत।
जयकिशन जी ने आयुपर्यन्त शंकर जी को सम्मान दिया और दोनों के मध्य कोई मनमुटाव नहीं हुआ! जयकिशन जी ने आकाषवाणी के एक कार्यक्रम में मधुप शर्मा से कहा था आप हमारे संगीत को विभाजित मत करो यह हमारे मध्य का गोपनीय पहलु है।
आजकल प्यारेलाल जी में शंकर जयकिशन जी के प्रति असीम भक्ति भाव परिलाक्षित हो रहा है यह सब इसलिए कि उन्हें अब चर्चा में बने रहने की आदत हो गयी है?काम न मिल रहा हो वो तो ठीक है किंतु अब वह SJ के कारण ही चर्चा में बने रहते है।
500 से अधिक फिल्मो में संगीत देने के उपरांत भी LP उस मुकाम को हासिल न कर सके जो SJ को मात्र 180 के लगभग फिल्मो से ही प्राप्त हो गया?
मित्रो,शंकर जयकिशन को विभाजित कर आप उनके संगीत का मजा ले ही नहीं सकते वह अविभाज्य है।अतः आज हम सभी शंकर जायकिशन प्रेमी जयकिशन जी की जन्म तिथि पर यह प्रण ले कि हम कभी उनका विभाजित स्वरुप स्वीकार नहीं करेंगे!और उनके आलोचकों को उनका रास्ता दिखा देंगे।
जायकिशन जी आज शंकर जी से यही कह रहे है…….
ना तू है तू, ना में हूँ में
में तेरी तू मेरी आरजू!!

Shankar, The Legendary Music Director

sharda-with-sj-and-trophy-for-suraj

by-Rajan Shah

SHANKAR the legendary music director of the Shankar Jaikishan fame was the lone survivor as destiny took away his partner in 1971. There was a huge void in his personal life as well as the music industry as a whole. He faced the music alone. He held on to himself and kept the SJ flag flying. Betrayals, accusations, broken promises, all this he had seen them all, but the man with a heart of steel, refused to crumble. His pride held him in good shape, so did his confidence.

Shankar Singh Raghuvanshi, fondly known as Shankar, knew only three passions in life- tabla, gaana and kasrat. Harmless pleasures these all but Shankar Singh Raghuvansi was of an age when books ought to have been more important as he was only a child. But unlike most children he never studied, only indulged in his passions. His mother often despaired “Yeh to gaanewali ke piche hi tabla bajaayegaa. These turned out to be Prophetic words of sorts. The little boy grew up to be a part of the duo whose music took the film industry by storm. The unbeatable combination of Shankar-Jaikishen rose from the new horizions in the late fourties. Their music still mesmerizes us….Jiya bekaraar hai, yeh mere diwanapan hai, Yeh aasoon mere dilki….

“It all began for the little Shankar in Hyderabad. Those were the days of the Nizam and Maharajas. Their influence was strong and music pervaded every house; it was a part of their lives and inseparable culture. For the little boy too, music was all that mattered. And he was attracted to anything that was connected with it, be it acting or dancing. Though his parents wanted him to study and do well, he didn’t care about books. One day, while passing by the house of a nobleman, he heard the strains of the melodious voice of a singer, Saraswati Bai. But it was spoilt by some cacophonous sound which was supposed to be that of a tabla. It was unbearable for the little boy. He rushed into the mehfil, pushed aside the incompetent tabla player and took over. It all sounds very filmy, but after the little boy finished, wah-wahs poured from everybody who were present there. .

Mumbai, then Bombay was then the centre of theatre activity. So he decided to come down to try his luck. He wanted to join the theatre–perform, sing, dance, play instruments. He learnt kathakali from Krishnan Kutty, Kathak from the Jaipur Gharana and Manipuri and Bharat Natyam as well. Slowly he also learnt to play the piano, the accordion, the sitar and the harmonium quite well. Fate somewhere during this time introduced him to Papaji (Prithviraj Kapoor).

According to Shankar, Papaji looked like some Greek God. At that time he had just started his Prithvi Theatres and one day he called Shankar over to witness a play called Shakuntala that he was staging. He had enrolled many great musicians for this play and while he was watching it, he suddenly asked Shankar to go on stage and accompany the Sarod player with the tabla. He later learnt that he was none other than the great Ali Akbar Khan). After the show, Papaji called Shankar and embraced him. He even asked Shankar to join Prithvi Theatres.

“Jaikishen was a frequent visitor to Prithvi, but it was at a friend’s place that they first met . There were instant good vibes and they slowly became good friends. Shankar introduced him to Papaji and he too began working at Prithvi. Raj Kapoor was also working with his father in those days. When he began Aag, SJ helped him with the music.

“Jai and Shankar decided to be partners. RajKapoor at that time, was working on Barsaat. They composed a tune for him, Jiya bekaraar hai. RK loved it. That was their first major break. None of the two even dreamt of becoming a music director, and suddenly they got a break and it was all like a dream come true. Here they met Shailendra, who was a close friend of Raj and also Hasrat Jaipuri who was with Prithvi. They formed a group and our foursome clicked. Shailendra and Hasrat wrote the lyrics while SJ composed the tunes.”

Barsaat broke records. Then followed the deluge — Nagina, Mayur Pankh, Badal, Badshah. It was all so unexpected. A pair of eighteen year old youngsters causing existing edicts to tremble. Shankar-Jaikishen were creating a furore. They had descended upon the domain of Naushad, S.D. Burman, Husanlal Bhagatram, Ghulam Mohammed, O.P. Nayyar. The seniors were at first sceptical, Yeh ladke kitne din chal sakte hain , was what they thought and discusssed. But the matter worsened for the seniors.They got worried. But C. Ramchandra was one man who always appreciated the young duo. He used to tell the others, “Yeh ladke hum sabko hairan karke rekhenge. Hindustan mein dhoom machayenge.”

The Shankar-Jaikishen era had begun. The old order was displaced. Given their propensity to compose songs that appealed to both the box-office and people’s tastes, it wasn’t strange or surprising that almost every top hero insisted on Shankar-Jaikishen as part of his contract. With Raj Kapoor there was Awara, Aah, Shri 420, Boot Polish, Jis Desh Mein Ganga Behti Hai, Sangam, Mera Naam Joker. Shammi Kapoor danced around hills and dales and beautiful gardens teasing his pretty heroines, while Shankar-Jaikishen’s music kept mercurial pace in Junglee, Janwar, Badtameez.

Rajendra Kumar rarely worked in a film that didn’t have Shankar-Jaikishen on the credits. Aas Ka Panchi, Zindagi, Sasural, made the ‘jubilee’ hero, just because of Shankar-Jaikishen.

As partners, Shankar had a perfect tuning with his junior partner. Their relationship strengthened over time. They shared instant empathy, an inherent understanding and a deep bond of friendship. Whenever they both wanted to compose a particular song, they would toss a coin to decide who would do it. Tensions between them were only over music but they would always sort them out. When Shankar composed Nanhe munhe bachche teri muthi mein kya hai for Boot Polish, Jai didn’t like the tune. But Shankar convinced him otherwise. In fact, Boot Polish as planned earlier, was to be a song less film. Later Raj kapoor decided to add songs.

They always trusted each other completely. They never listened to those who poisoned their ears about the other. And it was like that till Jaikishans death. It is absolutely untrue that they grew apart after Sangam.

“Being basically a good Gujarati businessman, Jai also handled all the business matters. He was a financial juggler and did his job well. When he died, Shankar was shattered. For 3-4 years after his death, he could not work…could not build up the mood. And people tried to provoke him by saying things like their work was mainly Jai’s doing. But Shankar refused to speak out in retaliation.

“After Barsaat, Shankar bought an M.G. Racer Car. It was the first car between the four of them. Jai bought his own, later. Since it was a two-seater, Shankar and Jai would draw back the hood, sit in front while Shailendra and Hasrat would fit in behind . Later, Jai and Shankar both, bought Chevrolets. For the Filmfare Awards function they would drive in their Chevrolets and enter in style.

In many ways they revolutionized the industry. They were amongst the first who thought of giving due respect to the Press, calling for Press Conferences,…hosting parties. They were never afraid of change. Barsaat was the first film where Lata sang all the songs. Before that, she would be signed for only one or two of them per film as she had a very thin voice as compared to other to singers of those days for example Noorjehan, Shamshad, Zohra and Suraiya. Those days Manna Dey sang mainly bhajans. SJ took him for light songs like Chori Chori, Aa ja sanam and Yeh raat bheegi bheegi, which changed things for him. Mukeshs popularity also grew especially after he sang Yeh mera diwanapan hai for Yahudi.

Shanker had few setbacks too. Like Raj Kapoor’s betrayal. Dost Dost Na raha was one of Shankar’s contribution to Raj Kapoor’s Sangam. Perennially haunting, stirring, it exuded pathos. While at that stage no one would have dreamt that the Raj Kapoor-Shankar-Jaikishen team would one day not exist, years later the ‘dosti’ was not the same. They parted professional ways. Shankar insists he wasn’t upset when his ‘dost’ signed up Lakshikant-Pyarelal for Bobby.

Their songs have been translated in Chinese. Russian, German and even Arabic. How ever Rajkapoors son wanted some change. Thus they chose other music directors.

Another jolt came from Prasad Productions, whose films had been transformed from mediocre family dramas to musical hits….Teri pyari pyari surat to (Sasural), Jaoon Kahan bata ae dil (Chhoti Bahen)….all this courtesy, Shankar-Jaikishen. Even G.P. Sippy didn’t take after Brahmachari and Andaz.

Most of Shailendra’s lyrics were Shankar’s compositions. They both complemented each other perfectly. “When they were discussing the music of Shri 420, Rajkapoor was describing a scene. Shankar instantaneously sang out Ramaiya vatavaiya, which in Telugu means ‘Ramaiya, will you come?” And Jai spontaneously gave his rejoinder, ‘Maine dil tujhko diya’. It was the beginning of this iconic song. When they were driving past a bus-stop and Jai saw a pretty girl, he turned around instinctively to take a look. That’s how Mud mud ke na dekh (Shri 420) was born. Recalls Shankar, Shailendra was great. He wrote beautifully. People would cry at the beauty of his lyrics.

From small beginnings in a South Indian lodge at Parel to a well-appointed home at the ‘Beacan at Churchgate, Shankars success story was truly established. . His rehearsal room at Famous Studio in mahalaxmi still remains. Many moons ago, hordes of producers thronged its long corridors, waiting patiently with wads of notes, hoping to entice the two gentlemen into signing a contract. And it wasn’t easy.

posted by Lakshmi Kanta Tummala

संगीत के सरताज शंकर-जयकिशन

shankarypiano

संगीत के सरताज शंकरजयकिशन…।।।।।।।..।.।।।।।।।।…।।।।।।।।..।।..।।।फ़िल्म जगत में पुरे 2 दशक यानी बीस साल(1950-70)की अवधी शंकर जयकिशन के नाम रही।यह वो दौर था जब उनके संगीत से सजी हर फ़िल्म का हर गीत हिट हो जाता था।मन्ना डे कहते थे” उनके पास हिट धुनों की एक जादुई पूड़ियां थी,जिसमे से बराबर एक से बढ़कर एक हिट गाने श्रोताओ को देते रहते थे।आज के संगीतकार तो एक फ़िल्म में किसी तरह एक हिट गाना देकर अपने आपको धन्य समझने लगते है।मगर उनके लिए यह एक मामूली बात थी।वे लगातार श्रेष्ट्र सृजन करते रहे 1955 मे मैंने उनके लिए सीमा फ़िल्म का एक गीत..तू प्यार का सागर है..गाया था।इसके बाद उनके लिए मैंने जो भी गीत गाये,सारे के सारे जबरदस्त हिट रहेथे”।इस संगीतकार जोड़ी के बारे में यह बात भी मशहूर थी कि उनके पास हिट गानो का खजाना था,जिससे एक से बढ़कर एक हिट गीत निकले पर उनकी गुणवत्ता पर कोई फर्क नहीं पड़ा।विपिन रेशमिया लिखते है वे लीजेंड्स थे,आज के संगीतकार तो कोशिश ही नहीं करते?वे पहले संगीतकार थे जिन्होंने म्यूजिक इंस्ट्रूमेंट्स का उपयोग बड़े पैमाने पर किया था.पियानो,आकार्डियान,मेंडोलिन,ओ बो.इम्मपेट आदि देसी विदेशी साजो का उन्होंने सटीक तालमेल बिठाया।साज़ बजाने वालोँ के मामले मे कोई कमी सख्त ना पसंद थी। गायन के मामले मे भी वे हठधर्मी थे।मुकेश ,राज कपूर की आवाज थे पर इस जोड़ीं ने जरुरत पड़ने पर राजजी के कई गाने मन्नाजी से गवाएं।बाद में घोर आलोचकों ने भी यह कबूल किया की राजजी की शैली को मन्ना की आवाज ज्यादा मुफीद लगती है।इसी तरह लताजी से उन्होंने सर्वाधिक हिट गाने गवांये,पर आशाजी का भी बहुत सार्थक उपयोग किया।उस दौर के सारे नामचीन गायको हेमन्त कुमार,तलत मेहमूद,रफ़ी,किशोर आदि का उन्होंने सदुपयोग किया।मृत्यु से कुछ दिन पहले हेमंत कुमार ने एक मुलाकात में उनके सम्मान में कहा”वो तो जीनियस छिलो अर्थार्त वो तो जिनियस है।आम धारणा है की RK की फ़िल्मो मे ही इस जोड़ी का हिट संगीत आया यह निराधार है,उस खेमे के वो जरूर थे पर इस भ्रम को उन्होंने बार बार तोड़ा, गलत सिद्ध किया,वो किसी एक खेमे के मोहताज नहीं थे।उस दौर के सारे नामचीन फ़िल्म मेकर्स के साथ काम किया।अमूमन यह कहा जाता है की यह जोड़ी क्लासिक रागों से बचती है पर बसंत बहार,आम्रपाली,सीमा,साँझ और सवेरा,दिल एक मंदिर,तीसरी कसम,मेरे हज़ूर जैसी कई फ़िल्मो में शुद्ध क्लासिक रागों पर आधारित गानो की रचना कर उन्होंने सबका मुंह बंद कर दिया।1947 में हैदराबाद से आये शंकरजी और गुजरात से आये गुजु भाई जयकिशन जी के बाहरी व्यक्तित्व सर्वथा जुदा थे।पर संगीत ने उन्हें एकाकार कर दिया।RK की पहली फ़िल्म आग(1948) मे ये दोनों संगीतकार राम गांगुली के सहायक थे।पर राजजी की दूसरी फ़िल्म बरसात(1949) मे उन्होंने स्वतंत्र संगीत रचना की।यह साथ जयकिशनजी की मृत्यु तक बदस्तूर कायम रहा।1966 में अपने अनन्य मित्र गीतकार शैलेन्द्र की असामयिक मौत के बाद जयकिशनजी बेहद टूट गए थे।1971 मे जयकिशन के असामयिक निधन से शंकरजी का सृजन भी मानो बिखरने लगा था पर दृढ़ संकल्प के साथ शंकरजी ने कई हिट गीतों का निर्माण किया जिसमे सोहन लाल कँवर का उन्हें सच्चा साथ मिला।1975 में उन्होंने सन्यासी में हिट संगीत दिया और शंकर जयकिशन जोड़ी का नाम 1984 तक कायम रखा और इसी वर्ष ख़ामोशी के साथ शंकरजी ने सांसो क संसार से विदा ली।इस जोड़ी ने कुल 8 बार फ़िल्म फेयर अवार्ड प्राप्त किये,सर्वप्रथम पदमश्री से सम्मानित किये गए।आज के कुछ संगीतकार देर सवेर भले ही उतने अवार्ड्स प्राप्त कर ले पर याद रखे की यह अवार्ड्स उन्हें महान संगीतकारों के दौर मे मिले थे जिनका कोई सानी नहीं था।शंकर जयकिशन जैसी कर्ण प्रियता लाना आज के संगीतकारों के वश की बात नहीं है।आज संगीत युगंधर शंकरजी की जन्म तिथि है में अपना यह आलेख पुष्प उन्हें सादर समर्पित करता हूँ।

Written by

Shyam Shankar Sharma's photo.

Tributes to legendary Hindi film music composer Shankar Singh Raghuvanshi

shankerji-courtesy-sadasivamk

Photo and feature Courtesy : Imprints and Images of Indian Film Music &  Sadasivan KM 

Tributes to legendary Hindi film music composer Shankar Singh Raghuvanshi of the famous Shankar-Jaikishan duo and one of the emperors of Hindi film music world, on his 94th birth anniversary today.

Shankar Singh Raghuvanshi was one of the genius composers of the famous duo Shankar Jaikishan, the greatest musical duo to have graced the world of Hindi cinema. So great was the impact of their creative genius that it had a lasting impact on the music of the Hindi films. Shankar-Jaikishan understood the taste of the masses, were able to cater to them, as well as moulded their tastes. No wonder then that during their tenure as music directors, they were exceedingly popular and 75 per cent of the films for which their scores were resounding hits – many have celebrated silver jubilees.

Shankar Singh Raghuvanshi was born on 15 October 1922. He was a native of telangana, and spent his early years in Hyderabad. He learned the tabla and other instruments and was a student of the musicians Baba Nasir Khansahib and Khawaja Khurshid Anwar. He was an expert percussionist. He learnt the fundamentals of film music from the first music duo Husnlal-Bhagatram.

Shankar started his career with a theater group run by Satyanarayan and Hemawati, before shifting to Prithvi Theatre where he played tabla and performed some minor roles in plays. .
Raj Kapoor once heard Shankar sing one of his compositions, ”Ambuva ka ped hai, wahi munder hai, aaja more baalama ab kaahe ki der hai….” He recognised the flash of genius and invited him to compose music for ‘Barsaat’. Shankar introduced Jaikishan as his partner.

Shankar and Jaikishan reportedly first met when they were both waiting outside a film director’s office. They soon became collaborators and helped in composing music for Prithvi Theatres, which was founded by the renowned actor Prithviraj Kapoor. In the years to follow, Shankar-Jaikishan became the favourite music directors of Prithviraj’s son, the legendary actor-director Raj Kapoor.

Both the music directors composed independently. They never interfered in each other’s works. The duo together with lyricists Shailendra and Hasrat Jaipuri formed an unbeatable team. With them started a new era in the Hindi film music. While background music was Jaikishan’s strength, Shankar was good at song compositions. He was a very good pianist too. The duo were commercial geniuses in addition to be wonderfully God-blessed on music. Shankar-Jaikishan were the pioneers in establishing the role of the orchestra in song compositions as a medium to express and enhance the meanings and feelings of songs rather than using it just as a filler as per the prevalent practice before their advent on the scene. Between the two, Shankar was the senior partner and hence, he would usually arrange the orchestra, even for Jaikishan’s songs. There was a gentleman’s agreement between them for not identifying the actual composer of the song.

They made a significant contribution in promoting Indian classical music throughout their career. It was their established practice to have at least one song in a movie based on semi-classical style. These included songs like “Jhanak-jhanak tori baje payaliya” (Mere Huzoor), “Chham chham baje re payaliya” (Jane-anjane), “Radhike tune bansari churayi” (Beti Bete), “Manmohana bade jhoothe” (old `Seema’), “Koi matwala aya mere dware” (Love in Tokyo), “Ajahu na ayae baalma, sawan beeta jaye” (Sanjh aur Savera), “Lapak jhpak tu aa re badarwa” (Boot polish), “Ye barkha bahar sautaniya ke dwar” (Mayur pankh), “Re man sur mein gaa” (Lal pathar), “Sooni sooni sans ke sitar par” (Naina), “Kate na kate raina” (Mera naam joker) and numerous others. Their music in `Basant Bahar’ and ‘Amrapali’ was outstanding, both these films had every song based upon Indian classical music.

On the fateful night of April 26, 1987, Shankar, who had enthralled millions by his music, suddenly died. In the passing away of Shankar, the country has lost one of its foremost musical craftsmen.

For millions of fans of Hindi film music, Shankar-Jaikishan remain alive through their unforgettable music.

Shankar(Jaikishan) & Lord Shiva

Dancing Shankar-Jaikishen. A rare treat to eyes

shankar-jaikishan-dancing-in-a-function

Hi SJ fans,When we talk about Lord Shiva,what r the qualities we see,unruffled concentration, steadfastness,little temperamental, pure,yogi,knowledgeable. When we see such attributes in human beings,we get instantly drawn to the person. There was one such individual who had all these traits,and its ironic,that his name is ‘Shankar ‘. Shankar Singh Raghuwanshi, a.k.a Shankar was all of the above and more. He had only one vision in life , Music. He used to eat,drink,breathe music. His single minded dedication to music,made him incomparable and the greatest musician of his time. His journey through the music industry is well documented , but what I would like to stress today on his birth anniversary , is what made Shankar,Shankar.
He had an acute music acumen which was unparalleled, his musical knowledge was so deep , it didn’t take long for him to master any musical instrument. Having a base in classical music, he was an accomplished Tabla player to begin with, but such was his musical sense,that in a short span of time,he became adept in various western musical instruments alongwith classical instruments,but,he was not alone.
Like how Lord Shiva always had a coolant in the form of Lord Vishnu whenever it was needed,Shankar had an able partner , who made sure that everything remained calm and comfortable around themselves, so that they could continue their musical journey till the end,yes the Lord Krishna of the duo, Jaikishan was always there to have the cooling factor in their endeavour to achieve musical greatness. Shankar was a bit temperamental, a no nonsense kind of a person,called a spade a spade,never minced words,which sometimes never went down well with few people,thats where the soothing, cheerful demeanor of Jaikishan came in. Together, this yin and yang transcended the world of music like only they can. Shankar on his part just loved Jaikishan contrary to what certain sections put forth,but they didn’t care, Shankar always treated Jaikishan as his younger brother and doted on him.
There were a couple of more people who were part of the journey to musical greatness, two master poets and lyricists ,Shailendra and Hasrat,an integral part of the backbone of SJ’s music. Together this quartet dominated the musical world for almost 3 decades. All good things had to come to an end,it started with the demise of Shankar ‘ s trusted friend Shailendra in the mid sixties and then the untimely demise of Jaikishan in 1971. This absolutely shattered Shankar,he never felt the same again,and this prompted a lot of people in the industry to shun Shankar,but then,he is Shankar,true to his character, he held his head high and continued with his musical journey till the end. There can never be and never will another Shankar, Thank you for giving a direction to music which will never be equalled.
An episode which showed the dedication of Shankar to his music,came when during the recording of a song from An evening in Paris,Shankar got the news of the demise of his mother. Once the news came through, all the musicians packed up for the day and left,Shankar came to the studio in the evening , and was livid,that everyone left the recording,he called everyone back,and recorded one of the greatest duets ever , today on the day of remembrance of the great Shankar, I dedicate one of my all time favourite songs from the same movie.

Contributed by

Mithun Krishnan

 

 

Remembering Shankar on his birthday

mahendra-kapoor-singing-in-a-concert-with-shankar

Today (15th October 2016) is the birth anniversary of Shankar of the famous duo of composers, the great “Shankar-Jaikishan” !

Shankarsingh Ramsingh Raghuvanshi was born on this day of the year 1922, who later grew into a youth very much inclined to music. His childhood was spent in listening to Bhajans with great interest in the various temples in his locality. It was here, that the seeds of music were sowed in his impressionable minds. It seems that this very thing became a hindrance in his academic progress later on, and, we should thank God for that.

Before 1949, that is, before the release of “Barsat”, a true musical bonanza, Hindi film music was in a state of monotony which offered music of fixed genres based on classical elements. The music compositions had hardly any cheerfulness, delight, and liveliness, though mostly melodious in the vintage form. This caused a sort of boredom to the general public or the masses, who did not understand the musical merits of classical elements and intricacies in such compositions.

With ” Barsat “, Shankar with his too young partner Jaikishan, changed this scenario of monotony and repetitive music in HFM overnight, and what happened in next four decades is just history now known to everybody, and not to be mentioned here. Thus, Shankar became the pioneer and father of modern Hindi music that many music composers of the next generation are following till this day.

Today, on Shankar’s birth anniversary, let me share this somebody else’s extremely good and factually written article on the duo’s unity in works, uniqueness and timelessness of their compositions, their profile and glory in HFM.

I liked this article more than many others on SJ, because herein the writer has mentioned how difficult and futile it is to decide which song is by Shankar and which by Jaikishan, giving the example of indistinguishable waters of two streams after they have merged into a confluence !!

Here it is :

” There are many music director duos in Hindi film world. we have Laxmikant-Pyarelal, Kalyanji-Anandji, Amar- Utpal, Nadeem-Shravan, Jatin-Lalit, Shyamji- Ghanshyamji, Husnulal-Bhagatram, etc etc…. But, there is one and only Shankar- Jaikishan. Even today listeners guess about their style of creating music, discuss about their distribution of work, speculate and fight about which song is composed by whom, take sides, sometimes sympathise with Shankar and try to justify his behaviour, his downfall, if it can be called that, praise Jaikishan…. but, ultimately, all of them end up talking about Shankar-Jaikishan.
There is a lot of curiosity, controversy regarding anything Shankar-Jaikishan, because, they are a phenomenon, which even today remains unconquered and not properly comprehended.
Take the songs of chori chori, the all time favourite. People say this is a Jai song and that is a Shankar song. Ultimately listening to each song is a unique experience. People may have their individual favourites, but, one cannot with certainity say this song is less than that song. This applies to songs like all line clear and sava lakh ki lottery too.
Take another case… Junglee… that film which changed the contours of Hindi film music forever. Yahoo is a clear favourite but then ehesan tera clearly stands out and apart. Ayyayyo sookku cannot be so easily discounted. So also is the case with kashmir ki kalihu main, jajaja mere bachpan and nain tumhare majedar. How to comprehend and explain this variety and undercurrent unity in each of these songs? They each have a separate life of their own… but, can not exist without each other. Herein lies the speciality of Shankar-Jaikishan songs.
In all Shankar-Jaikishan songs right from their first film upto roughly 1969, we can observe this unique phenomenon. Their songs have a life of their own. Thogh they are a part of the film, the songs of Shankar-Jaikishan go beyond the film, actors and singers and enjoy a unique status all their own.
mera joota hai japani, from shree 420, is sung by Mukesh, written by Shailendra, picturised on Rajkapoor. Infact, this song consolidated his image as a tramp. But, this song will be enjoyed and heard again and again not because it is a Mukesh song, not because of shailendra, not because of Rajkapoor. This is the greatness of Shankar Jaikishan songs. They will be liked for what they are.
When one hears, ye mera deewanapan hai, it rings a bell in recesses of the heart. We enjoy and remember the song and sing along. We forget that it is a Mukesh song, Dileepkumar song. We just enjoy for the sheer melody, music and the heart tugging lyrics. Together all these have a profound effect, the full meanig of which is diffucult to comprehend. That is the effect of Shankar Jaikishan songs.
This is the case with all songs of Shankar-Jaikishan. That is why, people discuss about Shankar-Jaikishan and want to attribute songs to individuals, when one feels that the songs of Shankar-Jaikishan are truely the works of a benign devine intervention.
There are many conjecturs about how they went about their work.
Some say, that in the early stage itself they divided the work among themselves. They composed separately and came together only for Rajkapoor films. Some say Shankar composed mostly songs of Shailendra and Jaikishan those of Hasrat. But this is not a hard and fast rule, for, Shankar also tuned Hasrat songs and Jai those of Shailendra. So, no one can say with certainity which song is composed by whom, though some so called knowledgeable persons say as if they have seen them do it, that, this is a Jai song and that is a Shankar song.
Some even go to the extent of saying that they can identify Shankar song and Jaikishan song from a mile and give a list of Shankar songs and Jaikishan songs.
But, when, one hears Shankar-Jaikishan songs it becomes apparent that there can never be a Shankar-only song and Jaikishan solo song. When two separately flowing rivers intermingle then it will be difficult to separate and distinguish waters of both rivers independently. So is the case with Shankar Jaikishan songs. Right from Barsat to Gori, their songs are Shankar-Jaikishan songs and never, solo songs.
Gori is supposed to be the last film of Shankar Jaikishan. As per the book, Sath Suronke Sath, gori hai kalayiya song was created by enoch daniels and this song was not listed as a Shankar Jaikishan song in the book. We the producer of the film said on record that the first song Shankar created for the film was gori hai kalayiya!!
how to account for this?
When one hears the song gori hai kalayiya, the stanzas remind you of the stanzas of sun sahiba sun of Ram teri ganga maili, which is known to be a Shankar Jaikishan song created for a shelved film Ajanta. Shankar is a person who never takes somebody else’s song and uses it as his own. Most of his fights with producers were because of their interference with his work. He left a Dharmendra production for this very reason. At that time he was almost out of work. Such an uncompromising person Shankar was. It is also well known that most of the times Shankar resented intervention of Jaikishan in his tunes, while, he has many a times suggested and made Jaikishan follow him. This also sighted as one of the reasons for jaikishan going solo. Hence it is not only unimaginable but totally impossible that shankar would allow somebody else to create a song and make it his own.
This clearly illustrates the false propaganda and prejudices that surround the creations of this great music director team of Shankar Jaikishan. It is in this backdrop that I want to analyse and show that songs created by Shankar Jaikishan can never be anyone’s songs. They all are whether created before or after Jai, are all Shankar Jaikishan songs.”

Contributed by:

Hemantkumar Pawar

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