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). 









Shankar Jaikishan The best of Friends!






Friendship is a relationship which humans create by their choice and build with their emotions, commitment, loyalty and an infinite understanding between two individuals who stand by one another in thick and thin, rain or shine , high or low , rich or poor come what may. It sounds very easy to claim friendship but not an easy task to live up to it.

One rarely finds examples of such friendships in history. Mythology has examples like Krishna –Sudhama , Karna-Duryodhan are two names which come to my mind. My friends and readers may add examples of such friends.

But one name all of us seem to overlook is that of Shankar Jaikishan. There can never be better examples of friendship in the history; neither in the past nor in the present. Shankar was a passionate musician from Hyderabad who reached Bombay in search of opportunities for his talent. He meets Jaikishan in the office of filmmaker , and they click instantly , better than love at first sight.

Shankar takes Jaikishan to Prithvi Theatres where he is employed as a musician and an odd job man. His reputation as a committed and loyal talent, Jaikishan is employed. They work together and begin laying the foundations for what was going to be the biggest brand in Hindi Film Music.

Opportunity arrives in the form of Barsat , when Shankar is offered to score music in place of Ram Ganguli. Shankar insists that he will work with Jaikishan as his partner, and despite some resistance by Raj Kapoor due to Jaikishan’s tender age , they are signed up as “SHANKAR JAIKISHAN” Music Directors for Barsat under RK films.

The rest is history. Years later, Shankar is conferred a high civilian award of Padmashree in recognition of his services to the government in the form of fund raising music concerts to the extent which was beyond imagination . But Shankar insisted that he will accept the award only if Jaikishan was also awarded along with him. His stature was such that Government conceded his suggestion and awarded PADMSHREE to SHANKAR JAIKISHAN.

Shankar thanked Prithviraj Kapoor for his success and Jaikishan thanked Shankar for his success. This was the mettle of these genius composers and their values to friendship and gratitude to the hand that helped them when they needed it the most.

The greatness of their friendship was nearly divine. By nature they were diametrically opposing to one another. Shankar was a serious man, committed to his music, robust in nature , brutally frank in his words and loyal for life to the people who helped him. Jaikishan was fun loving , flamboyant party animal , loved all good things in life. Despite these differences they were connected at heart and soul and they thought and worked at a wavelength which cannot be described in words.

As composers they loved the same ragas, they composed similar songs but each one gave their special touch to each raga, and left the world guessing who created which song. Bhairavi was their favourite raga, and each one gave their interpretation to Bhairavi which only they knew, no one outside their world ever knew. All the so called experts of music speculate in 101 ways to attribute songs to each other, but only Shankar Jaikishan knew the “andar ki baat”

Their working style and pattern was such that, it was nearly impossible for anyone to tell who created what. Incidentally they decided to look after recordings and office alternately right after Kaali Ghata in 1951, as they realized that their work load was increasing and it was scientifically sane for them to distribute their work mutually so that they could optimize their creativity .

Just because one saw Jaikishan in the studios while recording the song, was no guarantee that the song was a propriety of Jaikishan individually . It was always a combined effort and their combined synergy which was at work.

So much so that even after Jaikishan’s death, Shankar said it was their common work as they had created a huge bank of tunes and Shankar knew how and what Jaikishan would have added and created for a certain situation. Such was Shankar’s commitment to Jaikishan , that he continued to pay half of his remuneration to Jaikishan’s family till his death.

Can one find any parallel anywhere in the history of friendship between two unconnected individuals born more than 1000 miles apart , with diametrically different natures working together as friends and dying as inseparable friends. None to my knowledge.

Shankar Jaikishan The best of Friends !

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युगंधर संगीतकार शंकरजयकिशन

Written by

Shyam Shankar Sharma 

संगीतिय चिकित्सक संगीतकार शंकरजयकिशन

महान सिद्ध ओर योगी दत्रातेय बताते है कि पृथ्वी हमे धैर्य और क्षमा का ज्ञान देती है,वायु किसी का भी गुणदोष नही अपनाती,आकाश में समस्त विश्व ब्रह्मांड ,चर, अचर, स्थिर -अस्थिर पदार्थ है,जल स्वभाव से ही स्वच्छ, मधुर ओर पवित्र है,अग्नि तेजस्वी ओर ज्योतिर्मयी है,उसके तेज़ को कोई दबा नही सकता,चंदमा की गति तो नही जानी जा सकती किन्तु काल के प्रभाव से उसकी गति घटती व बढ़ती रहती है,सूर्य अपनी किरणों से संसार को प्रकाश तो देता ही है उसके साथ ही वह पृथ्वी का भी ध्यान रखता है।
युगंधर संगीतकार शंकरजयकिशन के संगीत में पृथ्वी,वायु,आकाश,जल,अग्नि,चंद्र और सूर्य के उक्त सभी गुण विद्यमान थे।
शंकरजयकिशन म्यूजिकल फाउंडेशन ,अहमदाबाद की स्थापना वर्ष 2012 में हुई,जिसका उद्देश्य शंकरजयकिशन के दैवीय संगीत का परिचय नवीन पीढ़ी ओर आने वाली पीढ़ी से कराना था जिससे यह पीढ़ियाँ वास्तविक संगीत की पहचान कर सके,इस क्रम में शंकरजयकिशन के 25 सफल और भव्य आयोजन क्रमशः अहमदाबाद, मुम्बई,वडोदरा,,जामनगर व राजकोट में आयोजित किये गए।
इस फाउंडेशन द्वारा शंकरजयकिशन रचित 501 क्लासिकल गीतों का चयन किया गया जो विभिन्न रागों पर आधारितं थे और उनकी एक बुकलेट जारी की गई।इस कार्य को सम्पन करने में सर्वश्री आर. बी.सेठ(वडोदरा,) माणिक भाई पांड्या(जामनगर) आनन्द देसाई(मुम्बई) और ऐडविन वाज़ उर्फ अप्पू (अहमदाबाद) ने बेहद मेंहनत कर 501 गीतों की सूचि तैयार की जो निम्न प्रकार है:-
राग अभोगी,अदाना, बागेश्वारी, बेरागी, बसंत बहार, बसंत मुखरी, भैरव,भैरवी,भीम पलासी,भूपाली,बिहाग, बिलावल,चारुकेशी, दरबारी,दरबारी कणाद, देश,धानी, दुर्गा,गारा, गवांड सारंग,गुर्जर तोड़ी,जयजयवंती, जोगिया,कली, कलावती,केदार,खमाज,किरवानी,मधुवंती,मालकोस,मारु विहाग, मारवा,मेघ मल्हार आदि।
शंकरजयकिशन ने उक्त रांगो पर असंख्य गीत निर्मित किये उनकी रागों के प्रति रुचि देखकर उनके प्रिय गीतकार हसरत जयपुरी जी और शैलेंद्रजी भी अपने गीतों में शब्दों का चयन तदनुरूप ही करते थे,यही कारण है कि इन चारों महान तपस्वी व्यक्तियों ने हिंदी फिल्म संगीत को वह गीत संगीत का उपहार दिया जिसे आज तक कोई भी स्पर्श भी नही कर पाया है?
भैरवी,शंकरजयकिशन का सर्वाधिक प्रिय राग था,उन्होंने कहा था
” कोई भी राग भैरवी राग को परास्त नहीं कर सकता,हमारा अनुभव है कि इस राग द्वारा विभिन्न प्रकार का संगीत संयोजन किया जा सकता है,यह ईश्वरीय प्रदत्त राग शंकरजयकिशन को ही उपहार में मिला था,इस राग ने हिंदी फिल्म संगीत की पहचान ही बदल दी,शंकरजयकिशन ने अपने संगीत में रागों का मधुरतम मिश्रण किया कि वह संगीतिय ओषधी बन गए,उनका कहना था संगीत वही तो मानव को स्वस्थ रखे उसे प्रसन्नता दे क्योकि प्रसन्नता में ही ईश्वर निवास करता है”।
भैरवी के अलावा मियां मल्हार,मिश्र पीलू,मिश्र कली, नायकी कनाड़ा, पहाड़ी,पीलू,बागेश्वरी,सारंग,शंकरा,शिवरंजनी,शुद्ध कल्याण,शुद्ध सारंग,तिलक कामोद,तिलंग,तोड़ी,विभास, यमन कल्याण,यमन बिलवाल,यमनी खमाज और झिंजोटी..शंकरजयकिशन के प्रिय राग थे।शंकरजयकिशन पर हिंदी सिनेमा के फ़िल्मी पंडित उनके संगीत को पश्चिमी प्रेमी मानते है?किन्तु शंकरजयकिशन का मानना था संगीत केवल संगीत है,यह अनंत है,इसे दिशाओं में समेटना उचित नही?हर देश और उसकी सभ्यता का अपना संगीत होता है!संगीत बहुरंगी होता है।जब उन्होंने बसंत बहार का संगीत रचा तो आलोचक दंग रह गए,बसंत बहार जैसा शास्त्रीय संगीत आज तक कोई भी संगीतकार निर्मित नही कर पाया और संभवतया कोई कर भी ना पायेगा?ओर जिन उपरोक्त रागों पर जिनियस संगीतकार ने असंख्य गीतों का निर्माण किया अपनी शुरू की 25 फिल्मो में निरंतर लतामंगेशकर से लगभग 100 के ऊपर गीत गंवाए उन्हें आप सीमित परिधि में नही बांध सकते?वह हरफलमौला थे,विश्ब संगीत की हर विधा पर उनकी गहरीं पकड़ थी।
जब लोग राम,कृष्ण की आलोचना करते नहीं चूकते तो भला वो शंकरजयकिशन को कैसे न कौसे?
विशिष्ठता के कई दुश्मन होते है!इसी कारण राम,कृष्ण और शंकरजयकिशन के असंख्य आलोचक है!
पर कौंओ के कांव कांव करने से गांव खाली नहीं होते है?यह बात शंकरजयकिशन विरोधियों को अपने मस्तिष्क में अंकित कर लेनी चाहिए।शंकरजयकिशन असाधारण संगीतकार थे अतः उनकी तुलना किसी भी संगीतकार से करना उचित नही!क्या सूर्य की तुलना किसी से की जा सकती है?नहीं वह स्वयं प्रकाश पुंज है,जगत कल्याण के लिए उत्पन्न हुआ है जैसे शंकरजयकिशन संगीत जगत में संगीत उत्थान के लिए जन्मे थे,उनका संगीत दैवीय था और इसी कारण वो चिकित्सीय भी था जिससे मनुष्य जाती की सेवा की जा सके।
स्मरण रहे संगीत के सात स्वरों में ईश्वर की आराधना होती है…..
सा.. द्वारा ब्रह्मा,रे…द्वारा अग्नि, गा.. द्वारा विष्णु, पा…द्वारा नारद,धा… द्वारा गणेश और नि..द्वारा सूर्योपासना की जाती है,इसी आराधना को शंकरजयकिशन साधना द्वारा आत्मसात कर चुके थे।संगीत की रांगो से आत्मसुख की अनुभति होती है।
प्रसिद्ध न्यूरोलॉजिस्ट डॉक्टर ऑलिवर स्मिथ का कहना है कि राग शिवरंजनी से स्मरण शक्ति बड़ाई जा सकती है,शंकरजयकिशन ने इस राग पर कई गीतों की रचना की है,इस राग मेआपटिज्म, मष्तिष्क विचार में लाभ व याददाश्त बढ़ती है।इसको सुनने का समय रात 10 बजे से 2 बजे तक का है,यही समय इस राग से लाभ पाने के लिए उत्तम माना गया है।शंकरजयकिशन के इस राग पर आधारितं कुछ गीत है:-
1,आजा रे अब मेरा दिल पुकारा(आह 1953)
2,आवाज देके हमे तुम बुलाओ( प्रोफेसर 1962)
3,चंद्रमा मदभरा क्यो झूमे है बादल में( पटरानी 1956)
4,क्या मार सकेगी मौत उसे( सन्यासी 1975) आदि आदि
भैरवी राग आनंद और शांति प्राप्त करने का अचूक नुक्सा है,यह गठिया,मांसपेशियों से सम्बंधित रोगों में लाभप्रद है।इसको पतझड़ के मौसम में सुनना लाभकारी है,अनिंद्रा के शिकार लोंगो के लिए यह एक रामबाण ओषधी है।शंकरजयकिशन के इस राग पर आधारितं कुछ गीत है..
1,आ अब लौट चले(जिस देश मे गंगा बहती हूं)
2,आजा सनम मधुर चांदनी में हम (चोरी चोरी)
3,अपने हुए पराये किस्मत ने क्या दिन दिखलाये( अपने हुए पराये) आदि आदि
केदार राग उन मरीजों के लिए है जो जुखाम, सिर दर्द व अस्थमा रोग से ग्रसित है।यह राग आधी रात को सुनना उचित है,इससे सकारात्मक सौंच उत्पन्न होती है।1970 में प्रदर्शित फ़िल्म ज्वाला का एक गीत ..जागे रात भर तेरी याद में बालम,ओ बालम …इसका बेहतरीन उदाहरण है।
खून की कमी हो तो राग पीलू सुनना फायदेमंद होता है,शंकरजयकिशन की इस राग पर आधारितं कुछ रचनाएँ है…
1,ऐ फूलों की रानी,बहारो की मलिका (आरजू ..1965)
2,बड़ी देर भई कब लोगे खबर मोरे राम( बसंत बहार..1956)
3,बनवारी रे जीने का सहारा तेरा नाम रे ( एक फूल चार कांटे..1966)
4,मुरली बैरन भई ओ कन्हिया…( New Delhi…1956) आदि आदि
राग विहाग ..मनोरोग यानी डिप्रेशन में अत्यंत लाभकारी है।शंकरजयकिशन कि इस राग पर आधारित कुछ रचनाएँ है इस प्रकार है..
1,दुपट्टे की गिरह में बांध लीजिये (अपने हुए पराये)
2,इक बुत बनाऊंगा (असली नकली)
3,तुझे जीवन की डोर से ( असली नकली)
4,वो दिन याद करो ( हमराही) आदि आदि
शरीर यदि शक्तिहीन हो रहा हो तो राग जयवंती सुनना लाभप्रद है।उत्साह वर्धन के लिए थोड़ा तेज़ संगीत सुनना लाभदायक है,शंकरजयकिशन की इस राग पर आधारितं रचनाएँ है…
1,अंग से अंग लगा ले सांसो में है तूफान (ऐलान)
2,मारे गए गुलफाम अज़ी हाँ मारे गए गुलफाम (तीसरी कसम),
3,मन मोहना बड़े झूंठे..( सीमा)
4, सुनी सुनी सांस की सितार पर (लाल पत्थर) आदि आदि
राग दरबारी हृदय रोग में अत्यंत लाभकारी है,शंकरजयकिशन की इस राग पर आधारितं रचनाएँ इस प्रकार है…
1,आज कल में ढल गया दिन हुआ तमाम (बेटी बेटे)
2,बड़ी देर भई ( बसंत बाहर )
3,कहाँ जा रहा है (सीमा)
4,तेरी याद दिल से भुलाने चला हूँ( हरियाली ओर रास्ता)आदि आदि
विडम्बना यह रही कि संगीत को केवल मनोरंजन का साधन माना गया इसके आध्यात्मिक स्वरूप की अवहेलना की गई, किन्तु शंकरजयकिशन ने अपने आरम्भ से ही इस अवधारणा को तोड़ने का सतत प्रयास किया और इस हेतु प्रयोग पर प्रयोग सतत अपनी साधना के बल पर किये और अपने संगीत को मेडिकल साइंस से जोड़ने की पूरी कोशिश की ओर कामयाब रहे,इसके लिए उन्होंने प्रकृति का सहारा लिया।लगभग 40 वर्ष पूर्व मैंने शंकरजयकिशन जी के शंकरजी का कथन अपने एक दिवंगत मित्र से सुना था,जिसमे शंकरजी बताते है कि सा.. की उत्पत्ति मोर के स्वर से,रे…की उत्पत्ति बैल ,गाय के स्वर से,ग..की उत्पत्ति बकरी भेड़ से,म…की उत्पत्ति क्रोंच नामक पक्षी के स्वर से,प…की उत्पत्ति कोयल के स्वर से,ध…की उत्पत्ति घोड़े के स्वर से ओर नि …की उत्पत्ति हाथी के स्वर से हुई है।अब आप अंदाजा लगा सकते है कि शंकरजयकिशन किस प्रकार प्रकृति और आध्यात्म में अपने संगीत को खोजते थे जिसकी कल्पना संगीतकार कर ही नही सकते?संगीत तो एक सागर है जिसकी एक बूंद में भी वही गुण है जो समुन्द्र की शेष जल राशी में है।शंकरजयकिशन को ज्ञान था अथवा जो उन्होंने अपने गुरुओं से प्राप्त किया था कि जीव जंतु ओर पक्षी तो एक ही स्वर में बोल सकते है किंतु मानव समस्त स्वरों में गा सकता है।शंकरजयकिशन ने इसी धारणा को अपनाया क्योकि वेदों में भी संगीत चिकित्सा का जिक्र है।
राब ई बर्टन नामक वैज्ञानिक 17 वी सदी की अपनी कृति “द ऐनासैमी ऑफ मेलकोली”में लिखा है कि संगीत और नृत्य मानसिक रोगों के उपचार में अतिं महत्वपूर्ण है।
विश्ब विख्यात भोतिकविद आइंस्टीन ने जब अपने अविष्कारों का दुरुपयोग परमाणु विभीषिका के रूप में देखा तो वह अत्यंत दुखी हो गए और अपने जीवन के अंतिम क्षणों में “वायलिन” का सहारा लेने लगे जो उन्हें सकून पहुँचाती थी।शंकरजयकिशन का तो प्रमुख हथियार ही वायलिन था और ग्रुप वायलिन में उनका संगीत निवास करता था।”टाइटैनिक”में संगीत देने वाले आस्कर विजेता संगीतकार जेम्स हार्नर का मानना है कि प्रेम से यदि हम दुनियाँ को देखें तो हम अलग नहीं साथ साथ होते है।वह कई बार संगीत सृजन करते वक्त रोने लगे जाते थे।वह लिखते है कि में कई बार दूसरे संगीतकारों से इसलिए अलग थलग पड़ जाता हूँ ..क्योकि संगीत मात्र मेरे लिए कर्म नहीं, एक कला है?
हिंदी फिल्म संगीत में शंकरजयकिशन की अवस्था बिल्कुल जेम्स हार्नर जैसी है क्योंकि यह भी कला के लिए जीते थे फिल्मो की संख्या बल के लिए नहीं?
शंकरजयकिशन को कोरस गीतों का शहंशाह माना जाता है,अपनी प्रथम फ़िल्म बरसात से ही उन्होंने इसका आगाज़ कर दिया था और यहाँ से लगातार आप उनकी फिल्मो पर दृष्टिपात करे तो एक,दो,अथवा तीन तीन कोरस उनकी फिल्मो में आपको मिल जाएंगे,इसके पीछे का रहस्य शायद शंकरजयकिशन जानते थे।
जब कई व्यक्ति समूह में गाते है तो उनके स्वर प्रवाह से उल्लास का वातावरण निर्मित होता है,जो समस्त सुनने वालों में स्फूर्ति ओर ऊर्जा का संचार करता है।इसी कारण सामूहिक आरती,सामूहिक लोकगीत,सामूहिक विवाह गीत,सामूहिक देश भक्ति गीत अपनी स्वर लाहरियों के कारण वातावरण में जो कंपन पैदा करते है तो उनके संपर्क में आने वाला प्रत्येक मनुष्य भक्ति,आनंद,उल्लास,जोश और प्रेम के सागर में डूब जाता है,अपने सारे दुखो को भूल तनाव मुक्त हो जाता है,इसी कारण शंकरजयकिशन ने प्रायः अपनी फिल्मो में कोरस गीतों को बेहद महत्व दिया क्योंकि यह मानव के कल्याण और स्वास्थ्य से संबंध रखते थे,इसीलिए तो उन्हें दिव्य संगीतकार कहा जाता है।
अजीब दास्ताँ है ये,दिल के झरोखे में तुझको बिठाकर,जीना यहां मरना यहां,पंछी बनू उड़ती फिरूँ, तू प्यार का सागर है,तुम्हारे है तुमसे दया मांगते है,अब कहाँ जाय हम ये बता दे जमी इस जहां में कोई भी हमारा नही आदि आदि अनगिनत गीत।
प्रकृति में संगीत से बढ़कर मानव जाती के लिए दूसरा कोई वरदान नहीं, शंकरजयकिशन ने इसी को आधार मानकर संगीत की साधना कर अपूर्व सिद्धियाँ प्राप्त की ओर कहलाये युगंधर संगीतकार
Shyam Shanker Sharma
Senior Scientific Officer(Ex.)
Forensic lab.JAIPUR

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Manohar Thadani
Manohar Thadani शानदार लेख , अपने आप मे एक अनूठा प्रयास ।


Shyam Shankar Sharma replied · 1 Reply
Chirag Desai replied · 4 Replies
Sudarshan Pandey
Sudarshan Pandey वाह !!!!! अप्रतिम !!!!! क्या सुंदर लेख है. मन तृप्त हो गया. कल मैं इसे अपने ब्लॉग पर लेने वाला हूँ Shyam Shankar Sharma भाई. अभी मोबाइल पर यह सुविधा नहीँ है वरना अभी ही इसे ब्लॉग पर प्रकाशित कर देता.


Shyam Shankar Sharma
Shyam Shankar Sharma आदरणीय सुदर्शन जी,इसे आप ब्लॉग पर ले रहे है,इससे बड़ा सम्मान और क्या हो सकता है।मेरा लक्ष्य सदा यह रहेगा कि में शंकरजयकिशन जी को सदा आध्यात्म से जोड़ूँ।उनके इतिहास,उत्थान पतन,आलोचनाओं,ओर उनके साथ किये गए विश्वासघात की कई बाद सदा प्रचुर मात्रा में मिलती है,किन्तु मेरा लक्ष्य उनके दिव्य स्वरूप को दर्शाना है,इसके लिए किसी नेट,सेलिब्रेटी,SJ से परिचित ओर संबंधित व्यक्तियों से इंटरव्यू लेने की आवश्यकता नही होती।आपको मेरा लेख अच्छा,असीम आभाऱ


Sudarshan Pandey
Sudarshan Pandey Jee haan aap ne satya kahaa…………….
इसके लिए किसी नेट,सेलिब्रेटी,SJ से परिचित ओर संबंधित व्यक्तियों से इंटरव्यू लेने की आवश्यकता नही होती
Yah aawashyakata tabhi hoti hai jab tathyon ki pushti ki jaani rahti hai, yaa koi nayaa tathya maaloom karna padta hai apne Idols ke baare mein………………….


Shankar Jaikishan : The most prolific users of many musical Western musical instruments


Rajan Narayan


Shankar Jaikishan who have literally no formal education in Indian or Western Classical music, ended up becoming the most prolific users of many musical Western musical instruments which widened their repertoire of orchestra and synergy of sounds a great fusion of Western and Indian music which was the biggest innovation for Indian listeners, mostly the lowest common listener in the deepest location of India.

They may not be the first composers to introduce many innovations, but they were definitely the most popular innovators which was appreciated by the common listener and viewer, who was their biggest target audience.

Here is a great song by Talat who was till then known as a Gazal singer and one who excelled in pathos numbers, singing an fast number full of sentimental pain, but with loads of energy..and accordion was used so prominently in this song..

This was sustainable innovation..which made them better than the best..

Hope you like it..

Shankar Jaikishan were rediscovering and re-engineering their style and trend.

written by

Main Sundar Hun!

This movie was a big hit in 1971, for its music and the rising market value of Mehmood as an actor who sells. Said to be a remake of a Tamil Hit by Tamil comedian Nagesh, this movie did very well with Mehmood in lead.

As an actor Mehood was a veteran in movies, and had played all shades in his nearly 15-16 years of career till then. In CID he plays a negative character, in Chote Nawab an innocent nawab, in Beti Bete and Choti Behan he plays very important characters sharing equal and sometimes greater footage than the lead actor.

Mehmood kept growing from strength to strength with whatever opportunity he got or he created for himself. His synergy with producers and directors from South has been great from Choti Behan days. He was a scene stealer and many a leading stars were apprehensive to share screen space with him.

This movie showcases Mehmood in all possible shades from a poor buck teethed waiter to a super star in cinema.
As a Shankar Jaikishan fan, this movie was a great hit in a year which had 17 releases for this composer duo. 1969 became a watershed year in HFM, with the unprecedented success of Aradhana and Do Raste when the first Super Star of Hindi cinema hit the skies, and two composers Sachin Deb Burman and Lakshmikant Pyarelal suddenly appeared to be rising on the horizon.

All the previous stars were fading into insignificance and with them an era was coming to an end. Shankar Jaikishan were rediscovering and re-engineering their style and trend. Main Sundar Hun was one such movie which was a clear shift and direction. Anand Bakshi had written all the songs for this movie, as he was the new star of lyricists on the horizon with no one to match at that level.

The old lyricists were going strong, but it was like Sachin Tendulkar making his entry and stealing the thunder right under nose of all veterans present in the team. Jaikishan who is seen in this movie , in the recording studios had read the writing on the wall and forged this alliance. Jaikshan who was in his 40s had a lot more to contribute to the industry with his maturing as a composer, and his congenital mastery over learning new things in a jiffy.

Shankar Jaikishan were ready to rewrite a new chapter in the films, as they had some fabulous hits which included the Binaca Chart buster from Andaaz..


Main Sundar hun is a movie of those times when major changes were happening and were in store to happen..
It will remain as a movie when one saw Jaikishan for the last time..

I am posting a song which ranked 9th in Binaca Geetmala !

Movie: Main Sundar Hoon

Shankerji (Jaikishen ji) had the full ocean of music

Written by :

Singer Sharda

Come rain come shine , he has to be in S J hall , sitting with his baja , composing & singing . with song papers strewn all around him .
Whether there is a recording or not , his compositions will go on , collecting many wonderful tunes which would be stored in his memory bank to be brought out in full excellence for a proper situation , in future .
A whole range of different , new new patterns will take birth .
Tukhda tukhda mukhdas , jumpy mukhdas , gliding mukhdas , so on & so forth .

My song from film ‘Bhai bhahen ‘

‘Ei dil cut karoon mai kya cut
Saamna cut tera hua cut
Paheloose jaana nahi , tu hal meri zindagi

Mai chalee mai chalee short jump
peeche peeche jahaan short jump
lo shuru hogayi short jump … zig zag zig zag ………

Dheere dheere… long jump chal .. chand gaganme…

Dil tera dive down .. diwana hai sanam .. dive dive dive ..

So many different patterns in mukhdas … even those MDs who took the route of S J gharana could not make …..

If the lyricwriters write the song first , they would be of the same pattern , may be some difference in the length of the lines.

But with Shankerji creating the tunes umpteen different patterns will come out with freshness & frolic ..

How many songs & how many music pieces have I watched him compose ? .. Will I be able to tell you ?

Composing sessions , song writing sessions , rehearsals , notation writings will go on & on …….

Sebastianji will come with his illustrious violin .
He was not one of the best .. he was the best.
He & S J fitted hand in glove .
He was the one who could write all those awesome pieces which Shankerji would go on bringing out , pieces coming out like Akash Ganga coming down pouring , his fingers moving on the reeds in lightning speed .
I am sure Seb must have made up his own shorthand to write all Shankerji’s overflowing music pieces . Piece after piece after piece come out dancing …All wonderful melodious , tuning in with the song pieces … not any noisy gimmicks or tricky fooling technics .

For how many songs you are making music , Shanker sab? We are doing just one song now & you have already made music for atleast a dozen songs !
By the way , where did you get this amazing baja from ?
Can you give us the address ?

Out of an array of pieces required amount of pieces will be selected .

These pieces cannot be played in a straight manner .
Each & every piece has to be charged with fire , with proper punch , push & kick . Lots of little little details have to be lovingly taken care of……… This is what that makes S J orchestra special .
The idea is to hook your heart & pull it towards the music .
Your heart will not fall easily for any ordinary formation of music which goes filling in the blanks with sargam exercises ..will it ?

In ‘Dost dost . after the sthayi the music goes…..
Ta ra ra ra a a 1 2 3 1 2 3
Ta ra ra ra a a 1 2 3
Tam tarararam…….
Ta ra ra ra a a ta ra ra …….. so on

Each piece starts zooming up with a jerk ….
Shankerji will play in the same manner he wants in the orchestra ,
with a jerk he will start , Ta ra ra ra cut again with a jerk ta ra ra ra cut .. then the sound will go soft , slowly going louder reaching full punch , ta ra ra ra cut ta ra ra ra ..

All this variations he will play fully in his baja . Seb would write exactly the same in his papers& play them in his violin pronto & later they would come in the orchestra with the same jerks & waves Shankerji’s fingers have played ..

In’Jaane chaman , the intro music goes in a run going up & up.
Ta ra ra ra ra ra ra ra ta ra ra ra ra ra ra ra
The first ta ra ra ra starts with a jerk , then the second with another jerk then the third then the music goes climbing & heaving like a jumbo taking off bending this way & that way.. then going soft & fading …

In ‘Yaad na jaye , after the first phrase , the counter comes .
Yaad na jaye… ta ra ra ra ra
Beete dinonki .. ta ra ra ra ….

The jerks ,the waves , the pushes ,the punches , the raises , falls , fadeins , fadeouts ,cuts , zoomups , zoomdowns , runs , rhythm patterns , bangs , fillers , counters , he plays !
Everything , the commas , semicolons , exclamation marks ,apostrophes , question marks , fullstops , each & every expression is covered up !

S J violins are monumental in Indian music history .
See , how they have all come out to live in your heart for ever , for you to love , cherish & adore ….

How the first bow should hit the violin bridge , where the bows should go aggressively . where they should go soft , where they should go skidding , where they should go in long bows . where they should go in short bows , where they should go in runs & what sort of runs , soft to loud or loud to soft , runs in single bow & cut bows , where should the cuts come & if there are any finger pluckings how they should come ………..Each & every small thing comes out of his baja…..

Other solo instruments’ pieces also come out alive in full bloom , whether it is a Sax , accordian electric guitar or any other .
Where the grace should come , where the full power should be applied , where they should go soft , the breaks , the cuts all expressions of the solo instruments he plays , his right hand fingers with the full brilliance of his soul functioning thro them , running on the keys & his left hand pushing the bellows with the right amount of force required making it like a human heart breathing thro the bellows .. with feeling ….

What is left for anyone to think of ?
Is there any place for more imagination ?

Is there so much in his baja ?
Is it an Amrit Kalash or what ?

Usually Music directors give all these expressions to the musicians by conducting , waving their hands in different gestures .Musicians know what move means what expression & they will go accordingly

But we have here is not any M D . We have Shankerji , the one & only , who can bring the whole orchestra in person in his this small treasure chest !
I dont think anywhere any composer could play like this all the expressions , intonations & variations of his orchestra in his musical instrument .
Composing is different & playing the music is something else ..

This is where the genius comes alive raising from the ocean of music carrying his Amrit Kalash , bringing pieces & combinations for a beyond the space orchestra , to conquer the world ..

Many western music giants have created great music .
They are all mainly classics & symphonies .
If they had to compose so many gems of songs of 3/4 minutes duration for movie situations , it is doubtful if they will ever come close to S J s creations ..

It is a great tragedy that I am the only one who have seen all these musical avalanches from his hands …… I thank God that after all these years I am able to bring all that out for you .

I am sure many others must have seen him & heard him play like this , sometime or other . Will any of them be gracious enough to come out & tell you ?
I heard some one say that Munna Aziz said amazed after hearing him play like this , ‘Shanker sab , you have brought the full orchestra here ‘

As a spectator of his musical downpours , I have witnessed him compose numerous songs in front of me , sometimes me singing the new tunes .
And many of those heart pulling pieces of Joker background , of which you go ga ga over &over again have taken birth long long before Joker was born . I have heard so many pieces of them being played many times in his baja getting stored in his music memory bank .
Mostly Shankersab composed major numbers of songs for a movie & Jaikishenji composed the rest & the background .
In some cases , Shankerji composed background music also for some movies, one of them being Joker .The other one I have watched him compose the full background score is movie ‘Pyar Mohabbat .There were some other movies also for which Shankerji composed background , but I am not sure about for which movies ..

I know there are many great harmonium players in India , some of them great in ragas , some in gazals & some in folks.
But there is no one like Shankerji who could play in all varieties , specially in modern , newwave western music. In which noone could , leave alone touch him , could not even come miles near him .Modern western music was a child’s play in his hands .He could have surely shown a thing or two to the western music masters ……………………………………

Hard to believe .. yes ?
Yes .. it is hard to believe for me also .. Me after seeing him play like this by my own eyes & hearing him play like this by my own ears ….Now remembering the sound my head goes round & round ..But I am telling you , believe me ,… …. I am not yunhi tarifing him just for the heck of it … I dont have to . What a genius he was is world known ….. But his this playing the music is beyond anyone’s imagination .
His fingers would do the Tandav Nritya of Bhagwan Shivji in his baja .
Never before , never after will there be anyone to play like this & create pieces like him .
God had made him & broken the mould !
Whatever have come out for us is only a fraction of his creations .
He should have come to the world in todays time .. he was so much ahead of time…………………………

The whole orchestra is completed in his baja .
The piano pieces he plays himself in the grand piano which stands in his hall ..
Only all these must be written & fixed with chords & brought out in the orchestra .

Some one was saying that some one was saying that Sebastian’s hands were there in making S J orchestra music..

What an uproarious laugh ?
This must be the joke of the millennium

For what in the world would they ever want anyone’s help ?
Would the sun need to take light from anyone ?

Shankerji had the full ocean of music in his fingers plus all the imagination of the world of music in his brains .
Jaisab also was the same .
What sort of a koodh will say such a thing ? ..
If this is not blatant malice & jealousy then what ?

As I had mentioned earlier in one of my posts , some M D s tell the musicians to play on their own filling the gaps in a song .
But not all M D s do that . Some great music directors have their own style of music & they compose the music for the song as per the tune & mood of the song .

The unparalleled phenomenon in music , the kings of kings in music , S J who were masters in all known varieties of music & wizards in the usage of all sorts of instruments …….who has brought a new wonderful dimension in music to India… whose magic goes on holding millions of all generations spell bound …………………would they need any help ?

Who is an arranger ? And what is his job ?

In my next write up ………………..

[taken from her facebook wall written by her on 11-06-2017]

Shankar Jaikishan – Interview (1957)

Courtesy :

A Decade of Hits

WHAT makes a song last? It is almost ten years since we began composing songs for films—all kinds of songs for all kinds of films. Even this year—the year in which we have won the “Filmfare” Award for the Best Music Direction—we have composed strikingly different types of scores, ranging from “Seema” and “Chori Chori” to “Shree 420” and “Basant Bahar”.

In this long period the overall impression we have gained of the taste of picturegoers is that only an Indian song can survive on Indian soil.

We do not propagate any antagonism against the integration of Indian and foreign music. What we are opposed to is the wholesale plagiarism of foreign musical compositions.

How long does it take to compose a song ? We, on our part, take anything from a week to a year. To illustrate the labor involved we would cite the example of the musical score of the now famous dream sequence of “Awaara”.

Nobody had thought of a dream sequence for this film. The situation required two songs, “Tere bina aag ye chandni” and “Ghar aaya mera pardesi”, each of which was composed independently of the other. One day we were sitting in Raj Kapoor’s office—we had no separate music-room in those days. It was a friendly gathering. Suddenly we began making “ghost sounds” for sheer fun—shrill screams, yells and weird cries! Now an idea struck Raj.

“Why not make it a part of the music ?” Raj Kapoor exclaimed. There and then we decided to have a dream sequence, and link the two songs by a third one.

“There will be three songs,” Raj said. “A girl calling her lover, the boy caught in the grip of evil, and the final song of reunion.”

That very evening Raj brought Nargis to listen to those weird sounds we had made, and we all decided to have one full reel of musical sequence—what eventually turned out to be the longest musical sequence in Indian films.

The recording began at 9 a.m. and went on to become the most memorable one of our lives. We were all working ourselves up into a state of frenzy. Raj flitted from one end of the music-theatre to the other, inspiring one and all with his zeal. Day turned into night but all of us went on—musicians, singers, sound recordists, and Raj himself. Midnight struck—we were still at it.

From “Barsaat” to “Chori Chori” our story has been linked with the story of Indian film making. It has been an exciting time for both of us.

Once, Shanker visited the H.M.V . Gramophone Company and heard a song sung by a little-known singer. He was so impressed that he asked Raj Kapoor to get her to sing just one song of “Barsaat” instead of any of the established singers. Afterwards she sang all the songs of “Barsaat”. Her name is Lata Mangeshkar.

When we began composing tunes for “Barsaat” we used to play them to Raj Kapoor. So impressed was he with them that he was determined to use them in the film. But he said, “I cannot promise to announce your names as music directors since I have already signed up someone else.”

Still, we continued because of our love for the work. We were surprised and elated when, towards the completion of the film, Raj told us that we would after all get official billing as the music directors of “Barsaat.”

He had confidence in our work and his confidence was vindicated by the sensational success the songs achieved.

The days when we were recording the song “Ay Mere Dil Kahin Aur Chal” for “Daag” also come to mind. The financier heard the song and was so disappointed that he told the distributor, “It is a most disappointing song. No one is going to like it. If I had known that the picture had such poor music, I would never have financed it!” Little did he know then that the song was going to become a best-seller.

We feel that while retaining the basic form of Indian music, one can always experiment with new instruments, Indian or foreign, to widen the scope of film music.

The use of the accordion in “Mera Juta Hai Japani” and of the trumpet in “Mur Mur Ke Na Dekh” (both from “Shree 420”) illustrate this point. However, what is essential is the basic Indian melody. Thus even in the puppet song of “Chori Chori,” there are “alaaps” and “taans.” For that matter, the entire music score of “Chori Chori” is based on familiar Indian “raags” and folk melodies.

On the day Amiya Chakrabarty died he discussed with us the songs of “Kath Putli”. The first line of a song we recorded for the film after Amiya’s death is “Manzil Wohi Hai Pyaar Ki, Rahi Badal Gaye” (“The path of love is the same, only the travelers have changed”.) Amiya Chakrabarty took a keen interest in our work.

Of the many scores composed by us, we would particularly like to refer to four songs: “Ay Mere Dil Kahin Aur Chal”, “Awaara Hun”, “Mera Juta Hai Japani”, and “Ichak dana Bichak dana”. While the first became widely popular in India, the other three also won recognition abroad. We are told that “Awaara Hun” has been translated into many languages and is today sung and played in almost every part of the world. Its success has confirmed our belief that Indian film music can be appreciated abroad if we refuse to imitate foreign tunes.

We are sure that symbols of encouragement, like the “Filmfare” Award, will continue to inspire music directors to bring to the screen original and popular compositions (This interview was conducted in 1957).

Aashiq..a forgotten movie of 1962


From Aashiq to Agneepath

By : Shri Arun Bajaj

Aashiq released in 1962 with a star cast of Raj Kapoor, Padmini, Nanda and Abhi Bhattacharya, directed by Hrishikesh Mukherji, remains the Cindrella-girl of Hindi films which has still to find her pumpkin chariot to go to the ball. It is a mystery wrapped in an enigma as to why and how for so long, such a gem of a movie has not caught the eyes of the discerning cinegoers and critics alike ; even when retro films have become the latest flavor of the season.

The story of Aashiq depicts the conflicts confronted by all creative artists who at the end of the day, have to go back to their hearth and home. The protagonist in Aashiq looks for creative fulfillment in a talented, sensual danseuse and is attracted towards her while the silent, suffering beau at home, eternally waits for him to come back. It is a remorseless choice which over the period has traumatized the best minds as they struggle to appease their conscience in selfish pursuit of excellence.

Nanda dons the role of a submissive plain Jane with a golden heart but her virtues have no place in the world of commerce.Conversely, Padmini tantalizes not only with promises of fame and money but also with creative fulfillment to a small town singer. As the singer gets recognition, he realizes that he has become a moth in the hands of the sensual and devouring flame of passion; hence the symbolic song“ O shama ! mujhe phoonk de, visualized so eloquently by Hrishikesh Mukherji.

The reel life gets mixed up with real life as we recall how Raj Kapoor fell for Nargis to fulfil his own creative aspirations, which though created some of the finest motion pictures, yet at individual levels generated a deluge of tears and heartbreaks, including his own.Of course, the transient fame in no time unfolds its brazen brass and there is no mistaking on where the actual gold lies. But the final realization comes at a tremendous cost : the lover (Aashiq) has taken a beating and returned home but the viewer is faced with a moral dilemma : is it worthwhile to have a morally upright life but with no creative fulfillments ? That is something the viewer has to figure out.

Abhi Bhattacharya essayed the best role of his career giving expressions to a wide spectrum of emotions ranging from despair to compassion to calm acceptance of destiny’s quirks in a baritone voice which was a counterpoint to Raj Kapoor’s flamboyant portrayal. However, it was Shankar Jaikishan’s music which overpowered all the artistic verticals of Aashiq in such an obtrusive manner that even today, 50 years after the film’s release, the songs transport you to a different world on a flying carpet. O shama Mujhe Phoonk De begins with strains of violins reaching a crescendo with multiple instruments followed by the slow, sweet cadence of Mukesh’s voice is a treat to listen. The flute pieces dominate to produce an eerie montage of burning candle with fluttering moths . Conversely, “Ye To Kaho Kaun Ho Tum” has heavy orchestration but maddening beats of dholak with jazziness of accordion. Mukesh sings this number with a gay abandon and surprisingly covers an entire octave with a felicity of expression. Tum Aaj Mere Sang Hans Lo, Mehtab Tera Chehara, TumJo Hamare Meet Na Hote and Lo Aayee Milan Ki Raat Suhani are another gems.

Raj Kapoor with a duf in his hands, leading the troupe, singing “Ye toh kaho” makes one think that here is one actor who sports a violin in Barsaat, an accordion in Sangam, a duf in Jis Desh mein ganga behti hai, and conversely today you have Amitabh Bachchan who has a dagger in Kaalia, a revolver in Don, a sword in “Mard”. This is how Hindi cinema has degenerated to its lowest depths. From spouting love and brotherhood we have stooped to preaching violence and blood. No wonder, today’s youth speak in a tapori language, using four-letter words, without respect either to elders or to women.

From Aashiq to Agnipath is a long journey and this journey tells you the changing dynamics of Hindi films. Aashiq did not have even a fistfight, Agnipath, from first frame to last is full of blood, gore and stench: Aashiq had the finest songs, Agnipath did not have even one hummable song, Aashiq’s dialogues are literary and evocative of a distinct culture, Agnipath’s characters mouth screaming profanities, : and perhaps for all these reasons Aashiq was a commercial flop while makers of Agnipath laughed all the way to the bank.

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