Welcome Shankar-Jaikishen fans

GATEWAY OF STUFFS ON SHANKAR-JAIKISHAN

 

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

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My 25 favourite old Hindi film songs – Justice Katju

Monday, 6 April 2015

My 25 favourite old Hindi film songs

Old Hindi film songs are bewitching, and I am very fond of them. Many of them remind me of my youth when I and my generation used to sing them. I am giving a list of 25 of my favourites. You will really enjoy them
1. Kyun yaad aa rahe hain, ghuzre hue zamaane ( Film Anmol Ghadi, 1946 )
2. Jab dil hi toot gaya ( film Shahjejan, 1946 )
3.Dil ko hai tumse pyaar kyon ( sung by Jagmohan, 1945 )
4.Barsaat mein humse mile ( film Barsaat, 1949 )
5. Ayega aane waala ( film Mahal, 1949
6.Khayalon mein kisi ke, is tarah aya nahin karte ( film Bawre Nain, 1950 )
7. Ye raat ye chandni phir kahaan ( film Jaal, 1952 )
8. Ai mere dil kaheen aur chal ( film Daag, 1952 )
9.  Yeh zindagi usi ki hai, jo kisi ka ho gaya ( film Anarkali, 1953 )
10. Zindagi dene wale sun ( film Dil-e- Nadaan, 1953 )
11. Tu pyaar ka sagar hai ( film Seema, 1955 )
12. Yeh raat bhigi bhigi ( film Chori Chori, 1956 )
13. Aa laut ke aa ja mere meet ( film Rani Rupmati, 1957 )
14. Suhana safar ( film Madhumati, 1958 )
15. Khoya khoya chaand ( film Kala Bazaar, 1960 )
16.Aaj ki raat badi shokh badi natkhat hai ( film Nai umar ki nai fasal, 1963 )
17. Chalo ek baar phir se ajnabi ban jayen ( film Gumrah, 1963 )
18. Tum hi tum ho mere jeewan mein ( film Ek dil sau afsane, 1963 )
19. Tum agar saath dene ka waada karo ( film Hamraaz, 1967
20. Khilte hain gul yahaan ( film Sharmilee, 1971 )
21. Koi hota jisko apna hum apna keh lete ( film Mere Apne, 1971)
22. Beqarar dil, tu gaaye ja ( film Door ka rahi, 1971)
23. Deewane hain deewanon ko na ghar chahiye ( film Zanjeer, 1973 )
24. Dil dhoondta hai phir wahi fursat ke raat din ( film Mausam, 1975 )
25. Kahaan se aaye badra ( film Chashme Buddoor, 1981 )

Financier Tolaram, Film Kahin Aur Chal & Goldie

This is an excerpted, verbatim & free flowing translation from the Marathi biography of Vijay Anand – “Ek Hota Goldie” by Anita Padhye

Please note that this biography is based on tape recorded interviews of Vijay Anand that the writer conducted through the 90s till Vijay Anand’s demise in 2004.

I have retained all references to Shankar Jaikishan and their style of working too because they are germaine to the subject. Some good insights and information for all SJ fans in general and some rare, inside information about an obscure film! : Sandeep Apte

Cameraman Jal Mistry was a good friend of both Dev Anand & Goldie. When he decided to produce a film he entrusted the responsibility of directing it to Vijay Anand. Since Jal Mistry was assoicted with Navketan for a long time, both Dev and Vijay Anand decided to help him. Dev Anand and Asha Parekh were cast for the leading roles in the film titled ‘Kahin Aur Chal.’ The patriarchal figure of Filmistan Studios, Tolaram Jalan was financing the film.

This film had music by Shankar Jaikishan. Jal Mistry had suggested their name. They were the top of the line music directors at that time. Goldie’s experience of working with Shankar Jaikihsan was a very pleasant one. Shankar-Jaikishan were both very disciplined in their work. They had distributed their work amongst themselves. If a film had eight songs, then Shankar would compose four songs and Jaikshan would compose the other four; however any outsider would never know who had tuned which song and who had arranged the orchestra. If one of them had composed more than more than four songs, they would still distribute the money equally amongst themselves. Both were also very creative in their work.

It is often said that about this duo that it was Jaikishan who was the more creative of the two. However, Goldie had exactly the contrary experience. According to him, Shankar was the creative one and Jaikishan would work hard on his music. For Jaikishan in fact, it was more like running a shop. Every day he would spend three to four hours composing new tunes. Lyricist Hasrat Jaipuri would work with him, who could write the lyrics for a song in a very short time. Shankar on the other hand had a great tuning with Shailendra. Even Shailendra would write the lyrics very quickly.

When any producer would ask Shankar to compose a song, he would respond at that very moment and create tunes. Goldie also felt that Shankar was also a great musician. Both Shankar and Jaikishan were very good natured people and both had very different musical styles of composing. Shankar would make tunes going beyond the ‘bandhish'; Jaikishan’s tunes were more ‘bandish’ based. Jaikishan laid more emphasis on the tune whereas Shankar would make the complete score and get lyrics written to the tune.

Goldie enjoyed working with the duo. The main reason for it was both were very particular about time. Also both worked with clock like precision. If they told a producer-director that they would record a song after four days, then in those four days they would compose the song, get the lyrcis written and deliver the complete song to the of delight the producer.

Goldie’s experience with Laxmikant Pyarelal was exactly the opposite of Shankar Jakishan. If a producer told Laxmikant Pyarelal that he has not liked a tune, they would say, we will present new tunes at the next sitting. The moment that producer left the premises,  another would be waiting for them and they could never honour their own commitment of presenting new tunes! A producer would figure out that LP did not really have new tunes ready. With Shankar it was the opposite. If a producer did not like a tune he would instantly present another one. Jaikishan would request the producer for another sitting and definitely present new tunes. They would never keep a producer hanging.

Another striking characteristic of Shankar Jaikishan, which Goldie noticed was that both would rehearse their songs with musicians sharp at 7.00 a.m. every morning. If a musician did not land up on time he would be immediately sacked. S.D.Burman was not so strict. If a musician came late he would ask “Kyon bhai, why are you late?” He would listen to the musician’s statement and end the matter at that. Shankar Jakishan, however, would ask the musician to leave. “If you are not committed to the time and task, please do not work with us.”

Shankar Jaikishan would do 30 recordings every month. And hence musicians would make sure that they did not commit the slightest mistake. They knew that one mistake meant they would lose 30 recordings. Every morning rehearsals would happen from 7.00 to 9.00. Usually, the recording would begin at 9.30 and in three to four hours they would record the first song. Every day they would record two songs. Every musician would have his musical notation. Jaikishan was more adept at doing background music. He would sit in the recording room with a stop watch and play the film reels, decide the meter and compose the track on a piano. He would then rehearse the track with the musicians and record the track. Pyarelal learnt to score background music from Jaikishan.

Goldie also sensed that there was an invisible competition going on between Shankar and Jaikishan. If the songs of one of them proved to be more popular – the other would work harder! Both would want their songs to be hits. Like with Shankar and Jaikshan a similar spirit existed between Shailendra and Hasrat too.

Four songs were recorded for Kahin aur Chal. Three of those were picturised in Khandala. “Aye Jaanewale Aa, Der Na Lage” was a beautiful melody. The hero is working as an engine driver and the heroine looks forward to the time when his train would reach the station for two minutes everyday. That was the film situation. More than half the film was completed. Just about 20 days of shooting was yet to be done. But Tolaram Jalan was not paying anybody. Jal Mistry was a fine gentleman and a great cameraman and because he was producing the film  everyone was co-operating with him. But no one wanted to work free because they knew Tolaram Jalan was financing the film.

Tolaram Jalan wanted to produce a flop film to adjust his income tax dues. That is why he was not keen to complete the film and make it a success. When people associated with the film got a sense of this – they all started demanding money.

One day, Shankar met Goldie and told him “Goldieji, we have recorded four songs for you and we have not even asked you for money.”

Goldie said “Yes, you must get paid – please ask Tolaram Jalan for the money.”

Even Asha Parekh complained to Goldie that Jalan had not paid her. In fact, Goldie himself had not been paid.

Often shooting used to be cancelled due to lack of finance. Tolaram Jalan had signed a contract with Jal Mistry that all the rights of the film would be with Jalan himself. Goldie had completed the editing of some sequences and two songs. In fact, he was happy with the way the film was shaping up. But Tolaram Jalan did not want to spend any more money and he stopped asking all artistes for dates. Had Tolaram Jalan taken Goldie into confidence, he would have persuaded all the artistes and completed the film. But Jalan Tolaram had different ideas and he did not bother. After some days, Tolaram Jalan used duplicates as actors and somehow completed the film, got it dubbed by dubbng artistes, and released the film for a single matinee show in a theatre. After that he withdrew the film and that was the end of it! When Goldie got to know this, he was pained. This film was a very troublesome and sad experience for him.

A Tribute To Shankar

– by : Gopal Shroti.

It was the same Sunday, date 26th of April, 1987, the Great Shankar left this mortal world unsung…whose songs the world sang for 6 decades and still heard throughout India, it was only yesterday, in a marriage reception, the guitar went on “Kisi ki muskurahaton pe ho nissar, kissi ka dard mil sake to le udhar” and “Ruk jaa raat thehr jaa re chanda, beete na milan ki bela, aaj chandni ki nagari mein armanon ka mela”…..and I added, “Mela ye do dinon ka, Do dinon ki hai bahar, Samay ki behti dhar karti jaati hai pukar, Pukar…..Mehman kab ruke hain kaise roke jayenge….Savere wali gaadi se chale jayenge……..” And he went by the morning train on 26th April, 1987…..Nobody to accompany…But alone…The industry and close friends were sleeping, and till the sun came up. It was all over, his mausical body turned into the flames….Till this time the family members saw the worst face of film world, so they kept silent….Otherwise in a small town, hundreds of telephones ring even for anordinary person…But Shankar was no ordinary man….He knew better to go alone, but not with the traitor in filmdom where nobody is anybody…..

Jaishardashankar

When he entered the industry, it was “BARSAAT” of melodious tunes…And I felt from the core of my heart, if God could be kind enough to shower the “BARSAAT”(rains) ON 26th April,1987….Anyhow the “BARSAAT” will continue till the melody and rhythm in the Hindi film songs rules…And I hope it will rule because no music director or film industry of today has the capability and devotion to create that era when melody ruled.
Manna Dey attributed his success to Shankar’s tunes, Rajendra Kumar was obligatory to Shankar for his “Silver Jubilee Kumar” image and Raj Kapoor loved both Shankar and Jaikishan, and on his death bed in Delhi after receiving the Dada Saheb Phalke Award, was asked by a jounalist whether he can recreate the dream Ssequence of “Awara.” He replied with tears in his eyes, “Mujhe mere Shankar Jaikishan and Shailendra la do, main phir se dream sequence bana doonga”….What better tribute can there to Shankar by his mentor, friend frien who had them in his mind at the time of his death?
Where will be the repetition of that era with films like , Barsaat, Awara, Kali Ghata, Mayur Pankh, Poonam, Rajhath, Aah, Daag,Yehudi, Anari, Ujala, Basant Bahar, Humrahi, Aas Ka Panchi, Sasural, Chhoti Bahen, Main Nashe Mein Hoon, Shri 420, Kanhaiya, Dil Apna Preet Parayi, Jis Desh Mein Ganga Behti Hai, Professor, Junglee, Prince, Rajkumar, Beti Bete, Dil Ek Mandir, Hariyalyi Aur Raasta, Love In Tokyo, An Evening In Paris, Raat Aur Din, Around The World, Mere Huzoor, Brahmachari, Mera Naam Joker, Sanyasi and count till it comes 112 films in two decades and 1000s of songs echoing & will continue to echo in the atmosphere and in hearts of people, through radios and thousands of cultural and social programmes, orchestras throughout India. There is lot to be written on Shankar, who played almost every instruments and within minutes the tunes were ready for us.
I remember 1954, 55 and later when the films were booked by the cinema owners by the names of Shankar Jaikishan, and not by heroes orheroines….Their nameswere the guarantee for the success of the films…Bakaul Hasrat Jaipuri:
“Jab yeh suna hai main ke Shankar chala gaya, mujhe yakeen nahin aaya ke dilbar chala gaya; Doobi hui hai sog mein ab meri zindagi, voh musiki ka ek samander chala Ggaya.
From SJ fans, my humble tribute to the Great Maste Shankarji: Jehan bhi raho aabad raho, sangeet se sabka dil behlate raho. Ek mehfil yehan thi, ek mehfil vahan bhi jame……..

Shankar, The Magnanimous Maestro

By

Lakshmi Kanta Tummala

Lakshmi Kanta Tummala

Maestro Shankarsingh Ramsingh Thantri was born in Hyderabad into a Telugu family on October 15, 1922. His father was Ramsingh and mother, Ellamma. He was the elder brother of twin sisters, Gangamma and Gowramma. Gangamma had no children of her own and Gowramma had two daughters, Janaki and Rani. Janaki and her younger sister Rani are married to Anella brothers and live in Hyderabad and Secunderabad, respectively. Janaki has two daughters and four sons, Rani a daughter and son.

Photo Courtesy : Lakshmi Kanta Tummala

Photo Courtesy : Lakshmi Kanta Tummala

On completion of his 10th grade education, with his great interest in fine arts, Shankar went on to learn the tabla and classical dance, both with a high degree of excellence. Raja Dhanrajgir of Hyderabad encouraged Shankar to accompany dancers Hemavathi and Satyanarayana on a national tour. It ended at Mumbai in 1945 where he found a job at the famous Prithvi Theatres founded by the well known stage and screen actor Prithviraj Kapoor who was the father of the Raj Kapoor, working as a staff musician playing tabla and acting cameo roles. Shankar was also looking for assignments to compose music for movies and met Jaikishan at a director’s office, also waiting to be interviewed for employment. Shankar found him a Jaikishan a job at the Prithvi Theatres, as a harmonium player. They struck an immediate friendship that lasted all through their lives.

Shankar once had an opportunity to accompany Ustad Ali Akbar Khan on the Sarod as the scheduled tabla player failed to show up. He was asked to play a five minute tabla solo. The audience was greatly impressed and this was the momentous beginning of his stellar career as a great composer. While working at Prithvi Theatres, Raj Kapoor, who was making his second movie, Barsaat, gave Shankar an opportunity to compose music for the film. Shankar readily accepted with a condition that Jaikishan be his music partner, to which RK agreed. Thus, started their joint career and the birth of the Shankar Jaikishan banner that brought them closer to form a unique relationship that was stronger than any. Shankar was like a brother, parent, adviser, business and professional partner and well wisher to Jaikishan who always looked up to him with utmost love, regard and respect.

With his music partner, Shankar created and rewrote the history of Hindi film music that changed the role of music in movies. Against all odds, he gave a boost to Lata’s career by having her sing ten of the eleven songs filmed on three female characters in their very first movie, thus establishing her career and Lata never looked back! SJ’s very first venture, Barsaat broke all norms in composing music. Their history making debut set a record that has yet to be broken. The record industry realised that film music has become a major component in movie business. In Famous Studios, Mahalaxmi in Mumbai, Shankar Jaikishan composed music in every genre possible: classical, semi-classical, dance music, ghazals, bhajans, folk, qawwalis, romantic, sad (touch of pathos), marching tunes, national, patriotic, street songs, chorus, Western style, cabaret songs, Arabian, Latin American, jazz, rock, pop, etc. They even recorded private albums of which, Raaga Jazz Style and the theme for The Everest are well known. Being proud of his heritage, Shankar introduced Telugu words in his songs that became instant winners. With their immense talent and innovation, the SJ banner flew high earning them domestic and international fame and name.

Being philanthrophic in nature, Shankar took time off from his very busy schedule to contribute to national causes. In 1970, along with his partner Jaikishan, he arranged a Shankar Jaikishan Nite at Brabourne Stadium in Mumbai. The gala evening, organized by Raj Kapoor, raised more than fourteen crores for the Indian Naval Officers. The Indian government showed its appreciation by bestowing the Padmashree on Shankar Jaikishan. When Shankar was first given the news that the government was going to decorate him with the national award, Shankar insisted that he would accept it if Jaikishan be included. That’s how great his value for friendship was!

Shankar held high moral values. He gave importance to honesty, gratitude and loyalty. Having been given his first break into movies as a full fledged composers, Shankar felt gratitude towards RK all his life. Even when Lata Mangeshkar would not work with him for an extended period, he never held it against her. He was never one to harbor grudges against anyone. Shankar scored music for his friend, actor/producer/director, Chandrashekhar for his movie Street Singer under the psuedonym Suraj so as to not deny any remuneration for his partner Jaikishan. He also composed music for his one time domestic helper, producer/lyricist Sudhakar Sharma for his movie Gori at a nominal fee of Re.1. Shankar never demanded a fee for his compositions and was very cooperative with his producers. Whatever high remuneration the SJ banner received was generously paid to their orchestra. Being a man of high work ethics and a thorough professional, his work was always delivered in a timely fashion that was appreciated by all producers.

The special friendship that Shankar Jaikishan had and their immense success in their profession was the envy of all in the industry that led to a lot of fictitious stories spread about a rift between the two. Non of this could change the strong bond that held them through all their lives. Shankar was shattered after losing his close friend Shailendra and his partner Jaikishan. After Jaikishan’s passing, Shankar offered unconditional moral support to his family.

Just as he was about to gather his spirits and carry on with his work under the banner he had created with Jaikishan, he was let down by many of his close friends and associates. Despite all the negativity happening in his professional life, Shankar forged on ahead with his head held high and remained in the business till his last breath. Never did he utter a word against his detractors or disloyal friends. Although his so called “friends” might have deserted him at the time of his need for moral support, his true and ardent fans will always remember him and his music forever. A consummate musician, he spent a major portion of his life devoted and dedicated to music which gave him the utmost happiness, peace and solace.

It seems like Shankar was born into this world to create great music that offered immense pleasure to millions of fans worldwide, but exited a loner with a heavy heart. An unsung hero was he. His mortal body might have left us years ago, but his spirit lingers on with those who love him. RIP.

SHANKAR SINGH RAGHUVANSHI: A MAESTRO AND MAN OF HONOUR

by  Dharma Kirthi

Dharma Kirthi

Shankar Singh Raghuvanshi was born on the 15the October in 1922, in Hyderabad, and grew up with two passions. Wrestling and music. Shankar was basically a very committed person, by nature, and was very simple in his life style, one single passion, which drove his entire life. After his initial, days at Hyderabad, he reached Mumbai,where he meets PrithvI Raj Kapoor and is employed with PrithvI Theatres as a musician.
Initially he was a rhythm specialist, tabla and dholak ; but his urge for music; his inclination and ability to learn different instruments made him, a master of music. As his life began, and evolved with what ever happened in his life, as if some supreme power was writing his “life’s script”. And when your life’s script is written by that supreme “writer” , the there is no looking back.

172969_177915775586302_7983088_o

His first movie, Barsat, with RK banner, was a real blockbuster in every sense of the term. Barsat has 11 songs, 7 of which were composed in Bhairavi raga, and another initiative was having Lata Mangeshkar, a fairly up and coming singer, then, to sing 10 songs, for all the characters; Nimmi, Nargis and Cuckoo..This trend was unheard of But then Shankar was not meant to do the usual, he was born to break the trends and stereo types.
Barsat was followed by Awara , Badal, Nagina and Kalighata in 1951. What a score, Awara was India’s first major International Hit, reaching USSR, and other Eastern European Countries and the title song Awara Hun becoming a cult song, till date. Awara also had the first 3-in-1 song, dream sequence ; tere bina aag yeh chandini, ye nahi hai nahi hai zindagi and ghar aaya mera pardesi..which remains matchless for its musical excellence.

Badal, Nagina and Kalighata were movies outside RK banner, and each one had some superb numbers. Badal began the new association with the great film maker Amiya Chakravorty, which lasted very long, and gave some exceptional music.

I feel, I should take a look at SJ’s association with various film makers and actors, and see how they contributed in the journey of their which lasted for more than 3 decades..

I would begin with RK films which gave them the break and the association lasted for 2 decades, till Kal aaj Aur Kal. SJ -RK worked in Barsat, Awara, Aah, Shree 420, Boot Polish, Jis Desh Me Ganga Behti Hai, Sangam, Mera Nam Joker and Kal aaj aur Kal. This journey was very fruitful and gave some outstanding melodies. But, they got their first Filmfare Award for this banner in their near last movie Mera naam Joker. Among these movies, it is difficult to pick one over the other, to be better, than other, each move was a masterpiece. Sangam, and Jis Desh Me Ganga Behti were really phenomenal in their variety and intensity.

This association was followed by Amiya Chakravorti”s association; which gave some really immortal movies. Badal, Daag, Katputhli, Patita, Badshah and Seema . this association gave really great music. Katputhli in my opinion was the best, and so was Daag which was Dilip Kumar and SJ’s first movie.

Then I would talk about Hrishikesh Mukherjee, though he was not a producer but was a SJ loyalist and gave some superb musicals. Aashiq, Anari and Asli Naqli . Each of these movies was a musical block busters.

Sohanlal Kanwar; was another film maker who was a big SJ loyalist. His friendship and loyalty is miles ahead of Raj Kapoor, who did not hesitate to drop them as a hot potato, at the first sign of distress; though it was his failure, than SJ’s. Sohanlal Kanwar, worked with SJ in Pehchan, Beimaan, Sanyaasi, Seema, Paapi Pet Ka Sawal..and may be any other lesser known one. Pehchan and Beimaan gave them a Filmfare Award. Sanyaasi was a big musical blockbuster.

Here on wards I would discuss about SJ’s contribution and combination with actors, then After Raj Kapoor, comes Shammi Kapoor, and Rajendra Kumar. These three actors account for more than majority of super hits from their studios. Shammi and SJ gave the following hits.. begining from Ujala in 1959 to Chote Sarkar in 1970s, which was Shammi’s last major movie as a hero. Ujala, Junglee , Janwar, Boy Friend, Sinagpore ,Dil Tera Deewana, Rajkumar, Budatameez, Professor, An Evening In Paris, Brahmachari, Prince, Tumse Accha Kaun hai, Jane Anjane and Chote Sarkar. Brahmachari gave them their Filmfare award as best actor for Shammi and Best Music for SJ.

This was followed by Rajendra Kumar, who actually built his career and rode his success on a vehicle named SJ. Aas Ka Panchi began their journey and they gave, Sasural, Zindagi, Sasural, Suraj, Humarahi, Aman, Aarzoo, Ayi Milan ki Bela, Dharti and Aan Baan. Aarzoo and Suraj gave them their best musical score winning them their best successes.

Vyjayantimala, is one actress with whom, SJ gave some exceptional music begining from Patrani, Rajhat, Katputhli; Rangoli, New Delhi, Sangam, Zindagi, Aas Ka Panchi, Chotisi Mulaqat, Prince , Pyar Hi Pyar, Amrapali.. How many hits did these two gave .. superb.. Katputhli, Amrapali, Sangam, Suraj, Patrani, Rajhat, and how many more.

Shankar, to me was the real force behind building this brand, SJ, as he was the senior Partner, as Jai was only 17 when Barsat, began and Shankar was already thick into fim music as he was already an assistant to Husn Lal Bhagatram and Ramm Ganguli, before Barsat. His mastery on various instruments and genres, and his knowledge of dance gave him an edge over many other contemporaries

He was a true MAN, never let his friends down, stood upto his friends, and more than 100%committed to his craft, and profession. He never said a word aganst his detractors never a word against any betrayors. His words would have shattered many lifes and reputations like that of the reigning playback singer or the big showman, who chickened out when it mattered the most. he rose like a collossus in the face of all minnows around him.

In my book Shankar is the Mozart of Hindi film Music who built a new Empire for himself and lived like one all his life. His style and class, shattered many a repuatations and created a new style through clones like Kalyanji Ananadji and Lakshmikant Pyarelal..As they say Plagiarism is the best complement.
Shankar, stands out as the BIG Hear ted Composer, who had no parallel, will never have one. RIP Shankarji.. You are immortal in your fans hearts. Your second innings is yet to begin.

Rarest gift to SJ fans

Today (26-04-2015) on Shankerji’s 28th Death Anniversary rarest gift to SJ fans

Revered father of the great Shankar ji Sri Ramsingh Thantri,   PHOTO Courtesy : Lakshmi Kanta Tummala

Revered father of the great Shankar ji
Sri Ramsingh Thantri,
PHOTO
Courtesy : Lakshmi Kanta Tummala

A Tribute To Shankar
Gopal Shroti

It was the same Sunday, date 26th of April, 1987, the Great Shankar left this mortal world unsung…whose songs the world sang for 6 decades and still heard throughout India, it was only yesterday, in a marriage reception, the guitar went on “Kisi ki muskurahaton pe ho nissar, kissi ka dard mil sake to le udhar” and “Ruk jaa raat thehr jaa re chanda, beete na milan ki bela, aaj chandni ki nagari mein armanon ka mela”…..and I added, “Mela ye do dinon ka, Do dinon ki hai bahar, Samay ki behti dhar karti jaati hai pukar, Pukar…..Mehman kab ruke hain kaise roke jayenge….Savere wali gaadi se chale jayenge……..” And he went by the morning train on 26th April, 1987…..Nobody to accompany…But alone…The industry and close friends were sleeping, and till the sun came up. It was all over, his mausical body turned into the flames….Till this time the family members saw the worst face of film world, so they kept silent….Otherwise in a small town, hundreds of telephones ring even for anordinary person…But Shankar was no ordinary man….He knew better to go alone, but not with the traitor in filmdom where nobody is anybody…..

When he entered the industry, it was “BARSAAT” of melodious tunes…And I felt from the core of my heart, if God could be kind enough to shower the “BARSAAT”(rains) ON 26th April,1987….Anyhow the “BARSAAT” will continue till the melody and rhythm in the Hindi film songs rules…And I hope it will rule because no music director or film industry of today has the capability and devotion to create that era when melody ruled.
Manna Dey attributed his success to Shankar’s tunes, Rajendra Kumar was obligatory to Shankar for his “Silver Jubilee Kumar” image and Raj Kapoor loved both Shankar and Jaikishan, and on his death bed in Delhi after receiving the Dada Saheb Phalke Award, was asked by a jounalist whether he can recreate the dream Ssequence of “Awara.” He replied with tears in his eyes, “Mujhe mere Shankar Jaikishan and Shailendra la do, main phir se dream sequence bana doonga”….What better tribute can there to Shankar by his mentor, friend frien who had them in his mind at the time of his death?
Where will be the repetition of that era with films like , Barsaat, Awara, Kali Ghata, Mayur Pankh, Poonam, Rajhath, Aah, Daag,Yehudi, Anari, Ujala, Basant Bahar, Humrahi, Aas Ka Panchi, Sasural, Chhoti Bahen, Main Nashe Mein Hoon, Shri 420, Kanhaiya, Dil Apna Preet Parayi, Jis Desh Mein Ganga Behti Hai, Professor, Junglee, Prince, Rajkumar, Beti Bete, Dil Ek Mandir, Hariyalyi Aur Raasta, Love In Tokyo, An Evening In Paris, Raat Aur Din, Around The World, Mere Huzoor, Brahmachari, Mera Naam Joker, Sanyasi and count till it comes 112 films in two decades and 1000s of songs echoing & will continue to echo in the atmosphere and in hearts of people, through radios and thousands of cultural and social programmes, orchestras throughout India. There is lot to be written on Shankar, who played almost every instruments and within minutes the tunes were ready for us.
I remember 1954, 55 and later when the films were booked by the cinema owners by the names of Shankar Jaikishan, and not by heroes orheroines….Their nameswere the guarantee for the success of the films…Bakaul Hasrat Jaipuri:
“Jab yeh suna hai main ke Shankar chala gaya, mujhe yakeen nahin aaya ke dilbar chala gaya; Doobi hui hai sog mein ab meri zindagi, voh musiki ka ek samander chala Ggaya.
From SJ fans, my humble tribute to the Great Maste Shankarji: Jehan bhi raho aabad raho, sangeet se sabka dil behlate raho. Ek mehfil yehan thi, ek mehfil vahan bhi jame……..

Tribute by GREAT SJ to the true VIJETA of HIMALAYAS

by

Rajesh Kumar Sinha

Rajesh Kumar Sinha

Today (14/4/2015) is the Golden Jubilee Celebration of an ALL INDIAN EVEREST EXPEDITION .MAJ H P S AHLUWLIA a member the team made a famous documentary on the EVEREST. One of the BEST documentaries ,as I read more often in magazines,though I am not fortunate enough to watch this documentary. Sometimes in 80s I read an article in HINDI magazine “DHARMYUG” well documented by MAJ AHLUWALIA himself. As he recounted “they had run short of funds for completing this documentary. They wanted a good background music would do justice to this beautiful movie.BUT NO MONEY,they went after many music directors to score the music ,but everybody refused when money matters came up.Then someone suggested to meet SJ then the busiest in the field. AHLUWALIA met Shankerji n narrated his story. He readily agreed .”. MAJ AHLUWALIA was amazed to witness the 75 pieces orchestra used by the TRUE EMPERORS OF HINDI MUSIC .this was a tribute by GREAT SJ to the true VIJETA of HIMALAYAS.

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