Shanker ( Jaikishen ), rehearsing with Lata Mangeshkar for the song ” Aa, aa bhi jaa… ”
14th January 1961 !
Shanker ( Jaikishen ), rehearsing with Lata Mangeshkar for the song ” Aa, aa bhi jaa… ”
14th January 1961 !
By romesh dalal <email@example.com>
I am a die-hard fan of Shankar-Jaikishan Music and their huge contribution to Bollywood Film Industry. NASHAUD-SAHEB enjoyed Shankar-Jaikishan’s music so much for that he said “SHANKAR-JAIKISHEN WERE NOT MUSICIAN BUT THEY WERE SIMPLY JUST MAGNIFICIENCE MAGICIAN”. How true it is when we listened to their music and songs. Raj Kapoor had an unerring eye for talent across all fields of cinema. He had spotted Shankar and Jaikishan who were musicians with Prithvi Theatres and later they were assistants to Ram Ganguly. As assistants to Ram Ganguly, they had given a huge musical contribution to the first RK film production AAG. After that SJ as music director team came on the scene in 1948 for the RK banner film BARSAAT. BARSAAT created a huge musical miracle on the Hindi film screen. As a matter fact, Raj Kapoor was very knowledgeable about various musical instruments and music. We had witnessed this talent in Raj Kapoor’s films were we enjoyed seeing him playing different musical instruments. Barsaat – a phenomenon A classic film by Raj Kapoor’s “BARSAAT” started that trend of filmy revolution. In this revolution the major contribution was made by Shanker – Jaikishan in Hindi film industry. Their fresh tunes and orchestration lead the paradigm shift from the then prevailing monotonous thekas and droning cadences. The music of “BARSAAT” opened up yet another channel for making money – the ‘records’ broke the ‘records’ of earning money independent of the film. Legend has it that the composer of “ANDAZ” (released in the same year) – Naushad went to its producer – Mehboob Khan for celebrating the huge success of his film “ANDAZ” songs. It was raining then and Mehboob Khan, looking out of the window said to Naushad, ‘Aapke Gaanon ko to ‘Barsaat’ ne dho dala’! This was the comment made by Mehboob Khan after a huge success of BARSAAT. So this was the power of SJ music in India right after our independence in 1947. Barsaat made NIMMI a Super Heroin It was Raj Kapoor, who named Nimmi when he introduced her in Barsaat. How she got selected for Barsaat is an interesting story. Nimmi came from Lahore with her aunt and was staying with Sardar Akhtar and Mehboob Khan. Mehboob Khan’s Andaaz was almost complete and Raj Kapoor who was acting in the film, had launched Barsaat. Raj Kapoor was in search of a new face for the role. Being a fastidious man, he had already rejected many girls. Nimmi had gone with Sardar Akhtar on the sets of Andaaz and was sitting besides Nargis’ mother Jaddanbai. Raj Kapoor came up to Jaddanbai, wished her and then looked at Nimmi. Nimmi felt so shy that she could barely acknowledge him. Raj Kapoor returned to the floor and asked Mehboobsaab about Nimmi. Raj Kapoor told Mehboobsaab, ‘I want this girl for my film.’ Nimmi didn’t know what to do. She wanted to accept the offer but was worried about her grandmother’s reaction. So Sardar Akhtar called her grandmother. Surprisingly her grandmother agreed. So Nimmi was called for a screen test. She was given some dialogues, which she mouthed in an absolute trance. A round of applause brought her out of her stupor. The next thing Nimmi knew was that she had been chosen for Barsaat. Nimmi was deliriously happy and was cast opposite Premnath. Infact, Nimmi had the most extra ordinary relationship with Raj Kapoor. During the filming of Barsaat, a rakhi scene was being shot and Raj called out to Nimmi. ‘Nimmi do you know the meaning of rakhi? ` She nodded. ‘Okay, tie it on my wrist. From then on Nimmi became his rakhi sister all his life. As a matter fact, Nimmi was always given due respect by the entire Kapoor household. Surprisingly Jaikishan was only the 16 years old when he started this musical journey at the time of giving music for the first time as a music director with Shankar, in the Hindi film “Barsaat”. Shankar & Jaikishan explored & learned the right way to please the cinema mass right after this huge success. Before them, until that time, we had many famous, well known and good music directors of Hindi cinema, like Anil Biswas,Husnlal-Bhagatram, Khemchand Prakash, Roshan, Naushad, Ghulam Muhammad and so on. The old Hindi film music was good but it was not that appealing to mass audience. Very soon SJ realized that the film industry needed a boost to change the way music was played in those days. SJ immediately started executing their ideas, where they were the first one to introduce orchestra and duets songs in the Hindi films. That change made them instant hit. That journey started with BARSAAT where they followed the original Indian classical music. Shankar and Jaikishan had the vast knowledge about the use of different musical instruments. We have over the time, experienced that being played in their songs. It was also noticeable that every Hindi movie produced with SJ-MUSIC, provided a classical dance item with classical music. Between them, they had tremendous understanding about their musical work distribution that Shankar would do “the theme-song at RK” while Jaikishan would handle the background score. Shankar’s passion was the tabla and the classical dance compositions. He learnt the tabla fundamentals from Baba Nasir Khansahib. As we know, SHANKARJI was very knowledgeable on classical dances. Not only that but Shankar and Jaikishan loved the RAAGA Bhairavi. A touch of Bhairavi we experienced with the songs from Shree 420, “Mera joota hai Japani” and Ramaivya vastavaiyya”. Jaikishan loved Bhairavi so much that made him to name “Bhairavi” to his daughter. They made classical music and Ragas a backbone of their music. Soon they also proved to be outstanding in giving background music in their films. As we know, Jaikishan, in those days, was considered the expert in providing the background music for the films. Until present time, nobody has beaten Jaikishanji in providing that most soothing BACKGROUND MUSIC in the Hindi films. Shankar Jaikishan contributed a lot to the world of music in India right from the day they began working as music directors. Music composed by them was extensive. It was based on classical Indian music (‘Dil ek mandir hai’, ‘O basanti pawan pagal’) and even on western music (‘Sukoo sukoo’, ‘Raat ke hamsafar’). Their music was characterized by a special style. For the record, Shankar Jaikishan produced an album “ Raga Jazz Style” where they experimented: Raga Todi Raga Bhairav Raga Malkauns Raga Kalavati Raga Tilak Kamod Raga Mian Ki Malhar Raga Bairagi Raga Jaijaiwanti Raga Mishra Pilu Raga Shivranjani What else you expect from a music director! I rate SHANKAR-JAIKISHAN as the number-1 music director in the Hindi Film world. This composer duo was the most versatile through the 50s and 60s. From the Barasat hit “Hawa Main Udadta Jaye”, Aawara hit ’Ghar Aaya Mera Pardesi’ to classical songs in Basant Bahar and Seema, and I still bet no one can give the classical music like Aamrapli. In fact Shankar-Jaikishan used Indian Classical Ragas to compose most of their songs to mixed with the westernized tunes as experimented in “An Evening In Paris, Zuk Gaya Aasman, ’Aaj Kal Tere Mere Pyar Ki Charche Har Zabaan Par’ (Bramhachari)” songs. SJ could create a melody to suit any mood or emotion. They were masters in conducting orchestra. Accordion, Sitar, Mandolin, Sarod, Vina, Guitar, piano etc. were the special instruments used frequently in their music. SJ in their life span won as many as 9-Filmfare Awards out of a total of 150 Hindi movies (compared 6-Filmfare Awards out of 600 movies by LP). That is the highest number of awards ever won by any Bollywood music directors till present day. SJ won these Filmfare Awards for: Chori Chori (1956), Anari (1959), Dil Apana Aur Preet Parayi (1960), Professor (1962), Suraj(1966), Bramhachari (1968), Pehchan(1970), Mera Naam Joker (1971), and Beiman (1972). SJ used to give around 4 to 5, some time all, hit songs in each of their films. Particularly, SJ under RK-banner gave the most memorable and un-forgetful musical hits for the films like Barasat, Aah, Aawara, Boot Polish, Shree 420, Jis Desh Main Ganga Behati Hai, Sangam, Mera Naam Joker. The other hit songs of SJ music includes films like Halaku, Daag, Badshah, ZINDAGI, Aarzoo, Dil Ek Mandir, Hamrahi, Aai Milan Ki Bela, Suraj, Teesari Kasam, Love In Tokyo and many more. Noted Music Director Anu Malik (and Hasrat Jaipuri’s Nephew) says that Raj Kapoor had dug a well full of everlasting music and Shankar Jaikishan drew water out of it. Though SJ never approved their separation, the fact is that the two did started working separately in the mid-60s. The reason is attributed to the fact that Shankar introduced a new singer Sharda (famous for her song Titli Udi… in the movie SURAJ) much against the disagreement of Jaikishan. Further Shankar’s fondness for Sharda & Jaikishan’s inclination towards Lata Mangeshkar created differences between the two and in the mid-60s the split. How can we forget these famous Duo of composers who gave songs all the way from Jaan Pehchan ho (a melody still very famous in the west), Badan Pe Sitare (a tune that has been used in many songs in current Bollywood), Baharon Phool Barsao (a very nostalgic tune that is the only happy song ever to be created in the raga shivrangini), all the way to classical movies such as BASANT BAHAR. RASIK BALMA – IMPACT Rasik Balma song is from the old Hindi film Chori Chori (1956), which was based on Raga Shudh Kalyan. There is another song Chand Phir Nikla (Film: Paying Guest of 1957), which was composed by Maestro S.D.Burman. In fact, both of these two songs “ Rasik-Balama and Chand Nikala” sound so similar. These two songs were composed by two of the greatest Hindi film music directors of all time Shankar-Jaikishan and S.D. Burman respectively around the year 1956. It is surprising to note that both these music directors never composed any Hindi song based on Raga Hamsadhwani, a melodious South Indian classical raga. Both songs were composed independently by the above two music directors. Since both songs were composed on Raga Shudh Kalyan, both have the same bandishi or pakkad. And this is the reason why both songs sound so similar. In the background, a light rhythm of ghungaoos was played so as to enhance the beauty of both songs. There was no question of one being a copy of the other. In those golden years of 1950s, one could not even think of plagiarism, which unfortunately is rampant in some of the present day Hindi film-music. Both songs were brilliantly sung by the great Lata Mangeshkar. The immortal Lata Mangeshkar has stated that these two songs are two of the best songs of her career among her other favorite songs such as Aaja re pardesi (Film: Madhumati), Ayega aanewala (Film: Mahal) and Ye zindagi usiki hai (Film: Anarkali). Actually, when this song Rasik Balma was being picturized on actress Nargis, Nargis declared that she would not require any Glycerin on her eyes to emote for this song. After hearing the song, Nargis knew that there was no need to use Glycerin during the picturization of the song, since the great Lata Mangeshkar had already used her deep emotions while singing the song, and that was enough to create natural tears. Glycerin is normally used in the film industry to create tears artificially in the eyes of the actor or actress for sad scenes. From reliable sources, it is known that the above song Rasik Balma was composed by Jaikishan. Generally, the opening (sthaayi) of the song is set within a medium octave, but this song opens on a very high note. During recording, Lata Ji had pointed this out to Jaikishan Ji saying that people are going to blame her for singing this song at such a high pitch and people might say that they cannot even hum it! But the brilliant Jaikishan told Lata Mangeshkar that the beauty of this song lied entirely on singing it at a high pitch, and finally the song was sung at a high pitch and the rest is history. In 1956, from India, Lataji called Mehboob Khan, the famous Producer and Director of Oscar nominated Film: MOTHER INDIA who was undergoing a medical treatment in a hospital in Los Angeles in USA. At that time, Mehboob Khan told Lataji that he was very impatient to hear the melodious soulful song RASIK BALMA from Lataji herself over the phone, since the record of this song was not available in USA at that time. “Oh, Rasik Balma from Chori Chori…?” asked Lataji and she sang the entire song over the phone for Mehboob Khan. She sang this song over the telephone every single day while Mehboob Khan was recuperating in the Los Angeles hospital. Later, Mehboob Khan admitted how much this song had helped him recover faster from his illness. This proves the power of the song “Rasik Balma”, which could heal an ill person. There were many other great composers such as RD & SD Burman, O.P Nayyar, Laxmikant-Pyarelal, Naushad, Roshan, Khayyam etc. When we analyzed these music directors’ musical contribution on the scale of versatility, they perhaps would be nowhere close to Shankar Jaikishan. If RD Burman gave music to movies like Yadon Ki Baraat, Kati Patang and Hum Kisi Se Kum Nahin, there isn’t a single movie in which he gave classical numbers. Same goes for SD Burman who made some very good semi-classical and classical numbers but had a better success in making more western numbers such as “Rangeela-re” after RD Burman started to assist him. Naushad and Khayyam definitely had very good classical numbers but not a lot of western mixed numbers. As far as I remember most Semi Classical Songs Of Shankar Jaikishan are among the Best in the Hindi film industry. If you were knowledgeable in the Indian Classical music, you would be able to tell the difference between music that is made today compared to the music that was made in 50s and 60s. 50s and 60s definitely had better music that 70s and later because Shankar Jaikishan used massive orchestra’s that gave you songs that were truly special such as Likhe Jo Khat Tujhe, Dil Ke Jharokhe Mein, Kaun Hai Jo Sapno Mein Aaya (a song that had a tune from Elvis Presley’ song but sounded much better with the type of composition SJ converted it into). The song Awara Hoon was very famous in countries like Russia, England and France because European type of music. If anyone ever heard Scottish music you would be surprised to hear how much it resembles the song Dil Ki Nazar Se from the movie Anari. As far as I know AR Rehman is below every music director from the old Bollywood. The problem is that no MUSIC composer today including Rehman knows how to make a raga-based mixed composition. We are pretty much forgetting our own heritage and going after music played in the west. SJ proved that what a fusion between classical and western can do in songs like Baharon Phool Barsao (Raga Shivrangini) and Yaad Na Jaye Beete Dino Ki (Raga Kirwani). A person who is trained in western music would definitely be able to identify the jazz, and rock and roll style in Shankar Jaikishan compositions. A classical musician or singer will be able to identify the Raga on which any of SJ compositions would be based but not from Rehman’s music because there is no Raga in his music just Rhythms and so called “western melody” that he hasn’t even mastered properly. CULTURAL IMPACT I have done detailed research on how the Hindi-Film Music influenced the World. Indian cinema, with its characteristic film music, has not only spread all over Indian society, but also been on the forefront of the spread of India’s culture around the world. In Britain, Hindi film songs are heard in restaurants, on radio, and TV-channels, dedicated to Asian music. In Greece the genre of indoprepi sprang from Hindi film music while in Indonesia dangdut singers like Ellya Khadam, Rhoma Irama and Mansyur S., have reworked Hindi songs for Indonesian audiences. In France, the band Les Rita Mitsouko used Bollywood influences in their music video for “Le petit train” and French singer Pascal of Bollywood popularized filmy music by covering songs such as “Zindagi Ek Safar Hai Suhana“. In Nigeria Bandiri music—a combination of Sufi lyrics and Bollywood-style music—has become popular among Hausa youth. Hindi film music has also been combined with local styles in the Caribbeanto form “chutney music“. Recently I was touring in Marrakesh, a big city in MOROCCO, where I found local people were talking to me in Hindi and inquiring about SHAHRUKH KHAN. They were also asking me about the film “KABHI KHUSHI KABHI GAM”. Then I noticed that there is a big Cinema Theater showing only HINDI FILMS in a regular show. I was just stunned to learn that Moroccans also enjoy the Hindi Films & Music just like Indians. Now I can say with confidence that Hindi films have conquered the great part of the world. Bollywood leads the world in viewer numbers as well as film-production volumes. Soviet Russia was a key part of that story. Russians have been enjoying popular Indian melodrama and musicals since the first festival of Indian films in Moscow in 1954. This delegation was conducted by Raj Kapoor. This was the occasion for Russians and the world to listen to Shankar-Jaikishan’s music for the first time out side of India. In fact, Russian box office statistics suggest that Indian movies were more popular than any other foreign films shown in the Soviet Union. In the period between 1954 and 1989, for example, while 41-American and 38-French movies attained “blockbuster” status (“blockbuster” defined as selling more than 20-million tickets) in the Soviet Union, 50-Indian movies did the same. Fascination with Hindi Songs The number of songs that were adapted by the foreign countries from Hindi movies is considerable. From the 111 movies known to have come, as well as from others whose importation is uncertain, 105 Greek renditions were identified. Many came from the best-known Hindi movies that are from Awaara, Shree 420, Mother India, Ghar Sansaar, Laajwanti, and Aan. Many Hindi songs engendered duplicates, triplicates, and quadruplicates. For example, “Pyar Hua Ikrar Hua” (Shree 420) and “Gao Tarane Man Ke” (Aan) have four renditions, “Unchhi, Unchhi Dunia Ki Diware…” (Naagin) and “Aa Jao TaRapte Hai Arman” (Awaara) has three. At least 10 others have duplicates. Of all songs, 57 (55%) have a great similarity with pre-existing songs; 25 (24%) deviate significantly from the originals, 16 (16%) are partial renditions, where other melodies are mixed with Hindi, and 5 (5%) use only some musical bars. In overseas countries most Hindi songs copies were temporary hits or remained obscure. However, 11 were still known among the general public in 1998, about 35 years later. The best remembered in the 1990s were: “Aa Jao TaRapte Hai Arman” from Awaara, one of three renditions of this song by Stellios Kazantzidis; “kardia mou kaimeni” (my poor heart –“Dunia Me Ham Aaye” from Mother India), “auti i nyxta menei” (this night remains — Ulfat Ka Saaz Chhedo from the 1953 MehboobKhan’s Aurat), “oso axizeis esy” (as much as you are worth — “Dunia Walon Se Duur” from Ujaala”). In foreign countries mainly in Middle East and Greece, Mother India, Awaara, and other movies established Nargis as the great priestess of the family dramas, with Madhubala a close second. The ability of these heroines to express pain made the beautiful and haunting songs that they sang instant hits. It was only natural that the emotions of the poor Greeks would be expressed through those very same melodies. Thus, starting in 1959, Greek-language renditions of many songs appeared. As the above article implies, the transformed songs had a big problem: Plagiarism. With few exceptions, the songs appeared as creations of at least 26 Greek musicians. The copying was systematic. Some Greek-musicians copied some Hindi songs on reel tape recorders directly from movie theaters, and in other cases, music companies ordered records from India and distributed them to willing people for copying. The names of Naushad Ali, Shankar-Jaikishan, and Chitalkar Ramachandra were never heard in Greece. When India conquered Greece Here’s a superbly researched article from World Bank economist Helen Abadzi on Greek songs that were inspired from Hindi film songs. Ms. Abadzi writes: The most Hindi movies were considered working-class fare. They had much less appeal for the middle-class, which looked westward for entertainment, wanted more humor, and was not plagued by the social dilemmas of the poor and the limited solutions available to the heroines. Nevertheless, many saw the Hindi masterpiece movies. In February 1960, Mother India premiered without much advertisement in Kotopouli, a downtown theater in Greece, on a snowy day. The first few curious spectators were so moved by watching this movie in the theater that they stopped strangers on the way out and told them not to miss that “social gospel”. Four hours later, a waiting moviegoers line two city blocks long had formed, and the movie played in some Greek town or other at least for the next 10 years. I can’t pay enough tribute to Shankar-Jaikishan, as their creation can never be reviewed within any human domain – except that it can only be felt; and we, as human being, can always take advantage to listen to their divine tunes. I always refer to them as two angels who visited this world, and left their divine impression with mankind forever. Shankar Jaikishan remains an enigma for all basically because two different people with completely different backgrounds, different natures, different attitudes, and different temperament but together they created the most harmonious, highly original and unparalleled creative music in the annals of Bollywood Film history. This is the most astounding and intriguing aspect of their creation. Hydrogen and oxygen are two different elements. They have their own properties and their own original existence. But when they come together they have created something entirely different from both their original character…Water! Water is something so unique that nothing equals it in the entire creations of any chemical element. Water is life giving, without water there would be no life. Similarly, Shankar Jaikishan were the two different entities; together they created water like magic. Without each other, they are like hydrogen and oxygen, however much they wanted to, they individually could never create the magic called water. They needed each other to do it. This is the story of Shankar Jaikishan. But, as human beings what they are, they would like to know what created this magic? Who is more creative? Who is more talented? Whose contribution is more in creating the magic? That is why we have to touch upon the most painful and least understood, least known aspect of their creations, who created what? At the end, I just would like to add my comment on the current status of Bollywood: However, with the death of stalwart composers like S.D. Burman, C. Ramchandra, Naushad, Madan Mohan, Salil Chaudhary, O.P. Nayyar, Roshan, Ghulam Mohammad, Jaidev and Shankar-Jaikishan, the quality of the Hindi music declined. The standard of lyrics nosedived with the death of Sahir, Shakeel, Rajender Krishan, Shailendera, Hasrat Jaipuri, Raja Mehndi Ali Khan etc. The untimely death of Rafi, Mukesh, Manna Dey, Mahendra Kapoor, Kishore and Talat created a huge void, which the successor singers could not fill up. Indian film music is progressing ahead but without any meaningful tunes or lyrics or music. What we experience now a days, is loud instrumental noise, western rhythm, and meaningless wordings in film songs. Rarely we hear some good music with lyrics.
शैलेन्द्र और जयकिशन के जाने के बाद उन्हें और शंकर को को क्यों नहीं मिला राजकपूर के साथ ज़्यादा काम, बता रहे हैं हसरत जयपुरी साहब। इसके अलावा और भी कई विवादस्पद मुद्दों पर हसरत साहब की अंदरूनी बेबाक राय।
These cuttings Courtesy : ज़ेड एच
Films that were signed before Sep 1971 but were not released by then:
1. Seema (Simi-Kabir-Rakesh-Bharati)
2. Albela (Mehmood-Namrata)
3. Chori Chori (new) (Sanjay-Radha-Jeetendra)
4. Beimaan (Manoj-Raakhee)
5. Love in Bombay (Joy-Waheeda-Kishore. produced by Shubir Mukerji)
6. Yaar Mera (Jeetendra-Raakhee)
7. Lal Patthar (Raaj Kumar-Hema Malini-Raakhee-Vinod Mehra)
8. Ankhon Ankhon Mein (Rakesh-Raakhee)
9. Daman Aur Aag (Sanjay-Saira)
10. Ankh Michouli (Rakesh-Bharati)
11. Mera Vachan Geeta Ki Qasam (Sanjay-Saira)
12. Nagina (Sanjay-Leena)
13. Dhoop Chhaon (Sanjeev-Hema. Yogita added much later due to problems between Sanjeev and Hema)
14. Bandagi (Vinod Mehra-Sandhya Roy)
15. The Gold Medal (started with Rajendra Kumar-Saira and later changed to Jeetendra-Raakhee)
16. Mehfil (Jeetendra-Sadhana , later replaced by Anil Dhawan)
17. Naina (Shashi-Rajashree. Moushumi added later)
18. Aan Baan (Rajendra-Raakhee)
19. Resham Ki Dori (Rajesh Khanna-Saira. Rajesh Khanna was later replaced by Dharmendra who was closed to Atmaram)
20. International Crook (Dharmendra-Saira)
21. Archana (Directed by Satpal, Bhappi Sonie’s assistant.
21. Pyar Ka Rishta (Sameer-Mumtaz-Shatrughan-Vinod Khanna)
23. Rivaaj (First production of KC Bokadia. Sanjeev-Mala)
24. Dur Nahin Manzil (Started with Roshan who composed the titled song that was retained. Also, initially this one had Sanjeev-Nutan but Nutan was replaced by Reshma, Bindu’s sister)
25. Insaniyat (Shashi-Madhu)
26. Dil daulat Duniya (Rajesh Khanna-Sadhana)
Films that never saw completion but were on hand in 1971:
1. Hero (launched by Sham Behl, of Gold Medal/Duniya with Sunil Dutt)
2. Kabhi Daman Kabhi Phool (Vinod Khanna-Anupama)
3. Kora Kagaz (Rajesh Khanna-Hema Malini; not the same one that was released later in 1973)
4. Sindoor (Produced by Sant Singh; directed by Kishore Sahu. Jeetendra-Saira)
5. Sadiyonse Hai Pyar (Produced by RK’s cousin Vijay Kapoor. Shashi Kapoor- Saira Banu)
6. Tu Payal Main Geet (Directed by Kanak Mishra. Shashi Kapoor- Saira Banu)
7. Mahaan (Directed by Sultan Ahmad. Sanjeev Kumar-Mumtaz. Not the same as AB’s Mahaan)
8. Aar Paar (Tanuja-Romesh Sharma)
9. Untitled film (Directed by T. Prakash Rao. Dilip Kumar-Saira with one song recorded by Jaikishan in Asha’s voice)
10. Ganga Ki Kasam (Produced by Pachhi)
11. Karishma (Randhir Kapoor in the lead)
12. Nain Mile Chain Kahan
14. Sun re Balam
Announced before Sep 1971 but vanished from the radar after sep 1971
1. Seeta Aur Geeta
2, Kailash/Prem Chopra’s untitled (later named Nafrat)
Announced after Jaikishan’s demise but never released or completed:
1) Watan (Sunil Dutt, Sanjay Khan, Rekha, Premnath; Director Kanak Misra)
2) Azmaaish (Sanjay Khan, Director: Kanak Misra)
3) Baby Hindustan (Director: Basu Chatterji)
4) Gunahgaar (RaajKumar. Producer/Director: Govind Saraiyya. Had a Lata-Manna Duet)
5) Mere Desh ki Dharti (Producer: Kewal P. Kashyap)
6) Talaaq (Parikshit Sahni)
7) Apmaan (Navin Nischal, Rakesh Roshan)
8) Jugal Jodi (Asrani-Deven Verma)
9) Pehla Pehla Pyar (Mumtaz International. Saira-Shashi Kapoor)
11) Gulzar Singh’s untitled (Shashi Kapoor)
Note that Jungle Mein Mangal was a quickie that started after the producer Rajendra Bhatia released Paraya Dhan and was not signed before Sep 1971.
That sad Wednesday afternoon, a little after he died, the radio sang :
“Aye mere dil kahin aur chal
gham ki duniya se dil bhar gaya
dhoondle ab koi ghar naya“.
It was Shailendra’s own lyric from `Daag’. He, too, had just told his weary heart : “I am full of the world’s sorrows. Let me seek a new home!”.
At the nursing home where he lay, we, his close friends, tried vainly to hold back our tears. Twenty years is a long time to know anyone, particularly in the film industry where “friendships” are made and broken easily, too easily.
Twenty years ago, we – a small group of people – had started from nothing. We had dreams, and nothing else, to sustain us. We had stood together, to the surprise and possibly dismay of many, and together we had worked out a common destiny. And today, without warning, death has laid an icy hand on one of us.
“Dhoond le ab koi ghar naya.”. He had done it.
For “Teesri Kasam” his own production, he had written :
“Sajan re jhoot mat bolo, khuda ke paas jana hai, na haathi hai na ghoda hai, vahaan paidal his jaana hai.”
True enough. We all have to go on foot. There will be no elephants to carry us, no horses, no Impalas. Poets have to go there when the call comes and ordinary men too.
But do the poets of the world, true creative artistes, really die?
Born and brought up a man of the people, Shailendra remained that all his life. His lyrics, like he himself, were simple, and had depth. And what a variety! He could dash off a frothy love lyric, he could compose a deeply philosophical poem. He wrote of sadness, gaiety, resignation, despair, hope.
“Ye poorab hai, poorab wale, har jaan ki keemat jaante hain“, he said, in the theme song of `Jis Desh Mein Ganga Behti Hai’. That was the pariot. “Awara hoon“, he sang, in a manner at once, light-hearted and serious. The song became world famous. And it was the same patriot who laughingly wrote “Mera joota hai Japani” in `Shri 420′.
When Shailendra joined our fold – at the time of Raj Kapoor was making “Barsaat” – it was with two lyrics he had ready – “Barsaat mein humse mile tum” and “Patli kamar hai“. He said goodbye to the R.K. Banner, again with two lyrics, for “Mera Naam Joker”. In between, from his work done not only for us – Shanker and myself – but for other composers, I can name scores of lovely lyrics, songs which have been on everyone’s lips.
By the way, Shailendra has written lyrics for all films for which my partner Shanker and I have composed the music with the exception of `College Girl’ and `Aarzoo’. In the latter film, he didn’t work with us because he was ill.
Shanker and I met Shailendra for the first time twenty years ago. Raj Kapoor introduced us at his office which was then at Famous Studios, Mahalaxmi. Shailendra had a job in the railway workshop at Parel. He wrote poetry in his spare time. One of his poems – “Jalta hai Punjab” – moved Raj Kapoor so much he wanted to put it in `Aag’. But Shailendra was then not keen on contributing lyrics to films. He later changed his mind and joined us for `Barsaat’.
The last time I ever saw him in good health was at Rajkamal studios about a month ago where I was doing some back-ground music recording. And you know what he was saying? Despite all the difficulties he had experienced in producing `Teesri Kasam’ he wanted to launch another film!
In the early days, Shailendra was living in a one room tenement at Parel. After `Barsaat’, my partner had been offered our first contract outside R.K. ( the film was Mr. Dalsukh Pancholi’s `Nagina’) and wanting to persuade Shailendra to write the lyrics, I visited him for the first time at his home. Like us, he was quite needy then, but his work caught on quickly and he became much sought after. His address had a few changes – from somewhere, Parel, to `Rim Jhim’, his own home at Khar, but all along the man himself never changed.
He was intelligent, very gentle, full of knowledge and very sensitive. His love of poetry and literature was paramount. Tagore was an early favourite as also Khalil Gibran. He was always nice company, whether you were discussing poetry or politics. He was very emotional and wept when something moved him. When he was composing a lyric, he would walk restlessly about the room. He loved writing on the beach. From the early days, he smoked incessantly – I wish he had been more careful.
He was young – only 43. Why did he have to go that early and with so much mental suffering?
In the music room of Shanker-Jaikishan at our homes where he was so welcome, there will be a void. There will be a bigger void in our hearts.
“Dhoond le ab koi ghar naya…”.
Goodbye, my friend.
`FILMFARE’ – JANUARY 20, 1967
This is courtesy : Jay Subramanyam who composed it on Jan 12, 2009 at 1:54 PM
💐 Shankar Jaikishan & Kishore Kumar 🎂
Shankar-Jaikishen (SJ): The music director duo who revolutionized the very definition of Hindi film music with their path-breaking music and tunes… Compiled by Suresh Sarvaiya
Kishore Kumar: The genius actor-singer who created his own path and carved a place in the Hindi film music scene which people cannot even dream of achieving…
The association of Shankar Jaikishan with Kishore Kumar has various interesting aspects. Shankar Jaikishan (S-J), who rarely used Kishore. Trivia has it that Kishore Kumar was not the original choice for lead & that some songs had already been recorded when he joined the cast of movie Shararat (1959). Though Kishore had already sung numbers like ‘Dukhi man mere
sun mera kahena….’ for sad occasions, the second antara of this song makes you feel that it needed Rafi’s high-pitch.
Surprisingly no song in the first 8 years of mutual co-existance in the music kingdom of SJ, 18 songs in the next 13 years of association and then, 87 songs in last 17 years. Another intriguing part is, for the first 13 years, SJ were the uncrowned king of Hindi film music and Kishore Kumar a non-considerate in playback singing and in the next 17 years, well, almost vice versa. “Almost” is because Jaikishen – the more prominent of the duo, died in 1971, and upto 1986, Shankar single handedly kept the S-J flag flying. As the musical parallelism goes, many still believe, it was Jaikishen with whom the camaraderie of Kishore would have blended better- and the proof was there with “Zindagi ek safar hai suhana”, the chartbuster Jaikishen had made with Kishore just months after the former passed away. But the fact is, out of 105 songs Kishore recorded under SJ baton, almost 70 songs came for Shankar only, owing to Jaikishen’s early demise.
After departure of Jsikishan, it started gradual decline of Shankar amongst mainstream cinema. After giving music to almost 350 movies, the exhaustion showed With no Jaikishen, Shankar tried to put his foothold intact with occasional hits in Resham Ki Dori (1974), Sanyasi (1975) and Do Jhoot (1975). Many of Shankar’s hits that time came with Kishore like “Chhatri na khol” (Do Jhoot), “Mere dil mein tu hi tu hai” (International Crook), “Chamka paseena” (Resham ki Dori) and “Tu jahan main wahan”(Garm khoon). Both Shankar and Kishore demised in 1987. While one was given a superstar farewell, the other went away quietly.
Interestingly they even made their debut around the same time – Shankar
Jaikishen’s debut film as independent music directors was R K Films’ Barsaat which released in 1949 & Kishore Kumar’s debut film as an actor and a playback singer (sang for Dev Anand) was Ziddi which released in 1948…
But, the fact remains that Shankar Jaikishen were amongst the greatest music directors in Indian Cinema and Kishore Kumar was one of the greatest playback singers. Although their peak periods don’t match, in spite of being contemporaries, they did give us some brilliant output together.
New Delhi, Krorepati, Begunaah, Rangoli and Shararat are the five films for which Shankar-Jaikishen worked with Kishore Kumar where he acted and sang his own songs and what beautiful music they created by this combination.
Here are some gems by SJ & Kishore Da (list may be vary with individual choice) –
* Nakhrewali….. – New Delhi (1956)
* Chhotisi yeh duniya – Rangoli (1962)
* Rangoli sajaao – Rangoli (1962)
* Munne ki amma yeh to bata…’ – Tum
Haseen Main Jawaan (1968)
* Humlog hai aise deewane – Umang (1970)
* Geet gata hoon main – Lal Patthar (1971)
* Jaane anjaane log mile – Jaane Anjaane
* Bhanwre ki gunjan – Kal aaj aur kal (1971)
* Zindagi ek safar hai – Andaaz (1971)
* Saath mein pyara saathi – Dil Daulat
* Kehta hai dil o mere – Chorni (1980)
Compiled by Suresh Sarvaiya
Mukeshji , was my neighbor He lived in the 7th floor & I am in the 6th floor .
We used to meet all the time , in the lift , compound of the building …here & there .
He was a very kind , friendly person . He will chase all your blues away by his pep talk & cheerful attitude .
We had a number of songs together . most of them hits , each recording , a fun phhmusical experience .
When I started my music direction , he asks me , ‘Shardaji , when are you going to call me?
I say , ‘sure , sure , Mukeshji , where can I go ,if I dont call you ? But you know , mine are not big budget movies
He says , ‘Did I say anything about it?
Recording is fixed , He comes to my flat for rehearsal & comes to the recording , sings the song , entertains everyone by his talk , takes the envelope & goes . What simplicity& humane nature !
Song , ‘Naari kaisi shaan hai teri , in film ‘Maa bahen aur biwi …More songs recorded later .in film ‘Maila aanchal & some others …
His whole family was very friendly with me & still is . .We used to have parties & get togethers quite often .
Mrs Mukesh was one of my closest friend . She understood all my pains &pangs which had become my routine companions .She will give me doses of encouragement & will help me pass thro the ordeals .
She would know when I was going to go on depression & she would make a telephone call & tell me to come up .
Then she will start talking to me in such a manner , that I will forget about my pain .
She would read my palms . She said , you will be very famous & liked by many , But it will all come with great difficulty .You will also have lot of enemies , who will never leave you . Be prepared .
When I shifted in this building , Mukeshji was staying in a small studio apartment , opposite to my place .
They shifted in this building few months after I came here to live . We became friendly after that & slowly mrs Mulkesh & me became very close..
She respected Shanker Jaikishen a lot , mainly Shankerji .
She told me , there was a time, they had to face lot of difficulties , Mukeshji did not have any work for a long time & they were facing financial crunch . No musicdirector was calling him .
She said at that time Shankerji took him to sing a song for movie Yehudi . She said Dileepkumar sab did not want Mukeshji to sing ,He wanted Rafi sab to sing this song . On the recording day he got so upset that Shankerji had brought Mukeshji to sing that he left the recording studio in a huff
. The producer also did not want Mukeshji . The opposition was very strong .
But Shankerji had decided that Mukeshji will sing this song & he stood strong & recorded the song going against , the producer , hero & many others .This was Shankerji,s deewanapan .
And the song made history & Mukeshji bounced back to reach the skies .
Ye mera diwanapan hai …….One of the greatest song of Mukeshji.
And Dileep sab said ‘Wah , Shankerji , maangaye.’
Mrs Mukesh told me’ it is Shankerji who rescued us & gave us a new life ..
Shankerji , was not a dogle , who will bend this way & that way according to the situation , He had a strong mind & if he made a decision noone can make him change his mind .. unless ofcourse he himself wanted it .He will know better than you as-to how far you can reach .
When he makes you sing , you will come to know how much you are capable of. He will create a new height you would have never dreamt of & take you there .Then you will come to know , you had it in you to reach this height . If you have a voice , can sing S R G M in tune , he will create a great tune which will be perfect for you , you can be sure & presto , we will have a great singer .
Any singer , with limited talent or unlimited talent Shankerji can bring out hit songs from him/her .He will not worry about the limitations,,as long as his hands & brain work no need to worry about that .You can be sure you will get a gem .
If Shankerji works year after year with one singer bringing out hunderds of hits , who will want to bother about limitations of that singer ?
Mukeshji was also not a very versetile singer . He also had limitations with limited range . It is not his cup of tea to sing fast numbers , classicals with alaps & bring out tedhe medhe harkaten . Any other singer would have been handicapped by this . But not Mukeshji . . He has to just bring out his voice …….enough to floor any one … the listeners, hearts will melt , the heads will go to the clouds , the whole world will be forgotten … Who wants alaaps or murkhian ?
And do we have to say what magic Shankerji could bring with him ?
Shankerji , the genius working with extra special love , care & concern will spin & spin magic after magic bringing barrels & barrels of wonders with Mukeshji .The best & the peerless of Mukeshji come out with Shankerji.s tunes.
His specially made Mukesh tunes which fitted Mukeshji like a glove will carry any listener above the 7 clouds .
All those ‘Mai Raju , mai beimaan songs & those confessing , mai anadi songs , the heart pulling ‘Dost dost na raha & calling out , ‘Aa ab laut chalein .. & all other numerous hits were composed mainly keeping in mind , Mukesh mantra ….. And all thro his musical journey Shankerji composed songs & songs , one after the other , gem after gem keeping in mind that this is Mukesh song .When I had watched him compose Mukeshji.s songs I used to get so wonder struck that I would think is this Shankerji or Mukeshji , singing these lines .You can as well say Shankerji got possessed with Mukesh & he became Mukesh whenever he composed a Mukesh song …& he experienced each & every sigh & intonation of Mukeshji & made the tunes bringing out a magnificent Mukesh …….not one or two , but hundreds ……….
True Mukeshji had sung numerous hits with all other M D s , but Shanker Jaikishen Wala Mukeshji is something beyond bounds …unmatched & unparalleled & out of the world.
Most of mukesh S J songs were composed by Shankerji . Jai sab also made many songs for Mukeshji , but not as many as Shankerji . Though Jai sab & Mukeshji were great friends Jai sab preferred Rafi sab more , probably his style suited Rafisab more….
Time came , Shankerji was left alone , his soulmate left him abruptly …….
Gloomy days dragging on I get a severe shock , when I heard that Mukeshji took L P to R K ….
…I could not believe my ears.
Shankerji tells me , yes …..
God … how could this be …It is not possible .. .. no … no .. no….l
Mukeshji , what had got into you ?
Shankar Jaikishan(also known as S-J), were a popular and successful Indian composer duo of the Hindi film industry, working together from 1949 to 1971. They are considered to be two of the best music directors of the Hindi film industry. Later, Shankar continued to function as a Music Director alone, still giving music under the banner Shankar-Jaikishan, till 1987.
Shankar-Jaikishan, along with other artists, composed “everlasting” and “immortal melodies” in the 1950s, 1960s, and early 1970s. Their best work was noted for being “raga-based and having both lilt and sonority”.Early years
Shankar Singh s/o ram singh (15 October 1922 – 26 April 1987) was from Hyderabad. During his formative years, Shankar played the tabla and learned the art formally from Baba Nasir Khansahib. For many years, Shankar studied as a disciple of the legendary composer Khawaja Khurshid Anwar, in whose orchestra he performed. As per latest knowledge un-earthed by SJ Fans Association International (SJFAI), contrary to the adverse propaganda that he was illiterate and never went to school, as per his surviving close relatives (families of his sisters), this is not true. In fact, Shankar had studied at Hyderabad and had passed 10th class, before moving to Bombay. A 10th class pass of pre-independence era cannot be considered to be illiterate by any means.
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. It was at Prithvi Theatre that he learnt to play and mastered several other instruments like Sitar, Accordion and Piano etc. Besides his work at Prithvi Theatre, he also started working as an assistant to the leading composer duo of Husnlal Bhagatram and nurtured the ambition of becoming an independent music director.Jaikishan
Jaikishan Dayabhai Panchal (4 November 1929 – 12 September 1971) belonged to Bansda (Vansada), Gujarat. Jaikishan was adept at playing the harmonium. Subsequently, he obtained his musical lessons from Sangeet Visharad Wadilalji and later from Prem Shankar Nayak. After moving to Mumbai, he became a disciple of Vinayak Tambe.Formation of the composer duo
Apart from working at Prithvi Theatre, Shankar used to frequently visit the office of a Gujrati director Chandravadan Bhatt who had promised Shankar a break as a Music Director when he produced a film. It was outside the office of Bhatt that Shankar saw Jaikishan a number of times. One day, he started a conversation and discovered that Jaikishan was a harmonium player, and that he too was visiting the same producer in search of work. Shankar later recollected that they developed a liking for each other and it was he who then and there assured Jaikishan of the job of a Harmonium player at Prithvi Theatre (without asking Prithviraj Kapoor, fondly referred to as ‘Papaji’). Papaji honoured Shankar’s selection and gladly accepted Jaikishan as a Harmonium player at Prithvi. Soon, the two of them developed very close friendship to the extent that the people started referring to them as ‘Ram-Lakshman ki jodi’ and by several similar-meaning nicknames. Apart from following their musical pursuits, they also used to play significant roles in various plays including the famous play “Pathan”.
While working in Prithvi Theatre, Shankar and Jaikishan used to compose tunes and were in touch with Raj Kapoor, who was working as an assistant to the famous director Kidar Sharma and was aspiring to be an actor/director. Thus, the three had met at Prithvi Theatre.Barsaat: the first break
Raj Kapoor made his debut as a director with the film Aag in 1948. Its music director Ram Ganguly was assisted by Shankar and Jaikishan. However, during the recording of a song for his new venture Barsaat, Raj Kapoor had some serious differences with Ram Ganguly and decided to assign its music to Shankar who insisted on taking Jaikishan as his partner. Thus came into existence the new pair of music directors named ‘Shankar-Jaikishan’ who composed the music for the film.
Himself being a trained singer (he and Mukesh learned vocal music from the same Guru), Raj Kapoor thus took on board a new team of composers Shankar and Jaikishan and lyricists Shailendra and Hasrat Jaipuri (a former bus conductor). On the insistence of Shankar, he and SJ co-opted the upcoming singing talent Lata Mangeshkar, and repeated Mukesh as Raj Kapoor’s ghost voice for the various songs of Barsaat.
The film also had the distinction of featuring two firsts in Hindi cinema — a title song (“Barsaat Mein Humse Mile”) and a cabaret (“Patli Kamar Hai”).Early works b/w 1949–1959
The two became known by the acronym “S-J”.
Their early works include Barsaat, Awaara, Badal (1951 film), Poonam (1952 film), Nagina, Aurat, Parbat, Kaali Ghataa, Aah, Patita, Shikast, Badshah, Mayur Pankh, Naya Ghar, Seema, Shree 420, Basant Bahar, Halaku, Rajhath, New Delhi, Kathputli, Anari, Chori Chori, Daag, Begunah, Yahudi, Main Nashe main hoon, Kanaiah, Boot Polish, Chhoti Behan, Sharaarat, Love Marriage, and Ujala.Musical collaborators
S-J formed a core team with lyricists Shailendra (himself regarded as perhaps the greatest of his ilk) and Hasrat Jaipuri and with singers Mohammed Rafi, Lata Mangeshkar and Asha Bhosle. SJ had two other lifelong companions who worked as their assistants: Dattaram Wadkar and Sebastian D’Souza, the former supervising their rhythm section and the latter writing musical notations for all SJ compositions (during SJ’s musical sittings as can be seen in a number of photographs of such sessions) and then rehearsing all the musicians of the grand SJ orchestra according to SJ’s compositions and directions. SJ also patronized the immensely talented singer Manna Dey, who sang his best songs with them and used Mukesh’s silken voice as playback for Raj Kapoor. Among the directors, they worked most closely with Raj Kapoor and were considered the kingpins of his legendary banner RK Films.
They were commercial geniuses in addition to be wonderfully god-blessed in music. They led the Bollywood music in spite of tough competition from maestros like Naushad, C Ramchandra, Roshan, SD Burman, OP Nayyar, Salil Choudhury and Madanmohan and remained on the top much to the chagrin of very highly talented music directors!
S-J worked with almost all singers of their time. They had a good working relationship with all of them and were masters in extracting the very best from every one of them. They were steady as a team with Hasrat Jaipuri and Shailendra as their lyricists; but after the demise of Shailendra, they worked with a host of other lyricists such as Indeevar, Gulshan Bawra, Gopaldas Neeraj, Verma Malik, Majrooh Sultanpuri, Vithhal Bhai Patel and Rajinder Krishan, to name a few.
S-J were the “house composers” for RK Films and were on their pay-roll till the end. Raj Kapoor used to maintain a music bank where he stored compositions of S-J. Even after the termination of the professional association between Shankar and Raj Kapoor (Jaikishan had died by then), the latter had used a number of S-J’s earlier compositions (which were in his custody) for all his films though the credits were given officially to other composers, e.g., Laxmikant Pyarelal (Bobby, Satyam Shivam Sundaram, Prem Rog) and Ravindra Jain (Ram Teri Ganga Maili). S-J also worked with other stars like Shammi Kapoor, Rajendra Kumar, Dev Anand, Sunil Dutt, Kishore Kumar, Manoj Kumar, Biswajeet, Joy Mukherjee, Dharmendra & Manoj Kumar. Beside them S-J combo worked above all of with Mohd Rafi and secondly Mukesh, and produced numbers of hits and unmatchable gems. Mohd Rafi was their favourite singer despite having good reputation with other playback singers of its time.
Most of S-J’s films show Dattaram and Sebastian as their assistants. Dattaram handled the percussion section of the orchestra while Sebastian handled the rest. Dattaram met Shankar in a Gym when the latter was already working at Prithvi Theatre as a musician. After listening Shankar’s Tabla at the Gym and being highly impressed by his virtuosity, Dattaram became his disciple and remained with S-J throughout. As recalled by Dattaram, Sebastian used to write the musical notations of S-J’s compositions and also conducted the orchestra. Thus, S-J were fortunate to have top quality assistants and used their talents well.Composition style
Statue of Jaikishan at Bansada near Valsad, Gujarat (Jaikishan’s native town).
Shankar-Jaikishan’s compositions broke new ground in Hindi film music. Apart from relying upon their knowledge of Indian classical music, they also employed western beats and orchestration. 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. They made use of the orchestra and musical instruments (often dozens or hundreds of them) in their songs which consisted of the following format: The song starts with a `prelude’ (preparatory music to create and introduce the environment and mood for the beginning of the song), then the mukhda starts and is followed by ‘interlude’ containing music pieces on the orchestra. With very few exceptions (“Ye mera deewana pan hai” is a good example), they always used different interludes before each stanza. ‘Multi-layered music studded with counter melodies’ played by the orchestra accompanied while the mukhda or the antara of a song was being sung and finally came the `epilogue’ – the music with which the song ended after the singer(s) had finished their singing.
Shankar-Jaikishan 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 jhapak tu aa re badarwa’ (Boot polish), `Ye barkha bahar sautaniya ke dwar’ (Mayur pankh), `Re man sur mein ga’ (Lal pathar), `Sooni sooni sans ke sitar par’ (Naina), `Kate na kate raina’ (Mera naam joker) and numerous others. Their music in both `Basant Bahar’ and Amrapali had every song based upon Indian classical music. While “raga Bhairavi” remained their perennial favorite, SJ used a variety of Raagas in their compositions.
Shankar-Jaikishan gave a new style and meaning to the genre of sad songs by composing them on a fast tempo. Songs like “Zindagi Mein Hardam Rota Hi Raha” (Barsaat), “Tera Jana Dil Ke Armanon” (Anari), “Haye Tu Hi Gaya Mohe Bhool Re” (Kathputli), “Aye Mere Dil Kahin Aur Chal’ (Daag) and “Andhe Jahan Ke Andhe Raate” (Patita) demonstrated this. The last two songs, along with many others (notably “Awaara Hoon” from the film Awaara), also demonstrate the composers’ use of musical instruments – a harmonium is used to produce the effect of a piano accordion.Working styles: ‘SJ’ were two composers in one name
“We have never thought of the public as the ‘masses’, but as individuals who want the best from us”
Shankar Jaikishan in 1962.
While working as a team, Shankar and Jaikishan used to compose their songs separately. Generally, Shankar liked to work with Shailendra and Jaikishan with Hasrat Jaipuri though there are notable instances where Shankar worked with Hasrat and Jaikishan with Shailendra. Of course there are a number of songs done jointly in which both of them contributed. 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. As a result, it has been a popular pastime for S-J aficionados to try to tell a Shankar song from a Jaikishan song. Dance numbers, title/theme songs and soulful songs were Shankar’s forte while Jaikishan was a master of composing background score, apart from romantic songs (he is generally regarded as the best ever in this genre) and simple, catchy compositions which became instant hits (“Ehsaan Mere Dil Pe” being a typical example of such songs). However, Shankar was no smaller in this aspect of devising simple ‘straight line’ tunes: “Mera Joota Hai Japani” (Sri 420) being the best example of this genre.
It is said that Jaikishan would count some numbers on his fingers before coming up with the background score for a particular scene on the spot! Two of S-J’s films, viz., Sangam (1964) and Mera Naam Joker (1971) are regarded even today as having some of the best background musical scores of Hindi films till date. Although, by and large, it was Jaikishan who used to work on background music of SJ movies as per their mutually agreed division of work, it may be an over-simplification to presume that therefore, whatever went in background scores was solely Jaikishan’s creation. Since SJ had a common pool of tunes in their stock, made by either of them during their numerous music sessions/sittings (Riyaz), it was perfectly legitimate and natural for Jaikishan to have used tunes created by Shankar also wherever needed. This is also one of the reasons why he was able to finish this job in a few days’ time. It is understood that in RK films, Shankar and Jaikishan both used to work on the background scores. On the other hand, both Shankar and Jaikishan were equally proficient in scoring western music based songs.
Despite their distinct working styles and preferences, it is very difficult, if not altogether impossible, to ascribe most of their songs to only one of them. In most of the songs, they invariably contributed to one another’s creation, either in the form of improvisation of tune or of orchestration, thus, making their compositions truly a joint effort. Furthermore, each of the two could compose in the other’s style now and then thereby making the identification still more difficult.
Contrary to the popular mis-conception that ‘it was Jaikishan who used to handle the public relations and business/financial aspects of the duo’s career’, the fact is that it was Shankar who had the final say on all financial/business aspects of the SJ-team.Raaga-jazz style
SJ’s 1968 Indo-jazz album, Raaga- Jazz Style.
Shankar Jaikishan made a major contribution towards the development of jazz music in India and the new genre Indo jazz. Their 1968 album Raaga-Jazz style is the earliest Indo-jazz recording in India. In this album, considered to be one of the most innovative, SJ created 11 songs based on Indian Ragas with saxophone, trumpet, sitar (by Rais Khan), tabla, bass etc.Awards
During their career, S-J won Filmfare Best Music Director Awards nine times. The last three awards were won in three successive years, thereby making S-J the first composers to score a hat trick of these awards.
S-J also came out tops in Binaca Geetmala, the legendary countdown radio program on Hindi film music, where their compositions were declared the most popular on six occasions (a record later equalled by Laxmikant Pyarelal). These songs were “Mera Joota Hai Japani” in 1955 (Shree 420), “Teri Pyari Pyari Surat Ko” in 1961 (Sasural), “Ehsaan Tera Hoga Mujh Par” in 1962 (Junglee), “Bol Radha Bol” in 1964 (Sangam), “Baharon Phool Barsaao” in 1966 (Suraj), and “Zindagi Ek Safar Hai Suhana” in 1971 (Andaaz). In 1959, seven of the top ten songs for the year were composed by S-J, a sort of record that stands perhaps to this date, though the top honours for that year went to SD Burman.Government recognitions
FILMFARE AWARD STARTED DURING 1954 FOR BEST MUSIC DIRECTOR
|1957||Chori Chori||Shailendra, Hasrat Jaipuri|
|1960||Anari||Shailendra, Hasrat Jaipuri|
|1961||Dil Apna Aur Preet Parai||Shailendra, Hasrat Jaipuri|
|1963||Professor||Shailendra, Hasrat Jaipuri|
|1967||Suraj||Shailendra, Hasrat Jaipuri|
|1969||Brahmachari||Shailendra, Hasrat Jaipuri|
|1971||Pehchaan||Neeraj, Indeevar, Varma Malik|
|1972||Mera Naam Joker||Shailendra, Hasrat Jaipuri, Neeraj, Prem Dhawan|
|1959||Yahudi||Hasrat Jaipuri, Shailendra|
|1960||Chhoti Bahen||Hasrat Jaipuri, Shailendra|
|1962||Jis Desh Mein Ganga Behti Hai||Hasrat Jaipuri, Shailendra|
|1964||Dil Ek Mandir||Hasrat Jaipuri, Shailendra|
|1965||Sangam||Hasrat Jaipuri, Shailendra|
|1969||Diwana||Hasrat Jaipuri, Shailendra|
|1970||Chanda Aur Bijli||Neeraj, Indeevar|
|1975||Resham Ki Dori||Neeraj, Indeevar|
|1976||Sanyasi||Vithalbhai Patel, Varma Malik, Vishweshawar Sharma, Hasrat Jaipuri, M G Hashmat|
The Sur-Singar Awards
Bengal Film Journalists’ Association Awards
Alleged disputes between Shankar and Jaikishan
In a signed article in Filmfare, Jaikishan identified unwittingly the song “Yeh Mera Prem Patra Padh Kar” (Sangam) as his composition. This led to a lot of bitterness between the two, as Shankar considered it a violation of the unwritten agreement between them. At about the same time, Shankar gave a break to singer Sharda and started promoting her as the new singing sensation in preference over Lata Mangeshkar. Jaikishan, however, stuck to Lata Mangeshkar for his compositions. In this period, Shankar and Jaikishan started taking individual contracts for films though every such film continued to show them together as the composers. Mohd. Rafi intervened and helped them settle their differences; however, it is conjectured that their relationship was not the same as earlier and this impacted the quality of their compositions which had started exhibiting a decline (which is clearly noticeable in the movies released during the last phases of Jaikishan’s lifetime and those released just after his demise).
On the other hand, Jaikishan, Hasrat and Shankar all had denied, whenever quizzed on this topic, that there ever was any rift between them. In fact, according to Hasrat, the division of work was by mutual agreement to cope up with the heavy work load so that Shankar and Shailendra looked after one part of the work while Jaikishan and Hasrat on the other part but this division was not rigid; there was a lot of give and take between them even during this phase. Towards the end (just before Jaikishan’s untimely demise), in several of their last movies such as Jane Anjane (1971), Andaaz (1971), Ankhon Ankhon Mein, Shankar and Jaikishan were known to be working together. In retrospect, it appears that the so-called rift between Shankar and Jaikishan was blown out of proportion by the media and vested interests and was used later to downgrade Shankar in his post-Jaikishan years.
Since Shankar continued to support Sharda (post Sangam era) and even ghost-composed music for her film and non-film albums, it is said that Lata Mangeshkar became angry with him and discontinued singing for him. Whereas there may be some truth in this assertion, the other fact is that Lata Mangeshkar had stopped working with him after Sangam due to her anger against both Raj Kapoor and Shankar in making her sing “Budhha Mil Gaya” from Sangam which she was not keen as she did not feel comfortable with the lyrics of the song. Nevertheless, she continued singing for Jaikishan even after Sangam and till the end.Standing in the industry
S-J enjoyed an unrivalled position in the Hindi film industry. During their heyday and even toward the later part of their career, they were the highest paid music directors in the industry. Barring stray exceptions, they were paid more than the leading actors and the promotional material of their films would give them more prominence than anyone else.
S-J staged a show in Shanmukhanad Hall, Mumbai in 1970 under the aegis of the Indian Navy. In terms of attendance and grandeur, it remains unsurpassed to this day, thus providing a public seal of approval to their leading status in the industry.Jaikishan’s death and SJ’s post-Jaikishan era
“What can I say… my musical partner in life has gone, what is left of me to say anything more, I had never thought that at such an early age he would leave us all and go; Anyway his good qualities of maintaining goodwill, giving love and receiving love were innate in him and I too don’t have them in me. He used to regularly remind me of my innate quality of being in a boisterous mood all the time and always abrasive with some one or the other and so on and so forthwith…….”
Shankar on Jaikishan’s death in an interview with Ameen Sayani.
Jaikishan died in 1971 due to cirrhosis of liver, a disease caused by excessive consumption of alcohol. At the time of his death, the duo enjoyed an unparalleled popularity which was underlined by a massive turnout at his funeral procession. Gaylord, a restaurant at Churchgate (Mumbai) where Jaikishan used to be a regular visitor, mourned the death of its illustrious patron by lighting a candle on his favorite table for one month and keeping it out of bounds for other guests with the sign “Reserved for Mr. Jaikishan”.
After Jaikishan’s death, Shankar carried on with the banner of Shankar-Jaikishan alone (as per their mutual understanding made during their lifetime that in case of the demise of any one of them, the surviving partner will continue to work with the same team name). He was clearly hampered by numerous reasons such as the departures of his soul-mate Jaikishan and his favourite lyricist Shailendra, the betrayal of Raj Kapoor, continued Shankar-bashing and false propaganda by his rivals and lack of motivation on his own part due to which his music appeared to suffer in comparison to S-J’s own high standards. Also, in spite of his continued experimentation on music, the projects themselves for which he worked did not turn out to be commercial successes due to which even his good scores went largely unnoticed.
According to Lata Mangeshkar herself, it was the late Mohd. Rafi who brought about a rapprochement between the two and she did start singing again for Shankar starting from Sohan Lal Kanwar’s `Sanyasi‘ and several other films later. Although Shankar’s creations during this period for Lata as well as other singers like Rafi, Kishore, Manna Dey were quite good, most of these went unnoticed due to non-descript status of such films which bombed at the box office. His most-successful musical hit was Sanyasi in 1975 for which he scored all songs and the entire background score based upon SJ’s favorite Raag Bhairavi to prove the point that SJ’s Bhairavi was as much Shankar’s as that of Jaikishan.
After Sanyasi, although some of Shankar’s later songs did exhibit flashes of the old maestro’s brilliance, overall, these films (Aatmaram, Do-Jhooth, Garam Khoon, Papi Pet Ka Sawal Hai, Chorni, Eint ka Jawab Pathar) did not succeed in endearing him to leading production houses, though there were some exceptions. For example, actor Dharmendra had signed Shankar to compose the score for his film Bichchoo, however, since Shankar did not accept Sai’s (who was more keen in having Raj Kamal as MD) interference in his work, he opted out of the project. Eventually, the project itself was abandoned by Dharmendra.
Shankar was in the running for Raj Kapoor’s film Satyam Shivam Sundaram(1978), but was overlooked in favour of Laxmikant Pyarelal whose candidature was supported vigorously by Mukesh. Ironically, Mukesh owed his standing in the film industry primarily to S-J’s compositions.
Shankar was also considered for Raj Kapoor’s proposed film Param Vir Chakra (his case was supported by Raj Kapoor’s sons), but the project did not see the light of day and Shankar never returned to the RK camp.Shankar’s death
Shankar died in 1987. His death received nominal media coverage and his funeral was attended only by his family and some friends. The film industry was hardly represented at his funeral , thus reinforcing the stereotype of its fickle-natured loyalties.
Raj Kapoor later paid glowing tributes to the colleague of his salad days in a televised interview. However, it was only after Raj Kapoor’s own death in 1988 that the significance of his association with Shankar Jaikishan was brought out in great detail.
A prominent crossroad junction at Churchgate, Mumbai has been named after Shankar-Jaikishan.
Chandrakant Bhosle first noticed Shankarji, as Shankar was popularly known among his friends, in Mumbai in 1945 when Shankarji arrived in Mumbai with balle troup of guru Krishnankutty and dancer Hemawati. Bhosle was a ‘tabla’ player and had become closely associated with Shankarji. He used to play ‘rhythm’ in Shankarji’s orchestra from 1945 until Shankarji’s death. A night before Shankarji’s death, i.e. on 25 April 1987 Shankarji dropped Bhosle near Charni Road railway station where Bhosle stayed and drove off to his own residence at Churchgate. On 26 April Bhosle was, as usual, waiting for Shankarji at around 10.00 a.m. to take him to the studio, but Shankarji did not turn up so Bhosle went to the studio by taxi. All the musicians waited the whole day for Shankarji in the studio but he did not turn up. The next day, Bhosle read the news of Shankarji’s death. Unfortunately, family members with whom Shankarji was staying did not inform Bhosle, Raj Kapoor or anybody from the film fraternity about Shankarji’s death.
It was Mr. Gokhale, who was once a cook in Shankarji’s house, who later became Pujari in Gora Ram Mandir at Thakurdwar, Mumbai, who informed people that Shankarji was cremated hastily on the day of his death, without the knowledge of others.Achievements
References and further reading
|Wikimedia Commons has media related to Shankar Jaikishan.|
Panchals belong to the southern part of Gujarat and are considered to be extremely skilled as artisans. I have no means to know whether Jaikshan Dayabhai Panchal belonged to this specific category. But, his skill at harmonium compels me to believe that he could assemble and reassemble all the reeds of the instrument with consummate passion and create stunning melody. For a long time I thought that instrument used in musical preludes and interludes in “Awaara Hoon” and “Andhey Jahan Ke Andhey Raaste” was Accordion. It was only few years later (around mid-50s) I learnt the effect was created by deft use of Harmonium. That was the time I also learnt that Jaikishan started his musical journey with this instrument. Did he carry goddess Saraswati’s blessings? I am inclined to think so because as I heard those songs over and over again, I was more and more convinced about the underlying divinity in those compositions. No wonder Jaikishan along with his partner Shankar reigned supreme in what is known as golden era of music.
Jaikishan’s creativity in composing background score is part of Bollywood folklore. It is believed that he would count a few numbers on his finger for a particular scene and compose music. In fact, he was known to complete background score for entire film in three days flat (with only three hour, 930 am-1230 noon, sitting each day). Till date nobody has a clue to his genius in this specialised area of film production.
Jaikishan was fun-loving and humane. He shared cordial relations with industry and had a special bond with Shammi Kapoor. In an interview in 2009 Shammi Kapoor narrated how hurt Jai (as he called him affectionately) felt when a particular hero of late 60s refused to accept his composition Aaj Kal Tere Mere Pyar Ke Charche, because it was not compatible with his image. Shammi Kapoor consoled Jai and assured him that he will gladly use it in his ongoing project Brahmchari. This gesture made Jai feel overwhelmed, Shammi Kapoor reminisced.
For industry tragedy struck twice in a space of five years. First Shailendra in 1966 and then Jaikishan in 1971. Chord of divine melody was snapped by cruel Fate. Good times don’t last forever. No wonder it signalled beginning of the end of golden era of film music !
‘दो भटकते राही – ‘शंकर – जयकिशन’,
आ मिले मंज़िल पर – चंद्रवदन भट ऑफीस, मायानगरी बंबई,
दो दिलों की कश्ती आ लगी साहिल पर – ‘पृथ्वी थिएटर्स’,
मुस्कुराते जागे एक संग दो मुक़द्दर’ – राज साहब की फ़िल्म ‘बरसात’ में स्वतंत्र संगीत निर्देशन का मौका …
‘२१ अप्रेल १९४९’ को बंबई के सिनेमा घरों की ओर जानेवाली सडकोंपर सिनेमा प्रेमियों की भीड उमडी थी, इसी दिन राज साहब की फिल्म ‘बरसात’ प्रदर्शित हुई थी, यह लोग बेताब थे, इस फ़िल्म के गीत पर्देपर देखने के लिए … एक युवा जोडीकी संगीत सफ़र की यह शुरुआत थी … फ़िल्म के शुरू होते ही श्रेय नामावली में (Titles) Music – Shankar – Jaikishan, Lyricist – Hasrat Jaipuri – Shailendra यह चार नाम पहली बार परदेपर दिखाई दिए, जो फ़िल्म का प्रमुख आकर्षण थे…’शंकर – जयकिशन’ इस नवोदित और युवा संगीतकार द्वयी का संगीत, और शैलेंद्र – हसरत इन नौजवां युवकों द्वारा लिखे गीत, उस दिन बहुचर्चित विषय बना था … इन चार युवकों नें हिंदी सिनेमा संगीत की दुनिया मे पहला कदम रखा था … ‘एस-जे’ ने इसी फिल्म से स्वतंत्र संगीत निर्देशन का ‘आगाज’ किया था … उस दिन शाम के ढलते ढलते ‘अंजाम’ यह था क़ि, युवा ‘एस-जे’ और उनकी धुनों से सजे गीत हर किसी के दिलमें जा बसे थे, साथ में ‘शैलेंद्र – हसरत जयपुरी’ जैसे युवा गीतलेखक, जो इन गीतों के रचनाकार थे … बंबई के साथ और बाद में जहां जहां बरसात प्रदर्शित हुई वहां उसे सफलता ही मिली…भारतवर्ष के तमाम संगीत शौकीन जो बदलाव चाहते थे, वोह ‘एस-जे’ लेकर आये थे हिंदी सिने संगीत में … नयी रचनाओं के साथ, नयी कर्णमधुर धुनों से सजे गीत लेकर …चार होनहार युवक, शंकर – हैदराबाद, जय – वंसदा (गुजरात), शैलेंद्र – मथुरा तो हसरत जयपुरी – ‘गुलाबी शहर’ जयपूर से बंबई आए थे … क़िस्मत आजमाने, आँखों में सपने सजाये, इस भूलभुलैय्या वाली मायानगरी में … और अपने पहले ही प्रयास में वें चारों सफल हुए थे.
‘बरसात में हमसे मिले तुम सजन तुमसे मिले हम बरसात में’,
‘जिया बेकरार हैं’,
‘हवा में उडता जाये’,
‘मैं जिंदगी में हरदम रोता’,
‘मुझे किसी से प्यार हो गया’,
‘अब मेरा कौन सहारा’,
‘छोड़ गए बालम’,
‘मेरी आँखों मे बस गया कोई रे,
‘बिछड़े हुए परदेसी’…..
सब गीत बेहद लोकप्रिय हुए …
अपनें धुवांधार संगीत से ‘एस-जे’ की जोडी ने संगीत के मैदान पर पहली बाज़ी जीत ली थी, हर किसीं का मन मोह लिया था … ‘बरसात’ की अपार सफलता से तीन बातें एक साथ हो गयी थी, एक तो राज साहब को इस जोड़ी की क़ाबिलीयत पर यक़ीन हो गया था, वोह अपनी शुरुआती फिल्मों की असफ़लता के ‘चक्रव्यूह’ से बाहर निकल गए थे, उनकी करिअर को दिशा मिल गयी थी, दूसरी बात उन्होंने RK स्टुडियो खरीद लिया था, …तीसरी और सबसे महत्वपूर्ण बात यह थी, ‘एस-जे’ के क़दम उस ‘संगीत सम्राट’ के सिंहासन की ओर बढ़ गए थे, जो उन्हें दूर से इशारा कर रहा था … और दूरी ज्यादह नहीं थी.
१९५१ में आवारा प्रदर्शित हुई और भारत की सीमा लाँघकर ‘एस-जे’ ने दूसरा क़दम सीधा विदेश में रक्खा … रूस, चीन, बल्गेरिया, टर्की के युवक रास्तों पर ‘आवारा हूँ’ यह गीत गाकर झूमने लगे,नाचने लगे थे … सभी गीत झक्कास थे, एस-जे अपनी दूसरी ही फ़िल्मसे ‘जगन्मान्य’ हो गए थे … तरोताज़ा, मदमस्त धुनें बनाकर वें विश्व में अपनी पहचान बना चुके थे … फिर संगीत प्रेमियों ने तुरंत उन्हें ‘संगीत सम्राट’ के सिंहासन पर बिठा कर उनकी ताज़पोशी कर दी थी.
‘तेरे बिना आग ये चाँदनी’
‘घर आया मेरा परदेसी’,
‘दम भर उधर मुंह फेरे’,
‘हम तुझसे मोहब्बत करके सनम’
‘एक बेवफ़ा से प्यार किया’,
‘जबसे बलम घर आएं’,
‘आ जाओ तड़पते हैं अरमाँ’ ….
यह गीत लोकप्रियता की चरम सीमा लांघ गए थे …
‘बरसात’, ‘आवारा’ के बाद अगले १० साल में उनकी ‘आह’, ‘पतिता’, ‘शिकस्त’, ‘दाग’, ‘मयुरपंख’, ‘श्री ४२०’, ‘राजहठ’, ‘पटरानी’, ‘न्यू दिल्ली’, ‘बसंत बहार’, ‘चोरी चोरी’, ‘कठपुतली’, ‘छोटी बहन’, ‘हलाकू’, ‘यहूदी’ आदि फिल्में प्रदर्शित हुईं और वें इन फिल्मों में बेहतर से बेहतरीन गीत पेश करते गए …
‘बसंत बहार’ का ख़ास जिक़्र करना चाहूंगा … यह फ़िल्म ‘LITMUS TEST’ थी और ‘एस-जे’ इसमें आसानी से अव्वल नंबर्स लेकर उत्तीर्ण हुए थे … इस फिल्म के सब गीत रागदारी पर आधारित थे, विभिन्न रागों का प्रयोग किया था और उन्हें इस प्रयोग में जबरदस्त कामयाबी मिली थीं.
‘केतकी,गुलाब,जूही,चंपक बन फूले’ – राग – ‘बसंत बहार’,
‘सूर ना सजे’ – राग – ‘पिलू बसंत’,
‘जा जा रे जा बालमवा’ – राग ‘झिंझोटी’,
‘नैन मिले चैन कहाँ’ – राग – ‘रागेश्री’,
‘दुनिया ना भाये मुझे’ – राग ‘तोड़ी’,
‘कर गया रे मुझपे जादू’ – राग ‘रागेश्री’,
‘बड़ी देर भयी’ – राग ‘दरबारी’
एस-जे का यह मुँहतोड़ और क़रारा जवाब था, उन लोगों को जो, उन्हें सिर्फ पश्चिमी ढंग की रचनाओं का संगीतकार मानते थे, जो एस-जे की क़ाबिलियत पर प्रश्नचिन्ह लगाते थे … ‘बसंत बहार’ के बाद यह लोग हमेशा के लिए ख़ामोश हो गए … ‘पटरानी’ की रचनाएँ भी इसी स्तर की थी, तो ‘हलाकू’ और ‘यहुदी’ में अरेबिक ढंग का संगीत था, जो उन फिल्मों की ज़रूरत थी… बसंत बहार के बाद एस – जे और खुल कर, आत्मविश्वास के साथ अपनी रचनाएँ पेश करने लगे … उनकी संगीतशैली में अब और ख़ुमार आया था …पश्चिमी, अरेबिक, और शास्त्रीय संगीत तीनों ढंग में उन्होंने अपनी रचनाएँ पेश की थी और संगीत रसिकों के लिए यह बेशक़ीमती उपहार था … परिपूर्ण अभ्यास, कठोर संगीत साधना से उन्होंने संगीतकला को नया आयाम दिया था, नयी पहचान दी थी …
‘एस-जे’ की इन फिल्मों के कुछ यादगार गीत …
‘पतिता’ – ‘याद किया दिलने कहाँ हो तुम, ‘है सबसे मधुर गीत वो’, ‘किसी ने अपना बनाके मुझको’ …
‘आह’ – ‘आजा रे अब मेरा दिल पुकारा’, ‘रात अँधेरी दूर सवेरा’, ये शाम की तनहाइयाँ’ …
‘श्री ४२०’ – ‘रमैय्या वस्तावैया’, ‘मेरा जूता है जापानी’, ‘इचक दाना बिचक दाना’, ‘प्यार हुआ इकरार हुआ’, ‘दिल का हाल सुनें दिलवाला’
‘दाग’ – ‘ए मेरे दिल कहीं और चल’,
‘शिकस्त’ – ‘जब जब फूल खिले’, ‘कारे बदरा तू ना जा’, ‘चमके बिजुरियां’
‘पटरानी’ – ‘चंद्रमा मदभरा,
‘बसंत बहार’ – ‘केतकी, गुलाब, जूही, चंपक बन फूले, सूर ना सजे,
‘राजहठ’ – ‘ये वादा करो चाँद के सामने’,
‘कठपुतली’ – ‘बोल री कठपुतली’
‘छोटी बहन’ – ‘जाऊँ कहा बता ए दिल’, ‘भैया मेरे राखी के बंधन को निभाना’, मैं रंगीला प्यार का राही’ …
‘यहूदी’ – ‘ये मेरा दीवानापन है’, ‘मेरी जां मेरी जां’, ‘
‘हलाकू’ – ‘दिल का ना करना एतबार कोई’, ‘अजी चले आवो’, ‘आजा के इंतजार में’
‘चोरी चोरी’ – ‘आजा सनम मधुर चाँदनी में’, ‘पंछी बनू उडती फिरुं’,
‘अनाडी’ – ‘वो चांद खिला’, ‘सब कुछ सीखा हमनें ना सीखीं होशियारी’,
‘कन्हैया’ – ‘मुझे तुमसे कुछ भी ना चाहिये’, ‘
‘चोरी चोरी’ (१९५६) के अफ़लातून संगीत के लिए उन्हें ‘फ़िल्म फेयर पुरस्कार’ से सन्मानित किया गया …यह उनका पहला पुरस्कार था …शास्त्रीय संगीत के साथ पाश्चिमात्य,अरेबिक ऐसे सब संगीत प्रयोग सफल हुए थे … अब एस-जें के सामने मुक़ाबले में कोई खड़ा नही था, मुकाबला ख़ुद से ही था … संगीत साम्राज्य के वोही चक्रवर्ती सम्राट है इस बात को लेकर, अब किसी के मनमें कोई आशंका नहीं थी.
एस-जें का साज़गार तबला, हारमोनियम, सतार, बांसरी, ढोलक, डफली, मटका, सनई इन पारंपारिक वाद्यों के साथ पियानो, गिटार, अकॉर्डियन, व्हायलिन, मँडोलिन, इलेक्ट्रिक गिटार, सैक्सोफोन, इलेक्ट्रिक ऑर्गन, ट्रम्पेट, बोंगो, कोंगो ऐसी आधुनिक साजों से सजा था, इन अमोघ अस्त्रों का अपनी फिल्मों में चतुराई से प्रयोग करके एस-जें लगातार रसिकों के दिलों का वेध लेते रहे, उन्हें सम्मोहित करते रहे…
५० – ६० साजिंदे चक्रवर्ती सम्राट एस-जे के दरबार में हाज़िर हमेशा हाज़िर रहते थे … ‘दत्तू ठेका’ तो घर घर में पहुँच चुका था…साथ कविराज – हसरत यह दरबारी राजकवियों की जोडीद्वारा निरंतर बेहतरीन गीत निर्मिती हो रही थी.
१९६० से एस-जे पूरी सुरीली लय में थे, उनके द्वारा संगीतबद्ध की कई बेहतरीन फिल्में प्रदर्शित हुई. इनमें से कुछ प्रमुख थी,
‘जिस देश में गंगा बहती हैं’, ‘असली नकली’, ‘जब प्यार किसी से होता है’, ‘ससुराल’, ‘दिल अपना और प्रीत पराई’, ‘एक दिल सौ अफ़साने’, ‘आशिक़’, ‘कन्हैया’, ‘दिल एक मंदिर’, ‘जंगली’, ‘प्रोफेसर’, ‘दिल तेरा दीवाना’, ‘हमराही’, ‘जिंदगी’, ‘राजकुमार’, ‘संगम’, ‘लव्ह इन टोकियो’, ‘आरजू’, ‘जानवर’, ‘सूरज’, ‘तीसरी कसम’, ‘गबन’, ‘सांझ और सवेरा’, ‘आम्रपाली’, ‘अँन इव्हिनिंग इन पँरिस’, ‘दीवाना’, ‘दुनिया’, ‘मेरा नाम जोकर’, ‘प्रिंस’, ‘पहचान’, ‘ब्रह्मचारी’, ‘शिकार’, ‘रात और दिन’, ‘संन्यासी’, ‘अंदाज’ आदि
इन फिल्मों में उनके अप्रतिम धुनों से सजे गीतों से उनका संगीत साम्राज्य और बढ़ता गया … अजरामर गीतों से समृद्ध होता गया.
‘एस-जे’ के ‘फ़िल्म फेअर पुरस्कार –
१९५७ – चोरी चोरी, १९६० – अनाडी, १९६१ – दिल अपना और प्रीत पराई, १९६३ – प्रोफेसर, १९६७ – सूरज, १९६९ – ब्रम्हचारी, आख़री की ‘हॅट्रिक’ १९७१ – पहचान, १९७२ – मेरा नाम जोकर, १९७३ – बेईमान.
भारत सरकार द्वारा ‘पद्मश्री’ पुरस्कार से सन्मानित …
उनकी रागदारी पर आधारित कुछ रचनाएं …..
सदा सुहागिन राग – ‘भैरवी’
बरसात में हमसे मिले तुम सजन – बरसात
रमैय्या वस्तावैय्या – श्री ४२०
मेरा जूता हैं जापानी – श्री ४२०
तेरा जाना दिल के अरमानों का लूट जाना – अनाडी
दोस्त दोस्त ना रहा – संगम
तुम्हें और क्या दूं मैं – आयी मिलन की बेला
राजा की आयेगी बारात – आह
कैसे समझाऊँ बडी नासमझ हो – सूरज
जा जा रे जा बालमवा – बसंत बहार
राग – ‘शिवरंजनी’
आवाज़ दे के हमें – प्रोफेसर
बहारों फूल बरसाओ – सूरज
ओ मेंरे सनम दो जिस्म मगर – संगम
दिलके झरोंखें में तुझको बिठाकर – ब्रम्हचारी
चंद्रमा मदभरा – पटरानी
राग – ‘किरवाणी’
आई झुम झुम रात ये सुहानी – लव्ह मैरीज
गीत गाता हूं मैं – लाल पत्थर
याद ना जायें बीतें दिनों की – दिल एक मंदिर
तुम्हें याद करते करते – आम्रपाली
तुम जो हमारे मीत ना होते – आशिक
जब भी ये दिल उदास होता हैं – सीमा
मन रे तू ही बता क्या गाऊँ – हमराही
राग – ‘जयजयवंती’
मनमोहना बडें झूठें – सीमा
सूनी सूनी सांस के सितार पर – लाल पत्थर
राग – ‘दरबारी कानडा’
हम तुझसे मोहब्बत करके सनम – आवारा
तू प्यार का सागर है – सीमा
कोई मतवाला आया मेरे द्वारे – लव्ह इन टोकियो
छम छम बाजे रे पायलिंया – जाने अनजाने
राग – ‘झिंझोटी’
जा जा रे जा बालमवां – बसंत बहार
जाऊँ कहाँ बता ए दिल – छोटी बहन
तुम मुझे यूँ भूला ना पावोगे – पगला कहीं का
राग – ‘पहाडी’
मेरी अंखियों में बस गया कोई रे – बरसात
प्रीत ये कैसी बोल – दाग
मोरा नादान बालमा – उजाला
राग – ‘पिलू’
अजहूं ना आये बालमा – सांज और सवेरा
दिन सारा गुजारा तोरे अंगना – जंगली
मुरली बैरन भयी रे – न्यू दिल्ली
राग – ‘दरबारी’
राधिके तू ने बंसरी चुराई – बेटी बेटे
झनक झनक तोरी बाजे पायलियां – मेरे हुजूर
बड़ी देर भयी – बसंत बहार
मुझे तुमसे कुछ भी न चाहिये – कन्हैया
राग – ‘भूपाली’
नील गगन की छांव में – आम्रपाली
सायोनारा – लव्ह इन टोकियो
राग – ‘शुद्ध कल्याण’
रसिक बलमा – चोरी चोरी
मेरी मुहब्बत जवां रहेगी – जानवर
राग – ‘भीम पलासी’
देखो मेरा दिल मचल गया – सूरज
तड़प ये दिन रात की – आम्रपाली
राग – ‘रागेश्री’
मेरे संग गा गुनगुना – जानवर
कर गया रे मुझपे जादू – बसंत बहार
नैन मिले चैन कहाँ – बसंत बहार
राग – ‘जोगिया’
दिल एक मंदिर है – दिल एक मंदिर
राग – ‘यमन कल्याण’
एहसान तेरा होगा मुझपर – जंगली
राग – ‘चारुकेशी’
बेदर्दी बालमा तुझको – आरजू
राग – ‘पिलू-बसंत’
सूर ना सजे – बसंत बहार
राग – ‘तोडी’
दुनिया ना भाये मोहे अब तो बुला ले – बसंत बहार
राग – ‘तिलक कामोद’
हम तेरे प्यार में सारा आलम – दिल एक मंदिर
राग – ‘गारा’
उनके खयाल आयें – लाल पत्थर
राग – ‘बसंत बहार’
केतकी,गुलाब,जूही चंपक बन फूले – बसंत बहार
इनके अलावा ऐसे सेकड़ों बहारदार गीत रचे थे, एस-जे की जोडीने .. वाकई अचाट, अफाट, अफ़लातून, अगम्य, अतर्क्य काम था यह…रात रात जाग कर उन्होंने अपना साम्राज्य खड़ा किया था … सालोंसाल संगीत की उपासना कर, इस साधकद्वयीने साक्षात ‘माँ सरस्वती को प्रसन्न किया था, सर पर माँ का ‘वरदहस्त’ होने की वजह से, गीत को किस राग में बाँधना, किस गायक /गायिका से /किस नायक /नायिका के लिये गवाना, ५०-६० साजिंदे संभालना, उन्हें स्वरलिपी लिखकर देना यह सब बहुत जटिल था,लेकिन इन प्रतिभासंपन्न संगीत सम्राटोंनें उसे आसान बना दिया.
‘एस-जें’ का संगीत, उनके सभी गीत हमारे ह्रदय में सदा बसे रहेंगे…उनके कुछ विविधता भरे
गीत … मेरे और आपके भी पसंदीदा.
‘केतकी,गुलाब, जूही,चंपक बन फूले’ – पं.भीमसेन जोशी – मन्ना दा की जुगलबंदी अविस्मरणीय.
‘याद किया दिल ने’ – हसरत-एस-जे-लता-हेमंत कुमार का बेहद खूबसूरत, मनमोहक गीत.
‘आ अब लौट चले’ – व्हायलिन की झंकार, लताजी के आलाप हृदयस्पर्शी.
‘ये मेरा प्रेमपत्र पढ़कर’ – इस गीत का लुत्फ़ उठाना है तो, यह गीत परदेपर शुरू होने से पांच मिनट पहले ध्यान से देखियेगा फिर आप एस-जे के क़माल की, उनके करिश्मे की खुल कर दाद ज़रूर दोगे.
‘दोस्त दोस्त ना रहा’,
‘दिलके झरोखें में तुझको बिठाकर’ – एस-जे के सर्वोत्तम पियानो गीत.
‘हर दिल जो प्यार करेगा’ – त्रिकोणीय सुंदर प्रेमाभिव्यक्ती …
राधासे एकतरफ़ा प्रेम करनेवाले सुंदर का भरी महफिल में मुहब्बत का खुला इज़हार, ‘राधा’ संयम से वास्तव बयां करती है, तो ‘गोपाल’ सुंदर की दोस्ती के खातिर अपना और राधा का प्यार बख़ूबी छुपाता है, और जब वोह ‘अपना के हर किसीको बेगाना जायेगा’ कहता है, तब ‘संगम’ का अंत क्या होगा ? यह समझ में आता हैं.
‘आ गले लग जा’ – एप्रिल फूल के इस गीत की प्रस्तावना (Prelude) ८.३० मिनट की.
‘कैसे समझाऊँ बडी नासमझ हो’ – आशा – रफ़ी इन टॉप क्लासिकल फॉर्म.
‘देखो अब तो किसको नहीं है खबर’ – गिटार वादन झक्कास, आशा – रफ़ी साहब ने इसे मस्ती में गाया है, पश्चिमी ढंग का, ‘बीटल्स’ के “I wanna hold your hand” पर आधारित, लेकीन ‘ओरिजिनल’से भी बेहतरीन.
‘आजा रे आ ज़रा आ लहराके आ ज़रा आ’ – गिटार, वादन और रफ़ीसाहब का ‘मिडास टच’.
‘ये मेरा दीवानापन हैं’ – प्यार में टूटें हुए दिल की पुकार … तब भी और आज भी.
‘ये शाम की तनहाइयाँ’,
‘तेरा जाना दिलके अरमानों का लूट जाना’,
‘बेदर्दी बालमा तुझको मेरा मन याद करता हैं’ – प्रेमी के विरह में प्रेमिका अक्सर इन्ही गीतों कों गुनगुनाती है.
‘ए फूलों की रानी बहारों की मलिका’,
‘ऐ गुलबदन’ – प्रेमिका की तारीफ़ प्रेमी आज भी ऐसे ही करता है.
‘अजी रूठकर अब कहाँ जाईयेगा’ – प्रेमिका की मीठी और सुरीली तकरार
‘प्यार आँखों से जताया तो बुरा मान गये’ – और ये प्रेमी की तकरार.
‘दिन सारा गुजारा तोरे अंगना’ – घर लौटने की इजाजत मांगती प्रेमिका.
‘होठों पे सच्चाई रहती हैं’ – भारतीय संस्कृती की पहचान, हर भारतीय इसे अभिमान से गायेगा, अव्वल नंबर का ‘मातृभूमि वंदन गीत’… कविराज ख़ुद डफली बजानें में माहिर थे, … राजसाब ने इसी डफली का साथ लेकर, अपनी फ़िल्म ‘जिस देश में गंगा बहती है’ का ‘राजू’ साकार किया था.
‘बहारों फूल बरसाओ’ – बँडपथक का अत्यंत प्रिय गीत, विवाह समारंभ में इसे अवश्य बजाया जाता है, हसरत साहब का पहला ‘फ़िल्म फेयर पुरस्कार’ विजेता गीत.
‘तुम्हें याद करते करते’ – सितार – सरोद लाजवाब, लताजी का अत्युत्कृष्ट गीत, कविराज – एस-जे का शायद आखरी.
‘सजन रे झूठ मत बोलो’ – ‘त्रिकालाबाधित सत्य’, ‘कविराज’ शैलेंद्र जी की सरल शब्दावली और एस-जे की सुरीली धुन, सदाबहार,अविस्मरणीय गीत.
‘आजा सनम मधुर चाँदनी में’,
‘दिल की नज़र से’,
‘वो चाँद खिला’ – शीतल चाँदनी रातों में घूमते हुए प्रेमी – प्रेमिकाओं के होठों पर होते है यह प्रेमगीत.
‘सब कुछ सीखा हमने ना सीखी होशियारी’ – असामाजिक तत्वों पर कविराज जी का प्रहार … यहां होशियारी का अर्थ मक्कारी होता हैं … इस देश के करोड़ो ईमानदार लोगों का कालजयी गीत … अकॉर्डियन पीसेस जबरदस्त.
‘हम भी है तुम भी हो’ – ‘सत-असत’ दोनो पहलू दर्शानेवाला गीत, कविराज जी की ‘प्रगल्भता’ लफ्जों में, एस- जे की ‘प्रतिभा’ धुनों में दिखाई देती हैं …एक बेहतरीन गीत जो, आज भी हृदय में बसा हुआ हैं.
‘तेरे बिना आग ये चाँदनी’ और बादमें आनेवाला ‘घर आया मेरा परदेसी’ – आवारा का यह भव्य ‘स्वप्न दृश्य गीत’ सिर्फ़ ‘न भूतो न भविष्यती’ … फिर कविराज और एस-जे लाजवाब,
‘हम तुझसे मोहब्बत करके सनम’,
‘रात अँधेरी दूर सवेरा’
‘आजा रे अब मेरा दिल पुकारा’ – हसरत साब सिर्फ़ रोमँटिक शायर नही बल्कि सिद्धहस्त कवि थे …ये दर्दभरे गीत उनकी क़ाबिलियत की पुष्टी करते है.
‘अजहूँ ना आएँ बालमा’ – यह हसरत साहब की शास्त्रीय रचना अभी भी उतनी ही ताजगीभरी.
‘चाहे कोई मुझे जंगली कहे’ – सिर्फ़ और सिर्फ़ शम्मी कपूर के लिए बनाया गया.
‘जानेवाले ज़रा होशियार’ – सॅक्सोफोन मस्त, ‘राजकुमार’ शम्मी कपूर’ छा गए थे.
आसमान से आया फरिश्ता’ – मदमस्त संगीत एस-जे का, ऐसे स्टंटस् उस दौर में शम्मी कपूर की ख़ासियत.
‘बदन पे सितारें’ – ‘एस-जे’ का झक्कास ऑर्केस्ट्रा.
‘खुली पलक में झूठा गुस्सा’ – वाकई जीना भी मुश्क़िल मरना भी मुश्क़िल कर दिया था एस-जे ने.
‘मेरी मोहब्बत’, ‘एहसान तेरा होगा मुझपर’, ‘तुम मुझे यूँ भूला ना पाओगे’ – भावुक ‘शम्मी’ गीत.
कविराज १९६६ में तो जयभाई १९७१ में, शंकर जी, हसरत साहब से, अलविदा कहकर इस दुनिया से चल दिये … महफ़िल सुनी सुनी हो गई थी … शंकर जी तन्हा हो गए थे … पहली मुलाक़ात से १९७१ तक उन्होंने
जयकिशन जी को अपने छोटे भाई की तरह संभाला था … जयसाहब – पल्लवी जी की शादी में ‘कन्यादान’ की रस्म शंकरजी ने ही पूरी की थी …जयभाई मिलनसार व्यक्ति थे, फुरसद में फ़िल्म जगत की पार्टियों में जाते थे … तो शंकरजी ज़्यादा उन व्यक्तियों से मिलते थे जो संगीत जगत से संबंधित थे … फुरसद में भी संगीत की बारीकियां सीखते रहते … दोनों १० – १२ वाद्य बजाना सीखें थे … शंकरजी कुश्ती के शौक़ीन थे और ‘भरत नाट्यम’ में महारत हासिल थी … दोनों दिलदार थे …सामाजिक कार्यों में हमेशा आगे रहते थे … जयभाई का साथ छूटने के बाद शंकरजी ‘एस-जे’ के नाम से ही संगीत देते रहे और उनके पारिश्रमिक का आधा हिस्सा पल्लवी जी को पहुंचाते रहे …आखरी दिनों में सब क़रीबी दोस्त दूर हो गए थे, लेकिन वोह एक बहादुर योद्धा
थे … अपने नाम के अनुसार ज़हर के घूंट पीते रहे …और अपना ग़म छुपाते रहे … हसरत साहब ही थे उनके साथ आख़री समय तक … २६ अप्रेल १९८७ को शंकर जी भी चले गए दुनिया से विदा लेकर और उनके साथ संगीत का सुरीला सफ़र ख़त्म हुआ … दास्ताँ खत्म हुई पर उनका संगीत अमर हैं, और सदियों तक रहेगा !
सच कहूँ तो … ‘एस-जे’, उनका अद्वितीय संगीत यह क़िताब का विषय है, उनके सभी गीतों का यहाँ ज़िक्र और मूल्यमापन करना असंभव बात है … १९४९ में शंकर – जयकिशन – कविराज – हसरत यह चार असामान्य कलाकार दुनिया के सामने आएं, राज कपूर साहब की बरसात में … बरसात से ही ‘संगीत सुवर्ण युग’ शुरू हुआ … अगले २० – २२ साल सर्वोत्तम हिंदी सिने गीत संगीत निर्मिती करके इन ‘FANTASTIC FOUR‘ ने उनके गीत -संगीत द्वारा अन्य संगीतकारों के मुक़ाबले, इस ‘सुवर्ण युग’ को सबसे ज्यादह चमक दी, ऐसा कहा जाएं, तो ज्यादती नही होगी … ‘कविराज’ शैलेंद्र – ‘राजकवि’ हसरत जयपुरी और अन्य गीतकारों ने आशयपूर्ण, समर्पक गीत लिख कर उन्हें समर्थ साथ दिली … एस-जे ने उनके संगीत निर्देशन में सभी गायिका/गायकों से बेहतरीन गंवाया था, उनकी आवाज़ का सही उपयोग किया था … लता, आशा, मन्ना दा, मुकेश, रफ़ी साहब, सुमन कल्याणपुर, शारदा जी इनके गायें गीत सर्वाधिक लोकप्रिय हुए थे मूल संगीत का ढांचा, नींव कायम रख कर, पारंपरिक साजों के साथ आधुनिक साजों का मिलाफ़ कर, गीतों को नया रूप देने वाले एस-जें ही थे, उनकी ज़्यादातर रचनाएँ रागदारी पर आधारित थी, गीत की प्रस्तावना (Prelude), मुखड़े और अंतरे के बीच का संगीत (Interlude), तथा गीत का अंत इन तीनों में मास्टर्स रहें, … हिंदी फिल्मों के ‘सुवर्ण संगीत युग’ के आधुनिक शिल्पकार, विविधतापूर्ण संगीत निर्मिती करनेवाले,
‘चक्रवर्ती संगीत सम्राट’ ‘एस-जें’ को, ‘कविराज शैलेंद्र’, हसरत साहब को सब संगीत प्रेमियों का सलाम …!
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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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शुभ प्रभात दोस्तों …
आप सभी सदस्यों के लिए पेश हैं, उन हिंदी फिल्मों की फ़ेहरिस्त जिन्हें शंकर जयकिशनजी ने अपने मधुर संगीत से संगीतबद्ध किया था … १९४९ से १९७१ तक जयकिशनजी के साथ, और बाद में अकेले शंकरजी ने १९८७ तक कुल १७५ फिल्मों में जयकिशनजी का नाम अपने साथ बरक़रार रखते हुए, संगीतक्षेत्र में अपनी बादशाहत क़ायम रखी…हालांकी १९७३ से ही मारधाड़ वाली फिल्में आने लगी थी, जिनमें दर्ज़ेदार गीत और संगीत का महत्व कम हो गया था, फ़िर भी शंकरजी ने अपनी प्रतिभा, रुतबा, ख़ासियत क़ायम रख कर उन फिल्मों में भी दर्ज़ेदार संगीत दिया था …
इस फ़ेहरिस्त में ‘एस जे’ की कोई फ़िल्म छूट गई हो तो, जरूर बताइएगा दोस्तों !
००१) बरसात (१९४९) … राज कपूर – नर्गिस – निम्मी – प्रेमनाथ
००२) आवारा (१९५१) …राज कपूर – नर्गिस – पृथ्वीराज कपूर – शशी कपूर (बाल कलाकार)
००३) बादल (१९५१) … प्रेमनाथ – मधुबाला
००४) काली घटा (१९५१) … किशोर साहू – बीना रॉय – आशा माथुर
००५) नगीना (१९५१) … नूतन – नसीर खान – गोप
००६) दाग (१९५२) … दिलीप कुमार – निम्मी – उषा किरण
००७) परबत (१९५२) … प्रेमनाथ – नूतन
००८) पूनम (१९५२) … अशोक कुमार – कामिनी कौशल – ओम प्रकाश
००९) आह (१९५३) … राज कपूर – नर्गिस
०१०) औरत (१९५३) … प्रेमनाथ – बीना रॉय
०११) शिकस्त (१९५३) … दिलीप कुमार – नलिनी जयवंत – ओम प्रकाश
०१२) पतिता (१९५३) … देव आनंद – उषा किरण
०१३) नया घर (१९५३) … शेखर – गीता बाली
०१४) मयूर पंख (१९५३) … किशोर साहू – सुमित्रा देवी
०१५) बूट पॉलीश (१९५३) … डेव्हिड – कुमारी नाज़ – रतन कुमार – कविराज शैलेंद्र
०१६) आस (१९५३) … एस. के. प्रेम – कामिनी कौशल – ओम प्रकाश
०१७) अवान (१९५३) … तामिल भाषा …
०१८) प्रेम लेखलू (१९५३) तेलुगु भाषा …
०१९) पूजा (१९५४) … पूर्णिमा – भारत भूषण
०२०) बादशहा (१९५४) … प्रदीप कुमार – माला सिन्हा – उषा किरण
०२१) सीमा (१९५५) … नूतन – बलराज साहनी
०२२) श्री ४२० (१९५५) … राज कपूर – नर्गिस – नादिरा
०२३) बसंत बहार (१९५६) … भारत भूषण – निम्मी – कुमकुम
०२४) चोरी चोरी (१९५६) … राज कपूर – नर्गिस … फ़िल्म फेयर पुरस्कार १
०२५) हलाकू (१९५६) … अजीत – मीना कुमारी
०२६) किस्मत का खेल (१९५६) … सुनील दत्त – वैजयंतीमाला
०२७) न्यू दिल्ली (१९५६) … किशोर कुमार – वैजयंतीमाला
०२८) पटरानी (१९५६) … प्रदीप कुमार – वैजयंतीमाला
०२९) राजहठ (१९५६) … प्रदीप कुमार – मधुबाला
०३०) बेगुनाह (१९५७) … किशोर कुमार – शकीला – हेलन – जयकिशन डाहयाभाई पांचाल
०३१) कठपुतली (१९५७) … वैजयंतीमाला – बलराज साहनी
०३२) बागी सिपाही (१९५८) … मधुबाला – चंद्रशेखर – सप्रू
०३३) यहूदी (१९५८) … दिलीप कुमार – मीना कुमारी – सोहराब मोदी – निगार सुलताना – हेलन
०३४) अनाडी (१९५९) … राज कपूर – नूतन … फ़िल्म फेयर पुरस्कार २
०३५) छोटी बहन (१९५९) … नंदा – बलराज साहनी – श्यामा – रेहमान
०३६) कन्हैय्या (१९५९) … राज कपूर – नूतन
०३७) लव्ह मॅरेज (१९५९) … देव आनंद – माला सिन्हा
०३८) मैं नशे में हूँ (१९५९) … राज कपूर – माला सिन्हा
०३९) शरारत (१९५९) … किशोर कुमार – मीना कुमारी – राज कुमार
०४०) उजाला (१९५९) … शम्मी कपूर – माला सिन्हा – राज कुमार
०४१) कॉलेज गर्ल (१९६०) … शम्मी कपूर – वैजयंतीमाला
०४२) दिल अपना और प्रीत पराई (१९६०) … राज कुमार – मीना कुमारी … फ़िल्म फेयर पुरस्कार ३
०४३) एक फूल चार काँटे (१९६०) … सुनील दत्त – वहिदा रेहमान
०४४) जिस देश में गंगा बहती हैं (१९६०) … राज कपूर – पद्मिनी – प्राण
०४५) सिंगापुर (१९६०) शम्मी कपूर – पद्मिनी
०४६) आस का पंछी (१९६१) … राजेंद्र कुमार – वैजयंतीमाला
०४७) बॉय फ्रेंड (१९६१) … शम्मी कपूर – मधुबाला
०४८) जब प्यार किसी से होता हैं (१९६१) … देव आनंद – आशा पारेख
०४९) जंगली (१९६१) … शम्मी कपूर – सायरा बानू
०५०) करोडपती (१९६१) … किशोर कुमार – शशिकला – कुमकुम
०५१) रूप की रानी चोरों का राजा (१९६१) … देव आनंद – वहिदा रेहमान
०५२) ससुराल (१९६१) … राजेंद्र कुमार – बी. सरोजा देवी
०५३) आशिक (१९६१) … राज कपूर – पद्मिनी
०५४) असली नकली (१९६२) … देव आनंद – साधना
०५५) दिल तेरा दीवाना (१९६२) … शम्मी कपूर – माला सिन्हा
०५६) हरियाली और रास्ता (१९६२) … मनोज कुमार – माला सिन्हा – शशिकला
०५७) प्रोफेसर ((१९६२) … शम्मी कपूर – कल्पना … फ़िल्म फेयर पुरस्कार ४
०५८) रंगोली (१९६२) … किशोर कुमार – वैजयंतीमाला
०५९) दिल एक मंदिर (१९६३) … राजेंद्र कुमार – मीना कुमारी – राज कुमार
०६०) एक दिल सौ अफ़साने (१९६३) … राज कपूर – वहिदा रेहमान
०६१) हमराही (१९६३) … राजेंद्र कुमार – जमुना – महमूद
०६२) आई मिलन की बेला (१९६४) … राजेंद्र कुमार – सायरा बानू – धर्मेंद्र
०६३) अपने हुए पराये (१९६४) … मनोज कुमार – माला सिन्हा – शशिकला
०६४) एप्रिल फूल (१९६४) … विश्वजीत – सायरा बानू
०६५) बेटी बेटे (१९६४) … सुनील दत्त – पद्मिनी
०६६) राज कुमार (१९६४) … शम्मी कपूर – साधना – प्राण
०६७) सांज और सवेरा (१९६४) … गुरुदत्त – मीना कुमारी
०६८) संगम (१९६४) … राज कपूर – वैजयंतीमाला – राजेंद्र कुमार
०६९) जिंदगी (१९६४) … राजेंद्र कुमार – वैजयंतीमाला – राज कुमार
०७०) आरजू १९६५) … राजेंद्र कुमार – साधना – फिरोज खान
०७१) गुमनाम (१९६५) … मनोज कुमार – नंदा – प्राण – हेलन
०७२) जानवर (१९६५) … शम्मी कपूर – राजश्री – पृथ्वीराज कपूर – रेहमान
०७३) आम्रपाली (१९६६) … सुनील दत्त – वैजयंतीमाला – प्रेमनाथ
०७४) बदतमीज (१९६६) … शम्मी कपूर – साधना
०७५) गबन (१९६६) … सुनील दत्त – साधना
०७६) लव्ह इन टोकियो (१९६६) … जॉय मुखर्जी – आशा पारेख
०७७) प्यार मोहब्बत (१९६६) … देव आनंद – सायरा बानू
०७८) सूरज (१९९६६) … राजेंद्र कुमार – वैजयंतीमाला – अजित – मुमताज … फ़िल्म फेयर पुरस्कार ५
०७९) तीसरी कसम (१९६६) … राज कपूर – वहिदा रेहमान
०८०) अमन (१९६७) … राजेंद्र कुमार – सायरा बानू
०८१) अँन इव्हिनिंग इन पैरिस (१९६७) … शम्मी कपूर – शर्मिला टागोर – प्राण
०८२) अराउंड दी वर्ल्ड (१९६७) … राजकपूर – राजश्री
०८३) छोटी सी मुलाकात (१९६७) … उत्तम कुमार – वैजयंतीमाला
०८४) दीवाना (१९६७) … राज कपूर – सायरा बानू
०८५) गुनाहों का देवता (१९६७) … जितेंद्र – राजश्री
०८६) हरे कांच की चूड़ियां (१९६७) … विश्वजीत – नैना साहू
०८७) लाट साहब (१९६७) … शम्मी कपूर – नूतन
०८८) रात और दिन (१९६७) … नर्गिस – फ़िरोज़ खान
०८९) ब्रम्हचारी (१९६८) … शम्मी कपूर – राजश्री … फ़िल्म फेयर पुरस्कार ६
०९०) दुनिया (१९६८) … देव आनंद – वैजयंतीमाला
०९१) झुक गया आसमान (१९६८) … राजेंद्र कुमार – सायरा बानू
०९२) कहीं और चल (१९६८) … देव आनंद – आशा पारेख
०९३) कन्यादान (१९६८) … शशी कपूर – आशा पारेख
०९४) मेरे हुजूर (१९६८) … जितेंद्र – माला सिन्हा – राज कुमार
०९५) सपनों का सौदागर (१९६८) … राज कपूर – हेमा मालिनी
०९६) शिकार (१९६८) … धर्मेंद्र – आशा पारेख – संजीव कुमार
०९७) भाई बहन (१९६९) … सुनील दत्त – नूतन – पद्मिनी – अशोक कुमार
०९८) चंदा और बिजली (१९६९) … संजीव कुमार – पद्मिनी
०९९) जहां प्यार मिले (१९६९) … शशी कपूर – हेमा मालिनी
१००) प्रिंस (१९६८) … शम्मी कपूर – वैजयंतीमाला
१०१) प्यार ही प्यार (१९६९) … धर्मेंद्र – वैजयंतीमाला
१०२) सच्चाई (१९६९) … शम्मी कपूर – साधना – संजीव कुमार
१०३) शतरंज (१९६९) … राजेंद्र कुमार – वहिदा रेहमान – मेहमूद – हेलन
१०४) तुमसे अच्छा कौन हैं … शम्मी कपूर – बबिता
१०५) यकीन (१९६९) … धर्मेंद्र – शर्मिला टागोर
१०६) भाई भाई (१९७०) … सुनील दत्त – आशा पारेख
१०७) पहचान (१९७०) … मनोज कुमार – बबिता … फ़िल्म फेयर पुरस्कार ७
१०८) धरती (१९७०) … राजेंद्र कुमार – वहिदा रेहमान – अजीत
१०९) मेरा नाम जोकर (१९७०)राजकपूर,राजेंद्र कुमार,मनोज कुमार,धर्मेंद्र,पद्मिनी..फ़िल्म फेयर पुरस्कार ८
११०) पगला कहीं का (१९७०) … शम्मी कपूर – आशा पारेख
१११) ज्वाला (१९७०) … मधुबाला – सुनील दत्त
११२) तुम हसीं मैं जवां (१९७०) … धर्मेंद्र – हेमा मालिनी
११३) उमंग (१९७०) … अर्चना – सतीश कुमार – सुभाष घई
११४) अलबेला (१९७१) … मेहमूद – अरुणा इराणी
११५) अंदाज (१९७१) … शम्मी कपूर – हेमा मालिनी – राजेश खन्ना
११६) बलिदान (१९७१) … मनोज कुमार – सायरा बानू
११७) दुनिया क्या जानें (१९७१) … भारती – प्रेमेंद्र
११८) एक नारी एक ब्रम्हचारी (१९७१) … जितेंद्र – मुमताज – शत्रुघ्न सिन्हा
११९) ऐलान (१९७१) … विनोद मेहरा – रेखा
१२०) जाने अनजाने (१९७१) … शम्मी कपूर – लीना चंदावरकर
१२१) जवां मोहब्बत (१९७१) शम्मी कपूर – आशा पारेख
१२२) कल आज और कल (१९७१) … पृथ्वीराज कपूर – राज कपूर – रणधीर कपूर – बबिता
१२३) लाल पत्थर (१९७१) … राजकुमार – हेमा मालिनी – विनोद मेहरा
१२४) मैं सुंदर हूँ (१९७१) … मेहमूद – विश्वजीत – लीना चंदावरकर
१२५) नादान (१९७१) … आशा पारेख – नवीन निश्चल
१२६) पर्दे के पीछे (१९७१) विनोद मेहरा – योगिता बाली
१२७) पतंगा (१९७१) … शशी कपूर – विमी
१२८) प्रीतम (१९७१) … शम्मी कपूर – लीना चंदावरकर – मेहमूद
१२९) सीमा (१९७१) … कबीर बेदी – सिमी ग्रेवाल
१३०) आन बान (१९७१) … राजेंद्र कुमार – राखी
१३१) यार मेरा (१९७१) … जितेंद्र – राखी
१३२) बॉम्बे टॉकीज (१९७१) … शशी कपूर – जेनिफ़र केंडल – उत्पल दत्त – अपर्णा सेन
१३३) जीविथा चक्रम (१९७१) … तेलुगु … एन. टी. रामाराव – शारदा – वणीश्री
१३४) आंख मिचौली (१९७२) … राकेश रोशन – भारती
१३५) आंखों आंखों में (१९७२) … राकेश रोशन – राखी
१३६) बेईमान (१९७२) … मनोज कुमार – राखी गुलजार … फ़िल्म फेयर पुरस्कार ९
१३७) दिल दौलत दुनिया (१९७२) … राजेश खन्ना – साधना
१३८) जंगल मे मंगल (१९७२) … किरण कुमार – रीना रॉय
१३९) रिवाज (१९७२) … संजीव कुमार – माला सिन्हा
१४०) बंदगी (१९७२) … विनोद मेहरा – संध्या रॉय
१४१) आज की ताजा खबर (१९७३) … किरण कुमार – राधा सलूजा
१४२) चोरी चोरी (१९७३) … संजय खान – राधा सलूजा
१४३) दामन और आग (१९७३) … संजय खान – सायरा बानू
१४४) दूर नहीं मंजिल (१९७३) … संजीव कुमार – रेशमा
१४५) नैना (१९७३) … शशी कपूर – मौसुमी चटर्जी
१४६) प्यार का रिश्ता (१९७३) … विनोद खन्ना – मुमताज – शत्रुघ्न सिन्हा
१४७) अर्चना (१९७३) … संजीव कुमार – माला सिन्हा
१४८) छोटे सरकार (१९७४) … शम्मी कपूर – साधना
१४९) इंसानियत (१९७४) … शशी कपूर – मधु
१५०) इंटरनेशनल क्रूक (१९७४) … धर्मेंद्र – सायरा बानू
१५१) रेशम की डोरी (१९७४) … धर्मेंद्र – सायरा बानू
१५२) टारझन मेरा साथी (१९७४) … फ़िरोज़ खान – सिमी
१५३) वचन (१९७४) … शशी कपूर – विमी
१५४) दो झूठ (१९७५) … विनोद मेहरा – मौसुमी चटर्जी
१५५) लव्ह इन बॉम्बे (१९७५) … जॉय मुखर्जी – वहिदा रेहमान
१५६) नीलीमा (१९७५) … विनोद मेहरा – अंजली कदम
१५७) साजिश (१९७५) … धर्मेंद्र – सायरा बानू
१५८) सन्यासी (१९७५) … मनोज कुमार – हेमा मालिनी
१५९) धूप छांव (१९७७) … संजीव कुमार – हेमा मालिनी
१६०) दुनियादारी (१९७७) … नूतन – विनोद मेहरा – बिंदिया गोस्वामी
१६१) मेरा वचन गीता की कसम (१९७७) … संजय खान – सायरा बानू – अजीत
१६२) महफ़िल (१९७८) … साधना – अनिल धवन
१६३) आत्माराम (१९७९) … शत्रुघ्न सिन्हा – विद्या सिन्हा – बिंदिया गोस्वामी
१६४) दी गोल्ड मेडल (१९७९) … जितेंद्र – राखी – धर्मेंद्र
१६५) गंगा और गीता (१९७९) … अनिल धवन –
१६६) गरम खून (१९८०) … विनोद खन्ना – सुलक्षणा पंडित
१६७) नारी (१९८१) … राकेश रोशन – नीता मेहता
१६८) चोरनी (१९८१) … नीतू सिंग – जितेंद्र
१६९) ईंट का जवाब पत्थर (१९८२) … आदिल अमान – नीता मेहता
170) पापी पेट का सवाल हैं (१९८४) … राजेश खन्ना – जया प्रदा – शत्रुघ्न सिन्हा
171) इंतकाम की आग (१९८६) … विनोद मेहरा – मधु मालिनी
172) कांच की दीवार (१९८६) … संजीव कुमार – स्मिता पाटील
173) कृष्णा कृष्णा (१९८६) … विश्वजीत – विद्या सिन्हा
174) गोरी (१९९१) … राहुल – माधुरी
इन हिंदी फिल्मों के अलावा मराठी फिल्म ‘ती मी नव्हेच’ और दक्षिण की कुछ फिल्मों में भी ‘एसजे’ ने संगीत दिया था …
उनके संगीत निर्देशन वाली कुछ फिल्में प्रदर्शित नहीं हुई और हम संगीतप्रेमी कई बेमिसाल, मधुर गीत सुनने से वंचित रह गए …
संगीत के चक्रवर्ती सम्राट ‘शंकर जयकिशन’ जी को शत शत नमन !!!
The South Indian producers and directors have had a long love affair with Shankar Jaikishan music and so did the southern music lovers who enjoyed Hindi music as much as, or even more than, their counterparts from other parts of the country. Many a times, the producers re-produced super hits of the Telugu versions in Hindi with a great success.
AVM Productions made the ever popular Chori Chori (1956) that won SJ their first Filmfare Award for Best Music Director. Another was, Main Sunder Hoon (1971). Producer/director and Dada Saheb Phalke Award winner, L. V. Prasad worked with SJ in Chhoti Bahen (1959) under his home banner Prasad Productions. With the super success of Chhoti Bahen, Prasad also made Sasural (1961), Humrahi (1963) and Beti Bete (1964), which all had silver jubilee runs. Sasural won SJ another Filmfare Award. Then came, College Girl (1960) by noted director, T. Prakasa Rao who had a very long association with SJ. He also made Humrahi (Prasad Productions), Suraj (1966), Duniya (1968) and Rivaaj (1972). SJ won a Filmfare Award for their work in Suraj. The very famous producer/director C. Sridhar made Dil Ek Mandir (1963) with SJ music and followed it up with Dharti (1970) and Duniya Kya Jane (1971). B. Ananthaswami’s Screen Gems made Sapnon Ka Saudagar (1968) that launched Hema Malini. B. R. Panthulu made Dil Tera Diwana (1972) for Padmini Pictures. Gemini Pictures made Zindagi (1961) and followed it with Shatranj (1969) in partnership with N. N. Sippy.
SJ worked in Vikram Productions movie Bhai Bahen (1969). K. Shankar made Sachhai (1969) for MCR Pictures’ Pardey Ke Peechhey (1971) and Bandagi (1972) and Chhote Sarkar (1974). Navashakti Productions has SJ compose music for their Telugu movie, Jeevitha Chakram (1971) with the legendary actor turned Chief Minister, N. T. Rama Rao which had a stupendous run. Aankh Micholi 91972) was made by EVR Pictures in Chennai. Last but not the least is Chandrashekhar who made Street Singer (1966) with his dear friend, Shankar composing music under the pseudonym, Suraj.
It should be noted that all the above movie makers had great confidence in the ability and talent of SJ and felt that every rupee paid to them in remuneration would be paid back a hundred fold in returns. Almost all of the above movies enjoyed great success with SJ.
L. V. Prasad was impressed by SJ’s “jiya bekrar hai chhayi bahar hai..” from SJ’s first movie Barsaat (1949). He had the song as an inspiration for a number in his film Samsaram (1950) released the following year. ENJOY!
Seen in the picture below taken at the premier of Suraj are (from left to right): Jaikishan, Krishnamurthy (Producer, Venus Pictures), Vyjayanthimala and Shankar. (Back row): Director T. Prakash Rao, Rajendra Kumar and others.