After Jaikishan passed away in 1971, Shankar’s career was never the same again. He passed away, tragically unsung, on April 26, 1987, the year in which Intequam Ki Aag was released. However, the last film he had worked on, Gori, hit the screen in 1992.
The director-lyricist of this film, Sudhakar Sharma, recalls the composer with affection. “For many years, I was the boy who took coffee in the studios to Shankarji,” says Sudhakar. “Later I was assistant director to Kishore Kumar. My dream was that whenever I turned director, I would have Shankarji score my film. I recall going to him in 1982 with Rs 21,000 as signing amount. He remembered me, took only a token rupee as payment and said with a smile, “So the boy who worked for me is now giving me work!”
But Sudhakar drops a bomb: “The first song that we recorded became controversial and showed how his luck had turned for the worse. It was Gori hai kalaiyan sung by Kavita Krishnamurthi. However, since my film was terribly delayed, somehow that song with the same tune appeared in Aaj Ki Arjun, credited to someone else, and even topped an annual countdown show that year!”
Points to ponder
Sharma recalls how Shankar would want to understand the thought in the verse and compose a tune only after the lyrics were written. “He would compose while standing. When I asked Shankarji about this, he said, “This is why our songs always keep standing tall aur hamare gaane kabhi baith-te nahin (Our songs never sink into oblivion)!”
Says Sharma, “Shankarji’s tunes were based on raags, but unlike today’s composers, he understood words and their importance. He would never distort them by stretching or shortening syllables and would be very fastidious about the bindis and maatras, like hai could never be hain just to suit a metre. In fact, the last of his ‘live’ rehearsals was exclusively to check this and so the lyricist had to be present.”
“Another lesser-known fact about him was that he would fix the raags for a film’s story in advance,” Sharma goes on. “For my film, he had decided on Pahadi and Bhairavi. He said that repetition of a raag in the same film would imprint the association of a film and its music in the listener’s memory. But it made his work more difficult as the songs had to be within the ambit of the raag and yet sound different and diverse from each other.”
The musical mentor
Sharda, the singer Shankar groomed, introduced (with the cult Titli udi in Suraj) and made popular with over 20 hit songs, recalls how Shankar carefully groomed her after Raj Kapoor discovered the singer in Teheran. “He was like an ace johri (jeweller) who could recognize an artiste instantly,” says the singer. “Rajji took me to him and Shankarji heard me on the microphone and knew exactly how I should be prepared for a playback career.
“He took me to Pandit Jagannath Prasad, who had taught both Rajji himself and Mukeshji and ensured that special techniques were used as time was short,” says the singer. “My grooming started directly with the Vilambit Taal and then learning elements of thumri from Laxman Prasad Jaipurwale. Nirmala Arun, Govinda’s mother, then trained my vocal expression. But most important of all was Shankarji’s special training in playback.”
Sharda reminisces how Shankar would tell her that every song needed to be infused with soul. “He would call me to his music room twice or thrice a week and make me sing the new songs that he was making for Lataji, Rafisaab, Mukeshji and so on. The idea was that I would never mimic any artiste because I had never heard them sing the song! I remember singing Ehsaan tera hoga (Junglee) and the songs of Teesri Kasam. It was this phase that benefitted me the most! When Titli udi finally came out, it thus had that quality that makes the public love it over 40 years later.”
“Shankar was a master at so many instruments,” recalls the singer. “He was unequalled on the harmonium, where his notes flowed like a river, and played the tabla and so many other instruments. Duniya ki sair kar lo, for Around The World, saw Shankarji bringing in the keyboard to Hindi film music for the first time. There are so many vocal and instrumental aspects that Jaikishanji and he pioneered, from using the obligato and counterpoint in orchestra to high-pitched male mukhdas like Dil tera diwana (Dil Tera Diwana) and Aiyiya suku suku (Junglee). S-J brought so many Western aspects and Indianized their use, giving a richness to their songs. And there was so much variation – from so many of their music pieces you could actually fashion dozens of new hits!”
Says Sharda, “Jaikishanji was very talented too, but Shankarji had a greater range according to me! He gave Manna Dey a new dimension with his song for Rajsaab in Awara and used Subir Sen for Rajendra Kumar in Aas Ka Panchhi. He fought for Mukesh when Dilip Kumar wanted Rafi, his regular voice in Yeh mera diwanapan hai (Yahudi). Both of them were very fast at work and when a tune hit him, he would tell his notation man Sebastian D’Souza, “Chalo likho” and just hum it out. Shankarji had this habit of going to his music room and making songs, with all his musicians, whether he was working on a film or not.”
Sharda feels that the standout quality of Shankar’s songs was their scientific correctness. “There was nothing kinky or utt-pataang in their songs. The raags and their notes and even time-frames as well as the Western grammar were followed immaculately and with precision.”
At their peak, recalls the singer, the stars of a film never mattered. “All territories for the film would be sold on the announcement that the music was by Shankar Jaikishan! When Indira Gandhi first launched the National Savings Certificate scheme, they gave an incentive of concessional tickets for a Shankar-Jaikishan show. And people bought the certificates just to attend the concert! At their shows, top names like Dilip Kumar and Raj Kapoor would not be allowed to stand on stage for more than a couple of minutes – the audiences just wanted the music to resume!”
Shankar-Jaikishan, she remembers, had an uncanny telepathic understanding. “Why Shankarji lost ground after Jaikishanji passed away was because mediocrity had gained ground in the early ’70s and people wanted to pull him down, using Jaikishanji’s death as a handle.” But the singer admits that Shankar’s blunt nature and his quick temper did affect his career. “He was short on diplomacy and strong on discipline,” she says. “And he was a soft man by nature, who was broken by lyricist Shailendra’s death.”
The inside story
The singer also debunks some popular myths about the duo. “People make much about my singing only for Shankar,” says Sharda. “But Jaikishanji would always be there for most of the recordings. It also suited people to magnify their rift, which was like a quarrel among best friends. Shankarji was there for Jaikishan’s songs till the end, and was by his side when Jaikishanji was in hospital.”
Sharda also reveals that, contrary to popular belief, Shankar did not ghost-compose the 1967 film Street Singer as Suraj. “He might have given inputs and was there to help and overview, which Shankarji would also do with Dattaramji’s solo films,” says Sharda. “But Suraj was a real person who was a musician with S-J. Later, he even did a Marathi film.”
Dinesh Shailendra, son of Shankar’s inseparable friend and favourite lyricist Shailendra, recalls that the legend was a part-time wrestler who also was an ace dancer.
“No one came close to Shankar and Jaikishan,” says the writer. “They pioneered the title-song with Barsaat and later each would compose a title-song in some films. It is also true that almost 70 per cent of my father’s songs were composed by Shankarji.”
An amusing side of the composer is highlighted by Dinesh. “Shankarji was a short-tempered man prone to being abusive. In fact, my father would tell me that Shankarji would often use expletives and cusswords even to provide the metre to the lyricist, which in most cases was my father!”
Lekh Tandon, the octogenarian who worked with S-J in most of his films (Amrapali, Professor, Jhuk Gaya Aasmaan, Prince, Jahan Pyar Miley) recalls their old association in Prithvi Theatre. “All of us there – the set man, musicians, make-up man and actors – were equals and often had to fill in. I recall Shankarji dancing on stage with instruments around his neck in Prithviraj Kapoor’s play Pathan.”
The filmmaker recalls the softer side of the giant and says, “Once two lakh rupees – a huge sum in the ’60s – was stolen by Jaikishan’s relative from his house. Shankar never flinched, comforted Jai and that evening, gave him back the amount because he had gone and signed three films!”
Terming Shankar “quiet but mischievous, a Ganesh devotee and a born romantic”, the veteran recalls, “No composer ever got the kind of money S-J commanded – they were paid more than the topmost stars and got a lakh even in the ’50s. When I signed my first film Professor, they refused to accept money. And yes, most of the songs in Amrapali were done by Shankar. They would never have ego issues between them and would decide mutually which song each one would compose!”
The first chapter
The saga of S-J reads like the biography of any great king in history. And in the itihaas of film music, S-J were no less than monarchs.
But Shankar’s role in the annals of S-J is far larger than known. Shankarsingh Ramsingh Raghuvanshi was born on October 25, 1922 in Punjab. His father soon moved to Andhra Pradesh, and Shanker trained as a dancer, played the tabla (in a local temple there), pakhawaj and other instruments.
After moving to Mumbai, Shankar learnt the tabla formally from Baba Nasir Khansahib. He was a disciple of composer Khurshid Anwar, worked as assistant to leading composer-duo of Husnlal Bhagatram and started with a theater group run by Satyanarayan and Hemawati before shifting to Prithvi Theatre.
Shankar and Jaikishan met in the office of director Chandravadan Bhatt, who had promised both separate breaks. It was Shankar who took that hugely historic initiative of starting a conversation with Jaikishan and discovered that he was a harmonium player. Shankar assured Jaikishan of the job at Prithvi Theatre, Prithviraj Kapoor honoured his promise and the two boys, who were soon to strike a rare depth in deep friendship, began working in the music department, and continued assisting music director Ram Ganguly when Prithviraj’s son Raj Kapoor turned filmmaker with Aag. With the blockbuster musical Barsaat, Raj introduced them as independent composers.
And the rest, as they say, is history.
We the SJ fans remember you on this auspicious day of your Birthday Jaikishen ji
We are missing you and your partner Shankerji very badly….Jahaan Raho Khush Raho
“Shanker-Jaikishan, obviously. The duo, the most versatile in the nation, composed the maximum number of hits in the maximum number of films possible.”
< h1 style=”text-align:center;”>I want to
carry on singing’
RANJAN DAS GUPTA
Interview with Manna Dey.
THE HINDU PHOTO LIBRARY
An 80-year-old Manna Dey singing. At 90, he still loves to accept challenges and to experiment.
MOHAMMED RAFI, Manna Dey, Mukesh, Hemant Kumar and Kishore Kumar formed a quintet of male playback singers who dominated Hindi film music of an era. Among them Manna Dey is the only one to receive the prestigious Dada Saheb Phalke award, the highest national award for lifetime contribution to Indian cinema. Prabodh Chandra Dey, or Manna Dey, began playback singing way back in 1943, in a duet with Suraiya for Tamanna. “Upar gagan vishal” in Mashaal gave him a solid footing as a playback singer and “Dharti kahe pukar ke” made him an icon in the true sense of the term.
Nephew of the legendary singer-composer K.C. Dey, Manna Dey is the only singer to have rendered a duet with the maestro Bhimsen Joshi and earned his appreciation. He has rendered hundreds of songs in Hindi, his mother tongue Bengali and also other regional languages. Excerpts from an exclusive interview the legendary singer gave after his return from a tour of the United States:
Do you like being branded a classical singer?
I don’t. I am not a full-fledged classical singer like Ustad Bade Ghulam Ali Khan, Bhimsen Joshi or Amir Khan. I did have my training in classical music and still practise my riwaz daily for three hours. My uncle [K.C. Dey] wanted me to be involved fully in classical music. I was really not interested. Classical music appeals to only a class of audience and it is very difficult to reach out to the masses. Music based on pure ragas and bandishes has limitations.
The Dada Saheb Phalke Award must mean a lot to you.
Not exactly. I feel honoured but am in no mood to go overboard as I passed that period of my life long ago. Mohammed Rafi, Mukesh or Kishore Kumar never received the Phalke Award. It does not lower their status as singers in any way. My real award is when I hear a man on the streets of Kolkata, Delhi, Mumbai or Bangalore humming “Laga chunri mein daag” or “Aye meri zohra zabin”. Nothing can beat that recognition. A singer should be identified on the basis of his songs, and a listener should be able to figure out the name of the crooner of a number even with his eyes closed.
You have rendered a wide variety of songs in your illustrious career spanning seven decades.
THE HINDU PHOTO LIBRARY
(The music director duo Shanker (left) and Jaikishan. The team understood Manna Dey’s full depths as a singer. )
If I was monochromatic as a singer, I would have been nowhere. Just as I was at ease with raga-oriented songs, I could equally sing pop, sentimental songs and numbers with rhythm. Right from the beginning, it was my nature to experiment with different melodies.
Take the number “Gori tore banke” from Adhe Din Adhe Raat. I rendered it in pure Bhairavi but composer Chitragupta conducted a pure Western musical background to the song with the Spanish guitar, the bongo and snare drums. It was a unique experiment. He requested me to render the lines “Gore gore mukhde pe” with a rock-and-roll punch. The song was a super hit.
Who is the best music director you have worked with?
Shanker-Jaikishan, obviously. The duo, the most versatile in the nation, composed the maximum number of hits in the maximum number of films possible. Shanker-Jaikishan understood my full depth as a singer and used me brilliantly to sing for Raj Kapoor, Raaj Kumar and Shammi Kapoor. I rendered the majority of my memorable songs for Raj Kapoor, whom I consider a genius. The other music directors I have worked very well with include S.D. Burman, Salil Chowdhury, Madan Mohan, Roshan, Ravi [Ravi Shankar Sharma alias Bombay Ravi] and R.D. Burman.
You forgot to mention C. Ramchandra.
Thank you for reminding me. In his days, Annasaab was the greatest music director and I owe a lot of my success to him. A uncompromising music director, he had a perfect sense of melody. I still fondly remember the number “Dil ka gulzar jhuta” in Amardeep, which he tuned and which I sang jointly with Rafi, Lata [Mangeshkar] and Asha [Bhonsle]. It was a marvellous tune based on the beats of the dholak – something which only C. Ramchandra could compose. He could not adjust with the Hindi film world later.
What sort of rapport did you share with your colleagues?
We were healthy competitors and never rivals. Rafi was undoubtedly the greatest playback singer, Mukesh was nonpareil in his nasal tone, Hemant Kumar had a golden voice, and Kishore was a self-trained genius. I sang the maximum of my duet numbers with Rafi and we shared a deep silent regard for each other. The competition I had with Kishore whilst singing “Ek chatur naar” is something unknown to today’s singers. Lata Mangeshkar and Asha Bhonsle are versatile and powerful. Sandhya Mukherjee has a tremendous range in classical music, and Geeta Dutt’s voice seeped with emotion.
What was the difference in singing for Uttam Kumar and Soumitra Chatterjee in Bengali films?
Uttam was a trained musician and his sense of music was more than that of Soumitra. Though Uttam’s voice suited Hemanta Mukherjee the best, he adapted very well to my singing and never had any problems. Uttam Kumar and Raj Kapoor were two actors who were lip masters. Soumitra Chatterjee is a method actor who accommodated himself well to each song situation and delivered what was required of him well.
Which are your most favourite Bengali numbers?
“Raat jaga duti chokh”, “Tumi aar deko na” and “Aami tar thikana rakhini”. I tuned a number of Bengali songs and sang them too. Music directors who worked very successfully with me include Nachiketa Ghosh and Sudhin Das Gupta. Bengali lyrics in those days were at their peak by virtue of their words, feelings and depth. Even a popular number like “Aami shri shri” had some lyrical essence.
How did you adjust to South Indian songs?
I did sing a number of them confidently. My wife [a Malayalee] and daughter helped me with the right pronunciation and I rehearsed thoroughly before the recording of each number. South Indian pronunciation requires a special sort of accent without stylisation, and needs to appeal at once.
What are your immediate plans?
Currently, I am recording [Rabindranath] Tagore songs, a non-filmy Hindi album and a Bengali album in the blues style. At 90, I still love to accept challenges, experiment and want to carry on singing as long as I am alive. •
PHOOL KHILE HAIN GULSHAN GULSHAN [Interview of Shankar (of Shankar Jaikishen duo) by Tabassum in this Doordarshan programme recorded in 1986]
Those desirous of reading it in devanagari script may please visit
http://shankar- jaikishan- tvinterview. blogspot. com/
PHOOL KHILE HAIN GULSHAN GULSHAN
Interview of Shankar (of Shankar Jaikishen duo) by Tabassum in this
Doordarshan programme recorded in 1986
Interlude: ae gulbadan phoolon ki mahak (Professor)
Tabassum: kisi bhi kali ko phool bankar mahakne ke liye kin raaston
se guzarnaa paDtaa hai yeh aap achchhi tarah jaante hain. hamaare
aaj ke mehmaan ki kalaa kali se phool bankar kaise mehkee yeh unhi
ki zabaani suniye. Shankar-ji!
Shankar: yeh baDaa achchha aapne poochha hai, hamaari zinddegi jo
hai Prithvi Theatres se shuru huyi hai, aur aapko maaloom hai ki
us ‘theatre’ mein bahut kuchh seekhne ko milaa hai aur bahut kaam
karne ko bhi milaa hai, aur usi ki badaulat jo hai, ham aaj hain.
Prithvi Theatre hamesha jab ‘tour’ pe baahar jaaya karta tha, tab
kuchh na kuchh ham ‘extra’ kaam bhi kiya karte the, kaise kaam ke
baad kisi bhi shahar mein koi gaane bajaane waale mil jaate to main
unko pakaDke le aata tha kyunki wahaan ke jitne ‘artistes’ hain woh
thak jaate the ‘drama’ ke baad, to mujhse naaraaz hote the ki ‘yaar
yeh kahin na kahin se kuchh na kuchh karta hai, kisi na kisi ko
pakaDkar le aata hai’. to meri aadat thi gaana bajaana sunna aur
usse kuchh haasil karna, to papaji ko yeh bahut pasand tha…
Tabassum: Prithviraj-ji ko?
Shankar: Prithviraj-ji ko, kyunki woh ‘classical’ vagerah mein woh
bahut shauk rakhte the. isi tareeke se ham logon ke har ‘tour’ par
kahin na kahin se aise ‘programme’ huya karte the….(interrupts)
Tabassum: main gustaaKhi ki maafi chaahti hoon aapne yeh naheen
bataaya ki aapne Prithvi Theatres mein shuruwaat kaise kee?
Shankar: o ho ho, jab main Bambai aaya, tab mujhe papaji,
ek ‘Deodhar Music School’ hai, wahaan unke darshan huye, jab maine
unko dekhaa aisa lagta tha ki waaqai yeh itne Khoobsoorat ‘hero’
shaayad hi koi ho saktaa hai. unki khoobsoorti aur ‘personality’ jo
thi, usko dekhkar hi main Khaamosh ho gaya. main to chhoTaa sa… to
maine unse poochha, mujhe maaloom tha ki papaji us waqt
Shakuntala ‘drama’ shuru karnewaale the. to maine unse poochha
ki ‘papaji, aap hamein kaam denge kya?’ unhone poochha ‘kya karte
hain?’ maine kahaa ki main tablaa bahut achchhi bajaata hoon
aur ‘harmonium’ bhi bahut achchha bajaata hoon, thoDaa bahut ‘dance’
bhi karta hoon, aur ‘stage’ par agar koi chhoTe moTe ‘dialogues’ hon
to woh bhi main bol saktaa hoon.
Tabassum: All rounder (laughs)
Shankar: All rounder! to unko yeh bahut achhi lagi baat, to unhone
Dadar mein, aapne sunaa hoga ki woh ‘music’ ke sittings vagerah
waheen kiya karte the. to bulaaya waheen pe ek din. saahab,
do ‘rehearsal hall’ the, wahaan baDe baDe kalaakaar baiThe huye the.
to un kalaakaaron ko dekhkar main soch mein paD gaya ki main to
kuchh bhi naheen hoon in logon ke saamne. to phir mujhse poochhe
ki ‘tablaa sunaaoge kya?’ maine kahaa aap ijaazat den to zaroor
sunaayunga. ittefaaq ne Ali Akbar saahab bhi wahaan the, to ‘Ali
Akbar saahab ke saath aap bajaayenge kya?’ mane bolaa ‘Theek hai,
pehle do ‘minute’ main ‘solo’ bajaa loon phir aapke saath sangat
karoonga’. maine do-chaar ‘minute’ jo ‘solo’ bajaaya, saare logon ne
itni pasand kee hai, itni taaliyaan bajaaye zor zor se.
Tabassum: aur Prithvi Theatres mein aapke kadam jam gaye (laughs)
Shankar: kadam jam gaye, aur waheen se zindegi shuru hoti rahi.
Theatre mein jaate rahe, to ittefaaq se Raj saahab ne ‘picture’
shuru kiya Barsat, Raj saahab hamein gaane banaakar rakhne ke liye
kehte the. aise hamne kai gaane banaa liye the. jab unhone phir se
kahaa gaane banaane ke liye to hamne kahaa ki ‘aap gaane banwaate
hain par kabhi lete to hain naheen!’ ittefaaq se ham Poona gaye
the ‘theatre’ ke saath, to raat ka waqt hai, ek dhun hai suniye aur
dekhiye kaisi lagti hai, bhaiya mat leejiye par sun, gaana maine
woh “ambua ka peD hai, gori munDher hai, aaja more baalma, ab kaahe
ko der hai”, sunaaya. jaise sunaaya to bole ki ‘bas ab Bambai chalte
hain aur is gaane ko ‘record’ karte hain. is baar Bambai aane baad
woh ‘seriously’ gaane ke peechhe lag gaye. to gaane ke liye Hasrat
miya likhne ke liye aaye.
Tabassum: to Hasrat bhai ne us dhun par bol kaun se likhe?
Shankar: “jiya bekaraar hai, chhayi bahaar hai, aaja more baalma,
tera intezaar hai”.
Tabassum: oh ho, yeh to bahut lokpriya gaana tha, Shankar-ji, ek
sangeetkaar yahaan baiThe huye hain, aur saaz bhi maujood hai, to
aapki maujoodgi aur saaz ke hone ka faayda uThaate huye main
farmaaish karoon ki ‘ambua ka peD hai’ ‘jiya bekaraar hai’ kaise
Shankar sings “jiyaa bekaraar hai…”
Tabassum: Shankar-ji, aaj jab ham kehte hain ki Shankar-ji aa gaye
to log poochhte hain ki ‘kaun Shankar-Jaikishen ki joDi waale?’ kya
main yeh jaan sakti hoon ki yeh Shakar Jaikishen ki joDi kaise banee?
Shankar: yeh to aisa hai ki jab main ‘theatre’ mein kaam kiya karta
tha to ek ‘harmonium’ bajaanewaale ki zaroorat thi, to maine
Jaikishen-ji ko wahaan kaam ke liye le aaya. jab laaya to unko
papaji ne rakh liya, bas uske saath hamaari yeh joDi jo banee hai,
jaise barsaat shuru huyi hai, aaj tak barsaat hi barsaat hoti rahi
Tabassum: bahut Khoob!
Shankar: dono jab milkar kaam karte the kabhi yeh naheen sochaa ki
woh kar raha hai ya main kar raha hoon, aisi kabhi hamaare dimaag
mein Khayaal naheen aaye, hamesha yahi sochkar karte the ki hamaara
naam honaa chaahiye, hamein kaamyaabi milna chaahiye, Khoob duniya
mein hamaari charche hona chaahiye, yahi dil mein hamaari…
Tabassum: yeh maqsad mein to kaamyaabi mil hi gaya! achchha Shankar-
ji, jaise Shankar Jaikishen ki joDi mashoor ho gayi, isi tarah
do ‘writers’ bhi aapke saath juDe huye hain, Shailendra-ji aur
Hasrat Jaipuri-ji. kya ham jaan sakte hain ki in dono ‘writers’ ka
istemaal aaplog kaise karte the? aisa kuchh tha ki ek’writer’ aapke
saath aur ek Jaikishen-ji ke saath?
Shankar: naheen aisa kuchh naheen, baat aisi hai ki Shailendra
ke ‘type’ ke gaane jo hain woh ham Shailendra ko diya karte the, aur
Hasrat ke ‘type’ ke gaane hasrat ko diya karte the.
Tabassum: main dono ke ‘type’ ka farak jaanna chaahoon to?
Shankar: jee haan! matlab, jaise Shailendra jo hain “honThon pe
sachchai rehti hai jahaan dil mein safaai rehti hai hum us desh ke
vaasi hain jis desh mein gangaa behti hai” aur Hasrat ka hai “teri
pyari pyari soorat ko kisi ki nazar na lage chashm-e-baddoor”.
Tabassum: achchha, yaani in mein ‘romance’ zyaada hai.
Shankar: waise yeh dono hi ek doosre se koi kam naheen the aur main
samajhta hoon ki indono ne jitna naam kiya aur inke gaane jitne
chale, shaayad hi kisi aur ke chale honge
Tabassum: ab aap yeh bhi hamein bataayen ki jab aap filmi duniya
mein aaye us waqt yahaan ki mashoor mashoor aawaazen kaun si thi?
Shankar: us waqt to mere khayaal se Shamshad-baai theen, Zohrabai
Ambalewali, Amirbai Karnataki, aur Rajkumari, aur Khursheed,
Suraiyya, aur Noorjehan bhi theen. to aise baDe baDe gaanewaale the.
lekin ham ek din “Jupiter Studio’ mein main gaya tha to ek laDki ko
maine wahaan dekhaa jo Husnlal-ji ke wahaan apni aawaaz sunaane ke
liye aayeen theen.
Tabassum: Husnlal Bhagatram?
Shankar: jee haan! ‘great’ log the. to wahaan par apni aawaaz
sunaaya inhone, to unhone pasand naheen kiya aur waapas bhej diya.
mere dimaag mein naheen maaloom woh aawaaz kyun rahi, kya hai, jab
yeh gaana maine Barsat ka banaaya “jiya beqaraar hai”, tab us laDki
ko maine bulaaya. achchha jab bulaaya tab aap samjhengi naheen ki
yeh laDki gaana gaayegi ya gaa sakti hai, aisi kuchh baaten unmein
nazar naheen aa rahi thi.
Tabassum: main aapse yahi sawaal karne jaa rahi thi ki jab us
zamaane ki mashoor aawaazon ko na lete huye aapne yeh gaana Lataji
se gawaane ka faislaa kyun kiya?
Shankar: naamwaale to hain hi lekin us waqt dimaag mein mere yeh
aaya ki main Khud naya hoon, zindegi ka kuchh Thikaana naheen tha,
lekin maine us laDki ke aawaaz ko pasand kiya, isiliye pasand kiya
kyunki mere dimaag mein tha ki yeh gaayegi, usko ek gaane ke liye le
aaye hain, woh hain Lata Mangeshkar!
Tabassum: main yeh jaanna chaahoongi ki us waqt sangeetkaaron ka aur
gaayakon ka aapas mein ‘relation’ kaisa huya karta tha?
Shankar: us waqt bahut achchha tha.
Tabassum: bilkul guru-shishya ki tarah?
Shankar: guru aur shishya ki tarah, ek doosre ka aadar karna, doosre
ko maan dena, chhoTe baDe ka khayaal karna, yeh sab cheezen thi
aur ‘music director’-on mein bhi pyar tha aur ek doosre se milna-
julna, bahut achchha tha.
Tabassum: Shankar-ji, aapne ‘playback’ ki duniya mein aur bhi to
bahut si aawaazen ataa keeye hain?
Shankar: haan! C H Atma ko jab ham le aaye to Pancholi saahab ki
kya ‘position’ aur kya unki ‘glamour’ thi. us waqt unke saamne, woh
itne lambe the ki main ek chhoTa sa jhaaD ke neeche khaDa hoon aisa
lagta tha, to unhone poochha ki ‘arey tum to abhi naye naye aaye ho
aur naye naye logon se gawaa rahe ho!’ maine bolaa ‘Pancholi saahab,
ham naye hain isiliye gawaana hai’. to woh bole ki ‘tumhare himmat
ki dad dena chaahiye, tum naye hokar Khud naye ko gawaa rahe ho’. to
aapne sunaa hoga C H Atma ko, to C H Atma ko gawaa diya hai to woh
bhi chal gaya hai, to aise hi kitne…
Tabassum: Sharda ji ki aawaaz mein aisi kaun si Khoobi aur Khaas
baat thi jo aapne unhe ‘chance’ diya?
Shankar: jaise Lata ko hamne laaya, hamne koi Khoobi to naheen
dekhaa usmein, waise ismein bhi hamne koi achchhi baaten dekhi hogi
jo le aaye, Sharda ki aawaaz mein jo hai ek apna Dhang sabse baDaa
Song: dekho mera dil machal gaya (Suraj)
Tabassum: ‘glamour’ ki duniya se taallukh rakhne waale har mashoor
aadmi ke baare mein uske darshak zyaada se zyaada jaankaari haasil
karna chaahte hain aur kaafi baaten unhe maaloom bhi ho jaati hai
lekin Shankar-ji, aapke parivaar ke baare mein, aapki ‘family’ ke
baare mein logon ko aaj tak zyada ‘detail’ naheen maaloom huyi. iski
Shankar: aisa hai, jo aadmi ‘film line’ mein 37 ‘years’ guzaarta hai
aur is line ki ek ek baat maaloom hai ki kaisa filmline hai, kaise
log hain, kaise baat karte hain, to main yeh galati kaise kar saktaa
hoon ki apni ‘family’ ko film-line mein le aayun!
Shankar: jahaan ka kaam waheen karo achchha hai, is museebat mein
kyun Daalo, ham jo paD gaye museebat mein woh to waqt ki baat hai,
achchha kaam keeye isliye nazar aa rahe hain warna to yahaan kitne
aaye kitne chale gaye.
Tabassum: kisi bhi gaane ke liye pehli cheez ‘situation’, uske baad
bol aur teesra ‘number’ aata hai dhun ka. logon ka yeh Khayaal hai,
aap isse kahaan tak sehmat hain?
Shankar: aisa hai ki ham log pehle dhun banaate hain.
Tabassum: yaani ki teesri cheez jo kahee hamne, woh aapke liye pehli
Shankar: jee haan! isiliye ki usse lay banta hai. naya ‘rhythm’
banta hai, naya Dhang banta hai, aur usse likhnewaale ke liye bhi
lay aur ‘style’ alag ho jaata hai. usse kya hota hai ki
samjho ‘writer’ jo hai ya daadra hotaa hai ya roopak hotaa hai ya
keherbaan, yeh teen cheezen hi hoti hai unke liye, to usko likhne ke
baad gaana agar ham len to ghazal ek jaisa hi hogaa, usey badalna
baDa mushkil ho jaayega.
Tabassum: ‘variety’ naheen aayegi!
Shankar: jee haan! isliye jaise maatre hain (sings & explains
rhythm), to yeh wazan ‘writer’ ko kaise aayega? jaise (sings) “kaise
jaanoo, kaise maanoo, aaja aaja”, to yeh rhythm jo hai ispe jab bol
aayenge to gaana alag ho jaayega. isliye hamen aadat ho gayi
hai ‘tune’ pe gaane banaana, lekin isse likhnewaale baDi takleef
hoti hai, ‘meter’ pe likhna paDta hai.
Tabassum: ‘rhythm’ pe likhna?
Shankar: jee haan, kyunki shaayar sochta hai ki kaise laayen ham
bol, ismein ‘rhythm’ TooT-ta hai, unko baDi pareshaani hoti hai
lekin aakhir woh gaana achchha banta hai.
Song: geet gaata hoon main (Lal Patthar)
Tabassum: Shankar-ji, aap yeh mehsoos naheen karte ki shaayar ko
agar itni ‘freedom’ dee jaaye ki woh ‘meter’ pe na likhke woh pehle
gaana likhe to unke ‘thoughts’ ki uDaan aur oonchee hoti?
Shankar: naheen, to usmein hamaari zindegi mein achchhe gaane bahut
achchhe hote hain lekin woh ‘meter’ jo hai logon tak pahunchta
naheen, log yaad naheen karte usey. hamaare kam se kam 100 gaano
mein 75 gaane ‘rhythm’ pe likhe gaye hain, vazan par likhe huye hain.
Tabassum: yaani, bolon ki taareef ho jaati par gaane zabaan par
Shankar: chaDhta naheen!
Tabassum: achchha to aage baDhne se pehle ek gaana woh bhi dikhaa
den, pehle bol aur baad mein dhun?
Shankar: jee haan, jee haan!
Song: ja ja ja mere bachpan kahin jaa ke chhup naadaan (Junglee)
Tabassum: gaana banne ke baad aawaaz ka intekhaab aap karte hain ya
aapke ‘producer’ aur ‘director’?
Shankar: aaj tak to ham hi logon ne kiya hai, ham hi pasand karte
hain aur apni hi pasand se aawaaz, aur isliye is kaam mein
imaandaari hai bahut, hamne apna matlab kabhi naheen dekhaa, na apna
matlab sochaa hai, agar apnamatlab sochte to shaayad itne saal
yahaan chalte bhi naheen, iska sawaal hi naheen hai, lekin aajkal jo
waqt aa gaya hai woh waqt aisa aaya hai jo ki aaj ‘music director’-
on ki kuchh naheen chalti hai, na koi ‘music director’ ko samajhta
hai, log samajhte hain ki ham jo ‘ideas’ laaye hain usko banaao aur
banaakar hamko do to sabse achchha hai. to aaj aap dekh rahe hain ki
kya ho raha hai ‘music’ ka shay, ‘music’ ka to satyaanaash hi ho
Tabassum: to gaana banne ke baad aawaaz aap Khud hi pasand karte hain
Tabassum: to usmein kabhi aapne ‘variety’ dene ki koshish kee? jaise
Raj kapoor-ji ke saath juDe huye the Mukesh-ji, to aapne kabhi yeh
koshish naheen kee ki Mukesh-ji ke alaawa Raj Kapoor-ji ke chehre ke
liye kisi aur se gawaaya jaaye?
Shankar: Manna Dey ko gawaaya, aur aisa koi zaroori naheen ki Mukesh
hi gaaye, Manna Dey ne bhi gaaya hai Raj Kapoor ke liye, jaisa gaana
banta hai uske hisaab se hamne gawaaye.
Song: chham chham baaje re paayaliya (Mere Huzoor)
Tabassum: aap apne sangeet mein shastriya sangeet ka bhi bahut
istemaal karte hain. iski koi Khaas vajah?
Shankar: Khaas vajah yahi hai ki hamne seekha hi shastriya sangeet
pehle hai. sabse pehle shree ganeshaay namah jo ham kehte hain wahi
hai. pehle hamne ‘classical music’ seekha hai, uske baad hi
saara ‘music’ aaya hai hamko. varna jiski buniyaad hi mazboot naheen
hai, main samajhta hoon woh kaise logon ko yaad rahega?
Tabassum: lekin ‘film-line’ ke log jo bahut achchhi tarah kareeb se
aap logon ko jaante hain woh kehte hain ki jo ‘classical’ waale
gaane the unhe Jaikishen-ji banaate the aur aap ‘western touch’ liye
Shankar: aisa naheen hai
Tabassum: kya ham jaan sakte hain ki kaam ko anjaam aap kaise dete
Shankar: zaroor zaroor, aisa hai ki agar main mar jaata aur
Jaikishen reh jaata to ussey bhi yahi sawaal kiya jaata.
Shankar: to bataaiye, sawaal to yahi hotaa, aisa naheen
hai, ‘classical’ woh bhi jaante the, ‘classical’ main bhi jaanta
tha, lekin milkar jo kaam hota hai, maine ‘classical’ par hi zyaada
mehnat kiya hai aur ‘dance’ vagerah ke jitne baDe baDe ‘number’
dekhe hain aapne woh takreeban maine hi usko anjaam diya hai.
Tabassum: achchha to kabhi aisa bhi huya ki ek gaane mein mukhDa
aapka ho aur antara unkaa ho?
Shankar: jee haan!
Tabassum: aisa bhi huya hai?
Shankar: jaise “pyar huya ikraar huya”. ismein jhagDaa bhi bahut
huya, woh dil mein kabhi koi baat naheen rakhte the.
Tabassum: achchha Shankar-ji, log yeh mehsoos karte hain ki
Jaikishen-ji ke baad film jagat mein aapka naam bhi kam nazar aane
lag gaya hai.
Shankar: uski vajah hai. aapko issey pehle bhi maine batlaaya, jaise
ki aajkal ke waqt mein ek achchha aadmi jo naam kiya hai, achchha
waqt dekhaa hai, to aise kaam ke liye kisi ke ghar jaana, kisi ki
Khushaamad karna, yeh main samajhta hoon ki be-izzati hai, insaan
agar shaan se kaam karna ho to Theek hai kaam ka muqaabla keejiye
na, kaam agar achchha chaahiye to ham hain, chaahe aaj ho, aaj se 25
saal pehle ka kaam ho to waisa agar kaam karna ho to ham karke
dikhaa sakte hain aur aaj bhi hamaara ‘music’, jo bhi hamne kiya
hai, aaj ke gaano se bhi zyaada hamaare gaano ka ‘rhythm’ aaj bhi
utna ‘fast’ hai.
Tabassum: achchha Shankar-ji yeh bataaiye ki kisi bhi film ki
kaamyaabi ke liye uske ‘music’ ka kitna baDaa haath hota hai?
Shankar: 50% hota hai, zaroor. aaj tak ‘history’ dekh leejiye aap,
jo bhi ‘picture’-en chalee ‘music’ ke upar hi chalee.
Tabassum: aapne beshumaar gaane banaaye hain pichhle 37 saalon mein,
ham yeh jaan sakte hain ki aapko apni kaun si dhun sabse zyada
achchhi lagi aur kyun?
Shankar: ab yeh to sawaal aisa hai ki maa ko agar poochhen ki
tumhari saare bachchon mein kaunsa bachcha sabse achchha hai to
kaise bol sakti hain bataaiye na!
Song: zindegi ek safar hai suhaana (Andaaz)