Archive for October, 2016

संगीत के सरताज शंकर-जयकिशन

shankarypiano

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

Written by

Shyam Shankar Sharma's photo.

Advertisements

Tributes to legendary Hindi film music composer Shankar Singh Raghuvanshi

shankerji-courtesy-sadasivamk

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

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

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

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

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

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

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

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

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

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

Shankar(Jaikishan) & Lord Shiva

Dancing Shankar-Jaikishen. A rare treat to eyes

shankar-jaikishan-dancing-in-a-function

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

Contributed by

Mithun Krishnan

 

 

Remembering Shankar on his birthday

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

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

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

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

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

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

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

Here it is :

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

Contributed by:

Hemantkumar Pawar

Shankar was a YOGI of music

by-anil-anawalikar-ji

profile photo

The First Global Music director duo

The popularity of Hindi films outside the Hindi belt is mainly due to the music and songs. This was, facilitated by Radio Ceylon at the beginning . The music era of the legendary KL Saigal was appreciated by only the elite ( so called Classes ) . But soon Naushad .Anil Biswas . C Rama Chandra etc created new music that was grabbed with delight by all including the masses all over the Nation . And then entered a new duo—Shankar & jaikishan that further enhanced the entire concept of Hindi film music. The duo created one hit after another. While films were run on the image of the stars , SJ changed that too. Producers started booking SJ as music directors first of all before heroes/heroines .
Thus SJ doninated the Hindi film field for more than two decades —-with their songs on every ones lips throughout the country more so in AP apart from Hindi region. Shankar was a born musician . It was a god’s gift . He was ably complemented by Jaikishan so much so that many believed that they were one person ie. Shankar jaikishan was the name of a single person . Shankar was a simple ,down to earth person and an introvert too . He was totally dedicated to his music and nothing else . Jaikishan was young and outgoing person with a penchant for friends with his favorite drink and more reachable. Though their individualities differ much their passion for music is same .One can not distinguish between a Shankar’s song and a jaikishan’ song though they were creating songs individually right from Barsat. Hasrat jaipuri himself told in an interview as such.
Shankar’s magnanimity is already well known . He remained dedicated to his music so much so that we kow nothing about his personal life and family . There would never be another Shankar . I say Shankar was a YOGI of music

contributed by :                                                                                              Shanker’s b/w photo by

                                                                                                                             Anil Anawalikar ji

%d bloggers like this: