Monthly Archives: May 2018

पुस्तक समीक्षा – संगीत भावनामृत

पुस्तक समीक्षा – शंकर-जयकिशन 
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भारतीय सिनेमा में गीत-संगीत फ़िल्म में प्राण वायु के समान हैं। ‘आलम आरा’ (1931) से जब हिन्दी सिनेमा ने पहली बार बतियाना प्रारम्भ किया था तब से ही उसने गीत गाना भी प्रारम्भ कर दिया था। अपने उद्भव के प्रथम दशक में ही सिने गीत-संगीत की प्रथम महत्वपूर्ण उपलब्धि के रूप में जिस एक उपहार ने फ़िल्म संगीत को नूतन विधा के रूप में स्थापित कर वर्ष प्रति वर्ष इसकी जीवन्त उपलब्धियों का मार्ग प्रशस्त किया वह था सिनेमा में पार्श्व गायन विधा का श्री गणेश।
पार्श्व गायन विधा के आगमन से हिन्दी सिनेमा में उन ढेरों गायक-गायिकाओं को विस्तृत व्योम प्राप्त हुआ जो अभिनय की सहज पूँजी से वँचित थे। इस विधा ने संगीतकारों के लिए भी एक नया द्वार खोल दिया था जिसके द्वारा वे अपनी संगीत रचना को सुर-सरगम से युक्त स्वरों से सुसज्जित करने को स्वतन्त्र थे। तब कुन्दन लाल सहगल ही एकमात्र ऐसे व्यक्तित्व थे जो अभिनय एवं गायन में समान रूप से सिद्ध थे। अपनी इस विशिष्ट क्षमता से सहगल का नायक-गायक के रूप में बोलती सिनेमा के प्रथम दो दशक की अवधि में पूर्ण रूप से वर्चस्व रहा। इन प्रारम्भिक दो दशकों में सिने गीत-संगीत की धारा अपने प्रवाह में सुरीलेपन के जिस तत्व को ले कर आगे बढ़ रही थी उसकी गति मन्द-मन्द होते हुये एक सीमित आयाम में बँधी हुयी थी। हिन्दी सिनेमा में संगीत की इसी मन्द गति को त्वरित वेग प्रदान करते हुये उसके सुरीलेपन को नूतन आयाम देने का कार्य अकस्मात् ही अस्तित्व में आया था। तब संगीत के स्थापित महारथियों को रातों-रात विस्मय में डालते हुये युवा संगीतकार जोड़े शंकर और जयकिशन ने सरगम के जिस तार को झंकृत कर सुरों की अनोखी बरसात की थी वह आज भी संगीत रसिकों को भिगोये हुये है। पार्श्व गायन विधा से परिचित होने के पश्चात् भारतीय सिनेमा की यह दूसरी सर्वाधिक महत्वपूर्ण घटना थी।
यह शंकर-जयकिशन के संगीत का अपूर्व आभा मण्डल ही था जिसके प्रभाव से उन्होंने भारतीय हिन्दी सिने गीत-संगीत के व्योम पर अपने प्रथम प्रयास में ही राष्ट्रीय स्तर पर अपनी सशक्त उपस्थिति अंकित कर ली थी। राज कपूर के ‘आर के बैनर’ की छत्र-छाया में मुकेश, हसरत जयपुरी, शैलेन्द्र और शंकर-जयकिशन भारत में संगीत के श्रेष्ठ उदीयमान समूह के रूप में स्थापित हो चुके थे। तब इस समूह में युवा गायक मुकेश ही एकमात्र ऐसे व्यक्तित्व थे जो राष्ट्रीय स्तर पर पूर्व में ही लोकप्रियता का स्वाद चख चुके थे। राज कपूर के साथ ही शंकर-जयकिशन, शैलेन्द्र, हसरत और लता मँगेशकर ‘बरसात’ की अपार सफलता से अभिभूत हो चुके थे। ‘आवारा’ के प्रदर्शित होते ही भारतीय सिने संगीत ने वैश्विक व्योम पर जब अपनी उपस्थिति अंकित की तब हिन्दुस्तानी गीत-संगीत का विश्व समुदाय से प्रथम साक्षात्कार एक अद्भुत घटना थी। भारत में शंकर-जयकिशन प्रथम ऐसे संगीतकार बन चुके थे जो अन्तर्राष्ट्रीय स्तर पर अपनी पहचान स्थापित करने में सफल हुये थे।
भारतीय सिनेमा के ऐसे प्रथम वैश्विक संगीतकार शंकर-जयकिशन पर यूँ तो बहुत कुछ लिखा, पढ़ा और गुना गया है पर उनके कृतित्व एवं व्यक्तित्व पर नवीनतम विस्तृत शोधपूर्ण प्रकाश डालने का कार्य पुस्तक के माध्यम से इसी वर्ष किया गया है। ‘शंकर जयकिशन फ़ाउण्डेशन’, अहमदाबाद द्वारा प्रकाशित पुस्तक ‘संगीत भावनामृत’ शंकर-जयकिशन के जीवन और संगीत पर आधारित एक महत्वपूर्ण पुस्तक है। संगीत समालोचक-लेखक श्याम शंकर शर्मा द्वारा लिखित इस पुस्तक में संगीत समीक्षा का पक्ष प्रसिद्ध लेखक-समीक्षक डॉ पद्मनाभ जोशी ने प्रस्तुत किया है। पुस्तक के प्रथम भाग में शंकर-जयकिशन के संगीत से सजी पच्चीस प्रमुख फ़िल्मों के संगीत पक्ष की विस्तृत विवेचना प्रस्तुत की गयी है। एक-एक गीत की व्याख्या और उसमें निहित संगीत के तत्वों के संग ही गीत का भाव पक्ष, उसका निरूपण तथा फ़िल्म में इसकी प्रस्तुति सहित अन्य सम्बन्धित तत्वों पर की गयी व्याख्या शंकर-जयकिशन के कृतित्व के ढेरों आयाम से पाठकों को यह पुस्तक सहज रूप से परिचित कराती है। शंकर-जयकिशन के जीवन और उनकी संगीत यात्रा पर एक विहँगम दृष्टि डालते हुये इस पुस्तक में उनके गायक कलाकारों, संगीत सहायकों एवं प्रस्तुतियों पर विस्तृत चर्चा की गयी है। संगीत प्रेमियों के लिये यह सूचना सुखद होगी कि यह पुस्तक शंकर-जयकिशन पर आने वाली अन्य कई पुस्तकों की कड़ी में प्रथम भाग है। इसी क्रम में ‘शंकर जयकिशन फ़ाउण्डेशन’ द्वारा पुस्तकों के कई और भाग शीघ्र ही प्रकाशित किये जायेंगे जिनमें शंकर-जयकिशन के संगीत साम्राज्य के अन्य आयामों की चर्चा होगी।
इसके पूर्व शंकर-जयकिशन पर श्याम शंकर शर्मा की प्रथम पुस्तक ‘संगीत सागर’ का प्रकाशन ‘शंकर जयकिशन फ़ाउण्डेशन’ के सहयोग से किया जा चुका है। इस पुस्तक में शंकर-जयकिशन के जीवन, उनके संगी-साथी, गायक-गायिका, वादकों, निर्माता-निर्देशक, उपलब्धियों, उतार-चढ़ाव तथा उनके संगीत का विस्तृत विश्लेषण प्रस्तुत किया गया है। उपलब्ध सूचना तथा आँकड़ों को आधार बना कर पुस्तक में उन पक्षों पर भी लेखनी चलायी गयी है जो भावनात्मक स्तर पर किसी को भी उद्वेलित कर सकते हैं। शंकर-जयकिशन पर अपार श्रद्धा का ही यह परिणाम है कि विश्व भर में फैले शंकर-जयकिशन के लाखों-करोड़ों प्रशंसकों के मध्य काल के भाल पर स्थायी रूप से अंकित संगीत के इस चक्रवर्ती सम्राट पर उपलब्ध सूक्ष्म से सूक्ष्म सूचना भी इस पुस्तक के माध्यम से एक-एक संगीत रसिक को सहज ही आकर्षित करती है। इस पुस्तक में देश-विदेश में कार्यरत शंकर-जयकिशन पर स्थापित की गयीं संस्थाओं, उनके सक्रिय सदस्यों के सम्बन्ध में भी जानकारी दी गयी है जो इस बात का प्रमाण है कि विश्व के प्रत्येक कोने में आज भी भले ही पृथक-पृथक संस्थाएँ अपने-अपने उद्देश्यों के संग शंकर-जयकिशन के संगीत पर कार्यरत हैं पर मूल रूप से ये सभी एक ही सूत्र में बँध कर शंकर-जयकिशन के समृद्ध धरोहर एवं परम्परा को और भी विशाल व्योम एवं विस्तृत धरातल प्रदान कर रहे हैं। अहमदाबाद के स्नेहल पटेल, चिराग पटेल, उदय जोगलेकर, कोलकाता के सुदर्शन पाण्डे, अमरीका की लक्ष्मी कान्ता तुमाला सहित अन्य नगर, प्रान्तों में सक्रिय शंकर-जयकिशन प्रेमी का इस दिशा में समर्पित कार्य प्रस्तुत पुस्तक में अंकित किया गया है।
यशस्वी वैश्विक संगीतकार शंकर-जयकिशन के संगीत साम्राज्य पर अभी ऐसी ही और भी ढेरों पुस्तकें, वृत्तचित्र तथा समारोह का लेखन, निर्माण एवं आयोजन शेष है जो निःसन्देह इस विलक्षण प्रयोगवादी शाश्वत संगीतकार के आभा मण्डल का द्योतक है। सभी संगीत प्रेमियों के लिये ये पुस्तकें संग्रहणीय हैं।
डॉ राजीव श्रीवास्तव
[पुस्तक: संगीत भावनामृत, लेखक: श्याम शंकर शर्मा, पृष्ठ: 371, प्रकाशक: शंकर जयकिशन फ़ाउण्डेशन, ग्राउंड फ़्लोर, प्रवेश अपार्टमेंट, 10, महादेव नगर सोसायटी, सरदार पटेल सटेच्यू के निकट, अहमदाबाद – 380014, दूरभाष: 079-26440618]
[पुस्तक: संगीत सागर, लेखक: श्याम शंकर शर्मा, पृष्ठ: 369, प्रकाशक: एस एस शर्मा, 93, आनन्द विहार-ए, दादी का फाटक, बेनाड़ रोड, झोटवाड़ा, जयपुर – 302012, दूरभाष: 09352662701 , 08107219028]

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Image may contain: Shyam Shankar Sharma, standing
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जो भी वास्तविक शंकरजयकिशन प्रेमी है,वह उक्त दोनों पुस्तके निशुल्क श्री हिरेन पटेल जी से निम्न फ़ोन पर संपर्क कर प्राप्त कर सकते है।
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The height Shanker Jaikishen had reached is too far; beyond anyone else’s’ reach, no question about that…

Written by Singer

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Sharda Rajan

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The height S J had reached is too far. beyond anyone else’s’ reach… no question about that…
It is all before everyone eyes.. & ears…..Great, great personalities have accepted the fact.
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The music pieces, the range, the varieties of tunes, the orchestration, the use of the violins & other instruments are mind-boggling.
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They were the aadi & anth of a glorious height in music …
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They brought the biggest orchestra to Indian scene ….how they managed it & how they recorded the magnificence with 4/ 5 mikes & limited facilities in recording technics is beyond imagination.
The height of the popularity & the volume of adoration they earned, simply by merit, at a time when there were no boosting & bombarding media, is also unheard &unseen & beyond anyone’s grasp.
They didn’t need any support from anyone, ..no big banners , no superstars were needed to take their music sky high ..Their merit was enough to take not only themselves to great heights but lift everyone who was associated with them to the same heights along with them
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Sebastian & Dattaram were among those who zoomed high riding on the wings of S J.
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When SJ started with Barsaat , which became a musical toofan , with all songs becoming super duper hits, competing with themselves, pushing one another to reach the sky . all of them,
there was no Sebastian or Datta ram ..
They had brought in their first movie only many new technics, setting a new trend.Thereafter raising & higher brought many variations, second track music, counters & fillers, showing India what is a true orchestra..At that period when there were only ‘sa re ga ma pa dha ni music in all the songs, they brought the new western music arrangement to India …They brought the chord arrangements, the counterparts, the backings, the fillers, obligatos & Overtures.
The first, second music, overlapping alaaps, countermelodies arrived in their first movie only .. check with ‘Chodgaye Balam & other songs.
No assistants & arrangers were needed… The macho music has landed in India!
.There were no such backings in the orchestra,………till S J appeared in the music scene.
People knew only simple straightforward music pieces, till S J entry.
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Seb & Dattaram came as arranger & assistant after S J had already reached the glorious heights in music arrangement…
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Sebastian was lucky that Shankerji chose him to be his arranger & now he has got an important place in the music history of India… Any arranger would have got this place if Shankerji had chosen him… It is the S J music that took him to giddy heights & gave him the exclusive boon to shine…
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As I had written earlier that Shankerji’s harmonium would bring out aaaal the new, modern pieces, the new patterns, the heart pulling pieces ..& what Seb had to do was just write them down in the music sheets & place them in the song…..
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Slowly & gradually Seb grasped the S J style & became nr one arranger.

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When someone asked O P ji that how come Sebastian’s work is so great in only S J music, whereas he worked with many other M DS.
I heard or read somewhere that O PJI had replied, that ‘ You have the answer in your question only… It is S J music that makes Sebastian come out great ..’
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What a wonderful reply! A great music director to say this about another great… Only a genius can give praise to another genius in this manner…
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If Sebastian had any hand in the grandeur of S J music, how come he did not bring it out in other MDs music, with whom he worked ..?..He could have made those other MD s also give hundreds of hit songs & demand 5 lacs per movie .. right ..? How come he didn’t do that?
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Sebastian was an arranger, not music maker ..If he was capable of that, we would be having another S J in the name of Sebastian with another sack full of hit songs .. But, no, we are not having that, because Sebastian was no composer. He cannot create music & he had nothing to do with the creations of S J, other than just writing the music & arranging what was already composed.The magnificent pieces & the arrangement of the magical notes are all SJ creations, every bit, A to Z …… No one,s hands were there, no one,s hands could do anything & no one was needed.Actually, who could go near S J caliber? SJ themselves could give the whole world an ocean of music marvels & much much more to so many others..

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All the counters, the seconds, obligatos will come flooding out of Shankerji’s hands . Seb only had to pick those pieces & write them down in the same tempo as Shankerji’s hands.
Gone piece will be gone piece .. it wont come again ….thousands of other pieces are coming out bursting ……….Seb will nowhere lag behind .. Quick in picking up the right piece, written down in a jiffy , he is ready to pick another piece …then to place them all in the song in the right place.

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If he had wanted, Sebastian could have become a music director himself.He had offers… But he knew his limits, he declined the offers he got, saying,’ that is not my job.
If you have the talent of composing, you cannot leave the composing offer.You will jump up &definitely take it .. Means Sebastian did not have the creative instinct in him. He can do a great job in arranging the music which the M D had composed & that is it. He cannot go beyond that. That is why he could not do anything great in his job with other M D s & came out great with only S J.
And he grew with the magic of S J.
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Whereas Sebastian grew with S J music to greater heights, Dattaramji was zigzagging all thro ..
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Dattaramji was just a rhythm player in S J orchestra .which you can see in this photograph in which Jai sab is conducting the rhythm section where Dattaramji is seen playing a rhythm instrument.
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It is again Shankerji’s magnanimity that raised him from a rhythm player to rhythm conductor.
Like always, like with so many other people he had lifted, Shankerji lifted Dattaramji also.
Not only that, he gave him chance to give music in movies with Rajkapoor.
So gracious & big hearted was Shankerji to give such a chance to an assistant … Couldn’t he have taken the movie himself?Have any other M D done like this anytime?

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.Many of the M D s of those times had Hindu assistants who were familiar with classical & light music. Some M Ds might have been telling their assistants to make the music for their songs.Arrangers were mostly Goan Christians & they wrote notations .. not make music .
. But most of our great mds not only just composed all the music but worked for a long time making different pieces & checking, bringing out best music.I have read somewhere Naushad sab saying that he worked more hard in the music than the song. As for S J, sawaal hi nahi uthta hai .. .with the undrying ocean of music roaring within them, where is any chance for any arranger to get in? They had everything composed in excellence, the intro, interval, counters, seconds, fillers, all complete, each & every piece ready for the arranger to write & fix the chords.They had the most brilliant excellent magical music flowing from their hands & they built an ethereal heaven of music which will go on shining in the world forever.
Who was needed to put char chand in their music? They have fixed pacheeson Chands in their hand…No arranger was invited to fix char chand in their compositions …Who could even come close to their melodies & music pieces?
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Seb was required to control the sea of musicians in SJ orchestra, which was growing bigger & bigger all the time. Plus he had to write western notations for the musicians who read western notations.They all have to play at one time & since there were no track recording facilities at that time, conductors were needed to manage the huge orchestra.Seb, s job was to write all the music, place them in the right place as main music or counters, give the sheets to the musicians & lead them to play in unison .
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Dattaramji was also lucky that Shankerji gave him this chance .. Shankerji’s loyalty & steadfast sincerity made him stick to Dattaramji all thro ….though Dattaramji ‘s style slowly was lagging behind & not reaching to the level of the grandeur of S J music.
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SJ brought new styles & variations in rhythm, but they all did not come out due to the lack of a proper rhythm arranger. Shankerji used to play & sing all the patterns while composing the song. The music pieces come out with Sebastian writing down most of them, but rhythm patterns which Shankerji would demonstrate with audiation sounds , by uttering the rhythm patterns by various sound combinations, went missing. You can watch in some interview videos how Shankerji demonstrate rhythm patterns.
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While his tabla dholak arrangements were quite fantastic, Dattaramji was not as fantastic in the beats as to the most modern, rich, new wave music of S J in all those western style modern songs…
With the passage of time & their hit parade raising higher & higher, S J music went on leaping to new heights But Shankerji, let Dattaram conduct the rhythm section in his style which was not rising to the level of the brilliance of S J music & lagged way behind S J magnetism.His tadipas & Dattu tekas were getting outdated & not suitable for the changing times & the latest, futurish music S J went on creating… The new crop of Disco Diggers mushrooming all over wanting to rock with the beats, the drums had to take over the reigns.
If Shankerji had taken another new young rhythm arranger for his western style songs the rhythm would have been much more matching with their magnificent level
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But Shankerji is Shankerji .. he will not hurt anyone .. he will take the hurt himself
He cannot let his associate down ……….& he compromises…
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It would have been so much the merrier if Dattaramji was little more innovative & brought new variations matching those zinging zooming S J tunes instead of sticking to the tadipas…
.There was a Himalayan scope in all those brilliant vibrant melodies of S J, for the rhythm arranger to come out with out of the world beats, variations, styles & patterns.
But sadly Dattaramji stuck to his old style which made some S J lovers turn to other directions..
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Anyway, the power of the high volume magnetism & machoism in S J music is so enormous that it will not be affected by the lack of modern pattern beats. New wave rhythm or old wave rhythm S J dhuns will go swinging all over the world. No one notices or realizes the missing fireworkbeats in the songs.
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Many new crops of rhythm players & conductors would have given the world to get to work with Shankerji.. but with Dattaramji around they would not dare coming close to Shankerji.

We all respect Sebastian & Dattaram.We respect them because they worked with the greats whom we love & respect…Shankerji,s & Jaikishenji.s association have given them this love & respect …who would bother about them if they did not work with SJ & worked with some other MD s? The love for S J is so enormous in all their chahnewale’s hearts that they will love anyone connected with them in any capacity. Does anyone bother about the arrangers & assistants of any other M D ?
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I cannot go praising any persons unjustly ,unduely saying that someone had their hands in S J marvels & give credit to people saying they had inputs in S J music.
I have a conscience, … for God’s sake!
I have watched, the composing, the notation writings, the rehearsals & recordings…………and I can say with my head high before God that S J are the limit in creations & they did everything by themselves & no one did anything in their creations & none had any inputs in their creations ……
Sure . the credit for doing a great job in arranging S J music in grand manner goes to Sebastianji .The understanding , the inner vibes& tuning he developed with S J made him dear to them ..That is all .. No credit for any creative job or having a hand in their music .if I did that to go along with the crowd I will be doing something wrong .

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I don’t know when, how & why Dattaramji left …
But I knew when Sebastian left
. Shankerji tells me, with a heavy heart that Sebastian is leaving.
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I am shocked. I ask ‘ Why? What happened?
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He says ‘ He is retiring .. Going to Goa ‘
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I could not believe it .. How can a professional retire? How will his talent take a bow?
That too leaving Shankerji at this time .. after Jai sab left him?
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‘ Noooo.’ I say .. Don’t let him go ..’
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He says, ‘ I am telling him… He is not listening ‘
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I felt that Seb should not have left Shankerji at this crucial time…
I could not forgive him…How did he have the heart ?…
At least he could have waited until Shankerji found some suitable person.
He was also like one of all those …who let Shankerji down ……..when he was going thro his dark time…This is not the best time for Shankerji to go & try new associations in his work.
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True, it will not affect him, whichever arranger he worked with. But the longtime association, understanding & the rapport Seb shared with Shankerji are something which will not be easy to get from somewhere else, all of a sudden at a testing period of his career.
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Shankerji takes this one & that one for arranging his music …with no proper result or full satisfaction … fighting his battles like a warrior without his chariot or weapon… .
No doubt all those arrangers were brilliant in their jobs … but Shankerji,s extraordinary style is way beyond anyone to cope up with.Gradually all Shankerji’s new creations which were full of verve & vigor suffered without proper handling, accurate arranging & rhythm setting.
..Before he could get the new young talents get acquainted with his magic & come up to match his creativity .. he had to leave this world…
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People say. ‘ Oh . some songs are loud, some songs are not so great ‘
Tell me have you seen anywhere in this whole world any MD who have given nearly 2000 songs . all great & all hits?
If you compose thousands of songs, surely some of them will be little less sparkling…
See the percentage of hits & the number of star-making songs… matchless!
India is richer in music because of S J . If you imagine the music world without S J songs, you will see a bleak picture.
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All artists, stars or singers, dancers or M D s, they all lose their charm after a particular period, though they cannot leave & retire because of their ego or greediness & they go on dragging forcing themselves upon the public with aged faces & voices. The public takes them because of the feelings it has developed for them during the past.
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But Shankerji was not anyone. He was the specially created special genius, with an endless flow of divine music in his hands & brain.
You have not seen the full real glory of his music! What you have seen is not even 1/10nth of his marvels.
How can I tell you what I had witnessed during his composing & notation writing time?
Which pen has the capacity to describe the glory ?
Against all odds, handicapped with the lack of proper understanding assistants, he goes on with his marvelous creations. After Jaikishen, bearing his grief within himself , he comes out in his full charisma continuing the legacy of S J Janda . Left alone in disconcerting times with all sathis leaving him, his musical genius did not leave him. Being his lifeline , it lived with him as long as he lived.
. Whatever, kami some feel, had come in his creations after Jai sab , is not in his creations, It is due to the grade of movies & work of the assistants. His work was as magnificent as ever .
Many M D jodis finish off if one person leaves, K A, LP, Sonic Omi, Nadeem Shravan & as such.
With Shankerji, it was as if Jaikishenji never left him. Shankerji’s music Ganga never stopped flowing…………until end came ………the hands stopped playing & the voice was silenced ………
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Sachaai  was the first Hindi film to use Nagaswaram & Thavil

Blast from the pastNagaswaram player Tirucherai Sivasubramania Pillai playing for the film Sachaai. Director K. Sankar and music director Sankar Jaikishan are seen.Special ArrangementBlast from the pastNagaswaram player Tirucherai Sivasubramania Pillai playing for the film Sachaai. Director K. Sankar and music director Sankar Jaikishan are seen.Special Arrangement

Sachaai  was the first Hindi film to use the instruments

There has been a constant exchange of ideas between the worlds of Tamil and Hindi films, particularly in the area of music. Although instruments like the shehnai and tabla became an integral part of Tamil film music, conversely, musical instruments unique to Tamil Nadu could not find a special place in Bollywood film music. But in 1969, film director K. Shankar broke new ground in his Hindi film ‘ Sachaai ’ by introducing the nagaswaram and thavil to accompany a song rendered by the legendary Asha Bhonsle, younger sister of another icon, Lata Mangeshkar.

The song ‘More saiyan pakde baiyan ’ was set to music by Shankar Jaikishan, which sounds quite similar to the Tamil superhit ‘ Singara velane deva ’ from the film ‘ Konjum salangai ’, in which it was rendered by nagaswaram player Karukurichi P. Arunachalam and playback singer S. Janaki.

In ‘ Sachaai ’, the nagaswaram is played by Tirucherai Sivasubramania Pillai, the noted artiste from the then composite Thanjavur district. The thavil was played by Tirunangur Ramu, and few could match him at producing the ‘tha’ of the ‘tha thi thom num’ that lies at the heart of playing percussion instruments. Another thavil player featured in the song was Therazhundur Rajarathinam.

“My father was booked for two days for the recording of the song, but it was over in half a day,” recalls S. Arunagiri, Sivasubramania Pillai’s son.

Forgotten recordings

The composition commences with a combined arrangement of the thavil and drums. Sivasubramania Pillai’s playing follows Asha Bhonsle’s voice after every stanza. “My father watched the film in Kumbakonam. The famous dancer Helen and actor Sanjeev Kumar appear on the screen for the song,” says S. Raguveeran, also the nagaswaram maestro’s son and an engineer with TANGEDGO. Mr. Raguveeran has most of his father’s recordings, some of which he has uploaded on YouTube, including the song from ‘ Sachaai ’ .

It was film producer G.Velumani who introduced Sivasubramania Pillai to director K. Shankar, an in-law of M.G. Chakrapani and brother of the late Tamil Nadu chief minister M.G. Ramachandran. “My father’s uncle ( sitthappa ) Anantharaman and MGR had worked together in theatres and MGR would say, ‘your sitthappa is my sitthappa . My father also performed in Sivaji Ganesan’s family functions,” recalls Mr. Arunagiri, a retired school teacher.

The performance gave Tirucherai Sivasubramania Pillai a place in the world of films.

Contemporaries, like Thiruvaduthurai N. Rajarathinam Pillai had acted in ‘ Kavi kalamegam ’ and Thiruvenkadu Subramania Pillai had performed in ‘ Aryamala ’. Besides the song ‘Singara velane deva’, Karukurichi Arunachalam has played the raga Bilahari in the film ‘ Konjum salanga i’ . Moreover, Madurai brothers Sethuraman and Ponnusamy played for the film ‘ Thillana Mohanambal ’. Sivasubramania Pillai, a student of flute Tirupampuram Swaminatha Pillai and his father Natarajasundaram Pillai, also made a guest appearance in the film ‘Thiruvarul ’ .

Courtesy :

http://www.thehindu.com/todays-paper/tp-national/when-asha-sang-along-to-nagaswaram-thavil/article17465178.ece