Monthly Archives: September 2019

शंकर जयकिशन:शाश्वत संगीत के कालजयी प्रणेता

लेखक

Dwarka Prasad Khambia's Profile Photo, Image may contain: 1 person

श्री द्वारका प्रसाद खाम्बिया

सामान्यतः कम फिल्मों में अच्छा संगीत देना संभव है परन्तु अधिक से अधिक फिल्मों में लोकप्रियता की बुलंदियों वाला संगीत अविराम व सतत 21 वर्षों तक देना ईश्वरीय वरदान है कहा जा सकता है। ऐसे वरदान से ईश्वर ने संगीतकार शंकर जयकिशन को नवाजा था। अपने नायाब संगीत द्वारा देश के साथ विदेशों में भी धूम मचा देने वाले वे प्रथम संगीतकार थे।
लोगों में सदैव जिज्ञासा बनी रही कि आखिर इतनी लोकप्रिय धुनों मे से कोन धुन किसकी है। यह जिज्ञासा जयकिशन जी की मृत्यु के बाद शंकर जी विरोधी समूह ने और बढ़ा दी। वे सिद्ध करना चाहते थे कि धुन जय किशन ही तैयार करते थे । लोगो में भी यह जानने की इच्छा प्रबल होने लगी कि आखिर जयकिशन की रचनाएं कोन सी है। कुछ पुष्ट जानकारियों के आधार पर ज्ञात होता है कि निम्नांकित कुछ लोकप्रिय धुनों को जयकिशन ने ही रचा था –
1 जीना यहां मरना यहां(मेरा नाम जोकर)
2 तुम जो हमारे मीत न होते ( आशिक)
3आजा सनम मधुर चांदनी में हम( चोरी चोरी)
4 आवाज दे के हमें तुम बुलाओ(प्रोफेसर)
5 इस रंग बदलती दुनियां में (राजकुमार)
6 तेरी प्यारी प्यारी सूरत को (ससुराल)
7 ए मेरे दिल कहीं और चल ( दाग)
8 सनों छोटी सी गुड़िया की ये कहानी(सीमा)
9 दिल अपना और प्रीत पराई (दिल अपना और प्रीत पराई)
10 देखा है तेरी आंखों में प्यार ही (प्यार ही प्यार)
11 आए बहार बन के लुभा के (वसंत बहार)
12 दिल के झरोखे में तुझ को (,ब्रम्हचारी)
13 ओ मेरे शाहे खूब ओ मेरी (लव इन टोकियो)
14 कहे झूम झूम रात ये सुहानी ( लव मैरिज)
15 अजी रूठ कर अब कहां जाइएगा(आरज़ू)
16 रसिक बलमा (,चोरी चोरी)
17 ये मेरा प्रेम पत्र पढ़कर(संगम)
ये गीत जयकिशन की संगीत रचनाओं की झलकी मात्र है।
परन्तु आम जनता श्रोता उन्हें उन्हें एकीकृत रूप में देखता है। भारतीय हिन्दी फिल्म संगीत के गौरवशाली
इतिहास के पृष्ठों पर जिन महान संगीतकारों के नाम स्वर्णिम अक्षरों अंकित है उनकी जगमगाती पंक्ति में शंकर जयकिशन का नाम निर्विवादत: सर्वत्र मुख व अग्रणी रूप से परि गणित किया जस सकता है।
उनके जादुई संगीत ने जहां एक ओर परंपरा और आधुनिकता के मध्य अभूतपूर्व सेतु का निर्माण किया वहीं दूसरी ओर अपनी विलक्षण प्रतिभा द्वारा वाद्ययंत्रों के कुशल इस्तेमाल,नूतन प्रयोगों,भावानुकूल गीतों के संयोजन तथा शास्त्रीय व पाष्छ्यात संगीत के बेजोड़ तालमेल द्वारा जून अनगिनत सरस,मधुर, कर्ण प्रिय व मनमोहक कालजयी गीतों का सृजन किया।वे न केवल भारत वरन् समूची दुनियां में फैले बेशुमार संगीत प्रेमियों के लिए सचमुच बेहद अनमोल धरोहर है।
बहुत कम प्रतिभा ऐं ऐसी होती है जिनको कालजयी होने का सौभाग्य नियति प्रदान करती है।शंकर जयकिशन का शुमार ऐसी ही कालजयी प्रतिभाओं में किया जा सकता है।वे न केवल अपने समय के सर्वाधिक लोकप्रिय संगीतकार रहे बल्कि यह कहना किंचित भी अतिशयोक्तिपूर्ण न होगा कि उनका मधुर संगीत आज भी प्रासंगिक होकर अपनी लोकप्रियता को बरकरार रखे हुए है।उनके द्वारा रचित बेमिसाल गीत आज भी दुनियां भर के संगीत प्रेमियों के कानों में रस घोलते है।

cover photo, Image may contain: Rsmurthy Rallapalli and Anjan Kumar SJ Devotee, people smiling, people playing musical instruments and text

एक लोक प्रसिद्ध कहावत है कि जोड़ियां ऊपरवाला ही बनाता है ।शादी के संदर्भ में ख्यात यह कहावत संगीतकार जोड़ी शंकर जयकिशन पर सौ फीसदी खरी उतरती है। निः संदेह यह जोड़ी संगीत की नैसर्गिक प्रतिभा से संपन्न थी और नियति ने ही दोनों को मिलता भी। शंकर जी जहां नृत्य कला,सितार,पियानिं एवं अकोर्डियान बजाने में पारंगत थे तो वहीं जयकिशन जी हारमोनियम वादन में सिद्ध हस्त थे।हिंदी फिल्म संगीत की दुनियां में इस जोड़ी का मिलन ‘ मणि कांचन ‘ सिद्ध हुआ। उल्लेखनीय है कि जयकिशन दाया भाई (4 नवंबर 1932) मुंबई काम की तलाश में आए थे जहां उनकी मुलाकात दक्षिण आंध्र प्रदेश(तेलंगाना) से आए शंकर सिंह रामसिंह(15 अक्टूबर 1922)से गुजराती फिल्म निर्माता चंद्रवदन काम के सिसिले में हुई।शने: शने: यह मुलाकात प्रगाढ़ मेत्री में तब्दील हो गई।विपरीत स्वभाव इसके इन दो व्यक्तित्वों का संगीत के प्रति समर्पित भाव उभयनिष्ठ था। गठीले बदनवाले शंकर जहां धीर गंभीर स्वभाव के थे तो वहीं जयकिशन जी मस्तमौला प्रकृति के
आकर्षक व्यक्तित्व के धनी इंसान थे।,
शंकर जयकिशन के बृहद संगीत के कई आयाम है जो उनको अन्य संगीतकारों स्की तुलना में विशिष्ठ स्थान आसीन करते है।उनके बेमिसाल संगीत को कतिपय शीर्षकों के तहत वर्गीकृत करते हुए सुगमतापूर्वक समझा जा सकता है। ये शीर्षक इस प्रकार ही सकते है जैसे शास्त्रीय रागों पर आधारित गीत,लोक संगीत आधारित,सुकुमार भावाभिव्यक्ती प्रधान गीत,प्रेम व रूमानी भाववाले ,विरह दर्द वाले गीत,समूह गीत,नृत्य प्रधान गीत,ग़ज़ल शैली गीत,कव्वाली शैली गीत,भारतीय संगीत आधारित नृत्य गीत,पाध्छ्यात संगीत आधारित नृत्य गीत,भजन रूपी गीत, बाल गीत,प्रश्न/पहेली नुमा गीत, छेड़ छाड़ वाले गीत,हास्य प्रधान गीत,अनोखे/अटपटे बोल वाले गीत,भारतीय व पाष्छ्यात फ्यूजन गीत आदि।
समग्रहतः यह सुस्पष्ट होता है कि शंकर जयकिशन के बहुरंगी गीतों का एक व्यापक अत्यंत और विस्तृत संसार है जिसने विविध भावों को अनुकूल संगीत धुनों के साथ कुशलता पूर्वक संवारा गया है।इं मनमोहक व कर्णप्रिय गीतों का कलेवर सजाने संवारने में इस संगीत निपुण जोड़ी के दक्ष निर्देशन की भूमिका प्रमुखत : रही है।
लेकिन विविध का संगीत नियोजन करने में दत्ता राम व अरेंजर सेबेस्टियन की भूमिका भी अहम हुआ करती थी साथ ही विभिन्न वाद्ययंत्र वादकों का महती योगदान रहा है,जिनके वाद्यों ने शंकर जयकिशन के गीतों की प्राण वान बनाकर लोकप्रियता के बेमिसाल आयाम प्रदान किए
शंकर जयकिशन के विशाल ऑर्केस्ट्रा में एक से बढ़कर कुशल वाद्य यंत्र वादकों का शुमार रहा । कुछ के नाम उस प्रकार है –
1 पन्नालाल घोष (बांसुरी)
2 लाला गंगवाने ( ढोलक)
3 उस्ताद अली अकबर खां (सरोद)
4 पं राम नारायण (सारंगी)
5 उस्ताद रईस खां (सितार )
6 एस हज़ारा सिंह(इलेक्ट्रिक गिटार)
7 मनोहारी सिंह ( सैक्सोफोन)
8 चिक चॉकलेट (ट्रंपेट)
9 वी बलसारा (हारमोनियम)
10 गुडी सिरवाई( अकिर्डियान)
11 सुमित मित्रा (अकोर्डियान) आदि इत्यादि।
कुल मिलाकर यह कहा जा सकता है कि शंकर जयकिशन का ऑर्केस्ट्रा अत्यंत समृद्ध था उसके भीतर विलक्षण प्रतिभा वाले तथा अपने अपने वाद्यों के वादन में दक्ष कलाकार शामिल थे। इन अति निपुण व दक्ष कलाकारों के समन्वय व सहभागिता से शंकर जयकिशन ने अनगिनत अमर गीतों का सृजन किया।

Dwarka Prasad Khambia

महान संगीत साधक युगल – शंकर जयकिशन

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Dwarka Prasad Khambia 

उनका ऑर्केस्ट्रा यद्दपी काफी भारी भरकम हुआ करता था परन्तु एक दम सधा हुआ था उनके ऑर्केस्ट्रा की कुछ मौलिक खूबियां गौर तलब है जैसे गीत का प्रारंभ , मध्य,और अंत समूह वायलिन वादक गीत की दिलचस्प और दिलकश बनाने में सहायक सिद्ध होता था जैसे
1 आ अब लौट चलें(जिस देश में गंगा बहती है)
2 दिल के झरोखे में तुझ की( ब्रम्हचारी)
3 रात के हम सफर ,( एन इवनिंग इन पेरिस)
4 मै चली मै चली(प्रोफेसर)
5 दिल तेरा दीवाना है सनम(दिल तेरा दीवाना)
6 पंछी रे ओ पंछी (हरे कांच की चूड़ियां)
7 दिल की गिर ह खोल दो ( रात और दिन) आदि
ताल प्रवाह प्रधान गीत
1 है आग हमारे सीने में ( जिस देश में गंगा बहती है)
2 हो एक बार आता है दिन (आई मिलन की बेला)
3 कैसे समझाऊं बड़ी न समझ ( सूरज) आदि
शहनाई का पार्श्व में संगीत
1 सुन बलिए ऋत है बहार की
2 दूरियां नजदीकियां बन गई ,,(दुनियां) आदि
बांसुरी का बारीक स्वर प्रयोग
1 घान चुनरी पहन ( हरे कांच की चूड़ियां,)
2 हमरे गांव कोई आएगा(प्रोफेसर) आदि
जिस प्रकार विश्व की सर्व मान्य संस्था राष्ट्र संघ है और सुरक्षा परिषद उसका महत्वपूर्ण भाग है एवं रूस,अमेरिका,फ़्रांस,ब्रिटेन *बिग फोर* कहलाते है उसी प्रकार वालीवुड रूपी विश्व के राजकपूर महत्वपूर्ण स्तम थे और शंकर,जयकिशन,शैलेन्द्र,हसरत जयपुरी भी उनके बिग फॊर तुल्य ही थे…. इन सभी ने संयुक्त रूप से अपना लोहा सिद्ध किया।
शंकर जय किशन ऐसे पारखी जोहरी थे कि किस अभिनेता /अभिनेत्री पर किस गायक/गायिका की आवाज उचित रहेगी….बखूबी जानते थे।वे उस संबंध में बेखोप निर्णय लेते थे।इसीलिए परंपरा से हटकर दिलीप कुमार लिए मुकेश की आवाज को प्राथमिकता दी(यहूदी).राज कपूर के लिए मोहम्मद रफी (एक दिल सो अफसाने) व मन्ना डे (श्री 420,आवारा),राजेन्द्र कुमार के लिए सुबीर से (आस का पंछी),वैजयंती माला व राजश्री के लिए शारदा की आवाज ( सूरज, अराउंड द वर्ल्ड) का उपयोग किया।
जयकिशन एक सहृदय इंसान भी थे उन्होंने सुप्रसिद्ध ग़ज़ल गायक को अपनी कार में उस जमाने में कई बार लिफ्ट जी जब जगजीत सिंह को जानता भी नहीं था।
काल चक्र के प्रवाह में दू:खद मोड़ उस पड़ाव पर आया जब यह जोड़ी जयकिशन की आकस्मिक मृत्यु की वजह से टूट गई । जय किशन के जाते ही लोग भी शंकर जी से मुंह चुराने लगे यहां तक की जिनकी आंखो के वे कभी नूर थे (राजकपूर) व अन्य अवसरवादी निर्माता ,निर्देशकों ने भी उनसे दूरियां बना ली। शंकर ऐसी स्तिथि से व्यथित होकर ही कहा था –
* रहते थे कभी जिनके दिल में
हम जान से भी प्यारों की तरह,
बैठे है उन्हीं के कुछ में,
आज गुनहगारों की तरह*


इन विपरीत परिस्थिति यों के बावजूद भी शंकर जी ने मृत्यु पर्यन्त(26 दिसंबर 1987) तक शंकर जयकिशन बैनर के तहत ही कई फिल्मों में संगीत दिया उनमें कुछ उल्लेखनीय है दो झूठ,आत्मा राम,दुनियादारी,गोरी,गरम खून ,आज की ताजा खबर आदि।
स्वर साम्राज्ञी लता मंगेशकर ने अपने अमृतोत्सव के समय दैनिक समाचार पत्र नई दुनिया के संपादक अभय छजलानी से कहा था * शंकर जयकिशन के संगीत का फलक बहुत विशाल है।उन्होंने हर प्रकार के संगीत का सुंदर प्रयोग किया है। केवल राजकपूर ही नहीं बल्कि अन्य निर्माता,अभिनेता,अभिनेत्रियों केलिए भी उनकी मनपसंद का सुंदर संगीत दिया …उनका संगीत निश्चित ही ..चमत्कारी और अद्भुत है*
अंत में इतना ही कहा जा सकता है कि हिंदी सिनेमा जगत के संगीत के खजाने की अपनी बेमिसाल सांगीतिक रचनाओं के अनमोल रत्नों से समृद्ध करनेवाले महान संगीतज्ञ युगल शंकर जयकिशन के अप्रतिम योगदान की चर्चा के बगैर हिंदी फिल्मों का संगीत इतिहास अपूर्ण ही कहा जाएगा।
इस महान संगीत साधक युगल को आने वाली पीढ़ियां युगों युगों तक विस्मृत नहीं कर पाएगी।
उनका हृदय से स्मरण करते हुए कोटिशः नमन इन पंक्तियों के साथ –
* एक कृति जो फिर न बनेगी,
एक कमी जो हमेशा खलेगी,
एक गम जो कभी न छूटेगा,
एक शख्स जो कभी न भूलेगा
*

Image may contain: 4 people, including Rsmurthy Rallapalli, people standing


इन विपरीत परिस्थिति यों के बावजूद भी शंकर जी ने मृत्यु पर्यन्त(26 दिसंबर 1987) तक शंकर जयकिशन बैनर के तहत ही कई फिल्मों में संगीत दिया उनमें कुछ उल्लेखनीय है दो झूठ,आत्मा राम,दुनियादारी,गोरी,गरम खून ,आज की ताजा खबर आदि।
स्वर साम्राज्ञी लता मंगेशकर ने अपने अमृतोत्सव के समय दैनिक समाचार पत्र नई दुनिया के संपादक अभय छजलानी से कहा था * शंकर जयकिशन के संगीत का फलक बहुत विशाल है।उन्होंने हर प्रकार के संगीत का सुंदर प्रयोग किया है। केवल राजकपूर ही नहीं बल्कि अन्य निर्माता,अभिनेता,अभिनेत्रियों केलिए भी उनकी मनपसंद का सुंदर संगीत दिया …उनका संगीत निश्चित ही ..चमत्कारी और अद्भुत है*
अंत में इतना ही कहा जा सकता है कि हिंदी सिनेमा जगत के संगीत के खजाने की अपनी बेमिसाल सांगीतिक रचनाओं के अनमोल रत्नों से समृद्ध करनेवाले महान संगीतज्ञ युगल शंकर जयकिशन के अप्रतिम योगदान की चर्चा के बगैर हिंदी फिल्मों का संगीत इतिहास अपूर्ण ही कहा जाएगा।
इस महान संगीत साधक युगल को आने वाली पीढ़ियां युगों युगों तक विस्मृत नहीं कर पाएगी।
उनका हृदय से स्मरण करते हुए कोटिशः नमन इन पंक्तियों के साथ –
* एक कृति जो फिर न बनेगी,
एक कमी जो हमेशा खलेगी,
एक गम जो कभी न छूटेगा,
एक शख्स जो कभी न भूलेगा
*

Shankar Jaikishan: A Retrospective Tribute

By

Ss Murthy

Shankar being elder to Jaikishan by nearly half a score of years should have logically gone first. If it had happened that way Jai’s position would have been similar.The disadvantage of being Shankar Jaikishan is as true the advantage of being Shankar Jaikishan. Both had reaped unprecedented success as music directors while both of them were living.

Salient features on sharing of workload :

To meet the workload from the plethora of films coming as a bounty in the wake of their resounding commercial viabilty, inevitably lead to a standing arrangement between the two.

The title songs, theme tunes,classical music and,the dance compositions which forms the most difficult part of song composition would be done by Shankar being a one time dancer himself.,

Whereas the softer tunes, romantic numbers, the more modern ones and the arduous task of scoring background music was done by Jaikishan. Naushad sab is on record on how Jai had the rare ability of instant mental notation once the film was unreeled for the background score and what a dream score it would be with its telling audiovisual impact on the viewer.

While the contours of day to day functioning were so distinct it was inevitable that there should have been disharmony and disarray immediately consequent upon Jaikishan’s sudden demise and Shankar taking on those extra cudgels shared by Jaikishan.

<p> </p><p>It took some time naturally for Shankar to readjust and it is sadly this transit phase when Shanker was value judged as a solo composer and the commercial viability of Shankar at stake.</p><p>As a natural corrolary would it not have been Jai’s fate as well?</p>

In the aftermath of Jai’s exit:

the year that Jaikishan passed away (1971) SJ had between them no fewer than 17 releases and bulk of those have flopped by the time Jai passed away.

But the moment Jai died only his success over the 22 years was remembered while Shanker had to carry the full onus, all by himself not only the flops that had already come in the year 1971 but the failures immediately after Septembe12 1971, though most of those compositions pertained to Jaikishan.

The harsh truth is that SJ’s image broke when Jai so suddenly shuffled his mortal coil and Shanker had all by himself to pick up the pieces. A couple of immediate boxoffice hits (which were SJ’s forte till then ) would have helped and rejuvenated Shanker from the sinking morass of depression he found himself in. But he had no such luck. Shankar fought what was at best a gallant rearguard waterloo.

Lady luck and Glamour kid Jai :

That is called luck for Jaikishan. Could it not be said Jaikishan was born to Lady Luck. He was this lady’s glamour kid from word go.Jai patronised only the most modern restaurants at Churchgate in Bombay. His aura was built around his handsome semblance, endearing personality, his marriage to a socialite like Pallavi had added to his charisma. It was said that Jai would be the first person sent for no sooner Shammi Kapoor signed a film giving the composer a vantage position in the industry. Jaikishan had a tongue coated with honey. He only made friends and is amazing for one who was so enviably succesful all through his career. His death revealed that he was amiable with the entire industry . Shankar candidly spoke on these aspects of Jai which were his natural traits in an interview with Amin Sayani.

Shankar, Lata and Sharada :

Shankar never had the need for dealing with the commercial and PR aspects with film producers so long as Jai was alive and the need to curb his inbuilt outspoken trait of wearing his heart on his sleeve did not arise. In fact his rocklike stubbornness which had paid him dividends while the going was good was now a detrimental factor. Mind you when Shankar was asked why he chose Sharada as a singer who is a nonentity and a nobody, he nonchallantly replied that Lata also was the same when SJ chose her for the songs of Barsat.

<p>Lata’s word counted a lot in the industry at the time when Jaikishan died, and unfortunately, (for whatever reasons) Sharada did not turn out to be the Midastouch Shankar anticipated from her and Lata faced no threat ever from either Sharada or Shankar.</p><p>Shanker was a broken man by now, with the wind against him and with most of the bigwigs in the film industry havng deserted him, Shankar’s pride of self respect now was mocking indignant when he was denied the large orchestra he was used to tantamounting to one’s hands being tied to one’s back.</p><p> </p>

Inscrutable are the ways of Nature, the duo’s rehearsal room at Famous studios which many moons ago had hordes of producers throng its corridors waiting in anticipation with a thick wad of notes to sign the Silver Jubilee music directors has since dwindled. Yet holding his head high in the light of his bereavement from Jaikishan and his disillusion around not being recalled to RK, he still waged a relentless battle against all odds for the rest of his life and passed away on 26th April 1987.

RK’s Intense feelings at Shankar’s demise:

One person who could have resurrected Shankar at this stage was RK who was his maker and unfortunately his nemesis also and RajKapoor was seen to feel intensely for the man on his death as he made a personal appearance on Bombay TV’s Chaya Geet, to pay his salad day’s composer a tribute.

Nostalgia:

As I passed my boyhood, nourishing on SJ’s music and passed on to adolescence and into the formative years stealing a prosaic glance into the sands of time I recollect how the S-J wave had gathered momentum just when I was leaving the harbourage of boyhood and peaked just when I was all set to sail the turbulent sea of life. Now, I am immune to the sting that S & J are no more in flesh and blood but their melodies in the form of memories live on and giving us cause to remember them in a large canvass of assosciated artistes, singers, accompaniments, arrangers,instrumen talists and so on.

It is perhaps, the Almighty’s decree that Jaikishan ji be relieved at the top of the high tide and not be left forlorn by a receding wave,leaving the burden of the cross to be borne by his illustrious robust colleague Shanker for the next sixteen years. Even as the pain of their loss is dredged up along with the past, we continue to draw sustenance from the wellsprings of S-J’s timeless nuggets.

May their souls rest in peace.

A humble tribute to the legends who made our moods and for me and am sure for most of us it is SJ always irrespective of whose tunes they are S or J.

with humble

regardsssmurthy

Maestro Jaikishan’s interesting interview:

By


Dr. Padmanabh K Joshi

Today is Maestro Jaikishanji’s 48th Death Anniversary. We all the members of SJMF as well as all SJ music lovers around the globe all the time miss him. Paying our heartfelt tribute to the great Maestro Jaikishanji, I present his very interesting interview. MAESTRO JAIKISHAN REMEMBERS…………Here are some excerpts from Maestro Jaikishanji’s interesting interview:

“My first inspiration in music came from my own family. My father, who died when I was very young, was a singer of devotional songs. My two older brothers used to be good classical singers. From about the age of eight, I was fond of singing light songs. Balwant, one of my brothers, was giving music lessons to interested pupils but he warned me early that music was not an easy field, implying perhaps that I should try something else as a future career.But eventually, seeing my persistence as well as perhaps a glimmer of some real talent in me, he changed his mind and went so far as to accept me as a pupil. I used to sing to the accompaniment of a table or a harmonium. We formed a group of minstrels going from village to village in my native Gujarat singing at weddings and such functions and thus making a livelihood. The mainstay of our family was our poor mother who used to do all kinds of odd jobs that came her way in order to keep our family together.Ultimately, I arrived in Bombay seeking some substantial form of livelihood. I got a work in a wood factory at Sewri. My salary was Rs. 60 a month. The factory used to make bomb crates. Then the second world war came to an end – and so did the factory. Now I cast about for a film job.During my round of the studios, I came upon Shankar. He had joined Prithvi Theatres and was looking for an opportunity to compose film music. We took a liking to each other. This was the beginning of the long partnership between us. Shankar took me to Prithvi Theatres and got me a job as a harmonium player. My early showing at the Theatres was not good. I fell ill during my very first out-of-station assignment with the troupe. I have since been keeping very well – and so has our partnership.There was a blue-eyed, wonderfully friendly and lively young man at Prithvi Theatres who often talked enthusiastically about the films he wanted to make and so on. This was Raj Kapoor, the son of our proprietor. Once, when we were performing at Poona, Shankar and I played for Raj two tunes we had composed. “I am going to put them in my film,” Raj said. We thought he didn’t really mean it but he did. The tunes we played for him found place in his “Barsaat,” our first film assignment. The songs were: “Main Zindagi me hardam rota…” and “Jiya bekarar hai.”All that I want to add is that we have full faith in each other and that is the most important thing about us. We will continue together to the finish. About the sources of a composer’s inspiration all I can say is that it is really a passion inside a man, a dedication, a species of madness. Whenever good tunes occur to me, I fix them by writing the notations.We started the vogue of “heavy” orchestration, namely, using a large number of musicians. For the dream sequence song of “Awaara” – the sequence was the first of its kind – we used a 100-piece orchestra. Who doesn’t remember the song “Ghar aaya mera pardesi”? The sequence has three phases – life on earth, Hell and Heaven. The effect contributed by our large orchestra was the right, proper and best possible one to project the variations of mood within the same song and sequence. In the background music of “Awaara,” we used a western garb on Indian content – we presented the familiar Indian “ragas” in symphony form. There is, I feel, nothing wrong with these attempts – on the contrary the results have been novel and pleasing – but the main thing is that composers should understand the many instruments they are using, and keep in sight the effect they are really after and not lose themselves and their purpose in the welter and profusion of instruments used.The “western” influence on some of our compositions has led to some cries of “copy”. I don’t mind saying there have been one or two examples of similarity but nothing more than that. We have composed a large number of songs (roughly 700). After all, we can’t copy ourselves. We have to experiment, strike out for something new, and the process sometimes unfortunately brings about charges of “imitation” or “un-Indian”!Apart from music, I am very much interested in sports. I play a fair game of cricket, billiards or badminton myself.I thrill whenever I remember that our music lives not only in this country but abroad. A few days ago when I went to London on my first ever trip abroad (I used to be scared of aeroplanes but marriage, I must say, has cured me of this) for the release of “Arzoo,” I saw the popularity of our songs among the Indians there. At a Rome restaurant, the violinist from the orchestra came up to our table to play “Ye mera prem patra….” Was I thrilled, and was he thrilled when I told him I had composed the song! At a Beirut night-club, Shammi Kapoor and I had to get up and sing “Yahoo” and “Suku suku” – and the entire house was singing with us.

About Saajan Ki Galiyaan

Sajan Ki Galiyan, 1966.

If there is one director Sadhana worked with extensively, it was Raj Khosla. The two teamed up for four films – Ek Musafir Ek Hasina (1962) and Khosla’s unforgettable mystery trilogy with the actress – Woh Kaun Thi? (1964), Mera Saaya (1966) and Anita (1967). Few know that sometime in the 1960s, there was a fifth film the director-actress were working on, Sajan Ki Galiyan. Produced by cinematographer Fali Mistry (Guide, Hare Rama Hare Krishna), the film starred Sadhana with Dev Anand in what would have been their third film together – the first in color – following Hum Dono (1961) and Asli Naqli (1962).
Caption courtesy Karan Bali from Upperstall.
#sajankigaliyan #shelvedretrofilms #devanand #zaheeda #sadhana #sadhanashivdasani #rajkhosla #falimistry #shankarjaikishan #nargisdutt #classichindifilms #hindifilms #bollywood #retrobollywood #ekmusafirekhasina #wohkaunthi #merasaaya #humdono #aslinaqli

Sajan Ki Galiyan, 1966. If there is one director Sadhana worked with extensively, it was Raj Khosla. The two teamed up for four films – Ek Musafir Ek Hasina (1962) and Khosla’s unforgettable mystery trilogy with the actress – Woh Kaun Thi? (1964), Mera Saaya (1966) and Anita (1967). Few know that sometime in the 1960s, there was a fifth film the director-actress were working on, Sajan Ki Galiyan. Produced by cinematographer Fali Mistry (Guide, Hare Rama Hare Krishna), the film starred Sadhana with Dev Anand in what would have been their third film together – the first in color – following Hum Dono (1961) and Asli Naqli (1962).
Caption courtesy Karan Bali from Upperstall. #sajankigaliyan

*****







Sajan Ki Galiyan, 1966.
The film, besides Sadhana and Dev Saab, was to be the launchpad of Zaheeda, Nargis’ niece.  In an interview, Zaheeda recalls that her aunt was dead against her working in films but reluctantly agreed when Zaheeda herself requested her that she wanted to give acting a go to see what it was all about. And so, Zaheeda was cast in a key role of a princess in Sajan Ki Galiyan.  Though Zaheeda’s father was hesitant as to how much of an impact his daughter would make with Sadhana already in the film as its main heroine, Zaheeda assured him that if she were to make it as an actress, she would anyway.
Caption courtesy Karan Bali from Upperstall.
#sajankigaliyan #shelvedretrofilms #devanand #zaheeda #zaheedahussain #sadhana #sadhanashivdasani #rajkhosla #falimistry #shankarjaikishan #nargisdutt #classichindifilms #hindifilms #bollywood #retrobollywood

Sajan Ki Galiyan, 1966. The film, besides Sadhana and Dev Saab, was to be the launchpad of Zaheeda, Nargis’ niece. In an interview, Zaheeda recalls that her aunt was dead against her working in films but reluctantly agreed when Zaheeda herself requested her that she wanted to give acting a go to see what it was all about. And so, Zaheeda was cast in a key role of a princess in Sajan Ki Galiyan. Though Zaheeda’s father was hesitant as to how much of an impact his daughter would make with Sadhana already in the film as its main heroine, Zaheeda assured him that if she were to make it as an actress, she would anyway. Caption courtesy Karan Bali from Upperstall. #sajankigaliyan#shelvedretrofilms#devanand#zaheeda#zaheedahussain#sadhana#sadhanashivdasani#rajkhosla#falimistry#shankarjaikishan#nargisdutt #classichindifilms #hindifilms #bollywood #retrobollywood40331 year ago

Sajan Ki Galiyan, 1966.
The music of Sajan Ki Galiyan was being composed by Shankar-Jaikishan. Fortunately (or unfortunately as one rues what might have been), two songs from the film can now be viewed on YouTube. One is the deliciously romantic Mohammed Rafi solo, “Humne Jinke Khwab Sajaye” a signature S-J composition written by Hasrat Jaipuri.
The other clip is a short scene and a song featuring Dev Saab, Sadhana and Zaheeda – “Hum Khoob Jaante Hai”, sung by Mohammed Rafi, Suman Kalyanpur and Geeta Dutt. 
Caption courtesy Karan Bali from Upperstall.
.
.
Swipe to see the songs from the film! I love both of the songs, luckily for both of the songs the full version is on YouTube!
#sajankigaliyan #shelvedretrofilms #devanand #zaheeda #zaheedahussain #sadhana #sadhanashivdasani #rajkhosla #falimistry #shankarjaikishan #nargisdutt #classichindifilms #hindifilms #bollywood #retrobollywood #geetadutt #mohdrafi #mohammedrafi #sumankalyanpur

Sajan Ki Galiyan, 1966. The music of Sajan Ki Galiyan was being composed by Shankar-Jaikishan. Fortunately (or unfortunately as one rues what might have been), two songs from the film can now be viewed on YouTube. One is the deliciously romantic Mohammed Rafi solo, “Humne Jinke Khwab Sajaye” a signature S-J composition written by Hasrat Jaipuri. The other clip is a short scene and a song featuring Dev Saab, Sadhana and Zaheeda – “Hum Khoob Jaante Hai”, sung by Mohammed Rafi, Suman Kalyanpur and Geeta Dutt. Caption courtesy Karan Bali from Upperstall. . . Swipe to see the songs from the film! I love both of the songs, luckily for both of the songs the full version is on YouTube!
#sajankigaliyan #shelvedretrofilms #devanand#zaheeda #zaheedahussain #sadhana#sadhanashivdasani #rajkhosla #falimistry#shankarjaikishan #nargisdutt #classichindifilms #hindifilms #bollywood #retrobollywood #geetadutt #mohdrafi #mohammedrafi #sumankalyanpur


Courtesy :

https://www.instazu.com/tag/shelvedretrofilms