Except for few exceptions, the movie had entirely Indian cast and had outstanding technical value ,but Bombay Talkies released in 1970 failed to carve out a niche with cine goers. The argument that as the movie was in English language , therefore could not succeed in India does not hold water , as movies from Hollywood are regularly screened here and people have been flocking to watch it at theaters . The movie was based upon a story/ screen play jointly written by Madam K Praver Jhabwala, a Parsee lady and Mr.James Ivory ,produced by Mr Ismail Merchant and directed by James Ivory, all based in U.K. Matinee idol and popular hero of Hindi films Mr Shashi Kapoor played the role of Vikram , hero of Hindi movies, who is philanderer and spoiled brat . Despite, he being married with beautiful Mala ( Aparna Sen) , he falls in love with a visiting journalist Lucia (Mrs Jennifer Kendall Kapoor). Extra martial affair, as we have experienced always ends with violence and in this case also the outcome was no different . Seems, the story of the movie did not appeal to the sensibilities and ethos of an average Indian person and so the movie could not be favored by cine-goers . The movie had many well known skillful artists of Hindi screen like Mr Utpal Dutt, Mr Pinchoo Kapoor, Nadira Ji, Mr. Iftekhar, Mr. Jalal Agha, Mr. Anwar Ali, Miss Helen etc .Brilliant photography by great camera man Subrato Mitra and art direction by A Ranga Raj gave a slick look to the movie . Mr. Zia Mohyeddin ,a British actor of Pakistani origin played a key role as a frustrated lover in the movie . Accomplished music composers Shankar Jaikishan provided the music for the movie . The way Hindi movies are shot and the Bollywood parties have been well captured by the director .To entertain the guest in the party sequence a mock fight between free style wrestler Mr Saudagar Singh and a masked wrestler was staged before the gathering ,which was hugely amusing. I must praise Mr Ivory ,the director of the movie ,who gave an interesting role to old time actor Mr Mirza Musharraf, who regaled Hindi audiences with his own brand of English. To find Mirza Saab in an English movie was a pleasant surprise . There were few more artists ,who had fleeting cameos in the movie and can be seen in the photographs shared below.
Photographs :- 1) Writer /director/actor and close friend of Mr Shashi Kapoor ,Mr Prayag Raaj ,played the role of a film director in the movie. 2) Mr Mirza Musharraf gladdened the hearts of viewers with his sudden appearance . 3) Yester year stars Sulochana Ji (Ruby Myers) also had a role in the film . Here she is seen with Mrs. Jennifer Kapoor. 4) In a sequence , recording of the song was filmed ,in which Mr Datta Ram , music composer was shown as singer . 5) In the party scene , popular junior artist Mr Darshan (Harbans Darshan) was also one of the guest . In this scene ,he is flanked by Mr Zia Mohyeddin & Mr Sukhdev (partly visible). Mr Sukhdev ,also known as S Sukhdev ,was a famous documentary films maker ,who made dozens of documentaries and many of his documentaries won national and international prizes . He also was directing Reshma Aur Shera for Sunil Dutt Saab. But due to creative differences with Mr. Dutt, Mr Sukhdev left the movie and Sunil Dutt Saab himself completed the movie after reshooting. Film makers are to be congratulated for recognizing the contribution made by Mr Darshan by including his name in the casting.
When ever I watch Helen Ji on the screen ,I recall the line written by Pt Bharat Vyas “bade mann se widhata ne tujhko ghada”. Miss Helen looked ravishing in Bombay Talkies.
After years of longing, I finally managed to catch up with legendary composer, singer and producer Hemant Kumar in 1984, just five years before he passed to leave an unfilled vacuum. He was well past his prime then but his composing and singing instincts were as impeccable. As a keen devotee of film music, thanks to those golden fifties, sixties and early seventies, I nursed an abiding regret of not being able to meet the man about whom I had read and heard so much. As I write this blog, there is a tangential satisfaction to that anguish that it is better late than never. I have no answer to why I didn’t write about the intensive interaction I had with him all these years but as an apology of a consolation, I am happy that this blog coincides with his 100th birthday today (June 16).
I will never forget the long, searching look Hemant Da gave me when we met. Dressed in white pyjamas and a long kurta, his six-plus feet lanky frame towered above my diminutive 5-plus feet. Having recovered from an acute heart condition, he looked pale, drawn and weak. Apparently, he was incredulous that someone who had just stepped into his thirties could even think of talking to a veteran who was been-there-done-that. I had to pull myself together before I lent credence to his apparent misgivings. He was accompanied by playback singer Aarti Mukherjee (of ‘Saara mora kajra chhudaya tune’ fame) who did not take any part in the three-hour conversation except occasional nods and smiles.
“Hemant Da, they always talk about the two faculties that you straddled so brilliantly – as a composer and a singer. So who’s better between the two?” I asked him. “I can’t put my finger on any one of them. Both are an inseparable parts of my musical instincts. Although, I began as a short story writer, my mind was into music. So I quit Engineering despite vehement opposition from my father. Mind you, one of my short stories won critical literary acclaim when I was barely sixteen but I was prepared to chuck that talent for Rabindra Sangeet.”
Hemant Da’s predilection towards his passion was right on target as within a year he became a singer for All India Radio, his deeply baritone vocals tailor-made to take on the depth of Tagore’s compositions. “In those days, my singing hero was Pankaj Mullick and I use to ape him so well that I was nicknamed Chhota Pankaj. But beyond this hero worship, I regret I could not get my teeth into rigorous classical music. It is a regret I will carry to my grave,” he said.
Having followed Hemant Da’s career closely, I could see that the lack of adequate classical music – by his own admission – was no handicap, especially in films. In the early forties, his contemporary was King Talat Mehmood whose chaste Urdu diction and rendition of ghazals had made him a darling of the masses. Mohammed Rafi, who later went on to become the premier singer of the industry, was just struggling to gain a toehold while Mukesh had just got going. Kishore Kumar was nowhere on the scene.
As someone carrying the stamp and legacy of Rabindra Sangeet, Hemant Da found himself at variance with the genre of film songs. That, however, wasn’t a handicap as he had the prime examples of Sachin Dev Burman and Salil Choudhury, both Dadas in every sense of the word. Another Dada was in the making to join this exalted company. “It was in the early forties that I hitched onto the Indian People’s Theatre Association (IPTA), a Left-leaning body which had composer and song writer Salil Da as one of its mainstays. I was in the midst of some musical greats and it was particularly satisfying that Rabindra Sangeet was a common chord that ran through us,” Hemant Da recalled.
“I wasn’t doing badly at all, composing for Bengali films, but when Filmistan made Anandmath in 1951 and I was asked to compose its music, I decided to explore Mumbai, the Mecca of film music. The film was a moderate success but a then raw Lata’s Vande Mataram struck perfect patriotic notes and made people sit up and take notice. Then came Shart where I did my own bidding with Na ye chaand hoga.”
“But wasn’t this a turning point for you? Dev Anand happened,” I asked him. “Na ye chaand hoga was just the platform. Ye raat ye chaandni (Jaal), Chup hai dharti chup hai chaand sitaare and Teri duniya mein jeene se (House No 44), Hai apna dil to awaara (Solva Saal) and Na tum hame jaano (Baat Ek Raat Ki) happened because Burman Dada was convinced I could fit on Dev Anand’s lips,” Hemant Da reminisced, pointing out that in the years to come, he steered himself with his own talent through Naagin, Duniya Jhukti Hai, Bees Saal Baad, Bin Badal Barsaat, Kohra and Anupama. The interesting aside here is this was the same Burman Dada who before being a guide to Hemant Da was contemplating to quit and go back to Calcutta because the scene in Mumbai didn’t appeal to his Bengali ethos.
Such was Hemant Da’s unflinching belief in the potential of Rabindra Sangeet that in those days he was considered as only next to Mullick in the intricacies of that genre ahead of seniors like Burman Dada and Salil Da. This hierarchy was also with its anomalies. Burman Da understood little or nothing of Hindi. He needed to understand the mood of the song and its words written in Bengali before he could employ his compositional genius. Hemant Da was in comparison much more comfortable, having come from the Hindi hinterland of Benares. He was also very much in tune with the musical philosophy of Salil Da and although it didn’t show much in his (Hemant Da’s) compositions, he had as much flair and understanding of the symphonies, notably among them being Bach.
Naagin made Hemant Da a household name. For many, that was no big surprise as composer Ravi who he assisted for many years, told him that given his talent, it was time he started going his own way. The film’s feet-tapping music with a string of Lata hits as also his solos and duets, was a revelation as against the three-hour visual atrocity on the viewers. People rather went to ‘hear’ the movie than ‘see’ it. The film won him a Filmfare Award. But Hemant Da preferred to dwell on mid-1955 when he sang four solos for the legendary Uttam Kumar. It was the beginning of an enduring friendship and their chemistry showed they were the most poplar singer-actor combination holding an unchallenged sway for almost a decade.
Hemant Da lapsed into nostalgia as I mentioned to him that period when he was composing for a lot of Bengali and Hindi films while jealously guarding his roots in Rabindra music. “I was at the peak of my career then as a composer and singer. The best was I was singing for maestros like Nachiket Ghosh, Robin Chatterjee and Salil Choudhury. Some of my songs were remakes or improvisations of the Bengali original. I also hobnobbed with production. Bees Saal Baad, Kohra and Khamoshi were produced by me. Neel Akasher Neeche was directed by Mrinal Sen and went on to bag the President’s Gold Medal after an unsavoury controversy.” Bees Saal Baad and Kohra forged a wonderful relationship with Biswajeet.
After almost an hour, Hemant Da was coming to the perception that for a youngster, I had done my home work fairly well as I mentioned his one song after the other in the course of the meeting. A faint smile creased his face when I mentioned to him that in the bevy of beauties that he sang, my favourites happened to be the 1955 Sardar Malik beauty filmed on Prem Nath ‘Mai garibo ka dil hoon watan ki zubaan’ (Aab-e Hayat) and a duet with Geeta Dutt from Detective (1958) ‘Mujh ko tum jo mile ye jahaan mil gaya’ (Fabulous use of Hawaii guitar). He had a word of lament for Mukul Roy, Geeta’s brother and the composer of that dulcet duet. “He was such a talented music director and understood the nuances of film music so well but it beats me why his career didn’t pick up.”
In an era when he rubbed shoulders with the likes of Shankar Jaikishen, OP Nayyar, C Ramchandra, Naushad, Madan Mohan, Roshan, Hemant Da did not even once go in for lavish orchestrations. His accompaniments were minimal and the song carried itself on the weight of its sweetness. Hemant Da was particularly delighted when I pointed out how sublime Lata sounded in ‘Chhup gaya koi re door se pukar ke’ in that obscure film Champakali (1960). He seemed touched when I said it could give Madan Mohan’s ‘Chaand maddham hai’ (Railway Platform/1957) a stiff competition. “I think Burman Dada’s influence rubbed off on me. Even when it came to the choice of singers. I remember how he had singled me out to sing for Dev Anand when everyone else felt that my voice wouldn’t suit his persona. See how Burman Da stood vindicated. In my career as composer, my choices have been guided by the demands of the song per se rather than factors like who was lip-synching the song and how many instruments I must employ to embellish it.”
“You tuned so well with Burman Dada and sang 12-13 songs for Dev Anand. What happened thereafter? I asked him. Hemant Da paused a little but the gentleman in him came to the fore. “I don’t know what happened after Baat Ek Raat Ki. He never called and I didn’t ask. I didn’t think too much about it and got busy with my own work.” Was it that on Burman Dada’s exacting scale Hemant Da’s voice had lost its baritone edge? Unlikely, as you know that the quality of his voice was still replete with the same refined sensitivity. I can vouch as I heard him in flesh and blood. “I used Mohammed Rafi and Kishore Kumar sparingly even at the peak of their careers. For that matter, I sang my own song only when it was absolutely called for. I shared a great working rapport with them and I was devastated when I lost two dear younger brothers – Rafi and Uttam Kumar – in a span of just one week. They were giants. Why didn’t I work with them more? I loved Rafi’s Dil ki aawaaz bhi sun (Humsaaya), Manna’s Piya maine kya kiya (Us Paar), Mukesh’s Woh tere pyaar ka gham. Even an otherwise exuberant Kishore was polite when he teamed up with me. He knew exactly what I wanted to deliver in Kashti ka khamosh safar hai (Girl Friend). I have memories of Rafi walking up to me and wanting to know the pronunciation of some Bengali words before he sang those songs. He was one singer who knew how to use the mike well – like when to sing from the throat and when to sing from his navel.”
For all his modesty, Hemant Da could run a quick temper at times and did not hesitate to mince words. He revealed how he had warned Guru Dutt against the latter’s penchant for changing his singers and composers at the last minute, citing the example of the 1962 classic Sahib Bibi Aur Ghulam that had adultery as its theme. “I agreed only after Guru gave me an undertaking saying that only I was equipped to handle the music since it was set in the backdrop of Bengal.” History was made before it was written.
For a man on whom the Government of India issued a stamp posthumously in 2016 and had won a spate of awards and recognition, including two national Awards, Hemant Da didn’t make much of this memorabilia. He never mentioned any of his songs when asked about his favourites. Having refused Padmashri in the 1970s, he also shunned Padma Bushman which was three years after I met him. More than three decades after his death music companies keep releasing his albums, repackaging his old songs. There are dime a dozen who copy Rafi, Kishore, Mukesh and don’t admit so but I personally know many who take a great delight in unabashedly conceding that they love to imitate Hemant Da’s style but are nowhere near.
Close your eyes and hear the Kishore Kumar composed 1964 beauty from Door Gagan Ki Chhaon Mein: ‘Raahi tu mat ruk jaana, toofan se mat ghabrana Kabhi to milegi teri manzil Kahin door gagan ki chhaon mein..’ It may have been incommoded by KK’s own ‘Jin raaton ki bhor nahi hai’ but has in sharp contrast hope and tranquility that make the song a quintessential Hemant Kumar from a school of music that qualifies to be a university of its own.
PS: It needed a Hemant Kumar song for a film to be qualified as ‘haunting’. And since the man was too modest to speak about his own songs, I will labour over my favourite HK solos and duets which I am sure might raise eyebrows for skipping songs which have hit higher popularity charts. Partly, my choices are influenced because you don’t get to hear them much. So here I go. 1) Mai garibo ka dil hoon watan ki zubaan (Aab-e-Hayat/1955/Solo) 2) Mujh ko tum jo mile, ye jahaan mil gaya (Detective/1958/With Geeta Dutt) 3) Aa neele gagan tale pyaar hum kare (Baadshah/1954/With Lata) 4) Baharo se pucho nazaaro se pucho dil kyo deewana mera ho gaya (Fashion/1959/With Lata) 5) Nai manzil nayi raahen naya hai karvaan apna (Hill Station/1957/With Lata) 6) Raahi tu mat ruk jaana (Door Gagan Ki Chhaon Mein/1964/Solo) 7) Dekho wo chaand chup ke karta hai kya ishaare (Shart/1954/With Lata) 8) Zindagi kitni khubsoorat hai (Bin Badal Barsaat/1963/Solo HK version) 9) Jab jaag uthe armaan to kaise neend aaye (Bin Badal Barsaat/1963/Solo) 10) Ye nayan dare dare, ye jaam bhare bhare (Kohra/1964/Solo)
English translation of a Marathi feature by Chandu Kale
13 March 1986. I remember the day very well indeed. At about 8.30 in the evening. My wife and I were on our scooter, returning home via the Fergusson College Road. We saw Prasad Sanwatsarkar and Pradeep Pathak near Vaishali Restaurant, so we stopped. They asked me whether I knew Shankar ji personally. I said “Eh? How would I know such great people?” They were saying, Shankar ji is in Pune, so could we meet him? I remembered that I had the opportunity to talk to another God of mine, composer C. Ramchandra alias Annasaheb, just on the footpath opposite Vaishali. Ten years ago. I had spoken to him, got his signature. He had asked me to come to his place, so we could talk. But I had not dared to go to the great man’s place. Never repeat that mistake again! I told them I will have a quick dinner and we would meet at that very spot in an hour. We three Musketeers set out on our campaign. These detectives had found out the information where Shankar ji’s house was in Model Colony. We reached the action spot. His driver was sitting there at the gate. He informed us that Shankar ji had gone out for dinner with a friend. Would be back … some time. No idea when. We asked him whether Shankar ji would talk to us. He said that would depend on his mood. Big help! We said OK, we will wait, for however long it takes. Hopefully we would get to talk to him. If Shankar ji were to be in foul mood, he could drive us away, but at least we will have met our God.
Around 10.30 p.m., a white Mercedes Benz car appeared and Shankar ji alighted from it. I summoned up my courage and said “Namaskar, Sir. We are your fans. We started to learn to play accordion inspired by your songs. We were hoping to talk to you.” Shankar ji shook hands with us, said “It is nice to hear that you are interested in music.”
We were still hesitating. We thought we should now make ourselves scarce before being shooed off. So I said “We are happy we could see you in person and even talk to you. We will go now.” Shankar ji says “Oh, no, no. Where are you going? Come in, we will have a chat.” I said “Sir, it is late, it’s almost 11 p.m. We would not like to detain you.” He replied “Arre that’s no problem. You fans give us so much love. We must reciprocate.”
We all went inside. Chatted for a good two hours. Prasad took photos. I asked him many questions that were bothering me. “Is Sun Saiba Sun your tune? You have nt used the accordion in a long time. How do you think up such varied and innovative music pieces? Who decides the instrumentation? Who thinks up the counter melody? You or Sebastian? Do you specify the table theka and other rhythms yourselves or leave that to Dattaram? Other so-called composers use your tunes, your orchestration style left right and centre. Can’t you file a suit on them?” Shankar ji just laughed and said “Oh forget it. Who is going to run after these idiots? And if they steal our tunes, it just proves they idiocy. And ultimately, people know whose tune it is. It only amplifies our name.” When we looked at our watch, it was 12.30. Past midnight!! We said let’s go. It’s nice that he gave us our time without hesitation, but we shouldn’t impose ourselves on him too much. Shankar ji came to the door to see us off. He let us take selfies with him, turn by turn. He gave us his phone number in Mumbai. Said we could come to meet him any time.
That ‘any time’ came up soon. Tabassum had interviewed Shankar ji on TV for “Phool khile hain gulshan gulshan”. Next day, I rang up Shankar ji. He asked me if I had videotaped it. I said of course. He requested me to give him a copy of the interview. That was cue enough. We three Musketters along with a fourth one, Bhalchandra Wani, set off for Mumbai that week-end, met him at CCI, Churchgate. He spoke to us freely, hummed to us a couple of pieces he had just thought up. He took us out to Hotel Samrat for lunch. Chinese. Favourite of his. Chatted a lot again. Satisfied, we returned to Pune. I visited SJ music rooms at Famous Studio at Tardeo 4-5 times after that. He had also come to Pune once and took me wherever he was going. I was with him for two days.
26 April 1987. Prasad called up. Have I heard the news? Shankar ji is no more. I was stunned. We felt as if we had lost our elder brother. Since then, our Mayoorpankh Group meets every year on this date. We play songs, discuss them, tell each other stories we might have heard recently. No other composer is allowed to be discussed on that day. This bond will not break.
1)Shankar Jaikishan music, synonym of Indian Film music, has far reaching impact in India and outside. The cartier replica bracelet duo moulded music and musical mood of masses since 1949, and are still considered to be the best music composers from India. The duo also contributed outside movie industry with their much celebrated albumRaga in Jazz Style, and background music for documentary Everest expeditionamong many others. If we look at the popular impact by any personalities in the Rolex Replica Watches field of music during the post independence period in India, the obvious choice is Shankar Jaikishan.
2)Shankar, the more versatile of the two, was a prolific musician with mastery over dozens of instruments, Indian classical music and dance forms. He was primarily responsible for building Shankar Jaikishan team with dedicated lyricists, music assistants, and jumbo-sized 60-pieces orchestra, and was the lead composer. On the other hand, Jaikishan was incredibly creative and legendary composer himself. He was genius of background music and romantic tunes though he too could compose songs in other genres. During initial years, all decisions about musical engagements were made by Shankar; but both started taking up assignments cheap iwc replica separately in the late sixties. They had sharp contrasts in personalities and physical appearances. Shankar was gym-savvy, non-drinker, and was a strict disciplinarian. On the other hand, Jaikishan was party-man and was very social. In fact, Jaikishan was mostly the point of contact for producers, directors and actors to incorporate their requests due to his friendly nature. Of course, both were great human beings, and were incredibly simple in spite of fame and richness.
3)Shankar was entirely dedicated for musical innovations during his whole life; it was his diwanapan. He created diverse tunes and musical edifices beyond human imagination during his career spanning from 1949 to 1987. Shankar’s music has a zing that makes the listener shiver with divine thrill. His music is mostly filled with strange patterns and is difficult to copy without being identified. Some example tunes ascribed to Shankar are Awara Hoon, Yahoo! Koi Mujhe Junglee Kahe, Tera Jana, etc. Shankar used to give importance to all aspects of a song – its tune, prelude, interludes and entire orchestra Breitling Replica Watches accompanying the song. He used to emphasise on the deployment of particular instruments and the way it is done. Cheap Breitling Replica Shankar’s day used to start early in the morning and to continue until midnight. He is known to create tunes for a song instantly and is regarded as the fastest composer until today.
4)Jaikishan can safely termed as the best ever composer of romantic tunes. His ability of composing background music is breitling replica uk considered unparallel even by his contemporaries. The example tunes ascribed to Jaikishan are Teri Pyari Pyari Soorat Ko (album:Sasural), Bedardi Balma Tujhko (album: Arzoo), Yeh mera prem patra (album:Sangam), etc. He gives major emphasis to tunes in thewhole composition. He understood the taste of masses and struck right chord. Jaikishan was very social and used to spend his major off-time withfriends andBreitling Replica Watches partying. However, he was very particular when it comes to work and sticking to timelines of assignments. cheap iwc replica
5)Shankar was basically from Punjab, but his initial years were spent in Hyderabad. His full name was Shankarsingh Raghuwanshi, and he was an accomplished tabla player and dancer when he came to Mumbai. Later he assisted Husnlal Bhagatram for composing music, and took up music and stage performance assignments at Prithivi theatre. His proficiency in music and dedication was highly appreciated by his pears and seniors alike. Jaikishan,Cheap Breitling Replica whose full name was Jaikishan Dayabhai Panchal, was from a royal musician’s family of Gujurat. He was initially trained in classical music by his mother. He achieved proficiency in playing harmonium. Later he came to Mumbai, and pursued his musical interests apart from working in a factory to meet his basic needs.
6)Shankar and Jaikishan first met when both were waiting for a director outside his office seeking some musical assignment. They developed an instant bond due to similar musical interests and ambitions. In their meeting Shankar disclosed about a requirement of harmonium player at Prithivi theatre. Jaikishan expressed his interest, and Shankar recommended his name back at Theatre. Both then became colleagues, and collaborated for music assignments at Prithivi theatre. When showman Raj Kapoor, eldest son of Prithviraj Kapoor (owner of Prithvi Theatre), made his first movie Aag, Shankar Jaikishan assisted Ram Ganguly, who was heading the music division of Theatre and was the obvious choice as music composer of the film. rolex replica uk
7)While assisting Ram Ganguly in music compositions, Shankar was ambitious. He had managed to show his ability in composing music independently to Raj Kapoor. Meanwhile, the showman was looking for a new creative team for his upcoming film “Barsat”, and proposed to Shankar to become its music composer. It was a great opportunity, and Shankar and Jaikishan wanted to go together for the assignment. The music of Barsaat was a rage across India. The music was fresh accompanied by melodious tunes; and broke all barriers of music compositions for a movie. Their favourite lyricists Hasrat Jaipuri and Shailendra got associated with them from the first assignment. They used the then struggling singer Lata Mangeshkar for eight songs in Barsat, a surprise to everybody, and also for different characters in the film, another surprise! The Shankar Jaikishan duo had formed cheap iwc replica .
8)Riding over huge success in their first movie, Shankar Jaikishan needed more assignments to prove that Cheap Breitling Replica they were not just one-time phenomenon. They started taking assignments apart from those from Fake Cartier. Their albums of Awara, Nagina and Poonam among others established them as the leading composers-duo. Later, music scores of Awara and Shree 420 among others became very popular abroad. Shankar Jaikishan magic spread across globe. 9) With each movie Shankar Jaikishan brought an ever fresh blend to contemporary music. They concentrated in building unique orchestra form through great exploitation of Indian, oriental and western music, and with marathon practice hours with Cheap Rolex Replica dedicated musicians. Shankar-jaikishani Orchestra was born with Sebastian De’Souza in charge there of. Rhyme section was being looked after by Dattaram, an independent and successful music composer himself. The stage was now set for a big showdown in music scene. Shankar Jaikishan went on creating albums like New Delhi, Chori Chori, Basant Bahar, Dil Apna Aur Preet Paraye, Yahudi and Anari among others. With the sheer versatility of tunes, accompanying orchestra and perfection in subtle musical orientation, Shankar Jaikishan established their supremacy. Indian music started being identified with film music in general, and with Shankar Jaikishan music in particular. 10) Early sixties saw Jaikishan contributing almost equal number of scores as Shankar. Both released batteries of scores and surpassed all musical norms. Shankar-jaikishani orchestra started increasing to a jumbo size, and varieties of movies provided suitable platform to unleash their creativity to cartier replica bracelet its climax. Their music studio became a sacred place for all musicians and young composers. 11) Shankar Jaikishan started taking more assignments, but the quality remained intact. The series of albums with fast dance scores and slow romantic melodies became saleable pattern and success-movie-formula. Shankar Jaikishan became highest paid music directors of their time. Movies attracted people to movie halls due to a mere mention of Shankar Jaikishan as its music directors 12) With increasing work pressure, Shankar and Jaikishan started giving music independently. Lyricist Shailendra (for the next few years until his untimely death) mostly worked with Shankar and lyricist Hasrat Jaipuri with Jaikishan. Jaikishan was then a married man and started composing music from his home whereas Shankar was working from their music studio. However, there was give-and-take in a great way, and collaboration continued. 13)
With achievement of incredible fame and signing for numerous movies (see cheap iwc replica towards late sixties), the music quality deteriorated with respect to their own standard. Non-musical phenomenon entered into their musical pursuit. To add, a series of their movies crashed at box-office. Movie producers started associating with other composers as they were charging much lesser fees and could strike an acceptance among popular masses. This saw the beginning of decline of Shankar Jaikishan brand and triggered the end of Golden Era of Hindi film music. In fact, some young composers like Kalyanji-Anandji, Laxmikant Pyarelal, and R D Burman had started getting popular attention and approval with their music being moulded in the line of Shankar Jaikishan music. With Shankar and Jaikishan working separately, critics found it an opportunity to create an atmosphere of mistrust as both had then become the primary media attention and were susceptible then. Some of their sycophants and wrong friends started playing spoil-sport. Moreover, Shankar and Jaikishan started signing a large number of movies beyond their capacity, and made ways for their decline. However, they could hold their fort intact as the top music directors until Jaikishan’s death and desertion of their native R. K. Films banner. 14) Jaikishan fell ill and died in the year 1971. In late sixties, Jaikishan was producing more number of popular scores compared to his senior counterpart, and was ahead in the Breitling Replica Watches popularity chart during that time.
With Jaikishan’s untimely death, the Shankar Jaikishan brand received the fatal blow, and was not the same again. 15) Shankar kept the brand name intact by Breitling Replicaretaining the name Shankar Jaikishan even after Jaikishan’s death. But situation was quite different for genius Shankar then. The year 1971 saw release of maximum number of albums by Shankar Jaikishan that were mostly done Cheap Breitling Replica by Jaikishan. But majority of them crashed at box-office, and Shankar were in terrible pressure professionally too after loosing Jaikishan.
Shankar started completing the unfinished albums signed by Jaikishan and himself. After failed albums in 1971, Shankar was not given the 60-piece orchestra for their new albums by producers citing cost reasons. The quality of music was affected in the process. Shankar too could not reconcile with the changed scenario, and many top banners including R. K. Films distanced themselves from him due to past box-office failures.
Shankar was in dilemma.
16) In spite of all odds, Shankar continued his music pursuit single-handedly and produced some highly popular albums like Beimaan (the last film awarded by Filmfare to Shankar Jaikishan), Naina, Lal Pathar, Seema (new), Vachan, and Do Jhoot among others. By then, commercial viability of Shankar Jaikishan brand was almost at stake, and Shankar’s most trusted leiutants were about to leave for greener pasture. Shankar undertook creating album of Sanyasi as entrusted by producer and director Sohanlal Kanwar.
For all technical reasons, Sanyasi remains the last major album of Shankar Jaikishan. Its scores were so popular that everybody believed that Shankar Jaikishan brand was again going to dominate Bollywood. But it did not happen – reasons were, of course, non-musical – Shankar (Jaikishan) already had their time.
17) Even after Sanyasi, Shankar continued providing music for movies though he also associated himself with TV programs in early eighties. These years also saw some novel scores being created. Notable albums during this era are Atmaram, Garam Khoon, Chorni, and Eent Ka Jawab Patther among others. But Shankar Jaikishan brand had already gone into oblivion. 18) Shankar died in the night of April 26, 1987 due to a massive heart attack as known from his family source. The world came to know about his death a day after the cremation was over.
As their public tributes, the showman Raj Kapoor attributed the musical success of his movies to Shankar Jaikishan, and singer Lata Mangeshkar termed him as the best of the best composers. But Shankar was no more. 19) Shankar Jaikishan music has a distinct character. People easily recognise a score to be of Shankar Jaikishan if it is melodious accompanied by soothing but high octave orchestra. Their music varies from fast-paced ones to very slow ones, but each one blends with orchestra well and creates an immediate bond with music lovers. swiss replica watches 20) It is always very surprising to know that Shankar Jaikishan experimented with 90-plus singers and 60-plus lyricists. Inspite of successful music albums with particular singers or lyricists, they used to use different people every time successfully. For example, they had successfully experimented with Manna Dey in Chori Chori and with Mukesh in Yahudi. They also used to bring newcomers and could produce amazing results like Lata Mangeshkar in Barsaat, C. H. Atma in Nagina, Subir Senin Kathputli, Sharda in Suraj, and Vishweshwar Sharma in Sanyasi among others.
21) When asked, Shankar had once told that their learning started with Indian classical music, and they went ahead for other clans of music later. However, the ease of use of both Indian classical and western music, and the depth of exploitation of both to create the Shankar Jaikishani flavour is magnificent and incredible. In fact, Shankar Jaikishan were the first to successfully experiment and blend Western, Arabian, and Latin American music into Indian musical sects.
They also had a rare ability to visualize the movie picturisation to cast the playback music into appropriate mould and frequency. Jaikishan had an unparallel acumen in background music with his best scores being Sangam and Mera Naam Joker; and he was primarily responsible for background scores of Shankar Jaikishan movies till his death. Shankar was also no less in producing background music and his notable score is Sanyasi. Both used to take just three days to complete the background score of a movie.
22) Shankar Jaikishan gave birth to distinct persona for each actor in their movies. They created a chaplin-like tramp image for Raj Kapoor, panerai replica aggresive romantic image for Shammi Kapoor, and gentle and around-the-tree persona for Rajendra Kumar among others. The movies of respective actors carried music appropriate to their screen Wholesale led light bulbs persona invariably. 23) When Shankar and Jaikishan started as a team, it was a strategic decision that changed the musical history of India later. Though nobody knows the reason of going together for such an assignment as it is first-time ever in India, they perhaps understood the level of quality and effort required to convert a film into a master musical piece. They were aware of contemporary process of music compositions and settings, and wanted to bring a radical change to it. They were later successful in this and went on being the greatest. The duo started building an enviable team of large number of musicians, two proficient lyricists like Shailendra and Hasrat Jaipuri, a rhyme assistant like Dattaram, an orchestra arranger like Sebastian De’Souza. These people were great in their own faculty and knew their jobs well and exactly. However, credit of entire team management and consequent success goes mostly to Shankar Jaikishan as these team members could not create the same magic with other composers when they worked outside. It is always a point of discussion about how they could bring out such perfect scores with such a huge team when they themselves and most of their musicians had not gone through systematic study of western music schools.
Shankar Jaikishan team can be compared to any professional corporate house. Their deliveries were in time and to the perfection. Team members were also paid well. 24) Shankar Jaikishan exploited and extended musical horizon in the twentieth century, and gave young Indian Republic an expression and an identity in the field of music. They became source of inspiration to almost all young composers from sixties until today. Metamorphic forms of their scores are being represented by other composers throughout the world – title song of Hollywood blockbuster Ghost World in the year 1993, a popular album in UK, and background score of a movie by legendary movie director Satyajit Ray are the notable ones among many others. The leading Indian composers-duo in seventies, Laxmikant-Pyarelal, had set the goal of being another Shankar Jaikishan throughtout their career. The album Teesri Manzil by the music composer R D Burman, cast exactly in Shankar Jaikishani mould, is still considered to be his best; in fact, he had earned direct compliments from Jaikishan for those scores.
25) Today, Shankar Jaikishan music is popular in India and abroad due to its sheer quality. However, many of their albums are not being made available by the copyright owners. Unfortunately, many of their scores are being re-packaged in the name of actors or singers without the mention of the music composers. This commercial piracy must end, and there should be genuine and consistent effort from everybody involved to keep the treasure intact and available for music lovers. richard mille replica watches
Raju-ji’s views are interesting because it throws open a new debate on comparing the individual styles of the duo, which is not generally done in our group, as frequently as comparing their joint work with that of other composers. Now this is a healthy exercise, as long as the discussion does not tend to diminish one’s greatness in light of the other—which I believe should be an unwritten pledge of any S-J fan!
Now each of S-J fan has an individual pair of ears and everyone may have his own subjective view which is largely dictated by what his ears say to him! So let me also say something about S and J, Mere Kaanon-se jo Utri Hai Dil-mein!
Like any other S-J fan, though one may not admit, since the time I fell into their `musical trap’ many years back, I too had been trying to differentiate and `sort out’ each of S-J song as to whether it is an S composition or a J composition! I had my own litmus test to do this, whether it was right or wrong!
If the song seems to be a bit more intricately tuned and if it rocks me rhythmically with some intoxicating tabla or dholak beats at the back-ground, I tended to conclude it is a J-tune! BTW, One `J-tune’ after dinner is prescribed to all before going to sleep, as Raju-ji has rightly discovered and as I had myself expounded in great detail in one of my earlier posts about the `scalp-massaging’ effect of his songs!
But the question I ask myself is whether do I recognize instantly a `J-tune’ as an `S-J’ song, as easily as I recognize an `S-tune’? Perhaps, with my limited musical knowledge, the answer is `No’. There have been occasions, where I have mixed up a `J-tune’ with other composers’ products and vice-versa. For instance, the same song that Raju-ji refers, `Jeevan-ke do-rahe-pe khade—` is a lovely song, but for the uninitiated, it may even sound like an L-P or any other MD’s song! In the same way, the songs of `Aaye din bahar-ke’, `Mere Humdum, Mere Dost’ etc. could have easily passed off as `J-tunes’, the first time you had heard them! Probably L-P and other composers were inspired and influenced more by Jaikishen and followed his mould. There could have been occasional stray oblique tribute Shankar-ji in some of their songs (as in the interlude of `Chalkaaye jhaam’). But kya abhi tak koi composer paida hua who has ever even dared to copy the uniquely majestic `Shanker-Style’?!!
That brings us to Shankar-ji! A Lone Lion in the jungle, which the lesser creatures kept a safe distance from! When the lion roared, it was always magnificent! Yeh maana ki a typical `S-tune’ was simpler in construction and went mostly `linear’ unlike a more complex `J-tune’. But he ensured that it sounded `larger than life’ through his King-Size Orchestra, thanks to all those multi-layered violins and prancing piano counter-melodies flowing like tumbling waterfalls in the background and joining the stream of singer’s voice in unision! To my ears, even his solo or duet sounded like a magnificent chorus! Some of them sounded as if the violins, the guitars and the accordians have been unleashed and are running together like wild dogs with hectic pace , but reigned firmly with perfect control of a baton wielded by the `Master’ — a stocky no-nonsense maestro, a little impatient with the animals that he himself had unleashed!
For instance, you may take any `rain’ song by Shanker-ji! Now this is a different subject for a thesis, but I believe the quick-tempered maestro sizzled even a little more, like a `hot tava’ splashed with cold water! So when we hear a `rain-song’ made by S, you can almost feel the rains lashing at you and the gusty winds blowing on your face! To me, such mind-blowing effects epitomize the `S-J’ trade-mark! When you hear a `S-tune’, the `S-J Premium Quality Seal is unmistakably all over it!
Talking of curative property of an `S-tune’, the `S-pill’ is recommended for low BP, tiredness, fatigue and to boost your sustained vim and vigour to see you through the day! I would recommend one or two `S’ interludes or preludes after breakfast or lunch! Well, Unlike the `J- pill’ which makes you recline and relax at night, and pacifies you with a scalp-massage putting you in half-bliss, the typical `S-tune’ does the exactly opposite things! It makes you sit up and listen closely, sends a surge of hot blood through your veins, arouses the `Kundalini-Shakti’ up the spine, energizing the hypothalamus, stirring up the passions and blowing the brain with a different kind of ecstasy! I am tempted to sum up their individual styles through a crude doha (or tri-ha!) of my own, (Gustaakhi maaf, the `High-brows’ may please ignore this!) : `Chhote mian sulata toh bade Mian jagaata, Andaz apna apna aur rang hai nirala — Ek hai Valium toh dooja hai Viagra!!’
On a more serious note, it always puzzles me when people talk about Shanker-ji’s `decline’ and it puzzles me more when they attribute the `decline’ to his association with Sharada or dissociation with JK! Tell me, Is there any celebrity who has not declined from his peak?? Every one of them declines! L-P declined, RK declined, Rafi, Lata,Rajesh Khanna,Amitabh Bachhan —they all declined — Sachin Tendulkar is declining, Shah Rukh Khan is declining —, all of them have to decline one day or the other from their peak! Come on now, Shanker-ji was also a mortal!! Rather than the term `decline’, I would like to think that Shanker-ji `faded out’ gracefully with time. Time flows, Generations change, Tastes go topsy-turvy — and takes a toll on the uncompromising artiste! When a genius fades out after sustaining his peak for two or three decades, the `decline’ appears to be all the more abrupt!
Let’s also not confuse popularity with quality. I believe that post-70s the lion became loner after Jai’s departure, but he didn’t stop roaring. I remember 3 of the films that I saw in 1980 – `Qurbani’, `The Burning Train’ and `Garam Khoon’. The first one was immensely popular and its songs were repeatedly played on — even long after their repeat-appeal had worn off, to my ears at least! I hardly remember any song from the second one, though it was made under a big banner and had the most popular composer of that time. The third one, I hardly remember seeing the movie, but the songs instantly stuck on my memory. I still remember sitting up with a sense of thrill at each of the songs that distinctly bore the `S-J’ brand’. Whether others cared to listen or not, `The Lion’ never squeaked!
The decadent `Use-and-Throw’ culture had set in firmly in the 80s. Unfortunately this was not restricted to paper-cups and tissue papers, but also Music! Now how can you expect a master in pottery to deliver dozens of paper-cups?!! Who had time and inclination for some elegant music?! So it was to be, `Ek do teen’— char paanch che baar sun liya — aur phenk diya in the bin— like the tissue paper one is blowing one’s nose with! And once thrown, you don’t have to worry about where you threw it!
And just a word for Sharada’s detractors. To my ears at least, Sharada’s sweet `baby-voice’ was an immaculately perfect selection by Shanker-ji for the songs that he gave her to sing. I doubt whether any other mature singer could have lent the same kind of innocent charm that she did! To my ears, Sharada in `Suraj’ was reminiscent of the same freshness that Lata brought in with `Barsaat’!
Let me end with trying to answer the million-dollar question that Raju-ji had raised! Who was the Genius? Was S in anyway a less `Genius’ than J? No Way, Sir!! To my mind at least, If JK was the `Prince Charming’, then Shanker-ji will remain the un-crowned `King of HFM’ — always!!
Long Live the King and the Prince!
P.S: I realize that my post has become long enough to become an advance review of Raju-ji’s forthcoming book!Wish You all the Best in your endeavour, Raju-ji!This was indeed a stimulating discussion. Maybe I got a little carried away!So pardon the clichés and hyperboles, if you find them not agreeable! No hard feelings! Open to corrections and contradictions!
This feature is taken from internet, that is why the blogger has not even touched misspelled words nor agree/disagree with the views shared by its writer.
Shankar Jaikishan were among the greatest musicians to have graced Hindi cinema – they were exceedingly popular and 75 per cent of their films were musical hits
Distributors play a very critical role in the film industry. There were no distributors when the first feature film, Raja Harishchandra, was released in 1913. With the advent of talkies in 1931 when Ardeshair Irani’s, Alam Ara was released, distributors became a vital force. They decided to sell the film on the basis of studios or banners. Even though films started selling in the name of actors, the films of the 1950s and 60s were sold in the name of a music duo. This magical duo was Shankar Jaikishan.
Shankar Jaikishan started their career with Prithviraj Kapoor’s Prithvi Theatre. In 1949, Raj Kapoor (Prithviraj Kapoor’s eldest son) acted in Mehboob Khan’s magnum opus Andaz with Nargis and Dilip Kumar. He was impressed by Naushad’s music in the film. Andaz was a musical jubilee hit. Raj Kapoor had decided to have music like Andaz in his next film Barsaat, the same year. Ram Ganguly was its composer. Soon, differences between Raj Kapoor and Ganguly developed and Shankar Jaikishan were brought in.
Barsaat had Lata Mangeshkar, who was trying hard to establish herself as a playback singer. Shankar had heard her earlier and brought her to give playback in Barsaat. Lata sang all the eleven numbers of Barsaat, nine solos and two duets with Mukesh. For the first time, Lata gave playback for Nargis, Nimmi and Bimla. Barsaat was a blockbuster. Its music stirred the nation. Shankar Jaikishan scaled the dizzy heights with their maiden film.
Shankar Jaikishan, Hasrat Jaipuri, Shailendra and Lata became the permanent team of R K Films. Barsaat’s music became a trendsetter. It is often said that Shankar Jaikishan gave their best to R K Films. They remained loyal to Raj Kapoor and indebted to too as he had given them their maiden break. Between 1951 and 52, Shankar Jaikishan also gave scintillating music in films outside R K Films.
Their third film was Bhagwan Das Verma’s Badal (1951) starring Prem Nath, Madhubala. Who can forget the compositions of the duo, Main rahi bhatakne wala hoon (Mukesh) Unse pyaar ho gaya dil mere kho gaya (Lata) and Dulcet duet Ae dil na mujhse chhipa kya hua (Lata/Mukesh). In the same year, Kishore Shahu’s Kali Ghata was released and the duo showed their versatility with Dil mein tu mere dil mein tu, Humse na puchho koi pyaar kya hai, Maine kya kiya sitam unke sitam ne loot liya, Ille bel laa illaa din hain pyare pyare and a romantic duet Ho madhur Milan hai sajna. The film did average business at the box office but was remembered for its hit numbers.
Shankar Jaikishan were very particular and never compromised with their singers. They gave an opportunity to C H Aatma in Dalsukh Pancholi’s Nagina. C H Aatma sang hit iconic numbers in typical K L Saigal style, Rooo main sagar ke kinare and Dil beqraar hai mera, Ek sitara hai aakash mein, Lata also sang her unforgettable sad number Tune hi mere zakhm-e-Jigar ko chhoo liya.
Seeing their popularity, legendary Amiya Chakraborty signed Shankar Jaikishan for his super hit film Daag (1952), starring Dilip Kumar, Nimmi. Shankar Jaikishan took Talat Mehmood for the first time to do playback for Dilip Kumar. They made three versions of their evergreen number Ae mere dil kahi aur chal in happy and sad versions in Talat’s voice and also in Lata’s voice.
In 1953, Raj Kapoor made a film on a Tuberculosis patient, Aah, which was directed by Raja Nawathe along with Nargis and Pran. Unlike Awara and Barsaat, the film didn’t do well at the box office. Even the re-edited version with a new end failed to impress.
In the same year, Shankar Jaikishan gave music in seven films – Aas, Aurat, Boot Polish, Mayur Pankh, Naya Ghar, Patita and Shikast. They gave enchanting melodies in these films. Zulm ki nagri mein (Lata) in Aas, Naino se nain hue chaar, Aa sun le mere dil ki pukaar, Dard-E-jigar thaher zara and Bewafa ne de diya ghum zindgani loot li (Lata) in Aurat.
Shankar Jaikishan composed a variety of songs in R K’s Boot Polish, Nanhe munhe bachche teri mutthi mein kaya hai (Asha/Rafi, chorus) Chali kaun si desh gujriya tu saj dhaj ke (Asha/Talat), a light number Lapak jhapak tu aa re badarwa (Manna De) and the title song Thehr zara o jane wale babu (Asha/Manna Dey/Madhubala Jhavri). There was also Ja re ja ranjo ghum ke andhere tu jaa (Lata) in Naya Ghar.
They gave all-time great numbers in Patita – Kisi ne apna bana ke mujhko, Mitti se khelte ho bar bar kis liye (Lata), Andhe jahan ke andhe rasre, Tujhe apne pass bulati hai teri duniya and Hain sabse madhur wo geet (Talat) and evergreen melodious romantic duets in Lata and Hemant’s voice Yaad kiya dil ne kahan ho tum. Shikast too had classical-based numbers in Raag Chandrakaush, Jab jab phool khile tujhe yaad kiya humne (Talat/Lata) and Sapno ki suhani duniya ko (Talat).
Surprisingly, in 1954, only two of their films released – Pooja and Badshah. Both the films flopped but Shankar Jaikishan gave immortal the romantic duet, set in Raag Bheem Palasi, Aa neel gagan tale pyaar hum karein (Lata/Hemant) in Badshah.
In 1955, they came back with their magical touch in Amiya Chakarverti’s Seema starring Balraj Sahni, Nutan and Shobha Khote. Their glorious gems were in their favorite Bhairvi, Suno chhoti se gudiya ki lambi kahani which starts with Ustad Ali Akbar Khan’s Sarod, and the enthralling melodies Baat baat pe rutho na, Manmohna bade jhuthe (Lata). Manna Dey’s all-time great Tu pyaar ka sagar hai and Rafi’s heart rendering Kahan ja raha hai tu ae jane wale and Hume bhi de do sahara (Rafi/Chorus) in Qawwali style.
Shankar Jaikishan, besides Raj Kapoor, worked with almost all major directors. They were in a position to dictate their own terms. They even declined the offers made by B R Chopra and V Shantaram. They did films of all genres and periods.
Shankar Jaikishan ruled the industry for more than two decades. They were at their best in creativity and versatility. If they were responsible for getting their first FilmFare Award for Sab kuch sikha humne (Mukesh) in Anari (1959) though Mukesh was their favorite, they got best of Rafi in Chahe mujhe koi jangli kahe, Ahsan tera hoga mujh par in Junglee. Ae gulbadan in Professor, Tumse se accha kaun hai in Janwar, Yaad na jaye bite dino ki in Dil Ek Mandir and Dil ke jharokhe mein in Brahmchari. After Dil Ek Mandir they started working separately, but they kept their credit intact.
Jaikishan gave scintillating melodies in Arzoo. After completing the music for Ramanand Sagar, Jaikishan left for London. When Sagar wanted to add one Qawwali, Jaikishan recommended Shankar’s name. Similarly, all songs of Teesri Kasam were recorded by Shankar.
When Jaikishan was asked to score the background music of Teesri Kasam, he realised after listening to the song that it lacked the touch of Shankar Jaikishan and suggested Shailendra, who was the producer and lyricist of the film, to include two more songs and composed two numbers penned by Hasrat Jaipuri, Mare gaye gulpham and Duniya banana wale. Though the film didn’t do well initially, it later became a Bollywood milestone.
In the 1970s, film music was changing very fast. The golden days for the trio of Dilip, Raj and Dev were over. Shammi Kapoor and Rajendra Kumar were also fading out. The new generation of Rajesh Khanna, Jitendra and Amitabh Bachchan had taken over. Rajesh Khanna preferred R D Burman but he appeared in a guest appearance and sang his iconic number in Kishore’s voice Zindgi ek safar hai suhana which was Jaikishan’s last song.
Jaikishan scummed to cirrhosis on September 1971.
In spite of differences, this was a big blow to Shankar. He didn’t take any assignment for a long period and as a result, he lost many films. Even his mentor Raj Kapoor replaced him with Laximikant Pyarelal in Bobby. Shankar’s last notable film was Sanyasi. Shankar died on April 26, 1987.
During their reign, they were also accused of plagiarism. They had copied music from Egyptian, Arabian, Italian and even tunes of Gypsy music but one thing in their defense was that they Indianised the music so well that it appeared original. They revolutionised the concept of an orchestra. They were responsible for popularising film music. 75 per cent of their films were resounding hits and many celebrated golden and silver jubilees.
They were winners of nine Filmfare Awards for Chori Chori (1956), Anari (1959), Dil Apna Aur Preet Prayee (1960), Professor (1962), Suraj (1966), Brahmchari (1968), Pahchan (1970), Mera Naam Joker (1971) and Baiman (1972). They were also recipients of Cine Goers Association Award, Bombay Film Journalist Award and Sur Singar Sansad. They were conferred the Padma Shree in 1968.
Today Shankar and Jaikishan are not amidst us but their rich legacy of music will keep them alive in memories of music lovers for many years to come.
નેટની દુનિયામા વિહાર કરતા ગઇકાલે રાત્રે ફેસબુકમાં મિત્ર દિપાલી સોમૈયાની પ્રોફાઇલ વિઝિટ કરતાં જાણવા મળ્યુ કે “સા-રે-ગ-મ-પ” માં ત્રણ ગુજરાતી ગાયકો સેમિફાઇન સુધી પહોંચ્યા છે. આનંદ થયો. સાથે સાથે આ જ વાત પર દિલીપ મહેતા સાથે ધણી ચર્ચા થઇ. નૌશાદ તેમજ શંકર-જયકિશન કેન્દ્રમાં હતા. ચર્ચા રાષ્ટ્રવાદ તથા બીજા રીલેટેડ ટોપીક પર ચાલતી હતી પરંતુ ફરી ક્યારેક. કંઇક નવું જાણવા મળે પછી એ વિશે વધારે જાણકારી મેળવવા હું કાયમ તત્પર હોઉં છુ. બસ આ જ વિચારો સાથે બે-પાંચ આર્ટીકલ વાંચ્યા. Interesting ….
મુળ ગુજરાતી એવા જયકિશન વિશે આટલી બધી ખબર ન હતી. એક સંગીતકાર તરીકેની ઓળખાણએ આજે “એક ગુજરાતી”તરીકેનું વિશિષ્ટ સ્થાન લીધુ.
આજથી 40 વર્ષ પહેલા, સન 1968માં ભારતીય શાસ્ત્રીય સંગીત અને વેસ્ટર્ન મ્યુઝિકનુ fusion કરીને “RAGA JAZZ Style” નામનો concept પૂરો પાડનાર સૌ પ્રથમ વ્યક્તિ એટલે જયકિશન. અને એ પણ ભારતમા. આ પહેલા આવુ fusion ઉસ્તાદ રવિશંકરે કર્યુ હતુ પણ તે અમેરિકામાં. આ સમયે ફિલ્મ ઉધોગના સંગીતકારો કોઇ કારણોસર હડતાલ પર હતા. બધા જ સંગીતકારો ઘરે બેઠા હતા…આવામાં HMV ના શ્રી વિજયકિશોર દુબેના મનમાં એક પરિકલ્પનાનો જન્મ થયો અને તેમને આ વિશે શંકર-જયકિશનને વાત કરી. શંકરજીને આ વાત બહુ જામી નહી તેથી તેમને વિરોધ કર્યો. જયકિશને આ વાત યોગ્ય લાગી, તેઓએ શંકરજીના વિરોધ છતાં આ ચેલેંજ ઉપાડી લીધો અને કઇક ક્રીએટીવ કરવાનું નક્કી કર્યુ. આ વાતને સ્વીકારી લીધા બાદ તેમની આખી ટીમ કાર્યરત થઇ. લોકસત્તાના સહયોગથી પ્રાપ્ત થયેલ નીચેની તસ્વીરમા આ આખી ટીમનુ કામ જોઇ શકાય છે.
પ્રખ્યાત સિતારવાદક ઉસ્તાદ રઇઝ ખા , મશહૂર સેક્સોફોન વાદક મનોહર દાદા (કાળા ચશ્મા લગાયેલ મહાશય), ડ્રમ પર છે ડ્રમબોય ગોવિંદા અને જમણી બાજુ જયકિશનજી. આ સિવાય બીજા અન્ય વાદક કલાકારોએ પણ પોતાનુ હુનર બતાવ્યુ હતુ.
અનંત નૈયર તેમજ રમાકાંત (તબલા)
જોન પરેરા (Trumpet)
એ ડી ટ્રેવર્સ (Bass)
દિલીપ નાયક તેમજ કેસ્ટ્રો (Electric ગિટાર)
શાસ્ત્રીય રાગમાં પ્રસિધ્ધ રાગ તોડી, રાગ ભૈરવ, રાગ માલકૌંસ, રાગ કલાવતી, રાગ તિલક કામોદ, રાગ મલ્હાર, રાગ વૈરાગી, રાગ જયજયવંતી, રાગ મિશ્ર પીલૂ, રાગ શિવ રંજની તેમજ રાગ ભૈરવીનો સમાવેશ થાય છે.
આવો આ બધામાંથી “રાગ તોડી” સાંભળીયે. શાસ્ત્રીય સંગીતને સમજતા સમજતા આખી જીન્દગી પસાર થઇ જાય એમ છે. નાની નાની બાબતોને ધ્યાનમાં રાખવાની હોય છે તેમ શાસ્ત્રીય સંગીત જાણનારાઓ પાસેથી જાણવા મળ્યુ. આ બારીકતાને તો આપણે ન ઓળખી શકીએ પણ સિતારમાંથી રેલાતા સુર જ્યારે હવામાં પ્રસરાય છે ત્યારે ખરેખર દિવ્યાનુભૂતિ થાય છે.
આપણને આવા “Indo-Jazz Recording” થી પરિચિત કરાવનાર શ્રી જયકિશનને સલામ !
1.Bataa De Meri Jaan Tere Dil Mein Kaya Hai – Mukesh (Chalak)2.Ae Firoz,Get The Hell Out Of Here…. Teri Asi Ki Taisee – Ranu , Preeti (Nagina) – SP record Beriyechilo 3.Nainon Mein Sapne Machalte -2 Rahe – Sharda (Nain Mile Chain Kahan) 4.Dil Kee Har Cheez Machal Uthee Aaj Unse Mil Ke – Rafi , Manna Dey (Nain Mile Chain Kahan) 5.Angadaee Lee Jo Tan Ke, To Taanke Toote Man Ke – Asha (Naseeb Ki Baat) 6.2.Aap Hile Aur Mohe Hilaye,Uskaa Hilaana – Alka, Dilraj, Dilraj, Chandrani, Chorus (Naseeb Ki Baat) 7.Holi Hai Holi Hai…..Barsoon Hai Tarsaaya Tune – Asha , Suresh Wadkar (Naseeb Ki Baat) 8.Honaa Thaa Jo Wohee Huaa, Hona Hai Jo Hohee Hoga(Happy) – Amit (Naseeb Ki Baat) 9.Honaa Thaa Jo Wohee Huaa, Hona Hai Jo Hohee Hoga(Sad) – Amit (Naseeb Ki Baat) 10.Sharaab-E-Naabh Ko Do Aatashaa Banaa Ke Pilaa – Begum Akhtar – (Paani) 11.Tu Sone Na Dena Usee, Tere Ander Jo Insaan H – Begum Akhtar (Paani) 12.Zamaana Hai Agar Ik Ham Na Honge,Wafa Par Marane Waale Kam – Mohd Rafi (Watan)13.Aabad Nahin Barbad Sahi Ghata – Mukesh – Mera Naam Joker NON – FILM : –
.Indo-Pak War 1965
1.Dekho Na Aanch Aaye Tirange Ki Shaan Ko
2.Watan Ke Naam Ke Liye….
Mohd. Rafi, Chorus
Ae Watan Ham Tere Naujaawaan Hain,Ae Chaman Ham
Adil, Ravendra, Chorus
Apne Desh Ka Sunder Sapna,Yeh Gulshan Hai Saara Apna
Adil, Ravendra, Chorus
Hum Naujawaan Hai Watan Ke, Chalna Hai Chalte Rahenge
Adil, Ravendra, Chorus
Naujwaan Jaaga Hai Lab Pe Ye Taraana Hai,Sathi Re Chale
Adil, Ravendra, Chorus
Sharab Chhod Do Ye Bache Ho Jaate Hai Barbbaad
Adil, Ravendra, Chorus
1.Doordarshan Aarohi Program
Baar Baar Mujhe Aazmaaeyae,Mere Dil Ko Todiye Jodiye
Hamse Koi Pyar Karo Ji, Aaha Aaha Kamse Kam Ek Baar Karo Ji
Jaan-E-Tamanna,Jaan-E-Intazaar , Zaara Ruk Zaara
Mila Tha Koi,…Hum Tere Intazaar Karte Hain,Aa Bhi Ja
Yaad Karta Hoon,Choom Leta Hoon, Man Hi Mein Hansta Hoon