All posts by shankerjai

About shankerjai

I am one of the lakhs of fans of Shankar-Jaikishan.

Shanker Jaikishen Binaca Geetmala Annual Billboard Chart of SJ Songs-Part 2

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Pashambay Baloch's Profile Photo, Image may contain: one or more people


Pashambay Baloch

Page one of this data by Pashambay Baloch, Karachi
Page two of this data by Pashambay Baloch, Karachi
Page three of this data by Pashambay Baloch, Karachi
Page four of this data by Pashambay Baloch, Karachi
Page five and last of this data by Pashambay Baloch, Karachi
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BINACA GEET MALA ANNUAL BILLBOARD CHART OF SHANKAR JAIKISHAN SONGS Statistics

by

Pashambay Baloch

BINACA GEET MALA ANNUAL BILLBOARD CHART OF SHANKAR JAIKISHAN SONGS Statistics

FILMS

  • Total films of Shankar Jaikishan 171 ( out of which 79 films songs broadcast/played in Binaca)
  • Less: Films of pre Binaca(1949-52) 8
  • Films whose song played in Binaca 79 (48.50%)
  • SONGS Total Hindi songs composed by SJ 1276
  • Less: Songs of pre Binaca (1949-52) 69
  • Total songs played in Binaca 134 (10.52%)
  • Maximum songs of a film played 5(JDMGBH)
  • Number One songs (Binaca Rating) 6
  • Number 2 to 10 (Binaca Rating) 52
  • Number 11 to 20 (Binaca Rating) 37
  • Number 21 to 32 (Binaca Rating) 39
  • Maxmium songs played in a year 14 (1959)
  • Songs of decade 1950s 34
  • Songs of decade 1960s 82
  • Songs of decade 1970s 18
  • Songs of decade 1980s 0
  • No song played in Binaca in years 1954, 1973, 1974, 1976-87

SINGERS

  • Lata Mangeshkar 36 songs
  • Mohammed Rafi 34
  • Mukesh 19
  • Lata Mangeshkar & Mukesh 8
  • Lata Mangeshkar & Manna Dey 6
  • Kishore Kumar 5
  • Asha Bhosle & Kishore Kumar 4
  • Lata Mangeshkar & Mohammed Rafi 4
  • Suman Kalyanpur & Mohd Rafi 3
  • Asha Bhosle 2
  • Asha Bhosle & Mohammed Rafi 2
  • Manna Dey 2
  • Subir Sen 2
  • Lata Mangeshkar & Hemant Kumar 1
  • Lata Mangeshkar & Subir Sen 1
  • Mubarak Begum & Mohammed Rafi 1
  • Sharda 1
  • Sharda & Mukesh 1
  • Talat Mahmood 1
  • Asha, Kishore & Mukesh 1

LYRICIST

  • Hasrat Jaipuri 68 songs
  • Shailendra 52
  • Neeraj 4
  • Vineshavar Sharma 2
  • Verma Malik 3
  • Rajinder Krishan 2
  • Anand Bakshi 2
  • Dev Kohli 1

compiled by Pashambay Baloch Karachi – 01 January 2015 PB:

Rafisahab through the lens of a musician.

by

Ashok Jagtap (musician in Bollywood)

I came to Mumbai to try my luck in the industry.One of my friend introduced me to Bal Parte.Actually his name was Jaikumar but he was popularly known as Bal Parte.
Parte was assistant to Kalyanji Anandji and Usha Khanna.One day, he called me to his music room at warli and gave me some notations to play.He liked my playing and promised me to call for K.A.Recording.He kept his word.
I had hardly played two three recordings when this incident happened.
It was K.A.’s recording at film centre.I thought as usual I will play with orchestra but Parteji called me aside and asked me if I can play song with artist, as regular song violinist Narvekarji was not coming due to health problem.Parteji knew that I learned Indian as well western notation.To play song violin one has to have knowledge of classical music.I said I can try.
I took my violin and went to singers cabin.
After some time Rafisahab came followed by Ashaji.It was for the first time i saw both the legends.I said ” Namaste ” to both but inwardly I was nervous.Kalyanjibhai explained them the tune.I checked my notations.Within half an hour both the artists were ready and all of us went to the centre of the hall for rehearsal with full orchestra.Parte and Frank farnand were counducting the orchestra.Babla was looking after rhythm section.When rehearsal was over, artists wore headphones and went in the cabin.They were given placing.I too wore headphone and full mike rehearsal started.So far it was going well.
After some time Anandjibhai came out of the recording room and said, he found the song dull.He told the singers”Let us make the key half note high if both of you are comfortable.”
Inwardly I become more nervous as I was not accustomed to such a sudden change.When reharsal started,I was fumbling with notes.What I was playing went directly in singers earphones.Ashaji stopped singing and told some one”Bal la bolv”(call Bal).Parteji came promptly.She said “where is Narvekarji?”He tu konala pakdun anle aahe ?”Where did you get this guy? Her words entered my ears like hot lead. I become totally numb.Rafisahab told her that he is new and we would manage.After some time when Ashaji went out of the cabin to talk to someone,Rafisahab came near me.He put his hand on my back and said”koi baat nahi.Iska dimag jaldi garam hota hai.”Some how the recording was over.
This is how I met Rafisahab for the time.This small incident tells a lot about Rafisahab’s nature.I will never forget this incident but it was blessings in disguise.
I started practicing more and more. Six hours a day.For years I continued practiceing.
Years went by.Slowly I established myself.
Started playing with almost all music directors.
My first love was to play with orchestra but when need arised ,I played songs too.On many occasions I have to play with Ashaji.There was no Trace of past incident.She was comfortable with me.She would chat with me freely.
I played many songs with Rafisahab too. Anil Mohile who later became arranger used to play song violin with me.Together we both played many songs with different singers. Rafisahab,Lataji,Ashaji,all of them had amazing memory. It would take hardly half an hour for them to pick up the song. Most of the songs would be recorded within four hours. As the recording techniques developed, it increased the time required for recording instead of reducing it.
Rafisahab was a perfect gentleman. I’ve never seen him getting angry or being rude to anybody. Ashaji was exactly the opposite. If not in mood, she would make life miserable for the music directors or whoever in the range. I had seen her leaving the sets and music directors running after her. She is very out spoken but her anger would not last long. On the contrary Rafisahab never got angry. No matter how many retake’s he had to give he would sing till the music director was fully satisfied.
Only once he lost his cool at the recording of
Khayyamsahab.Khayyamsahab has habit of taking many retakes.He is never satisfied easily but that particular day after many retakes he was still not getting satisfied.He made Rafisahab sing more than 32 times.Everybody was tired.Rafisahab’s face was turning red but see his decency.Another person at his place would have walked out but he sangtill Khayyamsahab was satisfied.When Khayyamsahab came out of the recording room,he told him not to call himAgain and he never sang with Khayyamsahab again.
I remember him coming in his green fiat. Later he used chevrolet models. His brother in law Zahir would always accompany him. He was kind of his secretary. He was very friendly with us.He told us many unknown facts of Rafisahab’s greatness in his personal life. Rafisahab financially helped many needy musicians, singers even music directors who were old and out of work. For some ‘Lifafa’ would be ready and reach that person every month so he does not have to come to collect it. He did it all of this very secretly.We came to know about is only because of zahir. For the poor he was a ‘Masiha.
Once a musician who used to play with him wanted to buy a property.He set his eyes on one particular property which he liked very much but he has hardly twenty-five percent of the saving with him.He told his difficulty to his friend who advised him to approach Rafisahab.He was hesitant as the amount was not small but his friend convinced him to try.He went to Rafisahab’s house.He told him the reason.Without asking a single question Rafisahab went inside and came back with bundle of notes.That musician cried.In due course of time he returned the amount but it takes golden heart to help others.
Memory is like a small child walking on a sea-shore. You never know which pebble he will pick and treasure for the rest of his life. I also have some pebbles that I have stored .Today is Rafisahab,s death anniversary so i want to share these incidents with you which happened long time ago.
Actualy I am not an eye witness to the incidents but i got first hand information from my musician friends who always accompanied Rafisahab. Even in his famous world tour also he accompanied him. A regular player in film industry too. Before we go on with the incident, let me tell you about Narayan Naidu, a fine tabla player. I remember him for one more reason and cant resist the temptation to tell you about it.
He was staying at the distance of hardly five minutes from the place where I used to stay. Every Gokul Astami he used to call his musician friends to his house for Jagran. There would be a vocal as well as instrumental program till dawn. Many musicians from film industry used to attend every year.Kalyanjibhai’s assistant Bal Parte also used to come every year.
At four o clock or five o clock all would be served with rice and sambar. 
To come back to the point Rafisahab’s program was at Gandhi Nagar Gruh, Vadodara.
In those days record dance by female dancer was a must. A dancer named Sheela Ramani who acted or better to say danced in few films and was famous. Due to some reason she could not come for the program and the ticket holder created a ruckus when they got to know this. Even few chairs were broken. Police were called. Before the situation could go out of hand, the organizers agreed to return the money to those who want to return the tickets. He was so nervous that he asked Rafi sahab to announce the same.
The curtain opened and Rafi sahab appeared on the stage and announced that whoever wants thair money back can have them and program will continue without dancer. But nobody returned the tickets. as the program started,everybody forgot about dancer and the program passed on peacefully.
Buji lord is good friend of mine.He is a very good drumer and vibraphone player.Buji’s father was a great persecutionist.His late brother Kercy Lord was a accomplished arranger who worked with Naushad,Madanmohan and many other music directors.Rafisahab was so close to Lord’s family that he even attended Buji’s marriage.He told me about West Indies tour which was held in year 1966.
Rafisahab was accompanied by Enoc Danial, Narayan Naidu,guitarist Dilip Naik and Abdul Karim.Female singer was Minoo Purshottam.In those days she was famous stage artist.Later Dilip Naik got married to her.
People were crazy for Rafisahab.For hours they would wait out side the hotel to just see him.Buji said he was surprised to see public response. All shows were housefull.He said,
Once the organizer tried to accommodate musicians in different low budget hotel.When Rafisahab came to know,he told the organizer that his musicians should get the same treatment and if he has any problem,he would not mind shifting to the hotel where his musicians were accommodated.
There was some type of gossip with almost all top singers but not Rafisahab.In my long carrier in film industry I never heard any body speaking against him.He was ajatshatru (person without enemy).He was not in a rat race for money.
I will tell you another small incident.

Image may contain: 6 people, people smiling


Music director Srikant Telang was my close friend.Both of us were staying in same building. He gave music in five to six small budget films.It was his wish to record at least one song by Rafisahab.His budget was so small that it was impossible to call Rafisahab for singing.
Amar Haldipurkar was his arrenger.He said”let us aproch Rafisahab.No harm in trying”.When reached there ,his brother in law zahir opened the door.He was the one who looked after financial affair of Rafisahab.Srikant told him about limited budget.He said “look.Rafisahab charges fifteen thousands but since I know you all,I will settle for thirteen thousand”In those days this amount was not small.Srikant’s face fell. Luckily same time Rafisahab came in the hall.Zahir told him about thirteen thousands.Looking at Srikants face he said ok ! How much you can afford?With great difficulty Srikant said”Sir my total budget is seven thousands.That including studio..Musicians charges etc.I can afford only two thousand.Rafisahab immediately said OK.Dont worry about money.Asked Zahir to write down date in diary.This was nature of Rafisahab.
This was not new for Rafisahab.Years ago same thing happened with Lakshmikant Pyarelal.Only difference was he returned the money and asked to share them among themselve.
You will be surprised to know that in those dayes some top singers were getting very good payment but still they charged hundred rupees extra for petrol and driver.
When Lataji was fighting for royalty,she was expecting Rafisahab to tow in her line but rafisahab flatly refused.She stopped singing with him.
After the release of film Aradhana,it was lean period for him.Actualy Rafisahab was supposed to sing all song of Aradhana.He sang first two songs but then senior Burmanda fell ill and R.D.took over.He wanted fresh voice and rest is history.
During that period he sang many beautiful songs with other singers .
Nearly two year after Rafisahab’s death, there was a recording at Bombay lab in Dadar. Music director was Roshan. He was not the famous music director Roshan but a messenger who worked with music director Ravi. He was giving music for the first movie he got. The song was being recorded at Bombay labs – As we were waiting for the rehearsal to start,
And then Rafi sahab entered. All were shocked and there was pin drop silence. It was only after he came close that we realised that he must be Rafisahab’s brother and later it was confirmed. Until then we had no idea that Rafi sahab had a brother. Though they were not identical twins, he looked like Rafisahab. Later he sang few songs with some small time music directors but none of them released.
Today after so many years Rafisahab is still in the heart of people.He was a great artist and great human being.
Day after tomorrow on 31July all over the world his death aniversary will be observed but I am posting my tribut today on occasion of my birthday.
I am not a professional writer so there are bound to be some mistakes but I have tried to write it honestly.

Image may contain: 2 people, people standing, wedding and night

My heartfelt tribute to great singer.

Rafisahab through the lens of a musician.

by

Ashok Jagtap (Musician in Bollywood)

I came to Mumbai to try my luck in the industry.One of my friend introduced me to Bal Parte.Actually his name was Jaikumar but he was popularly known as Bal Parte.
Parte was assistant to Kalyanji Anandji and Usha Khanna.One day, he called me to his music room at warli and gave me some notations to play.He liked my playing and promised me to call for K.A.Recording.He kept his word.
I had hardly played two three recordings when this incident happened.
It was K.A.’s recording at film centre.I thought as usual I will play with orchestra but Parteji called me aside and asked me if I can play song with artist, as regular song violinist Narvekarji was not coming due to health problem.Parteji knew that I learned Indian as well western notation.To play song violin one has to have knowledge of classical music.I said I can try.
I took my violin and went to singers cabin.
After some time Rafisahab came followed by Ashaji.It was for the first time i saw both the legends.I said ” Namaste ” to both but inwardly I was nervous.Kalyanjibhai explained them the tune.I checked my notations.Within half an hour both the artists were ready and all of us went to the centre of the hall for rehearsal with full orchestra.Parte and Frank farnand were counducting the orchestra.Babla was looking after rhythm section.When rehearsal was over, artists wore headphones and went in the cabin.They were given placing.I too wore headphone and full mike rehearsal started.So far it was going well.
After some time Anandjibhai came out of the recording room and said, he found the song dull.He told the singers”Let us make the key half note high if both of you are comfortable.”
Inwardly I become more nervous as I was not accustomed to such a sudden change.When reharsal started,I was fumbling with notes.What I was playing went directly in singers earphones.Ashaji stopped singing and told some one”Bal la bolv”(call Bal).Parteji came promptly.She said “where is Narvekarji?”He tu konala pakdun anle aahe ?”Where did you get this guy? Her words entered my ears like hot lead. I become totally numb.Rafisahab told her that he is new and we would manage.After some time when Ashaji went out of the cabin to talk to someone,Rafisahab came near me.He put his hand on my back and said”koi baat nahi.Iska dimag jaldi garam hota hai.”Some how the recording was over.
This is how I met Rafisahab for the time.This small incident tells a lot about Rafisahab’s nature.I will never forget this incident but it was blessings in disguise.
I started practicing more and more. Six hours a day.For years I continued practiceing.
Years went by.Slowly I established myself.
Started playing with almost all music directors.

Image may contain: 6 people, people smiling


My first love was to play with orchestra but when need arised ,I played songs too.On many occasions I have to play with Ashaji.There was no Trace of past incident.She was comfortable with me.She would chat with me freely.
I played many songs with Rafisahab too. Anil Mohile who later became arranger used to play song violin with me.Together we both played many songs with different singers. Rafisahab,Lataji,Ashaji,all of them had amazing memory. It would take hardly half an hour for them to pick up the song. Most of the songs would be recorded within four hours. As the recording techniques developed, it increased the time required for recording instead of reducing it.
Rafisahab was a perfect gentleman. I’ve never seen him getting angry or being rude to anybody. Ashaji was exactly the opposite. If not in mood, she would make life miserable for the music directors or whoever in the range. I had seen her leaving the sets and music directors running after her. She is very out spoken but her anger would not last long. On the contrary Rafisahab never got angry. No matter how many retake’s he had to give he would sing till the music director was fully satisfied.
Only once he lost his cool at the recording of
Khayyamsahab.Khayyamsahab has habit of taking many retakes.He is never satisfied easily but that particular day after many retakes he was still not getting satisfied.He made Rafisahab sing more than 32 times.Everybody was tired.Rafisahab’s face was turning red but see his decency.Another person at his place would have walked out but he sangtill Khayyamsahab was satisfied.When Khayyamsahab came out of the recording room,he told him not to call himAgain and he never sang with Khayyamsahab again.
I remember him coming in his green fiat. Later he used chevrolet models. His brother in law Zahir would always accompany him. He was kind of his secretary. He was very friendly with us.He told us many unknown facts of Rafisahab’s greatness in his personal life. Rafisahab financially helped many needy musicians, singers even music directors who were old and out of work. For some ‘Lifafa’ would be ready and reach that person every month so he does not have to come to collect it. He did it all of this very secretly.We came to know about is only because of zahir. For the poor he was a ‘Masiha.
Once a musician who used to play with him wanted to buy a property.He set his eyes on one particular property which he liked very much but he has hardly twenty-five percent of the saving with him.He told his difficulty to his friend who advised him to approach Rafisahab.He was hesitant as the amount was not small but his friend convinced him to try.He went to Rafisahab’s house.He told him the reason.Without asking a single question Rafisahab went inside and came back with bundle of notes.That musician cried.In due course of time he returned the amount but it takes golden heart to help others.
Memory is like a small child walking on a sea-shore. You never know which pebble he will pick and treasure for the rest of his life. I also have some pebbles that I have stored .Today is Rafisahab,s death anniversary so i want to share these incidents with you which happened long time ago.

Image may contain: 2 people, people standing, wedding and night


Actualy I am not an eye witness to the incidents but i got first hand information from my musician friends who always accompanied Rafisahab. Even in his famous world tour also he accompanied him. A regular player in film industry too. Before we go on with the incident, let me tell you about Narayan Naidu, a fine tabla player. I remember him for one more reason and cant resist the temptation to tell you about it.
He was staying at the distance of hardly five minutes from the place where I used to stay. Every Gokul Astami he used to call his musician friends to his house for Jagran. There would be a vocal as well as instrumental program till dawn. Many musicians from film industry used to attend every year.Kalyanjibhai’s assistant Bal Parte also used to come every year.
At four o clock or five o clock all would be served with rice and sambar. 
To come back to the point Rafisahab’s program was at Gandhi Nagar Gruh, Vadodara.
In those days record dance by female dancer was a must. A dancer named Sheela Ramani who acted or better to say danced in few films and was famous. Due to some reason she could not come for the program and the ticket holder created a ruckus when they got to know this. Even few chairs were broken. Police were called. Before the situation could go out of hand, the organizers agreed to return the money to those who want to return the tickets. He was so nervous that he asked Rafi sahab to announce the same.
The curtain opened and Rafi sahab appeared on the stage and announced that whoever wants thair money back can have them and program will continue without dancer. But nobody returned the tickets. as the program started,everybody forgot about dancer and the program passed on peacefully.
Buji lord is good friend of mine.He is a very good drumer and vibraphone player.Buji’s father was a great persecutionist.His late brother Kercy Lord was a accomplished arranger who worked with Naushad,Madanmohan and many other music directors.Rafisahab was so close to Lord’s family that he even attended Buji’s marriage.He told me about West Indies tour which was held in year 1966.
Rafisahab was accompanied by Enoc Danial, Narayan Naidu,guitarist Dilip Naik and Abdul Karim.Female singer was Minoo Purshottam.In those days she was famous stage artist.Later Dilip Naik got married to her.
People were crazy for Rafisahab.For hours they would wait out side the hotel to just see him.Buji said he was surprised to see public response. All shows were housefull.He said,
Once the organizer tried to accommodate musicians in different low budget hotel.When Rafisahab came to know,he told the organizer that his musicians should get the same treatment and if he has any problem,he would not mind shifting to the hotel where his musicians were accommodated.
There was some type of gossip with almost all top singers but not Rafisahab.In my long carrier in film industry I never heard any body speaking against him.He was ajatshatru (person without enemy).He was not in a rat race for money.
I will tell you another small incident.
Music director Srikant Telang was my close friend.Both of us were staying in same building. He gave music in five to six small budget films.It was his wish to record at least one song by Rafisahab.His budget was so small that it was impossible to call Rafisahab for singing.
Amar Haldipurkar was his arrenger.He said”let us aproch Rafisahab.No harm in trying”.When reached there ,his brother in law zahir opened the door.He was the one who looked after financial affair of Rafisahab.Srikant told him about limited budget.He said “look.Rafisahab charges fifteen thousands but since I know you all,I will settle for thirteen thousand”In those days this amount was not small.Srikant’s face fell. Luckily same time Rafisahab came in the hall.Zahir told him about thirteen thousands.Looking at Srikants face he said ok ! How much you can afford?With great difficulty Srikant said”Sir my total budget is seven thousands.That including studio..Musicians charges etc.I can afford only two thousand.Rafisahab immediately said OK.Dont worry about money.Asked Zahir to write down date in diary.This was nature of Rafisahab.
This was not new for Rafisahab.Years ago same thing happened with Lakshmikant Pyarelal.Only difference was he returned the money and asked to share them among themselve.
You will be surprised to know that in those dayes some top singers were getting very good payment but still they charged hundred rupees extra for petrol and driver.
When Lataji was fighting for royalty,she was expecting Rafisahab to tow in her line but rafisahab flatly refused.She stopped singing with him.
After the release of film Aradhana,it was lean period for him.Actualy Rafisahab was supposed to sing all song of Aradhana.He sang first two songs but then senior Burmanda fell ill and R.D.took over.He wanted fresh voice and rest is history.
During that period he sang many beautiful songs with other singers .
Nearly two year after Rafisahab’s death, there was a recording at Bombay lab in Dadar. Music director was Roshan. He was not the famous music director Roshan but a messenger who worked with music director Ravi. He was giving music for the first movie he got. The song was being recorded at Bombay labs – As we were waiting for the rehearsal to start,
And then Rafi sahab entered. All were shocked and there was pin drop silence. It was only after he came close that we realised that he must be Rafisahab’s brother and later it was confirmed. Until then we had no idea that Rafi sahab had a brother. Though they were not identical twins, he looked like Rafisahab. Later he sang few songs with some small time music directors but none of them released.
Today after so many years Rafisahab is still in the heart of people.He was a great artist and great human being.
Day after tomorrow on 31July all over the world his death aniversary will be observed but I am posting my tribut today on occasion of my birthday.
I am not a professional writer so there are bound to be some mistakes but I have tried to write it honestly. My heartfelt tribute to great singer.

Waqt Ka Sikandar

Waqt Ka Sikandar, Waqt Ka Sikander
This picture had Dharmendra, Rajendra Kumar & Mala Sinha in lead roles. Music director Shankar of Shankar Jaikishan had recorded 3 songs for this film. They are 1) “Dhak-dhak dhadke dil mera dhadke” in the voice of Anuradha Paudwal and Mohd. Aziz, 2) “Haay-Haay main mar gayi Allah” in the voice of Kavitha Krishnamurthy & 3)”Tum to Haseen Ho Phoolon Jaisi” in voice of Shabbir Kumar.. After his untimely death, the recording of 3rd song got untraced and Sharda had to re-record it along with 2 other songs, that is why her name has been mentioned here as the music director. Unfortunately this film could not be released.

The Myths Surrounding Shankar Jaikishan

When anyone reaches the dizzying heights in their career, gain unheard of national and international fame, and win stupendous fan following from the common man to stalwarts in the entertainment and political world like Shankar Jaikishan did, it is but natural for their peers to feel a twinge of jealousy. Their contemporaries and media spun all kinds of fictitious stories about SJ to gain attention. Some in the music industry wanted to dismantle SJ from the “pedestal” their fans put them on and the media wanted to sell their product. The public was so fascinated by the composer duo’s persona and would take anything and everything written about the duo and believe it. SJ were so busy in their work that they hardly ever gave any interviews which would have helped to set the record straight.

It was said that SJ were arrogant and did not spare time to give interviews to the press. This is far from the truth. The reason was that SJ were extremely busy and they hardly ever had the time. Thus, the little time that they had was spent on their personal interests. Shankar, the consummate musician that he was, spent all his spare time composing tunes, learning to play new instruments and meeting with classical musicians who were of great interest to him. Jaikishan, on the other hand, was a social butterfly. With his handsome looks and successful career, he was always surrounded by friends and fans. Being a “party animal,” he was always spotted at social events where he was the center of attraction.

Image may contain: 2 people, text

That Shankar was rude, crude and uncouth cannot be more false. He may not have been highly educated, but he was a man of honor. Being a thorough professional, he always delivered his assignments on time and, thus, could never tolerate tardiness and irresponsibility. He reprimanded those who were not, which left him in their bad books. as mentioned by Manoj Shailendra, son of Shailendra, Shankar always addressed young and old with the suffix “ji” which shows his respect for one and all.

Nothing is as far from truth as Shankar Jaikishan being dropped from movies because of their high remuneration. As their popularity grew, so did their number of assignments. At the top of their career, in 1971, SJ were the busiest in town with nineteen movies on hand and couldn’t take on any more assigments. This was true with producers like Sridhar, L. V. Prasad, P. Gangadhara Rao, S. S. Vasan, T. Prakasa Rao from the south who were actively making movies and very badly wanted SJ to compose music for their upcoming movies. But the composers were so swamped with work that they couldn’t oblige. Movie making is a high risk gambling. Films are financed at twenty five percent interest rate and, as it gets closer to release date, the interest rate sometimes jumped to thirty percent too. With this factor involved, the producers couldn’t afford to wait for SJ to be free to work for their movies. So, they opted for other music directors who were ready to work for them at a fraction of the remuneration and meager orchestra which reflected in their run of the mill work.

Another fallacy about SJ is that, after Jaikishan’s demise, Shankar was a spent force and couldn’t meet the expectations of their producers and fans. The fact is, not only did he complete all the nineteen movies signed for 1971, he even went on to compose music for forty two more movies, single handedly. This is proof that there were many producers who believed in his talent and that the maestro still had the mettle left in him. At the peak of their career, SJ were paid five lakhs for a movie. With Jai’s death, some producers felt that they should cut that amount to half since it was only one composer doing the job. This resulted in a lower budget and fewer musicians to work with in his orchestra which had a negative effect on the compositions. The main reason for the failure of some of SJ’s later movies lies in the mediocre actors, poor story line and screen play.

That Shankar had a fascination for Sharda and preferred her to Lata and, therefore, switched to the former for female songs was never the case. From their very first movie to the last, SJ chose their singers keeping in mind the lyrics and the actor for who the playback was done. There are many movies in which both Lata and Sharda sang as per requirement of the characters. However, Lata felt threatened by Sharda’s popularity and SJ’s support of her which lead to the former holding a grudge against him. She later returned to the SJ camp to sing many more songs. Yet, Shankar maintained the same regard for the singer till his end.

People may have said and done what they wanted to thwart SJ (Shankar)’s career, but they couldn’t erase their fame and name to this day. SJ reign supreme in the hearts of their fans!

By Lakshmi K. Tummala

By Lakshmi K. Tummala

Review of film Jhuk Gaya Aasman

On Thu, 12/31/09, ali_rashid83 <ali_rashid83@ yahoo.com> wrote:

From: ali_rashid83 <ali_rashid83@ yahoo.com>

Subject:

Shri Ali Rashid’s feature has been copied and pasted as it is. He is a staunch Shankar Jaikishan fan.

Film Review – Jhuk Gaya Aasman (1968)

To: shankarjaikishan@ yahoogroups. com

Date: Thursday, December 31, 2009, 7:02 AM

Jhuk Gaya Aasman (1968)

By: Ali Rashid

Producer: RD Bansal Productions

Director: Lekh Tandon

Brief Review of the Film:

Sanjay (Rajendra Kumar) is a tour guide in Darjeeling who shares a house with his best friend Hanuman Singh (Rajendranath) . A group of girl tourists have hired Sanjay to take them around Darjeeling. Their leader is Priya (Saira Banu), a wealthy girl from Calcutta, and Sanjay is has fallen head over heels for her at first sight. Sanjay and Priya fall in love while she is holidaying in Darjeeling, but a grim telegram hastens Priya back to Calcutta where she finds that her father has been jailed under false pretences by T. K’s brother Prem. They have framed him on charges of embezzlement. Sanjay takes Priya to the airport for her flight home. After Priya leaves Darjeeling, Sanjay, on his way back from leaving her at the airport, meets with a jeep accident. As he lies there bleeding, a dark figure appears over him. When Sanjay realizes that he has died, he protests loudly against the injustice. This draws the attention of a Bigwig Swami (David) who consults the Recordkeeper Swami. Sanjay is not supposed to be dead. Sanjay was meant only to be injured and not permanently killed. The Swami tells Sanjay that there’s another body he can have, which incidentally belongs to a man who looks just like him, and who was the person who should have died. This man is one of the brothers for whom Priya’s father worked. He is the elder brother, TK by name, and his younger brother Prem (Prem Chopra) wants to kill him and take over everything. Priya tells her jailed father that she will plead with TK, he doesn’t want her to have anything to do with them, and in fact has always kept her far away from them, but she’s insistent. She meets with Prem, who is struck by an idea. Sanjay’s soul breathes life in T.K.’s Body, but Priya hates him because T.K. was a hardened scoundrel who played ducks and drakes with women and ruthlessly crushed other men. Sanjay is trapped. Whatever he tries to do, Priya hates him. T.K. declares his unaccounted wealth, he distributes bonuses lavishly to his employees, makes peace with the grandmother he had cruelly thrown out of the house years before, slowly and steadily T.K’s notoriety is washed clean and the soul triumphs over the body. And thus it is that Priya and Sanjay are finally united. The soul has triumphed over the body, it has lifted the head of man righteously above the skies, and thus even the Gods marvel at Man. And so it came to pass that even the Heavens bowed in reverence.

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Image result for poster of film Jhuk Gaya Aasman

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Review of the Album:

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S-J were in their prime years when they created this dazzling album, and they could absolutely do no wrong. At this point in time, circa 1967-68, S-J were firmly entrenched at the top, and continued to experiment with their compositions and orchestration. Everyone must have admired their unmatched abilities to come out with brilliant melodies and awesome music. Rajendra Kumar films by S-J always had awesome music right from his `Aas Ka Panchi’ days, and this album is no exception. I can only imagine the excitement this album must have created, as every song is an absolute delight, following the long-standing S-J tradition of albums having a multitude of memorable songs.

“Kahan chal diye idhar to aao” opens up this lovely album. Jaikishan was an expert at creating such hummable, catchy tunes. Strains of the electric guitar open up this song followed by Rafi’s spirited rendition. The electric guitar makes its presence felt through the various solo pieces, or playing bass lines throughout the song. S-J liked to decorate their compositions with a myriad of instruments that would play memorable pieces. In this case, what stays with the listener is not only the overall composition, but the electric guitar flourishes that are displayed. Rafi’s added spice and zest adds just the right punch to the song, and his voice is flirtatious and romantic at the same time. The way he plays around with words, adding emphasis when needed, was one of his specialties. The tabla is the prominent rhythm instrument here and what is interesting is the way it is used. If one dissects the main rhythm, one will see it is played in a pattern 1-1-2-1-1-2 which gives the song a certain edge. The side instruments support the tabla in the mukhda whereas in the antaras, the bongos take over and play a pacy rhythm until the end of the interludes. This is one of those songs where the hero is teasing the heroine, and Hasrat’s lyrics flow keeping in mind the theme and the intentions of the hero in mind:

Mere dil mein chale aao

Ke yeh ghar bhi tumhara hai

Tuhmara pyar hi ab mere

Jeene ke sahara hai

If the last composition was a typical Jaikishan gem, the next song is quintessential Shankar. “Sacha hai gar pyar mera sanam” is one of those many perfect romantic ballads composed by S-J for arguably the greatest male voice to have graced Indian Cinema. The song opens up with a lovely flute and guitar combo followed by a rush of violins signifying the romantic atmoshphere. S-J were masters at creating the perfect mood in their preludes, and keep us guessing as to what would follow. When Rafi takes over to Shailendra’s beautiful lyrics, one is transported to another world:

Yeh ajab sa raaz hai

Yeh ajeeb baat hai

Apna pyar tab se hai

Jab se qayinat hai

I am particularly fond of the way Rafi utters the words “priya priya” at the end of each antara. His voice glides through the ups and downs of the composition with utmost ease. The antara tune reminds of a similar melody in the antara of “Panchi re o panchi” (Hare Kanch Ki Chudiyan), a Rafi-Asha duet also composed by Shankar. It is amazing how the composer could fashion two songs with a similar antara melody, yet in the end, make them unique from eachother. The violin ensemble creates a magnificent aura of counter-melody throughout the composition and is supported by the nice drums that constitute the main rhythm. Love songs do not get better than this. There is a sad version of this gem sung by Rafi to a piano accompaniment, which is also excellent. Rafi yet again shows his mastery with an awesome heartbreaking rendition in this version.

Hindi films have had many memorable rain songs that have stood the test of time and remained in the public memory. The next composition fits that bill, an amazing gem sung by the Nightingale. Looking at it from a technical point of view, melody, voice and music all seem to gel so beautifully together to create a stunning piece de resistance. “Mere tumhare beech mein ab to” composed by Shankar is among the most glorious songs S-J composed for Lata. The song starts off on a soft note, but as soon as Lata’s magnificent throw hits “ab aan milo sajna”, one knows that the ride is going to be an enjoyable one. The saxophone combined with the violins in the first and last interludes is master arranging. Many composers such as Rajesh Roshan aped this facet of S-J’s orchestration, showing that S-J were always the leaders and never the followers. Credit to S-J, Sebastien and the whole team for thinking outside of the box. The melody is very serene and breezy and the rhythm on the tabla/dholak compliments the rest of the music, as well as the rendition nicely. The rhythm in the interludes are not on the tabla/dholak but in fact bongo’s accompanied by side rhythms which adds a different edge to the composition. The shehnai which accompanies Lata’s rendition in the anatara’s is a cooladdition to an already excellent song. The lyrics by Shailendra are great:

Aaya madmata saawan

Phir rimjhim ki rut aayi

Phir man mein basi shehnai

Phir preet li angarayi

The next song is an excellent Lata-Rafi duet from the house of Shankar Jaikishan. “Meri aankhon ki nindiya” is a nice romantic love ballad fashioned by Jaikishan along the lines of his past hit “Tujhe jeevan ki dor se” (Asli Naqli). The song has a nice melody with upbeat rhythm and wonderful renditions by the two maestros. This song unfortunately was not included in the DVD of this film which I happened to see. It’s a shame because it could have made for some nice viewing of Rajendra Kumar and Saira Banu singing this song on screen. For this composition, Jaikishan basicially used the “tried and tested” formula. I would have liked it if he had come up with a totally unique composition, however that does not take away from this song, even though it may remind us of the earlier wonderful Lata-Rafi duet from Asli Naqli. Hasrat’s lyrics here suit the situation nicely:

Aisa bandhan bandha hai kabhi na khule

Khatm hote nahin pyar ke silsile

Zindagi bhar ko apna bana le gaya

Tumhare siva kaun

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“Unse mili nazar” by Lata is a nice trendy upbeat composition composed by Jaikishan. The melody is breezy and so is Lata’s effortless rendition. The pace and the way the instruments have been used is a fascinating feature about this composition. The rhythm compromises of a combination of the bongo’s/congo’ s supported by side rhythm instruments. The accordion, guitar, and violins have all been used sparingly but nicely to compliment the main rhythm. However the standout instrument in this song is none other than the harmonica (mouth organ) that has been showcased brilliantly in the first and third interludes. The harmonica is not a common instrument in HFM songs, and one has to find a situation where one can use it, and here S-J received the opportunity to showcase their flair wit yet another instrument. Hasrat’s lyrics are again apt for the situation where the heroine is thinking about the hero:

Jab woh mile mujhe pehli baar

Unse ho gayi aankhen chaar

Paap na bete pal bhar woh

Phir bhi ho gaya unse pyar

If the heroine is thinking about the hero in the previous song, the next song shows the reverse case. “Kaun hai jo sapnon mein aaya” is my favourite song from this wonderful album. Although the song was inspired by Margarita from Elvis, S-J created a totally new and fresh composition. Time and time again S-J kept on setting trends and this song was no exception. The beautiful rhythm is not only trendy, but also sophisticated, especially the use of the drums. The violins are magnificent and just add the right pinch of salt to this tasty S-J dish. Another great feature about this song are the excellent piano flourishes which accompany the rhythm and composition in the mukhda and interlude music, as well as the nice use of the stringed-guitar. The image of Rajendra Kumar singing this song in his car to Rafi’s magnificent voice is an image I will never forget. Rafi’s rendition of this western-based masterpiece by Jaikishan is nothing short of brilliant (as usual), and he conveys just the right amount of emotions required for such a song. When Rafi’s voice soars in “O Priya”, one is reminded yet again that such a singer, and such composers as S-J, are once in a lifetime miracles. Hasrat’s lyrics in this song are fantastic:

Zindagi ke har ik mod pe mein

Geet gaata chala jaa raha hoon

Bekhudi ka yeh aalam na poocho

Manzilon se badha jaa raha hoon

As with most films of those days, the final song belongs to the cabaret genre, and who better than Asha Bhosle, the specialist in this genre to sing another S-J winner, “Kisi ki jaan lete hain”. The composition has some nice orchestral flourishes by S-J, along the lines of one would expect in a cabaret number. The upbeat rhythm along with nice use of the brass section, violins, and guitar all create a fun atmosphere. Asha’s rendition is first-rate, and the situational lyrics by S.H. Bihari (a rare appearance) are also cool:

Kisi par jaan dete hain

Kisi ki jaan lete hain

Wahin karte hain dilwale

Jo dil mein kaan lete hain

Sambhalo jaan jaan jaan jaan

Jhuk Gaya Aasman was another winner in the already sparkling S-J resume. 1968 was another good year for S-J, where apart from this film, S-J showcased their versatility with albums as varied as Mere Huzoor, Brahmachari, Kanyadaan, Sapnon Ka Saudagar, Shikhar and Duniya.”

Suraj, the Sensational Super Hit of Shanker Jaikishen

This feature by



Lakshmi K. Tummala

It was one Sunday afternoon, during my school days, that the telephone rang. It was Mr. T. Prakasa Rao, our neighbor in Chennai, my father’s contemporary in the movie industry and a family friend, asking to speak to my father. I told him that he was on location at a hill station, shooting a couple of songs for his upcoming movie. Prakasa Rao uncle, as I called him, told me that we were invited to a private screening of his new movie that evening. I ran to my mother to tell her of the exciting news. But, immediately, I fell into a big dilemma since I had promised to help my friend, Rekha, with a project which was due the next day.

Image result for film Suraj

I called Rekha and told her about the invitation to the movie. She immediately had a solution to my problem which at that time seemed major. She suggested coming over to my home after I returned from the movie. We could then work on the project as long as we can and that she would then take it home and complete it. What a great idea, I thought. But then, I felt very guilty to have her work late into the night to finish the assignment. I told her that and Rekha, being an angel that she is, told me not to worry about it, but to go and enjoy the movie. She knew how much I liked Vyjayanthimala and SJ music. We had already heard the songs of the movie before and loved them a lot. I couldn’t wait to see them in the movie.

We reached the preview theater and were warmly greeted by Prakasa Rao uncle. A few more friends of his had also arrived. Soon the lights were turned off and the movie began. Personally, I never cared much for non-social movies, but then this is not one of them. It had lots of twists and turns which didn’t bother me at all. I only had eyes for my favorite Vyjayanthimala and ears for SJ songs.

I must say that the music in this movie is outstanding. SJ composed a great album. There are seven songs in all with each one being a gem. The two by new singer, Sharda, are by Shailendra and the other five, by Hasrat. SJ covered a wide range of composition styles and achieved great success. Although I heard them before, the songs sounded much better in the preview theater with great acoustics. I thought Vyju looked fabulous, especially in the songs. “Baharon phool barsao…” sounded so very romantic. “Titli udi..” had already taken the country by storm, but I personally liked “Dekho mera dil machal gaya..” better. “Kaise samjhawoon…” in a semi-classical style, by Rafi and Asha, was superb! “Itna hai tumse…” by Rafi and Suman Kalyanpur was also very good. Rafi sounds too good in the frolicsome number, “Chehre pe giri zulphein..” and last, but not the least, ” Ek baar ati hai…” with Rafi, Asha and chorus is a very delightful song.

Suraj was a musical treat for me. At the end of the movie, Prakasa Rao uncle asked me how it was. “Uncle, you have a winner” I said. He raised his eyebrows. I told him the movie was very entertaining and the music was sure to win a FF Award for Best Music Director. I went home humming one song after another. Rekha came over. We sat through the night and completed the project. She spent the night with me and we went to school the next morning. Believe it or not, I later saw this movie two more times in the theater which tells something about it. When the FF awards were announced, Prakasa Rao uncle was so happy that he sent a big box of chocolates for me with a note saying, “You were right Papa, we won!” I was very happy to know that the movie won SJ, Hasrat and Rafi, Filmfare Awards for Best Music Director, Lyricist and Singer, respectively. As for me, I had already voted for the music in the affirmative. You go, SJ!

This image has an empty alt attribute; its file name is 61454705_10157661258980798_4250075073756528640_n.jpg
Lakshmi K. Tummala, author of this feature

Ernest Menezes remembers Shanker Jaikishen

Violin maestro Ernest Menezes plays the notes of his musical memories

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What’s the similarity between the movies ‘Howrah Bridge’ and ‘Kuch Kuch Hota Hai’? Any guesses? It’s a man called Ernest Menezes. He played the violin for both these movies and in countless more.

Music Plus met with ace violinist Menezes to get into a conversation about music, movies and more. The man immerses himself in the world of music, so much that his melodious violin can be heard right from the gate.

Practising his skills religiously, the 78-year-old began his career with O.P Nayyar’s classic ‘Howrah Bridge’ in 1958. Dedicating 10 years of his life in the pursuit of learning the art of playing the violin, Menezes stepped into the world of music at the age of 18.

“Every day, I would practise for five hours in the morning and then again for five hours in the evening Maybe that’s the reason why I can still play at this age,” said Menezes.

Having mastered the art of playing the string instrument from his uncle, Menezes became popular for his exceptional work. With his uncle’s training and encouragement, Menezes was introduced to the music industry to support his family. Hailing from a modest background, Menezes found his calling in the violin.

The talented violinist has worked with the likes of O.P Nayyar, Shankar Jaikishan, Roshan, Madan Mohan and others. Making a debut with celebrated music composer O.P Nayyar was a blessing for an 18-year-old Menezes. Nayyar, who was known to be extremely strict, was every musician’s delight. In an era when producers would refrain from compensating musicians, Nayyar would take make sure that the musicians’ payments were cleared first. He was the pioneer in fixing rates for the musicians.

“He always said that he was in the industry because of the musicians. No music director has ever said this before. He was strong-headed and always knew what he wanted. Nayyar Saab would finish recording in one or two takes. Once Rafi Saab asked him for one more take and he denied it because he felt the song was ok,” recollects Menezes.

Having extensively worked with Shankar-Jaikishan, Menezes possesses an insider’s view of the legendary Raj Kapoor’s work regime.

Menezes added, “Raj Saab was a visionary. He had learnt music when he was young and that’s why he could explain what he wanted exactly to Shankar-Jaikishan. For background score, he would use pieces of music which were used in his earlier movies just to get the exact music he wanted. Raj Saab had a unique working style. He would explain a scene that needs to be shot in a different way to people and then shoots it in a completely different way. For all his musical sessions, Raj Saab would travel to his farmhouse in Loni along with composing team to work in peace.”

According to Menezes, The Raj Kapoor Films theme song is actually a classical waltz called ‘Waves of the Danube’. “Raj Saab had paid the International Performing Rights Society a handsome amount of ₹35,000 to use the waltz. Such was the integrity of the great man,” expresses Menezes.

It’s not a coincidence that his favourite movie soundtrack is ‘Dil Apna Aur Preet Parayi’. He had worked with Shankar-Jaikishan on every song in the movie including the famous ‘Ajeeb Dastan Hai Yeh’. Lamenting the loss of Jaikishan, Salil Chowdhary, Roshan and R.D Burman for their early deaths, Menezes fondly recalls how Jaikishan composed entire songs out of counter melodies composed by his assistants.

Other than Jaikishan, Menezes has had the opportunity to work both R.D and S.D Burmans. He reminiscences the enriching experience of those times. While RD was ahead of his time, SD was more rooted in folk.

“Both had same assistants, Manoriji, my uncle Joe and Gomes. All were world-class musicians who helped shape the music of that time. Though RD was a fun-loving guy, he was moody. He would change the song completely even if a little part was not right. RD had the best music room at the time. He used to compose, record and listen to the songs in his room. His rhythm team was the best in the industry,” opines Menezes.

In 1986, Menezes along with three others would play at Hotel Oberoi for six months on the 3rd-floor lobby. Zubin Mehta came to Mumbai with his orchestra for a concert. He was staying at the Oberoi on the 21st floor. “Zubin complimented me and told me that he could hear us play even on the 21st floor,” recalled Menezes. Speaking of another incident, Menezes remembered how Odissi dancer Protima Bedi her Italian friend began dancing to the waltz music while we were playing at the hotel.

Menezes has always been at the forefront to help fellow musicians in the industry. It was during his term as the Secretary of the Cine Musicians Association in 1995-97 when musicians got their biggest pay hike. Later, Menezes was also elected as the Secretary of the Film Federation of India. “I fought for artists’ rights and what helped in my fight was that all the producers knew me.”

Looking back at his life and his career, Menezes confesses, “I am not very intelligent and I wish I had done many more things in my career but I couldn’t. I also feel that I could have been much better. Back then, I didn’t know the tricks of the trade and I still don’t know much. But, I still won’t go and beg for work.”

With his never-ending passion for the violin, the man is forever ready to play his favourite tunes. At the end of the conversation, the maestro played ‘Yaad Kiya Hai Dil Ne Kaha Ho Tum’ sung by the legendary Hemant Kumar and composed by his favourite Shankar-Jaikishan.