Shankar Jaikishan & other winners of 14th Filmfare Awards
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Shankar of Melodies Past
Contributed by Dr. Raj Senani
Digged out a very rare stuff which was contribution by Dr. RAJ SENANI
COPIED AND PASTED FROM OLD YAHOO MAILS WHICH WAS ACCIDENTLY PRESERVED
SO ENJOY
From magazine MOVIELORE
SHANKAR OF MELODIES PAST……..
SHANKAR–the lone survivor. Today he faces the muscalone. Betrayals, accusations, broken promises he has seen them all, but refuses to crumble. His pride holds him in good shape, so does his confidence.
Surprisingly, it is very difficult to elicit iformation from him, or even evoke a feelig of nostalgia. Unlike most, he lives very much in the present and talks of the future. After some persistence, Shankar recapitulates. ….
Shankar Singh Raghuvanshi knew only three passions in life- tabla, gaana and kasrat. Harmless pleasures but Shankar singh Raghuvansi was of an age when books ought to have been more important for he was only a child. But unlike most children he never studied, only indusged in his passions. His mother often despaired “Yeh to gaanewali ke piche hi tabla bajaayegaa.” Prophetic words of sorts. The little fellow grew upto be a part of the duo whose music took the film industry by storm. The unbeatable combination of Shankar-Jaikishen. Their creations still ring in our ears….Jiya bekaraar hai, yeh mere diwanapan hai, Yeh aasoon mere dil ki zuban hain.
“It all began for me in Hyderabad. Those were the days of the Nizam and Maharajas. Their ifluence was strong and music pervaded every house; it was a part of our lives. With me too, music was all that mattered. And I was attracted to anything that was connected with it, be it acting or dancing. Though my parents wanted me to study and do well. I didn’t care about books. One day, while passing by the house of a nobleman, I heard the strains of the melodious voice of a singer, Saraswati Bai. But it was spoilt by some cacophonous sound which ostensibly was supposed to be that of a tabla. It was unbearable to me. I rushed into the mehfil, pushed aside the incompetent tabla player and took over. I know it all sounds very filmy, but after I finished, wah-wahs poured from everybody present and I was pleased.
Bombay was then the centre of theatre activity. So my cousin and I, decided to come down to try our luck. I wanted to join the theatre–perform, sing, dance, play instruments. I learnt kathakali from Krishnan Kutty, Kathak from the Jaipur Gharana and Manipuri and Bharat Natyam as well. Slowly I also learnt to play the piano, the accordion, the sitar and the harmonium quite well. Fate somewhere during this time introduced me to Papaji (Prithviraj Kapoor).
“Papaji looked like some Greek God; I have yet to see a more handsome person than him. At that time he had just started his Prithvi Theatres and one day he called me over to witness a play called Shakuntala that he was staging. He had enrolled many great musicians for this play and while I was watching it, he suddenly asked me to go on stage and accompany the Sarod player with the tabla. I did so. (I learnt that he was none other than Ali Akbar Khan). After the show, Papaji called me and embraced me even though I was a non-entity then. He even asked me to join Prithvi Theatres.
“Jaikishen was a frequent visitor to Prithvi, but it was at a friend’s place that I met him first. There were instant good vibes and we slowly became good friends. I introduced him to Papaji and he too began working at Prithvi. Raj Kapoor was also working with his father in those days. When he began Aag, we helped him with the music, though we were not the official music directors.
“Jai and I decided to be partners. Raj, at that time, ws working on Barsaat. We composed a tune for him, Jiya bekaraar hai. He liked it. That was our first major break. Although music was in my blood, I had never dreampt of becoming a music director for films. I met Shailendra, who was a close friend of Raj. And also Hasrat Jaipuri who was with Prithvi. We formed a group and our foursome clicked. Shailendra and Hasrat wrote the lyrics while Jai and I composed the tunes.”
Barsaat broke records. Then followed the deluge — Nagina, Mayur Pankh, Badal, Badshah. It was all so unexpected. A pair of eighteen year old youngsters causing existing edicts to tremble. Shankar-Jaikishen were creating afurore. They had descended upon the domain of Naushad, S.D. Burman, Husanlal Bhagatram, Ghulam Mohammed, O.P. Nayyar. Shankar recalls, “They were at first sceptical, Yeh ladke kitne din chal sakte hain? they said. Then they got worried. But I must say, C. Ramchandra was one man who always appreciated us. He’d tell the others, “Yeh ladke hum sabko hairan karke rekhenge. Hindustan mein dhoom machayenge.”
The Shankar-Jaikishen era had begun. The old order was displaced. Given their propensity to compose songs that appealed to both the box-office and people’s tastes, it wasn’t strange or surprising that almost every top hero insisted on Shankar-Jaikishen as part of his contract. With Raj Kapoor there was Awara, Aah, Shri 420, Boot Polish, Jis Desh Mein Ganga Behti Hai, Sangam, Mera Naam Joker. Shammi Kapoor pranced aound hills and dales and beautiful gardens teasing his pretty heroines, while Shankar-Jaikishen’ s music kept mercurial pace in Junglee, Janwar, Badtameez.
Rajendra Kumar, he rarely worked in a film that didn’t have Shankar-Jaikishen on the credits. Aas Ka Panchi, Zindagi, Sasural, they made the ‘jubilee’ hero, they also had one common factor — Shankar-Jaikishen.
As partners, Shankar talks of their perfect tuning, between each other. “My relationship with Jaikishen strengthened over time. We shared instant empathy, an inherent understanding and a deep bond of friendship. Whenever we both wanted to compose a particular song, we’d toss a coin to decide who would do it. Tensions between us were only over music but we would always sort them out. When I composed Nanhe munhe bachche teri muthi mein kya hai for Boot Polish, Jai didn’t like the tune. But I convinced him otherwise. In fact, Boot Polish as planned earlier, was to be a songless film. Afterwards, Raj decided to add songs. Jai, who was a hot-headed person, was very angry and said, “Nothing doing. we are not giving music for the songs, Why did they not say so earlier? Of course, he later relented.
But we have always trusted each other completely. We never listened to those who oisoned our ears about the other; no chamchas came between us. And it was like that till his death. It is absolutely untrue that we grew apart after Sangam. With a relationship as deep as ours that was quite impossible.
“Being basically a good Gujarati businessman, Jai also handled all the business matters. He was a financial juggler and did his job well. When he died, I was shattered. For 3-4 years after his death, I could not work…could not build up the mood. And people tried to provoke me by saying things like our work was mainly Jai’s doing. But what could I say to this? I know that it wasn’t the truth. If I had been the first to go, people would have said the same things about me to Jaikishen, too. So I refused to speak out in retaliation.
“After Barsaat, I bought an M.G. Racer Car. It was the first car between the four of us. Jai bought his own, later. Since it was a two-seater, we, that is, Jai and I, would draw back the hood, sit in front while Shailendra and Hasrat would huddle behind and we’d take chakkars all over the city. Later, Jai and I, both, bought Chevrolets. For the Filmfare Awards function we would drive in our Chevies and enter in style.
“But things have changed drastically now. Look at the heroines of those days. Has there been anyone like Madhubala? They may not have come from very good families, but they behaved and conducted themselves in a better manner than some of our heroines today, from so-called good families. When we composed music we would take their individual personality into consideration. We’d call them to our music room and accordingly compose music to suit them. Today, id does not matter which heroine you compose a song for and whether you compose a song for a hero or a comedian.
“On many ways we revolutionized the industry. We were amongst the first who thought of giving due respect to the Press, calling for Press Conferences, …hosting parties. We were never afraid of change. Barsaat was the first film where Lata sang all the songs. Before that, she would be signed for only one or two of them per film as she had a very thin voice as compared to other to singers of those days for example Noorjehan, Shamshad, Zohra and Suraiya. We took risks, and won. Those days Manna Dey sang mainly bhajans. We took him for light songs like Chori Chori, Aa ja sanam and Yeh raat bheegi bheegi, which changed things for him. Mukishe’s popularity also grew especially after he sang Yeh mera diwanapan hai for Yahudi.
“Rafi Miya was of course the best. There was some jaadoo in his voice that appealed to both the ganwar and the sophisticate. Some of his songs like Yeh aasoon mere dil ki zuban hai, touch people even today.
More important, he was a great person…a sharif man. If you told him you couldn’t pay him immediately, he’d refuse to take it even later when you offered him the money.
Sometimes, a sng would make him so happy, he would refuse to take the payment for singing it. The pleasure he got out of singing them was his reimbursement. He donated to charitable causes very generously and never spoke ill of anyone. No praise is enough for Rafimiya…there can never be a man like him.
However, with the start of the Kishore Kumar mania, he suffered a setback and became slightly nervous and depressed.”
Shanker had few setbacks too. Like Raj Kapoor’s betrayal. Dost Dost Na raha was one of Shankar’s contribution to Raj Kapoor’s Sangam. Perennially haunting, stirring, it exuded pathos. While at that stage no one would have dreamt that the Raj Kapoor-Shankar- Jaikishen team would one day not exist, years later the ‘dosti’ was not the same. They parted professional ways. Shankar insists he wasn’t upset when his ‘dost’ signed up Lasmikant-Pyarelal for Bobby. “Why should I have been hurt? I knew that R.K.’s musical best was with Shankar-Jaikishen. The world knows it. People still hum the tunes of Mera Naam Joker, even if the film was a flop.
“Our sogs for his films have been translated in Chinese. Russian, German and even Arabic. However, his sons wanted a change so I don’t really feel bad. I was to do Prem Rog, but it didn’t work out. Maybe I’ll get to do his Param Vir Chakra”
Another jolt came from Prasad Productions, whose films have been transofrmed from mediocre family dramas to musical hits….Teri pyari pyari surat to (Sasural), Jaoon Kahan bata ae dil (Chhoti Bahen)….all this courtesy, Shankar-Jaikishen. But Shankar doesn’t seem to be perturbed. “Even G.P. Sippy didn’t take after Brahmachari and Andaz. Before that he was making films at a loss whereas these two films were super hits. It doesn’t really bother me when people switch sides. What makes me happy is that I gave them big hits.”
Most of Shailendra’s lyrics wee Shankar’s compositions. They both complemented each other perfectly. “When we were discussing the music of Shri 420, Raj was describing a scene. I instantaneously blurted out Ramaiya vatavaiya, which in Telugu means ‘Ramaiya, will you come?” And Jai spontaneously gave his rejoinder, ‘Maine dil tujhko diya’. It was the beginning of our song. When we were driving past a bus-stop and Jai saw a pretty girl, he turned around instinctively to take a look. That’s how Mud mud ke na dekh (Shri 420) was born. Shailendra was great. He wrote beautifully. People would cry at the beauty of his lyrics.
“Yet today, how many music directors really undrstand or know anything about music? Everything is a fad — ghazal, discro….But what do they know of ragas or surs? Nobody pays attention to composing good lyrics. But then I guess, time have changed. The music of a film was importat then;now it is the actor’s image tht is central. In fact, fight composers are paid more than music-directors. But I think, we will slowly return to an age of melody, and of good films.
“I have made enough money. I have been awarded for my work”. It is not an idle boast. Eight Filmfare Award trophies stand testimony to the fact.
The Sur-Singar Award came twice for Mere Huzoor (Jhanak Jhanak Toree Baje Payaliya) and Lal Patthar (Re Man Sur Mein Ga). Throughout Shankar was instrumental in introducing classical music in films, interweaving the classical style with the popular form. Result:Man Mohana Bade Jhoote (Seema), Rasik balama (Chori Chori), Ja Ja re ja (Basant Bahar).
From small beginnings in a South Indian lodge at Parel to a well-appointed home at the ‘Beacan at Churchgate, his success story was truly established. He lives there still, with his maharashtrian wife. His rehearsal room at Famous Studio in mahalaxmi still remains. Many moons ago, hordes of producers thronged its long corridors, waiting patiently with wads of notes, hoping to entice the two gentlemen into signing a contract. An it wasn’t easy. Shankar’s present Man Friday whispers to me that his boss would turn off the producers and their fat wads of notes with disdain, contemptuous of those who try to buy him. Though of course, the hordes have now dweindled.
Time was whenn the Binaca Hit Parade invariably featured a Shankar-Jaikishen number Baharon Phool Barsaon made it 49 times to the top.
Today in a theatre screening Aah or Jis Desh Mein Ganga Behti Hain, when the music begins, the entire theatre sings along….Aa ja re ab mera dil pukare….reminisci ng bygone days.
They style of the man remains consistent. He employs personal musicians and refuses to take less money and get more contracts. “Why should I bother? I have made enough. I get a royalty on all my records. My lifestyle is the same. I’m not too friendly and outgoing a person. I don’t go out of my way to obtain films.”
Shankar takes his harmonium, shows us how he composes a new tune. His musicians are summoned. His fingers move on the harmonium. The musicians join in on the tabla etc. Shankar sings “Yaad na jaaye bite dinon ki’….softly telling the story of a legend that will live forever.
Sheila Vesuna
Contributed by Dr. Raj Senani to shankarjaikishan Group on Yahoo from his collection.
Story behind film ‘Kaheen Aur Chal’ 1968
Story about
#Kahin_Aur_Chal1968
Producer #JaalMistry
Director #vijayanand
Lyricists #Shailendra &
#HasratJaipuri
Music by #ShankarJaikishan
#DevAnand #AshaParekh
#shankarjaikishan
#shankarjaikishanji
#shankarjaikishanemperorsofHFM
#shankarjaikishanmaestrosofthemillennium
Tribute to Shanker (Jaikishan) on his 100th birthday
Reproduced and presented by Dr. Padmanabh K. Joshi, writer of SJ book in Marathi.
Today is101st Birth Anniversary of a Great Maestro of the Golden Era, Shankarji (Shankar-Jaikishan).
Here are some excerpts from an interview of Shankarji with Shri Raju Bharatan, taken few days before his untimely departure. In this interview, one would know his mastery over the music and his dedication:
” Raju Bharatan could only listen enthralled as, for an hour and more, Shankar, accompanied by his musicians, offered, in his last taped interview, a rare insight into SJ’s composing style and technique.
If there is a taller perpendicular pronoun in our music world than Shankar, I have yet to meet him. Yet, as you heard Shankar demonstrate his art and craft on the piano, the accordion, the sitar, the tabla and the harmonium, you derived that his boundless confidence stemmed essentially from the fact that he was the total musician.
Imagine, on the one hand, Shankar’s right hand on the harmonium and, on the other, Jaikishan’s left-and you have the entire format of our popular music at your finger-tips.
Likewise, it came as a revelation to learn that, if the Ghar aaya mera pardesi part of the famous dream sequence in Awaara was done by Jaikishan, it was Shankar who set the breath-taking orchestral tone for it with Tere bina aag ye chaandni.
The one enriched the other’s creativity, no doubt. Yet so dominant was Shankar as a musician that even Shailendra had to tailor his poetry to this ersatz composer’s tune.
Q: But you are unique in that you always compose the tune first.Why?
For the simple reason that, if you let the song-writer get in first, very soon he begins to write in the same monotonous meter. This could, in course of time, put the composer in a strait-jacket and impinge on his variety of tune.
Q: But with SJ, it was never merely the tune it was the way the interlude pieces integrated with the tune that gave an SJ composition its quaintly distinctive appeal. Were the two processes of composition simultaneous, was the interlude piece composed alongside the tune?
No, in the case of SJ, the process was very clear-cut. First came the tune, then the words, only then the interlude pieces. It’s the way SJ have integrated the oral music and the interlude music that gives listeners this impression that the two processes are simultaneous. I take this as a tribute to SJ’s powers of integration.
I myself play the tabla, the dholak, the sitar, the accordion, the piano and, of course, the harmonium. That’s why I have always been in total control of my orchestra. Even if the man in the orchestra is someone so eminent as Shivkumar Sharma on the santoor, Hariprasad Chaurasia on the flute or Pt Ramnarain on the sarangi, he has to play exactly what I want for the precise length I want. For all his virtuosity, he can’t dictate to me.
If a composer knows his job, no one can dictate to him. The trouble is today’s composers don’t know their jobs, so they are totally dependent on their arrangers and assistants. Nobody ever told SJ what to do. It was SJ who told them what to play, how and when.
Take for instance, the accordion piece after Awaara hoon which, as you say, you have to hum to be able to go on to the next oral portion of the song. Well, I myself could take up the accordion and tell Goody Seervai exactly how I wanted that piece played. So the only thing that remained for Goody to do was to display his prowess with the accordion, which he was there to do, since that’s what he was being paid extra for.
Q: Could you cite certain songs that you based, for instance, Andhra folk since, though originally from Punjab, you are almost a domiciled Telugu?
Oh yes, I grafted Andhra folk extensively on to our music. There is the classic case of Ramaiyya vastavaiyya in Shree 420. Ramaiyya vastavaiyya is just an Andhra name that I was employing as dummy words for the opening line of a tune, when Raj Kapoor pounced on it and said this is the dhoon I want. Likewise, take Hai aag hamare seene mein in Jis Desh Men Ganga Behti Hai, that too is Andhra folk. So too Tandana tandana tandana tandana in Mayurpankh. Oh, the number of Andhra folk tunes I have done is legion.
Q: What about Timka tima in Chori Chori, isn’t that Andhra folk?
No, that’s Punjabi folk! Probably because I superimposed it on those southern boatmen in the film you got the impression its Andhra folk. Remember one thing. Folk music all over India, in fact all over the world, is essentially the same- it has a basic earthy character, only the language and the presentation vary with the part of the country in which it is sung. Take our Baakad bum bum bum bum baaje daamaru in Kath Putli. It too is straight folk our contribution is only in the presentation.
But let me play for you a novel bit of Czechoslovak folk I adapted to Indian needs to come up with a tune of which I am very proud. Here is how I tuned that number, this is how it goes: Jahaan main jaati hoon wahin chale aate ho. Everyone who heard it when I composed it for Chori Chori predicted it would mark something excitingly new in film music. That it certainly did, which only proves my point that folk music the world over is basically the same, even Czech folk can be effectively adapted to an Indian setting.
Music by Shankar-Jaikishan was the tag that sold our names, films. No, I repeat, all music composed by us is the music of Shankar-Jaikishan. They had only to announce that such and such a film had music by Shankar-Jaikishan and distributors queued up to buy the film – even the hero and the heroine of the film became secondary! SJ ruled like no one did in our music world.
Q: You were yet to command pride of place when you came to replace a composer of Anil Biswas’s stature in Basant Bahaar in the mid-1950s. It was said then that SJ just didn’t have the classical background to score a depth theme like Basant Bahaar. Did you feel insulted by the suggestion?
We surely did, that’s why you got the quality of classical music you did from SJ in Basant Bahaar. Without doubt Anil Biswas was a great composer in his time, but he was beginning to date. Still the producer of Basant Bahaar, Bharat Bhooshan, who was also the film’s hero, wanted Anil Biswas. But his distributors made it clear that, business wise, only Shankar-Jaikishan were acceptable.
Thus Basant Bahaar did finally come to us, but Bharat Bhooshan was not happy about it. So we had a point to prove to him. And we did so with quality tunes like Sur na saje (Manna Dey), Badi der bhayi (Mohammad Rafi), Main piya teri (Lata) and Nain mile chain kahaan (Lata & Manna Dey), not to speak of Duniya na bhaye mohe (Rafi) and Bhay bhanjana (Manna Dey). We took up the composition of the Basant Bahaar theme as a challenge and demonstrated that, where it came to the crunch, we lagged neither behind Anil Biswas not anyone else.
Q: Your compositions came to have for their staple Bhairavi. Any particular reason for the fixation on this raag?
It’s a sada-suhagan raag. But until SJ came into films, Bhairavi was being done largely in the set traditional style. There was Naushad with his standard Bhairavi. We decided that we would create a ‘Shankar-Jaikishani Bhairavi’. We took it upon ourselves to modernize Bhairavi in films. Take Mohabbat ki dastaan in Mayurpankh and Suno Chhoti si gudiya ki in Seema – here let me play it to you the way SJ composed it. Can you say it’s anything like the Bhairavi you heard in films until then? At times you will find a complete SJ film in bhairavi – like Sanyasi. Not just the oral music but even the background music in the film is cast in the Bhairavi mantle.
There’s no raag to beat Bhairavi. You could set something so light as Ae mere dil kahin (Daag) or Mera joota hai Japani (Shree 420) in Bhairavi. On the other hand, in Rajaa ki aayegi baraat (Aah), I start off in Bhairavi and then go on to Malkauns. While in Badi deri bhayi (Basant Bahaar) I mix Pilu with Bhairavi. Here, let me play it to you and show how I did it. See how I mix Pilu with Bhairavi! A composer must at all times be prepared to mix raags to avoid monotony of sur.
It’s our experience that Bhairavi offers the maximum scope for variety in composition. I cannot rationally explain why we pitched on Bhairavi. Maybe it was God’s gift to Shankar-Jaikishan! The idea was to give a new dimension to Bhairavi in the till then traditional realm of film composition. And we succeeded spectacularly, you will agree. There were, I remember, five tunes I had composed for the theme-song of Shree 420. Raj Kapoor did not respond to the first three, but to the fourth, which happened to be in Bhairavi, he instantly latched on, thus it is in straight-line Bhairavi you hear Mera joota hai Japani.
As a composer, it’s your job to pick the right singer for the right song and then settle for the best that the singer can give you. Take Tu pyaar ka saagar hai and Kahaan jar aha tu, the one by Manna Dey, the other by Rafi, but both in Seema. Now if I had reversed singers, got Manna to render Kahaan ja raha tu and Rafi to put over Tu pyaar ka saagar hai the effect would have been disastrous. Because, even as I am tuning, I determine that the song is for either Manna or Rafi, after that their roles can’t be easily reversed. That’s why, when a key singer’s failed to turn up for a recording, I have preferred to postpone doing the number rather than hastily get it rendered in another voice quick to perform.
Having gone to the pinnacle, how much more can you ask of this world? I therefore rest content in the knowledge that, so long as popularity is the barometer by which film music is measured, there’s been none to beat Shankar-Jaikishan. In fact, even today, all around I hear only SJ’s music being played. What more could I want from life? “
Film personalities including Shanker Jaikishan contributed to war fund
“People can’t succeed in making me feel jealous by giving all credit to Jai” – music director Shanker
The interview was published in STAR DUST the date and issue no. are not available.
Tribute to Shailendra after his demise by Jaikishen
That sad Wednesday afternoon, a little after he died, the radio sang :“Aye mere dil kahin aur chal
gham ki duniya se dil bhar gaya
dhoondle ab koi ghar naya“.It was Shailendra’s own lyric from `Daag’. He, too, had just told his weary heart : “I am full of the world’s sorrows. Let me seek a new home!”.At the nursing home where he lay, we, his close friends, tried vainly to hold back our tears. Twenty years is a long time to know anyone, particularly in the film industry where “friendships” are made and broken easily, too easily.Twenty years ago, we – a small group of people – had started from nothing. We had dreams, and nothing else, to sustain us. We had stood together, to the surprise and possibly dismay of many, and together we had worked out a common destiny. And today, without warning, death has laid an icy hand on one of us.“Dhoond le ab koi ghar naya.”. He had done it.For “Teesri Kasam” his own production, he had written :“Sajan re jhoot mat bolo, khuda ke paas jana hai, na haathi hai na ghoda hai, vahaan paidal his jaana hai.”True enough. We all have to go on foot. There will be no elephants to carry us, no horses, no Impalas. Poets have to go there when the call comes and ordinary men too.But do the poets of the world, true creative artistes, really die?Born and brought up a man of the people, Shailendra remained that all his life. His lyrics, like he himself, were simple, and had depth. And what a variety! He could dash off a frothy love lyric, he could compose a deeply philosophical poem. He wrote of sadness, gaiety, resignation, despair, hope.“Ye poorab hai, poorab wale, har jaan ki keemat jaante hain“, he said, in the theme song of `Jis Desh Mein Ganga Behti Hai’. That was the pariot. “Awara hoon“, he sang, in a manner at once, light-hearted and serious. The song became world famous. And it was the same patriot who laughingly wrote “Mera joota hai Japani” in `Shri 420′.
When Shailendra joined our fold – at the time of Raj Kapoor was making “Barsaat” – it was with two lyrics he had ready – “Barsaat mein humse mile tum” and “Patli kamar hai“. He said goodbye to the R.K. Banner, again with two lyrics, for “Mera Naam Joker”. In between, from his work done not only for us – Shanker and myself – but for other composers, I can name scores of lovely lyrics, songs which have been on everyone’s lips.By the way, Shailendra has written lyrics for all films for which my partner Shanker and I have composed the music with the exception of `College Girl’ and `Aarzoo’. In the latter film, he didn’t work with us because he was ill.Shanker and I met Shailendra for the first time twenty years ago. Raj Kapoor introduced us at his office which was then at Famous Studios, Mahalaxmi. Shailendra had a job in the railway workshop at Parel. He wrote poetry in his spare time. One of his poems – “Jalta hai Punjab” – moved Raj Kapoor so much he wanted to put it in `Aag’. But Shailendra was then not keen on contributing lyrics to films. He later changed his mind and joined us for `Barsaat’.The last time I ever saw him in good health was at Rajkamal studios about a month ago where I was doing some back-ground music recording. And you know what he was saying? Despite all the difficulties he had experienced in producing `Teesri Kasam’ he wanted to launch another film!In the early days, Shailendra was living in a one room tenement at Parel. After `Barsaat’, my partner had been offered our first contract outside R.K. ( the film was Mr. Dalsukh Pancholi’s `Nagina’) and wanting to persuade Shailendra to write the lyrics, I visited him for the first time at his home. Like us, he was quite needy then, but his work caught on quickly and he became much sought after. His address had a few changes – from somewhere, Parel, to `Rim Jhim’, his own home at Khar, but all along the man himself never changed.He was intelligent, very gentle, full of knowledge and very sensitive. His love of poetry and literature was paramount. Tagore was an early favourite as also Khalil Gibran. He was always nice company, whether you were discussing poetry or politics. He was very emotional and wept when something moved him. When he was composing a lyric, he would walk restlessly about the room. He loved writing on the beach. From the early days, he smoked incessantly – I wish he had been more careful.He was young – only 43. Why did he have to go that early and with so much mental suffering?In the music room of Shanker-Jaikishan at our homes where he was so welcome, there will be a void. There will be a bigger void in our hearts.“Dhoond le ab koi ghar naya…”.Goodbye, my friend.
`FILMFARE’ – JANUARY 20, 1967This is courtesy : Jay Subramanyam
“जिंदगी एक सफर है सुहाना यहां कल क्या हो किसने जाना” स्व. जयकिशन
Courtesy Mayapuri (Hindi Magazine)
मायापुरी अंक 53,1975
जिंदगी एक सफर है सुहाना यहां कल क्या हो किसने जाना? ‘अंदाज’ का यह मार्मिक गीत जब कभी सुनायी पड़ता है तो आंखो के सामने उस गीत को जिंदगी के सुरों में बांधने वाले संगीत-निर्देशक स्व. जयकिशन का हंसता-मुस्कुराता व्यक्तित्व उभर उठता है। मृत्यु के कुछ ही दिनों पूर्व अनजाने में उन्होंने इस गीत को इस तरह सुरों में बांधा जैसे यह उनकी आत्मा का संगीत है।
इसी तरह न जाने कितने गीत हैं जो स्व. जयकिशन की समृतियों को सजल करते हैं और उस युग की याद दिलाते हैं जब फिल्म संगीत क्षेत्र में शंकर-जयकिशन की जोड़ी की दृंदभी बजती थी। जहां शंकर जयकिशन वहां संगीत की महफिल और जहां संगीत की महफिल वहां शंकर-जयकिशन की जोड़ी…
और कब..!
अब लगता है फिल्म संगीत के वाद्य रूठ गये हैं। स्वं. जयकिशन वाद्यों के मसीहा थे। वे दिन-रात उन्हीं में खोये रहते थे। दिन-रात कुछ न कुछ नये प्रयोग करते रहते थे भारतीय लोक-गीतों में प्रयुक्त वाद्यों के बारे में उन्होंने जितनी खोज की उतनी शायद ही और किसी संगीत-निर्देशक ने की हो। ‘आवारा’ में शंकर जयकिशन की जोड़ी ने एक सौ से अधिक वाद्यों का अनोखा उपयोग कर फिल्म संगीत को नया मोड़ दिया था जो आज भी अनेक संगीत-निर्देशकों के सामने साहसिक उदाहरण बना हुआ है।
सन 1968 में एक फिल्मी पत्रिका में संगीतकार जयकिशन द्वारा आरकेस्ट्रा का अभिनव प्रयोग के शीर्षक से एक समाचार छपा था। उसमें लिखा था कि संगीत-निर्देशक जयकिशन ने भारतीय संगीत को अंतर्राष्ट्रीय धरातल पर लोकप्रिय बनाने की दिशा में एक अभूतपूर्व रचनात्मक कदम रखा है। वे भारतीय राग-रागिनियों की विभिन्न संगीत रचनाओं के लिए पश्चिमी संगीत में प्रयुक्त होने वाले वाद्यों का उपयोग करेंगे। जयकिशन एक लंबे अर्से से किसी ऐसी विधि की खोज में जुटे हुए थे जिससे कि भारतीय संगीत अपनी विशिष्टता, मधुरता एवं सूक्ष्मता खोये बिना, पश्चिमी संगीत रसिकों के लिए बोधगम्य हो सके।
इसी संदर्भ में एक बार स्वयं जयकिशन ने बातचीत में कहा कि, हमने अपने यहां प्यानों, गिटार, वॉयलिन, मैण्डोलिन जैसे पश्चिमी वाद्यों का खूब प्रयोग किया है और तब भी हम पाते हैं कि हमारे संगीत की भारतीयता सुरक्षित है। इसी आधार पर मैं इस निष्कर्ष पर पहुंचता हूं कि आरकेस्ट्रा का पूर्ण पश्चिमीकरण कर दिया जाये और तब भारतीय रागों को अलंकृत किया जाय तो संभवत: पश्चिमी लोक मानस उन्हें जल्दी और सहज ही समझ सकेगा…
दम भर जो उधर मुंह फेरे ओर चंदा, घर आया मेरा परदेसी, हम तुमसे मोहब्बत करके सनम.. ऐसे गीत थे जिन्होंने आम दर्शकों को प्लावित कर दिया था। लता मंगेशकर का कहना है कि शंकर जयकिशन के निर्देशन में उनका गाया यह गीत आ जाओ तड़पते हैं अरमां अब रात गुजरने वाली है उनकी जिंदगी के प्रिय गीतों का एक प्रिय गीत है और जब भी उन्हें अपनी मनपसंद गीतों की चर्चा करनी होती है तो यह गीत अनायास उनके होठों पर फड़क उठता है और उनकी आंखे अपने आप बंद हो जाती हैं।
शंकर जयकिशन की जोड़ी सूर्यरथ के घोड़ो की तरह जुड़ी हुई थी। वह दिन कितना शुभ रहा होगा जब वे दोनों अपनी अपनी मंजिल की खोज में भटकते हुए मिले और जब मिले तो इस अहसास से मिले जैसे उनका जन्म-जन्मांतरों का साथ संबंध है और वे दोनों जुड़वे भाई हैं।
शंकर जी हैदराबाद से मुंबई आये थे और जयकिशन बलसाड़ से मुंबई आये। शंकर मुंबई आने के पूर्व तबला वादक थे और जयकिशन.. जयकिशन तो जैसे संगीत की मिट्टी में ही पलकर बड़े हुए हो, ऐसा लगता था। खुद बहुत अच्छा गा लिया करते थे, खुद बहुत अच्छा बजा लिया करने थे, एक नहीं अनेक वाद्य खुद बैठे बैठे धुन तैयार कर लिया करते थे। शंकर हैदराबाद में अनेक नर्तकियों के साथ कार्य कर चुके थे। संगीत-महफिलों में उनका नाम था.. पर जयकिशन मन ही मन संगीत के साधक बने हुए थे।
मुंबई में आकर जयकिशन को काफी भटकना पड़ा। एक बार उन्होंने बीते दिनों की याद करते हुए मुझे कहा था मुंबई जैसी महानगरी में जब तक मुफलिस के मौलवी की तरह न रहे, कुछ काम बनता नहीं। मैंने खुद न जाने कितने दिन चने मूंगफली फांक कर फाका मस्ती की है। न जाने कितने दिन उसल-पाव(डबलरोटी और चना जो मुंबई के गरीबों का खाना है) पर गुजारे हैं। पर वे दिन भी क्या थे? केवल गुनगुना कर जिंदगी का गम अमृत बना दिया करते थे।
कई दिनों तक भटकने के बाद जयकिशन को नौकरी भी मिली तो लड़की की पेटियां बनाने वाले कारखाने में। जिंदगी की यह कैसी विडम्बना! पर यहां भी पेंटियों की आवाज के बीच भी वे संगीत ढूंढने लगे। हथोड़ों की चोट में भी उन्हें धमकता-धमकाता, घहराता-थिरकता संगीत नजर आया। यहां उन्होंने कारखाने की उस विचित्र एंव पसीने बहाने वाली जिंदगी के बीच भी कई धुनें बनाली। वे धुनें ऐसी थी जो बाद में बहुत काम आयी और उनके संगीत के साथ जैसे आम लोगों की जिंदगी की धुनें और धड़कन बन गयी।
जयकिशन को कारखाने से जब भी अवकाश मिलता प्रोड्यूसरों के पास जाते अपनी धुनें सुनाते और बड़े आत्मविश्वास से कहते, जरा आज़मा कर देखों, वे बड़े आत्मविश्वास के साथ किसी भी तरह की परीक्षा के लिए हर वक्त तैयार रहते थे और यही उनकी जिंदगी की सबसे बड़ी खूबी थी जो बाद में उनके व्यक्तित्व में महक उठी थी।
उन्हीं दिनों की बात है….!
शंकर जी थियेटर्स से संबधित हो चुके थे। पर उन्हें बाहर कार्य करने की स्वतंत्रा थी। इसी स्वतंत्रा का लाभ उठाकर वे गुजराती के प्रसिद्ध नाटककार चन्द्रबदन भट्ट के यहां पहुंचे जिन्होंने फिल्म बनाने की घोषणा की थी। जिस दिन वे वहां पहुंचे उसी दिन सौभाग्य से जयकिशन भी पहुंच गये। वहीं दोनों की पहली मुलाकात हुई जो पहले दोस्ती में बदली, फिर भाईचारे में बदली.. और जिंदगी की यारी में बदली और आगे चलकर फिल्म संगीत क्षेत्र में शंकर-जयकिशन की अटूट जोड़ी बनी।
शंकर ने अपने प्रयासों से जयकिशन को अपने पास पृथ्वी थियेटर्स में ही 75 रूपये मासिक वेतन पर नियुक्त करवा दिया। वहीं दोनों साथ-साथ काम करने लगे और अवकाश पाते ही दोनों मिलकर संगीत रचना में जुट जाते।
शंकर जयकिशन की जोड़ी पृथ्वी थियेटर्स में कार्य करने वाले सभी लोगों के लिए आकर्षण का केन्द्र बन गयी थी उन दिनों राजकपूर भी वही काम करते थे। उन्होंने ध्यान से दोनों की संगति-साधना को देखा। वे मन ही मन उनसे प्रभावित हुए।
एक दिन बैठे ही बैठे जयकिशन ने अपनी बनायी हुई एक नयी धुन राजकपूर को सुनायी। वे इस धुन पर इतने प्रभावित हो गये कि उन्होंने फट से उनसे मिलाकर वायदा कर लिया कि वे जब कभी फिल्म बनायेंगे उन्हें जरूर संगीत-निर्देशन का अवसर देंगे!
और वह समय आया कि राजकपूर फिल्म बनाने की सोचने लगे। ऐसे वक्त अवसर लोग पुराने वायदे भूल जाते हैं। पर राजकपूर उस वायदे को नहीं भूले। उन्होंने शंकर जयकिशन को बुलाया और ‘बरसात’ के लिए के लिए धुनें बनाने के लिए निमंत्रण दिया…!
बस फिर क्या था… जयकिशन ने धुनों की बरसात कर दी। ‘बरसात’ के गीतों की रिकॉर्ड हुई तो सारी फिल्मी दुनिया में शंकर-जयकिशन और उनके गीतकार शैलेन्द्र और हसरत जयपुरी के नाम चमक उठे।
‘बरसात’ फिल्म प्रदर्शित होते ही फिल्म संगीत क्षेत्र में यह चौकड़ी ऐसी जमीं ऐसी जमीं कि लोग देखते रह गये। ‘बरसात’ के गीत ‘जिया बेकरार है’ छायी बहार है, हवा में उड़ता जाये मेरा लाल दुपट्टा मलमल का, छोड़ गये बालम मुझे आज अकेला छोड़ गये, बरसात में हम से मिले तुम सनम तुम से मिले पतली कमर है तिरछी नज़र है.. गली कूंचो में गूंजने लगे. इतना ही नहीं, आज भी जब ये गीत सुनायी पड़ते है तो दिल को छूते है और उन गीतों के साथ थकी हारी जिंदगी भी रोमांटिक मूड में डूब कर मुस्करा उठती है।
‘बरसात’ की तरह ‘नगीना’ के गीत भी घर-घर गूंज उठे। फिर आयी बादल और अमय चक्रवर्ती की प्रसिद्ध फिल्म ‘दाग’ जिसमें दिलीप कुमार और निम्मी की जोड़ी थी।
इन फिल्मों के गीत आम दर्शकों की धड़कन बन गये थे। इन गीतों से पर युवा युवातियों के दिल मचलने लगे थे। इन गीतों से इनकी प्रतिष्ठा काफी ऊंची चढ़ गयी थी कि उस पर राज कपूर की ‘अवारा’ ने तो फिर चार चांद लगा दिये। ‘अवारा’ के गीत
आवारा हूं या गर्दिश में हूं आसमान का तारा हूं.. धरती से उठ कर आकाश तक देश की सीमाओं से पार विदेशों में भी गूंज उठे। ‘आवारा’ में जयकिशन ने वाद्यों के प्रयोग में अपनी सारी प्रतिभा को कसौटी पर कस दिया था। स्वंय राजकपूर का कहना है कि उन दिनों जब मैं जयकिशन को देखता था तो कभी-कभी सिहर उठता था। इसी तरह धुन बनाने में नये-नये प्रयोग में वह डूबा रहा तो कहीं अपने आप से बेखबर न हो जाये। उसकी कल्पना, तल्लीनता और श्रम साधना से मैं खुद द्रवित हो उठा और फिर एक दिन जयकिशन के कंधो पर हाथ रख कर कुछ कहने जा रहा था कि मेरी आंखे सजल हो उठी। इतनी खुशी थी… इतनी खुशी थी कि कुछ बोल भी मेरे मुंह से नहीं निकल पाये।
जब तक जयकिशन जीवित रहे, राजकपूर के साथ शंकर जयकिशन की जोड़ी फलती-फूलती रही। राज कपूर की हर फिल्म जयकिशन चुनौती मानते थे। राजकपूर की ‘श्री 420’ और बूट पॉलिश की अपार सफलता के पीछे उसके संगीत का बहुत बड़ा और गहरा हाथ है। और उस संगीत रचना में भी जयकिशन का गहरा हाथ है।
राजकपूर के बारे में जयकिशन प्राय: कहा करते थे कि, सच तो यह है कि राजकपूर ने हमें बनाया और उनकी फिल्मों ने हमारे संगीत को तराशा कुछ भी हो राजकपूर के साथ शंकर जयकिशन की जोड़ी का तालमेल कुछ इस तरह बैठा जैसे वह भी कोई प्रभू की लीला हो।
जयकिशन जब तक जीवित रहे। तब तक धुनें बनाते रहे। पाश्चात्य संगीत को भी अपनी धुनों में ढाला तो नये अंदाज तो नये अंदाज के साथ वे हमेशा निर्माताओं से यही कहा करते थे कि फिल्में जनता की है। इसलिए संगीत भी जनता का होना चाहिए। इस विचार धारा। के बावजूद कथा कहानी के अनुसार जब भी अवसर मिलता वे शास्त्रीय संगीत का सहारा लिये बिना नही रहते। शिकस्त के गीत.. कारे बदरा तू न जा न जा सपनों की सुहानी दुनियां का आंखो में बसाना मुश्किल है अपने शास्त्रीय संगीत के कारण ही लोकप्रिय हुए थे बसंत बहार में उन्होंने शास्त्री संगीत को उसके सही अर्थ में इस तरह प्रतिष्ठित किया कि उनके आलोचक भी खामोश हो गये। इस फिल्म के गीत भव भंजना वन्दना सुन हमारी, दुनिया न भाये भोहे अब तो बुलाले चरणों में केतकी गुलाब जुही चम्पक जुही चम्पक बन फूले नैन मिले चैन कहा, आज भी शास्त्रीय संगीत की महफिलों में बड़े गर्व के साथ सुनाये जाते हैं। इसी तरह ‘राजहठ’ के ये गीत, मेरे सपनों में आना रे, सजना, आये बहार बनके लुभा के चले गये, नाचे अंग-अग तेरे बाजे रे मृदंग बाजे, यह वादा करो चांद के सामने कहां से मिलते मोती, आंसू है मेरी तकदीर संगीत की दृष्टि से आज भी उच्चकोटि के माने जाते हैं। और जब जिस देश में गंगा बहती है गीत गलियों में गूंजे तो संगीत प्रेमी शंकर जयकिशन की संगीत साधना की सफलता देखकर चकित रह गये। ओ वसंती पवन पागल यह गीत आज भी श्रोताओं के मन में सिहरन पैदा कर देता है।
जयकिशन समय के साथ बदलते रहे और निर्माताओं की मांग के अनुसार फिल्मों में नयी नयी धुनें देते रहें। जंगली में पहली बार उन्होंने पाश्चात्य शैली में थिरकता संगीत दिया जिसकी नकल अब जोरों से की जा रही है। चाहे मुझे जंगली कहे कहने दो जो अब कहता रहे, कश्मीर की कली हूं मैं मुझ से न रूठो बाबूजी अइ अय्या करूं मैं क्या.. इन गीतों के थिरकते मचलते संगीत ने भारतीय फिल्मों के संगीत को नयी दिशा देकर उसे कुछ विवादस्पद भी बना दिया..
स्व. जयकिशन की राजकपूर की फिल्मों को छोड़ कर अन्य उल्लेखनीय फिल्में हैं, ‘उजाला’ ‘सिंगापुर’ ‘ब्यॉयफ्रेंड’ ‘करोड़पति’ ‘आस का पंछी’ ‘बादशाह’ ‘पूनम’ ‘सीमा’ ‘पतिता’ ‘यहूदी’ ‘लव मैरिज’ ‘जंगली’ ‘हरियाली और रास्ता’ ‘अनाड़ी’ ‘एक फूल चार कांटे’ ‘दिल अपना और प्रीत परायी’ ‘ससुराल’ ’प्रोफेसर’ ’ब्रह्माचारी’ ’छोटी बहन’ ’तीसरी कसम’ ’अंदाज’ आदि। राजकपूर की वे सारी फिल्में जिनमें उन्होंने संगीत दिया है भारतीय फिल्मों के इतिहास में माइल स्टोन बन चुकी है जिसका बहुत कुछ श्रैय उनके संगीत को है।
सन 1956 में उन्हें फिल्म ‘चोरी चोरी’ पर सर्वश्रेष्ठ संगीत निर्देशक का फिल्म अवार्ड मिला। यह अवार्ड उन्हें ‘अनाड़ी’ ‘दिल अपना और प्रीत परायी’ ‘प्रोफेसर’ ‘शर्त’ ‘ब्रह्माचारी’ फिल्मों के लिए भी मिल चुका है। वे अब तक 125 से अधिक फिल्मों में संगीत दे चुके हैं।
जयकिशन अपने साथी शंकर से छोटे थे। पर ते बड़े खूबसूरत बांके और दिलदार। मुंबई के प्रसिद्ध गेलार्ड रेस्तरां में एक जमाना था जब उन्हीं का बोलबाला था। वे सबके आकर्षण के केन्द्र थे यहीं उनकी मुलाकात पल्लवी से हुई और प्रथम मुलाकात में ही वे दोनों एक दूसरे के हो गये।
जयकिशन को सन् 1969 में पद्म श्री से विभूषित किया गया। इतना ही नही, अनेक सार्वजनिक संगीत समारोहों में उनका अनेक बार स्वागत किया गया। उन्हें संगीत के साथ अभिनय का भी शौक रहा है फिल्म ‘श्री 420’ और मैं सुंदर हूं में उन्होंने छोटी-छोटी भूमिकाएं भी की थी।
आज हमारे बीच जयकिशन नहीं है। हमारे साथ उनकी मधुर यादें हैं जो हमारे साथ उनके संगीत के सथ समय समय पर महक उठती है। जब हम किसी फिल्म समारोह में उनके दो पुत्र और पुत्री को देखते हैं तो आंखे सजल हो उठती है। करूणा से विहल मन बार-बार सोचता है
काश! हमारे बीच जयकिशन होते।
Courtesy link :
https://mayapuri.com/music-director-jaikishan-special-article-by-mayapuri/
Tribute to Shanker by Sharda
do jism ek jaan’ – SHANKAR-JAIKISHAN – by Sharda, singer from the yesteryears
april 26, 2017, april 26, 2017, On the occasion of the 30th anniversary of the passing away of composer SHANKAR (of the famous composer duo Shankar-Jaikishan), remembrances by noted singer Sharda Rajan about her association with the ace composers.
and (in another ‘note’) a review of the compositions and the thought behind them by Prof. Suhaaschandra Kulkarni, a learned scholar, versatile musician, composer, can be called one of the ‘Authority’ to elaborate S-J’s music…
(Both the articles were published in leading Marathi daily ‘Loksatta’ Sunday edition dt 22/04/12, on occasion of Shankar ji’s 25th Death Anniversary.
link – http://www.readwhere.com/read/34436?src=fb#page/17/1
original Marathi transcription : Prasad Sanwatsarkar.
English translation : Chandu Kale)
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‘do jism ek jaan’ – SHANKAR-JAIKISHAN
It’s now 30 years since Shankar ji passed away. Time flies so fast, but the magic Shankar-Jaikishan created is still as robust as it was 68 years ago.
It is really astonishing to see the variety Shankar-Jaikishan managed to bring into their music. And since I sung under their baton, I was able to study their music. Take any song: you can easily create 25-30 more songs from its various parts. The counter-melody, side parts, changes in chords – take any factor, whether comedy, happy, mischievous, sad, emotional or Ragdari-based, they have allocated a special personality to their songs. I can think of no one else who has done this. Technology was not as advanced as it is today. If it were, I am sure Shankar-Jaikishan would have created even more wonders. That era had so many eminent composers, who all had their own specialities, Naushad ji with his Bihari and UP lilts, Madan Mohan ji with his ghazals … each one followed their own path. But Shankar-Jaikishan were the only team who managed to score well in all.
Shankar ji’s own knowledge of music was boundless. One almost felt that as soon as his hands touched the harmonium, there were so many new pieces created, even the skilled arranger Sebastian used to be baffled how to write them. Then some chosen were strung together to form a big piece. Big orchestra was something Shankar ji brought into Hindi film music.
I think Shankar ji was not just a musician, but a magician. Music flowed through his veins, in fact he was music personified.
I had never really considered music as a career. I was from a South Indian Brahmin middle class family and could never think on these lines. But I did like music and I started liking Hindi film music. There were no tape recorders and we never even had a radio, so we used to go to restaurant to listen to songs. But eventually, whenever I went shopping with my mother, I used to stop on the way when I heard some song on the radio and wouldn’t budge until the song was over.
After some years, our family moved to Teheran. Raj Kapoor i had visited Teheran to promote his ‘Jis Desh mein Gangag Behti Hai”. I used to sing songs from the radio, just as a hobby and people liked it. Raj ji heard me in a party and the connoisseur liked my singing. He invited me to Mumbai. I left Teheran and went to RK. Studio. They tested my voice and Raj Saab told me to go and meet Shankar Jaikishan. I went and met Shankar ji. He heard my voice and gave me further training. Three songs of mine were recorded for ‘Mera Naam Joker’. I was, of course, overjoyed. But later on, I don’t know what the pressures were, none of them was included in the movie.
My first hit song was of course ‘Titli udi’ from Sooraj, which fetched me an award, Shankar-Jaikishan got a Filmfare award and Shailendra ji who wrote the words, got the award for lyrics. Since this was my first song, Shankar ji had asked Shailendra not to use any difficult words for this new singer. So the song is simple, but majestic. I did not imitate anyone. It was a simple straight song, that’s perhaps why it reached the listeners’ hearts. In film songs, voice ‘acting’ is important, to show the singer’s feelings. My second song ‘Woh pari kahan se laoon’ (Pehchan), the song from ‘Shatranj’ “Bakamma badkamma ikkad poto ra’, are fun songs.“Aayega kaun yahan” (Gumnaam), “Duniya ki sair kar lo” (Around the World), “Dekho mera dil machal gaya” (Sooraj), “Le ja leja mera dil” (Evening in Paris) have a happy mood, while “Chale jana zara thehro”, “Jaane bhi de sanam mijhe” (both Around the World) are in a romantic mood, “Jab bhi ye dil udaas hota hai” (Seema), “Tum ko sanam pukar ke” (Deewana) are straight from the heart.
Shankar-Jaikishan got me to sing a wide variety of songs.The experience of my first song was memorable and pleasant. Shankar ji got me to rehearse the song for a few days before, then his rehearsal with the musicians was so perfect, that the recording was a cake walk.
Some composers used to tell their singers to sing exactly as told, but both Shankar and Jaikishan used to allow a degree of liberty to their singers, according to the singer’s voice level. They used to accept the singer’s suggestions if that would improve the effect of the song. I like all their songs, but I personally like ‘Chale jaana zara thehro” the best.
Shankar and Jaikishan were really a duo that was a single soul in two bodies. They never bad-mouthed each other publicly, but since they were not just collaborators but even competitors, that resulted in an even greater variety. This is like a husband-wife team that jointly runs a house, in spite of differences in their natures. Shankar and Jaikishan were poles apart in their natures. Shankar-ji was quick tempered. Jaikishan ji was a glib talker. He was so handsome and naturally his young fans used to mob him. Shankar ji used to treat him like a younger brother.
As to my songs, most of my songs were simple and easy. I asked them why they gave me only simple songs, not any classical-based songs. Shankar ji used to say, “Wait. We will do it when a good composition comes along”. Such a composition did indeed come along, for which I had written the words. “Pyar ka geet hoon, hoton se laga lo mujhko”, but unfortunately it never got recorded.
After Jaikishan’s demise, many started jabbering against Shankar ji. His so-called friends not only deserted him, they even turned against him. Those whom he gave their break, helped with all heart, they turned their backs on him. Those who stayed with him, could only helplessly watch the downfall. Things like friendship in the film industry are nothing but self-interest-driven PR; this is the lesson both Shankar ji and well-wishers like me learned. Shankar ji did recover to some ectent after the shock of Jaikishan’s demise, but I never saw the supremely confident Shankar ji again.
He did sign some movies later on; I was going to sing some songs. One day he called me for a meeting with some producers, but I could not attend due to an already fixed appointment. And the next day, I heard this shocking news. Shankar ji was no more. The shock was devastating.
Shankar Jaikishan absolutely ruled the world of film music, everybody knows that. Whatever the merits or demerits of the movie, their music was honest. Their popularity was so high, at many events, fans used to converge around them, rather than around the hero and heroine; I have witnessed this myself.
One cannot ignore the important share of lyricists Shailendra, Hasrat Jaipuri, arranger Sebastian and others. But their success was the reason for ill-will in many. They were indeed the idol for their fans, but there was a lot of jealousy against them in the industry,
There was a lot of variety in Shankar ji’s work. He still wanted to do a lot of work, but his sudden death cut everything short. On this anniversary of his demise, I can only say that we will continue to enjoy the immortal music of Shankar ji, but the real tribute would be to preserve this unique treasure and ensure that it reaches as many in the future generations as possible…
The songs of Barsaat were instrumental in Lata Mangeshkar’s climb to the top as a playback singer.
Mehboob’s Andaaz (1949) made Raj a top star and in the same year it was the passionate romance Barsaat which really reckoned Raj Kapoor as a director of much merit. Barsaat, a runaway hit, also brought to the limelight new music directors Shankar-Jaikishen, lyricists Shailendra and Hasrat Jaipuri and the actress Nimmi. The raw passion between Raj Kapoor and Nargis in Barsaat shot with a beautiful almost poetic use of light and shade drove audiences wild. The music of the film was hummed across the nation and along with Andaaz and Mahal that year, the songs were instrumental in Lata Mangeshkar’s climb to the top as a playback singer. In fact Raj Kapoor’s musical sense and feel for rhythm and involvement in music sittings have ensured the highest quality of music in his films.
The fifties saw Raj Kapoor’s greatest work as a Producer‑Director besides establishing himself as one of India’s biggest ever film stars along with Dev Anand and Dilip Kumar-the Trimurthi! Awaara (1951), the tale of a vagabond was perhaps his greatest triumph and was released in Russia as Bradyaga to unprecedented success. It’s dream sequence with huge statues set amongst the clouds to the strains of Nargis dancing to Ghar Aaya Mera Pardesi is a cine-east’s delight even today! With Awaara, Raj Kapoor created the Chaplinisque tramp, an allegory for the innocent state of mind of the post Independent Indian. This image was used once again in Shree 420 (1955) tracing the corruption of an innocent soul who comes to the city to make his living. In fact. many of Raj’s other films look at the naove simple hero used by a cruel and corrupt society like Anadi (1959).
After his break up with Nargis (their last film together was AVM’s Chori Chori (1956) though she did do a in Jaagte Raho (1956). Chori Chori was directed by Anant Thakur and produced by AVM Film company from Madras. This could explain why the film was based in the South as the hero and heroine travel all over the countryside from Madras to Bangalore. Chori Chori was inspired by Frank Capra’s 1934 comedy-It Happened One Night starring Clark Gable and Claudette Colbert. This kind of comedy was a genre that was extremely popular in the 1930s till the grim realities of World War II made their presence felt. Comedies generally worked on the battle of the sexes as the hero and heroine gave it to each other before finally falling in love. Their bickering and fighting with each other as they exchanged barbs and double entendres is what constituted the fun element of the film.
The key character in this battle of the sexes would be the heiress. She was often dizzy, saucy, flighty who fled from homes, jilted bridegroom at the altar and generally carried on with total disregard for the existence of breadlines and unemployment. Thus she was used humorously in such films as an object of contempt and ridicule. Of course by the end of the film not only does the hero snag the heiress but through him she is also humanized to see normal life and normal people quite unlike herself. And when she has to escape with the hero when her father’s detectives land up there is by behaving normal, as the normal wife of the normal hero. And during the film the hero takes on the weight of becoming the very image of the people revealing them in the process of revealing himself to the haughty, upper class heroine.
Chori Chori is a typical example of what constitutes a road film. While a popular genre in Hollywood, India has never really embraced this format and the efforts have been few-Bombay to Goa (1972) or Dil Hai ki Maanta Nahin (1992) which incidentally was also a remake of It Happened One Night and Roman Holiday combined.
Perhaps this is so because the road is an enduring theme in American culture. The road movie I in this regard like the musical or the Western, a Hollywood genre that catches peculiarly American dreams, tensions and anxieties.
Nargis is a revelation in the film as the dizzy heiress. She proves she can play screwball comedy as effectively as she could her intense dramatic roles. It is a fine perfomance with her sense of comic timing spot on. See her as the puppet in the Jahaan Main Jaati Hoon song. It is Nargis’s sense of razor sharp timing that offsets her inability. She carries off the song sequence excellently by her expressions. Raj Kapoor of course had born comic talent. He is absolutely perfect in the role of the impoverished journalist Sagar. Chori Chori marks yet another land-mark in Raj Kapoor’s illustrious acting career. Pran does his familiar bad man turn with relative ease. They are more than strongly supported by the comic element of the film-Gope, Johnny Walker and Bhagwan.
Chori Chori represents some of the finest work of Shankar-Jaikishen in their entire career. The evergreen musical score with lyrics by Shailendra and Hasrat Jaipuri ensured Shankar-Jaikishen their first ever Filmfare Award for Best Music. The film has brilliant songs with each song better than the other. First and foremost are the two all time great Lata Mangeshkar-Manna Dey romantic duets Yeh Raat Bheegi Bheegi and Aaja Sanam Madhur Chandni Mein Hum. With Mukesh trying his hand to be an actor this was the phase when Manna Dey briefly sang as the voice of Raj Kapoor in films like Shree 420 and Chori Chori.
As one hears Manna Dey one cannot but think sadly that the film industry never really gave this great singer his due. He was always regarded a poor second to Rafi, Mukesh, Kishore, Talat or Hemant Kumar which is a pity because Manna Dey was such a fine singer with an extremely strong classical base himself. Lata Mangeshkar of course leaves her stamp on the film with perhaps her greatest sad song ever-Rasik Balma. It is perhaps technically the best composition of the film and the emotion and pathos with which Lata renders this song is unbelievable. Only such a gifted singer could give such expression to words like Lata could
While Raj Kapoor continued to explore social issues-Jis Desh Mein Ganga Behti Hai (with Padmini & Pran) (1960) or complex human relationships-Sangam (Raj-Rajendra Kumar-Vyjayantimala) (1964) there is a marked difference in his treatment of the heroine who became a sex object with a high accent on her physical attributes! Reverting back to the Chaplinisque image, Kapoor made his magnum opus Mera Naam Joker (Raj-Kapoor, Dharmendra, Rajednra Kumar, Dara Singh, Manoj Kumar, Padmini, Simmi, Sonia Sahni, Pran, Rishi Kapoor) (1970) about the circus-joker who laughs on the outside and cries within and though absolutely brilliant in parts (particularly the first chapter of the adolescent hero discovering love and sex) the film, a highly self indulgent exercise flopped miserably at the box office shattering him.
slice taken from
https://hmkverma.wordpress.com/2012/12/29/the-dream-factory-100-years-of-hindi-cinema-chapter-9/
SHANKAR-JAIKISHAN 