Category Archives: Photos

Shankar Jaikishan, the Benevolent


Lakshmi K Tummala

As Shankar Jaikishan fans, we have all heard and read a lot about their knowledge and talent in music, their name and fame, their fundraising for great causes, from all sources available. But, very seldom do we hear about their inner character that defines the great human beings they were.

Many South Indian movie makers had the utmost admiration and respect for SJ who composed for their movies with huge success. Every one of them commended upon their professionalism and work ethics. Once SJ signed a contract, the producer could be rest assured that the work will get done on time and will meet with expectations beyond his imagination.

It is true that they commanded a very high remuneration for their work, but they never demanded it. It was the producer, who was desperate to have them sign for him, that hiked their fee. With SJ in his project, it was a breeze for the producer to have the lead actor and actress get on board. The high fee received for their work was shared generously with their musicians. There were times when a producer would sign SJ with a deposit and, later, meet with financial difficulties. Being very considerate of the situation, SJ would still complete their work and wait patiently to be paid whenever the producer was able to.

In a span of 38 years, from Barsaat to Gori, Shankar Jaikishan scored music for 185 movies. They worked with 67 lyricists, 46 male singers and 45 female singers. Throughout their career, SJ introduced several musicians, singers and lyricists to the music industry. It was through their encouragement that their assistant, Dattaram, turned into a full-fledged composer. With their hands full, they had also encouraged producers to sign Kalyanji-Anandji and R.D. Burman for their movies.

The composer duo maintained a great camaraderie with their peers and always had a good word for their work. Many a time, SJ would call up a fellow composer to congratulate on his/her work which you seldom see in the industry. Even after Jaikishan’s demise, when things were going against him, Shankar never uttered a word against the “defectors” and “backstabbers.”

The above mentioned virtues of Shankar Jaikishan are what made them superior to their peers, not only in their work but also in their character. Their policy was to, “Live and Let Live.” They will always be remembered for their benevolence.


Rapport of lyricist and music director

This is called rapport and friendship. Both of them were ‘Shankar’

Lyricist #ShankardasKesrilalShailendra with music director #ShankarSinhRaghuwanshi of #ShankarJaikishan duo

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Shankar Jaikishan: North meets South


The South Indian producers and directors have had a long love affair with Shankar Jaikishan music and so did the southern music lovers who enjoyed Hindi music as much as, or even more than, their counterparts from other parts of the country. Many a times, the producers re-produced super hits of the Telugu versions in Hindi with a great success.

AVM Productions made the ever popular Chori Chori (1956) that won SJ their first Filmfare Award for Best Music Director. Another was, Main Sunder Hoon (1971). Producer/director and Dada Saheb Phalke Award winner, L. V. Prasad worked with SJ in Chhoti Bahen (1959) under his home banner Prasad Productions. With the super success of Chhoti Bahen, Prasad also made Sasural (1961), Humrahi (1963) and Beti Bete (1964), which all had silver jubilee runs. Sasural won SJ another Filmfare Award. Then came, College Girl (1960) by noted director, T. Prakasa Rao who had a very long association with SJ. He also made Humrahi (Prasad Productions), Suraj (1966), Duniya (1968) and Rivaaj (1972). SJ won a Filmfare Award for their work in Suraj. The very famous producer/director C. Sridhar made Dil Ek Mandir (1963) with SJ music and followed it up with Dharti (1970) and Duniya Kya Jane (1971). B. Ananthaswami’s Screen Gems made Sapnon Ka Saudagar (1968) that launched Hema Malini. B. R. Panthulu made Dil Tera Diwana (1972) for Padmini Pictures. Gemini Pictures made Zindagi (1961) and followed it with Shatranj (1969) in partnership with N. N. Sippy.

SJ worked in Vikram Productions movie Bhai Bahen (1969). K. Shankar made Sachhai (1969) for MCR Pictures’ Pardey Ke Peechhey (1971) and Bandagi (1972) and Chhote Sarkar (1974). Navashakti Productions has SJ compose music for their Telugu movie, Jeevitha Chakram (1971) with the legendary actor turned Chief Minister, N. T. Rama Rao which had a stupendous run. Aankh Micholi 91972) was made by EVR Pictures in Chennai. Last but not the least is Chandrashekhar who made Street Singer (1966) with his dear friend, Shankar composing music under the pseudonym, Suraj.

It should be noted that all the above movie makers had great confidence in the ability and talent of SJ and felt that every rupee paid to them in remuneration would be paid back a hundred fold in returns. Almost all of the above movies enjoyed great success with SJ.

L. V. Prasad was impressed by SJ’s “jiya bekrar hai chhayi bahar hai..” from SJ’s first movie Barsaat (1949). He had the song as an inspiration for a number in his film Samsaram (1950) released the following year. ENJOY!

Seen in the picture below taken at the premier of Suraj are (from left to right): Jaikishan, Krishnamurthy (Producer, Venus Pictures), Vyjayanthimala and Shankar. (Back row): Director T. Prakash Rao, Rajendra Kumar and others.

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Shanker & Mukesh : Dost, dost na rahaa


Sharda Rajan1

Mukeshji , was my neighbor He lived in the 7th floor & I am in the 6th floor .

We used to meet all the time , in the lift , compound of the building …here & there .

He was a very kind , friendly person . He will chase all your blues away by his pep talk & cheerful attitude .

We had a number of songs together . most of them hits , each recording , a fun phhmusical experience .
When I started my music direction , he asks me , ‘Shardaji , when are you going to call me?
I say , ‘sure , sure , Mukeshji , where can I go ,if I dont call you ? But you know , mine are not big budget movies 
He says , ‘Did I say anything about it?

Recording is fixed , He comes to my flat for rehearsal & comes to the recording , sings the song , entertains everyone by his talk , takes the envelope & goes . What simplicity& humane nature !
Song , ‘Naari kaisi shaan hai teri , in film ‘Maa bahen aur biwi …More songs recorded later .in film ‘Maila aanchal & some others …
His whole family was very friendly with me & still is . .We used to have parties & get togethers quite often .
Mrs Mukesh was one of my closest friend . She understood all my pains &pangs which had become my routine companions .She will give me doses of encouragement & will help me pass thro the ordeals .
She would know when I was going to go on depression & she would make a telephone call & tell me to come up .
Then she will start talking to me in such a manner , that I will forget about my pain .
She would read my palms . She said , you will be very famous & liked by many , But it will all come with great difficulty .You will also have lot of enemies , who will never leave you . Be prepared .
When I shifted in this building , Mukeshji was staying in a small studio apartment , opposite to my place .
They shifted in this building few months after I came here to live . We became friendly after that & slowly mrs Mulkesh & me became very close.. 
She respected Shanker Jaikishen a lot , mainly Shankerji . 
She told me , there was a time, they had to face lot of difficulties , Mukeshji did not have any work for a long time & they were facing financial crunch . No musicdirector was calling him .
She said at that time Shankerji took him to sing a song for movie Yehudi . She said Dileepkumar sab did not want Mukeshji to sing ,He wanted Rafi sab to sing this song . On the recording day he got so upset that Shankerji had brought Mukeshji to sing that he left the recording studio in a huff 
. The producer also did not want Mukeshji . The opposition was very strong .
But Shankerji had decided that Mukeshji will sing this song & he stood strong & recorded the song going against , the producer , hero & many others .This was Shankerji,s deewanapan .
And the song made history & Mukeshji bounced back to reach the skies .
Ye mera diwanapan hai …….One of the greatest song of Mukeshji.
And Dileep sab said ‘Wah , Shankerji , maangaye.’
Mrs Mukesh told me’ it is Shankerji who rescued us & gave us a new life ..
Shankerji , was not a dogle , who will bend this way & that way according to the situation , He had a strong mind & if he made a decision noone can make him change his mind .. unless ofcourse he himself wanted it .He will know better than you as-to how far you can reach . 
When he makes you sing , you will come to know how much you are capable of. He will create a new height you would have never dreamt of & take you there .Then you will come to know , you had it in you to reach this height . If you have a voice , can sing S R G M in tune , he will create a great tune which will be perfect for you , you can be sure & presto , we will have a great singer .
Any singer , with limited talent or unlimited talent Shankerji can bring out hit songs from him/her .He will not worry about the limitations,,as long as his hands & brain work no need to worry about that .You can be sure you will get a gem .
If Shankerji works year after year with one singer bringing out hunderds of hits , who will want to bother about limitations of that singer ?
Mukeshji was also not a very versetile singer . He also had limitations with limited range . It is not his cup of tea to sing fast numbers , classicals with alaps & bring out tedhe medhe harkaten . Any other singer would have been handicapped by this . But not Mukeshji . . He has to just bring out his voice …….enough to floor any one … the listeners, hearts will melt , the heads will go to the clouds , the whole world will be forgotten … Who wants alaaps or murkhian ?
And do we have to say what magic Shankerji could bring with him ? 
Shankerji , the genius working with extra special love , care & concern will spin & spin magic after magic bringing barrels & barrels of wonders with Mukeshji .The best & the peerless of Mukeshji come out with Shankerji.s tunes.

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His specially made Mukesh tunes which fitted Mukeshji like a glove will carry any listener above the 7 clouds .
All those ‘Mai Raju , mai beimaan songs & those confessing , mai anadi songs , the heart pulling ‘Dost dost na raha & calling out , ‘Aa ab laut chalein .. & all other numerous hits were composed mainly keeping in mind , Mukesh mantra ….. And all thro his musical journey Shankerji composed songs & songs , one after the other , gem after gem keeping in mind that this is Mukesh song .When I had watched him compose Mukeshji.s songs I used to get so wonder struck that I would think is this Shankerji or Mukeshji , singing these lines .You can as well say Shankerji got possessed with Mukesh & he became Mukesh whenever he composed a Mukesh song …& he experienced each & every sigh & intonation of Mukeshji & made the tunes bringing out a magnificent Mukesh …….not one or two , but hundreds ……….
True Mukeshji had sung numerous hits with all other M D s , but Shanker Jaikishen Wala Mukeshji is something beyond bounds …unmatched & unparalleled & out of the world.

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Most of mukesh S J songs were composed by Shankerji . Jai sab also made many songs for Mukeshji , but not as many as Shankerji . Though Jai sab & Mukeshji were great friends Jai sab preferred Rafi sab more , probably his style suited Rafisab more….
Time came , Shankerji was left alone , his soulmate left him abruptly …….
Gloomy days dragging on I get a severe shock , when I heard that Mukeshji took L P to R K ….
…I could not believe my ears.
Shankerji tells me , yes …..
God … how could this be …It is not possible .. .. no … no .. no….l
Mukeshji , what had got into you ?

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नैन मिले चैन कहाँ, दिल है वहीं तू है जहाँ Nain Mile Chain Kahaan An evergreen composition by SHANKAR-JAIKISHA

नैन मिले चैन कहाँ, दिल है वहीं तू है जहाँ Nain Mile Chain Kahaan
An evergreen composition by SHANKAR-JAIKISHAN


कालजयी गीत-संगीत में ऐसे संयोग अत्यन्त ही अल्प हैं जब किसी एक गीत में उसकी धुन, उसमें पिरोये गये शब्द, अंतर में समाये हुये भाव और सुरीले गायन का सहज आकर्षण, ये सभी मिल कर एक-दूजे में इस प्रकार गूँथ कर ध्वनित हुये हों जैसे इसके समस्त अव्यव परस्पर पूरक बन कर सम्पूर्ण गीत को श्रवण की उच्च आकर्षक निधि के शीर्ष मनभावन व्योम पर किसी चाँद-तारे सदृश्य विराजित कर गये हों।
शंकर-जयकिशन के संगीत से सजे कालजयी श्रेणी की ढेरों अनहोनी संगीत रचनाओं में से एक ऐसा ही अभूतपूर्व लय-स्वर-सुर-ताल की अद्भुत संगीत रचना का विशिष्ट उदाहरण है फ़िल्म ‘बसन्त बहार’ (१९५६) का युगल गीत ‘नैन मिले चैन कहाँ, दिल है वहीं तू है जहाँ’। 
शैलेन्द्र की लेखनी से सृजित हुआ साहित्यिक संस्कार का यह गीत प्रेम के जिस मनभावन रूप को उकेर गया है उसमें एक-दूसरे के पूरक दो प्राणियों के दैहिक आचरण से अभिभूत आत्मिक सरोकार की गहन अभिव्यक्ति है। प्रेम का वाह्य आकर्षण तथा उसके भीतर समाया हुआ चित्त का लगाव शब्द-शब्द के अर्थ में स्पष्ट रूप से झलकता है। मनुहार की सहज चेष्टा के संग उलाहना एवं समर्पित प्रीत के ताने-बाने के मध्य सैंयाँ से प्रेम निवेदन का उपक्रम करती नायिका के अन्तस को भी इस गीत में सरस कमनीय रूप में चित्रित किया गया है। प्रथम दृष्टि के जिस प्रेम को इस गीत में इंगित किया गया है वह नैनों के तुरीण से प्रक्षेपित नेह बाण की व्यग्रता लिये सीधे हृदय को भेद जाती है। मन के आँगन में प्रेम के इस बीज का अंकुरण मूक अवस्था में ही पल्लवित हो कर जब तक प्रेमी-प्रेमिका के मध्य मुखर होता उसके पूर्व ही जन-गण के समक्ष उनका प्रेम उजागर हो जाता है। प्रेम शब्दों से कहीं अधिक अपने आचरण और हाव-भाव से अपने अस्तित्व का बोध करा जाता है। यहाँ मन की व्यग्रता प्रेम की तीव्रता को अकारण ही ओढ़ कर उसकी मारक क्षमता में वृद्धि नहीं कर जाती बल्कि नायिका अन्ततः अपने प्रेम प्रसाद को स्वयं ही नायक के समक्ष परोस देती है। यही वो क्षण है जब प्रेम अपने मिलन के पल में पोर-पोर को अभिभूत कर जाता है।
प्रेम की शाब्दिक अभिव्यंजना पठन-पाठन में जो सरसता लिये होती है उसमें तब आश्चर्यजनक रूप कई-कई गुना अभिवृद्धि हो जाती है जब वह लय-सुर-ताल की संगत में आता है। शंकर-जयकिशन सरगम के सानिध्य में अपने संगीत सरोवर में जब काव्य के शब्द-शब्द को भिगोते हैं तब ऐसा लगता है मानो सरोवर की तरलता से शब्द में निहित भाव अपने सम्पूर्ण वेग के साथ त्वरित गति से बाहर आते हैं। जो भाव शब्द को पढ़ते हुये सुप्त थे वो संगीत सरोवर की बूँद मात्र के स्पर्श से मुखर हो उठे। संगीत संयोजन की परिधि में वाद्य यन्त्रों की ध्वनि जिस लगन से प्रीत की लौ प्रज्वल्लित करती है वह तन-मन की प्रेम अगन को तत्क्षण द्विगुणित कर जाती है। शब्द-शब्द में समाये प्रेम के अव्यव को धुन के साहचर्य में प्रभावी रूप से मुखर करने का उपक्रम उसी प्रकार विलक्षण बन पड़ा है जिस प्रकार प्रथम दृष्टि में उपजा प्रेम भाव अपने सम्पूर्ण वैभव के संग हृदय में अपना स्थायी निवास बना लेता है। गीत को श्रवण करते हुये मन हर्ष से तब और भी आवेशित हो उठता है जब एक-एक वाद्य से निकलती ध्वनि शब्द के समानान्तर स्वतः ही उसमें निहित भाव को द्रुत गति से प्रक्षेपित करता है। प्रस्तुत गीत में प्रारम्भिक आलाप तथा अन्तरे के पूर्व सरगम की तान की छटा अद्भुत रूप से गीत की सम्पूर्ण गरिमा में आश्चर्यजनक रूप से वृद्धि करती है। गीत और संगीत का इस प्रकार परस्पर प्रतिदान करना (Reciprocate) दुर्लभ है। इस गीत में प्रारम्भिक संगीत (Prelude Music) के रूप में आलाप है तथा एक स्थान पर मध्य संगीत (Interlude Music) में सुर का सरगम लहराता हुआ अन्तरे में शब्दों को मुखर करता हुआ संगीत सरोवर में जिस प्रकार हिलोरे लेता आगे बढ़ता है वह मन को अतिरिक्त आनन्द प्रदान कर जाता है।
इस गीत का गायन पक्ष भी अपने आप में महत्वपूर्ण है। मन्ना डे का आलाप प्रस्तुत गीत में प्रारम्भ में है जबकि यही आलाप फ़िल्म में मुखड़े के पश्चात् अन्तरे के पूर्व है। गीत की यह दोनों ही अवस्था अपने-अपने स्थान पर पूर्ण रूप से मनोहारी बन पड़ी है। फ़िल्म में तथा अब तक उपलब्ध इस गीत के संस्करण में मात्र दो अन्तरे ही संगीत प्रेमियों को श्रवण हेतु उपलबब्ध हैं पर इस गीत का जो सूत्र यहाँ दिया गया है उस पर आप इसी गीत का तीसरा महत्वपूर्ण अन्तरा भी सुन सकते हैं जो गायन के अर्थ में इस गीत के सन्दर्भ में लता मँगेशकर के स्वर की एक सर्वथा नूतन क्रिया से आपका परिचय करायेगी। गीत के अन्तिम अन्तरे ‘मेरे मन सजना बहार जैसे अँगना’ में इसी पंक्ति को पुनः गाते हुये लता ने ‘सजना’ शब्द पर अपने स्वर से जो लचक उत्पन्न किया है वह इस अन्तरे के भाव को हृदय के भीतर तक प्रवेश कराने में अद्भुत रूप से अपनी चपलता का एक सशक्त उदाहरण प्रस्तुत करती है। इसी प्रकार का एक सूक्ष्म लोच लता ने ‘नटखट नैना न माने मेरा कहना’ पंक्ति को पुनः गाते हुये ‘नैना’ शब्द पर भी लिया है। लता मँगेशकर ने अन्य गीतों में भी अपने गायन की प्रक्रिया में सदैव इस बात का विशेष रूप से ध्यान रखा है कि गीत गाते हुये उनके संगी गायक ने यदि आलाप अथवा किसी स्थान पर किसी शब्द विशेष पर कोई ‘मुरकी’ ली है तो वह यह अवश्य सुनिश्चित करती थीं कि उनके द्वारा भी वैसा ही कुछ प्रतिउत्तर में किया जाये। उनके कुछ एक ऐसे गीत के उदाहरण हैं जिसमें यदि गायक ने अन्तिम पल में कोई ‘आलाप’ या ‘मुरकी’ अकस्मात् ही ले ली और एक गायिका के रूप में लता को अपनी ऐसी ही कलाकारी दिखाने का अवसर नहीं मिला तो वो संगीतकार से आग्रह करके उस गीत को पुनः गाने का अनुरोध करती थीं और प्रायः उनका यह अनुरोध स्वीकार कर लिया जाता था। 
प्रतिस्पर्धा एक स्वस्थ आचरण के रूप में यदि हो तो वह किसी भी क्षेत्र में उत्साहजनक परिणाम देती है। इस गीत में प्रेम अभिव्यक्ति के अपने चरम सोपान पर स्थित रह कर शीर्ष परिणाम का जो आभा मण्डल स्थापित कर गया है वह ‘शब्द-धुन-स्वर’ के परस्पर सन्तुलित संयोजन तथा एक-दूजे के पूरक आचरण से ही सम्भव हो सका है। निःसन्देह इस कालजयी प्रीत गीत में शंकर-जयकिशन ही इसके मुख्य सूत्रधार कहे जायेंगे।
प्रस्तुत गीत अपने सम्पूर्ण रूप में प्रस्तुति का जो आवरण यहाँ दिये गये सूत्र में लिये हुये है उसके सम्पादक समर्पित संगीत प्रेमी कमल बेरिवाला हैं। अपने विशाल दुर्लभ संग्रह से सिने गीत-संगीत को उसकी सम्पूर्ण कलात्मकता के संग जिस सेवा भाव से भाई कमल हम सब के मध्य परोसते हैं वह अपने आप में एक अनूठा कार्य है। मैं अपने इस प्रकार के समीक्षात्मक आलेख का श्रेय भाई कमल बेरिवाल को देता हूँ क्योंकि यदि वे विभिन्न गीतों को अपने निज प्रयास से इस प्रकार का विशिष्ठ रूप प्रदान न करते तो सम्भवतः मेरी लेखनी भी इससे उपजे रोमांच के अभाव में इस प्रकार के विशेष गीत-संगीत के वैभव को अपने लेखन के माध्यम से आपके समक्ष उपस्थित न कर पाती।
प्रतीक्षा कीजिए, आगे जैसे-जैसे कमल भाई और भी ऐसे ही कालजयी गीत को अपनी सम्पूर्णता के साथ मुझे प्रेषित करते जायेंगे वैसे-वैसे मैं भी उन गीतों को उनकी कलात्मक एवं अन्य विशेषताओं के साथ आप तक पहुँचाता रहूँगा।
डॉ राजीव श्रीवास्तव 

आ ssss . . . .
नैन मिले चैन कहाँ दिल है वहीं तू है जहाँ,
ये क्या किया संईयाँ साँवरे, हो तूने ये क्या किया संईयाँ साँवरे. 
नैन मिले चैन कहाँ दिल है वहीं तू है जहाँ,
ये क्या किया संईयाँ साँवरे, हो तूने ये क्या किया संईयाँ साँवरे. 
कौन से गगन के तले दिल ये मेरा ले के चले,
दो नैना तेरे बाँवरे, हो गोरी दो नैना तेरे बाँवरे.
चुप चुप रहके लुटाया दिल तुझपे, 
एक सुख पाया मैंने सौ दुःख सहके. – २
चुप चुप रहके . . . .
दूर दूर गली गली अब तो बात फैल चली, 
ये क्या किया संईयाँ साँवरे, हो तूने ये क्या किया संईयाँ साँवरे.
कौन से गगन के तले दिल ये मेरा ले के चले,
दो नैना तेरे बाँवरे, हो गोरी दो नैना तेरे बाँवरे.
आ आ आ आ ssss ssss 
नटखट नैना न माने मेरा कहना, – २
हरदम चाहे तेरी गलियों में रहना. – २
नटखट नैना . . . .
हँस के मोहे लूट गये कुछ कहा तो रूठ गये,
दो नैना तेरे बाँवरे, हो गोरी दो नैना तेरे बाँवरे.
मेरे मन सजना बहार जैसे अँगना, – २
तुझ बिन रसिया तो जँचे कोई रंगना. – २ 
मेरे मन सजना . . . .
मन में मगन मुस्कुराऊँ झूठमूठ कहती जाऊँ, 
ये क्या किया संईयाँ साँवरे, हो तूने ये क्या किया संईयाँ साँवरे.
कौन से गगन के तले दिल ये मेरा ले के चले,
दो नैना तेरे बाँवरे, हो गोरी दो नैना तेरे बाँवरे.
नैन मिले चैन कहाँ दिल है वहीं तू है जहाँ,
ये क्या किया संईयाँ साँवरे, हो तूने ये किया संईयाँ साँवरे.
फ़िल्म: बसन्त बहार (१९५६), गीतकार: शैलेन्द्र, संगीतकार: शंकर-जयकिशन, गायक-गायिका: मन्ना डे, लता मँगेशकर

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आ अब लौट चलें … कैसे गूँजा शंकर जयकिशन का शानदार आर्केस्ट्रा? Aa Ab Laut Chalein

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पुराने हिंदी फिल्मी गीतों में अगर आर्केस्ट्रा का किसी संगीतकार ने सबसे बढ़िया इस्तेमाल किया तो वो थे शंकर जयकिशन। हालांकि उनके समकालीनों में सलिल चौधरी और बाद के वर्षों में पंचम ने भी इस दृष्टि से अपने संगीत में एक अलग छाप छोड़ी। पर जिस वृहद स्तर पर शंकर जयकिशन की जोड़ी वादकों की फौज को अपने गानों के लिए इक्ठठा करती थी और जो मधुर स्वरलहरी उससे उत्पन्न होती थी उसकी मिसाल किसी अन्य हिंदी फिल्म संगीतकार के साथ मिल पाना मुश्किल है। शंकर जयकिशन का आर्केस्ट्रा ना केवल गीतों में रंग भरता था पर साथ ही इस तरह फिल्म के कथानक के साथ रच बस जाता था कि आप फिल्माए गए दृश्य से संगीत को अलग ही नहीं कर सकते थे।

मिसाल के तौर पर फिल्म  “जिस देश में गंगा बहती है” के इस सदाबहार गीत आ अब अब लौट चलें को याद कीजिए। 1960 में बनी इस फिल्म का विषय चंबल के बीहड़ों में उत्पात मचा रहे डाकुओं को समाज की मुख्यधारा में वापस लौटाने का था। इस फिल्म के निर्माता थे राज कपूर साहब। राजकपूर की फिल्म थी तो शंकर जयकिशन की जोड़ी के साथ शैलेंद्र, हसरत जयपुरी, मुकेश और लता जैसे कलाकारों का जुड़ना स्वाभाविक था। कुछ ही दिनों पहले सोशल मीडिया पर शैलेंद्र के पुत्र दिनेश शंकर शैलेंद्र ने इस फिल्म से जुड़ी एक रोचक घटना सब के साथ बाँटी थी। दिनेश शंकर शैलेंद्र के अनुसार

“राजकपूर ने फिल्म की पटकथा बताने के लिए शंकर, जयकिशन, हसरत और मुकेश को आर के स्टूडियो के अपने काटेज में बुलाया था। राजकपूर ने  फिल्म की कहानी जब सुनानी खत्म की तो कमरे में सन्नाटा छा गया। अचानक शंकर ने चाय का कप टेबल पर दे मारा और गाली देते हुए उस ठंडे, धुँए भरे कमरे से बाहर निकल गए। सारे लोग उनके इस व्यवहार पर चकित थे। फिर राजकपूर ने शैलेंद्र से कहा कि जरा देखो जा के आख़िर पहलवान* को क्या हो गया? कहानी पसंद नहीं आई? शैलेन्द्र शंकर के पास गए और उनसे पूछा कि मामला क्या है? शंकर ने गालियों की एक और बौछार निकाली और फिर कहा कि डाकुओं की फिल्म में भला संगीत का क्या काम है? बना लें बिन गानों की फिल्म, हमें यहाँ क्यूँ बुलाया है? शैलेंद्र ने उन्हें समझाया कि इस फिल्म में भी गाने होंगे। सब लोग वापस आए और कहानी के हिसाब से गीतों के सही स्थान पर विचार विमर्श हुआ और अंततः फिल्म के लिए नौ गाने बने।”

(*संगीतकार बनने से पहले शंकर तबला बजाने के साथ साथ पहलवानी का हुनर भी रखते थे 😊।)

तो बात शुरु हुई थी शंकर जयकिशन की आर्केस्ट्रा पर माहिरी से। आ अब लौट चलें के लिए शंकर जयकिशन ने सौ के करीब वायलिन वादकों को जमा किया था। साथ में कोरस अलग से। हालत ये थी कि तारादेव स्टूडियो जहाँ इस गीत की रिकार्डिंग होनी थी में इतनी जगह नहीं बची थी कि सारे वादकों को अंदर बैठाया जा सके। लिहाजा कुछ को बाहर फुटपाथ पर बैठाना पड़ा था। कहा जाता है कि इस गीत कि रिहर्सल डेढ़ दिन लगातार चली और इसीलिए परिणाम भी जबरदस्त आया।

आर्केस्ट्रा में बजते संगीत को ध्यान में रखते हुए निर्देशक राधू कर्माकर ने गीत की रचना की थी। ये गीत फिल्म को अपने अंत पर ले जाता है जब फिल्म का मुख्य किरदार डाकुओं को आत्मसमर्पण करवाने के लिए तैयार करवा लेता है। गीत में एक ओर तो डाकुओं का गिरोह अपने आश्रितों के साथ लौटता दिख रहा है तो दूसरी ओर पुलिस की सशंकित टुकड़ी हथियार से लैस होकर डाकुओं के समूह को घेरने के लिए कदमताल कर रही है। निर्देशक ने पुलिस की इस कदमताल को वायलिन और ब्रास सेक्शन के संगीत में ऐसा पिरोया है कि दर्शक संगीत के साथ उस दृश्य से बँध जाते हैं। संगीत का उतर चढाव भी ऐसा जो दिल की धड़कनों के  साथ दृश्य की नाटकीयता को बढ़ा दे। वायलिन आधारित द्रुत गति की धुन और साथ में लहर की तरह उभरते कोरस को अंतरे के पहले तब विराम मिलता है जब हाथों से तारों को एक साथ छेड़ने से प्रक्रिया से शंकर जयकिशन हल्की मधुर ध्वनि निकालते हैं। इस प्रक्रिया को संगीत की भाषा में Pizzicato कहते हैं। इस गीत में Pizzicato का प्रभाव आप वीडियो के 39 से 45 सेकेंड के बीच में सुन सकते हैं।

गिटार की धुन के साथ गीत गीत आगे बढ़ता है।  मुकेश तो खैर राजकपूर की शानदार आवाज़ थे ही, अंतरों के बीच कोरस के साथ लता का ऊँचे सुरों तक जाता लंबा आलाप गीत का मास्टर स्ट्रोक था। इस गीत में लता जी की कोई और पंक्ति नहीं है पर ये आलाप इतनी खूबसूरती से निभाया गया है कि पूरे गीत के फिल्मांकन में जान फूँक देता है। गीतकार शैलेंद्र की खासियत थी कि वो बड़ी सहजता के साथ ऐसे बोल लिख जाते थे जो सीधे श्रोताओं के दिल को छू लेते थी। गलत राह पे चलने से नुकसान की बात हो या समाज द्वारा इन भटके मुसाफ़िरों को पुनः स्वीकार करने की बात, अपने सीधे सच्चे शब्दों से शैलेंद्र ने गीत में एक आत्मीयता सी भर दी है। उनका दूसरे अंतरे में बस इतना कहना कि अपना घर तो अपना घर है आज भी घर से दूर पड़े लोगों की आँखों की कोरें गीला कर देगा।

आ अब लौट चलें, आ अब लौट चलें

नैन बिछाए बाँहें पसारे तुझको पुकारे देश तेरा

आ जा रे – आ आ आ

सहज है सीधी राह पे चलना

देख के उलझन बच के निकलना

कोई ये चाहे माने न माने

बहुत है मुश्किल गिर के संभलना

आ अब लौट चलें …

आँख हमारी मंज़िल पर है

दिल में ख़ुशी की मस्त लहर है

लाख लुभाएँ महल पराए

अपना घर फिर अपना घर है

आ अब लौट चलें …

इतना मधुर संगीत संयोजन करने के बाद भी ये गीत उस साल के फिल्मफेयर अवॉर्ड के लिए नामांकित नहीं हुआ। इसके संगीत संयोजन के बारे में शंकर जयकिशन पर आरोप लगा कि उनकी धुन उस समय रिलीज़ हुए इटालवी गीत Ciao Ciao Bambina से मिलती है। अगर आप वो गीत इटालवी में सुनें तो शायद ही आप इस साम्यता को पकड़ पाएँ। पर अलग से उस धुन सुनने के बाद तुझको पुकारे देश मेरा वाली पंक्ति गीत की धुन से मिलती दिखती है। पर इस हल्की सी प्रेरणा को नज़रअंदाज करें तो जिस तरह गीत को शंकर जयकिशन ने कोरस और लता के आलाप के साथ आगे बढ़ाया है वो उनके हुनर और रचनात्मकता को दर्शाता है।



The height Shanker Jaikishen had reached is too far; beyond anyone else’s’ reach, no question about that…

Written by Singer

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Sharda Rajan


The height S J had reached is too far. beyond anyone else’s’ reach… no question about that…
It is all before everyone eyes.. & ears…..Great, great personalities have accepted the fact.
The music pieces, the range, the varieties of tunes, the orchestration, the use of the violins & other instruments are mind-boggling.
They were the aadi & anth of a glorious height in music …
They brought the biggest orchestra to Indian scene ….how they managed it & how they recorded the magnificence with 4/ 5 mikes & limited facilities in recording technics is beyond imagination.
The height of the popularity & the volume of adoration they earned, simply by merit, at a time when there were no boosting & bombarding media, is also unheard &unseen & beyond anyone’s grasp.
They didn’t need any support from anyone, big banners , no superstars were needed to take their music sky high ..Their merit was enough to take not only themselves to great heights but lift everyone who was associated with them to the same heights along with them
Sebastian & Dattaram were among those who zoomed high riding on the wings of S J.
When SJ started with Barsaat , which became a musical toofan , with all songs becoming super duper hits, competing with themselves, pushing one another to reach the sky . all of them,
there was no Sebastian or Datta ram ..
They had brought in their first movie only many new technics, setting a new trend.Thereafter raising & higher brought many variations, second track music, counters & fillers, showing India what is a true orchestra..At that period when there were only ‘sa re ga ma pa dha ni music in all the songs, they brought the new western music arrangement to India …They brought the chord arrangements, the counterparts, the backings, the fillers, obligatos & Overtures.
The first, second music, overlapping alaaps, countermelodies arrived in their first movie only .. check with ‘Chodgaye Balam & other songs.
No assistants & arrangers were needed… The macho music has landed in India!
.There were no such backings in the orchestra,………till S J appeared in the music scene.
People knew only simple straightforward music pieces, till S J entry.

Seb & Dattaram came as arranger & assistant after S J had already reached the glorious heights in music arrangement…
Sebastian was lucky that Shankerji chose him to be his arranger & now he has got an important place in the music history of India… Any arranger would have got this place if Shankerji had chosen him… It is the S J music that took him to giddy heights & gave him the exclusive boon to shine…
As I had written earlier that Shankerji’s harmonium would bring out aaaal the new, modern pieces, the new patterns, the heart pulling pieces ..& what Seb had to do was just write them down in the music sheets & place them in the song…..
Slowly & gradually Seb grasped the S J style & became nr one arranger.

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

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

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

.Many of the M D s of those times had Hindu assistants who were familiar with classical & light music. Some M Ds might have been telling their assistants to make the music for their songs.Arrangers were mostly Goan Christians & they wrote notations .. not make music .
. But most of our great mds not only just composed all the music but worked for a long time making different pieces & checking, bringing out best music.I have read somewhere Naushad sab saying that he worked more hard in the music than the song. As for S J, sawaal hi nahi uthta hai .. .with the undrying ocean of music roaring within them, where is any chance for any arranger to get in? They had everything composed in excellence, the intro, interval, counters, seconds, fillers, all complete, each & every piece ready for the arranger to write & fix the chords.They had the most brilliant excellent magical music flowing from their hands & they built an ethereal heaven of music which will go on shining in the world forever.
Who was needed to put char chand in their music? They have fixed pacheeson Chands in their hand…No arranger was invited to fix char chand in their compositions …Who could even come close to their melodies & music pieces?
Seb was required to control the sea of musicians in SJ orchestra, which was growing bigger & bigger all the time. Plus he had to write western notations for the musicians who read western notations.They all have to play at one time & since there were no track recording facilities at that time, conductors were needed to manage the huge orchestra.Seb, s job was to write all the music, place them in the right place as main music or counters, give the sheets to the musicians & lead them to play in unison .

Dattaramji was also lucky that Shankerji gave him this chance .. Shankerji’s loyalty & steadfast sincerity made him stick to Dattaramji all thro ….though Dattaramji ‘s style slowly was lagging behind & not reaching to the level of the grandeur of S J music.
SJ brought new styles & variations in rhythm, but they all did not come out due to the lack of a proper rhythm arranger. Shankerji used to play & sing all the patterns while composing the song. The music pieces come out with Sebastian writing down most of them, but rhythm patterns which Shankerji would demonstrate with audiation sounds , by uttering the rhythm patterns by various sound combinations, went missing. You can watch in some interview videos how Shankerji demonstrate rhythm patterns.
While his tabla dholak arrangements were quite fantastic, Dattaramji was not as fantastic in the beats as to the most modern, rich, new wave music of S J in all those western style modern songs…
With the passage of time & their hit parade raising higher & higher, S J music went on leaping to new heights But Shankerji, let Dattaram conduct the rhythm section in his style which was not rising to the level of the brilliance of S J music & lagged way behind S J magnetism.His tadipas & Dattu tekas were getting outdated & not suitable for the changing times & the latest, futurish music S J went on creating… The new crop of Disco Diggers mushrooming all over wanting to rock with the beats, the drums had to take over the reigns.
If Shankerji had taken another new young rhythm arranger for his western style songs the rhythm would have been much more matching with their magnificent level
But Shankerji is Shankerji .. he will not hurt anyone .. he will take the hurt himself
He cannot let his associate down ……….& he compromises…

It would have been so much the merrier if Dattaramji was little more innovative & brought new variations matching those zinging zooming S J tunes instead of sticking to the tadipas…
.There was a Himalayan scope in all those brilliant vibrant melodies of S J, for the rhythm arranger to come out with out of the world beats, variations, styles & patterns.
But sadly Dattaramji stuck to his old style which made some S J lovers turn to other directions..
Anyway, the power of the high volume magnetism & machoism in S J music is so enormous that it will not be affected by the lack of modern pattern beats. New wave rhythm or old wave rhythm S J dhuns will go swinging all over the world. No one notices or realizes the missing fireworkbeats in the songs.
Many new crops of rhythm players & conductors would have given the world to get to work with Shankerji.. but with Dattaramji around they would not dare coming close to Shankerji.

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

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

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