Category Archives: SJ Fan writes

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…

– Sharda Rajan

Tribute to Jaikishan by Sharda

Jaikishenji was the noblest, kind-hearted person I have ever seen. Very soft spoken, full of compassion & care for others, he would not dream of hurting anyone..As pure as his heart, he wanted his life peaceful & full of joy. He was very fun loving & liked to enjoy having chums,His favorite restaurants being Gaylord in Churchgate & Bombellis in warden roadLike a shining shooting star, he will be there among a group of people with a huge crowd standing outside, drinking the ecstasy of his darshan…I have seen him many times, sitting in Bombellis in warden road, surrounded by friends whenever I drove thru that area… Off & on I used to go & join him having breakfast & we would talk about my progress. Evenings he would be in Gaylord … I have not gone there as many times as I have gone to Bombellis because evenings I would go to S J hall … But whenever I have gone there it would be a joy ride having discussions about music & enjoying the makings of a new hit.He would check up with me about my training sessions with Guruji & in the hall.He would catch me if I had played hookey & bunked the visits to the hall …‘ I hear you are not going to the hall regularly ?……May I know why ?…. He will ask.Oh, dear …. what to say!.‘ No Jai sab, I had some work last week ….‘Don’t break the training …….Sharda,……This is not something to take lightly. Be regular …..Guruji’s training is not enough ..You need to get into the ins & outs of singing a new song in the recordings!.‘ Yes, Jai sab… I will be regular & not miss.. I better not bunk, now ..I will not be able to answer Jai sab again..‘ But you are not coming …Everyone misses you, Jai sab..‘Yes. Sharda, you know, I want to be with my friends, in the evenings.I do come sometimes, in the morning. But you are not there .‘Oh, I go in the evenings Jaisab. But I will come in the morning. Tell me when you will come .. I will come .‘ It is alright .. Haan .. tomorrow I am coming .. … in the evening. Make sure, you are there … .‘Yes, Jai sab, definitely.‘ Tomorrow ‘ was a joyous day ….‘ Jai sab, I am having this get together at my place … Please come & honor me ..I will be serving idlis!.‘ Sure .. I won’t miss the idlis for anything. .. The party was total fun, with Shankersab & Jai sab, Raj Sab & other big producers whom Shankerji had invited I was having a magic carpet ride on a ‘ Whole new world ‘He also gave me valuable lessons whenever I made a visit to the restaurants to have a training session with him ..Sitting in the seats , with tea & goodies , talk about this & that , coming to titbits & technics in singing .. Small small tips which are very valuable & very very rare treasures….. the throw of the voice , the controlling of breathing & so on He had guided me on how to bring out words in a song ….It was his Diksha that gave me the idea of how to say Titli & I applied the golden lesson at the start of the song & in all the repeats of the mukhdas..Each song has a soul spot in which you have to give emphasis…That soul word has to be brought out with a special thrust.In Titli udi the soul spot was in ” Titli “And the first punch only did the magic. Like if I had sung just plain. Titli udi .. the whole song would have been lifelessBut I applied Jai sab’s tip & sang …TT…itt li udi .. & this little punch lifted the song…And later on, I had used his technic in many songs, like in Badkamma & others. In each Enkanna I had applied the push. The punch & push if you put in the right place the song gets the life..You have to apply as much power in your voice as to how far you want to throw it, like if you want to throw a ball, so much power you apply exactly which would be needed as to how far you want to throw the ball…………. You don’t want to throw it farther than you intended!..How can I thank you, Jaisab for making my, sorry, your Titli fly high .What great updesh they both had given me….simply priceless.At that time I could not absorb all that, but during the passage of time, I had worked, researched & realized the technics & have formulated a workout program capsule .. which is easy, simple & very effective.During this period we have met very often & been together many times, at functions parties shows & on other occasions the Jaikishen lighting up the scene by his wonderful personality..Suddenly, a devilish sinister black shadow descended upon them attacking them brutally from all the sides forcing them to find a strategy……fastThey were a team & were together. In a team, everyone is involved as deeply as the other no matter what work is done by who… In a war you don’t bother who shoots the enemy, it is the force .. that force is one & anyone can shoot & the point is the war is won by the force..S J was a force & they were together in that force ….In a war, you have to place your army in such a manner as to face the enemy surrounding them & make attacks & counter-attacks..This arrangement of the army is called vyuha, which were used in Mahabharat yudh & other Indian wars. There are many different vyuhas &. the commander in chief selects the vyuha according to the reports brought by the spies as to what sort of attack enemy is planning & what vyuha they are arranging. This vyuha will cover the opposite army in a proper way piercing thro the enemy army from all the sides..Jaisab worked out a strategy, forming a half circle vyuha to face the attack, making two different routes for both of them to proceed & tackle the enemy. They made an arrangement that Shankerji will manage the side of ‘ like Sharda ‘ producers & Jaisab will manage ‘ hate Sharda ‘ producers ….. This will prevent the ‘ hate Sharda ‘ producers from going away ……..Jai sab did not want to antagonize the opposition & invite more wreaths..If no one bothered about S J making me sing if there were no angry retaliation from the opposition, why would they have to work separately? Wouldnt they have been continuing like the way they were doing, before? .Now as per the new arrangement, they both started to work separately, which created some misconceptions about their work.Jaikishenji’s heart was very komal, kind & soft. His love for Shankerji was pure & steadfast. He was not able to come to terms with this new development. His pain & hurt of standing apart from Shankerji was unbearable to him & it made him turn to drink doomsville ….He was not at all overdrinking during Shree 420. Jis desh days & others.Why would he suddenly fall prey to this habit?.Who wanted to put this noble soul in such a dilemma …who wanted him to separate from Shankerji. who wanted to break this Godly jodi?……………………..Whichever female force majboored him to stand apart from Shankerji, that force did not win, after all. He never let them win. The force had to accept defeat..He could have avoided this pain by bowing & giving in to the demand, which wanted him to break up with Shankerji & give music in his own name,…just Jaikishen .But he would never think of it ……He suffered & suffered inwardly but would not bend down..HE SHOWED THE WHOLE WORLD THAT HE WOULD RATHER DIE THAN BREAK UP WITH SHANKERJI. HE DROWNED HIMSELF IN A DISASTROUS PIT REFUSING TO BOW DOWN TO THE PRESSURES BROUGHT UPON HIM.And he went as the same Jaikishen he was in 1947 ..the darling of ShankerjiThe joy of Shanker Jaikishen … Not just Jaikishen..There are rules in war also .. You must not attack anyone in the not approved manner. But here this war was not a Dharam war .. This was an Adharam war, most devilish war. All sorts of dirty tactics were applied in this war …….Shankerji & Jaikishenji both high principled, golden-hearted persons, will not stoop so low as to fight an indecent war ..Facing all sorts of mean, dirty cunning strategies they both had a testing time…If only music directors were not given the treatment of a criminal if they made other singers sing in their movies… Shankerji would not have been made to face so many atrocities. Jaikishenji would not have been made to work separately in a suicidal plan.They would not have been made to tear their paths in order to face the tornado ………………………………….Was it so disastrous if some music director takes songs with some new singers that people should attack him with so much force & vengeance? Using all sorts of dirty lowly tactics? And people saying that Shankerji had to suffer because he made Sharda sing? As if he had committed an unspeakable crime by making Sharda sing!.If only people were not so mean & cruel but be human enough as to let others also live …have a small place in the film industry & sing a few songs …what they would have lost? Ultimately we all need nothing but 6 feet of land in the end!Instead of abetting the loving team to work separately & driving Jaikishenji into an untimely end…………Shankerji did not have an iota of an idea that how Jaikishenji is letting himself being sucked into this drink pit so precipitously. Being a teetotaller himself, his evenings were not spent in the company of double-faced chameleons & cunning scoundrelsHe was spending his time going to the hall religiously, drowning in his work, composing new new tunes & discovering new phrases in music..Only, if he had some knowledge about what was going on in Jai sab’s territory, he would have definitely discouraged Jai sab from falling in the pit & saved him…. .. won’t you prefer foes than having friends like this who push you to your doom, when you are passing thru a painful period?…….. Shankerji realized the severeness of the damage when it has taken too deep a root …..his own heartbreaking in pieces, beyond repair …..bringing tears in his never got wet eyes …Jaikishenji became the Abhimanyu in the vyuha he himself created.In the prime of his life, in the peak of his carrier, leaving the whole of India in uncontrollable unforgettable grief pulling himself away from lacs & lacs of loving hands, he goes ……………………….All the blows which Shanker sab was made to take so far did not shake him one bit … But this blow hit him hard. His iron heart cracked ……..And tears fell from his eyes for the first time ………..Don’t humans have human hearts in their chests?….Cheers …. become tears

No photo description available.

Who other than Shankar Jaikishan

INTERESTING AND IMPORTANT TRIVIA WHICH WAS COMPOSED BY Sonu Kumar & later reproduced by late Pradeep Kumar Gupta

FROM SHRI (now late )PRADEEP GUPTA A MEMBER OF shankarjaikishan group on Yahoo

photo courtesy Akhtar Jaipuri (son of lyricist Hasrat Jaipuri )


A new thread of our beloved SHANKAR-JAIKISHAN’S success is going to tell us altogether a different story. Just look at the the fabulous record of their grand success:
1. SJ left an impact on the fraternity of music directors that several music directors like LP, RDB, KA, Usha Khanna, Nadeem Shravan and Anu Malik proudly declared them as their idols;
2. Film’s having SJ music got total 27 Film Fare Awards and 2 National Awards;
3. Mohd. Rafi got six Film Fare Awards out of which 3 were for SJ songs;
4. Mukesh got 4 Film Fare Awards out of which 3 were for SJ songs;
5. Manna Dey got his only Film Fare Award for SJ songs;
6. Hasrat, Shailendra, Neeraj got all their Film Fare Awards for SJ songs;
7. Asha Bhosle got maximum Film Fare Awards under the baton of SHANKAR-JAIKISHAN (RDB);
8. Manna Dey won National Awards twice, both times for SJ songs.
Non of the music composers mentioned hereabove and others as well could out perform them in terms of no. of awards they bagged. Just do the simple calculation. LP, KA, RDB gave music atleast twice the no. of movies done by the duo, but still they all are far behind of our beloved SJ. Even the younger generation, which claims ARR to have equalled SJ bagging nine FFA is in fact far behind of them in terms of their grandeur.
HARI ANANT HARI KATHA ANANTA.
With best regards.
Sincerely yours
Pradeep Kumar Gupta

Late Pradeep Kumar Gupta a die hard Shankar Jaikishan fan

By

Lakshmi K Tummala की फ़ोटो.

Lakshmi K Tummala
15th October 2019

चित्र में ये शामिल हो सकता है: 1 व्यक्ति, क्लोज़अप
Maestro Shankar Singh Ram Singh

We have seen people come and people go, but very seldom do we come across a person who is the most evolved and complete. His insatiable interest and amazing talent in music helped him to totally focus and dedicate his entire life for his passion. He is non other than the legendary Shankar.

The master musician was the candle that shone bright to shed light around. The kind hearted and generous human was a caring relative, modest, loyal and proud gentleman, all rolled into one exemplary human being. He was a well grounded man who did not allow his super success get to his head. By the front door of his home and in his car, Shankar kept pairs of his old shoes to always remind him of his modest beginning. For that alone, my respect for the gentlemen soared very high.

Politics and showbiz are volatile fields. You are up one day and down the other. There are no permanent relationships here, only fair weather friends. With his close friends, Shailendra and Jaikishan gone, Shankar had to face the hardships of abandonment of those whom he thought were the closest. But the brave man weathered it all. His immense strength kept him going, never having to bow to anyone, never having to compromise.

Today, on his birth anniversary, it pains me no end to think that the media had deliberately chosen to ignore the vast and best contribution that he, along with Jaikishan, had made to the music world. The banner he helped create with his buddy is ignored intentionally. People might forget the great composer, but his music will never be forgotten.

Happy Birthday, Shankar!! You will continue to live in our hearts and souls forever.

Shankar Jaikishan and Their Love for Music

Photo & citation by

Lakshmi K. Tummala

Spending a major portion of their time in the music room shows Shankar Jaikishan’s love for music. For them, it is more of a passion than business.

Seen in the picture are SJ with Dattaram and Shailendra.
Spending a major portion of their time in the music room shows Shankar Jaikishan’s love for music. For them, it is more of a passion than business.
Seen in the picture are SJ with Dattaram and Shailendra and two guests, who may be producers

शंकर जयकिशन:शाश्वत संगीत के कालजयी प्रणेता

लेखक

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

श्री द्वारका प्रसाद खाम्बिया

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

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

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

Dwarka Prasad Khambia

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

By

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


Pashambay Baloch

Page one of this data by Pashambay Baloch, Karachi
Page two of this data by Pashambay Baloch, Karachi
Page three of this data by Pashambay Baloch, Karachi
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Page five and last of this data by Pashambay Baloch, Karachi

Shankar Jaikishan, the Benevolent

By

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.

SHANKAR : COMPOSER LARGER THAN LIFE

by

Dharma Kirthi pays tribute to music director Shanker on his 32nd death anniversary on 26th April 2019

Shankar composed music for more than 170 movies in his career spanning 39 years , starting from Barsat in 1949 till Gori his last movie. His brand Shankar Jaikishan won 9 Filmfare Awards and how many movies celebrated jubilees is not available. I am sure, the number must be more than 60.

As composer , Shankar was very particular about having rich orchestra, perhaps an habit he picked up from his patron film maker Raj Kapoor, who visualized movies larger than life. To substantiate my point, I wish to cite the example of a few songs from Jis Desh Mein Ganga Behti Hai.

Here is a movie, Shankar felt had no scope for music at all, and later scored one of their finest albums for a movie shot mostly in a dacoits den. This movie has 9 songs, and each song is such a rich experience in audio experience. This movie was released in 1960, which means the recording was done before that.

With such primitive recording equipment and facilities, they created such priceless gems, that one fails to visualize what magic they could have created in modern times.

Let’s take a look at the songs :

1 . Mera naam raju gharaana anaam..Movie opens with this song, shot in the vast expanse of Ganga in Haridwar . Just listen to the orchestra, melody and the energy. What a way to open the movie.

2.Begani Shaadi Mein Abdulla Diwana: Here is a fun song which has almost become a popular idiom. Absolutely energetic music and fun filled flow of melody.

3. Hoton pe Sachaai rehti hai: Here is one of the finest songs which portrays the ethos of what India is all about. The prelude for this song begins with a rich play of dafli..and then begins the song on a quite note..picks up with use of Sitar which pull at your heart strings..

4. Kya hua ye mujhe kya pata jaane kyun…A super energetic dance number for Padmini and Chanchal..what can I say about this song. Accordion and rhythm with bongos and percussion of maracas,

5.Ho Maine pyar kiya hoye hoye kya zulm kiya: Here is another very high voltage sensuous number, picturised on Padmini.

6. O Basanti pavan pagal : This pathos number has exceptionally rich orchestra especially, in the end, when Raj Kapoor returns and Padmini dances in front of Goddess Bhavani..My God, simply unbelievable and beyond words .

7. Hai aag hamare seene mein: This is a song with perhaps the maximum number of leading playback singers in one song. Full of energy and a flow which goes up in scale as it progresses. The use of rhythm and mandolin notes is exceptional, to say the least.

8. Pyar Karle nai te phaansi chad jaayega: Here is a classic song which sums up the essence of the story which preaches surrender of arms, and leading a life of honour. Simple and very touching song.

9. Aa Ab Laut chale: This song is the mother of all large screen songs. So much has been written about its orchestra and chorus, that I need not add anything more.

This is music, which elevates a simple story to the skies and makes it a super duper hit.

If this is not larger than life, then what is! This is not the only movie, there are 10s of such great movies with simply out of the world music !!

Shankar The Great !!