Category Archives: SJ’s association

Rafisahab through the lens of a musician.

by

Ashok Jagtap (musician in Bollywood)

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

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

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My heartfelt tribute to great singer.

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Ernest Menezes remembers Shanker Jaikishen

Violin maestro Ernest Menezes plays the notes of his musical memories

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

By

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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 road
Like 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!
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‘ No Jai sab, I had some work last week …
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‘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!
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‘ Yes, Jai sab… I will be regular & not miss.

. I better not bunk, now ..I will not be able to answer Jai sab again.

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‘ But you are not coming …Everyone misses you, Jai sab.
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‘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 
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‘Oh, I go in the evenings Jaisab. But I will come in the morning. Tell me when you will come .. I will come 
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‘ It is alright .. Haan .. tomorrow I am coming .. … in the evening. Make sure, you are there … 
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‘Yes, Jai sab, definitely
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‘ Tomorrow ‘ was a joyous day …
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‘ Jai sab, I am having this get together at my place … Please come & honor me ..I will be serving idlis!
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‘ 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 ‘
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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 …
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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.
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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 lifeless
But 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!
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.How can I thank you, Jaisab for making my, sorry, your Titli fly high 
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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
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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.
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Suddenly, a devilish sinister black shadow descended upon them attacking them brutally from all the sides forcing them to find a strategy……fast

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They 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.
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S J was a force & they were together in that force …
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………………………………………..

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In a war, you have to place your army in such a manner as to face the enemy surrounding them & make attacks & counter-attacks.
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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.
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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.
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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 …


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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?…………………….

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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.
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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.
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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 Shankerji
The joy of Shanker Jaikishen … Not just Jaikishen.

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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.
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………………………………
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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 …………………………………

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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!
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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………..
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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 scoundrels
He was spending his time going to the hall religiously, drowning in his work, composing new new tunes & discovering new phrases in music.
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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 ……….
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Don’t humans have human hearts in their chests?
….
Cheers …. become tears ……………………………………………………………………….

Shanker & Mukesh : Dost, dost na rahaa

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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 …
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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 .
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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 .
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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.. 
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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 .
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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 .
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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.’
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Mrs Mukesh told me’ it is Shankerji who rescued us & gave us a new life ..
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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 .
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If Shankerji works year after year with one singer bringing out hunderds of hits , who will want to bother about limitations of that singer ?
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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 ?
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And do we have to say what magic Shankerji could bring with him ? 
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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 ……….
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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….
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Time came , Shankerji was left alone , his soulmate left him abruptly …….
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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.
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Shankerji tells me , yes …..
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God … how could this be …It is not possible .. .. no … no .. no….l
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Mukeshji , what had got into you ?

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Website on Shankar Jaikishan launched by SJFAI, Hyderabad

Dear friends….
After long brainstorming and painstaking efforts of couple of months WE could come out with first image of user interface of our ambitious project of SJFAI websites. .

The process of conceptualization and giving it a concrete shape had undergone lots of creative sessions of design and its execution…With limited material available of SJ Era we had to crack innovative design befitting their stature and immortal melodies. .
To juxtapose creative inputs with software . ergonomics is a completely a complicated creativity to crack…

We met certain challenges and arrived at first milestone of beautifully designed compiled. .website. .
Commissioned the basic structure of desired contents projections…

The full fledged operation shall be an on going activities involving….evolving a complete End package…

Feeling proud to launch on Celestial Birthday of Shankar ji. ..which was desire of Lakshmi …

A dream come true…..partially. ..

I must thank Mithun Krishnan chief moderator and communication Director of SJFAI for his untiring zeal and persuasion. …and follow up. .
Lakshmi President SJFAI for her unflinching confidence in design team and her subtle but effective follow up for the result orientation. ..

The committee and members whose silent support and encouragement..

Members whose contributions which shall be showcased in due course of time

And above all Rucha my younger daughter who created the design with out her vision. ..our visions could not have been successful…

I Thanks all who appreciated and showered praises to Rucha and entire team on launching of website. ..

Expect patience and perseverance for the final outcome of website. ..

Thanks again

Mayank Shukla

With Lakshmi k Tummala
Mithun Krishnan

RK’s Music and Shanker-Jaikishen

[Courtesy : RKFilms.com) (Courtesy : http://www.archive.org]

“Raj Kapoor music legacy started with the shower of melody that was Barsaat under the baton of Shankar Jaikishan. But even SJ, innovative as they were, were ultimately mere executors of Raj Kapoor’s musical will. The great Showman was the Great Conductor who audio-visualised his music as an integral part of the film’s script. No wonder Lata Mangeshkar said that all music in RK films was, in the end, given by Raj Kapoor himself-which, here, is the take of point for the RK music story.At HMV’s Taj Function to celebrate the motion picture event that Ram Teri Ganga Maili had proved to be as RK’s greatest money spinner of all times. Lata Mangeshkar certainly drops a brick when, in addressing the august audience, she says,”At RK early on, all music may ahve been credited to Shanker Jaikishen, later Laxmikant Pyarelal may have taken over and it is now Ravindra Jain. But one thing I, as the one who has sung for RK from Barsaat down, have seen is that the music in any RK film is, in the ultimate analysis, given by Raj Saab himself.”Consternation! Ravindra Jain, sitting stumpy, there in a spotless white coat, is aghast, wondering whether this is his reward for reverting from Hemlata to Lata. Hasrat Jaipuri, grateful to be there at all for the solitary song that he has written for Ram Teri Ganga Maili, is at a loss to decide how exactly to react, since he knows, better than anyone else, how dominant, right through, has been Raj Kapoor’s role in ‘envisioning’ and encapsuling Shanker-Jaikishen’s music.So much so, that Hasrat knows that “Sun Saiba Sun” in Ram Teri Ganga Maili, as written by him, is not Ravindra Jain’s tune at all. As far as Hasrat remembers, Sun Saiba Sun is how he, long ago, wrote a certain Lata number, tuned by Jaikishen, for RK’s never made Ajanta.
This was Raj Kapoor’s point even when Laxmikant Pyarelal so sensationally supplanted SJ at RK. All the music that Raj Kapoor wanted he had already got shaped on tape by SJ, on his own audio-visual terms, for his films to come. If at all Raj needed any music director now in 1973, it was to put the SJ tunes, already there on tape, into the final form in which they were to go into Bobby or Satyam Shivam Sundaram or Prem Rog or any other RK movie.In fact, more than once, Raj Kapoor wanted Laxmikant-Pyarelal to utilise, in a RK movie, the Jaikishen tune that was ready at hand in the format of Sun Sahiba Sun. But each time LP shied away, since by that time, this duo came to RK with Bobby in 1973, it had already its own distinct identity as a composer team. The break with LP therefore, when it did come finally, after Prem Rog, came late. It was inevitable that, at some point, LP should have moved away from the idea of merely impersonating SJ at RK.Why then did Raj move away from Shanker after Kal Aaj Aur Kal, if it was merely the SJ way he wanted the RK music to be shaped? The reason was personal. At a time when Raj Kapoor was reeling under the plus half-crore loss he had incurred on Mera Naam Joker, Shanker had mindlessly pushed the cause of Sharda for a song in Kal Aaj Aur Kal. And the song, Kisi Ke Dil Ko Sanam, was certainly there when we saw it at the press show, but was later scrapped from certain prints to teach Shanker a lesson. Intelligence was never Shanker’s strong point. Otherwise in the wake of Barsaat, he would have considered going solo. Hasrat, then teaming with him, insists that Shanker full of composing beans, toyed with the thoughts of going solo sans Jaikishan, but had to give up the idea when he saw that the film trade would only buy the name – Shanker-Jaikishen.Sharda even today maintains that one of Lata’s conditions to sing again for RK(the melody queen’s voice was not to be heard in Mera Naam Joker and Kal Aaj Aur Kal) was that Laxmikant-Pyarelal should replace Shanker for the music of Bobby. Raj Kapoor was not the one to submit to such conditions, of course, but the fact remains that he was under severe pressure at the time, after Kal Aaj Aur Kal had merely compounded the staggering losses sustained on Mera Naam Joker.Shailendra was gone by then(1970) and this meant that Raj Kapoor now tuned that much less with Shanker. When Jaikishen too went the Shailendra way in late 1971, even the one RK composer who vibed with Randhir Kapoor, Raj’s RK heir, was gone. Plus with Bobby, Raj had decided to banish, not only himself as a hero, but also his “soul”, Mukesh. He was out to recreate the Nargis-Raj aura through a younger Nargis, in the nymphet shape of Dimple, and a younger Raj Kapoor, in the fledgling form of Rishi Kapoor.
From the earliest days, I have been interested in music. In fact, my first ambition was to be a music director. I even sang in my earlier films like “Chitchor”, “Chitor Vijay”, “Jail Yatra” and “Gopinath”.In our country, our whole existence, our lifestyles, our cultural fabric is wedded to music. Our life, our birth is wedded to music. Our death is wedded to a lament, which is also a music. Our rituals, our gods, our goddesses, everything is music, is music, is music….Where words fail, it is music that conveys much more than all words put together
Such a setting, as Raj viewed , it also needed a younger pair of music-maker whom he could guide to keep heartbeat with the young lovers. Thus did Laxmikant-Pyarelal come to realise their life’s ambition of erasing the name of SJ from RK. Ironically, it was Mukesh, out of the Bobby singing picture, who brought LP in, pleading that if the duo now failed to show the gumption to take over from Shanker, the honour would go t a rival composer, since Raj had already made up his mind on a change.For all that, when LP themselves lost favour with Raj after Prem Rog, the moment was ripe, music buffs felt, for Raj Kapoor to do the thing that would hurt his duo the most – resurrect Shanker. Any bitterness between Raj and Shanker was by then past. In fact, Shanker’s first reaction, when early in 1973 he had heard that LP were to do Bobby, was to assert that let them come into the music sanctum of RK, for now the world would know who was the better composer: SJ or LP! Shanker was as naive as that. He had finally to be told that, not only was he out of RK’s Bobby, he was not wanted for RK’s Dharam Karam either, since the film’s young director, Randhir Kapoor, tuned out with the Teesri Kasam bullock-cart era, but with the jet age representated by R.D. Burman.So Shanker never turned to RK and Raj Kapoor was seen to feel intensely for the man on his death, as he made a personal appearance in Bombay TV’s Chhaya Geet to pay his salad-day’s composer a touching tribute. Actually, Ram Teri Ganga Maili had been a musical subject right up Shanker’s alley. But the film came to be done by Ravindra Jain and, in assessing the music, you could not argue against the show-world maxim of nothing succeeds like success.But Ravindra Jain and Laxmikant-Pyarelal, they came only later, the men to give RK music shape and substance were Shanker-Jaikishan. Raj Kapoor wanted this duo for his very first film, Aag, but had to submit to the will of his father, Prithviraj, and make do with stage composer Ram Ganguly. Now Aag may have been the first film to fix the vocals of Mukesh on RAj Kapoor through a sonorous unforgettable like Zinda hoon s tarah ki gam-e-zindagi nahin, but the rest of the film score, while popular enough, moved very much with the ambit of tradition. Na aankhon mein aansoo, Kahee koyal shor machaye re, Dil toot gaya jee chhot gaya, Raat ko ji chamken taare, Kahin ka deepak kahin ki baati(as vocalised by Shamshad Begum, Mukesh and Shailesh) could have been songs belonging to any film of the time, there was nothing distinctly Raj Kapoorian about them.SJ maintained that they put in a lot of work on Aag, but I cannot buy this, since Shamshad Begum has told me that, for every single song of hers in the film, she was personally rehearsed by Ram Ganguly. Just as I could not go along with Shanker when he said that Jagte Raho was originally offered to SJ, but they refused, seeing that the theme had scant scope for music. Since Jagte Raho was to be made in Bengali and Hindi from the outsets by stage stalwarts Shombu Mitra and Amit Moitra, it stood to reason that the choice of composer, even by Raj Kapoor, would be someone in the creative mould of Salil Chowdhury.Of Raj, it has been said that he wove the Melody of Life into his films. Interwoven into the fabric of this Melody of Life was a rare visual rhythm that Raj could strike only with Barsaat. It is this visual rhythm, running like a golden thread through his films from Barsaat to Ram Teri Ganga Maili, that came vividly to mind, as Lata revealed at the HMV function how, after recording the first song of Barsaat, Jiya Beqarar hai, all of them – herself, Raj Kapoor and the entire RK unit – came out of the Famous Recording Studio at Tardeo and sat down by the streetside wondering what was going to happen to the song, to Barsaat, to RK. As Lata said this, Raj nodded mistily.
As one critic observed, Raj Kapoor poured every ounce of his inspiration and creative energy into the shaping of the music of his film. He knew exactly what he wanted from his composers, lyricists and singers. He would coax and cajole, badger and pummel his team and call it a day only when hehad got the songs perfect, the tune right, the words correct, the orchestra right and the recording flawless.Then he would lie back and start thinking of a hundred different ways of bringing that song to life on the screen.
If, Jiya beqarar hai, as written by Hasrat to Shanker’s tune, betrays, in its interlude music, traces of Husnlal-Bhagatram as Shanker’s mentor, these were the only familiar notes that your ears picked up in the music score of Barsaat. Right from the Barsaat mein (the second song recorded for the film as tuned by Jaikishen and written by Shailendra) down to other Lata evergreens (like Hava mein udata jaaye, Meri aankhon mein bas gaya koi re, Bichhde huye pardesi, O O O O mujhe kisi se pyar ho gaya and Ab mera kaun sahara), it was something totally new in film music that you heard in Barsaat, while Bhairavi as its strong undercurrent. This lends credence to Raj’s stated view that it was he who had shaped SJ in the Bhairavi strain, starting from Barsaat.Raj Kapoor,by the same token, was entitled to his view(a view endorsed by Lata) that any music SJ made for him, even for films not starring him, was RK music! After all, RK was SJ’s base camp. It is from this base camp that the duo climbed dizzy heights to become the first music directors, in the history of the film industry, to charge Rs. 5 Lakhs for a film. My gut point is, while was Rk was SJ’s alma mater, it never became a mental crutch in the duo’s style of functioning. Like true freelancers, SJ stepped out of RK and dazzlingly proved themselves. Even while doing so, every time they returned to their base camp, RK, they came up with an excitingly fresh stock of tunes. this is where the perspective listeners saw the ever creative conducting hand of Raj Kapoor in operation.It was Raj Kapoor’s vision that conceptualised the dream sequence in Awara, of course. When asked who, Shanker or Jaikishen, score dthe famous dream sequence number, Raj replied that both had a hand in it. The truth came to me in a strange way. Suraiya told me that she had a record of the famous egyptian singer, Om Kulsum, which Nargis wanted to hear. So Suraiya sent it to Nargis through their common hairdresser, Mary. As Mary entered RK, who should espy the record Shanker, sitting there! Shanker took the record from MAry, played it and instantly ang his Raj Saab, to convey the glad tidings that he had found the tune for the famous dream sequence for Awaara!That is how, one supposes, Shanker came to fashion the arrestingly orchestrated Tere Bin aag yeh chaandni part of the Awaara dream sequence, with Jaikishen conjuring up the ghar aaya mera pardesi section. That is how Shanker and Jaikishen came to be two glittering sides of the same box-office coin. But the man who shaped their style and technique was Raj Kapoor. SJ would have remained mere tunesmith if Raj Kapoor, as a versatile musician himself, had not demonstrated to them that any music they composed had to be visual music, music that could be imaginatively filmed. That is why Shanker’s claim that it was he who showed Goody Seervai how SJ wanted the accordion played in Awaara hoon is neither here nor there. It is known that the original Awara hoon tune was Jaikishen’s brainwave. But at some point, Shanker too invevitably came into it-like Jaikishen habitually came into any Shanker tune. And then, at the most vital point, Raj Kapoor himself stepped in. And it was only after Raj so stepped in that the oral music of Awara could take form and meaning as Aa jaao tadapte hain armaan, Hum tujh se mohabbat kar ke sanaam, Dum bhar jo udhar munh phere, Jab se balaam ghar aaye, and Ek bewafa se pyar kiya. Nor were these the only tunes SJ composed for Awara or any other RK film. There were ever so many other tunes that passed into RK’s taped stock, being visually not quite right at that point.
It is on this RK treasure-trove that Raj Kapoor kept drawing to the end. That is how you find, as early as in 1953, in Aah the original tune of Jaane Kahaan gaye woh din in the film’s background score! At other times, it worked in reverse. In Shree 420, for instance, after Nargis and Raj have enacted Pyar hua ikraar hua, you hear, in the background scoring the tune of Chhoti si yeh zindagani re!
What a shame we could not get to view this Chhoti se yeh tune fully(as sung and enacted by Mukesh himself on the screen) when we sat down to watch Aah(with its absurd reshot ending) on TV recently. At some point after Aah, SJ decided, in view of the grooming quantum of work, that Shanker would do all the dance compositions and Jaikishan would do all the background scoring in the duo’s films. In Aah itself, contrast the flamboyance of Shanker’s orchestration in Jhanana jhanana jhanana jhanana ghungarva baaje with Jaikishan’s soft-as-a-whisper tuning of Yeh shaam ki tanhaiyaan. Here are two Aah tunes that we are in a osition to pinpoint as either Shanker’s or Jaikishen’s. Okay, again in Aah, Raaja ki aayegi baraat was by Shanker and Sunte the naam hum by Jaikishan. But this identification exercise is pointless, since the Unseen Hand behind each Aah tune from Jaane na nazar to Jo main jaanti unke liye, Raat andheri door savera to Aa jaa re, was Raj Kapoor’s. Not a note could be recorded until his Unseen Hand had first played it out in his mind.The notes, enrapturing as they were could not prevent Aah from coming a nasty cropper at the turnstiles. This was a great setback for Raj, since he had planned his next, Boot Polish, as a songless film in the noe-realistic de Sica style. The failure of Aah certainly shook Raj Kapoor, since reshooting the film’s ending had only made matters worse. So now, as Raj sat down to view Boot Polish(as directed by his assistant, Prakash Arora), the aspect that the film presented was a documentary.Now this fact is little known – that all the musical situations in Boot Polish were created after the full film had been shot! For the first time at RK, the thing went in reverse- the songs were not written into the films script.It is this amazing context that you have to view Boot Polish again to see how, within a month, Raj extracted, out a SJ, a music which he , by skilful surgery, fitted into the film. Raat gayi phir din aata hai, Thehar zara O jaane waale, Nanhe munne bachche teri mutthi mein kya hai, Chali kaun se des gujariya(picturised tellingly on the man who wrote it Shailendra), Tumhare hai tum se dua maangte hai, Lapak jhapak, tu aa re badarva, Main baharon ki natkhat rani-were integrated into the texture of Boot Polish after the film was shot and ready.
Only the genius of Raj Kapoor could have worked it thus to turn Boot Polish into a hit that neutralised the losses suffered from Aah. If someone were to tell you today that the way Baby Naaz sings in Boot Polish to David(John chacha tum kitne achche) was an afterthought of Raj Kapoor’s, would you believe it?That is why, where the man “envisioning” it all is Raj Kapoor, I attach no value to my belated knowledge that, in Shree 420, almost all the songs, ranging from Mera joota hai japani, Dil ka haal sune dilwaala, Pyar hua ikraar hua, ichak daana beechak daana and Ramaiyya vastvaiyya, were the handiwork of Shanker. to me, it is just an accident that Raj happened to pick up more tunes from Shanker-Jaikishan in this film.To me, Jaikishan’s one Shree 420 creation, O jaane wale mud ke zara dekhte jaana, is symbolic of the very best of SJ at RK. To me, if Shankar admitted no superiority, Jaikishan brooked no equality. Shaping a Shree420 number like Mud mud ke na dekh was a childs play for Jaikishan, since it was a tune in glamorous accord with the Gaylord lifestyle.RAj Kapoor himself initially wanted to be a music director. As to Lata, so to me, therefore, Raj Kapoor himself will remain the Grand Music Director of all his RK Films, with Sj his two conducting hands. Yes, the Great Showman was the Great Conductor too. Raj was the dreamer. Sj were merely the executors of his musical will. But Raj sadly also became a prisoner of his own musical image. Thus the moment listeners heard Zindagi khwab hai on Radio Ceylon, they logically expected the number to go on Raj in Jagte Raho. When therefore Zindagi khwab hai materialised on Motilal, Jagte Raho a super film. stood rejected at the outset itself. The high Bhairavi note on which the film ended, with Nargis putting over Jagoo Mohan Pyare like Dilip Kumar’s Jogan, was not how the public had seen Nargis and Raj Kapoor in the 14 films in which the two had co-starred in a row before Jagte Raho.The ideal in Jagte Raho, of Nargis alone being able to quench Raj Kapoor’s thirst in the end, was therefore given, by the public, a crude interpretation that made Salil Chowdhary almost an interloper at RK. Lost, on such a crassly commercial audience, was the authenticity of his bhangda. Aeven duniya deve duhaii, and his artistry of composition in Thandi Thandi pawan ki puhar and Lo shay wai-wai. How could the public ever accept the idea of a film in which Raj Kapoor, the Eternal Tramp with a song in his heart, did not sing at all! Such a film, if revealing Raj Kapoor as a peerless actor, could only be an award-winner, not a crowd puller.After the trauma of Jagte Raho, Ab Dilli Dur Nahin was an RK show in which Raj Kapoor lost all interest the moment he came to know that the initial offer made to him, to project Chacha Nehru as the star of the children’s show, stood withdrawn by New Delhi. SJ’s assistant Dattaram, took a flying start with Ab Dilli Dur Nahin, coming up with such catchy kiddy numbers as Chun Chun karti aaye chidiya, O maata and Yeh chaman hamara apna hai, but Raj Kapoor’s heart was not in the film as directed by his assistant, Amar Kumar. Probablt the fact that Ab Dilli Dur Nahin’s making coincided with his break with Nargis had something to do with Raj’s apathy. The end result was that Ab Dilli….made no waves.This was a crisis point in Raj Kapoor’s life. He had now to convince his distributors that he could be as effective a romantic opposite the far-from-mini Padmini as opposite Nargis. How Raj Kapoor went to renew his faith in his own brand of cinema with first Padmini in Jis Desh Mein Ganga Behti Hain and then with Vyjayanthimala in Sangam is by now part of our filmlore. Such a folk-hero was Raj Kapoor a long as he stuck to the simpleton mantle, that even his weird idea of dacoits reform went musically across in Jis Desh Mein Ganga Behti Hai. This was also the film in which Jaikishan proved that he was capable of matching his Chori-Chori classic. Rasik Balama, with something so profound as O basanti pawan paagal.
I do not say that I compose music, but i conduct it. I get my music done the way I visualise it – at what particular moment the woodwinds should flow, at what intensity and volume the percussion….now THAT is the art of conducting.
So it definitely has a very distinct quality about it, no matter who the composer is or who the writer.
Shanker for his part. as is now well known, did not want to do his dacoit film at all. What is not so well known is how Raj brought him around. At RK, the tune had always come first, the words after, since that was Raj’s style of audio-vision. But now, to get a stubborn Shanker going, Raj had Shailendra pen down the opening stanza of Honton pe sachchai rehti hai first. And then asked Shanker whether such poetic words, evoking the flow of Ganga, did not really offer him any musical scope. The composer in Shanker was stirred and this musician’s musician tuned the theme song of Jis Desh Mein Ganga Behti Hai on the spot. The other near theme-song in the film, Mera Naam Raju, was equally evocatively tuned by Jaikishan and the musical pace for the dacoits, with Padmini as their peach of a prize, had been set. The wild Ho maine pyar kiya abandon that Padmini brought to her dancing, the equal lack of physical inhibition surrounding her enaction of Kya hua yeh mujhe kya hua, gave the film’s music a romantic impetus by which key situational numbers in it, like Hai aag hamaare seene mein and Aa Ab Laut Chalen, came to be readily accepted in Jis Desh Mein Ganga Behti Hai.After that, the rest of the RK’s music, from Sangam to Ram Teri Ganga Maili, is still so fresh in th public eye and ear that it needs no detailed recap. Only, by the time Sangam came and went, Sharda had arrived to knock the hyphen out of Shankar-Jaikishan. It had been for long Shankar’s plaint that Ameen Sayani, after acting fair in the Mera Joota hai Japani days, had began playing a Binaca Geetmala Game of his own by which Jaikishan always upstaged Shanker, come Wednesday! Ameen’s plea was that he, like the public, could not tell a Shankar tune from a Jaikishan’s tune – as far as he was concerned, it was all “Shanker Jaikishan’s Sangeet”!Now matters really came to a head, as Ameen Sayani gave preference, in Binaca Geetmala, to Jaikishan’s Yeh mera prem patra padhkar, over Shanker’s Dost dost na raha in Sangam. The fact that Jaikishan had unwittingly, in a signed Filmfare article, identified Yeh mera prem patra as composed by him, had infuriated Shanker further since, according to him, it broke a lifetime pact by which neither composer would publicly identify a tune as either Shanker’s or Jaikishan’s. Shanker maintained that Yeh mera prem patra was not a patch on Dost dost na raha as a composition and that Ameen Sayani was clearly playing favourites. So Shanker approached the sponsors of Binaca Geetmala and got all important pehla paidaan-doosra paidan distinction in it abolished. That killed Binaca Geetmala effectively as ‘a Wednesday must’ for us listeners.As for the film itself, the Vyjayanthimala-Raj Kapoor emotional involvement gave a rare edge to Sangam and its songs, especially to Bol Radha Bol as composed by Jaikishan. Now even this was another change of pace at RK – till then, Shanker had composed all the title tunes, while in Sangam it was Jaikishan’s Mere man ki ganga that Raj had okayed as the film’s theme song. Maybe this piqued Shanker no end, for I recall Mukesh telling me that practically all his theme songs for SJ were done by Shanker. But now it could be Jaikishan here, too, in a Raj Kapoor film – as exemplified by Main Aashiq hoon Bahaaron ka(in Aashiq).After that came joker and disaster. There was no romance left in Raj Kapoor’s life any longer – both Padmini and Vyjayanthimala ahd gone out of it. And Raj Kapoor, it had been crystal clear, could breathe romantic life into his music only so long as he had a affair going. It therefore came as no surprise when Raj Kapoor, already balanced precariously on the circus swings(seeing that he had lived for five years in the RK studios with his narcissistic image of Mera Naam Joker), just came down in a heap.Yet there was nothing wrong with SJ’s music in his magnum opus for all the intrusions of Sharda as the rift in the lute. If Shankar created Jaane Kahaan gaye woh din, JAikishan matched it with Jeena Yahaan Marna Yahaan. Even Neeraj assumed the Shailendra garb effectively enough in Shanker’s Kehta Hai joker and Ae bhai jara dekh ke chalo. If Jaikishan’s Daag na lag jayee had a rare cadence, so did Shanker’s Kaate na kate raina. Only, it was Asha singing in place of Lata! And for all the virtousityof Asha, Lata’s absence was somehow seen as making all the difference in the end. Especially in the light of the way RK’s fortunes were revieved the moment Lata returned with her vocals for Bobby!SJ’s last beat at RK had now been sounded in Kal Aaj Aur Kal by Jaikishan as Tik tik tik tik tik tik. Thus in came LP with Bobby. But for me, Rk music ceases to be RK music sans SJ. Call it my bias, if you like, but it is a bias. I know that is shared by thousands of listeners all over India. How can you possibly try to sit down and analyse LP’s own admission, they were merely required to be musical reincarnation of SJ at RK?When Raj Kapoor himself maintained that by 1972, he already had on tape all the music that he needed for RK movies, that he merely wanted the aid of a music conductor to help him put it together again, let us leave the RK record at that. If the shower of melody that began with Barsaat retained its mellifluent flow right down to Ram Teri Ganga Maili, the baton of that flow was wielded by Raj Kapoor himself. And that is one baton that cannot be handed on – RK’s musical mainsprings dried up the moment Raj Kapoor breathed his tuneful last.”

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

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Sharda Rajan

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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.
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The music pieces, the range, the varieties of tunes, the orchestration, the use of the violins & other instruments are mind-boggling.
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They were the aadi & anth of a glorious height in music …
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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, ..no 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
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Sebastian & Dattaram were among those who zoomed high riding on the wings of S J.
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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.
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Seb & Dattaram came as arranger & assistant after S J had already reached the glorious heights in music arrangement…
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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…
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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…..
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Slowly & gradually Seb grasped the S J style & became nr one arranger.

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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 ..’
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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…
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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?
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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..

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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.

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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.
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Whereas Sebastian grew with S J music to greater heights, Dattaramji was zigzagging all thro ..
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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.
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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?

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.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?
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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 .
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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.
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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.
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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
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But Shankerji is Shankerji .. he will not hurt anyone .. he will take the hurt himself
He cannot let his associate down ……….& he compromises…
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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..
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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.
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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 ?
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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 .

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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.
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I am shocked. I ask ‘ Why? What happened?
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He says ‘ He is retiring .. Going to Goa ‘
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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?
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‘ Noooo.’ I say .. Don’t let him go ..’
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He says, ‘ I am telling him… He is not listening ‘
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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.
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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.
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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…
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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.
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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.
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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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वैलेंटाइन के दौर में आज एक अनूठे प्यार की यादें !!! ‘दिल एक मन्दिर’

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लेखक

श्री शिव शंकर गहलोत

रुक जा रात ठहर जा रे चंदा 
बीते ना मिलन की बेला…

जिंदगी और मौत के बीच खतरनाक जंग जारी थी और मरणासन्न पड़े हुए राजकुमार की बीवी मीना कुमारी मौत को इतने करीब से देखकर बेहद घबड़ायी हुई थी । और उस पर थोड़ी बची जिंदगी मे पति की आखिरी बार दुल्हन के वेश मे देखने की ख्वाहिश । शायद वो अपने जीवन के बेहतरीन लमहे को मरने से पहले एक बार देखना चाहता था । एक तरफ मौत का मंज़र और दूसरी तरफ सुहागरात का दृश्य । इस सिचुएशन पर गाना बनाना कितना मुश्किल था। पर शंकर जयकिशन तो संगीत के जादूगर थे ही जो इस मुश्किल को आसान बना सकते थे । मेरा विचार है कि दोनो श्रीधर पर बेहद ही मेहरबान थे या कहूँ कि उसकी 30 दिन मे पूरी फिल्म बनाने की कयावद पर जी जान से फिदा थे तो गलत नही होगा । शैलेन्द्र ने गीत लिखा-

“रुक जा रात ठहर जा रे चंदा,
बीते ना मिलन की बेला,
आज चांदनी की नगरी में,
अरमानों का मेला”

“पहले मिलन की यादें लेकर,
आई है ये रात सुहानी,
दोहराते हैं फिर ये सितारे,
मेरी तुम्हारी प्रेम कहानी ।

कल का डरना,
काल की चिंता,
दो तन हैं मन एक हमारे,
जीवन सीमा से आगे भी,
आऊँगी मै संग तुम्हारे

शैलेन्द्र ने ये गीत लिखा जो सुहागरात के लिये उचित था और रात को भी सुहानी बताया गया था । अब जिम्मेदारी थी शंकर जयकिशन की मौत का मंजर गीत मे भरने की । तो जब लता ने शब्द “रुक जा रात ठहर जा रे चंदा” खिड़की से झांकते चांद को बोलती है तो लगता है मौत के मंज़र से खौफज़दा मीना कुमारी का कलेजा हलक के बाहर निकल जायेगा । बोल तो सुहागरात के थे पर स्वर मे खौफ था मौत के मंज़र का । शंकर जयकिशन ने लता को ग़ज़ब सुर दिया और लता ने बहुत बेहतरीन निभाया । शैलेन्द्र ने पत्नि के मुख से मरणासन्न पति को दिलासा भी दिलवाया ‘जीवन सीमा से आगे भी आऊँगी मै संग तुम्हारे’ । ये स्थापित हिन्दु मान्यता के अनुरूप ही था कि स्त्री पुरुष का संबंध जनम जनम का है और मृत्यु महज़ एक पड़ाव है ।
मरणासन्न पति पत्नि से वचन मांगता है कि वो उसकी मृत्यु के बाद अपने प्रेमी से शादी कर लेगी । पर एक भारतीय पत्नि के लिये तो ये सुनना भी पाप था । अब बारी थी हसरत जयपुरी साहब की जिन्होंने यहाँ जो गीत लिखा वो एक भारतीय पतिव्रता नारि की मन:स्थिति, मन की पीड़ा, उसके अन्तर्मन की आवाज़ और गुजरी घटनाओं की परिणति का खुलासा बयान कर दिया गया । ये गीत स्थापित हिन्दु मान्यताओं की स्थापित मर्यादाओं में ही बंधा था और हसरत जयपुरी मै समझता हूँ यहाँ बिल्कुल शैलेन्द्र के अवतार में नज़र आये ।

हम तेरे प्यार में सारा आलम खो बैठे हैं खो बैठे,
तुम कहते हो कि ऐसे प्यार को भूल जाओ,
भूल जाओ
हम तेरे प्यार में…..

पंछी से छुड़ाकर उसका घर,
तुम अपने घर पर ले आए
ये प्यार का पिंजरा मन भाया,
हम जी भर-भर कर मुस्का ए
जब प्यार हुआ इस पिंजरे से,
तुम कहने लगे आजाद रहो
हम कैसे भुलाएं प्यार तेरा,
तुम अपनी जुबां से ये न कहो
अब तुम सा जहां में कोई नहीं है,
हम तो तुम्हारे हो बैठे
तुम कहते हो कि…..

इस तेरे चरण की धूल से हमने,
अपनी जीवन माँग भरी
जब ही तो सुहागन कहलाई,
दुनियां के नजर में प्यार बनीं
तुम प्यार की सुन्दर मूरत हो,
और प्यार हमारी पूजा है
अब इन चरणों में दम निकले,
बस इतनी और तमन्ना है
हम प्यार के गंगाजल से बलम जी,
तन मन अपना धो बैठे
तुम कहते हो कि…..

सपनों का दर्पण देखा था,
सपनों का दर्पण तोड़ दिया
ये प्यार का आँचल हमने तो,
दामन से तुम्हारे बाँध लिया
ये ऐसी गाँठ है उल्फत की,
जिसको न कोई भी खोल सका
तुम आन बसे जब इस दिल में,
दिल फिर तो कहीं ना डोल सका
ओ प्यार के सागर हम तेरी
लहरों में नाव डुबो बैठे
तुम कहते हो कि…

एक भारतीय पतिव्रता स्त्री कैसे शादी से पहले के प्यार को त्याग कर अपनी जीवन धारा को एक निश्चित राह पर मोड़कर अपनी मर्यादाओं का पालन करके प्रसन्न रहती है ये कितने खूबसूरत शब्दों में लिखा हसरत साहब ने कि देखते ही बनता है ।

पर कहानी दिल एक मंदिर की यहीं खतम नही होती । एक और गीत था जो बचपन की अठखेलियों के बीच मौत के मंज़र से दो चार होता है । पर इस बार शंकर जयकिशन ने अपना विश्वास सुमन कल्याणपुर पर जताया । गीत था “जूही की कली मेरी लाडली”। गीत तो शैलेन्द्र ने लिखा जो मां और बेटी के वात्सल्य को ही प्रदर्शित करता है। पर मौत का खौफ फजांओं में था और बच्ची पर मौत का साया मंडरा रहा था । इसी मौत के खौफ को व्यक्त किया गीत की एक लाइन ने “ओ आस किरन जुग जुग तू जिये” । जब सुमन कल्याणपुर ने स्वर को फर्श से उठाकर अर्श तक पहुँचाया तो उसमे प्रार्थना थी ऊपरवाले से जो स्पष्ट सुनी जा सकती थी । । ऐसा लगा वहाँ सुमन कल्याणपुर लता के समकक्ष जा खड़ी हुई । और इस तरह शंकर जयकिशन ने लता शैलेन्द्र सुमन के साथ मिलकर संगीत के स्वर्णिम काल के इतिहास में एक पन्ना स्वर्ण अक्षरों से लिखा ।

श्रीधर साहब के पास फिल्म दिल एक मन्दिर के प्रेम त्रिकोण का हल तो नही था इसलिये राजेन्द्र कुमार की मृत्यु दिखाकर अपना रास्ता आसान कर लिया । शैलेन्द्र और हसरत जयपुरी साहब ने अपने इन दो गीतों में इस प्रेम त्रिकोण से उपजी समस्याओं का न सिर्फ गहन अध्ययन गीतों में दिया बल्कि सही हल भी सुझाया। पति पत्नि के संबंधों को शादी से पूर्व के प्रेम से कहीं ऊँचा दर्जा दिया ।

शंकर जयकिशन के संगीत ने फिल्म को पूर्णता प्रदान की । दिलों में उठ रहे भावनाओं के तूफानों को पार्श्व संगीत और गानों के प्रील्यूड और इन्टरल्यूड संगीत के द्वारा पूरी फिल्म में स्पष्ट रूप से व्यक्त किया । जिस हिन्दु दर्शन को फिल्म में अधूरा छोड़ दिया गया था उसे हसरत शैलेन्द्र ने अपने गीतों में पूरा किया ।

फिल्म दिल एक मन्दिर और उसका संगीत हमारे मानस पटल पर आज पांच दशकों के बाद भी छपा हुआ है ।

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