Tribute to Shanker on his 37th death anniversary on 26th April 2024

उन दिनों पृथ्वीराज कपूर शकुंतला नाम अपना एक नाटक शुरू करने की तैयारी कर रहे थे। एक दिन एक लड़का उनसे मिला। उस लड़के ने गुज़ारिश की कि आप मुझे भी कोई काम इस नाटक में दे दीजिए। पृथ्वीराज कपूर ने लड़के से पूछा कि तुम क्या करते हो। लड़के ने जवाब दिया कि मैं तबला बजा लेता हूं। हारमोनियम भी बजा लेता हूं। डांस भी कर लेता हूं। और कभी-कभार नाटकों में इक्के-दुक्के डायलॉग्स भी स्टेज पर बोल चुका हूं। उस लड़के के मुंह ये से बात सुनकर पृथ्वीराज कपूर कपूर बड़े प्रभावित हुए। उन्होंने लड़के से दादर आने के लिए कहा। दादर में एक जगह थी जहां अक्सर नाटकों रिहर्सलें चला करती थी।

पृथ्वीराज कपूर के बताए वक्त पर वो लड़का दादर पहुंच गया। लड़के ने देखा कि वहां तो बहुत बड़े-बड़े कलाकार बैठे हैं। लड़का थोड़ा झिझका। उसे लगा कि इतने बड़े कलाकारों के सामने मैं तो कुछ भी नहीं हूं। मैं क्या ही कर पाऊंगा यहां। लड़का इन्हीं ख्यालों में खोया था कि पृथ्वीराज कपूर ने आवाज़ देकर उसे अपने पास बुलाया। ये पूरा घटनाक्रम 1940 के आस-पास का है। पृथ्वीराज कपूर ने उस लड़के से कहा कि तबला बजाकर सुनाओ। लड़का तैयार हो गया। इत्तेफाक से वहां नामी सरोद वादक उस्ताद अली अकबर खान साहब भी मौजूद थे। पृथ्वीराज कपूर ने लड़के से कहा कि इनके साथ संगत करो।

लड़के ने पृथ्वीराज कपूर से कहा कि आप पहले मुझे दो मिनट सोलो तबला बजाने का मौका दे दीजिए। फिर मैं अली अकबर खान जी के साथ संगत कर लूंगा। पृथ्वीराज कपूर ने लड़के को सोलो बजाने की इजाज़त दे दी। और फिर जो लड़के ने तबला बजाया, कि जिसने भी सुना वो सुनता रह गया। खूब तालियां बजी। पृथ्वीराज कपूर भी बहुत खुश हुए। उन्होंने ऐलान कर दिया कि अब से ये लड़का पृथ्वी थिएटर का अहम सदस्य होगा। उस लड़के का नाम था शंकर सिंह रघुवंशी। वही शंकर सिंह रघुवंशी जो आगे चलकर शंकर-जयकिशन की ज़बरदस्त संगीतकार जोड़ी में से एक था।

आज शंकर सिंह रघुवंशी जी की पुण्यतिथि। है। साल 1987 की 26 अप्रैल को 65 साल की उम्र में शंकर सिंह रघुवंशी जी का निधन हो गया था। जबकी इनका जन्म हुआ था 15 अक्टूबर 1922 को। पृथ्वीराज कपूर जी के थिएटर ग्रुप पृथ्वी थिएटर से जुड़ने के बाद शंकर सिंह जी ने खूब टूर्स किए। और उनका काम था नाटकों के वक्त हुस्नलाल-भगतराम के असिस्टेंट की हैसियत से लाइव तबला बजाना। कभी-कभार वो छोटे-मोटे रोल भी पृथ्वी थिएटर के नाटकों में निभा लिया करते थे।

शंकर सिंह जी की बात हो रही है तो ये बात भी होनी चाहिए कि जयकिशन जी संग उनकी जोड़ी कैसे बनी थी। तो हुआ कुछ यूं था कि जयकिशन दयाभाई पांचाल गुजरात से मुंबई करियर बनाने के इरादे से आए थे। वो हारमोनियम के उस्ताद थे और संगीत उन्हें विरासत में मिला था। मुंबई आने के बाद जयकिशन जी ने एक फैक्ट्री में टाइमकीपर की नौकरी शुरू कर दी। नौकरी से मिलने वाले फुर्सत के वक्त में वो संगीत जगत में नाम बनाने के लिए संघर्ष कर रहे थे। एक दफा गुजराती फिल्मों के उस वक्त के नामी डायरेक्टर चंद्रवर्दन भट्ट के ऑफिस के बाहर जयकिशन जी शंकर जी से मिले।

बातों-बातों में जब शंकर जी को पता चला कि जयकिशन हारमोनियम बहुत अच्छा बजाते हैं तो शंकर जी ने इन्हें सलाह दी कि आप पृथ्वी थिएटर आ जाओ। वहां हारमोनियम बजाने वाले की ज़रूरत है। हो सकता है आपको वो नौकरी मिल जाए। शंकर जी के कहे मुताबिक जयकिशन जी पृथ्वी थिएटर गए और उन्हें वहां बतौर हारमोनियम नवाज़ रख लिया गया। अब आलम ये था कि पृथ्वी थिएटर के सभी नाटकों में शंकर जी तबला बजाते थे। और जयकिशन जी हारमोनियम बजाते थे। इन दोनों काम सबको अच्छा लगता था। एक दिन राज कपूर ने इन दोनों को नोटिस किया।

राज कपूर उन दिनों अपनी डायरेक्टोरियल डेब्यू आग पर काम शुरू करने जा रहे थे। उन्होंने शंकर जयकिशन को आग के म्यूज़िक डायरेक्टर राम गांगुली का सहयोगी बनने का ऑफर दिया। इन दोनों ने राम गांगुली की गाइडेंस में आग के म्यूज़िक पर काम किया। इस दौरान राज कपूर शंकर सिंह रघुवंशी जी से बड़े प्रभावित हुए। उन्हें शंकर जी का म्यूज़िक सेंस बहुत पसंद आता था। इसलिए जब राज कपूर ने अपनी नेक्स्ट फिल्म बरसात अनाउंस की तो उसमें म्यूज़िक कंपोज़ करने का काम उन्होंने शंकर सिंह रघुवंशी जी को दिया। और चूंकि शंकर सिंह रघुवंशी अब तक जयकिशन जी के बहुत अच्छे दोस्त बन चुके थे तो उन्होंने राज कपूर से गुज़ारिश की कि क्यों ना इस फिल्म से जयकिशन जी को भी जोड़ा जाए। क्योंकि उनकी ज़रूरत तो पड़नी ही है।

तो साथियों, इस तरह फॉर्म हुई बॉलीवुड की एक बहुत स्पेशल और शानदार संगीतकार जोड़ी, शंकर ज़यकिशन की जोड़ी। बरसात का म्यूज़िक ज़बरदस्त हिट हुआ। शंकर-जयकिशन के कहने पर ही लता मंगेशकर जी ने बरसात में आठ गीतों में अपनी आवाज़ दी। और लता जी को भी बरसात के गीतों से बहुत लोकप्रियता मिली। किस्सा टीवी शंकर-जयकिशन जी को नमन करता है। खासतौर पर शंकर सिंह रघुवंशी जी को। क्योंकि आज उनकी पुण्यतिथि है। #shankajaikishan #shankarsinghraghuvanshi

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Shankar of Melodies Past

Contributed by Dr. Raj Senani

Digged out a very rare stuff which was contribution by Dr. RAJ SENANI

COPIED AND PASTED FROM OLD YAHOO MAILS WHICH WAS ACCIDENTLY PRESERVED

SO ENJOY

From magazine MOVIELORE

SHANKAR OF MELODIES PAST……..

SHANKAR–the lone survivor. Today he faces the muscalone. Betrayals, accusations, broken promises he has seen them all, but refuses to crumble. His pride holds him in good shape, so does his confidence.

Surprisingly, it is very difficult to elicit iformation from him, or even evoke a feelig of nostalgia. Unlike most, he lives very much in the present and talks of the future. After some persistence, Shankar recapitulates. ….

Shankar Singh Raghuvanshi knew only three passions in life- tabla, gaana and kasrat. Harmless pleasures but Shankar singh Raghuvansi was of an age when books ought to have been more important for he was only a child. But unlike most children he never studied, only indusged in his passions. His mother often despaired “Yeh to gaanewali ke piche hi tabla bajaayegaa.” Prophetic words of sorts. The little fellow grew upto be a part of the duo whose music took the film industry by storm. The unbeatable combination of Shankar-Jaikishen. Their creations still ring in our ears….Jiya bekaraar hai, yeh mere diwanapan hai, Yeh aasoon mere dil ki zuban hain.

“It all began for me in Hyderabad. Those were the days of the Nizam and Maharajas. Their ifluence was strong and music pervaded every house; it was a part of our lives. With me too, music was all that mattered. And I was attracted to anything that was connected with it, be it acting or dancing. Though my parents wanted me to study and do well. I didn’t care about books. One day, while passing by the house of a nobleman, I heard the strains of the melodious voice of a singer, Saraswati Bai. But it was spoilt by some cacophonous sound which ostensibly was supposed to be that of a tabla. It was unbearable to me. I rushed into the mehfil, pushed aside the incompetent tabla player and took over. I know it all sounds very filmy, but after I finished, wah-wahs poured from everybody present and I was pleased.

Bombay was then the centre of theatre activity. So my cousin and I, decided to come down to try our luck. I wanted to join the theatre–perform, sing, dance, play instruments. I learnt kathakali from Krishnan Kutty, Kathak from the Jaipur Gharana and Manipuri and Bharat Natyam as well. Slowly I also learnt to play the piano, the accordion, the sitar and the harmonium quite well. Fate somewhere during this time introduced me to Papaji (Prithviraj Kapoor).

“Papaji looked like some Greek God; I have yet to see a more handsome person than him. At that time he had just started his Prithvi Theatres and one day he called me over to witness a play called Shakuntala that he was staging. He had enrolled many great musicians for this play and while I was watching it, he suddenly asked me to go on stage and accompany the Sarod player with the tabla. I did so. (I learnt that he was none other than Ali Akbar Khan). After the show, Papaji called me and embraced me even though I was a non-entity then. He even asked me to join Prithvi Theatres.

“Jaikishen was a frequent visitor to Prithvi, but it was at a friend’s place that I met him first. There were  instant good vibes  and  we slowly became good friends. I introduced him to Papaji and he too began working at Prithvi. Raj Kapoor was also working with his father in those days. When  he began Aag, we helped him with the music, though we were not the official music directors.

“Jai and I decided to be partners. Raj, at that time, ws working on Barsaat. We composed a tune for him, Jiya bekaraar hai. He liked it. That was our first major break. Although music was in my blood, I had never dreampt of becoming a music director for films. I met Shailendra, who was a close friend of Raj. And also Hasrat Jaipuri who was with Prithvi. We formed a group and our foursome clicked. Shailendra and Hasrat wrote the lyrics while Jai and I composed the tunes.”

Barsaat broke records. Then followed the deluge — Nagina, Mayur Pankh, Badal, Badshah. It was all so unexpected. A pair of eighteen year old youngsters causing existing edicts to tremble. Shankar-Jaikishen were creating afurore. They had descended upon the domain of Naushad, S.D. Burman, Husanlal Bhagatram, Ghulam Mohammed, O.P. Nayyar. Shankar recalls, “They were at first sceptical, Yeh ladke kitne din chal sakte hain? they said. Then they got worried. But I must say, C. Ramchandra was one man who always appreciated us. He’d tell the others, “Yeh ladke hum sabko hairan karke rekhenge. Hindustan mein dhoom machayenge.”

The Shankar-Jaikishen era had begun. The old order was displaced. Given their propensity to compose songs that appealed to both the box-office and people’s tastes, it wasn’t strange or surprising that almost every top hero insisted on Shankar-Jaikishen as part of his contract. With Raj Kapoor there was Awara, Aah, Shri 420, Boot Polish, Jis Desh Mein Ganga Behti Hai, Sangam, Mera Naam Joker. Shammi Kapoor pranced aound hills and dales and beautiful gardens teasing his pretty heroines, while Shankar-Jaikishen’ s music kept mercurial pace in Junglee, Janwar, Badtameez.

Rajendra Kumar, he rarely worked in a film that didn’t have Shankar-Jaikishen on the credits. Aas Ka Panchi, Zindagi, Sasural, they made the ‘jubilee’ hero, they also had one common factor — Shankar-Jaikishen.

As partners, Shankar talks of their perfect tuning, between each other. “My relationship with Jaikishen strengthened over time. We shared instant empathy, an inherent understanding and a deep bond of friendship. Whenever we both wanted to compose a particular song, we’d toss a coin to decide who would do it. Tensions between us were only over music but we would always sort them out. When I composed Nanhe munhe bachche teri muthi mein kya hai for Boot Polish, Jai didn’t like the tune. But I convinced him otherwise. In fact, Boot Polish as planned earlier, was to be a songless film. Afterwards, Raj decided to add songs. Jai, who was a hot-headed person, was very angry and said, “Nothing doing. we are not giving music for the songs, Why did they not say so earlier? Of course, he later relented.

But we have always trusted each other completely. We never listened to those who oisoned our ears about the other; no chamchas came between us. And it was like that till his death. It is absolutely untrue that we grew apart after Sangam.  With a relationship as deep as ours that was quite impossible.

“Being basically a good Gujarati businessman, Jai also handled all the business matters. He was a financial juggler and did his job well. When he died, I was shattered. For 3-4 years after his death, I could not work…could not build up the mood. And people tried to provoke me by saying things like our work was mainly Jai’s doing. But what could I say to this? I know that it wasn’t the truth. If I had been the first to go, people would have said the same things about me to Jaikishen, too. So I refused to speak out in retaliation.

“After Barsaat, I bought an M.G. Racer Car. It was the first car between the four of us. Jai bought his own, later. Since it was a two-seater, we, that is, Jai and I, would draw back the hood, sit in front while Shailendra and Hasrat would huddle behind and we’d take chakkars all over the city. Later, Jai and I, both, bought Chevrolets. For the Filmfare Awards function we would drive in our Chevies and enter in style.

“But things have changed drastically now. Look at the heroines of those days. Has there been anyone like Madhubala? They may not have come from very good families, but they behaved and conducted themselves in a better manner than some of our heroines today, from so-called good families. When we composed music we would take their individual personality into consideration.  We’d call them to our music room and accordingly compose music to suit them. Today, id does not matter which heroine you compose a song for and whether you compose a song for a hero or a comedian.

“On many ways we revolutionized the industry. We were amongst the first who thought of giving due respect to the Press,  calling for Press Conferences, …hosting parties. We were never afraid of change. Barsaat was the first film where Lata sang all the songs. Before that, she would be signed for only one or two of them per film as she had a very thin voice as compared to other to singers of those days for example Noorjehan, Shamshad, Zohra and Suraiya. We took risks, and won. Those days Manna Dey sang mainly bhajans. We took him for light songs like Chori Chori, Aa ja sanam and Yeh raat bheegi bheegi, which changed things for him. Mukishe’s popularity also grew especially after he sang Yeh mera diwanapan hai for Yahudi.

“Rafi Miya was of course the best. There was some jaadoo in his voice that appealed to both the ganwar and the sophisticate. Some of  his songs like Yeh aasoon mere dil ki zuban hai, touch people even today.

More important, he was a great person…a sharif man. If you told him you couldn’t pay him immediately, he’d refuse to take it even later when you offered him the money.

Sometimes, a sng would make him  so happy, he would refuse to take the payment for singing it. The pleasure he got out of singing them was his reimbursement. He donated to charitable causes very generously and never spoke ill of anyone. No praise is enough for Rafimiya…there can never be a man like him.

However, with the start of the Kishore Kumar mania, he suffered a setback and became slightly nervous and depressed.”

Shanker had few setbacks too. Like Raj Kapoor’s betrayal. Dost Dost Na raha was one of Shankar’s  contribution to Raj Kapoor’s Sangam. Perennially haunting, stirring, it exuded pathos. While at that stage no one would have dreamt that the Raj Kapoor-Shankar- Jaikishen team would one day not exist, years later the ‘dosti’ was not the same. They parted professional ways. Shankar insists he wasn’t upset when his ‘dost’ signed up Lasmikant-Pyarelal for Bobby. “Why should I have been hurt? I knew that R.K.’s musical best was with Shankar-Jaikishen. The world knows it. People still hum the tunes of Mera Naam Joker, even if the film was a flop.

“Our sogs for his films have been translated in Chinese. Russian, German and even Arabic. However, his sons wanted a change so I don’t really feel bad. I was to do Prem Rog, but it didn’t work out. Maybe I’ll get to do his Param Vir Chakra”

Another jolt came from Prasad Productions, whose films have been transofrmed from mediocre family dramas to musical hits….Teri pyari pyari surat to (Sasural), Jaoon Kahan bata ae dil (Chhoti Bahen)….all this courtesy, Shankar-Jaikishen. But Shankar doesn’t seem to be perturbed. “Even G.P. Sippy didn’t take after Brahmachari and Andaz. Before that he was making films at a loss whereas these two films were super hits. It doesn’t really bother me when people switch sides. What makes me happy is that I gave them big hits.”

Most of Shailendra’s lyrics wee Shankar’s compositions. They both complemented each other perfectly. “When we were discussing the music of Shri 420, Raj was describing a scene. I instantaneously blurted out Ramaiya vatavaiya, which in Telugu means ‘Ramaiya, will you come?” And Jai spontaneously gave his rejoinder, ‘Maine dil tujhko diya’.  It was the beginning of our song. When we were driving past a bus-stop and Jai saw a pretty girl, he turned around instinctively to take a look. That’s how Mud mud ke na dekh (Shri 420) was born. Shailendra was great. He wrote beautifully. People would cry at the beauty of his lyrics.

“Yet today, how many music directors really undrstand or know anything about music? Everything is a fad — ghazal, discro….But what do they know of ragas or surs? Nobody pays attention to composing good lyrics. But then I guess, time have changed. The music of a film was importat then;now  it is the actor’s image tht is central. In fact, fight composers are paid more than music-directors. But I think, we will slowly return to an age of melody, and of good films.

“I have made enough money. I have been awarded for my work”. It is not an idle boast. Eight Filmfare Award trophies stand testimony to the fact.

The Sur-Singar Award came twice for Mere Huzoor (Jhanak Jhanak Toree Baje Payaliya) and Lal Patthar (Re Man Sur Mein Ga). Throughout Shankar was instrumental in introducing classical music in films, interweaving the classical style with the popular form. Result:Man Mohana Bade Jhoote (Seema), Rasik balama (Chori Chori), Ja Ja re ja (Basant Bahar).

From small beginnings in a South Indian lodge at Parel to a well-appointed home at the ‘Beacan at Churchgate, his success story was truly established. He lives there still, with his maharashtrian wife. His rehearsal room at Famous Studio in mahalaxmi still remains. Many  moons ago, hordes of producers thronged its long corridors, waiting patiently with wads of notes, hoping to entice the two gentlemen into signing a contract. An it wasn’t easy. Shankar’s present Man Friday whispers to me that his boss would turn off the producers and their fat wads of notes with disdain, contemptuous of those who try to buy him. Though of course, the hordes have now dweindled.

Time was whenn the Binaca Hit Parade invariably featured a Shankar-Jaikishen number Baharon Phool Barsaon made it 49 times to the top.

Today in a theatre screening Aah or Jis Desh Mein Ganga Behti Hain,  when the music begins, the entire theatre sings along….Aa ja re ab mera dil pukare….reminisci ng bygone days.

They style of the man remains consistent. He employs personal musicians and refuses to take less money and get more contracts. “Why should I bother? I have made enough. I get a royalty on all my records. My lifestyle is the same. I’m not too friendly and outgoing a person. I don’t go out of my way to obtain films.”

Shankar takes his harmonium, shows us how he composes a new tune. His musicians are summoned. His fingers move on the harmonium. The musicians join in on the tabla etc. Shankar sings “Yaad na jaaye bite dinon ki’….softly telling the story of a legend that will live forever.

Sheila Vesuna

Contributed by Dr. Raj Senani  to shankarjaikishan Group on Yahoo from his collection.

Shankar-Jaikishan : The prolific duo

Shankar-Jaikishan, the prolific duo, reshaped Indian music with their innovative compositions. Their brilliance extended beyond melodies, creating timeless symphonies that resonate across generations. Their mastery over diverse musical genres, from classical to Western influences, showcased their versatility and ingenuity. ❤️

Their harmonious collaborations resulted in soul-stirring compositions, weaving intricate tunes that effortlessly captured emotions. The depth of their arrangements, adorned with intricate rhythms and enchanting melodies, reflected their meticulous craftsmanship. 

Shankar-Jaikishan’s distinctive style not only entertained but also challenged the conventions of Indian film music. Their ability to infuse classical nuances with contemporary beats redefined the boundaries of musical expression. Their legacy endures through compositions that remain etched in the hearts of millions, a testament to their unparalleled contribution to the rich tapestry of Indian music. Their melodies continue to echo the beauty and magic of their musical genius, transcending time and enchanting listeners worldwide. 

Tribute 

The place where Shanker and Jaikishan met for first time

शंकर जयकिशन जी का मिलन स्थल

*Remembering Shri Chandravadan Bhatt – A Welknown Legend of Gujarati Theatre in Bombay on his Birth Anniversary today.

Both Shankar and Jaikishan first time met in his office and become a Legend of Film Music.*
So, we consider office of Shri Chandravadan Bhatt as MILAN STHAL ( मिलन स्थल ) OF GREAT SJ.

About : Chandravadan Bhatt

Courtesy: BHAVANA BHATT ( DAUGHTER OF SHRI CHANDRAVADAN BHATT AND ACTRESS OF FILM : DO JASOOS)

My parents Late Mr. Chandravadan Bhatt and Mrs. Niharika Bhatt were connected to Gujarati Theatre. My father was the first person who had introduced Modern Gujarati theatre with sound and music. He has produced and directed so many famous and successful Gujarati films and Drama .

He is known as a legend of Gujarati theatre.”
So, she proudly says that it was natural for her to opt for acting.

Shankar Jaikishan and T. Prakash Rao

By Lakshmi K Tummala

Remembering the legendary director T. Prakash Rao on his celestial birthday.

Shankar Jaikishan and T. Prakash Rao, Two Legends Together

Like Shankar, Tatineni Prakash Rao hailed from Andhra Pradesh, but went to work in the movie industry at Chennai. Both legends worked around the same time and together continuously for nearly four decades. Also, both remained in demand till their end. Extremely popular and successful director, T. Prakash Rao, started movie making in 1947 and continued till 1988 assisting and directing forty seven movies in Telugu, Tamil and Hindi, all with a great success rate.

The famed director came together with the legendary SJ in College Girl. He assisted L. V. Prasad in the latter’s Humrahi to direct a total of six movies with music by the composer duo.

College Girl (1960): Produced by B. L. Rawal, the movie starred Shammi Kapoor and Vyjayantimala in the lead. The album features six songs, all written by Rajinder Krishan who worked with SJ for the first time.

Sasural (1961): Prasad Production’s remake of a super hit Telugu movie, has Rajendra Kumar and B. Sarojini Devi in key roles. There are a total of eight songs in the album, all being super hits. Shailendra wrote five and Hasrat three. Rafi sang two solos and two duets with Lata while Mukesh sang two solos and one duet with Lata. The latter sang one solo. A solo and duet are filmed on Mehmood and Shobha Khote respectively. All were extremely popular. Rafi won the Filmfare Award for Best Singer for his rendition of, “Teri Pyari Pyari Surat Ko.”

Humrahi (1963): Also a remake of a Telugu blockbuster, produced by Prasad Productions, the movie cast Rajendra Kumar and Jamuna playing the lead roles. There are eight chartbusters in the album. Hasrat wrote five of them while Shailendra wrote three. Rafi sang four solos and three duets, two of them with Lata and one with Mubarak Begum. A duet with Lata was filmed on Mehmood and Shobha Khote. Lata sang a solo.

Suraj (1966): Venus Pictures produced the blockbuster which was the second highest grossing film of the year. It has Rajendra Kumar and Vyjayantimala in the lead. The movie won the Filmfare Award for Best Music Director, Best Lyricist for Hasrat and Best Playback Singer for Rafi. There are nine songs in the album. Hasrat wrote five songs, Shailendra two and the other two are instrumental. Rafi sang two solos, two duets with Asha and one with Suman Kalyanpur. Sharda sang two solos, receiving the highest number of FF nominations for Best Playback Singer, tying with Rafi.

Duniya: (1968): Amarjeet produced the movie with Dev Anand and Vyjayantimala in the lead. Another super hit album has a total of six songs. Three songs are by Hasrat, one each by Shailendra, Neeraj and S. H. Bihari. Rafi sang three solos, two of them filmed on Dev Anand and Vyjayantimala, one solo is filmed on Johnny Walker and Laxmi Chhaya. Asha sang a solo and a duet with Kishore Kumar while Mukesh sang a duet with Sharda.

Rivaaj (1972): The movie is produced by K. C. Bokadia. Sanjeev Kumar and Mala Sinha played key roles. Eight songs are featured in the album. Hasrat and Anjana wrote two songs each while Neeraj, S. H. Bihari, Indeevar and Kaifeng Ami wrote one. Rafi sang two duets, one with Manna Dey and the other with Asha. Suman Kalyanpur sang two solos. One solo each was sung by Rafi and Sharda. Kishore Kumar and Lata sang a tandem song.

T. Prakash Rao had a very remarkable association with SJ that had highly successful movies. The combination should have continued for movie makers to enjoy.

Tribute to Jaikishan on his birth anniversary

By Shiv Shanker Gahlot

जयकिशन जी के जन्मदिन पर विशेष 4-11-2023

जयकिशन जी का बेहद खूबसूरत मुस्कुराता चेहरा हम सब के जहन मे बैठा हुआ है । पर उनके चेहरे की मुस्कुराहट उनके दिल की खूबसूरती थी जो चेहरे पर ठहर गई थी । राज कपूर का सन्देश लेकर जब जयकिशन लतामंगेशकर के घर गये तो लता खूबसूरती देखकर खेल गई और उन्हे ऑफिस ब्वाय समझकर अपनी बहन से कहे बिना रहा न गया “राजकपूर के ऑफिस ब्वाय भी कितने खूबसूरत होते हैं” । लता की इच्छा थी जयकिशन से शादी करने की जो न हो सका । जयकिशन भी मात्र 9 वर्ष ही शादी का सुख पा सके और अकाल मृत्यु को प्राप्त हुए ।

उनके संगीत के विषय मे सब कुछ कहा जा चुका है । जयकिशन तो एक फरिश्ता था जो थोड़ी देर के लिये धरती पर आया था और संगीत के कभी खत्म न होने वाले अमृत कलश को हमे दे कर चला गया । यह अविवादित है कि फिल्म आरज़ू का संगीत जयकिशन ने बनाया था (कव्वाली को छोड़ कर – जब इश्क कहीं हो जाता है ) । पूरी फिल्म मे उनकी बनाई धुन जो गीतों और सैक्साफोन पर पार्श्व मे बजती रहती है संगीत की एक महान संरचना है, बजते ही जो सुनने वाले को मुदित कर देती है । ये एक संरचना ही काफी है संगीत के इतिहास मे उनका नाम स्वर्ण अक्षरों मे दर्ज कराने के लिये । पर उन्होंने तो ऐसी सैंकड़ों रचनायें की ।

जयकिशन का यूं असामयिक चले जाना एक त्रासदी थी संगीत प्रेमियों के लिये । ये उन्हें सालों साल सालती रहेगी । उसके साथ ही तथ्य कि उनकी मृत्यु का रहस्य कभी शायद न खुल पाये । कहने को तो वो अधिक शराब पीने से मरे.

पर वो क्या दुख था जो उन्हें अधिक शराब दोपहर से ही पीने को मजबूर करता था । ये रहस्य अब तक नहीं खुला है और लगता है न ही खुलेगा ।

सब कुछ के बावजूद हमारे लिये संगीत का अमृत कलश छोड़कर जाने वाले जयकिशन जी को मेरी दिली श्रद्धाँजलि ।

💐💐🌹🌹🙏🙏💞❤️💞

Remembering Jaikishan on his death anniversary today on 12th September, 2023

Remembering Jai
I was in Chennai on the day Jaikishan died and something in me also died. The SJ remained as duo by name but i stuck to the music of the duo before jai died.
Jai did the PR work because he was more a socialite of the two and with his charming smile won over all as a person too. I had the occasion to meet him on a few occasions. He had great regard for other composers including those from South. I met him when he attended the KV Mahadevan night and recalled our meeting at Lekh Tandon’s home which was the apartment above ours in Chembur. Like all youngsters of the day i was star struck by his personality .
My tribute is three selections that always stuck to me because i presume the ‘Jai touch’ was there. The song from Sangam is a poetry in music with a great intro and ending and Raj Kapoor added colour with flowers. The use of violas and cello added depth to the song in the counter point melody and piano played its role as Vyjayanthimala flew down the stairs.
Jaane Kahan gaye in Raag Shivranjani a heavily orchestrated heart wrenching song. The last song from Andaz was the swan song for Jai his last, in raga Bairavi his favourite, in a joyful fast mode with a philosophy in lyrics. How present is a gift and who knows about the future?
Ironically, Bairavi is mostly the final raga in a Hindustani Classical music concert. I am told this song was played in the funeral procession of Jai. Am not sure. Remembering him always through his music.🏵️ A tribute to the emperor of Hindi Cinema music world Jaikishan on his death anniversary – The best of Shankar Jaikishan in 10 songs 🏵️

Shankar Jaikishan were arguably the most commercially successful Hindi film music directors during the 1950s & 60s. Shankar Singh Raghuvanshi & Jaikishan Dayabhai Panchal were an unlikely pair brought together by circumstances. It was Raj Kapoor, who first spotted their talent during the making of the film Aag (1948). Shankar and Jaikishan were assisting music director Ram Ganguly in the film. A tiff with music director Ram Ganguly resulted in Raj Kapoor picking newcomers over him to compose music for his next film “Barsaat” (1949). The spectacular success of Barsaat and the chemistry and camaraderie they enjoyed with Raj Kapoor established them as RK Films’ in-house music directors over the next two decades or so.

Shankar Jaikishan’s musical talent was matched by their keen business sense & their music evolved with the changing taste of filmgoers. The duo went from composing folk-influenced melodies in the beginning of their career to raucous crowd-pleasers towards the end. An important facet of their music was the creative tension between Shankar and Jaikishan. Although they recorded their songs together, they composed music independently. They never took individual credit officially and a Shankar–Jaikishan film had a mix of songs composed by each. Another important aspect of their career was their steady partnership with lyricists Shailendra and Hasrat Jaipuri. If a producer engaged Shankar–Jaikishan, it was understood that Shailendra and Hasrat Jaipuri were part of the deal. Such was Shankar Jaikishan’s affinity to their partner lyricists that they turned down a film as prestigious as Waqt (1965) because BR Chopra insisted on engaging Sahir Ludhianvi for writing the film’s lyrics.

A series of tragic events virtually ended the Shankar Jaikishan’s career in 1971 – Shankar’s favourite lyricist Shailendra passed away in 1966, Raj Kapoor parted ways with them after Kal Aaj Aur Kal (1971) and finally, Jaikishan passed away in 1971. Even after Jaikishan’s death, Shankar continued composing for films as Shankar Jaikishan till he died in 1987.

Here is a list of 10 the best songs by the duo Shankar Jaikishan (someone may disagree with due to personal likings) –

🎧 01. Barsaat (1949) –
Barsaat was the coming together of RK Films’ dream team for the first time— Raj Kapoor, Nargis, Shankar–Jaikishan, Mukesh, Lata Mangeshkar, Shailendra and Hasrat Jaipuri. The film’s preeminence in RK Film’s filmography is evident from the fact that its poster art went on to become the logo for RK Films. Remarkably, the entire team of music directors and lyricists in the film consisted of debutants. History tends to forget them but other than Shankar–Jaikishan, Shailendra and Hasrat Jaipuri, two other lyricists made their debut in the film— Ramesh Shastri and Jalal Malihabadi. This feat of a rookie team coming up with a score that’s counted amongst the best Hindi film scores of all time remains unmatched to this date. My pick from the film is ‘Hawa Mein Udta Jaye’, featuring the honey-voiced Lata Mangeshkar. Lyricist Ram Shastri wrote a few more songs in his short career but ‘Hawa Mein Udta Jaye’ remains his lasting legacy.

🎧 02. Awara (1951) –
RK Films’ dream team returned with Awara and, with its success, proved that Barsaat wasn’t beginners’ luck. In the span of two years, Shankar–Jaikishan had grown as composers and in Awara they delivered a score that was more eclectic and sophisticated than Barsaat. Awara was a fantastic score overall with songs for every mood and a spread of musical genres. One song in the film was the essence of its score in this regard, the famous dream sequence medley of ‘Tere Bina Aag Yeh Chandni’ and ‘Ghar Aaya Mera Pardesi’. Talking about Shankar-Jaikishan’s growth as musicians, part of it was about them drawing inspiration from other artists. ‘Ghar Aaya Mera Pardesi’ was a fairly close adaptation of the 1935 song ‘Ala Baladi Elmahboub’ by the Egyptian diva Umm Kulthum. Also on display in this song was their craft at composing songs to fit the film’s narrative. The fact that the song represented a dream allowed Raj Kapoor to take artistic liberties. The result was a theatrical sequence with elaborate sets, smoke, special effects and extras. A sequence this elaborate needed music to match and Shankar–Jaikishan delivered exactly that. The song’s mood ebbed and flowed, the chorus was dramatic and the arrangement elaborate, but the song’s core – Lata’s singing and a mandolin – was simply exquisite.

🎧 03. Patita (1953) –
Patita doesn’t get talked about enough in Shankar–Jaikishan’s discography perhaps because it doesn’t sound much like their typical film album. Perhaps because they had reserved Mukesh’s voice for Raj Kapoor, they chose Hemant Kumar and Talat Mahmood for Dev Anand. They chose a ghazal-based, mellower sound for Patita, instead of the simple, folk sounds that worked well with Raj Kapoor’s ‘Raju’ persona. ‘Yaad Kiya Dil Ne Kahan Ho Tum’ has already appeared in the post on Hasrat Jaipuri in this series. My other pick from the album is Talat Mahmood’s dulcet solo, ‘Hain Sabse Madhur Woh Geet Jinhen Hum Dard Ke Sur Mein Gaate Hain’. Shailendra’s mukhda for the song was inspired by a line from PB Shelley’s ‘To A Skylark— “Our sweetest songs are those that tell of saddest thought”.

🎧 04. Jis Desh Mein Gagna Behti Hai (1960) –
Jis Desh Mein Ganga Behti Hai was a wholesome, typically Shankar Jaikishan score with a combination of Mukesh and Lata duets and solos. My pick from the film, ‘O Basanti Pavan Paagal…’, is an example of a strategy that worked very well for Shankar Jaikishan. Many of their songs originated as tunes they experimented with in the background score of past films. For example, they first formulated ‘O Basanti’ in the score for Awara. Lata Mangeshkar, although a tad dramatic in places, sings her heart out.

🎧 05. Seema (1955) –
Naushad’s Baiju Bawra (1952) made classical music an important part of Hindi film music of that period & Shankar
Jaikishan realised that it would have to be a part of their repertoire. They made concerted efforts in this direction in “Seema”. The result was a semi-classical Manna Dey solo, ‘Tu Pyar Ka Saagar Hai’— a Lata song with some fantastic sarod play by Ustad Ali Akbar Khan, ‘Suno Chhoti Si Gudiya Ki Lambi Kahani’ and my pick from the film, ‘Man Mohana Bade Jhoothe’, an excellent Raag Jaijaivanti composition rendered superbly by Lata Mangeshkar.

🎧 06. Shree 420 (1955) –
Shree 420 was the most evolved product of a formula Raj Kapoor had worked on refining in Barsaat and Awara. The results at the box office validated Raj Kapoor’s vision and Shree 420 became the first film to break the Rs 2 crore barrier. Raj Kapoor and Shankar–Jaikishan faced a significant roadblock during the film’s making. After singing two songs for the film, Mukesh excused himself from it. Mukesh had aspirations of becoming an actor and for a lead role in Mashooqa, he had ill-advisedly signed a contract that forbade him to sing for other films till it was released. Left high and dry, Shankar–Jaikishan brought in Manna Dey. A quirk of fate resulted in Manna Dey singing what is one of the most romantic songs in Hindi films—‘Pyar Hua Ikrar Hua’—and gave his career the boost he deserved. My pick from the film is Shree 420 is ‘Ramaiya Vastavaiya’. The story is that ‘Ramaiya Vastavaiya’. The story is that Shankar, who grew up in Hyderabad, composed the song using Telugu lyrics. When he sang the tune for Hyderabad, composed the song using Telugu lyrics. When he sang the tune for Raj Kapoor’s approval, he asked Shankar to retain the Telugu lyrics. The song was a big hit. Telugu lyrics. The song was a big hit. Raj Kapoor’s inputs were an integral part of Shankar–Jaikishan’s music making process and resulted in many such hit songs.

🎧 07. Basant Bahar (1956) –
Basant Bahar was Shankar–Jaikishan’s answer to Naushad’s Baiju Bawra. Unlike Baiju Bawra, which was a critically acclaimed film, the only redeeming feature in Basant Bahar was its outstanding music. If Naushad leaned on maestros Ustad Amir Khan and DV Paluskar for authenticity, Shankar
Jaikishan sought Pandit Bhimsen Joshi’s expertise. It is said that Manna Dey initially resisted the idea of singing (and winning) the competition jugalbandi ‘Ketaki Gulab Juhi’ with the maestro. He even went into hiding after the film’s release to escape possible embarrassment. He need not have worried. The audiences overlooked the cinematic liberty and lapped up the film’s music. The song of the film, however, happens to be the Manna Dey solo ‘Sur Naa Saje Kya Gaoon Main’. He sang the song with so much soul, sensitivity and finesse that he probably outdid Mohammed Rafi’s Baiju Bawra with just this one song.

🎧 08. Chori Chori (1956) –
Chori Chori was the last time Raj Kapoor and Nargis came together to play lead roles. Their chemistry was so palpable that despite very little physical intimacy, they sizzled on-screen, especially in the two Lata-Manna duets ‘Yeh Raat Bheegi Bheegi’ and ‘Aaaja Sanam Madhur Chandni Mein Hum’. My pick from the film is ‘Aaja Sanam’ because it showcases an instrument that featured prominently in ShankarJaikishan’s music and came to be identified as Raj Kapoor’s instrument of choice onscreen— the accordion. The nifty accordion play in ‘Aaja Sanam’ was by Goody Servai, the steady accordionist in Shankar-Jaikishan’s team. Chori Chori won the music director duo the first of their nine Filmfare Awards.

🎧 09. Anari (1959) –
Anari saw an old friend returning to Shankar–Jaikishan’s team. Mukesh decided to resume focus on his singing after losing a precious few years in pursuit of an acting career. Shankar–Jaikishan welcomed back Mukesh as Raj Kapoor’s singing voice with open arms. Mukesh’s return resulted in a simpler, folksier score than the ones Shankar–Jaikishan has composed without him. My pick from the film is the waltzy Mukesh-Lata duet ‘Dil Ke Nazar Se’. Melodious and easy on the ear as the tune is, two elements in the song are nothing short of breathtaking— Lata Mangeshkar’s singing and the blistering accordion. Shankar–Jaikishan won their second Filmfare Award for Anari.

🎧 10. Ujala (1959) –
Ujala is one of the coin-toss picks in this list. It was Shankar Jaikishan’s first film with Shammi Kapoor and the beginning of a collaboration that would be mutually beneficial to both but would come at the expense of Shankar Jaikishan’s music taking on a louder, noisier texture to suit Shammi Kapoor’s onscreen persona. ‘Jhoomta Mausam Mast Mahina’ was a milder version of what we would see a lot more of from Shankar Jaikishan in the 1960s. Interestingly, they chose Manna Dey and Mukesh for Shammi Kapoor’s voice in the film even though Rafi had done a fantastic job in the actor’s first hit Tumsa Nahin Dekha (1957). My pick from the film, ‘Duniyawalon Se Door’, is the rare Mukesh song on Shammi Kapoor.

👋 Thanks to Param Arunachalam : Source DNA.
Compiled by Suresh Sarvaiya

Shankar Jaikishan and Mukesh combo

By Mukund Marulkar

SJ-MUKESH DATA
By Mukund Marulkar on Sunday, July 22, 2012 at 10:16am
Friends…
…Today I would like to mention here about SJ-MUKESH DATA in figers. Later I will give in details.

A) Total songs sung –138 Nos
B)Solo songs………—71 Nos
C)Duet songs……..—44 Nos
D) Other songs……–23 Nos

B) Solo songs…71 Nos 1)Shailendra-39 nos

2)Hasarat J.- 23 nos

3)Verma Malik-02 nos 4)Gulshan B- 02 nos 5) Neeraj------02 nos 6)P. Narendra Sharma-01 no 7)Kamar Jalalabadi-01no 8)Rajendra Krishna-01 no C)DUET songs………….44 nos a) Lata-Mukesh….35 nos 1)Shailendra….19 nos 2)Hasarat J……10 nos 3)Verma Malik..03 nos 4)M.G.Hashmat..01 no 5)Vitthal bhai Patel-01 no 6)Vishwaishwar Sharma-01 no b)Mukesh-Sharda…04 nos 1) Shailendr-02 nos 2)Hasarat J—01no 3)S.H.Bihari-01 no c)Mukesh-SumanK-.03 nos 1)Gulshan Bawara-01no 2)M.G.Hashmat….01 no 3)Indeevar………..01 no d)Mukesh-Asha…….02 nos 1)Hasarat Jaipuri—02 nos

Shankar Jaikishan and Vrajendra Gaur

By Lakshmi K. Tummala

Remembering screenplay writer/ lyricist Vrajendra Gaur on his death anniversary.

Shankar Jaikishan and Vrajendra Gaur, a Very Good Association

The extremely successful Shankar Jaikishan and the prolific dialogue and screenplay writer, lyricist, Vrajendra Gaur came together in 1960 and worked for seven movies in fifteen years. Everyone of the movies had very good screenplay and dialogues with excellent music.

Singapore (1960): Produced by F. C. Mehra, the movie was directed by Shakti Samanta. Vrajendra Gaur wrote the dialogues. Shammi Kapoor and Padmini acted in the lead with the title song filmed on the Malay Beauty Queen, Maria Menado. There are eight songs in the album. Shailendra and Hasrat wrote four songs each. Lata sang three solos and three duets with Rafi, with Mukesh singing one solo. The movie had a successful run.

Pyar Mohabbat (1966): The movie was produced and directed by Shankar Mukherjee. Vrajendra Gaur wrote the dialogues. Dev Anand was cast opposite Saira Banu. There are nine songs in the album. Shailendra wrote five songs and Hasrat four. Rafi sang two solos and two duets, one with Asha and the other with Manna Dey. Sharda sang two solos with Lata and Asha singing a solo each. The latter also sang two duets, one with Rafi and the other with Usha Mangeshkar. Although the music was very good, sadly, the movie did not fare well at the box office.

Duniya (1968): The romantic thriller was produced by Amarjeet. Vrajendra Gaur and K. A. Narayan wrote the screenplay. It was directed by T. Prakasa Rao. Dev Anand and Vyjayantimala were cast in the lead. There are six songs in the album. Hasrat wrote three songs while ashailendra, Neeraj and S. H. Bihari wrote a song each. Rafi sang three solos, Asha sang a solo and a duet with Kishore Kumar. Mukesh and Sharda sang a duet. It had a good run at the box office.

Lal Patthar (1971): F. C. Mehra produced the movie, a remake of a Bengali movie by the same name. The dialogues are by Vrajendra Gaur. It was directed by Sushil Majumdar. Raj Kumar, Hema Malini, Vinod Mehra and Raakhee played the key roles. There are six songs in the album. Neeraj wrote three songs, Hasrat two and Dev Kohli wrote one. Asha sang three solos and a duet with Manna Dey, with Rafi and Kishore Kumar singing one solo each.

Jaane Anjane (1971): The movie was produced and directed by Shakti Samanta. Vrajendra Gaur wrote the dialogues. Shammi Kapoor and Leena Chandavarkar are cast in the lead. There are seven songs in the album. There are seven songs in the album. Hasrat wrote four songs, S. H. Bihari two and Gulshan Bawra wrote one. Lata sang a solo and a duet with Rafi. Asha, Kishore Kumar and Sharda sang a solo each, while Suman Kalyanpur sang a duet with Manna Dey. The movie did reasonably well at the box office.

Jangal Mein Mangal (1972): The movie was produced and directed by Rajendra Bhatia. Vrajendra Gaur wrote the dialogues. Kiran Kumar and Reena Roy played the lead roles. There are seven songs in the album. Hasrat and Neeraj wrote all the songs together. Asha sang three solos and a duet with Usha.Kishore Kumar sang two solos and a duet with Rafi.

Resham Ki Dori (1974): T. C. Dhawan produced the movie and Atmaram directed it. The dialogues were by Vrajendra Gaur. Dharmendra was cast opposite Saira Banu. There are six songs in the album. Indivar wrote three songs, Neeraj two and Hasrat wrote one. Asha sang two songs, a solo and another with a chorus. Rafi, Manna Dey, Suman Kalyanpur and Kishore Kumar sang one solo each. Indivar, Shankar Jaikishan and Suman Kalyanpur received Filmfare Award nominations for Best Lyricist, Best Music Director/s and Best Female Playback Singer. The movie ran well at the box.

Although their movies together did very well, Shankar Jaikishan and Vrajendra Gaur parted their ways.

Seen in the picture below are (L-R): Shankar, Shanker Mukherjee, Vrajendra Gaur and Shailendra at the recording of a song for Pyar Mohabbat.

Photo courtesy: Suneel Gaur

Verma Malik & Shankar Jaikishan combination

SJ-List of Verma Malik Songs

By Shri Mukund Marulkar

Friends….today (Birth-13 April 1925-Death-15 March 2009) being death anniversary of Lyricist Verma Malikji, I am giving his contribution to ShankarJaikishan from 1970 to 1979.

1)Total songs written=30 nos 2)Pehchan-1970=3 songs a)Sabse badaa naadaan wohee hai jo samjhe naadaan mujhe-mukesh b)Kar le dil kee baat aaj mauqaa hai-lata,mukesh c)Wo paree kahaan se laaun,teree dulhan jise banaaun-suman,mukesh,sharda,chorus.

3)Balidan-1971=6 songs a)O jhoothee muhobbat ke bhooke-lata b)Chale aao dil mein bachaake nazar-lata c)Pranaam karo is dhartee ko-mahendrakapoor d)manjeeraa baaj rahaa chhun chhun-mahendrakapoor e)Pranaam karo is dhartee ko-Krishna kale,chorus f)Haay ree daiyaa muee main to –asha,mahendra kapoor

4)Elaan-1971= 1 song a)Aath mein aath ko jamaa karo-sharda 5)Seema-1971= 3 songs a)Ladkee chale jab sadkon pea aye qayaamat-kishore b)Kispe hai teraa dil naam lenaa mushkil-asha,rafi c)Dil meraa kho gayaa,kho jaane do-asha,kishore 6)Aankhon aankhon mein-1972=5 songs a)Gaya bachpan jo aaee jawaanee to chunaree-lata b)Teree umar naadaan hai thahraa huaa toofaan hai-kishore c)Goraa rang meraa goree baahein golgol-asha,usha d)Do baatein pyaar bharee kar loon-asha,kishore e)Ho teraa meraa mel hai milaayaa raam ne-asha,kishore,chorus

7)Beimaan-1972=6 songs a)Dekho jee raat ko julam ho gayaa-asha b)Na izzat kee chintaa fikra koee apmaan kee-mukesh c)Ye raakhee bandhan hai aesaa-lata,mukesh d)Ham do mast malang pilaayen-kishore,mahendra e)Patlaa patlaa reshamee kurtaa-mahendra,asha,chorus f)Main chalee hoon wahaan meraa pyaar-asha,sharda,chorus

8)Dil daulat duniya-1972=2 songs a)Mastee aur jawaanee ho,umar bade mastaanee ho-asha,kishore,sharda b)Deep jale dekho,kaise karte hai hamko ishaare-asha,usha,rekha jaykar

9)Do jhooth-1975=1 song a)Sharaabee kahtaa hai mujhako jamaanaa-lata,rafi,nitin mukesh

10)Sanyasi-1975=1 song a)Sun baal brahmachaaree main hoon kanyaa kunwaaree-lata,mukesh

11)The gold medal-1979=2 songs a)Mere qaatil uthaa botal milaa nazarein-asha b)Zamaanaa hare note kaa,milaawat-mahendra