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Suraj, the Sensational Super Hit of Shanker Jaikishen

This feature by

Lakshmi K. Tummala

It was one Sunday afternoon, during my school days, that the telephone rang. It was Mr. T. Prakasa Rao, our neighbor in Chennai, my father’s contemporary in the movie industry and a family friend, asking to speak to my father. I told him that he was on location at a hill station, shooting a couple of songs for his upcoming movie. Prakasa Rao uncle, as I called him, told me that we were invited to a private screening of his new movie that evening. I ran to my mother to tell her of the exciting news. But, immediately, I fell into a big dilemma since I had promised to help my friend, Rekha, with a project which was due the next day.

Image result for film Suraj

I called Rekha and told her about the invitation to the movie. She immediately had a solution to my problem which at that time seemed major. She suggested coming over to my home after I returned from the movie. We could then work on the project as long as we can and that she would then take it home and complete it. What a great idea, I thought. But then, I felt very guilty to have her work late into the night to finish the assignment. I told her that and Rekha, being an angel that she is, told me not to worry about it, but to go and enjoy the movie. She knew how much I liked Vyjayanthimala and SJ music. We had already heard the songs of the movie before and loved them a lot. I couldn’t wait to see them in the movie.

We reached the preview theater and were warmly greeted by Prakasa Rao uncle. A few more friends of his had also arrived. Soon the lights were turned off and the movie began. Personally, I never cared much for non-social movies, but then this is not one of them. It had lots of twists and turns which didn’t bother me at all. I only had eyes for my favorite Vyjayanthimala and ears for SJ songs.

I must say that the music in this movie is outstanding. SJ composed a great album. There are seven songs in all with each one being a gem. The two by new singer, Sharda, are by Shailendra and the other five, by Hasrat. SJ covered a wide range of composition styles and achieved great success. Although I heard them before, the songs sounded much better in the preview theater with great acoustics. I thought Vyju looked fabulous, especially in the songs. “Baharon phool barsao…” sounded so very romantic. “Titli udi..” had already taken the country by storm, but I personally liked “Dekho mera dil machal gaya..” better. “Kaise samjhawoon…” in a semi-classical style, by Rafi and Asha, was superb! “Itna hai tumse…” by Rafi and Suman Kalyanpur was also very good. Rafi sounds too good in the frolicsome number, “Chehre pe giri zulphein..” and last, but not the least, ” Ek baar ati hai…” with Rafi, Asha and chorus is a very delightful song.

Suraj was a musical treat for me. At the end of the movie, Prakasa Rao uncle asked me how it was. “Uncle, you have a winner” I said. He raised his eyebrows. I told him the movie was very entertaining and the music was sure to win a FF Award for Best Music Director. I went home humming one song after another. Rekha came over. We sat through the night and completed the project. She spent the night with me and we went to school the next morning. Believe it or not, I later saw this movie two more times in the theater which tells something about it. When the FF awards were announced, Prakasa Rao uncle was so happy that he sent a big box of chocolates for me with a note saying, “You were right Papa, we won!” I was very happy to know that the movie won SJ, Hasrat and Rafi, Filmfare Awards for Best Music Director, Lyricist and Singer, respectively. As for me, I had already voted for the music in the affirmative. You go, SJ!

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Lakshmi K. Tummala, author of this feature

The Genius of Shankar Jaikishan

written by

We have read and re-read about the genius of Shankar Jaikishan, but there is always something new to be learned about these composers. With their never ending urge to be innovative, they took some inspirations from music of other composers, gave it a new twist and made them their own. This was quite common with the their peers as well. The final product is better suited to Indian movies and became memorable. They used inspirations as early as 1952 in Awara. You will notice that The Beatles had influenced SJ music more than the others and that is because Shankar was a huge Beatles fan. He even attended their concert while on a visit to London.

Following is a list of some of the songs I came across over time.

1. Ghar Aaya Mera Pardesi: Awara (1952) 
“Ala Balad El Mahboub” by Oum Khalthoum (1935)

2. Aaja Sanam: Chori Chori (1956) 
“Tarantella” by an Italian folf tune (1958)

3. Panchhi Banoon: Chori Chori (1956) 
“Coming Through The Rye” inspired by a Scottish song (1913)

4. Rasa Sayang: Singapore (1959) 
Indonesian folk song by the same name

5. Aa Ab Laut Chale: Jis Desh Mein Ganga Behti Hain (1960)
“Ciao Ciao 
Bambina” by Domenico Mongugno (1959)

6. Ajeeb Dastan Hai Ye: Dil Apna Aur Preet Parai (1960) 
“My Lips Are Sealed” by Jim Reeves (1956)

7. Itni Badi Mehfil: Dil Apna Aur Preet Paraye (1960) 
“Banana Boat Song (Day O)” by Harry Belafonte.

8. Soch Rahi Ki Kahoon Na Kahoon: Ek Phool Char Kaante (1960) 
“Piccolissima Serenata” by Gianni Ferrio & Antonio Amurri (1957)

9. Suku Suku: Junglee (1961) 
“Sucu Sucu” by Nina and Frederick (1961)

10. Bin Dekhe Aur Bin Pehchane: Jab Pyar Kisise Hota Hai (1961)
“Dancing Eyes” by Ron Goodwin (1959)

11. Aiga Aiga: Boy Friend (1961) 
“Stupid Cupid” by Connie Francis (1958)

12. Jiya Ho: Jab Pyar Kisi Se Hota Hai (1961)
“Broken Hearted Melody” by Sarah Vaughn (1958)

13. Main Aashiq Hoon Baharon Ka: Aashiq (1962)
“Return To Paradise” by Ron Goodwin

14. April Fool Banaya: April Fool (1964)
“Take Me Back To Cairo” by Karim Shukry (1961)

15. Koyi Bulaye Aur Koyi Aaye: Apne Huye Paraye (1964) 
“Old Beirut” by Rahbani Brothers (1960)

16. Jaane Chaman: Gumnaam (1965)
“Autumn Leaves” by The Jazz Standard (1945)

17. Gumnaam Hai Koyi: Gumnaam (1965)
Theme from the movie Charade by Henri Mancini (1963)

18. Dekho Ab To: Jaanwar (1965)
“I Wanna Hold Your Hand” by The Beatles (1963)

19. Sayonara: Love in Tokyo (1966) 
“In A Persian Market” by Albert W. Ketelbey (1920)

20. Jaane Bhi De Sanam Mujhe: Around The World (1967) 
“I’ll Get You” by The Beatles (1963)

21. Leja Leja: An Evening in Paris (1967) 
“Man Of Mystery” by The Shadows (1960)

22. Aaj Ki Raat: Aman (1967) 
“Too Much Tequila” by The Champs (1960)

23. Kaun Hai Jo Sapnon Mein Aya: Jhuk Gaya Aasman (1968)
“Marguerita” by Elvis Presley (1963)

24. Dil Use De Do Jaan: Andaz (1971)
“With A Little Help From My Friends” by The Beatles (1967)

25. Hai Na Bolo Bolo: Andaz (1971)
“Papa Loves Mama” by Welsh singer Donald Peers (1960)

26. Do Mastane…Tu Ru Kuku:Main Sundar Hoon (1971) 
“Wooden Heart” by Elvis (1960)

27. Kya Haseenon Ka Dil: College Girl (1960)
Chella Ila by Renato Corasone (1957)

By _ Lakshmi K Tummala

Interview of Pallavi Jaikishen by Ameen Sayani in his Sangeet Ke Sitaare program aired in two parts

Whole Transcript Courtesy : Sridhar Ns ji.

behnon aur bhaaiyon, maine yeh geet dulhan ki bidaai ka unke maike ke ghar se samjho ke bajaaya tha. Kyunke, Pallavi meri bhatiji ke samaan hai. dekhiye unke chacha jo hain Jaisingh Mariwala woh mere saath school mein paDhaa karte the aur bilkul bhaai ki tarah the. Aur behnon aur bhaaiyon Khaas Sangeet Ke Sitaaron Ki Mehfil ke is program ke liye maine Pallavi ko yahaan bulaaya hai taaki woh Jaikishan ke baare mein biwi ki nazar se kuch bataaye. AS: to Pallavi, sabse pehle yeh bataao, Jaikishan se mulaaqaat tumhaari kaise huyi aur kahan? PJ: Woh ji huyi thi ‘cricket match’ ke dauraan AS: ‘Cricket Match’ ke dauraan? PJ: haan ji AS: achchha achchha, kaunsa ‘match’ tha bhai woh? PJ: woh to abhi mujhe yaad nahin hai AS: nahin? PJ: ‘I think’, main sab kuchh bhool gayi thi. bhool gayi AS: yaani, pehle milan ka yeh yeh anand tha ki aur kuchh yaad nahin hai haan? PJ: jee haan AS: achchha yeh bataao ki aage baat kaise baDhee? PJ: bas, us ‘time’ to kaafi ‘known personality’ the. Geet Mala ke dauraan vagerah, hum log saare ‘fans’ the unke AS: achchha! PJ: main aur meri saheliyaan, to wahaan pe koi unhe jaanta tha, unhone ‘introduce’ kiya aur hamaara ‘music’ ka shauk humein leke gaye unke ‘recording’ pe AS: ‘recording’ dekhni thi aapko? PJ: haanji bahut ‘interest’ tha waise AS: to aap kaun se ‘studio’ mein dekhi thi ‘recording’ aur kaun si geet thi? PJ: woh us zamaane mein Famous Studio mein karte the ‘recording’ AS: achchha gaana kaun sa tha? PJ: gaana tha “mujhko apne gale laga lo ae mere humrahi” AS: arre waah waah waah aur phir unhone gale laga liya! PJ: Rafi saahab .. (both laugh together). us ‘time’ to nahin AS: achchha uske baad shaadi mein kitni der lagi aur gharwale jo the tumhaare woh raazi nahin ho rahe the? PJ: nahin, woh bilkul ‘against’ the. kyunki ‘different backgrounds’ ho gaye the. ‘Film people’ itne ‘accepted’ nahin the. AS: achchha achchha achchha. to phir shaadi huyi kaise? PJ: bas kar lee shaadi. ‘elopement’. (Both laugh together) AS: ‘Very good, Very good’. achchha chalo, shaadi ho gayi ab hum ek zaraa sa ‘jump’ lete hain aur pahunch jaate hain tumhaare ghar pe, Marine Drive pe baDaa hi Khoobsoorat ghar hai. tum donon wahaan rehte the aur kayi baras saath guzaare. aur main hamesha dekha karta tha tum dono ki joDi bahut achchhi lagti thi, bahut Khush rehte the dono. PJ: Shukriya AS: kuchh mujhe bataao Jaikishan ke baare mein, tumne unhe ek patni ki nazron se kis tarah dekha? kaise the woh? ghar mein bartaav kaisa tha unka? PJ: bahut hi milansaar AS: bahut hi milansaar! PJ: bahut hi Khayaalwaale, bahut hi dildaar AS: achchha PJ: bahut hi ‘straight’ kism ke aadmi AS: achchha achchha PJ: jaise bhagwaan us zamaane mein is ‘type’ ke insaan ko banake, woh jo khaaka to woh hi phenk diya tod diya. aise log abhi bante nahin AS: kya baat hai, dekhiye, behnon aur bhaiyon, biwi ho to aisi. PJ: ‘husband’ ho to aise! AS: lekin kaam unke paas itna rehta tha, ke parivaar ke liye kabhi samay milta tha unko? PJ: kaafi mil jaata tha, kyunki jaasti karke woh ghar se kaam karte the, ‘composing’ vageraah AS: achchha PJ: savere Hasratji aaya karte the ghar pe 9 baje. AS: achchha jis tarah Shankar ‘music room’ mein ‘rehearsal’ vagairah kaam karte the? PJ: Jaikishanji ghar se karte the aur ‘producers’ vagairah bhi aaya jaaya karte – ‘Story sessions’, yeh woh. aur khaali ‘recording’ ke waqt pe..” AS: Wahaan jaana paDta tha PJ: haan. wahaan jaana paDtaa tha. ‘Otherwise he was very close to the children’. bachchon ke saath bahut lagaav tha, bahut …” AS: kitne bachche the tumhaare? PJ: teen AS: teen bachche hain na. do beTe ……..” PJ: do beTe aur ek beTi hai. beti ka naam unhone apne ‘favorite’ raag pe rakha – Bhairavi AS: aur beTe? PJ: baDe ka naam hai Chaitanya, chhoTe ka naam hai Yogesh. AS: achchha aur inmein se kisi ko gaane ka shaukh hai? PJ: sunne ka shauk hai. gaate hain. achchha gaa lete hain, lekin ‘professionally they don’t want to enter the …’ AS: achchha achchha achchha. kuchh aur bataaogi Jai ke baare mein? PJ: unka ‘nature’ aisa tha, ‘I mean’ ki jo bhi hamaare ghar pe aata tha jaise koi sawaal leke aata tha, Kyunki woh kabhi Khaali haath nahin gaya ghar se. aur shaayad unki wohi achchhaayi abhi tak hum logon ko ‘protect’ kar rahi hai, ‘his family looking after, goodwill’ jo banaayi thi unhone. AS: aur main hamaare sabhi sunnewaalon ki taraf se aur apni taraf se bhi, Pallavi yeh zaroor kahoonga, ki hum sab tumhaare saath roye the, bahut dukhi huye the, jab woh itni kam umar mein chale gaye. sirf 39 umar thi unki.

Music director Shankar and His Musical Journey

Image may contain: 10 people, people on stage

It all began when Shankar Singh Ramsingh, as a young teen, dropped out of school and went on in search of a career in music. Having a formal training in the tabla, Shankar joined a theater group headed by Satyanarayan and Hemavathi. The group travelled far and wide, entertaining music lovers, and ended up in Mumbai, the entertainment capital of the country. With his insatiable desire to perform on stage, Shankar soon landed a job at Prithvi Theater founded by Prthvi Raj Kappor. He would play the tabla for the shows and do all kind of odd jobs around. ” Papa Ji” as Prithviraj Kapoor was fondly referred to. He soon met Jaikishan Dahyabhai Panchal, his business partner and bosom buddy, and the rest as you know is “history.”

Together with Jai, Shankar created, Shankar Jaikishan, the most successful banner in the history of Indian music industry. Theirs was an unique relationship that lasted all their life. Their minds worked on the same wavelength to create the most beautiful and memorable music. They had a long association with lyricists Shailendra and Hasrat Jaipuri. But, after a stupendous career, they lost Shailendra and within a few years, Jai also passed on. This shattered Shankar altogether. The creative genius lost his soul, but kept the banner running for sixteen more years against turbulent conditions created by some negative forces in the industry. He weathered all storms and, finally, in 1987, Shankar too breathed his last, leaving a lasting legacy built lovingly with Jaikishan.

Photo courtesy: Shankar Anella, grand nephew of the legendary Shankar.

Creative minds hardly ever rest…

Dinesh Shankar Shailendra writes under his DIRECTOR’S CUT series

Raj Kapoor

From 1949 onwards, Raj Kapoor’s discoveries, Shanker, Jaikishen, Hasrat and Shailendra were one of the most formidable teams ever in the history of Hindi film music…. They were literally ruling the music industry. Some of the films they did, were not very successful at the box-office…. but almost every song they composed was a hit !

Their passion towards their work was unmatchable…
Even if they were not recording, they would meet… sometimes, get out of the confines of their music room and go off to National Park or Aarey Milk Colony…. sometimes to Khandala or Lonavala for a long drive…..spend a few hours together and return…. Occasionally, Lata Mangeshkar would accompany them too….
BUT, amidst all the fun they would have, their brains would be ticking all the time… A word spoken, a sound heard, they would be alert at all times, immersed in their work….

Creative minds hardly ever rest…

On one such trip to Khandala, the ‘gang’ stopped at a tea-stall… Shanker noticed that the boy serving tea was an Andhraite…. Shanker had spent his early years in Andhra…. He called out to the boy….. ” Ramaiyya…. vastavaiyya….”…. it apparently means ” Ramaiyya…. come here” in Telugu…. Shailendra, seated beside him, could not resist chipping in with a rhyme…. ” Maine dil tujhko diya…” Shanker liked the sound of it… he started humming… ” Ramaiyya vasta vaiyya. Ramaiyya vasta vaiyya…” Pat came Shailendra’s rejoinder… in the same tune… ” Maine dil tujhko diya….”
They exchanged glances…. it was sounding good !!! Jaikishen started beating out a rhythm on the wooden table…the ‘antara’ was being worked on… Gulping down their tea in excitement, they raced to the car…. they were rushing back to Bombay…. along the way, Shailendra was lost in thought, fitting in the words for the verses. It was getting better by the minute….They drove straight to R K Studios and barged into Rajsahab’s ‘cottage’…… They sang the song ( whatever they had made till then )….. he said… ” Just what I wanted… “


Within the next few days, this great song was completed….. Raj Kapoor was excitedly telling them how he would shoot it… what he needed….

Raj Kapoor, the director, always used his music and his songs as part of the screenplay and dialogue of his films….. THIS song is a perfect example….

Preceding the song is a sequence in an upmarket Hotel….. The rich are celebrating New Year’s Eve….Nadira is dancing to S-J’s music…. Raj Kapoor, well dressed for the occasion, suddenly finds himself out of place… All around him, people are indulging in revelry…. enjoying the music and the dance…. Raj Kapoor is almost suffocating…. As the music reaches a crescendo, he moves towards the exit…..As he steps out, the music suddenly stops…..

Mohammad Rafi’s amazing ‘alaap’ starts….. continues on Raj Kapoor walking purposefully on the road…. as if in a trance….

The introduction music starts on the people of the ‘basti’… they are celebrating too… The introduction music….. 
THE INTRODUCTION MUSIC….. sixty years old…..!!!

Play it anywhere even today and people will hum along and recognise this great song ! We see RK….. he is near the ‘basti’ but he is hesitant…. These are the people who gave him so much love and he shunned them in pursuing his dreams of becoming a rich man…..

The song starts… 
” Ramaiyya vasta vaiyya, Ramaiyya vasta vaiyya,
maine dil tujhko diya, maine dil tujhko diya…… “

A short interlude and the verse starts…. the man sings

” Nainon mein thi, pyar ki roshni,
teri aankhon mein yeh duniyadaari na thi….

The girl says

” Tu aur tha, tera dil aur tha, 
tere mann mein yeh meethi kataari na thi…. “

Man: ” Main jo dukh paaun toh kya, aaj pachhtaaun toh kya…. “

Chorus : ” Maine dil tujhko diya, maine dil tujhko diya…”

Another interlude…. the next verse….

Man : Uss des mein, tere pardes mein, 
sone chandi ke badley mein bikte hain dil…”

Girl : ” Iss gaaon mein, dard ki chhaaon mein, 
pyar ke naam parr hi dhadaktey hain dil…”

All these lines, which speak about love being more important than riches, are sung innocently by these poor people…. but we, the audience, know how they fit Raj Kapoor’s predicament perfectly….

But the unselfish director does not show the man’s reactions at all….He wants us to listen to the words ….. imagine for ourselves the pain he must be feeling…

During the interlude, we see RK….he is lost in thought…. a couple of shots of the streets…. Lata Mangeshkar’s ‘alaap’ overlaps…. the camera follows a man on a cycle singing “Ramaiyya vastavaiyya”. 
At a point the camera stops and the cycle crosses the frame to reveal Nargis sitting alone…she softly sings ” Maine dil tujhko diya…” A sharp cut to the ‘basti’, the loud music and the gaiety…. cut back to Nargis… she sings…

” Yaad aati rahi, dil dukhaati rahi,
apne mann ko manaana na aaya humein,
tu na aaye toh kya, bhool jaaye toh kya,
pyar karke, bhulaana na aaya humein…”

She is tearful…

On the loud chorus, we see Raj Kapoor… as if he has heard her…. He replies…. ” Maine dil tujhko diya, maine dil tujhko diya…”

Mukesh’s voice comes as a relief to the audience….their ‘hero’ has finally realised his folly…. love wins over wealth….he has returned to the place where, despite being poor, the people only believe in love…. they are happy even in those conditions…. The people of the ‘basti’ notice him and are ecstatic…. a sharp contrast in Raj Kapoor’s rich suit and their poor clothes…. but they embrace him and welcome him back with open arms…. they dance in gay abandon during the interlude…. RK sings…

” Rastaa wohi, aur musafir wohi, 
ek taara na jaaney kahan chhup gaya, 
duniya wohi, duniya waaley wohi, 
koyi kya jaaney kiska jahan lutt gaya….
meri aankhon mein rahey, 
kaun jo mujhse kahey, 
mainey dil tujhko diya…. “

Lalita Pawar hugs him…

This particular sequence, in my humble opinion, is the most touching part of this song…. Raj Kapoor’s expressions….we actually feel his pain….. On the end ‘mukhda’, Mohammad Rafi’s ‘alaap’ comes over the chorus….Raj Kapoor looks lovingly at Lalita Pawar and smiles a ‘real’ smile….. He has finally found his way back home….. His heart belongs here….

This song, according to me, is one of the most popular songs of all time…. a fine example of how Raj Kapoor, Shanker Jaikishen and Shailendra bonded…. Excellent music, the use of a chorus…. Mohammad Rafi, Lata Mangeshkar and Mukesh, just brilliant ! 
Shailendra’s words, so appropriate for the layers of emotions, the director, Raj Kapoor wants his audience to feel….

And to think that it all started with Shanker calling out to a ‘chaiwalla’……

” Ramaiyya vastavaiyya…”YOUTUBE.COMRamayya Vastawaiyya | Shree 420 | Raj Kapoor | Nargis | Bollywood Classic Songs | Shankar JaikishanMovie: Shree 420 (1955) Song: Ramayya Vastawaiyya Starcast: Raj Kapoor, Nargis Music Director: Shankar Jaikishan Singers: Lata Mangeshkar, Mohd.Rafi & Mukesh…

एक बरस में इक दिन होली जग दो दिन का मेला


वैसे तो हिंदी फिल्मों में होली के कई मशहूर गीत बने जो आज भी प्रचलन में है,इन समस्त गीतों में होली का उत्साह है और क्यो न हो यह त्योहार ही रंगों और उत्साह का है,समस्त भेदभाव व कडुवाहट 
समाप्त करने का है,मिल जुलकर जीवन जीने का है,धर्म के मार्ग पर चलने का है क्योकि जो कुछ है वह परब्रह्म ही है!
“प्रेम” प्रधान सुर है,’ आनंद’ संगीत है,”शक्ति”,तान है,”ज्ञान ” गायक है, और वह सर्वात्मा ही इसका रचयिता और श्रोता है।अभी तक हम लोग केवल प्रारंभिक बेसुरे स्वरो को ही जानते है?
मात्र शंकरजयकिशन का संगीत ही प्रेम,आनंद,शक्ति,ज्ञान आदि को परिभाषित करने में सफल है क्योकि उनका संगीत दैवीय है,उनकी स्वर संगति महान है।होली पर बने अन्य संगीतकारो के गीतों व शंकरजयकिशन के बने एक गीत में यही फर्क है।शंकरजयकिशन का होली पर बना एक गीत अन्य सभी गीतों पर इसीलिए भारी है क्योकि उसमे प्यार,रस, उत्साह के साथ जीवन का विलक्षण सत्य भी छिपा है।होली गीतों में इससे बेहतर अन्य कोई नही,यह दुख का विषय है कि इस गीत का वीडियो उपलब्ध् नहीं है फिर भी शंकरजयकिशन फाउंडेशन ने इस गीत का वीडियो एक नूतनता के साथ प्रस्तुत किया है जिसका श्रेय श्री हिरेन पटेल को जाता है जिन्होंने अथक प्रयास से इसका निर्माण किया।
1954 की फ़िल्म पूजा के इस गीत को लतामंगेशकर, मोहम्मद रफी तथा साथियों ने गाया था।गीतकार थे फिल्मी कबीर शैलेंद्र तथा संगीतकार थे देवतुल्य शंकरजयकिशन।
इस गीत में जीवन का सार है तथा सांसो के संसार की मस्तियां है जो तन और मन को भिगो देती है,सम्पूर्ण गीत इस प्रकार है:-
होली आई प्यारी प्यारी होली आईं प्यारी प्यारी
भर पिचकारी रंग दे चुनरिया हमारी हो पिया रंग दे चुनरिया हमारी….
मेरे तन को भिगो दें,मन को भिगो दें मान ले अरज हमारी
ओ पिया रंग दे…….
एक बरस में इक दिन होली
जग दो दिन का मेला
तन का पिंजरा छोड़ के इक दिन
पंछी जाय अकेला
दो घड़ी मुस्काये ओर मुरझाए
जीवन की फुलवारी
ओ पिया रंग दे चुनरिया हमारी…..
मन की उजली चादरिया पे पड़ गयो रंग गुलाबी
प्यार के रंग में रंगते जाय तेरे नैन शराबी
कभी ललचाये कभी शरमाये हमारी प्रीत रंगीली
ओ पिया रंग दे चुनरिया हमारी…..
शंकरजयकिशन का होना ही एक नृत्य है,एक हास्य है,एक लय है,एक संगीत है,एक अविराम अटूट उत्सव है,एक होली है,एक निरंतर महारास हैओर साथ ही जीवन प्रवाह का अनवरत संकीर्तन।किन्तु 
हमे नृत्य से,उत्साह से,उल्लास से,उत्सव से,यहाँ तक की जीवन से भी भय लगता है।उक्त गीत इन्ही को तो परिभाषित करता है?जो होली के अन्य गीत नहीं कर सकते?
जीवन अस्थाई है इसकी एक सीमा है एक परिधि है!अतः जब तक इस देह में प्राणवायु है तो क्यो न उत्सवों को जी भरकर जिये,प्यार से जिये।होली का सर्वाधिक महत्व जीवन साथी का होता है!दोनों एक दूसरे से बिछुड़ने की कल्पना तक नही कर सकते,ज्योंज्यो जीवन सफर परवान चढ़ता है त्यों त्यों प्यार में भी अभिवर्धी होने लगती है क्योंकि आभास होने लगता है कि जीवन सफर में कौन किससे कब बिछुड़ जाय?एक समय अवधि के बाद सब कुछ छूटने लगता है!तभी तो हमारे देश मे बारह महीनों के त्योहार है जिसमे होली प्रमुख है,इसका संबंध कृष्ण राधा से भी है।
शैलेन्द्र तभी तो लिख रहे है..होली प्यारी प्यारी भर पिचकारी रंग दे चुनरियाँ हमारी हो पिया रंग दे चुनरिया हमारी..।पिया से किंतना प्यार भरा अनुरोध है कि जीवन मे प्यार ही प्यार के रंग घोल दे,इस प्यार की शक्ति असीम है ओर जीवन क्षण भंगुर है?यह कैसा विरोधाभास है।
..मेरे तन को भिगो दें,मन को भिगो दें,मान ले अरज हमारी..प्यार में तन और मन को भिगोने की किंतनी खूबसूरत अरज है क्योकि यही तो उसका सौंदर्य है,तन और मन जब एकाकार हो जाते है वही देह का सुंदरतम रूप है जिसमे वो भीगना चाहती है!किन्तु तभी जीवन कहता है….
एक बरस में एक दिन होली,जग दो दिन का मेला
तन का पिंजरा छोड़ के एक दिन पंछी जाय अकेला
दो घड़ी मुस्काये ओर मुरझाए जीवन की फुलवारी….
इस जीवन का कोई ठिकाना नहीं अतः जो भी है इस पल में है ..!अतः पिया हमारी चुनरिया रंग दे।
जब मन की उजली चादर पर गुलाबी रंग छा जाते है,शराबी आंखे प्यार के गुलाबी रंग में खो जाती है,कभी मन ललचाता है कभी शर्माता है,समस्त वर्जनाएं टूट जाती है,भूल जाता है मानव सब कुछ,इसी भूलने और डूबने की प्रक्रिया को उत्सव कहते है,होली कहते है।किंतना अर्थपूर्ण व प्यार से भरा है यह होली गीत जो तन और मन को जुदा नही होने देता।जीवन का अंत निश्चित है,यह सत्य है,सत्य सर्वत्र है,इसकी अभिव्यक्तियाँ, अभिव्यंजनाये अनंत है,सत्य सौंदर्य की तरह है,सौंदर्य एक होते हुए भी अनेक रूपो में प्रकट होता है किंतु इनके कारण यह भिन्न भिन्न तो नही हो जाता है।जो ऊँचे हिम शिखरों पर प्रकट होता है,वृक्षो वनस्पतियों में दिखाई देता है,जो निर्झर में,नदियो में प्रवाहित होता है,जो फूलों में सुगंध बन कर प्रसारित होता है,जो रात्रि में तारक गणों व चंद्रमा में झलकता है,जो प्रातः सूर्य बनकर उदय होता है और जो आंखों से प्रेम बनकर छलकता है और कहता है
पिया रंग दे चुनरिया हमारी…
यह प्रेम अलग अलग नहीं है,यह तन और मन अलग अलग नही है,रूप भले ही इनके अलग अलग हो,पर जो उसमे स्थापित है,वह तो एक ही है,वही सत्य है,वही कृष्ण है,वही जीवन है जो कभी मुस्कराता है कभी मुरझाता है!
कभी मुस्काये कभी मुरझाए जीवन की फुलवारी
शैलेन्द्र इसी सत्य का उल्लेख इस होली गीत में कर रहे है।जीवन नाशवान है किंतु जीने के क्षणों को उत्साह में जीना ही होगा,उत्सवों में डूबकर कुछ क्षण सब कुछ भुलाना होगा।
कबीर लिखते है ” हो बोरी ढूंढन गईं रही किनारे बैठ”
क्योकि कबीर को ज्ञात था जिन लोंगो ने जीवन प्रवाह में गहरे पैठकर खोजा उन्होंने कुछ अनमोल पाया।किन्तु जीवित व्यक्ति की संभावनाओं पर दृष्टिपात करने की हमारी क्षमता ही खो गई है।जीवन का अनंत प्रवाह हमारे सम्मुख अपने सम्पूर्ण सौंदर्य को समेटे छलछलाता हुआ बह रहा है और हम उससे अनजान ,आंखे मूंदे, चुपचाप, निश्चल किनारे बैठे है?
होली के इस प्यार भरे सौंदर्य का पान करो,झूमो,गाओ,नाचो,होने दो आँखो को गुलाबी, रंग दो चुनरिया,तन को भिगो दो,मन को भिगो दो,यही सत्य है।जीना भी सत्य है तो मरना भी सत्य है,दोनों को अंगीकार करो।शंकरजयकिशन के संगीत में सजा यह बेहतरीन होली गीत यही संदेश दे रहा है कि जब तक जीवन है तब तक उत्सव है,जीवन के रंग है किंतु स्मरण रहे…..
एक बरस में एक दिन होली ,जग दो दिन का मेला
तन का पिंजरा छोड़ के इक दिन पंछी जाय अकेला
दो घड़ी मुस्काये और मुरझाए जीवन की फुलवारी..!!

……Making memorable music with the technology available today is understandable, but creating a timeless masterpiece with limited resources is what great music is all about! — Shashi Kapoor

on Shashi Kapoor’s birthday


“Shanker Jaikishen were the best thing to happen to film music”


 “Wouldn’t call myself a music buff, but I do enjoy listening to good music. As a young lad, I would walk into this music store       called Rhythm House    in   south   Mumbai to pick up records. Actually, I could not afford them, but I would quietly buy them on my brothers’  Raj Kapoor or Shammi Kapoor’s account!

 Shashi Kapoor on Shanker-Jaikishen

I’ve always loved listening to a variety of music, From the vocals of a Western classical singer like Frankie Lane to Indian classical singers like Bhimsen Joshi, Girija Devi and Begum Parveen Sultana, to Hindi film music. But, my favourite piece of music would be by the duo Shankar-Jaikishen, who I think were the best thing to have happened to Hindi film music. Even a maestro like Naushad once mentioned that the two were not musicians, but magicians!


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शंकर जयकिशन की नेताओं में लोकप्रियता

शंकर जयकिशन की नेताओं में लोकप्रियता

देश के प्रथम, द्वितीय, तृतीय एवं चौथे राष्ट्रपति, क्रमशः सर्वश्री डॉ0 राजेन्द्र प्रसाद, डॉ0 सर्वपल्ली राधाकृष्णन, डॉ0 ज़ाकिर हुसैन एवं वी0 वी0 गिरी के भी ये संगीतकार प्रिय थे।

प्रथम प्रधान मंत्री जवाहरलाल नेहरू, इंदिरा गांधी, मोरारजी देसाई, जगजीवनराम, बालासाहेब ठाकरे, वाई बी चव्हाण इत्यादि इस लिस्ट में हैं। एक फोटो तो प्रधानमंत्री लाल बहादुर शास्त्री की भी है जिसमे वह खड़े हैं और बैकग्राउण्ड में शंकर जयकिशन की तस्वीर है।

शंकर जयकिशन एकमात्र संगीतकार जोड़ी है, जिन्हें देश के कोष को बढ़ाने के लिए एवं सेना तथा मज़दूरों के लिए आर्थिक सहायता कोष के लिये धन इकट्ठा करने के लिए हमेशा याद किया गया । क्योंकि उनके नाम का आकर्षण ही ऐसा था कि शो के टिकट घोषणा होते ही बिक जाते थे।

SJ with Vijayalaxmi Pandit

यह कीर्तिमान अब तक सिर्फ शंकर जयकिशन के नाम है ।

Music director Shankar, Morarji Desai, singer Subir Sen, Lata Mangeshkar, Mukesh and Music director Jaikishan

Jaikishen, Shanker, Indiraji, Rajkapoor (frontline) Standing behind are (L to R) I S Johar, Agha, Mehmood & C Ramchandra

Sebastian D’Souza

This tribute by

Shri Ashok Jagtap

*Sebastian D’Souza*

Born:* 29 January 1906, Reis Magos
*Died:* 9 March 1998

Ask who is Sebastian D’Souza and you may get as many answers as the number of people who venture to give it. Footballer ?,Electrician ? School teacher ? Fr.. Sebastian?? anything but music arranger.

Sebastian D’Souza is easily the most prolific arranger in all of Indian film music. Spanning a career from 1952 – 1974 much of it with the famed duo of Shankar Jaikishan Sebastian created scores for over 125 films and over 1000 songs.. No musical arranger of popular American music let alone Hollywood films of that period can match his output. Sebastian should have been in the Guiness book of records.Instead a search on google hardly throws up his name.

Volume of output apart, for sheer imagination and variety of orchestrated music Sebastian stands head and shoulders above them all. Sebastian had an imagination not equaled by the same men on whom books have been written and whose names occupied the marquee in the same period Sebastian’s development of harmonic concepts extended across a wide range of Indian, Latin and western instruments to create a unique effect. While Anthony Gonsalves started that trend, Sebastian carried it on enlarging and embellishing the concept He is largely responsible for changing the entire harmonic structure of the hindi film song to create an extremely listenable full body of sound behind the voice of the singer .And hence a major influence on that era. If you thrill in the songs of that period from ‘Aawara’, ‘Boot Polish’, ‘Jis Desh Mein Ganga Behti Hai’, ‘Sangam’,,’Mera Naam Joker’ all from the RK banner and want to hear them over and over again it is invariably because Sebastian was the hidden hand behind their creation.

It is said that Mukesh who playbacked Raj Kapoor had Sebastian select the instruments, provide the counterpoint in Shankar Jaikishan’s melodic structure and create the music behind the star crossed lover portrayed by Raj Kapoor Together with him and his rhythmic partner Dattaram the SJ duo created history. Raj it is said, was close to Sebastian and was present in every recording because Raj believed that what Sebastian did was key to his role. Take away that background music from the RK films and you will plunge into a huge void.

Till the late 40s, background music to the singers voice was merely a narrow range of instruments playing the same tune as sung by the singer.There was no concept of counters, fills or cadences. Rhythms employed were very limited. The effect was sonorous. Beginning the 50s, Anthony and Sebastian changed that all.

And how did that happen? Brought up on a staple diet of operas and symphonies of Mozart, Schubert, Haydn,Tchaikovsky which he absorbed, Sebastian employed harmonic variation with telling effect on to hindi film music. Sebastian came to Bombay in search of work from across the border post 1947 and stumbled into hindi films. Before that he was a big band leader in hotels from Allahabad to Mussorie to Lahore where he earned a name for leading the most popular orchestra of that time at the Stiffles hotel.

Starting as a violinist he moved up rapidly. O P Nayyar gave him his break as an arranger with C H Atma’s “Pritam Aan me lo” and later in the film ‘Aasman’. With O P he forged a super relationship and what followed is still on many lips ;the songs and the music from ‘Aar Paar’ ( Sun sun sun sun jalim’), Mr & Mrs 55’( Udhar tum hasin ho idhar dil jawa hai’), Howrah Bridge (‘ Mera naam chin chin choo,chin chin choo’) and so many more….each a classic not equaled fifty years after their time.

Creativity such as this is genius and geniuses are sometimes known to be irregular, erratic and difficult with time being their first victim. Not so with Sebastian who was known to be regular, consistent, methodical and disciplined. With strong writing skills, he invariably created and translated what was going in his head into written scores on the spot in the studio for the orchestral sections and the soloists and adjusted them while
rehearsing. Usually, one song took a day .But it is said that on one occasion Sebastian created 5 songs in a day traveling to different studios across the city .

But these are just snippets. Take another glance at his history sheet .Consider these; ‘Aaja sanam, madhur chandni mein hum’;,’Yeh raat bheegi bheegi’ from Chori Chori. ‘Teri yaad dil se bulane chale hum’ from ‘Hariyali aur Rasta’. ‘Dost dost na raha’ from ‘Sangam’, ‘Aae malik there bande hum’ from ‘Do Aankhen Bara Haath’, Aaja re.. pardesi’ from Madhumati.’Aansoo bahri hain yeh jeevan ki raahen’

From N Dutta’s Chandni ki Deewar’ listen closely to Talat’s song ‘Ashkon ne jo paya hai’. The violins play in three sections, embellished by a vibraphone and cellos behind Talat’s voice. The sadness of the lyric is captured in one of the most poignant violin solos in the annals of hindi film music.

It is said that Jaikishan was so taken up with Sebastian’s counters and fills he put together all of those and hey presto he had created a brand new song.

Sebastian worked tirelessly till 1974. The advent of Bhappi Lahiri and styles of that kind did not call for his skills. A self effacing man who spoke less and did more, he quietly retired to Goa and began a new life teaching children, away from the stars and the greats whom he had helped create .Little did the children whom he taught quietly, know that they had the wisdom and experience of an all time great. Shocked they were, when journalists, musicians and aficionados of the music world would descend on Sebastian’ s modest home to sit at the feet of the man and reminisce. As the children grew up they were amazed that he was the same person behind all those wonderful songs.

When he died, he instructed that no money be spent on his funeral and all that was saved should go to charity; such is the modesty of greats. Sebastian left behind a rich musical legacy which will live into generations after his time.

As so often happens to modest, silent and quiet achievers in India, he received no honours from the city of Bombay where he lived created and worked but a belated award from his home state of Goa.