Posts from the ‘Uncategorized’ Category

Thoughts On Jaikishen’s Birthday.

 by

Gopal Pillai

 

Saturday, 04 November 2017

A lot has been said about the association of S-J with RK. But I feel they were awed, muted and constrained under the great Showman. Whereas when they were given a free rein by other banners it unleashed their creative best. I give below a selective list to prove the point. Compare the songs of RK Films and those of Amiya Chakraborty, Verma and Kishore Sahu – as also down the list, and in singular performances too. Please give your opinion.

Banner /Director /Film /Year
R.K.Films Raj Kapoor Barsaat 1949
R.K.Films Raj Kapoor Awara 1951
R.K.Films Raja Nawathe Aah 1953
R.K.Films Prakash Arora Boot Polish 1953
R.K.Films Raj Kapoor Shree 420 1955
R.K.Films Radhu Karmakar Jis Desh Mein Ganga Behti Hain 1960
R.K.Films Raj Kapoor Sangam 1964
R.K.Films Raj Kapoor Mera Naam Joker 1970
R.K.Films Randhir Kapoor Kal Aaj Aur Kal 1971

Mars And Movies Amiya Chakravarty Daag 1952
Mars And Movies Amiya Chakravarty Patita 1953
Mars And Movies Amiya Chakravarty Badshah 1953
Mars And Movies Amiya Chakravarty Seema 1955
Shrirangam Productions Amiya Chakravarty Kathputli 1957
Mars And Movies Ajit Kumar Chakravarty Apne Huye Paraye 1964
Mars And Movies Ajit Kumar Chakravarty Pagla Kahin Ka 1970

Verma Films Amiya Chakravarty Badal 1951
Verma Films O.P.Dutta Parbat 1952
Verma Films Bhagwandas Verma Aurat 1953
Verma Films Bhagwandas Verma Pooja 1954
Verma Pictures Naresh Saigal Main Nashe Mein Hoon 1959
Verma Brothers Manmohan Desai Budtameez 1966

Hindustan Chitra Kishore Sahu Kali Ghata 1951
Sahu Films Ltd Kishore Sahu Mayur Pankh 1953
Sahu Films Ltd Kishore Sahu Kismat Ka Khel 1956

Prasad Productions, Chennai L.V.Prasad Chhoti Bahen 1959
Prasad Productions, Chennai L.V.Prasad Sasural 1961
Prasad Productions, Chennai T.Prakash Rao Hamrahi 1963
Prasad Productions, Chennai L.V.Prasad Beti Bete 1964

Subodh Mukherjee Productions Subodh Mukherjee Love Marriage 1959
Subodh Mukherjee Productions Subodh Mukherjee Junglee 1961
Subodh Mukherjee Productions Subodh Mukherjee April Fool 1964

Eagle Films Naresh Saigal Ujala 1959
Eagle Films Shakti Samanta Singapore 1960
Eagle Films Lekh Tandon Professor 1962
Eagle Films Lekh Tandon Amrapali 1966
Eagle Films Lekh Tandon Prince 1969
Eagle Films Sushil Majumdar Lal Patthar 1971

L.B. Films Hrishikesh Mukherjee Anari 1959
L.B. Films Hrishikesh Mukherjee Asli Naqli 1962

Filmyug Mohan Kumar Aas Ka Panchhi 1961
Filmyug Mohan Kumar Ayee Milan Ki Bela 1964

AVM Productions, Chennai Anant Thakur Chori Chori 1956
Ashadeep Ramesh Saigal Shikast 1953
Bombay Films Bimal Roy Yahudi 1958
Chitralaya, Chennai Sridhar Dil Ek Mandir 1963
Delux Films Mohan Saigal New Delhi 1956
Gemini Pictures, Chennai Ramanand Sagar Zindagi 1964
Goel Cine Corporation Devendra Goel Aas 1953
H.S.Rawail H.S.Rawail Roop Ki Rani Choron Ka Raja 1961
Image Makers Basu Bhattacharya Teesari Kasam 1966
Kashyap Productions D.D.Kashyap Naya Ghar 1953
Kay Arts M.Sadiq Poonam 1952
Mahal Pictures Kishore Sahu Dil Apna Aur Preet Parai 1960
Minerva Movietone Sohrab Modi Rajhath 1956
N.S. Films Naresh Saigal Boy Friend 1961
Nasir Hussain Films Nasir Hussain Jab Pyar Kisise Hota Hain 1961
Padmini Pictures, Chennai B.R.Panthalu Dil Tera Diwana 1962
Pancholi Productions Ravindra Dave Nagina 1952
Parbat Films Bhaapi Sonie Ek Phol Char Kaante 1960
Prakash Pictures Vijay Bhatt Patrani 1956
Pramod Films Pramod Chakravarty Love in Tokyo 1966
Prithvi Pictures Raja Nawathe Gumnaam 1965
R.D.Bansal Productions Lekh Tandon Jhuk Gaya Aasman 1968
R.S.B. Films Amar Kumar Rungoli 1962
Raman Productions, Chennai M.V.Raman Jwala 1970
Rawal Films T.Prakash Rao College Girl 1960
Roop Kamal Chitra Narindra Suri Begunah 1957
Roshni Films H.S.Rawail Shararat 1959
Rueben-Dube Productions Hrishikesh Mukherjee Aashiq 1961
S.J. Films Hrishikesh Mukherjee Sanjh Aur Savera 1964
S.P. Pictures Om Prakash Kanhaiya 1959
Sagar Art Corporation Ramanand Sagar Arzoo 1965
Shakti Films Shakti Samanta An Evening in Paris 1967
Shree Vishwa Bharati Films P.Ltd Raja Nawathe Basant Bahar 1956
Shri Prakash Pictures Vijay Bhatt Hariyali Aur Rasta 1962
Talwar Films R.C.Talwar Ek Dil Sau Afsane 1963
Time Films T.Prakash Rao Duniya 1968
V.P. Productions Bhagwandas Verma Baaghi Sipaahi 1958
Venus Pictures T.Prakash Rao Suraj 1966

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By Rajan Narayan

 

SHANKAR THE SANGEET YOGI
Where can one begin to write anything about this diminutive man built like a wrestler , serious as a yogi with a tough exterior, and as soft and sweet as a leechi..juicy and succulent which can enhance the flavour of any dessert to which it is added and delicious as stand alone. He combines with an equally diminutive but irresistibly charming companion with matching passion for music.
Together they emerge as Shankar Jaikishan the biggest brand ever to have worked in Hindi Film Music “ Na bhooto na bhavishyo” ( neither in past nor in future) They get their first movie fairly early for two rank outsiders in an Industry which is a closed group, where very few can enter without struggle. Call it providence , that they landed in Bombay and began to work with Prithvi Theatres , their alma mater.
This gave them access to Prithviraj Kapoor and his family , especially Raj Kapoor who was an actor / filmmaker as young as Shankar with equal passion to create something new and entertaining in Hindi Films..Destiny put them at a situation where they were to work together for Raj Kapoor’s second movie Barsat, after his debut movie( as filmmaker ) Aag had failed at BO.
Raj Kapoor offered Shankar to score for Barsat, on recommendation by Prithvi Raj Kapoor who had seen his talent and passion in his plays. Shankar was assisting Ram Ganguli at Prithvi Theatres and RK films as well. This was the moment of reckoning for a young Shankar who had dreamt of scoring music for a movie, and opportunity came knocking at his door.
Anyone else would have grabbed the offer without a second thought. But then this man was no ordinary run of the mill musician, he was Shankar Singh Raghuvanshi a man destined to write a new history in Hindi cinema. He placed a condition that he will score but with Jaikishan as his partner. What happened later is part of the folklore.
Barsat was a success, the kind of which was never seen before in Hindi cinema. Music of Barsat opened new avenues for music companies to explore Hindi film music as serious business vertical. Ten songs nine of which were sung by Lata Mangeshkar a new singer at that time, whom Shankar had seen at Husnlal Bhagatram’s studio and was thoroughly impressed with her talent.
Barsat had made a resounding entry of Shankar Jaikishan as composers, and Hasrat Jaipuri and Shailendra as lyricists. This team of four young men , with burning desire to leave their impression as none had ever done. This was their first movie and none of them knew where their journey was destined to be, and at what level will they leave this Industry.
It will be an exercise in futility to list out their successful movies as this forum is well aware of each minute detail. What needs to be discussed is their USP (unique selling proposition). What made their music so popular and consistently appealing for over two decades till the time, God began to end this team one after another.
1. Position when they entered : Prior to their arrival Hindi music had come a long way from the first talkie in 1931 to 1949. Many composers like Rai Chand Boral, Pankaj Mulik , Khemchhand Prakash Gulam Hyder , S N Tripathy , Anil Biswas, C Ram Chandra and Naushad … a few more had created immensely interesting and highly evolved music. They introduced many new concepts, and had taken film music to new levels. Each one of these composers are highly respected composers who came with years of regimented training of classical music Indian and Western s well.
2. New Syntax by Shankar Jaikishan : Shankar Jaikishan had learnt and imbibed contributions by all these greats. But they did not walk the same path which these greats had walked. They created something none of these had greats had done. They did not stick to the classical grammar and syntax of classical composition. They broke all the rules without compromising the essence of Indian music and its appeal.
3. What was New: Their songs were a mix of a few ragas which were very close to one another in a superficial level. Someone with knowledge of syntax of each raga can pitch in with the mix of ragas they used..like a mukhda in one raga and antara in another one..and many such innovations.
4. Fusion: They were immensely influenced by Western symphony and its style of background score for the harmony which was the essence of Western Classical music. Whereas melody was the essence of Indian Classical music. Shankar Jaikishan were successful in fusing the two and created their new brand of music which was “ Brand Shankar Jaikishan”
5. Target Audience: The composers prior to Shankar Jaikishan were immensely trained talents in classical music and their target audience were listeners who knew and understood classical music or some form of folk music of certain regions. But Shankar Jaikishan came without any formal training from any school of music, they were learning from life, nature and every source in the universe. That is the reason their songs did not sound radically different, but always felt like one was familiar with these songs, but did not know where they came from, but appealed immensely to the common and the pundit alike. Their music came from their heart and reached the listeners heart..and stayed put forever.
6. Composers for films: their music was never created to showcase their knowledge of music, it was made to suit the situation, story, period and character. They never differentiated who they were scoring for. Their music was their best regardless of the stature of producer, banner and actor. They scored classics for the smallest actors as well.
7. Innovations: One of their specialties was use of onscreen actors voice in the songs which made the song unique and interesting, like Madhubala and Premnath in Badal..to an endless number of songs..all of them hits.
8. Reinventing themselves: Once Shankar Jaikishan skyrocketed with their debut movie they kept on reinventing their music to stay ahead of competition and left them to catch up with the leaders..
9. Sync with Lyrics: Their music was such that, a listener could connect regardless of the knowledge or understanding of lyrics..and this was proven by the unprecedented success of Awara and Shree 420 which is as popular all over the world.
10. Background music: They were such innovators, who managed to hide and store their creations in the background score of movies which they used in later movies. A viewing of their old movies will make you jump with joy when you hear some popular songs in earlier movies….
11. Worked with the best Artists: Another reason for their excellence is their urge and eagerness to work with the best artists in business. Shankar Jaikishan always chose the best musicians . Right from their assistants Dattaram and Sebastian to Panna Lal Ghosh..Ali Akbar Khan, Manohari Singh, Rais Khan, Goody Sarvai, Kishore Desai, Sumeet Mitra..and many more..This helped them to create the best..and nothing else..

As a diehard fan, who has no knowledge of any classical music or ragas..these are the highlights I could think of and which appeals to me as a common “ Kaansen” a listener..and people like me were their target audience . People like me are in millions and millions all over the world..and hence they commanded a following never seen before.

As they scaled one peak of success after the other with they knew it was God’s intervention and they remained grounded all their life, humble to the core, and always on the forefront to shoulder any responsibility for any community service like fund raising for nation.

The most tragic part of their journey was that Shankar who started this team and brand was left all alone as all his friends and fellow partners in this journey one after another.. First it was Shailendra 1966 and Jaikishan 1971..he was left broken and shattered after these two big losses which no one could ever replace.

But this diminutive man who was taller than Himalayas never gave up. He carried on with the banner till his last breath..He came as a faceless and nameless person but left with a name which will be written in Golden Letters in the history of Indian Film Music along with his inseparable Jaikishan..a man who like Shankar came from the lowest strata of the society and left like a king in 1971, when his last journey was attended by thousands of his fans who braved heavy rains..for their price charming..

God is really great, Shankar who was a private person, got a private exit from this world and Jaikishan who was a public figure went with a sea of humanity following his last journey.

Shankar was nothing without Jaikishan as much as Jaikishan was a zero without his elder brotherly Shankar..Together they are and will remain the best to have walked on this earth and the biggest brand of Music India has ever created.

The man lived and died with a mission expressed by Shailendra…

sat suro ke sato sagar, sat suro ke sato sagar
man ki umango se jage, man ki umango se jage
too hee bata
too hee bata mai kaise gau behri duniya ke aage
behri duniya ke aage

jina nahi aaya mohe abb toh chhupa le
jina nahi aaya mohe abb toh chhupa le
charno me, charno me tere charno me, charno me

SHANKAR THE SANGEET YOGI
Where can one begin to write anything about this diminutive man built like a wrestler , serious as a yogi with a tough exterior, and as soft and sweet as a leechi..juicy and succulent which can enhance the flavour of any dessert to which it is added and delicious as stand alone. He combines with an equally diminutive but irresistibly charming companion with matching passion for music.
Together they emerge as Shankar Jaikishan the biggest brand ever to have worked in Hindi Film Music “ Na bhooto na bhavishyo” ( neither in past nor in future) They get their first movie fairly early for two rank outsiders in an Industry which is a closed group, where very few can enter without struggle. Call it providence , that they landed in Bombay and began to work with Prithvi Theatres , their alma mater.
This gave them access to Prithviraj Kapoor and his family , especially Raj Kapoor who was an actor / filmmaker as young as Shankar with equal passion to create something new and entertaining in Hindi Films..Destiny put them at a situation where they were to work together for Raj Kapoor’s second movie Barsat, after his debut movie( as filmmaker ) Aag had failed at BO.
Raj Kapoor offered Shankar to score for Barsat, on recommendation by Prithvi Raj Kapoor who had seen his talent and passion in his plays. Shankar was assisting Ram Ganguli at Prithvi Theatres and RK films as well. This was the moment of reckoning for a young Shankar who had dreamt of scoring music for a movie, and opportunity came knocking at his door.
Anyone else would have grabbed the offer without a second thought. But then this man was no ordinary run of the mill musician, he was Shankar Singh Raghuvanshi a man destined to write a new history in Hindi cinema. He placed a condition that he will score but with Jaikishan as his partner. What happened later is part of the folklore.
Barsat was a success, the kind of which was never seen before in Hindi cinema. Music of Barsat opened new avenues for music companies to explore Hindi film music as serious business vertical. Ten songs nine of which were sung by Lata Mangeshkar a new singer at that time, whom Shankar had seen at Husnlal Bhagatram’s studio and was thoroughly impressed with her talent.
Barsat had made a resounding entry of Shankar Jaikishan as composers, and Hasrat Jaipuri and Shailendra as lyricists. This team of four young men , with burning desire to leave their impression as none had ever done. This was their first movie and none of them knew where their journey was destined to be, and at what level will they leave this Industry.
It will be an exercise in futility to list out their successful movies as this forum is well aware of each minute detail. What needs to be discussed is their USP (unique selling proposition). What made their music so popular and consistently appealing for over two decades till the time, God began to end this team one after another.
1. Position when they entered : Prior to their arrival Hindi music had come a long way from the first talkie in 1931 to 1949. Many composers like Rai Chand Boral, Pankaj Mulik , Khemchhand Prakash Gulam Hyder , S N Tripathy , Anil Biswas, C Ram Chandra and Naushad … a few more had created immensely interesting and highly evolved music. They introduced many new concepts, and had taken film music to new levels. Each one of these composers are highly respected composers who came with years of regimented training of classical music Indian and Western s well.
2. New Syntax by Shankar Jaikishan : Shankar Jaikishan had learnt and imbibed contributions by all these greats. But they did not walk the same path which these greats had walked. They created something none of these had greats had done. They did not stick to the classical grammar and syntax of classical composition. They broke all the rules without compromising the essence of Indian music and its appeal.
3. What was New: Their songs were a mix of a few ragas which were very close to one another in a superficial level. Someone with knowledge of syntax of each raga can pitch in with the mix of ragas they used..like a mukhda in one raga and antara in another one..and many such innovations.
4. Fusion: They were immensely influenced by Western symphony and its style of background score for the harmony which was the essence of Western Classical music. Whereas melody was the essence of Indian Classical music. Shankar Jaikishan were successful in fusing the two and created their new brand of music which was “ Brand Shankar Jaikishan”
5. Target Audience: The composers prior to Shankar Jaikishan were immensely trained talents in classical music and their target audience were listeners who knew and understood classical music or some form of folk music of certain regions. But Shankar Jaikishan came without any formal training from any school of music, they were learning from life, nature and every source in the universe. That is the reason their songs did not sound radically different, but always felt like one was familiar with these songs, but did not know where they came from, but appealed immensely to the common and the pundit alike. Their music came from their heart and reached the listeners heart..and stayed put forever.
6. Composers for films: their music was never created to showcase their knowledge of music, it was made to suit the situation, story, period and character. They never differentiated who they were scoring for. Their music was their best regardless of the stature of producer, banner and actor. They scored classics for the smallest actors as well.
7. Innovations: One of their specialties was use of onscreen actors voice in the songs which made the song unique and interesting, like Madhubala and Premnath in Badal..to an endless number of songs..all of them hits.
8. Reinventing themselves: Once Shankar Jaikishan skyrocketed with their debut movie they kept on reinventing their music to stay ahead of competition and left them to catch up with the leaders..
9. Sync with Lyrics: Their music was such that, a listener could connect regardless of the knowledge or understanding of lyrics..and this was proven by the unprecedented success of Awara and Shree 420 which is as popular all over the world.
10. Background music: They were such innovators, who managed to hide and store their creations in the background score of movies which they used in later movies. A viewing of their old movies will make you jump with joy when you hear some popular songs in earlier movies….
11. Worked with the best Artists: Another reason for their excellence is their urge and eagerness to work with the best artists in business. Shankar Jaikishan always chose the best musicians . Right from their assistants Dattaram and Sebastian to Panna Lal Ghosh..Ali Akbar Khan, Manohari Singh, Rais Khan, Goody Sarvai, Kishore Desai, Sumeet Mitra..and many more..This helped them to create the best..and nothing else..

As a diehard fan, who has no knowledge of any classical music or ragas..these are the highlights I could think of and which appeals to me as a common “ Kaansen” a listener..and people like me were their target audience . People like me are in millions and millions all over the world..and hence they commanded a following never seen before.

As they scaled one peak of success after the other with they knew it was God’s intervention and they remained grounded all their life, humble to the core, and always on the forefront to shoulder any responsibility for any community service like fund raising for nation.

The most tragic part of their journey was that Shankar who started this team and brand was left all alone as all his friends and fellow partners in this journey one after another.. First it was Shailendra 1966 and Jaikishan 1971..he was left broken and shattered after these two big losses which no one could ever replace.

But this diminutive man who was taller than Himalayas never gave up. He carried on with the banner till his last breath..He came as a faceless and nameless person but left with a name which will be written in Golden Letters in the history of Indian Film Music along with his inseparable Jaikishan..a man who like Shankar came from the lowest strata of the society and left like a king in 1971, when his last journey was attended by thousands of his fans who braved heavy rains..for their price charming..

God is really great, Shankar who was a private person, got a private exit from this world and Jaikishan who was a public figure went with a sea of humanity following his last journey.

Shankar was nothing without Jaikishan as much as Jaikishan was a zero without his elder brotherly Shankar..Together they are and will remain the best to have walked on this earth and the biggest brand of Music India has ever created.

The man lived and died with a mission expressed by Shailendra…

sat suro ke sato sagar, sat suro ke sato sagar
man ki umango se jage, man ki umango se jage
too hee bata
too hee bata mai kaise gau behri duniya ke aage
behri duniya ke aage

jina nahi aaya mohe abb toh chhupa le
jina nahi aaya mohe abb toh chhupa le
charno me, charno me tere charno me, charno me

Shankarji we can never forget you, and do miss your presence..I am sure you are entertaining the Gods up there..!

What was so special about Shankar Jaikishan?

Let us begin with their Barsat. This movie was scored by two composers who were rank newcomers to Hindi Film Music. Moreover they were untrained musicians who’s only aim in life was to score music and compose new songs.

Their contemporaries were great scholars of various schools of music with thorough exposure and training in Indian Classical music. Their music reflected all that they learnt from their masters, with impeccable precision. As most of them came from rich family backgrounds, their exposure to Western Music was also very wide, as such they did use Western Music in their compositions.

Shankar was 24 and came from a very modest background and Jaikishan was 17 with a similar economic background. What brought them together was their burning desire to make a mark as they knew, that what was within them was far superior to what was being heard all around them.

Raj Kapoor gave them a break on the advice of his father the great Prithviraj Kapoor , when he fell out with his Ram Ganguli. This was something destiny had written for them and when such prodigies are given on opportunity, the grab it with all their life.

What kind of music they scored for Barsat, need not be mentioned here. But let us just take a look at the songs, which were lapped up by the audience and listeners all across India. Each song was as fresh as dew drops, as pure as springs flowing down the mountainous forests, and as rich as evergreen rain forests.

Each song has the fragrance of native soil and had the presence of a touch of a new flavour of something unheard earlier. What was this? This was their use of Western orchestration for songs composed with native flavour. They had blended Indian music with Western orchestra which was new.

Having achieved bumper success, they were now fired up to scale new heights and create new music which reaches the listeners heart. Shankar Jaikishan knew that their final judges were the listeners and audience. As they did not have any fixed boundaries for their creativity, which was the case with most of the other scholarly and knowledgeable contemporaries. For Shankar Jaikishan sky was also not a limit.

If their final target judges were the audience , then the story and situations were their real challenge. Shankar Jaikishan were known to create their music strictly as per the requirement of the script, character and the actor on screen. Year after year, movie after movie they scored music which was different from their earlier scores and movies.

Nothing we heard in Barsat was ever heard in any of their latter movies. Awara was different and unique as was Badal, Nagina or Kaali Ghata. Their faith in their creativity was so strong, that they never held back any composition for a latter day. Their early movies were studded with many songs in each movie, and it was a challenge to choose one favourite out of them as each one was different and in style and genre.
In my humble opinion, their secret to success was their ability to think on their feet, and create music as the movie and story demanded. As a sample we shall examine their movies from Barsat to 1954, which means their first 5 years. I am listing them here and the readers can evaluate for themselves .

1949 Barsat 1951: Awara, Badal Kaali Ghata and Nagina

1952: Daag , Parbat , Poonam 1953: Aas, Aah, Aurat, Naya Ghar, Patita and Shikast

1954: Boot Polish, Mayur Pankh and Pooja .

Each of these movies and their music albums was different from the other. Each of these movies had more than 6 songs and had different styles and orchestrations. While Barsat broke all the records in India , Awara shattered all the International barriers and became a timeless classic all over the world.

Variety and innovation with local flavour and popular appeal was the essence of their music and soul of their creativity was 100% commitment to their craft and total honesty to their producers who had placed their faith in their creativity.
They were very simple human beings at heart and genuine craftsmen immensely committed to their craft and profession.

I will continue this series, covering their journey for each 5 year period or may be less, as years passed by, their number of movies in each year kept on increasing.

Hope you like the contents.

Shankar Jaikishan The best of Friends!

HAPPY FRIENDSHIP DAY 2017

106

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By

 

Friendship is a relationship which humans create by their choice and build with their emotions, commitment, loyalty and an infinite understanding between two individuals who stand by one another in thick and thin, rain or shine , high or low , rich or poor come what may. It sounds very easy to claim friendship but not an easy task to live up to it.

One rarely finds examples of such friendships in history. Mythology has examples like Krishna –Sudhama , Karna-Duryodhan are two names which come to my mind. My friends and readers may add examples of such friends.

But one name all of us seem to overlook is that of Shankar Jaikishan. There can never be better examples of friendship in the history; neither in the past nor in the present. Shankar was a passionate musician from Hyderabad who reached Bombay in search of opportunities for his talent. He meets Jaikishan in the office of filmmaker , and they click instantly , better than love at first sight.

Shankar takes Jaikishan to Prithvi Theatres where he is employed as a musician and an odd job man. His reputation as a committed and loyal talent, Jaikishan is employed. They work together and begin laying the foundations for what was going to be the biggest brand in Hindi Film Music.

Opportunity arrives in the form of Barsat , when Shankar is offered to score music in place of Ram Ganguli. Shankar insists that he will work with Jaikishan as his partner, and despite some resistance by Raj Kapoor due to Jaikishan’s tender age , they are signed up as “SHANKAR JAIKISHAN” Music Directors for Barsat under RK films.

The rest is history. Years later, Shankar is conferred a high civilian award of Padmashree in recognition of his services to the government in the form of fund raising music concerts to the extent which was beyond imagination . But Shankar insisted that he will accept the award only if Jaikishan was also awarded along with him. His stature was such that Government conceded his suggestion and awarded PADMSHREE to SHANKAR JAIKISHAN.

Shankar thanked Prithviraj Kapoor for his success and Jaikishan thanked Shankar for his success. This was the mettle of these genius composers and their values to friendship and gratitude to the hand that helped them when they needed it the most.

The greatness of their friendship was nearly divine. By nature they were diametrically opposing to one another. Shankar was a serious man, committed to his music, robust in nature , brutally frank in his words and loyal for life to the people who helped him. Jaikishan was fun loving , flamboyant party animal , loved all good things in life. Despite these differences they were connected at heart and soul and they thought and worked at a wavelength which cannot be described in words.

As composers they loved the same ragas, they composed similar songs but each one gave their special touch to each raga, and left the world guessing who created which song. Bhairavi was their favourite raga, and each one gave their interpretation to Bhairavi which only they knew, no one outside their world ever knew. All the so called experts of music speculate in 101 ways to attribute songs to each other, but only Shankar Jaikishan knew the “andar ki baat”

Their working style and pattern was such that, it was nearly impossible for anyone to tell who created what. Incidentally they decided to look after recordings and office alternately right after Kaali Ghata in 1951, as they realized that their work load was increasing and it was scientifically sane for them to distribute their work mutually so that they could optimize their creativity .

Just because one saw Jaikishan in the studios while recording the song, was no guarantee that the song was a propriety of Jaikishan individually . It was always a combined effort and their combined synergy which was at work.

So much so that even after Jaikishan’s death, Shankar said it was their common work as they had created a huge bank of tunes and Shankar knew how and what Jaikishan would have added and created for a certain situation. Such was Shankar’s commitment to Jaikishan , that he continued to pay half of his remuneration to Jaikishan’s family till his death.

Can one find any parallel anywhere in the history of friendship between two unconnected individuals born more than 1000 miles apart , with diametrically different natures working together as friends and dying as inseparable friends. None to my knowledge.

Shankar Jaikishan The best of Friends !

Image may contain: 2 people, people sitting and indoor
Image may contain: 1 person, guitar

युगंधर संगीतकार शंकरजयकिशन

Written by

Shyam Shankar Sharma 

संगीतिय चिकित्सक संगीतकार शंकरजयकिशन
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महान सिद्ध ओर योगी दत्रातेय बताते है कि पृथ्वी हमे धैर्य और क्षमा का ज्ञान देती है,वायु किसी का भी गुणदोष नही अपनाती,आकाश में समस्त विश्व ब्रह्मांड ,चर, अचर, स्थिर -अस्थिर पदार्थ है,जल स्वभाव से ही स्वच्छ, मधुर ओर पवित्र है,अग्नि तेजस्वी ओर ज्योतिर्मयी है,उसके तेज़ को कोई दबा नही सकता,चंदमा की गति तो नही जानी जा सकती किन्तु काल के प्रभाव से उसकी गति घटती व बढ़ती रहती है,सूर्य अपनी किरणों से संसार को प्रकाश तो देता ही है उसके साथ ही वह पृथ्वी का भी ध्यान रखता है।
युगंधर संगीतकार शंकरजयकिशन के संगीत में पृथ्वी,वायु,आकाश,जल,अग्नि,चंद्र और सूर्य के उक्त सभी गुण विद्यमान थे।
शंकरजयकिशन म्यूजिकल फाउंडेशन ,अहमदाबाद की स्थापना वर्ष 2012 में हुई,जिसका उद्देश्य शंकरजयकिशन के दैवीय संगीत का परिचय नवीन पीढ़ी ओर आने वाली पीढ़ी से कराना था जिससे यह पीढ़ियाँ वास्तविक संगीत की पहचान कर सके,इस क्रम में शंकरजयकिशन के 25 सफल और भव्य आयोजन क्रमशः अहमदाबाद, मुम्बई,वडोदरा,,जामनगर व राजकोट में आयोजित किये गए।
इस फाउंडेशन द्वारा शंकरजयकिशन रचित 501 क्लासिकल गीतों का चयन किया गया जो विभिन्न रागों पर आधारितं थे और उनकी एक बुकलेट जारी की गई।इस कार्य को सम्पन करने में सर्वश्री आर. बी.सेठ(वडोदरा,) माणिक भाई पांड्या(जामनगर) आनन्द देसाई(मुम्बई) और ऐडविन वाज़ उर्फ अप्पू (अहमदाबाद) ने बेहद मेंहनत कर 501 गीतों की सूचि तैयार की जो निम्न प्रकार है:-
राग अभोगी,अदाना, बागेश्वारी, बेरागी, बसंत बहार, बसंत मुखरी, भैरव,भैरवी,भीम पलासी,भूपाली,बिहाग, बिलावल,चारुकेशी, दरबारी,दरबारी कणाद, देश,धानी, दुर्गा,गारा, गवांड सारंग,गुर्जर तोड़ी,जयजयवंती, जोगिया,कली, कलावती,केदार,खमाज,किरवानी,मधुवंती,मालकोस,मारु विहाग, मारवा,मेघ मल्हार आदि।
शंकरजयकिशन ने उक्त रांगो पर असंख्य गीत निर्मित किये उनकी रागों के प्रति रुचि देखकर उनके प्रिय गीतकार हसरत जयपुरी जी और शैलेंद्रजी भी अपने गीतों में शब्दों का चयन तदनुरूप ही करते थे,यही कारण है कि इन चारों महान तपस्वी व्यक्तियों ने हिंदी फिल्म संगीत को वह गीत संगीत का उपहार दिया जिसे आज तक कोई भी स्पर्श भी नही कर पाया है?
भैरवी,शंकरजयकिशन का सर्वाधिक प्रिय राग था,उन्होंने कहा था
” कोई भी राग भैरवी राग को परास्त नहीं कर सकता,हमारा अनुभव है कि इस राग द्वारा विभिन्न प्रकार का संगीत संयोजन किया जा सकता है,यह ईश्वरीय प्रदत्त राग शंकरजयकिशन को ही उपहार में मिला था,इस राग ने हिंदी फिल्म संगीत की पहचान ही बदल दी,शंकरजयकिशन ने अपने संगीत में रागों का मधुरतम मिश्रण किया कि वह संगीतिय ओषधी बन गए,उनका कहना था संगीत वही तो मानव को स्वस्थ रखे उसे प्रसन्नता दे क्योकि प्रसन्नता में ही ईश्वर निवास करता है”।
भैरवी के अलावा मियां मल्हार,मिश्र पीलू,मिश्र कली, नायकी कनाड़ा, पहाड़ी,पीलू,बागेश्वरी,सारंग,शंकरा,शिवरंजनी,शुद्ध कल्याण,शुद्ध सारंग,तिलक कामोद,तिलंग,तोड़ी,विभास, यमन कल्याण,यमन बिलवाल,यमनी खमाज और झिंजोटी..शंकरजयकिशन के प्रिय राग थे।शंकरजयकिशन पर हिंदी सिनेमा के फ़िल्मी पंडित उनके संगीत को पश्चिमी प्रेमी मानते है?किन्तु शंकरजयकिशन का मानना था संगीत केवल संगीत है,यह अनंत है,इसे दिशाओं में समेटना उचित नही?हर देश और उसकी सभ्यता का अपना संगीत होता है!संगीत बहुरंगी होता है।जब उन्होंने बसंत बहार का संगीत रचा तो आलोचक दंग रह गए,बसंत बहार जैसा शास्त्रीय संगीत आज तक कोई भी संगीतकार निर्मित नही कर पाया और संभवतया कोई कर भी ना पायेगा?ओर जिन उपरोक्त रागों पर जिनियस संगीतकार ने असंख्य गीतों का निर्माण किया अपनी शुरू की 25 फिल्मो में निरंतर लतामंगेशकर से लगभग 100 के ऊपर गीत गंवाए उन्हें आप सीमित परिधि में नही बांध सकते?वह हरफलमौला थे,विश्ब संगीत की हर विधा पर उनकी गहरीं पकड़ थी।
जब लोग राम,कृष्ण की आलोचना करते नहीं चूकते तो भला वो शंकरजयकिशन को कैसे न कौसे?
विशिष्ठता के कई दुश्मन होते है!इसी कारण राम,कृष्ण और शंकरजयकिशन के असंख्य आलोचक है!
पर कौंओ के कांव कांव करने से गांव खाली नहीं होते है?यह बात शंकरजयकिशन विरोधियों को अपने मस्तिष्क में अंकित कर लेनी चाहिए।शंकरजयकिशन असाधारण संगीतकार थे अतः उनकी तुलना किसी भी संगीतकार से करना उचित नही!क्या सूर्य की तुलना किसी से की जा सकती है?नहीं वह स्वयं प्रकाश पुंज है,जगत कल्याण के लिए उत्पन्न हुआ है जैसे शंकरजयकिशन संगीत जगत में संगीत उत्थान के लिए जन्मे थे,उनका संगीत दैवीय था और इसी कारण वो चिकित्सीय भी था जिससे मनुष्य जाती की सेवा की जा सके।
स्मरण रहे संगीत के सात स्वरों में ईश्वर की आराधना होती है…..
सा.. द्वारा ब्रह्मा,रे…द्वारा अग्नि, गा.. द्वारा विष्णु, पा…द्वारा नारद,धा… द्वारा गणेश और नि..द्वारा सूर्योपासना की जाती है,इसी आराधना को शंकरजयकिशन साधना द्वारा आत्मसात कर चुके थे।संगीत की रांगो से आत्मसुख की अनुभति होती है।
प्रसिद्ध न्यूरोलॉजिस्ट डॉक्टर ऑलिवर स्मिथ का कहना है कि राग शिवरंजनी से स्मरण शक्ति बड़ाई जा सकती है,शंकरजयकिशन ने इस राग पर कई गीतों की रचना की है,इस राग मेआपटिज्म, मष्तिष्क विचार में लाभ व याददाश्त बढ़ती है।इसको सुनने का समय रात 10 बजे से 2 बजे तक का है,यही समय इस राग से लाभ पाने के लिए उत्तम माना गया है।शंकरजयकिशन के इस राग पर आधारितं कुछ गीत है:-
1,आजा रे अब मेरा दिल पुकारा(आह 1953)
2,आवाज देके हमे तुम बुलाओ( प्रोफेसर 1962)
3,चंद्रमा मदभरा क्यो झूमे है बादल में( पटरानी 1956)
4,क्या मार सकेगी मौत उसे( सन्यासी 1975) आदि आदि
भैरवी राग आनंद और शांति प्राप्त करने का अचूक नुक्सा है,यह गठिया,मांसपेशियों से सम्बंधित रोगों में लाभप्रद है।इसको पतझड़ के मौसम में सुनना लाभकारी है,अनिंद्रा के शिकार लोंगो के लिए यह एक रामबाण ओषधी है।शंकरजयकिशन के इस राग पर आधारितं कुछ गीत है..
1,आ अब लौट चले(जिस देश मे गंगा बहती हूं)
2,आजा सनम मधुर चांदनी में हम (चोरी चोरी)
3,अपने हुए पराये किस्मत ने क्या दिन दिखलाये( अपने हुए पराये) आदि आदि
केदार राग उन मरीजों के लिए है जो जुखाम, सिर दर्द व अस्थमा रोग से ग्रसित है।यह राग आधी रात को सुनना उचित है,इससे सकारात्मक सौंच उत्पन्न होती है।1970 में प्रदर्शित फ़िल्म ज्वाला का एक गीत ..जागे रात भर तेरी याद में बालम,ओ बालम …इसका बेहतरीन उदाहरण है।
खून की कमी हो तो राग पीलू सुनना फायदेमंद होता है,शंकरजयकिशन की इस राग पर आधारितं कुछ रचनाएँ है…
1,ऐ फूलों की रानी,बहारो की मलिका (आरजू ..1965)
2,बड़ी देर भई कब लोगे खबर मोरे राम( बसंत बहार..1956)
3,बनवारी रे जीने का सहारा तेरा नाम रे ( एक फूल चार कांटे..1966)
4,मुरली बैरन भई ओ कन्हिया…( New Delhi…1956) आदि आदि
राग विहाग ..मनोरोग यानी डिप्रेशन में अत्यंत लाभकारी है।शंकरजयकिशन कि इस राग पर आधारित कुछ रचनाएँ है इस प्रकार है..
1,दुपट्टे की गिरह में बांध लीजिये (अपने हुए पराये)
2,इक बुत बनाऊंगा (असली नकली)
3,तुझे जीवन की डोर से ( असली नकली)
4,वो दिन याद करो ( हमराही) आदि आदि
शरीर यदि शक्तिहीन हो रहा हो तो राग जयवंती सुनना लाभप्रद है।उत्साह वर्धन के लिए थोड़ा तेज़ संगीत सुनना लाभदायक है,शंकरजयकिशन की इस राग पर आधारितं रचनाएँ है…
1,अंग से अंग लगा ले सांसो में है तूफान (ऐलान)
2,मारे गए गुलफाम अज़ी हाँ मारे गए गुलफाम (तीसरी कसम),
3,मन मोहना बड़े झूंठे..( सीमा)
4, सुनी सुनी सांस की सितार पर (लाल पत्थर) आदि आदि
राग दरबारी हृदय रोग में अत्यंत लाभकारी है,शंकरजयकिशन की इस राग पर आधारितं रचनाएँ इस प्रकार है…
1,आज कल में ढल गया दिन हुआ तमाम (बेटी बेटे)
2,बड़ी देर भई ( बसंत बाहर )
3,कहाँ जा रहा है (सीमा)
4,तेरी याद दिल से भुलाने चला हूँ( हरियाली ओर रास्ता)आदि आदि
विडम्बना यह रही कि संगीत को केवल मनोरंजन का साधन माना गया इसके आध्यात्मिक स्वरूप की अवहेलना की गई, किन्तु शंकरजयकिशन ने अपने आरम्भ से ही इस अवधारणा को तोड़ने का सतत प्रयास किया और इस हेतु प्रयोग पर प्रयोग सतत अपनी साधना के बल पर किये और अपने संगीत को मेडिकल साइंस से जोड़ने की पूरी कोशिश की ओर कामयाब रहे,इसके लिए उन्होंने प्रकृति का सहारा लिया।लगभग 40 वर्ष पूर्व मैंने शंकरजयकिशन जी के शंकरजी का कथन अपने एक दिवंगत मित्र से सुना था,जिसमे शंकरजी बताते है कि सा.. की उत्पत्ति मोर के स्वर से,रे…की उत्पत्ति बैल ,गाय के स्वर से,ग..की उत्पत्ति बकरी भेड़ से,म…की उत्पत्ति क्रोंच नामक पक्षी के स्वर से,प…की उत्पत्ति कोयल के स्वर से,ध…की उत्पत्ति घोड़े के स्वर से ओर नि …की उत्पत्ति हाथी के स्वर से हुई है।अब आप अंदाजा लगा सकते है कि शंकरजयकिशन किस प्रकार प्रकृति और आध्यात्म में अपने संगीत को खोजते थे जिसकी कल्पना संगीतकार कर ही नही सकते?संगीत तो एक सागर है जिसकी एक बूंद में भी वही गुण है जो समुन्द्र की शेष जल राशी में है।शंकरजयकिशन को ज्ञान था अथवा जो उन्होंने अपने गुरुओं से प्राप्त किया था कि जीव जंतु ओर पक्षी तो एक ही स्वर में बोल सकते है किंतु मानव समस्त स्वरों में गा सकता है।शंकरजयकिशन ने इसी धारणा को अपनाया क्योकि वेदों में भी संगीत चिकित्सा का जिक्र है।
राब ई बर्टन नामक वैज्ञानिक 17 वी सदी की अपनी कृति “द ऐनासैमी ऑफ मेलकोली”में लिखा है कि संगीत और नृत्य मानसिक रोगों के उपचार में अतिं महत्वपूर्ण है।
विश्ब विख्यात भोतिकविद आइंस्टीन ने जब अपने अविष्कारों का दुरुपयोग परमाणु विभीषिका के रूप में देखा तो वह अत्यंत दुखी हो गए और अपने जीवन के अंतिम क्षणों में “वायलिन” का सहारा लेने लगे जो उन्हें सकून पहुँचाती थी।शंकरजयकिशन का तो प्रमुख हथियार ही वायलिन था और ग्रुप वायलिन में उनका संगीत निवास करता था।”टाइटैनिक”में संगीत देने वाले आस्कर विजेता संगीतकार जेम्स हार्नर का मानना है कि प्रेम से यदि हम दुनियाँ को देखें तो हम अलग नहीं साथ साथ होते है।वह कई बार संगीत सृजन करते वक्त रोने लगे जाते थे।वह लिखते है कि में कई बार दूसरे संगीतकारों से इसलिए अलग थलग पड़ जाता हूँ ..क्योकि संगीत मात्र मेरे लिए कर्म नहीं, एक कला है?
हिंदी फिल्म संगीत में शंकरजयकिशन की अवस्था बिल्कुल जेम्स हार्नर जैसी है क्योंकि यह भी कला के लिए जीते थे फिल्मो की संख्या बल के लिए नहीं?
शंकरजयकिशन को कोरस गीतों का शहंशाह माना जाता है,अपनी प्रथम फ़िल्म बरसात से ही उन्होंने इसका आगाज़ कर दिया था और यहाँ से लगातार आप उनकी फिल्मो पर दृष्टिपात करे तो एक,दो,अथवा तीन तीन कोरस उनकी फिल्मो में आपको मिल जाएंगे,इसके पीछे का रहस्य शायद शंकरजयकिशन जानते थे।
जब कई व्यक्ति समूह में गाते है तो उनके स्वर प्रवाह से उल्लास का वातावरण निर्मित होता है,जो समस्त सुनने वालों में स्फूर्ति ओर ऊर्जा का संचार करता है।इसी कारण सामूहिक आरती,सामूहिक लोकगीत,सामूहिक विवाह गीत,सामूहिक देश भक्ति गीत अपनी स्वर लाहरियों के कारण वातावरण में जो कंपन पैदा करते है तो उनके संपर्क में आने वाला प्रत्येक मनुष्य भक्ति,आनंद,उल्लास,जोश और प्रेम के सागर में डूब जाता है,अपने सारे दुखो को भूल तनाव मुक्त हो जाता है,इसी कारण शंकरजयकिशन ने प्रायः अपनी फिल्मो में कोरस गीतों को बेहद महत्व दिया क्योंकि यह मानव के कल्याण और स्वास्थ्य से संबंध रखते थे,इसीलिए तो उन्हें दिव्य संगीतकार कहा जाता है।
अजीब दास्ताँ है ये,दिल के झरोखे में तुझको बिठाकर,जीना यहां मरना यहां,पंछी बनू उड़ती फिरूँ, तू प्यार का सागर है,तुम्हारे है तुमसे दया मांगते है,अब कहाँ जाय हम ये बता दे जमी इस जहां में कोई भी हमारा नही आदि आदि अनगिनत गीत।
प्रकृति में संगीत से बढ़कर मानव जाती के लिए दूसरा कोई वरदान नहीं, शंकरजयकिशन ने इसी को आधार मानकर संगीत की साधना कर अपूर्व सिद्धियाँ प्राप्त की ओर कहलाये युगंधर संगीतकार
शंकरजयकिशन
Shyam Shanker Sharma
Senior Scientific Officer(Ex.)
Forensic lab.JAIPUR
RAJASTHAN.

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Manohar Thadani
Manohar Thadani शानदार लेख , अपने आप मे एक अनूठा प्रयास ।

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Sudarshan Pandey
Sudarshan Pandey वाह !!!!! अप्रतिम !!!!! क्या सुंदर लेख है. मन तृप्त हो गया. कल मैं इसे अपने ब्लॉग पर लेने वाला हूँ Shyam Shankar Sharma भाई. अभी मोबाइल पर यह सुविधा नहीँ है वरना अभी ही इसे ब्लॉग पर प्रकाशित कर देता.

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Shyam Shankar Sharma
Shyam Shankar Sharma आदरणीय सुदर्शन जी,इसे आप ब्लॉग पर ले रहे है,इससे बड़ा सम्मान और क्या हो सकता है।मेरा लक्ष्य सदा यह रहेगा कि में शंकरजयकिशन जी को सदा आध्यात्म से जोड़ूँ।उनके इतिहास,उत्थान पतन,आलोचनाओं,ओर उनके साथ किये गए विश्वासघात की कई बाद सदा प्रचुर मात्रा में मिलती है,किन्तु मेरा लक्ष्य उनके दिव्य स्वरूप को दर्शाना है,इसके लिए किसी नेट,सेलिब्रेटी,SJ से परिचित ओर संबंधित व्यक्तियों से इंटरव्यू लेने की आवश्यकता नही होती।आपको मेरा लेख अच्छा,असीम आभाऱ

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Sudarshan Pandey
Sudarshan Pandey Jee haan aap ne satya kahaa…………….
इसके लिए किसी नेट,सेलिब्रेटी,SJ से परिचित ओर संबंधित व्यक्तियों से इंटरव्यू लेने की आवश्यकता नही होती
Yah aawashyakata tabhi hoti hai jab tathyon ki pushti ki jaani rahti hai, yaa koi nayaa tathya maaloom karna padta hai apne Idols ke baare mein………………….
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Shankar Jaikishan : The most prolific users of many musical Western musical instruments

By

Rajan Narayan

 

Shankar Jaikishan who have literally no formal education in Indian or Western Classical music, ended up becoming the most prolific users of many musical Western musical instruments which widened their repertoire of orchestra and synergy of sounds a great fusion of Western and Indian music which was the biggest innovation for Indian listeners, mostly the lowest common listener in the deepest location of India.

They may not be the first composers to introduce many innovations, but they were definitely the most popular innovators which was appreciated by the common listener and viewer, who was their biggest target audience.

Here is a great song by Talat who was till then known as a Gazal singer and one who excelled in pathos numbers, singing an fast number full of sentimental pain, but with loads of energy..and accordion was used so prominently in this song..

This was sustainable innovation..which made them better than the best..

Hope you like it..

Shankar Jaikishan were rediscovering and re-engineering their style and trend.

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Main Sundar Hun!

This movie was a big hit in 1971, for its music and the rising market value of Mehmood as an actor who sells. Said to be a remake of a Tamil Hit by Tamil comedian Nagesh, this movie did very well with Mehmood in lead.

As an actor Mehood was a veteran in movies, and had played all shades in his nearly 15-16 years of career till then. In CID he plays a negative character, in Chote Nawab an innocent nawab, in Beti Bete and Choti Behan he plays very important characters sharing equal and sometimes greater footage than the lead actor.

Mehmood kept growing from strength to strength with whatever opportunity he got or he created for himself. His synergy with producers and directors from South has been great from Choti Behan days. He was a scene stealer and many a leading stars were apprehensive to share screen space with him.

This movie showcases Mehmood in all possible shades from a poor buck teethed waiter to a super star in cinema.
As a Shankar Jaikishan fan, this movie was a great hit in a year which had 17 releases for this composer duo. 1969 became a watershed year in HFM, with the unprecedented success of Aradhana and Do Raste when the first Super Star of Hindi cinema hit the skies, and two composers Sachin Deb Burman and Lakshmikant Pyarelal suddenly appeared to be rising on the horizon.

All the previous stars were fading into insignificance and with them an era was coming to an end. Shankar Jaikishan were rediscovering and re-engineering their style and trend. Main Sundar Hun was one such movie which was a clear shift and direction. Anand Bakshi had written all the songs for this movie, as he was the new star of lyricists on the horizon with no one to match at that level.

The old lyricists were going strong, but it was like Sachin Tendulkar making his entry and stealing the thunder right under nose of all veterans present in the team. Jaikishan who is seen in this movie , in the recording studios had read the writing on the wall and forged this alliance. Jaikshan who was in his 40s had a lot more to contribute to the industry with his maturing as a composer, and his congenital mastery over learning new things in a jiffy.

Shankar Jaikishan were ready to rewrite a new chapter in the films, as they had some fabulous hits which included the Binaca Chart buster from Andaaz..

BUT….

Main Sundar hun is a movie of those times when major changes were happening and were in store to happen..
It will remain as a movie when one saw Jaikishan for the last time..

I am posting a song which ranked 9th in Binaca Geetmala !

Movie: Main Sundar Hoon
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