Tag Archives: entertainment

Website on Shankar Jaikishan launched by SJFAI, Hyderabad

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

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

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

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

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

A dream come true…..partially. ..

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

The committee and members whose silent support and encouragement..

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

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

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

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

Thanks again

Mayank Shukla

With Lakshmi k Tummala
Mithun Krishnan

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आ अब लौट चलें … कैसे गूँजा शंकर जयकिशन का शानदार आर्केस्ट्रा? Aa Ab Laut Chalein

Courtesy :

http://www.ek-shaam-mere-naam.in/2018/06/aa-ab-laut-chalein.html

jdm

पुराने हिंदी फिल्मी गीतों में अगर आर्केस्ट्रा का किसी संगीतकार ने सबसे बढ़िया इस्तेमाल किया तो वो थे शंकर जयकिशन। हालांकि उनके समकालीनों में सलिल चौधरी और बाद के वर्षों में पंचम ने भी इस दृष्टि से अपने संगीत में एक अलग छाप छोड़ी। पर जिस वृहद स्तर पर शंकर जयकिशन की जोड़ी वादकों की फौज को अपने गानों के लिए इक्ठठा करती थी और जो मधुर स्वरलहरी उससे उत्पन्न होती थी उसकी मिसाल किसी अन्य हिंदी फिल्म संगीतकार के साथ मिल पाना मुश्किल है। शंकर जयकिशन का आर्केस्ट्रा ना केवल गीतों में रंग भरता था पर साथ ही इस तरह फिल्म के कथानक के साथ रच बस जाता था कि आप फिल्माए गए दृश्य से संगीत को अलग ही नहीं कर सकते थे।

मिसाल के तौर पर फिल्म  “जिस देश में गंगा बहती है” के इस सदाबहार गीत आ अब अब लौट चलें को याद कीजिए। 1960 में बनी इस फिल्म का विषय चंबल के बीहड़ों में उत्पात मचा रहे डाकुओं को समाज की मुख्यधारा में वापस लौटाने का था। इस फिल्म के निर्माता थे राज कपूर साहब। राजकपूर की फिल्म थी तो शंकर जयकिशन की जोड़ी के साथ शैलेंद्र, हसरत जयपुरी, मुकेश और लता जैसे कलाकारों का जुड़ना स्वाभाविक था। कुछ ही दिनों पहले सोशल मीडिया पर शैलेंद्र के पुत्र दिनेश शंकर शैलेंद्र ने इस फिल्म से जुड़ी एक रोचक घटना सब के साथ बाँटी थी। दिनेश शंकर शैलेंद्र के अनुसार

“राजकपूर ने फिल्म की पटकथा बताने के लिए शंकर, जयकिशन, हसरत और मुकेश को आर के स्टूडियो के अपने काटेज में बुलाया था। राजकपूर ने  फिल्म की कहानी जब सुनानी खत्म की तो कमरे में सन्नाटा छा गया। अचानक शंकर ने चाय का कप टेबल पर दे मारा और गाली देते हुए उस ठंडे, धुँए भरे कमरे से बाहर निकल गए। सारे लोग उनके इस व्यवहार पर चकित थे। फिर राजकपूर ने शैलेंद्र से कहा कि जरा देखो जा के आख़िर पहलवान* को क्या हो गया? कहानी पसंद नहीं आई? शैलेन्द्र शंकर के पास गए और उनसे पूछा कि मामला क्या है? शंकर ने गालियों की एक और बौछार निकाली और फिर कहा कि डाकुओं की फिल्म में भला संगीत का क्या काम है? बना लें बिन गानों की फिल्म, हमें यहाँ क्यूँ बुलाया है? शैलेंद्र ने उन्हें समझाया कि इस फिल्म में भी गाने होंगे। सब लोग वापस आए और कहानी के हिसाब से गीतों के सही स्थान पर विचार विमर्श हुआ और अंततः फिल्म के लिए नौ गाने बने।”

(*संगीतकार बनने से पहले शंकर तबला बजाने के साथ साथ पहलवानी का हुनर भी रखते थे 😊।)

तो बात शुरु हुई थी शंकर जयकिशन की आर्केस्ट्रा पर माहिरी से। आ अब लौट चलें के लिए शंकर जयकिशन ने सौ के करीब वायलिन वादकों को जमा किया था। साथ में कोरस अलग से। हालत ये थी कि तारादेव स्टूडियो जहाँ इस गीत की रिकार्डिंग होनी थी में इतनी जगह नहीं बची थी कि सारे वादकों को अंदर बैठाया जा सके। लिहाजा कुछ को बाहर फुटपाथ पर बैठाना पड़ा था। कहा जाता है कि इस गीत कि रिहर्सल डेढ़ दिन लगातार चली और इसीलिए परिणाम भी जबरदस्त आया।

आर्केस्ट्रा में बजते संगीत को ध्यान में रखते हुए निर्देशक राधू कर्माकर ने गीत की रचना की थी। ये गीत फिल्म को अपने अंत पर ले जाता है जब फिल्म का मुख्य किरदार डाकुओं को आत्मसमर्पण करवाने के लिए तैयार करवा लेता है। गीत में एक ओर तो डाकुओं का गिरोह अपने आश्रितों के साथ लौटता दिख रहा है तो दूसरी ओर पुलिस की सशंकित टुकड़ी हथियार से लैस होकर डाकुओं के समूह को घेरने के लिए कदमताल कर रही है। निर्देशक ने पुलिस की इस कदमताल को वायलिन और ब्रास सेक्शन के संगीत में ऐसा पिरोया है कि दर्शक संगीत के साथ उस दृश्य से बँध जाते हैं। संगीत का उतर चढाव भी ऐसा जो दिल की धड़कनों के  साथ दृश्य की नाटकीयता को बढ़ा दे। वायलिन आधारित द्रुत गति की धुन और साथ में लहर की तरह उभरते कोरस को अंतरे के पहले तब विराम मिलता है जब हाथों से तारों को एक साथ छेड़ने से प्रक्रिया से शंकर जयकिशन हल्की मधुर ध्वनि निकालते हैं। इस प्रक्रिया को संगीत की भाषा में Pizzicato कहते हैं। इस गीत में Pizzicato का प्रभाव आप वीडियो के 39 से 45 सेकेंड के बीच में सुन सकते हैं।

गिटार की धुन के साथ गीत गीत आगे बढ़ता है।  मुकेश तो खैर राजकपूर की शानदार आवाज़ थे ही, अंतरों के बीच कोरस के साथ लता का ऊँचे सुरों तक जाता लंबा आलाप गीत का मास्टर स्ट्रोक था। इस गीत में लता जी की कोई और पंक्ति नहीं है पर ये आलाप इतनी खूबसूरती से निभाया गया है कि पूरे गीत के फिल्मांकन में जान फूँक देता है। गीतकार शैलेंद्र की खासियत थी कि वो बड़ी सहजता के साथ ऐसे बोल लिख जाते थे जो सीधे श्रोताओं के दिल को छू लेते थी। गलत राह पे चलने से नुकसान की बात हो या समाज द्वारा इन भटके मुसाफ़िरों को पुनः स्वीकार करने की बात, अपने सीधे सच्चे शब्दों से शैलेंद्र ने गीत में एक आत्मीयता सी भर दी है। उनका दूसरे अंतरे में बस इतना कहना कि अपना घर तो अपना घर है आज भी घर से दूर पड़े लोगों की आँखों की कोरें गीला कर देगा।

आ अब लौट चलें, आ अब लौट चलें

नैन बिछाए बाँहें पसारे तुझको पुकारे देश तेरा

आ जा रे – आ आ आ

सहज है सीधी राह पे चलना

देख के उलझन बच के निकलना

कोई ये चाहे माने न माने

बहुत है मुश्किल गिर के संभलना

आ अब लौट चलें …

आँख हमारी मंज़िल पर है

दिल में ख़ुशी की मस्त लहर है

लाख लुभाएँ महल पराए

अपना घर फिर अपना घर है

आ अब लौट चलें …

इतना मधुर संगीत संयोजन करने के बाद भी ये गीत उस साल के फिल्मफेयर अवॉर्ड के लिए नामांकित नहीं हुआ। इसके संगीत संयोजन के बारे में शंकर जयकिशन पर आरोप लगा कि उनकी धुन उस समय रिलीज़ हुए इटालवी गीत Ciao Ciao Bambina से मिलती है। अगर आप वो गीत इटालवी में सुनें तो शायद ही आप इस साम्यता को पकड़ पाएँ। पर अलग से उस धुन सुनने के बाद तुझको पुकारे देश मेरा वाली पंक्ति गीत की धुन से मिलती दिखती है। पर इस हल्की सी प्रेरणा को नज़रअंदाज करें तो जिस तरह गीत को शंकर जयकिशन ने कोरस और लता के आलाप के साथ आगे बढ़ाया है वो उनके हुनर और रचनात्मकता को दर्शाता है।

jdmg

 

वैलेंटाइन के दौर में आज एक अनूठे प्यार की यादें !!! ‘दिल एक मन्दिर’

.

लेखक

श्री शिव शंकर गहलोत

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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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..!

THE HINDI FILM MUSIC EMPERORS ; SHANKAR-JAIKISHAN (SJ) : An in-depth review which amply illustrates why SJ were the real rhythm kings rather than OP or RD.

THE HINDI FILM MUSIC EMPEROR SHANKAR-JAIKISHAN (SJ)

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TRIBUTE TO MY MENTOR SJ

BY ROMESH DALAL

(Don’t forget to watch the “you tube” site at the bottom)

Shankar-Jaikishan (SJ) are known to be the most versatile composer-duo, the Hindi film Industry was ever blessed with! SJ were the pioneers in popularizing Indian film music not only in India but also overseas. Who can forget the immortal songs like `Awara hoon’,  `Ghar aya mera pardesi’ and  `Mera joota hai japani’? These are the compositions that made Raj Kapoor a superstar and made every one to take notice of Hindi film music around the world. `Awara hoon’ and `Mera joota hai Japani’ are still a rage in Middle East, Africa, Russia and China.

They were the only music directors who were presented FILMFARE AWARDS BY THE THEN EGYPT’S PRESIDENT REV. ABDUL GAMMAL NASSER IN 1962-1963 who was on the official visit to INDIA – long live the music of S-J THE TOPPERS OF HINDI FILM MUSIC.

S-J were the first music-composers to understand, realize and demonstrate the important role, which the orchestra can play in enhancing the overall impact of the song. They revolutionized the use of orchestra and interlude music of songs and made these as integral and inseparable parts of their compositions rather than using these as mere fillers, as was the practice before their advent on the horizon of Hindi film music. That is why prelude, interlude and background music of many of their songs is as notable, hum-able & melodious, as the tune of the main song. Quite often, their songs cannot be reproduced impressively without playing their interludes.

Due to their vast knowledge and command over various forms of music (classical, folk, oriental, western, to name a few) Shankar-Jaikishan could do full justice to any film irrespective of the theme & subject of the film! They amply demonstrated this by creating memorable music for themes as diverse as `Basant Bahar’ & `Amrapali’ on one hand, `An evening in Paris’ & `Brahmchari’ on the other hand & like `Teesri Kasam’ on an entirely different front. Needless to say, irrespective of the success or failure of the film commercially, their music invariably came out a success.

 While SJ are widely known for their memorable and immortal melodies for various films of Raj Kapoor (Barsaat, Awara, Sri 420, Chori-Chori, Anari, Jis Desh Mein Ganga Behti hai, Sangam, Mera Naam Joker) Shammi Kapoor (Jungli, Professor, Dil Tera Deewana, Brahmachari, Janwar, Budtameez, An evening in Paris, Pagla kaheen ka, Jawan Mohabbat, Prince, Jane Anjane) and Rajendra Kumar (Zindagi, Dil ek Mandir, Dil apna aur preet parai, Ai Milan ki bela, Arzoo, Sasural), they also gave hit music for several of the movies  of other matinee idols like Dev Anand (Asli Naqli, Love Marriage, Jab Pyar Kisise Hota Hai, Pyar-Mohabbat),  Manoj kumar (Haryali aur Rasta, Pehchan, Sanyasi) and Jitendra (Mere huzoor), to name a few. They were the ones to give Shammi Kapoor the `Yahoo’ image with their revolutionary songs `Yahoo, chahe koi mujhe jungle kahe’ and `Ai ai ya karun main kya suku, suku’. Rajendra Kumar was called  `Jubilee’ star, since all Rajendra Kumar films with music by SJ celebrated jubilees! As you know when “BARSAT” album was released in 1949 as SJ’s first legendary musical mark. At that time under the famous director MEHBOOB KHAN had “ANDAZ” album created by NAUSHAD, that expected to be a big hit. But then because of BARSAT’s huge success, MEHBOOB KHAN told NAUSHAD “OUR ANDAZ ALBUM IS COMPLETELY WASHED AWAY BY BARSAT”. This is the real testimony given by MEHBOOB KHAN about SJ. SJ WERE THE ONLY MUSIC DIRECTOR THEY CHARGE MORE MONEY FOR THEI MUSIC THEN THEIR LEADING HERO IN THE FILM.

Contrary to the popular belief that SJ mainly created popular light-music-oriented songs, if one counts the total number of their classical-music-based songs, one realizes in amazement that they also played a very significant role in taking the Indian classical music to the masses. The success of their classical-music-based songs too is un-paralleled such as in Basant Bahar (`Sur na saje kya gaun main’: Manna Dey, `Bhay bhanjana vandana sun hamari’: Manna Dey, `Badi der bhai kab loge khabar more Ram’: Rafi, `Main piya teri tu mane ya na mane’: Lata), Seema (`Manmohana bade jhoothhe’: Lata, `), Amrapali (`Jao re jogi tum jao re`: Lata), Mere Huzoor (`Jhanak jhanak tori baje payaliya’: Manna Dey), Love in Tokyo (`Koi matwala aya mere dware’: Lata), Jane Anjane (`Chham Chham baje re payaliya: Manna Dey), Sanjh aur savera (`Ajahun na aaye baalma sawan beeta jaye’: Rafi-Suman Kalyanpur), Beti Bete (`Radhike tune bansari churayi’: Rafi), Lal-Pathhar (Re man sur mein ga: Manna Dey-Asha Bhonsle), Chori Chori(Rasik balma: lata ), Mera Naam Joker (Kate na kate Raina: Manna Dey- Asha Bhonsle) and numerous others.

To say that Shankar-Jaikishan understood the taste of the masses would be an understatement; on the contrary, they shaped the taste of the masses to their own innovative will, by their charming, age-less melodies. They created hit after hit so consistently that their films made silver/golden jubilees, quite often solely on the strength of their music. Their music catered to classes and masses alike; while most of their `popular’ compositions were `classy’ in content, their more `classy’ compositions had surprising `mass-appeal’. NO other music composers have so much variety as Shankar-Jaikishan. They hold the record for maximum number of (9) FilmFare Best music awards, which remains an unconquered feat up till now!

As for their individual roles in music, one historian notes the interesting fact that Shanker and Jaikishan had a secret pact between them — that Shanker would do the classical compositions, and Jaikishan the background score. Jai’s background music skills will always remain a legend in musical circles. His compositions magically fitted the scenes to a second, even without the timer that every other composer needs. Jaikishan loved raga “BHAIRAVI” that made him to name his daughter also “BHAIRAVI”.

“When I look back, I increasingly realize that if Gods could descend to the earth and bless us what else could they do but what Shankar Jaikishan did? Forget that they were humans … look at them for their work. Shankar was the form of Shiva with his damru from which emanated the finest rhythms and Jaikishan the Krishna whose flute enchanted us with the finest of melodies.”

If you read the story about Prof. Balasaheb Bhide…. What a Devotee of the Shankar Jaikishan music.
 One has to read his story about “Pune Life Style visits the musical world of Prof. Balasaheb Bhide” where it is memorialized his love for SJ music.

RAFI WON THREE (OUT OF SIX) FILMFARE AWARDS UNDER S-J FILM MUSIC SONGS

 

A tribute to their artistry came when their song “Jaan Pehchan ho” sung by Mohammed Rafi from their 1965 movie `Gumnam’, was included in the opening scenes of the Hollywood movie `GHOST WORLD’ released in 2005 (i.e. full 40-years after the creation of the song by S-J!). Prelude of “Baharo phool Barsao” was used in song of English album by JEM.  Hollywood movie “The guru“ too included a SJ song from Sasural. Even when I think of one of the great directors and actors Sohrab Modi who made many historical movies but he got real recognition by his movie “RAJHATH” due to its extra ordinary music and songs created by Shanker–Jaikishan. What a great pair of musician I have never witnessed after their departure from the Bollywood.

To say that Shankar Jaikishan led and others followed would be an understatement. If Laxmikant Pyarelal emulated their dressing style, Kalyanji Anandji imitated their compositional style for the first five years. Anu Malik, Anand-Milind, Nadin-Shravan, and A R Rahman of our times built a lot of their standing on ‘adaptations’ of S-J tunes.

One of the other shades of the character of the legendary duo was that they had encouraged a number of singers both male and female, at an era when the other Music Directors preferred only Rafi and Lata. They have composed songs for Subir Sen, “ Dil mera ek aas ka panchi” in the film Aas ka panchi-1960, Suman Kalyanpur, “Dil ek mandir hai,” in the film Dil Ek Mandir-1963, Manna Dey, “Yeh Raat Bheegi Bheegi” in the film Chori Chori-1956, Asha Bhosle, “Mur Murke na dekh Mur Mur ke” in the film Shri 420-1955, Sharda, “Titli Uri” in the film Suraj, 1966, Mukesh, “Yeh mera diwanapan hai” in the film Yahudi, 1958, Talat Mehmood, “Koi nahi mera is duniya mai” in the film Daag, 1955, Kishore Kumar, “Zindagi ek safar hai suhana” in the film Andaz,1971. The songs were complimented with brilliant orchestration, which had added lights to the composition of the giant.

Shankar Jaikishan also recorded with almost all the popular singers of the golden era including Mohd Rafi, Kishore Kumar, Mahendra Kapoor, Manna Dey, Lata Mangeshkar, Asha Bhosle, Suman Kalyanpur and Mukesh. Of these, Mohd. Rafi, Lata Mangeshkar, Manna Dey, Suman Kalyanpur, and Mukesh had most of their popular songs recorded with Shankar Jaikishan as compared to other music composers.

Besides the above mentioned established singers, Shankar Jaikishan also worked with other notable singers like Geeta Dutt, Begum Akhtar, Mubarak Begum, Subir Sen, Sharda, Sulakshana Pandit, Anuradha Paudwal, Aarti Mukherji, Preeti Sagar, Krishna Kalle, Suresh Wadkar, Chandrani Mukherji and Hemlata. They also recorded English songs for the film “Bombay Talkies” in Usha Uthup’s voice. Jaikishan loved raga Bhairavi, which he used in many of his popular songs.

Shankar usually teamed up with lyricist Shailendra while Jaikishan preferred to work with Hasrat Jaipuri.

The other aspects of their creation include blending the Indian flavour with the foreign tunes wherever the films were picturised. Best examples can be the song “Sayonara sayonara” in the film “Love in Tokyo”, 1965, had Japanese orchestration, the other being “Raat ke humsafar” in the film “An Evening in Paris”, 1967, had French flavour. Besides their use of few instruments showed the class of their own, Accordion in “Sub kuch sikha Humne na siki hoshiari” in the film Anari, 1959, Saxophone in “Ai sanam jis ne tujhe chand sa surat di hai” in the film Diwana, 1967, Synthesized Harmonium played by V. Balsara in “Awara Hoon” in the film Awara, 1951.

One of the reasons why Shankar Jaikishan did not get the acknowledgement of providing immortal tunes in that era is because it could not be identified as which song is composed by Shankar and which song is composed by Jaikishan. Otherwise Naushad was awarded with Dada Saheb Phalke for his brilliant contribution to Indian music, Majrooh Sultanpuri also received the same award in the lyricist category, Shankar – Jaikishan was deprived of that honour. The other reason may be that they had worked with Raj Kapoor for the longest period and most of the credit of the unforgettable tunes were taken away by Raj Kapoor himself. An archive should be created for the rich and classical creations of Shankar Jaikishan where the works can be preserved for future generations to take inspiration from.

Shankar Jaikishan produced an album “ Raga Jazz Style” where they experimented

Raga Todi

Raga Bhairav

Raga Malkauns

Raga Kalavati

Raga Tilak Kamod

Raga Mian Ki Malhar

Raga Bairagi

Raga Jaijaiwanti

Raga Mishra Pilu

Raga Shivranjani

 

HERE ARE THE MEN WHO MADE IT HAPPEN WITH SHANKAR-JAIKISHAN:

Naal: Ambalal, Lala Gangavane. Vibrophone: Anil Mohile, Kersi Lord, Bujji Lord, Farooq, Dheeraj, Salim.

Side Rhythm: Jayanti Panchal, Suresh Pardesi, Suraj, Bhosale, Bhagwan Rao, Manohar, Ramakant More.

Tabla: Samta Prasad, Abdul Karim, Shankar, Lala Gangavane, Iqbal, Anna Joshi, Lala Ramsingh Pathare, Govind Sattar, Asar.

Dholak: Dattaram, Anna Joshi, Ghulam Mohammad, Abdul Karim, Shankar, Sattar, Punyawan, Pankaj Dube.

Bongo-Congo: Cawas Lord, Kersi Lord, Bujji Lord, Leslie, Ramchand, Prabhakar Mashelkar.

Pathani Dholak: Miskin Khan.

Matka: Raambabu, Sardar Balbir Singh.

Duff: Dattaram, Ajit Singh. Khanjiri: Faiyyaz.

Drums: Bujji Lord, Leslie Fernenades.

Harmonium: V. Balsara

Chonak: Ganpatrao Mohite, Haribhai.

 

CLASSICAL INSTRUMENTS: SITAR, SAROD, GUITAR, VIOLIN, TAMBURA, HARMONIUM, ETC.

 

They made the best use of Violin in songs and Movie background music. Jaikishan is considered the master in giving the Movie background music.

SJ also experimented of many different type of musical instruments including FLUTE (Pannalal Ghosh), Piano, organ, Accordion, harmonica, piccolo, clarinet, oboe, saxophone, bassoon, trumpet, trombone, tuba, Harp, Xylophone, & Bagpipes. They used each musical instrument so effectively that no other musician could use it successfully. They were the master of RAGAS, JAZZ, Rock & ROLL, CLASSICAL, FOLK MUSIC,  & POPULAR MUSIC.

Let us take a DOZEN DHOLAK SJ examples in brief…

We begin with two from Yahudi (1958).

  1. ‘Dil Mein Pyar Ka Toofan‘ has the theka ‘Dhita Dhindhinak’ resounding all over the song all over the place!
 And that theka created a tempest … a listener almost finds himself airborne!
  2. ‘Meri Jaan Meri Jaan‘ ‘Dhig Dhadha Tik Dhadha’ is the core theka.
Go to the line ‘Koi kya kare haye, koi kya kare?’ and listen to the long dayaa-alone piece over it!
Yet another innovation which made this song simply remarkable for the dholak accompaniment.
  3. ‘Haye Tu Hi Gaya Mohe Bhool Re’ has ‘Tigdha tirkit Taktaa tirkit’ or ‘Kradhin tirkit Taktaa tirkit’ as the core theka and this song has many siblings … Main Piya Teri’, ‘Tera Jalwa Jisne Dekha’, ‘Manbhavan Ke Ghar Jaaye Gori’, ‘Dil Ka Na Aarna Aitbaar Koi’, ‘Nache Ang Ang Tere Aage’, ‘Aansoo Ki Aag Leke’, ‘Bhaiyya Mere Raakhi Ke Bandhan Ko Nibhaana’, ‘Begaani Shaadi Mein, Abdulla Deewana’.- all have the stamp of ‘Tigdha tirkit Taktaa tirkit’ or ‘Kradhin tirkit Taktaa tirkit’ as the rhythm refrain!
  4. ‘Dil Apna Aur Preet Parayee’ both the mukhada and the antara begins with a restrained ‘Tak tirkit Tak tirkit’. Or in ‘Tum Roothi Raho’, we find the simple but effective ‘Taktaktak Taktaktak”!
  5. Let us now consider one of the most exciting examples … 
Let us begin with the simpler version which we get in ‘Din Saara Guzaara Tore Angana’.
Listen to the ‘Dhirdhirgat Dhirdhirgat’. When and where? You cannot miss it! Simply unmistakable!
  6. And now go to ‘Kashmir Ki Kali Hoon Main’ where you will meet the same old ‘Dhirdhirgat Dhirdhirgat’ in a truly pulsating form!

And towards the end of the song … 
’Dhirdhirgat Dhirdhirgat’ 
changes its form to 
’Dhirdhirgat______ Dhirdhirgat Dhirdhirgat’ [a (1_+ 2) variation]
to launch the mukhda … ‘Kashmir Ki Kali Hoon Main’ and takes the listener completely by surprise!

Many SJ songs … ‘Bahar Banke Woh Musquaraye’, ‘Surat Hasin, Lagata Hai Diwaana’ and ‘Maine Dekha Tha Sapanon Mein Ik Chandrahar’ have the same ‘Dhirdhirgat Dhirdhirgat’ in a simple [1+1+1] format! Check it out!
  7. Let us take yet another example from Gaban – just to listen to the dholak baya!
‘Ehsaan Mere Dil Pe Tumhara Doston’.
Violins begin this song in characteristic SJ style and Rafi goes solo with the first line of the mukhda,
and when he repeats the mukhda just watch the dholak baya come in playfully! And listen to that baay throughout this number! Little wonder that the SJ fan too reciprocates the gratitude that rafi exudes through the song!
  8. ‘Ghar Aaya Mera Pardesi’ from Awara is possibly one of the exemplary songs for having a wonderfully brilliant theka and a range of laggis all around. Although strictly not a dholak song (for it was a dholaki song), the recording of this song was stalled for hours because no one – Raj Kapoor, SJ and their entire team was happy with the rhythm accompaniment. 

Someone suggested the name of a dholaki player called and Lala Gangawane was ushered in called – a tall strappling man carrying a little dholaki walked into the studio well past midnight! 

As SJs assistant and the man in charge of their rhythm section Dattaram has mentioned “Lalabhau poured out his heart in the song, he played every possible variation, every possible nuance and the result was pure magic”. Do listen to this song once as it mingles with Lata, the mandolin and the chorus as well as the range of instruments!
  9. When you listen to another SJ classic – ‘Baat Baat Pe Rootho Na’ which too has extraordinary dholak accompaniment, make it a point to catch the laggi “Dhin taak taa dhin Dhi taak taa dhettaa” played over the last line of every antraa for e.g.,”Jeevan Safar Mein Sukh Ho Ya Dukh Ho, Rona Padega Akele”.
  10. Now ‘Manbhavan Ke Ghar Aaye Gori’, presents another fascinating imporvisation! 
After every antara when the line ‘Hame Na Bhoolaana’ the dholak effortlessly breaks into a double paced laggi!
  11. ‘Dil Ka Na Karna Aitbaar Koi’ has ‘Dhitta ge tin, Titta ge dhin’ as the core theka construct. OK? Now years later over the ‘Tumhari qasam tum bahut yaad aaye’ & ‘Sau Saal Pehle’ has the same construct repeated!
  12. ‘O mora naadan baalma’ Come to the line ‘Na jaane ji ki baat, o hoi, na maane ji ki baat’ and catch the day-alone play over that line. It is simply astounding! Two LP songs immediately come to mind … Hasta Hua Noorani Chehra and Ooi Maa Ooi Maa Yeh Kya Ho Gaya … now is this what you call inspiration?

Such variations were ‘routinely’ deployed by SJ so to speak … so much so that professional musicians working in the film ndustry today confes that it is simply impossible for the to even emulate such a feat!

 

The ‘Dhigtak Dhigi dhagi’ chapter!

Amongst all the SJ dholak theka innovations it is the zesty ‘Dhigtak Dhigi dhagi’, which has somehow defied boundaries of space and time! Commonly known as Dattaram theka, after the person who created it, SJ used it wonderfully in several of their songs. Actually, the theka can be seen to evolve over a period of time. The theka seems to have come into its own after SJ began using it abundantly over the years! And so did many other music directors! Check out the development over a decade and a half!

 

   
10 SJ songs based on Dattaram Theka Film, Year
Nanhe Munne Bachche Boot Polish, 1953
Mera Joota Hain Japani Shree 420, 1955
Pyar Hua Iqraar Hua Shree 420, 1955
Woh Chaand Khilaa Anari 1959
Main Rikshawalla Chhoti Bahen 1959
Main Rangila Pyar Ka Raahi Chhoti Bahen 1959
Tune Mera Dil Le Liya Shararat 1959
Rikshe Pe Mere Tum Aa Baitho Dil Tera Diwana 1962
Jane Mera Dil Kise Dhoond Raha Hain Laat Saheb 1967
Parde Mein Rahne Do Shikar 1968

 

Let us quickly take a survey of the other rhythm instruments of SJ and of course the tabla deserves priority.

SJ’s used tabla together with the dholak in some slow paced songs. This combination seemed to be aimed at bringing to the fore the sharp chaati sound of the tabla, while the dholak provided the low-pitched bayaa support. Listen to this fascinating combination in ‘Din Saara Guzara Tore Angana’ (Junglee 1961), ‘Tumko Hamari Umar Lag Jaaye’ (Aaye Milan Ki Bela, 1964) and ‘Tumhari Kasam Tum Bahut Yaad Aaye’ (Gaban, 1966).

Left to itself the tabla would usually provide a fully filled-in theka to the song. Consider two songs to ring out this contrast. ‘Unke Sitam Ne Loot Liya’ (Kaali Ghata, 1951) has the rather insipid, simple waltz-like tabla theka. Come 1956 and ‘Aaja Ke Intezar Mein’ from Halaku gets a filled-in tabla. The same filled-in tabla is there in ‘So Ja Re So Ja Mere’ (Kathputli, 1957) as well. A different version of the filled-in accompaniment is seen in ‘Ja Ja Re Ja Balamawa’ (Basant Bahar 1956).

When the rhythms of SJ created the mood and ambience for a song it often happened so subtly that most listeners experienced the impact without realizing what was happening in the beats in the background and how. Take the example of ‘Na Chhedo Kal Ke Afsane’ (Raat Aur Din, 1967). The character on screen is inebriated and the tabla keeps to off- beat steps, underlining the stupor of the lady. The theka their tabla keeps in ‘Lakho Taare Aasman Mein’ (Hariyali Aur Rasta, 1962) is unique and an extension of the filled-in playout form it always followed. When SJ used the Jhaptaal too they have used it in a variety of contexts: ‘Tumhare Hain Tumse Dayaa Maangte Hain’ (Boot Polish, 1953), ‘ Kahan Jaa Raha Hain’ (Seema, 1955), ‘Bhay Bhanjana Vandana Sun Hamari ‘ (Basant Bahar, 1956), ‘Mujhe Tumse Kuchh Bhi Na Chahiye’ (Kanhaiyya, 1959) and ‘Masoom Chehara’ (Dil Tera Diwana, 1962).

It will be an understatement to say SJ gave bongo and congo their own places of pride in the context of Hindi film music. Most of their songs, including their Dholak songs would have an interlude on bongo or congo. Notable amongst these are ‘Baat Baat Mein Rootho Na’, ‘Aaja Sanam Madhur Chandni Mein Hum’, ‘Dil Mein Pyar Ka Toofan’, ‘Tera Jaana’, ‘Dil Apna Aur Preet Parayee’, ‘Mera Dil Ab Tera O Sajana’, ‘Kashmir Ki Kali Hoon Main’.

Take a song like ‘Sab Kuch Seekha Hum Ne’ (Anari). The bongo-congo combination is accompanying this remorseful number at a furious pace. However, the beats are dampened and they create the backdrop for Mukesh’s soulful rendition of the song. Many an amateur player in their enthusiasm, get stumped with this song, because their rhythm accompaniment gets ebullient rather than somber!

 The bongo-combination would follow the changes in pitches of the music when played with a prelude or interlude. Apart from ‘Sab Kuchh Seekha Hum Ne’, a few examples where this stood out are ‘Dhadakne Lagta Hai Mera Dil’, ‘Tera Jalwa’, ‘Chheda Mere Dil Ne’.

However, the verve of the SJ bongo-congo combination left their impact on milions of listeners … sample these songs to find out … Kahe Jhoom Jhoom Raat Yeh Suhani’ (Love Marriage, 1959), ‘ Dheere Dheere Chal’ (Love Marriage), ‘Hum Matwale Naujawan’ (Shararat, 1959), ‘Duniya Walon Se Door’ (Ujala), ‘Aankhon Mein Rang Kyon’ (Ek Phool Char Katen, 1960), ‘Jab Pyar Kisi Se Hota Hain’, ‘Chahe Koi Mujhe Junglee Kahe’ (Junglee), ‘Aiyaiya sukkoo sukkoo’ (Junglee), ‘Dil Tera Deewana’ (D.T.D.), ‘ Khuli Palak Mein’ (Professor 1962), ‘Yaha Koi Nahi Tere Mere Siva’ (Dil Ek Mandir 1963), ‘Hoshiyar Jaane Wale’ (Rajkumar, 1964), ‘Tere Dil Ke Paas Hi Hain Meri’ (Sangam, 1964), ‘Chehere Pe Giri Julphe’ (Suraj, 1966), ‘Unse Mili Nazar’ (Jhook Gaya Aasman, 1968).

As with the dholak, there were some very innovative styles of pickup after a pause, or at the very beginning. Who can forget the pickup in ‘Sub Kuch Seekha’ and ‘Chahe Koi Mujhe Junglee Kahe’, the unusual ones with slowly released dampings which is also called the bongo slide in ‘Kahe Jhoom Jhoom Raat’, ‘Dheere Dheere Chal’, ‘Khuli Palak Mein’.

There were songs where SJ played the congo and dholak or tabla in tandem for an added effect. Examples are ‘Haye Meri Uljhi Najook Nazar’ (Aas Ka Panchhi), ‘O Shama Mujhe Phook De’ (Hariyali Aur Raasta), ‘O Sanam Tere Ho Gaye Hum’ (Aashiq), ‘Har Dil Jo Pyar Karega’ (Sangam), ‘Mujhe Tum Mil Gaye Humdum’ (Love In Tokyo).

Almost every song had a significant component of side rhythm comprising of cymbals (jhanj), khanjiri and maracus. And each had its distinct place within the song. The kanji and maracus would alternate depending upon the lines within the song: one would play for the mukhada lines; another would come over the antara lines. And each of them played out the beat to the full, creating a kind of filled in pattern that would swiftly follow the changes in the beat of the main percussion instrument, including those switch pieces we heard earlier. Whenever the jhanj played, it would keep a lovely off beat pattern, in sharp contrast to the traditional and worn out style of ‘keeping the beat’.

shanker-subir sen-jaikishen

In today’s world of synthesized sounds, the rhythms created by SJ and their team continues to sound fresh and also remain as hallmarks of standards for any composer or musician. Many people ask the question: What is it about the music of the Goden Era that makes it attractive even to the teenager of today? The answer is never simple. One of the answers is in these complex rhythms, which despite being complex, went in a package that touched the layperson, which probably never even touched a musical instrument in life but firmly believed that it was the song of his or her heart!

This article is meant to be a tribute to the entire SJ team – Shankar, Jaikishan, Dattaram, Sebastian and all those musician masters. It is a humble attempt to recognize these rhythm players & their body of work, which remains with us as a treasure of unforgettable rhythms.

Music Maestros: remembering Shanker-Jaikishan – MUST SEE

http://www.youtube.com/watch?v=clZkYP45fwE

 Jaikishan statue unveiling

http://www.youtube.com/watch?v=_zHVqqSdCrA

 

Singer C H Atma, music directors Shankar-Jaikishan
Singer C H Atma, music directors Shankar-Jaikishan

The Impact of musical instruments on their songs is un-imaginable.

Diwana – Tumhaari Bhi Jai Jai Hamari – Mukesh

http://www.youtube.com/watch?v=r2TzFR5Glk4&feature=fvwrel

Instrument effect – clarinet

 

Dil ka na karna aitebar film Halaku

http://www.youtube.com/watch?v=rmtg2lLAy4M

Instrument effect – guitar – violin

Awara Hoon – Raj Kapoor – Awaara – Mukesh – Shankar Jaikishan – 

http://www.youtube.com/watch?v=VY1pWTek2sY

Instrument effect – Accordion – guitar

 

Lapak Jhapak tu–Boot Polish

http://www.youtube.com/watch?v=ja3XCe4e2gc

Instrument effect – Tabla

 

Raat Gayi Fir Din – Boot Polish – Asha – Manna Dey

http://www.youtube.com/watch?v=xmkHhmw8V5E

Instrument effect – TUN TUNIU

 

Aaj Kal Mein Dhal Gaya – Sunil Dutt – Beti Bete

http://www.youtube.com/watch?v=Bf87JpFSwLE

Instrument effect – violin

 

Rafi & Lata – Tum Bin Saajan, Barse Nayan – Gaban [1966]

http://www.youtube.com/watch?v=QoElsWlvcKI

Instrument effect – violin, tabla, & sitar

 

‪Aa neel gagan tale pyar hum karein (Lata, Hemant)

http://www.youtube.com/watch?v=CxUoQTIo-hM

 

Unke Khayal Aaye Toh – Raj Kumar, Hema Malini, Rakhee Gulzar, Vinod

http://www.youtube.com/watch?v=k5K2f8APdDM

 

The following site contains the complete list of Shankar Jaikishan Music Scores – inAlphabetical List (1301) Scores

http://www.sjmusic.org/music-score/songs/1

 

To cull a short list of their monumental songs would, therefore, be well nigh impossible. It’s, quite simply, awesome: from Raj Kapoor’s Barsaat, with which the duo made its debut, in 1949, Basant Bahar, Shree 420, Awaara, Boot Polish, Anari, Halaku, Chori Chori, Sangam, Junglee, Love In Tokyo, Professor, Yahudi, Mera Naam Joker to Kal Aaj Aur Kal. You’d choose your pick — all supremely vintage-modern stuff.

 

This prompted me to think about some of the trivia facts about SJ. Each one of these facts could spawn a thread!

  1. 1.        Asrani can be seen in the first row of chorus in the song, “Ab kahan jayen hum.” in’Ujala.’ He also appears in the movie, “Hare Kaanch ki Chudiyan” but we always think of his debut as “Umang”
  2. 2.        Subhash Ghai lip-synched on several songs partially in ‘Umang’ but also “sang” the Rafi song completely in the same film, “Baabul kaun ghadi.”
  3. 3.        Jaya Bhaduri never had the opportunity to sing a song of SJ. However, Jaya acted on the Asli Naqli song “Tujhe jeevan ki dor se” in Guddi with Dharmendra.
  4. 4.        Amitabh never had the opportunity to sing a song of SJ. But Shankar’s favorite dummy words “Tandana Tandana.” became a mukhda of his (LP) song where he mimicked Mehmood. “Tandana Tandana.” words were first heard in “MayurPankh” and later in “Gumnaam”
  5. 5.        “Gumnaam” becomes the only film ever that had music influenced by a Hollywood film and that influenced a Hollywood film in return! The two films are “Charade” and “Ghost World” respectively.
  6. 6.        “Gumnaam” had Mehmood singing “Bhai Battoor”, which later became a song in Padosan. Mehmood also sang “Lal ghoda..” in “Shatranj” which became a full-fledged song in “Kunwaara Baap”
  7. 7.        “Ram Teri” song “Sun Sayba..” is influenced by “I love you..” from “Sangam”
  8. 8.        The tune for “Jaane kahan gaye woh din…” was first heard in background music of “Jis Desh mein…”
  9. 9.        Tune of “O BASANTI PAWAN PAGAL” can be heard in movie “AWARA”.
  10. 10.    The Goan tune for “Na maagoo sona chandi..” was first heard in background music of “Awara.” It was played just before the song “Dum bhar jo udhar moonh phere”
  11. 11.         “Jaaon kahan bata ai dil” from “Chhoti Bahen” was influenced by the title music of “New Delhi”
  12. 12.         “Mora nadaan balma” from “Ujala” was influenced by the title music of “Mayurpankh”
  13. 13.         “Kisiki muskuraton pe” from “Anari” was influenced by the background music of “Shree 420”
  14. 14.         “Sambhal ke karna..” tune from “Ek Phool Char Kaante” was used in the background of “Golmaal” by RD-Burman very often. SDB also used a tune from the same movie in “Chupke Chupke”
  15. 15.         Besides Rajendra Kishan who wrote lyrics for “College Girl,” SJ also utilized the service of lyricist Deepak in “Boot Polish” when Shailendra was alive.
  16. 16.         Though Shailendra was associated with Shankar, it was Hasrat Jaipuri who wrote the lyrics in Shankar’s solo venture, “Street Singer” produced by Chandrashekhar. Hasrat Jaipuri also appears in the movie. Shankar did so under the pseudonym, Suraj. The other movie he composed music for, under this name was the Marathi, “Tee Mee Navhech.”
  17. 17.         Jaikishan appears in “Main Sundar Hoon” with Anand Bakshi, his only film with SJ.
  18. 18.         Gulshan Bawra appears in two songs of SJ in “Beimaan” and “Jungle Mein Mangal.” He did not write lyrics for these movies but wrote lyrics for other SJ films like “Chori Chori,” (new) “Jaane Anjaane,” and “Aan Baan.”
  19. 19.         Neeraj acted on the song “Paise ki Pehchan..” in the film “Pehchan” and also wrote the lyrics for the same.
  20. 20.         Neeraj and Hasrat Jaipuri teamed together for SJ in the film “Dil Daulat Duniya” for a song. Later they also wrote all the lyrics for all songs of “Jungle mein Mangal.” The results weren’t great. I like the song “Tum Kitni khoobsoorat” They also wrote lyrics for Usha Khanna’s “Paani mein jale mera gora badan..” in “Munimji” (1973).
  21. 21.         “Kismat Ka Khel” had a Lata song with dummy words that sounded like “Echo Echo.” Years later, Shankar used similar words in a song in “Naari” which happened to be the only SJ song sung by Yesudas (with Amit Kumar), “Neeche zameen, upar gagan.”
  22. 22.         Director Prayaag Raaj yelled “Yahoo..” in the “Junglee” song whereas Shankar was responsible for “Ayaya Sukoo Sukoo..” Prayag Raaj later acted in “Bombay Talkie and also directed “Insaniyat” starring Shashi Kapoor and Madhu.
  23. 23.         Dattaram lip-synched for the song, “Tum mere pyar ki.” from “Bombay Talkie” acting as a playback singer.
  24. 24.         SJ were responsible for Usha Iyer’s first film songs in “Bombay Talkie” and this was about two years before her success in “Hare Rama Hare Krishna.”
  25. 25.         Ustad Ali Akbar Khan played the sarod in “Suno Chhotisi Gudiya ki.” Pannalal Ghosh played the flute in “Main piya teri..” Hazara Singh played the electric guitar in “Tera teer….”, Manohari played the saxophone in “bedardi Balma.”
  26. 26.         Bappi Lahiri’s father Aparesh Lahiri sang an SJ song in “Badshah” (I have not heard this one).
  27. 27.         Famous classical singer Bhimsen Joshi sang a jugalbandi in “Basant Bahar” with Manna Dey.
  28. 28.         Anuradha Paudwal, Alka Yagnik, Chandrani Mukerjee, Sharda, Dilraj Kaur all sang “Ari o sakhi..” for SJ together in “Kaanch ki Deewar.” Lead Stars Sanjeev Kumar, Smita Patil and Shankar all died within months after the release of the movie.
  29. 29.         “Gaya Bachpan..” from “Ankhon Ankhon Mein” was the last song recorded by Jaikishan.
  30. 30.         The movie “Preetam” has title music that is the same as that of “Mere Sanam” of OP Nayyar. The movie was released just a few months after Jaikishan died. Does anyone have an idea why? The producer of the movie was Bhappi Sonie.
  31. 31.         The first SJ movie without a Lata song was “Boot Polish.” It was also the only movie of SJ with RK without a Mukesh song!
  32. 32.         Aarti Mukerjee sang a song for SJ in “Boy Friend” in 1960 and the next SJ song that she sang was in 1974 for “Neelma.”
  33. 33.         Joy Mukerjee had SJ music only in two movies: “Love in Tokyo” & “Love in Bombay”
  34. 34.         The first RK Films movie to win a Filmfare Award was ‘Mera Naam Joker,” the last SJ movie of SJ with Raj Kapoor was the hero!
  35. 35.         Om Prakash, the actor, directed the Raj Kapoor starrer “Kanhaiyya” produced by his brother, Pachhi. Pachhi also produced “Around the World” and “International Crook” in which Om Prakash got to sing songs on screen!
  36. 36.         SJ had the privilege of composing music for the only complete original color film starring Madhubala, “Jwala.”
  37. 37.         The first color film for which SJ composed music was “MayurPankh” starring Kishore Sahu.
  38. 38.         SJ composed music for several films shot on foreign locations and provided music to suit the mood: Sangam, Pyar Mohabat, Naina, Dharti, An Evening in Paris, Love in Tokyo, International Crook, Singapore, Around the World, Saazish…. International Crook was shot in Alaska.
  39. 39.         SJ composed music for the first 70mm film in India: “Around the World.”
  40. 40.         “Dream Girl is coming” was what the posters said when “Sapnon Ka Saudagar” was about to release. SJ were amongst those who chose her for the role.
  41. 41.         The last SJ film to have multiple songs played on Binaca Geetmala was “Sanyasi.”
  42. 42.         “Krishna Krishna” is the only mythological film for which SJ composed music.
  43. 43.         Shammi Kapoor heads the list of SJ leading men. Rajendra Kumar comes a distant second. Vyjayanthimala heads the list of SJ leading women.
  44. 44.         The only Dev Anand song sung by Kishore Kumar for SJ was “Dooriyan Nazdikiyan” in “Duniya.”
  45. 45.         “Zindagi Ek Safar hai suhana..” from “Andaz” has three voice versions: Kishore Kumar, Asha Bhonsale and Mohd Rafi.
  46. 46.         Hemant Kumar’s daughter Rano Mukerjee sang a few songs for SJ in the mid seventies in “Saazish,” “Resham Ki Dori,” and “International Crook.” The song that she sang for 
”International Crook” was not used in that film but instead found its way in the film, “Eent ka Jawab Patthar.” The song was “Poochha jo pyar kya hai..” with Kishore Kumar.
  47. 47.         The film “Dur Nahin Manzil” was first assigned to Roshan who died. Later SJ were signed for the same and Jaikishan died during its making. Suman Kalyanpur had sung the title song for Roshan. She also sang for SJ in the film: “Bezuban dil shor na..” The heroine was originally Nutan. She had acted in producer Hari Valia’s earlier venture, “Laatsaab” but due to a misunderstanding with Sanjeev Kumar, she stepped out and was replaced by Bindu’s sister (and Laxmikant’s sister-in-law) Reshma.
  48. 48.         Mohd Rafi sang two non-film English songs for SJ. They were uploaded on the site earlier.
  49. 49.         SJ’s first HMV LP Album had a picture of them with their two 1959 White Impala cars with fins and also their Filmfare awards.
  50. 50.         HMV had released a Lata LP in which all songs were composed by SJ. The songs included: “Bol ri Kathputli..” “Mohabat ki Daastan..” “Jeevan ke do rahe pe khade..”
  51. 51.         Anuradha Paudwal did a cover version of Lata songs for SJ for T-Series. Later, HMV released a cassette with almost the same original songs.
  52. 52.         Almost all SJ films were from HMV. SJ’s first movie album to be released for Polydor (now Music India) was “Love in Bombay.” “Archana” was also on Polydor. “Chorni” was with INRECO.
  53. 53.         There is a Chowk (street junction) called “Shankar Jaikishan Chowk” close to Eros Theatre in Mumbai.
  54. 54.         Some of the lead dual roles in SJ films: Shararat – Kishore Kumar, An Evening in Paris – Sharmila Tagore, Bhai Bhai – Sunil Dutt, Chhote Sarkar – Shammi Kapoor, Mehfil – Sadhana, Atmaram – Shatrughan Sinha, Yakeen – Dharmendra, Garam Khoon – Vinod Khanna.
  55. 55.         Some non-Hindi words in SJ songs:

Kali Ghata: Il ya Belle…

Shree 420: Rammaiyya vastavayya…

Singapore: Rasa Sayang re…

Junglee: Yahoo!…

Sangam: I love you…

Love in Tokyo: Sayonara…

Pyar Mohabat: Hooray Hooray..

Aman: Puru sato Japan..

Shatranj: Badkamma Ikkad po tora..

Garam Khoon: Penelope…

Eent Ka jawab Patthar: Comment allez vous…

  1. 56.         SJ may have the highest mukhdas of their songs later converted to movie titles:”Lal Dupatta malmal ka””Raja ki aayegi baraat””Tumse achha kaun hai””Kashmir ki Kali””Aa gale lag jaa””Aan Milo Sajna””Tumko na bhool payenge””Kuch kuch hota hai””Nain mile chain kahan””Aaja Sanam””Aa ab laut chale””Phir bhi dil hai Hindustani””Main Ashiq hoon baharon ka””Mujhe meri biwisi bachao””Kaun hai jo sapnon mein aaya””Bol Radha Bol””Buddha Mil Gaya””Dil ke Jharonke mein””Gustakhi Maaf”
  2. 57.         Lata Mangeshkar and Jaikishan were both born in 1929. Shankar was elder.
  3. 58.         MadanMohan, Deven Verma, Satish Wagle were Jaikishan’s very close friends and they met regularly at Gaylord’s near Churchgate, Mumbai. MadanMohan can be seen in key roles in Satish Wagle’s “Pyar Hi Pyar” and “Yaar Mera.”
  4. 59.         SJ utilized Rafi and Mukesh for all three Kapoor brothers: Raj Kapoor had a Rafi song in “Ek Dil Sau Afsane” & “Mera Naam Joker” Shammi Kapoor had a Mukesh song in “Ujala” and “Singapore” Mukesh sang one song for Shashi Kapoor in “Insaniyat”
  5. 60.         SJ had Mahendra Kapoor playback for Dev Anand in “Roop Ki Rani CHoron Ka Raja” (Yes, I have the video of the movie. It’s a fact!)
  6. 61.         Sushama Shreshta was introduced by SJ in “Andaz” and also sang in “Seema” She later sang as Poornima. Ramesh Sippy and Salim-Javed of “Sholay” fame also started with “Andaz.”
  7. 62.         SJ were signed for the following movies originally: “Bobby,” “Seeta Aur Geeta” I remember clearly having seen ads to that effect in Screen. Unfortunately, I did not save those issues.
  8. 63.         Guru Dutt had one only movie as a lead actor with SJ: “Sanjh aur Savera” But his younger brother had a close relationship with SJ: Shikar, Chanda aur Bijli, Umang, Yaar Mera and Resham Ki Dori.
  9. 64.         Besides Dattaram and Sebastian, SJ also had other assistants like Sonny Castellino (Awara), Dheeraj (Sanyasi), Enoch Daniels (Kaanch Ki Deewar, Gori, Krishna Krishna
  10. 65.         SJ composed background music for a documentary at the peak of their career in 1967. The docmentary was “Everest” and narrated the expedition by Nawang Gombu’s team. Incidentally, this team included Dr Telang as a team doctor.
  11. 66.         Shatrughan Sinha sang “Mera Joota hai japani” at a function in 1972 under Shankar’s supervision.
  12. 67.         Sudha Malhotra sang the “Chori Chori” duets with Manna Dey during the 1957 function for 1956 FF awards.
  13. 68.         Shankar composed Indian classical tunes for AIR Delhi in the late seventies.
  14. 69.         Shankar liked Hitchcock film music. 
  15. 70.         Shankar was a master at playing several instruments. He could play the piano, the harmonium, the sitar, and the pakhawaj with ease. Born in Punjab, he migrated to Andhra Pradesh at a very young age. He had been a dancer in Krishna Kutty’s troupe.
  16. 71.         Jaikishan was a master harmonium-player.
  17. 72.         Shankar-Jaikishan approached Raj Kapoor, who was on a lookout out for new composer for Barsaat. Kapoor had noticed them as musicians earlier.
  18. 73.         Coming to their working style, the duo mostly composed the tune first, since they felt it prevented monotony, as poets tended to write songs most of the time to just two or three metres.

  19. 74.         Lyricists Shailendra and Hasrat Jaipuri were masters at writing in-depth lyrics to S-J’s tunes, and the composers worked with them mostly. For a couple of films they worked with lyricist Rajinder Krishan. Most of the time Jaikishan tuned with Hasrat, and Shankar with Shailendra.
  20. 75.         Shankar-Jaikishan were on the RK Films pay-roll even when another composer did an occasional film.

  21. 76.         They were awarded the Padmashri in 1969.
  22. 77.         As S-J, they did 121 films, and later Shankar did about 30 films more.
  23. 78.         The duo released a non-film record, Raga Jazz Time in the 60s and composed Hindi songs and the background score for the English film Bombay Talkie (1971).
  24. 79.         Their music boosted the careers of Raj Kapoor, Nargis and Rajendra Kumar, and gave the ‘Yahoo’ image to Shammi Kapoor.
  25. 80.         Through their songs popularized instruments like the violin (‘Jaane kahan gaye who din…’ – Mera Naam Joker), the piano (‘Dost dost na raha…’ – Sangam, ‘Dil ke jharaonkhe mein…’ – Brahmachari) and the accordion (‘Awara hoon…’ -Awara).
  26. 81.         Way back in 1965, S-J charged a record-breaking rupees five lakhs making them the highest-paid music directors ever.

 ragaa

 Shri Suresh Thakur, a SJ fan and visitor has drawn attention to few factual errors which are as under :

(quote) A small correction , you have mentioned songs O shama mujhe pook de as from Hariyali aur rasta and O sanam tere ho gaye hum as from Ashiq, the first one is from Ashiq and the second one is from Ayi Milan ki Bela .(unquote)