💐 Shankar Jaikishan & Kishore Kumar 🎂
Shankar-Jaikishen (SJ): The music director duo who revolutionized the very definition of Hindi film music with their path-breaking music and tunes… Compiled by Suresh Sarvaiya
Kishore Kumar: The genius actor-singer who created his own path and carved a place in the Hindi film music scene which people cannot even dream of achieving…
The association of Shankar Jaikishan with Kishore Kumar has various interesting aspects. Shankar Jaikishan (S-J), who rarely used Kishore. Trivia has it that Kishore Kumar was not the original choice for lead & that some songs had already been recorded when he joined the cast of movie Shararat (1959). Though Kishore had already sung numbers like ‘Dukhi man mere
sun mera kahena….’ for sad occasions, the second antara of this song makes you feel that it needed Rafi’s high-pitch.
Surprisingly no song in the first 8 years of mutual co-existance in the music kingdom of SJ, 18 songs in the next 13 years of association and then, 87 songs in last 17 years. Another intriguing part is, for the first 13 years, SJ were the uncrowned king of Hindi film music and Kishore Kumar a non-considerate in playback singing and in the next 17 years, well, almost vice versa. “Almost” is because Jaikishen – the more prominent of the duo, died in 1971, and upto 1986, Shankar single handedly kept the S-J flag flying. As the musical parallelism goes, many still believe, it was Jaikishen with whom the camaraderie of Kishore would have blended better- and the proof was there with “Zindagi ek safar hai suhana”, the chartbuster Jaikishen had made with Kishore just months after the former passed away. But the fact is, out of 105 songs Kishore recorded under SJ baton, almost 70 songs came for Shankar only, owing to Jaikishen’s early demise.
After departure of Jsikishan, it started gradual decline of Shankar amongst mainstream cinema. After giving music to almost 350 movies, the exhaustion showed With no Jaikishen, Shankar tried to put his foothold intact with occasional hits in Resham Ki Dori (1974), Sanyasi (1975) and Do Jhoot (1975). Many of Shankar’s hits that time came with Kishore like “Chhatri na khol” (Do Jhoot), “Mere dil mein tu hi tu hai” (International Crook), “Chamka paseena” (Resham ki Dori) and “Tu jahan main wahan”(Garm khoon). Both Shankar and Kishore demised in 1987. While one was given a superstar farewell, the other went away quietly.
Interestingly they even made their debut around the same time – Shankar
Jaikishen’s debut film as independent music directors was R K Films’ Barsaat which released in 1949 & Kishore Kumar’s debut film as an actor and a playback singer (sang for Dev Anand) was Ziddi which released in 1948…
But, the fact remains that Shankar Jaikishen were amongst the greatest music directors in Indian Cinema and Kishore Kumar was one of the greatest playback singers. Although their peak periods don’t match, in spite of being contemporaries, they did give us some brilliant output together.
New Delhi, Krorepati, Begunaah, Rangoli and Shararat are the five films for which Shankar-Jaikishen worked with Kishore Kumar where he acted and sang his own songs and what beautiful music they created by this combination.
Here are some gems by SJ & Kishore Da (list may be vary with individual choice) –
* Nakhrewali….. – New Delhi (1956)
* Chhotisi yeh duniya – Rangoli (1962)
* Rangoli sajaao – Rangoli (1962)
* Munne ki amma yeh to bata…’ – Tum
Haseen Main Jawaan (1968)
* Humlog hai aise deewane – Umang (1970)
* Geet gata hoon main – Lal Patthar (1971)
* Jaane anjaane log mile – Jaane Anjaane
* Bhanwre ki gunjan – Kal aaj aur kal (1971)
* Zindagi ek safar hai – Andaaz (1971)
* Saath mein pyara saathi – Dil Daulat
* Kehta hai dil o mere – Chorni (1980)
Compiled by Suresh Sarvaiya
Shri Arun Bajaj
S-J ke liye kuchh arz karna chaahta hoon….
“Teri zindagi mohabbat, tera naam hai deewana
Tere baad bhi karega, tera zikr ye zamaana
Tu wo zindagi nahin hai jise maut khatm ker de
Jise bhool jaaye duniya, tu nahin wo tarana.”
We all are die-hard fans of Shankar-Jaikishan because we all know in our hearts that they were the best………there is no doubt it….. just listen to their melodies….only after their arrival, for the first time film industry realized that film-music can be a parallel industry. Purists like Raju Bhartan have always scoffed at their music, dismissing it off as too popular or pedestrian but for us S-J and film-music is synonymous. Not only Raju Bhartan but Lata and Aasha have also started campaigning against S—J and OP. Nayyar respectively to promote Madan Bhayya , Hridaynath and RDB as if no music-director existed on this earth. There is a huge racket operating in the film industry to discredit S-J and their achievements. But genuine listeners are not fools. It was Barsaat who took Lata to dizzy heights. Followed Awaara, Shree 420, Aah, Patita and many other S-J marvels. From `Jiya Beqarar hai to `O Bananti Pawan Pagal‘, Lata couldn’t have done better.
Lata,in all her concerts, interviews, interfaces, she would never refer to Shankar-Jaikishan as if S-J would need the promotion from an ungrateful wench……she saw to it that no credit ever went to S-J. These are great artists with small hearts. But to be a complete artist, you have to be a good human being as well.
I believe that from hindi film music melody went out with the the 60′s. What I have seen is a slow corrosion of `theka’, `taal’ and `sur’ which began in 70′s…now music is only jarring to the ears and nothing else.
There could not be no other like S-J
(Shri Arun ji adds further to this article on 12th October, 2012)
Both Lata and Asha have displayed shameful ingratitude to their original mentors. Whea wet-behind-the-ears Lata crooned for “Mahal” and made her presence felt , it was ‘Barsaat’ which took her to dizzy heights. Followed ‘AWAARA’,’SHRI 420′,’Chori-Chori,’Patita’, and many other S-J marvels and soon enough Lata left everyone including Shamshad, Suraiya and Geeta. Lata was groomed by S-J and Rajkapoor and some of the most melliflous songs in the Lata reportiere are product of this association. From “Ab raat guzarne wali hai” to “O basanti pawan paagal” Lata couldn’t have done better.
And at the other end OPN was grooming Asha. Teaching her to take those “murkis”, blend the mischievous with the coquettish and training her in breath
control. The only records of Asha that were sold between 1956 to 1964 invariably had the compositions of OPN; otherwise no music director ever took her in the lead voice. But look at the post RD Asha of today; she pretends as if no one by the name of OP Nayyar ever existed.
Same goes for her elder sister Latabai.In a bid to promote her brother Hridaynath and some of the lesser music directors she donned the mantle of a godmother and in all her concerts, interviews,interfaces she would never refer to Shankar-Jaikishan. As if S-J needed the promotion from an ungrateful wench. Her voice started cracking but she would not leave the mike till she ran hoarse ; and the uncritical crowds would give standing ovation,concert after concert and like the fool in King Lear she would perceive the sychophancy as appreciation. Eventually, the myth was broken; she realised much to her dismay that good times do not last for ever. But till she held sway, she saw to it that no credit ever went to S-J.
These are great artistes with small hearts. But to be a complete artist, you have to be a good human being as well. Look at Rajkapoor, Ashok kumar, Dilip Kumar……all legends in their lifetime but they all were
wonderful human beings. Raj Kapoor bowed before Kedar Sharma till the very end. Even when Nargis split up with him, not one word against her in print or otherwise.
She represents the third generation of the first family of Indian music – the Mangeshkars. Here is Radha Hridaynath Mangeshkar, whose maiden album Naav Maazha Shaami is making waves, in a candid chat despite a throat infection and an inborn reticence
Your album Naav Mazha Shaami stands out in every sense among the current crop of Marathi albums.
Yes, but that’s because Marathi music has changed so much, and is beginning to sound much more like Bollywood music rather than retaining the essence of our flavour and region. And Naav… does not sound like an album in which only the words are in Marathi and nothing else reflects our culture. I am not saying that this change in Marathi music is bad, but a traditional flavour will definitely stand out. It’s a folk-based album that revives the flavour of Maharashtrian and Goan folk, with some strong poetry and wonderful compositions by my father.
Debut albums tend to be more trend-oriented. Why was this concept decided as your launch vehicle?
Baba (Radha’s father Pt. Hridaynath Mangeshkar) had come up with a beautiful and top-selling album called Maazhi Aavadati Gaani in the late ‘80s. He was planning something along those lines and was looking at the works of several poets. For example, the lead track Maazhyaa Govyaachyaa bhumita is a poem written by B.B.Borkar over 80 years ago and is famous in Goa and Maharashtra, besides being 3 pages long, so Baba had to choose the stanzas. Baba’s friend N.D.Mahanor also sends him his poems regularly and there are poems by Sudhir Moghe as well.
It was Baba who thought that I should sing these songs and in that sense it was not a deliberate launch for me. Saregama came in and one more decision they took against the trend was not having a video made of any track.
Was any poem written specifically for the album?
Yes. Naav mazha Shaami and Bai gele firaayalaa were written by Sudhir Moghe.
Why were you not launched in a Hindi album?
I have been singing on shows since I was a kid, and Marathi music lovers know me. Besides, as I said, the concept was to have a folk album after a very long gap.
Your father is known to be a tough taskmaster and a perfectionist. What was your experience while recording this album?
Baba is a perfectionist, he just does not leave you till you are perfect! But he is very easy to work with – he will cajole more out of you. He will never scold, beat or insult you when you are faltering, he will not even be angry. For this album, I just listened carefully to what he sang and followed him. Besides, he had been working on the compositions for over a year before I came in.
Was any song particularly tough for you?
Every song was tough in a way, because the six songs are in six different moods. So if there is a Koligeet, I am also singing Raag Bhairavi, and if there is a bidaai song there is also Maazhyaa Govyachyaa bhumita. Technically, this last song was a bit tough for me.
How would you describe your relationship with Baba?
I have a three-fold relationship with him. As father and daughter, we have a normal and fun relationship. As my guru, he is the best in the world, and I have been with him for nine years and never needed anyone else. There are people who have different gurus for classical, light classical, folk and so on but I never even thought of having anyone else. I see the world in Baba and he’s my world! Finally, I have been singing on his shows since childhood, and when he is my composer or co-singer, we are perfect professionals. I think that we handle all three aspects well!
What has he to say about your singing? And how will you rate yourself on this album?
Baba would not have even recorded with me if I had not satisfied him. He is not very generous with compliments though! (Smiles) Of course it’s natural that I feel I could have done better, but I can confidently state that I haven’t spoilt any of the beautiful tunes that Baba has composed!
Is he your favourite composer as well?
Of course! Who matches his genius and track-record in Marathi music? His Hindi songs are also fabulous.
You performed at Rahman’s concert recently.
I was to sing his Jiya jale and I rehearsed the song but I could not perform due to time constraints.
How was it working with him?
Among today’s composers, he is the only one who has shown consistency and I like his music. He was not actively involved with my rehearsals though he was present.
And what about singers?
Who else but Lata Mangeshkar? Among male singers Rafisaab of course – and once again, it’s very sad that people are starting to forget him too. Among today’s singers, I think Sunidhi Chauhan sings whatever she sings very well and Kumar Sanu, though he is barely singing today, is a favourite because of his expression of emotions and because he is perfectly in sur. I like Sonu Niigaam, Shreya Ghoshal, Sukhwinder Singh and Kailash Kher too. Among the Western singers, I adore John Lennon and the Beatles.
What did Lataji have to say about your singing?
She liked my album a lot. She said that it was a well-sung album.
In the song Thakun basli maay ga, you sound remarkably like the Lata of the early ‘50s.
I don’t agree at all if you mean the voice quality, because I want to be Radha Mangeshkar and my voice is quite different. But what you probably found similar was the element of gaayaki. To me, the epitomes of classic singing are only Lata Mangeshkar and Noorjehan. There are only two singers to whom I look up too and follow for their sheer expression and vocal throw. In the world of playback singing, there was nothing distinctive till the early ‘40s. The utpatti (origin) happened with Noorjehanji and within a few years came Lata Mangeshkar. In 1949, similarly, Shankar-Jaikishan gave us the origin of film music as a distinct entity with Barsaat. To date, every singer and composer is following their base or patterns, and let’s face it, there is no choice but to follow them!
You seem to have made your own profound study of Hindi film music down the decades.
I have, because I am very much into music. Look at even the classical songs of S-J – they never sounded like the typical classical songs, and yet they were pure classical too and yet had that unique film flavour. Today, everyone feels that Sunidhi Chauhan is not following any school, but the trained music listener will realise that Sunidhi, even if unconsciously, is following the same Lata Mangeshkar school. As I said, there is no getting away from it!
Please visit the site and post your comments
Enjoy her songs of the album, click here
SHAMMI KAPOOR REMEMBERS JAIKISHAN
A neat fifty-plus of the 60-odd songs that Shankar- Jaikishan composed for Shammi Kapoor have proved enduring hits. Jaikishan’s deep bond of friendship with the actor translated into the extra-special rapport reflected in their ‘track’-record. On Jaikishan’s 36th death anniversary on September 12, the actor goes down memory lane…
am asked whether I had a better tuning to Jaikishan than to Shankar. Yes, I did, but only because Jai and I were of the same age – Shankarji was older to me. I knew both of them since 1948 when they were musicians with Prithvi Theatres and I would work there as an actor. Then Barsaat happened and they began to go places. I kept working in Prithvi till 1952 and then had my famous phase of multiple debacles as a film actor till 1958 and Tumsa Nahin Dekha happened. By that time, S-J were big. But on a personal level, we had always remained friends, and Jai and I kept meeting and partying together.
“My first two hits, Tumsa Nahin Dekha and Dil Deke Dekho, happened respectively with O.P.Nayyar and Usha Khanna, both of whom gave me super-hit music – with my inputs of course. So it was a while before S-J and I came together professionally – our first film was Ujala and my voices were Mukesh and Manna Dey. We did have some good songs in the film, like Manna Dey’s ‘Jhoomta mausam mast mahina’. This was followed by Singapore, where for the first time Mohammed Rafi came in for me under their baton.
“But it was with Junglee that we struck gold as a team. I had used the term ‘Yahoo’ in my lines in Tumsa Nahin Dekha and gave the term to Jai when he was working on ‘Chahe koi mujhe junglee kahe’. He incorporated the expression in musical form. It was destiny, I suppose, that when the Internet came into India and Yahoo soon became a household word, I was to be one of the earliest users of the ‘Net in India. But that’s by the way.
“Jaikishan was simply an amazing composer. He was very open to inputs and loved to fuse Western music with his classical roots. If he was great at all those rhythmic numbers, he could churn out the soulful ‘Ehsaan tera hoga mujh par’ equally effortlessly. And at this point I must say that Shankarji was no less a genius. I remember I was in his music room – they always had separate offices and did complete songs individually even before they split, except for Raj Kapoor’s movies – when he started fingering the keys of his harmonium and came up right in front of me with ‘Aiyiyya karoon main kya’ for the same film, with the expression ‘Suku suku’ that he had devised as a starting-point!
“Jai was in the habit of calling me after shoots to Bombelli’s restaurant at Mumbai’s Churchgate. It was there that he would present the tunes, usually musically or with dummy lyrics, and I would ‘book’ them. He would actually hum or sing them out to me right there in the eatery, and most of them were fabulous compositions and went on to become instant and enduring hits.
“Of course with my love and vast exposure to Western music of all kinds, I would give him inputs. But he never copied what I gave him – he would work out a fresh melody around them, improvise and sometimes even turn the originals on their heads. Whether it was Jai or anyone else, I was always involved from day one in my music. I would discuss with the director and writer why a song had to be placed where they wanted it, what kind of song it should be and finally have a decisive say in the selection. Of course I never looked beyond Rafi, and the only reason why Rafi wasn’t there for me in Ujala was because after my initial success I was trying to navigate my career and S-J were then equally partial to Rafi, Mukesh and Manna Dey. Mannada later sang for me in specific songs for Jai’s Pagla Kahin Ka(‘Mere bhains ko danda kyoon maara’), Professor and Jaane Anjaane. That apart, it was Rafi all the way.
“I remember taking Jai to Singapore for the shooting of the film of that name – we travelled a lot together because I would drag him along to Beirut, Paris and so many places! We were watching a cabaret show with Malaysian words in the song. Jai asked a waiter for a napkin and pen and began writing down notations, resulting in the hit song ‘Rasa saying sayang’ in the film. Jai was very quick – and once again, he had improvised a lot on the original.
“When he passed away, I was affected personally rather than professionally, because by that time my career as a hero was over. I remember my father (Prithviraj Kapoor), who considered him like a son, was very sick with cancer at a hospital on Mumbai’s Marine Drive. Jai’s funeral passed the building and somehow the family prevented my father from coming to the window by diverting his attention. Of course, he came to know of Jai’s death before he died, and my father actually wept for him.
“I met Jai for the last time on September 11 – he was in hospital for weeks. When I took his leave, I said, ‘Okay, Jai, see you tomorrow.’ He just kept looking at me and to date I have never forgotten that look.
“A very likeable and outgoing man, Jaikishan never spoke ill about anyone. Always immersed in music, he celebrated life. I remember I threw a party for him at my home when he got married, and he reciprocated when I married Neela.
“Once I was shooting in the mid-town Roop Tara Studios when he told me to come quickly to his music room. When I told him that I could not, he drove down all the way, called me out to his car and made me listen to what eventually became ‘Tum mujhe yoon bhula na paaoge’ (Pagla Kahin Ka) and ‘Jab mohabbat jawaan hoti hai’ from Jawan Mohabbat. I would often go to his Gobind Mahal sitting room and sit with him and the musicians Dattaram and Sebastian. Which brings me to two amusing incidents.
“As friends, we would often argue and fight, but the one time I really clashed with him and almost hit him was when he refused to yield to my request to take back his masterpiece ‘Teri pyari pyari soorat ko’ from L.V.Prasad’s Sasural and allow me to use it! Of course I had to give in, but I was lucky another time.
“And that , incidentally, was the only time I saw him seriously upset and on the verge of tears! He came to me once and wanted me to listen to the recorded Rafi-Suman Kalyanpur duet ‘Aaj kal tere mere pyar ke charche’. The song was recorded for another hero’s film and had been approved by the film’s team. But the hero was not in town and when he came back, he rejected the song because it did not ‘suit his persona’! Manmohan Desai was directing me in Budtameez and I took the song to him, but he did not care much for it. I played it out to Ramesh Sippy and Bhappi Sonie with whom I was making Brahmchari and it became one of the topmost chartbusters from that film!
“Among our films together there were two that did not reach the musical level of the rest – Budtameez and Chhote Sarkar. It’s not that Budtameez was not up to the mark – there were a couple of decent songs in the film. But the film was delayed in production and to a certain extent we all had lost interest in the film. As for Chhote Sarkar, it came at the fag end of my career as a hero. My knees had given way, I had put on a lot of weight, and Jai was completely down and had fallen victim to the fatal combination of alcohol and bad company.
“Why did Jai go downhill? Yes, the split with his partner did affect him, but not all that much because as we all know they were always used to working separately. What affected him was the lack of good work. Many of his banners had left him, mostly for Laxmikant-Pyarelal, but also for Kalyanji-Anandji, S.D.Burman, R.D.Burman and others. And he had cultivated a lot of hangers-on who had influenced him to start drinking all day long.
“What else can I say about my friend? He was very quick at background music, and his background music pieces were so good that he often made great songs from them, like ‘O basanti’ from Jis Desh Mein Ganga Behti Hai owing its existence to a music piece in Awara. His Gujarati leanings made him always pronounce the word snacks as ‘snakes’, and I have this feeling that he would do it deliberately! A quirk he had was of balancing his glass of liquor on the ankle of the folded leg as he sat! Incredibly we would all keep watching the glass and it would never fall!
“So many other composers gave me fantastic songs – O.P.Nayyar, Usha Khanna, Kalyanji-Anandji, Roshan, R.D.Burman and even Ravi. But Shankar-Jaikishan were truly amazing, and I miss Jai a lot!’
संगीत की दुनियाँ के बेताज बादशाह शंकर-जयकिशन से नयी पीढी और दुनियाँ के लोगों को फिर से परिचित कराने या / और उन्हें फिर से याद दिलाने का एक छोटा सा प्रयास
As it was earlier announced on this blog, a grand statue of our beloved Jaikishen of Shanker-Jaikishen was unveiled with grand fun-fare and enthusiasm at his birth place Bansda (Gujarat). Few members of Yahoo Group on Shankarjaikishan also attended the event. Here is a report by one of its members Mr. Kamal Mustafa Sikander which is reproduced below as it is posted on his blog
Jaane wale kabhi nahi aate… remember this Mohd. Rafi song from Dil Ek Mandir composed by Shankar Jaikishen? You will agree that there could not have been any other song at the unveiling ceremony of Jaikishen’s statue in Bansda. A bronze statue of legendary music director (composer) Jaikishen (of Shankar-Jaikishen fame) was unveiled by veteran music composer Anandjibhai (Kalyanji-Anandji fame) in the presence of Swami Sachidanandji at Bansda (Vansda) in Navsari District of South Gujarat where Jaikishen was born on 4th November, 1929.
Apart from Swamiji & Anandjibhai, the event was attended by many prominent people from the region. Anandjibhai was accompanied by his wife Kantaben. Anandjibhai amused the audience in his patent funny style. When the compere said it was fine if Anandji decided to speak while sitting on his chair, he said that due to his height, it doesn’t make a difference whether he was sitting or standing.
The statue is an initiative by Swami Sachidanand of Gujarat who is a great fan of the legendary composer duo Shankar Jaikishen. Speaking at the event, he said that when he was going through depression, it was only by listening to melodious songs composed by Shankar Jaikishen that he was able to come out of it. When he went abroad, he saw statues of many famous foreign musicians there. He got a desire to make statues of famous musicians of India and decided to make a beginning with the statue of Jaikishen at his native place Bansda as he made the entire Gujarat proud by his achievements. He hoped that this would be just a beginning and people from all over India will make efforts to keep memories alive of legendary artistes. He said he is a great fan of Shankar Jaikishen and their contemporaries whose music is remembered till date and is referred to as the golden period of Hindi film music. He said music united people and also spoke about the famous Bhajan ‘Man Tadpat Hari Darshan’ which is composed, sung & written all by devout Muslims. He said many of Naushad’s songs contained words like ‘Rama’ and these are some of the best examples of communal harmony that can be seen anywhere. He urged people to take a lesson from these legendary artistes who devoted their life for spreading the message of love and brotherhood through their melodious music. He came to know more about Shankar Jaikishan after reading Gujarati biography by Dr. Padmanabh Joshi of Ahmedabad. Swamiji also remembered many of Shankar Jaikishen’s contemporaries like Mehboob Khan who also hailed from neighbouring town of Billimora, Shaqeel Badayuni, Naushad, among others.
A message in a poem form from singer Sharda was read by famous writer Rajnibhai Pandya. Rajnibhai also said that he received many emails/SMS from his readers that Shankar should also be remembered at this event and he duly conveyed the wish of music lovers to the organisers. He said the august audience consists of some notable names who have done lot of things to keep memories of yesteryear musicians alive. A prominent name was of collector Harish Raghuvanshi. All the gentlemen were honoured on the dais. Many eminent speakers requested the people of Bansda to make sure that the statue is kept in a well maintained pristine condition.
A feast was organised for the entire town of Bansda and everyone who attended the event. The veg. food served was very tasty. Everyone, including yours truly, relished the tasty pakodas, Surti undhiya, puris, daal-rice and butter-milk. The event was also covered by E-TV, Chitralekha (Gujarati magazine), Rajasthan Patrika, among others. It was a very well organised event and it seems the organisers’ wanted to convey : ‘Tum Bansda Ko Yu Bhula Na Paoge’
Qamaal Mustafa Sikander
Music lover & Editor News Blog
HERE ARE THE PHOTOGRAPHS TAKEN BY QAMAAL BHAI
कुछ और भी फोटो हैं जिन्हें आप सीधे कमाल साहब के साईट पर जा कर देख सकते हैं
THERE ARE MORE PHOTOS, TO VIEW THEM PLEASE VISIT :
The shankarjaikishen group on Yahoo was represented by the members whose photographs are as under:
My sincere thanks to all the members who made us the story and photographs available to fans of SHANKER-JAIKISHEN