Posts tagged ‘Shankar jaikishan’

Shankar Jaikishan – Interview (1957)

Courtesy : http://cineplot.com/shankar-jaikishan-interview-1957/

A Decade of Hits

WHAT makes a song last? It is almost ten years since we began composing songs for films—all kinds of songs for all kinds of films. Even this year—the year in which we have won the “Filmfare” Award for the Best Music Direction—we have composed strikingly different types of scores, ranging from “Seema” and “Chori Chori” to “Shree 420” and “Basant Bahar”.

In this long period the overall impression we have gained of the taste of picturegoers is that only an Indian song can survive on Indian soil.

We do not propagate any antagonism against the integration of Indian and foreign music. What we are opposed to is the wholesale plagiarism of foreign musical compositions.

How long does it take to compose a song ? We, on our part, take anything from a week to a year. To illustrate the labor involved we would cite the example of the musical score of the now famous dream sequence of “Awaara”.

Nobody had thought of a dream sequence for this film. The situation required two songs, “Tere bina aag ye chandni” and “Ghar aaya mera pardesi”, each of which was composed independently of the other. One day we were sitting in Raj Kapoor’s office—we had no separate music-room in those days. It was a friendly gathering. Suddenly we began making “ghost sounds” for sheer fun—shrill screams, yells and weird cries! Now an idea struck Raj.

“Why not make it a part of the music ?” Raj Kapoor exclaimed. There and then we decided to have a dream sequence, and link the two songs by a third one.

“There will be three songs,” Raj said. “A girl calling her lover, the boy caught in the grip of evil, and the final song of reunion.”

That very evening Raj brought Nargis to listen to those weird sounds we had made, and we all decided to have one full reel of musical sequence—what eventually turned out to be the longest musical sequence in Indian films.

The recording began at 9 a.m. and went on to become the most memorable one of our lives. We were all working ourselves up into a state of frenzy. Raj flitted from one end of the music-theatre to the other, inspiring one and all with his zeal. Day turned into night but all of us went on—musicians, singers, sound recordists, and Raj himself. Midnight struck—we were still at it.

From “Barsaat” to “Chori Chori” our story has been linked with the story of Indian film making. It has been an exciting time for both of us.

Once, Shanker visited the H.M.V . Gramophone Company and heard a song sung by a little-known singer. He was so impressed that he asked Raj Kapoor to get her to sing just one song of “Barsaat” instead of any of the established singers. Afterwards she sang all the songs of “Barsaat”. Her name is Lata Mangeshkar.

When we began composing tunes for “Barsaat” we used to play them to Raj Kapoor. So impressed was he with them that he was determined to use them in the film. But he said, “I cannot promise to announce your names as music directors since I have already signed up someone else.”

Still, we continued because of our love for the work. We were surprised and elated when, towards the completion of the film, Raj told us that we would after all get official billing as the music directors of “Barsaat.”

He had confidence in our work and his confidence was vindicated by the sensational success the songs achieved.

The days when we were recording the song “Ay Mere Dil Kahin Aur Chal” for “Daag” also come to mind. The financier heard the song and was so disappointed that he told the distributor, “It is a most disappointing song. No one is going to like it. If I had known that the picture had such poor music, I would never have financed it!” Little did he know then that the song was going to become a best-seller.

We feel that while retaining the basic form of Indian music, one can always experiment with new instruments, Indian or foreign, to widen the scope of film music.

The use of the accordion in “Mera Juta Hai Japani” and of the trumpet in “Mur Mur Ke Na Dekh” (both from “Shree 420”) illustrate this point. However, what is essential is the basic Indian melody. Thus even in the puppet song of “Chori Chori,” there are “alaaps” and “taans.” For that matter, the entire music score of “Chori Chori” is based on familiar Indian “raags” and folk melodies.

On the day Amiya Chakrabarty died he discussed with us the songs of “Kath Putli”. The first line of a song we recorded for the film after Amiya’s death is “Manzil Wohi Hai Pyaar Ki, Rahi Badal Gaye” (“The path of love is the same, only the travelers have changed”.) Amiya Chakrabarty took a keen interest in our work.

Of the many scores composed by us, we would particularly like to refer to four songs: “Ay Mere Dil Kahin Aur Chal”, “Awaara Hun”, “Mera Juta Hai Japani”, and “Ichak dana Bichak dana”. While the first became widely popular in India, the other three also won recognition abroad. We are told that “Awaara Hun” has been translated into many languages and is today sung and played in almost every part of the world. Its success has confirmed our belief that Indian film music can be appreciated abroad if we refuse to imitate foreign tunes.

We are sure that symbols of encouragement, like the “Filmfare” Award, will continue to inspire music directors to bring to the screen original and popular compositions (This interview was conducted in 1957).

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SJ’s remarkable talent in background music and their great professionalism.

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some interesting facts about Gunahon ka devta……..

some interesting facts about Gunahon ka devta……..

Shri Pradeep Kr. Gupta writes :

“Let me share some interesting anecdote about this movie. Jitendra was a new comer and not salable. Rajshree had become a big name by that time and was working with lead actors including Raj Kapoor and his brother Shammi Kapoor. Devi Shamra, who produced the movie based on a novel written by Dharmveer Bharti, a famous Hindi novelist who also worked as the chief editor of a famous Hindi weekly Dharmyug published by the Time of India group, Mumbai. Devi Sharma had finalized SHANKAR-JAIKISHAN who were at the peak of their career as star composer leaving all their contemporaries and juniors way behind. Jitendra’s remuneration was cut to meet the expenses incurred on sound score and Rajshree’s fee. I read some where that Jitendra eventually worked free of cost as the producer- director were adamant to work with the duo despite their low budget. It was a well known fact that the music duo used to charge even higher remuneration than the lead actor of the film for their music score, but this was the unique case when the lead actor of the movie worked free of cost to meet the end. That was the impact of SHANKAR-JAIKISHAN those days and they commanded highest regard among the film fraternity for their sheer brilliance.

SHANKAR-JAIKISHAN at their zenith in this song! The song is an unusual one in the sense that interludes in all three antaras (stanzas) are different. Normally in a three stanza song, as this was in the vogue those days, first and third stanzas had mostly same interlude while second one had a different one barring a few exceptions with all leading composers. The song starts with prelude played on violin chorus to give a feel of western classical music of Johann Sebatian Bach, Wolfgang Amedeus Mozart, Ludwig Van Beethoven, Franz Schubert (all Austrian composers) and Chopin. With this brief prelude the song starts in the deep baritone voice of Mukesh. The rhythm is played on drum. then comes first stanza with violin chorus coupled with cello to create an ambiance. Second stanza has saxophone followed by solo violin beautifully played. Now comes the third and last stanza with violin chorus for counter melody followed by solo violin to evoke pathos. Electric organ is another salient feature which could be heard even between the lines leaving no vacant space throughout the song. It’s rightly said in the post by Lakshmi Didi that the song gives a symphonic feel. Salil Chowdhury, a doyen of Hindi and Bengali film music once commented on the duo that the way they used violin chorus no body else could have ever used and the duo proved this statement as true on occasions. This song is also not an exception to what was vouched by Salil Da.

 Continuing with the same thread I would like to quote Pyarelal Sharma the gentler half of Laxmikant-Pyarelal as saying “SHANKAR-JAKISHAN ke gaanon mein tune bhi gungunana padta hai. Bina tune gungunae gaane ka maza nahin ata.” Then he took the title song of Awara “Awara hoon ‘tararara’ played on harmonium by Vistap Ardeshir Balsara in the sthaayi (mukhda). Readers will be surprised to know that the piece they feel to have played on piano accordion was actually played on harmonium by the maestro.”

AND

Shri Ajay Dagaonkar ji writes :

“This is majority correct but not what Jeetendra told in his TV interviewAs per him some other composer was to be signed and Jeetendra got frightedJeetendra despite Shantaram films was no starHe wanted big composer like SJ or Naushad and he approached Jaikishanji and to pay SJ fees Jeetendra fee was cutFor heroine he approached Rajashree who as rightly said has become big and her mom asked for a fee and to pay that Jeetendra fees was cut and he perhaps got in return A grade star status but no money but this sacrifice made his lifeA great business decision”

More snaps relating to film Pyar Hi Pyar produced by Rajaram-Satish Wagle

At the launching of film Pyar Hi Pyar Photo courtesy : Satish Wagle, Jatin Wagle

At the launching of film Pyar Hi Pyar
Photo courtesy : Satish Wagle, Jatin Wagle

Music Director Jaikishan of Shankar-Jaikishan  giving clap to the Muhurat shot of film Pyar Hi Pyar Photo courtesy : Jatin Wagle-Satish Wagle

Music Director Jaikishan of Shankar-Jaikishan giving clap to the Muhurat shot of film YAAR MERA
Photo courtesy : Jatin Wagle-Satish Wagle

Raja ki aayegi baraat

critique.

Mera Joota hai Japani makes it to Hollywood!

about an hour ago via mobile
near Jumairah, Dubai, United Arab Emirates 

 
 
This was sent to me by Alok Mohan earlier today.
It is such a joy that recognition to the great poet, and music director duo comes in a different form. 
Makes me feel so proud!
Mera Joota hai Japani makes it to Hollywood!

Jeena isi ka naam hai [(article on the occasion of the 91st birth anniversary of Composer “SHANKAR” (Jaikishan)]…..

 

“…Jeena isi ka naam hai”

Love for music in this family exists right from his grandfather’s times, father was a great lover of Hindi film music, particularly of “Shankar-Jaikishan”. It was no wonder therefore that Swapneel Sathe inherited this love.

But that just the love for music, and particularly for a certain popular song, would give new life to someone does look surprising to say the least..but it did happen. The Pune couple Chitra Sathe-Swapneel Sathe is the one that has brought this fantasy into reality. Both inherited their love for music from their fathers.

They did, of course, like compositions by all composers, but as they listened to more and more songs by Shankar-Jaikishan, they became enamoured with them and finally virtually turned into their devotees. Not just their melody, but the words too attracted them. On listening to their song from ‘Anari’
“Kisi ki muskarahaton pe ho nisaar
Kisika dard mil sake to le udhaar
Kisike vaste ho tere dil me pyar
Jeena isika naam hai…”

these meaningful words by Shailendra “Kisika dard mil sake to le udhaar” (Borrow someone’s pain if you can) took Swapneel by storm. He began thinking how he could put this philosophy into practice. This was the time when he was about to be betrothed. The idea of adapting an orphan seemed the perfect answer. He conveyed this to his (to-be) wife Chitra the first time they met before the wedding.

Now look at the remarkable coincidence here. When Chitra and her people came to meet the Sathe family, the song Chitra sang was “Tera mera pyar amar…” — again a Shankar Jaikishan song. And it’s not as if she was aware of Swapneel’s liking for SJ songs. So they possibly connected there and then.

What is surprising is Chitra, too, happily seconded the suggestion. Chitra had been witness to her friend adopting a child and had seen an Orphanage and the procedure from up close. She had therefore experienced the serenity and the nobility of the deed.
Chitra and Swapneel got married. Even after they had a son, the thought of adopting someone wouldn’t leave them. They both genuinely believed that adopting an orphan would create a home and hope of a good life for that innocent child, the child would get parents and, though indirectly, they would be paying homage to their musical idols Shankar- Jaikishan. They already have a son, then why not adopt a girl? They both concurred on this.

But when they put forth this thought before elders, they all opposed. None was happy about accepting an unknown child into the home as a permanent member. As it is, people want to restrict the size of their family in these days of inflation, so why do you want to add a member when you already have a son, is what most of them asked. But other songs of Shankar-Jaikishan, such as “Tumhare hain tumse daya mangte hain” and “Zyada ki nahin laalach hum ko, thode me guzara hota hai” also moulded the philosophy of Swapneel and Chitra. They stood firm and went ahead and applied to the ‘Shri Vatsa” Orphanage. The institution studied their information, made sure this was a worthy couple and showed them a girl there. As they looked at her, they knew this was the one they wanted to adopt.

Soon they completed the procedure and “Bhairavi” officially became part of the family – parents Chitra and Swapneel and brother Shreyas. Yes, ‘Bhairavi’ was the name they had already agreed upon, the reason was again Shankar-Jaikishan songs. Bhairavi was SJ’s favourite ‘raaga’, as also Swapneel’s. So many of Shankar Jaikishan songs in Bhairavi were a ‘weak point’ of both Swapneel and Chitra. Jaikishan’s daughter is also called Bhairavi. So the Sathe couple paid a dual homage to Shankar-Jaikishan.

When Bhairavi actually came home, the opposition had all disappeared and she was heartily welcomed not only by the people at home, but even by residents of the housing society. Now Bhairavi, along with brother Shreyas, is loved by all.

Swapneel conveyed this entire story by e-mail to Pallavi (Jaikishan’s wife). She was so impressed by it that she not only replied promptly and conveyed her appreciation and blessings, but she also asked him for his address. Within two days Swapneel received at his address, as a special gift from Pallavi Jaikishan, the handsome filmography volume ‘Saat suron ka saath – Shankar Jaikishan’ edited by Mr Vishwas Nerurkar. For the Sathe couple, this is a priceless gift.

This extraordinary deed by Chitra and Swapneel Sathe prompted by the words,

“Kisika dard mil sake to le udhaar
Kisike vaste ho tere dil me pyar
Jeena isika naam hai“

are a true manifestation of the sentiment behind them and has not only provided parents to a girl child, but also given her an opportunity to live her life and to realize her potential.

The true power behind melody and words is again underlined by the deed of this noble and exemplary couple… 🙂

Chitra and Swapneel ji

*****************

“Thanks a Ton to our senior friend CHANDU KALE for this appropriate translation of posting of my Marathi note, just valuing the importance of the subject to reach to Non-Marathi readers as well, to know what the genuine music-lovers can do in life… 

Prasad Sanwatsarkar

Shri Prasad Sanwatsarkar – writer of the original feature in Marathi

After seemingly endless aimless driving on scooters on superb village roads in rustic Goa, arrived at this famous Fishermans Wharf restaurant at Cavellosim.

Shri Chandu Kale ji who translated into English

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