Tag Archives: shanker

As music lovers celebrate the 82nd birth anniversary of Jaikishan this Friday, here’s a rewind to the magic of Shankar Jaikishan


Yaad Na Jaye… A file picture of Shankar greeting Jaikishan on his birthday

Written by

Deepak Mahaan

Shankar Jaikishanthe name itself is so lyrical and inspiring that none is surprised that the music director duo created some of the greatest songs ever for Hindi film screen. If Shankar was named after the great Hindu deity of dance and Jaikishan’s name was the very embodiment of God of music, such a lethal combination of blessed talent had to be conjurers of exemplary notes. Obviously, when they captured the music lovers’ imagination and hearts with mesmerising array of melodies it didn’t surprise anyone since it was always expected of their formidable ability.

If Naushad exuded classical charm, Sachin Dev Burman exemplified the Himalayan tranquillity and O. P. Nayyar executed nature’s countless rhythms, then Shankar Jaikishan (SJ) duplicated various colours of the seasons in their enticing compositions. From high brow symphonies to rustic ballads, they had enthralling masterpieces to bind every listener’s heart in delightful ecstasy. Their years at the great Prithvi Theatre made them understand how music could be utilised to heighten the dramatic elements and this intrinsic talent of using sound to convey subtle emotions won them mass adulation without difficulty.

What compels attention in most SJ creations are the intricate and elaborate introductory pieces that not only set the mood and tone but also became tour-de-force of the melody. Though SJ conducted huge orchestras, they always ensured that the distinctive sounds of different instruments came forth with immaculate clarity without distorting the harmony of the overall composition. Listen to the harmonium crescendo before Mohammed Rafi creates nostalgia with “Yaad Naa Jaaye” (“Dil Ek Mandir”) or the sitar, violin and piano notes chiselled within a humming chorus prior to Rafi’s evergreen “Ye Mera Prem Patra” (“Sangam”) and you realise how the operatic preludes arrest our attention even before the words come into play.

Instrumental interludes

Similarly their instrumental interludes between verses were a treat to hear as they were set to enhance the evocative appeal of the image on screen. Remember how the violins meander around accordion notes to augment Sadhana’s pristine beauty and Lata Mangeshkar’s voice in “Tera Mera Pyaar Amar” (‘Asli Naqli’) or the way saxophones enhance Mukesh’s romantic aura in “Ae Sanam Jisne Tujhe” (‘Diwana’). The list is long and difficult to mention within the confines of a small article but suffice to say that several music directors tried to master this art but couldn’t reap the same results.

If Nayyar created unforgettable rhythmic patterns from stray objects, then SJ gave life to many established rhythms like foxtrot, waltz and teen taal (16 beat tempo) with their dexterous use of bongo drums, dholaks, octopads and congos. Within the limited scope of a song sequence, SJ designed wonderful patterns of sounds that not only helped raise the quality and mood of the song but also exhibited their irrepressible virtuosity. Described as “ultimate composers” by Nayyar, the talented duo even composed elaborate Hindustani classical ragas on prominent western instruments and vice versa with astounding success. Though their popular numbers are well entrenched in public memory, it must be stressed that they were the pioneers of fusion music and their exceptional non-film disc “Raga Jazz Style” was its finest example. Judging from the overseas response to their exquisite English number by Usha Uthup in “Bombay Talkies” to the accompaniment of tabla, flutes and sitar, one can say that they could have certainly ‘rocked’ the western world if they had so desired. For greater proof, visit youtube.com and see why their “Jaan Pehchaan Ho” (“Gumnaam”) and “Dekho Ab To” (“Jaanwar”) songs are such smashing hits amongst western listeners!

Raj Kapoor may have played an integral role in establishing SJ but it is a fallacy to credit him for all their success. Even excluding the RK films, the sheer range of their musical compositions and success is breathtaking with such diverse films as “Daag”, “Seema”, “Halaku”, “Basant Bahaar”, “Humrahi”, “Sasuraal”, “Amrapali”, “Asli Naqli”, “Arzoo”, “Dil Ek Mandir”, “Junglee”, “Professor”, “Love in Tokyo”, “Suraj”, “Brahmachari”, “An Evening in Paris” and several others that cannot be listed for want of space. In fact, apart from Raj Kapoor’s super stardom, SJ also played a big hand in establishing Shammi Kapoor and Rajendra Kumar and many of their films actually ran to packed houses only because of SJ’s enchanting musical bouquets.

One must confess that the contribution of two outstanding lyricists Shailendra and Hasrat Jaipuri has to be etched in gold since they gave life to SJ music and their lyrics created their legend. If Shailendra was brevity personified with philosophical gems embedded in every line, Hasrat was the Urdu poet with romantic sensibilities and their simple poetry from everyday language made SJ music connect instantaneously with the masses. Veteran film critic Raju Bharatan reveals that that most of the times the writers wrote the lyrics to an already prepared SJ tune but such was their mastery that not only would they quickly adapt the metre but also pen easy to decipher words. This is easier said than done and it is fair to say that these two accomplished writers were great assets for SJ music.

Alas, when Jaikishan died young and Raj Kapoor too abandoned the SJ banner, it led to a steady eclipse of business. Though Shankar never lost his magical prowess; his acidic tongue made Bollywood enemies push the SJ name out of the creative arena. Nevertheless, it is safe to predict that centuries later when many composers would have been forgotten, the SJ name would be eulogised for its remarkable, life infusing Shammi-Rafi numbers as they impart immense joy and strength to every human being. There is an immense rejuvenating power in most SJ creations but nowhere are the joie-de-vivre and the exultation of youth more visible and infectious than in the magical bond of Shammi, Rafi and SJ that will live forever. If imitation is the best form of flattery, I still think Rahul Dev Burman’s score for “Teesri Manzil” is the ultimate tribute to the genius of Shankar Jaikishan!


Courtesy :


SJ work outside RK fold is much more, tremendous and of far higher quality. (up to 1971- Jai’s demise.)

This is an e-mail which I got from a visitor on my youtube channel.
I found it useful to share with all my fellow SJ fans.
Shri R.Nanjappa ji writes :
Dear Pandey Ji,
Thank you for your email of this morning.
I have since reread your comments on my response to the YT feature of 5 Jan 2015 closely.
I want to share two further thoughts with you.
There are two distinct worlds in SJ’s music: one for RK films, one out side the RK fold. People usually praise the association of RK and the SJ quartet of S-J, Shailendra and Hasrat, along with Mukesh and Lata. But I feel this is overdone. RK did launch SJ as MDs and supported them by making them his paid employees. But he also severely limited the scope of their genius by forcing them to conform to his own formula of music in his films. In RK films, SJ’s music was popular but lacked depth, except in flashes. They composed music for just 9 films for RK – two of which failed at box office, though for non-musical reasons, and one achieved just average success. Among them, Aah had perhaps the best ever music of SJ for RK- with soulful renderings by Mukesh and Lata. Boot Polish too had a very lively score, though it was a later addition, the film having been completed as a realistic film in the style of a Vittorio de Sica, without songs. The whole music was composed and recorded within 25 days!
But to an objective observer, it is too obvious that SJ work outside RK fold is much more, tremendous and of far higher quality. [ up to 1971- Jai’s demise.] This is primarily because they enjoyed total creative freedom outside RK shadow. I feel the RK-SJ association is hyper hyped.
Lata Mangeshkar once said that whoever might have been credited as MD for RK films, the real music director was RK himself- the others merely executed RK’s ideas. There is some truth here, but not whole truth. [Lata is usually not wholly reliable. She distorts matters.] SJ composed many tunes which RK had taped and stocked. It is these he used till Ram Teri Ganga Maili. RK was unfair that he did not acknowledge SJ’s contribution openly.
Lata also had a direct hand in denying Shankar re-entry to RK fold. Lata had fallen out with RK and Shanker over the song Main kya karun Ram for Sangam. But later RK reconciled with Lata, but when Bobby was to be made, Lata said she would not sing for Shanker and she insisted that Shanker should be sacked, and brought in LP. RK just yielded. But RK told LP that they were to be just arrangers, as the tunes were already ready- made by SJ. Thus, RK, Lata -all conspired against the great Shanker, when he was already down without Jai. Such is the wretched filmy world. Jahan Rishte na honge jhoot ke- runs one song in Patita– composed by SJ, written by Shailendra, and sung by Talat. What an irony in real life!
Lata had another grudge against Shanker – that he promoted Sharda. Some may dispute the quality of Sharda’s voice. But how and why? In comparison with whom? Whose voice is perfect, ever? Each singer has a distinct voice and it suits some actors and situations more than others- this is the MD’s choice, and people are the ultimate judge. Can Lata ever sing an ‘Aayiye Meherban’, Raat Akeli hai, Aye dil mujhe bata de, Poocho na hamen hum unke liye,Jaane kya tune kahi, Aage bhi jaane na tu, Kya ho phir jo din rangeela ho. etc?
Image may contain: 3 people, people sitting and indoor
Lata had prevented the rise of many other female singers. I will give one telling example, not widely known. When some Hindi films were dubbed in Tamil, Tamil artistes used to sing the Tamil version songs. When Aah was dubbed as Avan in Tamil, A.M.Rajah and Jikki sang the songs of Mukesh and Lata. These became quite popular, which Lata did not like. When Uran Khatola was dubbed into Tamil, Bala Saraswati Devi, a gentle and cultured Telugu and Tamil knowing lady of some aristocratic background with a sweet voice was selected by Naushad to record the Tamil songs. She was called to Bombay, was rehearsed by Naushad and one song was even recorded. Lata came to know about it, she ran a furious tantrum; even Naushad was unnerved, and quietly replaced the poor Bala Saraswati Devi, and recorded the Tamil songs in Lata’s voice. Now, Lata cannot pronounce any south Indian language properly, and the Tamil songs she sang in the Tamil version of Uran Khatola ( named Vaana Ratham) sound so ridiculous. But such are her ways. It is Lata who prevented Shanker from entering RK fold again. I feel RK was wretched in thus deserting and destroying Shanker, who is acknowledged as a great composer by all knowledgeable insiders, after extracting so much work from him in advance. [Lata similarly destroyed C.R. SDB also yielded to her. Such were her tactics- I call it “Latagiri”.]
Is RK deserting Shanker important? Yes, however talented a composer, he needs steady support to maintain and nurse his creative talents, without worry. See how SDB was supported by Nav Ketan for long, Ravi was supported by some big producers, while Madan Mohan lacked consistent support from any big banner. Thus when Shanker was down on luck, support from RK would have helped his market. But then, it is a mystery why almost all his films failed after the death of Jai, though everyone concedes that Shanker was the more complete musician between the two?
There is another aspect about which I will write separately.
Yours sincerely,

The height Shanker Jaikishen had reached is too far; beyond anyone else’s’ reach, no question about that…

Written by Singer

Sharda Rajan's Profile Photo, Image may contain: 1 person, selfie and closeup

Sharda Rajan


The height S J had reached is too far. beyond anyone else’s’ reach… no question about that…
It is all before everyone eyes.. & ears…..Great, great personalities have accepted the fact.
The music pieces, the range, the varieties of tunes, the orchestration, the use of the violins & other instruments are mind-boggling.
They were the aadi & anth of a glorious height in music …
They brought the biggest orchestra to Indian scene ….how they managed it & how they recorded the magnificence with 4/ 5 mikes & limited facilities in recording technics is beyond imagination.
The height of the popularity & the volume of adoration they earned, simply by merit, at a time when there were no boosting & bombarding media, is also unheard &unseen & beyond anyone’s grasp.
They didn’t need any support from anyone, ..no big banners , no superstars were needed to take their music sky high ..Their merit was enough to take not only themselves to great heights but lift everyone who was associated with them to the same heights along with them
Sebastian & Dattaram were among those who zoomed high riding on the wings of S J.
When SJ started with Barsaat , which became a musical toofan , with all songs becoming super duper hits, competing with themselves, pushing one another to reach the sky . all of them,
there was no Sebastian or Datta ram ..
They had brought in their first movie only many new technics, setting a new trend.Thereafter raising & higher brought many variations, second track music, counters & fillers, showing India what is a true orchestra..At that period when there were only ‘sa re ga ma pa dha ni music in all the songs, they brought the new western music arrangement to India …They brought the chord arrangements, the counterparts, the backings, the fillers, obligatos & Overtures.
The first, second music, overlapping alaaps, countermelodies arrived in their first movie only .. check with ‘Chodgaye Balam & other songs.
No assistants & arrangers were needed… The macho music has landed in India!
.There were no such backings in the orchestra,………till S J appeared in the music scene.
People knew only simple straightforward music pieces, till S J entry.

Seb & Dattaram came as arranger & assistant after S J had already reached the glorious heights in music arrangement…
Sebastian was lucky that Shankerji chose him to be his arranger & now he has got an important place in the music history of India… Any arranger would have got this place if Shankerji had chosen him… It is the S J music that took him to giddy heights & gave him the exclusive boon to shine…
As I had written earlier that Shankerji’s harmonium would bring out aaaal the new, modern pieces, the new patterns, the heart pulling pieces ..& what Seb had to do was just write them down in the music sheets & place them in the song…..
Slowly & gradually Seb grasped the S J style & became nr one arranger.

When someone asked O P ji that how come Sebastian’s work is so great in only S J music, whereas he worked with many other M DS.
I heard or read somewhere that O PJI had replied, that ‘ You have the answer in your question only… It is S J music that makes Sebastian come out great ..’
What a wonderful reply! A great music director to say this about another great… Only a genius can give praise to another genius in this manner…
If Sebastian had any hand in the grandeur of S J music, how come he did not bring it out in other MDs music, with whom he worked ..?..He could have made those other MD s also give hundreds of hit songs & demand 5 lacs per movie .. right ..? How come he didn’t do that?
Sebastian was an arranger, not music maker ..If he was capable of that, we would be having another S J in the name of Sebastian with another sack full of hit songs .. But, no, we are not having that, because Sebastian was no composer. He cannot create music & he had nothing to do with the creations of S J, other than just writing the music & arranging what was already composed.The magnificent pieces & the arrangement of the magical notes are all SJ creations, every bit, A to Z …… No one,s hands were there, no one,s hands could do anything & no one was needed.Actually, who could go near S J caliber? SJ themselves could give the whole world an ocean of music marvels & much much more to so many others..

All the counters, the seconds, obligatos will come flooding out of Shankerji’s hands . Seb only had to pick those pieces & write them down in the same tempo as Shankerji’s hands.
Gone piece will be gone piece .. it wont come again ….thousands of other pieces are coming out bursting ……….Seb will nowhere lag behind .. Quick in picking up the right piece, written down in a jiffy , he is ready to pick another piece …then to place them all in the song in the right place.

If he had wanted, Sebastian could have become a music director himself.He had offers… But he knew his limits, he declined the offers he got, saying,’ that is not my job.
If you have the talent of composing, you cannot leave the composing offer.You will jump up &definitely take it .. Means Sebastian did not have the creative instinct in him. He can do a great job in arranging the music which the M D had composed & that is it. He cannot go beyond that. That is why he could not do anything great in his job with other M D s & came out great with only S J.
And he grew with the magic of S J.
Whereas Sebastian grew with S J music to greater heights, Dattaramji was zigzagging all thro ..
Dattaramji was just a rhythm player in S J orchestra .which you can see in this photograph in which Jai sab is conducting the rhythm section where Dattaramji is seen playing a rhythm instrument.
It is again Shankerji’s magnanimity that raised him from a rhythm player to rhythm conductor.
Like always, like with so many other people he had lifted, Shankerji lifted Dattaramji also.
Not only that, he gave him chance to give music in movies with Rajkapoor.
So gracious & big hearted was Shankerji to give such a chance to an assistant … Couldn’t he have taken the movie himself?Have any other M D done like this anytime?

.Many of the M D s of those times had Hindu assistants who were familiar with classical & light music. Some M Ds might have been telling their assistants to make the music for their songs.Arrangers were mostly Goan Christians & they wrote notations .. not make music .
. But most of our great mds not only just composed all the music but worked for a long time making different pieces & checking, bringing out best music.I have read somewhere Naushad sab saying that he worked more hard in the music than the song. As for S J, sawaal hi nahi uthta hai .. .with the undrying ocean of music roaring within them, where is any chance for any arranger to get in? They had everything composed in excellence, the intro, interval, counters, seconds, fillers, all complete, each & every piece ready for the arranger to write & fix the chords.They had the most brilliant excellent magical music flowing from their hands & they built an ethereal heaven of music which will go on shining in the world forever.
Who was needed to put char chand in their music? They have fixed pacheeson Chands in their hand…No arranger was invited to fix char chand in their compositions …Who could even come close to their melodies & music pieces?
Seb was required to control the sea of musicians in SJ orchestra, which was growing bigger & bigger all the time. Plus he had to write western notations for the musicians who read western notations.They all have to play at one time & since there were no track recording facilities at that time, conductors were needed to manage the huge orchestra.Seb, s job was to write all the music, place them in the right place as main music or counters, give the sheets to the musicians & lead them to play in unison .

Dattaramji was also lucky that Shankerji gave him this chance .. Shankerji’s loyalty & steadfast sincerity made him stick to Dattaramji all thro ….though Dattaramji ‘s style slowly was lagging behind & not reaching to the level of the grandeur of S J music.
SJ brought new styles & variations in rhythm, but they all did not come out due to the lack of a proper rhythm arranger. Shankerji used to play & sing all the patterns while composing the song. The music pieces come out with Sebastian writing down most of them, but rhythm patterns which Shankerji would demonstrate with audiation sounds , by uttering the rhythm patterns by various sound combinations, went missing. You can watch in some interview videos how Shankerji demonstrate rhythm patterns.
While his tabla dholak arrangements were quite fantastic, Dattaramji was not as fantastic in the beats as to the most modern, rich, new wave music of S J in all those western style modern songs…
With the passage of time & their hit parade raising higher & higher, S J music went on leaping to new heights But Shankerji, let Dattaram conduct the rhythm section in his style which was not rising to the level of the brilliance of S J music & lagged way behind S J magnetism.His tadipas & Dattu tekas were getting outdated & not suitable for the changing times & the latest, futurish music S J went on creating… The new crop of Disco Diggers mushrooming all over wanting to rock with the beats, the drums had to take over the reigns.
If Shankerji had taken another new young rhythm arranger for his western style songs the rhythm would have been much more matching with their magnificent level
But Shankerji is Shankerji .. he will not hurt anyone .. he will take the hurt himself
He cannot let his associate down ……….& he compromises…

It would have been so much the merrier if Dattaramji was little more innovative & brought new variations matching those zinging zooming S J tunes instead of sticking to the tadipas…
.There was a Himalayan scope in all those brilliant vibrant melodies of S J, for the rhythm arranger to come out with out of the world beats, variations, styles & patterns.
But sadly Dattaramji stuck to his old style which made some S J lovers turn to other directions..
Anyway, the power of the high volume magnetism & machoism in S J music is so enormous that it will not be affected by the lack of modern pattern beats. New wave rhythm or old wave rhythm S J dhuns will go swinging all over the world. No one notices or realizes the missing fireworkbeats in the songs.
Many new crops of rhythm players & conductors would have given the world to get to work with Shankerji.. but with Dattaramji around they would not dare coming close to Shankerji.

We all respect Sebastian & Dattaram.We respect them because they worked with the greats whom we love & respect…Shankerji,s & Jaikishenji.s association have given them this love & respect …who would bother about them if they did not work with SJ & worked with some other MD s? The love for S J is so enormous in all their chahnewale’s hearts that they will love anyone connected with them in any capacity. Does anyone bother about the arrangers & assistants of any other M D ?
I cannot go praising any persons unjustly ,unduely saying that someone had their hands in S J marvels & give credit to people saying they had inputs in S J music.
I have a conscience, … for God’s sake!
I have watched, the composing, the notation writings, the rehearsals & recordings…………and I can say with my head high before God that S J are the limit in creations & they did everything by themselves & no one did anything in their creations & none had any inputs in their creations ……
Sure . the credit for doing a great job in arranging S J music in grand manner goes to Sebastianji .The understanding , the inner vibes& tuning he developed with S J made him dear to them ..That is all .. No credit for any creative job or having a hand in their music .if I did that to go along with the crowd I will be doing something wrong .

I don’t know when, how & why Dattaramji left …
But I knew when Sebastian left
. Shankerji tells me, with a heavy heart that Sebastian is leaving.
I am shocked. I ask ‘ Why? What happened?
He says ‘ He is retiring .. Going to Goa ‘
I could not believe it .. How can a professional retire? How will his talent take a bow?
That too leaving Shankerji at this time .. after Jai sab left him?
‘ Noooo.’ I say .. Don’t let him go ..’
He says, ‘ I am telling him… He is not listening ‘
I felt that Seb should not have left Shankerji at this crucial time…
I could not forgive him…How did he have the heart ?…
At least he could have waited until Shankerji found some suitable person.
He was also like one of all those …who let Shankerji down ……..when he was going thro his dark time…This is not the best time for Shankerji to go & try new associations in his work.
True, it will not affect him, whichever arranger he worked with. But the longtime association, understanding & the rapport Seb shared with Shankerji are something which will not be easy to get from somewhere else, all of a sudden at a testing period of his career.
Shankerji takes this one & that one for arranging his music …with no proper result or full satisfaction … fighting his battles like a warrior without his chariot or weapon… .
No doubt all those arrangers were brilliant in their jobs … but Shankerji,s extraordinary style is way beyond anyone to cope up with.Gradually all Shankerji’s new creations which were full of verve & vigor suffered without proper handling, accurate arranging & rhythm setting.
..Before he could get the new young talents get acquainted with his magic & come up to match his creativity .. he had to leave this world…
People say. ‘ Oh . some songs are loud, some songs are not so great ‘
Tell me have you seen anywhere in this whole world any MD who have given nearly 2000 songs . all great & all hits?
If you compose thousands of songs, surely some of them will be little less sparkling…
See the percentage of hits & the number of star-making songs… matchless!
India is richer in music because of S J . If you imagine the music world without S J songs, you will see a bleak picture.
All artists, stars or singers, dancers or M D s, they all lose their charm after a particular period, though they cannot leave & retire because of their ego or greediness & they go on dragging forcing themselves upon the public with aged faces & voices. The public takes them because of the feelings it has developed for them during the past.
But Shankerji was not anyone. He was the specially created special genius, with an endless flow of divine music in his hands & brain.
You have not seen the full real glory of his music! What you have seen is not even 1/10nth of his marvels.
How can I tell you what I had witnessed during his composing & notation writing time?
Which pen has the capacity to describe the glory ?
Against all odds, handicapped with the lack of proper understanding assistants, he goes on with his marvelous creations. After Jaikishen, bearing his grief within himself , he comes out in his full charisma continuing the legacy of S J Janda . Left alone in disconcerting times with all sathis leaving him, his musical genius did not leave him. Being his lifeline , it lived with him as long as he lived.
. Whatever, kami some feel, had come in his creations after Jai sab , is not in his creations, It is due to the grade of movies & work of the assistants. His work was as magnificent as ever .
Many M D jodis finish off if one person leaves, K A, LP, Sonic Omi, Nadeem Shravan & as such.
With Shankerji, it was as if Jaikishenji never left him. Shankerji’s music Ganga never stopped flowing…………until end came ………the hands stopped playing & the voice was silenced ………

Image may contain: 7 people, people sitting, wedding and indoor

Nobody has even come within miles of Shanker…



Dinesh Shankar Shailendra

Shankar Singh

Jaikishan, Shailendra & Shankar

(15 October 1922 – 26 April 1987)

I know, I am a day late in posting for this great man, but, in 1987, we also got the news a day later…

As I was growing up, I developed an interest in palmistry for a brief period of my life… It was a known ‘fact’ in Palmistry, that if one had long, slender fingers with shapely nails, one was creative and artistic… When I looked at my own hands, I saw that I fit the description to perfection ! 
When people complimented me on my fingers, I would blush …. ( With my skin colour, I turn maroon when I blush )

One day, I don’t really remember why, but I was at Famous Mahalaxmi Studios and went into Shanker Jaikishen’s music room… He was talking about his memories of my father and he had his harmonium in front of him… Suddenly, he started playing the introduction music of this song from ‘Barsaat’ and played the whole song, humming along…


Then I noticed his fingers… short, stubby fingers !

In all these years, so many Music Directors have come and gone…

Nobody has even come within miles of Shanker…


P.S. I stopped believing in Palmistry … 😀

असावे २६ एप्रिल शंकरजी ची पुण्यतिथी. या शापित यक्षाला आदरांजली.

Main Aag Hoon
Kishore Kumar, lyricist Vitthal Bhai Patel, a guest and music director Shankar of Shankar Jaikishan at the recording of a song for film ‘Ganga Aur Geeta’ (1979). Tu Aag Hai, Main Aag Hoon, Aag ko Aag mein dhaal de is the song.


Vivek Puntambekar

दोस्त दोस्त ना रहा. संगम चे गाणे ऐकले की डोळ्यासमोर उभे रहातात शंकर जयकिशन जोडीतले शंकरजी.शंकरसिंग रामसिंग रघुवंशी यांचा जन्म १५ ऑक्टोबर १९२२ चा.मूळचे हे पंजाबी कुटुंब नोकरी निमित्ताने हैद्राबाद ला स्थायिक झाले.लहानपणापासून शंकरजींना दोन गोष्टी अतिशय प्रिय होत्या.एक म्हणजे कसरत करणे आणि दुसरे म्हणजे तबला शिकायचे.ख्वाजा खुर्शिद अन्वर यांच्याकडे ते तबला शिकले.तसेच कथ्थक पण शिकले.दहावी शिकल्यावर मुंबईत सिनेविश्वात काही काम मिळते का हे पहायला ते मुंबईत आले.इथे त्यांची ओळख सुप्रसिद्ध नर्तक सत्यनारायण आणि त्यांची पत्नी हेमवती यांच्याबरोबर झाली.या दोघांचे कलापथक होते.त्यात शंकरजी सामिल झाले.त्यांच्या बरोबर ते काम करु लागले. मिळालेल्या पैश्यातून त्यांनी एक सायकल विकत घेतली. त्यावरून त्यांची मुंबईत भटकंती सुरु झाली. एकदा त्यांची सायकल चोरीला गेली.सायकल चा शोध घेत ते कामाठीपुरात पोहोचले.एका कोठ्यावरून येणारे संगीताचे सूर ऐकताना त्यांना जाणवले की तबलजी चा ठेका चुकतो आहे.न रहावून ते तडक कोठ्यावर गेले.तबलजी ला म्हणाले गलत बजा रहे हो.सगळे चकीत झाले. कसलेल्या तबलजी ना सांगायची याची हिम्मत कशी झाली?संतप्त तबलजीनी आव्हान दिले तुम बराबर बजाके दिखाओ वरना मार खाना पडेगा.आव्हान स्विकारुन शंकरजीनी वाजवलेला तबला ऐकून सगळे चकीत झाले. त्यांनी शंकरजींना बक्षिस दिले.मानी स्वभावाच्या शंकरजींनी पैसे नाकारले. कोठेसे पैसा लेना मेरे असूल के खिलाफ है असे सांगून ते बाहेर पडले.काही काळ शंकरजी हुसनलाल भगतराम जोडीचे सहाय्यक बनले.सुरुवातीच्या कालखंडात त्यांच्या संगीतावर हुसनलाल भगतराम यांची छाप जाणवते ती यामुळेच. पापाजींच्या नाटक कंपनीत त्यांना सत्यनारायण घेऊन गेले.इथेच त्यांची गाठ पडली राजकपूर बरोबर.पापाजींच्या नाटक कंपनीत संगीत विभागाचे प्रमुख होते राम गांगुली. पूर्वी नाटकात मध्यंतरात तबला किंवा सतार वाजवत.शंकरजी तबला वाजवत.कसरत करायला व्यायाम शाळेत जात तिथेच त्यांची गाठ दत्ताराम वाडकर शी पडली.त्यांनी सहाय्यक म्हणून दत्ताराम ची शिफारस पापाजींकडे केली.दत्ताराम नाटक कंपनीत आल्यावर तबला वाजवायचे काम करु लागले.एकदा शहा नावाच्या निर्मात्याला शिवमहिमा सिनेमासाठी संगीतकार पाहिजे असे समजल्या वर शंकरजी भेटायला गेले.तिथे एका तरुणाकडे त्यांचे लक्ष गेले.बोटांनी त्याने ताल घरला होता.या बुज-या तरुणाशी शंकरजींनी ओळख करून घेतली.तेव्हा समजले हार्मोनियम वाजवणारा हा पण सिनेमात काम मिळते का पहायला आला होता.गुजरात च्या वालडा गावातून आलेला हा तरुण शिवडी च्या टिंबर मार्ट मधे नोकरी करत होता.या तरुणाचे नाव होते जयकिशन डाह्याभाई पांचाळ.या दोघांनाही सिनेमात काम मिळाले नाही. संध्याकाळी शंकरजी जयकिशन ना घेऊन नाटक कंपनीत आले.पापाजींनी या तरुणांना कंपनीत हार्मोनियम वादक म्हणून घेतले.इथूनच या दोघांची मैत्री सुरु झाली ती जयकिशन च्या जाण्यापर्यंत टिकली.पठाण,दिवार या नाटकात शंकरजींनी छोट्या भुमिका केल्या.हसरत जयपुरी पण नाटक कंपनीत आलेल्या. राजकपूर, हसरत, शंकर,जयकिशन यांची मैत्री जमली.राजकपूर नी शंकरजींना आश्वासन दिले होत की सिनेमा निर्मिती सुरु केल्यावर त्यांना संगीतकार म्हणून संधी देईन.पण आग च्या निर्मितीच्या वैळी अनुभवी संगीतकार हवा म्हणून राम गांगुली ना घेतले.शंकरजी निराश झाले पण राम गांगुलीचे ते सहाय्यक बनले.जोडीला होते जयकिशन. आग मधे नावाड्याच्या रोलमध्ये शंकरजी पडद्यावर दिसले.आग सिनेमा यशस्वी झाला. बरसात सिनेमाची तयारी सुरु झाली.या वेळी पण संगीत राम गांगुली कडे गेले.सहायक शंकरजी नी एक गाणे रेकॉर्ड केले.पण राजकपूर नी पास केलेली एक चाल राम गांगुली दुसऱ्या निर्मात्याला ऐकवतो आहे हे समजल्यावर संतप्त राजकपूर नी राम गांगुली ना काढून टाकले.गाणे रेकॉर्ड करणाऱ्या शंकरजींचे नाव संगीतकार म्हणून रेकॉर्ड वर छापायला सांगितले. शंकरजींनी राजकपूर कडे आग्रह धरला की जोडीला जयकिशन चे नाव पण संगीतकार म्हणून छापा.राजकपूर तयार झाले आणि शंकर जयकिशन ही संगीतकार जोडी उदयास आली.महालक्ष्मी येथल्या फेमस स्टुडियोत राजकपूर नी ऑफिस घेतले.तिथेच शैलेंद्र ची भेट शंकर जयकिशन बरोबर झाली. शंकरजी नी तयार केलेल्या चालीवर शैलेंद्र नी शीर्षक गीत (टायटल सॉंग) आणि पतली कमर है ही दोन गीते लिहीली. राजकपूर नी शंकर जयकिशन या जोडीला ,हसरत जयपुरीना दरमहा पगारावर नेमले.आधी शैलेंद्र तयार नव्हते पण राजकपूर नी अनेकदा विनवणी केल्यावर तयार झाले. अश्या रितीने शैलेंद्र, हसरत,शंकर जयकिशन अशी चौकडी जमली जिने सिने संगीताला एका वेगळ्या उंचीवर नेले.बरसात रिलीज झाला तुफान लोकप्रिय झाला. रसिक खुळावले.शंकरजींनी जयकिशन बरोबर अलिखित करार केला.यापुढे कायम एकत्र काम करायचे.जे मिळेल ते एकत्र वाटून घ्यायचे आणि कोणती चाल कोणाची हे कधीच दुनियेला कळता कामा नये.आवारा रिलीज होईपर्यंत एकही बाहेरचा सिनेमा या जोडीने घेतला नाही. राजकपूर नी ओळखले ही जोडी जबरदस्त आहे यांना फक्त आर.के.फिल्म बरोबर बांधून ठेवणे चुकीचे आहे.त्यांनी उदारपणे या जोडीला बाहेरचे सिनेमे घ्यायची परवानगी दिली. एकच अट घातली की ज्या चाली तुम्ही कराल त्या आधी मला ऐकवायच्या.ज्या चाली मला आवडतील त्या माझ्या. नेहमी टायटल सॉंग शैलेंद्र लिहीत आणि शंकरजी त्याला चाल लावीत.पार्श्वसंगीत जयकिशन तयार करत.पण अनेक सिनेमात हाच प्रकार उलट असे.शंकरजी गंभीर स्वभावाचे त्यामुळे शैलेंद्र त्यांचे आवडते, जयकिशन रोमँटिक स्वभावाचे त्यामुळे हसरत त्यांचे आवडते असे असले तरी दोघांनी ही या दोघा गीतकारांबरोबर काम केले.वयाने मोठे असल्याने ऑर्केस्ट्रा अँरेजमेंट शंकरजी ठरवत आणि सँबेस्टियन आणि दत्ताराम कडून गाण्याला साज चढवत.मनमिळावू स्वभावाचे जयकिशन इतर निर्मात्यांशी संपर्क साधत किंवा व्यहवार तेच ठरवत असा गैरसमज आहे.तसे नव्हते अतिंम शब्द शंकरजींचा असे.शंकरजी कडक स्वभावाचे, फटकळ शीघ्रकोपी होते.पण त्यांचा राग लगेच शांत होत असे.यामुळे त्यांच्या विषयी गैरसमज होत असत.पण कामात ते अतिशय एकनिष्ठ होतो. रेकॉर्डिंग च्या दिवशी बरोबर सकाळी सात वाजता त्यांची गाडी आत शिरायची.आत शिरल्यावर त्यांच्या हस्ते पुजा झाल्यावर ते नारळ फोडून रिहर्सल सुरु करत.नऊ वाजता गायक आल्यावर १२ वाजेपर्यंत रिहर्सल सुरू व्हायची.मग छोटी विश्रांती घेऊन दिड वाजता फायनल टेक सुरू होऊन अडीच पर्यंत रेकॉर्डिंग पुर्ण होत असे.उशिरा आलेल्या वादकाला त्या दिवशी संधी देत नसत.एक वादक उशिरा आला.शंकरजी नी राग शांत झाल्यावर कारण विचारले तेव्हा समजले त्याच्याकडे घड्याळ विकत घेण्यासाठी पैसेच नव्हते. लगेच शंकरजींनी आपले मनगटी घड्याळ काढून त्याला दिले.सिनेक्षेत्रात शंकर जयकिशन चलनी नाणे होते.त्यांच्या नावावर सिनेमे विकले जात. नायकापेक्षा ही जास्त मानघन त्यांना मिळायचे.प्रत्येक गायकाची रेंज त्यांना अचूक ठाऊक होती.मुकेश च्या आवाजाच्या मर्यादा माहिती असल्याने चोरीचोरी मधली राजकपूर च्या तोंडची सगळी गाणी मन्ना डे कडून गाऊन घेतली.निर्माता मयप्पन बरोबर वाद झाला त्याला हा बंगाली पसंत नव्हता.रागात शंकरजी मन्ना डे आणि वादकांसकट रेकॉर्डिंग हॉल च्या बाहेर पडले.मयप्पन घाबरला कारण शंकर जयकिशन नी सिनेमा सोडला तर कोणीच संगीतकार जवळ करणार नाही याची खात्री त्या काळात होती.राजकपूर च्या मध्यस्थीने मन्ना डे च्या आवाजात गाणी रेकॉर्ड झाली आणि आजतागायत लोकप्रिय आहेत.चोरीचोरीतल्या रसिक बलमा गाण्याला फिल्म फेअर मिळाले नाही म्हणून नाराज झालेल्या लतादिदींना चौपाटीवर नेऊन त्यांचे आवडते आईसक्रीम देऊन त्यांची समजूत शंकरजींनी काढली.इतके त्यांचे स्नेहपुर्ण संबंध त्या काळी होते.अनाडी च्या तेरा जाना गाण्याच्या रेकॉर्डिंग ला हजर असलेल्या सी.रामचंद्र यांनी सोलो व्हायोलिन च्या ऐवजी लतादिदींचा आलाप वापरायची सूचना शंकरजींनी खिलाडू पणे मान्य केली.त्यामुळे या गाण्यातला आर्त परिणाम आपल्या काळजात घुसतो.गमंत म्हणजे अनाडी च्या आधी काही काळ एकही सिनेमा शंकर जयकिशन कडे नव्हता. पण त्यांचे वादक त्यांना सोडून गेले नाही. रोज नियमित पणे रिहर्सल करून शेकडो चाली त्यांनी रचल्या आणि त्या जोरावर पुढचे एक तप त्यांनी रसिकांच्या मनावर राज्य केल्याचे शंकरजींनी मुलाखतीत सांगितले होते.जयकिशन वर तर त्यांचे लहान भावासारखे प्रेम होते.पल्लवी मढीवाला बरोबर जयकिशन चा विवाह झाला. घरच्या विरोधाने तिचे कन्यादान करायला नकार दिल्याने शंकरजींनी स्वतः तिचे कन्यादान केले.शंकरजींच्या आयुष्यात आली कुंदन काळे.एका प्रतिष्ठित सरदार धरातली.नव-या बरोबर फारकत घेतलेली.तिच्याबरोबर लिव इन रिलेशनशिप मधे शंकरजी राहू लागले. पण हा संसार त्यांना खूपच त्रास देऊन गेला.पण तिच्या संपर्कात आल्यावर शंकरजी मराठी शिकले .सोनोपंत दांडेकर यांच्याशी शंकरजींचा परिचय झाला. ते नियमितपणे वारीला जात.दरवर्षी दहा हजार रुपयांची देणगी देत.तसा बोर्ड आळंदीला लावला आहे.सोनोपंत गेल्यावर त्यांच्या अंत्ययात्रेत शंकरजी पुणे ते आळंदी पायी चालत सामिल झाले होते.संगम च्या वेळी लतादिदीं बरोबर झालेल्या वादामुळे त्या शंकरजीं पासून दूरावल्या.या जोडीत फूट पाडायचे प्रयत्न याच सुमारास झाले. फिल्म फेअर नाईट नंतर जयकिशन नी आपआपसातला अलिखित करार मोडून ये मेरा प्रेमपत्र ची चाल आपली असल्याचे जाहीर केले.यामुळेच शंकरजी दुखावले.यातच शारदा त्यांच्या जीवनात आली. वास्तविक शारदा राजकपूर यांचे फाईंड.घरच्या परिस्थिती ने तंगलेले शंकरजी शारदाकडे ओढले गेले.तिलाच ते प्राधान्य देऊ लागले.यातूनच त्यांच्यात आणि जयकिशन मधे दुरावा आला.१९६६ ला शैलेंद्र गेला.शंकरजींचा मित्र गेला.शंकरजी बरोबरच्या वादामुळे लतादिदींनी मेरा नाम जोकर साठी गायला नकार दिला.ढिसाळ संकलनामुळे जोकर दणदणीत आपटला.कल आज और कल अर्धवट असताना सिरोसिस ने जयकिशन गेला.कल आज और कल चे पार्शसंगीत करताना रणधीर बरोबर त्यांचा वाद झाला. रणधीर ने तिखटमिठ लावून राजकपूर कडे तक्रार केली.राजकपूर नी शंकरजींना दूर केले.पंचवीस वर्षाची दोस्ती क्षणात संपली.जयकिशन गेल्यावर त्यांचे अनेक सिनेमे अर्धवट राहिले.त्यातला एक होता लाल पत्थर.निर्मीता फकीरचंद ने शंकरजींचे दहा हजार रुपये बुडवले होते.त्यामुळे शंकरजींकडे जायची त्याला हिम्मत नव्हती नाईलाजाने तो शंकरजींकडे गेला.शंकरजींनी दुपारी सिटींग रूमवर बोलावलं. शिव्या घालून तयार केलेली चाल ऐकवली.चाल सरस होती.गपचुप दहा हजार रुपये देऊन आपला सिनेमा पुर्ण करायची विनंती फकीरचंद नी केली.या चालीवरचे सरस गाणे होते गीत गाता हू मै .जरी पार्श्वसंगीताची बाजू जयकिशन संभाळायचे तरी काही वेळा शंकरजी पण तितक्याच ताकदीने पार्श्वसंगीत करत.संगम च्या वेळी जयकिशन आजारी होते म्हणून एकट्या शंकरजींनी चार दिवसात संगम चे पार्श्वसंगीत पुर्ण केले.शंकर जयकिशन चे चहाते अभ्यासक प्रो.गावंड यांना शंकरजींचा सहवास लाभला होता.त्यांनी सांगितलेली आठवण अँन इव्हिनिंग इन पँरिस च्या वेळची.शंकरजींच्या आईचे निधन झाले. अंत्यविधी आटोपून ते मुंबईत आले.वादकांना संघ्याकाळी म्युझिक रुमवर बोलावले.निर्माते शक्ति सामंत पण आले.दु:खद मनस्थितीत शंकरजी काय सांगणार कोणालाच माहीत नव्हते.सगळे जमल्यावर शंकरजी नी रुमवर अंधार केला.पियानो वर मेणबत्ती लावली आणि रात के हमसफर गाण्याची चाल ऐकवली.सगळे चकीत झाले. दु:खी मनस्थितीत असतानाही निर्मात्याचे नुकसान होऊ नये या भावनेतून शंकरजी नी लगेच काम सुरू केले होते.आम्रपाली च्या वेळी वैजयंती माला नडली.नील गगन की छाओमे गाण्यावर नाचता येणे अवघड आहे असे तिने सांगितले. कथ्थक शिकलेल्या शंकरजींनी पायात चाळ बांधून त्या चालीवर नाचून दाखवले. मुकाट्याने वैजयंती माला ने नाच केला.साथीदार गेल्यावर संगीताची धुरा तितक्याच ताकदीने संभाळणारे शंकरजी हे एकमेव उदाहरण.शंकर जयकिशन याच नावाने ४० सिनेमे जयकिशन गेल्यावर त्यानी कंपोज केले.महमंद रफि यांच्या मध्यस्थीने लतादिदी आणि शंकरजी यांच्यातला दुरावा संपला.सन्यासी ची शंकरजींनी कंपोज केलेली गाणी गाऊन त्या वर्षीचे फिल्मफेअर लतादिदींना मिळाले.पण त्या सुमारास फिल्म संगीतात घाणेरडे राजकारण शिरले.शंकरजी ना वादकाचा ताफा कमी करायला लावला.निर्मात्यांची हाजी हाजी करणे त्यांच्या रक्तात नव्हते.त्यांच्या नावावर सिनेमे विकले जायचे दिवस संपले.नमकहराम चे संगीत आधी शंकरजी देणार होते पण वितरक मिळणे कठीण आहे हे समजल्यावर त्यांनी स्वतः आर.डी.चे नाव सुचवले. शोलेची स्किन मधे पानभर जाहिरात आली होती त्यात संगीत शंकर जयकिशन असा उल्लेख आहे.नंतर तो सिनेमा आर.डी.कडे.गेला.सत्यम शिवम सुंदरम च्या वेळी सगळा अपमान गिळून आर.के.स्टुडिओत गेले पण राजकपूर नी त्यांची दखल सुध्दा घेतली नाही.२६ एप्रिल १९८७ ला शंकरजी गेले.ते कसे गेले हे मात्र गूढ आहे.त्या दिवशी फेमस मधे रेकॉर्डिंग ठरले होते.वादक आले होते.शारदा पण आली होती.नेहमीच सात वाजता येणारे शंकरजी १२ वाजेपर्यंत का आले नाहीत म्हणून त्यांचे अनेक वर्षाचे सहकारी चंद्रकांत भोसले धरी गेले तेव्हा समजले शंकरजी गेले.इतकेच नाही तर घाईघाईने चंदनवाडीत त्यांचा अंत्यसंस्कार उरकला.धरी पुजेला येणा-या ब्राह्मणाला पण लगेचच काढून टाकले. शंकर जयकिशन हे शापित यक्ष होते.भूतलावरचे काम संपले म्हणून नियतीने क्रूरपणे यांना वर बोलावले असावे.२६ एप्रिल शंकरजी ची पुण्यतिथी. या शापित यक्षाला माझी आदरांजली.

शब्दांकन विवेक पुणतांबेकर.

Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri (ALL EPISODES)

CourtesyShrikant Deshpande



1st Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri
1st Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri
2nd Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri
2nd Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri
3rd Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri (2ND EPISODE)
3rd Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri (2ND EPISODE)
4TH  Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri (2ND EPISODE)
4TH Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri (2ND EPISODE)
5TH  Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri (3RD EPISODE)
5TH Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri (3RD EPISODE)
6TH  Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri (3RD EPISODE)
6TH Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri (3RD EPISODE)
7TH  Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri (4TH EPISODE)
7TH Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri (4TH EPISODE)
8TH  Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri (4TH EPISODE)
8TH Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri (4TH EPISODE)
9TH  Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri (5TH EPISODE)
9TH Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri (5TH EPISODE)
10TH  Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri (5TH EPISODE)
10TH Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri (5TH EPISODE)
11TH  Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri (6TH EPISODE)
11TH Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri (6TH EPISODE)
12TH  Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri (6TH EPISODE)
12TH Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri (6TH EPISODE)
13TH  Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri (7TH EPISODE)
13TH Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri (7TH EPISODE)
14TH  Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri (7TH EPISODE)
14TH Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri (7TH EPISODE)
15TH  Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri (8TH EPISODE)
15TH Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri (8TH EPISODE)
16TH  Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri (8TH EPISODE)
16TH Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri (8TH EPISODE)
17TH  Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri (9TH & LAST EPISODE)
17TH Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri (9TH & LAST EPISODE)
18TH & FINAL  Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri (FINAL  & LAST EPISODE)
18TH & FINAL Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri (FINAL & LAST EPISODE)

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….RADHA HRIDAYNATH MANGESHKAR

Radha Mangeshkar

Radha Hridaynath Mangeshkar-the third generation of the first family of Indian music - the Mangeshkars
Radha Hridaynath Mangeshkar-the third generation of the first family of Indian music – the Mangeshkars


By Rajiv Vijayakar



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.

How ambitious are you? Is playback in Hindi on your agenda?
I am ambitious, but I am not obsessed with a specific goal. I just want to be known as a singer. I will not run after playback but if I am offered songs, I will do them. I have just recorded a song for an untitled film that Baba is doing in Marathi. I do not believe in planning because that does not work. It’s two in the afternoon now and neither you nor I can predict what will happen to us an hour later, so how can I plan months or years ahead?



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.

Who are your favourite composers among the seniors?
My all-time favourites are Shankar-Jaikishan, and it is sad that today’s generation isn’t aware of their work and are forgetting them. The media is promoting just one or two composers from among the legends, which is not right. Even today when I hear a Hai na bolo bolo from Andaz, I can sense their calibre in the individual violin and other pieces and the way they have been composed and integrated, even though the song is nowhere among their best. Their versatility is phenomenal. I also particularly love the works of Laxmikant-Pyarelal and Madan Mohan.



Do you regret coming in an era when you cannot sing for them or any other legends?
Well, if I could have sung for Shankar-Jaikishan, I wouldn’t have minded missing out on all the others!



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!

COURTESY : http://www.screenindia.com/news/generationx/478279/

Please visit the site and post your comments

Enjoy her songs of the album, click here



[ To view Attachment(s) from Shahrukh Khan please click on http://launch.groups.yahoo.com/group/shankarjaikishan/%5D

Friends …This is LANDMARK BREAKING NEWS! Date: 21-05-2009 at 9:00AM

Venue: Jaikishan’s native village VANSADA near Valsad in South Gujarat.

Event: A grand statue of Jaikishan will be unveiled by Music Director Anandji (of Kalyanji-Anandji) .

The whole project of honouring Jaikishan was initiated and fully supported by Pujya Swami Sachhidanandji of Gujarat.

Swamiji is not only a fan of Shankar Jaikishan but was inspired to do all this after he read Dr.Padmanabh Joshi’s biography of SJ.

Attached are the photographs of the statue and title of the booklet on Jaikishanji authored by Dr. Padmanabh Joshi. These have also been hosted on our YAHOO group home page. All group members are hereby cordially invited for the unveiling ceremony and lunch after the function.

In SJ’s Diamond Jubilee year – nothing more fitting or grand could have been conceived and created!

All credit to Dr.Padmanabh Joshi and Swami Sachchidananda for making this great landmark event happen!

Look forward to ALL SJ fans attending it!


2 of 2 Photo(s)

Musician of Musicians Shankerji (of Shanker-Jaikishen duo)

Musician of Musicians Shankerji (of Shanker-Jaikishen duo)

We pay our tribute to Shankar ji on his 22nd death anniversary (26th April, 2009)

Today is the saddest day for fans and lovers of Shanker-Jaikishen. Shankerji left this selfish world on 26th of April 1987.

After sad demise of his partner Jaikishan in 1971, suddenly Shankerji found himself isolated in this world. His close friend and lyricist Shailendra had already passed away much earlier, which gave Shanker the first shock. Since then Shanker was in search of lyricist like Shailendra and tried too many lyricist for him like Neeraj, Verma Malik, Kaifi Azmi, Majrooh Sultanpuri, Rajendra Krishna, Farooq Kaisar, etc etc. But Jaikishan’s death was big loss to their banner as well as to Shanker, who had lost his brother in Jaikishan.

Second big jolt came from Raj Kapoor who was mentor of SJ. He deserted Shanker when he choose LP for his film Bobby. The impact of this was great. People who were innocent about making of music started to believe that without Jaikishan, Shanker was nothing. And when Raj Kapoor has deserted Shanker, then there should be some truth behind the rumour that Jaikishan was the active partner in ‘Shanker-Jaikishen’ banner. Though the fact was totally different most of the songs in RK banner are contribution of Shanker. Even few RK films had one composition by Jaikishen. But it can also be said that there was nothing Shanker’s music or Jaikishan’s tune. These were Shanker-Jaikishen tunes. But fact is fact. And it is also a sad episode as to why Raj ji deserted Shanker and did not remember him even for the subject like Ram Teri Ganga… and Satyam Shivan Sundaram……the last one SSS was the musically weakest film by RK.

On the Second hand people with vested interests began to spill beans against Shanker and a planned campaign was there to establish him non professional and rude. It was also publicised that now Shanker would not be able to give music. They wanted to break his peresonality and the genius Shanker as well but he was always a fighter. He fought for right of musicians of his orchestra, which benefited them as enhanced rate for them. He fought for his ideology and prerogativity of a Music Director to choose befitting singer for his composition. He was not part of any ‘liquor club’. He fought for better fee for better work. And when after being deserted by RK and then Shammi Kapoor left him for RD in his directorial debute ‘Manoranjan’, Gradually other producers/banners switched their loyalties to other music directors, for the heroes/stars with which SJ were associated like Rajendra Kumar, Shammi Kapoor, Raj Kapoor were not in demand and new era of other actors had by then started. Shankerji was too strong to refuse to bow down. He continued to give music in films whichever came to him. He gave hit music in Sanyasi, Lal Patthar, Do Jhooth, Dil Daulat Duniya, Duniyadari etc. Even a non-starrer film ‘Jangal Mein Mangal’ had a nice tune, “Tum Kitni Khoobsoorat ho…” did any of his critics heart that song?

But here too he had to adjust with the producers’ demand to curtail the size of his orchestra which was the main power of his style of music. The effect reflected in his music. But in no case, his tunes were weak. He had started changing of style of his music in few films like ‘Love in Bombay’, ‘Chorni’, ‘Eeint Ka Jawab Patthar’, ‘Door Naheen Manzil’, “Dhoop-Chhaon” but the bad luck was after him. None of these films could either see light of silver screen or could get success inspite of having big stars. (I am giving one clip from his last recorded song for the film GORI, listen to the song and you will be stunned to feel the resembleness of this song with other song which was recorded much after Shankerji’s death in Amitabh starrer film, you may easily guess the song and the film)

He did not quit giving music like Anandji (of Kalyanji-Anandji) or Pyarelal (of Laxmikant-Pyarelal). But he could not gain his name and fame back, though he was planning to come with big bang, but God was in need of him because Shailendra and Jaikishen were with him but not Shankar. And he summoned him on this unfateful day.

His family members, in protest of selfishness of this industry, did not inform anybody from filmworld about his death. Shanker’s last journey could not be attended by even of his ardent fans. He went unsung. But he will remain in hearts of crores of SJ fans.

Long Live Shanker, Long live Jaikishen, Long live Shanker-Jaikishen

Members of shankarjaikishan group on Yahoo met with Living Legend Manna Dey on 10th of March 2009 in connection with a show on SJ+Manna Dey combo

Dear all

It gives me immense pleasure to inform you that members (stationed in Bangalore) of Shankarjaikishan Group on Yahoo met with Hon’ble Manna Dey at his residence in Bangalore in connection with seeking his help in organizing An Evening with Manna Dey in memory of Shankar Jaikishan. Shri Hitesh Mehta who lead this group of members gave a short brief (addressed to the members of the group) of the meeting which are as under :

Sr. membeer of the SJGroup Shri Rajprakash Ratnam ji with Manna Daa
Sr. membeer of the SJGroup Shri Rajprakash Ratnam ji with Manna Daa

Finally we met with Living Legend:

Manna Dey gave time of 5:30 pm to meet at his house and we four-myself, Vijay Kumar, Rajprakash Ratnam and Abhilasha- were there at sharp 5:30. We thought we would meet him for 15 minutes or maximum half an hour and would give introduction of our group and take his time for meeting with larger SJ group But we came out from his home at around 7:30 pm! Initially he was not keen to talk much but when we talked about our group and our efforts to keep memories alive of SJ, he became nostalgic and then flow of discussion continued for almost two hours.

Manna Dey touching 90 years, but still fit and still giving stage shows-though very selectively. He is in pink of his health and informed us that he would be happy to meet SJ fans anyday in next two month except 15 April (he is singing at program in Kolkata that day), 1 may-which is his Birthday and 10 may when he would be singing in a program at Bangalore. He is planning to go to London later in June for a program.

Please note that I am just narrating his wordings, these are not ours plan or thinking. We know that roping Lata for any program is almost impossible for us monetorily or otherwise but that was his opinion that 60th years celebration of SJ should involve Lata and Asha as they worked closely and for long with SJ.

Great Singer Manna Dey for Great  music maestros Shanker-Jaikishen and for us a Great fan of both Shri Rajprakash Ratnam ji with the living legend
Great Singer Manna Dey for Great music maestros Shanker-Jaikishen and for us a Great fan of both Shri Rajprakash Ratnam ji with the living legend

When we informed him that this is 60th year of SJ’s music and we want to do something, he got very happy and spoke one sentence which will make whole group very happy-his exact words were ” I will be indebted to Shankar till my last breath for break he gave to me”. He asked to do some big program instead of just making small meetings and discussion and suggested to meet Ameen Sayani to take his suggestion. He was having high praise for Ameen Sayani and even gave his mobile no. He even went to extent that he suggested us to meet Lata Mangeshkar as according to him SJ had big role in shaping Lata’s career and SJ made maximum songs for Lata so she should help in any such program in memory of SJ and even if she doesn’t sing, her presence itself would make program big.

He was impressed with our knowledge of hindi film music as he didn’t expect that we would know so much about old songs and his songs-and for that credit goes to Raj Prakash Ratnam and Vijay Kumar who remembered so many songs of him and theirs picturaisations etc.

One of our strength and die hard SJ fan Abhilasha ji with the living legend on that occasion
One of our strength and die hard SJ fan Abhilasha ji with the living legend on that occasion

There are many more things he talked which I would like to share in next email as I am getting sleepy. We took some pictures with him and his autographs too which also I try to scan and upload on group. Please wait for my next email.

It was memorable meeting, I never imagined that I would meet someday with any singer who was contemporary of Mukesh, Rafi, Lata and kishore and who worked with SJ and other greats.




Hi all,



Sudarshan Pandey

Combination of Shankar Jaikishan with Mehmood and Rafi

 Contributed by: Shri Souvik Chatterji


Shankar Jaikishan had always been known to set trends and not follow any existing system created by the other compositions. SJ used Lata to her limit in Barsaat in the late 40s, during a time when the other female singers like Noorjahan, Suraiya, Samshad Begum, Rajkumari were also prominent in singing playback songs in bollywood films. SJ never stuck one single team and that was one of their secrets of success in bollywood films. In respect of Mehmood, it was a tradition for most of the composers to use Manna Dey to sing for Mehmood, most of which were very very successful. SD Burman used Manna Dey to sing “duniya bananewale” in the film Ziddi for Mehmood, where he used Rafi to sing the songs for Joy Mukherjee like “bolo bolo, aye dildaar”, etc. RD Burman used Manna Dey to sing the songs “sawaariya” and “ek chaturnaar” in the film Padosan for Mehmood. LP used Manna Dey to sing “o mere maina” in the film Pyar Kiye Ja, for Mehmood. There are numerous other examples where Manna Dey was used by the composers to suit Mehmood. Shankar Jaikishan had something else in mind. He used Manna Dey in very serious classical songs like “sur na saje” in Basant Bahar, emotional songs like “tu pyar ka sagar hai” in Seema, or folk songs like “chalet musafir” in Teesri Kasam. When it came to Mehmood, SJ experimented with Rafi, and those songs probably are considered the most successful songs of Mehmood in his entire career. The song “ajahu na aye balma sawan bita jai” in the film Saanjh Aur Sawera, picturized on Mehmood, stands out as one of the most classically oriented compositions of SJ for Rafi. The song had both appeal for the mass and also the class. The song “hum kale hai to kya hua dilwale hai” in Gumnaam, became a trademark song of Mehmood. Rafi almost reproduced the style of dialogue throwing of Mehmood in the song and it appeared to the masses that the song was sung by Mehmood himself. SJ used Rafi to sing the song “mai rickshawala” in the black and white era in the film Choti Bahen, during a time when Mehmood’s image was not created. Mehmood almost made people cry in the film and the credit goes to Rafi’s emotions in the song. In the film Zindagi, Rafi’s song for Mehmood titled “ghungharwah mora cham cham baje”, became big hit. The other hit songs of Rafi for Mehmood composed by SJ include “o gori chalona hans ki chaal”, “zindagi mujhko dikhade raasta”, “mai hoon jaani tera”etc. Rafi’s presence was felt in the films Beti Bete, Bhai Bhai, etc. where Mehmood had prominent roles and SJ composed the music of those films. Even the song “bakhma bakhma” in the film Shatranj became successful. Even in the duets that were sung for Mehmood, SJ created a new trend in allowing Suman Kalyanpur to sing some of the songs with Rafi or Sharda to sing some of them, in addition to Lata who had sung around 440 duets with Rafi during the golden age. The songs and the films of the legendary combination of Shankar Jaikishan, Rafi and Mehmood should be restored for their filmic appeal and versatile creations.

** ** ** **


I am grateful to Mr. Souvik Chatterji who has written this article specially for this blog. —-sudarshan pandey