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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,
R.Nanjappa”

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Website on Shankar Jaikishan launched by SJFAI, Hyderabad

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

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

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

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

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

A dream come true…..partially. ..

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

The committee and members whose silent support and encouragement..

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

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

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

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

Thanks again

Mayank Shukla

With Lakshmi k Tummala
Mithun Krishnan

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

Courtesy :

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

jdm

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

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

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

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

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

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

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

आ अब लौट चलें, आ अब लौट चलें

नैन बिछाए बाँहें पसारे तुझको पुकारे देश तेरा

आ जा रे – आ आ आ

सहज है सीधी राह पे चलना

देख के उलझन बच के निकलना

कोई ये चाहे माने न माने

बहुत है मुश्किल गिर के संभलना

आ अब लौट चलें …

आँख हमारी मंज़िल पर है

दिल में ख़ुशी की मस्त लहर है

लाख लुभाएँ महल पराए

अपना घर फिर अपना घर है

आ अब लौट चलें …

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

jdmg

 

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

.

लेखक

श्री शिव शंकर गहलोत

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

CourtesyShrikant Deshpande

SHRIKANT DESHPANDE

 

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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/

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