Monday, January 16, 2012

Listen to song of Wattan....the last recorded song of Rafi for SJ

Listen to the last song of SJ+Rafi Combo which was recorded before Rafi Sahab's demise. Click here....

Friday, October 14, 2011

Shanker's birthday on 15th October 2011

composing some tunes and playing them to the delight of the theatre artistes, as they relaxed after the days work was over. Premnath was among such prominent and enchanted ones and was always pestering, Raj for a break for Shankar along with Jaikishan, into movies, The year was1947-1948, S&J were on the rolls of Prithvi theatres as a Tabla and Harmonium player respectively and also were as by then Raj had already made Aag which had some tunes by S&J as reflected in those 78 rpm records as per the norms then, tune by Shankar or Jaikishan as the case may be, though the music credits were shown as Ram Ganguly.
Something strange happenned as Vishwa Mehra and Raj got the feedback from HMV, that some of the tunes of Barsaat were being re-hashed and being sold by Ram Ganguly, and enraged as Raj was, nonplussed looked at Vishwa Mehra in askance, on what his next course of action should be and prompt came the reply "Replace Ram Ganguly with SJ as these songs were anyway composed by them". Raj did give instructions to HMV but was filled with a nagging fear and anxiety as he was found vacillating "Perhaps it may be better to let things be as before...put Ram Ganguly's name back in"
For his next venture Barsaat, Ram Ganguly. had already two songs recorded with tunes by S &J. and at the most critical and vital moment,Mehra put his foot down as fair play seized him, admonishing Raj firmly for replacement then and there.

Thus a new pair of Music Directors by the name of Shankar Jaikishan were ushered under the umbrella of RK Films, for Barsaat,
as its now well known musical compositions, then, lay like dormant clouds, burst forth into a Rainbow of Melodies, the like of which was, not heard till then, fresh in its fragrance, distinctly novel orchestra, at once electrifying, euphonious to the ear and a connossiers delight, that did not look back.
Some moments have their destiny, latently stored all over, shrouded till the opportunity opens up, in its own inscrutable way and historic, as viewed in retrospect, bestowing a splendid spectacle forthwith, for the next two decades of an uninterrupted feast of spell binding music.
springing joyously from this ecstatic musical fountain of bountiful bliss, as the SJ caravan surfed along, sailing majestically, setting its sails from one canvas to another until the whole of their musical spectrum got absorbed and eneveloped into a facade of brilliant shades of the rainbow, split from a single ray of the SJ light, as reflected by the coveted white Impalla's, they once sported, for collecting their many prestigeous FF awards.
Shankar ji, you have braved many a storm in the battle of life, a pyschosis beyond one's comprehension confronted in the wake of your mentor deserting you at a very vulnerable phase, already bereft of Lata, and so many factors that started weighing you down, our fond remembrances of you as the architect of the phenomenon called SJ, as we also get a glimpse of your turmoil on Jai's demise in an interaction to Amin Sayani....
"Kya kahun, Amin Bhai, Mera Zindagi ka Saathi Chala Gaya mere paas reh hi kya gaya kehne keliye....Pehle kabhi soch hi nahintha itni choti umar me humsabko chodke chala jayega ...khair jo uske baten jo achhi baten sari duniya ko yaad rahegi,.....kaise pyar dena, kaise pyar lena, kitna milansar se rehna usi ko aata tha hame bhi nahin aata. Hamesha mujhse kehta tha,.... Are yar tum hamesha gusse me rehthe ho, kisi na kisi ko daanthe rehthe ho........"
while you never really had the need for such a situation while Jai was there, it became conspicous after he left so suddenly, as the made for each other, stared starkly now at you, with the strange and awkward feeling knawing you "What if I had gone first ......." remains unanswered with wishful thinking taking the reins of unbridled imagination and I do subscribe to the subtle and subconscious feeling looming large among pragmatic SJians
that your foursome were the four wheels of the Divine Chariot that got embellished consciously as SJ and invisibly as the invincible SJSH.
It was Destiny that snatched away Shailendra from this foursome in 1966 and one wheel went rolling off, making vaccum in one half of the jodi and
with Jai the second diagnol wheel also gone, Destiny truck its most vital blow leaving you to brave a storm unprecedented and totally taken unawares.
However we celebrate your birth anniversary with nostalgic remembrances of a soul who coined his love for music as a "Deewanapan.."
and rejoice in them as life bmaecomes worthwhile but for a few things and dominant among them being the SJ thread running throughout
our subconscious life perpetually ever and consciously surfacing as the occasion warrants.
If there was a trendsetting
"Mohabbat ki dastaan hai yeh Mayurpankh there was an equally beautiful number
by Lata "Kushiyon ki chand muskuraaye re..."
If there was the dream evoking number by Lata
"Koyi mere sapnon me aaya....." from New Delhi
which ultimately got shelved due to strange reasons there was another classical in the form of "Murali bairan bhayee..."
which was very much there filmed on Vyjayantimala rated as a Lata classic to this day.
If there was the feelingly sung
"Chandrama madhbara kyun jhoome badar mein.."from Patrani
there was an equally impressive "Kabhi tho aaa kabhi tho aaa kabhi tho aaa....
and what a score SJ did for Patrani as Lata's vocals are really tested as she raises her pitch into " Pawan Ganga....."
and the classical music that follows is just euphonious as it sends you into raptures.
One should heare Patrani's album to understand the classical depth of Shankar in dance music which is legendary.
My humble salutations to you Sir Shankar Singh Raghuvansi

Sunday, July 10, 2011

Shanker Jaikishen - The Trend Setters, Experimenters and Innovators

Shri Subhash Tiwari writer
of this article

I think it would be proper to dwell a little on the contribution of Shanker Jaikishen as “Trend Setters”, “Experimenters”, and “Innovators”. Actually the cue for this article lies in a discussion on SJ Forum, where one of the participants questioned the Capabilities of SJ vis-à-vis other MDs. With due regards to the abilities of those other MDs and without any offence to them, I insist that SJ were the most important Thing which happened to Hindi Film Music. Let us take a Look at these 3 words, “Trend Setter” “Experimenter”, and “Innovator” Trend Setter is the One who sets the Ball Rolling and others to follow suit. As I stated in my previous post, the 1st era of Hindi Film Music had a Typical Theatrical Composition with a Monotonous Style of singing whether it was KLS, Punkuj Mullick or KC Dey. But the people who created that type of music, did start in Mid 30’s by people like RC Boral who were the Trend setters for that Era. Then came Naushad, who composed “Hum Jeeke Kya Karenge Jab Dil Hi Toot Gaya, from “Shahjahan” in 1946, a song which Joined the 1st and 2nd Era. It was Naushad who introduced multi piece Orchestra to Hindi Film Music. He changed the “Single Octave” compositions to “One and Half Octave” compositions just because he got a Great Voice with immense range, “The Phenomenon called Mohd Rafi”. Remember the Orchestration and Chorus of “Udan Khatola” song “O Door Ke Musafir” in 1955. Till then even SJ were not using that type of Orchestra. Their songs comprised highlights of individual instruments, like Mandolin and Accordion in Awara songs, (Even the great dream song had only a few instruments, with a special crescendo effect in the end). So the credit for Setting the Trend of High Octave songs and Orchestration in the 2nd Era goes to Naushad Ali.It was the 3rd ling Era of nearly 25 years which saw all the things together from Shanker Jaikishen, called Experimentation, Trend Settings and Innovations.Trend Setting is “Doing something, which makes others to follow suit. About their Trend Setting, as I wrote in earlier post, the songs before them generally started directly with the voice of the singer without any prelude or with a couplet and the main song followed. Even SJ made use of a couplet, though only once or twice, like “Dil ko tujhase bedili hai” in Yahudi.Before their appearance on the scene whatever Prelude was heard, it was a short 4-5 second musical play of some instrument without a definite structure.

It was SJ who introduced the melodious Preludes, in Barsaat, Awara, Shree 420, Chori Chori. They compelled everyone to come along. Their Interludes were having a Distinct Structure in themselves, which one could Whistle, Hum or Play on instruments. Moreover the 1st and 2nd Interludes were nearly always different from each other. That is what is called Trend setting.

An Experiment is “Doing something, the result of which is not known, even to the performer”. By that definition, each Music Director offering New Tunes to his Producers and Audience, is an Experimenter, without knowing what is going to happen to his creation. But a True Experimenter is confident of his actions that these are going to be successful and not the disasters. By that guideline, Shanker Jaikishen experimented with Classical Music, Western Music, Fusion of these 2 Streams, Solo Musical Compositions without any Vocal Component, and surprisingly, each of their Experiment was a huge success. Remember the Sadhana’Shammi dance Dilruba Dil Pe Tu, purely on strings and percussions in “Rajkumar”, Waheeda’s dance in “Roop Ki Raani”, Vyjayantimal’s “Bakad Bam Bam” in Kathputali. They experimented with 2 distinct songs in continuity like “Tere Bina Aag Ye Zindagi’ and “ Ghar Aaya Mera Pardesi”, The list goes on.. The best Experiment from SJ was the Creation of “Raga –The Jazz Style”.

Regarding Innovation, it is Doing something for the 1st time which No one Else has done before them. Now that is a long list. As someone on this forum called innovation as “making use of some thing for some other thing to produce music”, I do not agree. That may be labeled as “Special Effect” but not Innovation. Using Sand Papers and Combs, Spoons and Glasses is no innovation in my opinion. Of course each of us is free to have his viewpoint, but majority of Hindi Film Music Fans would agree that Shanker Jaikishen did so many things which no one had attempted before them and hence they were the Real Innovators in Music. Their Persistent memory with Millions of Fans across the Globe is the Proof of above postulations.

Sunday, October 31, 2010

Shankar-Jaikishan Musical "Live" on 13th November 2010

Shankar-Jaikishan Musical "Live"
You Might Attend · Share · Public Event
Saturday, November 13 · 8:30pm - 11:30pm

LocationDinanath Mangeshkar Hall, Ville Parle East, Mumbai..
Opp V.Parle Station..
Mumbai, India

Created By

More Info

Mukesh styled versatile singer SRIKANT KULKARNI - a veteran in his own right has sung along with Lata Mangeshkar on STAGE. He has undertaken 'many' world tours with leading music composers. Very HUMBLE in his approach towards his singing trade. A PLAY-BACK SINGER Too.

Hamid Khan, the 22 year lad from Bangalore has been creating musical waves and attracting fans all over by his competent rendering of MOHD RAFI SONGS. Most of his dates get booked - as INVITATIONS TO SING MOHD RAFI SONGS pour from all corners of India. A very humble person, known for his time discipline and soulful rendition of RAFI SONGS.

MONA KAMATH : THE ELECTRICAL ENGINEER AND SINGER - all rolled in to one. Was the semi-finalist in the ZEE SA RE GA MA show.
Currently attracting hordes of fans for songs of LATA AND ASHA which she essays - perfectly on stage. A very talented SINGER who is bound to make waves. Sang for Marathi films too.

MUKESH BHANUSHALI : IS a compulsive quality singer who does RIYAAZ for few hours daily. A very GREAT MOHD RAFI FAN, Mukesh is always looking for RARE and GREAT SONGS - to be presented from the GOLDEN ERA.

SHANKAR-JAIKISHAN were the greatest musical duo to have graced the world of Hindi Cinema.
The awesome body of work Shankar Jaikishan musical team produced have become IMMORTAL and LIVES on in the hearts, minds and lips of music fans all over the globe
SHANKAR JAIKISHAN team revolutionised the use of ORCHESTRA and INTERLUDE music in songs and made these as integral and inseperable parts of their compositions rather that using these as mere fillers, as was the case until their arrival on the musical horizons.
That's why prelude, interlude and background music of many of their songs are as popular and notable and hummable as the tune of the main song.
Due to their vast knowledge and comand over various forms of music, the SHANKAR - JAIKISHAN team came out winners in any type of diverse films irrespective of its theme and subject.

Presented by : The Rafi Foundation

Cell : 9833 250 701 ( Mumbai)
Binu Mair

Saturday, May 1, 2010

Mastery over chorus : Shanker-Jaikishen's compositions

By: Shashi Hegde

It seems to be becoming a repetition always- Think of something special in Hindi film music and you cant think of anyone before Shankar Jaikishan.

Have you anytime thought about the role of Chorus in film songs? It is such an important thing in film songs which in addition to suit the situation and picturisation in the film, adds to the beauty of the song. It is a part of decorating the song as Shankaralways said.

I would like to remember a few songs among innumerable S-J songs where the choral singing was redefined. It is amazing how S-J handled the chorus. Their choice of the number of singers in a chorus, the composition of male and female singers was impeccable and it is impossible to find fault with the chorus in an S-J song- even if you are a S-J critic!

1.Barsaat mein – Lata & Chorus-Shailendra (Barsat): The ‘Omkara’ in choral singing – the first ever song to make use of chorus in real grandeur. The use of male and female chorus separately and the ‘Tak dhina din’ mark the beginning of glorious S-J saga in choral singing. (I also mention Patli kamar hai from the same film)
2.(a)Tere bina aag / Ghar aaya mere pardesi – Lata , Manna Dey & Chours- Shailendra (Awara): Another pioneer in Hindi films, being the first dream song. How well S-J gave life to RK’s dream with their tune and superb choral singing.
(b)Naiyaa teri mazdar- Rafi & Chorus- Shailendra (Awara): Just note the co- ordination between the male and female choral singing and that of Rafi- brilliant!
3.Jhanan jhanan-Lata & Chorus-Hasrat (Aah): The romance of RK and choral singing continued. A brilliant dance number with superb female chorus.
4.Gul muskura utha-Lata & Chorus-Shailendra (Badshah) : Compare the all male Chorus of this song with the previous one and you will know why S-J were genius!
5.Rat gayi-MannaDey, Asha & Cho- Deepak (Boot Polish): The use of high pitched female and base male chorus is too good for not mentioning it.
6.Holi ayi pyari pyari-Rafi, Lata & Cho-Shailendra( Pooja): The spirit of Holi emerges in full colour thro the chorus joinin Lata and Rafi.
7.Tu pyar ka sagar hai-Manna Dey & Cho-Shailendra (Seema): What can I say? The use of female chorus for singing mukhda and Manna Dey joining them in interlude makes it the best bhajan where chorus is used. (Any way, it is the best bhajan ever created with or without chorus!)
8.Ramayya vastavayya-Lata, Rafi, Mukesh & Cho: By this time it was clear that the RK film should have a chorus number and what a magic S-J have weaved to make this greatest theme song immortal.
9.Rajhath: Out of the 11 songs in the film, 6 songs have chorus! I think it is a record as far has Hindi films are concerned. The male chorus in the war song Chale sipahi; the female chorus in Aaja aaja nadiya kinare, Nache ang ang, Pyare babul se bhichadke, Nadiya kinare phiroon are as good as S-J use of chorus get.
10.(a) Pawan ganga with Tarana-Lata & Cho-Shailendra (Patrani)
(b) Rang rangeela paghiya-Lata & Cho- Shailendra(Patrani)
I don’t think the choral singing can get any better than these two classics. The tunes of both the two songs are based on centuries old traditional music. Masterpieces in true sense of the word!
11. Bol mere malik-Lata & Cho-Hasrat (Halaku): Chorus in Mukhda and interludes is Outstanding.
12.(a) Panchi banoo-Lata & Cho-Hasrat (Chori Chori): Use of Manna
’s voice along with the chorus makes it the first of its kind.
(b) Us par sajan-Lata & Cho-Hasrat- A very unique use of chorus in a
unique song.
13.Na bure na bhale-Lata & Cho-Shailendra (Kismat ka khel): A brilliantly written song composed in rock and roll style. The song begins with chorus and the chorus (both male and female in terrific co-ordination) gets as much importance as Lata.
14. Nakhrewali-Kishore & Cho-Shailendra (New Delhi): Take out the chorus and imagine the song- incomplete, Right? Brilliant use of chorus in a song the like of which can never be created again! (5 out of 10 songs in this film have chorus)
15.(a) Aaja rat beeti jaye-Usha Khanna, Kishore & Cho-Shailendra (Begunaah): A brilliant, brilliant song with unparalleled use of chorus. S-J leave us gasping for their sheer imagination in this composition.
(b) Nazar kahe aaja-Lata & Cho-Shailendra (Begunaah): The female chorus
makes this already sweet composition even sweeter.
16.Bol ri katputli-Lata & Cho-Shailendra (Katputli): Guess what? S-J came up with Chorus as Counter melody! The chorus is as brilliant as the composition itself.
17.Meri jaan meri jaan-Lata & Cho-Shailendra (Yahudi): Note the interactive use of Chorus with Lata.
18.(a) O berehem tere sitam-Manna Dey, Lata & Cho-Shailendra( BaaghiSipahi)
My personal favourite! The use of Opera style Chorus found a grand
entry in HFM courtesy, S-J. A breath taking composition!
(b) Choona lena mujhe-Manna Dey, Asha & Cho-Shailendra( Baaghi Sipahi)
The Mukhda is reserved for the chorus in this song which is 24 carat
19.Ab kahan jaye hum-Manna Dey & Cho-Shailendra( Ujala): S-J took off where
they had left in Baaghi sipahi. The opera style chorus with the normal male chorus defies words for description. Use of chorus as countermelody makes you wish this song never ends.
20.Hum hai to chand aur tare-Mukesh & Cho-Hasrat (MNMH): Note how the chorus was used to suit Mukesh.
21.Dil se dil takraye-Rafi, Geeta & Cho- Shailendra(Love Marriage): Like before, note the novelty in the chorus and the effect it has with the trumpet, accordion and the deadly combo of Rafi and Geeta Dutt.
22.Ninteen fifty six-Manna Dey, Lata & Cho- The song rocks even today and how well it is ornated by the Chorus that only S-J could put in.
23.(a) Hum bhi hai-Lata, Geeta, Manna, Mahendra, Mukesh & Cho-
Shailendra(JDMGBH) : the film had to have this as it was an RK film.
b) Aa ab laut chale-Mukesh & Cho-Shailendra( JDMGBH): If it was
MannaDey with the chorus in Chori chori, it was Lata’s turn now.
The subtle chorus singing in tandem with Lata’s part gives one an
idea of the depth in S-J compositions.
24.Nee baliye-Mukesh, Lata & Cho-Shailendra (Kanhaiya): Outstanding use of
Chorus makes you realize the composition is not as simple as it sounds.
25.Ajeeb dastan hai yeh-Lata & Cho-Shailendra( DAPP): The subtleness of the opera style chorus makes you wonder if the voice is real or virtual!
26.Yeh to kaho kaun hot tum-Mukesh & Cho-Shailendra (Aashiq): A trade mark S-J Chorus with words and phrases that stump you everytime you listen!
27.Ek sawal mein karoon-Lata, Rafi & Cho-Shailendra (Sasural) : The use of chorus is in line with the lyrics that only Shailendra could write!
28.Ab char dinon ki chutti hai-Rafi & Cho-Hasrat (Aas ka panchi): A fine qawwali style composition with apt chorus
29.Dil ek mandir hai-Suman, Rafi-Hasrat (Dil ek mandir): The chorus in the prelude and interludes is mindblowing.
30.Dil ka kanwal denge-Lata, Cho-Shailendra (Zindagi): The chorus is there and seems as if it is not there in this gem of a song! Only S-J could create this virtual choral effect.
31.NACHO GAO NACHO-Chorus- Shailendra( Amrapali) – Sometimes silence
speaks more than the words. For this composition, I remain silent coz I don’t have words to describe it!

Monday, March 15, 2010



Saturday, November 14, 2009

Debut Movie of Shankar-Jaikishan BARSAAT (Review)

In-depth Review of Barsaat (Debut Movie of Shankar-Jaikishan)/ संगीतकार के रूप में शंकर-जयकिशन की पहली फिल्म, राजकपूर द्वारा निर्मित 'बरसात' का रिव्यू
Title Music
Barsaat, as all RK Films, starts with Prithviraj Kapoor performing Shiv poojan & chanting the mantras.
Before appearance of titles, there is a brief shot of rain clouds with gentle beat of drum (dhol) and violins. The titles start scrolling on screen with the immortal tune & interlude of the song ‘Barsaat mein hamse mile tum…’ based on raag Bhairavi.
Is the title music just there for the sake of being there? Well! It speaks volumes. In the same tune, one gets to listen to various shades of the raga Bhairavi. Initially it transforms the audience into a mood of celebration but as the violins suddenly take a U-turn, the audience’s mood is transformed to that of pathos.
And with this introductory MAGIC (music), among others, history is written - as two names appear on the screen for the first time as Music Directors - SHANKAR-JAIKISHAN (S-J).
The title music itself raises one’s expectations from S-J. And did S-J fulfill them!? Well! No point in elaborating it! The HFM lovers across the globe still don’t miss any opportunity to listen to the score even if they have already done so thousands of times.


Similarity of Songs in context of Shankar-Jaikishan

Jayaishwer Man Pradhan

In Indian Classical Music the great Bhathkahenda ji has divided ten parents of raga i.e. Bhiravi, Bhirav, Todi, Asavari, Khamaj, Marwa, Poriya, Kafi, Kalyanet.. All the ragas are based on the one of the above Thatथाट. So if any songs are composed in Bhiravi That it will sound like same melody.

However point to be noted that the team of Shankar-Jaikishen has composed hundreds of song in Bhairavi, that based, surprisingly they are not much similar when one listens same time. I think SJ could compose with permutation and combination of Bhiravi That थाट may infinite numbers of tunes. When I read in this site that "Tu Pyaar ka sagar hai.." is based on Darbaari(Asawari) I checked the notation by using instrument , yes it is theoretically based on Asawari. I was surprised how they created such tune based on Asavari which are very difficult to identify very much different to their darbari based song like Jhan ka Jhanaka Baje.., Radhikey tune bansi.... . So they are really genius of this century.

I think Vasanta Desai, also one of the ntemporary, who composed songs based on classical ragas. But I find his composition dull when I listen to them as a common/oridinary music lover. His two songs one from Guddi "Ham ko man ki shakti.." and one another ""Dara san dey ... by Mannadey and Asha are exactly are similar. If I listen as a student of classical music, they are really basically beautiful Bandish based on the Raga kedar.

I respect Naushad saheb as a great musician of India. I agree the version of some of the fans that his man tarapat .. is based on old bandish of Raga Malkaush. I have heard lot of Bhazan, songs ... in similar to malkaush.

SJ composed several songs based on Shiva ranjani like Baharon phool, Aáwaj de key, dil ke zharonkey....., Jane kaha gaye ... But when I listen top these songs, I find lot of changes they have made in and I don't feel that the songs are exactly similar. The rhythm of Dil key zharon key is quite typical, I think no music director has yet tried to compose with such type of rhythm. Similarly the antara part of rafi saheb has to sing in suddenly in high note then come back in low note , then comes beautiful piece of violin. I think these songs will be master pieces of Indian music history in future as Beethoven, Mozart.... composition, if media cooperates.

In Aawaj de key..... the Rhythm is Jhapa Tal 10 bits and it has combination of Saxophone (western instrument) and sitar combination. So beautifully arranged.

So I would like to conclude my views :

1. Songs are based on one of the 10 THAT (थाट)
2. If two or more songs are composed on based on same THAT (थाट) it will sound like similar.
3. It does not matter if they sound similar, but how the MD create different type of product with same That. (थाट)
4. SJ are only genious MD in India who did great job composing plenty of songs based on one THAT(थाट) which are very difficult to identify. That may be reason that though their songs are based on the classical ragas , they are great while composition of Nausad saaheb, Vasant Desai,...are some times dull for common music lover though theoretically they are of high standard.

I have heard the definition of light music from Pt. Jasraj that classical music is basically one has to perform with perfect gramme, while light songs the MD, singer has to entertain and impress common people in 3- 4 minutes given time. I think he has tried to explain that it is more difficult to create light music.

I am posting my view with elementary knowledge on classical music. Please correct me if I am wrong.