Monday, January 16, 2012
Listen to the last song of SJ+Rafi Combo which was recorded before Rafi Sahab's demise. Click here....
Friday, October 14, 2011
Thus a new pair of Music Directors by the name of Shankar Jaikishan were ushered under the umbrella of RK Films, for Barsaat,
Sunday, July 10, 2011
Sunday, October 31, 2010
Saturday, May 1, 2010
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 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, & 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 ( ): Use of Manna
Dey’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
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 .
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
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
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.
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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)
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.