TRIBUTE TO शंकर जयकिशन
”SUR” constitutes ”rag”…॥and ”rag” makes songs and in FILM MUSIC, these songs whether classical or light music based, have ‘’sur” in them, if honestly said। AND these songs are composed keeping in view the taste of laymen as well the knowledgeables. This is characterised in HINDI FILM MUSIC, AND IF I CLASSIFY, THIS GOES TO THE GOLDEN ERA OF FILM MUSIC DURING 50s and 60s. this is the ERA ruled by SHANKAR JAIKISHAN and few of their contemporaries.GOD BLESS THEM.
TO become genius in film music, 10 or 20 songs will not suffice, because this is the biggest arena and network spreading in the hearts of thousand, lakhs and crores of listners. this needs stability and this stability is marked by the composers churning out daily NEW TUNES, BEST OF ORCHESTRATION IN RHYTHM AND MELODIES.
S-J scored over the others in not taking up a crusade to educate the layman with the heavy CLASSISISM of the USTADS & PANDITS। They were among the first composers to find out that the film music was a different medium far kept away from the concert platform. HOWEVER their music tuned apparently classical in many of their songs e.g. ”MERI AAKHON MEIN BAS GAYA KOI RE” (BARSAT), ॥AAJA RE AB MERA DIL PUKARA (AAH)…O JANE WALE MUDKE ZARA DEKHATE JANA….(SHRI 420),……RASIK BALMA (CHORI CHORI), ……KETKI GULAB JUHI (BASANT BAHAR),…..LAPAK JHAPAK TU AA RE BADARWA(BOOT POLISH)…..MAN MOHANA BADE JHOOTE (SEEMA)….JHANAK JHANAK TORI BAAJE PAYALIA(MERE HUZOOR)…..CHHAM CHHAM BAJE RE PAYALIA…….AJAHUN NA AAYE BALMA, SAWAN BEETA JAYE……these are the few examples and they had the substance so essential for a song’s longevity. next I remember, legendary flute player, late shri Pannalal Ghosh played flute, with Lataji in ”MAIN PIYA TERI TU MAANE YA NA MAANE” (BASANT BAHAR). ….despite western orchestration, the touch of classical was present in many of their songs. BECAUSE ”SAAT SURON KE BINA JAANA KAHAN”…….MANDRA, MADHYA AND TAR SAPTAK, AND WITH THE MOVEMENTS OF THEIR FINGERS, IN SEVERAL SONGS LATAJI, MOHD RAFI, MANNADA, EXCELLED IN MANY WAYS…..WHETHER THEY WERE OF CHEERFUL, SAD, OR ROMANTIC IN NATURE…………
CAN u forget ”O BASANTI PAWAN PAAGAL”, (JIS DESH MEIN…..), TERA JAANA, DIL KE ARMANON KA LUT JAANA (ANARI), ”AB KAHAN JAAYEN HAM YE BATA AI ZAMIN, IS JAHAN MEIN TO KOI HAMARA NAHIN”..(UJALA), ..SUNO CHHOTI SI GUDIA KI LAMBI KAHANI(SEEMA), ..DIL APNA AUR PREET PARAI…RAAJA KI AAYEGI BARAAT(AAH), …MITTI SE KHELTE HO BAR BAR KISLIYE(PATITA),….EHSAAN TERA HOGA MUJH PAR, DIL CHAHATA HAI WOH KAHNE DO” (JUNGLEE),….AAWAJ DEKE HAMEN TUM BULAO, MOHABBAT MEIN ITNA NA HAMKO SATAO…(PROFESOR), O MERE SANAM, O MERE SANAM, DO JISM MAGAR EK JAAN HAIN HAM(SANGAM)….LORI — AAJ KAL MEIN DHAL GAYA, DIN HUA TAMAM, TU BHI SO JA SO GAI RANG BHARI SHAAM…(BETI BETE)….O KANHAIYA, O KANHAIYA..AAJ AANA KHWAB MEIN & DIL MEIN SAMA KE MILNE NA AAYE, KAISE TUM APNE KAISE PARAYE(KANHAIYA)…..AND HOW MANY TO COUNT WHICH TUNED AND COMPOSED WITH DIFFERENT ORCHESTRATION AS HIGH AND AS LOW AS IN ”TADAP YE DIN RAAT KI, KASAK YE BIN BAAT KI(AAMRAPALI)……….TO CONTINUE……
No comments:
Post a Comment