Sunday, March 22, 2009

TRIBUTE TO SHANKAR JAIKISHAN-35 SOURCE : http://gopalshroti.wordpress.com/

HASRAT JAIPURI.

•Anu Malik is the nephew of late Hasrat sahab…..so it is pertinent to have a look what he thought of S-J,when he took over as Music Director…..he says that among his earliest memories are those of Jaikishan, when he was a little boy and when he first met Jaikishan…he has pestered his MAMU, Hasrat Jaipuri to take him to recording….that day, Shankar Jaikishan were recording ”zindagi ek safar hau suhana” for ANDAZ….Jaikishan took him on his lap and asked him ”baaja bajana aata hai”? Anu nodded and played on a chair….With a smile Jaikishan said to him that he must become his ‘’shagird”.
He further says that may be it is that influence tha he has not been able to like any other Music Director….S-J were his all time favoutites….They were the BEST.
he again narrates that u may laugh at it but it is true that whenever he gets into a jam musically, or face a serious problem in composition, Jaikishan’s image comes before his eyes and his problem is solved in a flash.
Hasrat sahab relates his experience at RK THAT THERE WAS NOT A STRICT WORK-PATTERN….THEY were all on the RK’s pay-roll…..S-J used to draw a salary of Rs1000/- a month each….Shailendra and he wud get Rs600/- a month. Mukesh too was on the payroll, but what he drew, is not known to him. They wud all gather at the RK cottage, spread out ”their ghar ka khana” and as they were eating and chatting…Raj saab wud say….”arre bhai, kuchh sunao, what is new today, let me have ur ideas , ur tunes and ur lyrics”.
AS they responded to his request, Raj with his excellent ear for music, wud say, ”’i want this, this and this, keep these tunes for my films”’……ANY time was MUSIC time for RAJ KAPOOR. in the car, in train, on a plane…..S-J wud beat a rhythm on the seat and hum tunes, and RAJ wud join in with his tapping. Shankar and Raj cud play many instruments, and no wonder the two tuned so well…..Sometimes during a prolonged session, Raj wud play on the tabla, the pakhawaj or some stringed instrument and lose himself in music…..THE setting of all was such that it had to produce the lasting Music...........(to be contd...)

Friday, March 6, 2009

TRIBUTE TO SHANKAR JAIKISHAN-34-

HASRAT JAIPURI
by Shri Srigopal Shroti




ONE INCIDENT IS INTERESTING TO REMEMBER AND SOMETIMES THINK ABOUT IT. …RAJ SAHAB WANTED ONE QAWWALI IN ”SANGAM” AND HASRAT ALREADY WROTE IT….BUT THE IDEA OF HAVING A QAWWALI IN SANGAM WAS NOT DIGESTED TO JAIKISHAN…THE FILM HAD A DIFFERENT THEME, BUT ”AS SAID EVERYTHING IS POSSIBLE WHILE MAKING A FILM”….SO WHEN THE SCENE WAS NARRATED TO HIM, IT WAS OF A LAKE WHERE RAJ AND VYJAYANTIMALA SURFING ON BOAT…..JAI IMMEDIATELY THOUGHT OF THE QAWWALI WRITTEN BY HASRAT….AND TUNED IT DIFFERENTLY TO BE A SUPER HIT, WHICH WAS ”O MEHBOOBA, O MEHBOOBA, TERE DIL KE PAAS HI HAI MERI MANZILE-MAQSOOD, WOH KAUN SI MEHFIL HAI JAHAN TU NAHIN MAUJOOD”…NOW I ASK THE READER TO IMAGINE THESE WORDINDS TO BE TUNED AS A QAWWALI….IT FITS 100%…..BUT JAI’S TALENT TURNED IT TO BE A FAST TUNED GREAT SONG WITH GREAT CHORUS IN INTERLUDE MUSIC.




AND WHEN HE REMEMBERED SHANKAR, HE FELT LONELY BECAUSE EXCEPT HIM ALL HAVE GONE TO THEIR HEAVENLY ABODE……HASRAT SAID THAT ONCE THEY WERE KINGS OF HINDI FILM MUSIC AND COLLABORATED WITH EACH OTHER AS MUCH IN S-J’S SALAD YEARS. THEIR UNION BEGAIN WITH ”BARSAT” AND ON THE DUMMY WORDS TUNED BY SHANKAR, HE WROTE ”JIYA BEQARAR HAI”….ALSO IT WAS SHANKAR WHOM HE MET FIRST AT PRITHVI THEATRES AND THAT WAS A BEGINNING OF A LIFELONG ASSOCIATION WITH THE MOST TALENTED MD OF FILM INDUSTRY EVER HAD. HE SAID THAT SHANKAR HAD THAT UNCANNY ABILITY TO PLAY ANY INSTRUMENT WITH THE BREATHTAKING MASTERY, INCLUDING ”PAKHAWAJ, TABLA, ACCORDIAN,SITAR OR ANY INSTRUMENT, AND HIS KNOWLEDGE OF MUSIC WAS TRUELY A PHENOMENAL, WHETHER INDIAN CLASSICAL OR WESTERN SYMPHONY, THAT IS THE REASON THAT HIS TUNES CARRIED, AT ALL TIMES, A CERTAIN WEIGHT AND RICHNESS OF TRADITION.” IN ”POONAM” ALL 8 SONGS WERE SCORED BY SHANKER AND 4 OF THEM WERE WRITTEN BY HASRAT INCLUDING ”AAYEE AAYEE RAAT SUHANI” AND ”CHANDA KI CHANDNI MEIN JHOOMEIN JHOOMEIN DIL MERA”….(this song still thrills me and i listen it usually)….IN ”NAGINA” SHANKAR TUNED HASRAT WORDS ”KAISI KHUSHI KI HAI RAAT, BALAM MERE SAATH”, FURTHER IN ”BOOT POLISH” IT WERE SHANKAR AND HASRAT IN ”LAPAK JHAPAK TU AA RE BADARWA” AND IN ”SHRI 420”–”ICHAK DAANA BEECHAK DAANA”, IN ”AAWARA”–”AA JAO TADPATE HAIN ARMAAN”, IN ”NAINA”—”HAMKO TO JAAN SE PYARI HAIN TUMHARI AANKHEN”……IT WAS A DELIBERATE NOTION THAT FOR THE CONVENIENCE AND OVERWHELMING PRESSURE FROM PRODUCERS AND DIRECTORS THAT MOSTLY SHAILENDRA WROTE FOR SHANKAR AND HASRAT FOR JAIKISHAN.




REG CLASSICAL RAGAS, HASRAT MENTIONED SHANKAR’S FAV WERE ”BHAIRAVI”(JAIKISHAN TOO), BASANT BAHAR, SHIVRANJANI, YAMAN, MALKAUNS, PAHADI AND PURIYA DHANASHRI”, THERE IS THE REASON FOR IT, BECAUSE SHANKAR WAS ALREADY A MASTER TABLA PLAYER IN HIS TEENS, AND TABLA CANNOT BE MASTERED WITHOUT THE KNOWLEDGE OF WHAT RAGA THE SINGER IS SINGING, WHEN HE ENTERED PRITHVI THEATRES AND WAS ALSO ASSISTANT TO HUSNALAL BHAGATRAM WITH JAIKISHAN ON HARMONIUM AND THERE WAS A TURNING POINT IN THEIR LIFE TO COME WITH SHAILENDRA AND HASRAT, THE UNBREAKABLES…….to continue…..gshroti@in.com…………

Sunday, March 1, 2009

Story behind 'Paan Khay Saiyyan Hamaro' from Teesri Kasam

Paan khaye saiyan hamaro...was written for film Bandini is absolutely correct but before it was composed by Burmanda, due to pressure from Basu Bhattacharya, Shailendraji convinced Burmanda that the song was totally inappropriate for a film like Bandini. Ultimately Burmanda and Bimalda were convinced by a person like Shailendraji. The uncomposed song was returned to Shailendraji by Burmanda. After sometime it was given to SJ for Teesri Kasam and it was composed by Shankerji and recorded. I also remember Shailendraji discussing this song with Mukeshji about creating a special situation for it. Another thing which I may mention here is why it took long to record the song after it was returned by Burmanda was as we know that Shankerji always composed the tune first and then based on the tune, song was written. But in this particular case, the lyrics were already written and therefore, to convince Shankerji to tune an already written lyrics, Shailendraji requested Mukeshji also to request Shankerji to tune the song. Finally, Shankerji was convinced by both Shailendraji and Mukeshji and the song was recorded. This is the story.

Thread No.248, March 19, 2003(at shankarjaikishan group on Yahoo)