Saturday, April 25, 2009

SHANKAR - THE GENIUS OF ALL by srigopal shroti in 40th episode of his TRIBUTE TO SHANKAR JAIKISHAN

SHANKAR

IT was same sunday, date 26th of april, 1987, the Great Shankar left this mortal world unsung…whose songs the world sang for 6 decades and still heard throughout India, it was only yesterday, in a marriage reception, the guitar went on ”kissi ki muskurahaton pe ho nissar, kissi ka dard mil sake to le udhar” and ”ruk jaa raat thehr jaa re chanda, beete na milan ki bela, aaj chandni ki nagari mein armanon ka mela”…..and i added, ”MELA YE DO DINON KA, DO DINON KI HAI BAHAR, SAMAY KI BEHTI DHAR KARTI JAATI HAI PUKAR, PUKAR…..MEHMAN KAB RUKE HAIN KAISE ROKE JAYENGE…..SAVERE WALI GAADI SE CHALE JAAYENGE……..” AND HE WENT BY THE MORNING TRAIN ON 26TH APRIL,1987…..NOBODY TO ACCOMPANY….BUT ALONE…THE INDUSTRY AND CLOSE FRIENDS WERE SLEEPING, AND TILL THE SUN CAME UP, IT WAS ALL OVER, HIS MUSICAL BODY TURNED INTO THE FLAMES….TILL THIS TIME THE FAMILY MEMBERS SAW THE WORST FACE OF FILM WORLD, SO THEY KEPT SILENT….OTHERWISE IN A SMALL TOWN, HUNDREDS OF TELEPHONE RINGS EVEN FOR AN ORDINARY PERSON……BUT SHANKAR WAS NO ORDINARY MAN….HE KNEW BETTER TO GO ALONE, BUT NOT WITH THE TRAITORS….IN FILMDOM, NOBODY IS ANYBODY…..

–WHEN HE ENTERED THE INDUSTRY, IT WAS ”BARSAAT” OF MELODIOUS TUNES….AND I FELT FROM THE CORE OF MY HEART, IF GOD CUD BE KIND ENOUGH TO SHOWER THE ”BARSAAT”(rains) ON 26TH APRIL,1987…..ANYHOW THE ”BARSAAT” WILL CONTINUE TILL THE MELODY AND RHYTHM IN THE HINDI FILM SONGS RULES….AND I HOPE IT WILL RULE BECAUSE NO MUSIC DIRECTOR OR FILM INDUSTRY OF TODAY HAS THE CAPABILITY AND DEVOTION TO CREATE THAT ERA.
-MANNA DEY ATTRIBUTED HIS SUCCESS TO SHANKAR’S TUNES, RAJENDRA KUMAR WAS OBLIGATORY TO SHANKAR FOR HIS ”SILVER JUBILEE KUMAR”’IMAGE AND RAJ KAPOOR LOVED BOTH SHANKAR AND JAIKISHAN AND ON HIS DEATH BED IN DELHI AFTER RECEIVING DADA SAHEB PHALKE AWARD, WAS ASKED BY A JOURNALIST THAT CAN HE RECREATE THE DREAM SEQUENCE OF ”AWARA”, HE REPLIED WITH TEARS IN HIS EYES ”MUJHE MERE SHANKAR JAIKISHAN AND SHAILENDRA LA DO, MAIN PHIR SE DREAM SEQUENCE BANA DOONGA”….WHAT A BETTER TRIBUTE CAN BE TO SHANKAR BY HIS MENTOR, FRIEND…WHO HAD THEM IN HIS MIND TILL DEATH.
WHERE WILL BE THE REPETITION OF THAT ERA WITH FILMS LIKE , BARSAT, AWARA, KALI GHATA, MAYUR PANKH,POONAM, RAJHATH, AAH, DAAG,YEHOODI, ANARI, UJALA, BASANT BAHAR,, HAMRAHI,AAS KA PANCHHI, SASURAL, CHHOTI BAHEN, MAIN NASHE MEIN HOON, SHRI 420,KANHAIYA, DIL APNA PREET PARAI, JIS DESH MEIN……, PROFESSOR, JUNGLEE, PRINCE, RAJKUMAAR, BETI BETE, DIL EK MANDIR, HARYALI AUR RAASTA, LOVE IN TOKYO, AN EVENING IN PARIS, RAAT AUR DIN, AROUND THE WORLD, MERE HUZOOR, BRAHMACHARI, MERA NAAM JOKER, SANYASI….AND COUNT TILL IT COMES 112 FILMS IN TWO DECADES AND 1000 SONGS ECHOING & WILL CONTINUE TO ECHO IN THE ATMOSPHERE AND IN HEARTS OF PEOPLE, THROUGH RADIOS AND THOUSANDS OF CULTURAL AND SOCIAL PROGRAMMES, ORCHESTRAS THROUGHOUT INDIA…..THERE IS LOT TO BE WRITTEN ON SHANKAR, WHO PLAYED ALMOST EVERY INSTRUMENTS AND WITHIN MINUTES THE TUNES WERE READY FOR US.
I REMEMBER 1954,55 AND LATER WHEN THE FILMS WERE BOOKED BY THE CINEMA OWNERS BY THE NAMES OF SHANKAR JAIKISHAN, AND NOT BY HEROES OR HEROINS….THEIR NAMES WERE THE GUARANTEE FOR THE SUCCESS OF THE FILMS…….BAKAUL HASRAT JAIPURI:
”JAB YEH SUNA HAI MAINE KE SHANKAR CHALA GAYA, MUJHE YAKEEN NAHIN AAYA KE DILBAR CHALA GAYA; DOOBI HUI HAI SOG MEIN AB MERI ZINDAGI, VOH MUSIKI KA EK SAMANDER CHALA GAYA.
FROM SJ FANS, MY HUMBLE TRIBUTE TO THE GREAT MASTER….SHANKARJI, JEHAN BHI RAHO AABAD RAHO, SANGEET SE SABKA DIL BEHLATE RAHO…..EK MEHFIL YEHAN THI, EK MEHFIL VAHAN BHI JAME……..

Wednesday, April 22, 2009

39th Episode of Srigopal Shroti's tribute to Shanker-Jaikishen

TRIBUTE TO SHANKAR-JAIKISHAN

MANNDA DA-WAY




”TAARE NAHIN ANGARE HAIN VO, AB CHAND BHI JAISE JALTA HAI; NEEND KAHAN SEENE PE KOI BHARI KADMON SE CHALTA HAI……AI PYASE DIL BEZUBAN, LUT KE RAHA TERA JEHAN……..” ON their 60th anniversary of entering into hindi film music….the Shankar Jaikishan cud have got this tribute from the erstwhile singer, hamare pyare manna da…who, we as a forum members of S-J fans, can ”total recall” the programme of manna dey on TOTAL RECALL ON THE TIMES NOW CHANNEL, recently, where no names like SHANKAR JAIKISHAN were mentioned by mannd dey and the narrator of the programme….then how it became a TOTAL RECALL, strange enough. the 50s era was totally left when dear manna dey was on his top heights thanks to SHANKAR JAIKISHAN , who unknowingly made the great tunes for manna dey, because had they thought one day for no fault of theirs, their name will be wiped away from this programme by the singer they wud perhaps have opted for other singer, who cud give them due credit, so their souls in heaven felt relief and gave blessings that their efforts have not gone waste… we have full respect for manna dey, since he is 80 plus and his memory may have faulted….that is why for no reason he spelt the name of Raj Kapoor, for no contribution on the part of Raj Kapoor to the three immortal songs scantily played.
-LATA was wise enough that she went to ask for royalty, and she got it for all the singers…..the creators-OUR MUSIC DIRECTORS AND LYRICISTS WERE SO simple and gentle, that they did not demand or fought for royalty, which was their right, being BRAHMA OF THE FILMDOM, WHO CREATED THE TUNES AND THE SINGERS ON THEIR INSTRUCTIONS SANG THE SONG…..THERE IS NO CREATIVITY ON THE PART OF SINGER except using 7 sur, which the composers elaborated to them on harmonium or piano or sitar…..ONE CRITIC WROTE THAT HAD THE MDs CLAIMED ”ROYALTY”, AND GOT IT, SHANKAR JAIKISHAN WUD HAVE BEEN PERHAPS AMONGST THE TOP BILLIONAIRES OF THE WORLD……we forum member think, perhaps this was the reason that manna dey and others getting royalty, he cud not mention S-J name for creation of at least 5 of their songs…..and the MDs who went into his list were SDB, KA, AND RDB….means it is the end of hindi film songs, who created the numbers can be taken on fingers…..Lata sang 300 solos for S-J, but where is the credit…manna dey sang 78…but the list is nil……and it was already written in the 60s itself by their critics, that S-Js names wud be written in hindi film music history with GOLDEN WORDS……and is clear from Radios who play 8 to 10 songs daily of S-J, despite manna da not mentioning their name or credit in total recall…….beethovan, and zubin mehta are rembered for their creations and ”bharatwarsh ki atma ko apne sangeet se jinjhodnewale, AUR JINKA SANGEET CHINA, RUSSIA AUR ENGLAND, TAK PAHUNCHA AUR JINKO SPL AWARD FOR MUSIC OF BOOT POLISH IN CANNES FILM FESTIVAL IN 1953, MILA, ko cuchh log bhulne lagte hain.” but let people do lakhs of efforts, the immortal MUSIC linger on in the memory of past and present day generations…..they were the only music directors who were presented FILMFARE AWARDS BY THE THEN EGYPT’S PRESIDENT REV. ABDUL GAMMAL NASSER IN 1962 0r 1963 who was on the official visit to INDIA….long live the music of S-J THE TOPPERS OF HINDI FILM MUSIC.

Tuesday, April 21, 2009

Shankar Jaikishan – The most versatile Musical Giant of the Last Century


This article is written by Mr. Souvik Chatterji, Master of Law, Warwick University, UK, Master of Law Case, Western Reserve University, USA.

Shankar Jaikishan are probably the most versatile music –duos that hailed the music of Bollywood during the Golden Age of Indian Cinema, the 40s, 50s and 60s. The golden era of Indian film music can be associated with the musical giants of different capabilities and specialisations. The Legends include Roshan- the king of melody, Madanmohan- the shahenzah of ghazals, Naushad- the Genius of Hindustani classical ragas with a blend of Lucknow Gharana, Salil Chowdhury –the Master of Westernised chorus with Eastern folk and poetic excellence, O. P. Nayyar – the Master of Westernised Tunes with Eastern flavour, Jaidev – the Legend of Urbanised Folk and Rural tunes, and many other Classical composers who have become immortal with their everlasting tunes. 1 Shankar Jaikishan emerged in that arena with a range of tunes and compositions which could not be categorised under a single head. There were folk songs like “chalat Musafir” sung by Manna dey in “Teesri Kasam”( 1966) to ghazals like “Chalke Teri Aankhose sharab aur ziada” sung by Mohammad Rafi in “Aarzoo”(1965). There were rock and roll compositions like “aajkal tere mere pyarke charche har zabanpar” in Brahmchari(1967) to pure classical composition like “Sur na saje kya gayun mai” in “Basant Bahar”(1957).
They had composed music in almost 200 films in a tenure of around 22 years. So great was the impact of their creative genius that it had a lasting impact on the music of the Hindi films. Shankar-Jaikishan understood the taste of the masses, were able to cater to them, as well as moulded their tastes. No wonder then that during their tenure as music directors, they were exceedingly popular and 75 per cent of the films for which their scores were everlasting hits - many have celebrated silver jubilees.
They were probably the only musical pair, who have given music to all the leading giants who had glorified the silver screen during the 1940, 1950s, and 1960s. They have given music to Dilip Kumar in Yahudi, 1958, Rajender Kumar in Suraj, 1966, Bharat Bhushan in Basant Bahar, 1957, Balraj Sahani in Seema, 1956, Pradeep Kumar in Raat Aur Din, 1966, Dev Anand in Asli Nakli, 1961, Manoj Kumar in Hariyali Aur Raasta, 1962, Shammi Kapoor in Professor, 1962, Shashi Kapoor in Kanyadan, 1969, Biswajeet in April Fool,1964, Joy Mukherjee in Love in Tokyo, 1965, Dharmender in Pyar hi Pyar, 1968, Jeetender in Mere Huzur, 1967, RajKumar in Lal Patthar, 1971.
The team of Shankar Jaikishan consisted of Shankarsingh Raghuwanshi and Jaikishan Dayabhai Panchal. Shankar (October 15, 1922 - 1987) was born in Punjab and trained under the famous Husnlal Bhagatram. He later settled down in Hyderabad, Andhra Pradesh, India. Jaikishan (1929 - 1971) hails from Panchal, Gujarat, India. Before the duo met, Jaikishan worked as a carpenter. Their career started as music directors for Raj Kapoor’s 1949 film Barsaat. Songs like “Jiya beqaraar hai” and “Barsaat mein humse mile tum” became a rage. Barsaat was also the starting point of the pair’s long and successful association with the R.K.Banner. Hit music in films like Aah and Awaara followed in the early 1950s. The song “Ghar aaya mera pardesi” went on to become a benchmark for dream-sequence songs. Their music for most R.K.films was considered a huge success, but two films stand out, Shree 420 and Sangam. The songs “Pyaar hua ikraar hua” and “Ramaiyyaa vasta vaiyya” from Shree 420 and “Dost dost na raha” and “Har dil jo pyaar karega” from Sangam were popular favorites.
They were honored with the maximum number (nine) of Filmfare awards in the Indian film industry. In 1968, Shankar Jaikishan released an album, “Raga Jazz Style : Shankar Jaikishan with Rais Khan.” Shankar Jaikishan made a great impact on film music from the start. Their tunes range from pure classical Indian themes to more westernised tunes. They had a distinct style, which was adaptable to different stars and films. In the West, they are best known for the song “Jaan Pechan Ho“, which originally appeared in the 1965 film Gumnaam. The musical number was replayed in the American film Ghost World and helped to catapult the popularity of Indian film music in America.
However, according to Raj Kapoor, the pair’s most notable score came in the film “Mera Naam Joker” in 1970 which has landmark songs like “Jaane kahan gaye woh din“, “Jeena yahan marna yahan“, and “Ae bhai zara dekh ke chalo“. Arguably, the background musical scores of “Sangam” and “Mera Naam Joker” are considered to be among the best ever in the history of Hindi film music. Of the two, Shankar’s speciality was dance-based compositions, whereas Jaikishan’s forte was the background musical score. Both of them preferred Raaga Bhairavi over other strains of classical music. Shankar Jaikishan created few classical oriented tunes fit for the Golden voice of Mohammad Rafi. In the film “ Lal patthar”(1971), Shankar Jaikishan had composed for Rafi “unke khayal aye to ate chaale gaye” in raag gara. There the nostalgic mood of badshah was presented by Rafi. Other quality creations of Shankar Jaikishan included “ Aji ruth kar ab kahan jaiyega” in raag desh in Aarzoo(1966) starring Rajenderkumar, “ Khudabhi asma se jab zamin par dekhta hoga” in the film ‘Dharti,' “mujhko apne gale lagalo ai mere humrahi” ( Humrahi, 1962) “surahidar gardan koel si hai awaz” in the film “ Aman”. The lyrics were written by Hasrat Jaipuri.
One of the other shades of the character of the Legendary duo was that they had encouraged a number of singers both male and female, at an era when the other Music Directors preferred only Rafi and Lata. They have composed songs for Subir Sen, “ Dil mera ek aas ka panchi” in the film Aas ka panchi,1960, Suman Kalyanpur , “Dil ek mandir hai,” in the film Dil Ek Mandir,1963, Manna Dey, “Yeh Raat Bheegi Bheegi” in the film Chori Chori,1956, Asha Bhosle, “Mur Murke na dekh Mur Mur ke” in the film Shri 420,1955, Sharda, “Titli Uri” in the film Suraj,1966, Mukesh, “Yeh mera diwanapan hai” in the film Yahudi,1958, Talat Mehmood, “Koi nahi mera is duniya mai” in the film Daag, 1955, Kishore Kumar, “Zindagi ek safar hai suhana” in the film Andaz, 1971. The songs were complimented with brilliant orchestration which had added lights to the composition of the giant.
The other aspect of their creation include blending the Indian flavour with the foreign tunes wherever the films were picturised. Best examples can be the song “Sayonara sayonara” in the film “Love in Tokyo”, 1965, had Japanese orchestration, the other being “Raat ke humsafar” in the film “An Evening Paris”,1967, had French flavour. Besides their use of few instruments showed the class of their own, Accordion in “Sub kuch sikha Humne na siki hoshiari” in the film Anari,1959, Saxophone in “Ai sanam jis ne tujhe chand sa surat di hai” in the film Diwana, 1967, Synthesized Harmonium played by V. Balsara in “Awara Hoon” in the film Awara, 1951.5
One of the reasons why Shankar Jaikishan did not get the acknowledgment of providing immortal tunes in that era is because it could not be identified as which song is composed by Shankar and which song is composed by Jaikishan. Otherwise Naushad was awarded with Dada Saheb Phalke for his brilliant contribution to Indian music, Majrooh Sultanpuri also received the same award in the lyricist category, Shankar- Jaikishan was deprived of that honour. The other reason may be that they had worked with Raj Kapoor for the longest period and most of the credit of the unforgettable tunes were taken away by Raj Kapoor himself. An archive should be created for the rich and classical creations of Shankar Jaikishan where the works can be preserved for future generations to take inspiration from.

My father Chitta Ranjan Chatterji, Ex chief Public Prosecutor, Bankshall Court,( CMM Court), Kolkata had solved a case relating to Music Rackett in HMV in the early 1980s. The Zonal manager of HMV, Mr. SriDaure gave him a present of HMV discs of film “diwana-composed by Shankar Jaikishan” and Disc of “ Pakiza- composed by Ghulam mohammad”. Mr. Sri Daure was involved with numerous immortal recordings of HMV and he mentioned that there was a song in Diwana, titled “ tumhare bhi jai jai, humare bhi jai jai, na tum hare, na hum hare”. The song was picturised with Raj kapoor staying in the railway station and Saira Banu travelling in a train. The song beat that was composed by Shankar-Jaikishan synchronised the actual sound of the movement of the train. It was only possible from Shankar-Jaikishan. It was reported in AnandaBazar Patrika, the Bengali Newspaper under the column of Ashis Ghosh.

COURTESY : http://www.mohdrafi.com/meri-awaaz-suno/shankar-jaikishan-most-versatile-music-giant.html

मैं श्री सौविक चटर्जी का हार्दिक आभारी हूँ जिन्होंने मुझे अपने उपरोक्त लेख को आप लोगों की सेवा में पेश करने की अनुमति दी - सुदर्शन पाण्डेय

Tuesday, April 14, 2009

HAPPY BIRTHDAY TO YOU HASRAT SAHAB (story and picture by srigopal shroti) on birthday of Hasrat Jaipuri on 15th April 2009



AS everybody from his team regarded Lataji, Hasrat himself had high regards for the nightingale of India….which i recall, when Hasrat sahab went to Pakistan to attend a poetic symposium….he was taken on hands….and was invited on tea by many of his admirers….one renowned person who invited him on dinner(i forget his name) and there were several people to see Hasrat sahab…..But one thing was common, everybody was curious to know about Lataji….The gentleman very humbly said that Hasrat Sahab there are very many talents here….they have Noorjehan, they have Reshma, but what he has in India is the precious diamond in Lata Mangeshkar and which will not be found in the whole world. Hasrat sahab recalled that he was 40 when he joined S-J and Shailendra at RK and Lataji regarded him as an elder brother from Barsat onwards…..long live her elder brother thro his songs in her voice…..YE WAADA KARO CHAAND KE SAAMNE, BHULA TO NA DOGE MERE PYAR KO………gshroti@in.com……….to continue…

Wednesday, April 8, 2009

Shri Gopal Shroti's take on "PAAN KHAAYE SAIYYAN HAMARO" (in his 37th episode of Tribute to SJ

PAAN KHAYE•
(A different story)


DEAR friends, one of my friends written that ”paan khaye sainyaan hamaro” was written for Bandini….may be so…..but in Asha Tai’s words, some music song sitting was going on with Barmanda in which Ashaji and Shailendra and others were present….Shailendra was sitting near Barmanda….and Barmanda was a constant ”paan” chewer….and he used to wear pearl white kurta and dhoti….he took out one paan from his ”paan-box” and put in the mouth….it became difficult for him to talk further so he spit the juice in a nearby dust-bin….and in that effort, he got some drops fallen on his kurta….Shailendra cud not resist his laughter…and all were smiling…..Dada asked Shailendra…can he write something…..and Shailendra immediately came out with ”PAAN KHAYE SAINYAN HAMARO—-MALMAL KE KURTE PE CHHEENTE LAL LAL……this was the beginning of song but Dada cud not use it….and kept it in for future film….But Dada passed away….and the song was kept pending….and as Ashaji relate—shankar jaikishan used it in ”TEESRI KASAM”…..BUT IN MY HUMBLE opinion, the song was Shailendra’s creation…and it was fitting on ”nautankiwali bai”…so S-J tuned it like a bihar folk song and of other states….like ”HAMNE MANGAI SURMEDANI, LE AAYA ZALIM BANARAS KA ZARDA”……WHICH SHAILENDRA ALREADY WROTE SUCH REVERSAL IN A WESTERN TUNE IN SANGAM—”SAB TO LAAYE PHOOL, BUDDHA GOBHI LEKE AA GAYA….MAIN KA KAROON RAM MUJHE BUDDHA MIL GAYA..”…..SO THE BEGINNING OF A PAAN SONG BECAME A BIG ”MUKHADA”…..”PAAN KHAYE SAINYAN HAMARO, SANWARI SURATIYA HONTH LAL LAL, HAY HAY MALMAL KA KURTA, MALMAL KE KURTE PE CHEENTE LAL LAL”…….gshroti

Friday, April 3, 2009

Sad songs of SJ

Courtesy : Dr. Raj Senani (dr_senani@yahoo.com)

Sad songs of SJ have often been a topic of discussion.

Indeed, it was Shankar's brain wave to introduce bright orchestra music and dhama-dham rythm-sangeet even in sad songs starting from their very first film Barsaat: just listen to `Main zindagi mein har dum rota hi raha hun'.

This style reached its height of perfection by the time SJ reached Anari: `Tera jana dil ke armanon ka lut jaana', which is perhaps one of the best examples of this genre.

Of course, later S and J both did this. Recall Jaikishen's bright number `Parayi hun parayi meri arzoo na kar' by Lata in Kanyadaan. (There are many other examples too).

It appears that what Shankar cleverly brought to SJ's repertoire as a distinct musical style has some interesting cultural background. I hope some of us must certainly have observed that in rural areas when a person dies, women folk utter sad sentences almost in `singing style' (Hai hamein akela chhod ke kahan chale gaye..., hai ab kaun hamara khyal karega etc). So, even though these utterances are made while weeping, this is done almost in singing style. Unable to find any suitable word for this phenomenon we (in our Lab) agreed to call it (though it is not very correct and may even sound some what `cruel'): `celebration of grief'.

SJ's sad songs, so bright in tune, orchestration and rhythm, brilliantly convey this spirit of `celebration of grief'. One has to only listen to all of their sad and inspirational numbers to realise how profound and magical effect they have on the mind and soul of listeners. The same effect would not have been created had those sad songs were composed in dull rhythm with subdued orchestration.

Of course, once introduced by the pioneers and masters SJ who set this musical format for sad songs (`celebration of grief'), almost every other music director worth his name started following them (they had no other choice !).