by Shri Srigopal ShrotiONE 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…………
No comments:
Post a Comment