Similarity of Songs in context of Shankar-Jaikishan

Jayaishwer Man Pradhan

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)

2. If two or more songs are composed on based on same THAT (थाट) it will sound like similar.
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.

(jmpradhan51@yahoo.com)

A grand statue of Jaikishan will be unveiled by Music Director Anandji (of Kalyanji-Anandji)

Friends ...This is LANDMARK BREAKING NEWS! Date: 21-05-2009 at 9:00AM

Venue: Jaikishan's native village VANSADA near Valsad in South Gujarat.
Event: A grand statue of Jaikishan will be unveiled by Music Director Anandji (of Kalyanji-Anandji) .

The whole project of honouring Jaikishan was initiated and fully supported by Pujya Swami Sachhidanandji of Gujarat.

Swamiji is not only a fan of Shankar Jaikishan but was inspired to do all this after he read Dr.Padmanabh Joshi's biography of SJ.

Attached are the photographs (click here to view them at http://launch.groups.yahoo.com/group/shankarjaikishan) of the statue and title of the booklet on Jaikishanji authored by Dr. Padmanabh Joshi. These have also been hosted on our YAHOO group home page. All group members are hereby cordially invited for the unveiling ceremony and lunch after the function.

In SJ's Diamond Jubilee year - nothing more fitting or grand could have been conceived and created!
All credit to Dr.Padmanabh Joshi and Swami Sachchidananda for making this great landmark event happen!

Shri Srigopal Shroti's tribute on Jaikishen's Birthday today (4/11) WHAT WAS THE SPECIAL ”SOMETHING” THAT DISTINGUISHED THE S-J BRAND OF FILM MUSIC.

[Chori Chori back cover of LP jacket(inset Shri Srigopal Shrotiji)]

Jaikishan ji,

No word, no sentence can reflect your fans' emotion to pay you tribute on your Birth Anniversary today.
Jai ji, May I remind you one of your soulful tune with Hasrat's word.."BEDARDI BAALMA TUJHKO MERA MAN YAAD KARTA HAI......."

Jahaan Rahein, Aabad Rahein !!

(Your fans across the world)

TRIBUTE TO SHANKAR JAIKISHAN

Gopal Shroti

…..I wud like to point out that it was their ability to innovate and improvise within the TRADITIONAL mould of INDIAN MUSIC, which enabled them to strike at the innermost chords of a listener, and at the same time managing to sound fresh and DIFFERENT. THIS THEY ACHIEVED IN MANY WAYS.

….S-J changed all the old trends/formalities both in MELODY and INTERLUDE MUSIC. while their TUNES remained essentially INDIAN, the musical themes came to acquire their rightful place. S-J not only worked on lyrics and tunes, but did equally HARD WORK ON SONG’S INTRO AND INTERLUDES. because of their hard efforts and magical brain, it was hard to hum the lyrics and tunes but it became a part of people habit to hum the musical instruments INTROS and INTERLUDES.

….THEY DECORATED EVERY SONG OF THEIRS AS TO MAKE A ‘BRIDE’ BEAUTIFUL IN FULL COSTUMES AND MAKE-UP, AND THE ENDING OF THE SONG WAS EQUALLY HILLARIOUS WITH THE USE OF MUSICAL INSTRUMENTS AND CHORUS. LISTEN ”ANDHE JAHAN KE ANDHE RAASTE, JANYE TO JANYE KAHAN, DUNIYA TO DUNIYA TU BHI PARAYA, HAM YEHAN NA WAHAN” (listen to the swittest use of Accordian), (next again comes accordian, THOUGH THE VIOLINS WERE THEIR ARTERIES), in ”AI MERE DIL KAHIN AUR CHAL” (Daag), ”SAB KUCHH SEEKHA HAMNE NA SEEKHI HOSHIARI, SACH HAI DUNIA WALON KE HAM HAIN ANARI”…..GREAT ACCORDIAN, VIOLINS AND MENDOLIN…..”AA AB LAUT CHALEN” (JIS DESH MEIN…..)……ITS INTRO AND INTERLUDE IS IMMORTAL(AND THIS WAS THE BLOODSTREAM OF SHANKAR JAIKISHAN), WITH MENDOLIN, UNMATCHABLE CHORUS, VIOLINS, TRUMPETS AND A LINE OF INSTRUMENTS, WHICH MADE THIS SONG TO BE ANALYSED IN CLASSICAL AND INDIAN BASED MUSICAL CHANNEL…….BESIDES MUSICAL INSTRUMENTS, CHORUS AND ‘AALAP’ WERE THEIR FORTE. ……..AS THOUGH IT SEEMS IN MANY SONGS THAT WITHOUT LATAJI’S ‘AALAP’. (AND SOMETIMES MANNDA’S & MOHD RAFI”S), THEIR SONG WILL NOT BE COMPLETE…….SO MANY ARE EXAMPLES AS WE FEEL THAT THE SWEETNESS OF ROSES IS MIXED IN HER VOICE UNDER THEIR BATON, FROM, ‘BARSAAT, AWARA, AAH, SHRI 420, CHORI CHORI, ANARI, JIS DESH MEIN…..SANGAM, AARJU AND MANY MORE TO COUNT. AND THIS WAS THEIR UNIQUENESS, WHICH NOBODY CUD MATCH.

ALMOST DAILY before going to bed, i listen from CHORI CHORI, ”YE RAAT BHEEGI BHEEGI, YE MAST FIZAYEN, UTHA DHEERE DHEERE WO CHAND PYARA PYARA, KYUN AAG SEE LAGA KE GUMSUM HAI CHANDNI, SONE BHI NAHIN DETA MAUSAM KA YE ISHARA”……HERE i ponder over, when immediately at the starting after GUITAR, with BANGO, KANGO, LATAJI’S SLOW VOICE ”AALAP” GOES FOR FEW SECONDS. AND IT WAS ALWAYS REMAINED A QUESTION FOR ME THAT LATAJI WAS STANDING AT HOW MUCH DISTANCE FROM THE MIKE TO ACHIEVE THAT EERIE EFFECT. (PERHAPS MANNADA MAY REMEMBER). AND THEN AGAIN WITH MANNADA’S VOICE ”YE RAAT BHEEGI BHEEGI……..AND LATAJI’S SUGERCOATED ‘AALAP”. AND U STANDSTILL……..TO CONTINUE……GSHROTI@IN.COM……….