Shankar-Jaikishan Musical "Live" on 13th November 2010

Shankar-Jaikishan Musical "Live" You Might Attend · Share · Public Event

Time	Saturday, November 13 · 8:30pm - 11:30pm
Location	Dinanath Mangeshkar Hall, Ville Parle East, Mumbai.. Opp V.Parle Station.. Mumbai, India
Created By	Binu Nair
More Info	TOP PROFESSIONAL SINGERS FROM THE STAGE CIRCUIT WILL PRESENT EVERGREEN and UNFORGETTABLE S.J. Hits. Mukesh styled versatile singer SRIKANT KULKARNI - a veteran in his own right has sung along with Lata Mangeshkar on STAGE. He has undertaken 'many' world tours with leading music composers. Very HUMBLE in his approach towards his singing trade. A PLAY-BACK SINGER Too. Hamid Khan, the 22 year lad from Bangalore has been creating musical waves and attracting fans all over by his competent rendering of MOHD RAFI SONGS. Most of his dates get booked - as INVITATIONS TO SING MOHD RAFI SONGS pour from all corners of India. A very humble person, known for his time discipline and soulful rendition of RAFI SONGS. MONA KAMATH : THE ELECTRICAL ENGINEER AND SINGER - all rolled in to one. Was the semi-finalist in the ZEE SA RE GA MA show. Currently attracting hordes of fans for songs of LATA AND ASHA which she essays - perfectly on stage. A very talented SINGER who is bound to make waves. Sang for Marathi films too. MUKESH BHANUSHALI : IS a compulsive quality singer who does RIYAAZ for few hours daily. A very GREAT MOHD RAFI FAN, Mukesh is always looking for RARE and GREAT SONGS - to be presented from the GOLDEN ERA. SHANKAR-JAIKISHAN were the greatest musical duo to have graced the world of Hindi Cinema. The awesome body of work Shankar Jaikishan musical team produced have become IMMORTAL and LIVES on in the hearts, minds and lips of music fans all over the globe . SHANKAR JAIKISHAN team revolutionised the use of ORCHESTRA and INTERLUDE music in songs and made these as integral and inseperable parts of their compositions rather that using these as mere fillers, as was the case until their arrival on the musical horizons. That's why prelude, interlude and background music of many of their songs are as popular and notable and hummable as the tune of the main song. Due to their vast knowledge and comand over various forms of music, the SHANKAR - JAIKISHAN team came out winners in any type of diverse films irrespective of its theme and subject. Presented by : The Rafi Foundation Cell : 9833 250 701 ( Mumbai) Binu Mair

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)

ALWAYS A DIFFERENT S-J (Courtesy :http://gopalshroti.wordpress.com/)

Srigopal Shroti's TRIBUTE TO SHANKAR JAIKISHAN

MANY a times we take up many jobs, may be difficult, but our energy and mastermindedness, help us to prove our temperamental versality……..sorry, the line belongs to Shankar Jaikishan, (may i call them the duo of 1949), when they pulled the chain of HINDI FILM MUSIC IN THEIR FAVOUR……Yes, it is a matter of laughter for me to conceive that composing film music is so easy……Nay, it is a tricky business, if one wants to play longer by putting their soul in their compositions, that match with the contemporary era for full survival. GOD GIVEN GIFT, THE DUO WERE AT THEIR BEST FOR FULL TWO DECADES….AND HAD THE JAI SURVIVED, IT IS NOT A JOKE THAT THEY STRETCHED TWO DECADES FURTHER SETTING NEW TRENDS. for here one cannot indulge in the whims of one’s own temperament and inclination, which may be possible for a classical singer to spend several years mastering 30 to 40 RAAGS and making a career of them. for FILMS IS A COMMERCIAL WORLD AND IS NEVER POSSIBLE FOR A MUSIC COMPOSER TO STAND EASY (putting hands at back) after developing 40 different tunes, unable to portend how many will succeed. HERE THE S-J HAD MASTERY (in the opinion of one young music director of their times) IN DECLARING WHICH SONG OF THEIRS WILL BE MORE POPULAR THAN THE OTHER FROM THEIR OWN CREATIONS (THE SONGS HAD TO BE SET ACCORDING TO ACTORS AND ACTRESSES IN DIFFERENT FILMS)……….IT IS A THOROUGH FACT THAT WHEN S-J WERE GIVEN THE ASSIGNMENT, SOME OF THE SCEPTICS WONDERED AT THE COMPETENCE OF THE YOUNGSTERS TO HANDLE A THEME WHICH ACCORDING TO THEM CUD BE HANDLED ONLY BY NAUSHAD OR ANIL BISWAS………BUT THE DUO TOOK UP THE CHALLENGE WITH A BOISTEROUS ”BRAHMACHARI”, A WESTERNISED ”AN EVENING IN PARIS”, A FOLKISH ”TEESRI KASAM”. A BREEZY ”BARSAT”, A CLASSICAL ”BASANT BAHAR”, A SERIOUS ”DIL EK MANDIR”, A SOULFUL ”DIL APNA AUR PREET PARAI”, A DECOITY ”JIS DESH MEIN GANGA BEHTI HAI”, A PAUPER’S PARADISE ”UJALA”, A SIMPLETON’S ”SHRI 420”, SUFFERING WOMAN ”PATITA”, A SAD ”AAH”, A COMEDIAN ‘PROFESSOR”, A JUMPING JOCKY ‘JUNGLEE”, LOVE TRIAGLE ”SANGAM”, A DESPARATE LOVER ”JHUK GAYA AASMAN”, ”SASURAL”, ”HAMRAHI”, ”ASLI NAQLI”, ”JAB PYAR KISI SE HOTA HAI”, MULTI STARRER ”MERA NAAM JOKER”,…….. IN THEIR STRIDE AS A PART OF A DAY’S WORK AND WHETHER THEY COMPOSED FOR RAJKAPOOR, DILIP KUMAR, RAJENDRA KUMAR(A JUBILEE KUMAR BECOZ OF THEIR MUSIC), SHAMMI KAPOOR—-(CUD U IMAGINE NAUSHAD OR MADAN MOHAN COMPOSING FOR HIM?). ….THIS DIVERSITY AND VERSATILITY PROVIDED SHANKAR JAIKISHAN THRU SEVERAL YEARS OF CHANGING FASHIONS AND COMPETITION (which was evident in thier song in ”MUD MUD KE NA DEKH.(SHRI 420) AND IN ANARI ”NINETEEN FIFTY SIX, NINETEEN FIFTY SEVEN……..”follow the interlude wordings and AS IN ”TEEN KANISTER PEET PEET KAR GALA PHAD KAR CHILLANA, YAAR MERE MAT BURA MAAN, YEH GAANA HAI NA BAJANA HAI…….” IN LOVE MARRIAGE.’(several years trend till today)…………TO CONTINUE……..gshroti@in.com……….’.