Popularity of Music of Shankar-Jaikishen in foreign countries

POPULARITY OF S-J's COMPOSITIONS IN FOREIGN COUNTRIES

There is a generalization that RK films made Indian films popular abroad. That is at one level maybe true, but the issue must be looked at on a deeper level.Probe and inquire into the fact concerning what RK/SJ films were having success and impact in which individual country, and for what reason.There are many questions to be answered; many big questions. Take for instance, let us not talk about Awaara in Russia, go to a smaller scale, Awaara in Turkey was a pretty good hit but not so in Iran...why?Whereas, Sangam was actually a very big hit in Iran and not so in Turkey... Why did people in Ethiopia like Sangam as much as Egypt? Israel liked all three films Awaara, Shree 420, and Sangam but Shree 420 edged out the other two quite a bit. Then of course, Russia fell in love with Awaara, less so with Shree 420 and Sangam--much less there.The former Czechoslovakia immensely took for Jagte Raho and of course in India it was a total flop. (non SJ) What was the impact of music in these movies in different countries.Russia and Eastern Europe had songs of Awaara and Shree 420 on their lips. Not so of Sangam songs. All of middle east in general were very fond of songs of Sangam. Israel also, but more towards the songs of Shree 420. Which film had what message and for what country it made more touching and meaningful impact...... ..etc Somewhat of a good topic for a sociology and economics as well as filmology dedicates. Some answers for our main questions might be lurking in these above queries. But coming back to the journalist question that was posed to Raj Kapoor, this was in the mid eighties before Ram Teri Ganga Maili. His answer was that America was made up of very individualistic people making up the society, lacking strong culture and tradition. His films were strong in culture, traditions, and also slow moving for Western society. He said there was no way it would have done well in US.

Contributed by Shri chandrashekar

of shankarjaikishan group on Yahoo

The whole restaurant started singing & dancing

This incidance was narrated by Sachin Dev Burman on vividh Bharati during the special Jaymala programme for army

Courtesy : vivek puntambekar( vivek_puntambekar@yahoo.com)

In the late 50's during a film festival at Tashkand Sachin Dev Burman was also invited.One day while roaming he was reached a small village. He was despiratorly searching for restaraunt for a cup of tea.Atlast he found one & entered. Here everthing was strange.No one understood any launguage except Russian.Sachin Dev Burman was confused. With the help of sketch he was able to order a cup of tea.Atlast he met one person who was able converse in english. When the restaraunt owner came to knew that Sachin Dev Buarman is composer from Mumbai, he was thrilled. He had started the JUKE BOX & the record which he had played was PYAAR HUA EK RAR HUA & the whole restaurant started singing & dancing. Sachin Dev had further narrated that we compose tunes & these tunes are popular among our country but SJ were such magical composers that their tunes are popular in such interior village of Soviet Union.

I salute SJ.

Source: : http://us.mc508.mail.yahoo.com/mc/welcome?.gx=1&.tm=1247731654&.rand=7ihaup5vccvns#_pg=showMessage;_ylc=X3oDMTBucmhobGR0BF9TAzM5ODMwMTAyNwRhYwNkZWxNc2dz&mid=1_12534_AP0mvs4AARIuSl64Lgux0W%2FBN4Y&fid=Inbox&sort=date&order=down&startMid=0&filterBy=&hash=cfc288c57ebc5dce32774e0f7e5dad3e&.jsrand=1099217

Lata remembers Jaikishan

Lata remembers that Nargis, Raj Kapoor and Dilip Kumar were present at the recording of Andaaz number Uthayeja unke sitam aur jiye ja`85. "After the recording, Raj Kapoor sent for me. A fair and handsome young man came to my house to convey the message. Seeing him, I remarked to my sister, ‘Just look at him Meena, even a messenger boy looks like a hero these days — looks like the staffers at RK studio are as handsome as their owner’." When Lata went to Raj Kapoor’s Chembur office to meet him, she was introduced to the handsome messenger. He was Barsaat’s composer Jaikishan. Shankar-Jaikishan, Lata says, had a ring of freshness to them. They lacked the classical touch of Anil Biswas and Naushad, but they knew their beat, were masters of rhythm and introduced a whole new style of orchestration.

Courtesy : http://www.tribuneindia.com/2003/20031004/windows/main1.htm

Masti Bhara Hai Sama -- Remembering Dattaram

article written by Dr mander at passionforcinema. com

Today, Dattaram Wadkar may not be a familiar name to many but this unassuming musician-cum- composer once played an important role in Hindi film music’s Golden Era. His own music in films like Ab Dilli Door Nahi, Parvarish, Kala Aadmi, Santaan and Qaidi No. 911 was quite popular in the 60s. As Shankar- Jaikishan’s long-time assistant and as an excellent dholak- player, Dattram participated in creation of many timeless melodies. On June 8, 2007 he breathed his last leaving behind a treasure of musical memories.

Writer-director Ashok Rane’s 1- hour documentary ‘Masti Bhara Hai Sama’ serves as a good primer to introduce Dattram’s impressive musical credentials to new generation. The only hitch being that it discusses more about his musicianship and his association with Shankar- Jaikishan, rather than focusing on his work as an independent composer. Whatever may be the technical and subject-material flaws of this documentary, it still manages to portray a neat sketch of a forgotten talent and that itself is its biggest achievement. The documentary’s main strength lies in Dattram’s crystal-clear recollections from the glorious past! Even in his dispassionate style, he manages to evoke nostalgia for that era when music-making was a labour of love!

Thanks to Pavan Jha, who so kindly presented the documentary’s DVD to me, I was able to note down some important excepts from the maestro’s recollections. I am sure that movie- music lovers would find them interesting!
So over to Dattaram.
The beginning:
“My family came from Goa to Sawantwadi and then in 1942 we moved to Mumbai’s Thakurdwar area. I was not too good in studies and my mother took me to Pandhari Nageshkar. On a Thursday, he tied ganda (black thread) to my wrist and started teaching me tabla. Latar Yashwant Kerkar also taught me tabla. It was he who first introduced me in film industry. He took me to music director Sajjad with whom I worked for a few months but then I lost the job.”
Meeting Shankar:
“I used to go to a gym where Shankar (of Shankar- Jaikishan- fame) also used to come. Once I was taking a bath after exercise, when I heard Shankar playing on the tabla that was lying unused in that gym. He was playing a ghazal- theka and I was really impressed. Immediately I came out of the bathroom and complimented him with ‘Wah! Kya baat hai’. Shankarji asked me if I was from a musical background. I said yes and then I played tabla for him. He was very pleased and told me to come and meet him at Opera House Theatre next day. Prithviraj Kapoor’s Prithvi Theatres used to perform there and I joined them as a musician.”

Prthivi Theatre Days:
“In those days, during the drama- intervals there used to be live instrumental performances. In them, Ram Ganguly used to play sitar and Ramlal used to play shehnai. I started accompanying them on tabla. Earlier Shankar used to do that but later he delegated that responsibility to me.”

First Recording:
When Rajsaab gave Barsaat to Shankar- Jiakishan, I also became part of their team. I used to conduct rehearsals with the musicians before the recording. I used to wonder when I would get a chance to play in the actual recording. That chance came accidentally in Awara. Punyawan, who used to play dholak and who was also my Guru in that instrument, did not come for a recording. The musicians were ready, Lataji was ready but the dholak player was missing. At 12 Noon, Shankarji suddenly said, “Arre Dattu also plays dholak. Let him play today!” I was so happy to get an opportunity. The recording was okay in the first take and Shankarji and Lataji both praised me for my dholak- playing. That song was ‘Ik Bewafa Se Pyaar Kiya’. Then I started playing dholak regularly in songs like ‘Raja Ki Aayegi Baraat’, ‘Ichak Daana Beechak Daana’ and ‘Pyaar Hua Iqraar Hua’.

Making of classics:
While working on the music of Awara, once Raj Kapoor decided to take all his team to Khandala. There he explained a dance situation and asked Shankar- Jaikishan if they had a suitable tune. Jaikishan said that he did not have one ready but Shankarji said that he had one tune in mind. He started singing ‘Ramailya Vastavaiya, Ramaiya Vastavaiya’ Immediately Rajsaab asked – “Is there anything in this song after this repetitive line?” and Shailendra came up with the next line – “Maine dil tujhko diya, maine dil tujhko diya”!

Once Jaikishan was driving a car and I was sitting on the front seat. We were going through Chembur area and lots of new buildings were coming up. Repeatedly I was looking behind at those new constructions. Shailendra was sitting behind in the car and he asked me: “Arre Dattu, yeh baar baar mud mud ke kya dekh rahe ho?” Then an idea struck him and he wrote the famous song ‘Mud Mud Ke Na Dekh Mud Mud Ke’.

‘Ghar Aaja Mera Pardesi’ was recorded in different parts. The recording went on from 9 a.m. to next day’s 6 a.m.! There were almost 150 musicians and 40-50 choir singers in that recording. The actual song’s recording started at midnight but Raj-saab was not happy with the rhythm. He wanted something different. Then our flute-player Suman suggested him the name of Lala Bhau. He said that Lala Bhau had come from Pune and plays excellent dholki. I told Rajsaab that dholki is very effectively used in Tamasha. Raj saab then sent Suman to bring Lala Bhau. When that large, dark, sweaty man walked in, I was taken aback. But as he played his first hand on dholki, I instantly said- ‘Wah! Lala Bhau, kya baat hai!” He smiled and everybody was happy. After a rehearsal, Lataji was called and the song was recorded at 2.30 a.m.!

Shankarji had composed a tune for ‘Aye Mere Dil Kahin Aur Chal’ but Shailendra was not ready with the words. Shailendraji asked Shankarji: “May I borrow Dattaram for a while? He can hum the tune and I can write.” Shankarji agreed.
Shailendra took me to Hanging Garden, where we sat in shade working on that song. Smoking one cigarette after another, Shailendra kept playing with the words. When he finally got his inspiration, his pen was empty! So he picked up the cigarette stubs and wrote the words with them!

My films as composer:
“Raj Kapoor once told Shankar- Jiakishan that he was making a film on a small child, where he won’t be acting. They suggested my name as a composer for that film Ab Dilli Door Nahi, which was my first film as composer. Lataji sang the first song- a birthday song- ‘Jiyo Laal Mere Tum Laakho Baras’ and Ashaji sang the next song – ‘Yeh Chaman Hamara Apna Hai’. Then I had to compose a tune for a situation where Yaqoob is taking the child to Delhi. When I was playing that tune on harmonium, Rajsaab made me stop and said, “It is a hit song!” That was ‘Chun Chun Karti Aayi Chidiya, which was sung by Rafi-saab.
As soon as producer Mahipat Shah finished narrating the story of Parvarish to me, I suggested him to take Raj saab as the hero. Luckily Rajsaab also liked the story and suggested to take Mala Sinha as the heroine. Every song in this film was written by Hasrat. It had songs like Masti Bhara Hai Sama, Mama O Mama and Beliya Beliya. Each song had to be first approved by Raj-saab. When I composed a sad song- Aansoo Bhari Hai, he first made me present another tune but finally approved the first tune! Then he asked, “Who will be singing it?” I replied- “Of course, Mukeshji!”
Years later when I was working for Laxmikant- Pyarelal, Lataji met me in the corridor. She told me- “Dattu, do you know that I have recently recorded your song?” I was surprised. Because I had not done a recording in years! Then she told me that she had sung ‘Aansoo bhari hai’ (for her album ‘Shraddhanjali’ ).
*(Pyarelal says: This song is based on jhaptaal. At that time, there was an ongoing musicians’ strike and the song was recorded with hardly 7- 8 musicians who played out of friendship. Despite that it turned out to be a masterpiece! )
Qaidi No. 911 was S.P. Irani’s film. Here Nanda is playing a teacher, who sings the song- ‘Meethi Meethi Baaton Se Bachna Zara’ for Shaikh Mukhtar’s daughter Honey Irani. The small girl always tells her to sing a song but the teacher always refuses. The child gets angry and just as she is walking away the Aalap begins, making her stop in her stride and smile!

Dattu Theka- the magic on dholak:
I created a special rhythm on dholak, which came to be known in the film-industry as Dattaram- theka (Dattu-theka) . I had used it songs like ‘Chunchun Karti’, ‘Masti Bhara Yeh Sama’ and ‘Mera Joota Hai Japani’. Kalyanji-Anandji specially called me to play that rhythm in ‘Mere Dil Mein Hai Ik Baat.’
I played dholak in Salil Choudhary’s Madhumati- songs ‘Ghadi Ghadi Mera Dil Dhadke’, ‘Aaja Re Pardesi’ and ‘Suhana Safar Aur Yeh Mausam Haseen’. Salilda just said- “I don’t need to tell you anything. You listen to the tune and play what you feel right!”
Once Roshanji called me for a recording as his dholak-player did not turn up at the last moment. I was sitting with a wrier when someone came to call me. He said that even Lataji was waiting. I immediately went there in a taxi and played for that song- ‘Saari Saari Raat Teri Yaad Sataaye.’ That song also proved very popular. Once I was admitted in a hospital at Dhobi Talaav and I heard a marriage band playing that song, I was so happy that half my illness was over there and then!
In ‘Mera Naam Raju Gharana Anaam’ we (Lalabhau and I) played Dafli with fingers. Today, they play such rhythm with sticks! In ‘O Maine Pyaar Kiya’, I used a folk rhythm. Rajsaab was so happy with that experiment!

The Shankar- Jaikishan equation:
Shankar and Jaikishan were equally good. There is no use of saying one was better than the other. They both understood the situation and mood and composed tunes accordingly. Shankar liked Bhairavai and Jaikishan liked Shivranjani. Shankar liked to compose for a dance-music oriented songs like ‘Jahan Main Jaati Hoon Wahin Chale Aate Ho’ and Jaikishan liked to compose romantic numbers like ‘Aaja Sanam Madhur Chandni Mein Hum’.
For Basant Bahar, director Raja Nawathe had suggested their names to Bhushan- brothers. Bharat Bhushan’s elder brother had first asked Shankar- Jaikishan whether they would be able to compose music for such classical music- oriented film. Shankarji said – ‘Why Not?’ They accepted that challenge and composed all semi-classical tunes, which became very popular, even before the film’s release!
I used to look after their rhythm-section and Sebastian used to conduct their orchestra or Melody-section.

Past Versus Present:
In yesteryear music, there was melody, that’s why old songs like ‘Baharo Phool Barsaao’ and ‘Aayega Aanewala’ are still popular. Today’s music is good for youngsters but it is too fast. You don’t even remember the song after ten minutes!

"Didi's songs for Shankar-Jaikishan are my favourites.

Radha Mangeshkar, the only daughter of music composer Hridaynath Mangeshkar

Asha Bhonsle's children have tried and failed. Even Hridaynath Mangeshkar's sons had no abiding inclination for a career in music - it seemed there was no one in the third generation of Mangeshkars to take forward the tradition started by Dinanath Mangeshkar. But now an unlikely hero - make that heroine - is about to set that right. Radha Mangeshkar, the only daughter of music composer Hridaynath Mangeshkar, is taking her first steps into the world of professional music with the release of her debut album today. An overjoyed Lata - who is also Radha's Godmother - will be doing the honours.
"It's a Marathi album based on folk music. It's been composed by my father," says the 20-something, whose music training started when she was just nine under Hridaynath. "He isn't just my guru, he's my whole world," she says, her eyes brimming with quiet devotion.
Strangely, neither of her aunts - Lata and Asha - have any hand in her training though she's spent her entire life under the same roof with them. "Why is it strange? I was under the tutelage of a perfect teacher. I think neither of them thought there was any need for any extra inputs," she reasons. Interestingly, 15 years ago, she'd given her first public performance at Dinanath Mangeshkar auditorium - she was barely eight then. Today, it's where her first album will be unveiled.
A self-admitted homebody, Radha abhors socialising, though she's always enjoyedaccompanying Didi (as she calls her aunt Lata) to concerts and recordings. "It's as if she has already heard the song somewhere and knows exactly how it should be sung. Never more than a second take," she marvels. And while she's not averse to someday finding herself in a Bollywood song-recording studio, "Let's see," is all she commits.
Till now, live concerts with her father have been her forte - she just came back from one in Singapore. Any particular Lata song she likes singing at concerts? "Didi's songs for Shankar-Jaikishan are my favourites. I only sing her songs," she reveals.

COURTESY : http://www.musicindiaonline.com/n/i/top_stories/2975/

Rajendra Kumar's Loss, Shammi Kapoor's Gain

Tribute Series by Srigopal Shroti

a very polular song was already recorded by Jaikishan…because sometimes, when the tune was ready, he will ask Hasrat or Shailendra to write down the lyric…because in their heyday, i read that Jai used to make 20 to 30 tunes daily morning….and then selected 4 or 5 topper out of them. so in the same vein he recorded the beautiful song…..he was showing that song to Rajendra Kumar for his next film….hearing the song Rajendra Kumar did not like the song and asked Jai to compose other one. …As Rajendra Kumar went, Jaikishan was also ready to leave the studio…in the meantime Shammi Kapoor also came and met Jaikishan usually…Then Jaikishan in a dejected mood told Shammi Kapoor that in his life, for the first time his song was rejected…..Hearing this, Shammi asked Jai to let him listen the song….Jai went to his car and played the song and after hearing SHAMMI jumped loudly….’this is my song…thanks he has not taken it.”’…..Jai told in a normal way…u take it and he is sure that it will be a hit number……Shammi used it in Brahmchari and guess what was the song…….yes…;;AAJKAL TERE MERE PYAR KE CHARCHE HAR ZUBAN PAR, SABKO MALOOM HAI AUR SABKO KHABAR HO HAI”’….A MD cannot be wrong and no doubt, S-J MADE SOME SUBSTANDARD TUNES FOR CO-STARS MIXED WITH THE TOPS…AND AS RDB SAID ”SHANKAR JAIKISHAN WILL TELL ABOUT THEIR SONGS, WHICH WILL GO FOR HIT AND WHICH WILL BE LOWER”’, but well hummable….Such was Shammi’s enthusiasm and chemistry with SHANKAR JAIKISHAN.
ANOTHER incident i wud like to narrate…..the film ”PAGLA KAHIN KA” was in the making and their was a jail scene for which the set was ready and shooting was going on….somebody remembering David in BOOT POLISH, suggested that there shd be a song in the jail premises sung by the prisoners(half and full mad)…..Shammi was in the leading role. He immediately rang Jaikishan ”mujhe yeh gaana kal hee chahiye”…Jaikishan rang Hasrat Saab and fixed for next morning sitting and Shammi was duly informed…Next day all three sat….and looking out at the situation, Jai on the hand composed and Hasrat give words…ultimately the sond recorded was ”MERI BHAINS KO DANDA KYUN MAARA”….AND WITH time this became proverbial sentence in colloquial language…a humorous number.WHAT WAS THE BEST TUNE CREATED IN MINUTES…BY THE GENIUS MD….Shammi had no bounds to entrall and express his gratitude to his friend……….to continue….gshroti@gmail.com

JAIKISHEN'S STATUE UNVEILED IN HIS NATIVE VILLAGE

Friends

Here is another report of the trip - hopefully it adds some more details to the beautiful pictures
portrayed by Shastryji & Qamaalbhai!This is a fairly longish post. And it has been posted WITH PICTURES by Qamaalbhai on his blog at this address.
http://probollywoodnews.blogspot.com/2009/05/ek-but-banaoonga-tera-aur-pooja.html
Please do visit the blog post.

The proud residents of Vansada sing to Jaikishan - Ek But Banaoonga Tera Aur Pooja Karoonga!Hindi Film Music finally did itself proud! On May 21, 2009, the first ever larger than life statue of a Hindi Film Music Director was unveiled in Vansada - an obscure village of Gujarat, India."Jaikishan Dahyabhai Panchal" was engraved on the plaque - a man known the world over - as the latter half of the all time great duo named - Shankar Jaikishan!I took a train from Mumbai the previous day and reached Valsad in the thick of the afternoon. Dr.Padmanabh Joshi and Rajnikumar Pandya received me at the station. They had had a nice beer over lunch and I was in no mood to eat in that heat! Settled for some tea!A sedate, simple Gujju dinner and long conversations on SJ was the agenda for the night

We drove off for Vansada the next morning at 6.30 a.m. a journey that takes just about two hours!The name Vansada comes from Bansada - Bans which is the Gujarati word for Bamboo. This is part of a thick forested of South Gujarat and the was green even in that blistering heat!We reached the main ground in the heart of the city which was the venue for the function!An arch, banners in Gujarati with Jaikishan's photograph - an elegant mandap on the ground created a nice festive ambience. Clearly, it was a big day for the residents of Vansada! Sure enough in just about a hour the place was full of music buffs from all over Gujarat and animated conversations in Gujju filled the air!Our group members - Prashant Menon, Devendra Shastry and Qamal Mustafa were also en route and reached the venue exactly on time. Swami Sachidananda - the man who made this event happen arrived followed soon by Anandji and his wife. The function began and a large number of people were felicitated. The Maharaja of Vansada, Dr.Padmanabh Joshi, Rajnikumar Pandya et al. A quiet, very elegant looking woman in her 80s was felicitated too. She was Jaikishan's sister who lives in Vansada even today! I would have loved to hear her speak about her brother.And then came the speeches which thankfully were brief. With my limited knowledge of Gujarati let me report what I could pick up!

Swami Sachidananda made some telling points. He said many would wonder why is a Swami into Hindi Film Music! A Swami should sing bhajans and look down at Hindi Film Music! However, he added that times have changed and in today's world it is the music of the Golden Era which will keep the musical heritage of India alive!Swamiji was very forthright and stated that for over three years when he was in a depression and it was the music of Shankar Jaikishan that helped him overcome the depression! He also added that on a trip to Europe he was astonished by the way artists and their contribution was valued in society and how they remembered their heritage which was sadly lacking in India! He wanted to change this apathetic situation and what better beginning than to make a statue of a son of Gujarat his home state - and so Jaikishan! And this is just a beginning he added! In fact, he went on to mention that the next statue he was planning was in Billimora and the artiste he had in mind was another son of Gujarat - Mehboob Khan!

Rajnikmar Pandya's speech too was noteworthy. He told the residents of Vansada that their own Jaikishan had attracted so many people who are diehard music lovers and had travelled all the way! He mentioned some noteworthy folks like Prabhakar Vyas whose work on Radio Ceylon is simply mind boggling or Harish Raghuvanshi the co-author with Harmandir Hamraz of that consummate biography and song book of Saigal!The next part of Rajnibhai's speech gave us group members goose pimples! Rajnibhai mentioned that he was going to talk about something serious and said he would read out one SMS of a SJ fan, 'Revered Rajnibhai - it is a great thing that you are honoring Jaikishan but please do remember Shankar' - was the message! Rajnibhai said that this was a sentiment that all of us shared and how that message straight touched a chord in the heart! The audience responded with a thundering applause!

Anandjibhai spoke - in his own smiling, lighter vein. He wondered why all Music director Jodis had one fair partner and one not so fair partner! And why the fair partner departed first! He added that after he noticed this phenomenon he had made it point to bring it to the notice of Nadeem too! And Nadeem went off to London! Anandjibhai added that he knew Shankar Jaikishan right from their struggling days in Girgaon and how they would all get together in the day for a cup of tea in the grocery shop and in the night pull down the shutters, pull out the harmonium and play melodies through the nights! He also recalled how Jaikishan would speak in Hindi in Mumbai but when chided by Anandji would smile and slip to Gujarati!Dr. Padmanabh Joshi recounted some key aspects of Shankar Jaikishan. How both of them were creative geniuses who delivered consistently - he cited examples like how they scored two title songs for Hariyali Aur Rasta and both made it to the film. And also how they could create songs over night as in the case of Mere Bhains Ko Danda Kyon Mara! The Maharaja of Vansada spoke too - unfortunately I could not follow his speech and the only thing I picked up was he recalled the time he played cricket with Jaikishan!After that was unveiling time and the Vansada folks had arranged a stylish, rather high tech remote controlled unveiling! Anandji did the needful as starins of Dil Ek Mandir Hain filled the space and lo and behold a handsome, garlanded Jaikishan was looking at his home town! That was the big moment and everyone rushed towards the statue and it was the usual crowded photo opportunity time. Everyone wanted to be photographed with the statue and with Anandjibhai!Swamiji pointed out that lunch had been arranged for all and no one should leave the premises without having lunch! The Rangoli episode!Amidst all this a very touching event took place!Before he function began I noticed two young men carrying a beautiful Rangoli rendering of Jaikishan's photograph on a plywood plank! They placed it below the stage and it was admired by one and all! Someone in his enthusiasm tried to prop up the piece of plywood and whew - in a minute the entire creation was wiped out!"Excuse me, but did you guys take aphotograph of it?" whispered a vooice and Qamaalbhai and myself turned to see a flummoxed Manish the creator of the Rangoli portrait! "Of course we have" both of us chimed! We promised to send the photographs to Manish!Somewhere the little accident had a significance! Here was another artiste of Vansada proudly displaying his creation and in no time he had found it wiped out forever! Such a sad fate should never be the lot of any artiste or their creations! Somewhere Jaikishan's statue would certainly symbolize the beginning of such a time!

Courtesy : Shahrukh Khan (oshahrukhthegreat@gmail.com)

TRIBUTE TO SHANKAR JAIKISHAN-43 by: gopalshroti

SHAMMI KAPOOR

--Shreegopalshroti

”Hamne to pyar mein aisa kaam kar diya,pyar ki raah mein apna naam kar liya….pyar ki raah mein apna naam kar liya…AAJ KAL TERE MERE PYAR KE CHARCHE HAR ZUBAN PAR, SABKO MALOOM HAI AUR SABKO KHABAR HO GAYEE……mohd.rafi and suman kalyanpur…….SUMAN KALYANPUR had many hit songs under the S-J orchestration…..but few days back, in a local newspaper, her interview was published….i was surprised to know that she did not mention S-J’s name because of whom she became a household name in film music…..in the last she lamented, that a song was recorded in her voice, and next day she came to know that ”voh gana ek sangeetkaar jodi ne doosri gayika ki awaj mein record kar liya”….this was her disappointment…..may be because this was in the later years of S-J, WHEN A RIFT MIGHT be there between the duo……hard luck……but despite this, we heard the best songs in suman kalyanpur’s voice, tuned by Shankar Jaikishan and still her name comes with them on radios and we rejoice the tune, like the above i mentioned from ”Brahmchari”……

NOW I come to the super hero made by the duo, none other than Shammi Kapoor, on whom this episode is going on…..IT is very much evident that while some Shammi-S-J scores didn’t quite work their magic for the hit parade e.g. Janwar cud not do a Junglee and Prince was not certainly Rajkumar…..but their success story does not stop with still hit songs from Janwar and Prince…..Their spectacular successes made significant progress with” Chahe koi mujhe junglee kahe”…..yahooooooo…however it is worth mentioning that though Usha Khanna’s Dil Deke Dekho in 1959 and OPN’s Tum Sa Nahin Dekha in 1957 did create a semi-stir, it was JUNGLEE that really and truly did the trick….Shammi sang his way into super stardom with ”mere yaar shabba khair” and ”ehsaan tera hoga mujh par”….Saira Banu got comfortably ensconced in the velvet folds with Lata’s ”kasmir ki kali hun main” and Mukesh and Asha Bhonsle had a ball rendering ”Nain tumhare mazedar o janabe-a-ali” for Anoop Kumar and Shashikala.
Then came Professor in 1962 in which Shammi got into a hairy situation with Lalita Pawar and which made a hillarious comedy and again with the younger leading lady Kalpana (who was the only heroine to have launched her career unsuccessfully against Shammi)….The numbers ”awaz de ke hamein tum bulao, muhabbat mein itna na hamko satao” (Lata-Rafi) and ”lal chhadi maidan khadi”(Rafi) earned Shankar Jaikishan their career’s fourth Filmfare Award……..to continue……gshroti@gmail.com

HINDI WEBSITE/MAGAZINE ON ART, MUSIC, CULTURE AND LITERATURE

"हिंदयुग्म" डॉट कॉम के सौजन्य से कुछ बेहतरीन पुराने नग्मे सुनिए और आनंद उठाइए इसके अलावा संगीत, शिल्प, साहित्य और संस्कृति एवं सांस्कृतिक समाचारों को पढ़िये, जानिए और अपने विचारों को प्रकट कीजिये, कुछ दिनों के उपरांत शंकर जयकिशन एवं हसरत, शारदा पर भी सामग्री उपलब्ध कराने का अनुरोध मैंने उनसे किया हुआ है, जिसे उन्होंने पूरा करने का आश्वाशन दिया है :

www.hindyugm.com

Shankar Jaikishan and Shammi Kapoor

by Srigopal Shroti

I feel Shammi Kapoor,s entry into the film industry wud hav been futile sans S-J..though he danced on OP,RD &Usha khanna’s tunes—-but working with Shankar Jaikishan was the joy of his life…..he will pull out the tune from Jaikishan and say it is mine…..On Sasural tune he was furious, why it was given to another hero…..it is mine….and it was ”TERI PYARI PYARI SURAT KO……”.AND HE MISSED IT becoz of lapse of time…such was the chemistry between S-J and Shammi……”’Lal chhadi maidan khadi”…”wonderfully he danced on Shankar’s tune”…
There it is said that the actors like Dilip kumar and Rajendra Kumar attended the music sessions….Shammi Kapoor presided over them…..of every film Shammi signed and S-J were MDs, any tune composed shd go through the ears of the Rebel Star….and it was Shammi who wud ask the producers and directors that the MDs will be his own ….and they were S-J only….S-J enjoyed Shammi’s rebel style on even signing the films……..and on their part producers and directors knew that these are 3 gems, they are going to encash. OP Nayyar acquired Shammi’s discriminating favour when the music of KASHMIR KI KALI tremendously drew chart favour in 1964…..However, Shammi temporarily developed a fondness towards Nayyarean style.
But the success of Shankar Jaikishan in Rajkumar the same year clinched the issue…S-J were to be Shammi’s life long associaste since then onwards…..AND TRUE to his musical vision, Shammi Kapoor made sure that his producers stuck by S-J right down to his very last film as a leading star in Preetam, 1971. SO ENAMOURED WAS shammi of duo’s composing compatibility, that when Nasir Hussain came for Teesari Manzil, Shammi blew a fuse…..however it took time for NH to convince that RDB’s STYLE WILL MATCH the rebel star’s style in the film(o haseen zulfon waali, deewana mujh sa nahin).

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!

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……..

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.

Courtesy:http://gopalshroti.wordpress.com/

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

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…

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

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 !).

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

TRIBUTE TO SHANKAR JAIKISHAN-35

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...)

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…………

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)