Palanhare Ram hain Dil ek mandir Shailendra

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हरगिज न मिट सकेंगे, नामोनिशान हमारे

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शंकरजयकिशन, शैलेन्द्र तथा हसरत जयपुरी के बारे में कई रोचक बातें विभिन्न सूत्रों से प्राप्त होती ही रहती है।कितने विस्मय की बात है कि इन सभी को गुजरे एक अरसा हो गया किन्तु फिर भी आये दिन इनको लेकर कुछ न कुछ पड़ने में आता रहता है,इसका कारण यह नाम आकर्षित करते है,इनको पड़ने वालो की संख्या लाखो में है।न जाने कितने ही गीतकार व संगीतकार आए व गए उन्हें याद करने वालो के अस्तित्व ही मिट गए किन्तु इस संगीतकार व गीतकार जोड़ी के चर्चे आम बने रहते है।यह कुछ ऐसा कर गए जो समय से बहुत आगे है।इन्हें हिंदी फिल्मों का वेदव्यास कहा जा सकता है!कहा जाता है कि महाभारत से पूर्व ही वेदव्यास जी ने महाभारत लिख दी थी!यही बात शंकरजयकिशन हसरत जयपुरी व शैलेन्द्र पर लागू होती है।वह आने वाले फिल्मी संगीत को सदा के लिए पहले ही स्थापित कर गए।अब नए संगीतकारो के लिए कुछ भी शेष नही बचा!न ही उनमे कुछ नूतन करने का जज्बा शेष है।तभी सभी एकमत होकर स्वीकारते भी है कि शंकरजयकिशन जैसा कोई नही!सचिनदेव बर्मन,नोशाद, सी.रामचंद्र,ओ.पी.नैय्यर, मदन मोहन,चित्रगुप्त,हेमन्त कुमार,वसंत देसाई,राम लाल,दानसिंह जैसे संगीतकार शंकरजयकिशन के संगीत के कायल थे।मशहूर संगीतकार इलैयाराजा शंकरजयकिशन के संगीत की तारीफ करते नहीं अघाते,तो कल्याण जी आनंद जी खुले रूप से स्वीकारते है कि हमारा संगीत शंकरजयकिशन से ही प्रेरित है,तो लक्ष्मीकांत प्यारेलाल की जोड़ी के लक्ष्मीकांत कहते है कि हिंदी फिल्मों में संगीत की महत्ता को शंकरजयकिशन ने ही स्थापित कर फिल्मो का प्रमुख अंग बना दिया तो इसी जोड़ी के प्यारेलाल उन्हें सबसे महान संगीतकार मानते है।संगीत निर्देशिका उषा खन्ना तो खुले रूप से स्वीकारती भी है कि मैंने सदा उनके संगीत की ही नकल की है वह बताती भी है कि जब गीत में गाउँ तुम सो जाओ की रिकार्डिंग हो रही थी तो में उस वक़्त में रेकॉर्डिंग रूम में थी,इस गीत की कम्पोज़िशन को सुनकर में हैरत में पढ़ गई मैने इसको कई बार रेकॉर्ड करने की कोशिश भी की किन्तु सफल न हो सकी,फिर भी मैने इसी धुन पर गीत बनाया जो सभी को पसंद आया।संगीतकार राम लक्ष्मण भी खुले रूप में स्वीकारते है कि शंकरजयकिशन ने हमारे लिए कुछ छोड़ा ही नही!हम तो बस उनके संगीत का उल्टा सीधा स्वरुप बनाकर संगीत को प्रस्तुत कर देते है।राजेश रोशन भी शंकरजयकिशन के संगीत को ही प्रमुख मानते है,यही हाल हिमेश रेशमिया का है।संगीतकार राहुल देव बर्मन भी सदा फ़िल्म राजकुमार के संगीत को अपना संगीत आधार स्वीकारते है।हिमेश रेशमियां के पिता विपिन रेशमियां संगीतकार शंकरजयकिशन के पास संगीतवाद्य कलाकार की हैसियत से कार्य करते थे का मानना है कि शंकरजयकिशन के पास संगीत की जादुई पोटली थी!जहां आज का संगीतकार अपनी फिल्म के एक गीत हिट हो जाने पर सातवें आसमान पर जा बैठता है किन्तु शंकरजयकिशन की एक ही फ़िल्म के प्रायः सभी गीत हिट होते थे।

यही कारण है कि संगीतकार अन्नू मलिक उन्हें संगीतकारो का बाप कहते है,वह और आगे बढ़कर कहते है कि हम सभी संगीतकार उनके द्वारा निर्मित संगीत के कुएँ से संगीत के पानी की बाल्टियाँ भरकर लाते है और संगीत प्रेमियों की प्यास बुझाते है।शंकरजयकिशन के लिए इतने संगीतकारो की प्रशंसा उन्हें बुलन्दियों पर स्थापित करती है।शंकरजयकिशन बिल्कुल भी पड़े लिखे नहीं थे अतः उनके नोटेशन का काम उनके सहायक सेबेस्टियन करते थे,अतः सेबेस्टियन का नाम सदा के लिए शंकरजयकिशन के साथ जुड़ गया जबकि वह ओ.पी.नैयर के लिए भी कार्य करते थे!शंकरजयकिशन कि दरियादिली भी कम न थी!उन्होंने RK की फ़िल्म अब दिल्ली दूर नही दत्ताराम को दिलाई,जब राजकपूर ने कहा कि क्या दत्ताराम इसे संभाल लेंगे?तो उनका जवाब था यदि दिक्कत हुई तो हम सब संभाल लेंगे किन्तु दत्ताराम को अवसर मिलना चाहिए,कौन अपने सहायक के लिए ऐसा करता है?यही कारण है कि शंकरजयकिशन के कारण ही सेबेस्टियन व दत्ताराम सहायक के रूप विख्यात हो गए,जनता उन्हें जानती है अन्यथा किस संगीतकार के संगीत सहायक को दुनियाँ जानती है? जयकिशन ने शम्मीकपूर के विरुद्ध जाकर फ़िल्म तीसरी मंजिल राहुल देव बर्मन को दिलाई जो उनके केरियर में मील का पत्थर साबित हुई।संगीतकार शंकर ने मनोज कुमार की फ़िल्म उपकार कल्याणजी आनंद जी को दिलाई जो उनके लिए सफलता का मुख्य कारण बनी।शंकरजयकिशन, शैलेन्द्र व हसरत जयपुरी की जोड़ी का मुकाबला आज तक भी कोई कर नहीं सका है,यह परस्पर विश्वास का बीज था जो फ़िल्म बरसात में अंकुरित हुआ था।किंतु इन चारों को लेकर भी कई किस्से कहानियाँ है जिनका सूत्रों से पता चलता है।मेरा लेखन भी इन सूत्रों पर ही आधारितं है अन्यथा हम तो उस काल मे बच्चे थे न ही कभी शंकरजयकिशन, शैलेन्द्र व हसरत से कभी मिले!यह तो उनके गीत संगीत का जादू है जो हमे सुख प्रदान करता है तथा उन असंख्य लोंगो से परिचित कराता है जिनसे कभी मुलाकात ही न थी।आज शंकरजयकिशन के कारण ही हम हज़ारों लोग अब मिलने ही न लगे है अपितु अब पारिवारिक मित्र भी बन गए हैं,इसका श्रेय निसंदेह शंकरजयकिशन म्यूजिकल फाउंडेशन अहमदाबाद को जाता है।एक वक्त ऐसा भी आया कि शंकरजयकिशन गीतकार राजेन्द्र कृष्ण को अवसर देने लगे जो हसरत जयपुरी व शैलेन्द्र को नागवार लगा।शैलेन्द्र ने एक पर्चा लिखकर उन तक पहुंचाया जिसमे लिखा था" छोटी सी ये दुनियाँ पहचाने रास्ते है तुम कही तो मिलोगे कभी तो मिलोगे तो पूंछेगे हाल"।शंकरजयकिशन उनका आशय समझ गए ,उस वक़्त उन्होंने फिल्म रंगोली साइन की थी।फ़िल्म के निर्देशक राजेन्द्र सिंह बेदी चाहते थे कि फ़िल्म के गीत मजरुह सुल्तान पूरी लिखे किन्तु शंकरजयकिशन ने साफ कह दिया कि शैलेन्द्र व हसरत के अलावा अन्य कोई भी स्वीकार्य नही,ओर ऐसा हुआ भी,शैलेन्द्र व हसरत ने ही गीत लिखे और जो पर्चा शैलेन्द्र ने लिखा था उसे गीत की शक्ल भी मिली और यह गीत आज भी सुना जाता है।शंकरजयकिशन वचन के पक्के थे,जब बी.आर.चोपड़ा ने उन्हें फ़िल्म वक़्त का संगीत देने का आग्रह इस शर्त पर रखा कि साहिर लुधियानवी इसके गीत लिखेंगे तो शंकरजयकिशन ने विनम्रतापूर्वक यह फ़िल्म साइन करने से इंकार यह कहकर कर दिया कि हम साहिर का सम्मान करते है किन्तु शैलेंद्र व हसरत का साथ हम नहीं छोड़ सकते।यह जोड़ी भावनाओं की मित्रता थी जिसमे चारो एकाकार थे।शंकरजयकिशन में स्वाभिमान कूट कूट कर भरा था जब वी.शांताराम ने उन्हें फ़िल्म आफर की तो उन्हें खुशी मिली किन्तु जब शांताराम ने अपने स्टूडियो में गीतों को रिकार्ड करने की शर्त रखी तो उन्होंने स्पष्ट इंकार कर दिया और कहा संगीत सृजन कहाँ और कैसा करना है यह हमारा अधिकार क्षेत्र है और फ़िल्म छोड़ दी।अन्यथा शांताराम अथवा बी.आर.चोपड़ा की फिल्मे कौन छोड़ना चाहेगा? शंकरजयकिशन ने कभी भी हसरत व शैलेंद्र को अन्य संगीतकारो के साथ कार्य करने से नही रोका, इसके बावजूद भी इन चारों की जोड़ी में सदा विश्वास का सागर लहराता रहा। विजय आनंद अपनी महत्वाकांक्षी फ़िल्म गाइड का निर्माण कर रहे थे।फ़िल्म तेरे घर के सामने में हसरत जयपुरी के गीत हिट हुए थे,अतः फ़िल्म गाइड के लिए भी उनका चयन कर लिया गया।हसरत जयपुरी ने अभी दो ही गीत लिखे थे कि एक गीत को लेकर विजय आनंद व हसरत जयपुरी में मतभेद हो गए,विजय आनंद को एक गीत का मुखड़ा...दिन ढल जाय हाये रात न जाए.. पसंद नही था वह इसे बदलना चाहते थे किंतु हसरत जयपुरी इसी मुखड़े को श्रेष्ठ मानते थे,तब विजय आनंद ने शैलेन्द्र को लेने का फैसला किया।शैलेन्द्र को इस बात की पीड़ा थी कि उन्हें हसरत के बाद स्थान दिया जा रहा है,अतः उन्होंने काफी बड़ी फीस विजय आनंद के समक्ष रखी जिसे तुरंत स्वीकार कर लिया गया।किन्तु शैलेन्द्र व हसरत की मित्रता अटूट थी अतः शैलेन्द्र ने दो शर्ते रखी प्रथम हसरत जयपुरी को सम्पूर्ण मुआवजा दिया जाय द्वितीय हसरत के लिखे विवादित गीत के मुखड़े को ज्यो का त्यों रखा जाय,शैलेन्द्र की दोनों शर्तो को माना गया,इस प्रकार हसरत के लिखे मुखड़े को सम्पूर्ण गीत की शक्ल शैलेन्द्र ने दी,ओर यह कालजयी गीत आज भी जवाँ बना हुआ है।मित्रता का इतना ख्याल क्या आज के युग मे संभव है?अपने मित्र के मुखड़े को न बदलने की शर्त पर काम करना उन्हें सम्पूर्ण मुआवजा दिलाना,भले ही फ़िल्म गाइड से हसरत को निकाला गया किन्तु शैलेन्द्र ने उनके मुखड़े को यथावत रख सदा सदा के लिए हसरत जयपुरी को गाइड के साथ जोड़ ही दिया,यह मित्रता का अनुपम उदाहरण है।वास्तविकता यह थी SDB बीमार थे जब यह कॉन्ट्रैक्ट हुआ और SDB की पहली पसंद शैलेंद्र हुआ करते थे।आजकल रैंप संगीत चरम पर है जिनके गीतों की उम्र एक माह भी मुश्किल से होती है।रैंप गीत की शुरुआत तो फ़िल्म श्री 420 से आरम्भ हुई थी जिसका श्रेय शंकरजयकिशन को ही जाता है किन्तु उस वक़्त इन्हें रैंप गीत नहीं कहा जाता था,इन गीतों में गति होती थी किन्तु उसमे असरकारक काव्य भी होता था" दिल का हाल सुने दिल वाला सीधी सी बात न मिर्च मसाला"मन्नाडे के गाये व शैलेंद्र के लिखे गीत को आज भी कोई मिटा न सका है!यह चालुपन्ति नही थी जीवन का काव्य था!आज के संगीतकार व गीतकार इस बात को क्या जाने।शंकरजयकिशन व शैलेन्द्र ने जो भी बनाया अमिट बनाया,इसके मूल में मित्रता की गहरीं आपसी समझ थी और हृदय से यह रचनाएं बनाई जाती थी।शैलेंद्र की मृत्यु शंकरजयकिशन व हसरत जयपुरी के लिए किसी आघात से कम न थी,उसके बाद इन चारों की जोड़ियों का संतुलन ही बिगड़ गया।फ़िल्म मेरा नाम जोकर के निर्माण के दौरान ही शैलेन्द्र का स्वर्गवास हुआ था अतः उनके स्थान पर नीरज को जगह दी गई।इस फ़िल्म से जुड़ा एक रोचक प्रसंग भी है।नीरज की एक प्रसिद्ध रचना थी " यह राजपथ है मेरे भाई" इसी गीत को परिवर्तन करके प्रसिद्ध गीत " ए भाई जरा देख के चलो" लिखा गया,जिसमे जीवन को सर्कस के साथ जोड़ा गया।

राजकपूर ने नीरज से कहा कि इस गीत को बड़े बड़े अक्षरों में लिखकर शंकर जी के पास जाय क्योकि उन्हें पड़ने में असुविधा होती है।नीरज ने ऐसा ही किया बड़े बड़े अक्षरों में गीत लिखकर शंकर जी के पास गए तो शंकर जी बोले क्या कोई महाग्रंथ लिखा जा रहा है?यद्यपि राजकपूर भी ज्यादा पड़े लिखे नही थे,किन्तु कुछ अभ्यास से वह हिंदी व अंग्रेजी में पारंगत हो गए जैसे कि कपिल देव,महेंद्र सिंह धोनी आदि,इन्हें भी अंग्रेजी नही आती थी किन्तु लगातार प्रैक्टिस से अब ये दोनों फर्राटे से अंग्रेजी बोल लेते है।मुझे तो आश्चर्य होता है जब यह पड़ता हूँ कि जयकिशन को इंग्लिश फिल्मे देखने का शौक था!जबकि वह भी शंकर की भांती ही थे,तो भला फ़िल्म को कैसे समझते होंगे?सम्भवतया रोमेंटिक तबियत के होने के कारण देखते हो?अथवा संगीत की बारीकियों को समझने के लिए?खैर शंकर को दक्षिण भारतीय होते हुए भी मैंने सुना है तथा वह बहुत अच्छी हिंदी बोलते थे।राजकपूर को किसी का उपहास उड़ाने से पूर्व स्वयं को भी देख लेना चाहिए!यदि राजकपूर इतने पड़े लिखे थे तो उन्होंने अनपढ़ शंकरजयकिशन को क्यो अवसर दिया?किसी पड़े लिखे को दे देते?कला स्वयं में एक भाषा होती है जिसको पड़े लिखे लोग समझ नहीं पाते,यही कारण है कि मैकेनिकल इंजीनियर अपने वाहनों की रिपेयरिंग अनपढ़ मैकेनिकों से करवाते है!डिग्री व कला में यही फर्क होता है।खैर वापस शंकर जी पर आता हूँ,शंकर बड़े शब्दो से राजकपूर व नीरज की मंशा को भांप गए कि यह उनका उपहास उड़ाने के लिए किया है अतः उन्होंने नहले पर दहला मारा, उन्होंने गीत की धुन ठीक उसी प्रकार बनाई जैसा कि नीरज कवि सम्मेलनों में गाते थे और राजकपूर से भी उन्ही के अंदाज़ में गंवाया..सर्कस.हाँ हाँ बाबू यह सर्कस है!शो तीन घंटे का..ओर ऐसी बेमिसाल धुन बनाई की जिसकी कल्पना शायद ही कोई संगीतकार कर सके!शंकर ने नीरज के शब्दों को मन्नाडे की आवाज में इस तरह से अपनी धुनों में सजाया कि राजकपूर व नीरज अवाक रह गए!उन्होंने कल्पना ही नही की थी कि इस प्रकार के गीत को इतनी बेहतर धुन भी मिल सकती है,गीत के चरम पर शंकर ने जो संगीत दिया वह सम्पूर्ण जीवन के निचोड़ को परिभाषित करता है।कभी कभी उपहास भी महान रचनाओं को जन्म देता है।तुलसीदास का उपहास न होता तो रामचरितमानस कभी रचित नही होता?शायद इसी कारण लतामंगेशकर शंकर को फ़िल्म इंडस्ट्री का सर्वश्रेष्ठ कंपोजर मानती है,क्योकि शंकर के जीवन मे संगीत के अतिरिक्त कुछ न था और इसी की साधना से वह सफलता के सर्वोच्च शिखर तक पहुंचे।शंकरजयकिशन, शैलेन्द्र व हसरत जयपुरी का आरंभ अभावों की गलियों से आरम्भ होकर सफलता के शिखर पर स्थापित हुआ था,जिसमे आपसी विश्वास का बीज,जी तोड़ मेहनत व साधना तथा मित्रता का बेहतरीन उदाहरण था जिसने इतिहास रच दिया।विली जोली ने सही लिखा है कि"

आस्था रखे,विश्वास करें और यह याद रखे कि आसमान ही आपकीं सीमा है।हमेशा आसमान तक पहुंचने का प्रयास करें और अगर आप निशाना चूक भी गए,तो भी आपकी जगह सितारों में होगी!

शंकरजयकिशन, शैलेन्द्र तथा हसरत जयपुरी पर यह बात सो फीसदी लागू होती है।वक्त तेजी से बदल रहा है,किन्तु इन चारों की मित्रता अपना उच्च मुकाम हासिल किए हुए है।किंतना सुखद लगता है कि महान गीतकार शैलेन्द्र अपनी फिल्म तीसरी कसम के दो गीत लिखवाते है जो मित्रता का अनुपम उदाहरण है।हसरत जयपुरी ने अपने मित्रो तथा अपने लिए बहुत ही सही लिखा है।

" पत्थर की है लकीरें अहदे वफ़ा हमारी,हरगिज न मिट सकेंगे नामोनिशान हमारे"

काल के प्रस्तर पर शंकरजयकिशन, शैलेन्द्र व हसरत जयपुरी की रचनाएं सदा अंकित रहेगी ,युग बदलते रहेंगे।

Shyam Shanker Sharma
Jaipur,Rajasthan.✍

।

"कहाँ चला रे, वहां कौन तेरी राह तके रे" फ़िल्म हरे कांच की चूड़ियां

by

Shyam Shankar Sharma 

इस संसार मे कौन किसका इंतजार करता है?राह तकता है?सब स्वार्थों के संबंध है।स्वार्थ सिद्ध हुए आपकी राह कौन तकेगा?जीवन के अनुभव तो यही व्याख्या करते है। महान निर्माता,निर्देशक व कलाकार श्री किशोरसाहू की फ़िल्म हरे कांच की चूड़ियां 1967 में प्रदर्शित हुई थी।इस फ़िल्म में किशोरसाहू ने अपनी पुत्री नैना साहू को प्रथम बार फिल्मी पर्दे पर मुख्य अभिनेत्री के रूप में अवसर दिया था,इस फ़िल्म के नायक विश्वजीत थे।नैना साहू का देवलोकगमन हाल ही में हुआ है।समय चक्र रुकता नही प्राणी आते रहते है जाते रहते है किन्तु इतना अवश्य है कि किशोरसाहू ने सदा सदा के लिए फिल्मी इतिहास में नैना साहू का नाम जरूर जोड़ दिया।इस फ़िल्म के कारण वो सदा याद की जाती रहेंगी!इसके पीछे बहुत बड़ा कारण है,शंकरजयकिशन व किशोरसाहू के संबंध अत्यन्त प्रगाढ़ थे,तो स्वाभाविक था की शंकरजयकिशन को ही उन्होंने फिल्म हरे कांच की चूड़ियाँ सौपी।इस फ़िल्म का संगीत इतना लाजवाब था कि 52 वर्ष बीत जाने के बाद भी इसके गीतों को सुना जाता है।फ़िल्म के सभी गीत फ़िल्म के टाइटल की भांति अत्यन्त मधुर थे।यह फ़िल्म शंकरजयकिशन के संगीत के कारण ही पहचानी जाती है।किंतना सुखद आश्चर्य है सायरा बानो,हेममालिनी,नैना साहू आदि कई अभिनेत्रियों ने शंकरजयकिशन के संगीत के सहारे ही अपना कैरियर आरम्भ किया।जैसा कि आज मैंने लिखा था" मानव जाति के इतिहास का प्रथम दैवीय संगीत का दस्तावेज है--शंकरजयकिशन।उनके संगीत में जीवन के प्रति समग्र दृष्टि उपलब्ध है तो प्रकृति से तादात्यम का संदेश है।शंकरजयकिशन के संगीत में ब्रह्म का रहस्य छिपा है।शब्द और संगीत का चोली दामन का नाता है।शब्द शरीर है,संगीत सूक्ष्म शरीर है,सूक्ष्म शरीर शब्दो के संग समस्त ब्रह्मांड में विचरण कर सकता है"।

इस फ़िल्म के लोकप्रिय गीतों से सभी वाकिफ है,किन्तु शारदा जी के गाये एक अत्यंत खूबसूरत गीत से ज्यादातर शंकरजयकिशन प्रेमी अनभिज्ञ है।इस गीत को हेलेन व विश्वजीत पर फिल्माया गया था।

शारदा जी की आवाज का आकर्षण बहुत ही प्यारा है,ऐसा लगता है संध्या बेला में सुदूर वादियों में पक्षी चहचाहे रहे हो।यह बात अलग है की शारदा जी का जितना प्रतिरोध हुआ उतना किसी के साथ नही हुआ!उसके बावजूद भी आज वो अपनी विशिष्ठ आवाज के कारण करोड़ो शंकरजयकिशन प्रेमियों के दिलो में अपना स्थान बनाने में सफल रही जो एक इतिहास है जो अमिट है।शारदा जी के लिए प्रथम गीत शैलेन्द्र जी ने ही लिखा था,जिसने इतिहास बनाया।जब भी उद्यानों में तितलियों को उड़ते देखते है तो शारदा जी की आवाज कानो में मिश्री सी घोल जाती है।फ़िल्म हरे कांच की चूड़ियाँ में शैलेन्द्र जी ने एक ख़ूबसूररत गीत लिखा था,जिसे शारदा जी ने गाया, जिसे आलोचक हल्का फुल्का बता सकते है जो है नही, इस प्रकार है....

कहाँ चला रे, वहां कौन तेरी राह तके रे

हमको इतना बता जा..

कहाँ चला रे!

कौन दूर नगरी की और से,खिंचे तुझे जादू की डोर से

बांध लिया जिसने तेरा जिया,बड़े बड़े नयनो की डोर से

कहाँ चला रे!

झूम झूम झोंका बहार का,तार छुए मन के सितार का

में हूँ वो कली, जिसको अभी अभी छेड़ गया मौसम बहार का

कहाँ चला रे...?

आज तुझे अपना बनाऊंगी, प्रीत रीत तुझको सिखाऊंगी

एक बार नज़र मिला के देख ले,दिल तेरा में लेकर ही जाऊंगी

कहाँ चला रे...?

इस गीत में विभिन्न रंग है,फिल्मी हिसाब से सहनायिका नायक को अपनी ओर आकर्षित करने की चेष्ठा कर रही है किंतु ऐसे गीतों में भी शैलेंद्र अपनी बात कह देते थे!

वहां कौन तेरी राह तके रे?

हम सभी आखिर कहाँ जा रहे है?कौन हमारी राह देख रहा है?जीवन की राह पर तो मृत्यु ही प्रतीक्षा करती है जिसमे स्थायित्व है ओर सभी इंतज़ार तो काल्पनिक है,अल्पकालिक है।शैलेन्द्र जी ने शायद इसी गीत का मर्म फ़िल्म गाइड में रखा..वहां कौन है तेरा मुसाफिर जाएगा कहाँ?

अब शैलेन्द्र प्रकृति की ओर बढ़ते है जिसमे प्यार का सौंदर्य बोध है,बयार के झोंके है जो मन के सितारों को झंकृत कर रहे हैओर उस कली को अभी अभी बहार का मौसम छेड़ गया है।गीत का फिल्मांकन कैसा भी हो शैलेन्द्र जी उसमे भी तत्व बोध का ज्ञान कराते थे।टपोरी गीतों का युग शैलेन्द्र जी के बाद ही आरम्भ हुआ!गीत के अंत मे सहनायिका कहती है..दिल तेरा में लेकर ही जाऊंगी!यह उसका विश्वास है।मंज़िल पर फतह पाने से पहले स्वयं पर विजय प्राप्त करनी होती है,आशा मन का दीपक है,जो उसे राह दिखाता है।जिंदगी उन्ही का साथ देती है जो हर पल आशा की डोर थामे रहते है,आशा हम सभी के जीवन की प्रेरणा होती है,जीने का आधार होती है।अब आप कल्पना कीजिये शैलेन्द्र जी ने किस प्रकार सरल शब्दों में एक ही गीत में तीन बातें हमारे सामने रख दी है।

प्रथम,उन्होंने मुखड़े में जीवन दर्शन रखा है---द्वितीय,उन्होंने यौवन का संबंध किंतनी खूबसूरती से प्रकृति के साथ जोड़ा है---तृतीय,उन्होंने आशा और निश्चय को जीवन का आधार माना है।

यही तीन कथ्य इस सम्पूर्ण गीत का सार है जिसको शंकरजयकिशन का संगीत बहुत ऊंचाइयों पर स्थापित करता है।यह साधारण नही अपितु असाधारण गीत है।यह गीत शारदा जी के अन्य गीतों से हटकर भी है!शंकरजयकिशन ने उनकी अनोखी दैवीय आवाज को दूसरे रूप में प्रस्तुत किया है जो चित्ताकर्षक है,मनभावन है।शारदा जी जैसी आवाज सदियों में उत्पन्न होती है,राजश्री प्रोडक्शन के सर्वे सर्वा श्री ताराचंद बढ़जात्या भी यही कहते थे।हमारा दुर्भाग्य है की हमारे देश मे प्रतिभाओं का गला घोंटा जाता है किन्तु शारदा जी भाग्यशाली थी कि उनके साथ दृढ़ प्रतिज्ञ शंकर जी(जयकिशन जी) थे।तमाम विपरीत परिस्थितियों में भी वो शारदा जी से 80 के लगभग गीत गंवाकर ही रहे जो हिंदी फिल्मी संगीत में सदा जगमगाते रहेंगे।यह शंकर जी की शारदा जी मे विश्वास की अदभूद मिसाल है जिसे वह इतिहास में अंकित कराने में सफल रहे।

Shyam Shanker Sharma

Jaipur,Rajasthan.

Listen to song of Wattan....the last recorded song of Rafi for SJ

Listen to the last song of SJ+Rafi Combo which was recorded before Rafi Sahab's demise. Click here....
http://www.youtube.com/watch?v=Fvrrm4ff8t8

Shanker's birthday on 15th October 2011

composing some tunes and playing them to the delight of the theatre artistes, as they relaxed after the days work was over. Premnath was among such prominent and enchanted ones and was always pestering, Raj for a break for Shankar along with Jaikishan, into movies, The year was1947-1948, S&J were on the rolls of Prithvi theatres as a Tabla and Harmonium player respectively and also were as by then Raj had already made Aag which had some tunes by S&J as reflected in those 78 rpm records as per the norms then, tune by Shankar or Jaikishan as the case may be, though the music credits were shown as Ram Ganguly.

Something strange happenned as Vishwa Mehra and Raj got the feedback from HMV, that some of the tunes of Barsaat were being re-hashed and being sold by Ram Ganguly, and enraged as Raj was, nonplussed looked at Vishwa Mehra in askance, on what his next course of action should be and prompt came the reply "Replace Ram Ganguly with SJ as these songs were anyway composed by them". Raj did give instructions to HMV but was filled with a nagging fear and anxiety as he was found vacillating "Perhaps it may be better to let things be as before...put Ram Ganguly's name back in"

For his next venture Barsaat, Ram Ganguly. had already two songs recorded with tunes by S &J. and at the most critical and vital moment,Mehra put his foot down as fair play seized him, admonishing Raj firmly for replacement then and there.

Thus a new pair of Music Directors by the name of Shankar Jaikishan were ushered under the umbrella of RK Films, for Barsaat,

as its now well known musical compositions, then, lay like dormant clouds, burst forth into a Rainbow of Melodies, the like of which was, not heard till then, fresh in its fragrance, distinctly novel orchestra, at once electrifying, euphonious to the ear and a connossiers delight, that did not look back.

Some moments have their destiny, latently stored all over, shrouded till the opportunity opens up, in its own inscrutable way and historic, as viewed in retrospect, bestowing a splendid spectacle forthwith, for the next two decades of an uninterrupted feast of spell binding music.

springing joyously from this ecstatic musical fountain of bountiful bliss, as the SJ caravan surfed along, sailing majestically, setting its sails from one canvas to another until the whole of their musical spectrum got absorbed and eneveloped into a facade of brilliant shades of the rainbow, split from a single ray of the SJ light, as reflected by the coveted white Impalla's, they once sported, for collecting their many prestigeous FF awards.

Shankar ji, you have braved many a storm in the battle of life, a pyschosis beyond one's comprehension confronted in the wake of your mentor deserting you at a very vulnerable phase, already bereft of Lata, and so many factors that started weighing you down, our fond remembrances of you as the architect of the phenomenon called SJ, as we also get a glimpse of your turmoil on Jai's demise in an interaction to Amin Sayani....

"Kya kahun, Amin Bhai, Mera Zindagi ka Saathi Chala Gaya mere paas reh hi kya gaya kehne keliye....Pehle kabhi soch hi nahintha itni choti umar me humsabko chodke chala jayega ...khair jo uske baten jo achhi baten sari duniya ko yaad rahegi,.....kaise pyar dena, kaise pyar lena, kitna milansar se rehna usi ko aata tha hame bhi nahin aata. Hamesha mujhse kehta tha,.... Are yar tum hamesha gusse me rehthe ho, kisi na kisi ko daanthe rehthe ho........"

while you never really had the need for such a situation while Jai was there, it became conspicous after he left so suddenly, as the made for each other, stared starkly now at you, with the strange and awkward feeling knawing you "What if I had gone first ......." remains unanswered with wishful thinking taking the reins of unbridled imagination and I do subscribe to the subtle and subconscious feeling looming large among pragmatic SJians

that your foursome were the four wheels of the Divine Chariot that got embellished consciously as SJ and invisibly as the invincible SJSH.

It was Destiny that snatched away Shailendra from this foursome in 1966 and one wheel went rolling off, making vaccum in one half of the jodi and

with Jai the second diagnol wheel also gone, Destiny truck its most vital blow leaving you to brave a storm unprecedented and totally taken unawares.

However we celebrate your birth anniversary with nostalgic remembrances of a soul who coined his love for music as a "Deewanapan.."

and rejoice in them as life bmaecomes worthwhile but for a few things and dominant among them being the SJ thread running throughout

our subconscious life perpetually ever and consciously surfacing as the occasion warrants.

If there was a trendsetting

"Mohabbat ki dastaan hai yeh sno......in Mayurpankh there was an equally beautiful number

by Lata "Kushiyon ki chand muskuraaye re..."

If there was the dream evoking number by Lata

"Koyi mere sapnon me aaya....." from New Delhi

which ultimately got shelved due to strange reasons there was another classical in the form of "Murali bairan bhayee..."

which was very much there filmed on Vyjayantimala rated as a Lata classic to this day.

If there was the feelingly sung

"Chandrama madhbara kyun jhoome badar mein.."from Patrani

there was an equally impressive "Kabhi tho aaa kabhi tho aaa kabhi tho aaa....

and what a score SJ did for Patrani as Lata's vocals are really tested as she raises her pitch into " Pawan Ganga....."

and the classical music that follows is just euphonious as it sends you into raptures.

One should heare Patrani's album to understand the classical depth of Shankar in dance music which is legendary.

My humble salutations to you Sir Shankar Singh Raghuvansi

rgds

murthy

Shanker Jaikishen - The Trend Setters, Experimenters and Innovators

Shri Subhash Tiwari writer

of this article

I think it would be proper to dwell a little on the contribution of Shanker Jaikishen as “Trend Setters”, “Experimenters”, and “Innovators”. Actually the cue for this article lies in a discussion on SJ Forum, where one of the participants questioned the Capabilities of SJ vis-à-vis other MDs. With due regards to the abilities of those other MDs and without any offence to them, I insist that SJ were the most important Thing which happened to Hindi Film Music. Let us take a Look at these 3 words, “Trend Setter” “Experimenter”, and “Innovator” Trend Setter is the One who sets the Ball Rolling and others to follow suit. As I stated in my previous post, the 1st era of Hindi Film Music had a Typical Theatrical Composition with a Monotonous Style of singing whether it was KLS, Punkuj Mullick or KC Dey. But the people who created that type of music, did start in Mid 30’s by people like RC Boral who were the Trend setters for that Era. Then came Naushad, who composed “Hum Jeeke Kya Karenge Jab Dil Hi Toot Gaya, from “Shahjahan” in 1946, a song which Joined the 1st and 2nd Era. It was Naushad who introduced multi piece Orchestra to Hindi Film Music. He changed the “Single Octave” compositions to “One and Half Octave” compositions just because he got a Great Voice with immense range, “The Phenomenon called Mohd Rafi”. Remember the Orchestration and Chorus of “Udan Khatola” song “O Door Ke Musafir” in 1955. Till then even SJ were not using that type of Orchestra. Their songs comprised highlights of individual instruments, like Mandolin and Accordion in Awara songs, (Even the great dream song had only a few instruments, with a special crescendo effect in the end). So the credit for Setting the Trend of High Octave songs and Orchestration in the 2nd Era goes to Naushad Ali.It was the 3rd ling Era of nearly 25 years which saw all the things together from Shanker Jaikishen, called Experimentation, Trend Settings and Innovations.Trend Setting is “Doing something, which makes others to follow suit. About their Trend Setting, as I wrote in earlier post, the songs before them generally started directly with the voice of the singer without any prelude or with a couplet and the main song followed. Even SJ made use of a couplet, though only once or twice, like “Dil ko tujhase bedili hai” in Yahudi.Before their appearance on the scene whatever Prelude was heard, it was a short 4-5 second musical play of some instrument without a definite structure.

It was SJ who introduced the melodious Preludes, in Barsaat, Awara, Shree 420, Chori Chori. They compelled everyone to come along. Their Interludes were having a Distinct Structure in themselves, which one could Whistle, Hum or Play on instruments. Moreover the 1st and 2nd Interludes were nearly always different from each other. That is what is called Trend setting.

An Experiment is “Doing something, the result of which is not known, even to the performer”. By that definition, each Music Director offering New Tunes to his Producers and Audience, is an Experimenter, without knowing what is going to happen to his creation. But a True Experimenter is confident of his actions that these are going to be successful and not the disasters. By that guideline, Shanker Jaikishen experimented with Classical Music, Western Music, Fusion of these 2 Streams, Solo Musical Compositions without any Vocal Component, and surprisingly, each of their Experiment was a huge success. Remember the Sadhana’Shammi dance Dilruba Dil Pe Tu, purely on strings and percussions in “Rajkumar”, Waheeda’s dance in “Roop Ki Raani”, Vyjayantimal’s “Bakad Bam Bam” in Kathputali. They experimented with 2 distinct songs in continuity like “Tere Bina Aag Ye Zindagi’ and “ Ghar Aaya Mera Pardesi”, The list goes on.. The best Experiment from SJ was the Creation of “Raga –The Jazz Style”.

https://www.facebook.com/pages/Raga-Jazz-Style/106428702780785?sk=wall

Regarding Innovation, it is Doing something for the 1st time which No one Else has done before them. Now that is a long list. As someone on this forum called innovation as “making use of some thing for some other thing to produce music”, I do not agree. That may be labeled as “Special Effect” but not Innovation. Using Sand Papers and Combs, Spoons and Glasses is no innovation in my opinion. Of course each of us is free to have his viewpoint, but majority of Hindi Film Music Fans would agree that Shanker Jaikishen did so many things which no one had attempted before them and hence they were the Real Innovators in Music. Their Persistent memory with Millions of Fans across the Globe is the Proof of above postulations.

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

Mastery over chorus : Shanker-Jaikishen's compositions

By: Shashi Hegde

It seems to be becoming a repetition always- Think of something special in Hindi film music and you cant think of anyone before Shankar Jaikishan.

Have you anytime thought about the role of Chorus in film songs? It is such an important thing in film songs which in addition to suit the situation and picturisation in the film, adds to the beauty of the song. It is a part of decorating the song as Shankaralways said.

I would like to remember a few songs among innumerable S-J songs where the choral singing was redefined. It is amazing how S-J handled the chorus. Their choice of the number of singers in a chorus, the composition of male and female singers was impeccable and it is impossible to find fault with the chorus in an S-J song- even if you are a S-J critic!

1.Barsaat mein – Lata & Chorus-Shailendra (Barsat): The ‘Omkara’ in choral singing – the first ever song to make use of chorus in real grandeur. The use of male and female chorus separately and the ‘Tak dhina din’ mark the beginning of glorious S-J saga in choral singing. (I also mention Patli kamar hai from the same film)
2.(a)Tere bina aag / Ghar aaya mere pardesi – Lata , Manna Dey & Chours- Shailendra (Awara): Another pioneer in Hindi films, being the first dream song. How well S-J gave life to RK’s dream with their tune and superb choral singing.
(b)Naiyaa teri mazdar- Rafi & Chorus- Shailendra (Awara): Just note the co- ordination between the male and female choral singing and that of Rafi- brilliant!
3.Jhanan jhanan-Lata & Chorus-Hasrat (Aah): The romance of RK and choral singing continued. A brilliant dance number with superb female chorus.
4.Gul muskura utha-Lata & Chorus-Shailendra (Badshah) : Compare the all male Chorus of this song with the previous one and you will know why S-J were genius!
5.Rat gayi-MannaDey, Asha & Cho- Deepak (Boot Polish): The use of high pitched female and base male chorus is too good for not mentioning it.
6.Holi ayi pyari pyari-Rafi, Lata & Cho-Shailendra( Pooja): The spirit of Holi emerges in full colour thro the chorus joinin Lata and Rafi.
7.Tu pyar ka sagar hai-Manna Dey & Cho-Shailendra (Seema): What can I say? The use of female chorus for singing mukhda and Manna Dey joining them in interlude makes it the best bhajan where chorus is used. (Any way, it is the best bhajan ever created with or without chorus!)
8.Ramayya vastavayya-Lata, Rafi, Mukesh & Cho: By this time it was clear that the RK film should have a chorus number and what a magic S-J have weaved to make this greatest theme song immortal.
9.Rajhath: Out of the 11 songs in the film, 6 songs have chorus! I think it is a record as far has Hindi films are concerned. The male chorus in the war song Chale sipahi; the female chorus in Aaja aaja nadiya kinare, Nache ang ang, Pyare babul se bhichadke, Nadiya kinare phiroon are as good as S-J use of chorus get.
10.(a) Pawan ganga with Tarana-Lata & Cho-Shailendra (Patrani)
(b) Rang rangeela paghiya-Lata & Cho- Shailendra(Patrani)
I don’t think the choral singing can get any better than these two classics. The tunes of both the two songs are based on centuries old traditional music. Masterpieces in true sense of the word!
11. Bol mere malik-Lata & Cho-Hasrat (Halaku): Chorus in Mukhda and interludes is Outstanding.
12.(a) Panchi banoo-Lata & Cho-Hasrat (Chori Chori): Use of Manna
Dey’s voice along with the chorus makes it the first of its kind.
(b) Us par sajan-Lata & Cho-Hasrat- A very unique use of chorus in a
unique song.
13.Na bure na bhale-Lata & Cho-Shailendra (Kismat ka khel): A brilliantly written song composed in rock and roll style. The song begins with chorus and the chorus (both male and female in terrific co-ordination) gets as much importance as Lata.
14. Nakhrewali-Kishore & Cho-Shailendra (New Delhi): Take out the chorus and imagine the song- incomplete, Right? Brilliant use of chorus in a song the like of which can never be created again! (5 out of 10 songs in this film have chorus)
15.(a) Aaja rat beeti jaye-Usha Khanna, Kishore & Cho-Shailendra (Begunaah): A brilliant, brilliant song with unparalleled use of chorus. S-J leave us gasping for their sheer imagination in this composition.
(b) Nazar kahe aaja-Lata & Cho-Shailendra (Begunaah): The female chorus
makes this already sweet composition even sweeter.
16.Bol ri katputli-Lata & Cho-Shailendra (Katputli): Guess what? S-J came up with Chorus as Counter melody! The chorus is as brilliant as the composition itself.
17.Meri jaan meri jaan-Lata & Cho-Shailendra (Yahudi): Note the interactive use of Chorus with Lata.
18.(a) O berehem tere sitam-Manna Dey, Lata & Cho-Shailendra( BaaghiSipahi)
My personal favourite! The use of Opera style Chorus found a grand
entry in HFM courtesy, S-J. A breath taking composition!
(b) Choona lena mujhe-Manna Dey, Asha & Cho-Shailendra( Baaghi Sipahi)
The Mukhda is reserved for the chorus in this song which is 24 carat
pleasure.
19.Ab kahan jaye hum-Manna Dey & Cho-Shailendra( Ujala): S-J took off where
they had left in Baaghi sipahi. The opera style chorus with the normal male chorus defies words for description. Use of chorus as countermelody makes you wish this song never ends.
20.Hum hai to chand aur tare-Mukesh & Cho-Hasrat (MNMH): Note how the chorus was used to suit Mukesh.
21.Dil se dil takraye-Rafi, Geeta & Cho- Shailendra(Love Marriage): Like before, note the novelty in the chorus and the effect it has with the trumpet, accordion and the deadly combo of Rafi and Geeta Dutt.
22.Ninteen fifty six-Manna Dey, Lata & Cho- The song rocks even today and how well it is ornated by the Chorus that only S-J could put in.
23.(a) Hum bhi hai-Lata, Geeta, Manna, Mahendra, Mukesh & Cho-
Shailendra(JDMGBH) : the film had to have this as it was an RK film.
b) Aa ab laut chale-Mukesh & Cho-Shailendra( JDMGBH): If it was
MannaDey with the chorus in Chori chori, it was Lata’s turn now.
The subtle chorus singing in tandem with Lata’s part gives one an
idea of the depth in S-J compositions.
24.Nee baliye-Mukesh, Lata & Cho-Shailendra (Kanhaiya): Outstanding use of
Chorus makes you realize the composition is not as simple as it sounds.
25.Ajeeb dastan hai yeh-Lata & Cho-Shailendra( DAPP): The subtleness of the opera style chorus makes you wonder if the voice is real or virtual!
26.Yeh to kaho kaun hot tum-Mukesh & Cho-Shailendra (Aashiq): A trade mark S-J Chorus with words and phrases that stump you everytime you listen!
27.Ek sawal mein karoon-Lata, Rafi & Cho-Shailendra (Sasural) : The use of chorus is in line with the lyrics that only Shailendra could write!
28.Ab char dinon ki chutti hai-Rafi & Cho-Hasrat (Aas ka panchi): A fine qawwali style composition with apt chorus
29.Dil ek mandir hai-Suman, Rafi-Hasrat (Dil ek mandir): The chorus in the prelude and interludes is mindblowing.
30.Dil ka kanwal denge-Lata, Cho-Shailendra (Zindagi): The chorus is there and seems as if it is not there in this gem of a song! Only S-J could create this virtual choral effect.
31.NACHO GAO NACHO-Chorus- Shailendra( Amrapali) – Sometimes silence
speaks more than the words. For this composition, I remain silent coz I don’t have words to describe it!

shashivh@yahoo.co.in

NANHE-MUNNE BACHCHE TERI MUTTHI MEIN KYA HAI

NANHE-MUNNE BACHCHE TERI MUTTHI MEIN KYA HAI ? MUTTHI MEIN HAI TAQDEER HAMARI!

Debut Movie of Shankar-Jaikishan BARSAAT (Review)

In-depth Review of Barsaat (Debut Movie of Shankar-Jaikishan)/ संगीतकार के रूप में शंकर-जयकिशन की पहली फिल्म, राजकपूर द्वारा निर्मित 'बरसात' का रिव्यू
Title Music
Barsaat, as all RK Films, starts with Prithviraj Kapoor performing Shiv poojan & chanting the mantras.
Before appearance of titles, there is a brief shot of rain clouds with gentle beat of drum (dhol) and violins. The titles start scrolling on screen with the immortal tune & interlude of the song ‘Barsaat mein hamse mile tum…’ based on raag Bhairavi.
Is the title music just there for the sake of being there? Well! It speaks volumes. In the same tune, one gets to listen to various shades of the raga Bhairavi. Initially it transforms the audience into a mood of celebration but as the violins suddenly take a U-turn, the audience’s mood is transformed to that of pathos.
And with this introductory MAGIC (music), among others, history is written - as two names appear on the screen for the first time as Music Directors - SHANKAR-JAIKISHAN (S-J).
The title music itself raises one’s expectations from S-J. And did S-J fulfill them!? Well! No point in elaborating it! The HFM lovers across the globe still don’t miss any opportunity to listen to the score even if they have already done so thousands of times.

TO READ MORE PLEASE CLICK

http://sj-barsaat.blogspot.com/

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)

Photos taken on the ocassion of a musical evening 'Remembering Melody Queens with Mubarak Begum' organised by Rafi Lovers Circle, Kolkata on 25-10-09

All photos Courtesy : Rafi Lovers Circle, Kolkata

An Evening with Melody Queen Mubarak Begum by Rafi Lovers Circle, Kolkata

It was on this day, 87 years back , the most complete composer of all time in the Indian film industry was born

Article : http://gopalshroti.wordpress.com/

Head-title : shashivh@yahoo.co.in

TODAY is Shankarji’s b’day-15th October….and hasrat, jaikishan, shankar, shailendra and raj capturing all, lest they run….yes, they went one by one…shailendra started the way to heaven, followed by jaikishan, shankar, raj kapoor, hasrat….their remains are there in all corners of India in the form of immortal songs.
Nehruji wished that his ashes be spread all over Himalayas and other mountains….but our panch-parmeshwar reached every nook and corner of not only India but many parts of the world thru their music…..agewise Shankar was second after Hasrat….THEN THE TRIO.
WE REMEMBER WITH GLORY, Shankarji, for what he gave to hindi film music which others cud not give…..To recall his birthday, i wud like to mention a hillarious incident when Shankarji had to keep his watch to ”Dhondu Bhelpuriwala” at choupatti, after eating Bhelpuri by all the four, S-J,S & H…incidentally, nobody had the money in their pockets, and everybody thought, that someone will pay for the Bhel…..By this time Barsaat had already released….They saw each other’s face..and ultimately, Shankarji had to take his old watch and handed over to Dhondu……
Then came the busy time… after Barsaat, came ”Nagina”..and by this time Shankaerji was the owner of a car….When after few month, he was passing the choupatti way, he remembered his watch he ransomed to Dhondu…. Shankarji offered the payment and asked the watch back….By this time he came to be known by the hindi film world…..Dhondu, on his part, recognizing Shankarji, said, ”Achchha to aap he Barsaat ke music director the”…and treated him like a guest, but refused to hand over the said watch…He said ”ham samjha lafanga log hoga…..woh ghadiyal to aapun zindagi bhar apne pas rakhega…aap hazar rupaiya bhi dega to wapas nahin dega”.
Later he came to know less as Dhondu bhel puri walla, but Shankarji’s watch walla……MUSIC CAME, MUSIC STAYED, MUSIC GONE BUT THE MUSIC SCORED BY SHANKAR JAIKISHAN IS THE GREATEST LEGACY OF THE HINDI FILM MUSIC, WHICH HAS COME TO STAY.
and WHAT ROMANTICISM, SHANKARJI HAS STARTED WITH ”PYAR HUA IQRAR HUA” in Shri 420, carried on to CHORI CHORI as ”yeh raat bheegi bheegi”, ”jehan main jaat hoon”, and Jai’s” Aaja sanam”, was followed by their disciple Dattaram in ‘Parvarish’-”masti bhara hai saman, aakhon mein aa ja”, by Kalyanji Anandji ”mere dil mein hai ek baat” and Madan Mohan ”vo chand muskaya, sitare sharmaaye, hamara bhi dil na machalane lage”…and may be more…as Shankarji’s romanticism stayed…..LONG LIVE S-J’s LEGACY

HASRAT JAIPURI

Raja of romance

Rajiv Vijayakar

He was the uncrowned king of romantic numbers. But Hasrat Jaipuri, whose 10th death anniversary fell on September 17, was also much more than that. And perhaps he never got his due in a milleu where flowery shaayari ruledHasrat Jaipuri was the underdog of the legendary Shankar-Jaikishan-Hasrat-Shailendra quartet that ruled from their joint 1949 debut Barsaat till the late ‘60s and is unanimously considered as the fountainhead of modern film music.
The legendary lyricists can be broadly split into three groups: the kavis, the Hindi-based writers whose work often had deep philosophical insights, the Urdu-based shaayars whose special strengths were romance, the craft of flowery verse and later even cynicism, and those who balanced Urdu and Hindi with equal felicity. Among these, Hasrat Jaipuri was a bit of a rebel - he never wrote high-flown Urdu, nor was he into philosophy. And so he suffered. His supple romantic numbers seemingly stood low in comparison to the depth of a Shailendra.
And yet a Doctorate from the World University Round Table and the Josh Mahilabadi award from the Urdu conference for his literary work seemed to be vindication enough for Hasrat’s all-round calibre along with the Dr Ambedkar award for the song Jhanak jhanak tori baaje payaliya from Mere Huzoor, written in a blend of Hindi and Brijbhasha for a Muslim social! But when one of his eminent contemporaries wrote him off as a mere tukbandi karnewala (a cheap rhymester), one bristled at the injustice.

Hasrat Jaipuri’s real name was Iqbal Hussain and he had acquired taalim in Persian and Urdu from his grandfather Fida Husain in hometown Jaipur. It is said that romantics are born, and Hasrat was just 20 when he fell in love with a girl called Radha and wrote the poem Yeh mera prem patra padhkar that was immortalized by Shankar-Jaikishan, Mohammed Rafi and Raj Kapoor in Sangam.
Hasratsaab never discriminated between religion or languages. “Hindi and Urdu are like inseparable sisters!” he would say. And about Radha, he said eloquently, “It is not at all necessary that a Muslim boy had to fall in love only with a Muslim girl!” Hasrat’s struggle in Mumbai ended when Prithviraj Kapoor heard his verse at a mushaira and introduced him to son Raj Kapoor at the Royal Opera House
canteen where the former would stage his plays. The result was Barsaat. But Hasrat continued with his job - as a bus conductor! - even though Raj Kapoor predicted that both Hasrat and Shailendra would be flooded with work. “Rajsaab had more confidence in Shailendra and me than we did in ourselves!” the lyricist had told me. “What he said came true!”
Hasrat wrote over 2000 songs in over 350 films in a career that lasted 50 long years. He worked very infrequently towards the end because of a combination of factors - the lack of need to work (because he was financially comfortable) and also because he was not called to write often by the new breed of music directors (which included his nephew Anu Malik) and filmmakers. “I did not have to run after music companies or anyone else for work!” said the master-lyricist. Saazish (Jatin-Lalit) and Sher Khan (Bappi Lahiri) were his last releases in 1998. His last memorable songs were Rahaa jo dil mein (Mohabbat Ki Arzoo/ Laxmikant-Pyarelal) and Paas woh aane lage zara zara (Main Khiladi Tu Anari/Anu Malik).
Such was the volume and range of S-J’s work with Shailendra and him that Hasrat Jaipuri’s work outside them was restricted due to practical aspects. And yet he hit towering highs under other composers from the biggest to the smallest names, among them being films like V.Shantaram’s Jhanak Jhanak Payal Baaje (Vasant Desai), Sehra and Geet Gaya Pattharon Ne (Ramlal), Ziddi and Tere Ghar ke Saamne (S.D.Burman) and Bhoot Bungla (R.D.Burman) and landmark songs like Aansoo bhari hain in Parvarish (Dattaram), Aisa na ho ke (Aakhri dao/Laxmikant-Pyarelal), Samaa hai suhana suhana (Ghar Ghar Ki Kahani/Kalyanji-Anandji), Jiske sapne hamein (Geet/Kalyanji-Anandji), Tu mere saamne hai and Tumhi to meri pooja ho (Suhagan/Madan Mohan), Mohabbat aisi dhadkan hai (Anarkali/ C.Ramachandra), Sun sahiba sun (Ram Teri Ganga Maili/Ravindra Jain) and many more.“I worked with the most number of composers,” revealed the poet. “From Khayyam and Sajjad through O.P.Nayyar and all the way till Jatin-Lalit I did films with them all. But there was no one to beat the four of us - Shankar, Jai, Shailendra and I - for 20 long years!”

courtesy :http://www.screenindia.com/news/raja-of-romance/518260/

Posted: Sep 18, 2009 at 1429 hrs IST

Srigopal Shroty's tribute to Shailendra, Mohd Rafi & Mukesh

TODAY is Shailendra’s birthday, 30th august….it is coincidence when there are two friends, and something similar happens between them, which breaks the hearts…..Jaikishan and Shailendra….Jaikishan composed in 1971 ”maut aani hai aayegi ek din, jaan jaani hai jayegi ek din, aisi baaton se kya ghabarana, yehan kal kya ho kisne jana” and Shailendra wrote 5 years later ‘’sajan re jhooth mat balo, khuda ke paas jaana hai, na hathi hai na ghoda hai, vahan paidal hi jana hai”…..and see the irony, both went untimely, one after composing the song and another after writing the song….
Shailendra’s story is also like his many colleagues–from rag to riches….here comes the word ”genius” and it was not an easy go….it was like all sweating in rains…..then emerged the words from his pen ”raaten dason dishaon se kahengi apni kahaniya, geet hamare pyar ke dohrayengi jawaniyan”…yes when this came on the radio some 40 years back and now on tv after 53 years of its creation, the feet stops automatically and eyes on tv screen to see that grandeur created by his mentor Raj Kapoor and his colleagues Shankar Jaikishan with violins echoing the RIMJHIM of rains….then the mind goes to Shailendra to congratulate him on this immortal wordings ….Oh, but is he there? can we say ”happy birthday to you”? the question mark is the DESTINY.
Shailendra was poet by heart, who cud write ”dil pe marne wale marenge bhikhari, sach hai duniya walon ke ham hain ANARI”….He did not write these lines for Raj Kapoor, but for himself, otherwise he would not have ventured to produce ”teesari kasam”, despite persuation by Raj sahab and others who knew soft corner of his heart and his naive nature against producing a film, to avoid the project or let others take the production charge, secondly the name of the story by Renuji was coincidentally again heart-breaking ”MAARE GAYE GULFAM”…..nay, destiny wanted him near Jaikishan, in whose Gobind Mahal, he used to go daily at 10 am with cigarette in one hand….this was his routine….remember again his philosophy on the end of life in his own songs ”naiya teri majhdhar, hoshiyar”…”yaa gardish mein bhi aasman ka taara hoon”..”khamoshi ka yeh afsana reh jayega baad mere”,…… ”ke marke bhi kisikoyaad aayenge, kisi ke aansuon me muskerayenge”…….”der na karna kahin ye aas toot jaaye, saans choot haye”…”.ai mere dil kahin aur chal, gham ki duniya se dil bhar gaya, dhoondh le ab koi ghar naya”…..”tum se to patanga achchha hai jo hanste hue jal jata hai, voh pyar mein mit to jata hai per naam amar kar jaata hai”…..”bahut diya dene wale ne tujhko, aanchal hi na samaye to kya keejei”…..”jeena yehan marna yehan, iske siva jaana kahan”…..and ” ham to jaate apne gaon, sabko ram ram ram, apni ram ram ram…..”( A tribute with countless more songs from his pen)………

As versatile were S-J, so was the great singer Mohd Rafi, in hindi film music….he wud adapt to any type of song, serious, lori, light or other boisterous songs to be filmed on different heroes….therefore the image remains in mind of the hero who lip-synchronised his voice….he was God gifted singer and Shankar Jaikishan fully utilised his potential to the extent, that for them it was Rafi all around, besides Mukesh and Mannada.
I remember his lori in ‘beti bete’, ”aaj kak mein dhal gaya”, which he sang in so soft a voice that it was difficult for any singer to copy him….he excels Lata in voice, as she also sang the same lori in that film….how beautiful that time was when a song heavenly made was repeated in the male or female voice and that were Rafi and Lata. Rafi saab made many heroes immortal and when that song comes on radio, the hero’s image comes to mind….may be they are raj kapoor, dilip kumar, dev anand, rajendra kumar, bharat bhushan, pradeep kumar, mehmood, shammi kapoor, rajesh khanna, dharmendra, amitabh bachhan, rishi kapoor and many more. His tuning with S-J was great as recalls Shammi Kapoor….’’so distinct was his style when he sang for me….there were a number of songs which were not sung for me but i liked them very much…in fact i wud have loved to sing them! one of these is TERI PYARI PYARI SURAT KO. When Jaikishan composed the song, I said, ’stupid! u are giving that song to rajendra kumar to sing! next he is to sing it to B Saroja Devi! my god!”…”Then there was ‘baharon phool barsao mera mehboob aaya hai’. I wud say, my god, what are you doing, these are my songs! And there were other songs that were not made for me but came to me finally. For the film Suraj, there was a duet. Rafi sahab sang it, but Rajendra Kumar said, ‘nahin, it doesn’t go with this picture, I don’t like it’. Jaikishan was sitting at my place and we were having a drink. Jai said to me, ‘for the first time in my life, a song of mine was rejected’, ‘i said i would like to hear it’. It was lying in his car. he brought the song and i heard it and said ‘it’s mine! i have taken over’ I put it in Brahmchari. the song was -aaj kal tere mere pyar ke charche har zabaan par- that was the song i took from Suraj. it was a superhit song! and Rafi sahab hadn’t sung that for me.” Generally Shammi Kapoor was present at the recording of his songs by Rafi Sahab, but when he was busy in shooting, he wud phone to Jaikishan to request Rafi sahab to sing the song ”like this…and like that” and when he heard it later, it was hundred percent of his imagination that Rafi sahab turned it to his style…

The voice that has no end…still when we hear Mukesh, the golden era comes alive…even there are thousands of youngsters fans of his voice.
We have not found a replacment for him..The imitators are many. But the sound of music and magic made by the original Mukesh endures as never before. HIS SONGS SPEAK FOR THEMSELVES. There was something languorously lingering about Mukesh’s voice. Humulity was his hallmark…It left him with an open ear to all composers, may be Shankar Jaikishan, Anil Biswas or Kalyanji Anandji. He cud adjust to all.
THIS IS MY HUMBLE REMEMBRANCE ON HIS BIRTHDAY i.e.22 JULY.MUKESH DETRACTORS WERE MANY. THAT too many top composers like C Ramchandra did not tune with him at all. But then Anil Biswas was C Ramchandra’s mentor and Anil B iswas presented Mukesh at his sonorous best, starting with Saigal-style ”Dil jalta hai to jalne de”(in pehli nazar). What a surpassingly resonant experience it was to hear Mukesh in ”tal mile nadi ke jal mein” (anokhi raat-Roshan).
Not for nothing did Raj Kapoor pick MUKESH up as the voice reflecting his Atma. Take Raj K apoor playing DIWANA (opposite saira banu). Take in that movie, Jaikishan’s ”Ai sanam jisne tujhe chand si surat di hai” and Shankar’s ”ham to jaate apne gaon, sabko raam raam raam”. The two compositions belong to the two antithetic genres – to two composers diametrically different in their tuning outlook even in the face of going by the label of the inseparable Shankar-Jaikishan. Yet Mukesh’s approach was exactly as indicated by Shankar for ”ham to jaate apne gaon”, exactly as required by Jaikishan for ”Ai sanam jisne tujhe”…….to continue

TRIBUTE TO SHANKAR JAIKISHAN-47-MUKESH
Posted by: gopalshroti on: July 20, 2009
In: shankar jaikishan's contribution to hindi film music

When the Filmfare Best Playback Singer Award was first introduced in 1958, both male and female singers had to compete for the same award. The competition was thus doubly keen in the years 1958 and 1959. Lata won the award in 1958 for ‘Aaja re perdesi’-Madhumati-Salil Chaudhary number. Next year in 1959, the Award went to Mukesh, who put all rival voices, male and female in the shade with the runaway hit by Shankar Jaikishan, starring Raj Kapoor……?….song ‘Sab kuchh seekha hamne na seekhi hoshiari’ film Anari.
-There was a spell during which Lata did not sing for Shankar. Yet Mukesh managed to persuade Lata to sing for Shankar in ‘Sanyasi’. This is inspite of the fact that his duets with Lata in the film offerred him little scope as a singer. Pl recall the Lata-Mukesh ‘SANYASI’ duet with which Lata began singing for Shankar again?…..”Sun baal brahmchari main hoon kanya kunwari’.
-A Mukesh number composed by Shankar came to be an all time classic which was filmed on Dilip Kumar. But Dilip wanted Talat Myhmood to sing it, while Shankar wanted Mukesh, since he has composed the tune for his voice. At the toss of a coin it was decided Mukesh wud sing the song……song and the film?….’ye mera deewanapan hai ya muhabbat ka suroor’-Yahudi.
-Mukesh has gone on record as saying that most of the themes songs of the Shankar Jaikishan duo were composed by Shankar. Yet there were three theme songs filmed on Raj Kapoor and sung by Mukesh that were composed by Jaikishan….songs and films? …’Awara Hoon’(Awara), ‘Main aashiq hoon baharon ka’ (Aashiq), ‘Mere man ki ganga’ (Sangam)…….