TERE BAGHAIR ZINDAGI DARD BAN KE REH GAYEE: 2010

Sunday, October 31, 2010

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

Sunday, January 24, 2010

Review of the song, "O saajna na pooch mujhse pyar kya hai..." from the film Krodepati (*ing Kishore Kumar)

by : vnr19452000@yahoo.co.in

It is a unique song in the sense that Lata's vocals is not the usual one. If anyone listen to the song carefully especially the mukhda it gives an impression that she is singing the song from a distance. It may be due to a deliberate recording tactics to create this effect.

It is predominantly a mandolin dominated song with violins in full support. There is a beautiful flute extension at the end of antara echoing the sentiments expressed in the antara. It is all the way SJ style where pause between end of antara and mukhda has been filled up by three notes of mandolin. The most enjoyable part is antara - Sapne mein har ghadi .....Mandolin responds .....Aye jab ajnabi.... again Mandoin responds with different notes ( that is the hallmark of SJ music) followed by long vocals ...maan lo ke apni neend bhi ke apni raat bhi parayee ho gayi....followed by a beautiful, short but sweet flute extension. The prelude of this song is somewhat different and thoroughly enjoyable. It begins with ascending notes of violins followed by variations of violins and mandolin takes over with crisp and distinctive notes supported by matching dholak beats till the end when mukhda starts. It can also be observed that SJ have kept the percussion tabla/dholak beats 'soft' during mukhda vocals.

What about interlude ? It is also fantastic. When Lata hums along with violins in the background followed by forceful and crisp notes of mandolin ably supported by resounding dholak beats..it is a crescendo !

As the song ends the music does not stop. It continues with mandolin beats along with piano notes which end smoothly. SJ were masters of a perfect orchestration. The prelude also begins with ascending notes of mandolin ably supported by meandering violins in the background. In the first interlude violins meander and sway to the intermittent beats of bongos and when mandolin takes over forcefully dholak takes over from bongos with beats perfectly matching the mandolin notes. Everything is perfect, not a single extra note. Lastly, why the song is so vibrant point to the fact that throughout the song mandolin along with violins have been used in the background carefully to enhance the listening pleasure of the song.

Saturday, January 23, 2010

O saajna na pooch mujhse pyar kya hai lata mangeshkars rare film hits

Rarest of Rare song from the film Karodpati (Krodepati) starring Kishore Kumar

The Genius Music Director Jodi

Hey folks! This blog is dedicated to Great music maestros of yesterday - : Shanker Jaikishen / Shankar Jaikishan / or shankarjaikishan...all these are familiar with Hindi Film Music. SJ - the name which guaranteed success of any film, any actors-actresses, director, producer and singer. Thieir music is even now refreshing, and glitters like a diamond. You are welcome to share, contribute, download, comment. Please go through the entire posts and if you find any misquote or anything wrong in this blog, please do take trouble to inform me and criticize.--Thanks for visiting my blog --SUDARSHAN PANDEY

Comments from visitors to this Blog which pertains to SJ/blog

Jay has left a new comment on your post "Revised List of SJ Films":

On listening to Pritam's tracks of today ['Metro', 'Jannat', 'Dhoom - 2', 'Jab We Met' and so on] one cannot fail to notice the composer's penchant for the hitting the higher notes with progressive rapidity. Without casting aspersions on the composer's talent, I must say that most of his tracks are a tad jarring to the ears with their techno-beats always rising to a crescendo but at the end of the day, his music spells success in today's hybrid music culture.
This takes me back to the last years of S-J as a team, the '70-'71 phase, when their music was being taken apart by the critics. It, of course, didn't really make a dent to their popularity, for die-hard admirers like us enjoyed whatever they came up with – good, bad or indifferent. Perhaps because we were led by our personal pre-possessions with regard to the 'S-J brand' that had an endearing quality to it. Raju Bharatan and his wife Girija Rajendran, who used to write regularly for 'Filmfare', were both critical of their works and used to compare it unfavourably with their earlier scores. Raju of course, never missed an opportunity to take pot shots at S-J whenever the opportunity arose.
But the lady who took the cake was Pushpa Hans at 'Star & Style' who too wrote a regular column on music every week for the publication and towards the end, launched frequent diatribes at S-J. Even as you read her pieces you couldn't but sneer at her irrationality of analysis. For example, while describing the music of 'Sapnon Ka Saudagar', she identified Sharda's 'Maar doongi chakkoo…' as the song that stood out among the rest. Touche!!! Then she ran down the tracks of 'Brahmachari', 'Jhuk Gaya Aasman' and 'Shikaar' [which were all released in March-April '68] describing them as offering 'mediocre fare' without coming up with tangible reasons for doing so. And a shocker was her description of 'Main gaaun tum so jao…' as 'crude and ineffective' – a track that still gives me the goose-bumps and one that has stood the test of time as one of our perennial lullabies. Just a month before Jaikishan's death she wrote an extremely scathing piece on S-J and for the first time perhaps, brought their conflict out in the open. I remember she wrote something like - ‘Their disharmony has deprived music lovers of some wonderful music; perhaps they drew inspiration from each other when working together’. Brave words these, especially when to my reckoning, no one openly wrote about S-J's split in those days, if ever there was one. The last S-J film that she covered was, if I remember, ‘Duniya Kya Jaane’, ironically one of their weakest scores ever and described the songs as ‘painful necessities composed out of the duo’s juke box of ten years ago’. Well, the film and its songs barely registered so it gave enough wherewithal to the lady to stoke the red embers.
If Ms. Pushpa Hans is still associated with music, I wonder if she would come up with a similar twiddle-twaddle regarding the style and form of Pritam's tracks that only seems to circum-ambulate the 6th and 7th notes, compared to which, S-J's music even in those last years together sounds so lively & pulsating. Scornfulness of thought often stirreth laughter than anything else!!!

Jay SubramanyamLucknow