Rafi Miya was of course the best. There was some jaadoo in his voice ...-Shankar

SHANKAR--the lone survivor. Today he faces the musicalone. Betrayals, accusations, broken promises he has seen them all, but refuses to crumble. His pride holds him in good shape, so does his confidence.

Surprisingly, it is very difficult to elicit information from him, or even evoke a feeling of nostalgia. Unlike most, he lives very much in the present and talks of the future. After some persistence, Shankar recapitulates.....

Shankar Singh Raghuvanshi knew only three passions in life- tabla, gaana and kasrat. Harmless pleasures but Shankar Singh Raghuvansi was of an age when books ought to have been more important for he was only a child. But unlike most children he never studied, only indulged in his passions. His mother often despaired "Yeh to gaanewali ke piche hi tabla bajaayegaa." Prophetic words of sorts. The little fellow grew upto be a part of the duo whose music took the film industry by storm. The unbeatable combination of Shankar-Jaikishen. Their creations still ring in our ears....Jiya bekaraar hai, yeh mere diwanapan hai, Yeh aasoon mere dil ki zuban hain.

"It all began for me in Hyderabad. Those were the days of the Nizam and Maharajas. Their influence was strong and music pervaded every house; it was a part of our lives. With me too, music was all that mattered. And I was attracted to anything that was connected with it, be it acting or dancing. Though my parents wanted me to study and do well. I didn't care about books. One day, while passing by the house of a nobleman, I heard the strains of the melodious voice of a singer, Saraswati Bai. But it was spoilt by some cacophonous sound which ostensibly was supposed to be that of a tabla. It was unbearable to me. I rushed into the mehfil, pushed aside the incompetent tabla player and took over. I know it all sounds very filmy, but after I finished, wah-wahs poured from everybody present and I was pleased.

Bombay was then the centre of theatre activity. So my cousin and I, decided to come down to try our luck. I wanted to join the theatre--perform, sing, dance, play instruments. I learnt kathakali from Krishnan Kutty, Kathak from the Jaipur Gharana and Manipuri and Bharat Natyam as well. Slowly I also learnt to play the piano, the accordion, the sitar and the harmonium quite well. Fate somewhere during this time introduced me to Papaji (Prithviraj Kapoor).

"Papaji looked like some Greek God; I have yet to see a more handsome person than him. At that time he had just started his Prithvi Theatres and one day he called me over to witness a play called Shakuntala that he was staging. He had enrolled many great musicians for this play and while I was watching it, he suddenly asked me to go on stage and accompany the Sarod player with the tabla. I did so. (I learnt that he was none other than Ali Akbar Khan). After the show, Papaji called me and embraced me even though I was a non-entity then. He even asked me to join Prithvi Theatres.

"Jaikishen was a frequent visitor to Prithvi, but it was at a friend's place that I met him first. There were instant good vibes and we slowly became good friends. I introduced him to Papaji and he too began working at Prithvi. Raj Kapoor was also working with his father in those days. When he began Aag, we helped him with the music, though we were not the official music directors.

"Jai and I decided to be partners. Raj, at that time, ws working on Barsaat. We composed a tune for him, Jiya bekaraar hai. He liked it. That was our first major break. Although music was in my blood, I had never dreampt of becoming a music director for films. I met Shailendra, who was a close friend of Raj. And also Hasrat Jaipuri who was with Prithvi. We formed a group and our foursome clicked. Shailendra and Hasrat wrote the lyrics while Jai and I composed the tunes."

Barsaat broke records. Then followed the deluge -- Nagina, Mayur Pankh, Badal, Badshah. It was all so unexpected. A pair of eighteen year old youngsters causing existing edicts to tremble. Shankar-Jaikishen were creating afurore. They had descended upon the domain of Naushad, S.D. Burman, Husanlal Bhagatram, Ghulam Mohammed, O.P. Nayyar. Shankar recalls, "They were at first sceptical, Yeh ladke kitne din chal sakte hain? they said. Then they got worried. But I must say, C. Ramchandra was one man who always appreciated us. He'd tell the others, "Yeh ladke hum sabko hairan karke rekhenge. Hindustan mein dhoom machayenge."

The Shankar-Jaikishen era had begun. The old order was displaced. Given their propensity to compose songs that appealed to both the box-office and people's tastes, it wasn't strange or surprising that almost every top hero insisted on Shankar-Jaikishen as part of his contract. With Raj Kapoor there was Awara, Aah, Shri 420, Boot Polish, Jis Desh Mein Ganga Behti Hai, Sangam, Mera Naam Joker. Shammi Kapoor pranced around hills and dales and beautiful gardens teasing his pretty heroines, while Shankar-Jaikishen's music kept mercurial pace in Junglee, Janwar, Badtameez.

Rajendra Kumar, he rarely worked in a film that didn't have Shankar-Jaikishen on the credits. Aas Ka Panchi, Zindagi, Sasural, they made the 'jubilee' hero, they also had one common factor -- Shankar-Jaikishen.

As partners, Shankar talks of their perfect tuning, between each other. "My relationship with Jaikishen strengthened over time. We shared instant empathy, an inherent understanding and a deep bond of friendship. Whenever we both wanted to compose a particular song, we'd toss a coin to decide who would do it. Tensions between us were only over music but we would always sort them out. When I composed Nanhe munhe bachche teri muthi mein kya hai for Boot Polish, Jai didn't like the tune. But I convinced him otherwise. In fact, Boot Polish as planned earlier, was to be a song less film. Afterwards, Raj decided to add songs. Jai, who was a hot-headed person, was very angry and said, "Nothing doing. we are not giving music for the songs, Why did they not say so earlier? Of course, he later relented.

But we have always trusted each other completely. We never listened to those who poisoned our ears about the other; no chamchas came between us. And it was like that till his death. It is absolutely untrue that we grew apart after Sangam. With a relationship as deep as ours that was quite impossible.

"Being basically a good Gujarati businessman, Jai also handled all the business matters. He was a financial juggler and did his job well. When he died, I was shattered. For 3-4 years after his death, I could not work...could not build up the mood. And people tried to provoke me by saying things like our work was mainly Jai's doing. But what could I say to this? I know that it wasn't the truth. If I had been the first to go, people would have said the same things about me to Jaikishen, too. So I refused to speak out in retaliation.

"After Barsaat, I bought an M.G. Racer Car. It was the first car between the four of us. Jai bought his own, later. Since it was a two-seater, we, that is, Jai and I, would draw back the hood, sit in front while Shailendra and Hasrat would huddle behind and we'd take chakkars all over the city. Later, Jai and I, both, bought Chevrolets. For the Filmfare Awards function we would drive in our Chevies and enter in style.

"But things have changed drastically now. Look at the heroines of those days. Has there been anyone like Madhubala? They may not have come from very good families, but they behaved and conducted themselves in a better manner than some of our heroines today, from so-called good families. When we composed music we would take their individual personality into consideration. We'd call them to our music room and accordingly compose music to suit them. Today, id does not matter which heroine you compose a song for and whether you compose a song for a hero or a comedian.

"On many ways we revolutionized the industry. We were amongst the first who thought of giving due respect to the Press, calling for Press Conferences,...hosting parties. We were never afraid of change. Barsaat was the first film where Lata sang all the songs. Before that, she would be signed for only one or two of them per film as she had a very thin voice as compared to other to singers of those days for example Noorjehan, Shamshad, Zohra and Suraiya. We took risks, and won. Those days Manna Dey sang mainly bhajans. We took him for light songs like Chori Chori, Aa ja sanam and Yeh raat bheegi bheegi, which changed things for him. Mukishe's popularity also grew especially after he sang Yeh mera diwanapan hai for Yahudi.

"Rafi Miya was of course the best. There was some jaadoo in his voice that appealed to both the ganwar and the sophisticate. Some of his songs like Yeh aasoon mere dil ki zuban hai, touch people even today.

More important, he was a great person...a sharif man. If you told him you couldn't pay him immediately, he'd refuse to take it even later when you offered him the money.

Sometimes, a song would make him so happy, he would refuse to take the payment for singing it. The pleasure he got out of singing them was his reimbursement. He donated to charitable causes very generously and never spoke ill of anyone. No praise is enough for Rafimiya...there can never be a man like him.

However, with the start of the Kishore Kumar mania, he suffered a setback and became slightly nervous and depressed."

Shanker had few setbacks too. Like Raj Kapoor's betrayal. Dost Dost Na raha was one of Shankar's contribution to Raj Kapoor's Sangam. Perennially haunting, stirring, it exuded pathos. While at that stage no one would have dreamt that the Raj Kapoor-Shankar-Jaikishen team would one day not exist, years later the 'dosti' was not the same. They parted professional ways. Shankar insists he wasn't upset when his 'dost' signed up Lasmikant-Pyarelal for Bobby. "Why should I have been hurt? I knew that R.K.'s musical best was with Shankar-Jaikishen. The world knows it. People still hum the tunes of Mera Naam Joker, even if the film was a flop.

"Our songs for his films have been translated in Chinese. Russian, German and even Arabic. However, his sons wanted a change so I don't really feel bad. I was to do Prem Rog, but it didn't work out. Maybe I'll get to do his Param Vir Chakra"

Another jolt came from Prasad Productions, whose films have been transformed from mediocre family dramas to musical hits....Teri pyari pyari surat to (Sasural), Jaoon Kahan bata ae dil (Chhoti Bahen)....all this courtesy, Shankar-Jaikishen. But Shankar doesn't seem to be perturbed. "Even G.P. Sippy didn't take after Brahmachari and Andaz. Before that he was making films at a loss whereas these two films were super hits. It doesn't really bother me when people switch sides. What makes me happy is that I gave them big hits."

Most of Shailendra's lyrics wee Shankar's compositions. They both complemented each other perfectly. "When we were discussing the music of Shri 420, Raj was describing a scene. I instantaneously blurted out Ramaiya vatavaiya, which in Telugu means 'Ramaiya, will you come?" And Jai spontaneously gave his rejoinder, 'Maine dil tujhko diya'. It was the beginning of our song. When we were driving past a bus-stop and Jai saw a pretty girl, he turned around instinctively to take a look. That's how Mud mud ke na dekh (Shri 420) was born. Shailendra was great. He wrote beautifully. People would cry at the beauty of his lyrics.

"Yet today, how many music directors really understand or know anything about music? Everything is a fad -- ghazal, discro....But what do they know of ragas or surs? Nobody pays attention to composing good lyrics. But then I guess, time have changed. The music of a film was important then;now it is the actor's image that is central. In fact, fight composers are paid more than music-directors. But I think, we will slowly return to an age of melody, and of good films.

"I have made enough money. I have been awarded for my work". It is not an idle boast. Eight Filmfare Award trophies stand testimony to the fact.

The Sur-Singar Award came twice for Mere Huzoor (Jhanak Jhanak Toree Baje Payaliya) and Lal Patthar (Re Man Sur Mein Ga). Throughout Shankar was instrumental in introducing classical music in films, interweaving the classical style with the popular form. Result:Man Mohana Bade Jhoote (Seema), Rasik balama (Chori Chori), Ja Ja re ja (Basant Bahar).

From small beginnings in a South Indian lodge at Parel to a well-appointed home at the 'Beacan at Churchgate, his success story was truly established. He lives there still, with his Maharashtrian wife. His rehearsal room at Famous Studio in mahalaxmi still remains. Many moons ago, hordes of producers thronged its long corridors, waiting patiently with wads of notes, hoping to entice the two gentlemen into signing a contract. An it wasn't easy. Shankar's present Man Friday whispers to me that his boss would turn off the producers and their fat wads of notes with disdain, contemptuous of those who try to buy him. Though of course, the hordes have now dwindled.

Time was when the Binaca Hit Parade invariably featured a Shankar-Jaikishen number Baharon Phool Barsaon made it 49 times to the top.

Today in a theatre screening Aah or Jis Desh Mein Ganga Behti Hain, when the music begins, the entire theatre sings along....Aa ja re ab mera dil pukare....reminiscing bygone days.

They style of the man remains consistent. He employs personal musicians and refuses to take less money and get more contracts. "Why should I bother? I have made enough. I get a royalty on all my records. My lifestyle is the same. I'm not too friendly and outgoing a person. I don't go out of my way to obtain films."

Shankar takes his harmonium, shows us how he composes a new tune. His musicians are summoned. His fingers move on the harmonium. The musicians join in on the tabla etc. Shankar sings "Yaad na jaaye bite dinon ki'....softly telling the story of a legend that will live forever.


Sheila Vesuna


Contributed by Dr. Raj Senani to shankarjaikishan Group on Yahoo from his collection.

Musicolor's Memorable Tribute to Shanker-Jaikishen [PHOTO COURTESY : DR. RAJ SENANI) Other Photos of the Programme by courtetsy MUSICOLOR

THIS PHOTO IS COURTESY : DR. RAJ SENAI

11 July’09 evening.

Jam-packed Dinanath Mangeshkar Auditorium, Mumbai.
Outside - heavy clouds but no rain. Inside the auditorium - heavy rain!
No… nothing was wrong! The auditorium is well maintained. It was in fact the rain of Shankar-Jaikishan melodies. And the audience, right from teenagers to senior citizens were completely drenched in the melodies.

The programme started at around 8.45pm. Mr. Prashant Rao was the compere. Though comperes have good sense of humour, his was outstanding. And he narrated some story or other related to the songs (& SJ) before inviting the singers on the stage.

The first song was SJs first known composition – Jiya Beqaraar Hai (Barsaat) sung by (???). Sorry, I can’t recollect the names of most of the artists who performed in the concert. If any of the attendees, remembers, please post the names.
Next was the turn of the Talat number - ‘Aye mere dil kahin aur chal’ (Daag) followed by ‘Ye mera diwanapan hai’ (Yahudi). This was followed by ‘Ajib daastaan hai ye’ (Dil Apna Prit Parayi). And when the compere announced about the name of the movie – Dil Ek Mandir & the singer Rafi Saheb, everyone in the audience literally sighed heavily. And yes, their expectations were well fulfilled when ‘Yaad na jaaye…’ was sung beautifully.
After this, it was the turn of few duets – ‘Dil Ki Nazar Se’ (Anadi), ‘Yaad kiya dil ne kahaan ho tum…’ (Patita), ‘Dhire-dhire chal chand gagan mein’ (Love Marriage), ‘Aaja sanam madhur chandni mein hum’ (Chori-Chori) .
These were followed by the solo song ‘Sur Na Saje’ (Basant Bahar). It was sung so beautifully that on the ‘once-more’ request from the audience, the last antara was sung again. After that it was ‘Tera mera pyar amar’ (Asli-Naqli) by the singer who had made stage appearance after a long gap. But she was outstanding. Then again there was a duet ‘Ye aankhein uf yumma’ (Jab Pyaar Kisi Se Hota Hai) followed by ‘Nakhrewali’ ( New Delhi ) after which there was the semi-classical duet ‘Ajahu na aaye baalama’ (Saanjh Aur Sawera). By all means a very difficult composition to sing, But the male singer, in particular, did fantastic job. After this, it was the turn of the magical ‘Ramaiyya vastaavaiya’ (Shri 420).

And as the brief interval was announced, we were amazed that almost 2 hours had passed!!!

Due to very feeble sound of accordion, the songs ‘Aye mere dil’, ‘Dil ki nazar se’, ‘Aja sanam’, ‘Nakhrewali’, in particular, could not be enjoyed fully. During the interval, yours truly requested the sound in-charge to increase the sound of accordion. He gracefully agreed.

Part-2 started with ‘Kaun hai jo sapnon mein aya’ (Jhuk Gaya Aasmaan). After that it was the magical ‘ Kisi ki muskuraahaton pe ho nisaar’ (Anadi). Now the accordion was well audible. This was followed by ‘Ruk ja raat thahar ja re chanda’ (Dil Ek Mandir).

After these solos, again it was a duet ‘O shama mujhe phoonk de’ (Aashiq) followed by ‘Chalat musafir moh liya re’ (Teesri Kasam). The dholak accompaniment was outstanding. Next was ‘Har dil jo pyaar karega’ (Sangam) and the accordion produced mesmerizing effect. Then there were two dance numbers – ‘Badan pe sitare’ (Prince) and ‘Aaj kal tere mere pyaar ke charche’ (Brahmachari) . After these it was the duet ‘Dil ki girah khol do’ (Raat Aur Din) followed by ‘Tere bina aag ye chandni’ & ‘Ghar aya mera pardesi’ (Awara). The instrumentalists did outstanding job with this extremely complicated song, considering limited instruments available.

And to end the concert, it was yet again mind blowing accordion, on this occasion with ‘Jeena yahaan marna yahaan’ (Mera Naam Joker). And by the time audience reluctantly started leaving the auditorium with the haunting effect of 'Jeena yahaan marna yahaan...', still thirsty for more, it was 0015 hrs.

Commentary by Shri D.V.Shastry, Moderator, Shankarjaikishan Group on Yahoo

Thanks Shri Shastry

s.pandey

http://launch.dir.groups.yahoo.com/group/shankarjaikishan/?v=1&t=directory&ch=web&pub=groups&sec=dir&slk=19

APING S-J's STYLE OF MUSIC

Many music directors have come and gone and in some songs have tried to ape SJ's style of music.

LP started with Parasmani and their song Roshan Tumhi se Duniya is a clone of Humne Jafa Na Seekhi from Zindagi. LP copied Jai's private Ghazal in the movie Anita.

When Anu Malik composed the song Ae Mere Humsafar, he went to LP and said that I was inspired by your song Khoobsurat Haseena Jaane Ja Jaane Man. To this LP replied, we were inspired by SJ's Aaja re Aa Zara.

Anu Malik has always been fond of SJ. This is evident from the music he composed during the start of his career. He once went for a SJ song recording with his mama Hasrat Jaipuri. He was mesmerized by their orchestration and the tunes they composed. J asked him who he was. Anu said he was Sardar Malik's son. J said that "Sardar Malikji is fantastic music director and his tunes are outstanding. "
This influence can be seen in Anu Malik's Mere Humsafar from the movie Refugee where he copied the song Yeh Shaam Ki Tanhaiyaan from Aah.

Ram Laxman has been another devotee of SJ. His tunes were influenced by their music. In an interview he once stated that SJ has not left a single tune for other music directors to compose. He copied Yeh Raat Bheegi Bheegi from Chori Chori into Paigam De Rahi Hai in Anmol. He use the prelude from main Aashiq Hoon Baharon Ka into Yeh Mausam Ka Jadoo Hai Mitwa in Hum Aapke hain Kaun.

KA's music in Chalia and Bluffmaster are exact replicas of SJ's orchestration. Shankar Mahadevan once said in an interview that SJ were an encyclopedia of music. He refers back to them while composing new tunes. The orchestration of Kajra Re proves this.

There are many more.............
COURTESY : Alhad Kuwadekar (alhad41@yahoo.com)

Dr. Padmanabh K. Joshi on SJ ..."SJ worked independently and never totally relied on anyone"

First of all let me thank the SJ Group for welcoming me as a new member of the group.I have written a musical biography of Shanker-Jaikishan in GUJARATI but it will be also published in Hindi and in English.I knew the whole SJ team, namely, Shanker, Jaikishan, Shailendraji,Hasratji, Sebastian and Dattaramji. The book is based on my experiences and interactions with the team members.I being a Hindi Film music lover, I have tried to study almost all the music directors and also written articles on each of them but they were published in Gujarati. I also met Laxmikant-Pyarelal and spoke to them about SJ. Their first sentence was that when they decided to become Music Directors, their only dream was to become SHANKER-JAIKISHAN....With this dream they started their career. A great Music Director like O. P. Nayyar also mentioned SJ as his most favourite Music Director. When asked OP why SJ? His answer in real sense convinced me that SJ were the greatest among the all because according to OP, SJ were the only music directors in the Hindi Film Industry who had consistency in their work. In other words, SJ composed most popular and successful music from Barsat till Mera Naam Joker-a period of 20 years - during which they gave more than 100 movies. No other music director in the industry has this much consistency. OP himself mentioned that even he gave 2 excellent music movies and after that 5 of his movies miserably failed. But such a thing never happened with SJ. In addition, SJ all the time did experimentations as well as innovations in their music. SJ never depended on any musician. Even while creating both interlude music as well as background music, SJ themselves worked seriously as they worked on their melodies. For SJ songs, interlude music and the background music were equal. As Sebastian had mentioned to me that with SJ, he did as per the instructions of SJ. Though he sometimes suggested music but normally he had to follow SJ always. Goody Sirvai mentioned that once he was trying a music piece on his accordian and Shanker took the accordion from Goody and played the piece and told Goody to repeat the same piece in the recording. What I am trying to convey is that SJ worked independently and never totally relied on anyone. Anyway, this discussion is based on my experiences with SJ team. In future I shall try to discuss SJ style of music with examples. Thanksto all SJ group members.Regards.Padmanabh K. Joshi
COURTESY : http://launch.groups.yahoo.com/group/shankarjaikishan/message/154

Music Review of ANARI by V N RAO (vnr19452000@yahoo.co.in)

ANARI, a silver jubilee hit, was one of the outstanding films produced by LB films Pvt. Ltd and directed by Hrishikesh Mukerjee. Incidentally the same producer L. B. Lachman produced another silver jubilee hit Asli Naqli starring Dev Anand and Sadhana under the baton of Shankar Jaikishan(SJ). Anari was acclaimed by critics as a clean film with good storyline with a social message that truth always triumphs over falsehood, good acting by of Raj Kapoor,Nutan and Lalita Pawar and above all memorable music by SJ where creativity and imagination of SJ was in full bloom whether it is melody like Dil ki najar se.... sad song like Tera jaana....or for that matter songs such as Kisi ki muskurahatonpe.....and 1956,1957, 1958 ......based on western music. In composing music for this film, SJ used accordion extensively to prove to the HFM lovers that accordion bajana to unke liye to bayen hath ka khel hai.
The first song of the film is banake panchhi gaye.....by Lata and chorus. Here SJ set a benchmark so to say for a 'picnic song on bicycles. The prelude kick starts with fast notes of violins in a descending scale to rhythmic beats of Dholak/Tabla and there is a smooth transition to accordion in a true SJ style and it is back to notes of violins in ascending scale at the end of which Mukhda starts. The bubbling Nutan has done full justice to the song by her smiling face swinging her 'pony' tail riding a bicycle. The first interlude starts with violins followed by yodelling by female chorus with chirping of birds perched on tree branches which is beautifully replicated by SJ using flute and violins. The second interlude starts with accordion followed by ringing of bicycle bells and sound of rubber horn emanating from bicycle ridden by Raj Kapoor add authenticity to the scene.
The second song is Kisi ki muskurahatonpe.......by Mukesh where prelude is quite long and brilliant and starts with piano notes, ending with mandolin. In between there is brilliant interpolation of accordion, fast notes of mandolin and violins and there is a sudden beats of western drums ending with a hard strike on cymbals at the fag end of the prelude. This is in keeping with the scene where boy scouts are shown marching saluted by Raj Kaopor in appreciation. SJ has brilliantly introduced mandolin notes just before the 'mukhda' where Raj Kapoor rescues an insect crawling on the road with the help of a leaf. First interlude is all the way English flute and mandolin to the soft beats of drums, wire bristles and double bass. Since the song is composed on purely western style of music, no dholak or tabla has been used. Second interlude stands out with mandolin followed by accordion.
The third song is by Lata and Mukesh Woh Chand khila......the mukhda of which is based on western symphony violin orchestra. One of the jewels in the 'crown 'of preludes using accordion and violin shows the masterly command of SJ over accordion. It is a fast paced song to the brilliant rhythmic beats of dholak superbly played by the percussion artist. The first interlude is all accordion and violin whereas the second interlude is mandolin.
The fourth song is new year bash song 1956, 1957, 1958....by Manna Dey and chorus in a club where Raj Kapoor takes a reluctant Lalita Pawar to a club where New Year bash is being celebrated. . This is also a fast paced song with violins, trumpet and double bass all the way in a true western style.The brilliance of SJ can be experienced when there is a sudden flash of drums along 1959 which ends with a hard strike on cymbals. This is to raise the' spirit' of the joyous occasion like welcoming the new year.
The fifth song is a duet by Mukesh and Lata Dil ki najar se.....which is a piano based song. During antara there is beautiful rendition of piano in the background showing the class of SJ in music composition. It is a percussion less song where soft beats are provided by double bass.
The sixth song by Mukesh is Sub kuch seekha.....brings out all the innocence and honesty of Raj Kapoor in the role of a simpleton in the film.Conga drums have been used since there is no set rhythmic pattern for this song. Once again accordion and violins dominate both prelude and interlude of this song.
The seventh song is a sad song Tera jana dil ke.......by Lata where the rendition of flute after each antara line enhances the sad mood of the song. In this song violins have been used to telling effect. Another speciality of this song is the use of what is called Dattaram Theka which is a trade mark patent of Dattaram. It is basically deals with variations of dholak/tabla beats as the song progresses from mukhda-antara-mukhda. This enhances the listening pleasure as there is no such thing as' monotonous' beats of persuasion instrument throughout the song.
In a nutshell it can be concluded that SJ have shown what stuff they are made of in replicating the mood of the actors, scene and situation by selective and judicious use of various instruments thus providing out of this world listening pleasure to connoisseurs of HFM.

In-depth Review of JIS DESH MEIN GANGA BEHTI HAI

Guest Writer - murthy ss writes in-depth review of the RK saga Jis Desh Mein Ganga Behti Hai. He is one of the members of http://groups.yahoo.com/group/shankarjaikishan/

Raj Kapoor reportedly after his breakup with Nargis is said to have been Finished. Posterity has proved that it was not so, but the second beginning.
Coming soon in the aftermath of enacting the aesthetically portrayed, thirst quenching melody sequence "Jago mohan pyare " in Jagte Raho, (ironically their swan song sequence together, created and interpolated into the script exclusively at the request of Nargis), RK was bitterly hurt, fortunately for him it served provocating the savage motivating force, the tremendous creative upsurge all over again and lifting his head high, out of the frustrated subjectivism of the past, his gaze turned southwards on buxom Padmini, a Bharat Natyam dancer, one of the three famous Travancore sisters whom he had met at the youth festival at Moscow 1957.

Oozing sensuously she was strikingly the contrast to the innocent looking yokel Raju who had the simpleton's truth in thought and word and the act of goodness as an accompanying divine embodiment from the word go. Singing "mera naam raju "down the Ganges he wins the hearts of all passers by, he comes across, along with his beats on the dafli,
Could there be a simpler and loftier expression of thought, with words penned by Shailendra as he foreruns the "Sajan re jhoot mat bolo " message with : Mehman tujhe, ek din tho hai jana, dafli utha awwaaz mila, gaa milke mere sang prem tarana.
Jai had composed this beautiful song and brought into it a certain mesmerism hard to excel and made the dafli rhythm conspicous by its arresting quality. you had an immediate corollary to this rhythm in "Tum aaj mere sang haslo..." from Aashiq.

Soon the yokel Raju enters blissfully, unknowingly into forbidden territory as he gradually finds his mentor in arms and chocholism through some explicitly shot locales of musical bliss, as kammo sensuously dances into the vagaries of growing love, bowled over by the pangs of the yokel's virtuous and sagacious innocence.

Her's was a sizzling presence, an antidote to the epitome of innocence of her counterpart in JDMGBH.

The dance composition song by Shankar "Kya hua mujhe kya hua ....picturized on her and Chanchal was simply marvellous, probably the fastest orchestrisation to match the twinkling toes of Padmini and chorus or was it vice versa ? blossoming with Jaikishan's "Oh maine pyar kiya....with the strikingly rich guitar and drum beats a feast to the sizling sensuos ear, crystallizing with the bethali beats of "hai aag hamare seene meIn.... again with Raakha, Raju and Kammo turning out to be the triumvirate focal points poetically and musically. There could not have been a better picturisation as the audiovisual effect is so complete that the total imprinted scenario unreels along with the music spontaneously.

Hats off to SJ for their insight and the score they came out with, which, Shankar was so diffident about a dacoit theme initially, as Raj summoned him to brief him on the film's music.

The floodgates of Shankar's musical ingenuity got opened only by Shailendra's keywords as he penned down "Hoton pe sachai rehti hai......which became an icon, symbolic of Indian culture.

As most of us can recall this arrestingly orchestrated tune, had been used in four different patterns.

Firstly, while the films casting title music is being unfolded, you hear this theme song instrumentally along with some of the most beautiful chorus ever heard, floating heavenly down the ghats of the holy Ganges.

The second which is the well known song version, with Shailendra at his oriental and cultural, poetic peak.
The third, the sadder pathos version as a background score depicting an anguished Raju, full of remorse, perturbed and puzzled, consequent upon the murder of the bride during one marriage loot, whose mangalsutra Raakha usurps and gives it to the Sardar who visualises it as a prospective bridal fitment for Kammo from Raaka.
The fourth as the film ends with the words "jis desh mein...... gangaaaaaaaa. ..... behti hai" what an ecstatic feeling and blissful joy it was and is, as one gets glued to his seat for a repeat seing of the film again and again. That is the hallmark effect of a genius on you.

The song 'Begani shadi mein' heightens the yokel's vivacity of Raju and can be gauged for its popularity for its compelling inclusion in every Indian marriage band , while the simple and catchy "pyar karle nai tho phaansi chad jayega..." vibe's so well with the theme

Also the theme called for a style of music to evoke the toughness inherent in the life of dacoits in the chambal. Also at the same time even among dacoits the pangs of a woman's heart had to be felt by the viewer, as we find Kammo warning Raju that he would be getting lost in those dangerous ravines of Chambal, to which Raju replies, that getting lost is better than living the kind of life among them. While these dialogues are going on, what a beautiful and marvellous background score SJ gave with the sitar and violins combination to such amazing and awesome effect. It's just par excellence and rarely could you come across such a score to match the theme again.

Heightening the effect Kammo reaches out to the unseen deity in sheer desperateness like an echo, climaxing in the form of "Oh basanti pavan pagal na jaa re na jaa......... " , with such an arresting and mesmerisingly audio visual impact that even decades after having seen that film this scene is still fresh like yesterday.

As the crescendo reaches into the grand finale of surrender, Kammo's movements with the dishevelled hair moving along with the wind is a highlight and calls for some wizard like imagination on the part of the director as SJ unwind the stillness to a spellbound audience to keep in tune with "Aa ab laut chale....... ...aajaa re aaaaa .....aaaja.. ..re...aaaa" is remarkably poignant.

The orchestrisation of this number called for more than 100 violinists and more than 140 instrumentalist in all, a record of sorts in those times and what difference it has made is all too evident to the connoisseurs delightful ear.
The theme has been enriched by some doha's predominantly Kabir's, interwoven ito the fabric of the theme and rendered by Mukesh with such sanctity that you feel hauntingly incomplete without them.

समाचार - "शंकर-जयकिशन की पहली फ़िल्म बरसात के रिलीज़ के ६० साल" (Sixtieth Anniversary of the Release of BARSAAT and its celebration)

आप सब लोगों को यह जान कर खुशी होगी कि शंकर-जयकिशन की पहली फ़िल्म बरसात की रिलीज़ की ६० वीं वर्षगांठ को सेलेब्रेट करने के लिए याहू के शंकर- जयकिशन ग्रुप http://launch.groups.yahoo.com/group/shankarjaikishan/
के सभी सदस्य प्रयासरत हैं और शायद बहुत जल्दी ही हम आप को यह समाचार देंगे की इस ग्रुप की योजनायें क्या-क्या हैं। यदि आप भी शंकर-जयकिशन के फैन हैं और इस कार्यक्रम में अपना योगदान देना चाहते हैं (चाहे वह किसी भी प्रकार से हो ) तो उपरलिखित यू आर यल पर क्लिक कीजिये और रजिस्टर करवा कर शामिल हो जाइये आप सब का स्वागत है, धन्यवाद ।
You will be glad to know that the Group of SJ fans on Yahoo (http://launch.groups.yahoo.com/group/shankarjaikishan/) are going to celebrate 60th Anniversary of the Release of Shankar-jaikishan's first film BARSAAT. If you are interested in contributing, in any kind, to the celebration, You are MOST WELCOME. Please go to the url cited above, register yourself/yourselves to be the group member and enjoy sharing of views, news pertaining to the Great Maestros of Yester-years.
Thanks to all.

SHANKER-JAIKISHEN -- The Trend setters (Photo : Courtesy- Mohdrafi.com)

SJ ruled the music industry for more than two decades with the irrepressible musical magic from their baton; in that age, films were sold purely on the strength of their name. Purists have always scoffed at their music, dismissing it off as too 'popular' or 'pedestrian' , but it can be said that Shankar Jaikishan define what film music should be. To rule for two decades with bumper hits after super-hits is no mean achievement, and I am pretty confident they would have rocked the seventies also had not Jaikishan expired (yes, this despite their personal differences because they were both individually complete musicians). Well, it might sound silly, but just speak out their name - even that is full of rhythm and jhankaar.They gave the form and grammar to film music that has been followed till date. A large bulk of their songs are three stanzas ones - and in them, they gave a wonderful symmetery : the first and the third interlude is always the same. Apart from making the form, S-J gave a lot of emphasis on the music that went between the songs - the interludes. They were always rich and varied and of course their orchestration is legendary. But the best part is that they knew how to use the orchestra - a case in point, is the hit song 'Kaun Hai Jo Sapnon Mein Aaya' ( Jhuk Gaya Aasman ); just listen to the lush of violins that begin the song - isn't that breathtaking! And they composed this in an era where their were no sophisticated gadgetry available to simulate sounds. Yet, none of the electronic timbres of today can match upto the quality achieved by S-J.The music between the 'antaras' was never forced; it flowed in a natural progression. Plus, they never left the antaras naked, meaning there was always some background musical support for the vocals. S-J not only worked hard on the interludes, they also gave the supporting music of the vocals (the beats) a heaviness. Listen to any of their songs, it always has a 'jhankaar' sound with it.Also, SJ have to their credit songs that sometimes define genres - think of a 'lori' and one cannot miss mentioning 'Mai gaaon tum so -jaao' (Brahmchari) ; speak of children's songs and 'Re mama re mama' 'Chakke pe Chakka' (Andaz & Brahmachari respectively) have to find a place ; mention Mehmood's antics, 'Hum kaale hain toh kya hua' (Gumnam) is on the forefront ; any listing of bhajans is incomplete without Tu pyaar ka saagar hai ( Seema) & Bhay Bhanjana (Basant Bahar); talk of 'masti', there is the evergreen Mai rangeela pyaar ka raahi (Chhoti Bahen) or All line clear (Chori Chori ) ; Chitrahaarwouldn't be complete on Raksha Bandhan without 'Bhaiyya Mere Rakhi ke Bandhan Ko Nibhana (Till the best Rakhi song), Behna ne bhai ki kalai se pyaar baandha hai (Resham Ki Dori) ; dream sequences found an expression with Ghar aaya mera pardesi (Aawara); a compilation of horror songs will remain Gumnaam without Gumnaam hai koi. 'Budha mil gaya'(Sangam) , Mera Joota Hai Japani (Shri 420), Aap yahan aaye kisliye/aapne bulaya issliye (Kal Aaj aur Kal) Chal sanyasi mandir mein (Sanyasi), Parde mein rahne do (Shikar), Mujhe meri biwi se bachao (Aaj Ki Taaza Khabar), Sayonara ( Love In Tokyo ) and Paan khaaye sainya hamaaro (Teesri Kasam). Till date, most 'dulhans' in weddings enter to the strains of Baharon phool barsaao mera mehboob aaya hai (Sooraj) playing in the background. Some other memorable songs are : Chorni Hun Main from Chorni, 'Naa Maih hun main naa tu hai tu' from Umang, (Asha Bhonsle excelled in this song, though it is not so popular, but one should listen to this song), 'O Zindagi' from Sapno ka Saudagar and many more.You must have noticed that SJ did most of the films that needed the 'international' touch when color came and filmmakers discovered foreign locations - An Evening In Paris , Sangam, Around the World, Love in Tokyo , Singapore are some names.SJ pioneered the concept of 'item' songs; they made 'cabarets' popular (before Pancham took this to dizzying heights); and, they gave 'seduction' a new meaning. They were the first and complete 'hindi film music composers'. Though they did not give many pure 'classical' songs but the songs of Basant Bahar and Amrapali prove that they could give a resounding slap on the face of their detractors. Incidentally, .two of my favorite songs of this style, Jhanak jhanak tori baaje paayalia (Mere Huzoor) and 'Chham-Chham baje payaliya' are SJ compositions sung by Manna De. Also we can not forget 'Re man sur mein gaa' (Lal Patthar)With Lata Mangeshkar, S J had one of the most comfortable professional relationship (though it did get a tad broken when Shankar opted for his lady-love Sharda in the latter part of the career; however, Shankar had to bridge the gap in the seventies and then Lata sang for him in Sanyasi, Do Jhoot and Paapi Pet Ka Sawaal Hai) - for those who don't know, the film Do Jhoot had a song that went Chhatri na khol udd jaayegi hawa tez hai / arre kholne de, bheeg jaayenge (it was quite a big hit at that time).Perhaps the comfort in their working relationship came from the fact that both SJ and Lata started their careers nearly the same time. Though Lata was singing for some time, both SJ and Lata tasted their first super success in 1949 (with Raj Kapoor's Barsaat). When you start your careers together, there always is a rapport that is impossible to replicate elsewhere. Likewise for Lata and SJ. In all her interviews Lata Mangeshkar always recalls S-J with fondness.S-J were the 'naughty' duo who always challenged Lata Mangeshkar with the impossibly high pitch songs - try singing Aji rooth kar kahan jaayiega (Aarzoo) and you will know what I mean. Also, SJ created the concept of having the same song in a female version. Invariably all the female songs went to Lata Mangeshkar. Any song created for the male vocal is tough for a female to emulate. But hats off to Lataji who took up the challenge and gave the female versions their own standing - a prime example in this category is (another personal favorite) Ehsaan tera hoga mujh par ( Junglee ).