Shanker Jaikishen - who Redefined Music

The Indian Hindi Film Music can be divided in to 4 parts The 1st before the demise of K L Sehgal, the 2nd Brief phase of 3-4 years from 1945 to 1950, the 3rd, a Distinct "Shanker Jaikishen Era" upto 1975 and the 4th from then onwards.


The Music during Sehgal Era was having a a typical theatrical style and a Single Scale of composition. This continued till Naushad entered the scenre when Sehgal was to make his exit. Naushad composed for Sehgal denoting the Juncture and a Bridge between these 2 parts.

Naushad alongwith a few of his like continued to rule the scene with their Classical compositions bound within the Indian traditional music, where songs started directly with the Voice of the singer mostly without any Prelude, or with a couplet to emphasise the mood of the song situation. The main song used to follow. The Interludes too were not prominent but a passing support as a breather to the Singer.

Then came the Trend Setter Pair of Music Magicians, "Shanker Jaikishen, who Redefined Music. Each song started with a definite Prelude. The 2 Interludes were having a marked length and both Interludes were not similar. Some songs had 3 Stanzas so the 3rd Interlude was a repetition of the 1st Interlude. More and More newer Instruments got in the song, size of Orchestra grew and most of the other Music Directors followed suit. the SJ Era added MD's Pairs like KA, LP, although Solo MD's like SD, Roshan, Madan Mohan, OP, were also doing well, but it was OP Nayyar only who had his Distinct Identity after SJ. If we remember Roshan, it is for his Quawwalis, SD for his "Pahadee Tones", Madan Mohan for his Gazal compositions, but Shanker Jaikishen signify everything that Means Music, may it be Indian Classical, Western Jazz, Light music, Percussion fetes, you name it, they had it.

The last Part can be attributed to RD Burman till his demise, who like SJ, had his own Style and who stuck to it. He too had the variety of composition like SJ. One can tella song of RD, merely hearing a few notes only. That's where lies the Greatness of these composers.

Yesterday at 12:05am · · ·

SHRI 420’ – some rare musings. (by SSMurthy) श्री एस एस मूर्ति शंकर जयकिशन के जीवन एवं उनकी गतिविधियों से भली भांति परिचित हैं एवं इनके फैन हैं

There is this scene iTheren Shree 420, just a little after the film starts unreeling of Raj and the kelewali,(Lalita Pawar) when she says, "aathh aane ka dozen, chhutta lega to, do aane ka teen" and repeats when Raj amuses the kelewali with his "theen ane ka do" and asks her to ponder over, knowing pretty well a bargain, which will never come off, when a beguiled Lalita Pawar calls him back and accepts the offer, when the real truth comes out as Raj shows his empty pockets, but promises to take them at the promised price when he has money.

The scene ends with the kelewali offering the kele to be paid when he has the money and Raj stating what if he absconds? and the kelewali reciprocating "ham sochega ki hamara beta na khaya hai"

such a touching scene so beautifully presented as he goes away stating " Tum kelewali nahin hai dilwali hai dilwali" is comically moving and very touching.

You also have this scene and the background score where the beggar asks Raj to move aside saying "dhandhe ka time hai bhai...." till Nargis slips on the banana peel and later Raj himself is simply fascinating and marvellous.

There was a scene where Raj enters Nadira's house and finding no one, his eyes fall on a pack of cards, which he amusingly picks up and distributes to four players incognito and comically ends up with three ACES for himself. It was here that the Director in Raj shows his showmanship as Nadira makes a grand entry with a dazed and mischevous look as she says "Shabash"

and

SJ resoundingly reciprocate in the background, with the acordion flourish of "Kisiki muskurahaton. ...." , It was in this scene where you can see a sozzled Johhny Jaikishan and also in "Mud mud ke na dekh mud mud ke...." .

This incident marks a significant turning point to Raj's reel life in the movie since then, as much as Nadira's real life where she admittedly regretted joyfully, the mistake of accepting this character of a vamp, a role that became so popular and brought her accolades, but never again the pedestal of the leading lady.

ssmurthy

SJ's music at RK Supplanted By LP and others . The circumstancesTo: by murthy ss

murthy ss <ssmurthy5909@yahoo.co.in> wrote:

Raj as actor director has known audience rejection only once in "Aah" but its music a remarkable feast for the ears for years to come, with music to treasure in Boot Polish and Shre 420.

With his romantic tuning with Nargis coming to an end after Shree 420, Raj showed resilience, in the style with which he moved on to Padmini and later on with Vyjayantimala.

Such was the quality of music that he drew out of SJ at RK, that Raj's romantic image remained in tact even sans Nargis. His image broke only with MNJ eventhough the film's music like the film itself became a landmark With Shailendra and Jaikishan gone and KAAK compounding the staggering losses of MNJ, serious differences between Lata and Shankar to such an extent that one of the conditions for Lata to sing for RK was replacement of SJ (Shankar) by LP.

Raj who was on a Disaster Resrruction Plan was under severe pressure at that time and contemplating the various pros and cons on some drastic heart wrenching decisions. Raj was convinced there had to be a change.

Bobby with its refreshing change of pace came to mark a watershed at RK because while going through the painful exercise of breaking with Shankar with that film RK had to accept the harsh and grim reality that his own innings as the perennial romantic was over. He had to not only banish himself as the hero but also banish his soul Mukesh and recreate the Nargis Raj aura through a younger Raj (his son Rishi) a younger Nargis (in the nymphet shape of Dimple and a younger SJ........?.whom he could guide to keep, heart beat with the young lovers.

This drastic switch over came in the form of Laxmikant Pyarelal achieving their lifetime ambition of stepping into the RK sanctuary that belonged to SJ till then.

Ironically it was Mukesh who brought LP in pleading that if the duo missed out taking from Shankar now, the privilege would go to some rival composer since Raj had made up his mind on the change.. RK worked this oracle musically, of course by casting Dimple as Bobby, opposite Rishi Kapoor and took pains to see that LP tuned with him as effecttively as SJ had. The Bobby musical landmark with its young rebel strain of "Hum tum ek kamre me bandh ho..." has a refreshingly electrifying effect, while SSS, and Premrog though popular enough did not quite make the Bobby impact.

This probably happened because Raj even while working with LP and later with other MD's, was hooked on to SJ's style of music. It was inevitable that LP as creative composers themselves should shy away and draw themselves away from RK at some stage. Any MD that walks into RK gets cast in the SJ format.

It happened to LP and later on to Ravindra Jain.

Ram Teri Ganga Maili has proved to be a runaway musical hit and Lata herself at the film's HMV function identified all music in RK Films as given by Raj Kapoor himself much to the consternation of Ravindra Jain sitting in the front row of the function hall.

ssmurthy

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.

Hey brothers! this is the blog 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.

BLOG on SHANKAR JAIKISHAN - The Emperor of Bollywood film songs

Hey brothers this is the blog dedicated to Great music maestros of yesterday ... : Shanker Jaikishen / Shankar Jaikishan / or shankarjaikishan...all are same i am sorry the EARLIER url(http://yaadnaajaayebeetedinoki.blogspot.com) was bit too long for my previous blog...i will certainly be back after few days...in the meantime if you are interested in reading something on them please do visit to my wap site, that is, shanker-jaikishen.peperonity.com or/and shankar-jaikishan.peperonity.com