Fans of Shanker-Jaikishen on Yahoo Group

Fans of Shanker-Jaikishen and members of Yahoo Group of ShankarJaikishan met to share and discuss SJ at the office of Mr. Kamal Mustafa Sikander. In this photo taken on that occasion are seen Founder of the Group Shah Rukh Bhai, one of its moderators, Devendra Shastryji, hardcore members -Maruti Raoji, Sunil Dasji, Raj Gopalji & Qamaal Mustafa Sikander ji. The members also sat with Veteran personality in the Film industry Shri G. L. Bhardwaj ji whose long association with Raj Kapoor and RK films as well as Shanker-Jaikishen is going to be shared in the forum.

Photo Courtesy :

http://groups.yahoo.com/group/shankarjaikishan/photos/recent/694207144/view

Qamaal Mustafa Sikander, G.L.Bharadwajji & SJ Group member Ajay Kanagatji at Qamaal's Designage Works office in Andheri, Bombay.

A little background about the song 'Likhe Jo Khat Tujhe..' from Kanyadaan

The song is tuned by Shanker Jaikishan and is from the film Kanyadaan. The lyrics are by Neeraj.

When Neeraj came with the song ... mind you the lyric actually runs as a one long, long line. And Shanker looked at it and said ... "yeh kitni lambi rassi le aaye" ?

And he went to the keyboard and bango ... the song was done then and there !

One of the things Shanker certainly did and beautifully was to break the lambi rassi into hummable, palatable morsels,

contributed by Shahrukh of shankarjaikishan group on Yahoo

TRIBUTE TO SHANKAR JAIKISHAN–(Episode:14•)-Shankar Jaikishan were such piller, whoever came went inside them thru their songs

Chandra Gopal Shroti's Tribute to SJ (13th Episode)
(Courtesy : Shri Gopal Shroti's blog http://gopalshroti.wordpress.com

TRIBUTE TO SHANKAR JAIKISHAN–14•THE film world is a very strange one, where to establish an image, the hero or heroin has to take the support of some piller……Shankar Jaikishan were such piller, whoever came went inside them thru their songs to find out/establish his/her image. ….and THIs SINGLE CREDIT GOES ONLY TO S-J who made several actors/actresses as STARS, AND THEY WENT ON TO BE CALLED SILVER JUBILEE/GOLDEN JUBILEE STARS……..LET US SEE SOME EXAMPLES:-
NUTAN in NAGINA(tu ne hay mere zakhme jigar ko chhoo liya, door hun main teri dunia se, kyun chhua daman mera…..tu ne…), madhubala in BADAL (do din ke liye mehman yahan, maloom nahin manzil hai kahan), beena roy in KALI GHATA (halle bele aare….),david in BOOT POLISH(LAPAK JHAPAK TU AA RE BADARWA, SIR KI KHETI SOOKH RAHI HAI………PANGHAT SE BHAR LA SAKHI RI….LA….P..AK J…HHA.P..A.K). DILIP KUMAR IN DAAG (ai mere dil kahin aur chal), bharat bhushan in BASANT BAHAR..(SUR NA SAJE KYA GAUN MAIN, SUR KE BINA JEEVAN SOONA…..) AGAIN dilip kumar in YAHUDI (YE MERA DEEWANAPAN HAI, YA MUHABBAT KA SUROOR), balraj sahni in SEEMA (tu pyar ka sagar hay, teri ek boond ke pyase ham…..lauta jo diya tu ne, chale jayenge jahan se ham….tu..) , rajendra kumar in SASURAL (TERI PYARI PYARI SOORAT KO KISHI KI NAZAR NA LAGE…..CHASHME..BADDOOR….), SHAMMI KAPOOR IN JUNGLEE (YAAAAAHOOOOOOO-CHAHE KOI MUJHE JUNGLEE KAHE….) AND BEFORE THIS THE CHARLI CHAPLIN IMAGE OF RAJ IN ”AAWARA”(AAWARA HOON…).
It is not possible to complete their contribution in one or two essays. WITH A CURSORY LOOK IF WE GO THRU THE……..BARASAAT,AAWARA, BADAL, KALIGHATA, POONAM, MAYUR PANKH, DAAG, PATITA,SHIKAST, BADSHAH, BOOT POLISH,SEEMA SHRI 420, CHORI CHORI, NAI DILLI, PATRANI, BASANT BAHAR, RAJHATH,HALAKU,KATHPUTLI, BEGUNAH(BANNED), YEHOODI, SHARARAT, UJALA, KANHAIYA, CHHOTI BAHEN, MAIN NASHE MEIN HOON, DIL APNA AUR PREET PARAI, AASHIQ, ASLI NAQLI, DIL EK MANDIR, SANGAM, SAANJH AUR SAVERA, HARIYALI AUR RASTA, SANGAM, AARJU, AAMRAPALI,LOVE IN TOKYO, TEESRI KASAM, SURAJ ETC ETC, WE FEEL THAT THESE AND INNUMERABLE OTHERS WERE HITS BECAUSE OF S-J’ MUSIC……WHO WILL FORGET THE IMMORTAL SONGS OF THESE AND MANY OTHER FILMS…..e.g…….meri aakhon me bas gaya koi re (barsat), ai khushi ki hay raat, balam mere saath.., tu ne hay mere(nagina), ek bewafa se pyar kiya, aa jao tadpate hain armma, (aawara), hamse na poochho koi pyar kya hay, poochho bahar se(kali ghata), chanda ki chandni mein jhoomen jhoomen del mera (poonam), preet ye kaisi bol ri duniya(daag), ulfat ka saaj chhedo, sama(, suhana hay, jalwe bhi naach uthe, dil ka tarana hai. -AAURAT, TERA TEER O BE PEER DIL KE AAR PAAR HAY.–SHARARAT, AA JA KE INTAZAR ME, JAANE KO HAI BAHAAR BHI, TERE BAGAR ZINGI DARD BAN KE RAH GAI–HALAKU…..NAKHARE WALI, WO TO KOI AUR THI JO AAKHON SE SAMA GAI DIL MEIN–NAI DILLI, KABHI TO AA, O SAPNO MEIN AAKE CHALE JAANE WALE…..(PATRANI), YE WADA KARO CHHAND KE SAAMNE(RAJHATH), BOL RI KATHPUTLI, BAKAD BAM BAM BAM BAM BAAJY DAMROO(KATHPUTLI), MERI JAAN MERI JAAN PYAAR KISI SE HO HI GAYA HAY HAM KYA KAREN(YAHUDI)….THESE ARE SOME EXAMPLES OF THE THUNDERSTORM CAME WITH SHANKAR JAIKISHAN’S THUNDORUS ORCHESTRATION……THE SINGLE TWO MAN(DUO) HOLDING THE FILM WORLD IN THEIR FIST FOR TWO DECADES…….TO CONTINUE (gshroti@gmail.com)
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MAHENDRA KAPOOR -- A SINGER WITH GOLDEN HEART With fond remembrances---ssmurthy

Two songs of SJ spontaneously spring from the depth of your heart,
firstly "Khogaya hai mera pyar ....."
from Hariyali aur Raastha a very beautiful and soulfully, rendered number,

which Mahendra has done full justice as he scales those the high pitched antara, unruffled.

Secondly the "Har dil jo pyar karega...." from Sangam,
even though the stellar credits of singing were snatched away by Mukesh and Lata, it is actually Mahendra Kapoor's mellifluous singing so subtly enacted by Rajendra Kumar, that has the real impact, as he voices,

"khamoshi ka yeh afsana reh jayega baad mere....."

and the beauty is the voice so beautifully dove - tails harmoniously, that you never realise, it is Mahendra Kapoor singing, unless you are conscious of it.

Another such number is a Madan Mohan number
"Chod kar tere pyar ka daman..." from "Woh Kaun Thi"
a lovely dulcet duet with Lata.

Though his main forte was B R Films with MD Ravi who brought the best out of him in "Gumraah" "Dhool ka Phool" and later on in "Hamraaz".
O P Nayyar, however tried to build on him after he broke off with Rafi, with little success.

One would have wished, that Mahendra Kapoor should have had the good fortune of being patronised by some one like SJ, like Manna had, lest Manna, would have ended up labelled a Bhajan singer otherwise, a-la- MK who got ultimately labelled as the patriot singer of India with "Mera Desh Ka Dharti ..."

reigning supreme remembrance and his more soulfully rendered numbers relegated to a shade.

The only other, after Rafi and Manna, who could scale very high pitch without breaking, as we can hear him in"Na muh chupa ke jiyo...." in Hamraaz as we can also slide over in contrast to hear a sonorous "Tere pyar ka aasra...." from "Dhool ka Phool"

With fond remembrances, my humble tribute to a soul whose career was not a cakewalk but a struggle throughout.

May his soul rest in peace.
rgds

ssmurthy

a new team of music directors called "Shankar Jaikishan" were born on that fateful, memorable day,

Vishwa Mehra of RK Films and also maternal uncle of Raj, remembers the young tabla player from Hyd, Shankar, and the young harmonium player from Gujarat, Jaikishan as part of Ram Ganguly's orchestra in Aag.

In those days it was an unusual system with only those round discs of HMV, the 78 RPMS and on those labels was stated Music by Ram Ganguly and tune by Shankar or Jaikishan as the case may be. They were paid Rs 150 for a tune, over and above whatever was due to them for playing in each "take".

Those days a song was recorded first at Famous recording theatre, Tardeo or elsewhere. Subsequently the entire orchestra plus the singers went to the HMV recording studios and replayed as well as re-sang the entire song al over again for the HMV recordist, and it was this take which was then flown to HMV's Dum Dum factory at Calcutta to be cut into those 78 rpm discs.

Barsaat's muhurat was performed during Dussera 1948 with Ram Ganguly already having orchestrated two tunes by the two ambitious instrumentalists.

Vishwa Mehra was having some problem with the signed vouchers of some musicians in Ram Ganguly's orchestra and when as per the then system in vogue went for the repeat recordings to HMV, Raj and Mehra were given the feed back about rehashng of Raj's film's tunes by Ram Ganguly and selling them to other producers.

Raj was obviously enormously enraged and looked at Mehra in askance and Mehra without a moments hesitation told Raj to replace Music by "Ram Ganguly" with music by "Shankar Jaikishan". HMV were accordingly instructed.

Back home Raj had some anxiety nagging him and was contemplating on "Perhaps it may be better to let things be as before'" Mehra put his foot down to retrace any step, convinced that fair play and truth should have their pristine place and opposed Raj's vacillation at a critical juncture and thus a new team of music directors called "Shankar Jaikishan" were born on that fateful, memorable day, to enthrall millions of music lovers like us for more than two decades.

with rgds
ssmurthy

SJ,Raag Bhairavi and the music of Basant Bahar(ssmurthy)

It was the considered opinion of musical connosiers then, regarding Naushad, as the master of Bhairavi raga ,with that pathos evoking, all time great composition,
"Mohe bhool gaye sawariyan.. " in Baiju Bawra.

Baiju Bawra goes down as a classic in the annals of Indian films with its music reaching dizzy classical heights, ,by him, who was at his zenith during the fifties and a benchmark for all promising MD's . as this film lit the flame of honour and the syndrome struck, so much, that by the time Mughlai Azam got to the floors , the "Zindabad Zindabad ai Mohabbat Zindabad by Rafi soared into the mighty skies and the earthly filmdom ministrels were receiving the glory and acclaiming "Chalis croredo men ek hi Naushad " The population of India then was 40 crores.


Raj Kapoor, worked with all sincerety, in shaping the Bhairavi lying dormant in SJ and patented it such that, the audiovisual effect, will have an everlasting impression on the listener and the gamble worked out, as it should.

And soon SJ were on the ascendant' putting everyone who came in that line, including the so called stalwarts into the shade.

The SJ patent of Bhairavi has come to stay, and the deluge soon followed such that, the total number of compositions on Bhairavi raaga by SJ, put together summation wise, half of which would not have been composed by all the popular MD's put together, a very logical and convincing eye opening statement.

Jaikishan was an ardent devotee of this Raaga and the success this brought SJ, has gone into Jai's system so much that he named his last child, a daughter, by the name "Bhairavi" and when asked why, wistfully quipped, "the end",

inferring Bhairavi denotes a desirable culmination of events mixed with a kind joy springing from the depth of the soul's grandeur.
...
Bharath Bhooshan having seen the kind of success Baiju Bawra got, obviously set his eyes on another classical buster and would have wished Naushad repeat the same.

The ruling popular classical stalwarts those days were Anil Biswas, Naushad and Chitalkar Ramachandra,and SJ were no where in the orbit of this category, with the only glimpse of classical composition by them in the form of "Lapak jhapak..." in Boot Polish that too depicted in a comical and lighter vein.

SJ through consistent and innovative orchestrisation, potent compositions, by then have developed a firm grip over public pulse and above all captured the imagination and confidence of the Distributors and Financiers who mattered most, and Anil Biswas was replaced by SJ by sheer pressure of these people for music of this Basant Bahar.

Shankar recalls that this added to the pressure and also his penchant for proving their detractors wrong. Much was at stake and the composing beans of Shankar was put on a fiery ordeal the outcome of which stands testimony to this day with the Rafi's solos,"Badi dher bhayi....." "Duniya na bhaye...." a majestic comparision to the already accepted popular numbers like "Hari Om.." and " Oh Duniya ke rakhwale...".

That Mannadey would scale new heights with this film was a dream come true for him and all fans of SJ.

Let us not forget that till then Mannadey was more identified as a Bhajan singer, and it was SJ's ingenuity that gave him those lilting numbers in Boot Polish, Shree 420 and Basant Bahar and later on crstallyzed with Chori Chori, Ujala and so on, establishing him as a romantic singer too.

SJ resented all the snide remarks that went into the air on handling such a complicated and complex theme like Basant Bahar, manifesting with a melodious "Nain mile chain kahan .." score which even Anil Biswas could envy and wished he could compose a score like that.

Shankar later on after the success of their music recalls the insinuations faced by them before storming the formidable citadel held so strongly till then by Naushad, Husnlal Bhagatram, C.Ramachandra, Anil Biswas, S.D.Burman, and their likes,

but it was only C.Ramachandra, Shankar recalls has stated that "these lads SJ will make us all run and will cause a landslide in Hindusthani film music"

How prophetic, amazing and intuitive forethought.

Rgds
ssmurthy

Mars and Movies: The Awesome and Amazing Amiya- SJ Association.

The

Genesis of the beginning of a subtle and sensational bond
The Awesome and Amazing
AMIYA-SHANKAR JAIKISHAN
ASSOSCIATION (By ssmurthy)

Prelude:

It was an unusual day, as Shankar was busy preparing for a rehearsal as he briefed Jai about the impending visit of a film maker whom he invited, for a hearing of some tunes, he thought, would be to the film makers liking, having got an inkling of the proposed subject theme, under contemplation.

The gentleman in question was getting late, and as it was getting well past afternoon, Jaikishan was becoming restless, as the time for his english movie matinee rendezvous was nearing,

Observing all this was Shankar, while reprimanding Jai, chided him, giving him his early lessons on commitments. Jai then gave in to his senior partner and touched up the base tune composed by Shankar with the famous (to become) flourishing on the harmonium within the next half an hour or so, and what novelty he embellished the tune with, is fondly remembered by Shankar ever since.

Enter Gentleman Amiya :

The gentleman in question was the sensitive film maker Amiya Chakraborthy and the tune "Aiye mere dil kahin aur chal" (not yet in the word format) and the Film "Daag".

This was how the Amiya Chakravarthy - SJ association began and a string of emotion filled movies like "Patita" ,"Badshah", "Seema" "Kathputli" "Apne Huye Paraye" and so on, with a neat social message packed with some amazingly awesome music emerged, bringing in an authentic connosiers delightful debate on the horizon, whether "The SJ - Amiya combo was a shade subtler vis a vis the RK -SJ combo".

Amiya's dilemma and thespian Dilip:

Amiya had thespian Dilipkumar in mind for the lead role, but was hesitant in view of the premium price he commanded those days. Soon Dilip came to know of this and did not brook his price interfere with the role. And what a performance he gave, playing the die hard alcoholic, smitten between the pangs of love, the compulsions of his addiction and his yearning for his mother, deservedly bagged the first FF award for acting in the year 1953, which was otherwise dominated by Bimal Roy for Do Bigha Zamin, Meena Kumari and Naushad Ali for Baiju Bawra.
The arrestingly breezy and fleeting harmonium beats and the straight to the heart - felt words "Aiy mere dil kahin aur chal, gham ki duniyan se dil bhar gaya, dhoond le ghar koyi ek naya ......"
leave you transmuted at the vagaries of helplessness, finding solace in philosophic askance in an utopian world of wishful thinking.

This song had also three versions;

When you have a sozzled up Dilip wallowing in a morass of self pity erasing his woes of misery,

Again the Lata version when you have Lalita Pawar pleading Nimmi to croon this song as a consolation holding her last breath, awaiting the return of her son, who has gone to buy those life sustaining medicines and in the process gets lost in the stupor of his drink,only to find his mother lost for ever. SJ's background score depicting the death scene is serenity beyond expression and Dilip's acting soon after he arrives and realises his mother is no more, is poignancy, hard to emulate and can be treated as an acting lesson for alltime.

We also have this song in the beginning, as Lalita Pawar welcomes arrival of her son reaching for him at the outskirts of her village to the opening strains of merry accompaniment and again in the grand finale as a reformed Dilip kicks the bottle for ever, returning back in prosperity and gets united with his much relieved lover.

If there are two numbers which can be voted for their novelty among the lesser known but immaculately crafted ones, recall the numbers,

"Hum dard ke maron ka ,itna hi fasana hai,

peene ko sharabe gham, dil gham ka nishana hai"

and

"Koi nahin mera is duniyan me, Aashiyan barbad hai...."

both these songs heighten the impact of helplessness as the script warrants, through the vibratingly silken smooth voice of Talat, no wonder the numro uno, opted by most celebrities then, for melancholic and romantic songs.

In between you have "Yeh dekho, kaise hai aaya zamana..." in a lighter vein by Lata and company.

"Preet yeh kaisi bol re duniya...... .." a forlorn and pensive Nimmi voices her concern of subconscious love for Shankar (Dilip's name in the film) and what a subtle melody, composed in a style, that was a token tribute to the master composer Naushad Ali for whom Jai had a lot of regard, while Shankar respected Chitalkar.

and you have that everlasting and haunting Lata solo

"Kaheko dher lagaayi re, aaye na ab thak balama...... ."

a cry in wilderness expressing her anguish agonizingly, the bitter predicament of a lovelorn damsel in distress over her alchoholic lover.

Interestingly Dilip Kumar amidst so many Naushad numbers has become synonomous with this SJ tune "Aiy mere dil kahin aur chal" as much as Raj Kapoor with "Awara hoon" and Dev to toast with "jiya ho jiya ho jiya ho."

rgds

ssmurthy

ssmurthy

Shankar Jaikishan: A Retrospective Tribute

Prelude

Shankar being elder to Jaikishan by nearly half a score of years should have logically gone first. If it had happened that way Jai's position would have been similar.The disadvantage of being Shankar Jaikishan is as true the advantage of being Shankar Jaikishan. Both had reaped unprecedented success as music directors while both of them were living.

Salient features on sharing of workload :

To meet the workload from the plethora of films coming as a bounty in the wake of their resounding commercial viabilty, inevitably lead to a standing arrangement between the two.

The title songs, theme tunes,classical music and,the dance compositions which forms the most difficult part of song composition would be done by Shankar being a one time dancer himself.,

Whereas the softer tunes, romantic numbers, the more modern ones and the arduous task of scoring background music was done by Jaikishan. Naushad sab is on record on how Jai had the rare ability of instant mental notation once the film was unreeled for the background score and what a dream score it would be with its telling audiovisual impact on the viewer.

While the contours of day to day functioning were so distinct it was inevitable that there should have been disharmony and disarray immediately consequent upon Jaikishan's sudden demise and Shankar taking on those extra cudgels shared by Jaikishan.

It took some time naturally for Shankar to readjust and it is sadly this transit phase when Shanker was value judged as a solo composer and the commercial viability of Shankar at stake.

As a natural corrolary would it not have been Jai's fate as well?

In the aftermath of Jai's exit:

the year that Jaikishan passed away (1971) SJ had between them no fewer than 17 releases and bulk of those have flopped by the time Jai passed away.

But the moment Jai died only his success over the 22 years was remembered while Shanker had to carry the full onus, all by himself not only the flops that had already come in the year 1971 but the failures immediately after Septembe12 1971, though most of those compositions pertained to Jaikishan.

The harsh truth is that SJ's image broke when Jai so suddenly shuffled his mortal coil and Shanker had all by himself to pick up the pieces. A couple of immediate boxoffice hits (which were SJ's forte till then ) would have helped and rejuvenated Shanker from the sinking morass of depression he found himself in. But he had no such luck. Shankar fought what was at best a gallant rearguard waterloo.

Lady luck and Glamour kid Jai :

That is called luck for Jaikishan. Could it not be said Jaikishan was born to Lady Luck. He was this lady's glamour kid from word go.Jai patronised only the most modern restaurants at Churchgate in Bombay. His aura was built around his handsome semblance, endearing personality, his marriage to a socialite like Pallavi had added to his charisma. It was said that Jai would be the first person sent for no sooner Shammi Kapoor signed a film giving the composer a vantage position in the industry. Jaikishan had a tongue coated with honey. He only made friends and is amazing for one who was so enviably succesful all through his career. His death revealed that he was amiable with the entire industry . Shankar candidly spoke on these aspects of Jai which were his natural traits in an interview with Amin Sayani.

Shankar, Lata and Sharada :

Shankar never had the need for dealing with the commercial and PR aspects with film producers so long as Jai was alive and the need to curb his inbuilt outspoken trait of wearing his heart on his sleeve did not arise. In fact his rocklike stubbornness which had paid him dividends while the going was good was now a detrimental factor. Mind you when Shankar was asked why he chose Sharada as a singer who is a nonentity and a nobody, he nonchallantly replied that Lata also was the same when SJ chose her for the songs of Barsat.

Lata's word counted a lot in the industry at the time when Jaikishan died, and unfortunately, (for whatever reasons) Sharada did not turn out to be the Midastouch Shankar anticipated from her and Lata faced no threat ever from either Sharada or Shankar.

Shanker was a broken man by now, with the wind against him and with most of the bigwigs in the film industry havng deserted him, Shankar's pride of self respect now was mocking indignant when he was denied the large orchestra he was used to tantamounting to one's hands being tied to one's back.

Inscrutable are the ways of Nature, the duo's rehearsal room at Famous studios which many moons ago had hordes of producers throng its corridors waiting in anticipation with a thick wad of notes to sign the Silver Jubilee music directors has since dwindled. Yet holding his head high in the light of his bereavement from Jaikishan and his disillusion around not being recalled to RK, he still waged a relentless battle against all odds for the rest of his life and passed away on 26th April 1987.

RK's Intense feelings at Shankar's demise:

One person who could have resurrected Shankar at this stage was RK who was his maker and unfortunately his nemesis also and RajKapoor was seen to feel intensely for the man on his death as he made a personal appearance on Bombay TV's Chaya Geet, to pay his salad day's composer a tribute.

Nostalgia:

As I passed my boyhood, nourishing on SJ's music and passed on to adolescence and into the formative years stealing a prosaic glance into the sands of time I recollect how the S-J wave had gathered momentum just when I was leaving the harbourage of boyhood and peaked just when I was all set to sail the turbulent sea of life. Now, I am immune to the sting that S & J are no more in flesh and blood but their melodies in the form of memories live on and giving us cause to remember them in a large canvass of assosciated artistes, singers, accompaniments, arrangers,instrumen talists and so on.

It is perhaps, the Almighty's decree that Jaikishan ji be relieved at the top of the high tide and not be left forlorn by a receding wave,leaving the burden of the cross to be borne by his illustrious robust colleague Shanker for the next sixteen years. Even as the pain of their loss is dredged up along with the past, we continue to draw sustenance from the wellsprings of S-J's timeless nuggets.

May their souls rest in peace.

A humble tribute to the legends who made our moods and for me and am sure for most of us it is SJ always irrespective of whose tunes they are S or J.

with humble regards
ssmurthy

Shanker Jaikishan. Dholak. Rhapsodies in Rhythm.(COURTESY : www.punelifestyle.com)

Rhapsodies in Rhythm The inimitable Dholak rhythms of Shanker Jaikishan

--------------------------------------------------------------------------------------------

'Andaz Mera Mastana' is what Shanker Jaikishan (SJ) seem to say in every beat of their songs! In this path breaking article, Anand D. Theke presents THE rhythm guide for the discerning Hindi Film Music (HFM) Fan. A fascinating exploration of the rhythms, which are the very heartbeat of hundreds of SJ songs with a special focus on the dholak. And this certainly is a delectable treat for the true music and HFM aficionado.

Some tips ... Keep your SJ song CDs loaded as you read this. Often, you might get lost in the song and would need to take some effort to return to the point made here! One simple technical point in the terminology of dholak - theka is the central rhythm pattern and a laggi is an inspired improvisation.Over to Anand D. Theke, as he makes a grand beginning in the true, characteristic SJ style! ...

It is 1960. SJ have firmly established themselves as the No.1 Music Directors in the Hindi Film Industry. As the 50s unrolled, SJ have matured as composers, and now find that their exploits are the talk of millions!They launch into the next decade with a showcase extravaganza - A. Andaz Mera Mastana - Dil Apna Aur Preet Parayee (1960)

. 'Andaz Mera Mastana' begins with the enthralling 100 second plus introduction ... which uses the 100 plus SJ orchestra to its limit ... trumpets, saxophone, cello, piano, guitar, violins ... you name it ... in fact, every instrument renders the atmosphere ...with its own colour ..and then the ghungroos ... and then the piano ...and then the accordion flaunts itself ... to introduce Lata with aplomb ... and as Lata sings the opening lines ... Andaaz Mera Mastana ... accompanied by bongos ... listen to the mukhda carefully ...
Andaz Mera Mastana ...
the bongos lend an ebullient rhythm ...
Maange Dil Ka Nazrana ...
the bongos continue ...
Zara Soch Ke Aankh Milana ...
the bongos continue ...
Ho Jaaye Na Tu ...
the bongos continue ...
~*~*~*~*~*~*~*~*~Deewana ...
the dholak makes a~*~*~*~*~*~*~*~*~spectacular, splash of an entry ...to accompany Lata & the chorus throughout the song!

Now, watch out for the next line - 'Mera Dil Kaha Hain' ... and listen to the laggi!Now this line gets repeated a total of four times in the song - once at the beginning and then after every antara. And everytime there is a diferent laggi under it ... four different laggis are played on the same line every time it occurs!Of course, all fit snugly into the words and the melody of the line. And these laggis are repeated over the song, keeping Lata and the chorus in vibrant company!For most listeners, this complexity is not evident at all!In fact, check it for yourself - when you listened to Andaz Mera Mastana, did you find that your fingers had unconsciously caught up with the rhythm on the nearest playable surface? Millions have found that to be the case, and it is here that unknowingly SJ have caught you in their magical rhythm spell! It is almost as if one has given SJ that pat on the back ... well almost!

All SJ have done is that a fairly inricate, complex rhythm pattern has reached your ears and sounded so friendly, so simple, that it straight makes a place in the heart! Simple, ain't it? Well, ask any contemporary musician or music director to recreate even a little of this magic! And that was the secret of SJ! High quality, complex compositions became simple enough for the common person to appreciate! That is genius! It is because though SJ may have departed ... their work remains as alive as ever!

Shanker Jaikishan - The Rajkumars of Hindi Film Music (HFM)For the uninitiated, here is a quick background to Shanker Jaikishan and their oeuvre.

Shanker Jaikishan (SJ) began their illustrious career in 1949 and for just over two decades, this duo stormed the world of Hindi films with a brand of music that has a few parallels in the history of Hindi Film Music.

SJ conjured their magic by harmoniously blending various musical elements. First of all - the melodies were sweet and simple. Legends like Lata, Rafi, Mukesh and Manna Dey rendered these melodies and the value they added is evident; Hindi Film Music may perhaps never outgrow that kind of impact.

SJ's formidable orchestra enhanced and embroidered the melodies with complex contras and interludes and the result is for generations to behold - intricate, ornate tapestries of songs!

With SJ wielding the baton, many instruments earned a distinction - the accordion, mandolin, violin, flute & cello among others developed an unmistakable identity.
And finally there were the SJ rhythms! Ebullient, bold and delivered with exceptional panache, the rhythms lent SJ compositions a unique pace and a distinct cadence which added unprecedented value to the images on screen and created THE mood in the listeners mind and heart ! In fact, like their songs, the rhapsodies of rhythm that SJ conjured, have successfully outlived the images and are the focus of attention in this article.

SJ used dholak, dholaki, tabla, bongo and congo as their main percussion instruments. In addition, they used instruments such as taasha and 'chandu' as well. Cymbals, khanjiri and maracas provided ample side rhythm support to the lead instruments. And SJ were such masters in using ALL of these that one could dwell on each of these instruments in their own right at length!

This exploration focuses on the the dholak whilst trying to keep some of the others in focus too!

Even before SJ broke upon the scene, a few venerable music directors like Ghulam Haider, Ghulam Mohammed, Shyamsunder etc. had established the dholak as a main accompaniment instrument for Hindi film songs. One can almost seperate the transformation, before SJ, the instrument was used with a distinct and conventional Pujabi flavor, its main purpose being to provide just an adequate support to the melody. Variations of the core theka, if any, were far and few between. Even their contemporaries, notably 'rhythm king' O.P.Nayyar or even Naushad, confined themselves to this established framework of dholak playing. SJ changed all that!

Let us move to specific examples ... Listen to the weighty theka which accentuates the feel behind these songs which are actually soft, slow paced numbers!
Ek Bewafaa Se Pyaar Kiyaa (Awara 1951)Use Mil Gayee Nayi Zindagi (Halaku 1956)Aansoo Ki Aag Leke Teri Yaad Aayee (Yahudi 1958)Mere Sapne Mein Aana Re, Sajana (Raajhath 1956)

The dholak not only provides a very weighty percussion support; in all these SJ melodies, the dholak actually lends a touch of sheer beauty through laggis and variations; after any pause the beginnings are different and distinctive, the joints between thekas and laggis are subtle & swift; little wonder, they sound seamless because incredible as it might seem - they actually are!

With every film, SJ were making significant contributions to the realm of dholak playing for HFM, even adding some of their own creations in original thekas and firmly establishing their own style of dholak playing.

And SJ continued to shower the Hindi Film Music space with such rhythm fireworks! A resplendent range of laggis, laggis which insidiously resided in the very heart of the main rhythm patterns. And almost every time when the dholak came into the song it did so with great style! Often, it would launch after a pause, or at the beginning of the every mukhada.Most dholak players would be content with a 'Ta tirkit taktaa' type of construct for such a place, but not SJ's dholak players. They had their own innovative variations here too. Let us turn to another SJ classic as an indepth example in the soulful, heart-wrenching ... B. Tera Jaana, Dil Ke Armaanonka Lut Jaana - Anari 1959 For best results, it is strongly recommended that you listen to the song, if you are not doing it already! (Apologies to repeat this ... but it is important) In all probability, you would find yourself flitting between reading and listening! And that is exactly what happens all along this SJ beauty - the theka gracefully keeps giving way to the melody and creates the backdrop. When the melody recedes to create the melancholy mood, the theka only emerges again to take centrestage ... that pattern repeats throughout the song! The core 'weighty' theka which is interspersed throughout the song and holds it all together is ... "Dhig dha dhig taa Tik taa dhina". The song begins with a brief prelude of violins and an emphatic iano playing in a combination and they quickly gain in intensity to create a sombre mood ... Lata Mangeshkar comes in with ... Tera Jaana ...
Tera
Jaana

The dholak theka begins on the na with a damp Dhig!
Listen carefully ... as Lata sings Tera Jaana ... the dholak joins in on the na with the Dhig which is itself dampened and stressed! That helps significantly to carry through the melody as well as creates the mood right from the word go! Now as Lata takes off on the words 'Koi Dekhe ...', a laggi "Dhig, dha dhig taa, Dhig, taa tik taa" comes in line with the flow of the words!
Tera Jaana is also one song where the interludes have almost become legendary! Most SJ fans remember little nuances and often sing them out too! Tera Jaana also stands out as a rare example of violin interludes being remembered and hummed! Now another characteristic SJ style was to have interludes, which were of a completely western flavour! In the case of Tera Jaana, it is the violins at various pitches and the guitar which strums along, and do not miss the shehnai and flute coming in small tender 'pieces', but ever so sweetly, to create a touching pathos ...As you listen to the song, carefully savour the interlude before the second stanza (Jab Jab Chanda Aayega ...) the mandolin comes in here and as the violins and the guitars create the mood, dont miss the bells ... and the grand orchestration seems to give way to Lata with that fleeting piece of the shahnai!
And we reach ... Jab Jab Chanda Aayega ...Come to the flute-interlude before the line "Main Rokar Rah Jaoongi" and that is when the laggi begins. It carries through this line and surprisingly, on the next line "Dil Jab Zid Par Aayega" switches back to the core theka on the cue of "Dil'!
Main Rokar Raha Jaoongi
Dhig, Dha Dhig Taa, Dhig, Taa Tik Taa
Dil Jab Zid Par Aayega
Dhig Dha Dhig Taa Tik Taa Dhina
Moreover, the changes between the theka and the laggi just do not always follow the traditional usage of a joining piece. With SJ rhythms, you have to expect the unexpected! And there is more!
After this stanza, listen to the theka accompanying the final 'Tera Jaana, Dil Ke Armaano Ka Lut Jaana'.It unexpectedly falls silent around 'Lut', only to be taken over by the laggi on the 'na' of 'Jaana'!
Literally, on the other hand, a subtle 'takey titkit' bit facilitates the change from the theka to a small swift play on the baaya at the end of 'Ban Ke Taqdeeron Ka Mit Jaana'!
It is this unpredictability of what to expect and when, taken together with the very weighty playout of the theka and the laggis that make this song's dholak accompaniment, a treat for the sensitive listener.
Yet another example of the dholak accompaniment to a sad, slow paced song is the title song of Dil Apna Aur Preet Parayee. There are surprisingly, no fireworks here, but the theka is so sweet and soul-stirring in itself, it does more than carry through the melancholy of Lata's rendering. "Ye Hariyaali Aur Ye Raasta' also fits into this category of sad songs with grave theka accompaniment.
OK! So this very weighty theka goes with the sad and melancholy, right? That is what most people would come to believe! SJ establish that beyond any doubt and then bounce back and throw all their weight to get you in a swinging mood in "Ye To Kaho, Kaun Ho Tum, Kaun Ho Tum" (Aashiq 1962) using this very weighty theka! Raj Kapoor actually dances to this theka on screen and many film buffs too had to do likewise in theatres!
SJ's dholak really comes into its own on those numerous fast paced, swinging songs many of which Lata Mangeshkar rendered majestically. Most of these accompaniments, intricate as they were, were extempore and therefore it is rather difficult to discern a pattern amongst them.
However, the discerning ear can still find a certain framework can:
1. Begin with the core theka ...2. Break off into a laggi, usually on the third line of the opening of the song3. Have a few more laggis into the song's opening (mukhda). It gets repeated after each stanza and within the stanza, as it fits well into the flow of words.4. Swift transitions between the theka and a laggi, on many occasions introduce those 'silences' as in the Tera Jana example5. Fill in the gaps between lines with dholak chaati (daaya) interlude, 6. Finally, break off after a pause with a small piece that stands out in itself !
Also remember that characteristic trade mark dampening of the first beat (the one of sum) of their theka playing for dholak.
Let us now take up another classic example fromthe SJ repertoire which also highlights our framework above.
C. Main Piya Teri Tu Maane Ya Na Maane - Basant Bahar 1956 535 KB OST flute!Many Hindi Film Music Fans believe with Basant Bahar, SJ did a Naushad! Or actually matched or even surpassed him! And what better 'jugalbandi' for music buffs when such masters treated them to this quality of music!
The song itself is a classic bhajan kind of a composition in the preferred raag of SJ - Bhairavi! A musical ode to Krishna - the song has the flute of Pannalal Ghosh 'singing' a duet with Lata Mangeshkar. (Many believe it is the sound of God!) And the dholak is there all along, lending a cadence to every melodious overture of devotion! Somewhere along the way, a sense of the erotic comes in and one key cause of it is due to the dholaks blending both moods! Listen to this laggi 'Tirkit taghenta naak" gushing all over this song!
On screen, this song too, has those patent one minute SJ preludes, but this time it is with the sublime long flute piece ... the violins pick up the final notes from the flute to announce the entry of the dancing heroine ... Lata comes in with Main Piya Teri ... a soft almost tender and yet earnest note ...And as she 'states' Main Piya Teri' the dholak surges all over with the theka "Dhik dhatik ta Dhadhi".and the flute wafts in ... clearly in a mood to serenade! As we move to the third line ... Lata implores the Lord with the line 'Kaahe Ko Bajaaye Tu Mithi Mithi Taane' ... the dholak breaks off into a laggi "Dhadhag da Dha tin naak."Look at the interludes ... especially the flute pieces ... which have 'Tirkit taghenta naak" all over it!And the variations continue! The first line of the stanzas, 'Murali Ki Lai Ne Dil Mera Chheena' has the core theka, but on 'Raag Uthaye Maine Raag Uthaye' has the 'Dhetta gadhaa, Dheta kataa' laggi!When the mukhda line of Main Piya Tera repeats in the stanzas, 'Dhin, dhagid Dhig tinaa ta" laggi takes over!
Throughout this SJ classic, when the mukhada repeats after every antara, it features a very subtle interplay of the daaya and baya. Do not miss that! A song that truly enchants and like the sangam of Radha & Krishna, the dholak rhythms simply dissolve in the meoldy!
D. Haaye Tu Hi Gayaa Mohe Bhool Re - Kathputli 1957Kathputli was a score which had SJ innovating at their best!The title song came in two versions. The fast version was sweet and yet the slower version of the song remains as some kind of landmark - most people just cannot make out what that composition is and yet it stands out as an extraordinary piece of work! You can catch some shades in common between these songs especially their rhythms.'Haaye Tu Hi Gayaa Mohe Bhool Re' also has that one and a half minute preludes.And it has a very unusal beginning ... a medley of various instruments ... which create an energy of its own ... listen to the song carefully because it is here that you can listen to the silences of the dholak!The key rhythm characteristic of this SJ gem is in the transitions! Watch out for the points when the dholak switches from a theka to a laggi and it is difficult to make out that the switch is made! And the switch is made through 'poignant silences' or rests!Catch that moment in the mukhda itself ... when the dholak switches from "Mohe Bhool Re' to 'Main Hoon Tere Jeevan Ki Raagini'.
The stanzas of this song have a galaxy of variations!On the first line of the stanza, 'Tere Naghme Taare Bankar, Chamke Sab Ke Pyaare Bankar, the core theka plays ...... and over the flute interlude that follows the dholak DOUBLES the pace to continue in that mode through the rest of the stanza only to conclude on the sum after cutting the pace to HALF!And when the mukhda line comes in again - 'Haaye Tu Hi Gaya' the 'Tikdha tirkit Takta tirkit' construct gives it company!
In the second stanza the first line of the stanza 'Phir Se Aisa Raag Suna De' gets the core theka, only to be followed by a 'Dhettaagadha Dhettaakataa" laggi on the first 'Jhoom Uthey Yeh Hum Gham Ke Maare'. When you listen to this song do not miss the 'kradhin tirkit taktaa tirkit' which is splashed over all breaks!
Kathputli has rated as one of SJs finest scores for a film. And in all the big popular hit songs, Haaye Tu hi Gaya is often lost by many fans! However, this rather unusual gem of SJ too is a song which brings credit to Sj for the superlative composition and arrangement! Make it a point to listen to it! Highly recommended for the true blue SJ & HFM fan!
E. Aate Jaate Pehloo Mein Aaya Koi - Yahudi 1958Now this song begins with a crackling bongo and that crackling sound becomes a motif for the dholak to embroider this SJ tapestry! As the song unfolds ...Aate Jaate Pehloo Mein Aaya KoiMere Dil Batla Na Chhupa ...and we come to the third line ...
The magic of the dholak in this song really takes off here!
Aaj Se,Main Tujhe,Dil Kahoo,Ya Dilruba ...
Listen to the dholak ...as it breaks off into a beautiful laggi here!
Teri Sunoo Aur Sunti RahooMain Apni Tadap Chhupa LooPhir Bhi Kaha Tak Sabr KarooMain Khud Ko Kitna Samhaloo?
The first two lines of the stanza are, both adorned with different laggis.On 'Phir Bhi Kaha Tak Sabr Karu', the fascinating 'Dhigdhati Naakadhin', comes in!And watch out this very laggi is played on the closing of 'Mere Dil Batlaa Naa Chhupaa'.The second stanza Mast Nazar Tu Ne Yeh Kya Kiya ... has the same fascinating pattern repeated.
And now let us expect what is unexpected what else can one do with SJ? As we go to the last stanza ... Tera Tassavur Tera Hi Gham Labon Pe Tera Tarana ... The core theka is playing here ... but now ...'Neend Se Bhi Ab Kehti Hoon Main' has another beautiful rippling laggi giving saath!
And on the final line try and catch this silence ...
Tu Unko Khwab Mein LanaThe dholak suddenly falls silent and gives way on na!
A subtle, racy 'Dhig dhitta Tak dhitta' joins in with the mukhada and repeats for the last time in the song. 'Mere Dil Batla Naa Chhupa'! And did you notice that all the Aa Aa Aa Aa Aa Lata refrains have a cheerful bongo and of course the mandolin 'playing' along?
When the songs were fast paced, SJ actually came into their own! The core theka the variations, the silences makes one wonder and realize that 'Tera Tassavvur, Tera Hi Gham, Labon Pe Tera Tarana' was something that is really left with us and SJ meant every word of it! Here is a list of 25 SJ gems which are studded in enchanting rhythm patterns and each is an ornament in itself! Mind you the actual bnumber of songs is much longer, we have chosen 25! Listening to these masterpieces is not just entertainment of the highest order but also can be an education!

No. Song -Film-Year

-------------------------------------------

1. Ramayya Vastavayya' (Shri 420 1955)
2. Kar Gaya Re Kar Gaya Re Kar Gaya Mujhpe Jadoo' (Basant Bahar 1956)
3. Manabhawan Ke Ghar' (Chori Chori 1956)
4. Hai Tu Hi Gayaa Mohe Bhool Re' (Kathputli 1957)
5. Bagad Bum Bum Bum' (Kathputli 1957)
6. 'Dil Mein Pyar Ka Toofan' ( Yahudi 1958)
7. Meri Jaan Meri Jaan' (Yahudi 1958)
8. Tera Jalwaa Jisne Dekha' (Ujala 1959)
9. Ho Mora Naadan Baalama' (Ujala 1959)
10. Andaaz Mera Mastaana' (Dil Apna Aur Preet Parayee 1960)
11. Mera Dil Ab Tera O Saajana' (Dil Apna Aur Preet Parayee 1960)
12. Tum Roothi Raho' (Aas Ka Panchhi 1961)
13. Sau Saal Pehle' (Jab Pyar Kisise Hota Hai 1961)
14. Kashmir Ki Kali Hoon Main' (Junglee 1961)
15. Din Sara Gujara Tore Angna'( Junglee 1961)
16. Tujhe Jeevan Ki Dor Se' (Asli Naqli 1962)
17. Wo Chale' (Hamrahi 1963)
18. Wo Din Yaad Karo' (Hamrahi 1963)
19. Bahar Banke Woh Musquaraye' (Ek Dil So Afsaane 1963)
20. Tumko Hamari Umar' (Aaye Milan Ki Bela 1964)
21. Aaye Re Din Sawaan Ke' (Gaban 1966)
22. Maine Dekha Tha' (Gaban 1966)
23. Paan Khaye Saiyya Hamaaro' (Teesri Kasam 1966)
24. Chalat Musafir' (Teesri Kasam 1966)
25. Hare Kaanch Ki Choodiyan' (Hare Kaanch Ki Choodiyan 1967)

Once you savour music compositions and arrangements of this order, it is not a mystery why SJ were the foremost music directors of their times and left behind templates for others to follow. They innovated and their creations helped them stay at the top. Variations also came through consistently. Like in all other departments, SJ's dholak players too invented new thekas and rendered them in novel ways too! Clearly, it was team effort of top class mucisians doing what they do best ... make good music!Almost all of the dholak songs would be characterised by a variety of laggis spread around at appropriate points along the melody. Invariably, a laggi would be played on the third line of the mukhada. Examples of this are 'Main Piya Teri', 'Aate Jaate Pehloo Mein Aaya Koi', 'Tera Jalwa', 'Tum Roothi Raho', 'Ek Dil Aur Sau Afsane', 'Ek Bewafaa Se Pyar Kiya', 'Aansoo Ki Aag Leke'. Within the antara, laggis would appear as demanded by the flow of the words and the melody.
A chef might give spicy 'tadka' to the daal. Almost in a similar vein, every SJ dholak song features at least one laggi within the antara. Of course, these inspired improvisations appear effortlessly and delectably blend into the song. Laggis would also be played over the interludes between lines of an antara. And more often than not, they would appear over the mukhada and would be repeated at the end of an antara. And this is one element that made songs with simple melodies so memorable and made a home in every heart!

Let us take a DOZEN DHOLAK SJ examples in brief ...
We begin with two from Yahudi (1958). 1. 'Dil Mein Pyar Ka Toofan' has the theka 'Dhita Dhindhinak' resounding all over the song all over the place!And that theka created a tempest ... a listener almost finds himself airborne!
2. 'Meri Jaan Meri Jaan' 'Dhig Dhadha Tik Dhadha' is the core theka.Go to the line 'Koi kya kare haye, koi kya kare?' and listen to the long dayaa-alone piece over it!Yet another innovation which made this song simply remarkable for the dholak accompaniment. 3. 'Haye Tu Hi Gaya Mohe Bhool Re' has 'Tigdha tirkit Taktaa tirkit' or 'Kradhin tirkit Taktaa tirkit' as the core theka and this song has many siblings ... Main Piya Teri', 'Tera Jalwa Jisne Dekha', 'Manbhavan Ke Ghar Jaaye Gori', 'Dil Ka Na Aarna Aitbaar Koi', 'Nache Ang Ang Tere Aage', 'Aansoo Ki Aag Leke', 'Bhaiyya Mere Raakhi Ke Bandhan Ko Nibhaana', 'Begaani Shaadi Mein, Abdulla Deewana'.- all have the stamp of 'Tigdha tirkit Taktaa tirkit' or 'Kradhin tirkit Taktaa tirkit' as the rhythm refrain!
4. 'Dil Apna Aur Preet Parayee' both the mukhada and the antara begins with a restrained 'Tak tirkit Tak tirkit'. Or in 'Tum Roothi Raho', we find the simple but effective 'Taktaktak Taktaktak"!
5. Let us now consider one of the most exciting examples ... Let us begin with the simpler version which we get in 'Din Saara Guzaara Tore Angana'.Listen to the 'Dhirdhirgat Dhirdhirgat'. When and where? You cannot miss it! Simply unmistakable!6. And now go to 'Kashmir Ki Kali Hoon Main' where you will meet the same old 'Dhirdhirgat Dhirdhirgat' in a truly pulsating form!And towards the end of the song ... 'Dhirdhirgat Dhirdhirgat' changes its form to 'Dhirdhirgat______ Dhirdhirgat Dhirdhirgat' [a (1_+ 2) variation]to launch the mukhda ... 'Kashmir Ki Kali Hoon Main' and takes the listener completely by surprise!Many SJ songs ... 'Bahar Banke Woh Musquaraye', 'Surat Hasin, Lagata Hai Diwaana' and 'Maine Dekha Tha Sapanon Mein Ik Chandrahar' have the same 'Dhirdhirgat Dhirdhirgat' in a simple [1+1+1] format! Check it out!
7. Let us take yet another example from Gaban - just to listen to the dholak baya!'Ehsaan Mere Dil Pe Tumhara Doston'.Violins begin this song in characteristic SJ style and Rafi goes solo with the first line of the mukhda,and when he repeats the mukhda just watch the dholak baya come in playfully! And listen to that baay throughout this number! Little wonder that the SJ fan too reciprocates the gratitude that rafi exudes through the song!8. 'Ghar Aaya Mera Pardesi' from Awara is possibly one of the exemplary songs for having a wonderfully brilliant theka and a range of laggis all around. Although strictly not a dholak song (for it was a dholaki song), the recording of this song was stalled for hours because no one - Raj Kapoor, SJ and their entire team was happy with the rhythm accompaniment. Someone suggested the name of a dholaki player called and Lala Gangawane was ushered in called - a tall strappling man carrying a little dholaki walked into the studio well past midnight! As SJs assistant and the man in charge of their rhythm section Dattaram has mentioned "Lalabhau poured out his heart in the song, he played every possible variation, every possible nuance and the result was pure magic". Do listen to this song once as it mingles with Lata, the mandolin and the chorus as well as the range of instruments!
9. When you listen to another SJ classic - 'Baat Baat Pe Rootho Na' which too has extraordinary dholak accompaniment, make it a point to catch the laggi "Dhin taak taa dhin Dhi taak taa dhettaa" played over the last line of every antraa for e.g.,"Jeevan Safar Mein Sukh Ho Ya Dukh Ho, Rona Padega Akele". 10. Now 'Manbhavan Ke Ghar Aaye Gori', presents another fascinating imporvisation! After every antara when the line 'Hame Na Bhoolaana' the dholak effortlessly breaks into a double paced laggi!
11. 'Dil Ka Na Karna Aitbaar Koi' has 'Dhitta ge tin, Titta ge dhin' as the core theka construct. OK? Now years later over the 'Tumhari qasam tum bahut yaad aaye' & 'Sau Saal Pehle' has the same construct repeated!12. 'O mora naadan baalma' Come to the line 'Na jaane ji ki baat, o hoi, na maane ji ki baat' and catch the the dayaa-alone play over that line. It is simply astounding! Two LP songs immediately come to mind ... Hasta Hua Noorani Chehra and Ooi Maa Ooi Maa Yeh Kya Ho Gaya ... now is this what you call inspiration?Such variations were 'routinely' deployed by SJ so to speak ... so much so that professional musicians working in the film ndustry today confes that it is simply impossible for the to even emulate such a feat!
The 'Dhigtak Dhigi dhagi' chapter!
Amongst all the SJ dholak theka innovations it is the zesty 'Dhigtak Dhigi dhagi' which has somehow defied boundaries of space and time! Commonly known as Dattaram theka, after the person who created it, SJ used it wonderfully in several of their songs. Actually, the theka can be seen to evolve over a period of time. The theka seems to have come into its own after SJ began using it abundantly over the years! And so did many other music directors! Check out the development over a decade and a half!

• 
  10 SJ songs based on Dattaram Theka
  Film, Year
  Nanhe Munne Bachche Boot Polish, 1953
  Mera Joota Hain Japani Shree 420, 1955
  Pyar Hua Iqraar Hua Shree 420, 1955
  Woh Chaand Khilaa Anari 1959
  Main Rikshawalla Chhoti Bahen 1959
• Main Rangila Pyar Ka Raahi Chhoti Bahen 1959
  Tune Mera Dil Le Liya Shararat 1959
  Rikshe Pe Mere Tum Aa Baitho Dil Tera Diwana 1962
  Jane Mera Dil Kise Dhoond Raha Laat Saheb 1967
  Parde Mein Rahne Do Shikar 1968

This theka captivated the imagination of many composers till the disco theka came in the late 70s. However, even today, the Dattaram theka continues to provide support for melodies in films and even advertising jingles right in the 21st century. Let us quickly take a survey of the other rhythm instruments of SJ and of course the tabla deserves priority.
SJ's used tabla together with the dholak in some slow paced songs. This combination seemed to be aimed at bringing to the fore the sharp chaati sound of the tabla, while the dholak provided the low pitched bayaa support. Listen to this fascinating combination in 'Din Saara Guzara Tore Angana' (Junglee 1961), 'Tumko Hamari Umar Lag Jaaye' (Aaye Milan Ki Bela, 1964) and 'Tumhari Kasam Tum Bahut Yaad Aaye' (Gaban, 1966).
Left to itself, the tabla would usually provide a fully filled-in theka to the song. Consider two songs to ring out this contrast. 'Unke Sitam Ne Loot Liya' (Kaali Ghata, 1951) has the rather insipid, simple waltz-like tabla theka. Come 1956 and 'Aaja Ke Intezar Mein' from Halaku gets a filled-in tabla. The same filled-in tabla is there in 'So Ja Re So Ja Mere' (Kathputli, 1957) as well. A different version of the filled-in accompaniment is seen in 'Ja Ja Re Ja Balamawa' (Basant Bahar 1956).
When the rhythms of SJ created the mood and ambience for a song it often happened so subtly that most listeners experienced the impact without realizing what was happening in the beats in the background and how. Take the example of 'Na Chhedo Kal Ke Afsane' (Raat Aur Din, 1967). The character on screen is inebriated and the tabla keeps to off- beat steps, underlining the stupor of the lady. The theka their tabla keeps in 'Lakho Taare Aasman Mein' (Hariyali Aur Rasta, 1962) is unique and an extension of the filled-in playout form it always followed. When SJ used the Jhaptaal too they have used it in a variety of contexts: 'Tumhare Hain Tumse Dayaa Maangte Hain' (Boot Polish, 1953), ' Kahan Jaa Raha Hain' (Seema, 1955), 'Bhay Bhanjana Vandana Sun Hamari ' (Basant Bahar, 1956), 'Mujhe Tumse Kuchh Bhi Na Chahiye' (Kanhaiyya, 1959) and 'Masoom Chehara' (Dil Tera Diwana, 1962).
It will be an understatement to say SJ gave bongo and congo their own places of pride in the context of Hindi film music. Most of their songs, including their Dholak songs would have an interlude on bongo or congo. Notable amongst these are 'Baat Baat Mein Rootho Na', 'Aaja Sanam Madhur Chandni Mein Hum', 'Dil Mein Pyar Ka Toofan', 'Tera Jaana', 'Dil Apna Aur Preet Parayee', 'Mera Dil Ab Tera O Sajana', 'Kashmir Ki Kali Hoon Main'.
Take a song like 'Sab Kuch Seekha Hum Ne' (Anari). The bongo-congo combination is accompanying this remorseful number at a furious pace. However, the beats are dampenmed and they create the backdrop for Mukesh's soulful rendition of the song. Many an amateur player in their enthusiasm, get stumped with this song, because their rhythm accompaniment gets ebullient rather than sombre!The bongo-combination would follow the changes in pitches of the music when played with a prelude or interlude. Apart from 'Sab Kuchh Seekha Hum Ne', a few examples where this stood out are 'Dhadakne Lagta Hai Mera Dil', 'Tera Jalwa', 'Chheda Mere Dil Ne' (Asli Naqli), 'Kashmir Ki Kali'.
However, the verve of the SJ bongo-congo combination left their impact on milions of listeners ... sample these songs to find out ... Kahe Jhoom Jhoom Raat Yeh Suhani' (Love Marriage, 1959), ' Dheere Dheere Chal' (Love Marriage), 'Hum Matwale Naujawan' (Shararat, 1959), 'Duniya Walon Se Door' (Ujala), 'Aankhon Mein Rang Kyon' (Ek Phool Char Katen, 1960), 'Jab Pyar Kisi Se Hota Hain', 'Chahe Koi Mujhe Junglee Kahe' (Junglee), 'Aiyaiya sukkoo sukkoo' (Junglee), 'Dil Tera Deewana' (D.T.D.), ' Khuli Palak Mein' (Professor 1962), 'Yaha Koi Nahi Tere Mere Siva' (Dil Ek Mandir 1963), 'Hoshiyar Jaane Wale' (Rajkumar, 1964), 'Tere Dil Ke Paas Hi Hain Meri' (Sangam, 1964), 'Chehere Pe Giri Julphe' (Suraj, 1966), 'Unse Mili Nazar' (Jhook Gaya Aasman, 1968).
As with the dholak, there were some very innovative styles of pickup after a pause, or at the very beginning. Who can forget the pickup in 'Sub Kuch Seekha' and 'Chahe Koi Mujhe Junglee Kahe', the unusual ones with slowly released dampings which is also called the bongo slide in 'Kahe Jhoom Jhoom Raat', 'Dheere Dheere Chal', 'Khuli Palak Mein'.There were songs where SJ played the congo and dholak or tabla in tandem for an added effect. Examples are 'Haye Meri Uljhi Najook Nazar'(Aas Ka Panchhi), 'O Shama Mujhe Phook De' (Hariyali Aur Raasta), 'O Sanam Tere Ho Gaye Hum' (Aashiq), 'Har Dil Jo Pyar Karega' (Sangam), 'Mujhe Tum Mil Gaye Humdum' (Love In Tokyo).
Almost every song had a significant component of side rhythm comprising of cymbals (jhanj), khanjiri and maracus. And each had its distinct place within the song. The khanjiri and maracus would alternate depending upon the lines within the song: one would play for the mukhada lines, another would come over the antara lines. And each of them played out the beat to the full, creating a kind of filled in pattern that would swiftly follow the changes in the beat of the main percussion instrument, including those switch pieces we heard earlier. Whenever the jhanj played, it would keep a lovely off beat pattern, in sharp contrast to the traditional and worn out style of 'keeping the beat'.In today's world of synthesized sounds, the rhythms created by SJ and their team continue to sound fresh and also remain as hallmarks of standards for any composer or musician. Many people ask the question: What is it about the music of the Goden Era that makes it attractive even to the teenager of today? The answer is never simple. One of the answers is in these complex rhythms which despite being complex, went in a package that touched the lay person, who probably never even touched a musical instrument in life but firmly believed that it was the song of his or her heart!
This article is meant to be a tribute to the entire SJ team - Shanker, Jaikishan, Dattaram, Sebastian and all those musician masters. It is a humble attempt to recognize these rhythm players and their body of work which remains with us as a treasure of unforgettable rhythms. Here are the men who made it happen with SJ:
Naal: Ambalal, Lala Gangavane. Vibrophone: Anil Mohile, Kersi Lord, Bujji Lord, Farooq, Dheeraj, Salim. Side Rhythm: Jayanti Panchal, Suresh Pardesi, Suraj, Bhosale, Bhagwan Rao, Manohar, Ramakant More. Tabla: Samta Prasad, Abdul Karim, Shankar, Lala Gangavane, Iqbal, Anna Joshi, Lala Ramsingh Pathare, Govind Sattar, Asar. Dholak: Dattaram, Anna Joshi, Ghulam Mohammad, Abdul Karim, Shankar, Sattar, Punyawan, Pankaj Dube. Bongo-Congo: Cawas Lord, Kersi Lord, Bujji Lord, Leslie, Ramchand, Prabhakar Mashelkar. Pathani Dholak: Miskin Khan. Matka: Raambabu, Sardar Balbir Singh. Duff: Dattaram, Ajit Singh. Khanjiri: Faiyyaz. Drums: Bujji Lord, Leslie Fernenades. Chonak: Ganpatrao Mohite, Haribhai.
Anand D. Theke is a Hindi Film Music devotee and a rhythm enthusiast who plays the tabla. For decades he has been enchanted with the rhythms of SJ and has written this article as a tribute. He would like to thank Pune Life Style for providing the web space and also thank you for having read this article. Do write in to Anand directly!