songs of Love in Bombay

Listen to songs of Love In Bombay

1. Jai Kali Kalkattewali.....

http://www.youtube.com/watch?v=At2MWO6kNow

Rest of songs are also there on youtube.

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 · · ·

Shankar-Jaikishan Musical "Live" on 13th November 2010

Shankar-Jaikishan Musical "Live" You Might Attend · Share · Public Event

Time	Saturday, November 13 · 8:30pm - 11:30pm
Location	Dinanath Mangeshkar Hall, Ville Parle East, Mumbai.. Opp V.Parle Station.. Mumbai, India
Created By	Binu Nair
More Info	TOP PROFESSIONAL SINGERS FROM THE STAGE CIRCUIT WILL PRESENT EVERGREEN and UNFORGETTABLE S.J. Hits. Mukesh styled versatile singer SRIKANT KULKARNI - a veteran in his own right has sung along with Lata Mangeshkar on STAGE. He has undertaken 'many' world tours with leading music composers. Very HUMBLE in his approach towards his singing trade. A PLAY-BACK SINGER Too. Hamid Khan, the 22 year lad from Bangalore has been creating musical waves and attracting fans all over by his competent rendering of MOHD RAFI SONGS. Most of his dates get booked - as INVITATIONS TO SING MOHD RAFI SONGS pour from all corners of India. A very humble person, known for his time discipline and soulful rendition of RAFI SONGS. MONA KAMATH : THE ELECTRICAL ENGINEER AND SINGER - all rolled in to one. Was the semi-finalist in the ZEE SA RE GA MA show. Currently attracting hordes of fans for songs of LATA AND ASHA which she essays - perfectly on stage. A very talented SINGER who is bound to make waves. Sang for Marathi films too. MUKESH BHANUSHALI : IS a compulsive quality singer who does RIYAAZ for few hours daily. A very GREAT MOHD RAFI FAN, Mukesh is always looking for RARE and GREAT SONGS - to be presented from the GOLDEN ERA. SHANKAR-JAIKISHAN were the greatest musical duo to have graced the world of Hindi Cinema. The awesome body of work Shankar Jaikishan musical team produced have become IMMORTAL and LIVES on in the hearts, minds and lips of music fans all over the globe . SHANKAR JAIKISHAN team revolutionised the use of ORCHESTRA and INTERLUDE music in songs and made these as integral and inseperable parts of their compositions rather that using these as mere fillers, as was the case until their arrival on the musical horizons. That's why prelude, interlude and background music of many of their songs are as popular and notable and hummable as the tune of the main song. Due to their vast knowledge and comand over various forms of music, the SHANKAR - JAIKISHAN team came out winners in any type of diverse films irrespective of its theme and subject. Presented by : The Rafi Foundation Cell : 9833 250 701 ( Mumbai) Binu Mair

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

by : vnr19452000@yahoo.co.in

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

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

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

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

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

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

HAPPY BIRTH DAY TO YOU SHAMMI KAPOOR SAHAB

Hello Friends:

On Shammi Kapoor’s birthday I want to felicitate him with a small write up on one of the most memorable songs picturised on him. Take the name of Shammi Kapoor and we see before us the debonaire, flamboyant and volatile star. In most of the films in which he has acted he will come across as the romantic and carefree character and one will not readily associate Shammiji with sentimental and emotional roles. But that is precisely what role he had played in Brahmachari (1968).He is an orphan and he cares for other orphaned children and takes them under his charge. The story is about how he manages these children and saves the life of the actress (Rajshree) who tried to commit suicide due to a broken marriage alliance. The film was a box office hit and won several Film Fare awards. It was the Best Film, it won the best Music Director Award for Shankar Jaikishan, the Best Male Play Back Singer Award for Rafisaab (for Dil Ke Jarokhein Mein), the Best Lyricist Award for Shailendra for ‘Main Gaaoon Tum So Ja’ and the Best Actor Award for Shammi Kapoor. I wish to discuss about Shailendra’s award winning song ‘Main Gaaoon’. This song comes twice in the picture. First time when Shammiji wants to put all the children to sleep on a happy occasion. The typical orphanage with multi-layered beds and children with different habits and styles make the viewer one with the crowd. Rafisaab starts ‘larallala larallara laralla…’and the listener is automatically transported to a dreamy world.Mai gaaoon tum sojaao, sukh sapnon mein kho jaao says the first line. What a beautiful thing to say to small children about to forget this world! The interlude music is very simple and yet enchanting with the whistling effects adding to the sleepy environment. The day has been very hard and heavy for the children and the night looks to be long too but the world will change for the better, and children, dream for that changed world, so sings Shammiji. When you wake up tomorrow you will see bright light and the morning will bring you all happiness and do not put out those rays of hope so sings Rafisaab. Listen to the way Rafisaab sings ‘so jaaona’…and the way Shammiji acts that part. It is a classic ‘made for each other’scene. I love to go on singing during my entire life, I feel like taking care of all your tired hands so that all you children will one day sing my song, so say Rafisaab and Shammiji. The second time this song happens in the film is a sad occasion. All the children have tears in their eyes and the morrow is expected to usher in sorrowful tidings in their lives.Shammiji sings the same song to tell the kids that they all should go to sleep and dream of a better tomorrow. The song is slow paced, Rafisaab is pathos personified, and Shammiji enacts one of his most sentimentally charged roles. It is impossible to say whether Rafisaab has acted during the song or whether Shammiji has acted for Rafisaab. The song is so brilliantly synchronized and it is not possible to distinguish the singer from the actor and vice versa. Rafisaab and Shammiji do make us all cry without any inhibition while watching or listening to this song. It is very difficult for anyone to conceive that an out and out entertainer like Shammiji who had ruled film fans with his yahoos and aiyyayya suku sukus can make the viewers cry. But cry we will, when we see Shammiji’s acting during this song. It’s a masterpiece! Shammiji is the only living member of the team which created this everlasting diamond for all of us and I pray to the Almighty to give him several more healthy and peaceful years. Long live Shammiji! You can view both the versions of the song at:

http://www.youtube.%20com/watch?

http://www.youtube.%20com/watch?

The beauty of Shailendra’s lyrics, Shankar Jaikishan’s music, Rafisaab’s rendition and Shammiji’s emoting is that the song has become an ode to all destitute children of the world that they all should have dreams full of hopes and that a brighter future awaits them.

We all live on hope….

Jee karta hai jeete jee, Main yunhi gaata jaaoon…..

M V Devraj mvdevraj@gmail.com

photos of MUSICOLOR's latest event Mohammed Rafi - The Legend hits of Dev Anand & Shammi Kapoor hel on 9th Oct

Photos Courtesy : Rajesh Subramanian (subramanianrajesh@yahoo.co.uk)

One reason Why S-J were better than the rest

Shashi Hegde (shashivh@yahoo.co.in)

When you sit and wonder what made S-J click with classes and masses alike, you come across some aspects which were responsible for it. Their versatility, thorough knowledge of all forms of music and instruments, ability to set their own rules which others would follow, ability to take out the best from the singer and singer selection for the song, precise knowledge of orchestration and you can name many more.But the one of the most important factors responsible for their emphatic success is their association with Shailendra and Hasrat Jaipuri. When a composer works with a core team for a period of 20 years, each member of the core team will know the pulse of the other. Shankar and Jaikishan exactly knew what they wanted from Shailendra - Hasrat and vice versa.S-J decline started only when this core team broke with the death of Shailendra.Look at the statistics I compiled with the best of my information based on the original sound tracks of s-j films. ( Eg: Mein gaoon tum so jao - though the lyrics are same for both happy and sad versions, it is counted as 2 songs. Similarly for other films.)These are some stats of the golden era of S-J films from 1949 to 1968, that is from Barsat to Brahmachari spanning 96 films(All S-J films up to 1968 except Duniya and Kanyadan):Total number of songs: 783Written by Shailendra: 395Written by Hasrat Jaipuri: 362Written by Shailendra + Hasrat : 1Written by others: 25 (Rajinder Krishen 8, S.H.Bihari 2, Jalal Malihabadi, Ramesh Shastri, Deepak, Mirza Ghalib, Sant Kabir, Faiz Ahmed Faiz, Kamalesh Verma, Prem Dhawan, An English song from Sangam - 1 each and 6 traditional songs)Make a simple calculation, 97 per cent of S-J songs spanning 20 years and 96 films had lyrics by Shailendra and Hasrat. Sant Kabir, Mirza Ghalib and traditional songs cannot be counted as lyricists who were engaged for the film. So, of 783 songs only 15 songs were written by persons 'outside' S-J core team. Compare this stats with the other composers in the same period:S.D.Burman used Sahir, Majrooh, Shailendra and HasratNaushad used Shakeel Badayuni, Majrooh and SahirRavi, Roshan, Madan Mohan, Salil Choudhary, C.Ramachandra worked on and off with Rajinder Krishan, Shakeel, Majrooh, Shailedra and others. So is the case with Hemant Kumar, O.P.Nayyar, Kalyanji-Anandji, Sardar Malik, Chitragupta, Vasant Desai and others. It is 2 quality composers working in tandem with 2 quality songsters continuously over 20 years made all the difference.I guess no composer-lyricist combo has broken this record of 97 percent. May be Laxmi-Pyare- Anand Bakshi are next in the list. But what counts is not the numbers alone but the quality too. When you consider this, L-P lag far far behind.Even when you take in to account all S-J songs recorded from 1949 to 1991:Out of 1301 songs(Includes Tamil and Telugu dubbed versions of a couple of R.K Films and a Gujarati film), Shailendra (402) and Hasrat (508) account for exactly 1000!

***********

This excerpt is taken from a post by Shri Shashi Hegde addressed to shankarjaikishan group on Yahoo

WISHES ON INDIA'S 63 INDEPENDENCE DAY

WISHING ALL OF YOU A BRIGHT INDEPENDENCE DAY

VOICE IS YOUR POWER

[This is a very useful article and will help those who want to be announcer/singer. It is different from the character of this blog but, indeed associated with the craft which is needed in the world of sound. That is why this blogger could not control temptation to post this stuff which is written by Shri -MAHENDRA MODI (Acting Director, Vividh Bharati) ]

Shri Mahendra Modi

Many wonderful men and women can’t appreciate what nature gave them. Men squeeze all the attractive life out of their voices by trying to make them sound deeper than they really are. Women adopt a phony, sing song sound, but it just isn’t natural.

Each voice is as unique as a snowflake. Voice-prints are sometimes used like finger prints in security systems. That’s how distinctive each voice is! The secret is not to try to have a voice that’s a carbon copy of someone else or attempt to change what nature gave you.


But what you should do is learn to enhance the voice that nature has given you.

Here is a system check in four areas:

ØARTICULATION /PRONUNCIATION

ØVOCAL VOLUME LEVEL

ØVOICE PROJECTION

ØTHE WAY YOU FEEL ABOUT YOURSELF

1. ARTICULATION/PRONUNCIATION

There is a difference between not being heard (being inaudible) and not being understood (being unintelligible). Sometimes people confuse the two. Unintelligibility may be caused by problems with articulation and pronunciation. People with poor articulation can sound throaty because their tongue is pulled too far back, or they may sound muffled because they don't move their tongue enough when they speak. Both problems affect our ability to be understood. Make sure your tongue is positioned toward the front of your mouth and that you use your tongue to clearly enunciate your words.

2. CONTROLLING VOCAL VOLUME

Imagine that your voice has a volume knob with five settings:

1-WHISPER

2-SOFT

3-CONVERSATIONAL

4-LOUD

5-YELL

Do not use volume levels 1 or 5. Both can strain the voice. Yell only in an emergency and save your whispers for the library, theatre or bedroom. Strive to speak most of the time at volume level 3. Use levels 2 and 4 for color, emphasis and variety. A conversational level will differ with each situation. While presenting a night programme of soft nature your voice should be little towards whispering because the listener may not like a loud voice when he is in his bedroom and looking for peace. You could be little louder when presenting a programme of pop music.

3. PROJECTING THE VOICE

Volume level should not be confused with projection. To project the voice, don't try to yell or force it out of your body. This causes strain. To have a voice that carries well, you must use your body's natural resonators.

Your body has three resonating cavities: the voice box, the mouth and the nose. The voice is produced at the vocal chords and then amplified in the facial mask around the lips and nose. To have a beautiful voice and project it without strain, you must focus your voice in the facial mask, blending the oral and nasal resonators.

The simplest way to find your facial mask is to hum. Try it now. HMMMMMMMM. Good. Now practice alternating humming and speaking. HMMMMMMy name is Shyamal. HMMMMMy favorite color is blue. HMMMMany people say I'm a great dancer... etc. Have fun with it.

Practice humming and speaking throughout the day. Once you get the hang of what a resonant voice feels like, you can drop the hum and feel the vibration of your words in your facial mask.

For good voice projection, try the following:

ØSpeak with authority.

ØUnderstand the causes of difficulty with and implications of unhealthy voice production.

ØDiscover how relaxation, breathing and vocal exercises can improve projection, clarity and reduce vocal strain.

ØPractice techniques to prevent and cure any vocal strain or lack of projection and clarity.

ØLook at the effects of posture and tension on vocal projection

ØTake part in voice and articulation exercises.

Understand resonance placement and the effect this has on projection, clarity and range.

4. THE WAY YOU FEEL ABOUT YOURSELF

There is often a strong psychological component to communication difficulties. Soft speakers may unconsciously be trying to hold themselves back, inhibit their self-expression, or stifle themselves, and these factors should be explored.

You can improve, once you explore your weaknesses.


How to nurture a good and healthy voice?

- Breathe properly.

- Breathe through your nose, rather than mouth.

- Beware of your posture. Keep your upper chest, shoulders, neck and throat relaxed when breathing in or when exhaling and letting sound out.

- Speak slowly.

- Instead of focusing on your throat, imagine that the sound originates from your abdomen/lower back.

- Relax your jaw and tongue and unclench your teeth.

- Stay within your comfortable vocal range.

- Vary the tone/pitch of your voice.

- Use your breath to power your speech.

- avoid vocally-harmful habits (e.g. clearing your throat, holding your breath, speaking quickly, speaking with insufficient breath).

Sometimes you clear your throat because you are dehydrated. Drink plenty of fluids to avoid dehydration. It will also help you to maintain right viscosity of the mucous in your mouth passage.

- Instead of clearing your throat in a harsh manner, sigh as an alternative measure.

What to do before going on Air?

-Always warm up your throat just as an athlete warms up his/her muscles to prevent injury.

-To loosen your body, rotate your neck slowly and stretch your torso and limbs.

-To loosen the jaw, yawn and/or make chewing motions. Massage your face, especially the nexus of muscles at the hinge of your jaw.

-To limber up your lips, jaw and soft palate, say tongue twisters/the alphabet/any short text, making sure that you articulate very carefully.

-Take a few quiet moments to focus on your breathing as well as to collect your thoughts before you speak.

Now some tips about the life style:

- Avoid drinking alcohol and caffeinated beverages.

- Avoid late night parties as it could spoil your voice quality and concentration both.

- Massage under your chin to increase the flow of saliva.

- To clear excess mucus and lubricate the vocal tract, use steam inhalations

- Avoid speaking when you are tired or ill.

- Avoid speaking when you feel that your voice is strained

-Arrange for some quiet periods at least once a day.

- Seek medical attention immediately if you experience vocal strain.

- When suffering from a sore throat, try not to use anaesthetic sprays/lozenges if possible.

- When you have laryngitis, inhale steam to soothe and relax the larynx instead of drinking cough mixtures.

- Eat a balanced diet to achieve/maintain optimal health.

- Dairy products may increase phlegm.

- To prevent heartburn and a reflux of stomach acids into your vocal passage, avoid acidic/spicy foods, eating late at night, caffeine and overeating.

- Give up smoking. Smoke and other aerial pollutants irritate your breathing and vocal apparatus. There are also other well-known health risks associated with smoking that can be reduced if you do not smoke/breathe in second-hand smoke.

- Certain medications may dehydrate the body/vocal passage. Others may stimulate or sedate the body, respectively causing your vocal passages to constrict or making you feel lethargic.

- To compensate the drying effect of any medication, drink extra water.

Language is a gold mine which makes a big Change. Dig deep into it, build your vocabulary and dive for unlimited treasure which has remained there untapped for a long time.

Rediscover yourself with your own Speech.

ØSpeak from the depth of your heart, speak your mind and feel your nerves pulsating the sound of your voice.

ØElectrify the listener with your presentation. Don’t let butterflies quiver you and chase away the nervousness.

ØVisualize your listener as an individual not as a mass of people.

ØVisualize the listener at dinner table. It works great to create a feeling of intimacy and trust.

ØYour tone of voice is closely linked to your face expressions. A frown on your face will make your voice sound harsh and cold but a smile will warm up your voice, making it sound warm and inviting. A smile with the speech takes you to miles.

ØEvery Word has a meaning. Work on building your vocabulary.

ØAvoid beating around the bush. Say clear, be brief and do not fumble. Confusion lands you and the listener into more confusion. Do not bluff or fool yourself but blur out sensibly even if words are not meant to be spoken. Use tact, speak truth but know realities too and act sensibly to it. Convince your listener.

ØCultivate a positive attitude. Be positive, prepared and well aware. Work on memory improvement levels. Get mirror practice and check your expressions too.

ØAdjust the Bass, volume of your voice like the sound system. Start with soft notes. Good beginning is best otherwise it’s shrieking from the start. Feel humor, feel happy, calm and composed.

Ø Expressions reflect your inner feelings and your speech is based on your thoughts. Let your speech and expression be your asset. Your voice can have a profound impact on how successfully you influence and persuade others. Your voice effects how seriously you are taken… how respected you are… the results you get not only with the listeners but also with co-workers, friends and family members in your personal life.

COURTESY : http://www.freewebs.com/vividhbharati/voiceisyourpower.htm

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

Barsaat is ideally one of Hindi cinema’s best soundtracks

COURTESY : http://planetbollywood.com/Music/Barsaat(Old)/

Chances are if you ever picked up a remix album recently or even listened to a retro soundtrack you’ve heard a song from Raj Kapoor’s “Baarsaat”. In the years where three or four Barsaat titled films followed, the one and only original has not only excellent and superlative tunes, but tunes that can honestly suffice to say that it is probably the only Barsaat (film wise and music wise) anyone would truly remember.
Shankar Jaikishen in their maiden venture composed truly classical tunes but most of all solos for lead singer, Lata Mangeshkar. In doing so they were able to solidify themselves for years to come as truly excellent musicians in just their first effort. Furthermore they were able to utilize a young vocalist that would grow to heights beyond imagination. Setting a standard for Hindi musicals, the commanding soundtrack features ten tunes of which nine are sung by Lata, seven of which she is singing by herself!
The best and the most memorable (and probably most abused by remix artists today) is “Hawa Mein Udata Jaye”. As many “Dupatta” sings that hit the marquee year after year one wonders if any composer could actually make this one as it is, a romantic solo which is soft, breezy and eloquent. This ‘new’ style of music as it was back then was different in that its focus changed from doldrums and backdrop to the orchestrated pieces which placed the song together. The dholak was a compliment to the song rather than the definition. And Lata’s soft and sweeten vocals only drove the song to perfection further. This red scarf has truly been blowing through since the soundtrack premiered.
Lata Mangeshkar and the new found melody continued with the 1-2-3, “Jiya Bekaraar Hai”. Clearly female solos could never reach the heights that these tunes reached then, and certainly not now. Similarly so, in “Tujhe Kisise Pyaar Ho Gaya” a literally dense song, Lata Mangeshkar shows her prowess at work. Forget the lyrics; the irresistible part is her soft rendition of “hooo oooh…” This beautiful love song is picturized on a young Nargis singing to Raj Kapoor.
The title track “Barsaat Mile” is probably the most average song on the album while still being a good composition Lata’s lone appearance followed the threads of many female solos.
“Patli Kamar Hai” is a playful song which is sweet and is enlightened by the Mukesh and Lata Mangeshkar’s compliment vocals. Where Mukesh is distinctly empowering Lata displays the characters sincere innocence with immense conviction. The lyrics for this oft remembered Raj Kapoor song have been recycled and almost idolized after this tune many times thereafter but the syrupy tune which is back dropped by an irresistible dholak can obviously never be replicated.
Mohammad Rafi features in his own solo with typical lyrics of the young man with high aspirations. “Main Zindagi Main Hardam” is an average song for which Mukesh has song many akin to thereafter. Pleasant but quite obviously not meant to overshadow a soundtrack meant to highlight the female vocalist alone.
The flute and its essential role in Indian heritage come to life musically in “Meri Aankhon Mein Bas Gaye”. The flute and Lata Mangeshkar combine to create a gem of female distress. “Bichde Hue Pardesi” is another emotional female tune for Mangeshkar following the same theme as the former.
Lata Mangeshkar steps into bhajan form in “Ab Mera Kaun Sahara” a solemn song sung just as dark and musky by Lata Mangeshkar. Following the mood is “Chod Gaya Balam”, the only duet on the soundtrack featuring Lata Mangeshkar and Mukesh. The song has a tango feel to it keeping the solemn romantic mood alive, a lot of which Mukesh contributes to.
Barsaat is ideally one of Hindi cinema’s best soundtracks, a point of reference with the launching of the cinema’s best female vocalist ever and a golden gem of some of the industry’s priceless and popular tunes. Rain is often forgotten once it stops, and perhaps that is why the title, “Barsaat” has been so frequently used thereafter. But this monsoon shower has proven that golden droplets are always going to shine years, over fifty in fact, and counting and will probably always remain for the many ‘Barsaat’ titles that we may endure in the years to come.

Producer: RK Films Director:

Raj Kapoor Starring: Raj Kapoor, Nargis, Nimmi

Music: Shankar – Jaikishen Lyrics: Hasrat Jaipuri, Shailendra

Singers: Lata Mangeshkar, Mukesh, Mohammad Rafi,

Number of Songs: 10 Released in: 1959

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.

INTIMATE IMPRESSIONS - A book on eminent film Lyricists, Music Directors & Singers by Rajnikumar Pandya

Face of the Book

This Book reflects the internal beauty of the prominent artistes of India. Shri Rajnikumar Pandya has penned this book on information gathered from the artistes with whom Shri Pandya had very intimate relations. This book contains features on 1-Talat Mehmood, 2-Talat & Jagmohan, 3-Shamshad Begum, 4-Mubarak Begum, 5-Jaikishan, 6-Mukesh, 7-Mohammed Rafi, 8-Kalyanji & Anandji's Father, 9-Manna Dey, 10-Amir Bai Karnataki, 11-Kavi Pradeep, 12-Anil Biswas & 13-Hemant Kumar. Published by Prakashan Sansthan, this book is a must for music lovers.

Very down to earth and polite. Born at at Jetpur (Saurashtra - Gujarat) in 1938, he has presented more than 50 books in Gujarati leterature. He stands in the foremost row of Gujarati writers. The outstanding novel "Kunti" by him inspired for making of Hindi TV serial twice in succession on normal as well as international platforms.

He has been honoured by more than five awards by Gujarat Literary Academy, Statesman Award for the best Rural Development journalism. He has also been awarded the Gold Medal by "Kumar" Magazine for his presentation of the history of Hindi films from 1931 to 1941.

सुदर्शन पाण्डेय

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)

"Shankar had a special corner for me" - Manna Dey

"Shankar had a special corner for me," Dey, who turned 81 recently, reminisced. Of the many memorable songs he has sung for Shankar, some are found in such films as Basant Bahar, Chori Chori, Shri 420 and Mera Naam Joker.

Yeh raat bheegi bheegi, a duet he sang with Lata Mangeshkar (picturised on Raj Kapoor and Nargis) almost didn't happen, the singer remembers with a nostalgic chuckle.

The film's producer, AV Meyappan Chettiar, who had flown to Bombay from Madras for its recording, insisted that Mukesh sing it. After all, Mukesh was considered the 'soul' of Raj Kapoor -- and had sung a majority of the songs the star lip-synced on the screen.

"When Chettiar saw me in the recording room with Lata, he turned to Shankar and asked where Mukesh was. He was not satisfied with Shankar's explanation that he (Shankar) wanted me to sing the duet."

Thereupon Raj Kapoor intervened, suggesting that the song should be recorded -- and if there was an agreement that it had come out well, it should be included in the film.

When Chettiar heard the recorded song, he congratulated the singer and said he was proud to have the song in his film. Yeh raat... went on to become one of the most popular songs of the 1950's, and Dey seldom leaves it out of his concerts.

Courtesy http://www.rediff.com/entertai/2001/aug/31manna.htm

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

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

SHANKAR - the egoist(?)

BUT PEOPLE COME DOWN ON SHANKAR.

http://gopalshroti.wordpress.com

SHANKAR'S PHYSICAL CHEMISTRY WAS DIFFERENT FROMOTHER MDs AND STARS....HE WAS A 'PAHALWAN' AND A PUCCA 'TABLA ANDDHOLAK' EXPERT AND WAS A CLASSICAL DANCER.....WITH SO MANY QUALITIESHOW SHANKAR CUD BE TREATED AGAINST HIS RESERVED NATURE.....EVERYBODY CANNOT BE OPENMINDED. CAN ANYBODY SAY OP NAYYAR WAS AN EGOIST, WAS HE AGAINST LATABAI.....IT WAS HIS NATURE.....LIKE A COCONUT WHICH IS HARD AS WELL AS SOFT, CUD THESE QUALITIES BE NOT FOUND IN EVERY HUMANBEING....SO SHANKAR AND OP WERE AS HUMAN BEINGS AS OTHERS.....BUT CUDNOT BOW TO THE OTHERS FOOLHARDINESS...(NOT LATABAI)....SO THEY WERE CRITICISED FOR WHAT.....FOR THE QUALITIES U HAVE, I HAVE, .....ARE WE EGOISTS.....ARE WE HUMBLE AND MEEK THROUGHOUT OUR LIFE WITHOUT SELFRESPECT.......CRITICISM IS EASY BUT MAINTAIN DISCIPLINE IN REAL LIFE IS NOT BEARABLE......NOBODY CRITICISES KISHORE KUMAR FOR HIS WHIMS,AND CLEARCUT EGOISM......BUT LAUGH AT HIS IDIOSYNCRACIES......WAS HE NOT A GREAT ARTIST?.......WHY LATAJI DID NOT SING FOR AGED SD BURMANDA.....WAS BURMANDA EGOIST.......THERE ARE SEVERAL EXAMPLE IN FILM INDUSTRY......BUT PEOPLE COME DOWN ON SHANKAR. WAS SHANKAR AND JAI WERE NOT SELECTED MANY TIMES AS PRESIDENT OF MD's ASSOCIATION. MADAN MOHAN WAS KING OF GAZALS, BUT ONCE IN MD's MEETINGS WHEN THE PRESIDENT AND SECRETARY ETC WERE ELECTED......IT HAPPENED THAT ALL IN ONE VOICE DECLARED MADAN MOHAN AS 'PRINCE' AND ON THE PART OF MADANMOHAN, HE THEN AND THERE HAILED SHANKER JAIKISHAN AS 'KINGS' OF FILM MUSIC OF HINDI FILM INDUSTRY......THEY WERE ALL FRIENDS AND MET REGULARLY AND PHONED EACH OTHER ON THEIR SUCCESSFUL SCORES.......LATAJI REVOLTED FOR THE ROYALTY.....WAS IT HER EGO.......YES IF IT WAS EGO THEN IT IS FOR THE BENEFIT OF OTHERS......SO SHANKAR WAS EGOIST IN ONLY CREATING THE IMMORTABLE NUMBERS.....GOD BLESS HIS SOUL FOR SO MUCH GREAT CONTRIBUTION TO US,THE MUSIC LOVERS IN THE FORM OF ''MUJHKO CHAHIYE BAHAR........''(AWARA). THANKS. gshroti