#jaikishanji

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💞 Young #Laxmikant with mandolin is seen in front of #Jaikishanji. #shankar is seen at the back side. Only #lakshmikant played under the baton of #shankarjaikishan and not #pyarelal never was a part if orchestra of #shankarjaikishanduo https://www.instagram.com/p/CplHbwByn0d/?igshid=NGJjMDIxMWI=

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Pocket book on Shankar Jaikishan

Friends….I have wriiten about SJ before four days as i was listenning their music alone By Mukund Marulkar Shankar Jaikishan performing during a Filmfare awards nite and in next photo see first President of India Dr. #RajendraPrasad HINDI -FILM -MUSIC DIRECTORS ���SHANKARJAIKISHAN” (1949-1971-1987) 1)1949=they composed their first picture-BARSAAT 2)1971=Jaikishanji passed…

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Courtesy T.r. Patel L to R.... Premshanker Nayak ji Sangit Guru as his father, Hirabhai, Nayakji was Sangit Teacher at Sangit Shala at, Vansda State and after his death his Son Prem Shanker Nayak ji was joined( Kali topi and in Dhoti), Ghanshyambhai, Jai's Freind as his Father, Shri. Booch Saheb was Principal at Shri Pratap High school, Vansda, #Jaikishanji and last also Jaikishan, who was son of Jaikishanji' s sister staying at Valsad #Dahyabhai father of also belongs to Kosamba Bhagda, near Valsad where Jaikishanji was born and when Jai was of eleven Dahyabhai Panchal settled at #Vansda is 65 kms far from #Valsad of #Surat District. Caption by #udayjoglekar https://www.instagram.com/p/CmXOfcHB_j9/?igshid=NGJjMDIxMWI=

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A rarest of rare photo in which only (L to R sitting) #hasratjaipuri #kishorekumar and music director #jaikishan of #shankarjaikishanduo can be identified. Can't say whether the tiny doll like girl sitting on lap of #jaikishanji is his daughter #bhairavijaikishan

Crtsy Kaustubh Pingle

#shankarjaikishan

#shankarjaikishanji #shankar_jaikishan

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#Jaikishanji : king of Background music On boomed and Superduper hits success Of Barsat and Awara, mitually undering done that, Shailendra ji works with Shankerji and Hashratji with Jaikishanji and also decided that, background music of all movies and title song while Shankerji will have to do the title Song of Rajkapoorji's Home production. Accordinly Jaikishanji was busy for Background music of Mera Nam joker,Rajkapoorji, Sebestian ji, Dattramji also associated with Jaikishanji and within Five day , back Music was completed and Made long play records. Jai Ho Jaisaab Please enjoy it. #Shankar_Jaikishan #shankarjaikishan #ShankarJaikishan https://www.instagram.com/p/CktuqDTB7xb/?igshid=NGJjMDIxMWI=

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A post shared by Sudarshan Pandey (@shanker.jaikishan)

मुस्कुराती जिंदगी को छोड़ के ना जा Film #BaghiSipahi 1958 Music #ShankarJaikishan #shankarjaikishan #HasratJaipuri #LataMangeshkarJi #Shankar_Jaikishan #shankarjaikishanduo #sharaabeishq #sharaabeishqkeaage #shankarjaikishanji #shankarji #jaikishanji https://www.instagram.com/p/CZ9SHQjl0I-/?utm_medium=tumblr

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A party on Birthday of Mukesh Friends…#ShankarJaikishan, #Shailendra and #HasaratJaipuri that is- #SJSH Team(Including also #Sabestian and #Dattaram) was really #GodGifted,Talented team. Innovative,Hard Worship in Music,Devoted Pujari and keeping high quality in creating music tunes.So they ruled all over world from 1949 to 1987. But on 14th December 1966 first Shailendraji left, secondly Jaikishanji also left on 12th September 1971,then Shankarji took exit unexpectly living Hasaratji behind on 26th April 1987. Lastly Hasatatji also left on 17th September 1999 . But coincidently the Team remained the same name as before their demise as SJSH. https://www.instagram.com/p/CcU4AGsvXSR/?igshid=NGJjMDIxMWI=

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Tribute to #Jaikishan by #JitendraMotavar Part III of III Jaikishanji was fortunate enough to spend more than half of his life (22 years) with his soulmate Shankar professionally as well as personally, before being called back by the almighty in 1971. Together, they took the Hindi cinema music industry to new heights by producing hundreds of memorable and outstanding songs one after the other for 2 decades and raising the bar higher than it had ever been. Jaikishan was a truly professional artist who knew how to deal with the producers’ demands, Lata Mangeshkar’s tantrums, Raj Kapoor’s moods and Shammi Kapoor’s aggressions. He used to make sure that each musician received their remuneration on time. He was the only film composer who lived his life like a superstar throughout his musical career, and enjoyed his life to the fullest. Shankar and Jaikishan were both meticulous gentlemen who never spoke ill of anyone, even in the midst of adversity later in their careers. They left the world having given far more than they had received in return. It has been almost a century since the legendary composer duo Shankar Jaikishan were born, with hundreds of new composers and thousands of new songs arrived after them, yet the magic created by SJ remains intact and will continue to rule the the hearts of music lovers for centuries to come… Today, I wish Jaikishanji, a great artist, superlative composer and lovely human being, a joyful heavenly birthday…! https://www.instagram.com/p/CV0wSkJh8WY/?utm_medium=tumblr

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Tribute to #Jaikishan by #JitendraMotavar Part - Ii of part Iii Jaikishan was not only a star composer, but also a fashion icon in his time. Other composers, like as Laxmikant (LP), were enamored by Jaikishan's music as well as vogue and imitated him on numerous occasions. Laxmikant stated in one of his interviews that he had never seen a composer like Jaikishanji in his life. Such was the star composer Jaikishanji's aura, prominence, and supremacy. He was the only non-actor celebrity who, like any other renowned actor at the time, had a large fan base for his appealing appearance and dynamic demeanor. One instance reported by Annu Kapoor on his radio show exemplifies Jaikishanji's great popularity and stardom. Once upon a time, a large celebration party was hosted, and the top actors, actresses, and celebrities from the film industry were invited. The public was lining up behind Dev Anand, Raj Kapoor, and Dilip Kumar, who were standing in one corner talking to each other and signing autographs. When the mighty Trio was basking in the glory of their super stardom and popularity, a big white Impala car arrived, and Jaikishanji emerged, demonstrating his unrivaled swag and attraction. As soon as he stepped out of the car, people began rushing towards him for his autograph, surprising the Dev-Raj-Dilip trio, who were taken aback by Jaikishan's notoriety and fan base. They smiled at each other, exchanged glances and continued on their way…! Jaikishanji was fortunate enough to spend more than half of his life (22 years) with his soulmate Shankar professionally as well as personally, before being called back by the almighty in 1971. Together, they took the Hindi cinema music industry to new heights by producing hundreds of memorable and outstanding songs one after the other for 2 decades and raising the bar higher than it had ever been. Jaikishan was a truly professional artist who knew how to deal with the producers’ demands, Lata Mangeshkar’s tantrums, Raj Kapoor’s moods and Shammi Kapoor’s aggressions. He used to make sure that each musician received their remuneration on time. https://www.instagram.com/p/CV0vOPNBnHM/?utm_medium=tumblr

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Maestro Jaikishan’s interesting interview:

Maestro Jaikishan’s interesting interview:

By

Dr. Padmanabh K Joshi

Today is Maestro Jaikishanji’s 48th Death Anniversary. We all the members of SJMF as well as all SJ music lovers around the globe all the time miss him. Paying our heartfelt tribute to the great Maestro Jaikishanji, I present his very interesting interview. MAESTRO JAIKISHAN REMEMBERS…………Here are some excerpts from Maestro Jaikishanji’s interesting interview:

“M…

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SHANKAR JAIKISHAN ALL THE WAY

I am a die-hard fan of Shankar-Jaikishan Music and their huge contribution to Bollywood Film Industry. NASHAUD-SAHEB enjoyed Shankar-Jaikishan’s music so much for that he said “SHANKAR-JAIKISHEN WERE NOT MUSICIAN BUT THEY WERE SIMPLY JUST MAGNIFICIENCE MAGICIAN”. How true it is when we listened to their music and songs. Raj Kapoor had an unerring eye for talent across all fields of cinema. He had spotted Shankar and Jaikishan who were musicians with Prithvi Theatres and later they were assistants to Ram Ganguly. As assistants to Ram Ganguly, they had given a huge musical contribution to the first RK film production AAG. After that SJ as music director team came on the scene in 1948 for the RK banner film BARSAAT. BARSAAT created a huge musical miracle on the Hindi film screen. As a matter fact, Raj Kapoor was very knowledgeable about various musical instruments and music. We had witnessed this talent in Raj Kapoor’s films were we enjoyed seeing him playing different musical instruments. Barsaat – a phenomenonA classic film by Raj Kapoor’s “BARSAAT” started that trend of filmy revolution. In this revolution the major contribution was made by Shanker - Jaikishan in Hindi film industry. Their fresh tunes and orchestration lead the paradigm shift from the then prevailing monotonous thekas and droning cadences. The music of “BARSAAT” opened up yet another channel for making money – the ‘records’ broke the ‘records’ of earning money independent of the film. Legend has it that the composer of “ANDAZ” (released in the same year) - Naushad went to its producer - Mehboob Khan for celebrating the huge success of his film “ANDAZ” songs. It was raining then and Mehboob Khan, looking out of the window said to Naushad, ‘Aapke Gaanon ko to ‘Barsaat’ ne dho dala’! This was the comment made by Mehboob Khan after a huge success of BARSAAT. So this was the power of SJ music in India right after our independence in 1947. Barsaat made NIMMI a Super HeroinIt was Raj Kapoor, who named Nimmi when he introduced her in Barsaat. How she got selected for Barsaat is an interesting story. Nimmi came from Lahore with her aunt and was staying with Sardar Akhtar and Mehboob Khan. Mehboob Khan’s Andaaz was almost complete and Raj Kapoor who was acting in the film, had launched Barsaat. Raj Kapoor was in search of a new face for the role. Being a fastidious man, he had already rejected many girls. Nimmi had gone with Sardar Akhtar on the sets of Andaaz and was sitting besides Nargis’ mother Jaddanbai. Raj Kapoor came up to Jaddanbai, wished her and then looked at Nimmi. Nimmi felt so shy that she could barely acknowledge him. Raj Kapoor returned to the floor and asked Mehboobsaab about Nimmi. Raj Kapoor told Mehboobsaab, ‘I want this girl for my film.’ Nimmi didn’t know what to do. She wanted to accept the offer but was worried about her grandmother’s reaction. So Sardar Akhtar called her grandmother. Surprisingly her grandmother agreed. So Nimmi was called for a screen test. She was given some dialogues, which she mouthed in an absolute trance. A round of applause brought her out of her stupor. The next thing Nimmi knew was that she had been chosen for Barsaat. Nimmi was deliriously happy and was cast opposite Premnath. Infact, Nimmi had the most extra ordinary relationship with Raj Kapoor. During the filming of Barsaat, a rakhi scene was being shot and Raj called out to Nimmi. ‘Nimmi do you know the meaning of rakhi? ` She nodded. ‘Okay, tie it on my wrist. From then on Nimmi became his rakhi sister all his life. As a matter fact, Nimmi was always given due respect by the entire Kapoor household. Surprisingly Jaikishan was only the 16 years old when he started this musical journey at the time of giving music for the first time as a music director with Shankar, in the Hindi film “Barsaat”. Shankar & Jaikishan explored & learned the right way to please the cinema mass right after this huge success. Before them, until that time, we had many famous, well known and good music directors of Hindi cinema, like Anil Biswas, Husnlal-Bhagatram, Khemchand Prakash, Roshan, Naushad, Ghulam Muhammad and so on. The old Hindi film music was good but it was not that appealing to mass audience. Very soon SJ realized that the film industry needed a boost to change the way music was played in those days. SJ immediately started executing their ideas, where they were the first one to introduce orchestra and duets songs in the Hindi films. That change made them instant hit. That journey started with BARSAAT where they followed the original Indian classical music. Shankar and Jaikishan had the vast knowledge about the use of different musical instruments. We have over the time, experienced that being played in their songs. It was also noticeable that every Hindi movie produced with SJ-MUSIC, provided a classical dance item with classical music. Between them, they had tremendous understanding about their musical work distribution that Shankar would do “the theme-song at RK” while Jaikishan would handle the background score. Shankar's passion was the tabla and the classical dance compositions. He learnt the tabla fundamentals from Baba Nasir Khansahib. As we know, SHANKARJI was very knowledgeable on classical dances. Not only that but Shankar and Jaikishan loved the RAAGA Bhairavi. A touch of Bhairavi we experienced with the songs from Shree 420, “Mera joota hai Japani” and Ramaivya vastavaiyya”. Jaikishan loved Bhairavi so much that made him to name “Bhairavi” to his daughter.   They made classical music and Ragas a backbone of their music. Soon they also proved to be outstanding in giving background music in their films. As we know, Jaikishan, in those days, was considered the expert in providing the background music for the films. Until present time, nobody has beaten Jaikishanji in providing that most soothing BACKGROUND MUSIC in the Hindi films. Shankar Jaikishan contributed a lot to the world of music in India right from the day they began working as music directors. Music composed by them was extensive. It was based on classical Indian music ('Dil ek mandir hai', 'O basanti pawan pagal') and even on western music ('Sukoo sukoo', 'Raat ke hamsafar'). Their music was characterized by a special style. For the record, Shankar Jaikishan produced an album “ Raga Jazz Style” where they experimented: Raga TodiRaga BhairavRaga MalkaunsRaga KalavatiRaga Tilak KamodRaga Mian Ki MalharRaga BairagiRaga JaijaiwantiRaga Mishra PiluRaga Shivranjani What else you expect from a music director! I rate SHANKAR-JAIKISHAN as the number-1 music director in the Hindi Film world. This composer duo was the most versatile through the 50s and 60s. From the Barasat hit “Hawa Main Udadta Jaye”, Aawara hit ’Ghar Aaya Mera Pardesi’ to classical songs in Basant Bahar and Seema, and I still bet no one can give the classical music like Aamrapli. In fact Shankar-Jaikishan used Indian Classical Ragas to compose most of their songs to mixed with the westernized tunes as experimented in “An Evening In Paris, Zuk Gaya Aasman, ’Aaj Kal Tere Mere Pyar Ki Charche Har Zabaan Par’ (Bramhachari)” songs. SJ could create a melody to suit any mood or emotion. They were masters in conducting orchestra. Accordion, Sitar, Mandolin, Sarod, Vina, Guitar, piano etc. were the special instruments used frequently in their music. SJ in their life span won as many as 9-Filmfare Awards out of a total of 150 Hindi movies (compared 6-Filmfare Awards out of 600 movies by LP). That is the highest number of awards ever won by any Bollywood music directors till present day. SJ won these Filmfare Awards for: Chori Chori (1956),Anari (1959),Dil Apana Aur Preet Parayi (1960),Professor (1962),Suraj(1966),Bramhachari (1968),Pehchan(1970),  Mera Naam Joker (1971), and Beiman (1972). SJ used to give around 4 to 5, some time all, hit songs in each of their films. Particularly, SJ under RK-banner gave the most memorable and un-forgetful musical hits for the films like Barasat, Aah, Aawara, Boot Polish, Shree 420, Jis Desh Main Ganga Behati Hai, Sangam, Mera Naam Joker. The other hit songs of SJ music includes films like Halaku, Daag, Badshah, ZINDAGI, Aarzoo, Dil Ek Mandir, Hamrahi, Aai Milan Ki Bela, Suraj, Teesari Kasam, Love In Tokyo and many more. Noted Music Director Anu Malik (and Hasrat Jaipuri’s Nephew) says that Raj Kapoor had dug a well full of everlasting music and Shankar Jaikishan drew water out of it. Though SJ never approved their separation, the fact is that the two did started working separately in the mid-60s. The reason is attributed to the fact that Shankar introduced a new singer Sharda (famous for her song Titli Udi... in the movie SURAJ) much against the disagreement of Jaikishan. Further Shankar's fondness for Sharda & Jaikishan's inclination towards Lata Mangeshkar created differences between the two and in the mid-60s the split. How can we forget these famous Duo of composers who gave songs all the way from Jaan Pehchan ho (a melody still very famous in the west), Badan Pe Sitare (a tune that has been used in many songs in current Bollywood), Baharon Phool Barsao (a very nostalgic tune that is the only happy song ever to be created in the raga shivrangini), all the way to classical movies such as BASANT BAHAR. RASIK BALMA – IMPACTRasik Balma song is from the old Hindi film Chori Chori (1956), which was based on Raga Shudh Kalyan. There is another song Chand Phir Nikla (Film: Paying Guest of 1957), which was composed by Maestro S.D.Burman. In fact, both of these two songs “ Rasik-Balama and Chand Nikala” sound so similar. These two songs were composed by two of the greatest Hindi film music directors of all time Shankar-Jaikishan and S.D. Burman respectively around the year 1956. It is surprising to note that both these music directors never composed any Hindi song based on Raga Hamsadhwani, a melodious South Indian classical raga. Both songs were composed independently by the above two music directors. Since both songs were composed on Raga Shudh Kalyan, both have the same bandishi or pakkad. And this is the reason why both songs sound so similar. In the background, a light rhythm of ghungaoos was played so as to enhance the beauty of both songs. There was no question of one being a copy of the other. In those golden years of 1950s, one could not even think of plagiarism, which unfortunately is rampant in some of the present day Hindi film-music. Both songs were brilliantly sung by the great Lata Mangeshkar. The immortal Lata Mangeshkar has stated that these two songs are two of the best songs of her career among her other favorite songs such as Aaja re pardesi (Film: Madhumati), Ayega aanewala (Film: Mahal) and Ye zindagi usiki hai (Film: Anarkali). Actually, when this song Rasik Balma was being picturized on actress Nargis, Nargis declared that she would not require any Glycerin on her eyes to emote for this song. After hearing the song, Nargis knew that there was no need to use Glycerin during the picturization of the song, since the great Lata Mangeshkar had already used her deep emotions while singing the song, and that was enough to create natural tears. Glycerin is normally used in the film industry to create tears artificially in the eyes of the actor or actress for sad scenes. From reliable sources, it is known that the above song Rasik Balma was composed by Jaikishan. Generally, the opening (sthaayi) of the song is set within a medium octave, but this song opens on a very high note. During recording, Lata Ji had pointed this out to Jaikishan Ji saying that people are going to blame her for singing this song at such a high pitch and people might say that they cannot even hum it! But the brilliant Jaikishan told Lata Mangeshkar that the beauty of this song lied entirely on singing it at a high pitch, and finally the song was sung at a high pitch and the rest is history. In 1956, from India, Lataji called Mehboob Khan, the famous Producer and Director of Oscar nominated Film: MOTHER INDIA who was undergoing a medical treatment in a hospital in Los Angeles in USA. At that time, Mehboob Khan told Lataji that he was very impatient to hear the melodious soulful song RASIK BALMA from Lataji herself over the phone, since the record of this song was not available in USA at that time. "Oh, Rasik Balma from Chori Chori…?" asked Lataji and she sang the entire song over the phone for Mehboob Khan. She sang this song over the telephone every single day while Mehboob Khan was recuperating in the Los Angeles hospital. Later, Mehboob Khan admitted how much this song had helped him recover faster from his illness.  This proves the power of the song “Rasik Balma”, which could heal an ill person. There were many other great composers such as RD & SD Burman, O.P Nayyar, Laxmikant-Pyarelal, Naushad, Roshan, Khayyam etc. When we analyzed these music directors’ musical contribution on the scale of versatility, they perhaps would be nowhere close to Shankar Jaikishan. If RD Burman gave music to movies like Yadon Ki Baraat, Kati Patang and Hum Kisi Se Kum Nahin, there isn’t a single movie in which he gave classical numbers. Same goes for SD Burman who made some very good semi-classical and classical numbers but had a better success in making more western numbers such as “Rangeela-re” after RD Burman started to assist him. Naushad and Khayyam definitely had very good classical numbers but not a lot of western mixed numbers. As far as I remember most Semi Classical Songs Of Shankar Jaikishan are among the Best in the Hindi film industry. If you were knowledgeable in the Indian Classical music, you would be able to tell the difference between music that is made today compared to the music that was made in 50s and 60s. 50s and 60s definitely had better music that 70s and later because Shankar Jaikishan used massive orchestra’s that gave you songs that were truly special such as Likhe Jo Khat Tujhe, Dil Ke Jharokhe Mein, Kaun Hai Jo Sapno Mein Aaya (a song that had a tune from Elvis Presley’ song but sounded much better with the type of composition SJ converted it into). The song Awara Hoon was very famous in countries like Russia, England and France because European type of music. If anyone ever heard Scottish music you would be surprised to hear how much it resembles the song Dil Ki Nazar Se from the movie Anari. As far as I know AR Rehman is below every music director from the old Bollywood. The problem is that no MUSIC composer today including Rehman knows how to make a raga-based mixed composition. We are pretty much forgetting our own heritage and going after music played in the west. SJ proved that what a fusion between classical and western can do in songs like Baharon Phool Barsao (Raga Shivrangini) and Yaad Na Jaye Beete Dino Ki (Raga Kirwani). A person who is trained in western music would definitely be able to identify the jazz, and rock and roll style in Shankar Jaikishan compositions. A classical musician or singer will be able to identify the Raga on which any of SJ compositions would be based but not from Rehman’s music because there is no Raga in his music just Rhythms and so called "western melody" that he hasn’t even mastered properly. CULTURAL IMPACTI have done detailed research on how the Hindi-Film Music influenced the World. Indian cinema, with its characteristic film music, has not only spread all over Indian society, but also been on the forefront of the spread of India's culture around the world. In Britain, Hindi film songs are heard in restaurants, on radio, and TV-channels, dedicated to Asian music. In Greece the genre of indoprepi sprang from Hindi film music while in Indonesia dangdut singers like Ellya Khadam, Rhoma Irama and Mansyur S., have reworked Hindi songs for Indonesian audiences. In France, the band Les Rita Mitsouko used Bollywood influences in their music video for "Le petit train" and French singer Pascal of Bollywood popularized filmy music by covering songs such as "Zindagi Ek Safar Hai Suhana". In Nigeria Bandiri music—a combination of Sufi lyrics and Bollywood-style music—has become popular among Hausa youth. Hindi film music has also been combined with local styles in the Caribbean to form "chutney music".Recently I was touring in Marrakesh, a big city in MOROCCO, where I found local people were talking to me in Hindi and inquiring about SHAHRUKH KHAN. They were also asking me about the film “KABHI KHUSHI KABHI GAM”. Then I noticed that there is a big Cinema Theater showing only HINDI FILMS in a regular show. I was just stunned to learn that Moroccans also enjoy the Hindi Films & Music just like Indians. Now I can say with confidence that Hindi films have conquered the great part of the world. Bollywood leads the world in viewer numbers as well as film-production volumes. Soviet Russia was a key part of that story. Russians have been enjoying popular Indian melodrama and musicals since the first festival of Indian films in Moscow in 1954. This delegation was conducted by Raj Kapoor. This was the occasion for Russians and the world to listen to Shankar-Jaikishan’s music for the first time out side of India. In fact, Russian box office statistics suggest that Indian movies were more popular than any other foreign films shown in the Soviet Union. In the period between 1954 and 1989, for example, while 41-American and 38-French movies attained “blockbuster” status (“blockbuster” defined as selling more than 20-million tickets) in the Soviet Union, 50-Indian movies did the same. Fascination with Hindi SongsThe number of songs that were adapted by the foreign countries from Hindi movies is considerable. From the 111 movies known to have come, as well as from others whose importation is uncertain, 105 Greek renditions were identified. Many came from the best-known Hindi movies that are from Awaara, Shree 420, Mother India, Ghar Sansaar, Laajwanti, and Aan. Many Hindi songs engendered duplicates, triplicates, and quadruplicates. For example, “Pyar Hua Ikrar Hua” (Shree 420) and “Gao Tarane Man Ke” (Aan) have four renditions, “Unchhi, Unchhi Dunia Ki Diware…” (Naagin) and “Aa Jao TaRapte Hai Arman” (Awaara) has three. At least 10 others have duplicates. Of all songs, 57 (55%) have a great similarity with pre-existing songs; 25 (24%) deviate significantly from the originals, 16 (16%) are partial renditions, where other melodies are mixed with Hindi, and 5 (5%) use only some musical bars. In overseas countries most Hindi songs copies were temporary hits or remained obscure. However, 11 were still known among the general public in 1998, about 35 years later. The best remembered in the 1990s were: “Aa Jao TaRapte Hai Arman” from Awaara, one of three renditions of this song by Stellios Kazantzidis; “kardia mou kaimeni” (my poor heart -- “Dunia Me Ham Aaye” from Mother India), “auti i nyxta menei” (this night remains -- Ulfat Ka Saaz Chhedo from the 1953 MehboobKhan’s Aurat), “oso axizeis esy” (as much as you are worth -- “Dunia Walon Se Duur” from Ujaala”). In foreign countries mainly in Middle East and Greece, Mother India, Awaara, and other movies established Nargis as the great priestess of the family dramas, with Madhubala a close second. The ability of these heroines to express pain made the beautiful and haunting songs that they sang instant hits. It was only natural that the emotions of the poor Greeks would be expressed through those very same melodies. Thus, starting in 1959, Greek-language renditions of many songs appeared. As the above article implies, the transformed songs had a big problem: Plagiarism. With few exceptions, the songs appeared as creations of at least 26 Greek musicians. The copying was systematic. Some Greek-musicians copied some Hindi songs on reel tape recorders directly from movie theaters, and in other cases, music companies ordered records from India and distributed them to willing people for copying. The names of Naushad Ali, Shankar-Jaikishan, and Chitalkar Ramachandra were never heard in Greece. When India conquered GreeceHere's a superbly researched article from World Bank economist Helen Abadzi on Greek songs that were inspired from Hindi film songs. Ms. Abadzi writes:The most Hindi movies were considered working-class fare. They had much less appeal for the middle-class, which looked westward for entertainment, wanted more humor, and was not plagued by the social dilemmas of the poor and the limited solutions available to the heroines. Nevertheless, many saw the Hindi masterpiece movies. In February 1960, Mother India premiered without much advertisement in Kotopouli, a downtown theater in Greece, on a snowy day. The first few curious spectators were so moved by watching this movie in the theater that they stopped strangers on the way out and told them not to miss that “social gospel”. Four hours later, a waiting moviegoers line two city blocks long had formed, and the movie played in some Greek town or other at least for the next 10 years. I can’t pay enough tribute to Shankar-Jaikishan, as their creation can never be reviewed within any human domain – except that it can only be felt; and we, as human being, can always take advantage to listen to their divine tunes. I always refer to them as two angels who visited this world, and left their divine impression with mankind forever. Shankar Jaikishan remains an enigma for all basically because two different people with completely different backgrounds, different natures, different attitudes, and different temperament but together they created the most harmonious, highly original and unparalleled creative music in the annals of Bollywood Film history. This is the most astounding and intriguing aspect of their creation. Hydrogen and oxygen are two different elements. They have their own properties and their own original existence. But when they come together they have created something entirely different from both their original character…Water! Water is something so unique that nothing equals it in the entire creations of any chemical element. Water is life giving, without water there would be no life. Similarly, Shankar Jaikishan were the two different entities; together they created water like magic. Without each other, they are like hydrogen and oxygen, however much they wanted to, they individually could never create the magic called water. They needed each other to do it. This is the story of Shankar Jaikishan. But, as human beings what they are, they would like to know what created this magic? Who is more creative? Who is more talented? Whose contribution is more in creating the magic? That is why we have to touch upon the most painful and least understood, least known aspect of their creations, who created what? At the end, I just would like to add my comment on the current status of Bollywood:However, with the death of stalwart composers like S.D. Burman, C. Ramchandra, Naushad, Madan Mohan, Salil Chaudhary, O.P. Nayyar, Roshan, Ghulam Mohammad, Jaidev and Shankar-Jaikishan, the quality of the Hindi music declined. The standard of lyrics nosedived with the death of Sahir, Shakeel, Rajender Krishan, Shailendera, Hasrat Jaipuri, Raja Mehndi Ali Khan etc. The untimely death of Rafi, Mukesh, Manna Dey, Mahendra Kapoor, Kishore and Talat created a huge void, which the successor singers could not fill up. Indian film music is progressing ahead but without any meaningful tunes or lyrics or music. What we experience now a days, is loud instrumental noise, western rhythm, and meaningless wordings in film songs. Rarely we hear some good music with lyrics.

[shankerjaikishen-the-unbeatables]

SANGEET KE SITAARON KI MEHFIL:AMEEN SAYANI'S PROGRAMME ON SHANKAR JAIKISHAN PART 2

Courtesy: N Sridhar abbreviation RK: Rajinder Krishan SH: Shankar LM: Lata Mangeshkar HJ: Hasrat Jaipuri PJ: Pallavi Jaikishan AS: Ameen Sayani behnon aur bhaaiyon, dekhiye aaj kya keh rahi hai Sangeet Ke Sitaaron Ki Mehfil aap se ------------ --------- --------- ------ Clip: ghar aaya mera pardesi (Awara) ------------ --------- --------- ------ haan magar ek nahin do shaandaar pardesiyon ki yaaden aaj phir aayi hain hamaare 'programme' mein, filmi duniya ke 'superhit' sangeetkaar Shankar aur Jaikishan. Sangeet Ke Sitaron Ki Mehfil ke pichhle 'programme' mein unke jeevan ki raahon par hamaara safar sirf aadha hi raha tha, jo aaj hoga poora. lekin behno aur bhaaiyon, yeh to sirf hamaara safar poora hoga. Shankar Jaikishan ke sangeet ka safar to itna vishal, itna phaila huya tha ke humein uska jayzaa lene mein to kai maheene lag jaayenge. ------------ --------- --------- --------- Clip: tumhe yaad karte karte (Amrapali) ------------ --------- --------- --------- baharhaal aaj hum Shankar Jaikishan ke safar ke shuru ka haal ek alag nazar se dekhenge, mashoor geetkaar Rajinder Krishan ke nazron se, jo Shankar, Jaikishan, Shailendra aur Hasrat ki tarah Khud bhi ab is duniya mein nahin rahe. aayiye behnon aur bhaaiyon, yaad karen Rajinder Krishan ke puraani yaadon ko: RK: Shankar Jaikishan ke saath maine kam kaam kiya hai, lekin jab jab kiya hai to mera dil hi jaanta hai kitna nuks uThaaya hai. waise Shankarji se meri bahut puraani mulaaqaat hai. ek zamaane mein, main 'Famous Pictures' mein kaam karta tha jinke do mashoor tasveeron ke naam abhi tak aapko bhi yaad honge, Pyar Ki Jeet aur Badi Behan. Un dinon Shankarji hamaare saath ek 'musician' ke haisiyat se kaam karte the. aur unhi dinon se unki lagan kehti thi ek din yeh filmi duniya mein apna naam paida karenge. Jaikishan saahab se bahut baad mein mulaaqaat huyi, lekin huyi to Khoob huyi. Shankar Jaikishan ki joDi ne filmi 'music' ke itihaas ko jo chaar chaand lagaaye us se kaun waaqif naheen hai! maine jab jab inke saath kaam kiya hai, mujhe aisa mehsoos huya hai yeh donon sangeet ke poojari hain. kaam ko pooja aur aaradhana samajh ke karte hain. ------------ --------- --------- --------- --------- ----- Song: beet chali hai raam rut yeh bahar ki (Sachchai) ------------ --------- --------- --------- --------- ----- kuchh geet, kuchh baaten, kuchh yaaden, kuchh suni sunaayi ghaTnaayen, kuch apna aankhon dekha haal, in sab ke sahaare ham banaate jaa rahe hain Shankar Jaikishan ke jeevan aur sangeet ke tasveer. kareeb 23 barson tak Shankar Jaikishan film sangeet ki duniya par chhaaye rahe. unki shuru shuru ki filmon se hi sangeet premiyon ke dilon par unka jaadoo chalne lag gaya tha. ------------ --------- --------- --------- --- Song: kisi ne apna banaake mujhko (Patita) ------------ --------- --------- --------- --- behnon aur bhaaiyon, Shankar aur Jaikishan se meri kaafi dosti thi, baDi gehri dosti thi aur mujhe woh ek baar 'film producer' bhi banwaana chaahte the, nahin ban paaya, Khair woh meri kismat thi. aksar unse milna hota tha kabhi unke ghar pe kabhi 'music room' par, to kabhi kisi 'restaurant' mein aur unke geeton se milna to har hafte zaron mein hota hi tha, kyunke shuru hi se mere 'hit parade' ke 'program' Geet Mala mein unke geet behad 'hit' huya karte the. aaj main aapko bataaoonga ki Shankar Jaikishan ke kaun kaun se geet, Geet Mala ke vaarshik prograamon mein 'top' par yaani ke choTi ke paaydaanon par rahe. main unki bas ek jhalak yaa ek antaraa pesh karta jaayoonga aur geeton ke beech beech kuchh suhaani yaadon ki khusbooyen aati rahengi, sunte rahiye. Shankar Jaikishan ke jo tarz pehli baar saal ki 'number 1' tarz bani woh san 1955 mein bani. film thi Shri 420... ------------ --------- --------- --------- - Clip: mera joota hai jaapaani (Shri 420) ------------ --------- --------- --------- - yeh geet likha to tha Shailendra ne, lekin dhun kisne banaayi thi, Shankar ne yaa Jaikishan ne? bhai bahut kam logon ko pataa chalta tha iske baare main. par ham sab jo unke 'fans' the na, unke to man mein bhi yeh sawaal nahin uThaa tha. magar iske baare mein ek do mazedaar baaten abhi kuch der mein aanewali hai aaj ki mehfil mein behnon aur bhaaiyon. tab tak suniye Geet Mala mein agla 'superhit' geet kaun sa tha. yeh film Sasural ka geet tha jo 'number 1' bana tha san 1961 mein. ------------ --------- --------- --------- ----- Clip: teri pyaari pyaari soorat ko (Sasural) ------------ --------- --------- --------- ----- Shankar Jaikishan ke sangeet mein, gaayakon mein do awaazon ka hamesha zor raha. ek to Khair Mukesh aur doosre hain Mohammed Rafi saahab. aur yahaan main pesh karoonga ek hissa Shankar saahab ke aawaaz ka jismen unhone Rafi saahab ke inteqaal par unhe yaad karte huye kaha tha. SH: unki aawaz aur unka tareeka, unki awaaz ki Khoobsoorti aur unki aawaaz ke andar bolon ko kehne ka Dhang. bol ko kis tareeke se bolna chaahiye woh wohi jaante the. 'Classical' se lekar Thumri, 'semi classical, modern, modern' se 'modern' gaana, Gazal, koyi unka muqaabala nahin! AS: hmmm... waaqai Shankar saahab, magar yeh bataayiye aap ka kaun sa tha woh sabse pehla gaana jo Rafi saahab ne aapke liye gaaya? SH: jab yeh gaana bana, Barsat ka gaana hai, jab Raj Kapoor saahab gaana sune - "main zindagi mein hardam rota hi raha hoon", mere Khayal se unko bahut pasand aaya tha, jab dekha ke bhai yeh gaana kaun gaa sakte hain, to ham logon ke dimaaG mein ek hi baat thi, yeh Rafi miyaan se gavaana chaahiye, aur yeh gaana Rafi miyaan bahut achchha gaayenge, kyunki sur ki baat thi. to Rafi miyaan ko bulaaya. jab Rafi miyaan bulaaye gaye, ham to chhoTe hi unke saamne the, kyunki wo hamse bahut hi baDe the. jab woh aayen, ham to Khushi ke maare, jaise paagal hote hain, yeh haalat tha mera aur Jaikishan ka. Chalo Rafi Saahab aa gaye, Rafi Saahab aa gaye. aate hi ham yeh uTh gaye, pehle Khade ho gaye. haath joD ke keh rahen 'aap hamaara achchha gaana gaa deejiye'. hamaara 'hit' kar deejiye gaana. hamaara gaana chalna chaahiye. bas ham to aapko kya bataa sakte hain aur kya ham aapko 'rehearsal' karwa sakte hain. hamaari yeh dhun hai, yeh bol hain, aap isko sajaa deejiye, bas.' aur unhone bahut achchha gaaya, bahut hi achchha gaaya. ------------ --------- --------- --------- Clip: main zindagi mein hardam (Barsat) ------------ --------- --------- --------- Sangeet Ke Sitaaron Ki Mehfil mein is hisse mein ham dekh rahen hain Shankar Jaikishan ke kuchh zabardast dhunon ke jalwe. beech mein Shankar Saahab ki aawaaz bhi aa gayi, Mohd Rafi ko shraddhaanjali ke roop mein. magar gaayikaaon mein jinhone Shankar Jaikishan ke sabse zyaada dhunon ko sanwaara hai, woh hain Lata Mangeshkar. aur Lataji ki hi awaaz ab aap sunenge, Geet Mala ke 'hit parade' ke san 1962 ke saalaana 'program' ke 'geet number 1'. aisa geet tha woh jisne Junglee ko bhi insaan bana diya tha. ------------ --------- --------- --------- -- Clip: ehsaan tera hoga mujh par (Junglee) ------------ --------- --------- --------- -- ab yeh mujhe to Thik se nahin pataa behnon aur bhaaiyon, magar kuchh aisa sun ne mein aaya tha ki yeh dhun pehelwaan Shankarji ne nahin, balke 'romantic' tabeeyat waale Romeo Jaikishan ne banaee thi. barahaal Jaikishan ke dehaant ke kuchh arse baad, maine Lata Mangeshkar se guzaarish kee thi ki woh kuchh baate bataayen apne us chahite dost ke baare mein. LM: Jaikishan aur main, hum dono hum umar the. bas 6 maheenon ka farak tha hum donon mein. Barsat aur Nagina jaise filmon ke baad, hum logon ka ek baDa mazedaar 'group' ban gaya tha. AS: hum logon ka yaani? LM: hum log yaani, Shankar saahab, Shailendraji, Hasrat aur Mukesh bhaiyya. hum sab ek saath kaam bhi karte, ghoomne bhi jaate, tarzen bhi 'discuss' karte, aur kabhi kabhi bahut jhagDe bhi hote the. AS: jhagDe kis baat par? LM: bas chhoTi chhoTi baaton par, Khaas taur par Jaikishan ke saath. AS: achchha achchha, woh kaise? LM: kabhi main unki dhun ki buraayi kar doon, to kabhi woh meri awaaz par koi jhumla kar de. aur is tarah jab than thi tho dinon tak thani rehti. mujhe yaad hai, maine ek baar jhunjhlakar usse keh diya 'Jaao ab main tumhare liye nahin gaati, kisi aur se gawa lena', yeh keh kar main chal diya apne ghar. ghar pahunch kar main bhi pachhtaayi aur woh bhi pachhtaaye. lekin dono hi aDe rahe. phir Shailendra aur Shankar bhaai unhe pakaDkar mere ghar le aaye. aur bas phir dosti waisi ki waisi. ------------ --------- --------- --------- ------ Clip: aji rooThkar ab kahaan jaaiyega (Arzoo) ------------ --------- --------- --------- ------ AS: Lataji, ek Khaas baat humne paayi, hamesha Jaikishanji ke sangeet mein, woh yeh ki woh shastriya sangeet aur lok sangeet ka baDa hi sureela aur bada hi saral sangam pesh kiya karte the. to kya aap humein bataa sakti hain ki unhone baaqaayda taur par shaastriya sangeet aur lok sangeet seekha tha? LM: 'Classical' sangeet unhone seekha zaroor tha. par kisse seekha tha yeh mujhe ab yaad nahin hai. par haan itna zaroor yaad hai, ke woh aksar kaha karte the ki sangeet ka shauk unhe apni maataaji se mila. Gujarati lok geet woh gaaya karti theen aur yeh sun sun kar apne man mein utaara karte the. AS: lekin Lataji, Gujarati lok sangeet ka asar Jaikishan ke dhunon main to maaloom nahin hota tha? LM: yahi to Khaas baat thi Jaikishan ki dhunon mein. agar woh 'classical, folk, western' yaa Arabic sangeet se prerna paate the, to usey apne rang main Dhaalkar pesh karte the. 100 se zyaada filmon mein 'music' diya unhone Shankarji ke saath aur har film mein koyi na koyi nayi cheez zaroor thi. AS: aur un nayi cheezon mein un suhaani sureeli sabki man mein basne waali cheezon mein ek dhun woh thi jo san 1964 mein Geet Mala ki vaarshik sangeet ki choTi par bajee. Sangam. ------------ --------- --------- --- Clip: mere man ki gangaa (Sangam) ------------ --------- --------- --- doston usi saal Geet Mala ke geet 'number 2' bhi film Sangam ka tha. "yeh mera prem patra paDhkar" aur yahi the woh do geet jinse mujhe kuch kuch pataa laga ke jaise geet banT-te the Hasrat aur Shailendra mein, waise shaayad dhune bhi banT-ti thi Shankar aur Jaikishan mein. kyunki mujhe yaad hai Shankar bhaai bahut naaraaz huye the us saal Geet Mala par. aur unhone mujhse kaha bhi tha 'yeh kaise aapne "bol raadha bol" ko 'number 1' aur "yeh mera prem patra paDhkar" ko 'number 2' par bajaa diya?. Sangam ka sabse achchha geet to tha "dost dost na raha". ab doston main is 'controversy' mein na tab paDnaa chaahta tha na ab paDnaa chaahta hoon, kyunki mere liye to Shankar aur Jaikishan dono baraabar the. dekhiye donon mein pyar bhi bahut tha ek doosre ke liye. zara suniye to Jaikishan ke maut par, Shankar kaise TooT se gaye the. SH: Ameen bhai, main kya kahoon, mere zindagi ka saathi chala gaya, ab mere paas raha kya kehne ke liye. maine socha bhi nahin tha ke Jaikishan itni chhoTi umar mein hamko chhoDke chalaa jaayega. Khair. lekin uski baaten, jo usmein achchhi baaten thi woh saari duniyaa ko yaad rahegi. itna Khush, itna guNee apne kaam mein, apne sangeet mein, apni saari baaton mein milansaar, aur ek doosre se kaise milke rehna, ek doosre se kaise pyaar dikhana aur kaise pyaar lena, wohi jaante tha. woh to mujhe bhi nahin aata. aksar mujhe bhi DaanT-ta tha ki 'arre yaar tum to hamesha hi gusse mein rehte ho. kisi na kisi ko DaanT-te hi rehte ho'. lekin waqaai mein hi woh bahut pyaara tha, saari duniya uske liye aur uski Khoobsuratiyon ke liye, uske achchhe kaam ke liye, aur usne jo achchha kaam kiya hai, woh sab logon ko yaad rahega. ------------ --------- --------- --------- Clip: ae mere dil kahin aur chal (Daag) ------------ --------- --------- --------- behnon aur bhaaiyon kuchh der pehle maine baat cheDi thi Shankar saahab aur Jaikishan ke beech dhune banaane ke baTwaare ki. aur isi ke baare mein ek 'interview' mein Hasrat Jaipuri saahab ne mujhe kya bataaya tha? HJ: do tan aur ek jaan ki tarah Shankar Jaikishan bhi the, aur mera, main bhi aisa hi tha Shailendra ki aur main bhi wohi do tan aur ek jaan. lekin zyaada kaam hone ki wajah se tum kuchh karlo aur hum kuch kar lete hain. Jaikishanji mere saath baiTh jaaya karte the aur Shailendraji unke saath. lekin pehle na aise ittefaaq thi yaa aise koi baat nahin thi. Woh ek hi samajh leejiye unhone kiya to unhone kiya aur unhone kiya to unhone kiya. ek hi baat hai. donon ke naam saath aate the. lekin tarzen woh alag alag banaate the, haan yeh ho sakta tha woh ek doosre se poochh liya karte the, ke bhai dekho yeh hai, agar ismein kamee thi donon ka naam aata hai, isi tarah hum donon, 'bhai dekho yeh is tareeqe se hai, Shailendraji' . Shailendraji kehte the 'Hasrat miyaan dekho maine yeh Gazal likhi hai pehli martabaa, is mein kuch Galati to nahi hai!' to maine kahaa 'nahin aisi koi baat nahin hai'. agar mere zehan mein koi baat aisi aati hai ke jo fan ke Khilaaf hai to main bata deta. isi tareeqe se hindi geeton ke andar main usse poochh leta tha, to is tareeqe se miljul ke hum baDe prem aur pyaar se kaam kiya karte the. AS: lekin Hasrat bhai, abhi aapne kaha ki zyaadaatar Jaikishan aapke saath kaam karte the aur Shailendraji Shankar ke saath. lekin kai gaane aise bhi to hai jo aapne likhe aur Shankar ji ne unki tarz banaayi ho aur yaa Shailendra ne likhe ho aur Jaikishan ne tarz banayi ho? HJ: haan aise bhi kai gaane hain. bahut se gaane aise hain jo maine likhe aur Shankar-ji ne tarz banayee. aisa bhi hua Shailendraji ne gaane likhe aur Jaikishan ne tarz banayi. Woh to ek hi baat thi na. Naak idhar se pakDo ya udhar se pakDo kul milaakar to ek hi baat hai. par yeh gumaan aisa hota ki kabhi Shankarji ki tarz ho to log samajhte hain Jai ki hai, Jai ki agar koi 'tune' ho to log samajhte hain ki Shankar ki hai. yahi dhokhaa hamaare gaanon mein hota tha. mere gaane pe log kehte 'nahin saab, yeh to Shailendraji ka likha hua hai'. AS: haan ek gaana Khaas taur par mujhe yaad hai. HJ: Kaun saa? AS: mujhe yaani maine jab tak 'record' par paDhaa nahin tab tak mujhe yakeen nahin aaya, yeh dekhiye film thi aapki Chori Chori jismen bahut hi Khoobsoorat gaana tha aur woh rang jo us gaane mein hai woh Shailendra ka hai. jab paDhaa 'record' par tab pataa lagaa ki Hasrat saahab ka likha hua hai. yeh gaana tha woh... ------------ --------- --------- -- Song: rasik balmaa (Chori Chori) ------------ --------- --------- -- Sangeet ke Sitaron ke Mehfil ke kadardaanon, ab phir aa jaayiye Geet Mala ke choTi ki paydaanon ke Shankar Jaikishan ke bahaaron mein. ------------ --------- --------- ------ Song: bahaaron phool barsaao (Suraj) ------------ --------- --------- ------ woh mehboob to film Suraj se hota huya saalaana Geet Mala ki choTi par pahunch gaya tha san 1966 mein. lekin us se teen saal pehle, Jaikishan ki jeevan mein bahaar bankar aayi thi ek baDi pyaari, baDi Khoobsoorat, baDi suljhi hui laDki - Pallavi Mariwala. aage chalkar Jaikishan ki patni bani. ------------ --------- --------- --------- --------- -- Song: man bhaawan ki ghar jaaye gori (Chori Chori) ------------ --------- --------- --------- --------- -- behnon aur bhaaiyon, maine yeh geet dulhan ki bidaai ka unke maike ke ghar se samjho ke bajaaya tha. Kyunke, Pallavi meri bhatiji ke samaan hai. dekhiye unke chacha jo hain Jaisingh Mariwala woh mere saath school mein paDhaa karte the aur bilkul bhaai ki tarah the. Aur behnon aur bhaaiyon Khaas Sangeet Ke Sitaaron Ki Mehfil ke is program ke liye maine Pallavi ko yahaan bulaaya hai taaki woh Jaikishan ke baare mein biwi ki nazar se kuch bataaye. AS: to Pallavi, sabse pehle yeh bataao, Jaikishan se mulaaqaat tumhaari kaise huyi aur kahan? PJ: Woh ji huyi thi 'cricket match' ke dauraan AS: 'Cricket Match' ke dauraan? PJ: haan ji AS: achchha achchha, kaunsa 'match' tha bhai woh? PJ: woh to abhi mujhe yaad nahin hai AS: nahin? PJ: 'I think', main sab kuchh bhool gayi thi. bhool gayi AS: yaani, pehle milan ka yeh yeh anand tha ki aur kuchh yaad nahin hai haan? PJ: jee haan AS: achchha yeh bataao ki aage baat kaise baDhee? PJ: bas, us 'time' to kaafi 'known personality' the. Geet Mala ke dauraan vagerah, hum log saare 'fans' the unke AS: achchha! PJ: main aur meri saheliyaan, to wahaan pe koi unhe jaanta tha, unhone 'introduce' kiya aur hamaara 'music' ka shauk humein leke gaye unke 'recording' pe AS: 'recording' dekhni thi aapko? PJ: haanji bahut 'interest' tha waise AS: to aap kaun se 'studio' mein dekhi thi 'recording' aur kaun si geet thi? PJ: woh us zamaane mein Famous Studio mein karte the 'recording' AS: achchha gaana kaun sa tha? PJ: gaana tha "mujhko apne gale laga lo ae mere humrahi" AS: arre waah waah waah aur phir unhone gale laga liya! PJ: Rafi saahab .. (both laugh together). us 'time' to nahin AS: achchha uske baad shaadi mein kitni der lagi aur gharwale jo the tumhaare woh raazi nahin ho rahe the? PJ: nahin, woh bilkul 'against' the. kyunki 'different backgrounds' ho gaye the. 'Film people' itne 'accepted' nahin the. AS: achchha achchha achchha. to phir shaadi huyi kaise? PJ: bas kar lee shaadi. 'elopement'. (Both laugh together) AS: 'Very good, Very good'. achchha chalo, shaadi ho gayi ab hum ek zaraa sa 'jump' lete hain aur pahunch jaate hain tumhaare ghar pe, Marine Drive pe baDaa hi Khoobsoorat ghar hai. tum donon wahaan rehte the aur kayi baras saath guzaare. aur main hamesha dekha karta tha tum dono ki joDi bahut achchhi lagti thi, bahut Khush rehte the dono. PJ: Shukriya AS: kuchh mujhe bataao Jaikishan ke baare mein, tumne unhe ek patni ki nazron se kis tarah dekha? kaise the woh? ghar mein bartaav kaisa tha unka? PJ: bahut hi milansaar AS: bahut hi milansaar! PJ: bahut hi Khayaalwaale, bahut hi dildaar AS: achchha PJ: bahut hi 'straight' kism ke aadmi AS: achchha achchha PJ: jaise bhagwaan us zamaane mein is 'type' ke insaan ko banake, woh jo khaaka to woh hi phenk diya tod diya. aise log abhi bante nahin AS: kya baat hai, dekhiye, behnon aur bhaiyon, biwi ho to aisi. PJ: 'husband' ho to aise! AS: lekin kaam unke paas itna rehta tha, ke parivaar ke liye kabhi samay milta tha unko? PJ: kaafi mil jaata tha, kyunki jaasti karke woh ghar se kaam karte the, 'composing' vageraah AS: achchha PJ: savere Hasratji aaya karte the ghar pe 9 baje. AS: achchha jis tarah Shankar 'music room' mein 'rehearsal' vagairah kaam karte the? PJ: Jaikishanji ghar se karte the aur 'producers' vagairah bhi aaya jaaya karte - 'Story sessions', yeh woh. aur khaali 'recording' ke waqt pe.." AS: Wahaan jaana paDta tha PJ: haan. wahaan jaana paDtaa tha. 'Otherwise he was very close to the children'. bachchon ke saath bahut lagaav tha, bahut ..." AS: kitne bachche the tumhaare? PJ: teen AS: teen bachche hain na. do beTe ........" PJ: do beTe aur ek beTi hai. beti ka naam unhone apne 'favorite' raag pe rakha - Bhairavi AS: aur beTe? PJ: baDe ka naam hai Chaitanya, chhoTe ka naam hai Yogesh. AS: achchha aur inmein se kisi ko gaane ka shaukh hai? PJ: sunne ka shauk hai. gaate hain. achchha gaa lete hain, lekin 'professionally they don't want to enter the ...' AS: achchha achchha achchha. kuchh aur bataaogi Jai ke baare mein? PJ: unka 'nature' aisa tha, 'I mean' ki jo bhi hamaare ghar pe aata tha jaise koi sawaal leke aata tha, Kyunki woh kabhi Khaali haath nahin gaya ghar se. aur shaayad unki wohi achchhaayi abhi tak hum logon ko 'protect' kar rahi hai, 'his family looking after, goodwill' jo banaayi thi unhone. AS: aur main hamaare sabhi sunnewaalon ki taraf se aur apni taraf se bhi, Pallavi yeh zaroor kahoonga, ki hum sab tumhaare saath roye the, bahut dukhi huye the, jab woh itni kam umar mein chale gaye. sirf 39 umar thi unki. ------------ --------- --------- --------- --------- --------- - Song: bedardi baalma tujhko mera man yaad karta hai (Arzoo) ------------ --------- --------- --------- --------- --------- - behnon aur bhaaiyon, Sangeet Ke Sitaron ki Mehfil mein ab aanewaali hai Shankar Jaaikishan ki woh aaKhri rachna jo Asia bhar mein mahshoor 'hit parade program' Geet Mala ki saalaana sangeet seeDhee ki choTi tak pahunchi. woh dhun thi film Andaz aur saal tha 1971. ------------ --------- --------- --------- --- Song: zindagi ek safar hai suhaana (Andaz) ------------ --------- --------- --------- --- mujhe yaad hai ki Geet Mala mein Shankar Jaikishan ki kaamyaabi ki barson mein ek baar main us 'program' ki 'jubilee' par Shankarji ko bulaaya tha. aur unhone jo shubhkaamnayen dee thi us 'program' ko uska ek baDaa chhoTaa sa hissa main aapko sunwaata hoon. Suniye. SH: Ameen Sahab mubaarak ho aapko Geet Mala, bahut bahut mubaarak ho, yeh 'program' jo aapne kiya hai sirf hamaare liye nahin, hamaare 'music' ke liye saari duniya ke andar aapne isko pesh kiya hai aur hamaare 'music' ki jo sewa kee hai aur 'music' ko logon ke saamne aapne sunaaya hai, uske liye bahut bahut shukriya aur hamaari duyaaen hai aapki tabeeyat achchhi rahe, aur aapko bhi zyaada tarakki mile, aur bhagwaan aapko 'success' de. Shankar aur Jaikishan ka kya zabardast 'group' huya karta tha behnon aur bhaaiyon. magar us 'group' ke mardon mein dekhiye ab koyi bhi baaki na raha. na Raj Kapoor, na Rafi, na Mukesh, na Hasrat aur na hi Shailendra. Jaikishan ki dehaant ki tareeKh thi 12 September 1971 aur Shankar humse juda huye the 26 April ke din 1987 mein. donon chale gaye, apne saathiyon, apne qadardaanon apni tarzon ko choDkar aur sangeet ke duniya ke kai basanten pathjhaD mein badal gayi. ------------ --------- --------- --------- --------- --------- - Song: o basanti pavan paagal (Jis Desh Mein Ganga Behti Hai) ------------ --------- --------- --------- --------- --------- - behnon aur bhaaiyon, main aapko Sangeet Ke Sitaron Ke Mehfil ke pichhle 'program' mein bhi aur aaj bhi, Shankar Jaikishan ki suron waali daastaan sunaata jaa raha hoon, magar bhai mujhe bhi to pata chalna chaahiye ke hamaare mehfil ki yeh dastaane aapko kaisi lag rahi hai. bhai mujhe 'e-mail' karke bataaiye na is pate par sayani@vsnl. com achchha doston in do 'program'-on mein yaani ki pichhle 'program' mein aur aaj aapne Shankar aur Jaikishan ki bolti huyi aawazen bhi suni aur Shankar saahab ki bajaayi huyi Piano par ek dhun bhi sunee. lekin ab tak aapne kahin bhi, kabhi bhi yeh nahin socha hoga ki ek din aapka yeh dost Ameen Sayani aapko Jaikishan ki gaati huyi awaaz bhi sunwaayega. behnon aur bhaaiyon, yeh awaaz Jaikishan ki dehaant ke kuch arse baad Pallavi ne mujhe dee thi aur maine aaj tak usey 'tape' par sambhaal ke rakha huya hai. 'tape' bahut puraana hai aur aawaz kai barson se is duniya mein nahin hai, aap to jaante hi hain. magar leejiye Khaas aapke liye main Jaikishan ki unhi ke apne ghar mein 'record' kee huyi unhi ke bajaaye huye 'harmoniun' ke saath gaayi huyi Gazal pesh karna chaahta hoon. aap sab zara Khaamosh ho jaayiye behnon aur bhaaiyon aur suniye Jaikishan ki gaati huyi aawaaz... Jaikishan singing ghazal. ab to zamaana beet gaya Shankar aur Jaikishan ki awaazen Khaamosh huye. magar unki dil ki dhaDkane, unki kalpana ke rang abhi tak mehfooz hain un saare suhaane sureele geeton mein jo yeh dono sangeet ke shehzaade mastaane hamaare tanhaaiyon ko deta hai. ------------ --------- --------- --------- --------- ------ Clip: aaye bahaar banke lubhaakar chale gaye (Rajhath) Clip: rulaakar chal deeye ek din (Badshah) Clip: sajanwa bairi ho gaye hamaar (Teesri Kasam) ------------ --------- --------- --------- --------- ------ aur Sangeet ke Sitaaron Ki Mehfil mein Shankar Jaikishan ko aaKhri salaami dene ke liye hum lenge suron ki mallika Lata Mangeshkar ka sahaara. Lata jinki yaadon mein bhi Shankar aur Jaikishan hamesha hamesha zinda rahe. Zara suniye to Jaikishan ke dehaant par Lataji ne kya kaha tha. LM: jeevan aur maran to vidhaata ki marzi hoti hai. lekin Jaikishan ke chale jaane par yeh zaroor laga yeh to bhai behad naa-insaafi huyi hai. baDi kam umar mein unke jigar ne unko dhokha de diya aur apne doston, apne saathiyon, apni maa, apni patni, apne pariwaar, sab ke koshishon aur duyaaon ke baawjood Jaikishan hum sab ko chhoDkar chale gaye. ------------ --------- --------- --------- --------- ----- Song: tera jaana dil ke armaanon ka luT jaana (Anari) ------------ --------- --------- --------- --------- ----- doston Shankar Jaikishan ke do 'program' aap itne pyaar se sune, iske liye Ameen Sayani aapka bahut bahut shukriya adaa karta hai aur vaada karta hai ke Sangeet Ke Sitaron Ki Mehfil ke har 'program' mein aap koyi na koyi gehri baat zaroor paayenge- kabhi guzre huye palon ki, to kabhi jeete jaagte aaj ki. to aayiyega har baar is mehfil mein. aapke aane se hi to bhai yeh mehfil mehakti rahegi. THE END