#shankar jaikishen

[shankerjaikishen-the-unbeatables]

Remembering Dattaram (Wadkar) on his birth anniversary

Dattaram WadkarAlso credited as: Dattaram – Music DirectorBorn: 8 October 1929Death: Jun 08, 2007Dattaram Wadkar was a prominent music director in Hindi films, credited with many hits. He was born and grew up in Goa and moved to Bombay in 1942. After moving to Bombay, he started taking tabla lessons from his first guru Pandit Pandharinath Nageshkar and later on from Pandit Yashvant Kelkar. In…

[artcultureretailers]

Rhapsody of Melodies

by Team ACF 0 comment

Way before pigeons became messengers for loved ones, rain used to unite lovers. From the time immemorial we have seen monsoons being the best season to romance, dance, rejoice and spend best of time with yourself and others.

Taking you to the time when songs created history. Raj Kapoor’s performances worked as a magic spell on the audience and PYAAR HUA IQRAAR HUA (1955) tops the list because of its evergreen romance . This song is so beautiful and popular that you can find it in every kind of list like most romantic songs, best Hindi songs, Best Rain Songs in Bollywood etc. From  the movie Shree 420, sung by Mukesh, composed by Shankar-Jaikishen and lyrics penned by Shailendra.  EK LADKI BHEEGI BHAAGI SI (1958) is unavoidable as Kishore Kumar and Madhubala looked beautiful in this funny and quirky songs. Sung by Kishore Da himself from movie Chalti Ka Naam Gaadi. Music was composed by Sachin Dev Burman and Lyrics by Majrooh Sultanpuri. DUM DUM DIGA DIGA got its name engraved in gold with Raj kapoor’s breathless performance in chhaliya (1960)

[suchananewsblog]

Breaking the glass ceiling: Female music directors have had a tough journey in a male dominated industry - #BigStory - Times of India

In the domain of Indian film music, the biggest names are often men. There’s a big caveat in that argument because Lata Mangeshkar stands head and shoulders above the rest, but the debate holds true when one focuses on the music directors of the film industry. When you recall the most popular or most celebrated composers we tend to instantly quote names like RB Burman, Shankar Jaikishen, SD…

[shankarjaikishanfansassnintl]

Blasco M : A Musician of Bollywood

By

Ashok Jagtap (Bollywood Musician) My friend Blasko has been in music industry for long time.He is a fine trombone player who played with R.D.Burman,Laxmikant Pyarelal and many top music directors including those from South.He and his all brothers are also well known musicians in film industry. Some of you may not know about this beautiful instrument. In filmy orchestra or symphony orchestra there are different sections like strings instruments, blowing instruments,brass instrument, rhythm instrument. ect.Trombone is considered as a brass instrument. His interview will give you insight of what goes on while making of a film song.Specialy his experience with R.D.Burman. Musicians will enjoy this interview.Shankar Iyer met Blasco Monsorate at his Malad residence to know about the man and his music.Shankar: Please tell us about something about your childhood days. Blasco M.: I was born on 13th May, 1957 at Parel, Mumbai. We are a family of 7 brothers, 2 sisters. My father Peter Anthony Monsorate was a musician, a Trumpet player who used to play for most of the Hindi film music directors. He also played for the big bands of those times; it was mostly Jazz music. I remember some of the times we as kids spent in the recording studios when dad used to play the Trumpet for diifferent music directors.Shankar: Do you remember any songs played by your father? Who were the music directors? Blasco M.: My father must have started playing in the 1950s. I remember Naushad, Shankar-Jaikishan, Roshan, Ravi and Madan Mohan. The popular song “Ajeeb dastaan hai yeh” had my father’s Trumpet in it. He also played many other solo pieces; I can’t remember any of them now.

Shankar: When and how did you start playing music instruments? Blasco M.: When I was in the 7th or 8th standard, dad had brought home a Trombone and asked me to try it out. By that time, my brothers Joseph and Bosco were already playing the Trumpet, Ronnie used to play the Piano and Rex the Drums. I tried blowing the instrument, wanting to know what the instrument was all about. Since both Joseph and Bosco were playing the Trumpet, this instrument with a difference attracted me. Though I managed to blow the instrument, it used to not make much sense to me then.Shankar: Where did you brothers learn music from? Did you’ll have a music teacher? Blasco M.: They learnt music mainly from my father. Anthony Gonsalves taught Joseph the Violin, Jefferano Mendez, Tony Nunes and Lucila Pacheko taught Ronnie the Piano.My exposure was largely the Radio (the Popcorn Saturday night shows) and some weddings where music was played. I also remember accompanying my father to some of the big bands at the Hotels and wedding shows.Shankar: Did your father have any exposure to Western music during his young days?

Blasco M.: My father hails from Goa, those days they used to play Violin in the Churches there. Dad used to play the Violin then. Later he learnt to play the Trumpet when he joined the various bands in Lahore, Delhi and Bombay.Shankar: When did you take to professional playing? Blasco M.: I lost my father early; my brothers started to earn for the family. Ronnie, who had gone to Delhi, invited me there to play the Trombone. He said “Why don’t you take up this instrument? It is very unique and there are not many players on the scene”. Though there were Navy and Army players, there were no professional players around. There was only one playing in films then - Anibal Castro who was a genius himself. My brother thought I could take inspiration from Anibal.Ronnie took me to Delhi. I began to play the Trombone more regularly. Ronnie used to himself sit on the Piano and guide me to play some basic notes. Slowly, I was getting to understand the instrument; I had also learnt to read music notations. I started practicing harder, learning to play some basic melodies on the Trombone. After about 8 months, I landed myself a job at the Oberoi Taj, Delhi .That was October, 1976.Shankar: How long did you play at the Oberoi Taj in Delhi? Blasco M.: I was part of the band for about 6 months after which I thought I will go to Bombay. Though the bandleader encouraged me a lot saying “Don’t worry; I will give you some ideas. Also, you have your brother to help you out”, I was beginning to miss Bombay and the idea of joining a Hotel Band in Bombay started to lure me.Shankar: Did you come to Bombay then? Blasco M.: Yes, I came to Bombay in 1977. I was getting a job at Hotel Holiday Inn, but did not really take it up because of the late night shifts. That was when music director RD Burman’s team required Trombone players. There were many Navy and Army Trombone players those days, but Manoharida (RD Burman’s arranger) wanted more professional players and invited me for one of the recordings.Shankar: What are the memories of your first day in Hindi film music? Blasco M.: I reached Panchamda’s recording studio and saw the giants from the brass section sitting there. George with his Trumpet, Anibal Castro with his Trombone, Chris Perry with his Trumpet and the others. But when Manoharida came forward and said “You are Peter’s son, I am very proud of you. Work hard, don’tworry”, I felt relieved. My father and Manoharida had played a lot together. “Mehnat karo”, his words encouraged me. Slowly, I became part of Panchamda’s brass section.It was a good opportunity for me as there was a need for players who could play soft on the Trombone unlike the existing Navy and Army band players. I got good encouragement from Panchamda’s musicians; brother Joseph was already there. Anibal Castro acted as my guru. He always encouraged and supported; was a guide to me. And we have played together on many occasions!Shankar: Are there some more incidents you wish to share from your early days as musician? Blasco M.: Those were the days of learning for me. One day I remember when we were in the final take during the back-ground of Shalimar, Manoharida had given the sign to the Strings section and I happened to play my note in between! As the whole Orchestra turned and looked at me, I felt shattered. I had spoilt the entire piece. Manoharida, who was all excited till then, turned around and looked at me. And you know what he said? “Blasco, very good tone!” That was an anti-climax of sorts; and all the musicians immediately cooled down. Manoharida had saved me that minute! That was a moment I will never be able to forget in my entire life.Another incident was when I also got a call from Laxmikant-Pyarelal for a song recording in the film Amar Akbar Anthony. The other musicians objected me being there as I was not a member of the Cine Music Association. But Pyarebhai was against this and was keen to listen to my Horn. He asked me to play a piece of music and I played a standard Western music note. He liked my playing and asked me to get enrolled under the Cine Music Association. He even assured me saying “I will sign for you”. Thus I became a member of the Cine Music Association and started to play for other music directors.I had also faced a small setback during my initial days. This was my first recording for Kalyanji –Anandji. Frank Fernandes, Kalyanji-Anandji’s arranger, had asked me to tune my Trombone. Mine being a Tenor Trombone, I had tuned it to B-flat note. I was not aware it had to be tuned to A note, the norm while playing in Orchestras. Therefore, it so happened that Mr. Mike Machado was playing the A note on the Piano and I was playing the clashing B-flat note on the Trombone. This upset Frank Fernandes and he asked me to go out of the recording room. I still remember his words “Take your Trombone and go home”. That was a setback for me. However, later it was the same Frank Fernandes who wanted me to play for a Jazz concert after 6 months! I did perform in that concert and even reminded him of the earlier incident. But that incident surely helped me to take my Horn more seriously.Shankar: Did you ever get officially trained on the Trombone? Blasco M.: Not really. It was more of regular practice .The different styles of playing with the various music directors also helped immensely. The music directors had different styles; it was therefore important to keep rehearsing.Shankar: Can you tell us something about Trombone the instrument? Blasco M.: The Trombone, as you know, is very unlike the normal horn instrument. It does not have a valve, no notes written to guide. It has a slide that requires your individual judgment. The slide is similar to a Violin’s slide. However, with the Violin, you can keep your finger on the board, press the string and play the bow; you will be able to hear a musical note. But with a Trombone, there is no note written, nothing on the slide. You can put your slide anywhere; there are 13-14 notes on each position. So it depends on how the musician hits a note, it is all his sense of pitch and the tuning. There is a good bit of co-ordination required when you play the Trombone.A Trombone can make or break a band or piece of music. One wrong note on the Trombone can disturb everything. The instrument is also capable of producing soft sounds; this was brought out nicely in many film songs.Shankar: Anibal Castro being already there in Panchamda’s team, why was there a need to have one more Trombone player? Was it to make the instrument more prominent? Blasco M.: A set of 4 Trombones was used for Panchamda’s recordings. Musically, they formed a chord of 4 notes. 3 of them were tenor Trombones; the 4th one was a bass Trombone, played by an old Navy player Bursinghji. It was similar to the Trumpet section. They were part of a full brass section. There was even a Tuba player in Panchamda’s camp (one Mr. Munna Khan used to play the instrument then).Shankar: One can hear all instruments clearly in RD Burman’s music. What do you think is the reason? Blasco M.: That was because Panchamda alwayscalled the recordist – be it Kaushikji or Ashok Shuklaji - out of the recording room and told them to hear the acoustic sound outside. “I want the same thing inside”, he would always emphasize. He used to spend hours on this to ensure the same sound inside the recording room. He was very particular about the recorded sound quality.Overall, Panchamda was way ahead of his times. For example, when the microphone was generally placed alongside a musician in those days, he changed it by placing it above the musician’s head to get a different sound quality. This helped the Horn section to produce a very warm, feeling-filled sound output. Another example was the recording of Shalimar where a multi-track microphone was placed in the centre of the recording room with all musicians playing around it! This was in contrast to the popular set-up of one microphone per instrument section!Shankar: Which are the Hindi films where your Trombone playing has been used? Blasco M.: I remember movies like Shalimar, Muqaddar Ka Sikandar, Mr.Natwarlal and Shaan. Besides RD Burman and Laxmikant-Pyarelal, I played with the likes of Rajesh Roshan, Kalyanji-Anandji and Bappi LahiriShankar: How did you get to play in the South? Why did you leave Bombay to play in Madras? Blasco M.: Kersiji itook me to Illaiyaraja’s recording studio while we were in Madras for the background recording of the movie Mahaan. When we met Illaiyaraja, he put up his reel of a background score and asked me play a Trombone piece. Since I had not carried my Trombone along, he asked me to come again on the following Sunday. He wanted me for a recording on a Sunday, while I was in a shopping mood since it was an off-day.We returned to Bombay; but the Madras visit was playing on my minds. One fine day (in March 1983), I took my Horn and left for Madras to meet Illaiyaraja. That was when I met popular singer S P Balasubramaniam (SPB) there; he asked me to come for the background music recording of a Telugu movie the very next day. He was very thrilled when he heard my style of playing. “Your style is something different”. He wanted me to meet Illaiyaraja and was keen that I stayed in Madras for a longer time! And 4 days later I got to play for Illaiyaraja!Shankar: How long did you play for Illaiyaraja? Blasco M.: I played for Illaiyaraja from 1983 to 1991.Shankar: How did Illaiyaraja use the Trombone in his music? Blasco M.: Illaiyaraja’s music, in general, was different compared to Hindi film music. It had lots of syncopation stuff. The Trombone pieces he gave me were difficult to play; they were mostly played off-beat (demonstrates an off-beat playing style). In Bombay, Trumpets were played off-beat and Trombone played on the beat. However, Illaiyaraja’s Trombone was always on the off-beat. I had to be on my guard always while playing for Illaiyaraja. It was a challenge for me as a Trombone player to play for him. That difficult music I don’t think happened in Bombay. And nowadays, there is nobody to write like those days. They just ask us to pick up the notes and play them. Illaiyaraja was very fond of my style of playing. He used to lovingly call me “Blas”!Shankar: Please explain why Trombone playing in the South was different to its playing in Hindi films? Blasco M.: South music directors preferred the solo Trombone sound to a group of Trombones. I mostly played as a soloist in the South, whereas I was always part of a brass section in Hindi films. In the south, even if there was a section of Trumpet players, the Trombone was almost always used as a solo instrument. Illaiyaraja used to call 5 Trumpet players on the set, but only one Trombone player!Shankar: Which other South Indian composers have you played the Trombone for? Blasco M.: Besides Illaiyaraja, MS Viswanathan, Shankar-Ganesh, Hamsalekha, Deva, Raghavelu, Johnson, Shyam and Ravindran are some other south composers I played for.Shankar: How about AR Rahman? Blasco M.: I have done concerts and shows with AR Rahman. I have also played in some jingles for him. As you may know, he played the keyboard with Raja and Telugu composer Rajkoti for a long time. I also played the Trombone in the famous Asha Bhosle song “Vennila Vennila” from the Mani Ratnam movie Iruvar.Shankar: What do you think were the reasons for your success in the South? Blasco M.: I would say most of the composers liked my style of blowing. My style of listening first to the composer to understand what phrase he wanted also possibly helped. Also I think my playing blended well with the overall brass section used in songs.Shankar: Do you remember any of the hit Tamil movie scores that you played in? Blasco M.: I can’t recollect the names. Some of the names like Nayakan, Appu Raja and background music in a movie called Vellai Roja have stayed in mind.Shankar: What was Illaiyaraja’s style of composing while creating background music? Blasco M.: It was no different to the song recordings. It was all just notations. He always wrote the score, the musicians had to read the notations and play. He used to hand over notations to me, which I used to transpose for the Trombone. All his musicians played music based on the notations given. Once Illaiyaraja okayed, all was final. The responsibility was with the musicians’ to play with feeling and passion.Shankar: Having worked with RD Burman and Illaiyaraja the most, what have you to say about their composing styles? Blasco M.: RD Burman’s team of musicians always sat together to produce music. On the other hand, Illaiyaraja composed his music keeping the musicians in mind. We as musicians never knew what was in his mind. With Panchamda we had an idea of what was coming. He used to suggest things like “Put one chord here; add this piece here“. There was a sense of excitement for the musicians as there was always some discovery happening. With Illaiyaraja, it was the opposite. He used to sit thinking for the music piece and after a few minutes would get down to writing the notations. He was sure of what he always wanted. He then sat with the musicians for their part and checked if he was happy with it. In about 30-45 minutes, the entire song was finished. When he went back to the monitor room for the final recording, the entire score was in his brain! Many a time, he even challenged musicians on the sequence of playing of their own notes. And not once did he end up on the wrong side. It was a one-man show, literally!Panchamda had two different types of arrangers for him; Manoharida and Basuda. Manoharida was strong with Western music; Basuda was strong with classical music. It was a combination of the heavy and light musical pieces. This served as a good mix for Panchamda’s songs. With Illaiyaraja, it was all a solo effort. Nobody could tell him to change the style of playing. What was given to the musicians was final.With regards to the overall styles, they showed 2 different schools of instrument playing. Panchamda was more rhythmic, even his brass section was full of rhythm. The demarcation was clear with a full spread-out harmony. Panchamda also gave a lot of focus to the Strings section. With Illaiyaraja, it was more technical stuff, more hard music. You had to be a good musician to play for Illaiyaraja. It was tough to play for his music. He wanted exactly what he wrote. With Panchamda it was working together, adjusting to everybody’s capabilities and requirements. For Illaiyaraja, what was put on the score sheet had to have no deviation. Musicians had tough times with him. But he definitely had a soft corner for me. It may also be since I was from Bombay or even maybe because I was RD Burman’s Trombone player!Shankar: What did Illaiyaraja have to say about RD Burman? Blasco M.: Of course, he liked Panchamda. On seeing the big Orchestra section, he used to jokingly say “Big people, big orchestra”. He used to also like Manoharida's Saxophone playing.Shankar: Which musicians from Raja’s team have you been closely associated with?Blasco M.: All from the Violin, Cello and rhythm section. There was Shashi the bass Guitarist, Purushottaman the Drummer, Viji Manuel the Piano player, Narasimhan the Violinist, and Sada the lead Guitarist. And don’t forget Raja himself played the Guitar.Illaiyaraja’s trumpet player Eugene Lazarus, from Chennai, was a good friend of mine. We worked a lot together. He passed away a year ago. Another good friend was Frank Dubia, Trumpet soloist for Illaiyaraja.Shankar: Can you tell us something about Illaiyaraja’s music assistants? Blasco M.: Mr. Govardhan and later Mr. L Vaidyanathan were Illaiyaraja’s conductors. Then came in Judy; even Ram Subu his Viola player conducted some times. One day his drummer Purushottaman conducted; I think he has hence been Illaiyaraja’s conductor till this day.Shankar: Noted Mumbai musician Uttam Singh also conducted for Illaiyaraja? How did that happen? Blasco M.: Once when Mr. Govardhan, Illaiyaraja’s conductor, was unwell, I had suggested Uttam Singh’s name. I used to like Uttam Singh’s style of conducting. Slowly, Uttam Singh started to work with Illaiyaraja, becoming a regular with him later.Shankar: Have any international Trombone players inspired you? Blasco M.: There were many players from the international arena. I had heard Bill Watrous in the 1980s and I thought there was no Trombone player like him. He was one of my all-time favorites. The other names that come to mind are Jim Pancock and Frank Rosolino and Rahul D’souza. I am told that Slide Hamilton is one of the modern Trombone greats.I have also listened to other international Trombone players like J J Johnson, Pub Green. I have attended Jazz Yatra shows to know the styles of playing of international Trombonists and how they improvised. We even used to go and mix around with them to know and learn more about their artistry.Shankar: Is there a difference in their style of playing compared to the Indian style? Blasco M.: Their style of playing is completely different as most of them are performing artistes. It can be classified as smooth Jazz. They had the liberty to play the way they wished; our film playing style was more parameterized and we had to always please the music composers.The international players were surprised to know Trombone players in India were taking interest in the instrument. They had a lot of respect for studio players like us. The sheer variety of styles in Indian film music used to amaze them, be it Jazz, Pop, Bhangra or any localized form of music.Shankar: Have you ever thought of playing any other music instrument? Blasco M.: I actually wanted to play the Bass Guitar; I was fond of it. Tony Vaz, my friend, even thought I could play it well. But somehow I never really got a chance to play the instrument.Shankar: Have you been playing the Trombone in the last few years? Blasco M.: I played for Adnan Sami’s concerts; have played in 2 or 3 movies of his too. Recently, I played for Vishal-Shekhar in Yash Chopra’s ‘Bachna Ae Haseeno'. I am playing for Shantanu Moitra’s next movie. I also play intermittently for shows and Jazz concerts.Memorable songs / films in which Blasco Monsorate played Hum Kisise Kum Nahin Hum Kisise Kum Nahin’77 [R D Burman]Amar Akbar Anthony Amar Akbar Anthony’77 [Laxmikant-Pyarelal]Shalimar Shalimar’78 [R D Burman]Muqaddar Ka Sikandar Muqaddar Ka Sikandar’78 [Kalyanji-Anandji]Mr. Natwarlal Mr. Natwarlal ’79 [Rajesh Roshan]Shaan Shaan’80 [R D Burman]Biwi-O-Biwi Biwi-O-Biwi’81 [R D Burman]Kaalia Kaalia’81 [R D Burman]Satte Pe Satta Satte Pe Satta’81 [R D Burman]Mahaan Mahaan’83 [R D Burman]Tamil movies and scores Vaanam Keezhe Thoongaathe Thambi Thoongaathe’83 [Illaiyaraja]Puthandu Poothathu January 1 ‘84 [Illaiyaraja]Hey I Love You Unnai Naan Sandiththen’84 [Illaiyaraja]Title Track Nothing But Wind (Instrumental)’85 [Illaiyaraja]Sangeetha Megam Udaya Geetham’85 [Illaiyaraja]Vaaya Vaaya Jappanil Kalyanaraman’85 [Illaiyaraja]Chamber Welcomes Thiagaraja How To Name It (Instrumental)’86 [Illaiyaraja]Ennamma Kannu Mr. Bharath’86 [Illaiyaraja]Vaanam yenna Vetri Vizha’87 [Illaiyaraja]Ram Bam Bam Aarambam Michael Madana Kaama Rajan’90 [Illaiyaraja]Per Vachalum Michael Madana Kaama Rajan’90 [Illaiyaraja]Motta maadi Anjali’90 [Illaiyaraja]Iravu Nilavu Anjali’90 [Illaiyaraja]Vennila Vennila Iruvar’97 [A R Rahman]

[bollywoodirect]

Tribute to Shankar Singh Raghuvanshi, the legendary film music composer in Hindi films, on his 31st death anniversary today. 

Together with Jaikishan Dayabhai Panchal, he was one half of the duo Shankar-Jaikishan, a leading music director pair of the Hindi film industry in the 1950s and 1960s. Even after Jaikishan’s death at a rather young age in 1971, Shankar continued to use the name of Shankar-Jaikishan in films. He died on 26 April 1987.

Shanker Singh Raghuvanshi, was born in 1922 in Punjab. His father had settled in Andhra Pradesh, and hence Shankar spent much of his childhood in Hyderabad. Shanker trained as a dancer, and even worked with the famous Krishnan Kutty. He mastered the tabla (which he would play in a local temple there), pakhawaj and other instruments, and when he came to Mumbai he joined the troupe of dance-master Sohanlal and Hemavati (the late Sapru’s wife) as a tabla player.

Shankar and Jaikishan reportedly first met when they were both waiting outside a film director’s office. They soon became collaborators and helped in composing music for Prithvi Theatres, which was founded by the renowned actor Prithviraj Kapoor.

In the years to follow, Shankar-Jaikishan would become the favourite music directors of Prithviraj’s son, the legendary actor-director Raj Kapoor. Shankar and Jaikishan assisted music director Ram Ganguly in Aag, director Raj Kapoor’s first film. For his subsequent film Barsaat, Raj Kapoor asked Shankar to do the music, and Shankar immediately roped in Jaikishan. Thus the famous Shankar-Jaikishan partnership was born.

The duo struck gold in their debut film, with the music of Barsaat becoming extremely popular.

Songs like ‘Hawa mein udta jaaye’ and ‘Jeeya bekrarar hai’, both sung by Lata Mangeshkar, are classics of Indian film music. The young Mangeshkar sang as many as nine songs in the film, seven of them solo. Along with Shankar-Jaikishan, the film’s lyricists Hasrat Jaipuri and Shailendra would also become a part of many future Raj Kapoor ventures.

“Shankar-Jaikishan reproduced the waltz ‘Blue Danube’ on the violin. It was played by Jaikishan and so impressed was Raj Kapoor that it became RK Banner’s theme music. At Raj Kapoor's request, Shankar Jaikishan included a part of this piece in the first and third antaras of ‘Chod gaye balam’ rendered by Mukesh and Lata Mangeshkar,” Ranjan Das Gupta wrote in The Hindu. Shankar-Jaikishan teamed up with Raj Kapoor in several films, including Awaara, Shree 420, Sangam, Teesri Kasam, and Mera Naam Joker.

Among its many brilliant songs, Awaara also had what is often regarded as the first dream sequence of Hindi cinema. In her award-winning book Awāra, the film scholar Gayatri Chatterjee writes: “One is struck with awe to think how the recording of this piece (the dream sequence) was achieved: Raj’s cry, the yell of the group dancers, the simulated sound of leaping flames, and the several instrumental pieces are all orchestrated together with remarkable expertise.” Among the most feted music directors, Shankar-Jaikishan won the Filmfare award for Chori Chori, Anari, Dil Apna Aur Preet Parai, Professor, Suraj, Brahmachari, Pehchaan, Mera Naam Joker, Be-Imaan – all films from the 1960s and 70s except Chori Chori.

It is striking, however, that some of their most outstanding work of the 1950s was not awarded.

Shankar-Jaikishan were highly paid music directors. They reportedly had creative and personal differences in the mid-1960s but their name continued to appear together in the credits. After Jaikishan’s death in 1971 at the young age of 41, Shankar continued to compose music for films, but hits were no longer easy. Shankar Singh Raghuvanshi died in 1987. For millions of fans of Hindi film music, Shankar-Jaikishan remains alive through their unforgettable music.

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[srbachchan]

DAY 3374

Malta                   June 23/24,  2017              Fri/Sat 1:33 AM local time 

Birthday - EF - Agnes James & Ef Donna Lisch     Sat, June 24 . ... wishing the very best to our Ef and giving them the love of all for a prosperous year and years to come ...

A memory picture sent and put out on the platform that goes by the name of Twitter, and there are queries as to what the occasion was and who and when and how ..

This is the showing of my first film ‘Saat Hindustani’ at a private theatre behind what used to be a recording theatre at Tardeo, Mumbai ..

The recording theatre at Tardeo, was a small almost insignificant destination on the main road as you turn left at Haji Ali crossing, coming from Juhu, but it was the most prized and important destination for all the illustrious stars and music directors of the time  ; Shankar-Jaikishen, and all the other stalwarts of the time, C Ramchandra, Naushad, OP Nayyar .. then Kalyanj-Anandji, Laxmikant-Pyarelal, SD Burman, RD Burman ..et all .. and the recording was done on film tape, the model at the time .. 

It was a destination where every one that mattered came to  .. we strugglers used to sit on the road outside and opposite the theatre, and watch all the greats come by, Lata ji, Rafi Saheb, Mukesh ji, Asha ji and all the stars - Shammi Kapoor, Shashi Kapoor .. and it used to be my dream to get a moment to just enter those hallowed portals .. it was a very limited spaced small area, but crammed with musicians .. a studio where some of the greatest songs of the times and time immemorial were recorded .. on occasion when I would sneak in and get caught, would be thrown out unceremoniously .. embarrassed and humiliated, but still hungry for the moment to be witness ever to those historic recording moments ..

It did happen .. gradually .. as is in the Industry .. the norm being your recognition factor .. as and when it improved, your entires and the level of interest in your presence improved .. and then one day you actually get to record there .. the ‘My name is Anthony Gonzalves’ song and the ‘whole country of the system’ bit done there .. time and fate changes so rapidly .. takes you up and brings you down too ..

BUT we were talking about the picture ..

So behind this rather simple looking structure was an even more ordinary, badly kept preview theatre, where KA Abbas, the Producer Director of many of his films would hold his first trials .. ‘Saat Hindustani’ was one of them, and I had mentioned earlier, he would always call Meena Ji, Meena Kumari ji to his first trial .. this picture is of that occasion ..

The others in the picture are to my left, Pakki, Mehmood bhaijaan’s son from his first wife, who was Meena ji sister .. then Jalal Agha, actor and dear friend co star of Saat Hindustani, son of that famous comedian Agha .. Jalal was also instrumental in giving me my first voice over job .. a voice over for an Add., on Horlicks .. the dialogue was ‘har roz Horlicks peegiye’ etc .. I got Rs 50/- for that which helped me to take a taxi into Filmistan Studio, to meet Manoj Kumar ji for a prospect in a film .. that story has also been repeated and narrated many times .. I used to take the local train, that is all I could afford, to Filmistan Studios in the suburbs, from Marine Drive where I was staying with a close family friend .. I would get off at the station and walk to the studio and get rejected from entering by the guards at the gates .. did this for several days .. then saw that a taxi would get automatic attention and the gates would open .. seeing this as an opportunity, I went to the suburb in the local train, but from the station to the studio took a taxi with my Rs 50/- earned and HURRAH .. the taxi was not stopped .. went in to discover that Manoj ji’s shooting had finished .. and I could not meet him ..

One of my many disappointments of the days ..

So back to the picture .. yes .. Meena ji  .. was a soft spoken gentle lady, always appreciative of the work done by new comers .. was extremely kind to me at the trial and ever since always most encouraging when ever I got a chance to meet her .. she sat at the premier of ‘Reshma aur Shera’ just ahead of my seat and was so moved by that scene when I a dumb villager, come to Waheeda ji’s village to plead guilty for killing her relative, saying in dumb terms that I was forced into the kill and not out of my wish .. she kept speaking loudly in the hall ..’arre bechaara’ ..’arre aisa kyun kar rahen hain iske saath’ .. it was most touching for her to feel this way .. Meena Kumari .. her greatness lay in her immense talent and humaneness .. no one, not any one, ever spoke dialogues the way she did .. no one .. not anyone to date .. and perhaps never will .. a prodigious natural talent, a poetess, a most endearing personality and what a performer .. innumerable scenes from so many films come to mind .. but the one for me that stays permanently is that scene from ‘Sahib Biwi aur Ghulam’ of Guru Dutt, where she is trying to persuade her husband Rehman, another prolific actor, from going for the night to a kotha .. and the song .. ‘na jao saiyaan, chudha ke baiyaan ..’ .. heart wrenching expressions ! and what a film .. 

A day has gone by .. but never enough to be able to recollect the times of yore .. of times spent in great expectations for the future .. of hope and desire .. of wanting to be jobbed .. of wanting to get film and opportunity to work in one somehow ..of getting up each morning and travelling from office to office in search of work .. of promises made by many only to be rejected later by them .. to watch the world go by and wonder if ever time would come by hold my hand and show me favour ..

जीवन संघर्षपूर्ण है , और जब तक जीवन है तब तक प्रतिदिन संघर्ष है

Amitabh Bachchan

[masudrana2]

Do Jhoot (1975): Mp3 Songs Download

Do Jhoot (1975): Mp3 Songs Download

Do Jhoot 1975 Bollywood Movie Mp3 Songs Free Download Songspk

Do Jhoot 1975 Film Information: Actors: Vinod Mehra, Moushumi Chatterjee Director: Jitu Thakar Producer: Sohanlal Kanwar Music Director: Jaikishen-Shankar Release: 1975 Country: India Language: Hindi

Do Jhoot Movie All Audio Hindi Songs Download Below:

Chhatri Na Khol Ud Jayegi Song | Download – 128kbps | 320kbps Kishore Kumar, Usha…

[forbesi]

Pyaar hua ikrar hua -- Manna dey & Lata - Sri 420 - Shankar - Jaikishen ...

[asksabhaniblog]

By Dinesh Shankar Shailendra

The story about this particular song is available in R D Burman’s own voice…. R D, Gulzar and Asha Bhosle did a program on Vividh Bharti together!!!

The story – For their ninth film under the Navketan banner, Dev Anand and Vijay Anand decided to try out the S D Burman – Shailendra combination…. The film was titled Kala Bazaar (1960).

S D Burman, known for his bad temper, was under tremendous pressure. Shailendra, probably too busy with his other assignments, was not delivering a song, urgently needed for the film. Dev Anand and Vijay Anand were frantic. They were pestering Burmanda, who in turn was repeatedly asking Shailendra for the words. Shailendra was making all kinds of excuses for not delivering.

Finally, one fine day, the angry old man decided that he had had enough!! Shailendra was at his place. Burman da called his young son, Pancham ( R D Burman ) and told him – ” You will go with Shailendra and DO NOT come home unless he gives you the lyrics ” !!!

Neither Pancham nor Shailendra could argue with him. Pancham quietly got into Shailendra’s car. Shailendra assured him that he would deliver the song. Pancham smiled as the car drove to Shanker -Jaikishen’s music room. As Shailendra entered, with Pancham in tow, Jaikishenji jokingly asked Pancham if he had come to their music room to steal some tunes. Shailendra explained. Jaikishen laughed and said – “Shailendra ji has a lot of pending work to do for us, you are in the queue…”

It was evening…. Shailendra finished his work with Shanker Jaikishen and with Pancham, got into his car. He instructed the driver to go to National Park. There, Shailendra kept smoking cigarette after cigarette. BUT NO WORDS !!!

Pancham was cursing his luck as they got back into the car, it was almost night. Shailendra told his driver…. “Juhu beach chalo “….. At the beach, Shailendra was leisurely strolling along with the eager Pancham trying to keep step. The beach was deserted. Shailendra asked Pancham for a matchbox. Another jolt for the youngster! Shailendra knew that he smoked – what if he told Burmanda???

Pancham sheepishly handed over his matchbox to Shailendra. Shailendra was lost in thought, he lit his cigarette, returned the matchbox and asked Pancham to give him the tune Burman da had composed. Pancham, tapping the matchbox in rhythm, hummed the tune.

Shailendra kept looking at the sea and the sky, puffing away on his cigarette, after a while, he told Pancham – “You can go home, tell Dada, I will be at your place in the morning with the full song..”

He hummed the mukhda

Khoya khoya chand, khula aasmaan, Aankhon mein saari raat jaayegi, Tum ko bhi kaise neend aayegi

Pancham smiled, he knew that this song was a winner! He ran, hailed a cab and went home.

The next morning, when his father asked him for the song, Pancham handed him a crumpled piece of cigarette pack foil with the words of the mukhda scribbled on it!!!

The situation is an oft-repeated one. Dev Anand is trying to woo Waheeda. It is a song of pure romance.

See what Shailendra does.

Masti bhari hawaa jo chali, Khil khil gayi yeh dil ki kali, Mann ki gali mein hai khalbali, Ke unko toh bulao

Taarey chaley, nazaare chaley, Sang sang mere woh saarey chaley, Charon taraf ishaare chaley, Kisi ke toh ho jao

Aisi hee raat, bheegi si raat, Haathon mein haath hotey woh saath, Keh letey unse dil ki yeh baat, Ab toh naa satao

Hum mitt chaley jinke liye, Bin kuchh kahe woh chup chup rahey, Koyi zaraa yeh unse kahey, Naa aise aazmao

Shailendra chooses his words very carefully. Beginning with the ambience, he gradually moves on to Dev Anand’s personal feelings, expressing his love for Waeeda Rehman. The words mann ki gali mein hai khalbali, ke unko toh bulaao are noteworthy. Chaaron taraf ishaarey chaley, kisikey toh ho jaao. Anyone who has really fallen in love will know.

At a certain point, one feels as if the whole Universe, the Cosmos is conspiring to unite the two.

The next two verses are just pure, unadulterated romance! Of course, now almost directly addressing Waheeda.

A little note before we go onto Vijay Anand’s work. Many people will wonder how he is talking about the moon and the stars when it is broad daylight. In Cinema, more so in the past, when we were not so well-equipped, when a Director had to shoot a night scene in the outdoors, he would use a technique called ‘Day for night’ which means exactly the same.

The shooting would be done during the day and then, in the laboratory, the brightness would be reduced to give it a night effect.The song, as we view it here, will look bright, but, in the cinema hall, it will look like night.

Vijay Anand choreographs the song very intelligently. Please watch the song again. Waheeda Rehman seems like the silent moon, sometimes steady, at times just drifting a little. Dev Anand is moving in almost every shot. So is the camera, when he is in frame. The effect is of the vast sky and the unruly clouds moving around the steady, beautiful moon.

What Vijay Anand achieves is a feat which is very rare. Most directors shy away from shooting and showing us more than two verses of a song. Here, his shooting, along with Burmanda’s music and Shailendra’s words, is so perfect that we go through FOUR verses of this song just glued to our seats !!!! That is why Vijay Anand is adored by film-goers and film-makers all over India.

Dev Anand is just amazing, utterly romantic. Waheeda Rehman is beautiful, little expressions, as she looks, a trifle amused at what Dev is telling her, the way he is wooing her. Almost like a peacock, spreading his beautiful feathers to impress his mate.

Kala Bazaar was the first time that Dev Anand, Vijay Anand, Waheeda Rehman, S D Burman and Shailendra came together, almost as if laying the foundation for the next time, when they would again come together and create history with Guide (1965).

Thank God for S D Burman’s anger and R D Burman’s long day with 

Shailendra!!

[shankerjaikishen-the-unbeatables]

Shankar of Melodies Past

Contributed by Dr. Raj Senani Digged out a very rare stuff which was contribution by Dr. RAJ SENANI COPIED AND PASTED FROM OLD YAHOO MAILS WHICH WAS ACCIDENTLY PRESERVED SO ENJOY From magazine MOVIELORE SHANKAR OF MELODIES PAST…….. SHANKAR–the lone survivor. Today he faces the muscalone. Betrayals, accusations, broken promises he has seen them all, but refuses to crumble. His pride holds…

[gurussmusic]

Presenting Geet Gaata hoon Main WITHOUT MUSIC SONG COVER by myself gurbachan singh from lal patthar movie.The Original song is sung by Great kishore kumsr and music is given by Marvellous shankar jaikishen

[daulat89-blog]

Mere Huzoor – Gum Uthane Ke Liye Main To Jiye Jaunga – Mohd.Rafi watch now Mere Huzoor - Gum Uthane Ke Liye Main To Jiye Jaunga - Mohd.Rafi watch now. Super Hit Hindi Song From Bollywood Film, Mere Huzoor, 1968 ,Mala Sinha, Raaj Kumar Jeetendra Johny Walker Music By Shankar Jaikishen, Directed By Vinod Kumar.

[shankarjaikishanfansassnintl]

होली आयी प्यारी प्यारी, भर पिचकारी

होली आयी प्यारी प्यारी , भर पिचकारी , रंग दे चुनरिया हमारी O पिया रंग दे चुनरिया हमारी मेरे तन को भींगा दे मन को भींगा दे मान ले अर्ज़ हमारी O पिया रंग दे चुनरिया हमारी

“इक बरस में इक दिन होली जग दो दिन का मेला हो पिया, जग दो दिन का मेला तन का पिंजरा छोड़ के इक दिन पंछी जाए अकेला हो पिया पंछी जाए अकेला . दो घड़ी मुसकाए, फिर मुरझाए जीवन की फुलवारी O पिया रंग दे चुनरिया हमारी....”

[bollywoodirect]

जब कभी भी सुनोगे गीत मेरे, संग संग तुम भी गुनगुनाओगे...

A heartfelt homage to the soul of Hindi film music, on the great Mohammed Rafi Saab's 94th birth anniversary.

In a singing career spanning 35 years, Mohammed Rafi came to be regarded by many as the greatest playback singer the Hindi film industry has ever known.

Famed music director Naushad Ali described Mohammed Rafi as India’s new ‘Tansen’. Apart from Naushad, Rafi worked with all the well-known music directors of his time, including S D Burman, Shankar-Jaikishen, Laxmikant-Pyarelal, Madan Mohan, Kalyanji Anandji and O P Nayyar.

One of his hallmarks was his ability to sing in a variety of styles, ranging from classical and patriotic songs to qawwalis, ghazals, and bhajans, though he is best known for his romantic songs and duets. He became the ‘voice’ of most of the actors across the decades – including Dilip Kumar, Shammi Kapoor, Dev Anand, Dharmendra, and Amitabh Bachchan. It was countless songs like ‘Suhani Raat Dhal Chuki’ (Dulari), ‘O Duniya ke Rakhwaale’ (Baiju Bawra), 'Chahunga Main Tujhe Saanjh Savere' (Dosti), 'Baharon Phool Barsaao" (Suraj) and ‘Chaudhvin Ka Chand Ho' (Chaudhvin Ka Chand) that have made Mohammed Rafi live on in the hearts of millions long after he passed away in 1980.

His voice brought fantasy to life, and he continues to inspire succeeding generations.

[shankerjaikishen-the-unbeatables]

Novelty thy name is Shankar Jaikishan

By Subramanian Natesan Shanker jaikishen have many firsts in filmdom.The 1st Englsh film by an Indian music director was Tarzan goes to India( 1964) had music by the duo.They didn’t stop with that.In 1970 they scored the music for another English film Bombay Talkie by Merchant Ivory Productions. The film starred the star couple sashikapoor and Jennifer kendl.The film had only four songs.The…