EXHAUSTIVE APPRAISAL OF COMBINATION OF JAIKISHAN AND RAFI SAHAB IN HINDI CINEMA…….

jai sharmila shakti

Jaikishan Dayabhai Panchal is remembered on 12th September and 4th November, his death anniversary in 2013. The listeners of music all over the world wished happy birthday to legendary composer Jaikishan better known as Jaikishan Dayabhai Panchal on 4th November, 2012. He was part of the legendary duo Shankar Jaikishan who dominated bollwood music during the 1950s and 1960s. Rafi had a very sweet relationship with Shankar Jaikishan but unfortunately their relationship had not been glorified in bollywood history. Whenever contribution of composers relating to classic creations involving Rafi are highlighted the name of Naushad, Roshan, Madanmohan, OP Nayyar are glorified and the contribution of Shankar Jaikishan is ignored. If Rafi’s stylish andaz relating to westernized compositions are adequately it is Shankar Jaikishan who had used it to perfection. They had used Rafi for singing romantic songs with Japanese orchestration in Love in Tokyo including songs like “aja re aa zara aa”, “Japan, Love in Tokyo”, “ o mere shahekhuba”, etc. In Biswajeet’s April Fool SJ’s composition for Rafi including “aa gale lag ja” had westernized background. SJ’s composition for Rafi in Shammi Kapoor’s An Evening in Paris like “akele akele kahan ja rahe ho”, “raat ke humsafar”, had loud French music with echo effect and Rafi’s intonation was also westernized. Shankar Jaikishan gave a completely different style of music to Rafi in Rajender Kumar’s Aarzoo with songs like “aji ruth kar ab”, “chalke teri aankho se”, “ai nargisi mastana”, etc. SJ had given songs addressing children to Rafi including “nanne munne bache teri mutthi me kya hai” in Boot Polish, “hai na bolo bolo”, “re mamma re mamma re” in Shammi Kapoor’s Andaz and “chakke p chakka” in Brahmchari. Rafi pronounced the words with childish accent and SJ used the orchestration to attract children. There were ghazals also given by SJ for Rafi including “rukh se zara nakab” in Jeetender’s Mere Huzoor, “unke khayal aye to” in Raj Kumar’s Lal Patthar, “saaze dil ched de” in Pradeep Kumar’s Rajhaath, etc. Besides SJ’s creation involving Rafi in somber mood had created great impact including songs like “teri zulfon ki judai to nahi maangi thi” in Dev Anand’s Jab Pyar Kisi Se Hota Hai, “ehsaan tera hoga mujhpar” in Shammi Kapoor’s Junglee, “yaad na aye” in Rajender Kumar’s Dil Ek Mandir. Shankar Jaikishan had used Rafi’s classical andaz in the songs “radheke tune bansoori churai”, “ajahu na aye”, etc., and combined the ragas with devotional andaz. SJ had given music in almost 200 films within the span from 1949 to 1971, and at least each year they composed music for approximately 10 films. As Rafi was given predominance over other male singers SJ had use him in regular intervals even without doing injustice to Mukesh, Manna Dey, Kishore Kumar, Talat Mehmood and others. Songs like “kaun hai jo sapno me aya” from Jhuk Gaya Aasman, “to bura maan gaye” from Ayee Milan Ki Bela, “yeh ankhen” from Jab Pyar Kisi Se Hota Hai, “tujhe jeevan ki dor se” from Aasli Nakli, “dheere dheere chal” from Love Marriage, “badan pe sitaren lapete hue” from Prince, “mai kahin kavi na banjayun” from Pyar Hi Pyar, “mai gayun tum so jao” from Brahmchari, had not lost their flavour even 40 years after their creation due to sheer brilliance of Shankar Jaikishan. It is really tragic neither Shankar Jaikishan had received the accolades that they deserved nor Rafi’s association with them had been glorified but history says that the combination of Rafi with Shankar Jaikishan had produced invaluable creations which had become immortal over the period of time. Rafi had a dream run in the 60s, mainly in the films of Jubilee Kumar, Rajender Kumar for more than a number of reasons. Firstly Rajender Kumar acted in the production and direction of biggest banners of bollywood in the 60s. Secondly from 1963 to 1966, all his films ended up in silver jubilee showing his immense popularity and strong presence in the box-office. Shankar Jaikishan was equated with God in the early 60s and the main reason of the box-office success of Jubillee Kumar’s films was the superlative music given to him by both SJ and Naushad. In the film Ayee Milan Ki Bela, all the songs of SJ, picturised on Rajender Kumar and sung by Rafi became super hit The immortal songs include “mai pyar ka diwana“, “aha aye Milan ki bela“, “tum khamseen ho“, “to bura maan gaye“, “o sanam tere ho gaye hum“. Rajender Kumar and Saira Banu’s online chemistry in the film helped in the success of the film. SJ’s composition in the film Aarzoo, Humrahi and Sasural for Rajender Kumar and Rafi were equally rich. The brilliant songs include “chalke teri aankhose“, “ae nargisi mastana“, “aji ruth kar ab“, “yeh aansoo meri dil ki zubaan hai“, “teri pyari pyari surat ko“, “mujhko apne gale laga lo“, to mention a few. Sadhna complimented the powerful performance of Rajender Kumar in Aarzoo. The brilliant combination of Rafi, SJ and Rajender Kumar, continued in the film Dil Ek Mandir and Jhuk Gaya Aasman. Prominent songs include “yaad na jaye“, “jahan koi nahi“, “dil ek mandir hai“, “o priya kaun hai jo sapno me aya“, “kahan chal diye“, to mention a few. SJ Rafi and Rajender Kumar continued in the film Aman, where songs like “surahidar garden koel si hi awaz” still mesmerizes the listeners. Rafi, Rajender Kumar and SJ created history even in the film Suraj. The songs “kaise samjhayun“, “chehere pe giri zulfein“, “itna hai tujhse pyar mujhe“, “baharon phool barsao” had become immortal over the years. Rajender Kumar and Vaijayantimala’s screen presence were as majestic as the voice of Rafi and the quality of music of Shankar Jaikishan. The other films where the magic combination of Rafi, Rajender Kumar and Shankar Jaikishan made people speechless include Zindagi and Sangam, with the prominent songs being “pehle milethe sapno me” and “meherban likhoon“. When Shammi Kapoor was informed about Rafi’s death in 1980, he was told by the informer that he had lost his own voice. In other words it was said that Rafi’s voice had reached the soul of Shammi Kapoor, whose success in bollywood films was largely dependent on the golden voice of Rafi. Shankar Jaikishan had contributed in around 22 films of Shammi Kapoor and without the magical duo Rafi’s combination with Shammi Kapoor would not have fulfilled the popular demands of the musical audience. If SJ’s composition for Raj Kapoor mark the music catered to the masses, the composition for Rajender Kumar mark the sophisticated tunes catered towards the cultured audience, the compositions for Shammi Kapoor mark the westernized andaz addressed for the young generations. Shammi Kapoor brought the rock and roll andaz of Hollywood films in hindi films, and SJ and Rafi combined together to bring the energetic andaz of Shammi Kapoor who was considered to be a rebel star in the 60s. In fact his style was imitated by Joy Mukherjee and Biswajeet who were also blessed with melodious songs sung by Rafi in the 60s. SJ, Shammi Kapoor and Rafi combined together to give superhit songs in the film Junglee, including “ehsaan tera hoga mujhpar”, “meri yaar shabba khair”, “chahe koi mujhe jungle kahen”, etc. Saira Banu made her debut opposite Shammi Kapoor and the Subodh Mukherjee film became a trend setter for other directors of producers of the 60s. SJ, Shammi Kapoor and Rafi created the same magic in the film Janwar. Songs like “tumse achha kaun hai”, “lal chari maidan khari” became superhit along with romantic performance of Rajashree in the film. SJ, Shammi Kapoor and Rafi combination in the film Raj Kumar was equally sublime with songs like “hum hai rajkumar”, “tumne pukara aur hum chale ayen”, “tumne kisiki jaan ko”, to name a few. Sadhna was sublime along with Shammi Kapoor in the film. SJ, Shammi Kapoor and Rafi created magic again in the film An Evening in Paris. All the songs of the film became super hit including “aji aisa mauka”, “aasman se aya farishta”, “raat ke humsafar”, “akele akele kahan ja rahe ho”, “mera dil hai tera”, “diwane ka naam to pucho”, to name a few. The foreign locations of Paris were as majestic as the European music of SJ and modernized performance of Sharmila Tagore in the film. The brilliant combination of SJ, Shammi Kapoor and Rafi again created magic in the film Brahmchari. All the songs in the film including “dil ke jharoke me”, “chakke pe chakka”, “mai gavun tum so jayo”, “aajkal tere mere pyar ke charche” created storm in bollywood films. Shammi Kapoor won the filmfare for best actor for his performance in Brahmchari, and Shankar Jaikishan won the film fare for best music director for the same film, while Rafi won the filmfare for best singer for singing the song of the same film. Again Rajashree was sublime in the film. SJ, Shammi Kapoor and Rafi were equally brilliant in the film Prince where Vaijayantimala acted opposite Shammi Kapoor. Rafi’s songs “muqabla hum se na karo” was as hit as “badan pe sitaren lapete hue”. The same combination came up with brilliant songs in the film Laat Sahab. The songs “sawerewali gari se chale jayenge” and “aye chaand zara chup ja” became superhit. Nutan contributed well opposite Shammi Kapoor. The magic combination of SJ, Shammi Kapoor and Rafi contributed even in GP Sippy film, Andaz. All the songs of Rafi like “dil use do jo jaan deden”, “hai na bolo bolo”, “re mamma re mammare” became superhit. Hema Malini performed for the first time opposite Shammi Kapoor. The brilliant combination of SJ, Hasrat Jaipuri, Shailendra, Shammi Kapoor and Rafi ended with sad demise of Jaikishan in 1971. Articles after articles can be devoted on the magic combination who even created magic in other films like Tumse Accha Kaun Hai, Jawan Muhobbat, etc. Critics argue that OP Nayyar and Ravi also contributed in Shammi Kapoor’s films, but their music was also influenced by Shankar Jaikishan’s tunes. The films and the songs of Shammi Kapoor, Shankar Jaikishan and Rafi should be preserved for the future generations. A big section of music lovers agree that had Jaikishan not died in 1971, Rafi’s dominance in bollywood music not suffered at all. In fact SJ’s tunes were brilliant and were specifically catered towards the likings of common mass. They were not that technical which could not reach the audience. Besides SJ gave tunes in around 10 films per years all along the 50s and 60s, the era when Rafi was unbeatable……(ctsy:Station Hollywood.)

Advertisements
OP NAYYAR
OP Nayyar (Omkar Prasad Nayyar), Legendary music director passed away at suburban Thane on Sunday in Mumbai, Maharashtra, India

ShankarJaikishanOP Nayyar always loved the music he listened of SJ…..IN THE MUSIC DIRECTORS, HE WAS ALL PRAISE FOR THEM…..I went thru a magazine ”KHEL-HALCHAL” IN 1980s, in which they devoted a page on film news,,,,,,Mr Ajatshatru, a famous writer used to write the columns in that magazine. One page allotted to the films and in one of the columns of that page OP Nayyar praised the SJ by a comment ”inki khopadi mein itni dhune kahan se aati hongi”. We thanked Ajatshatru for his comment on SJ by OPN…….SOME PEOPLE HAD DOUBTS, SO TODAY I AM CLARIFYING by the source I grabbed in the said magazine…..

‘BEGUNAH’, would have beem most successful,if released.SJ’S great venture…………………….. here it is with its single song…..go thru.

hqdefault(1)The film was based on a Dany Kaye’s movie ”Knock on Wood” without giving due credit……………………The producer lost the case in the court and as per Court’s order, he had to destroy all prints……………………..Fortunately the songs (above))recorded were saved……………However on Youtube, I cud get this outstanding song,,,,try to look for more,if any.

Raj’s next film AAH, had tremendously sweet songs from SJ-s orchestra…..taste.

download (2)It is a triangle love story, between Raj, Chandra(Vijay Laxmi) and her sister Neelu(Nargis), getting confused on receiving letters from Raj……..The end as said was made tragic by declaring Raj as TB patient, who dies..Pran has to be mentioned for his small but effective role, as was his personality…………………On suspicion and may be actually Raj and company (Raja Nawathe-Director))felt that sad end will flop the film and there was one release of the film, and it were taken back, reshooting a happy end.. Therefore, the end was changed as ”Raj and Neelu” being married……………..There is a super song  Mukesh sings:;

—-Chhoti si yeh zindagani re, char din ke jawani teri, hay re hay ghum ki kahani teri……(Shailendra)………….and a row of super-duper sweetest songs of that time and still soothes the listeners:

—–Jaane na nazar, pehjane jigar, ye kaun jo dil par chhaya, mera ang ang muskaya……(Hasrat Jaipuri)

—–Sunte the naam ham jinka bahar se, ………..Shailendra.

—–Raat Andheri door savera, barbad hai dil mera…..Hasrat.

—–Ye sham ki tanhaiyan aise mein tera ghum, patte kahin khadke, hawa aai to chounke hum…..((wonderful line)………………by Shailendra

—–Jo main janti unke liye mere dil me etna pyar hai, to etna pyar main karti kyun…………………….Shailendra

—–aaja re ab mera dil pukara, ro ro ke gham bhi hara, badnam na ho pyar mera…………Wah Hasrat sahab.

—–Raja ki aayegi barat, rangili hogi raat, magan main naachoongi……………….Shailendra

—–Chhoti si ye zindgaani re,   chaar din ki jawani teri, hay re hay ghum ki kahani teri………………….Shailendra.

AND MY MOST FAVOURITE SONG-FULL OF LIFE…..a great dholak,duff, ghungroos and SJ’s especiality the sweet chorus in

JHANAN JHANAN JHANAN JHANAN GHUNGARWA BAAJE, AAI HUN MAIN SAJ KE, KAMAR MERI LACHKE, YE NAIN BHARE RAS KE……………………..((Hasrat sahab)….

………………………………….there are more ………………………220px-Aah_film

 

 

 

 

 

SJ’S presence at my 75th birth anniversary.

19510563_10155761129858287_8408610577701518911_nRecently on 15th June’17, we celebrated my 75th birthday among relatives and friends….the theme was:

75th birthday dedicated to Shankar-Jaikishan, there is a banner behind.Good number of people enjoyed SJ’S company in a hotel with the old songs of 50s and 60s played for full 3 hours.. My daughter collected songs for 2 good days in pendrive and we kept full volume of speakers, among that the dinner party took keen part with mobile photos,selfies and dancing, thnks to SJ. LONG LIVE THEIR MUSIC.

ONE OF SJ’S best movie…..BOOT POLISH

100_5228
Jaikishan in musical mood.
100_5227
All 5 sleeping at 5am, after recording of ”Ghar aaya mera pardesi”.
100_5235
Raj telling the situation of song in JDMGBH.

THE FILM(BOOT POLISH) WAS MADE IN VERY POOR CIRCUMSTANCES, AND RAJ KAPOOR himself was not sure  the film may be a big hit as if he gives his name as Director… therefore as in tension  he mentioned Prakash Mehra as Direcor of the film in film and posters….You may hv jhuggi, bastis, yes they are there. The main lead children are grown up there but begs for living.(as seen in the picture.)

 

boot polish
film poster,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,The fim starts song Raat gai vo subah nai by Mannada……isi tarah jeevan jaat hai…..o raat gaiiii.

…………………………..2nd song …Nanhe munne bachche teri mutthi mein kya hai…..

……………………………” 3rd                  Thahar zara o jaane wale, babu mister gore kale….

………………………………4th                   Lapak jhapak tu aa re badarwa(Manna Dey and saathi)…….the song in picturized in jail with old people and pure comedy, thnks to SJ, they brought a gem in such low story film…….just watch the song with David chacha…….SIR KI KHETI SOOKH RAHI HAI, PANGHAT SE BHAR LA SAKHIRI, PANGHAT SE BHAR LA………….PANGHAT SE BHAR LAAAAAAAAAAAAAAA….Lapak japak tu aa re badarwa.

……………………………..5th……………….Chali kaun se des gujaria tu saj dhaj ke—jaun piya ke desh o rasia main saj dhaj ke………….

The beauty of the song and its weightage inserts when we see  Shailendra live, lipsynchronizing.. this song with Benjo in the voice of Talat Mehmood…..Again I applaud SJ for creating this beautiful song…just listen it…and appreciate me……………singers Asha Bhonsle and Talat Mehmood.

…………………………….6th…..This song has a little controversy,actually happened. The words Shailendra wrote in beginning were ”MAIN BAZARON KI NATKHAT RANI, Sari duniya hai mujh pe divani………………..

The song was given to Lataji to rehearse.As she went through ”bazaron” ki natkhat rani, she refused to sing….the team cajoled her, taking into confidence that there is nothing ”in bazaron ki natkhat rani”. BUT LATAJI WAS ADAMENT and later under compulsion they made it ”baharon” ki natkhat rani……hahaha.

…………………………..7th The only one song on orpanage with one more from Ujala ”ab kahan jayen ham……..”thus 2 songs were created…..I do not know of other MDs….see”TUMHARE HAIN TUMSE DAYA MANGTE HAIN, TERE LADLON KI DUA MANGTE HAIN”’…….salute to SJ….So simple a tune and instruments but leaving great impact on listeners….I love tune more.

………………………… 8th Tu badhta chal…………………..ye raat gai vo subah naiiii……

…………………………………………***********************************……………………………

SHANKAR-JAIKISHAN & Shri 420……26th April is ”punyatithi” of Shankar: In between his lovely Shri 420 I pay my tribute to his soul remains with us,

IMG_2584.JPG Since it concerns music, we are always thrilled when it comes to the songs of  Shri 420……reproduced below……….

…………………..1. Dil ka haal sune dil wala, sidhi si baat na mirch masala…….

…………………..2. Ichak dana bichak dana, dane upar daana chhajje upar ladki nache, ladka hai diwana…..

…………………..3. Mera joota hai japani ye patloon englastani, ser pe lal topi rusi, phir bhi dil hai Hindustani.

…………………..4. Mud mud ke na dekh mud mud ke, zindagani ke safar me tu akela hi nahi hai, ham bhi tere hamsafar hain….

………………….5. O jaane waale mudke zara dekte jana, dil tod ke to chal diye, muhko na bhulana.

………………….6….PYAR HUA iqrar hua hai, pyal se phir kyun darta hai dil, kahta hai dil rasta mushkil, maaloom nahi hai kahan manzil.

…………………..7. Ramaiyya vastavaiya, maine dil tujhko diya, maine dil tujhko diya.

…………………..8. Sham gai raat aai ke balam aaja, o balam aaja, ab to sajan aa ja.

The story of mud mud ke na dekh is well known to SJ  lovers……in different version……One version says, they all (u understand) were going on foot on the road and when a bunch of girls passedbye, Jaikishan, just cud not stop and look them turning himself……Shailendra watched this and immediately uttered ”mud mud ke na dekh, mud mud ke…..’ Jaikishan caught hold of the lines and the result so stimulating was before us…………………………………………………………….SECOND version says that as Shankarji had purchased a new car, so all welling travelling enjoying Bombay…..Here the girls came through and Jai turned his face to see them,,,,,,Shailendra from back seat…..yes brought out…”mud mud ke na dekh,,,,mud mud ke”………Whichever version u like the song was extraordinarily and beautifully composed, in dress of girls in white, as white was Raj’s fav color.

…….Dear friends….there is no dearth of so many version about what happened with SJ and their songs……Strange enough, I recollected and again two versions of ”Ramaiyya Vastavayya,” hit my brain from different magazines……1) Some member also mentioned it……………………..that the duo and friends were passing through few workers and some Telugu fellow was murmuring ”Ramaiya Vastavaiyya”. Shankar on hearing caught hold of the ‘mukhda’ and was happy to find out out what his next song wud be…..

………The other version I read from a weekly magazine ”Saptahik Hindustan” very popular in Hindi and second to Dharmyug, another most popular weekly. In S.H., on music page was mentioned that there was meeting of music directors…..and while taking on his coat, Shankarji asked Jai ”CHAL RAMMAIYYA”, chalen ab…..and there struck the IDEA and he told Jai, that what I said, we can make a song—”Ramaiyya Vastavaiyya” , (as I mentioned, being Telugu, the word suddenly came out of his mouth, and the song composed…………………………..My intention that when people become famous, there are so many stories of them, their creations……I leave u just think over and sing the most beautiful tune of Hindi cinema, generated so wonderfully with Rafi, Mukesh and Lataji with an extraordinary support of chorus…(In the last ending part, I was thrilled by Rafi sahab’ ‘s long aalap. The beauty of the song is further enhanced when the starting of song goes on with small aalap by Rafi Sahab.)…….just see the genius of Shankar-Jaikishan, how to make small into a big ‘banyan’ tree.

……pl click on the picture to reach post.