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Pay no attention to what the critics say. A statue has never been erected in honor of a critic. (Jean Sibelius)
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| Remembering Shankar - Jai Kishan [Download Topic] | ||||||||||||||||||||||||||||||||||
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 taal 
Joined: December 2006 Posts: 863 
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 Remembering Shankar - Jai Kishan ____________ Pay no attention to what the critics say. A statue has never been erected in honor of a critic. (Jean Sibelius) |
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taal
Joined: December 2006 Posts: 863
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Re: Remembering Shankar - Jai Kishan
____________ Pay no attention to what the critics say. A statue has never been erected in honor of a critic. (Jean Sibelius) |
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taal
Joined: December 2006 Posts: 863
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Re: Remembering Shankar - Jai Kishan  Shankar-Jaikishan (From an RMIM Internet posting)
____________ Pay no attention to what the critics say. A statue has never been erected in honor of a critic. (Jean Sibelius) |
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taal
Joined: December 2006 Posts: 863
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Re: Remembering Shankar - Jai Kishan  by Dr Rajiv Vijayakar For over two decades, any film listing music composers Shanker-Jaikishan on its list of credits signified magic, success and excellence. On September 12, 1971, Jaikishan, the gentler half of the duo passed away, following alcohol overdose. Shanker followed years later in 1987. But the sudden slump in his career and musical standard after Jai's exit proved that though Shanker was the better trained. That it was Jai who was the instinctive genius whose flamboyance and variety along with his uncanny proficiency at composing background music pieces without any timer had played as vital a role in the S-J saga as Shanker's famous proficiency over half a dozen instruments and his greater grounding in ragas, thaats and Western music. To say that Shanker Jaikishan led and others followed would be an understatement. If Laxmikant Pyarelal emulated their dressing style, Kalyanji Anandji imitated their compositional style for the first five years. The Anu Maliks, Anand-Milinds and A R Rahmans of our times built a lot of their standing on 'adaptations' of S-J tunes. Their reign was spent by the competition in trying to match them in popularity, range and excellence.
Rediff.com takes you through the highs and the lows of the spectacular careergraph of the duo:
1922: Shanker Singh Ram Singh Raghuvanshi is born in Punjab. His father moves to Andhra Pradesh where Shanker trains as a dancer and masters the tabla, pakhawaj and other instruments.
1929: Jaikishan Panchal is born in Bulsar, Gujarat, to the court musician of the Raja of Dharampur. Playing the harmonium is in his genes.
The Early Forties: Shanker travels to Bombay to join a dance troupe. He also joins the Prithvi Theatre as a tabla player. The handsome Jaikishan comes to Bombay to become a hero.
The two accidentally meet in a director's office and Shanker convinces Jai -- who works as a timekeeper in a downtown factory -- to take up a job at the theatre. ____________ Pay no attention to what the critics say. A statue has never been erected in honor of a critic. (Jean Sibelius) |
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taal
Joined: December 2006 Posts: 863
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Re: Remembering Shankar - Jai Kishan They move up quickly as orchestra musicians at Prithvi. They soon become chief assistants to in-house music maker Ram Ganguly when Raj Kapoor launches R K Films and Aag.
1948: Aag is released, and Vishwa Mehra, a close relative of Raj, informs the director of the duo's actual contribution. Raj skips Ganguly and signs S-J for Barsaat.
1949: Barsaat storms in. Film music will never be the same again. For the first time, the record (pun intended) sales make HMV and the industry realise that film music can be a parallel industry.
Also for the first time, sad songs like Ab mera kaun sahara (Lata Mangeskhar) and Main zindagi mein har dam (Mohammad Rafi) brim with rhythm. Which, incidentally, is 'in' today.
Their uniquely novel cerebral orchestration marks the end of a monotonous music era. Lata Mangeshkar annihilates all competition and Mukesh stops sounding like a K L Saigal clone. ____________ Pay no attention to what the critics say. A statue has never been erected in honor of a critic. (Jean Sibelius) |
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taal
Joined: December 2006 Posts: 863
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Re: Remembering Shankar - Jai Kishan
1951: Shanker-Jaikishan dazzle with Nagina and Awara. Awara boasts of the first ever dream sequence. Tere bina aag yeh chandni and Ghar aaya mera pardesi are musical milestones.
The title song becomes a cult number. It is a rage abroad, even in unlikely USSR.
1952: The duo is hailed as leaders. Every other composer has to match up... or fade away.
Daag, their first film with Dilip Kumar, proves to be a hit with Ae mere dil kahin aur chal. Poonam (with Lata singing all the eight solos) and Parbat are also released.
1953: Aah and Patita get the nation grooving. Aah flops but its songs (Raja ki aayegi baraat, Aaja re ab mera dil)are huge hits.
Patita (S-J's first film with the evergreen Dev Anand) boasts of Lata's Kisine apna banaake (reworked by Rajesh Roshan in Kishan Kanhaiya and Anand-Milind in Dhanwaan), Lata-Hemant's Yaad kiya dil ne and Talat Mehmood's Andhe jahaan ke.
By now, it's an open fact that S-J will work exclusively with Hasrat Jaipuri and Shailendra, but the lyricists are free to work with others.
1954: S-J strike their first dull patch, but Boot Polish has the classic Nanhe munhe bacche.
1955: Seema (Tu pyaar ka saagar hai) and Shree 420 with Mera joota hai Japani, Ramaiya vastaavaiya, Mud mud ke na dekh and Ichak daana (a trendsetting riddle number) reafffirm the S-J supremacy.
1956: With Basant Bahar, Chori Chori and New Delhi, the S-J rollercoster hurtles ahead. Basant Bahar is a resounding answer to critics who felt that S-J couldn't handle classical compositions. Bhav bhanjana, Sur na saje and other such tunes prove that S-J (who replaced Naushad in this film on distributor demand) could go one better.
Chori Chori's score includes Yeh raat bheegi bheegi -- which Raamlaxman lifted in Anmol -- and Kishore Kumar's Nakhrewali in New Delhi, a Western experiment by the pair.
1957: The hit parade continues with Kathputhli, their solo release as Raj Kapoor takes a break from S-J, with Salil Choudhury composing for Jagte Raho.
1958-59: Yahudi's Yeh mera diwanapan hai, Mukesh's evergreen tune, earns Shailendra an award.
The musical success continues with Anari, Chhoti Bahen, Kanhaiya, Love Marriage, Shararat and Ujala. The last marked the beginning of the legendary Shammi-S-J team, minus Rafi. However, they do get Rafi to sing for Kishore Kumar in Shararat. ____________ Pay no attention to what the critics say. A statue has never been erected in honor of a critic. (Jean Sibelius) |
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taal
Joined: December 2006 Posts: 863
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Re: Remembering Shankar - Jai Kishan 1960: The prolific duo score for College Girl (their first non-Shailendra-Hasrat film, a flop), Dil Apna Aur Preet Parai and the classic Jis Desh Mein Ganga Behti Hai.
The music creates history with all-timers like Aa ab laut chalen, O basanti and Mera naam Raju. This is S-J at their peak.
1961: Redefining the meaning of versatility, S-J score blockbusters like Aas Ka Panchhi, Jab Pyar Kisise Hota Hai, Junglee and Sasural. Candyfloss entertainers are 'in', thanks to the arrival of colour -- S-J lead the way in a quicksilver change of musical form.
1963: Dil Ek Mandir cements their bond with hero Rajendra Kumar (after Sasural and Aas Ka Panchhi). The titletrack of Hamrahi is a chartbuster, too.
1964: Sangam, Beti Bete, April Fool, Ayee Milan Ki Bela, Rajkumar, Zindagi -- the hits roll out. Discerning observers discover a certain jaded note in many of their songs. For instance, all Rafi numbers sound the same, whether for Rajendra Kumar, Biswajeet or Shammi Kapoor. The orchestration begins to sound a shade raucous. O P Nayyar is a threat on the horizon; Roshan and the fledgling Laxmikant Pyarelal have shown that deep melody can have buyers, too. Sharda comes into Shanker's life and things are not the same. Raj Kapoor and Lata Mangeshkar disagree over Main kaa karoon Ram, Hindi cinema's first significant double entendre song.
1965: Shanker and Jaikishan split. When Jaikishan charges a hefty Rs five lakh to score songs for Arzoo, Shanker retaliates by composing the experimental mujra-meets-Western, Jab ishq kahin, for the same film, charging the same amount. Arzoo and Janwar (Lal chhadi, Meri mohabbat jawaan rahegi) are hits. But from now on, the two work separately, even while working in the same film.
1966: Amrapali's ethnic melodies (Tumhein yaad karte karte, Jao re jogi), Love In Tokyo and Suraj (introducing Sharda in the raging hit, Titli udi) and Teesri Kasam prove that they haven't lost their creativity. Shanker even ghost composes Street Singer under the name of Suraj. But their lucky phase has past.
1967: Laxmikant-Pyarelal and R D Burman storm in with a dozen superb musicals. S-J banners start falling like ninepins to the L-P juggernaut. R D Burman shows an understanding of Shammi Kapoor's exacting and unique musical grammar. Raj Kapoor-S-J's 70mm epic Around The World capsizes.
1968-1970: A desperate duo, stubbornly refusing to forget differences, desperately sign a multitude of films to keep pace with L-P's persistent and prolific onslaught.
Kalyanji Anandji consolidate their newfound individuality with Upkar and Saraswatichandra. ____________ Pay no attention to what the critics say. A statue has never been erected in honor of a critic. (Jean Sibelius) |
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taal
Joined: December 2006 Posts: 863
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Re: Remembering Shankar - Jai Kishan An Evening In Paris, Brahmachari, Diwana, Raat Aur Din, Mera Naam Joker, Mere Huzoor, Jhuk Gaya Aasmaan and Shikar still witness S-J's talent. But the chartbusting scores are surrounded by mediocre work where even the few hits sound stale and jaded.
Jaikishan's health begins to fail.
1972-1975: Shanker proves his point with the odd Lal Patthar and Sanyasi. He makes up with Lata.
But it's too late -- Raj Kapoor has signed L-P and R D Burman and the former have engineered a Lata-R K truce. Bobby is an unprecented sensation; Shanker's hopes of going back to R K are dashed.
1976-1987: Shanker's career goes downhill. Loyalist Sohanlal Kanwar, who has been with him since 1970, leaves him.
Unsung, Shanker dies, after turnips like Atmaram, Garam Khoon and Naari, though he tries out fresh voices like Anuradha Paudwal, Alka Yagnik, Suresh Wadkar and Mohammed Aziz.
An era is over. ____________ Pay no attention to what the critics say. A statue has never been erected in honor of a critic. (Jean Sibelius) |
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taal
Joined: December 2006 Posts: 863
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Re: Remembering Shankar - Jai Kishan
____________ Pay no attention to what the critics say. A statue has never been erected in honor of a critic. (Jean Sibelius) |
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taal
Joined: December 2006 Posts: 863
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Re: Remembering Shankar - Jai Kishan Lata Sings For Shankar Jaikishan For many days I have wanted to write on this unique music-director duo, but never got down to do it. The prime reason being that there is so much to say that it would never fit in any one post; secondly, my appreciation for their music is so strong that 'logic' and 'structure' of a post gets lost. Hence, I begin with a disclaimer, that this post is an outpour, and might seem jumbled, but believe me, it will be very tough to edit this post. SJ ruled the music industry for more than two decades with the irrepressible musical magic from their baton; in that age, films were sold purely on the strength of their name. Purists have always scoffed at their music, dismissing it off as too 'popular' or 'pedestrian' , but for me Shankar Jaikishan define what film music should be. But to rule for two decades with bumper hits after super-hits is no mean achievement, and I am pretty confident they would have rocked the seventies also had not Jaikishan expired (yes, this despite their personal differences because they were both individually complete musicians). Well, it might sound silly, but just speak out their name - even that is full of rhythm and jhankaar. They gave the form and grammar to film music that has been followed till date. A large bulk of their songs are three stanzas ones - and in them, they gave a wonderful symmetery : the first and the third interlude is always the same. Apart from making the form, S-J gave a lot of emphasis on the music that went between the songs - the interludes. They were always rich and varied and of course their orchestration is legendary. But the best part is that they knew how to use the orchestra - a case in point , which I never tire of quoting, is the hit song 'Kaun hai jo sapnon mein aaya' ( Jhuk Gaya Aasman ); just listen to the lush of violins that begin the song - isn't that breathtaking! And they composed this in an era where their were no sophisticated gadgetry available to simulate sounds. Yet, none of the electronic timbres of today can match upto the quality achieved by S-J. The music between the 'antaras' was never forced; it flowed in a natural progression. Plus, they never left the antaras naked, meaning there was always some background musical support for the vocals. S-J not only worked hard on the interludes, they also gave the supporting music of the vocals (the beats) a heaviness. Listen to any of their songs, it always has a 'jhankaar' sound with it. Also, SJ have to their credit songs that sometimes define genres - think of a 'lori' and one cannot miss mentioning 'Mai gaaon tum so -jaao' (Brahmchari) ; speak of children's songs and 'Re mama re mama' (Andaz) has to find a place ; mention Mehmood's antics, 'Hum kaale hain toh kya hua' (Gumnam) is on the forefront ; any listing of bhajans is incomplete without Tu pyaar ka saagar hai ( Seema); talk of 'masti', there is the evergreen Mai rangeela pyaar ka raahi (Chhoti Bahen) or All line clear (Chori Chori ) ; Chitrahaar wouldn't be complete on Raksha Bandhan without Behna ne bhai ki kalai se pyaar baandha hai (Resham Ki Dori) ; dream sequences found an expression with Ghar aaya mera pardesi (Aawara); a compilation of horror songs will remain gumnaam without Gumnaam hai koi. And do I even have to mention how many times we would have quoted Budha mil gaya'(Sangam), Phir bhi dil hai hindustani (Shri 420), Aap yahan aaye kisliye/aapne bulaya issliye (Kal Aaj aur Kal) Chal sanyasi mandir mein (Sanyasi), Parde mein rahne do (Shikar), Mujhe meri biwi se bachao (Aaj Ki Taaza Khabar), Sayonara ( Love In Tokyo ) and Paan khaaye sainya hamaaro (Teesri Kasam). Till date, most 'dulhans' in weddings enter to the strains of Baharon phool barsaao mera mehboob aaya hai (Sooraj) playing in the background. Have you noticed that SJ did most of the films that needed the 'international' touch when color came and filmmakers discovered foreign locations - An Evening In Paris , Sangam, Around the World, Love in Tokyo , Singapore are some names. SJ pioneered the concept of 'item' songs; they made 'cabarets' popular (before Pancham took this to dizzying heights); and, they gave 'seduction' a new meaning. They were the first and complete 'hindi film music composers'. Though they did not give many pure 'classical' songs but the songs of Basant Bahar and Amrapali prove that they could give a resounding slap on the face of their detractors. Incidentally, one of my favorite songs of this style, Jhanak jhank tori baaji paayalia (Mere Huzoor) is an SJ composition sung by Manna De. With Lata Mangeshkar, S J had one of the most comfortable professional relationship (though it did get a tad broken when Shankar opted for his lady-love Sharda in the latter part of the career; however, Shankar had to bridge the gap in the seventies and then Lata sang for him in Sanyasi, Do Jhoot and Paapi Pet Ka Sawaal Hai) - for those who don't know, the film Do Jhoot had a song that went Chhatri na khol udd jaayegi hawa tez hai / arre kholne de, bheeg jaayenge (it was quite a big hit at that time). Perhaps the comfort in their working relationship came from the fact that both SJ and Lata started their careers nearly the same time. Though Lata was singing for some time, both SJ and Lata tasted their first super success in 1949 (with Raj Kapoor's Barsaat). When you start your careers together, there always is a rapport that is impossible to replicate elsewhere. Likewise for Lata and SJ. In all her interviews Lata Mangeshkar always recalls S-J with fondness. S-J were the 'naughty' duo who always challenged Lata Mangeshkar with the impossibly high pitch songs - try singing Aji rooth kar kahan jaayiega (Aarzoo) and you will know what I mean. Also, SJ created the concept of having the same song in a female version. Invariably all the female songs went to Lata Mangeshkar. Any song created for the male vocal is tough for a female to emulate. But hats off to Lataji who took up the challenge and gave the female versions their own standing - a prime example in this category is (another personal favorite) Ehsaan tera hoga mujh par ( Junglee ). Here is a 2004 interview excerpt on what Lataji had to say on Shankar Jaikishan: " I remember Aji rooth kar ab kahan jayiyega in Arzoo. What a high pitch that was! My ears reddened when I sang it. But I stubbornly sang at that impossible scale, refusing to admit defeat to any range. I would get very angry, and sing at any range, without complaining. I used to have arguments with Jaikishan. I would ask him, 'Kya baat hai, aap meri pareeksha le rahe hain? Maine aap ka kya bigada hai jo aap mera kaan laal kar rahe hain? (What's the matter? Why are you testing me? What have i done that you should trouble me so?)' Actually, Ehsaan tera hoga was only meant to be sung by Rafi. But the film's hero, Shammi Kapoor, suddenly decided that the heroine should sing it as well. It was picturised with Rafi's voice on Saira Banu and later dubbed by me. So I had to sing it in the same sur as Rafi. The same was done with Jiya ho jiya kuch bol do (Jab Pyar Kissi Se Hota Hai). I shared a great friendship with Shankar-Jaikishan" ____________ Pay no attention to what the critics say. A statue has never been erected in honor of a critic. (Jean Sibelius) |
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taal
Joined: December 2006 Posts: 863
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Re: Remembering Shankar - Jai Kishan  Remembering Shankar - Jai Kishan ____________ Pay no attention to what the critics say. A statue has never been erected in honor of a critic. (Jean Sibelius) |
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 sur 
Joined: November 2006 Posts: 10620 Location: Virginia
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Re: Remembering Shankar - Jai Kishan
____________ "I am a dreamer,I collect all the smiles from My yesterday, Neatly pack them into words and hide them in my heart, I call them "MEMORIES" Music has no boundary. |
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sur
Joined: November 2006 Posts: 10620 Location: Virginia
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Re: Remembering Shankar - Jai Kishan Shankar JaiKishan concert in 1970 and attended by the than President VV Giri. Mohd Rafi and Mukesh have sung many songs in this concert. Shankar JaiKishan live Part 1 http://www.youtube.com/watch?v=bORnQCJx0ug
Part 2 http://www.youtube.com/watch?v=4hNKRfvyZ4s&mode=related& amp;search=
Part 3 http://www.youtube.com/watch?v=mrzxAumlm_s&mode=related& amp;search=
Part 5 http://www.youtube.com/watch?v=09t_ffw7O4g&mode=related& amp;search=
Part 6 http://www.youtube.com/watch?v=XJZ5u30gPYk&mode=related& amp;search=
Part7 http://www.youtube.com/watch?v=FuYWOZXy5ck&mode=related& amp;search=
Part 9 http://www.youtube.com/watch?v=uHDU62lmVXs&mode=related& amp;search=
Raj Kapoor singing http://www.youtube.com/watch?v=T_-Hh8nlIEo&mode=related& amp;search=
____________ "I am a dreamer,I collect all the smiles from My yesterday, Neatly pack them into words and hide them in my heart, I call them "MEMORIES" Music has no boundary. |
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Raja 
Joined: June 2007 Posts: 912 Location: USA
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Re: Remembering Shankar - Jai Kishan Thanks for sharing...........! ____________ “Simplicity. What turns me on.” Please enlighten me. |
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1962: Asli Naqli, Aashiq, Dil Tera Diwana, Hariyali Aur Rasta, Professor -- all S-J films are hits. Critics scoff at their 'trivial' music, but the box office and record shops tell a different story. 
1971: On the heels of the cult success of his solo creations Zindagi ek safar hai suhana (Andaz) and Jeena yahaan marna yahaan (Mera Naam Joker), Jaikishan passes away. 
n sharp contrast to Shanker as a musical craftsman, he was cr- ude and uncouth as a man. His lack of education was pronounced by his foul temper and a bad ton gue. He took morbid pleasure in mocking chillana ... yeh gaana |
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