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Shuklas :SOLID THREAD FILM SANGEET KI MADHUR DIN

, SOLID THREAD : PUCCA DHAGA SKS

 
 
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> Shuklas :SOLID THREAD FILM SANGEET KI MADHUR DIN, SOLID THREAD : PUCCA DHAGA SKS
shuklas
post Aug 20 2004, 05:11 PM
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Dear Friends :

We plan to upload several interesting informations about most of the musicians and their music followed by list of songs. We invite every one who has such information to contribute.

The proposed postings are about :

A. Shanker Jaikishan
B. Naushad
C. O.P.Nayyer
D. Madan Mohan
E. Ravi
F. Salil Chaudhary
E. Sachin Dev Burman
F Chitragupt
G. Hansraj bahel
H Roshan
I Vasant Desai
J. Khemchand Prakash
K. Jaidev
L. Shyam Sunder - Vinod

M. Hemant Kumar

O.Ghulam Mohammed

P. Ghulam Haider- Sajjad Husain

Q. S.N.Tripathi

R. Anil Biswas

S.Husnalal Bhagat Ram

T. Khaiyyam

U. C.Arjun-Dattaram-Ikbal Kureshi-Shivram-Lachhiram-Babul-Sudhir Phadke-Robin
Benerjee-G.S.Kohlee -Bulo.c.Rani-Snehal Bhatker- S. Mohinder- Sardar Malik
N.Dutta-Raichand Boral

V. Pankaj Mullick


Your contribution & participation will be of immense help to complete this thread with solid information and thats why it is named as Pucca Dhaga.

We look forward to follow through.

Sincerely,

Rashmi Shukla
Canada

नग्मा वोही जिसे रूह सुनें और रूह सुनायें
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shuklas
post Aug 20 2004, 05:15 PM
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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.

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.

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.

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.

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.

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.

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.

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.

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.



The Music Of
RAJ KAPOOR



The popularity of music in R K Films was not accidental but by design. Raj Kapoor was not a composer but, by his own admission, a music director. He supervised music, suggested tunes and inspired his composers to give their best. He made music an integral part of the stories and used it as an expression of his innermost thoughts and emotions as in 'Main zindagi mein hurdum rota hi raha hoon' ('Barsat'), 'Awara hoon'(Awara), Dost dost na raha'('Sangam'), Vina yahan, mama yahan'and 'Jane kahan gaye woh din' (both from 'Mera Naam Joker'). Even when he turned preacher, he used musical expression as in 'A a ab laut chale'('Jis Desh Mein Ganga Baheti Hai'). It was Raj Kapoor, the lover and the philosopher, hiding his disillusionment and dejection behind the mask of a joker, when he sancy ' Ye bhai zara dekh ke chalo', and 'Kaheta hai joker saara zamana'. The grand finale was the joker summing up his philosophy in the song 'Kal khel mein hum ho na ho, gardish me in tare rahenge sada'.
The box-office failure of the mo st ambitious project 'Mera Naam Joker' followed by jaikishan's death disillusioned Raj Kapoor. Neither his films nor his music were the same ever after.
Music had a dominating influence on Raj Kapoor. As Prithviraj I s son he had an opportunity to come close to K L Saigal and the master composer Rai Chand Boral, when Prithviraj worked in New Theatres.
without worrying about the sources from where they came.
Shanker-Jaikishan were an invaluable asset to the R K Films. With Shailendra and Hasrat added they made a formidable team. Shanker, an expert tabla player and a disciple of HusnalalBhagatram, was a talented composer. But the talent did nothing enough to endear him to producers. He was uncouth, short-tempered and had a vituperative tongue. Raj preferred to deal with Jaikishan with whom he vibed well. The death of Jaikishan ended a glorious chapter in the history of R K Films. From 'Barsat'to'Mera Naam Joker' they had scored in eight films and had repaid their debt to Raj Kapoor with compound interest. His ambition to be a filmmaker did not allow Raj Kapoor to pursue his passion for music, though he did learn its rudiments from Pt Jagannath Prasad who was closely associated
with Khemchand Prakash and K L Saigal and also taught music to Premnath, Mukesh and the members of the Kapoor clan.
While visualising a song situation Raj Kapoor showed remarkable judgment in selecting the right tunes. He never hesitated to adapt tunes (such as 'Is libe dis, I love you' and 'Dost dost na raha', both in 'Sangam') which had appealed to him, without worrying about the sources from where they came. .Shanker-Jaikishan were an invaluable asset to the R K Films. With Shailendra and Hasrat added they made a formidable team.






A Raj Kapoor film without music will look like an ornate frame without a portrait, or like of the face of Mona Lisa without her bewitching smile. Even the films that did not fare well at the box office ( 'Aag ' , 'Mera Naam Joker'), were remembered for their memorable musical score, comments NALIN SHAH on the music of India's master showman.
Even while in Bombay, Saigal was
his neighbor at College Street in Matunga.
His ambition to be a filmmaker did not allow Raj Kapoor to pursue his passion for music, though he did learn its rudiments from Pt Jagannath Prasad who was closely associated with Khemchand Prakash and K L Saigal and also taught music to Premnath, Mukesh and the members of the Kapoor clan.While visualising a song situation Raj Kapoor showed remarkable judgement in selecting the right tunes. He never hesitated to adapt tunes (such as 'Is libe dis, I love you' and 'Dost dost na raha', both in 'Sangam') which had appealed to him,
disciple of Husnalal Bhagatram, was a talented composer. But the talent did nothing enough to endear him to producers. He was uncouth, short-tempered and had a vituperative tongue. Raj preferred to deal with Jaikishan with whom he vibed well. The death of Jaikishan ended a glorious chapter in the history of R K Films. From 'Barsat' to 'Mera Naam Joker' they had scored in eight films and had repaid their debt to Raj Kapoor with compound interest.
Shanker eagerly hoped to return to the R K fold. But it was not to be. He never expected Laxmikant-Pyarelal to match the success of their idols, Shanker and Jaikishan.

नग्मा वोही जिसे रूह सुनें और रूह सुनायें
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shuklas
post Aug 25 2004, 10:07 PM
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Naushad



Birth: December 25 1925.
Birthplace: lucknow.
Profession: Music Director, Bollywood.

Naushad was awarded the Dadasaheb Phalke Award for lifetime contribution to Indian cinema in 1982. He is one of the most talented and popular music composer in Indian cinema. He holds the credit of introducing the famous Lata Mangeshkar and Mohammed Rafi to Hindi filmi music. Naushad's professional training in Hindustani music made him adaptable of the Hindustani ragas to filmi music.


Naushad was born at Lucknow on 25th December 1925. His fatherwantyed him to achieve high academic qualifications . But Naushad's interests always made him inclined towards music from the very beginning.

Since early childhood in Lucknow he was an avid listener to the live orchestras accompanying silent films. He learnt music from Ustad Ghurbat Ali, Ustad Yusuf Ali and Ustad Babban Saheb. In his initial days he composed for amateur theatricals such as the Windsor Music Entertainers.

Naushad joined a dramatic company in a theatre at Golagunj in Lucknow.He was trained under Laddan Khanhad where he became capable of working independently as a composer. There he also developed the sense to pick rare musical jewels from the folk tradition of Punjab, Rajasthan, Gujarat and Saurashtra during the company's sojourns in those regions. The dramatic company broke up while in Saurashtra and once again Naushad was literally thrown on the streets.

In the late 1930s he came to Bombay to try his luck as a musician but had to really struggle . He even had to spend nights on the footpath before he worked as a pianist in composer Mushtaq Hussain's orchestra. Naushad worked as a harmonium player in the Ranjit film company where he met D. N. Madhok the well-known songwriter.Mr. Madhok recommended Naushad due to which he got a job in Prakash Studio and was also assigned to compose music for a film Premnagar which launched this young music maker on a career .He also assisted music director Khemchand Prakash for a while.

He got his first break in Prem Nagar (1940) that went unnoticed .He earned recognition with the film Sharda (1942) wherein 13-year-old Suraiya did the playback for heroine Mehtab. he turning point in his career was Rattan (1944) that took Naushad to the top . Ankhiyaan Milake and Sawan ke Badalon became the most popular songs of the day.

Naushad was one of the first to introduce sound mixing and the separate recording of voice and music tracks in playback singing. He was the first to combine the flute and the clarinet, the sitar and mandolin. He also introduced the accordion to Hindi film music and was among the first to concentrate on background music to extend characters' moods and dialogues through music. Songs for his music have been mostly penned down by Shakeel Badayuni. In a sense, their partnership can be compared to that of Rodgers & Hammerstein's.

In the 1940s , Naushad had aseries of hits including A.R. Kardar's Shahjehan (1946), Dard (1947), Dillagi (1949), Dulari (1949) and Mehboob Khan - Anmol Ghadi (1946), Elaan (1947), Anoki Ada (1948), Andaaz (1949). Naushad also boosted Lata Mangeshkar's career with films Mahal and Barsaat . The lilting tunes from Dillagi (old), Baiju Bawara and Mughal-e-Azam, Mother India and Aan along many other films delighted millions.Fame and fortune followed him and his name figured prominently in film circles.

In 1950's he He went on to score the music for classics - Mother India (1957), Mughal-e-Azam (1960), Ganga Jamuna (1961) and Mere Mehboob (1963). Mughal-e-Azam, had Naushad's outstanding musical score was outstanding Shubh Din Aayo and Prem Jogan ke Sundari Pio Chali and Lata 's gems like Mohabbat ki Jhooti Kahani pe Roye and Pyaar Kiya to Darna Kya .Also Mohd. Rafi's Ae Mohabbat Zindabad. After 1960's ,Naushad completed Pakeezah (1972) and continued doing occasional films.

Awards And Honors:
Award Song-Movie
Filmfare Award -1952 Baiju Bawara
BFJA Award - 1961 Ganga Jamuna
Dadasaheb Phalke Award - 1982
Lata Mangeshkar Award - 1984
Padmabhushan - 1992
Best Of :
Song Movie

Pyaar Kiya To Darna Mughal-e-Azam
Mohe Panghat Pe Nandlal Mughal-e-Azam
Mana Tarapata Hari Darashana Baiju Bawara
Madhuban mein radhika Kohinoor
Do sitaron ka Kohinoor
Mere Meheboob Tujeh Mere Mehboob
Dhoondo Dhoondo Re Saajna Ganga Jamuna
Nain lad Jaihen Ganga Jamuna


(This is compilation of information and we do not claim to be the auther of this article)

नग्मा वोही जिसे रूह सुनें और रूह सुनायें
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