On the last weekend, I had written about the Music Composer Duo Shanker Jaikishan (SJ), there was much to write about them which I could not complete in one blog. So continuing with the remaining part of SJ’s music :
Composition style
SJ’s compositions broke new ground in Bollywood music. They relied upon their knowledge of Indian Ragas, additionally they also employed western beats and orchestration. They were pioneers in establishing the role of orchestra in the song compositions as a medium to express and enhance the meanings and feelings of songs rather than using it as filler, as per the practice prevailing at that time.. They made use of orchestra and musical instruments (often more than dozens, and some time may be 100) in their songs which consisted of the following format –the song will start with a ‘prelude’,preparatory music to create and introduce the mood and environment of the song, then the ‘Mukhda’ starts and is followed by interlude containing music pieces from orchestra, mostly they always used different interludes before each ‘Antara’ (stanza). Multi layered music studded with counter melodies played by orchestra accompanied while the Mukhda or the Antara of a song being sung by the singer, and finally came the epilogue- the music with which the song ended after the singers) had finished their singing. Before they came on the scene, generally their was no difference between the music of Mukhada, interlude or Antara. Immediately after Mukhada finished, Antara used to start and song used to end abruptly after singer(s) finished the singing. They literally the changed the composition style of the songs and soon all other composers followed this style of composition.
They also made significant contribution in promoting Indian classical music, and it was their established practice to have at least one song in a film based on semi classical style.. Their music of Basant Bahar and Amrapali had every song based upon Indian classical Ragas.
They also used western classical based Waltz rhythm in number of songs. They also gave anew style and meaning of sad songs by composing them on a fast tempo, songs like “ Main Zindahi Mein Hardam Rota Hi Raha Hoon” (Barsaat), “Tera Jaana Dil Ke Armanon Ka Lut Jana” (Anari), “Ae Mere Dil Kahin Aur Chal” (Daag) and many more.
Working Style- One name two composers
While working as a team, Shankar and Jaikishan used to compose their songs separately. Generally, Shankar liked to work with Shailendra and Jaikishan with Hasrat Jaipuri though there are notable instances where Shankar worked with Hasrat and Jaikishan with Shailendra. Of course there are a number of songs done jointly in which both of them contributed. Between the two, Shankar was the senior partner and hence, he would usually arrange the orchestra, even for Jaikishan’s songs. There was a gentleman’s agreement between them for not identifying the actual composer of the song. As a result, it has been a popular pastime for S-J fans to try to tell a Shankar song from a Jaikishan song. Dance numbers, title/theme songs and soulful songs were Shankar’s forte, while Jaikishan was a master composing background score, apart from romantic songs. As per their division of work it was always Jaikishan who score the background score, and for this score he used the tunes in their common pool, it was perfectly legitimate and natural for Jaikishan to use tunes created by Shankar wherever needed. It has been said that for RK films, both used to work for background score.
Alleged disputes- In a signed article in Filmfare, Jaikishan identified unwittingly the song ‘Yeh mera Prempatra Padh Kar’ from Sangam as his composition. This led to lot of bitterness between them, as Shankar considered it violation of the unwritten agreement between them. Similarly Jaikishan did not like Shankar promoting Sharda (female playback singer) over Lata Mangeshkar. It was Mohd Rafi who became their mediator and sorted their differences. But the relationship was never the same afterwards. It has been said that Lata became angry with Shankar, as he has started promoting Sharda. There was one more fact that Lata had a tiff with Raj kapoor and Shankar as they forced her to sing ‘ Main Ka Karoon Ram Mujhe Budha Mil Gaya’, from Sangam, a song which she did not want to sing. She continued to sing for Jaikishan.
After Jaikishan died in 1971 due to cirrhosis of Lever, Shankar carried on with the banner of Shankar Jaikishan ( as per their mutual understanding made during life time that in case of the demise of any one of them, the surviving partner will continue to work with the same team name). Shankar was clearly hampered by numerous reasons such as the departures of Jaikishan and Shailendra and betrayal by Raj Kapoor, as he entrusted the music of ‘Bobby’ to Laxmikant Pyarelal. It was again Rafi who brought a patch up him and Lata Mangeshkar and she sang for him in Sanyasi.
Shankar died in 1987, and he received a nominal media coverage.
SJ came top tops in Binaca Geetmala, the legendary Hindi film music Countdown program, where their compositions were declared the most popular six times. These songs were ‘Mera Joota Hai Japani’ from Shri 420 (1955),’Teri Pyari Pyari Surat Ko’ from Sasural (1961), ‘Ehsaan Tera Hoga Mujhpe’ from Junglee (1962), ‘Bol Radha Bol’ from Sangam (1964), ‘Baharon Phool Barsao’ from Suraj (1966) and ‘Zindagi Ek Safar Hai Suhana’ from Andaz (1971).
They won 9 Filmfare Awards for best Music Director of the year and films were Chori Chori (1956), Anari (1959), Dil Apna Aur Preet Parai (1960), Professor (1962), Suraj (1966), Brahmchari (1968), Pehchan (1970), Mera Naam Joker (1971) and Be imaan (1972). Overall they were nominated 20 times and won the award 9 times.
Lastly I am listing below some of my favourite songs composed by them in random order ;
1.’Chod Gaye Balam, Mujhe Hai Akela Chhod Gaye’ from Barsaat (1949)
.2‘Ghar Aaya Mera Pardesi’ from Awara (1951)
3.’Mud Mud Ke Na Dekh Mud Mud Ke’ from Shri 420(1955)
4.’ Aaja Sanam Madhur Chandani Main Hum’ from Chori Chori (1956)
- ‘ Yeh Mera Deewanapan Hai’ from Yahudi (1958)
- ‘ Azeeb Daastan Hai Yeh’ from Dil Apna aur Preet Parai (1960)
- ‘Yeh Mera Prempatra Padh Kar’ from Sangam (1964)
- ‘Dil Ke Jharokhe Mein Tujhki Bithake ‘ from Brahmchari (1968)
- ‘Jaane Kahan Gaye Woh Din’ from Mera Naam Joker (1970)
10.‘Zindagi Ek Safar Hai Suhana’ from Andaz (1971)
Awaiting your comments/views/feed backs.
Anil Malik
Mumbai, India
8th Mar 2019
R. N. Mungale.
Very good blog,!