Friday, September 10, 2010
Remembering Jaikishan on his death anniversary.
Remembering Jaikishan on his death anniversary.
The music lovers all across the country remember the great composer Jaikishan on his death anniversary on 12th September, 2010. Shankar Jaikishan dominated bollywood music for more than 25 years ranging from the late 40s to early 70s.
The Legends of the golden age include Roshan- the king of melody, Madanmohan- the shahenzah of ghazals, Naushad- the Genius of Hindustani classical ragas with a blend of Lucknow Gharana, Salil Chowdhury –the Master of Westernised chorus with Eastern folk and poetic excellence, O. P. Nayyar – the Master of Westernised Tunes with Eastern flavour, Jaidev – the Legend of Urbanised Folk and Rural tunes, and many other Classical composers who have become immortal with their everlasting tunes.
Shankar Jaikishan emerged in that arena with a range of tunes and compositions which could not be categorised under a single head. There were folk songs like “chalat Musafir” sung by Manna dey in “Teesri Kasam”( 1966) to ghazals like “Chalke Teri Aankhose sharab aur ziada” sung by Mohammad Rafi in “Aarzoo”(1965). There were rock and roll compositions like “aajkal tere mere pyarke charche har zabanpar” in Brahmchari(1967) to pure classical composition like “Sur na saje kya gayun mai” in “Basant Bahar”(1957).
They had composed music in almost 200 films in a tenure of around 22 years. So great was the impact of their creative genius that it had a lasting impact on the music of the Hindi films. Shankar-Jaikishan understood the taste of the masses, were able to cater to them, as well as moulded their tastes. No wonder then that during their tenure as music directors, they were exceedingly popular and 75 per cent of the films for which their scores were everlasting hits - many have celebrated silver jubilees.
They were probably the only musical pair, who have given music to all the leading giants who had glorified the silver screen during the 1940, 1950s, and 1960s. They have given music to Dilip Kumar in Yahudi, 1958, Rajender Kumar in Suraj, 1966, Bharat Bhushan in Basant Bahar, 1957, Balraj Sahani in Seema, 1956, Pradeep Kumar in Raat Aur Din, 1966, Dev Anand in Asli Nakli, 1961, Manoj Kumar in Hariyali Aur Raasta, 1962, Shammi Kapoor in Professor, 1962, Shashi Kapoor in Kanyadan, 1969, Biswajeet in April Fool,1964, Joy Mukherjee in Love in Tokyo, 1965, Dharmender in Pyar hi Pyar, 1968, Jeetender in Mere Huzur, 1967, RajKumar in Lal Patthar, 1971.
The team of Shankar Jaikishan consisted of Shankarsingh Raghuwanshi and Jaikishan Dayabhai Panchal. Shankar (October 15, 1922 - 1987) was born in Punjab and trained under the famous Husnlal Bhagatram. He later settled down in Hyderabad, Andhra Pradesh, India. Jaikishan (1929 - 1971) hails from Panchal, Gujarat, India. Before the duo met, Jaikishan worked as a carpenter. Their career started as music directors for Raj Kapoor’s 1949 film Barsaat. Songs like “Jiya beqaraar hai” and “Barsaat mein humse mile tum” became a rage. Barsaat was also the starting point of the pair’s long and successful association with the R.K.Banner. Hit music in films like Aah and Awaara followed in the early 1950s. The song “Ghar aaya mera pardesi” went on to become a benchmark for dream-sequence songs. Their music for most R.K.films was considered a huge success, but two films stand out, Shree 420 and Sangam. The songs “Pyaar hua ikraar hua” and “Ramaiyyaa vasta vaiyya” from Shree 420 and “Dost dost na raha” and “Har dil jo pyaar karega” from Sangam were popular favorites.
Due to sad demise of Jaikishan in the 70s, the evergreen combination broke up and critics repent about the end of the contribution of the giant composers. Shankar was very loyal towards the SJ Banner and continued to use it in films after 1971, when Jaikishan died and Shankar had composed the music himself. Jaikishan’s death was a big blow for Shankar who already was shocked about the demise of lyricist Shailendra in the late 60s, who had contributed for the tunes of Shankar. Shankar lost the big banners in the 70s, due to the death of Jaikishan.
For example Raj Kapoor shifted towards the music of Laxmikant Pyarellal from Bobby, in 1973, when Shankar was still alive and gave music in many films in the 70s. Raj Kapoor had never thought about any other composer in his entire career other than SJ, excepting films like Jagte Raho, where he had used Salil Choudhury or Ab Dilli Door Nahi, where Dattaram contributed, who was the assistant of SJ.
The big banner of GP Sippy went to RD Burman after the death of Jaikishan. SJ composed the music for the film Andaz in 1971. But RD Burman got the scope of composing music in films like Seeta Aur Geeta in 1972, Sholay in 1975, Shaan in 1980, Saagar in 1985, all were made under the GP Sippy Banner. Although Shankar continued to compose music in the mid-70s in films of Manoj Kumar like Beimaan or Sanyasi, but the big banner of GP Sippy was lost.
Shankar also lost the banner of Shakti Shamanta after 1971. Previously SJ composed music in Shakti Shamanta’s films An Evening in Paris and Pagla Kahin Ka. But after the death of Jaikishan, RD Burman got the scope of composing music in his films including Kati Patang and Amar Prem which were hit as well.
Whether the music suffered or changed after the death of Jaikishan is another question to be answered, but there is no doubt that Shankar lost most of the big banners in the 70s, after the death of Jaikishan in 1971.
As far as trend of bollywood music was concerned there was a sea change after the death of Jaikishan in 1971. Loud orchestrations were evident in major films because of the trends existing in Hollywood. Beat oriented music prevailed. RD Burman had a beat of his own exhibited in films like Anamika, Jheel Ke Us Paar, Sholay, Shaan, etc. Bappi Lahiri had his own beat exhibited in Disco Dancer, Namakhalal, Sharabi, etc. The composer-duo who did not stick to a beat but shuffled with them included Laxmikant Pyarellal. They were the only duo who compromised with the requirements of the age and transformed their own music in films like Ek Duje Ke Liye or Prem Rog, etc.
But Shankar Jaikishan’s blend of east and west faded away in the 70s. Also the utilization of folk music in films like Shree 420, Teesri Kasam, reduced down.
The compositions of Shankar Jaikishan should be restored and preserved.