Shankar Jaikishan

Shankar Jaikishan
Genre(s)	Film score
Occupation(s)	Composer, music director
Years active	1949-1986

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Shankar Jaikishan, an Indian musical composer duo in the Hindi film industry, were active mainly during the 1950s and 1960s. They were the premier composers of their period which is also considered the golden era of Hindi film music. They are generally regarded as the greatest composers in the Hindi film industry. Their fan following includes the likes of Lata Mangeshkar, Manna Dey, O.P. Nayyar, Laxmikant of Laxmikant Pyarelal fame, Anu Malik, Usha Khanna. Rahul Dev Burman used to take tips from Jaikishan on a regular basis.

[edit] Early years

Shankar Singh Raghuvanshi (October 25, 1922 – April 26, 1987) was a native of Hyderabad while Jaikishan Dayabhai Panchal (November 4, 1929 – September 12, 1971) belonged to Vansada, Gujarat.

During his formative years, Shankar played the tabla and learned the art formally from Baba Nasir Khansahib. Jaikishan was adept at playing the harmonium. Subsequently, he obtained his musical lessons from Sangeet Visharad Wadilalji and later from Prem Shankar Nayak. After moving to Bombay, he became a disciple of Vinayak Tambe.

Shankar and Jaikishan met in Bombay and formed a friendship that was to last until the death of Jaikishan in 1971. Shankar started his career with a theater group run by Satyanarayan and Hemawati, before shifting to Prithvi Theater where he played tabla and performed some minor roles in plays. He also introduced Jaikishan to his employers as a harmonium player. The two of them later played significant roles in the play “Pathan”.

Subsequently, they worked as assistants for the leading composer duo of Husnlal Bhagatram and continued to remain in touch with Raj Kapoor, who was working as an assistant to the famous director Kidar Sharma. The three had met at Prithvi Theater, run by Raj Kapoor’s father, Prithviraj Kapoor.

[edit] First break

Raj Kapoor made his debut as a director with the film “Aag” in 1948. While the film received a mixed response at the box office, its musical score proved to be quite popular. However, Raj Kapoor had some serious differences with Ram Ganguly, the music composer of the film, and decided to try out a new composer for his next venture “Barsaat” in 1949.

Himself no novice when it came to matters musical, Raj Kapoor took on board a completely new team of composers Shankar and Jaikishan (who had assisted Ram Ganguly for “Aag”), and lyricists Shailendra and Hasrat Jaipuri (a former bus conductor). He also co-opted the upcoming singing talent Lata Mangeshkar, and repeated Mukesh as his own ghost voice. In due course, this team was to prove to be one of the most successful musical combinations of all times, perhaps second only to the combination of Shankar, Jaikishan, Shailendra, Hasrat Jaipuri, Lata Mangeshkar, and Mohd. Rafi.

Barsaat was a super hit, both commercially and musically. Among other things, it established Lata Mangeshkar as the undisputed queen of Hindi film music. It also had the distinction of giving two firsts to Hindi cinema – a title song (Barsaat mein hamse miley tum) and a cabaret (Patli kamar hai). The film propelled Shankar Jaikishan on the road to musical superstardom and to a stature that remains unmatched to this date.

[edit] Early successes

The success of Barsaat opened many doors for Shankar Jaikishan, popularly known by the acronym S-J. Never the ones to rest on their laurels, they continued to improve upon their ever lofty standards and their association with any film generally was one of the most important factors in its success.

Among their early hits, Aawara, Aah, Shree 420, Basant Bahar, Halaku, Patita, Kathputli, Anari, Chori Chori, Daag, Baadshah, Boot Polish, and Ujala are barely a few of the prominent ones.

In the film Aawara, they successfully supported the first ever “dream sequence” by two stunningly orchestrated songs, viz., Tere bina aag yeh chandni and Ghar aaya mera pardesi, though the latter had more than a few shades of a Mohammed Abdel Wahab (considered the “father of the modern Egyptian song”) composition.

The songs Aawara hoon from the film Awaara and Mera joota hai Japani from the film Shree 420 were big hits in the Soviet Union and East European countries as well and helped turn Raj Kapoor (on whom the songs were picturized) into a cult figure in those regions.

[edit] Musical collaborators

S-J formed a core team with lyricists Shailendra (himself regarded as perhaps the greatest of his ilk) and Hasrat Jaipuri and with singers Mohd. Rafi and Lata Mangeshkar. They also patronized the immensely talented singer Manna Dey, who sang his best songs with them, and used Mukesh’s silken voice as playback for Raj Kapoor. Among the directors, they worked most closely with Raj Kapoor and were considered the kingpins of his legendary banner RK Films.

S-J also worked with most of the other singers of that time. Toward the later part of their career, they had a good working relationship with singers Sharda and Kishore Kumar, and lyricists Neeraj, Verma Malik, and Rajinder Krishan.

While they composed music for all the top heroes of their time, they enjoyed an excellent run with the films of Shammi Kapoor and Rajendra Kumar, apart from those of Raj Kapoor.

S-J were the “house composers” for RK Films and produced some of their best work for the banner. Raj Kapoor used to maintain a music bank where he stored compositions of S-J. This music bank was built over a period of time and S-J used to ‘borrow’ from it in order to support their work for other directors. Even after the termination of the professional association between Shankar and Raj Kapoor (Jaikishan had died by then), the latter would use S-J’s compositions for all his films though the credits were given officially to other composers, e.g., Laxmikant Pyarelal (Bobby, Satyam Shivam Sundaram, Prem Rog) and Ravindra Jain (Ram Teri Ganga Maili).

[edit] Composition style

Shankar Jaikishan’s compositions broke new ground in Hindi film music. Apart from relying upon their considerable knowledge of Indian classical music, they also employed to great effect western beats and orchestration. While “raga Bhairavi” remained their perennial favorite, they used the western classical-based waltz rhythm in the majority of their songs to telling effect. They were also influenced by Mohammed Wahab and used strains from his compositions in many of their songs. Though they did copy some of the very popular western songs in toto in their compositions, such instances were few and far between and serious charges of plagiarism were never leveled against them.

Shankar Jaikishan gave a new meaning to the genre of sad songs by composing them on a fast tempo. Songs like Aye mere dil kahin aur chal (Daag) and Andhe jahan ke andhe raaste (Patita) amply demonstrated this. These songs, along with many others (notably Awaara hoon from the film Awaara), also demonstrate the composers’ flexible usage of instrumentation – a harmonium is used to produce the effect of a piano accordion.

[edit] Working style

While working as a team, Shankar and Jaikishan would 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. 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 was a popular pastime for S-J aficionados to try and tell a Shankar song from a Jaikishan song. Dance numbers and soulful songs were Shankar’s forte while Jaikishan was a master of composing a film’s background score, apart from romantic songs (he is generally regarded as the best ever in this genre) and western-style compositions. It is said that Jaikishan would count some numbers on his fingers before coming up with the background score for a particular scene on the spot! Two of S-J’s films, viz., Sangam and Mera Naam Joker are regarded even today as having some of the best background musical scores of all time.

Despite their distinct working styles and preferences, it is very difficult, if not altogether impossible, to ascribe a song to only one of them. They invariably contributed to one another’s creation, either in the form of improvisation of tune or of orchestration, thus making their compositions truly a joint effort.

Jaikishan mainly handled the public relation aspect of the duo’s career as he was regarded as the more presentable and polished negotiator of the two.

[edit] Awards/accolades

S-J won nine Filmfare awards for the best music composer for Chori Chori (1956), Anari (1959), Dil Apna Aur Preet Parayee (1960), Professor (1963), Suraj (1966), Brahmachari (1968), Mera Naam Joker (1970), Pehchaan (1971), and Be-Imaan (1972). The last three awards were won in three successive years, thereby making S-J the first composers to score a hat trick of these awards. The last of these awards also resulted in a controversy where actor Pran refused to accept his own trophy for the best supporting actor (for the film Be-Imaan), stating that the music of Pakeezah, and not that of Be-Imaan, was more deserving of the award.

S-J also came out tops in Binaca Geetmala, the legendary countdown radio program on Hindi film music, where their compositions were declared the most popular on six occasions (a record later equaled by Laxmikant Pyarelal). These songs were Mera joota hai japani in 1955 (Shree 420), Teri pyari pyari surat ko in 1961 (Sasural), Ehsaan tera hoga mujh par in 1962 (Junglee), Bol radha bol in 1964 (Sangam), Baharon phool barsaao in 1966 (Suraj), and Zindagi ek safar hai suhana in 1971 (Andaaz). In 1959, seven of the top ten songs for the year were composed by S-J, a sort of record that stands perhaps to this date, though the top honors for that year went to SD Burman.

[edit] Disputes/differences

In a signed article in Filmfare, Jaikishan identified the song Yeh mera prem patra padh kar (Sangam) as his own composition. This led to a lot of bitterness between the two, as Shankar considered it a violation of the unwritten agreement between them. To make matters worse, Shankar gave a break to singer Sharda and started promoting her as the new singing sensation in preference over Lata Mangeshkar. Jaikishan never liked this idea and stuck to Lata Mangeshkar for his compositions. Matters came to a head and the duo almost broke up. They stopped using the hyphen between their names as reflected in the professional credits of their films. They also started taking individual contracts for films though every such film continued to show them together as the composers. Finally, Mohd. Rafi intervened and helped them settle their differences; however, their relationship was never the same again. It also impacted the quality of their compositions which started exhibiting a slow albeit gradual decline.

Shankar continued to support Sharda and even ghost-composed music for her film and non-film albums. As a result, Lata Mangeshkar refused to work with him which harmed his career even further after Jaikishan’s demise. According to Lata Mangeshkar herself, it was the late Mohd. Rafi who brought about a rapprochement between the two. Unfortunately, it came too late in the day to revive Shankar’s flagging career.

[edit] Standing in the industry

S-J enjoyed an unrivaled position in the Hindi film industry. During their heydays and even toward the later part of their career, they were the highest paid music directors in the industry. Barring stray exceptions, they were paid more than the leading actors and the promotional material of their films would give them more prominence than anyone else. In one instance, they were paid more than the highest earning actor of the day. To this date, no other composer(s) has been able to equal, let alone surpass, this feat.

S-J staged a show in Shanmukhanad Hall, Mumbai in 1970 under the aegis of the Indian Navy. In terms of attendance and grandeur, it remains unsurpassed to this day, thus providing a public seal of approval to their leading status in the industry.

[edit] Jaikishan’s death and its impact

Jaikishan died in 1971 due to cirrhosis of liver, a disease caused by excessive consumption of alcohol. At the time of his death, the duo enjoyed an unparalleled popularity which was underlined by a massive turnout at his funeral procession. Gaylord, a restaurant at Churchgate (Mumbai) where Jaikishan used to be a regular visitor, mourned the death of its illustrious patron by lighting a candle on his favorite table for one month and keeping it out of bounds for other guests with the sign “Reserved for Mr. Jaikishan”.

After Jaikishan’s death, Shankar carried on with the banner of Shankar Jaikishan, but he was clearly hampered by the absence of his alter ego. His was unable to negotiate effectively with the film producers and struggled with the background score of his films. He gave his last big hit with the 1976 film Sanyasi before rapidly fading into oblivion. While some of his later songs did exhibit flashes of the old maestro’s brilliance, overall these films (Aatmaram, Garam Khoon, Papi Pet Ka Sawal Hai, etc.) did nothing to endear him to leading production houses, though there were some exceptions.

Actor Dharmendra wanted to employ Shankar’s services to compose the score for his film Bichchhoo, but was forced to hire the late Raj Kamal at the insistence of the director Sai Paranjape. Eventually, the project itself was abandoned.

Shankar was in the running for Raj Kapoor’s film Satyam Shivam Sundaram, but was overlooked in favor of Laxmikant Pyarelal whose candidature was supported vigorously by Mukesh. Ironically, Mukesh owed his standing in the film industry primarily to S-J’s compositions.

Shankar was also considered for Raj Kapoor’s proposed film Param Vir Chakra (his case was supported by Raj Kapoor’s sons), but the project did not see the light of day and Shankar never returned to the RK camp.

[edit] Shankar’s death

Shankar died in 1987. Sadly, his death received nominal media coverage and his funeral was attended only by his family and some friends. The film industry was hardly represented at his funeral (even Raj Kapoor did not attend), thus reinforcing the stereotype of its fickle-natured loyalties.

Raj Kapoor later paid glowing tributes to the colleague of his salad days in a televised interview. However, it was only after Raj Kapoor’s own death in 1988 that the significance of his association with S-J was brought out in great detail.

[edit] Legacy

Descendents of Shankar and Jaikishan stayed away from the film industry. Shankar’s family is based in Hyderabad and is involved in the hotel business. Jaikishan’s family is based in Mumbai and his wife (Pallavi Jaikishan) and one daughter (Bhairavi Jaikishan) are dress designers of repute. Jaikishan’s other children pursue different vocations.

[edit] Trivia

Shankar played the role of a fisherman in the film Aag (1948).
Jaikishan appeared in a small role as the drunkard husband of Nadira in the film Shree 420 (1955). Also, the song Aye pyaase dil bezubaan was picturized on him in the film Begunaah (1957).
Jaikishan is featured in the film Main Sundar Hoon (1971) where he directs Kishore Kumar and the orchestra for the song Naach meri jaan fatafat.
The tune of the famous song Jaane kahan gaye who din (Mera Naam Joker, 1970) can be found in the background score of the film Aah (1953).
The tune of the song Jhooth bole kaua kaate (Bobby, 1973) can be found in the background score of the film Aawara (1951).
The currently available songs Aawara hoon (Aawara) and Pyar hua ikrar hua (Shree 420) are different from the originally recorded versions in terms of rhythm and orchestration.
The opening stanza of the song Mud mud ke naa dekh mud mud ke was coined by Shailendra when he caught Jaikishan looking back repeatedly at a lovely passerby from their car.
The song Chahe koi mujhe junglee kahe (Junglee, 1962) used the terms Yahoo! Yahoo! for the first time in the world. These words were ‘sung’ by Prayag Raj, who also wrote the dialogues of the film.
Shankar lent his voice for making the catcalls Ayya ya suku suku in the song Ayya ya karoon main kya suku suku (Junglee).
S-J made Mohd. Rafi sing in a falsetto in the duet Dilruba dil pe tu (Rajkumar) and he arguably did a better job than Asha Bhosle, his female co-singer in the song.
In the song Dost dost na raha (Sangam), the piano was played by Shankar.
S-J did not compose the background music for the film “Teesri Kasam”, made by their friend and colleague, Shailendra.
The synthesizer was used for the first time in Hindi films by S-J in the song Main gaaun tum so jao from the film Brahmachari.
S-J composed the music for India’s first 70 mm and stereophonic sound film Around the World, starring Raj Kapoor.
S-J composed the music for the film Seema made in the ’50s and for the film Seema made in the ’70s.
S-J’s famous composition Jeena yahan marna yahan (Mera Naam Joker) is loosely based on Raj Kapoor’s favorite Donauwellen (The Waves of the Danube), a waltz composed by Josef Ivanovici, the iconic Romanian composer.
S-J used Mohd. Rafi as the playback for Raj Kapoor in Barsaat (Main zindagi mein hardam rota hi raha hoon) and for Kishore Kumar in Shararat (Ajab hai daastan teri yeh zindagi).
S-J initially preferred to use Manna Dey’s voice for the songs picturized on Raj Kapoor and Shammi Kapoor. They later settled for Mukesh and Mohd. Rafi, respectively, though they continued to use Manna Dey’s voice on an infrequent basis for Raj Kapoor’s songs.
Raj Kapoor used to pick up more of Shankar’s songs than Jaikishan’s songs as he felt they were more suitable for his films’ situations.
Lata Mangeshkar, while listing her preferred songs by various composers, said that 60% of all S-J’s compositions were her favorites. This was the highest ‘rating’ she gave to any composer.
Manna Dey, in a published interview with The Gulf News in 2006, rated S-J as the best ever composers in the history of Hindi film music.
O.P. Nayyar, himself a giant in the world of music, considered Shankar as the most complete music composer ever in the Hindi film industry.
Filmfare magazine, in one of its anniversary issues, rated S-J as the numero uno composers in the history of Hindi film music.
S-J’s longtime assistant, Dattaram, is credited with inventing a new rhythm/beat which is known as the “Dattaram theka”.
After his marriage to Pallavi (who belongs to the business family of the Mariwalas), Jaikishan moved to a flat in Gobind Mahal, located on Marine Drive, Mumbai.
S-J are honored by their adopted city of Mumbai in the form of a road junction being named after them (Shankar Jaikishan Chowk) near Churchgate station. They share this privilege with their dear colleague Mohd. Rafi in whose honor a road junction in Bandra (West) is named Padma Shri Mohd. Rafi Chowk.

[edit] Filmography

1 Barsaat (1949)
2 Aawara (1951)
3 Baadal (1951)
4 Kaali Ghata (1951)
5 Nageena (1951)
6 Daag (1952)
7 Parbat (1952)
8 Poonam (1952)
9 Aah (1953)
10 Aas (1953)
11 Aurat (1953)
12 Naya Ghar (1953)
13 Patita (1953)
14 Shikast (1953)
15 Badshah (1954)
16 Boot Polish (1954)
17 Mayur Pankh (1954)
18 Pooja (1954)
19 Seema (1955)
20 Shri 420 (1955)
21 Basant Bahaar (1956)
22 Chori Chori (1956)
23 Halaku (1956)
24 Kismat Ka Khel (1956)
25 New Delhi (1956)
26 Patrani (1956)
27 Rajhath (1956)
28 Begunaah (1957)
29 Kathputli (1957)
30 Baaghi Sipaahi (1958)
31 Yahudi (1958)
32 Anari (1959)
33 Chhoti Bahen (1959)
34 Kanahiya (1959)
35 Love Marriage (1959)
36 Main Nashe Me Hoon (1959)
37 Shararat (1959)
38 Ujala (1959)
39 College Girl (1960)
40 Dil Apna Aur Preet Parayee (1960)
41 Ek phool Char Kaante (1960)
42 Jis Desh me Ganga Behti Hai (1960)
43 Singapur (1960)
44 Aas Ka Panchhi (1961)
45 Boy Friend (1961)
46 Jab Pyar Kisise Hota Hai (1961)
47 Junglee (1961)
48 Karorpati (1961)
49 Roop Ki Rani Choron Ka Raja (1961)
50 Sasuraal (1961)
51 Aashiq (1962)
52 Asli Naqli (1962)
53 Dil Tera Diwana (1962)
54 Hariyali Aur Rasta (1962)
55 Professor (1962)
56 Rangoli (1962)
57 Dil Ek Mandir (1963)
58 Ek Dil Sau Afsane (1963)
59 Hamraahi (1963)
60 Aai Milan Ki Bela (1964)
61 Apne Hue Paraye (1964)
62 April Fool (1964)
63 Beti Bete (1964)
64 Rajkumar (1964)
65 Sanjh Aur Savera (1964)
66 Sangam (1964)
67 Zindagi (1964)
68 Aarzoo (1965)
69 Gumnaam (1965)
70 Jaanwar (1965)
71 Aamrapaali (1966)
72 Badtameez (1966)
73 Gaban (1966)
74 Love In Tokyo (1966)
75 Pyar Mohabbat (1966)
76 Sooraj (1966)
77 Teesri Kasam (1966)
78 Aman (1967)
79 An Everning In Paris (1967)
80 Around The World (1967)
81 Chhoti Si Mulaqat (1967)
82 Diwana (1967)
83 Gunahon Ka Devta (1967)
84 Hare Kaanch Ki Chhodiyan (1967)
85 Laat Sahab (1967)
86 Raat Aur Din (1967)
87 Brahmchari (1968)
88 Duniya (1968)
89 Jhuk Gaya Aasman (1968)
90 Kahin Aur Chal (1968)
91 Kanyadaan (1968)
92 Mere Huzoor (1968)
93 Sapno Ka Saudagar (1968)
94 Shikaar (1968)
95 Bhai Bahen (1969)
96 Chanda Aur Bijli (1969)
97 Jahan Pyar Mile (1969)
98 Prince (1969)
99 Pyar Hi Pyar (1969)
100 Sachchai (1969)
101 Shatranj (1969)
102 Tumse Achha Kaun Hai (1969)
103 Yakeen (1969)
104 Bhai Bhai (1970)
105 Dharti (1970)
106 Mera Naam Jokar (1970)
107 Pagla Kahin Ka (1970)
108 Pehchaan (1970)
109 Tum Haseen Main Jawan (1970)
110 Umang (1970)
111 Albela (1971)
112 Andaaz (1971)
113 Balidaan (1971)
114 Duniya Kya Jaane (1971)
115 Ek Nari Ek Brahmchari (1971)
116 Ek Paheli (1971)
117 Alaan (1971)
118 Jaane Anjaane (1971)
119 Jawan Mohabbat (1971)
120 Jwalaa (1971)
121 Kal Aaj Aur Kal (1971)
122 Laal Patthar (1971)
123 Main Sundar Hoon (1971)
124 Naadan (1971)
125 Parde Ke Peechhe (1971)
126 Patanga (1971)
127 Preetam (1971)
128 Seema (1971)
129 Aan Baan (1972)
130 Aankh Micholi (1972)
131 Aankhon Aankhon Me (1972)
132 Bandagi (1972)
133 Be-Imaan (1972)
134 Dil Daulat Duniya (1972)
135 Jangal Me Mangal (1972)
136 Riwaaz (1972)
137 Yaar Mera (1972)
138 Aaj Ki Taaja Khabar (1973)
139 Chori Chori (1973)
140 Daaman Aur Aag (1973)
141 Door Nahi Manjil (1973)
142 Naina (1973)
143 Pyar Ka Rishta (1973)
144 Archana (1974)
145 Chhote Sarkar (1974)
146 Insaniyat (1974)
147 International Crook (1974)
148 Resham Ki Dori (1974)
149 Tarzan Mera Sathi (1974)
150 Vachan (1974)
151 Do Jhoot (1975)
152 Love In Bombay (1975)
153 Neelima (1975)
154 Saazish (1975)
155 Sanyaasi (1975)
156 Dhoop Chhaon (1977)
157 Duniyadari (1977)
158 Mera Vachan Geeta Ki Kasam (1977)
159 Aatmaram (1979)
160 The Gold Medal (1979)
161 Bombay Talkies (197?)
162 Nageena (197?)
163 Garam Khoon (1980)
164 Mehfil (1981)
165 Naari (1981)
166 Chorni (1982)
167 Eent Ka Jawab Patthar (1982)
168 Aakhiri Sangram (1984)
169 Papi Pet Ka Sawal Hai (1984)
170 Inteqam Ki Aag (1986)
171 Krishna Krishna (1986)

[edit] External links

Shankar Jaikishan

From Wikipedia, the free encyclopedia

Contents

[edit] Early years

[edit] First break

[edit] Early successes

[edit] Musical collaborators

[edit] Composition style

[edit] Working style

[edit] Awards/accolades

[edit] Disputes/differences

[edit] Standing in the industry

[edit] Jaikishan’s death and its impact

[edit] Shankar’s death

[edit] Legacy

[edit] Trivia

[edit] Filmography

[edit] External links

Views

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