Shankar Jaikishan & Mohd. Rafi, A Golden Era Options

[princeali]

An interesting piece on S-J and their working style from a Marathi biography on Vijay "Goldie" Anand entitled "Ek Hota Goldie" by Anita Padhye. Vijay Anand worked with S-J in "Kahin Aur Chal" (1968).

Special Thanks to Shahrukh-ji, one of the moderators of the S-J Yahoo Group, for providing us with this piece.

-----------------------

Cameraman Jal Mistry was a good friend of both Dev Anand & Goldie. When he decided to produce a film he entrusted the responsibility of directing it to Vijay Anand. Since Jal Mistry was assoicted with Navketan for a long time, both Dev and Vijay Anand decided to help him. Dev Anand and Asha Parekh were cast for the leading roles in the film titled 'Kahin Aur Chal.' The patriarchal figure of Filmistan Studios, Tolaram Jalan was financing the film.

This film had music by Shankar Jaikishan. Jal Mistry had suggested their name. They were the top of the line music directors at that time. Goldie's experience of working with Shankar Jaikihsan was a very pleasant one. Shankar-Jaikishan were both very disciplined in their work. They had distributed their work amongst themselves. If a film had eight songs, then Shankar would compose four songs and Jaikshan would compose the other four; however any outsider would never know who had tuned which song and who had arranged the orchestra. If one of them had composed more than more than four songs, they would still distribute the money equally amongst themselves. Both were also very creative in their work.

It is often said that about this duo that it was Jaikishan who was the more creative of the two. However, Goldie had exactly the contrary experience. According to him, Shankar was the creative one and Jaikishan would work hard on his music. For Jaikishan in fact, it was more like running a shop. Every day he would spend three to four hours composing new tunes. Lyricist Hasrat Jaipuri would work with him, who could write the lyrics for a song in a very short time. Shankar on the other hand had a great tuning with Shailendra. Even Shailendra would write the lyrics very quickly.

When any producer would ask Shankar to compose a song, he would respond at that very moment and create tunes. Goldie also felt that Shankar was also a great musician. Both Shankar and Jaikishan were very good natured people and both had very different musical styles of composing. Shankar would make tunes going beyond the 'bandhish'; Jaikishan's tunes were more 'bandish' based. Jaikishan laid more emphasis on the tune whereas Shankar would make the complete score and get lyrics written to the tune.

Goldie enjoyed working with the duo. The main reason for it was both were very particular about time. Also both worked with clock like precision. If they told a producer-director that they would record a song after four days, then in those four days they would compose the song, get the lyrcis written and deliver the complete song to the of delight the producer.

Goldie's experience with Laxmikant Pyarelal was exactly the opposite of Shankar Jakishan. If a producer told Laxmikant Pyarelal that he has not liked a tune, they would say, we will present new tunes at the next sitting. The moment that producer left the premises, another would be waiting for them and they could never honour their own commitment of presenting new tunes! A producer would figure out that LP did not really have new tunes ready. With Shankar it was the opposite. If a producer did not like a tune he would instantly present another one. Jaikishan would request the producer for another sitting and definitely present new tunes. They would never keep a producer hanging.

Another striking characteristic of Shankar Jaikishan, which Goldie noticed was that both would rehearse their songs with musicians sharp at 7.00 a.m. every morning. If a musician did not land up on time he would be immediately sacked. S.D.Burman was not so strict. If a musician came late he would ask "Kyon bhai, why are you late?" He would listen to the musician's statement and end the matter at that. Shankar Jakishan, however, would ask the musician to leave. "If you are not committed to the time and task, please do not work with us."

Shankar Jaikishan would do 30 recordings every month. And hence musicians would make sure that they did not commit the slightest mistake. They knew that one mistake meant they would lose 30 recordings. Every morning rehearsals would happen from 7.00 to 9.00. Usually, the recording would begin at 9.30 and in three to four hours they would record the first song. Every day they would record two songs. Every musician would have his musical notation. Jaikishan was more adept at doing background music. He would sit in the recording room with a stop watch and play the film reels, decide the meter and compose the track on a piano. He would then rehearse the track with the musicians and record the track. Pyarelal learnt to score background music from Jaikishan.

Goldie also sensed that there was an invisible competition going on between Shankar and Jaikishan. If the songs of one of them proved to be more popular - the other would work harder! Both would want their songs to be hits. Like with Shankar and Jaikshan a similar spirit existed between Shailendra and Hasrat too.

Four songs were recorded for Kahin aur Chal. Three of those were picturised in Khandala. "Aye Jaanewale Aa, Der Na Lage" was a beautiful melody. The hero is working as an engine driver and the heroine looks forward to the time when his train would reach the station for two minutes everyday. That was the film situation. More than half the film was completed. Just about 20 days of shooting was yet to be done. But Tolaram Jalan was not paying anybody. Jal Mistry was a fine gentleman and a great cameraman and because he was producing the film everyone was co-operating with him. But no one wanted to work free because they knew Tolaram Jalan was financing the film.

Tolaram Jalan wanted to produce a flop film to adjust his income tax dues. That is why he was not keen to complete the film and make it a success. When people associated with the film got a sense of this - they all started demanding money.

One day, Shankar met Goldie and told him "Goldieji, we have recorded four songs for you and we have not even asked you for money."

Goldie said "Yes, you must get paid - please ask Tolaram Jalan for the money."

Even Asha Parekh complained to Goldie that Jalan had not paid her. In fact, Goldie himself had not been paid.

Often shooting used to be cancelled due to lack of finance. Tolaram Jalan had signed a contract with Jal Mistry that all the rights of the film would be with Jalan himself. Goldie had completed the editing of some sequences and two songs. In fact, he was happy with the way the film was shaping up. But Tolaram Jalan did not want to spend any more money and he stopped asking all artistes for dates. Had Tolaram Jalan taken Goldie into confidence, he would have persuaded all the artistes and completed the film. But Jalan Tolaram had different ideas and he did not bother. After some days, Tolaram Jalan used duplicates as actors and somehow completed the film, got it dubbed by dubbng artistes, and released the film for a single matinee show in a theatre. After that he withdrew the film and that was the end of it! When Goldie got to know this, he was pained. This film was a very troublesome and sad experience for him.

This post has been edited by princeali: Aug 8 2008, 10:00 AM

[suhana_safar]

Hey Prince bhai

Thanks for this intersting write out.

Cheers
SS

[nasir]

Thanks Princeali for passing on the info the work ethics of Shankar-Jaikishen and the way they worked in unison.

Also, thanks for unfolding he mystery of KAHIN AUR CHAL. At least all these years I used to wonder what had happened to this movie. The reason was that during those days (1968) I was especially attracted to the Rafi Sahaab's song: DOOBTE HUWE DIL KO TIN KE KA SAHAARA BHEE NAHIN.... Besides, I remember having visited the Apsara Cinema at Lamington Road, Bombay to see the superhit RAM AUR SHYAM. In the cinema's foyer stills of KAHIN AUR CHAL were on display since this movie was slated to be the next release at Apsara. Its songs were already a hit. But then it never saw the light of the day and all these years this had been a mystery for me. Thanks for unravelling it. Now I know what happend to KAHIN AUR CHAL.

[Saj1974]

An interesting piece on S-J and their working style from a Marathi biography on Vijay "Goldie" Anand entitled "Ek Hota Goldie" by Anita Padhye. Vijay Anand worked with S-J in "Kahin Aur Chal" (1968).

Special Thanks to Shahrukh-ji, one of the moderators of the S-J Yahoo Group, for providing us with this piece.

-----------------------



Goldie's experience with Laxmikant Pyarelal was exactly the opposite of Shankar Jakishan. If a producer told Laxmikant Pyarelal that he has not liked a tune, they would say, we will present new tunes at the next sitting. The moment that producer left the premises, another would be waiting for them and they could never honour their own commitment of presenting new tunes! A producer would figure out that LP did not really have new tunes ready. With Shankar it was the opposite. If a producer did not like a tune he would instantly present another one. Jaikishan would request the producer for another sitting and definitely present new tunes. They would never keep a producer hanging.

.[/font][/size]

Really interesting article, SJ were great indeed.

I do not buy into Vijay Anand's argument that LP couldn't compose new tunes instantly The same Laxmikant compsed five songs on the spot when they found out Rafi saab was leaving for a foreign tour and got them recorded. Those songs were from Pyasi Shaam, Anjaana & Maa Aur Mamta.

Also how did Pyarelal learn background music from Jaikishan when LP had very little (if any at all) involvement in SJ's orchestra.

Ok he didn't click with LP in Ram Balram & Rajput but there is no need to question their ability and quality of work. A bit off topic but I had to make these points, back to SJ & Rafi.

Regs
Saj

[Exon]

An interesting piece on S-J and their working style from a Marathi biography on Vijay "Goldie" Anand entitled "Ek Hota Goldie" by Anita Padhye. Vijay Anand worked with S-J in "Kahin Aur Chal" (1968).

Special Thanks to Shahrukh-ji, one of the moderators of the S-J Yahoo Group, for providing us with this piece.

-----------------------



Shankar Jaikishan would do 30 recordings every month. And hence musicians would make sure that they did not commit the slightest mistake. They knew that one mistake meant they would lose 30 recordings. Every morning rehearsals would happen from 7.00 to 9.00. Usually, the recording would begin at 9.30 and in three to four hours they would record the first song. Every day they would record two songs. Every musician would have his musical notation. Jaikishan was more adept at doing background music. He would sit in the recording room with a stop watch and play the film reels, decide the meter and compose the track on a piano. He would then rehearse the track with the musicians and record the track. Pyarelal learnt to score background music from Jaikishan.

I am a bit confused in this S-J recording numbers according to Goldie.
During a 6 year period (1963 - 1968), S-J composed 300 movie songs.
If they had 30 recordings a month, that would add up to 2160 recording in 6 year; over 7 recordings per song.

Exon

This post has been edited by Exon: Aug 13 2008, 08:50 PM

[venkat]

An interesting piece on S-J and their working style from a Marathi biography on Vijay "Goldie" Anand entitled "Ek Hota Goldie" by Anita Padhye. Vijay Anand worked with S-J in "Kahin Aur Chal" (1968).

Special Thanks to Shahrukh-ji, one of the moderators of the S-J Yahoo Group, for providing us with this piece.

-----------------------



Shankar Jaikishan would do 30 recordings every month. And hence musicians would make sure that they did not commit the slightest mistake. They knew that one mistake meant they would lose 30 recordings. Every morning rehearsals would happen from 7.00 to 9.00. Usually, the recording would begin at 9.30 and in three to four hours they would record the first song. Every day they would record two songs. Every musician would have his musical notation. Jaikishan was more adept at doing background music. He would sit in the recording room with a stop watch and play the film reels, decide the meter and compose the track on a piano. He would then rehearse the track with the musicians and record the track. Pyarelal learnt to score background music from Jaikishan.

I am a bit confused in this S-J recording numbers according to Goldie.
During a 6 year period (1963 - 1968), S-J composed 300 movie songs.
If they had 30 recordings a month, that would add up to 2160 recording in 6 year; over 7 recordings per song.

Exon

Exon, you are being too anlytical.

I am sure what he meant was that there were months when SJ had recorded 30 songs per month.

Venkat

[venkat]

An interesting piece on S-J and their working style from a Marathi biography on Vijay "Goldie" Anand entitled "Ek Hota Goldie" by Anita Padhye. Vijay Anand worked with S-J in "Kahin Aur Chal" (1968).

Special Thanks to Shahrukh-ji, one of the moderators of the S-J Yahoo Group, for providing us with this piece.

-----------------------



Goldie's experience with Laxmikant Pyarelal was exactly the opposite of Shankar Jakishan. If a producer told Laxmikant Pyarelal that he has not liked a tune, they would say, we will present new tunes at the next sitting. The moment that producer left the premises, another would be waiting for them and they could never honour their own commitment of presenting new tunes! A producer would figure out that LP did not really have new tunes ready. With Shankar it was the opposite. If a producer did not like a tune he would instantly present another one. Jaikishan would request the producer for another sitting and definitely present new tunes. They would never keep a producer hanging.

.[/font][/size]

Really interesting article, SJ were great indeed.

I do not buy into Vijay Anand's argument that LP couldn't compose new tunes instantly The same Laxmikant compsed five songs on the spot when they found out Rafi saab was leaving for a foreign tour and got them recorded. Those songs were from Pyasi Shaam, Anjaana & Maa Aur Mamta.

Also how did Pyarelal learn background music from Jaikishan when LP had very little (if any at all) involvement in SJ's orchestra.

Ok he didn't click with LP in Ram Balram & Rajput but there is no need to question their ability and quality of work. A bit off topic but I had to make these points, back to SJ & Rafi.

Regs
Saj

LP were great fans of SJ before they started composing themselves (Source:Radio interview of Lp by Kamal Sharma). To the extent that Pyarelal used to imitate Jaikishan by wearing some type of collar-less shirts and also use Jaikishan-type Cuff-links.

Personally, I feel that LP were never a comparison to SJ who were a class apart. Probably, one reason for this is also the fact that LP participated only for 4 or 5 years in the Platinum Era of HFM, as against SJ' over 20 years in that Era.

Just a personal opinion, without meaning in any way to contradict Saj Ji, our great Rafi fan.

Venkat

PS. PA Ji, my apologies for not entering such a great thread all these days.

[venkat]

Thanks Princeali for passing on the info the work ethics of Shankar-Jaikishen and the way they worked in unison.

Also, thanks for unfolding he mystery of KAHIN AUR CHAL. At least all these years I used to wonder what had happened to this movie. The reason was that during those days (1968) I was especially attracted to the Rafi Sahaab's song: DOOBTE HUWE DIL KO TIN KE KA SAHAARA BHEE NAHIN.... Besides, I remember having visited the Apsara Cinema at Lamington Road, Bombay to see the superhit RAM AUR SHYAM. In the cinema's foyer stills of KAHIN AUR CHAL were on display since this movie was slated to be the next release at Apsara. Its songs were already a hit. But then it never saw the light of the day and all these years this had been a mystery for me. Thanks for unravelling it. Now I know what happend to KAHIN AUR CHAL.

Such vivid and nostalgic account, Nasir Ji.

You have made me recall the theatre in Visakhapatnam where I saw Ram Aur Shyam first on its release.

Venkat

[nasir]

Thanks Princeali for passing on the info the work ethics of Shankar-Jaikishen and the way they worked in unison.

Also, thanks for unfolding he mystery of KAHIN AUR CHAL. At least all these years I used to wonder what had happened to this movie. The reason was that during those days (1968) I was especially attracted to the Rafi Sahaab's song: DOOBTE HUWE DIL KO TIN KE KA SAHAARA BHEE NAHIN.... Besides, I remember having visited the Apsara Cinema at Lamington Road, Bombay to see the superhit RAM AUR SHYAM. In the cinema's foyer stills of KAHIN AUR CHAL were on display since this movie was slated to be the next release at Apsara. Its songs were already a hit. But then it never saw the light of the day and all these years this had been a mystery for me. Thanks for unravelling it. Now I know what happend to KAHIN AUR CHAL.

Such vivid and nostalgic account, Nasir Ji.

You have made me recall the theatre in Visakhapatnam where I saw Ram Aur Shyam first on its release.

Venkat

Ah Venkatji! What to say about nostalgia? But it's clear that I made you nostalgic too.
By the way, I am sure you must have enjoyed RAM AUR SHYAM which incidentally was the Dilip Kumar's first double-role movie. Also, this Hindi version came from the Tamil version of ENGA VITTU PILLAI (I don't know its meaning, but at that time I was told that it meant: the servant of my house). This was MGR's superhit movie as usual. RAM AUR SHYAM happens to be one of my all-time favourites.

Talking of KAHIN AUR CHAL, yes the stills from the movie looked very good. Dev Anand and Asha Parekh looked such a handsome pair. It's a pity that creativity was sacrificed at the altar of income-tax.



This post has been edited by nasir: Aug 14 2008, 12:00 AM

[venkat]

Thanks Princeali for passing on the info the work ethics of Shankar-Jaikishen and the way they worked in unison.

Also, thanks for unfolding he mystery of KAHIN AUR CHAL. At least all these years I used to wonder what had happened to this movie. The reason was that during those days (1968) I was especially attracted to the Rafi Sahaab's song: DOOBTE HUWE DIL KO TIN KE KA SAHAARA BHEE NAHIN.... Besides, I remember having visited the Apsara Cinema at Lamington Road, Bombay to see the superhit RAM AUR SHYAM. In the cinema's foyer stills of KAHIN AUR CHAL were on display since this movie was slated to be the next release at Apsara. Its songs were already a hit. But then it never saw the light of the day and all these years this had been a mystery for me. Thanks for unravelling it. Now I know what happend to KAHIN AUR CHAL.

Such vivid and nostalgic account, Nasir Ji.

You have made me recall the theatre in Visakhapatnam where I saw Ram Aur Shyam first on its release.

Venkat

Ah Venkatji! What to say about nostalgia? But it's clear that I made you nostalgic too.
By the way, I am sure you must have enjoyed RAM AUR SHYAM which incidentally was the Dilip Kumar's first double-role movie. Also, this Hindi version came from the Tamil version of ENGA VITTU PILLAI (I don't know its meaning, but at that time I was told that it meant: the servant of my house). This was MGR's superhit movie as usual. RAM AUR SHYAM happens to be one of my all-time favourites.

Talking of KAHIN AUR CHAL, yes the stills from the movie looked very good. Dev Anand and Asha Parekh looked such a handsome pair. It's a pity that creativity was sacrificed at the altar of income-tax.

Nasir Ji,

I do not know whether I will be held responsible for losing the focus of this thread, but I need to mention this.

Ram Aur Shyam was indeed a great and enjoyable movie. But, for the information of many, there is an even better Telugu version of this--Ramudu Bhimudu(1964/5). NTR plays both the roles. Whenever it is re-telecast on TV, I see it fully, what with its native Telugu humor and also very nice music by Pendyala.

Venkat

This post has been edited by venkat: Aug 14 2008, 02:36 PM

[nasir]

Thanks Princeali for passing on the info the work ethics of Shankar-Jaikishen and the way they worked in unison.

Also, thanks for unfolding he mystery of KAHIN AUR CHAL. At least all these years I used to wonder what had happened to this movie. The reason was that during those days (1968) I was especially attracted to the Rafi Sahaab's song: DOOBTE HUWE DIL KO TIN KE KA SAHAARA BHEE NAHIN.... Besides, I remember having visited the Apsara Cinema at Lamington Road, Bombay to see the superhit RAM AUR SHYAM. In the cinema's foyer stills of KAHIN AUR CHAL were on display since this movie was slated to be the next release at Apsara. Its songs were already a hit. But then it never saw the light of the day and all these years this had been a mystery for me. Thanks for unravelling it. Now I know what happend to KAHIN AUR CHAL.

Such vivid and nostalgic account, Nasir Ji.

You have made me recall the theatre in Visakhapatnam where I saw Ram Aur Shyam first on its release.

Venkat

Ah Venkatji! What to say about nostalgia? But it's clear that I made you nostalgic too.
By the way, I am sure you must have enjoyed RAM AUR SHYAM which incidentally was the Dilip Kumar's first double-role movie. Also, this Hindi version came from the Tamil version of ENGA VITTU PILLAI (I don't know its meaning, but at that time I was told that it meant: the servant of my house). This was MGR's superhit movie as usual. RAM AUR SHYAM happens to be one of my all-time favourites.

Talking of KAHIN AUR CHAL, yes the stills from the movie looked very good. Dev Anand and Asha Parekh looked such a handsome pair. It's a pity that creativity was sacrificed at the altar of income-tax.

Nasir Ji,

I do not know whether I will be held responsible for losing the focus of this thread, but I need to mention this.

Ram Aur Shyam was indeed a great and enjoyable movie. But, for the information of many, there is an even better Telugu version of this--Ramudu Bhimudu(1964/5). NTR plays both the roles. Whenever it is re-telecast on TV, I see it fully, what with its native Telugu humor and also very nice music by Pendyala.

Venkat

So there were other versions too - the Telegu version Ramudu Bhimuda (sounds like two names of twin brothers). Maybe the Tamil version too came within a year of it. But after RAM AUR SHYAM the theme continued in SEETA AUR GEETA, CHAALBAAZ, and what not.

[venkat]

An interesting piece on S-J and their working style from a Marathi biography on Vijay "Goldie" Anand entitled "Ek Hota Goldie" by Anita Padhye. Vijay Anand worked with S-J in "Kahin Aur Chal" (1968).

Special Thanks to Shahrukh-ji, one of the moderators of the S-J Yahoo Group, for providing us with this piece.

-----------------------

Cameraman Jal Mistry was a good friend of both Dev Anand & Goldie. When he decided to produce a film he entrusted the responsibility of directing it to Vijay Anand. Since Jal Mistry was assoicted with Navketan for a long time, both Dev and Vijay Anand decided to help him. Dev Anand and Asha Parekh were cast for the leading roles in the film titled 'Kahin Aur Chal.' The patriarchal figure of Filmistan Studios, Tolaram Jalan was financing the film.

This film had music by Shankar Jaikishan. Jal Mistry had suggested their name. They were the top of the line music directors at that time. Goldie's experience of working with Shankar Jaikihsan was a very pleasant one. Shankar-Jaikishan were both very disciplined in their work. They had distributed their work amongst themselves. If a film had eight songs, then Shankar would compose four songs and Jaikshan would compose the other four; however any outsider would never know who had tuned which song and who had arranged the orchestra. If one of them had composed more than more than four songs, they would still distribute the money equally amongst themselves. Both were also very creative in their work.

It is often said that about this duo that it was Jaikishan who was the more creative of the two. However, Goldie had exactly the contrary experience. According to him, Shankar was the creative one and Jaikishan would work hard on his music. For Jaikishan in fact, it was more like running a shop. Every day he would spend three to four hours composing new tunes. Lyricist Hasrat Jaipuri would work with him, who could write the lyrics for a song in a very short time. Shankar on the other hand had a great tuning with Shailendra. Even Shailendra would write the lyrics very quickly[color=#FF0000].

When any producer would ask Shankar to compose a song, he would respond at that very moment and create tunes. Goldie also felt that Shankar was also a great musician. Both Shankar and Jaikishan were very good natured people and both had very different musical styles of composing. Shankar would make tunes going beyond the 'bandhish'; Jaikishan's tunes were more 'bandish' based. Jaikishan laid more emphasis on the tune whereas Shankar would make the complete score and get lyrics written to the tune.

Goldie enjoyed working with the duo. The main reason for it was both were very particular about time. Also both worked with clock like precision. If they told a producer-director that they would record a song after four days, then in those four days they would compose the song, get the lyrcis written and deliver the complete song to the of delight the producer.

Goldie's experience with Laxmikant Pyarelal was exactly the opposite of Shankar Jakishan. If a producer told Laxmikant Pyarelal that he has not liked a tune, they would say, we will present new tunes at the next sitting. The moment that producer left the premises, another would be waiting for them and they could never honour their own commitment of presenting new tunes! A producer would figure out that LP did not really have new tunes ready. With Shankar it was the opposite. If a producer did not like a tune he would instantly present another one. Jaikishan would request the producer for another sitting and definitely present new tunes. They would never keep a producer hanging.

Another striking characteristic of Shankar Jaikishan, which Goldie noticed was that both would rehearse their songs with musicians sharp at 7.00 a.m. every morning. If a musician did not land up on time he would be immediately sacked. S.D.Burman was not so strict. If a musician came late he would ask "Kyon bhai, why are you late?" He would listen to the musician's statement and end the matter at that. Shankar Jakishan, however, would ask the musician to leave. "If you are not committed to the time and task, please do not work with us."

Shankar Jaikishan would do 30 recordings every month. And hence musicians would make sure that they did not commit the slightest mistake. They knew that one mistake meant they would lose 30 recordings. Every morning rehearsals would happen from 7.00 to 9.00. Usually, the recording would begin at 9.30 and in three to four hours they would record the first song. Every day they would record two songs. Every musician would have his musical notation. Jaikishan was more adept at doing background music. He would sit in the recording room with a stop watch and play the film reels, decide the meter and compose the track on a piano. He would then rehearse the track with the musicians and record the track. Pyarelal learnt to score background music from Jaikishan.

Goldie also sensed that there was an invisible competition going on between Shankar and Jaikishan. If the songs of one of them proved to be more popular - the other would work harder! Both would want their songs to be hits. Like with Shankar and Jaikshan a similar spirit existed between Shailendra and Hasrat too.

Four songs were recorded for Kahin aur Chal. Three of those were picturised in Khandala. "Aye Jaanewale Aa, Der Na Lage" was a beautiful melody. The hero is working as an engine driver and the heroine looks forward to the time when his train would reach the station for two minutes everyday. That was the film situation. More than half the film was completed. Just about 20 days of shooting was yet to be done. But Tolaram Jalan was not paying anybody. Jal Mistry was a fine gentleman and a great cameraman and because he was producing the film everyone was co-operating with him. But no one wanted to work free because they knew Tolaram Jalan was financing the film.

Tolaram Jalan wanted to produce a flop film to adjust his income tax dues. That is why he was not keen to complete the film and make it a success. When people associated with the film got a sense of this - they all started demanding money.

One day, Shankar met Goldie and told him "Goldieji, we have recorded four songs for you and we have not even asked you for money."

Goldie said "Yes, you must get paid - please ask Tolaram Jalan for the money."

Even Asha Parekh complained to Goldie that Jalan had not paid her. In fact, Goldie himself had not been paid.

Often shooting used to be cancelled due to lack of finance. Tolaram Jalan had signed a contract with Jal Mistry that all the rights of the film would be with Jalan himself. Goldie had completed the editing of some sequences and two songs. In fact, he was happy with the way the film was shaping up. But Tolaram Jalan did not want to spend any more money and he stopped asking all artistes for dates. Had Tolaram Jalan taken Goldie into confidence, he would have persuaded all the artistes and completed the film. But Jalan Tolaram had different ideas and he did not bother. After some days, Tolaram Jalan used duplicates as actors and somehow completed the film, got it dubbed by dubbng artistes, and released the film for a single matinee show in a theatre. After that he withdrew the film and that was the end of it! When Goldie got to know this, he was pained. This film was a very troublesome and sad experience for him.

In fact, whenever I see that the lyricist is Shailendra, unconsciously I assume that the song was composed by Shankar and when I see it is Hasrat Jaipuri, I assume it is Jaikishan.

I have more confidently adopted this method after the knowledgeable and respected Vividhbharati anchor, Kamal Sharma, has mentioned once that, by and large, that kind of division is correct.

Going by this, that all-time great Rafi song, Duniya Na Bhaaye Mohe, (the one which invariably makes me highly pensive and tearful), must have been a Shankar composition.

Venkat

This post has been edited by venkat: Aug 16 2008, 10:12 AM

[nasir]

An interesting piece on S-J and their working style from a Marathi biography on Vijay "Goldie" Anand entitled "Ek Hota Goldie" by Anita Padhye. Vijay Anand worked with S-J in "Kahin Aur Chal" (1968).

Special Thanks to Shahrukh-ji, one of the moderators of the S-J Yahoo Group, for providing us with this piece.

-----------------------

Cameraman Jal Mistry was a good friend of both Dev Anand & Goldie. When he decided to produce a film he entrusted the responsibility of directing it to Vijay Anand. Since Jal Mistry was assoicted with Navketan for a long time, both Dev and Vijay Anand decided to help him. Dev Anand and Asha Parekh were cast for the leading roles in the film titled 'Kahin Aur Chal.' The patriarchal figure of Filmistan Studios, Tolaram Jalan was financing the film.

This film had music by Shankar Jaikishan. Jal Mistry had suggested their name. They were the top of the line music directors at that time. Goldie's experience of working with Shankar Jaikihsan was a very pleasant one. Shankar-Jaikishan were both very disciplined in their work. They had distributed their work amongst themselves. If a film had eight songs, then Shankar would compose four songs and Jaikshan would compose the other four; however any outsider would never know who had tuned which song and who had arranged the orchestra. If one of them had composed more than more than four songs, they would still distribute the money equally amongst themselves. Both were also very creative in their work.

It is often said that about this duo that it was Jaikishan who was the more creative of the two. However, Goldie had exactly the contrary experience. According to him, Shankar was the creative one and Jaikishan would work hard on his music. For Jaikishan in fact, it was more like running a shop. Every day he would spend three to four hours composing new tunes. Lyricist Hasrat Jaipuri would work with him, who could write the lyrics for a song in a very short time. Shankar on the other hand had a great tuning with Shailendra. Even Shailendra would write the lyrics very quickly[color=#FF0000].

When any producer would ask Shankar to compose a song, he would respond at that very moment and create tunes. Goldie also felt that Shankar was also a great musician. Both Shankar and Jaikishan were very good natured people and both had very different musical styles of composing. Shankar would make tunes going beyond the 'bandhish'; Jaikishan's tunes were more 'bandish' based. Jaikishan laid more emphasis on the tune whereas Shankar would make the complete score and get lyrics written to the tune.

Goldie enjoyed working with the duo. The main reason for it was both were very particular about time. Also both worked with clock like precision. If they told a producer-director that they would record a song after four days, then in those four days they would compose the song, get the lyrcis written and deliver the complete song to the of delight the producer.

Goldie's experience with Laxmikant Pyarelal was exactly the opposite of Shankar Jakishan. If a producer told Laxmikant Pyarelal that he has not liked a tune, they would say, we will present new tunes at the next sitting. The moment that producer left the premises, another would be waiting for them and they could never honour their own commitment of presenting new tunes! A producer would figure out that LP did not really have new tunes ready. With Shankar it was the opposite. If a producer did not like a tune he would instantly present another one. Jaikishan would request the producer for another sitting and definitely present new tunes. They would never keep a producer hanging.

Another striking characteristic of Shankar Jaikishan, which Goldie noticed was that both would rehearse their songs with musicians sharp at 7.00 a.m. every morning. If a musician did not land up on time he would be immediately sacked. S.D.Burman was not so strict. If a musician came late he would ask "Kyon bhai, why are you late?" He would listen to the musician's statement and end the matter at that. Shankar Jakishan, however, would ask the musician to leave. "If you are not committed to the time and task, please do not work with us."

Shankar Jaikishan would do 30 recordings every month. And hence musicians would make sure that they did not commit the slightest mistake. They knew that one mistake meant they would lose 30 recordings. Every morning rehearsals would happen from 7.00 to 9.00. Usually, the recording would begin at 9.30 and in three to four hours they would record the first song. Every day they would record two songs. Every musician would have his musical notation. Jaikishan was more adept at doing background music. He would sit in the recording room with a stop watch and play the film reels, decide the meter and compose the track on a piano. He would then rehearse the track with the musicians and record the track. Pyarelal learnt to score background music from Jaikishan.

Goldie also sensed that there was an invisible competition going on between Shankar and Jaikishan. If the songs of one of them proved to be more popular - the other would work harder! Both would want their songs to be hits. Like with Shankar and Jaikshan a similar spirit existed between Shailendra and Hasrat too.

Four songs were recorded for Kahin aur Chal. Three of those were picturised in Khandala. "Aye Jaanewale Aa, Der Na Lage" was a beautiful melody. The hero is working as an engine driver and the heroine looks forward to the time when his train would reach the station for two minutes everyday. That was the film situation. More than half the film was completed. Just about 20 days of shooting was yet to be done. But Tolaram Jalan was not paying anybody. Jal Mistry was a fine gentleman and a great cameraman and because he was producing the film everyone was co-operating with him. But no one wanted to work free because they knew Tolaram Jalan was financing the film.

Tolaram Jalan wanted to produce a flop film to adjust his income tax dues. That is why he was not keen to complete the film and make it a success. When people associated with the film got a sense of this - they all started demanding money.

One day, Shankar met Goldie and told him "Goldieji, we have recorded four songs for you and we have not even asked you for money."

Goldie said "Yes, you must get paid - please ask Tolaram Jalan for the money."

Even Asha Parekh complained to Goldie that Jalan had not paid her. In fact, Goldie himself had not been paid.

Often shooting used to be cancelled due to lack of finance. Tolaram Jalan had signed a contract with Jal Mistry that all the rights of the film would be with Jalan himself. Goldie had completed the editing of some sequences and two songs. In fact, he was happy with the way the film was shaping up. But Tolaram Jalan did not want to spend any more money and he stopped asking all artistes for dates. Had Tolaram Jalan taken Goldie into confidence, he would have persuaded all the artistes and completed the film. But Jalan Tolaram had different ideas and he did not bother. After some days, Tolaram Jalan used duplicates as actors and somehow completed the film, got it dubbed by dubbng artistes, and released the film for a single matinee show in a theatre. After that he withdrew the film and that was the end of it! When Goldie got to know this, he was pained. This film was a very troublesome and sad experience for him.

In fact, whenever I see that the lyricist is Shailendra, unconsciously I assume that the song was composed by Shankar and when I see it is Hasrat Jaipuri, I assume it is Jaikishan.

I have more confidently adopted this method after the knowledgeable and respected Vividhbharati anchor, Kamal Sharma, has mentioned once that, by and large, that kind of division is correct.

Going by this, that all-time great Rafi song, Duniya Na Bhaaye Mohe, (the one which invariably makes me highly pensive and tearful), must have been a Shankar composition.

Venkat

Whatever that may be Venkatji, as for me I simply cannot believe that SJ could come up with such classical composiiton as in BASANT BAHAR. It' so unlike SJ. Only the song KAR GAYA RE KAR GAYA RE sounds a little bit like a CHORI CHORI song MAN BHAAVAN KE GHAR JAAYE GORI.

[venkat]

OPN has stopped composing with Rafi Saab from 1966 onwards for a few years (over 4-5 years).

The scene: Recording of "Badal Jaaye Agar Mali, Chaman Hota Nahin Khali" for Film:Baharen Phir Bhi Aayengi. Rafi Saab was delayed at SJ's and turned up for that OPN recording late. OPN was furious and asked Rafi Saab to leave and never to come back!!!

Well, that song was later recorded by Mahendra Kapoor. But, ironically, from 1967 onwards, OPN's Chaman has indeed become Khali because Mali (Rafi Saab) Badal Gayen!!! He did not have any real big banner films afterwards and had to live with the likes of "CID 909", etc.

However, there is a view that this came as a further boon to SJ and he started grabbing more of the Big Banners/Big Heroes, as the competition from OPN came to a nought, without Rafi Saab!!! There is an irony here too as it was SJ who indirectly caused this Rafi-OPN problem, prima-facie.

Producers/Directors/Leading Men, who otherwise would have had OPN, had to dump him because they wanted Rafi Saab alone to sing for them.

A good example:Shakti Samanta's 'An Evening In Paris' (1967) .

Any views on this

Venkat

PS. As late as in the nineties, OPN has openly gone on record in an interview , "The biggest blunder of my musical career had been to keep this FARISHTA out of my recording room for over 3 years". Too late a realisation!!!

This post has been edited by venkat: Aug 20 2008, 08:14 PM

[oye_sonu]

Whatever that may be Venkatji, as for me I simply cannot believe that SJ could come up with such classical composiiton as in BASANT BAHAR. It' so unlike SJ. Only the song KAR GAYA RE KAR GAYA RE sounds a little bit like a CHORI CHORI song MAN BHAAVAN KE GHAR JAAYE GORI.

Nasir ji its more to do with Image. SJ's songs have been immesnly popular. and hence they are hardly related with such songs.

very few people know that probabily the best list of classical based songs are from Shankar jaikishan( popular and Quantity). check out the partial list of classical songs of SJ !

http://shankarjaikishan.org/Classical-songs.html


BTY basant bahar had one Rafi- SJ classical song. even better classical song was in pooja.

please listen to " jhoom jhooom ke gaao bansari" (pooja1954) by Mohd rafi saab along with classical singer krishna rao !


regards

Sonu