Remembering Jaikishan Dayabhai Panchal (4 November 1929 – 12 September 1971) [ Shankar Jaikishan (also known as S-J) ], were a duo who composed Indian music for the Hindi film industry, who worked together from 1949–1971. Shankar-Jaikishan, along with other artists, wrote everlasting and immortal melodies in the fifties and sixties. Their best work was noted for being raga-based and having both lilt and sonority. Jaikishan Dayabhai Panchal (4 November 1929 – 12 September 1971) belonged to Bansda (Vansada), Gujarat. 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 Mumbai, he became a disciple of Vinayak Tambe. Apart from working at Prithvi theaters, Shankar used to frequently visit the office of a Gujrati director Chandravadan Bhatt who had promised Shankar a break as a Music Director when he produced a film. It was outside the office of Bhatt that Shankar saw Jaikishan a number of times. One day, he started a conversation and discovered that Jaikishan was a harmonium player, and that he too was visiting the same producer in search of work. Shankar later recollected that they developed a liking for each other and it was he who then and there assured Jaikishan of the job of a Harmonium player at Prithvi theaters (without asking Prithviraj Kapoor, fondly referred to as Papaji). Papaji honoured Shankars selection and gladly accepted Jaikishan as a Harmonium player at Prithvi. Soon, the two of them developed very close friendship to the extent that the people started referring to them as Ram-Lakshman ki jodi and by several similar-meaning nicknames. Apart from following their musical pursuits, they also used to play significant roles in various plays including the famous play Pathan. While working in Prithvi Theaters, Shankar and Jaikishan used to compose tunes and were in touch with Raj Kapoor, who was working as an assistant to the famous director Kidar Sharma and was aspiring to be an actor/director. Thus, the three had met at Prithvi Theater. Barsaat: the first break[edit] Raj Kapoor made his debut as a director with the film Aag in 1948. Its music director Ram Ganguly was assisted by Shankar and Jaikishan. However, during the recording of a song for his new venture Barsaat, Raj Kapoor had some serious differences with Ram Ganguly and decided to assign its music to Shankar who insisted on taking Jaikishan as his partner. Thus came into existence the new pair of music directors named Shankar-Jaikishan who composed the music for the film. Himself being a trained singer (he and Mukesh learned vocal music from the same Guru), Raj Kapoor thus took on board a new team of composers Shankar and Jaikishan and lyricists Shailendra and Hasrat Jaipuri (a former bus conductor). On the insistence of Shankar, he and SJ co-opted the upcoming singing talent Lata Mangeshkar, and repeated Mukesh as Raj Kapoors ghost voice for the various songs of Barsaat. The film also had the distinction of featuring two firsts in Hindi cinema — a title song (Barsaat Mein Humse Mile) and a cabaret (Patli Kamar Hai). The two became known by the acronym S-J. Their early works include Barsaat, Awaara, Badal, Poonam, Nagina, Aurat, Parbat, Kaali Ghataa, Aah, Patita, Shikast, Badshah, Mayur Pankh, Naya Ghar, Seema, Shree 420, Basant Bahar, Halaku, Patita, Rajhath, New Delhi, Kathputli, Anari, Chori Chori, Daag, Begunah, Yahudi, Main Nashe main hoon, Kanaiah, Boot Polish, Chhoti Behan, Sharaarat, Love Marriage, and Ujala . S-J formed a core team with lyricists Shailendra (himself regarded as perhaps the greatest of his ilk) and Hasrat Jaipuri and with singers Mohammed Rafi and Lata Mangeshkar. SJ had two other lifelong companions who worked as their assistants: Dattaram Wadkar and Sebastian DSouza, the former supervising their rhythm section and the later writing musical notations for all SJ compositions (during SJs musical sittings as can be seen in a number of photographs of such sessions) and then rehearsing all the musicians of the grand SJ orchestra according to SJs compositions and directions. SJ also patronized the immensely talented singer Manna Dey, who sang his best songs with them and used Mukeshs 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. They were commercial geniuses in addition to be wonderfully god-blessed on music. They lead the Bollywood music in spite of tough competition from maestros like Roshan, SD Burman, OP Nayyar and Madanmohan and remained on the top much to the chagrin of very highly talented music directors! S-J worked with almost all singers of their time. They had a good working relationship with all of them and were masters in extracting the very best from every one of them. They were steady as a team with Hasrat Jaipuri & Shailendra as their lyricists; but after the demise of Shailendra, they worked with a host of other lyricists such as Indeevar, Gulshan Bawra, Neeraj, Verma Malik, Majrooh Sultanpuri, Vithhal Bhai Patel and Rajinder Krishan, to name a few. S-J were the house composers for RK Films and were on their pay-roll till the end. Raj Kapoor used to maintain a music bank where he stored compositions of S-J.[citation needed] Even after the termination of the professional association between Shankar and Raj Kapoor (Jaikishan had died by then), the latter had used a number of S-Js earlier compositions (which were in his custody) 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). S-J also worked with other stars like Shammi Kapoor, Rajendra Kumar, Dev Anand, Sunil Dutt, Kishore Kumar, Manoj Kumar, Biswajeet, Joy Mukherjee, Dharmendra & Manoj Kumar. Most of S-Js films show Dattaram and Sebastian as their assistants. Dattaram handled the percussion section of the orchestra and composed original beats, and Sebastian handled the rest. Shankar met Dattaram when the latter was a page boy at Prithvi Theatres and stayed with him throughout. As recalled by Dattaram,[3] Sebastian composed the musical background of most of S-Js songs and also conducted the orchestra. Thus S-J were fortunate to have top quality assistants and used their talents well. Uday Balse Source: Wikipedia https://youtube/watch?v=QF1lNr-LniI
Posted on: Fri, 12 Sep 2014 12:17:27 +0000
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