Author: ASHOK M VAISHNAV

In July 2011, I opted to retire from my active career as a practicing management professional. In the 38 years that I pursued this career, I had opportunity to work in diverse capacities, in small-to-medium-to-large engineering companies. Whether I was setting up Greenfield projects or Brownfield projects, nurturing the new start-ups or accelerating the stabilized unit to a next phase growth, I had many more occasions to take the paths uncharted. The life then was so challenging! One of the biggest casualty in that phase was my disregards towards my hobbies - Be with The Family, Enjoy Music form Films of 1940s to mid-1970s period, write on whatever I liked to read, pursue amateur photography and indulge in solving the chess problems. So I commenced my Second Innings to focus on this area of my life as the primary occupation. At the end of four years, I am now quite a regular blogger. I have been able to build a few very strong pen-relationships. I maintain contact with 38-years of my First Innings as freelance trainer and process facilitator. And yet, The woods are lovely, dark and deep. But I have promises to keep, And miles to go before I sleep, And miles to go before I sleep.

The Sculptors of Film Songs – 4 – Kishore Desai

Originally in Gujarati, by Piyush M Pandya

Translated by Ashok M Vaishnav

Tum bin jaauN ke duniya mein aakar kuchh na phir chaha sanam (Pyar Ka Mausam, 1969 – Music: R D Burman) is probably one song which perhaps can be said to remain an unbridgeable divide between Kishor Kumar and Mohammad Rafi fan camps. For more knowledgeable ones, initially it was also a hot debated issue as to who has played the mandolin in the two versions. However, many subsequent interviews by the two instrumentalists who have played the mandolin, Manohari Singh and Kishore Desai, have it well-settled that Manohari Singh has played mandolin for Kishore Kumar version and Kishore Desai, on the very specific invitation by Manohari Singh himself as the arranger, has played the mandolin for Mohammad Rafi version.

The happy Mohammad Rafi version opens with distinct mandolin notes which then remains noticeable in counter melody as well as interludes orchestrations.

Kishore Desai’s personal and professional profile is so well narrated in the additional references quoted at the end of the article that repeating it here would perhaps distract our attention form the core subject of Kishore Desai – his mandolin, sarod and other music direction aspects in more details.

During the initial training phase Kishore Desai under different classical exponents. Under Ustad Khadim Hussain Khan Kishore Desai learnt raagdaari and nuances of classical music. Then, under Ali Akbar Khan and Ustad Bahadur Khan Kishore Desai learnt sarod. In one of the interviews, he has stated that his basic style of playing mandolin was more alike playing sarod. It was only when he got into the HFM world, he switched on ‘playing from up to down’ style for mandolin because that would make the mandolin sound softer.

Here are some of the songs wherein Kishore Desai has played sarod –

Tu chuupi hai kahan main tadapata yahan – Navrang (1959) – Manna Dey, Asha Bhosle, chorus – Lyrics: Bharat Vyas – Music: C Ramchandra

The song has so creatively composed pieces of Sarod, @ 4.04 – 4.14, 4.19-4.31, 4.52 to 5.01.

Kishore Desai enjoyed a very special relationship with C Ramchandra. Not only he assisted C Ramchandra for over 18 films, starting with Bahurani (1963), Kishore Desai also played a major role in arranging the orchestration and rehearsal of that famous composition Aye mere watan ke logo. Of course, the soft mandolin notes heard in the background countermelody were played by Kishore Desai

Saaranga teri yaad mein nain hue bechain – Saaranga (1961) – Mukesh – Lyrics: Bharat Vyas – Music: Sardar Malik 

Sarod comes up dominantly at the interlude @ 1.01 to 1.12, It is said that Sardar Malik preferred mandolin supported by flute here. It was Kishore Desai, as his assistant, who suggested use of sarod instead. During the recording Mukesh was so overwhelmed by the notes of sarod that he immediately gifted Rs. 1001/ to Kishore Desai.

Kishore Desai’s association with Sardar Malik as his assistant lasted for over 15 films, starting with Maa Ke Aansoo (1959).

Sakhi re mera man uljhe tan dole – Chitralekha (1964) – Lata Mangeshkar – Lyrics: Sahir Ludhianvi – Music: Roshan

We can listen to intricate sarod pieces @ 0.28-0.30, 1.14 – 1.19, 1.22 -1.24, 2.16 -2.18, 2.13 – 3.17 and the like.

However, perhaps providence seems to have arranged Kishore Desai’s playing sarod. On that day, the way Kishore Desai quickly wrote down the given notations seems to have laid the foundation of that vital bond between Roshan and Kishore Desai that resulted in Kishore Desai to assist Roshan in arranging music for about 12 films starting from Soorat Aur Seerat.

However, mandolin was the first love of Kishore Desai. He had learnt playing harmonium and mandolin early, at the age of 9. Later, Kishore Desai’s mandolin journey was shaped by his association with his close friend Kalyanji Veerji Shah (of Kalyanji Anandji duo). As young boy, Kishore Desai had been playing in the Kalayanjibhai’s orchestra group.

In one of the competitions during the adolescent age of Kishore Desai, Anil Biswas was one of the judges. He liked the ‘classical’ style of Kishore Desai’s mandolin playing so much that he got a special cup made for Kishore Desai. Anil Biswas also invited Kishore Desai to play mandolin, along with Kishore Desai’s HFM guru, Isaac David, for a Hemant Kumar song (Heer, 1954).

The film song that is credited as the maiden break for Kishore Desai as mandolin player is Chhumak chhumak mora baje ghungharava (Bahu Beti, 1952 – Geeta Dutt – Lyrics:  Kaifi Azmi – Music S D Batish). However, it needs to be noted that Kishore Desai had got an opportunity earlier for a film Subah Ki Manzil (Music: Shivram Krishna), However that film got shelved and the records, if at all they were made, are not traceable.

It was also one of the Kalyanjibhai’s orchestra program whereat Shankar (of Shankar Jaikishan duo) heard Kishore Desai play Awaraa hoon on mandolin. Shankar Immediately liked Kishore Desai’s style of playing mandolin and invited him to join their orchestra group. Their association first came up in the form of Kishore Desai playing mandolin for songs and background pieces for Basant Bahar (1956) –

Nain mile chain kahan sajan saanware – Basant Bahar (1956) – Lata Mangeshkar, Manna Dey – Lyrics: Shailendra – Music: Shankar Jaikishan

The seamless fusion of mandolin in the opening notes of string instrument ensemble is indeed Kishore Desai’s baptism with intricate orchestration of Shankar Jaikishan songs.

Dil ka na karana aitbaar koi – Halaku (1956) – Mohammad Rafi, Lata Mangeshkar – Lyrics: Shailendra – Music: Shankar Jaikishan

The intro composition is ensemble of different string instruments, But @ 0.49 the mandolin comes in as solo. The clip shows an instrumentalist playing some local Arabian instrument, which is replicated so stunningly on the mandolin for the song. The solo play goes on till 1.18, when Mohammad Rafi takes over alaap. (An ensemble play of) mandolins then comes during the interludes too.

Aye gulbadan – Professor (1962) – Mohammad Rafi – Lyrics: Hasrat Jaipuri – Music: Shankar Jaikishan

Mandolin comes in @ 0.13, but sems to be fusion of more than one mandolin being played simultaneously with slightly different scale. The notes of mandolin have a magical effect as the interlude softly starts stringing (1.09 to 1.24). The same arrangement repeats at third interlude.

We have had a glimpse of three different moods being expressed by the play of the same instruments.

Kishore Desai has played mandolin for almost all the music directors of Hindi film world, except the two – Sajjad Hussain, himself a wizard of classical mode of playing mandolin, and O P Nayyar, who has been highly innovative in using the instruments with dramatic effect. The reason perhaps lies in totally different nature of these two music directors in comparison to that of Kishore Desai.

We will skim through a few representative songs wherein Kishore Desai has played mandolin for different music directors –

Jadugar saiyaN chhod mori baiyaaN – Nagin (1954) – Lata Mageshkar – Lyrics: Rajendra Krishna – Music: Hemant Kumar

The intro itself opens with mandolin strokes, ready to fuse with subsequent clay violin. However, when it comes up at the beginning of interlude @ 0.44 to 0.51 it is ready to be synchronous with the flute.

Bechain nazar betaab zigar ye dil hai kisi ka diwana – Yasmeen (1955) – Talat Mahmood – Lyrics: Jan Nissar Akhtar – Music: C Ramchandra

Mandolin is THE instrument here, as is evident by the hero stringing it continuously.

Most of the times when an instrument is shown in the hands of the actor on the screen, the playing style invariably literally murders the beauty of the way instrument ought to be played.

Ghadi ghadi mera dil dhadake – Madhumati (1958) – Lata Mangeshkar – Lyrics: Shailendra – Music: Salil Chowdhury.

Salil Chowdhury has used mandolin to create the mood of unhindered joy in the setting of the abundantly free nature.

Aside Trivia: Kishore Desai was to play the mandolin during the intro of the song Jhulmi sang aankh ladi for a programme at Calcutta. However, during the rehearsals, he came late, so there was no seat arrangement made for him. He straightaway sat down on the floor and readied to play his part of the mandolin. Lata Mangeshkar noticed this, and she too came and sat down besides Kishore Desai. Salil Chowdhury too noticed this, and he too joined. This was the level of respect Kishore Desai enjoyed.

Unfortunately, he was away when the final take was performed, so could not play the mandolin for the song.

(As narrated to Shri Piyush Pandya when he had had occasion to meet Kishore Desai @ Ahmedabad in 2019.)

Chhodo kal ki baatein kal baat purani – Hum Hindustani (1960) – Mukesh, chorus – Lyrics: Prem Dhawan – Music” Usha Khanna

After a soft opening intro (0.06-0.07) mandolin continues to accompany counter melody music of mukhada and then intermittently across the countermelody support across the whole song.

Khoya khoya chand – Kala Bazaar (1960) – Mohammad Rafi – Lyrics: Shailendra – Music: S D Burman

The presence of mandolin for just flitting scores @ 2.44 and similarly during the counter melody support is just enough to make its presence being noted. Of course, during the interlude (3.23 to 3.31) it gets a solo play.

Dam dam diga diga – Chhalia (1960) – Mukesh – Lyrics: Qamar Jalalabadi – Music: Kalyanji Anandji

In a composition wherein accordion and violins have strong presence the mandolin marks its presence distinctly felt (@ intro till 0.09).

Lag jaa gale se phir ye mulaqat kabhi ho na ho – Woh Kaun Thi (1964) – Lata Mangeshkar – Lyrics: Raja Mahendi Ali Khan – Music: Madan Mohan

The notes of mandolin @ 032-35 or in the interlude @1.24-1.37 etc.  or in the counter melody have been created by using two mandolins at slightly different scales.

The technicalities and practical demonstration of this experiment is very well explained in the mandolin episode of Saaz Tarang. Incidentally, along with Parshuram Haldipur Laxmikant Kunadalkar (of Laxmikant Pyarelal duo) and Kishore Desai have played the synchronous mandolins in both the songs.

Aye meri zohra jhabeen – Waqt (1965) – Manna Dey – Lyrics: Sahir Ludhianvi – Music: Ravi

Mandolin creates the atmosphere of Afghan instrument Rabab in interludes @0.51 to 1.16 etc.

Achha to hum chalte hai – Aan Milo Sajana (1970) – Lata Mangeshkar, Kishore Kumar – Lyrics: Anand Bakshi – Music: Laxmikant Pyarelal

Mandolin has been used for very soft counter melody support (0.21-0.22 or interlude 0.51-0.55 or 2.40 to 2.48).

Aye mere dil ke chain – Mere Jeevan Saathi (1972) – Kishore Kumar – Lyrics: Majrooh Sultanpuri – Music: R D Burman

Here too it can be seen that whether mandolin is played in short soft bars in counter melody support (0.47-0.51 etc.) or in conjunction with violins in interludes (2.16 – 2.21) etc. the instrument distinctly gives a different dimension to the composition.

Kishore Desai has gone on to play mandolin with second generation music directors too. But it was his sheer bad luck that three Hindi films – ‘Abdulla e Bagdad’, ‘Zindagi ki Raahen’ and ‘Omar Khayyam’-  he signed as music director in early 6Os were either shelved halfway or did not take off. The last one was to be made under the banner of Gurudutt Films.

Of course, he has made good that lost opportunity by creating some of the most memorable NFSes with singers like Mukesh, Lata Mangeshkar, Asha Bhosle, Kavi Pradeep, Kamal Barot and Mohammed Rafi (Gujarati NFS). Here are a few well-known NFSes with Mukesh:

Mil na saka dil to – Mukesh (NFS) – Lyrics; Indeewar – Music: Kishore Desai

Kishore Desai has used Mukesh’s base note voice to create the effect of deep pathos of lost love, apparently while trying to wish away that feeling.

BaharoN se kahe do mere ghar na aaye – Mukesh (NFS) – Lyrics: Shiv Kuamr Saroj – Music: Kishore Desai

This still stands as one of the aal-time most outstanding NFS compositions.

Tere labon ke muqabil gulab kya hoga – Mukesh – (NFS) – Lyrics: Shiv Kuamr Saroj – Music: Kishore Desai

Kishore Desai’s dexterity of creating melody even while handling a complex subject and the matching composition is self-evident here.

Kishore Desai’s association with mandolin continued well into 90s in the form of public performances where he ably demonstrated that his magic over mandolin has not aged. Many of such recitals are available on YT, so we will avoid the duplication here.

Kishore Desai’s contribution to Hindi film music, through his mandolin and sarod, has been recognised with a 2005 Dadasaheb Phalke. national award. We will conclude our remanences of Kishore Desai with a selfie that Piyushji has had with Kishore Desai during his visit to Ahmedabad during 2019.

Credits and Disclaimers:

  1. The song links have been embedded from the YouTube only for the listening pleasure of music lovers. This blog claims no copyright over these songs, which vests with the respective copyright holders.
  2. The photographs are taken from the internet, duly recognising the full copyrights for the same to the either original creator or the site where they were originally displayed.

Additional References:

https://www.youtube.com/@SmrutiGandhaMarathi/featured

https://www.cinemaazi.com/people/kishore-desai-1

https://atulsongaday.me/2015/01/03/bahaaron-se-keh-do-mere-ghar-na-aayen/

https://www.swaraalap.com/flashback/kishore-desai-a-maestro-who-strummed-million-hearts/

P.S. This is the re-posting of article originally published on Songs of Yore as The Sculptors of Film Songs – 4 – Kishore Desai

Carnival of Blogs on Golden Era of Hindi Film Music – Volume XI – May 2023 Edition

Welcome to May 2023 edition of XIth Volume of Carnival of Blogs on Golden Era of Hindi Film Music.

Presently we move on to our section on tributes and celebrations for the month –

LnC-Silhouette commemorates the centenary celebration of Mrinal Sen’s birth anniversary with the series Mrinal Sen@100

Bajooband Khul Khul Jaye – Remembering Mohammad Shafi on his 43rd death anniversary.

How KJ Yesudas cast a spell on Hindi film music – After Jaaneman Jaaneman, Basu Chatterji offered Yesudas another song in his next film Chitchor (1976) – what would become the iconic Gori Tera Gaon Bada Pyara. ….. Even though he made his Hindi debut in the late 1970s, by the end of the decade, Yesudas had already sung an impressive number of chart-toppers, most of which have become classics. By one estimate, Yesudas has sung at least 207 film songs in Hindi. This number does not quite do justice to the outsized impact he has had on Hindi film music.

Of Incomplete Tales: My Friendship with Guru Dutt in Parts 1 & 2 and Parts 3 & 4. – Translation & Postscript: Ratnottama Sengupta – In his autobiography Eka Naukar Jatri/ Journey of a Lonesome Boat, Nabendu Ghosh wrote about his troubled friendship with the legend Guru Dutt who valued his writing yet wasted his scripts.

Continuing the series, the year-wise review of Lata Mangeshkar’s career, on Lata Mangeshkar, Mehfil Mein Teri revisits 1958 – Lata Mangeshkar.

Apni Kahaani Chhod Ja: Leave a Story That Will Be Retold – Apni kahaani chhod ja — a line that personifies the masters who created such unforgettable classics as Do Bigha Zamin. Seventy years after the film was released in 1953, we enjoy and discuss this masterpiece by Bimal Roy and sing its songs, which we know by heart. Shirish Waghmode rewinds the song to explore how relevant it still is.

The Sculptors of Film Songs (4): Kishor Desai – the mandolinist,  is the fourth article in the series on music arrangers and musicians. The previous ones have covered Sebastian D’ Souza and Anthony Gonsalves, and Enoch Daniels

May 2023 episode of VIIIth volume of Fading Memories, Unforgettable Songs takes up Manna Dey – Chale Ja Rahein Hai…. : 1957 (1). Till now, we have covered Manna Dey’s less popular, less-heard songs for the years –

1942 – 1946 in the year 2018.

1947 – 1950 in the year 2019.

1951 – 1953 in the year 2020

1954-1955 in the year 2021, and

1956 in the year 2022

We now move on to posts on other subjects –

Playback Singer’s Cameo is about a playback singer appearing as a singer on the screen.

Yatindra Mishra’s ‘Lata Mangeshkar: A Life in Music’ – Over a period of about four years, from 2010 to 2014, Lata Mangeshkar was interviewed by the biographer Yatindra Mishra, the interviews coming together in the form of a Hindi book, Lata: Sur Gatha. The biography won a National Award and was published in its English translation (Lata Mangeshkar: A Life in Music, translated by Ira Pande) earlier this year.

Birdmen of Delhi – on the lovely documentary All That Breathes – There are many ways of talking about Shaunak Sen’s Oscar-nominated documentary All That Breathes – the warm, life-affirming story of two brothers who rescue injured cheel (black kites) in north Delhi – but the moment that drew the author into the film was an early shot that played like a sight-gag from a silent-movie comedy.

Solo Songs with an unobtrusive listener – Many of us love to undertake certain activities especially singing when we are alone. That perhaps explains the popularity of bathroom singing!!. However, this post is about solo songs where the singer is unaware of the fact that there is an unobtrusive listener who is hearing the song, sung more for self- assurance/self-pity or entertainment. For example  yhe part that Mohammad Rafi Sings in Tere Bin Soone Nain Hamaare (Meri Surat Teri Aankhen (1963) – Lyrics: Shailendra – Music: S.D.Burman.

After Ballads of Love: Ecstacy and Ballads of Love: Agony D P Rangan concludes the trilogy with Ballads of Love: Flippant where the love birds express their mutual love in a light-hearted manner, e.g. Unko Rupaye Mein Solah Aane Humse Nafart Hai Humko Rupaye Mein Do Rupaye Tumse Mohabbat Hai – Pyar Ki Baatein (1951 ) –  G M Durrani, Asha Bhosle – Lyrics Khawar Zaman – Music: Khayyam

From Bollywood Rewind – Sampada Sharma – Indian Express’s weekly column:

Songs of Yore has commenced Best songs of 1942 in the series Best songs of year

In continuation to our tradition of ending the post with a few songs of Mohammad Rafi, for the year, it is planned to recall the first duet Mohamad Rafi and Geeta Dutt had with a music director.

Zara Dekh Idhar Idhar Dekh Dekh – Badshah Salamat (1956) – Lyrics: P L Santoshi – Music: Bulo C Rani

Daudo Ji Chor Chor Bhaga Dil Churake – Chaar Minar (1956) – Lyrics:  Vishwamyra Adil – Music:  Shardul Kwatra

Ye Kaisa Yog Liya Sarkaar – Guru Ghantal (1956)  – Lyrics: Ghaafil Harnaalvi – Music: Lachhi Ram

Ghazab Hua Ram Zulm Hua Ram – Agra Road (1957)  – Lyrics: Prem Dhawan – Roshan

 

I look forward to your inputs to enrich the contents of Carnival of Blogs on Golden Era of Hindi Film Music.

Disclaimer: This monthly series of posts is my best-effort-based compilation of posts on Hindi film songs that I normally visit regularly. As I record my sincere thanks to all the original creators of these posts, any other posts that I have nor covered herein shows my lack of awareness of existence of such posts and is by no means any disrespect to their work. The copyrights to the posts, images and video clips remain the properties of the original creators.

Carnival of Quality Management Articles and Blogs – Volume XI – May 2023 Edition

Welcome to May 2023 edition of the XIth volume of Carnival of Quality Management Articles and Blogs.

The theme for the XIth volume of our Carnival of Quality Management Articles and Blogs is The Defining Trends of Quality Management – An Analytical Survey.

Presently, we take up the concept of Moving From Continual Improvement to Continuous innovation …..

A textbook definition of Innovation is the successful conversion of new concepts and knowledge into new products, services, or processes that deliver new customer value. For instance, all the time and effort invested in trying to make a candle that burns the brightest would still yield a candle only. Innovation will convert the concept of using electricity to a create a bulb.

Continuous Improvement (CI) is a method to identify opportunities for streamlining work and reducing waste in operational processes.

While Innovation is about creating new value by materializing on effective ideas, Continuous Improvement strives to strengthen an existing value proposition to make processes efficient. Innovation effectively improves the outcomes and Improvements yield efficient processes. The mental model in improvement focuses on optimizing existing systems and eliminating defects. Innovation requires a different mental model — creation of something fundamentally new and different from what we’ve experienced before. A different process or end-result that can then be further optimized using improvement.

Presented here above is a set of eight essential attributes that are present, either in part or in full, at every big company that’s a high performer in product, process, or business-model innovation.[1]

The key to being a good innovator is being observant. Look for those things that are positive or negative deviants. Find the outliers that are remarkable or give you some insight into a system. Identify a process that will allow you to make a system better.

In the daily life, when you go to a restaurant or queue up in the line at the airport, notice the things that you think are being done extremely well or, conversely, extremely poorly. Those examples may hold the lessons to help you solve the problems you’re facing right now. If we pause to be observant and then reflect on those observations — in our daily operational practice or in our lives outside the workplace — we can make meaningful, important improvements or innovations to our existing practice. Innovative thinking can go beyond those simple yet revealing observations and become a new mindset and even an organizational function ― a pivot that leads to progress.

A typical structured innovation approach generally rests on these four themes:[2]

      • Resource and Knowledge Repurposing
      • Embracing Full Innovation Lifecycle
      • Data-Driven Approach to Decision-Making
      • Customer Centricity

We plan to take up a detailed look at the Full Innovation Lifecycle and the Structured Innovation Approach in our next episodes.

We will now turn to our regular section -.

We now watch ASQ TV episode on –

      • Innovation and Process Approach – Jack” West – a long-time member of the U.S. Technical Advisory Group to ISO Technical committee 176 (TAG 176) and a former TAG 176 chair – discusses innovation and the process approach as they relate to ISO 9001:2015.

Next, we take up the article, From Vision to Reality: How to Implement a Continuous Improvement Program (Next Gen Quality Analytics section of Quality Magazine) – Implementing CI programs requires more than just tools and technology. It necessitates a cultural shift that involves training and educating stakeholders to be a part of the operation and monitoring process.

When starting from scratch must first establish a clear vision and set of goals. This involves identifying areas for improvement and setting specific, measurable goals that align with their high-level goals.

Next, they should involve all the relevant staff, from across the organization.

Identify the sources of accurate and reliable data that needs to tracked and analysed w. r. t. the area(s) of improvement.

Finally, it’s crucial to ensure that the continuous improvement program is sustainable over the long term. This involves creating a culture of continuous improvement, where ongoing improvement efforts are part of the fabric of the organization.

Clear objectives, a strategic approach to getting team buy-in, a mindful approach to data —and a sustainable approach — can help manufacturers accomplish substantial improvements in efficiency and profitability.

I look forward to your views / comments / inputs to further enrich the theme of The Defining Trends of Quality Management – An Analytical Survey.

Note: The images or video clips depicted here above are through courtesy of respective websites who have the copyrights for the respective images /videos.

[1] Innovation and creativity, wherein McKinsey principal Nathan Marston explains why innovation is increasingly important to driving corporate growth and brings to life the eight essentials of innovation performance.

[2] Structured Innovation 2.0: Four Themes Driving Innovation Success During the Pandemic – JoLynn Smith

Fading Memories…. Unforgettable Songs: Volume VIII – May 2023 Edition

Manna Dey – Chale Ja Rahein Hai…. : 1957 (1)

Manna Dey, a.k.a. Prabodh Chandra Dey, (1 May 1919 – 24 October 2013)’s classical training and ‘too clear, open’ voice seemed to not only over-qualify him to be a popular singer, but even type cast him for religious or patriotic or songs that were meant to present the joy of nature. However, use of the versatility of his voice was successfully utilized by Shankar Jaikishan in songs of different moods, like Dil Ka Haal Sune Bhai Dilwala or Pyar Hua Ikarar Hua or Mud Mud Ke Na Dekh in Shree 420 (1955). Then came the roaring success of songs of pure romance – Aa Ja Sanam Madhur Chandani Mein Hum, Ye Raat Bhigi Bhigi and JahaN Main Jaati HuN WahiN Chale Aate Ho (Chori Chori, 1956). This led to a surge in the demand for his voice as the number of songs went up to a peak of 95 in 1957 from the 56 songs in 1956. But these numbers still seemed to be not adequate to place him in the league of THE male playback for lead actor.

Our present series Chale Ja Rahen Hai is our tribute to Manna Dey to refresh the universal appeal of his voice by specifically choosing the so-called less popular, less-heard songs. Till now, we have covered Manna Dey’s less popular, less-heard songs for the years –

1942 – 1946 in the year 2018.

1947 – 1950 in the year 2019.

1951 – 1953 in the year 2020

1954-1955 in the year 2021, and

1956 in the year 2022

Even if we do not focus on evergreen songs like Kaun Aaya Mere Man Ke Dware (Dekh Kabira Roya – Lyrics: Rajendra Krishna – Music: Madan Mohan), we will certainly need several episodes to cover the rest of the songs for the year 1957.

We commence our journey on that note….

O Mister O Mister Suno Ek Baat Badi Bewafa Hai Ye MardoN Ki Jaat, Badalte Hai Rang Pal Mein Hazar Kare Inke VadoN Pe Kya Eitbar, Ye Karne Ko To Karle Ha Bhi Swikar Par Ek Hi Nazar Mein Hai Kiska Eitbar  – Agra Road – with Geeta Dutt and chorus – Lyrics: Prem Dhawan – Music: Roshan

Even as Roshan chose Mohammad Rafi as male voice for the maiden appearance of Vijay Anand in lead role, choice of Manna Dey for this waltz-based dance song is also a noteworthy enough experiment.

Tum Ko Pukarti Hai Pratap Ki Kahaniya  ….. Kya Unchai Insaan Ki  – Amar Singh Rathod – Lyrics: Bharat Vyas – Music: Sanmukh Babu

The song indeed is a background song with patriotic appeal but has a subtle blend of pathos as well.

Phir Wahi Dard Hai Phir Wahi Jigar, Phir Wahi Raat Hai Phir Wahi Hai Dar – Apradhi Kaun – Lyrics: Majrooh Sultanpuri – Music: Salil Chowdhury

The comedy genre song has been blended with the mood of drunkenness.

Hai Pyar Ke Do Matwale …. Ek Hum Aur Ek Tum – – Apradhi Kaun – with Geet Dutt – Lyrics: Majrooh Sultanpuri – Music: Salil Chowdhury

The comedians too did get to sing a romantic song in the films in those days. The way Manna Dey plays differently every time with Ek Hum Aur Tum amply validates the natural flexibility of his singing prowess.

Ek Bade Baap Ki Beti Ko Kal Ghar Ke Munshi Sang, Arre, Dekha Ghul Mil Batiya Karte Aur Jamate Rang – Bandi – Lyrics: Rajendra Krishna – Music: Hemant Kumar

Manna Dey comes into his elements as he renders the tongue-in-cheek town gossip in a folk styled street theater mood style song.

Ma Teri Mamta Kitni Pyari Kitna Pyar Jatati Hai – Bansari Baala – Pandit Phani – Kamal Mitra

Manna Dey adds softness that mother’s love evokes in the child as he sings the devotional mood song for the Mother.

Hai Bahut Dino Ki Baat Tha Ek Majnu Aur Ek Laila – Bhaabhi – with S Balbir and Mohammad Rafi – Rajendra Krishna – Chitragupta

The “classically trained”, “Bengali” Manna Dey so easily teams up with thorough Punjabi voice of Balbir and ‘versatile’ Mohammad Rafi to render a Punjabi folk tale .

https://youtu.be/7_wwVvCuOLQ

Duniya Teri Tu Duniya Ka Yun Daali Mein Paat, Tera Mera Janam Janam Ka Saath – Bhakta Dhruv – with Geeta Dutt – Pandit Madhur – Avinash Vyas

In a purely mythological environment, Manna Dey creates soft mood romance with Geeta Dutt.

Din Albele Pyar Ka Mausam Chanchal Man Mein Toofan, Aise Mein Kar Lo Pyar – Begunah – with Lata Mangeshkar  – Hasrat Jaipuri – Shankar Jaikishan

Riding on the thriving success of Chori Chori songs, Shankar Jaikishan have easily chosen Manna Dey for the present romantic duet. However, such were the ways of Hindi Film Music world that when Mukesh wanted to comeback form his disastrous detour of the acting route, friendship with likes of Shankar Jaikishan did create special songs for him. As such, the wheel of Fortune has also placed Mukesh in direct competition in the form of Ae Pyaase Dil BejubaaN.

Tum Mere Swami Antaryami Maat Pita Tum Mere  – Chhote Baabu – With Usha Mangeshkar –  P L Santoshi – Madan  Mohan

Even with phenomenal success of Dekh Kabira experiment with Manna Dey, Madan Mohan has chosen the then popular Talat Mahmood for songs like Do Din KI Mohabbat Mein Hamne  or Teri Chamakti Annkon Ke Aage Ye Sitaare Kuchch Bhi NahiN

Aa Jao Rasiya Sawan Ke Din Aaye – Champakali – with Lata Mangeshkar – Rajendra Krishna – Hemant Kumar

The song is essentially a monsoon festival celebration song but has a fair dose of expression of romantic mood alongside too.

As we mull the different moods of Manna Dey, we take a break in our journey of reminiscing Manna Dey’s songs for the year 1957.

We will continue remembering Unforgettable Songs that seem to Fading away from our Memories every second Sunday of the month ……..

Disclaimer: All images are sourced from net and videos from You Tube. All copyrights of the respective image/ video clip remain with the original owner of the image.

1966 to 1971 – Those Anecdotal Five Years …. – The Practical(s) : The Workshops [1]

To me, and perhaps to many more like me, workshops remained an enigma, not only during the studies, but well into the years of hard core career. To someone like me, so raw to the then basics of engineering, the lexicons ‘file’ or ‘chisel’ or lathe or even the ‘boiler-suit’ were the first time ever addition to the language or the knowledge.  When I went to purchase these instruments at the then then hardware market at Pankor Naka, Ahmedabad, the merchant must have easily recognized that I was an ‘engineering fresher’ the way I must have (stupidly) stared at his simple clarifications queries! So, they helped me to ‘choose’ what was possibly the best for me then.

The Distinguishing ‘Symbol’ of the Engineering ….

Nothing perhaps captured more symbolically the image of an Engineering college quite like the way the workshop did for most of the people, within as well as outside the LDCE*.

The Workshop is situated right in the middle of LDCE campus. A typical factory-structure like seemed match more than the juxtaposed ‘mammoth’ Drawing. In those days. The workshops housed the carpentry, fitting, and machine shops up front, with the smithy shop located separately at the back, for good reason. *

The first thing that made the student attending the Workshops stand out within the college environment was the ‘blue boiler suit.’ The boiler-suit, normally, that would be laundry-washed – for a good reason:) – when it enters workshops first time at the beginning of the year, would be so thoroughly soiled that even its ‘dark blue’ colour would be almost become undistinguished behind the grey-blackish grime accumulated over the whole year, Typically, once it entered the locker, the boiler suit would go for the next wash only at the end of the year.

That the perspiration and the grime made the boiler-suit dirty and smelly would be a classic understatement for the period of our stay at LDCE. Well, before the end of the first term itself, the boiler suit would become extremely dirty and smelly. No wonder, we, then, could not concentrate on the tasks on hand. Of course, in the hindsight, this appears to be more of an excuse to hide our inability to justice to the tasks!!.

Taking back the suit in such a condition was perhaps was manageable to someone like me who did not stay to far from the college and used bicycle as transport to stealthily whisk it away to the clothing-washing space at home. I think others who also used bicycles as transport and did not stay that close, they also had mastered the art of safely shifting it to the home without being held up on the road for being a serious nuisance to the public safety!

But how would those who used AMTS buses as mode of transport would have managed this, without being thrown out of the bus remains unfathomed.

The heavy hammer that we used during the smithy shops practical also seemed to have earned the student of engineering a tongue-in-cheek identity among the non-engineering student community. The soft-skills-learning community of science and arts colleges would derisively call the LDCE students as ‘Hathodas’ (Gujarati for sledgehammer), Wearing the ‘blue collared’ – literally, figuratively as well as really – only helped to perpetuate that stereotype. *

The students from other colleges also used that slang convey the lack of sense of art in the engineering students. If they really did mean the lack sense of appreciating the art, the use of this slang title was also meant to rub the further salt in our wounds caused by the lack of ‘female’ students among us in those days. The implication was that lack of presence of ‘she’ students that could have possibly made LDites more art oriented. Of course, we used to take such name-callings as tinge of envy at the back of their minds for being ‘second-class’ students in the overall hierarchy of the various disciplines of the then studies at collegiate level.

* These passages are scripted by Dilip Vyas

I plan to take up the insider’s look at the memories of the – ideal and real conditions of – ‘practice of art’ at the Workshops in the next episode.

Carnival of Blogs on Golden Era of Hindi Film Music – Volume XI – April 2023 Edition

Welcome to April 2023 edition of XIth Volume of Carnival of Blogs on Golden Era of Hindi Film Music.

Tributes pour in for producer-singer Pamela Chopra, wife of Yash Chopra, who passed away on 20th April – Pam Chopra and Yash Chopra tied the knot in 1970, but they weren’t impressed with each other after their first meeting for a ‘rishta’.

Rakhi, Pamela Chopra, and the late Yash Chopra are seen doting on baby Aditya Chopra.

Presently we move on to our section on tributes and celebrations for the month –

Lata Mangeshkar sings with Music Directors – nearly all the songs are duets except one – The song may or may not be composed by the same music director.

Shamshad Begum: The voice behind Kabhi Aar Kabhi Paar, Saiyyan Dil Mein left Hindi film music due to rampant politics – Shamshad Begum’s voice was behind some of the biggest hits of the 1940s and 1950s but the singer stepped away from Hindi film music because of the rampant politics.

SN Tripathi Part 1: The Vintage Years – A Multi-faceted Talent is the first part of tribute to SN Tripathi on the 35th Anniversary of his Remembrance Day (14 March 1913-28 March 1988), with his songs in the Vintage Years, the 1930s and 40s.

How films became a bridge to my past and my present – Film scholar Suresh Chabria unpacks the meaning of nostalgia in a digital age, about films that were not seen in the digital formats and carriers now available, but mostly in movie theatres and auditoria where film societies and the cultural institutes in Mumbai screened movies in the 1960s. Often, the print or projection quality was of an indifferent nature. But each film satisfied one’s hunger for emotion and spectacle expressed in moving images and sounds that cinephiles everywhere speak of as ‘the magic of cinema’.

BR Chopra dared to make Hindi cinema’s first song-less film in 1960, which won a National Award – On BR Chopra’s birth anniversary, revisiting his 1960 film Kanoon which won a National Film Award for Best Feature Film in Hindi. The Ashok Kumar-Rajendra Kumar starrer was the first song-less Hindi film.

The Sculptors of Film Songs (3): Enoch Daniels is the third article in the series on music arrangers and musicians. The previous ones have covered Sebastian D’ Souza and Anthony Gonsalves,

Zohra Sehgal: The grand old lady of Indian cinema who walked in the West so Priyanka Chopra, Aishwarya Rai could fly – Arushi Jain – Zohra Sehgal was a multi-hyphenate: an actor, a danseuse, a choreographer, and a stage performer. She defied the barriers of religion, age and gender at every step of her life and was full of life till the very end.

“Ye Raat Phir Na Ayegi, Jawani Beet Jayegi” – Leela Pandey,  who acted in just about a dozen films in eight years, but created her distinct mark. Ye Raat Phir Na Ayegi, Jawani Beet Jayegi (Mahal, 1949 – Rajkumari, Zohrabai Ambalewali – Lyrics: Nakshab Jarchvi – Music: Khemchand Prakash) is one song wherein Leela Pandey shared the screen with Sheela Naik.

Hasrat Jaipuri – The Eternal Romantic – Painting vivid word pictures of the various shades of romance time and time again is no easy task. Yet Hasrat Jaipuri did just that in song after song, leaving us with thousands of verses that express love’s every emotion, writes Anuradha Warrier

April 2023 episode of VIIIth volume of Fading Memories, Unforgettable Songs takes up Hasrat Jaipuri – Beyond Shankar Jaikishan: 1961 _ Part 1.  Till now, we have covered –

The songs from 1950 to 1953 in 2017,

The songs from 1953 to 1955. In 2018

The songs from 1956 -1957 in 2019,

 The songs for 1958 in 2020,

 The songs f0r 1959 in 2021, and

 The songs for 1960 in 2022.

Shailendra Sharma @ Golden Era of Bollywood has not posted the memorial tribute posts for the month till the writing for the present post.:

We now move on to posts on other subjects –

The Bicycle Saga – Part 4 lists songs that can not be categorised into very narrow definitins.

Ten of my favourite crooner/club songs – One club song was almost a mandatory detail for films in 50s, and even 60s. The song came in different avatars: from a floor show in a club, with the singer/dancer surrounded by people sitting at tables; to a grand party. There were songs with hidden meanings, aimed at alerting the baddies to cops lurking among the patrons (or vice-versa). There were songs that teased, songs that blackmailed, songs of all sorts.

Songs of Spouses, the adjective used for the spouse in some cases was also the keynote of the film. The songs are both solos and duets depending on the context. But both wife and husband feature in the song, even if it is a solo.

After Ballads of Love: Ecstacy – D P Rangan comes up with Ballads of Love: Agony, a the theme of ‘love’ deals with the reverse of the coin. For every successful happy finish, there are very many disappointments with unrequited love that end in the separation of lovers going their way apart. Lyricists and music directors had worked in tandem to produce songs of pure agony laying bare frustrations in the conduct of love, and singers also did their part.

Hindi Film Songs Featuring Tribal Dance & Music – It is difficult to distinguish tribal from folk music in Hindi films, with many using the word ‘tribal’ interchangeably with the word ‘folk’. Songs featuring tribal music in films are somewhat stereotypical. These are generally dance songs. Unless the plot of the story revolves round a tribal clan and its chieftain (kabile ka sardaar), these songs are introduced in the film when the lead couple accidentally lands in a tribal hamlet.

From Bollywood Rewind – Sampada Sharma – Indian Express’s weekly column:

In continuation to our tradition of ending the post with a few songs of Mohammad Rafi, for the year, it is planned to recall the first duet Mohamad Rafi and Geeta Dutt had with a music director.

Main Bhi Jawan Hun Tum Bhi Jawan Ho – Do Dulhe (1955) – Lyrics: Pt. Indra – Music: B S Kalla

https://youtu.be/n21wZLjqfbY

Meri Jaan Gair Ko Tum Paan Khilaaya Na Karo – Kundan (1955) – Lyrics: Shakeel Badayuni – Music: Ghulam Mohammad

Bachna Zara Ye Zamana Hai Bura – Milaap (1955) – Lyrics: Sahir Ludhianvi – Music: N Datta

Aisi Nazrein Na Daal Karle Khayaal – Riyaasat (1955) – Lyrics: Prem Dhawan – Music: Avinash Vyas

I look forward to your inputs to enrich the contents of Carnival of Blogs on Golden Era of Hindi Film Music.

Disclaimer: This monthly series of posts is my best-effort-based compilation of posts on Hindi film songs that I normally visit regularly. As I record my sincere thanks to all the original creators of these posts, any other posts that I have nor covered herein shows my lack of awareness of existence of such posts and is by no means any disrespect to their work. The copyrights to the posts, images and video clips remain the properties of the original creators.

Carnival of Quality Management Articles and Blogs – Volume XI – April 2023 Edition

Welcome to April 2023 edition of the XIth volume of Carnival of Quality Management Articles and Blogs.

The theme for the XIth volume of our Carnival of Quality Management Articles and Blogs is The Defining Trends of Quality Management – An Analytical Survey.

To delve a little deeper into the subject of Future Competitiveness we take up Sustaining Long Term Competitive Advantage.

Sustainable advantages fall into three categories: size in the targeted market, superior access to resources or customers, and restrictions on competitors’ options.[1]

The dissipation of long term competitive advantage can be readily explained by Porter’s Five Forces Model.

The study of available literature on how to build sustainable advantage ultimately seems to boil down to just one area – Continuous innovation needs to be a core capability of the entire organization.

We will take up this aspect of continuous innovation in the next episode…..

Further study resources @ History’s Greatest Strategists.

We will now turn to our regular section -.

We now watch ASQ TV episode on –

Till writing of the present episode, new additions to Jim L. Smith’s Jim’s Gems.

So, we take up the article ‘From the Editor’ (of Quality Magazine) – by Darryl Sealand:

    • Iterations: From manufacturing to personal growth. – 2.0 signals a new and improved version of the last. Industry has grown from Industry 1.0 to Industry 4.0 with its subsets Quality 4.0 and so on. Do we live still live in our 1.0 or have moved to 1.01 and so one, or 2.0?

I look forward to your views / comments / inputs to further enrich the theme of The Defining Trends of Quality Management – An Analytical Survey.

Note: The images or video clips depicted here above are through courtesy of respective websites who have the copyrights for the respective images /videos.

[1] Sustainable Advantage – Pankaj Ghemawat

The Sculptors of Film Songs – 3 – Enoch Daniels

Originally in Gujarati, by Piyush M Pandya

Translated by Ashok M Vaishnav

To open the article on Enoch Daniels is dilemma of choosing between presenting first the musician or his instrument.

Accordion has its presence registered in almost all genre of music such as Rock n Roll, Jazz, Pop etc. The great accordionists like Gudi Sirwai, Sumit Mitra, Kersi Lord, Dheeraj Dhanak, K. Bharat, Enoch Daniels, Sammy Reuben, Suraj Sathe and the like greatly contributed to the wide-spread use of (piano) accordion in the songs, title music, background scores or anywhere music had to play a role in of Hindi film music in ‘50s and 60s. Because of its so universal appeal, it seems better to talk about accordion first.

Accordion is a free-reed portable musical instrument, consisting of a treble casing with external piano-style keys or buttons and a bass casing (usually with buttons) attached to opposite side of a hand-operated bellows. Over the time, accordion have developed into several types like Button Accordion, Unisonoric and Bisonoric Accordion, Concertina, Bandoneon, Piano Accordion etc. Out of all these, Piano Accordion became popular in Hindi films music, perhaps because of its close musical proximity with harmonium. However, it overcomes the limitation of harmonium with a piano style keyboard to play with few sound-registers (called couplers) that could change the pitch of sound as per requirement.

In the following clip we can listen to Sumit Mitra playing piano accordion to different range of octaves.

More musical details about accordion can be accessed @ Part 1 of Saaz Tarang episodes.

+                                       +                                     +

16th April (1933) being the birthday of one of living legendary accordionist, Enoch Daniels, we dedicate our present episode to his contribution to the Hindi film music.

Enoch Daniels was born to a musically inclined family in Pune. He was one among the six brothers. The British missionary culture of then Pune drew each son of the family to the choir music. Young Enoch was drawn to organ first and then to piano. The seven eight years of such practice made Enoch quite proficient with these instruments. By the time he was adolescent, he was quite known in Pune music circles and had started getting invitations to play at various local programs.

Aside: The singular prowess with which Enoch Daniels could play these instruments can be ratified by the following song wherein he has played the piano.

BTW, he could recall this song when someone reminded him of the song in one of the interviews,

Tum Apna Ranj-o-Gam Mujhe De Do – Shagoon (1964) – Jagjit Kaur – Lyrics: Sahir Ludhianvi – Music: Khayyam

By the time, Enoch Daniels had entered college, he started feeling the constraint of limitation of portability of both organ and piano. So, he decided to learn an instrument that was portable. It so happened that he was selected to participate in youth festival event at Delhi. His friend offered him a baby accordion. Enoch started practicing so vigorously on that accordion that he went to on win prizes at the national event along with vast goodwill of accolades. He was just 20 then.

This was the time he was inclined to choose armed forces as a full-time career. During his studies at Wadia College, Pune for first three years, whatever Enoch Daniels had learnt over playing the piano, he sincerely practiced applying it to accordion. Around that time, he got opportunity to buy a full-sized accordion of his own from a European missionary returning to his motherland. That sparked his desire to go professional. So, he shifted to Bhavan’s College, Bombay for the last year of graduation. Here, he got ample opportunities to participate in various cultural events.

The uncle of the friend who had offered him a baby accordion for that youth festival happened to be a film distributor. So impressed he was by Enoch’s talent that he introduced the young 22-year old Enoch to S D Burman. Enoch grabbed that opportunity with both hands and never looked back.

Jalate Hai Jiske Liye – Sujata (1959) – Talat Mahmood – Lyrics: Majrooh Sultanpuri – Music: S D Burman

The song opens with a soft lower octave intro on piano accordion @ 0.06 to 0.12. Th seamless fusion of accordion notes with guitar @ 0.14 -.015 and @0.37- 0.38 subtly adds to the soft rendition by Talat Mahmood. Then @ 1.43-1.44 and @ 2.40 -2.41 a very brief stroke of accordion blends with countermelody instruments flute and violin.

https://youtu.be/LP4AzUt1iWc

At that stage, Enoch Daniels met another famous musician, the Hawaiian guitar player Van Shipley (to be covered in more details later in the series), which was to blossom into a lifelong professional and personal bond between the two..

At the age of 23, Enoch Daniels joined Van Shipley on a concert tour to East Africa. Enoch Daniels was also assigned the role of music arrangements at this and all other such trips with Talat Mahmood, Mohammad Rafi, Manna Dey over next few years. Enoch Daniels also had accompanied and arranged Lata Mangeshkar show at famous Royal Albert Hall, London.

In mid-50s, instrumental versions of popular Hindi film songs were the in thing. Radio Ceylon regularly used to air one program of such versions.  So it was no surprise that in no time Columbia records company contracted Enoch Daniels for cutting records of popular Hindi films songs on piano accordion. Later on HMV also cut several records with Enoch Daniels.

Fortunately, many of these records have reached internet, which gives us an opportunity to listen many of Enoch Daniel’s accordion versions. Here are a few representative ones –

Yun HasaratoN Ke Daag (instrumental)

Bachpan Ki Mohabbat Ko (instrumental)

Yaad Kiya Dil Ne KahaN Ho Tum (instrumental)

Ek Din Bik Jaayega (instrumental)

Enoch Daniels’s magical command over accordion and piano, coupled with his ability to read and write staff notations made him widely popular with music directors like C Ramchandra, Naushad, O P Nayyar, Madan Mohan, Vasant Desai, Kalyanji Anandji, R D Burman . Laxmikant Pyarelal.

Bequarar Kar Ke Hamein Yun Na Jaaiye – Bees Saal Baad (1960) Hemant Kumar – Lyrics: Shakeel Badayuni – Music Hemant Kumar

Accordion play of Enoch Daniel can be heard @ 0.44 to 1.02  and 2.31-2.39  as well several countermelody strikes like the ones @ 1.26-1.27, 2.22-2.23 etc. or at the outro from 3.19 to 3.26.

Ye Mulaqat Ek Bahanna Hai – Khandaan (1979) – Lat Mangeshkar – Lyrics: Naqsh Lyallpuri – Music: Khayyam

Here too, the song opens with intro with accordion in the lead. When accordion comes back @1.56 to 1.59, it plays in bass scale. And then, it supports counter melody @ 2.07 to 2.09. But a short burst in higher octave @3.37 to 3.39 is just a master stroke.

Since one of the most profuse and creative users of accordion, Shankar Jaikishan, normally used to work with other accordionist like Gudi Seerwai or Sumit Mitra, Enoch Daniels got associated with Shankar Jaikishan much later, in the film Love In Tokyo,1966.

Le Gai Dil Gudiya Japan Ki – Love in Tokyo (1966) – Mohammad Rafi – Lyrics: Hasrat Jaipuri – Music: Shankar Jaikishan

The song opens with a short chord note of accordion. Short notes of accordion, like ones @ 0.37, 0.41 etc. innovatively supports countermelody vibrato orchestration. Similarly, accordion also blends with other instruments in the interludes too.

Since 1963 Enoch Daniels has also worked as an arranger for background and film scores. Among his noteworthy films are Kabhie Kabhie, Trishul, Chhotisi Baat, Pinjara and the entire re-recording in stereo of the classic V. Shantaram film, Jhanak Jhanak Payal Baje.

Enoch has also written music for several documentaries, commercials, and solo album releases by artistes such as Talat Mahmood (“Film Gems of Talat Mahmood: Melody the queen – Talat the prince”), Preeti Sagar (Nursery Rhymes), and Shaguftagi – Fragrance Of Poetry & Melody with poetry by Kaifi Azmi, and arrangement of melodies by Khayyam.

Quite constructively busy with playing the instruments as well music arrangements, Enoch Daniels does not seem to have taken interest in composing the full music for a film, with just one exception, a Konkani film, Suzanne (1983). Being a regional film, the score by Enoch Daniels did not get much attention in the mainstream cinema circles. But the songs do have an undeniable Enoch stamp. Here are three songs:

Sooraj Uge Sooraj Dhale – Suzanne (1983) – Manna Dey – Lyrics; Bharat Vyas – Music: Enoch Daniels

Ajab Hai Zindagi Ajab Hai Ye Safar – Suzzanne (1983) – Bhupinder – Lyrics: Bharat Vyas – Music: Enoch Daniels

Suzana … Rasbhari Madbahri Ek Pari Sab ki Jaani Pahchani– Suzzanne (1983) – Yesudas – Lyrics: Bharat Vyas – Music: Enoch Daniels

When electronic instruments started dominating the mode of music arrangements in films, Enoch Daniels withdrew from the industry and retired to Pune. But that has still not kept him away from his piano accordion. He keeps plays in public performances with youthful vigour.

At Swar Manjari, Jabalpur, Enoch Daniels tunes in with Kishor Desai (on mandolin) to relive their original association for Aage bhi jaane na tu  – Waqt (1965) .

At Gunjan Lalyi Kala programme at Bilimora (Gujarat) in 2009, Enoch Daniels teams upwith Shyam Raj (Tenor sax) to play Shola jo bhadke (Albela, 1951).

We wish Enoch Daniels many more very healthy and musically fulfilling years as he enters 9th decade with a selfie that Piyushji has captured when he visited Enoch Daniels in 2017 at Pune latter’s residence.

Credits and Disclaimers:

  1. The song links have been embedded from the YouTube only for the listening pleasure of music lovers. This blog claims no copyright over these songs, which vests with the respective copyright holders.
  2. The photographs are taken from the internet, duly recognising the full copyrights for the same to the either original creator or the site where they were originally displayed.

Additional References:

https://scroll.in/reel/807573/how-the-accordion-played-a-key-role-during-the-golden-era-of-hindi-film-music

https://www.britannica.com/art/accordion

https://www.youtube.com/@SmrutiGandhaMarathi/featured

P.S. This is the reposting of article originally published on Songs of Yore as The Sculptors of Film Songs (3): Enoch Daniels

Fading Memories…. Unforgettable Songs: Volume VIII – April 2023 Edition

Hasrat Jaipuri – Beyond Shankar Jaikishan: 1961 _ Part 1

Hasrat Jaipuri (born Iqbal Hussain) – B: 15 April 1922 – D: 17 September 1999 – was a natural poet. Even after settling into the role of a demand-driven world of film lyrics, he was and remained thereafter too, a poet at his core. Even as he was known to freely use Urdu words in his film lyrics, his lyrics retained a simple character.  He remained a highly respectable of poet in Urdu literature world.

An interesting aspect of his personality was his innate commercial insight, quite unlike someone who is a poet. He used to very carefully invest the surplus from his Hind film earnings into real estate properties that would yield him, and his family, a comfortable secondary stream of income.

Though his body of work remains his partnership with Shailendra for penning lyrics to more than 190 Shankar Jaikishan films, his work with other music directors also remains as varied noteworthy.  In 2017, we have commenced the annual series of Hasrat Jaipuri’s songs with Music Directors Other Than SJ. Till now, we have covered –

The songs from 1950 to 1953 in 2017,

The songs from 1953 to 1955. In 2018

The songs from 1956 -1957 in 2019,

 The songs for 1958 in 2020,

 The songs f0r 1959 in 2021, and

 The songs for 1960 in 2022.

Presently, we will refresh our memories of Hasrat Jaipuri’s songs with Music Directors Other Than SJ for the year 1961. We will take up Hasrat Jaipuri’s songs for Husnlal Bhagat Ram, S N Tripathi and Iqbal Qureshi.

Husnlal BhagatRam

Film: Apsara

Har Dam Tumhi Se Pyaar Kiye Jaa Rahi HuN – Apsara (1961) – Talat Mahmood, Asha Bhosle

Here is a song that can be said to belong to the last phase of Husnlal Bhagatram and full glory height of Hasrat Jaipuri. Once we listen to the song we feel sorry for ourselves as to how could such a song get buried deep down in memory!

S N Tripathi

Jadoo Nagri (1961)

S N Tripathi could enjoy such a long career even when the Hind film world had consigned him to B / C grade films, goes on to validate that he was not only a highly multi-talented artist, but also equally a highly tenacious person, too.  Hasrat Jaipuri too has wholehearted penned lyrics under his baton, fully retaining all his signature styles without holding back anything

Aankhein Meri Jadoo Nagari, Rup Rangila Jadu gar …. Wahi Dekhe Pyar Ke Sapne Dal Du Jispe Ek Najar – Lata Mangeshkar

S N Tripathi has blended a faint resemblance with Mid-east music – in the opening lines – while fully composing the song in a fast-paced dance sequence.

Loot Liya Re …. Gori Gori Chandni Ka Khoi Khoi Kamini Ka Mithi Mithi Ragini Se Lut Liya – Asha Bhosle

S N Tripathi’s highly imaginatively composed song plays on a gorgeous dream-sequence type set.

Jadoo Bhare Tore Nain Kateele Ham Par Jhulam Karein  – Mahendra Kapoor, Asha Bhosle

S N Tripathi has so deftly presented the dance song as a duet song

Nigahon Mein Tum Ho … Khayalo Mein Tum Ho . . .. Jidhar Dekhati HuN Najhar Aa Rahe Ho – Lata Mangeshkar

Hasrat Jaipuri deplys his trademark Sakhi as opening lines of the song

Kaise Videshi Se Naina … Ek Pall Bhi Aaye Na Chain Re  –  Lata Mangeshkar

Hasrat Jaipuri was also known to waeave in odd lyrics so well into his song composition.

Dekho Aayi Basant Bahar …. Ke Jiya Mora Tum Ko Pukare Hai O Sajna – Lata Mangeshkar

Hasrat Jaipuri was also known to use very simple lyrics to express quite deep emotions.

Iqbal Qureshi

Umar Qaid (1961)

Iqbal Qureshi shined so brilliantly in the early films, e.g., Ta Thaiya Kar Ke Aana ( Lata Mangeshkar, Geeta Dutt, Panchayat, 1958); Main Apne Aap Se Ghabhara Gaya Hun (Mohammad Rafi, Bindiya, 1960);  Dar Pe Aaye HaiN Qasam Le (Mukesh, Love in Simla, 1960); Subah Na Aayi Sham Na Aayi, Woh Hum Na The Woh Tum Na The (Mohammad Rafi, Aao Pyar Karein, 1964). But then quite inexplicably he lost that charm and got suck into the vortex of less successful films, or may be vice versa.

Umar Qaid had experimental star cast – Sudhir and Nazim in the lead, Helen having more meaningful role that her usual one-off dance song roles. Each character had at least one song that had hit the counters at box office of the music company loudly ringing sweet sound of huge popularity  for example,  Mujhe Raat Din Ye Khayal Hai (Mukesh) for Sudhir, O Piya Jaane Na ….. Meri Aankon Ki Need Uda Ja Na (Asha Bhosle) for Nazima. But film failed singularly, leaving a black dot against the name of music director, Iqbal Qureshi.

Suno Ji Ek Baat Tum Hamara Dil Hua Hai Gum –  Mukesh, Suman Kalyanpur

Roothana Manana has been a very convenient method for expressing / accepting the love in Hindi films. Normally the songs are films at gardens or during picinicsetc. But here, the love birds have to be content with the terrace of the hme for their

Dil Vahan Jahan Ho Tum Aao Na KahaN Ho Tum – Asha Bhosle

Even though Helen has been in a major role in the film, the club song also follows her.

Kaisi Bekhudi Ka Samna Ho …. Dekho Apne Dil Ko Thamana Ho  – Asha Bhosle

It seems if the actress would have been other than Helen, the song may have been in set in some other setting, because the basic theme of the song is acceptance of love.

Shama Jo Jalti Hai Parwane Aa Hi Jate Hai Hum Apni Aag Mein Khud Ko Jalaye Jaate Hai ….  Dil Ka Fasana Koi Na Jaan Apni Khushi Mein Jhoome Jamana  – Mahendra Kapoor, Asha Bhosle

Opening with a Hasrat Jaipuri’s signature style ‘saakhi, the qawwali was well received on radio on those days. However, when we see the video clip now, the Mohan Choti ‘comedy’ pranks mar the joy of the song to a great extent.

Bambai Puarani Kalkatta Purana .. Jaisi Meri Naanji Waise Mere Naana  – Mohammad Rafi, Kamal Barot

If Mohan Choti pranks are discounted, the street song remains quite enjoyable with very light lyrics by Hasrat Jaipuri maintain the mood of the song.

We still have a few more films of 1961 wherein we have Hasrat Jaipuri’s songs for music directors other than Shankar-Jaikishan. We will take these songs in the next episode… next year …..

We will continue remembering Unforgettable Songs that seem to Fading away from our Memories every second Sunday of the month ……..

Disclaimer: All images are sourced from net and videos from You Tube. All copyrights of the respective image/ video clip remain with the original owner of the image.

1966 to 1971 – Those Anecdotal Five Years …. – The Practical(s) : Engineering Drawing [2]

Hard-etched soft memories, indirectly, related to the subject of Engineering Drawing Practicals

The subject of Engineering Drawing Practicals immediately draws up the picture of a vast hall. The massive empty space of the practical hall never seemed to fill up even with rows of huge tables, with the entire batch of the students occupying it during their regular class, even when almost all students simultaneously opening or closing of the table to top to take out of put in the drawing boards , or the sound of simultaneous foot fall of all the students entering or leaving the hall.

One other such memory is what Dilip Vyas so fondly recollects in these words: “As I reflect on my time in LD engineering, the memory that stands out the most is the image of myself riding a bicycle with a drawing board and T square affixed to it with drawing clips under my right arm, while using my left hand to steer the bike. Looking back, I am amazed how was it I was able to carry such a load while riding a bicycle, since I don’t think I could manage that for even 100 feet now.”

And we had to that for a very few kilometers, with almost no traffic route to the college from our L colony residences. How could our friends who used choke full AMTS buses as transport or bikes to commute from ‘far-flung’ residential areas navigating through the regular road traffic routes is something that I could not comprehend then, or even now.

Fortunately, as per the well-settled tradition, probably borne out of sheer necessity, we used to bring the boards into the college only once, at the beginning of the term, and take back home only at the end of the term. There were some very resourceful friends who could retain their own hostel rooms even during the post-term vacations. That helped many friends to store their drawing boards there.

Another memory that remains etched in my mind and cling to my physical body even now is severe aggrievement of my sinus allergy because of the small dust particles always hanging the air at the drawing hall. It was not certainly because of the fine dust environment that I had attracted that allergy. I did have it very strongly within me right form my childhood and carry it even now.  But there should be no denying the fact that I started practice of carrying at least two handkerchiefs whenever I am prone to aggrievement of my chronic allergy. I even started carrying an additional hand cotton napkin a the times of examination times. I do that even ow when I am to attend some critical engagement which particularly will have long uninterrupted sessions.

Another memory is that of mood of festivity during the end-of the term late night sessions of glace-tracing of unfinished drawing sheets. I was one of those batchmates who somehow could manage the completion during the regular classes. However, that never stopped us from remaining full time present at the late-night sessions organized at the hostel rooms of our batchmates. In fact almost the whole of the hostel was abuzz till very late nights in those days since practically the whole college used to join in either actually undertaking the glass-tracing or completion of the journals by en masse copying or attending the sessions as a matter of solidarity. Those of us who were in attendance out of the feeling of solidarity, or sharing the joys of festivity, had to take up the responsibility of ferrying the late-night snacks and cups of tea every hour or so till the sessions lasted, keep the track of expenses such that the accounts of soldiery fund collection vs. actual expenses can be presented when the sessions ended.

I think almost all the students of engineering remain indebted to these stress-busting sidekicks of the practicals that made the rigors of study, if there are such,  not only bearable but even enjoyable.

 

We take up The adventures of goof ups in Workshops in the next episode ……..