Fading Memories…. Unforgettable Songs: Volume VIII : January 2023 Edition

Jaidev: Brilliant, But Underrated, Composer:  1976 – 1977 

Jaidev – B: 3 August 1919 – D: 6 January 1987 – is one music director who had established himself as creator of melodies while basing the compositions in classical or folk styles. From start at the very top with mesmerizing magic touch, as his career went on to take deep dive of the road of loss of popular appeal, he started getting epithet of ‘too niche’ music director. By the beginning of ‘70s, he even had started getting work from only those producers or directors who were stickler to the consciousness of being faithful to the core of their film subject. By this time, these films had developed its own fan following, who was also receptive to Jaidev’s music. Emboldened by such an encouraging response, Jaidev could boldly experiment with new singers as well.

Till now,

In 2018, we listened to his songs from the most successful films phase of 1955 to 1963.

In 2019, we listened to his more remembered songs from his less remembered films for 1964 to 1970,

in 2020, we listened to highly appreciated songs from the films that did not succeed in 1971,

In 2021, we recalled the songs that have faded out because the films flopped in 1972-1973, and

In 2022, we listened to his melodies form relatively not so known films for the years 1974 and 1975

Presently, we will refresh our memories for the songs Jaidev composed for Laila Majnu (1976) and Aalap and Gharaonda (1977)

Laila Majnu (1976)

The love story of Laila and Majnu has always remained an evergreen subject for the Hindi films. From the first film made in 1931, every few years a new version has been made for the Hindi screens. However each version had its own distinct interpretation of the story, which gets reflected in the way the social milieus had been presented in terms of dress, living styles, language and delivery of dialogues etc. One dimension that tended to raise the standard of the film was its music.

My personal association with the present 1976 version goes back to the year 1977, when I was visiting Indore for some official work, along with couple of my colleagues. Once, when we were roaming through the roads of Indore after our dinner, we saw a cinema hall that had a poster of Laila Majnu (1976) as the current movie. We were just in time for the last show. However, we were in dilemma as to whether the film would be worth spending two and half hours. Except for the songs of Ghulam Mohammad’s compositions for the 1956 version, I had no idea how good the other versions were. But, as we saw the names of Madan Mohan and Jaidev as music directors, our initial misgivings thinned out and we bough the tickets.

It was much later that I could know that Madan Mohan had passed away when three or so songs and background score for the film were still incomplete. So, Jaidev was roped in to seamlessly fill the void., even though Sahir Ludhianvi – Jaidev and Sahir had parted ways after some very strong differences while working together for Mujhe Jeene Do (1964) – was the lyricist for the film.

Jaidev has composed four songs, of which the two Lata- Rafi duets – Kahena Ek Diwana Teri Yaad Mein Aahein Bharata Hai and Likh Kar Tera Naam JamiN Par Sajade Karata Hai – seemed to have gained popularity even as soon as the film would have been released, as can be gauged by the response of the viewers during the show.

We will take a closer look at two other songs –

Kaja Jhalim Sahi Ye Jhulm Woh Bhi Kar Nahi Sakati
Jahaan Mein Qais Jinda Hai Tab Tak Laila Mar Nahi Sakati

Ye Dawa Duniya Bhar Se Manavane Ki Khatir Aa
Ye Diwane Ki Jid Hai. ….. – Mohammad Rafi

I liked the song just when I heard it first time on that night, since it had all that one would expect from Jaidev- Mohammad Rafi songs of Jaidev’s early years of career. However, little did I know that we did not have many more years left for Mohammad Rafi to come up with so soulful rendering once again….

Laila Majnu Do Jaan The – Rajkumar Rizvi, Dilraj Kaur, Anuradha Paudwal

Jaidev has readily switched over to experiment with the current generation singers for the credit titles song

Aalap (1977)

Hrishikesh Mukherjee has depicted Amitabh Bachchan, once again as a deceptively calm volcano which is ready to erupt into sizzling hot lava, in this essentially a Bengali background story. When action movies was the order of the day, casting Amitabh Bachchan and Rekha in a serious social drama was certainly a bold experiment. Hrishikesh Mukherjee’s few preceding and succeeding movies had either S D Burman or R D Burman as music directors, However, he has opted for Jaidev for this film.

The credit titles song for the film, Maata Sarasvati Sharda (Yesudas, Lata Mangeshkar Dilraj Kaur, Madhurani and chorus) went on become a prayer at many schools.  Moreover, when Kishore Kumar was already established as Amitabh’s playback voice, Jaidev has boldly, and quite successfully at that, Yesudas for Koi Gaata Main So Jaata (Lyrics: Harivanshray Bachchan).  Other songs of the film, penned by Dr. Rahi Masoom Raja, also are based on classical styles while simultaneously experimenting with normally not heard voices for film songs.

Chand Akela Jaye Re Sakhi …. – Yesudas

The mood of the song presents Amitabh’s character as a poet deeply depicting his imaginative feelings of a poet lost in the thoughts of a lover lost in the thoughts of his love.  Hrishikesh Mukherjee has equally skillfully used the interludes to showcase the inherent angry young man nature of the character by way of emotionally charges light=toned dialogues.

Kahe Manva Nache Hamraa, Sakhi Ri Koi Ise Ab Sanajaye ….. – Lata Mangeshkar

Director has skillfully used the protagonists’ play with a beam of light to express the feelings of her heart when she keeps getting lost in the first ever feelings of her recent love.

Nayi Ri Lagan Aur Meethi BatiyaN, Piya Jaane Aur Mera Jiya – Madhurani (Giazabad), Kumari) Faiyyaz, Yesudas

Apparently, a practice session is also a vicarious medium of expressing mutual feelings between the two young ones. Jaidev has creatively experimented in use of a wel-known gazal exponent Madhurani (Faizabadi), well-known singer of Marathi Dramatics songs genre. (Kumari) Faiyyaz and Yesudas.

Aai Ritu Sawan Ki Piya Mora Jaaye Re – Kumari Faiyyaz, Bhupinder

The lyricist’ choice of pathos of the lovers being away from each other while the onset of season of monsoon showers is captured by the music director in the form of deployment of baritone Bhupinder voice.

Ho Rama Dar Lage Apni Umariya Se – Asrani

Binati Sun Le Tanik Natkhat Gori Binati Sun Le – Asrani

Music director has so creatively deployed Asrani himself to sing these parodies of traditional semi-classical songs. Kudos to the experimentally creative streak of the director as well music director!

Gharaonda (1977)

For someone known for his work in the field of animation films, Bhimsen’s directorial venture into Hindi cinema, Gharaonda, was a novel experiment of presenting an art film in the commercial mode on a subject of the lives of two young middle class youth lovers.

In order to appreciate boldness of the experiment, a brief look at Bhimsen’s core area of competence would not be out of order.

Because of his extensive work in  the field of animation films, Bhimsen has been recognized as the Father of animation film movement in India. He has to his credit a prolific work on trend-setting work in the field of animation films on the subjects of different subjects relating to the social issues. Recipient of numerous awards for his pioneering work, his animation short film for Films Division, Ek, Anek aur Ekta or his longest till now of its kind, 26-episode, TV serial Vartman (1994) are just two illustrations of his exemplary work.

The Filmfare awards for The Best Supporting Actor (Dr. Shriram Lagoo) and Best Lyricist (Gulzar for the song Ek Akela Is Sahar Mein) are two ample manifestations of success and acclaim that Gharaonda got.

The two songs – Do Diwane Shahar Mein (Bhupinder, Runa Laila) and Ek Akela Is Shahar Mein (Bhupinder) – were instant hits and continue to do so even now.

For all practical purposes, the sole credit of class and mass audience of India was introduced to the range of timbre of internationally known Bangladeshi ghazal singer Runa Laila on the strength of the afore-mentioned duet and a twin mood solo song presented her below –

Tumhein Ho Na Ho Mujhko To Itana Yakeen Hai Mujhe Tumse Pyar NahiN NahiN – Runa Laila – Lyrics: Naqsh Lyallpuri

The playfully mischievous tone of the song gives a magical touch to the voice of Runa Laila.

The sad version of the song (beginning from 5.04 of the audio clips of both versions together) presents the depth of Runa Laila’s voice, thereby presenting a wide range of tonal variations and range she so naturally possessed.

As we end the present episode, our curiosity is further aroused to know how many more hues of Jaidev’s creativity still can be expected to unfold in twilight years of his illustrious and courageous career.

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 video clips from You Tube. All copyrights of the respective image remain with the original owner of the image/ video.

Fading Memories…. Unforgettable Songs :January 2022

Jaidev: Brilliant, But Underrated, Composer – 1974 -1975

The career of Jaidev (Varma) – B: 3 August 1919 – D : 6 January 1987 – right from his first foray in 1933 till his own death in 1987 has been a sad tale of fate’s cruel treatment to such a gifted music director. It is so difficult to imagine that someone who had composed so melodious, and hugely popular as well, album was consigned to the ‘art-film music director’ tag by the turn of the decade. The popularity of his songs of 60s could not fetch a Filmfare award for him, but the art film yielded three national awards – a record for Hindi films that that remains unsurpassed in so far as music directors of his generation.

Perhaps the very specific limited ‘class’ audience that the art films sough to cater to, his music too had meet the basic demands of the film. So, one may argue, that that music was never meant to be popular at the mass level. And even when it could have been, the lack of strong marketing push to the film itself, to expect that songs would get that kind of support is probably wishful thinking.

The core creative artist of Jaidev used the constraints of art-film music composition into an opportunity to freely experiment with a wide variety of singers to create songs that could pride any music industry.

Till now, we have covered, the years

In 2018, we listened to his songs from the most successful films phase of 1955 to 1963.

In 2019, we listened to his more remembered songs from his less remembered films for 1964 to 1970,

in 2020, we listened to highly appreciated songs from the films that did not succeed in 1971, and

In 2021, we recalled the songs that have faded out because the films flopped in 1972-1973

in the form of our commemorative annual series in the month of Jaidev’s remembrance anniversary month.

Presently, we will cover Jaidev’s compositions from what is popularly termed as ‘parallel cinema’ films Aaligan, Faslah and Parinay (all of 1974) and Ek Hans Ka Joda and Aandolan (of 1975). By recalling the songs of these films gives us clear opportunity to see the freshness of his compositions and the charm of his experimentation.

Aalingan (1974)

Hamaare Dil Ko Tumne Dil Bana Diya – Mohammad Rafi, Asha Bhosle – Lyrics :Jaan Nisaar Akhtar

The prelude song creates the feeling of speed that the couple riding motor-bike would expectedly feel that they would bring to their singing. The song is set to faster waltz rhythm. Jaidev has also used Mohammad Rafi and Asha Bhosle’s creativity of singing to the hilt.

Pyaas Thi Phir Bhi Taqaazaa Na Kiya – Manna Dey – Lyrics: Jaan Nisaar Akhtar

Manna Dey begins softly in the first line and then gradually goes onto higher scale exemplifying the increasing intensity of feelings that such intimate environment induces. Use of saxophone further adds to the escalation of the intensity of the feeling.

Faslah (1974)

Aa Utha Le Apna Jaam Kya Tujhe Kisi Se Kaam – Ranu Mukherjee – Lyrics: Kaifi Azmi

Jaidev experiments with Ranu Mukherjee’s heavy tonal qualities to set up the enchanting atmosphere of a club song.

Zindagi Cigarete Ka Dhuan, Ye Dhuan Jaata Hai Kahan Ya KahiN Jaata NahiN Ye Socho, Na Socho Meri Jaan – Bhupinder – Lyrics: Kaifi Azmi

Jaidev, Kaifi Azmi and Bhupinder team up to create a motivational song that does its assigned role in the lighter mood.

Parinay (1974)

Jaise Suraj Ki Garmi Se Jalte Huye Tan Ko – Deen Bandhu Sharma, Ramananad Sharma, chorus – Lyrics: Ramanand Sharma

The measure of this devotional composition in Raag Jaunpuri can be gauged by the fact that this one song has become the identity of the Sharma Brothers quartet who were otherwise also well known in the devotional program circuit.

Mitwa Mitwa Morey Man Mitwa – Manna Dey, Vani Jayram – Lyrics: Naqsh Llayalpuri

Jaidev recreates a 50s period melody in this duet. As can be expected, the duet was well received by the Manna Dey fans and other discerning film music fans.

Asides:

Parinay won the 1974 Nargis Dutt Award for Best Feature Film on National Integration (known as the “Rajat Kamal Special Award for the Best Feature Film on National Integration” at that time).

The film was directed by Kantilal Rathod, who also has another award winning (Gujarati) feature film Kanku (1969) and a children’s documentary film Cloven Horizon (1965)

Ek Hans Ka Joda (1975)

Saathi Milte Hain Badi Mushqil Se Kisika Sath Na Chhodana – Kishore Kumar –Lyrics: Indeewar

Jaidev has very rarely used Kishore Kumar as playback even during second innings of both. In this soft piano song, he has Kishore Kumar signing equally soft lower scale or slightly elevated scale at the end of lines.

Ek Hans Ka Joda Jisne Pyar Mein Har Bandhan Toda – Ajit Singh – Lyrics: Gauhar Kanpuri

Jaidev’s experimental streak with his melodious core could not have been more manifested than in this credit title song, where in he has used pope singer Ajit Singh to sing a pop-style song with soft strings of guitar and wind instruments to the rhythm of drums.

Mere Dil Mein Teri Tasweer Sada Rehti Hai – Bhupinder Singh, Asha Bhosle –  Lyrics: Indeewar

In this asymmetric duet, Bhupinder chips in with a saakhi that would take the heroine into retrospective pensive mood.

Andolan (1975)

Dar-o-Divaar Pe Hasarat-e-Nazar Karte Hai Khush Raho Ahal-e-Vatan Ham To Safar Karte Hai – Bhupinder – Lyrics: Ramprasad ‘Bismil’

From the very brief information available, it is gathered that Andolan is a film based on the freedom struggle period. Directed by a highly talented, and successful commercial film director, Lekh Tandon, the film, has been consigned to the status of ‘parallel cinema’ probably because,, except Nitu Singh, all other major actors belong to the ‘art cinema’ stream.

The ‘saakhi, first two lines, is taken from a Nawab Wazjd Ali Shah’s poignant poem which he seems to have composed when he was exiled from Lucknow to a faraway Calcutta dungeon.

Mazloom Kisi Kaum Ke Jab Khwaab Jaagte Hain – Manna Dey – Lyrics :Verma Malik

Jaidev has chosen Manna Dey’s strong tonal quality to capture the brave mindset of the freedom fighters maintain their spirit in the face of brutal physical torture.

Panch Rupaiya Arre Panch Rupiaya De De Balamva Mela Dekhan Jaungi – Minu Purushottam, Krishna Kalle – Lyrics: Jan Nisar Akhtar

The street ‘tamasha’ song genre has one oft-intended use of a red-herring, as is the case of the present song.

Aside trivia:

The bespectacled person with beard siting on the ‘charpoy’, as can be seen clearly @3.41 is none other than vintage era front-line male playback singer, G M Durrani

Piya Ko Milan Kaise Hoye Ri MaiN Janu Nahi – Asha Bhosle – Lyrics: Meerabai

Here we have a musically very rich, but somehow lacking the easy melody of similar difficult and equally melodious songs like, Tu Chanda Main Chandani (Lyrics: Balkavi Bairagi) and Ek Meethi Si Chubhan (Lyrics: Udhav Kumar) – both from Reshma Aur Shera, 1971) or Yeh Dil Aur Unki NaigahoN Ke Saaye (Lyrics: Jan Nissar Akhtar) and  Ye Neer Kahan Se Barse Hai,,, Ye Badri Kahan Se Aayi Hai (Lyrics: Prema Sachdev) (Prem Parabt, 1973) that we normally associate Jaidev with.

We rest here with one more very interesting page of Jaidev’s music direction career before moving on to the next phase, in our next episode.

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

Disclaimer: All images are sourced from net. All copyrights of the respective image remain with the original owner of the image.

Fading Memories…. Unforgettable Songs : January 2021

Jaidev: Brilliant, But Underrated, Composer :  1972-1973

Jaidev (Varma) – B: 3 August 1919 – D : 6 January 1987 – is remembered more as a music director who could mold classical or folk tune in his very unique style. However, seen from a little different perspective, it was this talent that probably provided him the key to survive against the twin onslaught of unfavorable luck and the protectionist hegemony of the protective competitive strategies that were (apparently) successfully put in the practice by ‘successful’ music-directors to protect their individual production banners turfs.

In terms of basic nature of films that Jaidev got during his active career

from 1955 to 1985,  we can see four distinct phases – initial struggle (1955-1959- films like, Joru Ka Gulam, Samudari Daku, Anjai, Raat ke Rahi),

1^st peak of success – 1961 to , films like Hum Dono, Kinare Kinare, Mujhe Jeene Do),

confinement to small budget films (1964 to 1971, films like Naihar Chhootal Jaye, Hamare Gam Se Mat Khelo, Jiyo Aur Jeene Do, Sapna, Ek Bulboola Paani Ka, Shaadi Kar Lo, Doo Boond Pani),

revival phase (1971 to 1973, films like Reshma Aur Shera on one end, with low-budget films like Ek Thi Reeta, Bhavna, Maan Jaaiye, Prem Parbat sandwiched and Prem Parbat on the other end) and then

1974 till the end –  a period of crowning glory with films like Gaman and Ankahee, the two national award winners for Jaidev and then the gradual tapering off.

Of these phases, we have covered, the years –

• In 2018, we listened to his songs from the most successful films phase of 1955 to 1963.
• In 2019, we listened to his more remembered songs from his less remembered films for 1964 to 1970, and
• in 2020, we listened to highly appreciated songs from the films that did not succeed in 1971

in the form of our commemorative annual series in the month of Jaidev’s death anniversary month.

Presently, we will cover Jaidev’s music in films Bhavna, Maan Jaaiye (both in 1972) and Prem Parbat (1973). Bhavana, Maan Jaaiye again belong to those low-budget films, produced primarily for a selected class of filmgoers. The films did not have too many songs, and since the films inevitably flopped, the music also sank along with them. So, we have chosen to present each song for which a YT clip is available. Prem Parbat is case which is patently different. Its songs had gained a fairly large following then, are membered even today, even as the film failed at the box office. But each of the song has its own charm, so book a place here on the strength of that charm of Jaidev’s music which seems to have been fading from memory.

Bhavna (1972)

The star cast of the film was Dev Kumar, Soniya Sahni, Padma Khanna, etc,

Phir Milegi Kahan Aisi Tanhaiyan – Mukesh, Asha Bhosle – Lyrics: Naqsh Lyallpuri

Asha Bhosle joins Mukesh to render this loveable, slow paced exchange between two hearts in love , alone by themselves. He poses the question – “Kya Iraada Hai”. And one can expect a touch of mischief the way She throws up the same question. For a Jaidev song, it is a not complex tune, but inherently a joy to listen to.

Meri Ilttija Hai Saqui, Bas Ilttija Hai Saquiya Tu Bhi Aa – Asha Bhosle – Lyrics: Naqsh Lyallpuri

Here is a tune that seems to be Jaidev’s signature style these days – light orchestration, but a complex tune, song based on folk or traditional style. In the present case also Jaidev has deftly handled a Tawaiif song in the non-traditional way, so much so that the mandatory harmonium come in a unique presentation in the first interlude and also in the second interlude.

Main Teri Daasi Tu Mera Daata – Suman Kalyanpur – Lyrics: Naqsh Lyallpuri

As can be made out from the lyrics, this a bhajan genre song. However, Jaidev renders in a complex enough tune.

Ye Duniya Woh Duniya Hain JahaN Insan Ki Koi Kimat NahiN – Mohammad Rafi – Lyrics: Naqsh Lyallpuri

In all the likelihood, this one may be a background song.

I have not been able to locate digital link to a FF duet, Hum Hai WahaN Tassavur Bhi Tera Jahan Na Pahuche – Asha Bhosle, Usha Mangeshkar.

Maan Jaaiye (1972)

This was a film directed by B R Ishara and had Rakesh Pandey, Rehana Sultan in the lead, with Jalal Agha too in the main cast.

O Mitwaa…Badara Chhaye Re Kaare Kajarare – Lata Mangeshkar – Lyrics: Naqsh Lyallpuri

The song opens with a soft prelude call to Mitwa, the beloved. The song moves on with complex to sing, but melodious to listen to tune.

Le Chalo, Le Chalo, Ab Kahin Le Chalo….Soch Lo, Soch Lo, Ek Tarah Soch Lo – Mukesh , Vani Jayram – Lyrics: Naqsh Lyallpuri

Jaidev continues with experiments – this time teaming up Vani Jairam with Mukesh.

Ye Wohi Geet Hai Jisko Maine Dhadkano Mein Basaya Hai – Kishore Kumar – Lyrics: Naqsh Lyallpuri

The song is wonderful rendition of mono-act by Jalal Agha, which Jaidev has set o a waltz tune.

Prem Parbat (1973)

The film is directed by Ved Raahi, who has earlier directed films with experimental streak, like  Oonche Log and Paraya Dhan and also films like Sanyasi  and Beimman with a commercial angle. The storyline of the film is that of an orphan girl (Rehana Sultan), whose loyalties are divided between her aged husband (Nana Palsikar) and a young forest officer (Satish Kaul), she has fallen in love with. Being the wife of the old Choudhari, she is conflicted about her love for another man. The film had run into severe cash flow problems, resulting in the prints being seized by the financier. Jaidev too suffered by this unfortunate run of the luck, as he, otherwise, can be seen to have hit his melodious pulse well in the film.

Yeh Dil Aur Unki NaigahoN Ke Saaye.. Mujhe Gher Lete Hain BaahoN Ke Saaye – Lata Mangeshkar – Lyrics: Jan Nisaar Akhtar

Set to Raag Pahadi, the song had hit the popularity charts in those days on one hand was highly acclaimed by the critics on the other hand. Santoor and Flute in the song are played by Shiv Kumar Sharma and Hariprasad Chaurasiyaa respectively, which goes on to show Jaidev’s meticulous adherence to the quality of the works.

Ye Neer Kahan Se Barse Hai,,, Ye Badri Kahan Se Aayi Hai – Lata Mangeshkar – Lyrics: Padma Sachdev

Padma Sachdev (1940) is the modern Dogri poetess. She also wrote the lyrics of two songs of the 1978 Hindi film “Aankhin Dekhi” (music: J.P. Kaushik) including the famous duet “Sona re, tujhe kaise miloo” (Mohd Rafi and Sulakshana Pandit). She also wrote the lyrics along with Yogesh, for the film Saahas (1979, music: by Ameen Sangeet)

The song is an excellent blend of a folk and classical styles that so successfully creates the nature described in the song come live in our mind as we listen to the song or soak our mind with feelings narrated.

Mera Chhota Sa Gharbar…Mere Anagana Mein, Mera Chhota Sa Gharbar – Lata Mangeshkar – Lyrics: Padma Sachdev

The lyrics recreate the dream of the household that protagonist envisions. Jaidev supports the imagination with seemingly nontraditional tune, which is nonetheless quite melodious.

Raat Piya Ke Sang Jaagi Re Sakhi…Chain Pada Jo Ang Laagi Re Sakhi – Minoo Purushottam – Lyrics: Jan Nisaar Akhtar

Minu Purushottam is a name not very well known to many today. Confined to play second fiddle in B ad C grade films, her easily remembered rendition remains ‘Huzure wala, Jo Ho Izazat..’ – with Asha Bhosle, ’Ye Raat Phir Na Aayegi, 1960; Music: O P Nayyar).

Jaidev has so effectively used her voice to render the folk style description of the protagonist’s encounter with her beloved after a long separation.

I am not able to resist the temptation of capturing the lyrics her:

SaiyaN Ji Ne Jadoo Phera
BaahoN Ka Daala Ghera
Anchara Jo Khincha Mera
God Piya Ki Tang Laagi Re Sakhi

SaiyaN Je Daaka Daalaa
Uljha Jo LatoN Mein Bala
Bikhari Gale Ki Maala
Bhadki Badan Ki Jwaala
Devdhanush Laagi Re Sakhi

Gajaraa Suhana Toota
Kajara NayoN Ka Chootaa
Sab Tan Bhaya Re Jhoothaa
Jitana Sataya Loota
Aur Bhi Baanke Ang Lagi Re Sakhi

We pause here in our journey of rekindling the memories of Jaidev’s unforgettable songs, receding from our memory, before we move on to the next phase of his active film music career.

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

Disclaimer: All images are sourced from net. All copyrights of the respective image remain with the original owner of the image.

Fading Memories….Unforgettable Songs: January 2020

Jaidev: Brilliant, But Underrated, Composer:  1971

In the centenary birth year, Jaidev (Varma) – B: 3 August 1919 – D : 6 January 1987 – is remembered more as a music director who could moulid classical or folk tune in his very unique style.He also boldly experimented using emerging singers like Dilraj Kaur, Bhupinder, Hariharan, Chhaya Ganguli, Pinaz Masani or Runa Laila and also classical singers like Parveen Sultana, Bhimsen Joshi or Laxmishankar.

Jaidev is the only Hindi film music director to have won three National Film Award for Best Music Direction, three times for Reshma Aur Shera (1972), Gaman (1979) and Ankahee (1985). But fame and money eluded him. So much so that, no prints of Prem Parbat (1973) – which has two great Lata Mangeshkar songs – are thought to have survived.

We have taken up this commemorative annual series on Jaidev on this platform w.e.f. 2018, wherein we had covered his songs from 1955 to 1963. Next year we followed by taking up Jaidev;s songs from 1964 to 1970. Presently, we will his known, and less known songs from three films for the year.1971. Of these, the two films– Do Boond Paani, and Reshma Aur Shera – are on rural background and the third one – Ek The Reeta – is urban comedy thriller.

Jaidev’s magic in flopped films

1971

Do Boond Paani

Written produced and directed by K A Abbas, Do Boon Paani is set against the backdrop of Rajasthan. The film focused on the scarcity of water, and the eventual building of a dam. Its cast included Simi Garewal, Jalal Agha and Madhu Chanda and was the debut film of actor Kiran Kumar. The film won the Nargis Dutt award for Best Feature film on National integration. The music by Jaidev was stated as a “magisterial score”, however, the film was not a commercial success and flopped at the box office

Banni Teri Bindiya Ki Le Loon Re Balainyyan – Lakshmi Shankar – Lyrics: Bal Kavi Bairagi

Jaidev weaves the song around a simple traditional song. Use of shehnai in the interlude is also in line with the tradional marriage ceremony set up where at two musicians would keep playing shehnai and nagadaa during the ceremony.

The audio version includes both stanzas of the song.

Jaa Ri Pawaniyaa Piyaa Ke Des Jaa – Asha Bhosle – Lyrics: Kaifi Azmi

Kafi Azmi is at his poetic best in conveying message of

tan-man pyaasaa, pyaasi najariyaa
pyaasi pyaasi gaagariyaa
tan-man pyaasaa, pyaasi najariyaa
pyaasi pyaasi gaagariyaa
ambar pyaasaa, dharti pyaasi
pyaasi saari nagariyaa

(Body and soul are thirsty, thirsty is the gaze; thirsty is even water-carrying vessel. Thirsty are even sky, land and the town too.)

Jaidev has used the Asha Bhosle’s voice in a scale that fully reflects the feeling of the thirst of the wait. Visuals in the interlude integrate the building of the dam along with rural domestic ecosystem.

Peetal Ki Meri Gagari Diladee Se Mol Mangayi Re – Parveen Sultana. Minno Puroshottam – Lyrics: Kaifi Azmi

Jaidev so effortlessly weaves in Rajashatn rural backdrop visuals with this wonderfully melodious Rajastahni Maand tune based song. Use of Parveen Sultana and Minoo Purushottam also provides a very unique earthen touch to the emotions of the song.

The audio version of the song has much better audio notes and has one more stanza as a bonus.

The song has poignant version, too, as a Parveen Sultana solo.

Apne Watan Mein Aaj Do Boond Paani Nahi = Mukesh, Noor Jahan – Lyrics – Kaifi Azmi

The lyrics and the visuals of the song narrate the tale of exodus of the people from their native village in search of new water resources.

Reshama Aur Shera

Reshma Aur Shera was produced and directed by Sunil Dutt. It was well-acclaimed by the critics internationally. The film was shot in and around Jaisalmer. It is a romeo-Juliet story embeded in the realm of feuding Rajput clans.  Like film’s cinematography, music by Jaidev also adds to the true ethnic tone the film.The film won music director Jaidev, his first National Film Award for Best Music Direction in 1972, for the two Lata Mangeshkar so;o songs Tu Chanda Main Chandani (Lyrics: Balkavi Bairagi) and Ek Meethi Si Chubhan (Lyrics: Udhav Kumar).

Trivia: Amitabh Bachchan’s semi-cameo role as speech-impaired younger brother is considered as his one of the unsung role, before he hit pay dirt in Zanzeer.

Jab Se Lagan Lagayee… Umar Bhar Neend Na Aayi – Asha Bhosle – Lyrics: Neeraj

The song is a sweet compliant for the after-effects of falling in a love-relationship. Asha Bhosle easily recreates the mood of the song.

Tauba Tauba Meri Tauba… Ek To Ye Bharpur Jawani…Us Par Yeh Tanhayee – Asha Bhosle – Lyrics; Rajinder Krishna

This is a full-fledged mujra song, filmed on Padma Khanna.

Zalim Meri Sharaba Mein Ye Kya Mila Diya – Manna Dey and chorus – Lyrics: Rajinder Krishna

A full-some qawaali wherein Sanjay Dut, a young boy of 12 then, makes a cameo debut.

Ek Thi Reeta

Ek Thi Reeta is an action comedy thriller, produced and directed by Roop K. Shorey. The film was an adaptation of Shorey’s earlier success Ek Thi Ladki (1949), which had highly successful music score by Vinod. (Remember Lara Lappa Lara Lappa Lai Lakda). The earlier success formula did not work this time, and Ejk Thi Reeta was a commercial flop. The films starred Vinod Mehra, Tanuja and I. S. Johar in lead roles with Lolita Chatterjee, Rehman, Faryal and Manmohan Krishna forming the ensemble cast .

As much as the earlier two films are known, this film and all of its 10 songs are totally unknown, so we have selected here a few representative ones.

Ho Balama Beimaan Na Mane – Manna Dey and Sarala Kapoor – Lyrics: Vikal Saaketi

The song is influenced in Bhojpuri singing style. Jai Dev has introduced a new female voice of Sarala Kapoor in this duet.

Baaton Baaton Mein Baat Badhati Hai…Ye HaiN Pyar Ke Nazare – Asha Bhosle Jagjit Singh – Lyrics: Prem Jalandhari

The song is a teasing song, probably sung in a picnic situation. Jagjit Singh gets introduced in the last stanza of the song. This said to be his first recorded son, wherein we find him in a rare different mood.

Paani Mein Jo Ham Doobey, To Dub Gaye Hairani Mein….Wah Wah Re Lachchi Tera Pallu Latake – Asha Bhosle, Sarala Kapoor – Lyrics: Sarshar Shailani

The song is of mischievous playful young girls got together a river or a talab like waterbody. Jaidev deftly handles the rustic joyous mood of the song.

Non Film Songs

Before we come back to the two songs of Mohammad Rafi from Ek Thi Reeta, to end our episode in our traditional style, we need takenote of two NFS of Jaidev which were recorded in 1971.

Carvan Guzra Kiya Ham Rahguzar Dekha Kiye – Asha Bhosle – Lyrics: Faani Badayuni (Original Name – Shaukat Ali Khan)

Jaidev creates sublime mood with Asha Bhosle’s voice.

Jayate Jayate Jayate Satyamev Jayate – Lata Mangeshkar – Idhav Kumar

Jaidev very creatively weaves chorus with Lata’s leading voice to create the spirit of Truth always prevails.

Back to Ek Thi Reeta, with two Mohammad Rafi songs, to end our present episode –

Jo Mere Pyar Pe Ho Shaq To Kar Lo Dil Saaf Beshaq…..Dareech-e-Shaq, Dareen-e-Shaq…Kisi Ko Ho Bhala Kyun Shaq –Ek Thi Reeta 91971) – Asha Bhosle, Mohammad Rafi – Lyrics: Prem Jallandhari

Both the young players openly confess that now there is hardly any room to create any doubt about the bond of our love.

Ye Shor Hai Gali Gali …Ke Woh Jawan Ho Chali – Mohammad Rafi – Lyrics: Sarshar Shailani

Jaidev creates a playfully throw-of-love youthful joy in Mohammad Rafi’s voice. The song is et to quite a difficult to tune to sing, but Rafi remains very comfortable in the course all the ups and downs and turns of the song.

We end today’s episode on a happy note to record that Jaidev has so effectively used Mohammad Rafi, even in 1971. Our journey of Jaidev’s Hindi Film Music career continues…..

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. All copyrights of the respective image remain with the original owner of the image.

Fading Memories…. Unforgettable Songs: January, 2019

Jaidev: Brilliant, But Underrated, Composer:  Journey from 1964 to 1970 – Jaidev’s music remains unscathed in less remembered songs of unknown films

We have been co-travelling the musical journey of Jaidev (a.k.a.  Jaidev Varma; B: 3 August 1919 – D : 6 January 1987) in this month of death anniversary, starting from the last year. We had covered the films from 1955 to 1963 last year..

By the end of this period, Jaidev’s career had seemed to attain the required escape velocity to go into the orbit of sustained commercial success. But, the fate had some other designs in its store. During the making of Mujhe Jeene Do, he had a bitter difference of opinion with Sahir Ludhyanavi, with whom he had created the two last masterpieces – Hum Dono and Mujhe Jeene Do. And then, Navketan was (reportedly) coerced to revert to S D Burman for Guide (1965), which turned out to be an all-round success.

With no (so-called) big banner under his fold, he was forced to take up work for low budget films. However, post-Mujhe Jeene Do, his music perhaps lost that ‘melody’  which gives the music a ‘mass’ touch, even though his compositions, still, were of an exalted order – soulful and sublime, spiritual and transcendental, ethereal and heavenly. In Hindi film industry, such music directors get cast for low-budget films. Jaidev could not emerge as an exception.

As may be observed in this episode, his elaborate compositions for smaller films found a smaller audience and yet Jaidev continued to give of his best in every film he worked on. Many of his best compositions are lost in unfinished films and albums. Though he is the only music director to have received three national wards for music in Hindi Films, as a music composer, he never properly received his due and was passed over many times for others, but his film scores linger on in the deep in our memories.

Presently, we continue with Jaidev’s musical journey from the year 1964 to 1970…….

Naihar Chhootal Jaaye (1964)

This is a Bhojpuri film. The one song that I could locate is thanks to Atul’s Song a Day.

Jiyara Kasak Masak Mor Rahe Laagal – Mohammad Rafi – Lyrics: Shailendra

We have a lilting, light songs from Jaidev. To many a Rafi fans, the song may not be totally unknown.

The songs has a Asha Bhosle version too. The subtle change in the composition that reflects the inherent feelings of a male and a female respectively strikingly comes to our notice.

Hamare Gam Se Mat Khelo (1967)

This one is also an obscure, low budget, film which has six songs, spanning singers like Talat Mahmood, Geeta Dutt, Asha Bhosle, Mahendra Kapoor and Krishna Kalle.

Ye Khamoshi Kyu Ye Madhoshi Kyu – Geeta Dutt – Lyrics: Nyay Sharma

This is the only song that Jaidev has recorded with Geeta Dutt,based on a western style composition, which is also a rarity for Jaidev. Geeta Dutt sounds as lively as she was in ‘40s.

Ye Bahar Ka Sama Karar Ka Sama Nikhar Ka Sama Kho Na Dena – Mahendra Kapoor – Krishna Kalle – Lyrucs: Nyay Sharma

Even if the singers seem to have been chosen to fit into the shoe-string budget, Jaidev maintains his touch in the composition. The composition has inherent melody to listen to, but is difficult to hum with.

Ansoo Chuupaye Aankh Mein, Khoon-e-Jigar Piya Karun – Talat Mahmood –  Lyrics: Shireeh

This is fairly known song. The composition has a typical Jaidev touch – probably little difficult hum along, but certainly very melodious to the ears. Such songs do not become very popular, but are not easily forgotten too.

Kahiye Kya Hukam Hai, Main Pyar Karoon Ya Na Karoon, Kahiye Kya Hukam hai – Asha Bhosle – Lyrics Nyay Sharma

Essentially this is a mujra song.. The composition is set to rather difficult style.

Jiyo Aur Jeene Do (1969)

This is the only films wherein Jaidev and Hasrat Jaipuri team up together.

Main to Kar Kar Binati Haari Re – Suman Kalyanpur – Lyrics: Hasrat Jaipuri

Here is another song which is rare – from the point of view of hardly being heard, being a maiden song of Jaidev-Suman Kalyanpur combination and being a song which is as melodies as a Jaidev or a Suman Kalyanpur song will always be.

Ye Dharati Hamari Dharati Hai,Hum Isko Swarg Banayenge – Manna Dey, Sulakshana Pandit –  Lyrics: Hasrat jaipuri

The composition and bass orchestration are literally down to earth, in spite of the inherent complexity of the tune.

Aaj Ki Raat Bas Jalwa Dikhane Ke Liye – Mohammad Rafi – Lyrics: Hasrat jaipuri

Here is a composition that is complex, but sounds so appealing in Mohammad Rafi’s voice.

Roop Ki Dhoop to Dhal Ke Rahegi –Mohammad Rafi – Lyrics: Hasrat jaipuri

The prelude and interlude pieces suggest that the song would be a street song

Sapna (1969)

One more obscure film, not much known lyricist, and yet, Jaidev holds the fort.

Anadi Mor Balma .. Achar Dhar Thunke – Laxmi Shankar – Lyrics: V N Mangal

Jaidev experiments using voice of classical singers for his semi-classical songs.

Ae Meri Majbutr Zindagi.. Chal Ri Kahin Chal Tu Zindagi – Manna Dey – Lyrics: V N Mangal

Even though we have audio track of the song, the rhythm leaves no doubt that the song would have been sung while travelling on a cart, which was a very-well experimented genre in those days.

Mujh Se Mat Rootho, Na Na Rootho Meri Jaan Chali Jaayegi  – Mohammad Rafi – Lyrics: V N Mangal

A fast-paced, rootahana-manana’ genre song that shows that Jaidev can also do that any other commercially successful music director could do !

A twin version in the voice of Krishna Kalle, which has some obvious variation to reflect the rendition by the female counterpart of a roothana manana situation.

This episode has so large a share of Mohammad Rafi songs that I could have done away with the tradition of ending the episode with a Rafi song. However, I find two unreleased film songs in Mohammad Rafi’s voice.

Ek Bulbulaa Paani Ka (1970, Unreleased)

Teen Taal Par Naach .. Budhape, Bachpan aur Jawani Ke.. Rang Hazaron – Mohammad Rafi – Lyrics: Kaifi Azmi

Jaidev presents Mohammad Rafi in a soulful bhajan.

Shaadi Kar Lo (1970, Unrelased)

Na Tum Haton Na Hum Hatein  – Mohammad Rafi and Parveen Sultana – Lyrics : Jan Nisaar Akhtar

We have a very rare qawwali from Jaidev, wherein he has daringly experimented with voice of Parveen Sultana.

Normally, we do not add any commentary in any episode, after we come to the end of the episode with Mohammad Rafi songs. However, I would seek to make an exception in the present case.

I have a confession to make. After re-visiting the songs from the last episode, when I started listing the films from Jaidev’s filmography, I had a feeling that I should be lucky if I can choose at least one song from each of these totally obscure film.

However, as soon as I started listening to these songs, I started realizing what a gross under- judgement I had made about the genius that is Jaidev. Each song is worth listening repeatedly. Each song has its own unique composition, set to different styles, has used different singers and has been penned by different lyricist. Hence, I have chosen to post YT video of each song here even at the cost of making the song a little larger in the quantity of number of songs.

Also, I have recorded elsewhere my feeling that Jaidev has not done much work with Mohammad Rafi, after Mujhe Jeene Do. That impression also goes out of the window here.

On that note, I now look forward to Jaidev’s creations in ‘70s, even more eagerly in our 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. All copyrights of the respective image remain with the original owner of the image.

Fading Memories…. Unforgettable Songs: January, 2018

Jaidev: Brilliant, But Underrated, Composer: Journey from 1955 to 1963

Jaidev (a.k.a.  Jaidev Varma; B: 3 August 1919 – D : 6 January 1987) one hand is the only music director of Hindi Films to have been awarded three national awards and on the other hand the fate, machinations and his propensity for blending classical and folk music into his tunes getting him branded as “too arty” eluded the commercial success. In his entire career, he may not have scored songs for more that 30-40 films (around 100 songs), but he does remain enshrined in the very fond deeper recesses of connoisseur Hind Film fans.  His one of the greatest songs, Raat Bhi Hai Bheegi Bheegi”’s  Sahir’s lyrics probably very easily sits as an apt metaphor:

“Tapte dil par yoon girti hai
teri nazar se pyaar ki shbanam
teri nazar se pyaar ki shbanam
jalte huye junglel par jaise
jalte huye jungle par jaise
barkhaa barse ruk-ruk tham-tham
barkhaa barase ruk-ruk tham-tham”

(Your gaze falls on my red-hot heart like drops of dew just as the halting rains fall over jungle fire…)

Use of harmonium, clarinet and tabla in the song very loudly underscores his brilliance par excellence. In fact, in his first ever exposure to Hind film music world, as an assistant to Sarod Maestro Ali Akbar Khan in Chetan Anand directed Aandhiyaan (1952), he gets a special mention for playing surmandal in the background music.

Probably his musical brilliance and lack of motivation and skills to commercially market it consigned him to such other underrated stars as Sajjad Hussain or Madan Mohan.

We have remembered here songs for his first film as an independent director to probably his last commercially successful film in this first stage of refreshing our memories of the songs that epitomize his sheer brilliance.

Joru Ka Bhai (1955)

Kabhi Bhula ke Kabhi Yaad Aake Pooch Liya, Ye Kya Kiya Mujhe Apna Bana Ke Loot Lliya – Kishore Kumar, Balbir, Shamshad Begum and chorus – Lyrics: Vishwamitra AdilThis was the only film wherein Jaidev has used Kishore Kumar as well as Shmashad Begum.

There appears to be another version of the song as well:

Shamshad Begam, Kishore Kumar and chorus. –

Naina Kahe Ko Lagaye.. Hum Sang Naina Kahe Ko Lagaye – Asha Bhosle – Lyrics: Vishwamitra Adil

Jaidev has used Asha Bhosle for some of the equally outstanding songs as his songs of Lata Mangeshkar. THowever, not many of his Asha Bhosle songs did not attain as much success as those of Lata Mangeshkar. For example: The twin song penned by Sahir Ludhyanvi– Subah Ka Intezar Kaun Kare in Lata Mangeshakr’s voice and Teri Zulfon Se Pyar Kaun Kare in Talat Mahmood’s voice

Samundari Daku (1956)

Dil Jawaan Hai Aaarzoo Jawaan, Ek Nazar Idhar Bhi Meharbaan, Kab Talak Ye Hamse Berukhi, Kab Talak Rahegi Chup Jubaan – Talat Mahmood, Asha Bhosle – Lyrics Vishwamitra Adil

This is one of Jaidev’s very rare compositions based on western style tune. Talat Mahmood has been known for singing romantic songs of melancholic mood He has been as effective in this happy romantic song too.

Talat Mahmood has rendered this song as a solo version too.

Sama Pyaara Hai….Din Hain Bade Kaam Ke, Aana Aise Mein Dil Ko Zara Thhaam Ke -Asha Bhosle, S Balbir –  Lyrics-Vishwamitra Adil

Here is the song that is based on some Punjhabi folk rhythm.

Anjali (1957)

Kunj Kunj Gunjan Bhanware Ka. . . Buddham Sharnam Gachchhaami – Mohammed Rafi- Lyrics:– Nyay Sharma

Jaidev has very creatively used Lata Mageshkar in the aalaap at the beginning of the song.  The song then follows the Sinhalese original version with all subtle variations in the way song is delivered at different layers.

Aside:

The song that would probably come to our memory first would be Anil Biswas Meena Kapoor – Manna Dey composition from Angulimal(1960) : Buddham Saranam Gachhami , when we first see the key lyrics Budhdam….

[N.B.: By any means, I have not presented this song for any sort of comparison between the two songs or any music aspects thereof.]

Lo Chori Pakdi Gayee – Asha Bhosle, Sudha Malhotra, Usha Mangshkar, Meena Mangeshkar – Lyrics: Nyay Sharma

As simple tune and orchestration as the one here has a variation in the beginning of each antara. Nonetheless, the earthen sweetness befitting the situations – four friends going about their domestic chores – of the tune remains intact.

Raat Ke Raahi (1959)

Two out of five songs have been composed by Jaidev. The other three were composed by Bipin Babul.

Pau Baarah Pau Baarah Pyaar Mein Pau Baarah – Asha Bhosle – Lyrics: Vishwamitra Adil

Commensurate with meanings of the lyrics,the song manifests the energetic tempo and mood.

Hum Dono (1961)

Perhaps, commercially the most successful film in so far as popularity and critics acclaim for Jaidev’s musical score. However, he was on some meagre payroll of Naketan when he had composed the songs.  The commercial success of the songs too came up as big roadblock to Jaidev’s career graph. It is said that, for Navketan’s next film he already had composed two songs, but the inner wheels so moved that he was summarily shown the gates, forever.

Prabhu Tero Naam,Jjo Dhyaaye Phal Paaye, Sukh Daaye Tero Naam – Lata Mangeshkar – Lyrics: Sahir Ludhyanvi

For various reasons, the other bhajan “Allah Tero Naam, Ishwar Tero Naam’ has been  the more heard one of the two.

Kinare Kinare (1963)

The film had 11 songs of which only 5 or 6 were retained on the final editing table, and this 11^th song is just out of the box:

O Mast Nazar Tu Chaahe Agar – Vinod Desai -Lyrics: Nyay Sharma

And the two songs from the other 10 gems:

Chale Ja Rahe Hain Mohabbat Ke  Maare Kinare Kinare – Manna Dey – Lyrics: Nyay Sharma

This song has been considered to be one of the greatest solo song of Manna Dey.

Teri Tasvir Bhi Tujh Jaisi Hasi Hai Lekin, Is Pe Kurban Meri Jan-e-Hazin Hai Lekin,, Ye Meri Jakhm-e-Umango Ka Madaawa No Nahi – Mohammad Rafi – Lyrics: Nyay Sharma

A complicated poetry that Jaidev has so subtly translated into a soft song.

Mujhe Jeene Do (1963)

A film from a big banner production house (Sunil Dutt’s Ajanta Arts) that did very well on the ticket window collections, The songs also got all round acceptances. However, this time the success again was not destined to boost Jaidev’s career graph – Something that transpired between the two resulted into break up with Sahir Ludhyanvi, with whom every association of Jaidev had resulted into highly successful outcomes.

Maang Mein Bhar Le Rang Sakhi ri Aanchal Bhar Le Tare Milan Ritu Aa Gayi  –Asha Bhonsle,- Lyrics:Sahir Ludhianvi

Jaidev has used Asha Bhosle, as well as Lata Mangeshkar, for widely varying mood songs in Mujhe Jeene Do

Mohe Na Yoon Ghoor Ghoor Kar Dekho Najar Lag Jaayegi – Lata Mangeshkar – Lyrics: Sahir Ludhianvi

Lata very lightly renders this thoomari-style folk –toned song. The song seems have been truncated out in the film.

Here is the full song in the audio mode:

Jaidev’s brilliance was not totally missed hereafter, even if commercial success never peaked to this level. But, probably that was what destiny had chalked out for him, as composed by him in Sahir’s words:

Kaun Rotaa Hai Kisi Aur Ki Khaatir Aye Dost,

Sabko Apni Hi Kisi Baat Pe Ronaa Aayaa

[No one weeps for someone else, my friend. Everyone does weep for his own tales only.]

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. All copyrights of the respective image remain with the original owner of the image.