Month: October 2017

Raaga Based Song of the Day: Jaane kyun log pyaar karte hain ….
Raag Nattakurinji, Tal Kaherava

A new raag tonight and that too from Carnatic Music. The song in this raag is composed by Shankar-Ehsaan-Loy, also known as S-E-L, standing for the Composer Group of Shankar Mahadevan, Ehsaan Noorani and Loy Mendosa; Shankar Mahadevan is the vocalist, Ehsaan Noorani is the lead guitarist and Loy Mendosa is a multi-instrumentalist who plays the piano, bass guitar, harmonica and is currently learning to play the trumpet. Their first big break was in the 2001 movie Dil Chahta Hai, the debut movie of Farhan Akhtar as a director. They happened to be the music director for the movie because AR Rehman, who was the first choice, had to back out due to other engagements. They are recipients of three Filmfare Awards and one National Award (for Kal Ho Na Ho) besides a host of other awards.

A word about the singers: Udit Narayan and Alka Yagnik. Udit Narayan Jha was born on 01 Dec 1955 and has been the recipient of three National Awards and Five Fimfare Awards. He started singing in the Hindi movies in 1980 and hence is the only male singer who has won Filmfare Awards over three decades of singing. Alka Yagnik is over 10 years younger, having been born on 20th Mar 1966. She has a record of winning seven Filmfare Awards from 36 nominations and two National Awards. Incidentally, this song got Udit Narayan a National Award.

The song’s lyrics were penned by Javed Akhtar. Javed Akhtar, born on 17 Jan 1945, is the son of noted lyricist and poet Jan Nisar Akhtar. He is the recipient of five National Awards, six Filmfare Awards, Padma Shri and Padma Bhushan.

We have completed eighty-one days of Raaga Based Songs of the Day. Our first post in the series was titled ‘Raaga Based Song Of The Day #1’ and the song was a Mohammad Rafi and Lata Mangeshkar song from the 1970 Shakti Samanta movie Pagla Kahin Ka: Tum mujhe youn bhula na paoge.  It is in Raag Jhinjhoti, Tal Kaherava.

Our eighty-first post or the last post was titled ‘Raaga Based Song Of The Day #81‘ and the song was a Mukesh and Lata Mangeshkar song from the 1962 Hrishikesh Mukherjee movie Aashiq starring Raj Kapoor, Nanda and Padmini: O shama mujhe phoonk de. It is in Raag Bhairavi, Tal Kaherava.

This blog has a number of posts on Raaga based songs in Hindi movies titled similarly; for example: ‘The Best Raaga Based Songs in Hindi Movies – Raaga Darbari Kanada – Part III‘.

In the last eighty-one days of sharing Raaga based songs of the day, I have given you songs based on Raag Jhinjhoti, Gara, Bhimpalasi, Madhuvanti, Shivaranjani, Bihag, Pahadi, Sarang, Pilu, Bhairavi, Khammaj, Charukesi, Kalyan or Yaman, Desh, Malgunji, Kirwani, Kedar, Bageshri, Megh Malhar, Bhupali, Ahir Bhairav, Malkaush, Mand, Adana, Kafi, Rageshri, Jaunpuri, Tilang, Janasammohini, Chayanat, Shuddha Kalyan, Gaur Sarang, Jogiya, Asavari, Maru Bihag, Durga, Lalit, Puria Dhanashri, Bhinna Sahdja, Sohani, Multani, Patdeep, Jaijaiwanti, Tilak Kamod, Hemant, Basant Mukhari, Gujri Todi, Kalavati, Hamir, Bhatiyar, Gawati, Shyam Kalyan, Gorakh Kalyan, Madhamat Sarang, Manj Khammaj, Darbari Kanada, Vibhas, Shankara, Bahar, Nand and Mian Ki Malhar; making it a total of 61 raagas. The raagas that have been repeated so far are Pahadi, the raaga of my home place in the Himalayas, Maru Bihag, Raag Kirwani, Jhinjhoti, Bhairavi, Gara, Basant Mukhari, Malkauns, Bhairavi and Mand. Today, I am giving you a new raaga: Nattakurinji.

Today’s song has been sung by Udit Narayan and Alka Yagnik on the lyrics of Javed Akhtar and composition by Shankar-Ehsaan-Loy. As I said, it is in Raag Nattakurinji, Tal Kaherava. The song is picturised on Aamir Khan and Preity Zinta in the 2001 Farhan Akhtar debut movie Dil Chahata Hai. A word about the movie and its principal actor: Aamir Khan.

Lets first take up Aamir Khan, the actor, producer and director, besides a figure for humanitarian causes. In everything that he puts his hands to, Aamir Khan is known as a perfectionist. Unlike other contemporary actors and stars, Aamir Khan gets into the soul of the role that he takes up and is choosy about quality more than quantity. Take the year 2001, for example; Aamir Khan’s own production and an Ashutosh Gowariker movie Lagaan was released that year and he played a rustic hero with excellent leadership qualities who got his village out of paying lagaan (tax) to the British after winning a game of cricket with them, a game they had never played before. He was so convincing in his role as the village-boy Bhuvan that no one expected him to switch to an urbane role as Akash Malhotra in his second movie of the same year: Dil Chahta Hai. One has to imagine that there must have been occasions when the shooting of the movies would have been near concurrent and Aamir Khan had to shift from rustic to urbane.

Lets get to the movie: Dil Chahta Hai. It was the debut directorial venture by Farhan Khan who wrote the story and the screenplay too. The movie was about three childhood friends, Akash Malhotra (Aamir Khan), Sameer Mulchandani (Saif Ali Khan), and Siddharth “Sid” Sinha (Akshaye Khanna). Akash didn’t believe in the concept of love and hence this song that I have chosen for you is so appropriate with Preity Zinta bringing out the benefits of love and Aamir Khan denying them fervently. The movie won seven Filmfare Awards, two National Awards and four IIFA awards. If you now consider the awards won by Lagaan, these are: eight National Awards, nine Filmfare Awards, nine Screen Awards and ten IIFA Awards. This would mean that these two movies in 2001 carried a bulk of awards that year.

Before we actually take up the song, first, lets take up the value added learning of today. From the last time onwards we started learning about some of the leading personalities in Indian Classical Music or Shastriya Sangeet. The first one that we took up was Ustaad Asad Ali Khan, the finest Rudra Veena player in the country. Tonight, lets talk about Pandit Hariprasad Chaurasia, the greatest living flautist (Bansuri player) in the country.

You would recall I told you about Bansuri when I was covering Hindustani Musical instruments (Please see ‘Raaga Based Song Of The Day #46‘). Indians have a natural fascination towards Bansuri, the instrument played magically by our most loved Lord Krishna. Even at that time I briefly covered Padma Vibhushan Hariprasad Chaurasia. I recall, on 21 Dec 2013, when NDTV had the President honour 25 Living Legends (on the occasion of NDTV completing 25 years of broadcasting), Pandit Hariprasad Chaurasia was one of them. His father wanted him to become a wrestler. Hence, he had to learn music without the knowledge of his father (his mother died when he was only 6).

Chaurasia started learning vocal music from his neighbour, Pandit Rajaram, at the age of 15. Later, he switched to playing the flute under the tutelage of Pandit Bholanath Prasanna of Varanasi for eight years. He joined the All India Radio, Cuttack, Odisha in 1957 and worked as a composer and performer. Pandit Hariprasad Chaurasia composed music for Hindi films along with Pt. Shivkumar Sharma, forming a music duo called Shiv-Hari. Coincidentally, today, on the first birth anniversary of actor Vinod Khanna after his demise on 27 April 2017, I gave in my Facebook Group ‘Yaad Kiya Dil Ne’ one of their songs: Lagi aaj sawan ki phir woh jhadi hai penned by Anand Bakshi.

Pandit ji received many awards in his career. The first important one was the Sangeet Natak Akademi Award in 1984. It was followed by Padma Bhushan in 1992 and finally Padma Vibhushan in 2000.

As I said, today’s song is in Raag Nattakurinji, Tal Kaherava.

Raag Nattakurinji is a raaga of Carnatic Music. It is an audhava janya raaga of 28th Melakarta raaga Harikambhoji. This gentle raaga evokes devotion and compassion, ie, the raaga is most suited to bring about Karuna and Sringara Rasa. A pleasant raga, its phrases are very graceful and when handled tastefully, this raga can be quite a treat. Mostly suited for singing in the evenings, it is actually a rakti raaga, ie, can be sung at any time. Natakurinji is easily identifiable owing to its unique Aarohana-Avarohana pattern:

Aarohana (Ascending) : S R2 G3 M1 N2 D2 N2 P D2 N2 S’
Avarohanam (Descending) : S’ N2 D2 M1 G3 M1 P G3 R2 S

Natakurinji is a relatively recent raga. There is no reference to this raaga in pre-18th century literature. The name of the raaga suggests that the origins of this raaga are in the music of the early Tamils; which is not really correct.

In film music, Natakurinji songs are just a few, noteworthy and full of bhava. The convoluted patterns in the raga often scare off film composers from touching upon it. Those brave enough to handle it have done so admirably. Shankar-Ehsaan-Loy are an exception in Hindi movies, as far as this raag is concerned.

The song Jaane kyun log pyaar karte hain is from the 2001 Farhan Akhtar directorial movie Dil Chahta Hai. Other songs of the movie penned by Javed Akhtar and composed by Shankar Ehsaan Loy are:

1.	“Dil Chahta Hai”	Shankar Mahadevan, Clinton Cerejo	5:11
2.	“Jaane Kyon”	Udit Narayan, Alka Yagnik, Caralisa Monteiro	4:49
3.	“Woh Ladki Hai Kahan”	Shaan, Kavita Krishnamurthy	5:06
4.	“Kaisi Hai Yeh Ruth”	Srinivas	5:29
5.	“Koi Kahe Kehta Rahe”	Shankar Mahadevan, Shaan, KK	5:46
6.	“Akash’s Love Theme”	Michael Harvey	2:10
7.	“Tanhayee”	Sonu Nigam	6:10
8.	“Dil Chahta Hai (Reprise)”	Shankar Mahadevan, Clinton Cerejo	4:18
9.	“Rocking Goa”	Chorus	2:06

Please enjoy in Raag Nattakurinji, Tal Kaherava: Jaane kyun log pyaar karte hain ….

Jaane kyuu.N log pyaar karate hai.n
Jaane kyuu.N vo kisii pe marate hai.n
Jaane kyuu.N

Pyaar me.n sochi_e to bas gam hai
Pyaar me.n jo sitam bhii ho kam hai
Pyaar me.n sar jhukaanaa pa.Dataa hai
Dard me.n muskuraanaa pa.Dataa hai
Zahar kyuu.N zi.ndagii me.n bharate hai.n
Jaane kyuu.N vo kisii pe marate hai.n
Jaane kyuu.N

Pyaar bin jiine.n me.n rakhaa kyaa hai
Pyaar jis ko nahii.n vo tanhaa hai
Pyaar sau ra.ng le ke aataa hai
Pyaar hii zi.ndagii sajaataa hai
Log chhup chhup ke pyaar karate hai.n
Jaane.n kyuu.N saaf kahate Darate hai.n
Jaane kyuu.N

Pyaar bekaar kii musiibat hai
Pyaar har tarah khuubasuurat hai
Ho pyaar se ham duur hii achchhe
Are pyaar ke sab ruup hai.n sachche
Ho pyaar ke ghaaT jo utarate hai.n
Duubate hai.n na vo ubharate hai.n
Jaane kyuu.N

Pyaar to khair sabhii karate hai.n
Jaane kyuu.N aap hii mukarate hai.n
Jaane kyuu.N

We have intended to learn about Raaga based music whilst we entertain ourselves with Raaga based songs. So, lets, once again, take stock of our collective learning so far:

1. On the first day we learnt about the Raaga system devised by Pandit Vishnu Narayan Bhatkhande, which is the prevalent system in Hindustani Classical Music and based on ten Thaats.
2. On the second day we learnt about Tal or Taal.
3. On the third day we learnt about characteristics of Raagas that included Swar, Jati, Thaat, Arohana and Avarohana, Vadi, Samvadi and Pakad.
4. On the fourth day, we learnt about Sargam.
5. On the fifth day, we learnt about notations used in Indian classical music or simply Swar Lipi.
6. On the sixth day, we learnt about the Ras (sentiments) that Raagas evoke.
7. On the seventh day, we learnt about various types of Swar: Shuddha, Achal, Vikrut, Komal and Teevra.
8. On the eighth day, we learnt the parts of a composition in Indian Classical Music.
9. On the ninth day, we learnt the names of some of the popular instruments used in Indian Classical Music.
10. On the tenth day, we learnt about the sources of names of Raagas.
11. On the eleventh day, we learnt about why Bhairavi is the first raag to be taught to beginners and also why it is the last in a performance.
12. On the twelfth day, we learnt about Khammaj Thaat.
13. On the thirteenth day, we learnt about Tal Punjabi Theka or Sitarkhani.
14. On the fourteenth day, we learnt about Alap.
15. On the fifteenth day, we learnt about List of Raagas (Raagmala) in my favourite book: Sri Guru Granth Sahib.
16. On the sixteenth day, we learnt about tips for raaga identification.
17. On the seventeenth day, we learnt the basics of Gharana system.
18. On the eighteenth day, we learnt about Filmi Sangeet.
19. On the nineteenth day, we learnt about the commonest Tal in Raagas: Tintal.
20. On the twentieth day, we learnt about the Kafi Thaat.
21. On the twenty-first day, we learnt a little more in detail about the classification of Raagas.
22. On the twenty-second day, we learnt the essential differences between Bhairavi and Bhairav.
23. On the twenty-third day, we learnt a little more in detail about the Jati or Jaati of a raaga.
24. On the twenty-fourth day, we learnt details of Thaat Bilawal, the most basic thaat in the Bhatkhande’s system of raagas.
25. On the twenty-fifth day, we learnt about Tintal.
26. On the twenty-sixth day, we learnt in detail about the Raaga – Samay linkage.
27. On the twenty-seventh day, we learnt about Lehar.
28. On the twenty-eighth day, we learnt about the history of the Hindustani Music.
29. On the twenty-ninth day, we learnt about Dhrupad.
30. On the thirtieth day, we learnt about Rupaktal that I was introduced to, a few months back, by my friend Anand Desai.
31. On the thirty-first day, we learnt about Khayal.
32. On the thirty-second day, we learnt about Thumri.
33. On the thirty-third day, we learnt about Tappa.
34. On the thirty-fourth day, we learnt about Tarana.
35. On the thirty-fifth day, we learnt about Tal Dipchandi (Moghali).
36. On the thirty-sixth day, we learnt about Tabla.
37. On the thirty-seventh day, we learnt about Kirtan.
38. On the thirty-eighth day, we learnt about Pakhawaj.
39. On the thirty-ninth day, we learnt about Hori.
40. On the fortieth day, we learnt about Dadra.
41. On the forty-first day, we learnt about Kajri.
42. On the forty-second day, we learnt about Chaiti.
43. On the forty-third day, we learnt about Sarangi.
44. On the forty-fourth day, we learnt about Shehnai.
45. On the forty-fifth day, we learnt about Sarod.
46. On the forty-sixth day, we learnt about Bansuri.
47. On the forty-seventh day, we learnt about Ektal and Tanpura.
48. On the forty-eighth day, we learnt about Veena.
49. On the forty-ninth day, we repeated our learning of Veena with a small excitement added.
50. On the fiftieth day, we learnt about Dilruba/Esraj.
51. On the fifty-first day, we learnt about Jaltarang.
52. On the fifty-second day we learnt about Qawwali.
53. On the fifty-third day, we learnt about Sitar.
54. On the fifty-fourth day, we learnt about Surbahar.
55. On the fifty-fifth day, we learnt about Harmonium.
56. On the fifty-sixth day, we learnt about Santoor.
57. On the fifty-seventh day, we learnt about Swarmandal.
58. On the fifty-eighth day, we learnt about the Shruti Box.
59. On the fifty-ninth day, we learnt about Alankar.
60. On the sixtieth day, we learnt about singing in Aakaar.
61. On the sixty-first day, we learnt about the Classification of Indian Musical Instruments.
    
62. On the sixty-second day, we learnt a little about Carnatic Music.
63. On the sixty-third day, we learnt about Natya Shastra.
64. On the sixty-fourth day, we learnt about evolution of musical instruments in India down the ages.
65. On the sixty-fifth day, we learnt about Riyaaz.
66. On the sixty-sixth day, we looked at a list of Raagas in Hindustani Classical Music.
67. On the sixty-seventh day, we learnt about the health benefits of raagas.
68. On the sixty-eighth day, we learnt a little more comprehensively about the moods and emotions that raagas evoke.
69. On the sixty-ninth day, we learnt about a mobile application to help identify raagas.
70. On the seventieth day, we learnt about Melakarta Raagas.
71. On the seventy-first day, we learnt about Sangita Makarand.
72. On the seventy-second day, we learnt about TaalMala an Android application for personalized accompaniment of musical instruments during Riyaaz or even during Concert.
73. On the seventy-third day, we learnt about Indian Classical Ragas, an Android application for mobile phones.
74. On the seventy-fourth day, we learnt about Saregama Classical, another application for Classical Raagas.
75. On the seventy-fifth day, we learnt about a free online service available to learn Indian Classical Music.
76. On the seventy-sixth day, we learnt about List of Hindustani Classical Musical Festivals in India and Abroad.
77. On the seventy-seventh day, we learnt about List of Carnatic Musical Festivals in India and Abroad.
78. On the seventy-eighth day, we learnt about Jhaptal.
    
79. On the seventy-ninth day, we learnt about Ektal.
    
80. On the eightieth day, we learnt about Tivra Tal.
81. On the eighty-first day, we learnt about the greatest Rudra Veena player ever: Ustaad Asad Ali Khan.
82. And today, on the eighty-second day, we learnt about the greatest Bansuri player alive: Pandit Hariprasad Chaurasia.

There is much more still to be learnt and enjoyed.

Please stay tuned!

The third consecutive day of songs in this series.

I have been giving you Raaga Based Songs of the Day (eg, ‘Raaga Based Song Of The Day #81‘) for the last nearly three months now. Many of you, who know your music well, have many a times pointed out that a particular song, though ostensibly close to one raaga has traces of other raagas or has deviated substantially from the chosen raaga. I have readily admitted that, pointing out that it is not the job of the film songs composers to stick to the purity of any raaga. Their job is to produce tunes that would be popular and would tug at the emotions of the listeners.

With that in mind, I started a new series two days ago to give you songs that tug at your emotions even when they are not based on any raagas.

These are the songs that stay in the creases of your mind long after you last heard them, somewhat like the strains of the song of The Solitary Reaper by William Wordsworth.

I also feel that these are the songs that make you wonder whether the lyrics influenced you more or the composition or is it the composition that made you look at the beauty of the lyrics?

The first of these was put together by lyricist Shailendra and composer Salil Chowdhury and singer Talat Mahmood for the 1957 Dulal Guha movie Ek Gaon Ki Kahani starring Talat Mahmood, Mala Sinha and Abhi Bhattacharya: Raat ne kyaa kyaa khwaab dikhaaye (‘Songs That Tug At Your Emotions – Song #1‘).

Our last one, that is the second one was put together by lyricist Prem Dhawan, composer Salil Chowdhury and singer Manna Dey for the 1961 Bimal Roy production and Hemen Gupta directed movie Kabuliwala starring Balraj Sahni in the title role: Aye mere pyaare watan, aye mere bichhade chaman, tujhpe dil qurbaan (‘Songs That Tug At Your Emotions – Song #2‘).

Today’s song is another special one.

At the height of Amitabh Bachchan’s popularity, he was covered by Time magazine in a feature, the crux of which was that the Big B was an industry by himself. However, one artiste who actually fitted the description of an industry was not AB but Kishore Kumar. Look at his versatility: he was a playback singer, actor, lyricist, composer, music director, screen and story writer, producer and director, all rolled into one.

Let’s just look at his singing and musical acumen. On one hand he sang comical songs such as those of Chalti Ka Naam Gaadi (Paanch rupaiya barha aana, for example). On the other hand, he sang for Vinod Khanna (whose first birth anniversary after we lost him on 27th of April this year), the Mere Apne song, a serious song: Koi hota jisako apna, ham apna keh lete yaaro.

When it came to producing and directing, Kishore Kumar opted for making movies like Door Gagan Ki Chhaon Mein and Door Ka Rahi that satisfied his inner urge rather than with an eye on commercial success.

Door Gagan Ki Chhaon Mein was released in 1964 and starred his son Amit Kumar and Supriya Choudhury together with Kishore da himself. The movie’s story was based on American film The Proud Rebel, of 1958. Kishore da played Shankar, a retired army man, who returned home to find his family had died in a fire leaving his son Ramu who had become a mute since the fire. Shankar faced intense difficulties in trying to seek treatment for his son as also to lead a normal life. That included personal assault on him, something that I too faced, even when I had not yet retired.

The movie did poorly at box office, which was the fate of almost all movies that tried to get out of the mould of ‘formula films’. Shailendra’s Teesri Kasam is a fine illustrative example.

The movie’s songs, however, became very popular. There were eight penned by Shailendra and composed by Kishore da himself. These included Jin raaton ki bhor nahin, Koi lauta de mere beete huye din, and Rahi tu mat ruk jaana.

The last one, sung by Hemant Kumar, is how I would like to remember Kishore Kumar, a Rahi in search of a Utopian world.

None of these songs, however, became as popular as the only one in the movie penned by Kishore Kumar. It was sung by him on his own composition, in a movie that was written, produced and directed by him, and that starred he and his son Amit Kumar.

You have to admit that the song stays with you long after you have finished listening to it and hence it eminently meets the requirements of the present series.

Please enjoy: Aa chal ke tujhe main le ke chalun….

आ चल के तुझे, मैं ले के चलूं
इक ऐसे गगन के तले
जहाँ ग़म भी न हो, आँसू भी न हो
बस प्यार ही प्यार पले
इक ऐसे गगन के तले

सूरज की पहली किरण से, आशा का सवेरा जागे (२)
चंदा की किरण से धुल कर, घनघोर अंधेरा भागे (२)
कभी धूप खिले कभी छाँव मिले
लम्बी सी डगर न खले
जहाँ ग़म भी नो हो, आँसू भी न हो …

जहाँ दूर नज़र दौड़ आए, आज़ाद गगन लहराए
जहाँ रंग बिरंगे पंछी, आशा का संदेसा लाएं (२)
सपनो मे पली हँसती हो कली
जहाँ शाम सुहानी ढले
जहाँ ग़म भी न हो, आँसू भी न हो …
आ चल के तुझे मैं ले के चलूं …

 

As motivational songs go, this song is in a class by itself. Despite all the difficulties faced by Kishore Kumar he still dreams of a Utopian world. The first part of the video where his son chooses a flute over a toy-gun is also very symbolic. This is one of the few songs that I know of wherein no matter what mood you are in, you feel like singing along, somewhat similar to Neil Diamond’s Song Sung Blue.

I hope you enjoyed it too.

Please await tomorrow’s song.

Thank you very much for the enthusiastic response to the new series. Here is how it started:

I have been giving you Raaga Based Songs of the Day (eg, ‘Raaga Based Song Of The Day #80‘) for the last nearly three months now. Many of you, who know your music well, have many a times pointed out that a particular song, though ostensibly close to one raaga has traces of other raagas or has deviated substantially from the chosen raaga. I have readily admitted that, pointing out that it is not the job of the film songs composers to stick to the purity of any raaga. Their job is to produce tunes that would be popular and would tug at the emotions of the listeners.

With that in mind, I started a new series yesterday to give you songs that tug at your emotions even when they are not based on any raagas.

These are the songs that stay in the creases of your mind long after you last heard them, somewhat like the strains of the song of The Solitary Reaper by William Wordsworth.

I also feel that these are the songs that make you wonder whether the lyrics influenced you more or the composition or is it the composition that made you look at the beauty of the lyrics?

The first of these was put together by lyricist Shailendra and composer Salil Chowdhury and singer Talat Mahmood for the 1957 Dulal Guha movie Ek Gaon Ki Kahani starring Talat Mahmood, Mala Sinha and Abhi Bhattacharya: Raat ne kyaa kyaa khwaab dikhaaye (‘Songs That Tug At Your Emotions – Song #1‘).

Today’s song is another special one.

It is from the 1961 Bimal Roy production Kabuliwala that was directed by Hemen Gupta who was private secretary to Netaji Subhas Chandra Bose. The movie was based on a story by Nobel Laureate Rabindranath Tagore and starred Balraj Sahni as an Afghan, Abdur Rahamat Khan, who travels to Calcutta from his village near Kabul (that’s why the title) so as to earn more and give better life to his  family, particularly his little daughter played by Baby Farida. Whilst in Calcutta as a dry-fruit seller, he develops affection for a small girl Mini, played by Sonu, the daughter of Rama (Usha Kiran) and her husband (Sajjan). He sees in Mini his own daughter in his Afghan village.

This song, penned by Prem Dhawan, composed by Salil Chowdhury, and sung by Manna Dey is a poignant one when Balraj Sahni and other Afghans miss their country and their loved ones that they left behind whilst seeking greener pastures in India. The strains of the song stay with you long after it is over. Many of us actually sing the song as a devotion to our own country, which is but natural.

The song also fills you with silent pride about the kind of movies that we made in just independent India. We made movies, for example, on the plight of Jews, on Iraqis (particularly Baghdad), and on themes driven by Egypt, China, Burma and Japan.

Many a times, our music directors assimilated notes from these foreign locales. For example, the song that I have selected for you is based on a folk-tune of Afghanistan.

We were the best in portraying themes of humanism, international cross cultures and search for mutated identities of people affected by large-scale migration.

Just to drive home that point, let me add that Rabindranath Tagore’s story Kabuliwala was translated into English by an Irish woman Margaret Elizabeth Noble, who was so influenced by Swami Vivekananda‘s ideal of humanism and service to mankind, that she became a lifelong disciple of the Swami and was given the name Sister Nivedita (dedicated to God) by Swami Vivekananda, in Calcutta, much before Mother Theresa embarked on her Service of God theme.

I am in love with this song and I assume it fills you too with emotions that are bound to be there when one has travelled far from one’s country of birth. So powerful is this theme that many decades later when Pankaj Udhas came up with his Chidhi aayi hai, it evoked equally strong emotions.

Please enjoy: Aye mere pyaare watan, aye mere bichhade chaman, tujh pe dil qurbaan…

ऐ मेरे प्यारे वतन, ऐ मेरे बिछड़े चमन
तुझ पे दिल क़ुरबान
तू ही मेरी आरज़ू, तू ही मेरी आबरू
तू ही मेरी जान

(तेरे दामन से जो आए उन हवाओं को सलाम
चूम लूँ मैं उस ज़ुबाँ को जिसपे आए तेरा नाम ) – २
सबसे प्यारी सुबह तेरी
सबसे रंगीं तेरी शाम
तुझ पे दिल क़ुरबान …

(माँ का दिल बनके कभी सीने से लग जाता है तू
और कभी नन्हीं सी बेटी बन के याद आता है तू ) – २
जितना याद आता है मुझको
उतना तड़पाता है तू
तुझ पे दिल क़ुरबान …

(छोड़ कर तेरी ज़मीं को दूर आ पहुंचे हैं हम
फिर भी है ये ही तमन्ना तेरे ज़र्रों की क़सम ) – २
हम जहाँ पैदा हुए
उस जगह पे ही निकले दम
तुझ पे दिल क़ुरबान …

https://www.youtube.com/watch?v=oAdeqOrfzPA

When I was young, I hadn’t seen the movie. All throughout my life I was in love with this song, so  much so that I didn’t want to see the movie lest it should wreck the atmosphere that I had personally built around the song. Finally, in Dec 2016, I picked up courage to see the movie. And, I was able to see what a beautiful movie Hemen had put together. They built up to the song very well and I thoroughly enjoyed it in the movie too.

I hope you enjoyed it too.

Please await tomorrow’s song.

I have been giving you Raaga Based Songs of the Day (eg, ‘Raaga Based Song Of The Day #79‘) for the last nearly three months now. Many of you, who know your music well, have many a times pointed out that a particular song, though ostensibly close to one raaga has traces of other raagas or has deviated substantially from the chosen raaga. I have readily admitted that, pointing out that it is not the job of the film songs composers to stick to the purity of any raaga. Their job is to produce tunes that would be popular and would tug at the emotions of the listeners.

With that in mind, I am starting a new series today to give you songs that tug at your emotions even when they are not based on any raagas.

These are the songs that stay in the creases of your mind long after you last heard them, somewhat like the strains of the song of The Solitary Reaper by William Wordsworth.

I also feel that these are the songs that make you wonder whether the lyrics influenced you more or the composition or is it the composition that made you look at the beauty of the lyrics?

The first of these has been put together by lyricist Shailendra and composer Salil Chowdhury.

There are many who feel that Shailendra penned his best songs for Raj Kapoor movies and hence composed by Shankar Jaikishan. I am included in such people. However, his songs for Salil da are memorable indeed. This is one of them. At random I can think of their songs for 1958 Bimal Roy movie Madhumati and 1960 Bimal Roy movie Parakh, such as Aaja re pardesi, Dil tadap tadap ke keh raha hai, Toote huye khwabon ne, and O sajana barkha bahaar aayi.

This one has been sung by Talat Mehmood who perfected the tremor in his voice.

It is from the 1957 movie Ek Gaon Ki Kahani that starred Talat Mehmood, Mala Sinha and Abhi Bhattacharya.

To understand the song better here is the story-line:

Jaya (Mala Sinha) lives in a village called Chandangaon in India along with her widower dad, Gokul (IS Johar), who works for a living as a compounder, but calls himself a Homeopathic doctor and dispenses Arnica for all kinds of ailments, especially since there is no qualified doctor in the village. Since Jaya is or marriageable age, he has arranged her marriage with hard-of-hearing Shiv, the son of Dayashankar (Bipin Gupta), who is the President of the Gram Panchayat. Dayashankar is anxious to get Shiv married so that he can get some dowry from Gokul. The other suitor for Jaya is Ratan (Abhi Bhattacharya), whose mother would like her to re-marry her son as his wife, Maya (Nirupa Roy), is unable to conceive. Then a new doctor (Talat Mahmood as Talat) arrives in this village to look after the charitable dispensary. Things heat up when Dayashankar and Ratan’s mom (Lalita Pawar) find out that he may be Jaya’s new suitor. Hilarious chaos reigns when Maya assaults her cruel mother-in-law, and Ratan abducts Jaya from her marriage with Shiv.

Please enjoy: Raat ne kyaa kyaa khwab dikhaye….

रात ने क्या क्या ख्वाब दिखाये
रंग भरे सौ जाल बिछाये
आँखें खुली तो सपने टूटे
रह गये ग़म के काले साये
रात ने …

ओ … (हम ने तो चाहा भूल भी जायें
वो अफ़साना क्यों दोहोरायें ) – २
दिल रह रह के याद दिलाये
रात ने क्या क्या …

(दिल में दिल का ददर् छुपाये
चलो जहां क़िस्मत ले जाये ) – २
दुनिया परायी लोग पराये
रात ने क्या क्या …

A serious song in a comic movie? Well, the fact is that the song does tug at your emotions and leaves you with an emptiness that Talat must have felt when parting from Jaya.

I hope you enjoyed it.

Please await tomorrow’s song.

Raaga Based Song of the Day: O shama mujhe phoonk de ….
Raag Bhairavi, Tal Kaherava

The favourite raag of Shankar Jaikishan again for the simple reason that there are dozens of beautiful songs composed by them in it and I haven’t given you anywhere close to enough. The 1962 movie Aashiq had something in common with the 1959 movie Anari in that both were directed by Hrishikesh Mukherjee. Both being Raj Kapoor starrers had no surprises in lyricists, composers and music directors, and singers. The songs of the movie were penned by Hasrat Jaipuri and Shailendra, composed by the greatest music duo in Hindi films: Shankar Jaikishan, and sung by Mukesh and Lata Mangeshkar.

If you were wondering as to why I brought the coincidence of Hrishikesh Mukherjee being the director of both the movies whose songs in Raag Bhairavi I have given in quick succession, then here is the main reason:

We have completed eighty days of Raaga Based Songs of the Day. Our first post in the series was titled ‘Raaga Based Song Of The Day #1’ and the song was a Mohammad Rafi and Lata Mangeshkar song from the 1970 Shakti Samanta movie Pagla Kahin Ka: Tum mujhe youn bhula na paoge.  It is in Raag Jhinjhoti, Tal Kaherava.

Our eightieth post or the last post was titled ‘Raaga Based Song Of The Day #80‘ and the song was a Jagjit Kaur song from the 1964 Nazar movie Shagun starring Waheeda Rehman and her husband Kamalji: Tum apna ranj-o-gham apni pareshaani mujhe de do. It is in Raag Pahadi, Tal Kaherava.

This blog has a number of posts on Raaga based songs in Hindi movies titled similarly; for example: ‘The Best Raaga Based Songs in Hindi Movies – Raaga Darbari Kanada – Part II‘.

In the last eighty days of sharing Raaga based songs of the day, I have given you songs based on Raag Jhinjhoti, Gara, Bhimpalasi, Madhuvanti, Shivaranjani, Bihag, Pahadi, Sarang, Pilu, Bhairavi, Khammaj, Charukesi, Kalyan or Yaman, Desh, Malgunji, Kirwani, Kedar, Bageshri, Megh Malhar, Bhupali, Ahir Bhairav, Malkaush, Mand, Adana, Kafi, Rageshri, Jaunpuri, Tilang, Janasammohini, Chayanat, Shuddha Kalyan, Gaur Sarang, Jogiya, Asavari, Maru Bihag, Durga, Lalit, Puria Dhanashri, Bhinna Sahdja, Sohani, Multani, Patdeep, Jaijaiwanti, Tilak Kamod, Hemant, Basant Mukhari, Gujri Todi, Kalavati, Hamir, Bhatiyar, Gawati, Shyam Kalyan, Gorakh Kalyan, Madhamat Sarang, Manj Khammaj, Darbari Kanada, Vibhas, Shankara, Bahar, Nand and Mian Ki Malhar; making it a total of 61 raagas. The raagas that have been repeated so far are Pahadi, the raaga of my home place in the Himalayas, Maru Bihag, Raag Kirwani, Jhinjhoti, Bhairavi, Gara, Basant Mukhari, Malkauns, Bhairavi and Mand. Today, I am repeating Raaga Bhairavi again.

Today’s song has been sung by Lata Mangeshkar and Mukesh on the lyrics of Shailendra and composition by Shankar Jaikishan. As I said, it is in Raag Bhairavi, Tal Kaherava. The song is picturised on Raj Kapoor and Padmini. A word about them at this stage:

Raj Kapoor acted with Nargis in as many as 17 movies, from 1947 movie Aag to 1956 movie Chori Chori. Once the Raj Kapoor-Nargis era got over, Raj Kapoor was looking for a replacement. During the shooting of Chori Chori in Madras, Raj and Padmini came close as she was working in the next studio. After that they met in Moscow where Raj Kapoor had gone to attend Karlovy Vary Award Function and she was there with her sister Ragini for a Youth Festival. After the sudden departure of Nargis from Moscow, when Raj Kapoor fell ill, it was Padmini who nursed him. Raj Kapoor told his friends that he made the 1960 movie Jis Desh Mein Ganga Behati Hai with Padmini to express his gratitude to her. Rumours started abounding that Raj Kapoor was besotted with her due to her ample physicial assets. A proof of that was that Raj Kapoor turned to display her sensuousness in the movies, something that he hadn’t done with Nargis; eg, the song Ho maine pyar kiya picturised on Padmini in Jis Desh Mein Ganga Behati Hai was done in a swim suit and focussed on her cleavage and sexuality. Padmini was pregnant when she acted with Raj Kapoor in 1962 Hrishikesh Mukherjee Aashiq that was produced by Bunny Reuben and VK Dubey. There were rumours galore when she delivered in the 8th month of her marriage though most of these were later proved to be unfounded.

Before we actually take up the song, first, lets take up the value added learning of today. Today onwards we shall learn about some of the leading personalities in Indian Classical Music or Shastriya Sangeet. The first one is Ustaad Asad Ali Khan.

You would recall when I told you about Veena and especially Rudra Veena (Please see ‘Raaga Based Song Of The Day #48‘ and ‘Raaga Based Song Of The Day #49‘). Even though Veena is the oldest of the Indian musical instruments, after it was replaced by Sitar, very few displayed interest in playing Veena. Ustaad Asad Ali Khan (01 December 1937 – 14 June 2011) was the best Rudra Veena player that we ever had. For his dedication and mastery of the instrument he was awarded Padma Bhushan three years before he died. In addition, as early as in 1977, he was awarded the Sahitya Akademi Award.

Ustaad Asad Ali Khan belonged to a family of Veena players. He represented the Khandarbani Dhrupad style of the Jaipur Beenkar (Indore) gharana. Carsten Wicke (one of his students) in an obituary on his death wrote: “Whether as a musician, teacher, or human being – Khansahib’s biography was an example of how much alive the rudra veena can still be today. Nevertheless, the subtle sound of his veena and his lifelong dedication and self discipline often seemed like a memory from a long gone past already in his lifetime. Strict musical grammar combined with aesthetic refinement and artistic greatness were the wings on which the music flowed from his veena like a prayer. Although a devout Muslim it seemed completely natural to him to articulate his longing for God through the sounds of Hindu-based dhrupad music.”

Ustaad Asad Ali Khan He performed in many countries, including Australia, the United States, Afghanistan, and Italy and several other European countries, and conducted music courses in the United States. He criticised unwillingness in students in India to learn the Rudra Veena.

As I said, today’s song is in Raag Bhairavi, Tal Kaherava.

Raag Bhairavi is the basic raag of the Bhairavi Thaat. Bhairavi makes use of all the komal swars, Rishabh, Gandhar, Dhaivat, Nishad. When singing compositions in Bhairavi raag, the singers however take liberty to use all the 12 swars. Bhairavi raag is named after the Shakti or feminine aspect of the cosmic life force, which is personified as a consort to Lord Shiva. Bhairavi is a powerful raag filled with devotion and compassion. Its Jati is Sampurna – Sampurna, which means all seven swar (heptatonic) both in Aaroha and Avaroha. I have already told you that in a concert Bhairavi is usually the concluding raaga since it is supposed to cure mistakes of the earlier performances. Hence, if a concert has started at night (which is usually the case), Bhairavi would be played in the wee hours of the morning.

A pleasant sobering atmosphere full of love and piety is created with this raag and one feels so close to the Supreme. Its compositions include several Thumris, Bhajans, Ghazals, Songs etc. Since it is an ocean of immense possibilities the melodic combinations can include all the twelve notes with skill.

I am not giving you again a list of songs composed in Raag Bhairavi as I have already given you this elsewhere.

The song O shama mukhe phoonk de is from the 1962 Hrishikesh Mukherjee movie Aashiq starring Raj Kapoor, Nanda and Padmini. The team of Hasrat Jaipuri, Shailendra and Shankar Jaikishan created the following beautiful songs; this was of course, penned by Shailendra and has been a personal favourite since my college days. I have been fond of good Urdu poetry and Shailendra has used the metaphor of Shama and Parwana to bring out the contradiction in the situations of the lead actors in the dance.

 

1	“Yeh To Kaho Kaun Ho Tum”	Mukesh
2	“Tum Jo Hamare Meet Na Hote”	Mukesh
3	“Mehtab Tera Chehra”	Mukesh, Lata Mangeshkar
4	“Main Aashiq Hoon Baharon Ka”	Mukesh
5	“Jhanan Jhan Jhanke Apni Payal”	Lata Mangeshkar
6	“Lo Aai Milan Ki Raat”	Lata Mangeshkar
7	“O Shama Mujhe Phoonk De”	Mukesh, Lata Mangeshkar
8	“Tum Aaj Mere Sang Hans Lo”	Mukesh

When you listen to and watch the song, you are instantly taken in by the treatment that Shankar Jaikishan have given the song. It starts with a slow tempo and then it picks up and changes almost into a frenzy. Meanwhile the female dancers are swaying like flames of candles (Shama) trying to entrap the Parwana (in this case Raj Kapoor) who, like the proverbial Parwana, is only too eager to sacrifice himself in love. One of the reasons that I love the music duo of S-J is that they cause unmatcheable harmony between lyrics and notes and if then we have a director of the eminence of Hrishikesh Mukherjee, the entire sequence leaves you breathless. Finally, I have this to say about S-J’s music: in case of other composers, they merely compose, S-J take you along on a musical journey and when you arrive at the destination, in this case at minute 6:46, you feel close to having been on a roller coaster ride.

Please enjoy in Raag Bhairavi, Tal Kaherava: O shama mukhe phoon de ….

Mu : O shamaa mujhe phuu.nk de
Mai.n na mai.n rahuu.N tuu na tuu rahe
Yahii ishq kaa hai dastuur -2
La : Paravaane jaa hai ajab chalan
Yahaa.N jiite jii apanaa milan
Qismat ko nahii.n ma.njuur -2

Shaam se lekar roz sahar tak tere li_e mai.n saarii raat jalii
Maine to haay ye bhii na jaanaa kab din Duubaa kab raat Dhalii
Phir bhii hai.n milane se majabuur -2
Mu : O shamaa mujhe …

Patthar dil hai.n ye jagavaale jaane na ko_ii mere dil kii jalan -2
Jab se hai janamii pyaar kii duniyaa tujhako hai merii mujhe terii lagan
Tum bin ye duniyaa hai benuur -2
La : Paravaane jaa hai …

Mu : Haay rii qismat a.ndhii qismat dekh sakii naa terii-merii Kushii
La : Haay rii ulfat bebas ulfat ro ke thakii jal-jal ke marii
Do : Dil jo mile kisakaa thaa qasuur -2
Mu : O shamaa mujhe …
La : Paravaane jaa hai …

 

We have intended to learn about Raaga based music whilst we entertain ourselves with Raaga based songs. So, lets, once again, take stock of our collective learning so far:

1. On the first day we learnt about the Raaga system devised by Pandit Vishnu Narayan Bhatkhande, which is the prevalent system in Hindustani Classical Music and based on ten Thaats.
2. On the second day we learnt about Tal or Taal.
3. On the third day we learnt about characteristics of Raagas that included Swar, Jati, Thaat, Arohana and Avarohana, Vadi, Samvadi and Pakad.
4. On the fourth day, we learnt about Sargam.
5. On the fifth day, we learnt about notations used in Indian classical music or simply Swar Lipi.
6. On the sixth day, we learnt about the Ras (sentiments) that Raagas evoke.
7. On the seventh day, we learnt about various types of Swar: Shuddha, Achal, Vikrut, Komal and Teevra.
8. On the eighth day, we learnt the parts of a composition in Indian Classical Music.
9. On the ninth day, we learnt the names of some of the popular instruments used in Indian Classical Music.
10. On the tenth day, we learnt about the sources of names of Raagas.
11. On the eleventh day, we learnt about why Bhairavi is the first raag to be taught to beginners and also why it is the last in a performance.
12. On the twelfth day, we learnt about Khammaj Thaat.
13. On the thirteenth day, we learnt about Tal Punjabi Theka or Sitarkhani.
14. On the fourteenth day, we learnt about Alap.
15. On the fifteenth day, we learnt about List of Raagas (Raagmala) in my favourite book: Sri Guru Granth Sahib.
16. On the sixteenth day, we learnt about tips for raaga identification.
17. On the seventeenth day, we learnt the basics of Gharana system.
18. On the eighteenth day, we learnt about Filmi Sangeet.
19. On the nineteenth day, we learnt about the commonest Tal in Raagas: Tintal.
20. On the twentieth day, we learnt about the Kafi Thaat.
21. On the twenty-first day, we learnt a little more in detail about the classification of Raagas.
22. On the twenty-second day, we learnt the essential differences between Bhairavi and Bhairav.
23. On the twenty-third day, we learnt a little more in detail about the Jati or Jaati of a raaga.
24. On the twenty-fourth day, we learnt details of Thaat Bilawal, the most basic thaat in the Bhatkhande’s system of raagas.
25. On the twenty-fifth day, we learnt about Tintal.
26. On the twenty-sixth day, we learnt in detail about the Raaga – Samay linkage.
27. On the twenty-seventh day, we learnt about Lehar.
28. On the twenty-eighth day, we learnt about the history of the Hindustani Music.
29. On the twenty-ninth day, we learnt about Dhrupad.
30. On the thirtieth day, we learnt about Rupaktal that I was introduced to, a few months back, by my friend Anand Desai.
31. On the thirty-first day, we learnt about Khayal.
32. On the thirty-second day, we learnt about Thumri.
33. On the thirty-third day, we learnt about Tappa.
34. On the thirty-fourth day, we learnt about Tarana.
35. On the thirty-fifth day, we learnt about Tal Dipchandi (Moghali).
36. On the thirty-sixth day, we learnt about Tabla.
37. On the thirty-seventh day, we learnt about Kirtan.
38. On the thirty-eighth day, we learnt about Pakhawaj.
39. On the thirty-ninth day, we learnt about Hori.
40. On the fortieth day, we learnt about Dadra.
41. On the forty-first day, we learnt about Kajri.
42. On the forty-second day, we learnt about Chaiti.
43. On the forty-third day, we learnt about Sarangi.
44. On the forty-fourth day, we learnt about Shehnai.
45. On the forty-fifth day, we learnt about Sarod.
46. On the forty-sixth day, we learnt about Bansuri.
47. On the forty-seventh day, we learnt about Ektal and Tanpura.
48. On the forty-eighth day, we learnt about Veena.
49. On the forty-ninth day, we repeated our learning of Veena with a small excitement added.
50. On the fiftieth day, we learnt about Dilruba/Esraj.
51. On the fifty-first day, we learnt about Jaltarang.
52. On the fifty-second day we learnt about Qawwali.
53. On the fifty-third day, we learnt about Sitar.
54. On the fifty-fourth day, we learnt about Surbahar.
55. On the fifty-fifth day, we learnt about Harmonium.
56. On the fifty-sixth day, we learnt about Santoor.
57. On the fifty-seventh day, we learnt about Swarmandal.
58. On the fifty-eighth day, we learnt about the Shruti Box.
59. On the fifty-ninth day, we learnt about Alankar.
60. On the sixtieth day, we learnt about singing in Aakaar.
61. On the sixty-first day, we learnt about the Classification of Indian Musical Instruments.
    
62. On the sixty-second day, we learnt a little about Carnatic Music.
63. On the sixty-third day, we learnt about Natya Shastra.
64. On the sixty-fourth day, we learnt about evolution of musical instruments in India down the ages.
65. On the sixty-fifth day, we learnt about Riyaaz.
66. On the sixty-sixth day, we looked at a list of Raagas in Hindustani Classical Music.
67. On the sixty-seventh day, we learnt about the health benefits of raagas.
68. On the sixty-eighth day, we learnt a little more comprehensively about the moods and emotions that raagas evoke.
69. On the sixty-ninth day, we learnt about a mobile application to help identify raagas.
70. On the seventieth day, we learnt about Melakarta Raagas.
71. On the seventy-first day, we learnt about Sangita Makarand.
72. On the seventy-second day, we learnt about TaalMala an Android application for personalized accompaniment of musical instruments during Riyaaz or even during Concert.
73. On the seventy-third day, we learnt about Indian Classical Ragas, an Android application for mobile phones.
74. On the seventy-fourth day, we learnt about Saregama Classical, another application for Classical Raagas.
75. On the seventy-fifth day, we learnt about a free online service available to learn Indian Classical Music.
76. On the seventy-sixth day, we learnt about List of Hindustani Classical Musical Festivals in India and Abroad.
77. On the seventy-seventh day, we learnt about List of Carnatic Musical Festivals in India and Abroad.
78. On the seventy-eighth day, we learnt about Jhaptal.
    
79. On the seventy-ninth day, we learnt about Ektal.
    
80. On the eightieth day, we learnt about Tivra Tal.
81. And today, on the eighty-first day, we learnt about the greatest Rudra Veena player ever: Ustaad Asad Ali Khan.

There is much more still to be learnt and enjoyed.

Please stay tuned!