Thanks to Suryatri Dr. DP Agrawal, who captured this video and posted it on YouTube so that it can be shared at the earliest..

Here is Sharda ji interacting with Suryatri’s in the morning meet and sharing a lot of anecdotes..

सुरयात्रा और परिवर्तन ट्रस्ट

की सहभागिता में आयोजित
लोकप्रिय पार्श्वगायिका और संगीतकार

शारदा

सम्मान समारोह एवं संगीत संध्या
में शामिल होने का आपको सुरीला आमंत्रण

27 सितम्बर 2009 रविवार

शाम 6:30 बजे

पंचायती राज एवं ग्रामीण विकास संस्थान सभागार
जवाहर कला केन्द्र-शिल्पग्राम के पास,
जवाहर लाल नेहरू मार्ग, जयपुर (map)

सुरयात्रा सम्पर्क सूत्र: 9829051075,9414305011
आयोजक : देवेन्द्र पारीक

Suryatra crosses 30th milestone

July 12 was a special day for Suryatris. The dedicated group of Hindustani Film Music (HFM) buffs were attending the 30th quarterly meeting of Suryatra at Rajasthan Adult Education Association premises in picturesque Jhalana Institutional Area in Jaipur.

Journalist and film historian M.D.Soni and die hard HFM collector Arun Agrawal, who jointly started the Suryatra caravan on December 9, 2001, were, as usual, reached the venue before time to receive others. Senior hamrahi Mukut Singh Naruka too was the early arriver.

By the schedule time of 10.30 am most of the members had already gathered to share their love for HFM. The proceeding of the day began with Soni ji welcoming all by presenting a brief overview of the past journey of Suryatra Caravan. He welcomed and introduced a new hamrahi Arun Mudgal into Suryatra fold. Mudgal is a former Rajasthan Administrative Service (RAS) officer and a true music connoisseur.

The tone of the meeting was set by Mudgal who, while telling about himself and his hobbies, dwelled upon intricacies of HFM discussing rare qualities of music directors and singers of the past and the present.

The discussion strayed into the songs inspired by Indian or other music compositions. The discussion was intense and passionate.

The absence of Pavan Jha , the great strength to Suryatra was being felt by every one and a SMS message flashed to him quoting mukhda of Anarkali song “Aaja ab to aaja…” and to the pleasant surprise of all he was there within few minutes.

Pavan quickly joined the discussion. He later shared with Suryatris his experience of the RMIMers’ meeting at Bangalore he had attended recently. The way he narrated the entire proceedings of the Bangalore meet and deliberations held there the Suryatris felt as if they had been in Bangalore personally.

He brought with him the new CD album produced by Yasraj Films ‘Tere Bagair’ containing unreleased and unused song tracks composed by great Madan Mohan. Although all Suryatris already had in their possession the LP and the cassette, issued by HMV long back, containing unreleased song tracks of MM. Pavan informed that the CD album released now had four additional tracks taken from the recordings available with the MM family.

The discussion naturally swerved on film songs remaining unreleased or unused. Soni ji played a song ‘Aayee Mohan Milan Ki Bela’ which was recorded for film ‘Janam Janam Ke Phere (1957) by music director S.N Tripathi on the lyrics of Bharat Vyas. The Shamshad Begum- Rafi chorus song was not picturised and included in the film but was released on 78 rpm record as JJKP song. However, the producer Rattan Kumar used the same song in his film Banjarin (1960). The film had music by Pardesi (who later scored music using name as Chand Pardesi) but no mention was made of the fact that the composer of the said song was S.N. Tripathi.

Similarly, Soni ji informed, it happened again when the song ‘Maana Teri Nazar Men…’ written by Naqsh Layalpuri under the musical score of Khayyam was recorded for film Khandan (1979) and released on disc but not used in the film. The same song was used in film ‘Aahista-Aahista’ (1981). The music director of the film was Khayyam in both the pictures.

The discussion also shifted to inspiration of certain film songs from other songs, both from Hindustani and other languages, and also from music of far off countries including western pieces.

Thrilling all a song ‘Aayee Gori Radhika Brij Men Bal Khaati…’ from 1948 film ‘Gopinath’ with music by Ninu Majumdar was played which was recreated with same tune by Laxmikant Pyarelal in Raj Kapoor’s ‘Satyam Shivam Sundaram.’ Pt. Narendra Sharma wrote somewhat similar wordings for the SSS song ‘Yashomati Maiya Se Bole Nandlala…’ tinkering a little with the ‘Gopinath’ song that used traditional bhajan of Surdas.

Big chronicler of HFM Sushil Kumar Jain was of the opinion that the lift must have been the handiwork of Raj Kapoor who played lead role in Gopinath and was producer of SSS.

As the rain poured outside the Suryatris were treated with tasteful snacks and tea. Suryatri Rajesh Agrawal shared the joy of wedding of his daughter by serving sweets at the meet.

The members also discussed and agreed to hold an outing in which family members of Suryatris may have get together.

- Rajendra Bora

Noted lyricist Gulshan Bawra, whose song in Manoj Kumar’s film ‘Upkaar’ – ‘Mere Desh Ki Dharti Sona Ugle’ – turned out to be one of the finest patriotic songs in Hindi films, passed away in Mumbai today. Many would not know that the poet who also wrote ‘Yaari Hai Imaan Mera’ for Amitabh Bacchhan’s first blockbuster ‘Zanjeer’, had Jaipur connection.

The poet, who thrilled the Hindustani Film Music buffs for about 40 years had his schooling in Jaipur. He was born at Sheikhupura, about 30 kms from Lahore in undivided India. His original name was Gulshan Kumar Mehta. His family was a victim to the partition riots where young Gulshan saw his parents being killed in front of his eyes. After the tragedy his sister brought him and his elder brother to Jaipur and brought them up. The family used to live in Raja Park area and Gushan had his schooling in the Pink City.

After his brother got a job, Gulshan was shifted to Delhi where he graduated from the Delhi University. He started writing poetry in his college days. After graduation he got a job in Railways and was posted to Kota. But he found that the post at Kota had already been filled when he reached there to join. He was later posted as a clerk in Mumbai, the tinsel town.

He tried to get a break in films remaining in his job. Kalyanji - Veerji Shah gave him first opening in ‘Chandrasena’ (1959) and Lata Mangeshkar sang his very first song ‘Main kya jaanu kahan laage yeh saawan matwala re’

He tasted his first big success in film ‘Satta Bazar’ when Kalyanji – Anandji’s musical score gripped the audiences all over the country. ‘Tumhe Yaad Hoga Khabhi Ham Mile The’ from this film is still rage among music lovers.

It was during the making of this film that the film’s distributor Shantibhai Patel christened him ‘Bawra’. He was very impressed by his lyrics but could not reconcile their excellence to the typical young man in his twenties who wore a rather colourful shirt. He said, ‘Main iska naam Gulshan Bawra rakhoonga. He looks like a ‘bawra’ (madman).’

He eventually left the Railway’s job 1961 joined the tinsel world. Stastically he wrote only 240 songs in a 42-year career because he was always selective in doing films not allowing himself to turn into a song producing machine.

Almost half of his total number of songs had been with R.D.Burman. His last release was Zulmi (1999) and his last hit was ‘Le pappiyaan jhappiyaan paale hum’ for Haqeeqat(1995), which landed him in his only controversy - of writing a vulgar song. Bawra, who did comeo roles too in a few films was on the board of the Indian Performing Right Society (IPRS) for the past seven years.

Film historian M.D.Soni had talked with the lyricist two months back for inviting him to a meeting of ‘Suryatra’, a group of film music buffs in Jaipur. Although he was ill but enthusiastically assured that he would come to Jaipur after two or three months for rekindling his childhood memories. But fate decided otherwise.

Name of Manohari Singh, who played saxophone and other instruments in more than 15,000 film songs, rings nostalgic bells in the ears of Hindustani Film Music (HMF) buffs. The maestro, around eighty and on dialysis, still plays the wind instrument with gusto transporting the audience to the golden era of film music of the last century.

Bells did ring in my ears when fellow Suryatri MD Soni called me on phone to tell me that Manohari Dada would be in Jaipur and Suryatra members could have a chance to meet the maestro. He talked to Dada and excitedly informed that the saxophonist had agreed to meet us. Accordingly we, the members of Suryatra, Soni ji, Arun Agrawal, and myself reached the hotel where Manohari Da was staying.

All our inhibitions vanished the moment Dada welcomed us in the lobby of the hotel and ushered into his room. There was such a humble and caring man which makes an artiste great human being. During entire our conversation his humbleness and humanity flew in abundance and drenched us all with his love and affection.

The old wizard was, however, “angry” over today’s film music scenario. “ Bada Gussa Aata Hai”, he remarked when the discussion skirted to the present film music. “Every thing has turned into ashes. Film music industry has finished. The ambience and atmosphere created by music directors, lyricist and singers of bygone era have vanished. There is a kind of bestiality pervading the contemporary film music”, said the soft spoken Manohari Da in anguish.

The musician who played for legendary music directors like S.D.Burman, Shankar Jaikishen, Kalyanji Anandji, Madan Mohan, O.P.Nayyar, Chitragupt and R.D.Burman felt that the music being created these days had no match to the golden era of film music. “You can’t create human feelings with electronic key boards”, he said quoting a remark of music director late Anil Biswas that today’s music can tap your feet but it can’t move your heart.

Old film music will never die. It will continue to grip the listeners in generations to come, asserted Manohari Da.

Sharing nostalgic memories of the past with ‘Suryatra’ members he said he worked with old stalwarts of Kolkata like Pankaj Mullick, R. C Boral, and Kamal Dasgupta before shifting to Mumbai and also worked with new age composers Jatin - Lalit. I also played with young Anand Palwankar group who play music with key board.

Music director Salil Chowdhury brought Manahari Da to Mumbai from Kolkata and Dada got his first break as saxophonist with S. D. Burman in ‘Sitaron Se Aage’ (1958). He went on to work as Dada Burman’s arranger through ‘Teen Deviyan, ‘Guide’ till ‘Tere Mere Sapne’. His piece on saxophone in songs like Gaata Rahe Mera Dil and Din Dhal Yaye in Guide, Gaa Mere Man Gaa in Laajwanti and Ye Duniya Usi Ki Zamana Usi ka (Kashmir Ki Kali) are still raved by film music connoisseurs. Manohari Da’s added a bewitching touch to the song ‘Tumhe Yaad Hoga’ in Satta Bazar.
(continue reading…)

Its Hasarat Jaipuri saab’s 87th Birth Anniversary today.. Posting an old tribute article of mine to remember the great poet and lyricist of the golden era of Hindi Film Music.

हसरत जयपुरी को कैसे भुला सकते हैं ?

जिसे सारे हिंदुस्तान ने गुनगुनाया उसे राजस्थान ही क्यों ख़ुद उसके शहर जयपुर ने भुला दिया. किसी को याद भी नहीं कि आज उम्दा शायर हसरत जयपुरी की पुण्य तिथि है. अपने सरल और शोख़ गीतों से लाखों करोड़ों की जुबान पर चढ़ जाने वाले इस मकबूल शायर ने अपने शहर के नाम को अपनी पहचान बनाए रखा और गुलाबी नगरी का नाम रोशन किया मगर उनके घर वालों ने ही उन्हें भुला दिया.

फ़िल्म संगीत के शौकीनों से पूछें तो कोई बताता है कि राजधानी के घाटगेट इलाके में 15 अप्रेल 1922 को जन्मे इस आशिकाना शायर के नाम से, 1999 में उसके निधन के बाद एक रास्ते का नामकरण जरूर हुआ था मगर अब उसे बताने वाला ही कोई नहीं मिलता .

दूर गुजरात के जामनगर में जयपुर की इस प्रतिभा की याद में हर साल इस दिन उनके मुरीद शानदार संगीतमय कार्यक्रम करते हैं जिसमें गुजरात के कोने-कोने से ही नहीं देश भर से रसिक जुटते हैं, इस शायर के गीत गाते हैं और उनकी यादों में खो जाते हैं. मगर हसरत के अपने शहर और प्रदेश में कोई उनके लिए कंदील भी नहीं जलाता. हम मौके-बे-मौके बड़े जलसे करते हैं बाहर के लोगों को बुलाते है, उन्हें सिर पर चढाते हैं लेकिन हम अपने ही लोगों को बिसरा देते हैं.

नाम तो हसरत साहब का उनके बड़े बुजुर्गों ने इकबाल हुसैन रखा था लेकिन 20 की उम्र में एक खामोश इश्क में ऐसे पड़े कि शायरी की सीढियां चढ़ने लगे. उसी कमसिन उम्र में उन्हें अपने पड़ोस में रहने वाली एक लड़की राधा से प्यार हो गया. वे उससे अपने प्यार का सीधे इजहार तो नहीं कर सके मगर उसे एक कविता लिख कर जरूर भेज दी जिसमे उन्होंने अपनी भावनाओं को कुछ यूँ व्यक्त किया ‘ये मेरा प्रेम पत्र पढ़ कर के तुम नाराज़ ना होना’ . बाद में यही पंक्तियाँ सन् 1964 में शंकर जयकिशन की धुन में बंध कर फ़िल्म ‘संगम’ का सर्वकालीन लोकप्रिय गीत बनी. यह तो हसरत साहब को भी कभी पता नही चल पाया कि उनका यह प्रेम पत्र राधा तक पंहुचा या नहीं मगर ‘संगम’ से अब तक उनका यह गीत देश भर के नौजवानों के लिए मंत्र बना हुआ है.

यह उम्दा शायर जिसे लोग ‘अनादि यथार्थवादी’ (eternal realist) कहते हैं सन् 1939 तक जयपुर की गलियों में ही रमा रहा. शुरुआती मध्यम दर्जे तक की पढ़ाई अंग्रेजी माध्यम से पूरी की. अपने दादा फ़िदा हुसैन से उन्होंने उर्दू और फ़ारसी की तालीम पाई और 20 की उम्र तक पहुचते शेर कहना शुरू कर दिया. सन् १९४० में वे बम्बई पहुंचे जहाँ रोजी रोटी के लिए बस कंडक्टर बन गए. रोटी के इस जुगाड़ के साथ वे मुशायरों में भी शामिल होने लगे और दाद पाने लगे. ऐसे ही किसी एक मुशायरे में उन्हें पृथ्वीराज कपूर ने सुना और हसरत की सिफारिश अपने बेटे राज कपूर से की जो उन दिनों ‘बरसात’ बनाने की योजना बना रहे थे. रॉयल ऑपेरा हाउस में जहाँ पृथ्वीराज जी नाटक मंचित किया करते थे एक दिन राजकपूर, शंकर, जयकिशन और हसरत की मुलाकात हुई. बात बन गयी और ‘बरसात’ फ़िल्म के लिए हसरत ने अपना पहला फिल्मी गीत लिखा. संगीतकार शंकर-जयकिशन की जोड़ी की यह पहली फ़िल्म थी. इस ग्रुप में एक नाम और जुडा शैलेन्द्र का. राजकपूर, शंकर ,जयकिशन , हसरत जयपुरी और शैलेन्द्र की जो जोड़ी बनी वह दशकों तक धूम मचाती रही. शंकर ने अपने डमी शब्दों पर एक धुन बना राखी थी ‘अम्बुआ का पेड़ है/ गोरी मुंडेर है/आजा मोरे बालमा/ अब काहे की देर है. इसी पर हसरत ने अपना पहला फिल्मी गाना लिखा जिया बेकरार है/ छाई बहार है/ आजा मोरे बालमा/ तेरा इंतज़ार है.

अपने चालीस साल लंबे फिल्मी सफर के दौरान हसरत ने राजकपूर कैंप के बाहर भी खूब गाने लिखे. सबसे बड़ी बात यह है कि उन्होंने कभी छोटी या बड़ी फिल्मों में फर्क नहीं किया. उन्होंने बिल्कुल अनजान संगीतकारों के लिए भी ऐसे-ऐसे गाने लिखे जिन्हें आज भी उसी शिद्दत से लोग गुनगुनाते हैं जिस शिद्दत से दो या तीन दशक पहले उन्हें गुनगुनाते थे. उन्होंने सज्जाद हुसैन से लगा कर वर्तमान के आनंद मिलिंद, जतिन-ललित और नदीम-श्रवण जैसे संगीतकारों के लिए गीत लिखे जो अपने आप में एक रिकार्ड है.

अपने लंबे फिल्मी करियर में हसरत ने करीब 350 फिल्मों में गीत लिखे. उनके रिकॉर्ड किए गानों की फेहरिस्त लगभग 2000की बनती है. उन्हें हिंदुस्तान, पाकिस्तान और उन मुल्कों में जहाँ हिन्दी फिल्मी गानों के रसिया रहते हैं श्रोताओं का अपार प्यार मिला. उन्हें सम्मान और पुरस्कार भी ढेर सारे मिले. साल के सर्वश्रेष्ठ गानों की फ़िल्मफेयर ट्राफी दो बार मिली. पहली 1964 में फ़िल्म ‘सूरज’ के गाने ‘बहारों फूल बरसाओ मेरा महबूब आया है’ के लिए जो हर बारात में आज भी आवश्यक रूप से बजाया जाता है. दूसरी 1972 में फ़िल्म ‘अंदाज’ फ़िल्म के गाने ‘ज़िन्दगी एक सफर है सुहाना यहाँ कल क्या हो किसने जाना के लिए. इसी प्रकार फ़िल्म ‘मेरे हुज़ूर’ के गीत ‘झनक झनक तोरी बाजे पायलिया’ के लिए उन्हें ‘डॉक्टर आंबेडकर पुरस्कार’ से नवाजा गया. उर्दू कांफ्रेंस ने उन्हें जोश मलीहाबादी पुरस्कार देकर उनके उर्दू अदब में योगदान को रेखांकित किया गया. वर्ल्ड यूनिवर्सिटी राउंड टेबल ने उन्हें डाक्टरेट की उपाधि देकर सम्मान किया.

फिल्मों के अलावा उर्दू शायरी में भी वे अपना महत्व बनाये रहे. उनकी शायरी के संग्रहों में प्रमुख है ‘आबशार-ए-ग़ज़ल’ .

उनकी गैर फिल्मी ग़ज़लें भी वैसी ही रोमेंटिक है जिसके लिए वे फिल्मों में मशहूर थे. जैसे ‘वो अपने चेहरे में सौ आफताब रखते हैं/ इसलिए तो वो रुख पे नकाब रखते हैं’ , या फ़िर ‘इस तरह हर गम भुलाया कीजिये/ रोज मैखाने में आया कीजिये’, और ‘शोले ही सही आग लगाने के लिए आ/ फ़िर तूर (पर्वत) के मंजर को दिखने के लिए आ’.

इस शायर को अपने पर पूरा यकीन था इसीलिए जहाँ फ़िल्म के लिए लिखा ‘तुम मुझे यूँ भुला न पाओगे/ जब कभी भी सुनोगे गीत मेरे संग संग तुम भी गुनगुनाओगे’. वहीं अदबी शायरी में कहा ‘हमने वो नक्श छोडे हैं/ कि मेरे जाने के बाद भी/ लोग मुझे याद रखेंगे’. सही कहा हसरत साहब ने. कैसे भुलाये जा सकते हैं हसरत जयपुरी.

(यह लेख दैनिक भास्कर के राजस्थान संस्करणों में १७ सितम्बर को छपा)
(Original Blog Link : http://itslokayat.blogspot.com/2008/09/blog-post.html)