JUBILEE JHANKAAR - GOLDEN JUBILEE CELEBRATION OF VIVIDH BHARATI
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INTERVIEW OF NOTED GRAMOPHONE RECORDS COLLECTOR DR PRAKASH JOSHI
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PART 1
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PJ: Dr Prakash Joshi
PJM: Dr Prakash Joshi's mother
KS: Kamal Sharma
NM: Nimmi Mishra

KS: Vividh Bharati ki 'golden jubilee' par sabhi shrotaaon ko Kamal
Sharma...

NM: aur Nimmi Mishra ka...

KS & NM: namaskaar...

NM: Kamal-ji

KS: haan-ji

NM: aaj to ham apne 'studio' mein hain hi naheen

KS: jee haan, aaj ham hain dakshiN Mumbai ke us chhoD par jahaan
hamaare saamne hai ek aetihaasik imaarat, kareeb 200 saal puraana ek
ghar hai. abhi ham baahar khaDe hain, to kyun na andar chalen

NM: aur un swar lehriyon ko sune jo hamaare shrotaaon ko bahut pasand
aayenge.

KS: to aaiye milte hain Dr Prakash Joshi se

PJ: namashkaar

NM: Dr saahab, sabse pehle to ham yeh jaanna chaahenge ki film
sangeet ka jo yeh poora ka poora itihaas chhupaa huya hai aap ke ghar
mein, uske baare mein kuchh bataayen.

PJ: shuruwaat to bachpan se hi huyi hai. jab main chhoTaa tha to mere
[itaaji bhajan aur puraane jo 78 RPM 'records' ka unke chaachaaji ke
paas bahut baDaa 'collection' tha. aur aise aise sab kalaakaar the,
Narayan Rao Vyas, Bal Gandharva, Amirbai, unke sab 78 RPM 'records'
woh laaya karte the. hamaare ghar ke peechhe ek 'garden' tha, phoolon
mein paani Daalte huye, mujhe abhi tak yaad hai "raadhe krishna bol
mukh se", Narayan Rao Vyas-ji ka bahut baDhiyaa bhajan tha...

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Song: raadhe krishna bol mukh se (Bhajan by Narayan Rao Vyas)
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PJ: phir kya hai meri maataaji bhi bahut gaane gaaya karti theen.
jaise "shaanta saagari kasha sa uThavaLi savaadaDe", aisa ek
bahut 'famous song' huya karta tha.

PJ's mother sings "shaanta saagari kasha sa uThavaLi savaadaDe".

KS: aaiye, aaj jab aap apne beTe ko dekhti hain sangeet ki is tarah
se sevaa karte huye, kaisa lagta hai aap ko?

PJM: ekdam saras

PJ: hamaare yahaan jo 'first record' aayi thi woh Tarana ki thi
aur 'first song' tha "seene mein sulagte hain armaan". yeh jo gaana
hai woh rachnewaale Prem Dhawan saahab, gaanewaale Talat saahab, aur
sangeetkaar Anil Biswas saahab, teeno ek saath mere ghar mein aayenge
aur apne gaane ka luft uThaayenge woh maine kabhi sapne mein bhi
naheen sochaa tha. mujhe lagaa 'oh my God, what I have achieved!'

KS: to kyun naa sab se pehle ham usi gaane ki ek jhalak sunwaa den
aur us aetihaasik mauke ko is bahaane shraddhaanjali arpit kar den

PJ: zaroor!

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Song: seene mein sulagte hain armaan (Tarana, 1951)
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NM: achchha Dr saahab, sangeetkaaron aur unko jo rachnewaale hain,
unse milne ka mauka aur yeh sab kaise sambhav huya?

KS: yeh 'practice' kab se shuru huyi aap ki? (all laughs)

PJ: bas 'around 1970'. phir jaise jaise 'record' milte gaye main ek
ek karke 'collect' karta gaya.

KS: aur kahaan kahaan se 'collect' kiya yeh bhi bataaiye.

PJ: naheen, 'first' to Chor Bazaar, phir maine Karachi, London hai,
Dubai hai, phir East mein se bhi kaafi 'pictures' mile, phir London
se bhi mujhe achchhe achchhe 'pictures' mile jo yahaan par naheen
the 'available'. to 'compilation' ka daur wahaan se chaalu huya.
to 'first' maine 'video compilation' kiya Madhubala ka. lekin parde
ke upar film Aaram ka ek geet hai, "man mein kisi ka preet basaa le o
matwaale o matwaale", Lata-ji ka geet hai, Anil-da ka sangeet hai,
aur jab Amil-da hamaare ghar aaye the to, Sunny Kastolino jo
kalaakaar tha, jiska woh hameshaa zikr karte the, aur is gaane mein
jo 'piano' bajaa hai, woh Sunny Kastolino, jo 'Goan artsite' hain,
unkaa bajaaya huya hai, aur aise 'piano' ke 'songs' bahut kam hai.

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Song: man mein kisi ka preet basaa le (Aaram, 1951)
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KS: waah waah

PJ: Lata-ji ne Chhatrapati Shivaji ek film thi, us film mein unhone
khud kaam bhi kiya tha aur gaane bhi gaaye the, lekin yeh kahaa jaata
hai ki Aap Ki Sewa Mein, jo film thi, Datta Davjikar ka sangeet tha,
main yeh kehna chaahoonga ki Datta Davjikar Anil-da ko apna guru
maante the. unkaa jo Lata-ji ka jo film ka pehla gaana hai, Aap Ki
Sewa Mein ka, "paa laagun kar jori re Shyaam naa maaro pichkaari",
itnaa baDhiyaa gaana aur itni 'young' hai Lata-ji, aur poora baiThak
mein jo Thumri hoti hai, baiThak ki Thumri, wohi hai us gaane mein,
aur kyaa Lata-ji ki aawaaz lagi hai!

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Song: paa laagun kar jori re (Aap Ki Sewa Mein, 1947)
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KS: Nimmi-ji?

NM: hun?

KS: dil ki dhaDkano ka kyaa haalchaal hai aapki?

NM: main soch rahi hoon ki main kuchh na boloon, kyunki hamaare paas
bahut baaten aise, sansmaraN bataane ke liye Dr Joshi hain aur ham
apna waqt nikaal ke aur unkaa waqt churaakar apne shrotaaon ke liye
kuchh achchha, bahut achchha, yaadgaar kuchh sunna chaahte hain.

PJ: abhi tak mujhe yaad jab Anil-da, Salil-da aur Prem Dhawan-ji jab
aaye the, to bas woh bhi apne puraane zamaane mein kho gaye the. woh
baat karte karte ek baat bataa dee, ki Prem Dhawan-ji ka ek Juhu pe
banglaa tha. to har ravivaar ki subah wahaan pe aisi mehfil jamti thi
aur kaun kaun saahab aate the, Salil Chaudhury, Anil-da, Prem Dhawan,
Meena Kapoor, phir Sahir Ludhianvi, 'even' Pandit Narendra Sharma,
Ramanand Sagar, phir Roshan saahab kabhi kabhi aaya karte the. aur
woh us 'week' mein kaun kaun si achchhi achchhi dune banaaee woh sab
ke saamne pesh karte the. Anil-da ne Roshan ke baare mein yahi
bataaya tha ki 'Roshan jaisaa 'interlude music' bahut hi kam log
banaa sake hain'. Anil-da Khud bole ki aisa 'interlude music' main
naheen banaa sakoonga. shehnaai, sitaar, 'flute', aur kya milaap hota
tha 'instruments' ka, 'I just can't describe'. ham ek gaana sunenge
Roshan saahab ka, "do nainon ne jaal bichhaaya aur do naina ulajh
gaye", aur jo Roshan saahab ka kamaal hai, woh aap ko is gaane mein
dikhaaee degi.

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Song: do nainon ne jaal bichhaaya (Sanskar ,1952)
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NM: jaisaa ki aap ne Roshan saahab ke baare mein bataaya ki
unkaa 'interlude' bahut achchha hotaa tha, isi tarah Anil Biswas ka
jo 'orchestration' tha woh kamaal ka tha

PJ: haan jee, 'he was the first music director' jinhone '12-piece
orchestra' Bambai mein laaya. unki 'recording' dekhne ke liye baaki
sab sangeetkaar jaate the.

KS: jab ek 'western colour' aane lagaa to 'instrumentalists' kahaan
se aate the?

PJ: Goan jo 'artistes' the, aur Bombay mein yahaan kaafi 'clubs' huya
karte the, aur wahaan se yeh 'instrumentalists' yeh sab bajaane ke
liye aate the. to Bambai ke jo jaanemaane, diggaj sab kalaakaar,
maine ghar mein bulaake sab ka satkaar kiya tha aur kaun kaun
kalaakaar the, Abdul Karim, Marutirao ek table mein 'master' the, aur
Lala Dholkiwala, unka naam Lala Gangawani tha, 'but he was known as
Lala Dholkiwala' aur ek zamaana aisa aaya ki Lala Dholkiwale ka naam
itna huya ki sab maujood hain, 'recordist' bhi aaye hain, Lata-ji bhi
aayeen hain, Rafi-ji bhi aaye hain, lekin khaali Lala Gangawani
naheen aaye hain, to 'recording' thoDi der ke liye rukta tha, 'they
used to wait for sometime' ki Lala Gangawani aa raha hai.

KS: kya baat hai kya baat hai!

PJ: jo "tere binaa aag yeh chaandni", aap yeh gaana to sunte hain

NM: jee haan jee haan, Awara ka

PJ: Awara ka. to woh gaane mein bhi jo, baad mein "ghar aaya mera
pardesi" ka jo pehla jo 'piece' hai

NM: jee haan jee haan

PJ: Dholak ka, (hums the prelude piece of "ghar aaya mera pardesi"),
woh jo 'piece' hai, aur uska to 'recording' raat ko poora huya, subah
se 'recording' shuru huya to raat tak chalaa, woh the Lala Gangawani.

KS: sun lete hain is gaane ko

PJ: jee haan

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Song: ghar aaya mera pardesi (Awara, 1952)
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END OF PART 1