EPISODE 12
----------

KS: Kamal Sharma
AW: Ahmed Wasee
YK: Yunus Khan
OP: O P Nayyar

KS: Suraiyya, gaana bhi baDaa, aur Madhubala-ji, Madhubala-ji ke
baare mein ham aur jaanna chaahenge ki aisa unke baare mein koi
samsmaraN yaa prasang yaad hai jo hamaare saath baanTna chaahenge?

OP: dekhiye koi aisi, mera unka is kism ka rishta bhi naheen tha
siwaay kalaakaar, ek doosre kalaakaar se milna, lekin mere sangeet ko
bahut pasand karti thi aur Lata Mangeshkar ki aawaaz ko. kahee
ki 'tum aisa bahut achchha kaam karte ho ki aisa kabhi suna naheen'.
isiliye to woh Khud ek 'picture' mujhse 'sign' karwaaee jo woh
Khud 'director' thi, woh 'picture' bani naheen woh baat alag
hai. 'She was going to direct a movie where  was the music director'.

KS: waise hi Rafi saahab ke baare mein, waise to woh kam bolte hain
lekin jaise hi 'microphone' pe aate the ek doosre Rafi ban jaate the.

OP: main pehle bhi arz kar chuka hoon ki woh farishta insaan the, aur
bahut achchhe, itne achchhe insaan the ki duniya mein bahut kam aapko
aise Mohd Rafi milenge, kam se kam 'film industry' mein koi gaayak
naheen milega unki Takkar ka.

KS: kabhi koi ghaTna aapko yaad hai, kyunki log kehte hain ki woh
madad bhi kiya karte the apne saathi gaayakon ki jo pichhaD gaye the
us daur mein, yaa kabhi koi zarooratmand aata tha

OP: naheen, unke dar se kabhi koi Khaali naheen jaata tha, yeh
haqeeqat hai.

KS: us daur mein kitne paise milte the ek gaane ke 'singers' ko?

OP: Rafi saahab to hamaare paas koi 'price' poochhte hi naheen the.
jo 'producer' de de ki Nayyar saahab ke gaane ke, to chupke se le
lete the.

KS: lifaafe mein band karke de deeye

OP: chupke se le lete the, kabhi sawaal naheen kiya unhone.

KS: aur 'lyricists' vagerah kitna, unko?

OP: 'lyricists' mere se kisi ne 2000 se upar naheen liya, warna 1000
to 'minimum' tha.

KS: 'maximum' kitna 'pay' kiya aapne 'song' ke liye?

OP: naheen maqine bahut kam kiya tha.

AW: ek daur aisa bhi aaya jab aapne Rafi saahab se gaane naheen
gawaaye, uski bhi koi Khaas vajah jaise Geeta-ji ke saath huya?

OP: naheen, woh to 'discipline' ki baat, main pehle bhi inko bataa
chuka hoon ki 'time' par woh tashreef naheen laaye...

AW: aur uske baad phir kaise dobaara?

OP: naheen woh Khud chale aaye ghar pe mere, maine kahaa 'aap mujhse
baDe hain, isliye baDe hain kyunki mere andar apna ek 'ego' raha,
mujhse milne chale aaye, mujhse aap bahut oonche insaan hain'

KS: aapne dakshin bhaarat ki film bhi kee hai

OP: Telugu mein, Meera Janam, uska 'state award', Ilayya Raja bahut
taDpe, bole ki 'yeh Punjab ka 'composer' hai', to Rajeshwar Rao,
wahaan ke bahut baDe 'composer' hain, unhone Telugu mein meri dhuno
ko gaakar sunaaya, bolaa ki 'dekho yeh Punjabi hai ki Telugu desham
ka aadmi hai!' 'So, they were forced to give me the award, Telugu
movie'

KS: uske bol kaun samjhaata tha aapko?

OP: saahab woh likhe huye the unke Mr Narayanan Reddy, unke 'lyrics'
the aur woh Telugu zabaan mein mere ko likhke dete the aur uska
tarjumaa neeche English mein likhke dete the. to uske 'feelings' kya
hain, 'I used to compose'. jaise uska ek gaana tha, S Janaki ka gaana
tha, bahut achchha gaanewaali woh bhi, S Janaki agar Hindustan mein
rehti koi filmi gaayika nazar na aati, itna achchha oonchaa
gaanewaali aurat.

AW: agar Bambai ke 'film industry' mein aa jaateen to unse achchha
gaanewaala koi na tha. achchha, zikr chal raha hai gaayakon ka, to
Talat saahab se aapne kam kaam liya hai, lekin bahut achchha kaam.

OP: Talat saahab ki ek tasveer thi, baad mein woh gaana gaaye, "ek
hasrat ki tasveer hoon main, jo ban ban ke bigDi taqeer hoon main",
woh uske baad Sone Ki Chidiya mein woh ek 'side hero' ke 'role' mein
aaye. woh do gaane mere paas gaaye "pyaar par bas to naheen hai
lekin" aur doosra "sach bata tu mujhpe fidaa kyun huya aur kaise
huya", 'celvet voice' aur bahut shareef aadmi, woh bhi shareef aadmi
kam baat karnewaale, kaam se kaam!

-------------------------------------------------------
Song: sach bataa tu mujhpe fidaa (Sone Ki Chidiya,1958)
-------------------------------------------------------

AW: to aapko aisi koi dushvaari naheen lagi kyunki Talat saahab ki
gaayiki bilkul alag thi. unki gaayiki Gazal se bahut kareeb thi.

OP: naheen, gaayiki koi cheez naheen hoti hai, yeh hogi 'classical
singer'-on ki banaaee huyi, yeh gaayiki 'film line' mein koi gaayiki
naheen hai, gaayiki to ham banaate hain in logon ki.

AW: naheen aisa kahaa jaata hai na ki filmi gaayak ke liye khuli
aawaaz zaroori hai.

OP: naheen naheen aisa kuchh naheen hai, kehnewaalon ke liye, tang
aawaazen bhi, ab Mohd Rafi ki aawaaz ko aap kitna tang aur dabaake
istemaaal kiya gaya hai, yeh to 'composer' pe bahut 'depend' karta
hai ki kaise kaam lena hai.

YK: Nayyar saahab, aapke kai gaane Shamshad Begum ne gaaye hain aur
aapne kahaa hai ki Shamshad Begum aapko Khaas Hindustani aur dharti
se juDaa swar lagta hai.

OP: 'temple bell', uski aawaaz ka naam hai 'temple bell', jab mandir
mein ghanTiyaan bajti hai, girja mein ghante bajte hain, is tarah ki
khanak hai aawaaz mein, jo kisi 'female artiste' mein naheen hai aur
na hogi.

YK: aur woh aapke 'compose' keeye huye aur Shamshad Begum ke gaaye
huye jo jo aapke geet hain, unke baare mein hamko bataaiye ki
Shamshad Begum ki kya 'range' thi aur....

OP: Khoob 'range' thi unki, koi 'range' kam naheen thi.

----------------------------------------------
Song: raat rangeeli gaaye re (Naya Andaz,1956)
----------------------------------------------

YK: isi tarah se aapki jo 'compositions' hain unmein 'violins, piano,
guitar', yeh bahut sunaaee dete hain aur Khaas taur par
paashchaatya...

OP: naheen aisa kai gaano mein dikhegaa aapko, kai gaano mein sitaar
ki baDi 'prominence' hai, sarod ki baDi 'prominence' hai, saarangi ki
baDi 'prominence' hai, to jahaan jahaan jis 'type' ka gaana banta
hai, 'composition' ke mutaabik 'ornamentation' aur 'orchestration'
kee jaati hai.

KS: Nayyar saahab, aapne beech mein saarangi ke baare mein kaha tha
ki saarangi koThon ka saaz tha usey aap 'romance' mein laaye, aur
usko baDaa 'romantic' saaz bhi maante hain, lekin aapke 'romantic'
geeton mein 'guitar' ka bhi aur 'piano' ka bhi baDaa istemaal huya.
to is tarah ka kuchh tha ki 'situation' ko ubhaarne ke liye yeh sab
aapke pasandida saaz the, isliye wohi istemaal huye?

OP: naheen, jahaan par 'paino' ke peechhe 'violins' bajte hain,
yaa 'violins' ke saath 'piano prominent' rehta hai, to us waqt,
us 'song' ke 'orchestration' mein jo 'demand' hogi, waisa hi hoga,
bas. Kamal saahab, main to aapse arz kar chuka hoon ki main kuchh
naheen jaanta, yeh maalik ki den hai, woh jaise baKhshta waise kar
diya.

YK: kai baar dekha jaata hai ki jo Europe ki jo mahaan sangeetkaar
rahe hain yaa phir 'pop' jo sangeetkaar rahe hain, unka baDaa asar
Hindustan ke 'cienma' par baDe arse se hota raha hai.

OP: jaise Beetles the baDe 'popular', mera koi gaana bataaiye jo
maine Beetle ke gaane se liya ho, naheen.

YK: unko sunaa karte the?

OP: naaa, naheen, main kisi ko naheen sunta tha. sunta tha bachpan
mein Pankaj Mallick, R C Boral, Timir Baran, Kamal Dasgupta, Master
Ghulam Haider, Pandit Gobindram, in logon ko maine sunaa. yaa mere
bachpan ke waqt Pakistan ke 'composer' Inayat Hussain, inke 'under'
main gaa chuka hoon aur Master Dhaniram, unke 'under' bhi main gaa
chuka hoon, do-do gaane 'record' keeye unke 'under'. 'They were the
composers and I was the singer'.

YK: 'yeh 'saxophone' ka bhi aapke gaano mein istemaal nazar aata hai
aur 'saxophone' ek alag sa, ek Taans mein le jaanewaala saaz hai.

OP: 'saxophone' bhi beTaa kai kism ke hain, ek to hai 'Tanner',
doosra hai 'Alto', ek hai 'Baritone', to 'Baritone' ka istemaal kaafi
kam hai kyunki woh 'bass' hai zabardast, usko baiThke bajaana paDtaa
hai. 'Alto' jo hai woh aap khaDaa hokar bajaa sakte hain aur 'Tanner'
bhi khaDaa hokar bajaa sakte hain. aam taur pe yahi istemaal hote
hain.

YK: aapne kis tarah ke 'saxophone' ka istemaal kiya?

OP: maine Ahmed Wasee saahab ke is gaane mein "aa ke dard jawaan
hai", usmein 'Baritone saxophone' istemaal kiya hai. usmein aap
sunenge ki kaise woh neeche 'bass' mein aata hai.

YK: Nayyar saahab, aapne bataaya tha, pehle jab baatchit chal rahi
thi ki aapke paas 'piano' tha, aap 'piano' par bhi
aksar 'compositions'...

OP: naheen, 'piano' par 'orchestrations' banaata tha, baaje par main
dhune banaata tha, 'harmonium' par.

YK: kabhi aisa huya ki ek Khaali shaam hai aur aap apni kuchh jo dil
mein aa raha hai woh bajaaye chale jaa rahe hain. akele hain, aap
hain aur aapka 'piano' hai aur aapki dhune hain.

OP: main bilkul 'commercial' aadmi tha. bol aage aaye, paisa haath
mein liya, gaana banaaya aur chhoD diya.

YK: uske baad saaz se koi taallukh naheen?

OP: naheen saahab, kya taallukh waallukh rakhne? 'My aim in this
industry to come was to make money and name, I made that and
withdrew, now I am a secured man', maalik ka karam hai mere upar.

AW: main aisa samajhta hoon aur maanta hoon ki alfaaz kisi bhi naGhme
ke rooh hote hain, aur tarz, jise dhun kehte hain, woh jism yaa badan
hai, aur jab woh 'final' tareeke se ek libaas, aawaaz ek libaas hai,
kabhi aapko koi dikkat pesh aayi ki in teeno ka taal-mel naheen ho
saka? yaa kahin koi kam reh gaya ho koi zyaada ho gaya ho?

OP: Wasee saahab, aap yeh bataaiye, aapne Khud hi bol diya hai ki
rooh jo hai woh hai 'song writer'

AW: 'song writer', yaani alfaaz

OP: main to filmi baat karta hoon, aur jism hai 'music', usey aap
nikaal leejiye, aap rooh nikaal leejiye to 'music' bakwaas hai, aur
woh libaad bhi bakwaas hai, sab cheezen. rooh hi nikal gayi, bacha
kya.

AW: wohi main keh raha hoon ki kabhi aisa lagaa ki in teeno mein
baraabar ki hissedaari naheen ho paa rahi hai?

OP: naheen, kabhi naheen lagaa.

KS: jab aapke paas paisa aaya, aisi kaun si hasrat thi, kabhi hamaare
man mein bachpan mein rehti hai ki paisa milte hi ham thoDe se,
jawaan hote hain tab bhi hoti hai, main mera sapna isko main poora
zaroor karoonga. woh aisi kaun si cheez pehle Khareedi aapne?

OP: mere ko saahab Convertible gaaDi ka bahut shauk hota tha, to mere
paas 'lemon colour' ki Chevrolet Convertible thi, jab main guzarta
tha Marine Drive se to log meri gaaDi dekhte the, mujhe naheen dekhte
the. aisi woh gaaDi thi, aisi Khoobsoorat gaaDi, woh 1.5 baras ke
kareeb mere paas rahi, to usse bhi tang aa gaya, phir doosri gaaDi le
lee.

---------------------------------------------------------------
Song: zara halle halle challo more saajna (Sawan Ki Ghata,1966)
---------------------------------------------------------------

OP: tabeeyat mera Tikaau naheen tha, 'restless soul'.

AW: Theraav jo kehte hain ki aapki tabeeyat mein naheen tha, to isse
zaahir hai ki 'commercially' nuksaan bhi pahunchaa?

OP: haan saahab, dekhiye nuksaan pahuncha uska mujhe Gham naheen
kyunki main itna 'royalty' kuchh le chuka tha, to mujhe kisi cheez ka
Gham naheen hai. maine aapse pehle bhi arz kiya hai ki 'no complexes,
no regrets and no frustrations'.

KS: Nayyar saahab, Kavi Pradeep, Prem Dhawan, S H Bihari, Shevan
Rizvi, Raja Mehendi Ali Khan, Noor Dewasi, Qamar Jalalabadi, Jan
Nisar Akhtar saahab, Sahir Ludhianvi aur Majrooh, yeh tamaam naam..

OP: aur Varma Malik bhi

KS: yeh tamaam naam aapke saath, unhone aapke saath kaam kiya, unki
tamaam rachnaaen aapne sangeetbaddh kee, har ek ke baare mein jaanna
chaahenge, kaun si baat aapko...

AW: isme ek aur naam Anjaan...

KS: haan, Anjaan saahab

AW: Aziz Kashmiri

OP: baDaa 'important' naam hai woh.

KS: kyunki Aziz saahab to bilkul shuru mein aa jaate hain, jahaan se
aapka safar shuru huya tha. unke liye aapne kitne, unki kitni
rachnaayen aapne...

OP: Aziz Kashmiri saahab ne mere saath 4/5 tasveeren likhee, kisi
mein 2 gaane, kisi mein 3 gaane, ek Akalmand film thi, poori unki
likhi huyi thi.

AW: Naseehat thi, CID 909, Yeh Raat Phir Na Aayegi

-----------------------------------------------------------------
Song: mohabbat cheez hai kya mohabbat karke dekhenge (YRPNA,1966)
-----------------------------------------------------------------

END OF EPISODE 12

Hi Sujoy

All you have to do is, change the encoding (in view menu) to UTF-8

Cheers
Srinivas

Sujoy,

Thanks for all the uploads.  I am a new memeber and am living abroad.
It is because of the uploads from you and all others in the forum,
people like me are being able to hear old vividh bharati programs.
Thanks to all of you very very much.

Anit

__________________________________________________
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A Bhajan and a Lullaby: Listen to these two masterpieces of the first
singing superstar of Indian Cinema - K L Saigal!

Download from Files/Audio Files/VB's Golden Jubilee Celebrations

Happy listening!!!

Sujoy

sabhi fauji bhaaiyon ko Kamal barot ka namashkaar. ek kalaakaar ke
naate mujhe is baat ki bahut Khushi hai ki aaj aapki sevaa mein
yeh 'programme' pesh karne ka mauka mila hai. hamaare gaaye geet
aapki tanhaaiyon mein rang bharte hain, aapke udaas honThon ko
gungunaahaT dete hain, aur kuchh der ke liye aapko ek aisi duniya
mein le jaate hain jahaan aap apne aap ko bhool jaate hain. to aaj
bhi is 'programme' ko sunte huye mujhe poori ummeed hai ki aap apne
saare Ghamon ko bhool kar kuchh lamhe Khushi ke saath beetaayenge.
is 'programme' mein apne pasand ke kuchh gaane to main zaroor
sunwaayungi, saath mein apne baare mein bhi kuchh kahoongi. lekin
sabse pehle aap yeh gaana suniye.

Song: chal chhaiya chhaiya (Dil Se)

zindagi ki tez dhoop mein sangeet ki chhaiya mil jaaye to kehna i
kya. maine sangeet ki duniya mein pehli baar kadam rakha jab Lata-ji
ne Kalyanji bhaai se meri sureelee sifaarish kee. unhone kahaa 'aap
Kamal se gaana kyun naheen gawaa lete hain!' asal mein woh gaana
Lata didi gaanewaali theen, par woh jaa rahi theen Kolhapur aur
gaana mil gaya mujhe. woh gaana tha "dil leke jaate ho kahaan".

Song: dil leke jaate ho kahaan (O Tera Kya Kehna)

dil leke jaanewaalon mein, yaani apni geeton se dil churaanewaalon
mein shaamil hain Asha Bhosle. apni tarah ki ek aisi anooThi aawaaz
jis par waqt ka koi asar naheen ho paaya. unki baat main aage
baDhaayun, usse pehle unke aaj ke ek geet ka ansh main aapko sunaana
chaahoongi.

Song: kambaKht ishq hai jo (Pyar Tune Kya Kiya)

Ashaji ki aawaaz ke saath ham sab ka yeh kambaKht ishq aisa hai jo
saal dar saal parwaan hi chaDhta raha hai. shoKhi, sharaarat,
maadakta, saare guN simTe huye hain is aawaaz mein. aur mujhe to
isliye yeh aawaaz bahut pasand hai kyunki ham dono hamKhayaal hain,
aur saheliyaan bhi hain. sangeet ki ghaTaa jab barasti hai, hamko
apni madhurta mein bheego deti hai. kuchh aisa hi aanand milta hai
film Lagaan ke geeton ko sunte huye. maine jab is film ke baare mein
sunaa to yahi lagaa ki kyun na is film ko dekhkar manoranjan ka
lagaan vasoolaa jaaye. to leejiye aap bhi suniye.

Song: o mitwa sun mitwa tujhko kya Dar hai re (Lagaan)

geeton ko dilkash banaane mein gaayak gaayikaaon ki aawaaz ke alaawa
achchhe bolon aur achchhi bandish bahut maaeene rakhti hai.
bandishon ke jaadugar the Madan Mohan. unke sangeetbaddha keeye kai
geet hamein mohit kar dete hain, jaise Lata-ji ka gaaya huya yeh
geet, (sings) "nazar tujh bin machalti hai, mohabbat haath malti
hai..."

Song: naina barse rimjhim rimjhim (Woh Kaun Thi)

sangeet ki koi seema naheen hoti, koi mazhab naheen hota, yeh sabke
liye hota hai, sabka hota hai. chalte chalte main yahi kahoongi ki
(sings) "ham tumhe to kabhi na bhoolenge...",

Jai Hind!

Song: ham tumhe to kabhi na bhoolenge (Non-film)

THE END

INTERVIEW OF MANOHARI SINGH (NOTED SAXOPHONIST OF HFM)
******************************************************
Recorded in 1997
----------------

MS: Manohari Singh
SS: Shekhar Sen (Singer & Composer)

SS: Dear listeners, while listening to Hindi film songs, you might
have wondered who all have played those beautiful instrumental
pieces in the preludes and interludes. Today we have with us one
such instrumentalist who have played saxophone in a wide number of
popular film songs. He is none other than Manohari Singh. daada,
welcome to this Sangeet Sarita programme.

MS: Thank you!

SS: daada, how did you get inclined towards saxophone?

MS: I was born in the Hooghly district of West Bengal. I got the
musical instruments in my family only. My father, grandfather,
uncle, all used to play flute. I also started practising flute at
home. Then I came to Calcutta and joined an orchestra band in a
place called Batanagar. It was a Hungarian band, of Joseph Neumann.
Both my paternal and maternal uncles were there. Then I joined His
Master's Voice (HMV) in 1945 as a flute player. At first I used to
play in Bengali songs composed by Kamal Dasgupta. I started playing
these intruments in Bengali and Hindi non-film songs. At that time I
used to play for a very less number of film songs. During those Puja
songs, I met Hemant-da & Salil-da, who use to come there (in HMV
most likely!). Salil-da had a fancy on me. Once there was a big show
in the Eden Gardens. Naushad saahab, Hemant-da, Burman dada and many
others performed in that show. Around that time Hemant-da's Nagin
had become a big hit. So, for this show, they selected the good
musicians from HMV and I was also given the chance to play in that
show. I started playing saxophone after I joined HMV.

SS: Which indi film song was is it in which you played saxophone the
very first time?

MS: It was "jaa re jaa re uD jaa re panchhi" from Maya. In this
song, I played Key Flute and Obligato was well.

SS: let us listen to this song.

--------------------------------------------
Song: jaa re jaa re uD jaa re panchhi (Maya)
--------------------------------------------

MS: When I played for Maya in the Bombay Lab, Pyarelal was playing
violin. He became very happy with my playing and congratulated me,
gave me a gift also. The news became public that a man has come from
Bengal who plays a western instrument in purely Indian style and
peole started knowing me. Kalyanji bhai gave me a big break and this
song by Lata and Hemant-da was an overnight hit. It was for the film
Satta Bazar. It is based on Raag Mishra Sindhu Bhairavi.

-------------------------------------------------------
Song: tumhe yaad hogaa kabhi hum mile the (Satta Bazar)
-------------------------------------------------------

SS: Before you came to this industry, was there any other
saxophonist in this industry?

MS: In Anil Biswas's orchestra, Ram Singh used to play saxophone, he
was Anil-da's assistant. I got inspired after listening to Ram Singh.

SS: Saxophone is a foriegn instrument, but you have added an Indian
flavour to it.

MS: It is the speciality of Indian music that it adapts to any kind
of isntrument.

SS: daada, there is a song composed by Shankar Jaikishan, in which
you have shown an amazing breath control while palying saxophone.

MS: I got the song you are talking about! It is "bedardi baalma"
from Arzoo. This one is based on Raag Chaarukeshi.

SS: Lets play this wonderful song for our listeners.

-----------------------------------------------------------
Song: bedardi baalma tujhko mera man yaad karta hai (Arzoo)
-----------------------------------------------------------

SS: daada, which song would you like to talk about next for our
listeners?

MS: For Roshan saahab, I had played in this song where I had
experimented with 'raagdaari' (raagdaari ke andaaz se harkat kee
thi).

SS: Which raag it was based on?

MS: It was Yaman Kalyan and the song was from Barsat Ki Raat.

---------------------------------------------------
Song: zindagi bhar naheen bhoolegi (Barsat Ki Raat)
---------------------------------------------------

SS: daada, would you like to share any memorable incident of our
career that you fondly remember till today?

MS: Yes, during the making of Ameer Gareeb, Pyarelal called me
during the sitting of a song to give suggestions.

SS: It was an honour

MS: In those time, it was a team work, there was no discrimination,
everybody's aim was to make the song more and more beautiful. I
tried my level best to beautify the song, and I too got lost in the
beauty of that song.

SS: daada, now its our turn to get lost in that song, lets listen to
it.

----------------------------------------------------------
Song: main aaya hoon leke saaz haathon mein (Ameer Gareeb)
----------------------------------------------------------

SS: daada, your contribution was outstanding during the golden era
of film music. No one would forget the work you have done.

MS: I would also not forget all those music directors who have given
me so much respect, so much love.

SS: You are a rare musician who got so much of love from all music
directors. But is there any music director whom you would like to
talk about now?

MS: Yes, O P Nayyar saahab. He used to compose fantastic tunes and
his compositions used to be very different. He used to respect his
musicians and he would say that musicians are the ornaments of his
compositions.

SS: So which of his songs would you like to play here?

MS: There is a song in Kashmir Ki kali in Raag mishra des. It has a
prominent saxophone piece in the mukhDaa.

-------------------------------------------------------
Song: hai duniya usiki zamaana usikaa (Kashmir Ki Kali)
-------------------------------------------------------

TO BE CONTD...

INTERVIEW OF JATIN PANDIT OF JATIN LALIT DUO
********************************************

Part 1

JP: Jatin Pandit
YK: Yunus Khan

YK: Welcome Jatin-ji in Vividh Bharati. What are your memories of
radio and Vividh Bharati?

JP: I still remember that my father used to sing in radio, ar Rs 35
per month. We used to wait eagerly to hear his voice on radio. It
felt just great. I am feeling great to be here today!

YK: Then how are you feeling being here today?

JP: I am feeling great to be a part of this programme today. I
really appreciate Vividh Bharati and All India Radio for the way you
guys have treasured the rare recordings and songs of yesteryears.
The old EPs, lectures of great men like Nehru, Gandhiji, everything
is available with you. I feel very happy and surprised to see such a
nice archive.

YK: Jatin-ji, how was your childhood? tell us about those days.

JP: We were in Bombay only. My father, sister Sulaxana and elder
brother Vishvaraj-ji used to do programmes and sometimes I went with
them. Gradually I got inclined towards music. One day I told my
father that I too want to learn music. Then he started teaching me
classical music. I was born in a musical environment, my mother was
a good singer, she had a deep knowledge of music. It came to me from
my parents, its because of their blood that music resides in me.

YK: Sulaxana Pandit was a successful singer. So, didn't you also
want to become a playback singer?

JP: I used to compose songs from a very young age. It gave me
satisfaction, which I did not get from singing. We had a tape
recorder and we all brothers and sisters used to record songs. We
used to write, compose and sing those songs and record in cassettes.
My younger sister Vijeyta also used to sing. We even used
instruments.

YK: means a complete setup?

JP: Yes, we tried to make it as much good as possible.

YK: Great! Jatinji, you are also expert in several instruments. Tell
us about it.

JP: Yes, initially I began my career by playing guitar in Rajashree
Productions' films. In Chetan Anand's film Haathon Ki Lakeeren, I
played guitar and sang as well for the music director.

YK: To become a successful music director, you too had your cup of
struggle. Isn't it?

JP: Yes, we struggled till Yaara Dildara which was released in 1990,
in fact 1989. This film was a hit and we started getting work after
this. But the struggle to stay in this industry continued. Our
struggle period was for 16/17 years.

YK: So, how did you get Yaara Dildara?

JP: Yaara Dildara was Shahrukh Mirza's film. We were doing the
background of his film Rama O Rama. He had promised us that if we do
this background then he would give us another film as music
director. Lalit was very young then. Shahrukh irza kept his promise
and when he planned for Yaara Dildara, he called us and gave the
offer.

YK: The songs of Yaara Dildara were all hits. tell us about its
songs.

JP: The most popular one was "bin tere sanam" in which the sound
treatment was good, and the music was nice in totality. Then, "woh
jo kaha tha woh kar dikhaaya na" was also nice, "tum hi hamaari ho
manzil my love" was also very good. Majrooh Sultanpuri saahab wrote
the songs. He was a senior and experienced lyricist, who gave us
many good information about film music. He was a great writer with
huge potential and knowledge. After Pancham, he worked with us. We
feel very honoured.

----------------------------------------------------
Song: bin tere sanam mar miTenge ham (Yaara Dildara)
----------------------------------------------------

YK: Yaara Dildara was a musical superhit. This film brought some
good fresh melodies in the early 90s. But at the same time, it was
said that the music is inspired from Pancham's music. What is your
take on this?

JP: The thing is that we were huge fans of Pancham since our
childhood. His way of composing, his style of recording, everything
was unique and far ahead of other music directors of that period.
His compositions were modern but very melodious, and I believe his
compositions would remain modern and fresh for the next 25 years.
Being modern does not mean giving western tunes. The tunes should
have such capacity that the feel is modern. We are fortunate that we
could sing in films like Apna Desh and Parichay as child singers.
Whatever work Pancham has done in film music, it is only to serve
music and not for making any profit. Our songs might be inspired
from him, but certainly none of our songs are copied from his songs.

YK: You just said that you sang for Pancham. Which are those songs?

JP: In Parichay, there was a children song, Vijeyta, myself, Sushma
and Lalit, we all sang, (sings) "sa re ke sa re ga ma ko lekar gaate
chale". Then in Apna Desh, we sang with Kishoreda, (sings) "rona
kabhi naheen rona chaahe TooT jaaye koi khilauna".

YK: When you were singing these songs for him, at that time how did
you feel about him? Did you consider him as your idol from that time
itself?

JP: At that time, we were kids, so naturally we didn't have that
sense ('idol' banaane ki samajh naheen thi, lekin unki chhavi
chhapti jaa rahi thi man mein). But it felt nice to be there the
whole day. It was like a dream that the entire day passes with
music, musicians sittinga ll around, it was a different world.
During Apna Desh, Rajesh Khanna and Mumtaz also used to come there.

YK: OK, we return back to 1990 once again. After Yaara Dildara came
Raju Ban Gaya Gentleman. It also brought with it some fresh music.

JP: After Yaara Dildara, we started working on Jo Jeeta Wohi
Sikandar. The work on JJWS and Yaara Dildara was going on
simultaneously. Raju Ban Gaya Gentleman came after that but was
released before JJWS.

YK: Talking about JJWS and RBGG, one had Aamir and the other had
Shahrukh. Which of these films do you think is more important from
the creativity point of view?

JP: Both the films were superhits. We got the opportunity to
showcase our art. JJWS was made by Nasir HUssain and Mansoor Khan,
they had good idea of music as well.

YK: Nasir Hussain Productions has been working continuously with
Pancham.

JP: Yes. And about RBGG, Aziz Mirza wanted to make a film. Shahrukh
had recently come from Delhi. He was doing TV serials like Fauji and
Circus. He was very shy as he was new in the industry. RBGG was also
a hit. "loveria huya" was very popular. But the closest song to my
heart is a duet by Alka Yagnik and Kumar Sanu "tu mere saath saath
aasmaan se aage chal". Popularity-wise all songs were hits, but I
would like you to play this particular song.

YK: definitely!

---------------------------------------------------
Song: tu mere saath saath (Raju Ban Gaya Gentleman)
---------------------------------------------------

YK: The music of JJWS at that time was totally different from all
others. Even today if we analyse, we can find the difference. Songs
like "yahaan ke ham Sikandar", then "rooTh ke hamse kabhi", then the
most popular "pehla nashaa". What type of innovations you had done
for the music of this film?

JP: Let me tell you how we got this film. I had a friend who knew
Mansoor Khan. I told her that we wanted to make him hear our
compositions. Qayamat Se Qayamat Tak was superhit and Mansoor Khan
was planning his next film. When our friend told him about us, he
called us with a light mind. He did noy know that time about our
capacity and ability. We had bought a 388 analog 8 track recorder
with built-in mixer from Canada and had set up a small recording
studio. Mansoor Khan saw this set up and was quite impressed. I was
a good singer also and so could impress him with our compositions.
He decuided to give us his next film but did not disclose this to us
that day. He told us later. Then different situations in the film
kept coming and we made one song after the other.

YK: Tell us about the song that you had sung, "rooThke hamse kabhi".

JP: When we composed this song, we thought of getting it recorded in
a good singer's voice. Later I dont know what happened, both Mansoor
Khan and Aamir Khan asked me to sing this song (tu hi gaa le, itna
achchha gaata hai).

---------------------------------------------------
Song: rooTh ke hamse kabhi (Jo Jeeta Wohi Sikandar)
---------------------------------------------------

YK: In our film industry, music directors did not sing much in those
days.

JP: We never kept any condition that I would sing. It does not look
good if the music director says that he would be singing that song.
Today some composers are doing this.

YK: How did you make the songs of JJWS? What methodology you adopted?

JP: It used to be a very good atmosphere. Mansoor Khan used to play
qeol XXXXX, I played guitar and Lalit bass guitar. We used to
assemble in Mansoor Khan's farm house in Mandwa every night at
around 7 or 8. Mansoor Khan had HAM radio in his farm house and he
used to speak to his home through HAM radio. Mobile phone was not
there at that time.

YK: Majrooh saahab also used to present with you in the farm house?

JP: No, he was not there. I used to put some dummy lyrics as I had
good undestanding and sense of meter. I am not a professional writer
but have the basic idea. So, we would complete a song and record it
there itself till the wee hours of 4:30 or 6. In this way, we worked
during the making of JJWS.

YK: Its really great. Today, all these processes have become very
easy, isn't it?

JP: Yes, today you get all the phrases completely readymade, so less
labour is required today.

YK: Tell us something about Majrooh saahab. What kind of experience
you had working with him?

JP: We miss him badly today. He was a great man, very straight
forward, highly gifted, and noble.

YK: Majrooh saahab is one such lyricist who started working in films
since 1948 and worked till the 1990s. So, he must have shared very
useful tips with you?

JP: You might know know, Majrooh saahab was the lyricist who started
the trend of writing songs on a given meter. He would say to the
composer 'aap iska 'tune' banaa deejiye, phir main likhta hoon'. His
nature was such that he was highly interested to teach the newcomers
and younger generation. He knew that I used to write. So, he would
encourage me. For the song "baahon ke darmeeyaan" of Khamoshi, I had
written dummy words like "aankhon ke darmeeyaan ham Khud ko dekhte
hain", its grammatically wrong, but he appreciated me. Then he made
it "baahon ke darmeeyaan do pyaar mil rahe hain".

YK: Was there any problem with Majrooh saahab due to the age
difference?

JP: Never! It doesn't look good for me to say something good about
such a great man, but he always treated us like friends. He used to
call me 'baabu'. If he had any doubt about our tune, he would just
say 'baabu, tumhaara 'meter' Theek hai kya?' I believe he was a poet
of Ghalib and Majaz's calibre.

YK: In Kabhi Haan Kabhi Naa, Majrooh saahab wrote songs like  "woh
to hai albela".

JP: I would raather say about the other song of this film "ae kaash
ke ham hosh mein ab aane na paayen". In this song, in one of the
antaraas, it goes like "khilti mahakti........ aa jhoom ke....",
this "aa" word got suppressed when the song was recorded. When he
heard the recorded song, he pointed out that recording was not
proper as this word could be heard clearly, so he wanted us to re-
record the song. This shows how perfectionist he was in his work.

--------------------------------------------
Song: ae kaash ke ham (Kabhi Haan Kabhi Naa)
--------------------------------------------

YK: Jatin-ji, now I come to your next film Khilaadi. How did you
create the softness in the song "vaada raha sanam"?

JP: Its our taste, our style. We got a homely atmosphere for a long
time, so we like such softness. There is no show-off in Lataji's
voice, there is no show-off in Rafi saahab, Kishoreda or Dilip
saahab. Lataji can sing classical songs, cabaret numbers, naughty
and light numbers, her range is very high, she is such a great
singer but still she is so down to earth. Similarly, Pancham was so
melodious. He had immense knowledge of both classical music and
technology, he was expert in all sections of music. His every song
is melodious. He maintained dignity of melody in each of his songs.
Suppose you are required to compose a naughty song. You easily
compose it by compromising the dignity of melody, but Pancham
maintained this dignity in naughty songs as well.

YK: How did the idea of this song, its tune etc came to your mind?

JP: It was a stock tune that we had composed quite earlier. Earlier
it was written like this, (sings) "pehle to is qadar hamko naheen
tha yeh pataa, na jaane aaj kyun dil hone lagaa hai deewaana".

YK: Great! But how did then this 'vaada' word struck you for this
song?

JP: I have a strong liking for this word 'vaada'. So, I told the
lyricist Anwar Sagar to start the mukhDaa with this word, and he did
full justice to the composition. The tune of the antara was composed
in my sister's house one afternoon. We were all sitting and suddenly
this tune came to my mind. Everyone appreciated it. Other music
directors also congratulated us for this song.

---------------------------------------------------
Song: vaada raha sanam honge juda na ham (Khilaadi)
---------------------------------------------------

YK: Yashraj banner, one of the most renowned banners of the
industry. And you got the opportunity to work in its Dilwale
Dulhaniya Le Jayenge. Tell us how was it different from others, how
challenging it was to work for Yash Chopra?

JP: Yash Chopra and his entire family is really great. One can learn
a lot from their way of working. They are so professional; their
every aspect is so organized and disciplined. Every concept is so
neat and clean that you feel proud to work for such a family. There
is no cheap actions in this banner. One should learn the art of
actual filmmaking from Yash-ji's family. Their projects are always
time bound. They fix dates for every thing before hand. They even
plan the dates for songs and background and tell this to the music
directors.

YK: How did you get DDLJ? Did someone recommend your name to Yash-ji
or he called you?

JP: After R D Burman's death, we had gone to meet Asha-ji in her
house. There she asked us 'aap log itna achchha kaam karte ho to
phir aapko filmen kyun naheen milti? main abhi Yash-ji ko 'phone'
lagaati hoon'. She called up Yashji and fixed up a sitting with us.
Aditya Chopra was planning a film at that time. We went for the
sitting and in that sitting itself two songs were finalised. But we
didn't know this and we returned back home.

YK: This is amazing! Then what happenned?

JP: Then one day we were recording in Sunny Sound, we got a call
from Aditya that he wanted us right then at his place. We went and
he got us signed for DDLJ. He narrated us the story of DDLJ. I must
tell you all that I had never heard such a fantastic narration
before in my life. And we realised the capability of Anand Bakshi
saahab in this film. I can bet that Anand Bakshi was one of the
finest filmwriters of the country. He had a very good sense, he
could write keeping in mind the language level of the character
(kaun sa 'character' kis 'level' ki baat kar sakta hai, woh apne
gaano mein iska dhyaan rakhte the).

YK: Though each and every song of this film is superhit, which is
your favourite song of this film?

JP: I like all of them, especially "tujhe dekha to yeh jaana sanam"
and "mehendi lagaake rakhna".

YK: DDLJ has been the longest running film and its music is
evergreen. DDLJ is undoubtedly one of the golden episodes of your
career. Isn't it?

JP: Definitely! DDLJ is very close to my heart. My mother always
wanted that her sons become successful in career. I watched this
film with my mom and dad sitting on either sides. After watching
this film, my mom said 'ab mujhe yakeen ho gaya ki mere beTe kuchh
ban gaye hain'.

YK: waah! Jatin-ji, there is a song "ghar aaja pardesi", it might be
lesser-known but its very sentimental and touches one's heart
instantly. Tell us something about this song.

JP: This was the last song to be made. I must say Pamela-ji came for
the recorded s well rehearsed that we didn't even have to say a
single word to her. We give full credit of this song to Pamela-ji
and Bakshi saahab, thats it!

YK: In this song, the rhythm and the use of strings are also very
different.

JP: Yash-ji is very much interested in Indian percussion
instruments. And when the film and the situation is Indian, then the
song should also give an Indian taste.

YK: Which song of DDLj would you like me to play here?

JP: Play "tujhe dekha to yeh jaana sanam".

--------------------------------------------------------------
Song: tujhe dekhaa to yeh jaana (Dilwale Dulhaniya Le Jayenge)
--------------------------------------------------------------

END OF PART 1

SANGEET KE SITAARON KI MEHFIL

AMEEN SAYANI'S PROGRAMME ON PREM DHAWAN
---------------------------------------
***************************************

PART 1
------

Sangeet Ke Sitaaron KI Mehfil ke surmast mehmaano, zaraa dekhiye to
aaj main kis bemisaal shaayar ke geet le aaya hoon aapke liye.
shabdon ki bauchhaar hone ko tayyaar hai dhuno mein Dhalkar, bas
aapke mehfil mein aane ki der hai.

------------------------------------------------------------------
Song: rimjhim jhim jhim badarwa barse naina more tarse (Tangewali)
------------------------------------------------------------------

baheno aur bhaaiyon, aapke saathi yeh Ameen Sayani ko bhi san 1952
ke aaspaas mein sangeet ki duniya mein palne baDhne ka saubhaagya
praapt huya hai. kai sangeetkaaron, gaayak gaayikaaon aur shaayaron
ko maine kareeb se dekhaa hai, sunaa hai aur jaana hai. inmein ek
baDe seedhe sachche swabhaav ke insaan the Prem Dhawan. sirf naam hi
unkaa Prem naheen tha, unki shaayri mein bhi pyaar ki saadgee ki
miThaas basee rehti thi.

----------------------------------------
Song: dil bhi tera ham bhi tere (Taksal)
----------------------------------------

film Taksal ka geet tha yeh, sangeet Roshan ki thi. doston, Prem
Dhawan ki zindagi aur shaayri par ek baDaa Khoobsoorat 'radio
programme' karne ki tayyaari main kai barson se kar raha tha. unke
kuchh puraane 'interviews' ke 'recordings' bhi mere paas thi,
do 'stage shows' ke 'programme'-on ki 'recordings' bhi mere paas
thi. lekin main chaah raha tha ki aaraam se kuchh der unke paas
baiThkar unke jeevan ke baare mein bahut kuchh jaanoo aur unkaa ek
lambaa se naya 'interview record' karoon. magar taqdeer ko yeh
manzoor naheen tha. kabhi woh 'busy' ho jaate, kabhi main kisi kaam
mein ulajh jaata. aur phir saal 2001 mein 7 May ko Khabar mili ki
Prem Dhawan ab is duniya mein naheen rahe.

-----------------------------------------------------------
Song: sabkuchh luTaake hosh mein aaye to kya kiya (Ek Saal)
-----------------------------------------------------------

film Ek Saal mein yeh Ravi ka sangeet tha. Prem Dhawan ka
woh 'interview' jo naheen ho paaya, uskaa praayashchit karne ke liye
maine bahut saare 'tapes' aur bahut saare CDs aur 'video cassettes'
ikaTTha keeye baheno aur bhaaiyon, jinke zariye aaj main apne dost
Prem Dhawan ki yaadon ko ek anokhi mili-juli tasveeron se banee
shraddhanjali prastut karoonga. pehli tasveer, taariKh 5 February
2000 ko Prem Dhawan ke sammaan mein huya ek zabardast 'stage
programme', jiska 'video tape' mere dost aur amshoor 'doctor' aur
laajawaab 'music collector' Prakash Joshi ne mujhe diya. us 'video
cassette' mein 'sound' ki 'quality' bahut achchhi naheen thi, 'loud
speaker' ki goonj zaraa zyaada aa rahi thi, phir bhi usmein se kuchh
hisse main aapke liye pesh karnewaala hoon. us 'programme' mein kai
baDe baDe log tashreef laaye the, jinki raahen Prem Dhawan se jaa
mili thi jaise Anil Biswas, aur Naushad, aur Ali Sardar Jaffrey,
Khayyam, Sardar Malik, Ravi, Snehal Bhatkar, Dina Pathak, vagerah
vagerah vagerah. in sabki taqreeren shuru hone se pehle us sammaan
sabha mein Prem Dhawan ke kuchh yaadgaar geet bajaaye gaye jinmein
se bahut saare gaane aap aaj ke aur agle 'programme' mein sunenge.
aur phir us 'programme' mein, us sammaan sabhaa mein ittefaaq se
mujhse bhi kahaa gaya ki main bhi kuchh kahoon to maine zaraa sa
jhijhak karke, kyunki wahaan itne baDe baDe log baiThe the ek se ek
baDhiya, to unke saamne zaraa sa sar jhukaakar 'mike' ke paas aaya,
aur maine kahaa:

"main kaise kahoon, kyaa kahoon, samajh mein mere isliye naheen aata
kyunki jab sangeet aur shabd ke jab itne baDe baDe mahaarathi yahaan
baiThe hon, unke saamne yun lagtaa hai ki jaise sar jhukaa jaa raha
hai izzat se, adab se, palken jhuki jaa rahi hain yaadon ke bojh se,
woh yaaden jinmein in logon ke geet, inka sangeet, hamaare
jawaaniyon ko phir se zindaa kar raha hai. yeh woh log hain jinhone
shabd aur sangeet ka itihaas likha hai. yeh woh log hain jinhone sur
ko hamaari dil mein, hamaari aatma mein basaaya hai, shabd ko
basaaya hai. aur yeh yaadon ki baaraat jo aapke saamne ubhar rahi
hain aur ubharti rahengi, is baaraat ke dulhe saahab jo hain Prem
Dhawan-ji, inse ittefaaq se pichhle kuchh barson mein bhi, pichhle
dino mein bhi kuchh aisi pyaar bhari mulaaqaaten hoti raheen ki unke
baare mein ek do baaten main bataayunga".


magar ab baaten itni ho gayi baheno aur bhaaiyon ki ab geet aana
bahut zaroori hai. to yahaan main aapko sunwaata hoon ek baDaa hi
Khoobsoorat gaana, jiski dhun se Prem Dhawan ki filmi geetkaari ka
silsila shuru huya tha, 1948 ki woh film thi Ziddi, jiske karta
dharta Ashok Kumar aur Devika Rani se Prem-ji ko milwaane ke liye le
gaye mashoor 'director' Shahid Lateef aur laajawaab lekhika Ismat
Chugtai, aur tayyaar huya Ziddi ka yeh amar geet Khemchand Prakash
ke sangeet nirdeshan mein.

-------------------------------------
Song: chanda re jaa re jaa re (Ziddi)
-------------------------------------

----------COMMERCIAL BREAK----------

baheno aur bhaaiyon, abhi abhi aapne film Ziddi ka geet sunne jisse
geetkaar Prem Dhawan ka janam huya tha, aur unka janam huya tha 13
June 1923 ko Ambala mein. pitaaji British sarkaar ki 'service' mein
Jail Superintendent the, yaani ki yun samajhiye Jailor the, aur
kuchh kuchh barson baad unka 'transfer' hota rehta tha alag alag
shehron mein. jawaani jab aayi to Prem Dhawan ne apne aap ko Lahore
mein paaya aur kaafi saal woh waheen rahe. waheen F C College mein
unhone 'graduation' kiya. 'college' mein Prem Dhawan ke saath kaun
kaun the aap jaante hain" do naam main aapko bataata hoon. ek to
unse do saal 'senior' the Indra Kumar Gujral, jo aage chalkar
bhaarat ke pradhaanmantri bane, aur 'class fellow' the unke Sahir
Ludhianvi. teeno ka baDaa taallukh tha 'college' ki 'union' se,
aur 'union' se aage baDhkar woh 'politics' tak pahunche. Prem Dhawan
saahab 'communism' se prabhaavit huye aur Britsh sarkaar ke Khilaaf
aandolan karne ke liye 'party' bhi 'join' kar lee. aur uske baad
shuru huya Prem Dhawan ka bahut rangeen daur. magar us daur ka zikr
karne se pehle main aapko unka likha huya 1951 ki film Ada ka ek
geet sunwaata hoon, baDaa Khoobsoorat geet hai, jiski dhun Madan
Mohan ne banaaee thi.

----------------------------------------------
Song: saanvari soorat man bhaayi re piya (Ada)
----------------------------------------------

achchha ham baat kar rahe the saanvli sooratwaale yaa yun kahiye ki
is thoDe si gandvi sooratwaale 'handsome' geetkaar Prem Dhawan ke
rangeen zamaane ki shuruwaat ke baare mein. 'college' ke dino mein
aur apni 'party' mein bhi Prem Dhawan apne geeton aur ghazlon ke
liye bahut mashoor the saahab. lihaaza unki 'party' ne unko Bambai
bhejaa Indian People's Theatre Association yaani IPTA mein shaamil
hone ke liye. IPTA ke saare kalaakaar ek chhoTe se bangle mein ek
saath rehte the aur samaaji Draamon aur sangeet ke 'programme'-on
mein Khoob dhoom machaaya karte the. har ek ko tankhwaa milaa karti
thi har maheene 40 rupay. us daur ke baare mein Prem Dhawan-ji ki
usi sammaan sabhaa mein abhinetri Dina Pathak ne hamein baDi pyaari
pyaari baaten bataaee theen.

Dina Pathak: Prem mera rang mitra hai, rang saathi hai, aur Prem ke
saath prem rang mein ham khele hain. woh jab Bambai aaya tab ham
samajh naheen paate the ki ham jis kism ke log Indian People's
Theatre Association ka, ek 'central troupe of IPTA' banaaya gaya tha
jismein ek 'dance group' karna tha. Shanti Roy Bardhan, jo Uday
Shankar ke wahaan se nikle huye wahaan se, aur baad mein IPTA se
juDe huye the Ravi Shankar-ji. us waqt yeh 'dance group' banaa tha
aur aise logon ke saath banaa tha jo sampoornatah iske andar juTe
rahen aur unse seekhe. magar man mein desh prem, desh raaj,
swatantrata ki ek lagan. yeh ham saare 'provinces' se 27 log
ikaTThaa keeye gaye, usmein Prem Punjab ka tha, main Gujarat ki thi
aur Bambai ki bhi. to ham logon ko jab bulaaya gaya tha to hamko
kuchh naheen aata tha, na ham naach paate the na ham gaa paate the
itna achchha. jab kahaa gaana gaayo to gaa lete the, ikaTTha hoke
naach lo to haath pair hilaa lete the, magar ham logon ne tay kar
liya tha ki seekhna zaroor hai. koi kehta tha 'Prem kaise naachega?'
arey, woh pehla tha sabse, 'dancer' to usko banaaya gaya pat haTke
tha, aur jab 'ballet' banaaya gaya tha Quit India ke baare mein, to
woh achchha hi naheen lagta tha balki hamesha 'villain' banta tha,
aur sabko Daraake 'arey yeh 'actor' kahaan se nikal aaya? yeh gaata
bhi hai, naachta bhi hai, 'actor' bhi hai, likhta bhi hai aur sabko
maze mein rakhta hai, hansta rehta hai sadaa'. mujhe hamesha yaad
rahega, rehta tha aur rehta hai, ek gaana banaaya tha, ham logon ne
bahut gaane banaaye the IPTA ke liye, to ek gaana likha tha mujhe
yaad hai, (sings) "arey o bhaago London jaayo..."

dekh leejiye, Dina Pathak-ji ko Prem Dhawan-ji ki itni puraani
kavitaa ab tak yaad thi. aur yahi kavita Khud Prem Dhawan-ji ne bhi
mujhe sunaaee thi jab maine un par ek hansi mazaak waala filmi
muqaddama chalaaya tha 1977 mein. leejiye suniye:

Prem Dhawan: (recites) "arey ab bhaago London jaayo, kaahe sau sau
makar banaayo, arey tumri neeyat khoTi tumra har vaada hai bodaa,
aur laDne marne ki baaton mein zaalim kaisa saudaa, arey Khoon ka
badlaa Khoon hai sunlo aazaadi ka bhaav, arey ab bhaago London
jaayo. arey kaise bhoolen Jallianwala Bagh ko kaise bhoolen, arey
kaise bhoolen aise gehre daaG ko kaise bhoolen, ek naheen hamre
seene pe to laakhon hain ghaav, arey ab bhaago London jaayo. arey
barson chupke chupke tumne jeb hamaari kaaTee, jaag uThe ghar ke
rakhwaale apni Khair manaayo, arey ab bhaago London jaayo. aur yeh
bhaaDe ke TaTToo raaje yeh maaTee ke maadhav, ab inke bhi din beete
ab inke bhi bistar baandho, arey saahib apne sang apne kutte bhi le
jaayo, arey ab bhaago London jaayo"

IPTA ke dino mein janataa ke zameer ko jagaane ka kaam bahut Doob
kar kiya Prem Dhawan-ji ne aur uske baad bhi filmi geet aise aise
likhe ki dil ke soye armaan bhi jaage, zamaane ki naainsaafiyon ka
dard bhi jaaga.

--------------------------------------------------
Song: zamaane ka dastoor hai yeh puraana (Lajawab)
--------------------------------------------------

----------COMMERCIAL BREAK----------

Sangeet Ke Sitaaron Ki Mehfil mein baheno aur bhaaiyon, aaj geetkaar
Prem Dhawan ki yaaden ubhar rahi hain. abhi abhi aapne unka jo geet
sunaa "zamaane ka dastoor hai yeh puraana", woh film Lajawab ka tha.
1950 ki is film Lajawab se aise sangeetkaar sez zoron mein jamee
jinka naam har sangeet premee hamesha baDe aadar se letaa raha hai.
woh sangeetkaar jinhe ham film sangeet ke Bhishma Pitamah kehte
hain, yaani Anil Biswas. Anilda ke do qadardaano yaani Dr Prakash
Joshi aur Sultan Arshid ki or se Anilda ke liye jo 'programme' huya
tha usmein Anilda ke baare mein Prem Dhawan ne kya kahaa tha zaraa
suniye to:

Prem Dhawan: doston, mere liye yeh baDi Khushi ki baat hai ki mere
dost, dost samajh leejiye yaa, ek to mere guru hain, Anilda guru bhi
the aur dost bhi, ham log bahut filmon mein saath mein the. unki
bahut si filmen maine likhee hain aur Meena-ji ko aap poochhiye ki
ham kaam bhi karte the, jhagDaa bhi karte the, aur mere jaisa aadmi
jo zyaada naheen jaanta 'music' ke baare mein, woh kahaa karta tha
ki 'yeh dhun jo hai, yeh is tarah se hai, yeh is tarah se banni
chaahiye'. to woh kehte the kabhi kabhi ki 'yeh tune jo geet likha
hai, ismein aisa naheen, yeh 'word' naheen, balki yeh 'word' honi
chaahiye'. to yeh shaayar ban jaate the aur main 'music director'.
aisa kai dafaa huya hai. Meena-ji is baat ki gawaah hain. yaani
ek 'team', aisi dosti ho gayi thi, itni 'frankness', kaam karte
karte aisi 'team' ho gayi thi ki ham ek doosre ko keh sakte the
ki 'yeh jo geet hai, yeh 'words' tumne Theek naheen likhe', aur main
keh sakta tha ki 'yeh jo dhun hai, yeh is tarah se banaa deejiye to
zyaada achchhi ho jaayegi'. to yeh pyaar ki aur dosti ki aur 'team
work' ki baat hai. tabhi yeh gaane achchhe bante the.


aur saahab, kaise kaise Khoobsoorat geet bane Anil Biswas aur Prem
Dhawan ke sangam se.

------------------------------
Song: baalamwa naadaan (Aaram)
------------------------------

Prem Dhawan: maine Anilda ke saath 50 saal pehle kaam karna shuru
kiya tha. aur aaj bhi 50 saal ke baad bhi aapko hairaangee hogi ki
ham saath mein kaam kar rahe hain, abhi haal hi mein jo yeh sadee
badlee, to Sa Re Ga Ma aur Antakshari ke 'programmes' ke liye 'title
song' maine likhe aur Anilda ne uski dhun banaaee.


Anil Biswas ki do baDi hi mashoor dhuno mein Prem Dhawan-ji ne geet
likhe the film Tarana ke liye. aur unmein se ek geet woh tha baheno
aur bhaaiyon jo Lata aur Talat Mahmood ke behatareen amar 'duets'
mein shaamil hain, aur uske binaa Prem Dhawan-ji ka yaa Anil Bisaws
ka koi bhi 'programme' poora naheen ho sakta.

---------------------------------------------
Song: seene mein sulagte hain armaan (Tarana)
---------------------------------------------

magar Prem-ji ka jo doosra geet tha Tarana mein usey kai log shaayad
bhool gaye honge. to baheno aur bhaaiyon, aaj main uski yaadon ko
phir ek baar saakaar kar deta hoon aapke liye.

-----------------------------------------------------
Song: bol papeehe bol hai kaun mera chitchor (Tarana)
-----------------------------------------------------

----------COMMERCIAL BREAK----------

achchha doston, Anil Biswas ki sangeet se sajee huyi ek film aisi
thi jiska kaafi hissa Russia mein 'shoot' huya tha. naam tha us film
ka Pardesi. Pardesi ke geeton mein Khaas baat yeh thi zyaadatar
geeton mein us film ke do do shaayaron ke naam ek saath deeye gaye
the, Prem Dhawan aur Urdu ke mashoor adabi shaayar Ali Sardar
Jafferey.  Sardar Jafferey aur Prem Dhawan saahab ka ek saath likha
film Pardesi ka ek geet main aapko agle 'programme' mein sunwaayunga
aur ek yeh leejiye abhi sun leejiye.

-----------------------------------------
Song: na dir dir ta na de ri na (Pardesi)
-----------------------------------------

achchha san 2000 mein Prem Dhawan ke sammaan mein jo 'function' huya
tha usmein Ali Sardar Jafferey saahab bhi shaamil the. ab to woh
naheen rahe is duniya mein. aur Sardar bhaai ne 'mike' par aakar
Prem-ji ke baare mein kahaa:

Ali Sardar Jafferey: jo prem hai, mohabbat hai, insaaniyat hai, yeh
sab unki dil ki hi den hai aur isliye Prem abhi tak jawaan hai, inka
dil jawaan hai, aur abhi yeh baaki hain. kyunki jab tak dil ki aag
maujood hai us waqt tak inki jawaani koi naheen chheen saktaa. ham
log saath saath bahut saare kaam keeye hain, to us zamaane ka inka
likha ek gaana, doston, Dina ne abhi ek gaane ka zikr kiya, "bhaago
London jaayo", aur isi tarah ke aur gaane inhone likhe, IPTA
ke 'cultural squad' ke liye, ek gaana tha "ab na gaaDi chaale
hamse", usmein ek misra thi "sees jhuke na ek 'signal' ka ek jhanDi
na haale bhaiya ab na gaaDi chaale".


o ho, baheno aur bhaaiyon, yeh kavitaa bhi mere paas maujood hai
Prem Dhawan ki apni aawaaz mein. aayiye woh bhi sun lete hain:

Prem Dhawan: yeh geet aazaadi se ek saal pehle, yaani ki 46 ka hai.
All India Railway haDtaal honewaali thi, mazdooron ne apni maangen
ek angrez the, Mr Benthel, jo 'chairman' the, unke saamne rakheen,
maine is geet mein us Benthel saahab ka bhi zikr kiya hai taaki yeh
lage ki yeh geet 'direct' unse muKhaatib hain. aur maine bhaasha bhi
iski aisi rakhi hai aur dhun bhi jo mazdooron ki lage. to
suniye: "arey khoTi baaten karke Benthel kaahe baat ko Taale jaalim
kaahe baat ko Taale, ab na gaaDi chaale hamse ab na gaaDi chaale,
arey kab lag gaaDi ke pahiyan mein haaD hamaare chaTke, arey kab
lag 'engine' ke dhooyen mein hamri aahen bhaTke, arey kab lag peene
denge tumko apne Khoon ke pyaale, Benthel ab na gaaDi chaale. arey
bhookh ka maara peT hamaara maange roTi roTi, aur jab tak peT mein
roTi na ho saari baaten khoTi, arey ab na chakka chaale hamse ab na
pahiya haale jaalim ab na gaaDi chaale. arey is gori sarkaar ka
aisan aasan Dole, ki har ek 'station' pe seeTee ke badle ulloo bole,
arey sees jhuke na ek 'signal' ka ek jhanDi na haale bhaiya ab na
gaaDi chaale.


Sangeet Ke Sitaaron Ki Mehfil mein aaj aap baDe hi purasar geetkaar
Prem Dhawan ke geet sun rahe hain aur unki bolti huyi aawaaz bhi.
kuchh aur baDe baDon ki aawaazen bhi ham aapko sunwaate jaa rahe
hain. baheno aur bhaaiyon, is waqt ek aur baDe hi guNee sangeetkaar
ki aawaaz mein suniye Prem Dhawan ki taareef. mauka wohi sammaan
sabhaa Prem Dhawan ke liye, aur unke baare mein yeh kahaa tha
Khayyam ne:

Khayyam: main bhool naheen sakta ki jab baDi pareshaani thi, mere
paas ghar naheen rehne ko, ek aur Khaas baat, ki jab kabhi apne
gaaDi se guzre, ham paidal chalaa karte the, apni gaaDi rok le,
jahaan mujhe jaana hai wahaan chhoDkar apna kaam karne jaate the.
aur phir mere paas ghar naheen tha, inhone jaanch liya, kuchh inko
meri baaton se, pareshaani ka pataa chalaa, mujhse poochha 'kya
pareshaani hai?' maine kahaa 'Prem-ji, jahaan main rehta hoon
wahaan, kiraaye pe diya tha rehne ko, ab woh kiraaya maang rahe
hain, woh Theek hi maang rahe hain, lekin main de naheen paaya'. to
unhone kahaa 'chalo mere ghar'. to woh mujhe apne ghar le aaye.  'So
I cant forget'. Prem Dhawan-ji itne mahaan fankaar, Prem-ji taal ko
aur sur ko itna achchha samajhte hain, husn-o-ishq ki dhun agar ham
unko de den to woh itne Khoobsoorat andaaz mein, apne  bolon me usko
piro dete hain, kisi sangeetkaar ko koi dikkat aa hi naheen sakti
aur na kabhi aayi hogi, na mujhe hai.

-----------------------------------------------------------
Song: laDi re laDi tujhse aankh jo laDi (Shola Aur Shabnam)
-----------------------------------------------------------

aap to jaante hi hain ki yeh geet Khayyam saahab ke liye Prem-ji ne
likha tha film Shola Aur Shabnam ke liye. us film mein Prem Dhawan
ke sirf do gaane the aur us doosre geet par hi ham unke
is 'programme' ka pehla hissa karenge Khatam. yeh geet hai sangeet
ke un phaagunon ka jo hamaare jeevan mein aate rahenge, magar Prem
Dhawan to 7 May 2001 ke baad chale hi gaye kabhi lauTkar na aane ke
liye.

---------------------------------------------------------------
Song: phir wohi phaagun aaya saajan aaye na (Shola Aur Shabnam)
---------------------------------------------------------------

to doston, Prem Dhawan ke jeevan safar ke isi moD par aakar ham apne
kadam rok lete hain, yeh safar aage baDhegaa Sangeet Ke Sitaaron Ki
Mehfil ke agle 'programme' mein. Prem-ji ke likhe kai aur madhur
geet bhi honge usmein aur Prem Dhawan ki kalaayon ke do aur pehluyon
par bhi roshni Daali jaayegi, sunna na bhooliyega apne hamsafar
Ameen Sayani ke saath.

END OF PART 1

EPISODE 11
----------

KS: Kamal Sharma
AW: Ahmed Wasee
YK: Yunus Khan
OP: O P Nayyar

AW: achchha Madhubala se baawasta koi aisi baat yaa waaqya jo aapka
unke saath...

OP: Madhubala mere bahut, matlab unka bahut pasandida sangeetkaar
tha, aur unki pasandida gaayika thi Lata. to jab woh 'shooting' par
aati thi , jiska main sangeetkaar tha, ham unke ghar
jaakar 'picture' unko 'sign' karwaaya. mujhe baabuji bulaati thi, to
woh 'shooting' ke din subah mujhe 'phone' karti thi aur kehti thi
ki 'baabuji, aap ghar se khaana na laana, khaana hamaare saath hi
khaana yahaan pe'. sab log sochte the ki 'bhai Madhubala Dabba leke
Nayyar saahab ko andar le jaati hai' (laughs), lekin kuchh aisi baat
naheen hai, siwaay iske ki bahut BaDi fankaara thi, main chhoTi
bahen ki tarah unki izzat karta hoon, aur bahut achchhi aurat thi,
jitni haseen thi, usse 'double' haseen thi zindagi mein.

------------------------------------------------------------------
Song: yeh kya kar Daala tune dil tera ho gaya (Howrah Bridge,1958)
------------------------------------------------------------------

AW: hamne aisa suna hai ki aapne ek baar unse kaha tha ki 'mere ghar
mein tumhaari tasveer lagi huyi hai'? woh kya waaqya hai?

OP: (laughs) Wasee saahab, woh waaqya baDi, bas izzat reh gayi
hamaari. waaqya yeh tha ki Madhubala-ji ko jab main milaa 'first
time', maine kaha 'tashreef laayengi ki mere ghar mein aapki tasveer
baDi zabardast chaDhee huyi hai'. ek din unhone bolaa ki 'shaam ko
aapke ghar aayungi'. maine kahaa 'aaiye'. to maine ek dost
ko 'phone' kiya ki 'yaar mere ko Madhubala ki ek tasveer chaahiye',
uske paas tha tasveer. usko laake maine chaDhaa diya. usne aake
dekhaa ki sachmuch main baDa 'fan' hoon unka. naheen to meri baDi
buri haalat ho gayi thi.

AW: aisa aur kisi 'artiste' ke saath huya?

OP: naheen naheen, aur kisi ke saath naheen.

AW: aur kisi 'heroine' ke saath?

OP: naheen, sirf Madhubala hi ek aisi thi jinki husn ka aur unki
andar ki jo Khoobsoorti, usse bhi baDhkar thi.

AW: aur Suraiyya-ji?

OP: kya baat hai! Suraiyya ka main naam ab tak isliye naheen liya
kyunki Suraiyya-ji aisi haseen gaanewaali thi ki jinke andaaz mein
sur hi sur bhara huya tha.

AW: yaani Suraiyya ka sur aur raiyya, yaani 'singer' aur 'actress'.

OP: bilkul sahi farmaaya aapne, sur aur uspe raiyya, woh Suraiyya
aisi kamaal ki gaayika hain aur meri Khushnaseebi hai ki mujhe unko
gawaane ka mauka mila, "zaraa si baat pe Khafaa na ho", Rafi saahab
ke saath 'duet' hai unka, aur phir "milti hai kahaan jaakar kismat".

---------------------------------------------
Song: milti hai kahaan jaakar (Mr Lambu,1956)
---------------------------------------------

KS: hamne Madhubala-ji ka zikr kiya, lekin aap ke aise bahut se
gaane hain jo Asha Parekh-ji par filmaaya gaya, phir yeh Shammi
Kapoor saahab jo hain...

OP: aji saahab, Shammi to chhaa jaata tha gaana adaa kare
aisa 'singer' hi koi naheen tha, ab bhi koi naheen hai, bhaai Raj
Kapoor bhi aisa adaa naheen karta tha jo Shammi karta tha.

KS: aapko lagtaa tha ki yahaan aapke gaane ke saath nyaay hoga

OP: bilkul

KS: aisa koi gaana jo aapko lagta hai ki bahut achchha 'record' huya
lekin parde par bahut Kharaab 'picturise' huya?

OP: Shammi saahab ka koi gaana aisa naheen hai

KS: unkaa naheen, kisi aur ka?

OP: naheen naheen, doosre kai vajuhaat ho sakte hain Wasee saahab,
ki 'print' achchha na ho, 'processing' achchhi na huyi ho,
yeh 'photography' Theek na ho, kai cheezen ho sakti hain

KS: aap yahaan yeh bataaiye ki Shammi Kapoor saahab ka kyunki zikr
aaya hai, koi aisa gaana jo aap unse joDte hon, jo aapko pasand hai,
ek to Rafi saahab maujood hain, aap to usmein maujood hain hi, aur
Shammi Kapoor jis gaane mein maujood hain.

OP: Rafi saahab to the naheen us waqt, lekin Shammi Kapoor saahab
the, 'picturisation' mein main maujood tha "hai duniya usi ki
zamaana usika".

-----------------------------------------------------------
Clip: hai duniya usiki zamaana usika (Kashmir Ki Kali,1964)
-----------------------------------------------------------

KS: ek lambe arse tak aapne Geeta Dutt-ji se geet gawaaye. uske baad
ek lambaa 'gap' aa gaya. Geeta-ji ne kabhi aapse kabhi koi
shikaayat, kabhi koi malaal kiya ki aap unhe bhool gaye hain?

OP: zaroor! ek din raat ko main soya paDaa tha, unhone raat ko koi 2
baje mujhe 'phone' kiya ki 'Nayyar saahab, kya baat hai, kya aap
mujhse naaraaz hain'. maine kaha 'Geeta-ji, bilkul naheen, yeh kabhi
aap sochiyega naheen', 'to mere se gaane kyun naheen leeye? kyun
naheen lete aap? kyunki Guru Dutt Bahaaren Phir Bhi Aayengi banaa
rahe hain, usmein to aap mere gaane leejiye'. maine kahaa 'Geeta-ji,
sachchaai poochhengi to yeh hai ki Ashabaai jo beech mein aa gayi
hai, to maine kaha 'woh bahut israar karti hai ki main sirf main hi
gaayungi, kisi aur ko gaana naheen gaane doongi''.

KS: aapko kabhi ranj hota tha ki aap kabhi unko naheen le paaye?

OP: zaroor, zabardast ranj hota tha. lekin kya tha, yeh na
samjhiyega Kamal saahab ki mujhe woh Ashabaai pe koi 'weakness' thi,
woh to 3 bachchon ki maa thi, lekin woh sirf ek baat zaroori thi ki
woh kalaakaar bahut achchhi thi aur unki israar kluchh had tak sahi
bhi thi ki 'mujhe, sirf mujhse gawaaiye aap', aur woh jo malaal hai
mujhe aaj tak bhi, 78 ki 'age' mein 'guilty feel' karaata hai.

KS: kabhi aap unse milkar ke kehne ka...

OP: naheen, kabhi mauka naheen milaa, kyunki jab baat kee uske 8 yaa
9 maheene ke andar uski 'death' ho gayi.

---------------------------------------------
Song: jaa jaa jaa jaa bewafaa (Aar Paar,1954)
---------------------------------------------

KS: Guru Dutt, jo unke 'husbacnd' the, 'genius' to unko maana hi
jaata hai, unki filmon mein aap ne sangeet diya, Guru Dutt-ji ko
doosre log baDe 'complex personality' ke roop mein jaante hain.

OP: dekhiye ji, mera unse koi aisa zyaati meljol naheen tha, baaki
woh kabhi kabhi jab 'drink' kar lete the, to mujhe hamesha bulaa
lete the, aur woh apne 'domestic problems', apne 'love affairs', yeh
sab bataate rehte the 'and he was quite disgusted with those things,
and let me tell you' is cheez ke woh Khud bhi kaaran the yeh jo
kuchh bhi unke saath huya.

KS: sangeet ke jab 'sessions' hote the, to woh bhi aakar baiThte the
aapke saath mein?

OP: haan, woh to yaani, 'he used to like my singing so much', kehta
hai, ek 'word' tha uska, maine hamesha bolaa hai logon ko, 'O P
Nayyar translates lyrics into music'.

KS: bahut baDaa 'compliment' hai, unko aapka kaun sa gaana pasand
tha bahut?

OP: jo bhi main gaane banaata tha unki tasveeron mein, saare gaane
unko pasand aate the. lekin usko sabse zyaada gaana yeh pasand tha...

--------------------------------------------------------
Song: jaane kahaan mera jigar gaya ji (Mr & Mrs 55,1955)
--------------------------------------------------------

KS: ek cheez bataaiye, main jaanna chaahta hoon ki amuvan hota hai
ki 'recording' ho rahi hai to wahaan par unke saath mein 'lyricist'
bhi maujood hain, aur film ke 'artistes' bhi maujood
hain, 'producer' bhi maujood hain. aapki 'recording' ke samay bhi
aise log maujood rehte the?

OP: naheen, 'artiste' to koi bhi aata naheen tha, aur aate bhi to
main kisi ko inkaar naheen karta lekin 'artiste' aata hi naheen
tha. 'temperament' unko maaloom thi ki baDaa 'strong individualist'
aadmi hai, 'song writer of course', jisne gaana likha
woh 'recording' mein hote the.

AW: achchha ek baat mere zahan mein ubhar aayi hai, woh yeh ki Guru
Dutt ki shuru ki filmen jo theen, Baaz, Aar Paar aur phir CID mein
bhi aapka 'music' tha. uske baad jab unhone Chaudhveen Ka Chaand,
Pyasa aur Kagaz Ke Phool banaaee to aapko 'approach' naheen kiya?

OP: naheen, woh aaye the har tasveer ke liye, hamne ujhoorat itni
maangee ki woh naheen de sake.

AW: zyaada ujhoorat maangne ki koi Khaas vajah, kyunki pehle aap
unke saath kaam bhi kar chuke the?

OP: vajah kuchh bhi naheen, baat yeh thi, mere paas Chevrolet gaaDi
thi, 'but he had promised me, Raj Khosla and Waheeda Rahman'
ki 'agar CID 'hit' huyi to main ek ek 'Desoto' gaaDi leke doonga
teeno ko'. un dono ko to usne leke dee aur hamko naheen dee. kehta
hai 'tumhaare paas to 'already' bahut baDi gaaDi hai', to maine
kahaa 'sabke paas gaaDi hai, hamaare paas chhoDo, tumhaari neeyat ki
baat karo bhai'. bas uske baad, jo baat kari, ulTa chalte the ham.
phir Baharen Phir Bhi Aayengi ke andar, 'he requested me' ki 'please
do this'.

AW: pehle usmein S D Burman saahab...

OP: baraabar, do gaane 'record' ho chuke the, Majrooh ke 'lyrics'
the aur kehte the hamko ki 'dekho mera kitna nuksaan huya hai'.
lekin pehla gaana unhone aone upar 'picturise' kiya tha, woh maine
dekha bhi tha.

AW: uski 'heroine' wohi Mala Sinha hi theen?

OP: Mala Sinha aur doosri thi Tanuja.

KS: ek filmkaar ke roop mein, 'director' ke roop mein, 'actor' ke
roop mein aap Guru Dutt ke baare mein kya kehna chaahenge?

OP: dekhiye saahab, Guru Dutt ko, jaisa maine aapko kahaa,
ki "baabuji dheere chalna" ke waqt aisa 'interfere' chhoTa sa kiya,
ek din apni 'shooting' pe usne mujhe bulaaya ki 'Nayyar saahab,
aaiye'. main gaya. to ek woh khunnas maine naheen nikaali, maine
kaha 'aaj masti ek karoon'. to Madhubala ke upar gaana 'picturise'
ho raha tha, "udhar tum haseen ho idhar dil jawaan hai", kehne lage
ki 'kaisi lagi 'picturisation'?' maine kaha ki 'Guru Dutt, 'camera'
ki 'position' mujhe Theek naheen lagi'. kehne lage 'tere ko kya
pataa camere ka?' maine kaha 'beTa, main isi waqt tumhe yaad
dilaayun, tumhe kya pataa sangeet ka!'

All bursts into laughter.

OP: to mazaak se baat karke ham nikal gaye.

YK: jab aapke gaano ki, unke baare mein ham sochte hain to, gaano
par ek nazar Daalte hain to ek aisa gaana hai jiske baare mein bahut
lambe waqt se meri jigyaasa rahi hai "yeh desh hai veer jawaano ka",
ek alag usmein Punjabi 'touch' hai...

OP: woh hai hi Punjabi dhun saahab, woh meri dhun naheen,
Punjabi 'folk' hai woh.

YK: is gaane ki jab 'recording' aap kar rahe the to, uski dhun jab
aap banaa rahe the to tayyaariyan yaa 'rehearsal' chal rahi thi,
usse juDee koi Khaas baat hai, koi, kis tarah se woh aapke zahan
mein?

OP: koi Khaas baat naheen, Punjabi dhun thi, bol likh ke laaye Sahir
Ludhianvi, hamne woh dhun jaD dee, sabko pataa hai woh Punjabi dhun
hai, meri dhun hai hi naheen.

YK: aaj bhi kabhi shaadoyaan hoti hain, baaraaten nikalti hain...

OP: yeh gaana bajtaa hai, aur doosra gaana bajtaa hai "mera naam
Chin Chin Chu", bas! yeh do gaane, Madras jaayo, Kalkatta jaayo,
shaadi mein bajte hi bajte hain

YK: inke bina shaadiyaan hi naheen hoti. aap jab kabhi sunte hain to
kaisa lagta hai ki 'band' par "desh hai veer jawaano ka" baj raha
hai, aur ek veer jawaan ghoDe par chalaa jaa raha hai shaadi karne?

OP: kuchh naheen hotaa, maine kaam kiya, kaam karke nikal
gaye, 'band' waale bajaate hi rehte hain.

YK: kabhi aapke gaano ka, maan leejiye "yeh desh hai veer jawaano"
ka 'remix' aa jaaye aur woh aapko sunne ko mile to dil mein kahin ek
kona hoga jismein takleef hogi?

OP: naheen naheen, koi takleef naheen hogi. aajkal baDe 'remix'
chalte hain, ek HMV ne 'remix' nikaala hai, woh hai Mere Sanam
ka "yeh hai reshmi zulfon ka andhera", woh kaafi dafaa 'radio' par
aata hai, lekin bahut achchha, laDkee gaanewaali ne bahut achchha
gaayi hai, 'director' ne, koi Sood, Mr Sood 'director' hain, unhone
bahut achchha 'picturise' bhi kiya hai. aur laDkee bhi bahut
Khoobsoorat hai, main Khaas kar dekhne jaata hoon sirf laDkeeyon ke
liye.

---------------------------------------------------------------
Clip: jab aise chikne chehre to kaise na nazar (Naya Daur,1957)
---------------------------------------------------------------

END OF EPISODE 11

Dear Lavanyaji,

I could not read the font. If possible, can you pls convert the text
to PDF file and upload in this group?

Thanks & Regards
Sujoy


--- In vividhbharati@..., "lavanyashah"
<lavanyashah@...> wrote:
>
> भृंग त�पकरी जी,
> नागप�रवाले :  बचपन में
> हम अक�सर �क खेल
> खेलते थे ... गोलाकार
> में , सारे बच�चे
> बैठा जाते थे à¤"र à¤�क
> बच�चा, द�सरे के कान
> में , आहिस�ता से,
> फूसफूसा कर कोइ, भी
> चीज़ का , वस�त� का ,
> शहर का, फूल का , या
> किसी जानवर का नाम, या
> फिर किसी इंसान का
> नाम बोलता .... फिर , वही
> नाम गोलाकार से बैठे ,
> द�सरे बच�चे को , फिर ,
> आहिस�ता से, फ�सफ�साकर
> , बतलाया जाता , जितने
> भी बच�चे उस गोला
> में शामिल होते, अंत
> में  , जों बच�चा नाम
> स�नता जों बच�चा नाम
> स�नता
> उसे , वो नाम , जोर से
> बोला कर , सब को
> बतलाना पङता !  अजीब सा
> नाम , तब स�नाई देता ...
> जो मूल , नाम से कई
> बार अलग बना जाता था ...
> ये हम बच�चों का
> गेम का नाम हमीं
> खेलते थे या à¤"र
> बच�चे भी खेलते
> होंगे ये बताना
> म�श�किल हैं ....  पर
> अक�सर , जो सबसे
> म�श�किल नाम हम च�नते
> थे वो --  " भृंग त�पकरी
> " ही ह�आ करता था ... हा�
> हां हां ... चौंकि� मत !!
> ये नाम के �क सज�जन
> नागप�र से , बंबई , पापा
> जी का ब�लावे पर ,
> विविध भारती बंबई
> केन�द�र में कार�य
> भार संभालने आ ग� थे
> .. तो आज उनकी यादों
> से ये स�ना लिया जाये
> ....  'फिल�म जगत में
> प�रवेष करने के बाद
> पण�डित नरेन�द�र
> शर�मा जी ने जहा� �क
> à¤"र
> " � बाद�दे सबा इठलाती
> न आ " मेरा ग�ंचा �
> दिला तो सूखा गया ,
> मेरे प�यासे लबों को
> छ�� बिना पैमाना
> ख़�शी का टूटा गया " --
> à¤"र ,
> " वह दिल में घर किये
> थे à¤"र दिल ने ही न
> जाना,
> कोइ दिलर�बा से सीखे
> यू� दिला में समा
> जाना "
> जैसी उर�दू की
> लोकप�रिय गज़लें ही
> नहीं वरन`
> " ज�योति कलशा छलके, "
> à¤"र " नाच रे मयूरा "
> जैसे हिन�दी के गीत
> भी लिखे।  वे जो भी
> करते थे पूरी निष�ठा
> से करते थे à¤"र जों
> नही करना चाहते थे ,
> उससे साफ इनकार कर
> देते थे। यही कारण
> था की जब उन�होने
> सं` १९५७ में " विविध
> भारती " कार�यक�रम ,
> आकाशवाणी पर श�रू
> करने के लि� अपने
> सहयोगी के रूप में
> म��े आकाशवाणी
> नागप�र केन�द�र से
> बंबई ब�लवाया था, तब
> बड़ी नम�रता से कहा था
> की, " यह विविध भारती
> कार�यक�रम आकाशवाणी
> का पहला कार�यक�रम
> होगा , जो पूरी तरह
> कलाकारों पर ही
> आधारित या आश�रित
> होगा। इसके लि�
> इसमें के हर कलाकार
> को इस बात का पूरा
> अवसर मिल सकता है की
> वह जो क�छ कर सकता
> है, कर दिखा� ! किन�त�
> इसका अर�थ यह नहीं
> की त�म जो न कर सको ,
> उसे भी करने का
> प�रयास करो , क�योंकि
> �से प�रयास यदि
> निष�फल नहीं तो
> निष�प�राण अवश�य होते
> हैं किन�त� जो कर
> सकते हो उसे पूरी
> लगन से, पूरे मन से
> करो, ताकि उसे अच�छा
> रूप मिल सके " ।  वे
> जितने नमà¥�र à¤"र मधà¥�र
> भाषी थे , अपने
> उतरदायितà¥�व à¤"र
> कार�यों के संपादन
> में उतने ही कठोर भी
> रहते थे। ढ�लम�ल
> नीति न उन�हें पसंद
> थी न अपने किसी
> सहयोगी से वे �सी
> अपेक�षा रखते थे।
> भाषा के संबध में
> उनकी स�पष�ट राय
> होती थी की, " जिस
> भाषा पर त�म�हारा
> अधिकार नही� है , उसे
> तोडने मरोडने का भी
> त�म�हे� अधिकार नही�
> है.यदि स�वार सको तो
> भाषा को स�वारो "  कहना
> नही� होगा कि उनकी
> हिन�दी, हिन�दी ही
> होती थी ,उनकी उर�दू,
> उरà¥�दू ही होती थी à¤"र
> उनकी अ�ग�रेज़ी,
> अ�ग�रेज़ी ही होती
> थी. इन तीनोà¤� भाषाà¤"à¤�
> पर उनका पूरा अधिकार
> था
> à¤"र साथ ही सà¤�सà¥�कृत
> पर भी उनका पूरा
> अधिकार था किन�त�
> स�स�कृत मे�
> उन�हो�ने लेखन बह�त
> कम किया है.  भारतीयता
> à¤"र भारतीय आयà¥�रà¥�वेद
> मे� उनकी विशेष र�चि
> व गति थी. भारत - भारती
> से सम�बध विषयो� के
> वे चलते - फिरते "
> विश�वकोष " "
> �न�साय�क�लोपीडीया"
> माने जाते थे. हमारी
> कोई भी, कैसी भी
> जिज�ञासा होती वे
> त�रन�त उसका समाधान
> बता देते.अधिक से
> अधिक यदि त�रन�त न
> बता पाते तो क�छ समय
> बाद, जर�री छानबीन
> करके बता देते. हम
> पूछकर निस�चित हो
> जाते,वे बताकर भी
> निस�चि�त न होते
> बल�कि अधिक से अधिक
> जानकारी देने की
> चि�ता मे�  ज�टे
> रहते.  भारतीयता à¤"र
> भारतीय आय�र�वेद मे�
> उनकी विशेष र�चि व
> गति थी. भारत - भारती
> से सम�बध विषयो� के
> वे चलते - फिरते "
> विश�वकोष " "
> �न�साय�क�लोपीडीया"
> माने जाते थे. हमारी
> कोई भी, कैसी भी
> जिज�ञासा होती वे
> त�रन�त उसका समाधान
> बता देते.अधिक से
> अधिक यदि त�रन�त न
> बता पाते तो क�छ समय
> बाद, जर�री छानबीन
> करके बता देते. हम
> पूछकर निस�चित हो
> जाते,वे बताकर भी
> निस�चि�त न होते
> बल�कि अधिक से अधिक
> जानकारी देने की
> चि�ता मे�  ज�टे
> रहते.
> वे �से बह�म�खी
> व�यक�तित�व के धनी
> थे कि अब �सा लगता
> है कि जैसे हमने
> अपने प�रकाश का �सा
> आधारस�त�भ खो दिया
> है, जो हमारे अज�ञान
> को छूते ही दूर कर
> देता था.
> लेख : श�री भृ�ग
> त�पकरी -- स�कलन :
> लावण�या
>
>
>
> --- In vividhbharati@..., "soojoi_india"
> <soojoi_india@> wrote:
> >
> > Dear Lavanyaji,
> >
> > On Vividh Bharati's Golden Jubilee month, we would like to have
few
> > words from you, regarding the priceless memories that Pandit
Sharma
> had
> > shared with you about VB.
> >
> > Those who do not know, Lavanyaji is the daughter of famous poet,
> > lyricist and philosopher Pt Narendra Sharma, who was the founding
> > member of Vividh Bharati.
> >
> > Regards
> > Sujoy
> >
>

guys,
i m having a very very busy schedule at office these days, would soon
return with transcripts and anmol moti series in a week's time.

regards
sujoy

__________________________________________________
Do You Yahoo!?
Tired of spam? Yahoo! Mail has the best spam protection around
http://mail.yahoo.com

guys,
i m having a very very busy schedule at office these days, would soon
return with transcripts and anmol moti series in a week's time.

regards
sujoy

Two rare songs.

Download from Files/Audio Files/VB's Golden Jubilee Celebrations

Happy listening!!!

Sujoy

Hi,

I dont have the audio of these Jaimalas. u can read the transcripts
of these from the files section. I upload audio files when someone
sends me.

Sujoy


--- In vividhbharati@..., Ramesh Desai <desai2rn@...>
wrote:
>
>  Thanks for u/l star Jaimala. It is great.
>
>    Would it be possible to u/l audio of idividual jaimala's.
>    I am specially interested in the ones hosted byMukeshji and
Hemantkumar.
>
>   Regards,
>
>   Ramesh Desai
>
>
>
> soojoi_india <soojoi_india@...> wrote:
>           Hi all,
>
> Audio files of Ameen Sayani's Star Jaimala, presented on the
occassion
> of VB's Golden Jubilee, is now available in the files section.
>
> Have a nice listening!
>
> PS: Files will be removed in 5 days as memory is almost full. More
> files will be uploaded in the next lot.
>
> Sujoy
>
>
>
>
>
>
> ---------------------------------
> Catch up on fall's hot new shows on Yahoo! TV.  Watch previews, get
listings, and more!
>

Hi all,

Audio files of Ameen Sayani's Star Jaimala, presented on the occassion
of VB's Golden Jubilee, is now available in the files section.

Have a nice listening!

PS: Files will be removed in 5 days as memory is almost full. More
files will be uploaded in the next lot.

Sujoy

Thanks so much!! Appreciate your efforts.
-- namita

--- In vividhbharati@..., "soojoi_india"
<soojoi_india@...> wrote:
>
> Hi,
>
> In this series called Anmol Moti, rare recordings and golden melodies
> from VB's rich archives will be uploaded one by one.
>
> To begin with, the following two files are uploaded.
>
> 1. Oldest HFM record of VB - Saigal number from Yahudi Ki Ladki (1933)
> 2. 2 Geniuses of New Theatres - K C Dey & Pankaj Mullick
>
> Download from Files/Audio Files/VB's Golden Jubilee Celebrations
>
> Happy listening!!!
>
> Sujoy
>

EPISODE 10
---------

KS: Kamal Sharma
AW: Ahmed Wasee
OP: O P Nayyar

KS: Nayyar saahab, agar ham zindagi mein kuchh paate hain, hamaari jo
upalabdhiyaan hoti hain, 'achievements' hote hain, un par jahaan
hamein naaz hota hai, waheen agar ham kabhi koi cheez khote hain to
us par afsos bhi hota hai.

OP: 'No complexes, no frustrations, no regrets', yeh meri 'policy'
rahi hai. ham woh ke phir tere shahar mein luTne ko chalaa aaya hoon,
woh to zindagi aisi hai ki jyun jyun aadmi maar khaata hai, tyun tyun
sulajhta hai woh zindagi mein, ulajhta naheen.

KS: Nayyar saahab, ismein koi shq naheen hai ki aapne bahut hi meeTha
sangeet diya hai, aur aapke sangeet ke chaahnewaale to yeh kehte hain
ki Nayyar saahab ne jo sangeet diya hai woh hameshaa jawaan rahegaa.
to jawaan sangeet denewaale O P Nayyar saahab se main yeh jaanna
chaahta hoon ki aaj ki naujawaan peeDhee ko jo sangeet pasand hai yaa
yun kahiye ki aaj ke daur ka jo sangeet hai, uske baare mein aapki
kya raay hai?

OP: saahab, yeh waqt ki baat hai, aur yeh waqt ki 'temperament' hai
ki gardish lena. zamaana badalta rehta hai, aaj jo sangeet chalta
hai, yeh dekhiye main baDaa haqeeqat bataa raha hoon, main aaj
banaata hoon woh aaj chalegaa naheen, aur jo chalta hai woh main
banaa naheen saktaa, 'so what is wisdom, to withdraw gracefully'.
kyunki aaj jo chal raha hai, woh chal hi raha hai, kyunki aaj
ki 'public' pasand karti hai usko. aapka kehna yaa mera kehna yaa
Wasee saahab ka yaa hamaari Raju ka, woh naheen hai, jo chal raha hai
woh sabka hai. 'public' aaj yahi chaahti hai.

AW: lekin main aapki baat ko kaaT-te huye aapse ek baat is sher ke
saath kahoonga ki "badalti rut ka asar hai tamaam lehjon par, sunaaee
deti hai phir bhi teri sadaa mujhko"

OP: yeh to kya hai, jo achchhi ruchi ka aadmi hai, woh achchhi baaten
hi karegaa, aaj zamaana 'deteriorate' ho raha hai, aap TV
lagaaiye, 'remix' dekhiye, jismein bahut si laDkiyaan
dikhengi, 'vulgar' hai, to yeh chal raha hai aaj, na is
pe 'government' nazar karti hai aur na TV waale, ki bachche yeh
dekhte hain.

AW: lekin iski wajah kyaa maante hain, kyun yeh chal rahe hain
zyaada, aur wohi gaane jo us zamaane mein mashoor huye, aapke gaane
yaa doosre 'music director'-on ke gaane jo hain, woh usi shakl mein
logon ko qubool to hain, lekin usko doosre shakl mein kyun dekhna
chaahte hain?

OP: dekhiye saahab yeh to 'commercial world' hai, 'what succeeds is
true, that does not succeed is untrue, commercial world' ki baaten
hain yeh.

KS: Nayyar saahab, ismein koi shaq naheen hai ki ek kalaakaar ko
janata ki taraf se, chaahnewaalon ki taraf se jo pyaar jo sammaan
milta hai woh uske liye sabse baDaa puraskaar hota hai, lekin iske
alaawa bhi kuchh puraskaar, kuchh sammaan ek kalaakaar ke liye baDe
maaene rakhte hain, woh phir aap jaise fankaaron ke liye 'film
industry' ka koi sammaan ho yaa phir shaasan ki taraf se diya
jaanewaala koi puraskaar ho.

OP: Kamal saahab, main Khataa-kalaami ki maafi chaahta hoon,
abhi 'award' leke 13 saal pehle Madhya Pradesh se log aaye, iska naam
hai Lata Mangeshkar Award, 'yeh leejiye aap, 1 lakh rupay 'cash' mein
hai'. paise ki mujhe saKht zaroorat thi us waqt, maine unse kahaa
ki 'dekhiye, Latabai ko ek to maine gawaaya naheen, Theek
hai, 'number 2' woh 'award' jo hai hameshaa mare huye aadmi ke naam
rakhaa jaata hai, Latabai abhi zinda hain, aur teesri ek 'singer'
ka 'award' hai, gaayika ka 'award', aap mujhe de rahe hain, yeh meri
baDi 'insult' hai, koi mujhe Shankar Jaikishan Award de, C Ramchandra
Award de, Roshan Award de, main usko baDe 'pride' se sar pe chaDhaake
loongaa, ek gaayika ka 'award' main kaise loonga!' saahab, woh kehne
lage 'aap laakh chhoD rahe hain, yahaan par to 'government' ke log
10,000 bhi naheen chhoDte', maine kahaa ki 'they might be needing
more than myself', aap unhi ko pesh kar deejiye'. to jigraa chaahiye.
saahab, 'what is in the title? 'title' mein kyaa cheez hai, 'award'
mein kyaa cheez hai? My name is itself a title and my work is my
reward'.

---------------------------------------------------------
Song: aapke haseen ruKh pe (Baharen Phir Bhi Aayengi,1966)
----------------------------------------------------------

KS: Nayyar saahab, jahaan tak mujhe yaad hai film Naya Daur ke liye
Best Music Director ka Filmfare Award aapko diya gaya aur baad mein
aapki ek aur film Praan Jaaye Par Vachan Na Jaaye ke ek geet ke liye
Asha-ji ka naam puraskaar ke liye chuna gaya tha.

OP: woh lene naheen gayeen, kyunki Nayyar ka 'award' tha, taaza taaza
zakhm tha aur kuchh naheen.

AW: naheen aapko kya lagta hai ki yeh aaj ke jo gaane hain, aaj ka jo
sangeet hai, kya itne dino Thahar sakegaa jitna

OP: dekhoji, yeh to 'generation' ke upar 'depend' karta hai Wasee
saahab, yeh to kya aage 'public' honewaali hai yeh main naheen
jaanta. lekin itna maine zaroor sunaa hai logon se, main to sunta
naheen, ki yeh jitne sangeet hain 3 maheene se upar Thaharte naheen.

AW: 3 hafte, agar 3 hafte koi gaana chale to 'hit' maani jaati hai.
aur 2 hafte hai to Theek hai, agar teesra hafta le liya to yakeenan
woh gaana 'hit' hai.

OP: maine to suna hai 3 maheene kam se kam chale gaana

AW: 3 hafte ho gaya hai (laughs)

KS: kaise shuruwaat hoti hai, is umra mein aapke din ki shuruwaat
kaise hoti hai?

OP: subah uThte hi fikar hoti hai ki bhai yeh, 'bathroom' jaayun
main, bas uske liye chaai peeta hoon, ek 'cigarette' peeta hoon, phir
aasaan hoke aake baiTh jaata hoon. phir aake nahaane dhone ka saamaan
Raju nikaal deti hai, kurta lungi pahenta hoon main ghar mein, baahar
nikalta hoon to yeh 'show-off' jo hai, aur phir dopahar paD jaati hai
to thoDaa apna granth paDhta hoon, ghanTa bhar, phir granth paDhte
huye dimaag jo hai Thaharta naheen, bhaagta rehta hai.

KS: aap bhi to bhaagte phiren hain, saarvajanik jeevan se kyun door
chale gaye hain aap?

OP: door chalaa naheen gaya, door kar diya gaya, kyunki ab jo chalta
hai main banaa hi naheen saktaa.

AW: lekin kya aapka dil naheen chaahta ki dobaara aap kuchh kaam
karen?

OP: Ahmed Wasee saahab, Khudaa gawaah hai ki O P Nayyar sangeetkaar
ko mare huye kaafi 'time' ho gaya. ab to Nayyar saahab zinda hain.

AW: fankaar amar hota hai

OP: fan zinda rehta hai ismein koi shaq naheen

AW: iske saath fankaar bhi zinda rehta hai, lekin mera Khayaal hai ki
aapne Gair filmi kaam bhi bahut achchha kiya hai, Gazlen

OP: ek 'cassette' banaaya, Ashok Khosla ka ek 'cassette' banaaya,
Runa Laila ka banaaya, Pinaz Masani ka banaaya

AW: to kya aap samajhte hain ki aaj Gair filmi jo sangeet hai, woh us
cheez ko 'compensate' kar sakega jo 'melody' hamaari film sangeet se
gum ho gayi hai?

OP: maine aap se pehle bhi Wasee saahab arz kee hai ki 'public taste'
hi girta chala jaa raha hai, to jo 'public' chaahti hai wohi cheez
yeh log unko denge.

KS: lekin Nayyar saahab, 'film music' ki jahaan tak baat hai, aapka
jo 'style' hai woh sabse 'different' raha, aapka apna ek alag
hi 'style' raha.

OP: yeh sahi baat hai, main is 'industry' mein raha hoon jaisa maine
chaaha, na ke jaise 'industry' ne chaaha. 'I lived my life as I
desired'.

--------------------------------------------------
Song: is duniya se niraala hoon main (Ragini,1958)
--------------------------------------------------

KS: Nayyar saahab, yeh bataaiye ki sangeet se abhi bhi aap kisi na
kisi roop mein juDe hain?

OP: naheen, taubaa keejiye, taubaa taubaa, chhoD diya sab cheezen,
uske upar hoon hi naheen ab main.

AW: lekin agar aapko is tarah ka koi 'offer' diya jaaye, yaa
koi 'producer' aaye yaa koi 'company' aapse riju kare ki 'ham dobaara
aapke saath kaam karna chaahte hain', to aap karenge?

OP: bilkul naheen karoonga

AW: kyun iski wajah?

OP: naheen, mere ko kaam hi naheen karna hai.

KS: Nayyar saahab, aapne bahut hi laajawaab sangeet diya hai, aur
agar aap se yeh kahaa jaaye ki aapko kin sangeetkaaron ka sangeet
laajawaab lagta raha hai, kinki dhune bahut pasand aati hain to aap
kinke naam lenge?

OP: Madan saahab hain, aur Khudaa aapka bhalaa kare, S D Burman
saahab hai, C Ramchandra saahab hain, yeh mere 'favourite composers'
rahe hain.

KS: C Ramchandra saahab ka 'style' bhi apne aap mein ek alag tarah ka
raha

OP: kyaa baat hai, "mohabbat kee na ho jisne woh zaalim pyaar kya
jaane", Talat Mahmood saahab ka gaaya huya gaana hai, Gaur farmaaiye.

KS: wohi baat main aapse jaanna chaah raha hoon ki Burman daada ke
sangeet ki aur C Ramchandra saahab ke sangeet ki kaun si baat aapko
bahut pasand aati hai?

OP: munh ki baat kyaa, sangeet to woh hai ki jo kaano ko achchhi lage
woh hai sangeet. har ek aadmi ka ek 'style' raha hai, ek tasveer thi
Sharda, C Ramchandra saahab ka 'music' tha, bahut achchhe gaane the.

AW: "o chaand jahaan woh jaaye"

OP: haaaaan!

KS: 'creativity' ke hisaab se kisi aur sangeetkaar ke kaam ko dekhkar
kabhi aapko aisa lagaa ki kaash aisa sangeet main de paata, yaa uske
kaam ne aapko bahut zyaada prabhaavit kiya ho?

OP: naheens saahab, sirf ek tasveer, jab main sangeetkaar naheen tha,
Barsat, Raj Kapoor ki, jab maine Shankar Jaikishan saahab ka gaana
sunaa "jiya bekaraar hai", Lata-baai gaayi hai, kyaa gaayi hai woh
aurat, aaj tak mujhe zindagi mein uskaa yeh gaana, main jahaan bhi
jaata hoon, hamesha 'announcers' ko 'request' karta hoon ki jab woh
kahen ki 'aap apni pasand ka ek geet sunaayenge', to main Lata-baai
ka yeh gaana bajaata hoon, "jiya bekaraar hai", to aapko
bhi 'request' karoonga buraa na maane to gaana sunaaiyega.

--------------------------------------------------------
Clip: jiya bekaraar hai chhaayi bahaar hai (Barsat,1949)
--------------------------------------------------------

KS: Mohd Rafi saahab ke baare mein aap kya kahenge?

OP: Mohd Rafi aawaaz khenchte the, pataa lagta hai ki koi 'singer'
gaa raha hai, ek ruhaani aawaaz gaa rahi hai.

KS: aur Rafi saahab to aap ke geet kya Khoob gaaye hain, kya kehne
unke!

OP: mere gaane to fauran gungunaa naheen sakte the, seekhna paDtaa
tha, haan, yeh aasaan kaam naheen tha, Nayyar ka gaana saans khenchta
hai maine pehle arz kee hai, sunne mein bahut achchha lagta hai,
gaane mein tabeeyat saaf hoti hai.

KS: aisa kabhi huya ki Rafi saahab gaa rahe hain aur aapko unka gaana
pasand naheen aaya?

OP: woh 'homework' karke aate the, aur main 'homework' karke jaata
tha, ismein mujhe koi daKhalandaazi naheen, 'straight' baat hai, koi
bhi mera 'artiste', Geeta Dutt, Shamshad, jab soch ke chale gaye,
uski 'notation' ho chukee hai, to usko badalne ka koi sawaal hi
naheen tha, yehi Kamal saahab, isi ke liye 'homework' ki tayyaari
bahut zaroori cheez hai 'composer' ke liye. isliye ek 'take' mein
gaana karta tha.

---------------------------------------------
Song: meri neendon mein tum (Naya Andaz,1956)
---------------------------------------------

KS: zindagi mein Nayyar saahab aapke liye sabse moolyavaan zaroori
cheez kya rahi hai?

OP: saahab zindagi bhar mujhe darkaar rahi aurat ke mohabbat ki,
mujhe Khoob mili woh, yeh ek aisi cheez maalik ki baKhshish hai, aaj
bhi 78 baras ka aadmi hoon, meri Raju hai, 'she rose up to the great
great grand daughter', woh achchha kapDaa pahenti hai to main isko
kehta hoon ki 'bahut achchhi lag rahi ho', yeh singaar bana hi hai
aurat ke liye, aadmi isse kya karegaa, 'suit' badal le, kuchh bhi kar
le, 'hero' ban jaaye, 'personality' ban jaaye, ham to aurat ke
pujaari paida huye hain, aurat ke pujaari hain, aur maut bhi kisi
aurat ke hi god mein hogi, itna pakka 'guarantee' hai.

AW: Majaaz ka sher mujhe yaad aa raha hai 'maut isliye mujhe gawaara
hai, maut aata naheen aati hai'.

OP: kya baat hai, Wasee saahab, yeh sher main likhoonga

AW: zaroor zaroor (laughs)

KS: achchha Nayyar saahab, yeh bataaiye ki Indian Screen ki kaun
si 'actress' yaani abhinetri aapko bahut pasand hai?

OP: ham to Ghulaam the ek 'artiste' ke, uska naam hai Madhubala. aur
maine 'as a composer' zyaada se zyaada 'picture'-en unke saath keeye,
6, Dhake Ki Malmal, Howra Bridge, Jaali Note, Do Ustad, Phagun, aur
Mr & Mrs 55.

KS: yahaan ham unki yaad mein kaun sa gaana bajaayen aapki pasand ka?

OP: "udhar tum haseen ho idhar dil jawaan hai yeh rangeen raaton ki
ek daastaan hai"

-----------------------------------------------------------------
Song: udhar tum haseen ho idhar dil jawaan hai (Mr & Mrs 55,1955)
-----------------------------------------------------------------

END OF EPISODE 10

EPISODE 22
----------

KS: Anandji, ab main apne aaKhri 'episode' pe aa raha hoon, aapne
jitne bhi gaane deeye, alag alag tarah ke gaane deeye, alag alag
tarah ka sangeet diya, lekin inmein bahut se gaane aise hain jinmein
jeevan ka darshan jhalakta hai, jeevan ki gehraaee jo hai usmein,
bahut aasaan si baaton mein keh dee gayi hai, nichoD hai usmein. un
gaano ke baare mein jaanna chaahoonga ki kya 'director' ke kehne
pe, 'producer' ke kehne pe, yaa aap dono ne kabhi 'insist' kiya ki
yeh, kyunki aapko achchhe lagte hain is tarah ke gaane, daarshanik
andaaz ke gaane, woh aapki ruchi mein the, pasand mein the, isliye
aapne unko zyaada mahatwa diya?

AN: Kamal-ji, bahut achchha sawaal poochha hai aapne, kyunki jahaan
pe abhi pahunche hain, zindagi ke jis moD pe, to wahaan pe ab to yeh
samajh mein aana chaahiye ki ham kahaan hain aur kyun hain, aur
jeevan ki poori darshan mein yeh huya ki jis 'line' mein gaye hain
aur jis umar mein gaye hain, wahaan par to bahut kuchh huya hota hai,
mab kahin aapka bhaTkegaa hi, lekin 'joint family' ke sanskaar jo
the, Gujarat samaaj ke, Jainion ke, bachpan se jo ek sanskaar rahe,
to uski vajah se ek faayda yeh huya ki abhi tak ham log 'vegetarian'
hain, ki jo duniya ban rahi hai, ham sharaab naheen peete
koi, 'cigarette' bhi main peeta naheen kyunki mujhe 'smoke' achchha
naheen lagtaa, chaaai main peeta naheen, 'coffee' pee leta hoon, ki
koi aisi aadat naheen hai. gharelu 'atmosphere' jo karta hai ki aapko
joDke rakhta hai. ab ghar mein sukhi hain to yahaan wahaan bhaTkenge
naheen, aur ghar mein aap se baDe bhi hain, chhoTe bhi hain, aap
baDon se seekhte hain aur chhoTon ko seekhaate hain, to 'philosophy'
zindagi ki jo hai, woh har waqt mein aapke saath juDee huyi hai, ek
haar bana huya hai uska. to yeh baat jo hai, Hindustan ki yahi to
baDi Khoobi hai ki baaton baaton mein aap ek 'example' dete hain, "jo
huya achchhe ke liye huya", "eeshwar jo karta hai achchhe ke liye
karta hai", to isi mein saari baat aa gayi, apne apne mein 'blame' le
liya, kisiko kosaa naheen, aapne eeshwar pe chhoD diya, usike bharose
aap chale, to aap kisi ko aap samajh rahe hain ki woh hain jo
sab 'operate' kar rahe hain, to iska ek faayda hota hai ki aap kisi
ke aage jhuke naheen hain, aapka sar jhuka naheen rahega, jhuka
rahega to aap neeche dekhenge, duniya aur bhi dukhi dikhegi aapko.
dukh aur sukh kya hai, yeh samajh mein aayega. pitaaji hamesha kehte
the ki agar akaD banke rahoge to peD ki tarah TooT jaayenge aap, agar
aap patte ki tarah rahenge, ghaas ki tarah, jhuk jaayenge lekin phir
khaDe ho jaayenge, ghaas jo hai woh khaDaa ho jaata hai, baDe baDe
peD jo hain apni akaD mein TooT jaate hain. to ek baDi baat yeh
hamesha rahi ki koi saamne waala yaa to 'blood [ressure' mein hoga
yaa koi 'psychologically' baat hogi ki yeh kyun aisa bol raha hai, ho
sakta hai ki apne mein koi galati ho gayi hogi, lekin 'argument'
naheen karte. ab yeh gaane saare jo bante hain usmein
thoDaa 'philosophy' kaam karta hai, jo aapke dil mein hai, to aap dil
ke saath har waqt juDe rehte hain.

-----------------------------------------
Song: ektaara bole tun tun tun (Yaadgaar)
-----------------------------------------

KS: mujhe ek aur gaana yaad aata hai, usi film ka jiska 'National
Award' milaa tha, Saraswati Chandra ka ek baDaa hi alag tarah ka
gaana hai, "chhoD den saari duniya kisi ke liye yeh munaasib naheen
aadmi ke liye", yeh bahut hi alag tarah ka gaana hai.

AN: dekhiye ismein 'selflessness' chhoDne ka hai, har aadmi har waqt
agar kehta hai ki 'meri marzi se kaam naheen hoga to main to yeh kar
doonga woh kar doonga', aap karnewaale hain kaun? agar eeshwar ne
aapko sabkuchh diya, uske baad agar usko 'utilize' naheen karte
sahee, jaise 'electricity', ab 'electricity' ka 'use' aapko kaise
karna hai yeh aap pe hai, aap usse 'light' bhi jalaa sakte
hain, 'fan' bhi chalaa sakte hain, ab yeh karna to aapko eeshwar ne
buddhi dee hai, aapne itna 'education' liya hai, usko sahi raaste pe
kaise istemaal karna hai woh aap pe hai.

-------------------------------------------------------------
Song: chhoD den saari duniya kisi ke liye (Saraswati Chandra)
-------------------------------------------------------------

AN: aur 'luckily' ham logon ko achchhe 'writers' bhi mile. Indeevar-
ji, Anjaan-ji, saare jo 'writers' hain, Rajinder Krishan hain, inhone
jab bhi gaane likhe, yahaan aate the to inko maaloom hai ki
kya 'philosophy' chaahiye.

KS: ek baar phir se bataaiye kaun kaun se 'writer' hain

AN: dekhiye Kamal saahab, "main to ek khwaab hoon" unhone likha,
Theek hai, Indeevar-ji ke to anginat gaane hain jismein 'philosophy'
hi 'philosophy' lagi rehti hai, Anand Bakshi-ji ne bhi likha "yahaan
main ajnabi hoon", phir Anjaan-ji ne bhi "thoDaa sa Gham thoDi
Khushi", is tarah ke kai gaane likhe, jo gaane har waqt logon ko
kuchh na kuchh dete hain, aur 'down to earth' aadmi the, gaaon ke
aadmi the, saath mein ham log khaana khaane ke baad jhoole mein
baiThke yahi baaten karte the ki 'jeevan kya hai, kis tarah se ham
bahak jaate hain, bahakne ke baad kya hota hai', 'school'
ke 'example' lete hain, ki yeh Sikander bhi neeche chale gaye, aisa
aisa huya, to 'ultimately' chain to aapke paas hai, aaKhir ke jo
3 'minute' hain wohi asli zindagi hai, ki duniya chhoDte waqt aapne
socha ki 'main is duniya mein aaya, maine jeevan mein kya kiya, kisi
ke main kaam aaya ki naheen aaya, kyunki suraj ne hamein 'light' dee,
bina paise ke hamein 'light' mil rahi hai, baadal mil raha hai,
khaana mil raha hai hamko sab kuchh mil raha hai'. pitaaji bahut
achchi baat karte rahe, unki seekh bahut chhoTi chhoTi hoti thi. ek
din aam kaaT rahe the to aam kaaTke unhone chhilke nikaale, woh
chhilke kaaTke rakhte the to ham guThliyaan nikaalke chooste the, to
woh sab kaam ho jaane ke baad unhone poochha ki 'kaisa lagaa tumko?'
maine dekha ki koi chhilke reh gaya hai kya! to bole ki 'naheen,
chhilke to phenk aaye ho, jab chhilke kaaT raha tha to kaisa lagaa?'
maine bola ki 'baaba, samajh mein naheen aaya mujhe'. bole 'beTaa
dekho aadmi kitna matlabi hai, is aam ke chhilke ne is aam ke andar
ke poore phal ko sambhaal ke rakha tha, usmein makkhi baiThti thi,
uspe dhoop lagti thi, aaj jab aam pak gaya hai to ham matlabi kitne
hain ki chhilke ko kaaTke phenk rahe hain aur usko ham kuchh bol bhi
naheen rahe hain, jaayo usko 'thank you' bolke aayo'. isi tarah
sanskaar jo hain, samaaj hai, maa-baap hain, yeh aapke kavach hain,
inkaa 'respect' kariye kyunki inke kavach mein hi aap baDe huye hain,
agar unko aap naheen sambhaalenge aur 'respect' naheen karenge to
aapki aanewaali peeDhee aapki 'respect' naheen karnewaali hai.

KS: kya baat hai!

AN: to is tarah se baDe taqdeerwaale ham log hain ki hamko aise
gunijan mile, guru log mile, log mile, jinse kuchh na kuchh seekhne
ko har waqt mila, aur phir jab pyaar se sab logon se milaa to pyaar
aur baDhtaa hai.

KS: yahaan is mauke par koi gaana aapko yaad aa raha hai jismein koi
aisi baat keh dee gayi ho jo sachmuch sunne mein to chhoTi lagti hai
lekin bahut gehra arth apneaap mein sameTe huye hai.

AN: dekhiye iska sabse achchha nichoD ek hai, hamne "neki tere saath
chalegi re baaba neki tere saath chalegi", mujhe lagta hai har waqt
yeh gaana, usmein ek 'shocking' bhi hai, "jiske liye tune mahal
banaaya woh na tujhe Thaharaayenge, jo tujhko kehte hain sundar dekh
tujhe ghabraayenge, maaTi ke hain insaan tera asli ghar shamshaan",
phir to yahi kahenge ki ham jo jismein hain yeh duniya hi rangmanch
hai, kyunki ham usi 'philosophy' mein agar kahen "rangmanch hai yeh
duniya saari apna apna abhinay karke har koi chal deta hai", ek
samjhauta hai lekin kameeyan to reh hi jaati hain, aadmi to chal deta
hai lekin unki yaaden to har waqt saath rehti hain

------------------------------------------------------------------
Song: rangmanch yeh duniya saari har insaan abhineta hai (Kasauti)
------------------------------------------------------------------

KS: Anandji, bahut aanand aaya aapse baat karke, sangeet to aapne
aisa diya hi hai ki jab bhi ham sunte hain usmein aanand mein
baDhotri hi hoti hai, pyaas adhuri hi rehti hai aur usko sunne ka man
hota hai, itna achchha sangeet aapne diya hai, sangeet ki itni pooja
kee, aur sabse baDi baat hai ki woh tamaam baaten jo hamaare shrotaa
naheen jaante the, jeevan ke kai pehlu hote hain jinse woh anjaan
the, woh aaj aapne aakar ke apni yaadon ke zariye is 'programme' mein
baanTen...

AN: main yahi kahoonga ki main bahut shukraguzaar hoon Vividh Bharati
ka aur aap sabka jinhone yeh socha ki iske qaabil main hoon,
haalaanki zindagi mein bahut kuchh kaam kiya ismein se abhi, abhi to
shuru kiya aisa lagta hai...

KS: jee haan jee haan

AN: poori baaten naheen huyi, kyunki gaane beech mein aate hain, aise
bahut se gaane hain, jo main chaahta tha ki aur bhi gaane ismein doon
main...

KS: aap bhi yeh mat sochiye ki yeh pehli aur aaKhri baar hai, ham
phir se aapko bulaana chaahenge, chaahenge ki aur aap se hamaari
Dheron baaten hon

AN: sun rahe hain aap log? agar aapke Khat aayenge to yeh log phir se
mujhe bulaayenge aur phir mujhe pataa lagegaa to main bhi thoDaa akaD
jaayunga ke 'bhai mere paas 'time' naheen hai'. lagtaa hai aisa
hogaa? aisa bol sakta hoon main? zaroor aayunga main.

KS: (laughs) to Anandji, bahut bahut shukriyaa, aapne ujaala phaila
diya hai is 'programme' mein aur bahut aanand aaya, iske liye ham
apni or se, tamaam sunnewaalon ki or se, Vividh Bharati ki or se
aapka shukriya adaa karte hain.

AN: main, Kamal-ji, kis baat se yeh kahoon, abhi bhaai saahab to hain
naheen, jahaan par bhi hain sun rahe honge, mujhse agar koi Galati
huyi ho to mujhe maaf karen, aur sunnewaale bhaaiyon aur baheno,
jitne bachche hain jo bhi hain, main mazaak mazaak mein bahut kuchh
bol jaata hoon, lekin ek tareeka hota hai, har aadmi ka bolne ka ek
tareeka hota hai, to maine jo kuchh kaha hai, usmein se jo kuchh
Theek lage aapko, kisi 'artiste' ko, kisika dil dukhaane ki koshish
to naheen kee, lekin phir bhi dukh to sakta hai kisi na kisi ka. to
mujhe maaf karen itna hi kahoonga, ab main Jaini hoon to Jai Jinendra
bhi boloonga, Jai Hind bhi boloonga, Jai Saraswati bol sakta hoon,
aur kya, bahut bahut shukriyaa.

---------------------------------------------
Song: aaja tujhko pukaare mere geet re (Geet)
---------------------------------------------

END OF EPISODE 22

RECORING ENGINEER - Dilip Kulkarni
EDITOR & PRODUCER - Rakesh Joshi

END OF SERIES
*************

Hi,

In this series called Anmol Moti, rare recordings and golden melodies
from VB's rich archives will be uploaded one by one.

To begin with, the following two files are uploaded.

1. Oldest HFM record of VB - Saigal number from Yahudi Ki Ladki (1933)
2. 2 Geniuses of New Theatres - K C Dey & Pankaj Mullick

Download from Files/Audio Files/VB's Golden Jubilee Celebrations

Happy listening!!!

Sujoy

Hi all,

Audio files of Ameen Sayani's Star Jaimala, presented on the occassion
of VB's Golden Jubilee, is now available in the files section.

Have a nice listening!

PS: Files will be removed in 5 days as memory is almost full. More
files will be uploaded in the next lot.

Sujoy

Dear Mahendra-ji,

3rd Oct was just fantastic. Though I missed the day's programmes as
it was a working day, but whatever I cud listen was a real treat.

Congratulations to all of you for this wonderful day and thank you so
much for being a part of this group. We really feel honoured to have
VB officials in this grp.

Regards
Sujoy

--- In vividhbharati@yahoogroups.co.in, "mahenm2409" <mahenm2409@...>
wrote:
>
> HI EVERYBODY......HOPE YOU GUYS LIKED OUR SPECIAL PROGRAMMES WE
> BROADCAST DURING THE ENTIRE DAY...MY TEAM WORKED VERY HARD FOR MORE
> THAN A MONTH.....
> DO SEND YOUR REACTIONS ON THE PROGRAMMES IN DETAIL....
>
> MAHENDRA MODI
> ASST. STATION DIRECTOR
> VIVIDH BHARATI SERVICE,
> MUMBAI-91
> 09869458561
>

Dear Lavanyaji,

On Vividh Bharati's Golden Jubilee month, we would like to have few
words from you, regarding the priceless memories that Pandit Sharma had
shared with you about VB.

Those who do not know, Lavanyaji is the daughter of famous poet,
lyricist and philosopher Pt Narendra Sharma, who was the founding
member of Vividh Bharati.

Regards
Sujoy

Dear Mahendra-ji,

3rd Oct was just fantastic. Though I missed the day's programmes as
it was a working day, but whatever I cud listen was a real treat.

Congratulations to all of you for this wonderful day and thank you so
much for being a part of this group. We really feel honoured to have
VB officials in this grp.

Regards
Sujoy

--- In vividhbharati@..., "mahenm2409" <mahenm2409@...>
wrote:
>
> HI EVERYBODY......HOPE YOU GUYS LIKED OUR SPECIAL PROGRAMMES WE
> BROADCAST DURING THE ENTIRE DAY...MY TEAM WORKED VERY HARD FOR MORE
> THAN A MONTH.....
> DO SEND YOUR REACTIONS ON THE PROGRAMMES IN DETAIL....
>
> MAHENDRA MODI
> ASST. STATION DIRECTOR
> VIVIDH BHARATI SERVICE,
> MUMBAI-91
> 09869458561
>

HI EVERYBODY......HOPE YOU GUYS LIKED OUR SPECIAL PROGRAMMES WE
BROADCAST DURING THE ENTIRE DAY...MY TEAM WORKED VERY HARD FOR MORE
THAN A MONTH.....
DO SEND YOUR REACTIONS ON THE PROGRAMMES IN DETAIL....

MAHENDRA MODI
ASST. STATION DIRECTOR
VIVIDH BHARATI SERVICE,
MUMBAI-91
09869458561

HI EVERYBODY......HOPE YOU GUYS LIKED OUR SPECIAL PROGRAMMES WE
BROADCAST DURING THE ENTIRE DAY...MY TEAM WORKED VERY HARD FOR MORE
THAN A MONTH.....
DO SEND YOUR REACTIONS ON THE PROGRAMMES IN DETAIL....

MAHENDRA MODI
ASST. STATION DIRECTOR
VIVIDH BHARATI SERVICE,
MUMBAI-91
09869458561