SATYABHAMA-RUKMINI NATIKA IN FILM:'RAJA AUR RUNK'(1968)

Lakshmikant - Pyarelal

Anand Bakhshi

Lata Mangeshkar

Manna Dey

The story of comparison of Satyabhama and Rukmini's love towards Krishna had many shades.Therefore music directors Lakshmikant-Pyarelal created a raagmalika for the presentation of this episode in the film 'RAJA AUR RUNK'.They have done commendable job of composing the lyrics in suitable ragas as the mood of the scenes required.


satyabhama aur rukmini rani dono krishn ki thi deewaani
bhaama agni ka angaara, rukmini shital jal ki dhaara
o puja ke phul chadhaati, yeh paayal ke geet sunaati

(kanhaiya o kanhaiya koyi murali ki taan suna de
mere tann mann mein aag laga de, laga de) - (2)
kanhaiya o kanhaiya

aa aa aa aa aa

main hi tohe dekhu sawariya, dekhe na koyi duji najariya
mai hi to hu teri bawariya mai hi sunu bas tori basuriya bansi bajaiya
kanhaiya o kanhaiya koyi murali ki taan suna de
mere tann mann mein aag laga de, laga de
kanhaiya o kanhaiya

janm divas rukmini ka aaya, sajani ne saajan ko bulaaya
vyakul naina baat nihaare, aaj mere ghar naath padhaare
main nahi jaane dungi kaanha, main na sunungi koyi bahaana
priye kisika mann na todo, dekho, suno, jaane do, chhodo
narayan, narayan, baat huyi kya krishn muraari
kyun ruthi hai sundar naari
achchhe samay par aap padhaare, vipda mein hai praan hamaare
rukmini kahe mere sang aao, bhaama kahe naath mat jaao
jiska nimantran aaya pehle, bhagvan jaaye usake mehle
narad ji, narayan

rukmini ke sang chale kanhaayi, bhaama ko yeh baat na bhaayi
narayan, kyun baithi ho khoyi khoyi, mere yogya hai seva koyi
bhare nahi abhi ghav purane, phir aaye ho aag lagane
main sabka sevak tum jaano, chahe parakhlo jo na mano
koi upay aap bataye, wo sautan ke ghar na jaaye 
accha to ek vrat rakhogi, apne pati ka daan karogi
wah wah dhoonda khub upay, aapse toh bas raam bachaay
nis din dekhu jinake sapne, kho baithu woh pritam apne
tum nahi samajhi kaisa khona, unake barabar tolke sona
mol bhraman ko dena, mohan ko waapas le lena
bas itna hi, aap kare wrat ki taiyaari, bhaama jeeti rukmini haari
parantu krishn hai bhaari jitna, tere paas hai sona itna
wa Narad ji, sone ke bhandar jo kholu, ek nahi sau krishn main tolu
Narayan! Narayan!

kuchh dhoka hai raam duhaayi, itni bhaari nahi kanhaayi
yeh tera sona nakali hai, mera manmohan asali hai
mere paas jo tha le aayi, de do mujhko krishn kanhaayi
de du leke jarasa sona, mohan hai ya koyi khilauna
chal tujhko sansaar mein bechu, daaso ke baazaar mein bechu
lo yeh tambura bansi bajaiya, pakdo yeh kartal kanhaiya
bhama swami, kaisa swami, kiska swami, swami ki ho gayi nilami, nilami
Suno suno ai jaanewaalo hai yeh sasta maal uthaalo - (2)
Sabki mann ki aas main bechu, kaisa sundar das main bechu
Jivan ki naiya ka khiwaiya, (iska naam hai Krishna Kanhaiya -2)
Main padati hu paanv tumhaare, nagari nagari dware dware
Mjhko yu badnam karo na, Shyam ko tum nilaam karo na
Apna ghar jo aap jalaaye, usaki bigadi kaun banaaye
Bhul huyi mujhse yeh bhaari, jaau kaha viraha ki maari
Rukmini se tum baat yeh puchho, kaise milenge naath yeh puchho
Rukmini meri bhul bhula de, koyi jatan kar Krishna mila de
Aa Bhaama main tujhpe waari, tu hai mere Krishna ki pyaari
Kya yeh dukh kewal tera hai, jo tera hai woh mera hai, Na maaya se, Na shakti se, Bhagvan milte hai bhakti se
kanhaiya kanhaiya kanhaiya kanhaiya - (2)
Pat meri rakho mere bansi bajaiya Kanhaiya Kanhaiya Kanhaiya Kanhaiya
Jivan do paladon ka taraaju, ek mein jag saara, ek mein bas tu
Jag halka tu bhaari bansi bajaiya, Kanhaiya Kanhaiya Kanhaiya Kanhaiya
Pat meri rakho mere bansi bajaiya

Jai Jai Krishna Kanhaiya!

BEGUM AKHTAR -- ' THE GHAZAL QUEEN'

 

Today is 30th October,2012 ,the 38th Death Anniversary of  'Ghazal Queen' of India:Begum Akhtar. She left this world on 30th October,1974 in Ahmedabad, during her stage programme there.It was very shocking to all music lovers of the world,who were acquainted with her  sentimental  singing of ghazals, thumris, dadras, tappa, khayal and all types of light-classical melodies.In his tribute to Begum Akhtar,the President of India at that time,Sri Fakharuddin Ali Ahmad said "she was the only singer who always pronounced the lyrics correctly in her singing of ghazals etc.".One could see her many times in tears  after her concerts.She was born on 7th January,1914 in Faizabad (Uttar Pradesh).Her 'Birth Number' was '7',which played an important role in her life.Her earlier name was'AKHTARI' which has '7' letters. She died in her 61st (6+1=7) year of  life.Her last Long Play record 'KALAM-E-ASATIZA'  was being recorded by music director Khayyam,with a selection of 8 ghazals by Begum Akhtar herself .But due to her untimely death only 7 ghazals could be recorded.And thus last LP  of Begum Akhtar was released by HMV with her '7' ghazals only  on it.Also according to numerology the 'Single Reduced Number' of her date of death (3+0+1+0+1+9+7+4=25=2+5=7) was again'7'.Here is her last video recording for Jullundhar studio of Doordrs.These ghazals were written by Kaifi Azmi in September,1974 and then it was recorded in the voice of Begum Akhtar.
She got trained in classical music by the renowned Ustads of her time,Ustad Ata Mohammad Khan, Abdul Waheed Khan and Ustad Jhande Khan of Patiala Gharana .
In the early days of her singing career she was known as 'Akhtari Bai Faizabadi'. She appeared on the stage at the age of only fifteen years,in a programme organised ,to collect the funds for the help of earthquake victims of Bihar in 1930.She sang the ghazal"Toone butey harjayee kuch aisi ada payee,takata hai teri soorat har ek tamashai...",a dadra"Sunder saree mori maike mailai gayee,kauna se jaibe gavanava ho ram.."and two more numbers.Smt. Sarojini Naidu was present in that programme.She  praised for the superb singing  of Akhtari and gifted her a saree of Khadi.Akhtari got very much encouraged with this honour and went ahead in her career to great heights.Her most popular numbers of those days were:'Deewana banana hai to  deewana bana de...','Na socha na samjha...','Koyaliya mat kar pukar  karejawa lage kataar..','Chha rahi kali ghata jiya mora lahraye hai..','Nihure nihure baharen anganwa goriya..','Abke sawan ghar aaja..'.Shakeel Badayuni's ghazal 'Aye mohabbat tere anzam pe rona aaya...'was her most popular ghazal.Being composed in raga Bhairavi she used to conclude her programmes,by singing it.
After her marriage with Barrister Ishtiaq Ahmad Abbasi of Lucknow in 1945,she was known as Begum Akhtar.She also

 acted in certain Hindi films  of 1930s  and 1940s:Ek Di Ki Badshahat, Nal Damyanti(1933),Ameena, Mumtaj Begum (1934), Jawani Ka Nasha(1935), Naseeb Ka Chakkar(1936),etc.But she left acting in films, for the sake of her career in singing.Her well known movie was Mehboob Khan's 'ROTI'(1942).She sang six songs in it,for music director Anil Biswas.Later she appeared on the screen only for a thumri singing sequence in Satyajit Ray's famous award winning film'JALSA -GHAR'(1958).

Music director Madan Mohan was her ardent fan and he persuaded her for singing playback songs in his films: Ehsaan and Dana Pani(1953).Pandit Jasraj was a great fan of her singing since his school days ,as he has disclosed it in his interview.Jigar Muradabadi was her favourite shayar but she sang the ghazals of many upcoming shayars also like:Sudarshan Fakir,Ali Jaleeli,Jasdanwala etc.
Her early records were for Megaphone record company but later she recorde many memorable LPs for HMV record company.Who can forget her ghazals:'Aayee barsaat to barsaat ne dil tod diya..','Woh jo hum mein tum mein quarar tha..','Mere humnafas mere humnawa..','Jikr us parivash ka aur phir bayan apna..','Apnon ke sitam hum se bataye nahin jaate..' and many more.

Akhtaribai in film'ROTI'(1942)

Her First LP RECORD

She will always remain alive in the hearts of her music lovers through her unforgettable  immortal melodies.

RAGA 'MALKAUNS' SONG FROM HINDI FILM 'GRAHASTHI'(1963)

MOHD. RAFI

ASHA BHOSLE

Music Director: RAVI

Shakeel Badayuni

This rare forgotten melody from Hindi film GRAHASTHI(1963) is based on raga 'Malkauns',a very prominent late night raga of Hindusani classical music.Here music director Ravi has used the raga Malkauns in  its Drut form because it was to be picturized for a dance number performed by famous dancer and heroine of the film:Rajshree. Actor Manoj Kumar has been shown singing the song on the stage in the film.The song is written by Shakeel Badayuni and sung by Mohammad Rafi and Asha Bhosle.The lyrics of the song are:
 "पायल खुल खुल जाए राम ,               (मोहम्मद  रफ़ी )
  मोरी पायल खुल खुल जाए  राम ।।
  छेड करत मोसे नन्दलाल ,
  मोरा अंग अंग बल खाए राम।।
  ग म स नि स नि ध म ग म ध नि स...।।
  पायल खुल खुल जाये राम ।।              (आशा भोंसले )
  लाख जतन  करूँ एक न माने ,
  रूप तकत बैयाँ धरत छलिया ।।
  बार बार ढल जाए चुनरिया ,
  काह करूँ मैं हाय राम ।।
  मोरी पायल खुल खुल जाये राम ....।।"        

RAGA ' DESH' BASED COMPOSITION IN HINDI FILM 'ALAAP' (1977)

Music Direcor : JAIDEV

BHUPINDER SINGH

Sanjeev Kumar

LP Record Cover

Amitabh Bachchan and Chhaya Devi

Dr.Rahi Masoom Raza

KUMARI FAIYYAZ

Raga Desh is a very sweet raga as it has a flavour of folk music .The 'aalap' part of it is very impressively presented by genius music composer of Hindi films Late Sri Jaidev  in the song "Aayee  ritu saawan ki..." from the Hindi film: :'AALAAP'.The song is penned by Dr. Rahi Masoom Raza and sung by Kumari Faiyyaz and Bhupendra,with full devotion,keeping the depth and grace of the raga alive.The film 'AALAAP'(1977)had Classical Music as its central theme and Jaidev did full justice with the subject.He also created a Raagmalika for that part of the film ,when Amitabh and Rekha learn music from Chhaya Devi (Amma).The song is:

 "आयी ऋतु सावन की,
   पिया मोरा जाये रे।
   आयी ऋतु सावन की ....।।
   बैरन बिजुरी चमकन लागी,
   बदरी ताना मारे रे ।
   ऐसे में कोई जाए पिया,
   तू रूठो क्यों जाए रे।।
   आयी ऋतु सावन की ...।।
   तुम ही अनूक बिदेस जाइयत,
   सब आये हैं दुआर रे ।
   ऐसे में कोई जाए पिया,
   तू रूठो क्यों जाए रे,
   आयी ऋतु सावन की.... ।।"          

A TRIBUTE TO SHRI MANNA DEY: RAGA' AHIR BHAIRAV ' AT ITS BEST IN HINDI FILM :MERI SOORAT TERI ANKHEN (1963)

Dada S.D.Burman

ASHOK  KUMAR

MANNA DEY

S.D.BAATISH

The Raga 'Aheer Bhairav' is a morning melody.Its use in the music compositions of film songs is very rare.But due to the genius of veteran music director of Hindi films,Dada S.D.Burman, we got this superb creation to enjoy for ever.Dada was a disciple of Great Ustad Faiyyaz Khan Saheb of Agra Gharana and before the recording of this song, he took his permission to present his Guru's composition in a film.The Addha Taal used on Tabla has increased the depth of the raga Aheer Bhairav in the song.The efforts of all involved in the screen presentation of this composition, is outstanding.Great actors Ashok Kumar and Kanhaiya Lal have presented the real depth and pathos of the song on the screen.In the first part when kanhaiyya Lal teaches the raga to child Ashok Kumar then S.D.Baatish and Suman Kalyanpur sing this song. In the second part Manna Dey sings the complete song for Ashok Kumar.Lyricist Shailendra has penned this unforgettable song:

"पूछो न  कैसे मैंने रैन बितायी|
 इक  पल जैसे इक  जुग बीता |
 जुग बीते मोहे नींद न आयी ।।
 उत जले दीपक इत मन मेरा,
 फिर भी न जाये मेरे घर का अँधेरा।।
 तड़पत तरसत  उमर गँवाई ।।
 पूछो ना कैसे मैंने रैन बितायी||
 ना कहीं चंदा ना कहीं तारे,
 जोत के प्यासे मेरे नैन बेचारे।
 भोर भी आस की किरन  न लायी।।
 पूछो ना कैसे मैंने रैन बितायी....।।"   

NAATAK 'SHAKUNTALA' IN HINDI FILM 'KHILONA' (1970)

Singers LATA and MANNA DEY

Anand Bakhshi

Lakshmikant-Pyarelal

Mumtaz

In Hindi film KHILONA(1970) there was a dream sequence, in which heroine of he movie Mumtaz finds herself in the same situation  as faced by Shakuntala, in the play written by Kavi Kalidas.This was shown as a ballet in he film, for which music directors Lakshmi Kant-Pyarelal composed a raagmala depicting the various situations in the play.Lyrics were written by Anand Bakshi,.The song is sung by Manna Dey and Lata Mangeshkar in different moods and ragas according to the sotryline described through the song:

      "ये नाटक कवि लिख गए कालिदास।  
        यहीं पे तपोवन की भूमि के पास ।।
        किसी मृग का पीछा करते हुए,
        तकी सुंदरी एक दुष्यंत ने। 
        शिकारी का मन हो गया खुद शिकार, 
        उसे भा गयी उस चमन की बहार ।
        लगती थी वो कोई अप्सरा ,
        उसका था नाम शकुंतला ।।
        इक कली थी वो जो चटक गयी,
        भंवरे के संग भटक गयी ।
        प्रीतम को मन में बसा लिया ,
        गन्धर्व विवाह रचा लिया।
        जब सेज सज गयी प्रीत से ,
        मन ने कहा मनमीत से :
        मोहे छोड़ तो न जाओगे,
        ओ रसिया मन बसिया पिया लेके जिया ।
        सगरी नगरी के तुम हो राजन,
        डरती हूँ मैं ये सोच के साजन ।
        मोहे भूल तो न जाओगे ।।
        वन की रानी के वो गीत गाते हुए,
        राजा वापस नगरिया को जाते हुए ,
        एक अंगूठी निशानी उसे दे गया,
        प्रेम की एक निशानी उसे दे गया ।।
        जागते वक़्त भी सोयी रहती थी वो, 
        सैय्याँ के ध्यान में खोयी रहती वो ।
        एक दिन द्वार पर आया एक महर्षि ,
        कोई है? कोई है? उसने आवाज़ दी ।
        प्यार की हाय किस्मत है कितनी ख़राब ,
        जब मिला ना अतिथि को कोई जवाब ,
        दे दिया उसने निर्दोष को ये श्राप :
        जा तू खोयी है जिसके लिए इस तरह ,
        भूल जाए तुझे इस तरह जिस तरह ,
        भूल जाती है सुबह गयी रात को ,
        भूल जाता है पागल कही बात को।।"
This play was composed using the ragas:चारुकेशी ,खम्माज ,पहाड़ी ,नट भैरव in a sequence,creating a Raagmala.                                         

ENCHANTING TRIVENI OF TABLA, SINGING AND DANCE IN FILM: MERI SOORAT TERI ANKHEN (1963)

HEROINE ASHA PAREKH

PT..SAMTA PRASAD MISHRA

PT.SAMTA PRASAD PLAYING ON HIS TABLA

POET  SHAILENDRA

DADA SACHIN DEV BURMAN

MOHD. RAFI

All this happened in the climax sequence of Hindi film MERI SOORAT TERI AANKHEN(1963).The hero of the film(Ashok Kumar) is ugly faced but is a marvellous  classical singer.He always hides himself from the people who  like the beauty only.In this episode he has to sing on the stage for a kathak dancer.The music director of the film  S.D.Burman composed in raga Bhairavi the song "Naache    man  mora  magan tikta dhigi dhigi.... " written by poet Shailendra and sung  with full devotion by singer Mohd.Rafi.The beauty of the song is specially used 'Dhaivat' on Tabla in Kaharawa Taal(8 beats) by Pt. Samta Prasad.Asha Parekh once said that she danced her best on this song.Music director S.D.Burman kept on waiting for Samta Prasad's arrival from Banaras and postponed the recording of this song.He was very particular about the special beats on tabla to be played in this song,which only Samta Prasad could do for him.The lyrics to suit the mood of the song are:
" नाचे मन  मोरा मगन तिक ता धिगी धिगी ।
   बदरा घिर आये रुत है भीगी भीगी ।।
   कुहुके कोयलिया कहीं दूर पपीहा पुकारे ।
   झूला झूलें सखियाँ की घर आजा बालम हमारे ।।
   बदरा घिर आये  रुत है भीगी भीगी ,
   नाचे  मन मोरा .......।\" 

KANKANA BANERJEE-A BRILLIANT HINDUSTANI CLASSICAL VOCALIST

Smt. Kankana Banerjee

Kankana being awarded by the hands of Mother Teressa

Kankana with her Guru Ustad Amir Khan

Kankana with Pt. Pratap Narayan

Her first LP -record from HMV(1980)

Kankana Banerjee is an eminent classical vocalist of our countrywho has a sonourously rich and pliant voice.She is capable of synthesizing the aesthetics in her singing.When I got a chance to attend her concert in 1987 in Kanpur,I knew the beauty of her artful and pleasant singing which keeps the audience spell bound for hours.By that time Pt. Pratap Narayan( elder brother of Pt. Jasraj and father of film actress and singer Sulakshana Pandit) was accompanying her.In those years she was getting groomed in the intricacies of singing of Mewati Gharana from him.By that time she had got recorded an LP for HMV and also had sung a 'Tarana' in raga Darbari and a 'Drut-Khayal' in raga Yaman Kalyan in jugalbandi with Pt. Pratap Narayan,for an LP 'A Multifacet Genius Of Amir Khusaro'.I cannot resist to present here at least one composition from her each record :  

This tarana is the creation of Ustad Amir Khan Saheb,incorporating the Persian verses of Amir Khusaro"Yare man beya beya,baalabam rashid janam, tubhye aa ke zinda manam,........".Kankana Ji is the disciple of Ustad Amir Khan (Indore Gharana) and very confidenly sings all the Bandishes of her Ustad.You may see her khayal singing, resembling exactly with Ustad Amir Khan's raga Malkauns:

On stage she sings so well and without stress that everyone enjoys the real music.Her systematic Vistaar of raga,racy Taans and clear Bol are the qualities which very few vocalists have got.I remember that an organisation invited her in Kanpur in 1989,1991,1994 and 1995,on the repeated request of the people.She has recieved many Awards and Recognitions,so far and is busy in  her frequent visits to UK,CANADA,USA,MIDDLE- EAST and definitely all over the country.She is a very brilliant improviser of the singing qualities of three Gharanas in her presentations.She learnt Kirana Gharana style from her mother,Indore Gharana style from Ustad Amir Khan and Mewati Gharana style from Pt.Pratap Narayan.Two  vocal numbers are being given from her recent concerts in foreign countries:

There is no limit to write about an artist like her.She never got interested in singing for films.But on Sri Raj Kapoor's request, she sang a Thumri in raga Bhairavi"Saiyyan saiyyan saiyyan ratati main dolun.....",in jugalbandi with Nirmala Devi(film star Govinda's mother) in film 'Ram Teri Ganga Maili'.I still remember her  vocal concerts of Kanpur and wish to get a chance like that again and again.