Salil Choudhury And Kishore Kumar : Understandably , no understanding- Yet HAAL CHAAL THEEKH THAAK HAI or JINDAGI KAISEE HAI PAHELI .......
Salil
Choudhury And Kishore Kumar : Understandably , no understanding- Yet HAAL
CHAAL THEEKH THAAK HAI
They were the TWO who were completely opposite to one
another. They were the TWO who just did not fill into the BOOT of one
another. They were the ONE’S who could
not do without each other and yet they were the ONE’S who felt that the OTHER
was simple and simply a GENIUS who for some reason just did not understand each
other and could not give their deep end best to each other. Yet whenever they
got united and boiled to the business for each other, they produced
unbelievable magic’s of wonder- not to understand that for each other as they
never could understand each other . They
were and they remained in WILDERNESS for each other yet they made each other.
U Tube Of The Song Koi Hota Jisko Hum Apna Keh Letay Yaron
One was born on 1922 and the other was born on 1929. Both
were Bengali, both of them were Brahmims and both came from the family where
the Law was something that formed the earnings of the family then. Both were
from the different places that followed different culture and one was from
Bengal. The other one was a Bengali not from Bengal. One of them was involved
in the Communist movement right form the
College days and the other was just opposed to the Congress right from his
College days. One was totally into the IPTA movement and the other was hardly
BOTHERED about any movement except the PAISA-DE-DOH movement . Both were the
two faces of the same coin but the coin was such that it could not be used in
the market despite having the most expensive value that made the coin.
U Tube Of The Song :: Kahin Dooor Jub Din Dhal Jaye, Saanjh Ki Dulhan,.....
Yes I’m talking about
Mr Kishore Kumar Ganguly and Mr Salil Choudhury. They were BOTH the MOST
GENIOUS musician that was born in the land at India and simply were above the
NINTH SKY that exists here in the universe.
U Tube Of The Song - Haal Chaal Thekh Thaakh Hai, Sub Kuch Theekh Thaakh Hai
Mr Salil Choudhury was more involved in writing poems and
then convert those into such a classical and beautiful sonmg that never had
it’s competition in any manner .Some of his poem that was related to the mass
movement during the time of Independence was and still is a house lore folks
and the other one then was more into apeing and copying the K.L.Saigal
rendition beside do some kind of a comical acting on the College stage. That
was it and that was that.. Yet they had ONE thing in common- and that was MUSIC
.
U Tube :: Song :: Jaa Re, Jaa Re Ud Ja Re Panchhi :: Latadi and Salilda ..." MAYA " ..another "WONDERPIECE "
“‘ THE MUSIC
THAT THEY FELL INTO LOVE WAS A NATURAL INHERITANCE AND IT WAS NO WAY THAT
SOMETHING WAS IMPOSED ON THEM AS A PENALTY OR A FINE “ .
It was the elder brother Mr Ashok Kumar , who was a famous film personality at that
time who was a BLUE-EYED-BOY for Mr Bimal Roy , perhaps the GREATEST EVER DIRECTOR that the
Bombay film industry had produced. He came to know about Kishore Kumar through Ashok Kumar , ie , Dadamuni , and
then he approached to Salil Choudhury
saying him that in his venture “
NAUKRI ” Kishore would suit him the best for that number “ MUNNA BADA PYAARA ” .Till then Salilda did not know anything any
everything about Kishoreda and he could not even guess how would he do himself
an honour for that song which would be picturised or screened on him. The
moment came, the moment produced that song, and the moment passed away. Salilda
was NOT AT ALL happy and impressed with Kishore Kumar and the BEST of the
musician gave him ie Kishoreda the worst
of the number .The marks were very poor and hence the opinion too was the same.
That ended the first round of collaboration between the two MAESTRO’S.
Bimada had a UNIQUE way of addressing the names of the stars
who were the MASTERS of the Indian film industry then. He would name Latadi as Lota, Dharmendra as DHORMENDOR
, Nutan as NOTUN, Balraj
Sahni as BOLORAJ , this were
something the Bengali pronunciation that were and is of even still today but
when it boiled down to DIRECTION it was 1000/100
for him in terms of PERFECTION
and NO-COMPROMISE on it then.
Somehow the matter did not end there. It was Dadmuni, Sachin
Dev Burman and their complete assurance
especially by Mr Sachin Dev Burman which saw Salilda giving him another song- CHHOTA SA GHAR HOGA, BADARON KAY GOAN
MAI, AASHA DEEWANI BANSURI BAJAYE…
Beautifully sung yet Salilda was NOT at all impressed by any
mean and by any way about anything that
came out from Kishoreda. Yet to
somehow keep in in fray Salilda gave Kishoreda some three more songs in the
films like PARIVAAR , AWWAZ and MUSAFIR , and the one that Kishoreda sang …. KUVAY MEI KOOD KAR MAR JANA , PAR SHAADI
MUT KARNA was perhaps the BEST COMICAL song that he sung during that
time which was even appraised as such then by Mohammed Rafi.
Complete rejecting him as a SINGER of any value and class,
it was not before 1962 when in three projects that Salilda had to complete he
gave as many as FIVE- COMICAL-SONG
to Kishoreda to sing. It was just that
instead of wasting his effort on anything let these songs be given to
him so that he ie , Kishoreda, does
something only to satisfy him. These songs did not carry any QUALITY except
some FUN and LAUGHTERS and that was something
that got into Salilda’s mind .Maybe out of the sake or out of courtesy
Kishoreda received some pat at his back from Salilda and the song AAKE LAGI DIL
PE also did not create any furore at all only for the fact that it was
considered as the best COMICAL song that
Salilda could write for Kishoreda to sing that. Salida with all these
was getting BETTER AND BETTER but never it was Kishoreda who was either getting
better either with the song that he was singing or the acting he was doing. He
went into the category of a struggler.
In the mean time Salilda and his relationship with Mohammed
Rafi got sour and then it was Salilda who turned and fell to the likes of
Mukesh and Kishoreda and to some or maybe to a large extent to Manna Dey yet
the numbers which Salilda was generating was finding to create anykind of a
SPARK that he effortlessly and completely did it with Mohammed Rafi. His
companionship of the notes that he produced and the voice that Latadi rendered
to it was very different and it went on
to create wonders and Opera’s in the places where people only would appreciate
them saying that those were the LIFE that existed in them, but the composition
that he would create for the male’s in the film to play the lead onto those
would not find the same worth. That really broke Salilda and his heart at many
a times.
Kishoreda in the mean time married Madhubala after his
marriage to Ruma Guha Thakurta failed. The death of Madhubala and the social
boycott that he faced beside he being thrown off from the Ganguly family on the
insistence of a BRAHMIN marrying a MUSLIM lady and the I-T raids which
completely left him penniless and without anything nearly drove him to death.
He made an attempt to commit suicide but it was the encouragement provided by
Mr Sachin Dev Burman which saved him and saved his life.
Came 1968, Kishoreda got the “ PADOSAN ” and those “ SAMNAY WALI KHIDI MAI EK CHAAND KA
TUKDA ” and then that song in
KHAMOSHI “ WOH SHAAM KUCH AJEEB THI ”
, though this film was made before ARADHANA but was released after
Aradhana , and then that song “ TUM BIN JAUN KAHAN ” in PYAAR KA MAUSAM that
made the world turn over-upside and down.
Repeatedly one after the other, one song after the other and
the GEMS that he produced in PADOSAN with SAMNAY WALI and KAHNA HAI , it made
every SAMNE WALI and the mouth- EVERY individual saying KEHNA HAI ki…….
Mohammed Rafi’s place wss TOPPLED and taken away by Kishoreda.
There was something in common that again brought them
together. It was the film ANAND. Initially it was decided that the role that
were played by Rajesh Khanna and Amitabh Bachchan in ANAND would be placed on the heads of Mehmood Bhai and Kishoreda to
play it. However Kishoreda did not show any interest to either sing any song
composed by Salilda and to act in the film in any way either. It was because he
knew that Salilda’s STRICT marking would not leave any space for him and any
gaps as well for him to breach through. Also it was NOT possible for Kishoreda
to dribble past a PERFECTIONIST like Salilda for anything. Latadi provided the
TOUCH for that song- NAA LAAGAY NAA,
TERAY BINA PIYA, JIYA JAAYE NAA, NAA …….
The song , KAHIN
DOOOR JAB DIN DHAL JAYE actually was sung by Kishorda in Bengali much
before this song was or could be picturised in Hindi by Salilda. But when
Kishoreda came to know that Salilda would render the music and compose
everything in the song, and he was actually the Music Director for the Film “
ANAND ” he walked away totally from the
project of ANAND
ANAND- this was the ONLY-ONE-FILM a BLOCKBUSTER and a GOLDEN
JUBILEE film of the SEVENTIES in which Kishoreda did not lend his voice or else
there HAS NOT BEEN ANY ONE FILM FROM 1970 AFTER THE RELEASE OF ARADHANA TO
ABOUT 1987 TILL HE EXPIRED WHERE KISHORDA DID NOT PUT HIS VOICE INTO THOSE
FILMS..
Kahin Dooor Jub Din Dhal Jaye brought that FILMFARE AWARD to
Mr Mukesh Chandra Mathur and then from then till many more years till 1978 it
was Kishoreda who kept on winning that award lest one fine day he wrote in a piece of letter that DEAR
Mr FILMFARE , I’M NOT INTERESTED FOR ANY FARE BY “ FAIR ” AND ANY AWARD FROM YOUR END TO ME AND STOP
THE BUSINESS OF AWARDING ME ANY AWARD, ONCE FOR ALL………
It did not bother Kishoreda in any mean about rejecting that ONE-OF-THE-TWO-BEST-PROJECT-OF-THE-HISTORY-OF-INDIAN-FILM
and neither did it make any
difference to Salilda for allowing Manna Dey and Mukesh to do their act in the
film ANAND. Both made it to their respective ZENITH by the songs of the film
ANAND.
Kishoreda by that time had made a DEEP ROOTED impact that the
HEART always wanted it MORE, MORE and MORE of them while putting his voice into
the songs and the music of S.D.Burman made it very CLEAR…….. IT WAS KISHORE WHO
WAS THE EMPEROR OF EVERYTHING THAT FELL INTO THE DOMAIN OF THE SONGS.
His number JINDAGI EK SAFAR HAI SUHANA, YAHAN KAL KYA HOH KISNAY
JANA , DUNIYA O DUNIYA, TERA JAWAB NAHIN, TERAY ZAKHMOH KA, KOI HISAAB NAHIN , in Naya Zamana and that one JANAY ANJANAY LOG MILAY, MILA NA KOI
APNA in JANAY ANJANY which he sang for Shammi Kapoor made Salilda
realize that it was HIGH time for him to change his opinion about this WHIMSICAL- MAGIC whose MOOD and whose WHIMS were the
ACTUAL and REAL treasure on which he made the songs a piece of magical creation
and wonder.
Came a small magic in the form of “ MERAY APNE ” , a very
small budget film of Mr Gulzar and came that song – KOI HOTAH JISKOH HUM, APNA KEH LETAY YARON and that was
that. It made the film and Mr Gulzar to be acclaimed that the film was
definitely a BEST in terms of it’s plot and the idea and that song was
definitely the BEST that anybody could sing with that kind of so very a
difficult modeling and modulation of the voice that was needed to sing that
piece.I made Vinod Khanna the HARD-BOILED-
VILLIAN to be accepted as “ BECHARA ” VINOD as the HERO of the Indian
Hindi films thereafter and to accept him REALLY as a SOFT-GOOD-MAN of the Indian films.
Thereafter it was the
film “ ANNADATA ” .It had many for Latadi. She knew how to listen to the music
of Salilda and put her voice to create wonders, OPERAS, MINERVAS, and EDIFICES
out of those. From 1948 when Latadi first sang for Salilda to this time of 1972
, for 24 years she was doing it with EFFORTLESS EASE for Salilda. She did it in
ANNADATA as well – a film which had Jaya Bhaduri who was struggling so hard to
leave some footprints on the soil of the Bombay film industry, and Anil Dhawan,
who was termed as KANPURIYA -DOODH WALLA CHHEHRA .
That song GUJAR
JAYE DIN DIN DIN, KI HAR PAL GIN GIN GIN, KISI KI HAI YADON MAI, KISI KAY
MULAQUAATO MAI,……..
It took FIVE
attempts, ONE-AFTER-ONE and many retakes and many PERFECTION kind of an act by
Kishoreda in terms of voice modulation ,
to complete that song as Salilda wanted a 1000% perfection and execution for
that song. It was because the MUSIC was composed in that manner where the words
of the song has to be in complete
SYNCHRONISATION with the notes of the music that were composed for the song.
To make this song the WONDER of many a WONDER, with the scale
of the tunes and the sound that emancipated out of the notes, Salilda one after one changed the music for as many
as FIVE times and made Kishoreda to sing that one which he did it effortlessly
and with such a simplicity that Salilda at last gave up his idea to change the
music and it’s FLOAT as well as the flow for the SIXTH time. Kishoreda beat
everything with his throw of the song and with the ease that he perfected it to
above perfection. Salilda was impressed and BEATEN for once by this man whom he
never would consider a SINGER worth any thing. Infact that song of ANAND- JINDAGI KAISI HAI PAHELI was
sung bu Kishoreda in Bengali but when it was that Salilda would render the
music for this one in ANAND, he walked away from the project. Any came the
moment and the minutes for this one from ANNADATAA and that was that. At last it was completed.
The ONLY AWARD that Kishoreda got from Mr Salil Choudhury was
– the best ever music composition by me for that best song that “
ONLY ” Kishore could sing.
He straight away from there and after then, drove to Sachinda
to say- SORRY . For what when Sachinda asked him to clarify, he answered- FOR
DEVALUATING KISHORE AND DESTROYING HIM AS A SINGER WITH MY WORDS FOR HIM.
No other could have ever sung that – KOI HOTAH JISKOH HUM,
APNA and GUJAR JAYE, DIN, DIN, DIN the way I wanted the singers to sing and
with Kishore singing it in that manner I’M
HERE TO SAY THAT MY WRONG BELIEF AND WRONG IDEAS SHATTERED HIM AS A SINGER AND
COMPLETELY ENDED ME AS A MUSIC COMPOSER.
It was here that Salilda
decided to leave the Bombay Film industry once for ever to settle down in and
at Kolkatta and it was here that he decided that HE WILL NEVER COMPOSE ANY
MUSIC THEREAFTER IN HINDI FILMS.The
REASON- I DESTRUCTED AND DESTOYED A NATURAL GOD GIFTED EDIFICE IN TERMS OF A
SINGER AND THE LOSS IS IRREPRABLE.
It was here that Kishoreda took a VOW- NEVER TO SING AGAIN
FOR SALILDA , NEVER AGAIN. REASON- If
there was any other song that he sang for Salilda’s music and it’s composition,
the SONG, GUJAR JAYE DIN and KOI HOTA will always be
FORGOTTEN by the music lovers and the PAIN and the STRUGGLE that he had to do
with Salilda to complete those songs will be always FORGOTTEN and wiped off
from the pages of HISTORY of songs and the music composition.
For that was SALILDA who was the
MASTER-OF-PERFECTION-OF-MUSIC and the manner that he would use Latadi to create
those WONDERS with her and the EFFORTLESS manner that Latadi would create them
and the HARD WAY that Mohammed Rafi and Kishoreda would have to STRUGGLE in the
,manner that they would complete their task while working along with Salilda.
This kind of a
MUSIC DIRECTOR will NEVER, NEVER, and
NEVER be BORN again- NEVER in the
HISTORY of the WORLD till the WORLD
exists.
For the viewers I’m inserting the two song by Kishoreda, – KOI HOTAH JISKO HUM APNA , from MERAY APNAY , released way back in 1971 and the GUJAR JAYE DIN from ANNADATA released
way back in 1972 for the
viewers to listen them.
When we talk about the game of cricket and Indian cricket, we
NEVER even talk about an incident. That was way back in 1967 when under
Pataudi, in the LAST of the India-England series in that Test match India
played all it’s FOUR spinner, Prasanna, Bedi, Venkat and Chandrashekar, the
ONLY instance of India playing all the
FOUR spinners in a Test. That was historical.
Similarly, in the manner as same as that Test match of 1967,
the song from the Film, MERAY APNE in the song – HAAL CHAAL THEEKH THAAK HAI,
SUB KUCH THEEKH THAAK HAI has FOUR singers Mohammed Rafi, Manna Dey, Mukesh and
Kishore Kumar singing that song and for the benefit of the readers I put that
here for the readers to listen to it.Kishoreda made all the DIFFERENCE in that
song by his NATURAL whistling and his YOUDLING. Listen to that please.
The scenario changed. Kishoreda did not want to sing for
Salilda anymore. He had his reason for hat. That was the reason he was thrown
out of the project CHHOTI SI BAAT . But that amends were mafde when a small
project film JEEVAN JYOTI saw Kishoreda rendering again his voice for a song
MAUJOH KI DOLI…… a song which again was a song to be heard again and again and
again …….
However the WORLD had changed. Kishoreda was on the HIGHEST of the HIGH charging
very HEAVILY for his numbers and Salilda was pegged onto the SMALL BUDGET FILMS of Bengal
getting a very small award
for his OUTSTANDING-UNBELIEVABLE composition…..
As a LAST memoirs to their CREATIVITY that Bengali song…..
MONAY PORAY SEI SOB DIN….. turned in Hindi as well MUN KARAY YAAD, WHO SUB
DIN…..takes us to the IMMORTAL DAYS for
those IMMORTAL CREATION that the two created who were like the SORCEROR’S STONE , everytime the
TWO MAGIC got together for creating those TWO….and this article is a TRIBUTE to
the CREATIVITY on the 98th birth anniversary of Salilda ...……..
Today November 19th 2020 happens to be his ie Salilda's 98th BIRTH ANNIVERSARY and had he been alive today he would have been the most senior one out of the and those of Mohammed Rafi, Lata Mangeshkar, Asha Bhosle , Kishore Kumar , Mukesh Chandra Mathur , Geeta Dutt, Talat Mehmood , Manna Dey..... the list goes on and one.
Every body has left this world, except Latadi and Asha Tai and who else can better tell the BEST about him except Latadi. Mine is just a small effort.
This PIECE is my TRIBUTE and my HOMAGE to that GREATEST Music Composer and that's it.....
Well , that is it
Regards and Thanks
Pics
Shyamal Bhattacharjee
Mr Shyamal Bhattacharjee, the author
was born at West Chirimiri Colliery at District Surguja,
Chattisgarh on July 6th 1959 He received his early education
at Carmel Convent School Bishrampur and later at Christ
Church Boys' Higher Secondary School at Jabalpur. He later
joined Hislop College at Nagpur and completed
his graduation in Science and he also added a degree in B
A thereafter. He joined the HITAVADA, a leading dailies of Central
India at Nagpur as a Sub-Editor
( Sports ) but gave up to complete his MBA in 1984 He
thereafter added a Diploma In Export Management. He has
authored THREE books namely Notable Quotes and Noble
Thought published by Pustak Mahal in 2001 Indian Cricket :
Faces That Changed It published by Manas Publications in 2009
and Essential Of Office Management published by NBCA, Kolkatta in
2012. He has a experience of about 35 years in Marketing
Signature Of Shyamal Bhattacharjee
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That's an amazing read. Quite some first time info. Oh is it the only song involving all the four legends ? Looking forward to seeing more of such unique, informative, reading in the future. Good going.
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