Shankar–Jaikishan, consisting of Shankar Singh Ram Singh Raghuvanshi (15 October 1922 - 26 April 1987, aged 64) and Jaikishan Dayabhai Panchal (4 November 1929 - 12 September 1971, aged 41), also known as S-J, were an Indian composer duo of the Hindi film industry, who worked together from 1949 to 1971. They are widely considered to be the greatest music composers of the Hindi film industry. From 1949 until Jaikishan's death in 1971, they composed musical scores for 136 films, introducing a new level of orchestral richness in film music. S-J collaborated with legendary singers such as Mukesh (singer), Mohammed Rafi, Manna Dey, Kishore Kumar, Talat Mahmood, Lata Mangeshkar, Suman Kalyanpur, Asha Bhosle and Sharda (singer). They also worked extensively with lyricists Shailendra (lyricist) and Hasrat Jaipuri, with whom they created some of the most memorable songs in their career.
Along with other artists, Shankar–Jaikishan composed timeless and enduring melodies during the 1950s, 1960s, and early 1970s. Their best work was noted for being raga-based while maintaining both melodic charm and orchestral richness.
Although primarily active in the Hindi film industry as a composer duo, they strongly influenced the next generation of Indian music directors. Their songs remain popular in India and abroad, and continue to inspire composers decades after their deaths.
After Jaikishan's death in 1971, Shankar continued working as a music director and composed music for 43 films until his death in 1987. During this solo period, he continued to be credited under the name "Shankar–Jaikishan".
Early life
Shankar
Shankar Singh Ram Singh Raghuvanshi (15 October 1922 – 26 April 1987) was from Hyderabad, British India. During his formative years, Shankar played the tabla and learned the art formally from Baba Nasir Khansahib. For many years, Shankar studied as a disciple of the legendary composer Khawaja Khurshid Anwar, in whose orchestra he performed. The film proved to be an All Time Blockbuster at the box office and its soundtrack album a major success which not only established Shankar-Jaikishan, but also made Lata Mangeshkar the leading playback singer of Bollywood as songs sung by her, such as "Hawa Mein Udta Jaye, "Jiya Beqarar Hai", "Barsaat Mein Humse Mile" proved to be superhits. The soundtrack was listed by Planet Bollywood at number 1 on their list of the 100 Greatest Bollywood Soundtracks. Rakesh Budhu of Planet Bollywood gave 10 stars stating, "Barsaat is ideally one of Hindi cinema's best soundtracks". They began the new decade with another Raj Kapoor film Awaara (1951), which again proved to be a huge commercial success and its soundtrack the best-selling Hindi film album of the 1950s with a number of chartbuster songs, including "Hum Tujhse Mohabbat Kar Ke", "Ghar Aaya Mera Pardesi" and "Awaara Hoon", which made Mukesh the playback voice for Kapoor and one of the leading playback singers of his time along with Mohammed Rafi.
From 1952 to 1954, they composed for films like Daag (1952), Patita (1953), Aah (1953) and Boot Polish (1954), all of which had notable numbers, such as "Ae Mere Dil Kahin Aur Chal" (Daag), “Yaad Kiya Dil Ne” (Patita), "Raja Ki Aayegi Baaraat" (Aah) and "Nanhe Munne Bachche Teri Mutthi Mein Kya Hai" (Boot Polish).
Shankar-Jaikishan hit the big league in 1955 with Shree 420 and Seema, both of which had songs written by Shailendra and Hasrat Jaipuri. Songs from both the films "Mera Joota Hai Japani", "Pyar Hua Iqrar Hua", "Ichak Dana Beechak Dana", "Mud Mud Ke Na Dekh" in the former and "Tu Pyar Ka Sagar Hai", "Kahaan Jaa Raha Hain", "Ye Duniya Gam Ka Mela Hai" in the latter proved to highly popular among the masses and played a major role in box office success of both the films. The following year, they composed for Raja Nawathe's Basant Bahar and Anant Thakur's Chori Chori. Both the films were received well by critics as well as audience and their success was attributed to melodious songs by the duo many of which found a spot in the year-end annual list of Binaca Geetmala, such as "Badi Der Bhayee", a solo by Rafi, "Panchhi Banoon, Udti Phiroon", a solo by Mangeshkar, "Aaja Sanam Madhur Chandni Mein Hum Tum Mile", "Yeh Raat Bheegi Bheegi" and "Nain Mile Chain Kahan", all three duets by Mangeshkar and Manna Dey. Chori Chori also won Shankar-Jaikishan their first Filmfare Award for Best Music Director. In the late-1950s, they delivered back-to-back musical hits with Bimal Roy's Yahudi (1958), L. V. Prasad's Chhoti Bahen (1959) and Hrishikesh Mukherjee's Anari (1959), all three of which were critically and commercially successful, especially Anari which emerged as the highest-earning film of 1959 and one of the best-selling Hindi film album of the decade.
Continued success (1960–1969)
Shankar-Jaikishan began the 1960s with films, such as Dil Apna Aur Preet Parai and Jis Desh Mein Ganga Behti Hai. Commercially, both the films emerged huge hits and their songs proved chartbuster, which were - "Ajeeb Dastan Hai Yeh" and "Dil Apna Aur Preet Parai" (Dil Apna Aur Preet Parai), "Jis Desh Mein Ganga Behti Hai" and "Aa Ab Laut Chalen" (Jis Desh Mein Ganga Behti Hai).
Shankar-Jaikishan reached their peak in the mid-1960s with highly successful ventures, such as Ayee Milan Ki Bela (1964), Rajkumar (1964), April Fool (1964), Zindagi (1964), Sangam (1964), Arzoo (1965), Gumnaam (1965), Jaanwar (1965), Love In Tokyo (1966) and Suraj (1966). Most of the songs from these films - "Mere Man Ki Ganga Aur Tere Man Ki Jamuna Ka", Yeh Mera Prem Patra Padhkar", Tumhe Aur Kya Du Mai Dil Ke Sivaye", "Tum Kamsin Ho Nadan Ho", "Hum Pyar Ka Sauda", "Pehle Mile The Sapnon Mein", "Main Kya Karoon Ram", "Dost Dost Na Raha", "Lal Chhadi Maidan Khadi", "Tumse Achha Kaun Hai", "April Fool Banaya, To Unko Gussa Aaya", "Jaan Pehechan Ho", "Gumnaam Hai Koi", "Hum Kaale Hain To Kya Hua Dilwale Hain", "Aji Rooth Kar Ab Kahan Jaaiyega", "Ae Phoolon Ki Rani", "Love In Tokyo", "Baharon Phool Barsao" and "Titli Udi Ud Jo Chali", featured in the year-end annual list of Binaca Geetmala and for Suraj, Shankar-Jaikishan won their fifth Filmfare Award for Best Music Director. Also the music of Sangam, Arzoo and Suraj proved to be the top, eighth and thirteenth best-selling Bollywood albums of the decade, respectively. Towards the end of the 1960s, their notable hits, included An Evening in Paris (1967), Shikar (1968), Brahmachari (1968), Kanyadaan (1968), Prince (1969) and Yakeen (1969), which had notable songs, such as "Aasman Se Aaya Farishta" and "Raat Ke Humsafar Thakke Ghar Ko Chale" (An Evening in Paris), "Jabse Lagi Tose Najariya, Nas Nas Mein Daude Hai" and "Parde Mein Rahne Do" (Shikar), "Dil Ke Jharokhe Mein" and "Aajkal Tere Mere Pyar Ke Charche" (Brahmachari), "Likhe Jo Khat Tujhe" and "Meri Zindagi Mein Aate" (Kanyadaan), "Badan Pe Sitare Lapete" and "Madhosh Hawa Matwali Fiza" (Prince), "Yakeen Karlo Mujhe Mohabbat Hai" and "Gar Tum Bhula Na Doge" (Yakeen). Their other hits songs from this period are - "Dooriyan Nazdikiyan Ban Gayi" and "Falsafa Pyar Ka Tum Kya Jano" (Duniya), "Kaun Hai Jo Sapnon Mein Aaya" and "Unse Mili Nazar Ke Mere Hosh Ud Gaye" (Jhuk Gaya Aasman), "Jhanak Jhanak Tori Baaje Payaliya" and "Gham Uthane Ke Liye Main To Jiye Jaunga" (Mere Huzoor), "Dekha Hai Teri Aankhon Mein" and "Main Kahin Kavi Na Ban Jaoon" (Pyar Hi Pyar). For Brahmachari, Shankar-Jaikishan won their sixth Filmfare Award for Best Music Director as well as their first BFJA Best Music Director Award (Hindi).
Jaikishan's death, downturn and further works (1970–1986)
In 1970, they composed for notable films, including Mera Naam Joker, Dharti, Pagla Kahin Ka, Tum Haseen Main Jawaan and Pehchan. However, with the exception of latter two, none of them did well commercially, but their soundtracks received acclaim and for Pehchan and Mera Naam Joker, Shankar-Jaikishan received their seventh and eighth Filmfare Award for Best Music Director, respectively. Upon release, Andaz emerged a superhit with its song, "Zindagi Ek Safar Hai Suhana", a solo by Kishore Kumar topping the year-end annual list of Binaca Geetmala. Andaz also proved to be one of the last films Shankar-Jaikishan worked on as Jaikishan died on 12 September 1971 due to Liver Cirrhosis. For the film, they won their second and last BFJA Best Music Director Award (Hindi). Their other memorable work that year was in Kal Aaj Aur Kal, which marked their final collaboration with R. K. Films. Two songs from the film "Aap Yahan Aaye Kisliye", "Tik Tik Tik Tik Chalti Jaye Ghadi" remain popular till date.
After Jaikishan's untimely demise, Shankar continued to compose under the name Shankar-Jaikishan and after few failures eventually saw musical blockbusters in Manoj Kumar starrers Be-Imaan (1972) and Sanyasi (1975), soundtracks of both of which were among the best-selling Hindi film albums of the 1970s with highly popular songs, "Jai Bolo Be-Imaan Ki" and "Patla Patla Reshmi Roomal" (Be-Imaan), "Chal Sanyasi Mandir Mein" and "Yeh Hai Geeta Ka Gyan" (Sanyasi). Also for Be-Imaan, Shankar-Jaikishan received their final Filmfare Award for Best Music Director. The last film Shankar worked on was the 1986 mythological drama film Krishna-Krishna, which did not performed well critically or commercially.
Shankar's death
Shankar died on 26 April 1987. His death received little media coverage and his funeral was attended only by his family and some friends. The film industry was hardly present at his funeral, thus reinforcing the stereotype of its fickle-natured loyalties, when compared to Jaikishan's death in 1971, which drew the entire film industry. After Shankar died, the nearly 40 year old SJ banner came to an end, which was the end of what is widely regarded as the best music direction in Bollywood history.
Raj Kapoor later paid glowing tributes to Shankar in a televised interview. However, it was only after Raj Kapoor's own death in 1988 that the significance of his association with Shankar–Jaikishan was brought out in great detail.
200px|thumb|A prominent crossroad junction at Churchgate, Mumbai has been named after Shankar-Jaikishan.
Chandrakant Bhosle first noticed Shankar, as Shankar was popularly known among his friends, in Mumbai in 1945 when Shankarji arrived in Mumbai with ballet troupe of guru Krishnankutty and dancer Hemawati. Bhosle was a tabla player and had become closely associated with Shankar. He used to play rhythm in Shankar's orchestra from 1949 until Shankar's death. On the night of April 25, 1987, Shankar dropped Bhosle near Charni Road railway station where Bhosle stayed and drove off to his own residence at Churchgate. On 26 April Bhosle was, as usual, waiting for Shankar at around 10.00 a.m. to take him to the studio, but Shankar did not turn up so Bhosle went to the studio by taxi. All the musicians waited the whole day for Shankar in the studio but he did not turn up. The next day, Bhosle read the news of Shankar's death. Unfortunately, family members with whom Shankar was staying did not inform Bhosle, Raj Kapoor or anybody from the film fraternity about Shankar's death. It was Mr. Gokhale, who was once a cook in Shankarji's house, who later became Pujari in Gora Ram Mandir at Thakurdwar, Mumbai, who informed people that Shankarji was cremated hastily on the day of his death, without the knowledge of others.
Composition style
200px|thumb|Statue of Jaikishan at Bansada near Valsad, Gujarat (Jaikishan's native town).
Shankar-Jaikishan's compositions broke new ground in Hindi film music. Apart from relying upon their knowledge of Indian classical music, they also employed western beats and orchestration. Shankar-Jaikishan were the pioneers in establishing the role of the orchestra in song compositions as a medium to express and enhance the meanings and feelings of songs rather than using it just as a `filler' as per the prevalent practice before their advent on the scene. They made use of the orchestra and musical instruments (often dozens or hundreds of them) in their songs which consisted of the following format: The song starts with a `prelude' (preparatory music to create and introduce the environment and mood for the beginning of the song), then the mukhda starts and is followed by 'interlude' containing music pieces on the orchestra. With very few exceptions ("Ye mera deewana pan hai" is a good example), they always used different interludes before each stanza. 'Multi-layered music studded with counter melodies' played by the orchestra accompanied while the 'mukhda' or the 'antara' of a song was being sung and finally came the `epilogue' – the music with which the song ended after the singer(s) had finished their singing.
Shankar-Jaikishan made a significant contribution in promoting Indian classical music throughout their career. It was their established practice to have at least one song in a movie based on semi-classical style. They also used the western classical-based waltz rhythm in a number of songs.
Shankar-Jaikishan gave a new style and meaning to the genre of sad songs by composing them on a fast tempo. Songs like "Zindagi Mein Hardam Rota Hi Raha" (Barsaat), "Tera Jana Dil Ke Armanon" (Anari), "Haye Tu Hi Gaya Mohe Bhool Re" (Kathputli), "Aye Mere Dil Kahin Aur Chal" (Daag) and "Andhe Jahan Ke Andhe Raate" (Patita) demonstrated this. The last two songs, along with many others (notably "Awaara Hoon" from the film Awaara), also demonstrate the composers’ use of musical instruments – a harmonium is used to produce the effect of a piano accordion.
200px|thumb|SJ's 1968 Indo-jazz album, Raaga- Jazz Style.
Shankar Jaikishan made a major contribution towards the development of jazz music in India and the new genre Indo jazz. Their 1968 album Raaga-Jazz style is the earliest Indo-jazz recording in India. In this album, considered to be one of the most innovative, SJ created 11 songs based on Indian Ragas with saxophone, trumpet, sitar (by Rais Khan), tabla, bass etc.
Awards
Government recognitions
- 1968 – Shankar-Jaikishan were honoured with the Padma Shri by the Government of India.
Filmfare Awards
FILMFARE AWARDS STARTED DURING 1954 FOR BEST MUSIC DIRECTOR:
Shankar-Jaikishan were the Winners for the films listed below:
{| class="wikitable sortable"
|-
! Year !! Film !! Lyricist(s)
|-
| 1957||Chori Chori Other soundtracks in the list, include Awaara, Sangam, Shree 420, Junglee, Chori Chori, Mera Naam Joker, Suraj, Jis Desh Mein Ganga Behti Hai, Anari.
Controversies
Alleged Dispute
In a signed article in Filmfare, Jaikishan identified unwittingly the song "Yeh Mera Prem Patra Padh Kar" (Sangam) as his composition. This led to a lot of bitterness between the two, as Shankar considered it a violation of the unwritten agreement between them. At about the same time, Shankar gave a break to singer Sharda and started promoting her as the new singing sensation in preference over Lata Mangeshkar. Jaikishan, however, stuck to Lata Mangeshkar for his compositions. In this period, Shankar and Jaikishan started taking individual contracts for films though every such film continued to show them together as the composers. Mohd. Rafi intervened and helped them settle their differences; however, it is conjectured that their relationship was not the same as earlier and this impacted the quality of their compositions which had started exhibiting a decline (which is clearly noticeable in the movies released during the last phases of Jaikishan's lifetime and those released just after his demise).