Playback Singer Sharda Entertains Senior Citizens _ Jan Darpan

2nd Page - Playback Singer Sharda Entertains Senior Citizens _ Jan Darpan

Playback Singer Sharda Entertains Senior Citizens _ Jan Darpan

Sa Re Ga Ma Pa Mr/Miss Universe 2010 March 02 '10 Shankar Jaikishan Special

A treat to listen

डैलस में मुकेश की याद में एक शाम

अप्रवासी भारतीय

डैलस, अमरीका से रचना श्रीवास्तव | बुधवार , 30 दिसम्बर 2009

अमेरिका के डैलस शहर में स्वर्गीय गायक मुकेश की याद में एक शानदार शाम आयोजित की गई। इसका आयोजन किया था, परिमाज जी और सुंदर मुकेश जी ने। मुकेश के यादगार गीतों को गाने के लिए जानी मानी पार्श्व गायिका शारदाजी भारत से डैलस आई थी।

इतने दिनों बाद लाइव शारदा जी को सुनना बहुत ही सुखद रहा। इनकी आवाज में आज भी वही जादू और कशिश मौजूद है जो बरसों पहले थी। उनके एक एक गीत ने लोगों का मन मोह लिया।

कार्यक्रम का प्रारंभ सुन्दर मुकेश जी ने किया। शारदाजी ने मुकेश जी के साथ गाए अपने सभी गाने प्रस्तुत कर जमकर वाववाही बटोरी। उनका साथ दिया सुन्दर मुकेश जी ने।

बाद में लोगों की फरमाइश पर शारदाजी ने रफ़ी जी के साथ गाये अपने गाने भी प्रस्तुत किए। शारदा जी ने अपनी मखमली आवाज में ऐसा सुंदर समाँ बाँधा की लोग कार्यक्रम के अंत तक बैठे रहे।

तितली उड़ी हो या चले जाना या जाने चमन या जब भी ये दिल उदास हर गाने पर लोग तालियाँ बजाते रहे। इस मौके पर शारदा जी ने कहा की इतने दिनों बाद अपने चाहने वालों के बीच आना मेरे लिए एक यादगार अनुभव है।

मंच का संचालन फन एशिया रेडियो की आरजे करिश्माजी ने किया। इस अवसर पर कुछ स्थानीय कलाकारों संगीता धारया,कृतिका,स्वाती ,राजीव संजय ने भी अपनी प्रस्तुत से श्रोताओं की जमकर दाद बटोरी।

इस कार्यक्रम का संगीत भी यादगार था। की बोर्ड पर थे न्यू यॉर्क के अरुण पटेल। अरुण देख नहीं पाते, लेकिन जब इनकी इनकी अंगुलियाँ की बोर्ड पर चलती थी तो चमत्कारिक संगीत पैदा करती थीं। तबले पर थे पूरण लाल व्यास जो शिकागो से आए थे। ये दोनों कलाकारों ने लक्ष्मीकान्त-प्यारे लाल और शंकर-जयकिशन के साथ भी संगत कर चुके हैं।

COURTESY :http://www.hindimedia.in/index.php?option=com_content&task=view&id=9486&Itemid=141

Ujaale Unki Yaadon ke with Sharda [Part 2 to Part 6]

UJAALE UNKI YAADON KE - SHARDA

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Episode-6
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SH: Sharda
YK: Yunus Khan

YK: Sharda ji, Vividh BHarati ke 'studios' mein aapka ek baar phir se swaagat hai, main soch raha hoon ki itne saare sawaalon se kis sawaal se shuru kiya jaaye yeh 'episode'? aapne kahaa ki Begum Akhtar bhi aapki 'favourite' rahi hain.

SH: jee jee jee, unka kaun sa gaana hai (sings) "mere hamsafar mere hamnawaa, mujhe dost bankar daGaa na de". yaad naheen aa raha hai. aap pehle btaa dete to tayyaari karke aati thi (YK laughs). Khair!

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Song: mere hamnafas mere hamnawaa (Nonfilm - Begum Akhtar)
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YK: aap gaana gaati waqt kin baaton par zor deti theen, dhyaan deti theen, 'recording' waale dino mein?

SH: aawaaz sahi rehna chaahiye, tabeeyat 'fresh' rehna chaahiye, baaki to 'music dircetor' log 'conduct' karte the na, koi pareshaani naheen hoti thi, 'they will make sing you know', wo saamne khaDe rehte the aur aapko gaana 'automatic' aa jaata tha.

YK: ek ek gaane ki 'recording' mein kitna samay lagta hogaa tab?

SH: kabhi kabhi 14 'takes' bhi hite the. subah gaye 9 baje, phir 'rehearsals' hote the, 'musicinas' ke saath 'rehearsals' , phir 'voice balance' huya, phir 'takes start' huya, kabhi ek 'take', kabhi teen 'takes', is tarah se shaam tak huya karta tha.

YK: matlab ek gaana ek din mein huya karta tha. aaj jab aap sunti hain ki 14 14 gaane ek vyakti ek din mein gaa raha hai...

SH: Theek hai na, 'wholesale market' jaisa ho gaya hai (YK laughs), 'stock market' ke jaise baat karte hain, yeh bhi ek 'market' ho gaya hai.

YK: jee. shaayad isiliye guNvatta ki kamee ho gayi hai

SH: yeah

YK: woh baat naheen rahi

SH: right right

YK: Sharda ji, sabse zyaada waqt aapke kis gaane ki 'recording' mein lagaa hogaa?

SH: "woh pari kahaan se laayun"

YK: hmm hmm, kya vajah thi ki usmein itna waqt lagaa?

SH: kyonki bahut saare antare the aur bahut saari laDkiyaan theen, aur teen 'singers' the, aur "badkamma" mein bhi 'time' lagaa kyonki Mohammad saahab (Rafi) bahut saare 'dialogues' bolne lage kyonki ittefaaq yeh huyi ki us waqt Bombay Labs mein 'record' huyi aur do teen 'microphone' rakha tha ki usmein se ek 'microphone' kharaab ho gaya. Rafi saahab ko ek 'microphone' de diya aur mujhe keh diyaa ki Mehmood saahab ke saath aap ek 'microphone share' karo. to main gaane lagi to Mehmood saahab bhi haan haan ki "mujhe hosh uDaa de yankarna", "uDaa Daaloonga" woh aa rahe hain, beech mein ghus rahe hain (YK laughs). maine bolaa ki mujhe 'next line' gaane ka hai, "aankhon se peela de yankarna", phir "peela Daaloonga" (YK laughs), aisa kar kar ke mujhe waapas aana paDaa. Recordist Sharma ji kehne lage ki Mehmood ji ne aapko itna tang kiya aur aap ne bhi uska baraabar jawaab diya.

YK: aur 'live orchestra'

SH: 'live orchestra' aur saare khaDe hain saamne, aur woh chilla rahe hain, aur beech mein itna yeh wo bol rahe hain.

YK: to aap 'distrurbed' naheen huyeen?

SH: haan, beech mein unko sur mein gaane ka hai, aur beech mein woh mere 'microphone' mein ghus rahe hain. unka alag 'microphone' hai. 'I have to move and come back you know, without giving my voice a shake'.

YK: aur kai baar aisa hota hai na ki jab koi sharaarati kalaakaar saath mein ho to apni 'lines' bhoolne ka Dar hota hai.

SH: haan, lekin 'concentrate' karke rakhna chaahiye na, tabhi to 'singers' ki ye hai na. yeh gaana 'top sellings' mein aaya, 1968 mein 'top 10' mein.

YK: jee, aur bahut mahtvapoorN gaana hai aur is gaane ke kaafi 'takes' huye honge jab Mehmood saahab itne tang kar rahe the to?

SH: haan ek ek 'take' mein woh kuchh kehte jaa rahe hain. Shankar saahab ne bhi keh diya tha ki jo marzi kaho (both laughs).

YK: poori aazaadi ho gayi thi

SH: aazaadi ho gayi thi unko

YK: to har baar woh apne 'dialogues change' kar dete the?

SH: haan, kabhi kuchh kabhi kuchh bolte rahe hain.

YK: yeh ek yaadgaar gaana ban gaya hai aapke liye. yeh gaana sunaa jaaye. woh dekhiye yeh gaana aap se sunne ki farmaaish aa rahi hai

SH: (sings) "badkamma badkamma yakaD potoraa". ismein bhi jo 'soul point' hai na, jo jhaTke dena hai, badkamma badkamma badkamma badkamma, ek ek 'beat' aani chaahiye, yakaD potoraa, ikaD ikaD raa....

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Song: badkamma badkamma yakaD potoraa (Shatranj)
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YK: kya baat hai kya baat hai! jab ham yeh gaana sunte hain to sunte huye aisa naheen lagta hai ki isko banaate huye itni mehnat lagi hogi.

SH: yeah yeah, ki 'recording' ke 'time' kya kya hota hai.

YK: logon ko yeh bataaya jaaye ki ek gaana bante huye kitni kitni kahaaniyaan. ..

SH: kitni kitni kahaaniyaan, kitni kitni mehnat aur 'musicians' log bhi, unka 'mention' kiye bina chhoDna naheen chaahiye, woh itne 'devoted' the, woh 'time' naheen dekhte the, ghaDi naheen dekhte the, unko 'overtime' milegaa, kya milegaa, 'they never bothered about it', unko gaana baraabar aana chaahiye, gaana bajaate waqt sabko sunaa dete the. 'music directors' OK kar dene ke baad bhi kuchh 'musicians' the jo 'pne more take, one more take' kehte the. is tarah se wo 'sincere' the.

YK: jee. aur 150-200 log, saazinde bajaa rahehain aur kuchh log gaa rahe hain, aur usmein baar baar 'take' ho rahi ho to uska matlab yeh hai ki usmein 150-200 ki mehnat shaamil ho rahi hai.

SH: aur unke liye 'conductors' hote the. jaise 150-200 log hain to unke liye 4-5 'conductors' hone chaahiye, 'they will go otherwise', 'wavy' ho jaayegaa naa! 'Everything should come in one harmony'. to kaun sa kahaan par kya bajaana hai, kabhi 'group instruments' hai, kabhi 'solo' hai, wo sab 'control' karna chaahiye.

YK: isi tarah ke aapke aur kaThin gaane kaun se rahe hain? Kishore da ke saath yaa kisi aur ke saath jinmein bahut zyaada 'spontaneity' rahi ho?

SH: 'spontaneity' hi rahi, aisa koi kaThin to naheen lagaa kyonki 'rehearsal' hoti thi, tayyaari hoti thi, kabhi kabhi 'musicians' ke saath bhi 'rehearsals' bhi kar lete the, uske baad ham 'recording' karte the, kaafi 'smoothly recording' hoti hi. Shankar Jaikishan ka such genius music directors, wo to kaise bhi logon ko gawaa lete the, hamne to mehnat bhi thoDa kiya, isliye 'problem' hone ke sawaal hi naheen hai.

YK: Shankar Jaikishan ka jo 'music' hai, jo 'style of music' hai, woh bahut hi alag raha hai, poora ka poora ek yug...

SH: main to kehti hoon ki Shankar Jaikishan ke 'music' agar nikaal do to ham logon ka 'music' ekdam 'backward' ho jaayegaa, kyonki sab 'variety and western variety', yeh sab naya 'style' laane waale Shankar Jaikishan hi the. to 'usually' sargam ke hisaab se sab gaane neeche se hi huya karta tha, aur koi bhi gaana ooche swar mein usse pehle kisi bhi 'music director' ne banaaya naheen tha. jaise (sings) "dil tera deewaana hai sanam", aise upar ke 'note' se kisi ne bhi 'start' naheen kiya. aur alag alag Dhang se, alag alag 'style' se, (sings) "ai ya ya ya karoon main kya suku suku", is tarah se cheezen kisi ne pehle naheen kiya. aur Shankar Jaikishan ne poore 'orchestra' ko 'part by part' karna, 'part, counterpart' , idhar Tam Tam Tam baj raha hai, udhar Dholak baj raha hai, kitne hi unke peechhe 'support' laanaa. naheen to sirf tablaa baj raha hai, gaana huya phir thoDaa saaz huya, phir tablaa huyaa...

YK: kaafi saral 'structure' huya karta tha.

SH: Shankar Jaikishan brought a new era in music industry.

YK: Shankar Jaikishan ke kuchh gaano par roshni Daaliye ki jo bahut mahtwapoorN rahe apni banaavaT mein.

SH: woh "dil ki nazar se" jo hai na, (sings) "dil ki nazar se, nazron ki dil se", uske saath woh 'music' Tan Tan Tan, Tan Tan Tan, woh chalta rahegaa, woh 'note' keejiye aap. is tarah se 'music arrangement' kaheen aur naheen milegaa.

YK: is gaane ka 'signature music' bhi kitna kamaal hai, gaana shuru hone se pehle.

SH: is tarah se har gaane mein kuchh na kuchh baat hai. lekin un dino utni 'facilities' na hone ki vajah se kuchh 'music parts' dab gaye hain, 'voice' ko 'importance' diya, matlab 'words' samajh mein aana chaahiye, yah soch kar 'music parts' kuchh kuchh chhup gaye hain.

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Song: dil ki nazar se nazron ki dil se (Anadi)
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END OF PART-6

EPISODE 5 (11/10/2009)
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SH: Sharda
YK: Yunus Khan

YK: achchha aapne bataaya ki aap chhoTe bachchon ke liye gaane banaa rahi hain aur jo unki umra hai uske hisaab se...

SH: uske hisaab se aur main ek kehna bhool gayi ki main unke liye 'track' de rahi hoon ki woh seekh ke 'track' ke saath 'perform' kar sake.

YK: kya baat hai!

SH: taaki kuchh 'creative' hona chaahiye na ki apni aawaaz nikaalo, kuchh karo, yeh sab.

YK: aajkal hamaare yahaan bachchon ke liye gaano ki bahut kamee ho gayi hai.

SH: arey yeh main yaheen India mein dekh rahi hoon, 'all over the world' jitne baDon ke geet hain utne hi bachchon ke geet hain. aur yahaan to kuchh bhi nahin hai bachchon ke liye, bachche log jis tarah se baDon ko 'copy' karte hain 'you know, you are depriving them of their childhood'. aap 'childhood' mein hi usko 'youth' Daal denge to phir 'youth' mein 'old age' Daal denge, hai na?

YK: jee jee

SH: kyonki aap 'young age' mein usko Daal rahe hain, 'childhood' to gaya, aur 'young age' mein wo 'old age experience' karne lagenge. phir unka 'life' kharaab ho gaya na!

YK: aise chhoTe bachchon ke maataa pitaa se aap kya kehna chaahengi jinki dilchaspi 'music' mein hai aur jinke paas bachchon ke gaane nahin hai, jo baDon ke gaane gungunaate huye...

SH: wahi na, to iske liye 'special programmes' hona chaahiye, bachchon ke geeton ka 'presentations' hona chaahiye, 'dance' karte hain, ye karte hain, bachchon ko 'attract' karne ke liye, abhi ke zamaane ke bachche bahut 'smart' hai, bahut hoshiyaar hai, unke 'intelligence' ke hisaab se unko 'music' dena chaahiye, aur bachchon ke 'music' ka bhi 'special shows' hona chaahiye jaisa ki baDon ka hota hai, bachchon ka hota hi nahin kidhar bhi, sirf 'games' ho gaya ho gaya, 'music' ka kuchh nahin ho raha hai. to wo sab hona chaahiye, 'nobody is bothered about all these things', aur hamaare paas itne achchhe achchhe kalaakaaron ke hote huye bhi baahar se mangwaate hain, hamaare logon ko poochhte nahin. hamaare idhar hi yeh sab karte hain, aur kidhar bhi nahin hota hai aisa. to main America mein gayi to wahaan pe 'all are so open hearted you know', unko samajh mein nahin aata hai phir bhi aate hain sunne ke liye. It is so nice. So, I translated all my songs into English and I am going to perform in English for the USA audience'. abhi yeh gaana hai "jaane bhi de sanam mujhe" ke liye maine English mein ek 'version' kiya hai.

YK: arey kya baat hai! aapko yaad hai woh?

SH: jee

YK: to phir sunaaiye woh

SH: (sings) "love at first sight, love at every sight, I live you more and more every day and night with heartfelt delight.... jaane bhi de sanam mujhe abhi jaane jaane jaane de...."

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Song: jaane bhi de sanam mujhe (Around The World)
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YK: kya baat hai! bahut mushkil raha hoga?

SH: haan, abhi kal 'compose' kiya. socha ki jab Americans chaah rahe hain to kyon nahin hona chaahiye! to is hisaab se bachchon ko bhi yeh sab karna chaahiye.

YK: aap ne bachchon ke liye bahut saare gaane banaaye hain, ek aapne sunaaya tha, ek aur ham sunna chaahenge.

SH: (sings) "Mr Ricky ha ha, with his Topi ha ha, in the morning ha ha, when he got up ha ha, there was nothing ha ha, in his kitchen ha ha..."

YK: kya baat hai, kya baat hai! aapne kahaa ki har gaane mein kahin na kahin ek 'soul' hoti hai, ek 'soul point' hota hai, to bachchon ke liye us tarah se dhyaan rakhna paDtaa hai ki kaun sa shabd unke liye 'catchy' ho sakta hai.

SH: haan, ismein "ha ha" mein hota hai (YK laughs).

YK: achchha yeh gaane gaate huye aapko apna bachpan Khoob yaad aata hogaa.

SH: hamaare bachpan mein bachchon ke liye kuchh 'special' geet nahin hota tha lekin 'music' mein hi kuchh chhoTe chhoTe geet hote the, Carnatic music mein kuchh aisa varN hota hai, geet maala jaise, chhoTe chhoTe geet, wo hamko seekhaaya karte the.

YK: kuchh yaad hai aapko abhi?

SH sings in Carnatic music. is tarah se.

YK: kya baat hai! bahut bahut aanand aaya in dono geeton ko sunke aur yeh baat jaan ke ki bachchon ke liye aap 'special effort' Daalti hain aur gaane tayyaar kar rahi hain.

SH: agar nahin karenge to aur koi kar hi nahin raha hai. main kal chali jaayungi, 'nobody will do it, what can I do?' main aisa sochti hoon isliye kar rahi hoon. mujhe aisa nahin hai ki mujhe isse kuchh bahut kuchh kamaana hai yaa bahut kuchh naam karna hai. mujhe bhagwaan ne yeh diya hai, jaise sant logon ne hamein dekar ke gaye hain bahut si cheezen, bhagwaan ne kyon tumko ye diya, diya isliye diya ki tum sab ko dekar jaayo. So I think it is my duty to do it.

YK: bahut achchha lagaa

SH: maine bahut kuchh, 'I didn't make any' mahal 'out of this film industry, I cannot afford to give all these things you know', ki 'video' banaao, yeh banaao, TV mein aayo, 'publicity' ke liye kharch karo, I cannot do it, I can do whatever I can do. bhagwaan ne jab de diya hai to karna paD raha hai.

YK: to aap apni taraf se poora prayaas kar rahi hain?

SH: haan, abhi main gaa nahin paati thi to main chhoD ke chali jaati thi. I cant stop singing, jab aa hi raha hai to main ky karoon!

YK: jee. yeh sawaal main bahut sankoch ke saath poochh raha hoon ki aap ne apne gale ko ab tak kis tarah se barkaraar rakha hai?

SH: (laughs) yehi to main kar rahi hoon, bataaya na, 'voice culture' hi to kar rahi hoon, 'breathing, posture and voice power control'. yeh teen dhyaan mein rakhne ka aur usko 'maintain' karne ka, bas! thoDaa saa riyaaz, aur yeh pataa chal jaata hai, 'you know your body better', kaise bhi kitna bhi 'force' mein gaana gaane jaayenge aap, jaise abhi gaaya (sings) "jaane bhi de sanam mujhe....", agar 'control' nahin hai to kaise main usko 'soft' karoon. hai na?

YK: jee

SH: hai na, nahin to ek hi 'tone' mein aayega woh. to 'control' mein rakh kar usko, (sings) "jaane jaane jaane de...."

YK: bilkul!

SH: aur yeh jo 'soft voice' karke kahaa na, yeh America mein log bolte hain ki yeh aap hi karti hain, aur koi nahin karta hai. doosre ek hi 'tone' mein gaate hain.

YK: haan, sahi baat hai, sahi baat hai! yeh 'actually' kya hai ki 'music' ko leke jo samajhdaari hai woh thoDi kam hai.

SH: aise log kahaa karte hain ki agar ham aise jaayenge America mein to uThaa kar phenk denge. 'They wont take it'. tabhi to Indian gaane baahar jaati nahin. abhi 'all over the world' se jaati hai, Arabian music jaati hai, Spanish music jaati hai.

YK: Sharda ji, aap ne bataaya tha ki Noorjehan aapki 'favourite' hain.

SH: ekdam

YK: aur Noorjehan ke kai kai aise gaane hain jo sar chaDh kar baiTh jaate hain. zaraa Noorjean ke pasandida gaano ke baare mein bataaiye. film aur non-film.

SH: 'uncountable' hai, unke sab geet mujhe pasand hai, to jaise ki (sings) "mujhse pehle si mohabbat mere mehboob na maang...."

YK: kya baat hai, yeh Faiz Ahmed Faiz ka hai

SH: hmmm, aur doosra woh "tum bhi bhulaa do" yeh gaana mujhe itna pasand hai, yeh gaana unhone itna gaaya, maine waisa gaane ka itna 'try' kiya ki kis tarah se woh 'expressions' aayegaa mujhe abhi tak samajh mein nahin aaya. main bahut 'research' kiya lekin abhi tak nahin aaya. usmein (sings) "tum bhi bhulaa do main bhi bhulaa doon, pyaar puraane guzre zamaane...." .

YK: kya baat hai!

SH: ismein unhone bahut achchhi 'expressions' Daali jo kisi se bhi phir ho nahin paa raha hai.

YK: Noorjehan ki aawaaz mein, ek jo keh sakte hain ki hamaari miTTi ki jo mahak hai, desi...

SH: khanak hai, bahut 'beautiful'!

YK: agar woh hamaare desh mein rehteen

SH: bahut achchha hotaa

YK: lekin wahaan bhi Ustad Nazar Hussain, jahaan tak mujhe yaad hai, unhone bahut se gaane Noorjehan ke liye banaaye.

SH: haan, lekin yahaan ki baat jo thi woh alag hi thi.

YK: jee jee. unke filmi gaano mein se aur kaun kaun se gaane aapko yaad aa rahe hain is waqt?

SH: (sings) "jigar ki aag se is dil ko jalta dekhte jaayo, miTi jaate hain armaanon ki duniya dekhte jaayo...."

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Song: jigar ki aag se is dil ko (Dupatta)
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YK: aap to har cheez ka baaqaayda vishleshaN karti hain, aap bataaiye ki Noorjehan ki gaane mein wo kaun kaun si baaten hain jo bahut zyaada mahatwapoorN ho jaati hai?

SH: woh bahut maine 'analysis' kiya, woh andar se jo gaati hain,'she does not show that I can sing this song so well' aur yeh jo harkat main le sakti hoon, yaa dekho meri aawaaz idhar itni achchhi aa rahi hai, yaa main yahaan tak pahunch sakti hoon. nahin, 'she just sings from her heart'.

YK: yeh bahut mahatwapoorN baat hai ki wo apni pratibhaa ka pradarshan nahin karna chaahteen. dil se gaati hain, dimaaG se nahin gaateen.

SH: bas

YK: kya baat hai. yeh aaj ke 'singers' ke liye bahut mahatwapoorN baat ho sakti hai. aur koi gaane yaad aa rahe hain Noorjehan ke?

SH: bahut se gaane yaad aa rahe hain, kaun kaun sa main gaayun? (laughs)

YK: sirf zikr karte chaliye

SH: (sings) "kis tarah bhoolega dil unka Khayaal aaya huya, jaa nahin sakta kabhi sheeshe mein baal aaya huya".

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Song: kis tarah bhoolega dil (Village Girl)
------------ --------- --------- --------- ----

YK: kyaa baat hai! 50 saal se to upar huye hinge ye gaane lekin aaj bhi ye gaane itne jawaan kyon lagte hain?

SH: jawaan lagte hain kyonki gaane Khud hi jawaan hai, usko koi umar nahin lagte, jaise aatma ka koi umar nahin bolte hain na, usmein atma hai isliye usko umar nahin lagti.

YK: jee. jab yeh Khabar mili ki Malika-e-Tarannum Noorjehan ab is duniya mein nahin hain kuchh waqt pehle, kaisa mehsoos huya tha aapko us waqt?

SH: bahut Kharaab lagaa tha, I felt very bad, is tarah se achchhe achchhe log chale jaa rahe hain, kya karen.

YK: Noorjehan ke alaawa Gazlon ki duniya se aapka 'favourite' kaun hain?

SH: Begum Akhtar ko maine bahut sunaa, aur unka naam main bhool gayi... Iqbal Bano.

YK: Iqbal Bano ne Faiz Ahmed Faiz ko Khoob gaaya aur Pakistan ki mashahoor mashahoor gaayika raheen, aur saari duniya mein unke chaahnewaale hain. 'internet' par bhi bahut unke gaane khoje jaate hain aur sune jaate hain. aur kaun kaun si hastiyaan hain Gazlon ki duniya mein jo aapko pasand hai?

SJ: main yeh geet bahut gaati hoon mujhe bahut achchha lagaa (sings) "ulfat ki nayi manzil ko chalaa baahen Daal ke baahon mein, dil toDne waale dekh ke chal ham bhi to paDe hain raahon mein...".

END OF EPISODE-5

EPISODE 4 (04/10/2009)
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SH: Sharda
YK: Yunus Khan

YK: Sharda ji, aap bataa rahi theen ki aap jo hai 'voice' ka poora 'culture' seekhaati hain, na keval aam zindagi ke liye balki 'professionals' ke liye bhi jo gaayak banna chaahte hain yaa jo 'voicing' ki duniya mein jaanaa chaahte hain.

SH: haan 'voice' ke liye bhi aur 'actually' bachchon ke liye. jaise bachche baat karte hain, 'defective' ho jaate hain, baat 'clearly' samajh mein nahin aati hai, aur 'voice' aisa hai to saamne sunnewaala 'disgusted' ho jaata hai, 'arey jaane do' kar ke, 'you know, he will get up and go'. to 'voice' mein itna yeh rakhna chahiye ki sunnewaalapasand karenge. aur 'voice' mein ek 'natural' ghanTi jaisi ek 'tone' aani chaahiye. woh 'soothing' honi chaahiye. aisa hone se woh aadmi 'success' hone ke 'chances' zyaada ho jaate hain. to iske liye sab ke liye 'voice culture' karna zaroori hai, woh alag baat hai, 'singers' ke liye to karna zaroori hai hi kyonki isse kisi bhi umar mein woh achchha 'perform' kar sakte hain.

YK: kya apko lagta hai ki nayi peeDhee ke paas wakt bahut kam hai?

SH: haan, isliye to maine jo 'workout' kiya hai, 'very small'. 'You dont have to sit for hours together.' maine do 'capsules' ke hisaab se diya hai, woh do 'workshop' mein ho jaata hai aur aap usey kahin bhi phir 'practice' kar sakte hain. aur 'music practice' bhi aap kam samay karke, matlab, 15 minute bhi karenge to bhi Theek hai, do teen roz mein ek baar karenge to bhi Theek hai, 'voice culture' ke baad itna ghanTon karne ki zaroorat nahin. woh puraane zamaane mein ghanTon 'life' bhar karte the, uske baad jaise Gautam Buddha ko gyaan huya, aisa gyaan uday huya karta tha. abhi aisa nahin hai, abhi gyaan 'readymade' aapko milta hai. abhi main 'guidance' de sakti hoon ki kya karne se woh niklegaa. andar se usko saans kaise lenaa chaahiye, kya lenaa chaahiye.

YK: aapne bataaya ki 'music' ka ek 'therapeutic use' hai, chikitsatmak upayog hai...

SH: haan, kyonki 'music' jo hai, aap naak se lete hain, gale se lete hain, naabhi se lete hain, woh har 'gland' ko 'activate' karta hai, 'body' mein bahut saare 'glands' hote hain, jaise aap 'sound waves' kehte hain, jaise aap isey 'sound proof' kehte hain to idhar sab lagaa ke rakhaa hai taaki 'waves break' na ho. to 'sound waves' jaakar 'body' mein 'attack' karta hai, jaise ham 'humming' karte hain, to wo 'glands' ko 'activate' karte hain, jo 'glands lazy' paDaa huya hai 'you know', 'out of work' baiTha huya hai, tabhi beemaariyaan aati hain, 'glands' ko 'activate' karte hain to 'then it starts producing medicines', 'body' mein hi 'medicines' paidaa hote hain, ye jo 'medicines' hai kisi ke na kisi ke 'body' se hi to nikalta hai, 'animals' ke 'body' se nikalta hai, aise hi hamaare 'body' mein bhi 'medicines' hai, usko ham saam ved karke, aur usko, ham doosri baat jo 'voice culture', ham pehle pehle zamaane mein ham 'music' kisse liya karte the 'natural sounds' ke liye, aur main us din wahaan jaa rahi thi to ek chhoTa sa 'group' jaa raha tha, uski ek 'sound' aa rahi thi. maine bola maine yeh 'sound' suni hai, kahaan sunaa hai, kahaan sunaa hai, 'then I remembered' ved paraayaN mein karte the (hums), yeh poora 'sound' udhar se hamko sunne mein aaya.

YK: kya baat hai!

SH: ismein se lekar unhone us 'music' ko banaaya hai. isliye hamaare itne raag hai, kaun sa raag kis 'time' mein gaana chaahiye, iska bahut baDaa 'science' hai, iski ham kya baat kar sakte hain!

YK: kya baat hai, kya baat hai! Sharda ji, aap ne apne bachpan ke baare mein zyaada naheen bataaya. aap ne bataaya ki aap Tehran se Bambai kaise aa gayeen theen, usse pehle ki kahaani...

SH: usse pehle to hamaara itna 'simple' bachpan tha ki kya bataayun! ham log miTTi se khelaa karte the, maa baap jo khaana dete the wo khaaya karte the, thoDaa sa jo bhi, do teen kapDe the usi ko saal bhar pahante the, phir diwaali mein aur kapDe milte the. bas, na koi 'pocket money' tha, na kuchh tha, jo dete the wohi dete the. 'My gradfather used to teach me all these things you know', upanishad se leke shlok vagerah, raamaayaN yeh sab kahaa karte the, poojaa karte the wo ham dekhte the, aur ghar mein rangoliyaan banaaya karte the, aur DaanDiyaa vagerah khelte the, yahi hamaara 'games' tha.

YK: Tamil Nadu ke kis shahar se aap ka taalllukh hai?

SH: Tamil Nadu mein Kumbhakonam karke, Kumbh melaa, kehte hain ki jab pralay huya tha tab ek kumbh Allahabad mein jaake Thahra aur ek kumbh Kumbhakonam mein jaake Thehraa. to Kumbhakonam mein 'I was born' aur wahaan pe hamaara bahut baDaa kshetra sthal hai.

YK: to aapki 'schooling' waheen...

SH: udhar hi huya, aur baad mein Chennai aaye, aur uske baad Bombay aaye hain.

YK: aap ne bataaya ki aap Noorjehan ki 'fan' hain.

SH: ohhh, Noorjehan aur Rafi saahab ki, woh "yahaan badla wafaa ka" sunne ke liye marti thi, kyonki wahaan na 'radio' tha na kuchh tha sunne ke liye, aur hamaare gali ke peechhe chaay ka dukaan tha. to udhar bajaate the. ek din main khaana khaa rahi thi, to khaana chhoD kar upar 'terrace' par bhaagi sunne ke liye, aur poora sun kar hi neeche aayi. maa ne kahaa ki kya ho gaya tumko. maine khaane ke haath se hi khaDi rahi aur poora sunkar waapas aayi.

YK: to woh gaana sunaa deejiye

SH: (sings) "yahaan badla wafaa ka bewafaai ke siwaa kya hai..."

YK: kya baat hai, kya baat hai! Noorjehan se kabhi mulaaqaat huyi?

SH: mulaaqaat nahin huyi Noorjehan se

YK: achchha, iske alaawaa aur kaun se gaane pasand hain Noorjehan ke?

SH: (sings) "aaja meri barbaad mohabbat ke sahaare...."

------------ --------- --------- --------- --------- ---------
Song: aaja meri barbaad mohabbat ke sahaare (Anmol Ghadi)
------------ --------- --------- --------- --------- ---------

YK: kya baat hai! woh zamaana jo hai woh 'radio' ka hi zamaana tha. 'record' zyaada milte nahin the.

SH: haan, aur gaana jab aata tha to bhaag bhaag kar likhte the, smajh mein bhi nahin aata tha tab, hindi bhi bolna nahin aata tha.

YK: to ye sab gaane 'radio' se sunti rehti theen aur 'diary' mein likhti rehti theen

SH: 'yeah'

YK: kya baat hai! achchha aap Tehran se jab Bambai aa gayeen aur R K Studios mein aapka 'audition' bhi ho gaya, to ek silsila shuru ho gaya. to aap 'music' ko lekar jo apne guruon ke naam bhi bataaye, to in sab se taaleem lene mein aap ne kitni mehnat kee, kitni mashakkat karwaate the?

SH: bahut mehnat karti thi, aur Nirmala ji ke saath to, woh Virar se aati theen, Virar mein rehti theen, 'station' jaate the unko laane ke liye. phir ghar mein laa kar, pehle wo pooja karti theen, phir thoDaa chaay peekar, thoDaa 'rest' karteen aur phir mujhe bataati. wo poora sevaa maine unko kiya aur is tarah se sevaa karke ham logon ne unhe paaya.

YK: shaastriya sangeet ki taaleem kitni zaroori hai sangeet ki duniya mein aane ke liye, chaahe woh 'film music' ho yaa 'non-film music'?

SH: thoDaa bahut to zaroori hi hai, kuchh kuchh raag seekhna achchha hi hai, kyonki usi ke 'base' pe to sab geet bante hain na!

YK: jee. Raj Kapoor ki filmon ke liye aapne bahut mahatvapoorNa gaane gaaye hain aur waheen se aap ka safar shuru huya tha.

SH: unhone 'promise' kiya tha ki RK ke 'banner' mein ham gawaayenge. to usko poora karne ka unka iraada tha, to unhone Kal Aaj Aur Kal mein ek gaana liya, Mera Naam Joker ke liye ek baDaa 'dream sequence' ka 'song' tha, baDaa 'song' tha, woh teen 'parts' mein huya, kitne saare 'musicians' aaye the, 'all over India' se 'press' aayi huyi thi, bahut baDaa gaana 'record' huya, laakhon ke upar uska 'budget' gaya, aur woh gaana main soch rahi thi ki kab 'shooting' honewaali hai, kab 'shooting' honewaali hai, lekin baad mein uski 'shooting' hi nahin huyi. aur baad mein filmon se mere gaane nikaalte rahe, mera man bhi bahut 'depressed' ho gaya, isliye thoDe dino ke liye main 'industry' se haT gayi thi.

YK: lekin Kal Aaj Aur Kal ka geet jo hai...

SH: (sings) "kisi ke dil ko sanam leke yun naheen jaate, huzoor aisa sitam karke yun naheen jaate..."

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Song: kisi ke dil ko sanam (Kal Aaj Aur Kal)
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YK: yeh bataaiye ki duniya bhar mein jo aapke chaahnewaale hain, wo maujood hain aur...

SH: mujhe 'surprise' hota hai ki mere itne chaahnewaale hain, aur main hi haT gayi thi ki 'if they dont like me then, main haT jaati hoon. lekin mujhe ab pataa chal raha hai ki kitne hi log hain jo chaahte hain aur mujhe yaad rakhaa hai aur abhi tak sun rahe hain aur 'I never expected it'.

YK: aapko kis tarah ke 'compliment' milte hain, chaahe 'mail' par hon, 'website' par hon?

SH: 'website' par 'enchanting voice', abhi parson aaya mere ko 'letter', aur kitne hi log hain yog aashram se, Yog Saraswati, Yogendra, unhone kaha aki aapke gale mein saraswati hain, aur kisi 'college professor' ne kahaa ki 'it is soul stirring experience, aap ke geet sunna.

YK: kya baat hai! kya aapko lagta hai ki ye jo 'compliments' hai agar tab aati jab aapko sabse zyaada zaroorat thi, jab aapko lag raha tha ki 'film industry' mein aapke liye jagah naheen hai, aap apni marzi se alag ho gayi theen.

SH: haan, tab alag ho gayi thi apni marzi se. kitne mere 'garage' bhar ke 'fan mails' the, sabko maine nikaal diya, achchha chalo haTaa hi deti hoon, 'I dont want to take, you know, anybody's... ', ham kisi ka haq churaane naheen aaye hain, bhagwaan ne apne liye kuchh diya huya hai, jo bhi 'soul' idhar aaya huya hai sab ko kuchh diya huya hai, 'I wanted to take whatever was due to me.' to tab maine sab nikaal diya, tab mujhe itna pataa hi naheen chalaa, tab to bewakoof thi na, 'young' bhi thi.

YK: (laughs) agar aapko maukaa mile kuchh cheezen sudhaarne ka to woh kaun sa ek cheez hai jisko aap 'correct' karna chaahengi?

SH: abhi bataaya na ki 'I shall sing and show' ki kis tarah se ek gaane ko gaaya jaata hai. kaise usmein jaan Daalni chaahiye, kaise usko 'present' karna chaahiye, gaake bataayungi.

YK: kyaa baat hai! ab baari hai aapka ek gaana sunne ki.

SH: aur?

YK: hmmm, Ek Nari Ek Brahmachari film ka gaana.

SH: (sings) "aapke peechhe paD gayi main, dil leke main to jaayungi..."

------------ --------- --------- --------- --------- --------- -
Song: aapke peechhe paD gayi main (Ek Nari Ek Brahmachari)
------------ --------- --------- --------- --------- --------- -

SH: iska dekhiye kaisa 'expression' , woh 'naughtiness' , woh mazaak, har gaane ke andar ek 'soul point' hota hai, jaise "titli uDi" mein "tittali', usmein ek 'soul' hai, aap ke peechhe "paDD" gayi main, is tarah se 'soul' ko samajhna chaahiye. gaane mein 'soul point' kahaan pe hai, usko lekar ke 'perform' karna chaahiye.

YK: bahut achchhi baat bataayi aapne. achchha Yesudas ke saath aapne kaun se gaane gaaye hain?

SH: Yesudas ke saath maine apni film Kshitij mein ek gaana 'record' kiya, usmein 'classical based' mein gaaya tha, unke saath 'duet' gaaya, (sings) "dekho saajan churaaye hai man, tera mera milan...", aisa kuchh gaana tha.

YK: kya baat hai! aapne bataaya ki aap 'music direction' ki duniya mein aayeen theen, mujhe lagta hai ki ek bahut baDaa 'challenge' raha hogaa aapke liye, ek bahut baDaa jokhim bhi raha hogaa, kyonki ek to jo 'industry' hai poori tarah se 'male dominated' hai, Khaas kar 'music direction'.

SH: aasaan hi tha kyonki 'music direction' seekh kar naheen aayegaa. 'composing' seekh kar naheen aati, 'automatic', jo bhagwaan ki den hoti hai, jaise jaise main 'compose' karti gayi, 'composing' mein aur 'knowledge' milta gaya aur Kishore da, Rafis aahab, Manna daa, Mukesh ji, Asha ji ko bhi maine gawaaya, Usha ji ne bhi bahut 'support' kiya, aur in logon ne itna 'heart felt support' diya ki mujhe bahut 'easy' mehsoos huya.

YK: to phir aapka 'compose' kiya huya kisi aur ka gaana sunaa jaaye yahaan par?

SH: zaroor!

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Song: dil mein jo aaya apun kiya (Zamaane se Poochho)
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END OF EPISODE-4

EPISODE 3 (27/09/2009)
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SH: Sharda
YK: Yunus Khan

YK: aapko yaad hogaa ki doosri kaDee mein Sharda ji bataa raheen theen ki kis tarah se Rafi saahab ne unhe seekhaaya tha ki gaane mein 'expressions' kaise laaye jaate hain.

SH: isliye to "sun sun" mein bhi 'expressions' the.

YK: bataaiye na

SH: (giggles & sings) "sun sun sun re balam, dil tujhko pukaare, chal chal chal re balam dil tujhko pukaare". "pukaare" to pukaarta hai na, 'its a request', nahin to agar 'plain' aap gaayenge to (sings without expressions) "sun sun sun re balam, dil tujhko pukaare".

YK: hmmm

SH: yeh gaana ho gaya. lekin usmein dil aur aatma

YK: sahi hai. kya baat hai, bahut achchhi tarah se aap 'demonstrate' karti hain. mujhe yaad aaya ki aapka ek Gazlon ka 'album' aaya tha aaj se kareeb do saal pehle.

SH: jee jee. woh main 'privately distribute' karti hoon kyonki woh koi 'company' ke 'through release' nahin huya hai, aur woh maine 'first time' kiya kyonki Mirza Ghalib ke Gazal dekh kar mujhe itna achchha lagaa ki usmein bhi ek ek mein itni achchhi 'philosophy' thi aur maine 'compose' kiya. phir doosra paDhaa to doosra 'compose' kiya, teesra bhi kiya, is tarah se maine 24 Gazals 'compose' kiya. aur 'twin album' maine tayyaar kiya aur abhi 'privately' log maang rahe hain, 'demand' ho rahi hai 'all over the world' aur 'privately' usko 'distribute' kar rahi hoon. mera 'website' hai titliudi.com

YK: kya baat hai (laughs)

SH: aur mera email id hai musicsharda@ gmail.com

YK: kya baat hai! achchha yeh bataaiye ki Mirza Ghalib ki kaun kaun si Gazlen aapne gaayi hain aur kaun si Gazal sab se zyaada aapko pasand hai?

SH: usmein se "hazaaron Khwahishen aisi ki har Khwaahish pe dam nikle", aur "phir mujhe deeda-e-tar yaad aaya"

YK: waah waah

SH: aur "dil-e-naadaan tujhe huya kya hai"

YK: waah

SH: "dil-e-naadaan" youtube mein aaya hai

YK: jee jee. to aap is waqt hamaare liye kaun si azal gungunaayengi?

SH: (sings) "rahiye ab aisi jagah chal kar jahaan koi na ho, hamsukhan koi na ho aur hamzabaan koi na ho..."

------------ --------- --------- --------- --------- ---
Song: rahiye ab aisi jagah (Nonfilm Gazal - Sharda)
------------ --------- --------- --------- --------- ---

YK: bahut hi baDhiyaa, kya baat hai! aaj bhi aap 'stage shows' karti hain?

SH: 'stage shows' bahut karti hoon, 'album' bhi kar rahi hoon, abhi chhoTe chhoTe bachchon ke liye 'album' kar rahi hoon. maine 'Toon Age Music', 3 saal se leke 8 saal ke bachchon ke liye chhoTe chhoTe geet jaise, roz jaise, maa, apne 'father' ke saath jaise dekhte hain bachche log, un 'subjects' ke upar, yeh nahin ki unko yeh karna paDe ki dil de diya yaa pyaar ho gaya (YK laughs), in sab ki zaroorat nahin, aur ek aur 'Twin Age Music' karke 8 saal se 15 saal ke bachchon ke liye 'nature' ke upar, 'birds' ke upar, aisa bhi kiya.

YK: aisa bhi ek gaana sunaa deejiye, pataa to lage ki bachchon ke liye aapne kaise pyaare gaane banaaye hain.

SH: (sings) "lehren, saagar ki lehren, chanchal lehren, kabhi nahin rukti, uThti hi rehti, lehren, lehren".

YK: kya baat hai

SH: yeh 'Teen Age' bachchon ke liye hain

YK: aur ismein ek sandesh bhi hai kabhi nahin rukne ka, chalte rehne ka.

SH: yeh poora, 'you know, progressive and encouraging songs' hain. bachchon ko 'actually' yeh sab gaane sunne se man mein umangen uThengi aur ek josh jaisa aayega

YK: bahut sahi kahaa aapne Sharda ji. to aapka 'compose' kiya huya ek baal bhajan sunaa jaaye?

------------ --------- --------- --------- --------- --------- -
Song: raamaa raamaa seetaa raamaa (Nonfilm Bhajan - Sharda)
------------ --------- --------- --------- --------- --------- -

YK: achchha yeh bataaiye ki aaj ke zamaane ke gaane sunkar kya aapko kuchh gaane pasand aate hain? kis tarah ke Khayaal aate hain?

SH: 'well', kuchh gaane sun kar hamein achchhe lagne lagte hain, lekin aam taur par aisa koi geet 'impress' karta huya nazar nahin aata.

YK: kya 'problem' hai aaj ke sangeet mein? sabse baDi 'problem' kya hai?

SH: 'problem' yahi hai ki abhi 'musicians' log 'music director' ban gaye hain. 'music director' ka alag ek kudrati den hoti thi, jaise Naushad saahab the, Madan Mohan ji the, Nayyar saahab the, 'they were all music directors', wo log 'tunes compose' karte the. aajkal 'musicians' log 'computer' mein 'record' ho jaata hai, kuchh bhi aap 'note' bajaaiye, uske andar bol Daaliye, woh 'song' ho jaata hai. 'That is why, you know, tunes are not properly composed'.

YK: achchha, jab aap dekhti hain ki aajkal ke bachche bhi jab puraane gaane gaate hain 'music shows' mein, 'television' par bhi gaate hain, 'private' mehfilon mein bhi gaate hain, to kaisa mehsoos hota hai?

SH: aisa lagta hai ki, jaise Ramayan hai, usey koi bhi peeDhee sunegi hi, usey gaayegi hi. woh to kabhi nahin miTne waali hai na. 'We lived in the golden era of film music', woh hameshaa ke liye sadaabahaar rahegi.

YK: aur isi baat par mujhe aapka ek sadaabahaar gaana yaad aa raha hai Deewana film ka, "tumhaari bhi jay jay, hamaari bhi jay jay"

SH: (giggles)

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Song: tumhaari bhi jay jay (Deewana)
------------ --------- --------- ------

SH: kya hai ki Deewana mein koi bhi laDki ka 'songs' nahin rakha, mere teen 'songs' the usmein, "tumko sanam pukaar ke" aur "taaron se pyaare" aur "tumhaari bhi jay jay", 'I dont know what happened to the producers, why they didn't keep my songs', abhi tak 'public' to kitna sunna hi chaahti hai.

YK: jee jee, ham bhi sunna chaahte hain.

------------ --------- --------- --------- ---------
Song: taaron se pyaare... aana hi hoga (Deewana)
------------ --------- --------- --------- ---------

YK: Sharda ji, "duniya ki sair kar lo" ek aisa gaana hai, aaj to duniya ki sair karna waaqai 'easy' ho gaya hai, Around The World to baDi mahtvapoorNa film thi, yeh gaana aajkal bhi sab log gaa rahe hain.

SH: dekhiye yeh gaana to aaj bhi naya jaisa lagta hai. aaj ka 'recording' kiya huya lag raha hai, isak 'tune and everything'. 'The tune is so modern and unique'.

YK: yeh gaana ham aap se sunna chaahte hain

SH: (giggles & sings) "duniya ki sair kar lo...", aap bhi saath mein gaayo (YK laughs loudly)

------------ --------- --------- --------- -------
Song: duniya ki sair kar lo (Around The World)
------------ --------- --------- --------- -------

YK: bahut bahjut achchha lagaa. Sharda ji, aaj jo 'music' aa raha hai, usmein bolon ko bahut zyaada mahatva nahin diya jaa raha hai. keval 'instruments' ...

SH: bol likhenge kaun? achchhe achchhe 'lyricists' bhi to chaahiye na? kya 'beautiful songs and lyrics' ki sunkar aadmi ko aansoo aa jaate the. pehle ke geet abhi bhi sunte hain to, Talat saahab ke geet hain, log rote the sunte huye.

YK: aaj ke geeton ka jo 'analysis' hai aapka, usmein 'spirituality' bhi aati hai, usmein baaki cheezen bhi aati hain, to uske baare mein bataaiye.

SH: abhi main jaise English songs sunti hoon, to English songs mein bahut 'soul' hai. jaise Titanic ka 'song' hai, kitna 'touching' hai, 'modern' hone ke baad bhi, aaj ke daur ke hone ke baawjood, to is tarah se geet hona chaahiye, us tarah se 'music' bhi hona chaahiye, 'talented' logon ko mehnat karke 'recording' karna chaahiye, yeh nahin ki aap ne haath lagaa ki 'automatic rhythm' aa jaata hai, 'automatic music' aa jaata hai, usko 'automatic' Daal do to usmein 'soul' kaise aayega?

YK: us zamaane mein to baaqaayda 'rehearsals' hoti thi, 'tunes' par lamba kaam hota tha

SH: haan, 'tunes' pe kitne moD aate the, Naushad saahab ke kitne moD, abhi to seedhe seedhe sargam (hums a modern tune), yeh 'tune' ho gaya, abhi sargam ka koi 'exercise' le leejiye aur 'exercise' lekar koi bhi gaana banaa deejiye. aisa ho gaya na!

YK: jee jee, phir bhi kya koi gaana in dino ka aapko pasand aata hai jiska aap zikr karna chaahen?

SH: abhi to aap ne mushkil mein Daal diya (both laughs), haan yeh 'modern songs' sunne mein achchha to lagta hi hai, naachne ke jaisa, 'body' mein 'movement' aa jaata hai, 'aerobic exercise' karne ke jaisa man hota hai (YK laughs). jaise "kajraa re" aur "mauja hi mauja", isse 'body' ko 'exercise' mil jaata hai.

YK: hmmm, 'music' se zyaadaa 'aerobics' ki 'rhythm' zyaada lagti hai.

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Song: kajraa re kajraa re (Bunty Aur Bubly)
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END OF EPISODE-3

EPISODE 2 (20/09/2009)
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SH: Sharda
YK: Yunus Khan

YK: Sharda ji, Vividh Bharati ke Ujaale Unki Yaadon ke kaaryakram mein aapka ek baar phir se swaagat hai. main soch raha hoon ki kis sawaal se shuru kiya jaaye yeh 'episode'! san 1970 par aate hain. aap ko Filmfare Award mila tha, bahut 'glorious moment' tha.

SH: 'glorious', kya hai yeh "titli uDi" jo hai, "titli uDi" ko, Rafi saahab ko "bahaaron phool barsaao" ko jitne 'votes' mile, utne isko bhi mil gaye, to Filmfare waalon ne kahaa ki ab kya kiya jaaye, 'tie' ho gaya hai. 'So, they announced a special award', aur karanjay saahab ka 'letter' mere paas aaya ki is saal se 'male playback' aur 'female playback' ke do 'awards announce' karne waale hain. tab se jaakar do 'award' huya hai.

YK: wah wah wah wah, uske baad phir aapko 'award' mila.

SH: jee

YK: san 70 mein.

SH: jee

YK: Jahaan Pyar Mile film ke liye

SH: jee, "baat zara hai aapas ki"

YK: us gaane ke baare mein bataaiye.

SH: woh bhi ek 'different type' ka gaana hai, usmein saans ko kheench kheench ke gaane ka...

YK: kis tarah se? zara hamein gaake sunaaiye.

SH: (sings) "baat zara hai aapas ki, saari duniya ho gayi meri, bol main hoon kiski..."

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Song: baat zara hai aapas ki (Jahaan Pyar Mile)
------------ --------- --------- --------- --------

YK: ekdam alag tarah ka gaanaa tha, aur iska haq banta tha 'award' ka.

SH: jee haan

YK: kaisa mehsoos huya tha jab Filmfare ke manch par aap ne 'award' liya tha?

SH: bahut achchha. 'first time' uThaaya to mere se uThaaya nahin gaya (YK laughs)

YK: kiske haathon se mila tha?

SH: yeh to... Dev Anand saahab ne diya

YK: oh... kya baat hai, maine suna hai ki aap ne Filmfare samaaroh mein bhi kai baar gaane gaaye hain?

SH: jee haan

YK: to kaisa 'response' raha tha?

SH: bahut... mujhe to 'public' ne bahut hi pasand kiya tha. Theek hai mujhe 'industry' mein kuchh logon ne pasand nahin kiya, woh to bheetar ki baat hai, 'you know they had some sort of vengeance against me I dont know', lekin 'public' mein to bahut logon ne mujhe pasand kiya, aur agar ek aadmi ne bhi mujhe pasand kiya to 'then it is a success to me'. aur maine dekha ki itne logon ne mujhe pasand kiya, aur abhi tak mujhe sunnaa chaahte hain. aur abhi main dekhti hoon ki naye DVDs mein mere gaane sab kaaTaa jaa raha hai, 'its very disturbing you know'. 'I have not sung many songs'. maine bahut 'limited songs' gaaye hain, usko bhi nikaalna chaahte hain. 'I dont know why they are doing this to me'.

YK: aapne Mohd Rafi, Mukesh, Asha Bhosle, Kishore Kumar aur Yesudas ke saath bhi gaaye hain.

SH: Mohd Rafi, Mukesh ji, Mahendra Kapoor, Manna Dey saahab, Yesudas aur Suresh Wadkar, sab ke saath gaayi hoon.

YK: Kishore Kumar ke saath gaana mushkil samjhaa jaataa tha kyonki unka ek 'mood', ek 'alag 'track' chalta rehta tha, bataaiye kaisi thi Kishore Kumar ke saath 'recordings' .

SH: Kishore da ke saath bhi achchha tha, 'he was very supportive', us samay ke saare 'singers' bahut 'supportive' the, mujhe bachche ki tarah 'treat' karte the. 'voice' bhi aisa tha ki bahut 'young' lagta tha, jo kachchaapan hai wohi shaayad logon ko achchha lagaa hoga!

YK: bilkul bilkul. aaj jab us zamaane ke baare mein sochti hain to kaisa lagta hai?

SH: bahut achchha lagta hai. jab sab poochhte hain ki kaise hota tha bataao, bahut achchha lagta hai.

YK: abhi aapka ek gaana sunenge, phir baat karenge. Seema film ka gaana hai "jab bhi yeh dil udaas hota hai".

------------ --------- --------- --------- -----
Song: jab bhi yeh dil udaas hota hai (Seema)
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YK: "jab bhi yeh dil udaas hota hai", Rafi saahab the...

SH: Rafi saahab the, main bhi thi

YK: kahaan 'record' huya tha?

SH: yeh bhi Famous mein huya tha

YK: iske liye bhi 'rehearsal' huyi thi, kitne 'retakes' huye the?

SH: us zamaane mein to chaahe Rafi saahab ho yaa Mukesh ji, maine sunaa hai Lata ji also used to do many rehearsals. 'rehearsal' ke bina koi nahin 'recording' mein jaate the. main jab 'music director' bani to Rafi saahab used to come to my house to do rehearsals, can you imagine that? aur doosri 'recording' mein jaane se pehle 9 baje mere yahaan aake 'rehearsal' karke jaate the. itne 'simple' log the.

YK: aap ne 'music direction' bhi diya hai, yeh bhi ek paksh hai aapka, aap ne kai filmon mein sangeet diya hai.

SH: hmmmm, Maa Bahan Aur Biwi, "achchha hi huya dil TooT gaya", yeh 'best song' mein aaya.

YK: kya baat hai!

------------ --------- --------- --------- --------- --------
Song: achchha hi huya dil TooT gaya (Maa Bahan Aur Biwi)
------------ --------- --------- --------- --------- --------

YK: kitna mushkil tha aapke liye 'music director' banna? kyonki aap ek 'singer' theen aur kitna 'risk' tha?

SH: main sochti thi, un dino 'pop songs' nahin huya karte the.

YK: aapne apna ek 'album' nikaala.

SH: haan, maine HMV se kahaa ki 'film songs' hi chal rahe hain abhi, 'film songs' ke alaawaa bhi kuchh karna chaahiye, sirf bhajans aur Gazals hi karte hain, to 'light songs' bhi hona chaahiye. 'Then they asked me to do one song'. to maine ek EP, un dino EP aata tha, 4 songs' ka. to maine 6-8 'musicians' lekar ek gaana banaaya. unko bahut pasand aaya, phir doosra bhi kiya, teesra bhi kiya, '3 pop songs EP' maine 'release' kiya. phir 'producers' un geeton ko sunkar mere paas aaye ki is tarah ka geet hamko chaahiye kyonki yeh kam 'budget' mein hota hai. un dino Shankar Jaikishan aur aur log jo hain, wo log baDe baDe 'orchestra' rakhte hain aur kaafi 'expensive' hota hai, aur 'medium budget' waale 'producers' ke liye pareshaani ho jaati thi. to chhoTe 'budget' waale bahut se 'producers' mere paas aaye, maine bahut saare 'pictures sign' kiya, bahut saare 'pictures' bankar 'release' bhi huye, uske baad 'industry' ka bhi kuchh 'bad' daur aane lagaa aur wo sab kuchh nikal gaya.

YK: 1968 mein 'pop songs' karna apne aap mein ek nayi baat thi.

SH: 'first time', yahaan par 'Life magazine' mein kisi ne 'letter' likha ki 'first time' India mein 'pop songs' aaya huya hai, us 'magazine' mein 'letter' aaya.

YK: waah

SH: 'abroad' mein 'magazine' mein aaya tha.

YK: kitni saari bhaashaaon mein gaane gaaye honge?

SH: main to Marathi mein gaayi, Punjabi mein, Gujarati mein, Tamil, Telugu, aur Malayalam mein.

YK: waah! hamaare dakshiN ke shrotaa hain, dakshiN mein Vividh BHarati Khoob sunaa jaata hai. to hamaare dakshiN ke shrotaaon ke liye Tamil geet gungunaa deejiye.

SH: Tamil mein to main gaati nahin hoon, abhi 'compose' kar rahi hoon.

YK: kuchh bhi sunaa deejiye

SH sings a Tamil song.

YK: mere ko to kuchh samajh mein nahin aaya. iska kya matlab hai?

SH: yeh Subrahmanyam Bharati ka 'lyrics' hai

YK: o ho!

SH: 'independence' mil gaya karke yeh 'happy song' gaa rahe hain

YK: aazaadi mil gayi hai isliye Khushi ke geet gaa rahe hain

SH: jee

YK: kya baat hai. achchha Sharda ji, apne gale ko durust rakhne ke liye kya karti theen aap? maine sunaa hai ki bahut sambhaalna paDta hai 'singers' ko, aur aap to bahut 'unique' kism ki 'singer' raheen?

SH: maine beech mein, 'you know', gaana band kar diya tha, kuchh vajah thi, tab main baiThkar thoDaa gungunaaya karti thi. tab maine thoDaa 'research' kiya. 'see how the voice from, how the naval voice comes from, you see'. usko kis tarah se 'control' karke kis tarah se 'modulate' karna hai, 'because music' ke upar hamaara poora ved hai, saamved mein poora bataaya hai

YK: bilkul

SH: 'Then I programmed one programme on voice maintenance' , 'voice' ka 'culture' kaise karna chaahiye, uske saans lene ka jo tareeka hai, jo 'posture' hai, aur 'voice' ka 'power' kahaan pe kitna 'apply' karna hai, kyonki aap jitna 'power apply' karte ho, 'voice' ka utna 'force' aata hai. agar aapki maa yahaan khaDi hain to aap dheere se usko bulaayenge. agar woh door khaDi hai to aap 'force apply' karenge. to aise 'voice' ka poora 'control' apne andar leke, jaise 'plane' ko chalaate hain, 'plane' ko 'control' karna paDta hai, waise maine 'voice culture programme' kiya hai, apnje 'students' ko bhi deti hoon, do teen din ka 'workshop' karti hoon aur 'online' bhi deti hoon. 'This is very important'. kitne hi log geet gaaye hain, lekin bahut kam log hain jinke geet aapko yaad rahe hain. to kyon yaad hai, kyonki dil ko 'touch' kiya, 'soul' ko 'touch' kiya. woh 'touch' isliye karta hai ki aapka 'voice cultivated' hai. to 'voice cultivate' hone ke baad aap kuchh bhi gaana gaaiye, kaise bhi 'music' seekheeye.

YK: bahut achchhi baaten bataayi hain, Khaas kar jo hamaare yuvaa shrotaa hain...

SH: 'This is good for anyone you know', kyonki 'talking' ke liye bhi 'voice culture' karna zaroori hai, aap koi 'meeting' mein jaate hain, koi 'convention' mein jaate hain, 'you know your voice holds your personality' . aap apne 'voice' ke dam se logon ko apne ismein karte hain.

YK: sahi hai

SH: to isliye 'voice culture' sabko karna chaahiye.

YK: ab ek gaane ki taraf chalte hain. film Gumnaam ka geet mujhe yaad aa raha hai jo bahut mashahoor hai, aap gungunaaengi zaraa? "jaanechaman"

SH: "jaanechaman" mein main pehli baar Rafi saahab ke saath gaa rahi thi. maine unse kahaa ki 'Rafi saahab, main kal tak aapki 'fan' thi, aur aaj aapke saath khaDi hokar gaa rahi hoon, main kaise gaayungi?' to bole' nahin nahin, bahut achchha gaati hain aap'. to 'rehearsal' ke 'time' pe unhone mujhe deekshaa dee. deekshaa kya hota hai ki 'regular teaching' nahin hoti hai, ek upadesh ki tarah hota hai, woh hamesha apne paas rakhne ke liye ek ratan jaisa hota hai. puraane zamaane mein guru log upadesh dekar chalaa jaaya karte the. shishya log apne aap hi karte karte usko 'achieve' kiya karte the. isiliye siddhi bolte hain. isliye vidyaarthi bolte hain, vidya ke arth ko samajhkar usko samajhna. to unhone kahaa ki saans lekar ke sur bharnaa. to saans lekar ke unhone gaaya (sings) "jaanechaman sholaa badan pehlu mein aa jaayo". wo aise gaa rahe the, main to halka gaa rahi thi (sings) "o mere dil mere hamdam baahon mein aa jaao". abhi main bhi unki tarah gaayun to (sings) "o mere dil mere hamdam baahon mein aa jaao". ismein 'full power' ke saath gaane jaisa ho raha hai.

YK: kya bat hai, kyaa baat hai

SH: aise uska 'variations' hai.

YK: bahut baDhiya hai. aapne uska jis tarah se 'demonstrate' kiya ki gaane mein kahaan kis tarah se 'force' lagaaya jaata hai aur sur kaise lagaaya jaataahai...

SH: agar 'force' lagaaenge to uske andar bahut saari 'feelings' Daal sakte hain. agar 'force' nahin hai to woh ek hi jaisa 'mechanism' aa jaayegaa. har gaane mein ek hi 'tone', ek hi harkat, ek hi 'feelings' aayegi.

YK: is gaane ke baare mein itna kuchh aapne bataaya ki Rafi saahab ne kaise aapko 'guide' kiya tha, kaise aap 'expressions' laayi theen, to kyon naa yeh gaana sun liya jaaye!

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Song: jaanechaman sholaa badan (Gumnaam)
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END OF EPISODE-2
OUR SINCERE THANKS TO SOOJOI JI

UJAALE UNKI YAADON KE -with SHARDA EPISODE 1 (13/09/2009)

Courtesy : soojoi_india@yahoo.co.in of vividhbharati@yahoogroups.co.in

Most important Notice : To Read all these in Hindi/Devnagari script please click on

http://playback-singer-sharda.blogspot.com

SH: ShardaYK: Yunus Khan

YK: Ujaale Unki Yaadon Ke. aaj se is kaaryakram mein ham ek shrinkhalaa shuru kar rahe hain jismein ham jaani maani paarshva gaayika Sharda se baatchit karenge. is baatchit mein guzre zamaane ke baDe hi anmol naGmen sunvaaye jaayenge aur aap gaayika Sharda ko kareeb se pehchaan paayenge. to aaiye sunte hain jaani maani paarshvagaayika se aapke is dost Yunus Khan se baatchit ki pehli kaDee. inka naam zahan mein aate hi bahut saare meeThe gaane goonjne lagte hain. to bahut bahut bahut swaagat karte hain Sharda ji ka jo bahut bahut bahut dino baad Vividh Bharati ke 'studios' mein aayeen hain.

SH: hello hello hello, namaste everybody

YK: Sharda ji, aapki yaad aati hai aur zahan mein titliyaan uDne lagti hain. aisa kyon hai?

SH: jee, "titli uDi" 'song' se hi sab ne mujhe yaad rakhaa hai.

YK: uski to ham baat karenge hi, lekin jahaan tak mujhe yaad aata hai takreeban 43-44 saal pehle ka geet hai

SH: jee haan, bilkul sahi hai.

YK: uski to ham baat karenge, lekin pehle bataaiye ki Tamil Nadu ki Sharda ji Mumbai kaise aa gayeen?

SH: jee yeh to samhiye ki ek itteefaaq hai. main pehle se Hindi filmon ke geet gaaya karti thi...

YK: jaise? aapke pasandida kaun se gaane the?

SH: mujhe Noorjehan ke gaane bahut pasand the. 'I used to sing those songs'. ham log Tehran mein rehte the aur Raj saahab wahaan aaye huye the.

YK: kahaan?

SH: Tehran mein. 'I was in Tehran'.YK: achchha?

SH: wahaan pe, 'because there were not many singers', main gaati thi 'parties' mein, to Raj saahab udhar the, 'the party was in his honour', to maine geet gaaya to Raj saahab ko meri aawaaz bahut pasand aayi. unhone mujhe bulaakar kahaa ki aapki aawaaz bahut 'sweet' hai, bahut 'different' hai, 'unique' hai, to 'I told him' ki aap apne 'picture' mein gawaayenge? He said, why not, you come to Bombay. So, I went to Bombay, unke 'studio' mein main gayi, unhone mera 'voice test' kiya, to udhar RK mein sabko pasand aaya, phir RK mein unki poori 'family approve' karti hai. phir Raj saahab ne bola ki aap Shankar Jaikishan se jaakar milo. I went to Shankar Jaikishan's office and Shankar saahab immediately sent music teachers to my house. Then I started getting training.

YK: kya baat hai, yeh to ekdam pariyon ki kahaani jaise hai

SH: jee haan, bilkul, yeh to, you know, nobody planned that I have to become a singer. nahi to kya hota ki pehle 'chorus' mein gaate hain, then they go and see all music directors, aisa kuchh bhi nahin huya, mujhe to, I dont know, but this is like a story.

YK: kya baat hai! Tehran se Mumbai, yeh to Around The World ho gaya (laughs). achchha, aage baDhenge lekin usse pehle "titli uDi" sunenge aur woh bhi aapse 'live'

SH: OK (laughs shyly and sings) "titli uDi uD jo chali.......

Song: titli uDi uD jo chali (Suraj)------------ --------- --------- -----

YK: o ho ho ho... Sharda ji pataa hai aaj main ek baat 'confess' karna chahta hoon. yeh jo gaana hai yeh mere pitaaji ko bhi bahut bahut pasand hai. SH: isko 'generation song' bhi bol sakte hain. isko abhi ke log bhi pasand karte hain. jab bhi main 'programs' mein jaati hoon to log kehte hain ki 'meri bachchi ne is gaane pe 'dance' kiya', kisi ne mujhse poora 'lyrics' mangwaaya ki 'meri bachchi ko chaahiye', so it is going on like this.

YK: waah! kaisa mehsoos hota hai ki ek gaana jiski umra 4-5 dashak ho chuki hai?

SH: Its really surprising because this is a very simple song. iske peechhe na aisa koi 'dance' hai, na koi 'romantic scene' tha, bahut 'simple song' hai, ek ghoDaa gaaDi mein jaa rahi hai raajkumaari aur wo gaa rahi hai. aur is gaane mein kya hai ki woh ab tak logon ko 'attract' kar rahi hai!

YK: shaayad is gaane ki maasoomeeyat hai

SH: bahut hi hai. 'actually' maine is gaane ke liye bahut 'research' kiya aur 'last' kuchh saalon mein mere dimaag mein aaya ki Shailendra ji kuchh na kuchh 'philosophy' rakhte hain har geet mein. aatma ko ham pakshi yaa titli kehte hain. aatma 'wants to go to source', aatma bhagwaan ki taraf jaana chaahti hai, aakaash mein jaana chaahti hai. lekin phool aur patte jo hain maayaa ki tarah usko zameen par kheenchna chaahte hain. lekin titli kehti hai ki mujhe jaana hai apne 'source' mein.

YK: kya baat hai!

SH: to aisa 'philosophical meaning' hai gaane ka jiski wajah se logon ko achchha lag raha hai abhi tak yeh gaana.

YK: do paksh hai is gaane ka, ek paksh hai jo aadhyaatmik hai aur doosara paksh hai jo thoDaa sa 'light' hai. achchha hamein bataaiye is gaane ki 'recording' se juDee koi ghaTanaa, kahaan 'record' huya tha?

SH: yeh Famous mein 'record' huya tha. un dino ekdam 'live recording' huya karti thi. aajkal to 'computer' mein kar lete hain, besuraa bhi hai to sur mein kar lete hain, un dino to bahut mushkil tha. jab bhi main sochti hoon ki Shankar Jaikishan ne mujhe kis tarah se gawaaya tha, 'see, because of their capacity, I was able to sing all those songs, you see'. abhi tak yaad karte hain. saare 'musicians' the.

YK: kitne 'piece' ka 'orchestra' raha hogaa?

SH: 100-150 'musicians', kyonki 'violins' hi kuchh 50-60 hote the.

YK: aur Shankar Jaikishan is baat ke liye jaane jaate hain.S

H: haan, aur 'violin' mein do teen 'part' hote the. ek to 'melody part' bajta tha, ek 'counterpart' , aur ek 'counterpart obligato' aur 'violins' ke saath 'cello, double bass' yeh sab hota tha. phir uske baad 'main section' aur 'rhythm section'. kuchh 15-20 aadmi 'rhythm section' mein baiThte the aur 'rhythm controller' alag hota tha, aur 'music' ke liye alag 'music assistants' the, aur 'singer' ke liye alag. aur 'recording' ke 'time' mein 'singer' ko itni cheezen dhyaan mein rakhni paDti thi. bahut saare log aate the. 'guests' aate the, 'press' aati thi, 'producer, director', kabhi kabhi 'stars' bhi aate the, aur 'song writer'.

YK: is gaane ki 'recording' mein kaun kaun kalakaaar maujood the?

SH: Rajendra Kumar saahab the.

YK: kya baat hai!

SH: aur unke saath 'photo' bhi hai.YK: kya baat hai! to 150 saazinde hain, saamne 'press' hai, Rajendra Kumar hain, Shankar Jaikishan hain, Shailendra ji hainSH: haan, udhar 'director' baiThe huye hain, 'producer' baiThe huye hain, 'distributor' baiThe huye hain, 'financer' baiThe huye hainYK: o hoSH: sabko pasand aani chaahiye

YK: 'stage show' jaisa ho raha hai bilkul! (laughs)

SH: haan, lekin 'stage show' mein aap 'live' gaa rahe hote hain to sab kuchh 'accept' ho jaata hai. idhar 'accept' naheen ho saktaa. idhar to 'sound recordist' aake kahegaa, you know, ki saans aata hai, usko 'control' kar lo, idhar 'music director' aakar kahenge ki sur ka dhyaan rakho, phir 'song writer' kahenge ki yeh 'word' Theek se naheen aa raha hai. is tarah se kitni hi cheezon ka dhyaan rakhna paDtaa tha. phir 'director' aakar kahegaa ki 'expression' naheen aa raha hai, 'dull' aa raha hai, to 'you have to put expressions' .

YK: yeh aapka pehla gaana tha. kitni ghabraahaT thi?

SH: yeah, pataa hi naheen chalaa, Shankar ji Jaikishan ji, dono the to dono ne mujhe aise uThaake aasmaan mein leke gaye. aisa lag raha tha ki main panchhi ki tarah uD rahi hoon.

YK: kya baat hai! kyaa aapko lag raha tha ki yeh gaana kaamyaabi ki itni bulandiyaan paar kar jaayegaa?

SH: No, but Shankar Jaikishan said that this song is going to be a hit. maine kahaa ki aapko kaise pataa chalaa? to bole ki ham logon ne jhak naheen maare hain 'film industry' mein (YK laughs), ham log bol ke gaana 'hit' karwaake dikhaate hain. itna to unke andar 'capacity' thi.

YK: achchha yeh bataaiye ki kya aapne sangeet ki koi baaqaayda taaleem lee thi kyonki aap bataa raheen theen ki aap Tehran mein theen?

SH: haan, wahaan to aise hi mazaak mazaak se gaati thi, Bombay aane ke baad Jagannath Prasad guruji aur Laxman Prasad guruji aur Nirmala ji, jo Govinda ji ki 'mother', jo 'top singer' theen, aise 'top' logon se hamaari 'training' huyi hai aur 'apart from that live recording' mein kaise gaana hai, wo to Shankar Jaikishan ke 'music room' mein maine 'training' liya, kyonki wahaan pe naye naye geet jo 'compose' karte the wo mujhe gaane ke liye kehte the 'so that I become familiar, you know'. sab naye naye geet kaise gaana hai, usko 'expression' kaise dena hai.

YK: to Shankar Jaikishan ka jo 'creative process' hai, kis tarah se wo kaam karte the aur kis tarah se ek poora gaana 'complete' karte the?

SH: iske liye to ek kitaab hi likh sakte the, kyonki mera to 'last' ke kuchh din unke saath uThna baiThna raha aur 'I used to go to the studio 2-3 times a week', jab wo shaam ko 'sitting' karte the, shaam 4 se 8 baje to woh 'floor sitting' karte the aur 'everyday' kuchh na kuchh 'composing' ka kaam chalta tha. Shailendra ji aur Hasrat ji, dono baiThe rehte the, kuchh na kuchh mukhDaa, Shankar ji 'tune' bajaate the, aur woh mukhDaa keh dete the to usko biThaa dete the. is tarah se 'composing' ka kaam chalta tha.

YK: koi ghaTanaa yaa koi gaanaa aapko yaad aa raha hai jo bahut dilchasp tareeke se banaa tha?SH: "yeh munh aur masoor ki daal"

YK: waah!SH: aise hi kisi ne baat karte karte kahaa ki "yeh munh aur masoor ki daal". Shankar saahab ne bolaa ki isko rakho mere liye kisi gaane mein (YK laughs). aur 'immediately' woh gaana aise ban gaya.

YK: aur bahut mashahoor huya hai yeh gaana. aap gungunaayengi hamaare liye yeh gaana?

SH: (sings) "yeh munh aur masoor ki daal, waah re waah mere baanke laal".------------

Song: yeh munh aur masoor ki daal (Around The World)------------ --------- --------- --------- YK: aaj jab aap apne gaane sunti hain to kaisa mehsoos hota hai?

SH: 'well', bahut se gaane to mujhe 'impress' hi naheen karte hain, kabhi kabhi kuchh kuchh gaane achchhe bhi lagte hain.

YK: achchha aapka sabse zyaada pasandida gaana kaun sa hai aapki nazar mein aapka Khud ka?SH: Khud ka, I think, "chale jaanaa zaraa Thehro"

YK: kya baat hai!

SH: because this is a unique song, is tarah kaa gaana phir naheen banaa hai.

YK: is gaane ki 'recording' se bhi juDee koi baat?

SH: yeh bhi mera teesra yaa chauthaa gaana tha, Mukesh ji ke saath 'second duet', kyonki "duniya ki sair kar lo" ho chukaa tha. Mukesh saahab aake mazaak kar rahe hain 'to make the atmosphere lively'. sab se mazaak karenge, 'main to besuraa hoon' aisa bolte hain kabhi kabhi (both YK & SH laughs). aur Mukesh ji ke saath jo doosra 'duet' hai "woh pari kahaan se laayoon", usmein aisa tha ki teen 'microphones' the, kaafi saari laDkiyaan theen aur main, Suman ji aur Mukesh ji. woh andar aaye to bhaagne lage ki itni saari laDkiyon ke beech mein main naheen gaa saktaa (YK laughs).

YK: waah waah, bahut achchha! yeh waala gaanaa aap gungunaayengi?

SH: (sings) "woh pari kahaan se laayoon, teri dulhan jise banaayun".

Song: woh pari kahaan se laayoon (Pehchaan)------------ ---------

--------- --------- ----END OF EPISODE-1----------- --------------

Association of Rafi, Sharda and Shankar Jaikishan

Sharda ji with Mohd. Rafi at a occasion

Rafi had sung many duets with all the leading female singers in the country during the 40s, 50s, 60s and 70s. He had sung around 440 duets with Lata Mangeshkar, who dominated bollywood music during the 50s, 60s and 70s. He sang duet songs with Shamshad Begum, Mubarak Begum, Geeta Dutt, Asha Bhosle, Suman Kalyanpur and others. During that period he sang many duets with Sharda as well, mainly in films composed by Shankar Jaikishan. Sharda won a number of filmfare awards for best singer for her performance in mainly the films of Shankar Jaikishan. Sharda is still alive and also has received the Rafi Memorial Award in 2007, from the Rafi Lovers Circle, Calcutta.

Most of those songs sung by Rafi and Sharda during the 60s and 70s did good business along with the success of the films. In Seema the song “jab yeh dil udaas hota hai” became super hit. The duet song of Rafi and Sharda was appreciated by the viewers. In the film Gumnaam, the song “jaane chaman shola badan, pehelu me ajao”, became superhit. Rafi’s seductive andaz for Manoj Kumar thrilled the audience along with Sharda’s voice for Nanda.

Sharda had a different type of voice in comparison to other singers, so her combination with Rafi was very unique. Besides in Gumnaam, SJ gave different types of songs including “hum kale hai to” based on comedy andaz, “jaan pehchaan ho” based on rock and roll, “gumnaam hai koi” based on spooky flavor, etc. In that list “jaane chaman shola badan” appealed before the audience the most as it portrayed the romance between Manoj Kumar and Nanda in an uncertain atmosphere.

Shanker-Jaikishan gave the song “sun sun sun re balam, dil tujhko pukare” in the film Pyar Muhabbat. The main song was sung was by Sharda, while Rafi finished it with the last line. The song was picturised on Dev Anand and Saira Banu, with one singing the song for the other over telephone. It created a very romantic andaz which was enjoyed by the viewers. Shankar Jaikishan during the mid-60s composed music in films based on stories related to foreign countries. Pyar Muhobbat was also shot abroad, just like An Evening in Paris and Love in Tokyo. Sharda’s seductive andaz in “sun sun sun re balam” was matched in style by Rafi with just one line which provided the reply. There was a song in the film Shatranj, titled “bakamma bakamma” sung by Rafi and Sharda, having comedy andaz. Although the film did average business, the song did well.

Some of the other duets of Rafi and Sharda included “aap ki ray mere bare me” in the film Elaan, “aya kaisa zamana o baba” in the film Ramoo Ustad, “pyar ka kar uran khatola” in Tumse Accha Kaun Hai, etc. Shammi Kapoor and Babita gave the lips in the song “pyar ka kar uran khatola” and the westernized flavor of orchestration of SJ bolstered the unique composition. The song “jigar ka dard barta ja raha hai” in the film 'Street Singer' had also innovative dimension. This film with music by Suraj (Shanker of Shanker-Jaikishen gave music for this film in pseudoname-Suraj) has more important and soulful songs of Rafi Sahab.

Besides Sharda sang many hit duets with Mukesh as well including “chale jana zarah thehero” in the film Around The World, picturised on Raj Kapoor and Rajashree, “duniya ki sair kar lo”, etc., as Mukesh sang many songs composed by Shankar Jaikishan.Probably Rafi’s capability to adjust himself with any female singer including Lata, Geeta Dutt, Sharda, Asha Bhosle, Shamshad Begum, etc., showed the level of adaptability and effortlessness of the giant singer. Shankar Jaikishan always banked their resources on Rafi and for those reasons even the duets composed for Rafi and Sharda were melodious and evergreen. The songs should be preserved.

Souvik Chatterji, the author of this article with his son Master Sathvik

Few rare photos of Sharda ji

Vijayi Vishwa Tiranga Pyaara, Jhanda Ooncha Rahe Hamaara

Vijayi Vishwa Tiranga Pyaara, Jhanda Ooncha Rahe Hamaara