A signature tune

Composers can be usually identified by their style and signature tunes. An OPN and a Salilda are easy to identify as is a Jaidev composition. I heard this song after a very long time yesterday on the Car FM. I told Aruna it is definitely a Jaidev creation. Jaidev should have put up a precondition as should Pandit Hridaynath Mangeshkar, that their compositions for the female solos are meant to be sung only by very accomplished singers like Lata Mangeshkar and Asha Bhosle. Any lesser singer would fall way short of the expectations of the composer and the resultant musical output would be of far lesser lasting quality than initially expected.

Let’s listen to this song from Tumhare Liye, a movie that cast Sanjeev Kumar with Vidya Sinha as an interesting lead pairing. The movie was directed by Basu Chatterjee but had a surprisingly corny storyline with repetitive rebirths and a spoilsport lady who wants to have the hero for herself (and has been trying this since many births) by attempting to poison the pregnant lady and killing her with the unborn child, thereby making the grieving husband to commit suicide. This merrily goes on through rebirths galore, till Ashok Kumar (a Dr in the current generation who strangely has been a Vaidyaraj in the past incarnation as well) puts an end to the recurrent nonsense of Sanjeev Kumar having to woo Vidya Sinha , marrying her, getting her pregnant and then have her poisoned by the spanner-in-the-works Neelam Mehra, (amazingly she chooses the same mode of murder in every incarnation)only to have the trio die and go through the rigmarole all over again and again and yet again. So Ashok Kumar finally convinces Neelam Mehra of the folly of her act and frustrated, she drinks the poisoned chalice herself and lands up of all the places, in a picture frame on the wall while Sanjeev Kumar and Vidya Sinha, now finally freed of the seemingly endless cycle of rebirth, finally have a baby. Why they opt to at all remember a wannabe murderess (she surely wasn’t a family heirloom worth remembering, was she? Imagine the kid growing up and wanting to know about the lady. What do you tell about her? “She killed your mom and you and I committed suicide in grief….” The kid will rush YOU to the shrink)

Can’t get cornier than that, can it? I am amazed Basu Chatterjee agreed to have anything to do with such priceless tripe. Or that Yashraj Films agreed to distribute it. But the music by Jaidev is just top class, the lyrics by Naqsh Lyallpuri very meaningful too and this composition based on the very melodious raag Shivranjani just too good. Latadidi’s voice just glides through the octaves absolutely effortlessly where others would trip and stumble.

तुम्हें देखती हूँ तो लगता है ऐसे
के जैसे युगों से तुम्हें जानती हूँ
अगर तुम हो सागर ...
अगर तुम हो सागर, मैं प्यासी नदी हूँ
अगर तुम हो सावन, मैं जलती कली हूँ
पिया तुम हो सागर.......

मुझे मेरी नींदें, मेरा चैन दे दो
मुझे मेरी सपनों की इक रैन, दे दो न....
यही बात पहले....
यही बात पहले भी तुमसे कही थी
वही बात फिर आज, दोहरा रही हूँ
पिया तुम हो सागर.....

तुम्हें छूके पल में, बने धूल चन्दन
तुम्हें छूके पल में, बने धूल चन्दन,
तुम्हारी महक से, महकने लगे तन
महकने लगे तन.....
मेरे पास आओ ...
मेरे पास आओ, गले से लगाओ
पिया और तुमसे मैं, क्या चाहती हूँ,

तुम्हें देखती हूँ तो लगता है ऐसे
के जैसे युगों से तुम्हें जानती हूँ
अगर तुम हो सागर ...

मुरलिया समझकर, मुझे तुम उठा लो,
बस इक बार होंठों से अपने, लगा लो न..
इक बार होंठों से अपने, लगा लो न....
कोई सुर तो जागे,
कोई सुर तो जागे, मेरी धड़कनों में
के मैं अपनी सरगम से रूठी हुई हूँ

तुम्हें देखती हूँ तो लगता है ऐसे
के जैसे युगों से तुम्हें जानती हूँ
अगर तुम हो सागर, मैं प्यासी नदी हूँ
अगर तुम हो सावन, मैं जलती कली हूँ 
पिया तुम हो सागर.......

Stay safe, folks, stay healthy and far from everything Chinese…. people, country, products and virus


By abchandorkar

Consultant Interventional Cardiologist, Pune, India

30 replies on “A signature tune”

Great share SIRJI 🙏🏽🙏🏽
Really an eternal song only meant for Lataji only Jaidev excelled as usual!!! He always composed on written lyrics and what more proof than this song👌👌👌👌👌👆🏾

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Absolute classic. Surprisingly I’d never heard. But this sounds like Deja vu. Must be many people have copied this, like the Sagar Kinaare song (which was Nth version).

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In the topsy-turvy world of Indian cinema, it is no surprise that a maestro like Jaidev was dubbed ‘a specialist at commercial flops’ even by those who recognized the value of his contribution to films & popular music. As the maestro himself once candidly said, ” I have scored the music for more than 30 films. Despite the quality & variety of my tunes, which have gained tremendous acclaim through their disc versions, the pictures somehow failed at the box-office.” Melody & musical talent were not enough to succeed in this industry. His soft melodies represent a radical departure from the cacophony that characterises Hindi film music today. He never corrupted his style even though that might have been more marketable & as a result, never got his due. There was something imponderable about the man who not only took his travails & tribulations in his stride but found himself in demand outside the commercial film world. Till the very end he was deeply preoccupied with composing the music for Srikanta, the magnum opus of Saras Chandra Chatterjee, which had been serialized over TV. He had also composed the music for TV serials, such as Ramanand Sagar’s Ramayana. Thankfully, there are sensible & well-meaning listeners who do not associate success with mere commercial success. Jaidev shone with brightness comparable to any. Generally one tries to place a music director in some frame of reference. One commonly followed practice is to view one in tandem with another. Who would one bracket Jaidev with? One could remotely think of Khayyam, but while maintaining artistic merit Khayyam was also lucky to taste commercial success in big banner films in the latter part of his career. Jaidev did continue, like Khayyam, to give quality music much longer, even in the RDB-LP, era but he could not break into the big commercial league. Navketan’s Hum Dono probably remained his only big banner film. One could perhaps mention Mujhe Jeene Do as a blockbuster, for the rest, it was generally small films, some with indifferent commercial success but outstanding music all the same. One could also add the epithet ‘Uncompromising’ to ‘Unremembered’ to describe him. His personal life was also unconventional & there was something of a maverick about him in his life & his music, which was complex, generally based on classical Ragas & often had difficult literary lyrics. This perhaps places him closer to Sajjad Husain (minus the temperamental problem though). Jaidev stayed in a one-room apartment near the Churchgate railway station without a house of his own his entire life & spent almost his entire life as a paying guest. Jaidev came from a well-placed family, a music loving one at that. The son of a high railway official in Africa, he was born in Nairobi in 1918. He & his three brothers & a sister were all encouraged by their parents in their musical inclinations from their childhood. It was his mother who was specially fond of singing songs from the Ramayana, folk ditties & lullabies who nurtured the musical instinct of her children. That was how one of his brothers took to tabla playing, while Jaidev deftly handled the harmonica, to regale his friends & even elderly admirers with melodious Swahili tunes.
On returning to India with his parents in 1927, Jaidev saw a talkie film, Ali Baba for the first time at Lahore in 1932. He continued his academic education at the Arya High School at Ludhiana where he also learnt vocal music from Barkat Rai, a local teacher.
Then came a four-year stay in Bombay, during which Jaidev joined the famous Wadia Movietone to play roles as a boy-actor. His singing skills stood him in good stead, in that they brought hm the role of Narada, the celestial sage & singer, in the film, Vaman Avatar. The film proved a hit. He was then paid a monthly salary of Rs. 30. Firoz Dastur, Hindustani vocalist & teacher, played the title role in the same film. Like Dastur, he also tried to seek tutelage under Sawai Gandharva, Dastur’s eminent guru & a leading light of the Kirana gharana but he could not & instead undertook further training in Hindustani music from the accomplished Jaoker brothers, who were also exponents of the same gharana.
After acting in as many as seven films, Jaidev returned to Ludhiana to continue his professional training in vocal music under the guidance of Sohan Singh, then a veteran representative of the Agra gharana & disciple of the celebrated Faiyaz Khan but he soon realised that he was in for harder times. He therefore sought employment as a music teacher in a local Christian school & got his job because he had a sound knowledge of Hindi & Urdu & a good handwriting!
But the urge to devote himself completely to music grew so compulsive that after his father’s death, Jaidev moved to Almora, to learn music from Ustad Allauddin Khan, the eminent sarod maestro, who was on the staff of Uday Shankar’s India Culture Centre. Uday Shankar admitted the youngster to the institution, telling him that the centre did not have facilities to teach music but only dance.
Before the centre finally closed down in 1944, Jaidev asked for & obtained a letter of introduction from Uday Shankar & then moved to Lucknow to join Ali Akbar Khan, son of Ustad Allauddin Khan & possibly the greatest sarod maestro of our times. Ali Akbar Khan was then on the staff of the Lucknow station of AIR. He showed his kindness & generosity to the harried & struggling newcomer to Lucknow. Besides, teaching him the sarod, he bought him a new instrument & also gave him shelter. Jaidev continued to regard Ali Akbar Khan as his friend, philosopher & guide till long after.
Then came his visit to Jodhpur in response to an invitation from Ali Akbar Khan. The Ustad was then under the patronage of the state’s prince. The stay lasted only three years but it was eventful. To Jaidev, this close association with the maestro was most memorable, in that it helped him to gain a new insight into the finer aspects of creative music. He also popularised his ghazals through his radio programmes.
Jaidev was not without mention on the Grand Stage in his career. When Noorjehan came to Bombay after 35 years for an emotion-laden concert & shook the hall with her Aawaz de kahan hai, the audience waited with bated breath for Latadidi’s reply. The song she chose – Allah tero naam, Ishwar tero naam has ensured that Jaidev’s name is forever etched in history. He is also possibly the only music director to have won the National Awards thrice for Reshma Aur Shera , Gaman & Ankahi.
His fascination for films made him run away at the age of 15 to Bombay to become an actor! After some bit roles in mythological & fantasy films, such as Wadia Movietone’s Fearless Nadia, he realised music was his real calling. He got his first break as an independent music director in 1955. Thus, began a memorable career over three decades for some 30 odd films. Besides films, he composed music for Bachchan’s Madhushala in the voice of Manna Dey which became a big success. He has the credit of giving music to literary poetry of Jaishankar Prasad, Mahadevi Verma & Ramdhari Singh ‘Dinkar’. He also composed ghazals of great Urdu poets like Ghalib & Jigar Moradabadi. His last recording was for Firaq Gorakhpuri’s ghazals. He received Sur Singar Samsad Award for his music in Ankahi (1985) & prior to that, Lata Mangeshkar Award for his contribution to music by the Government of Madhya Pradesh.
There is a gentle, soothing quality about Jaidev’s music – like the feel of cool breeze on the skin.
Undoubtedly, there was nothing that a composer of Jaidev’s talent & genius could not interpret. Few in fact could depict so subtly, so sensitively, the whole range of mood & feeling in a song-mould, however limited its tonal compass. His devotional masterpiece, “Allah tero naam”, always springs to mind in this context. It is based on a charming but tricky raga – Goud Sarang. How masterfully had he harnessed the raga to his purpose!
Jaidev used to say that his composing was guided by the spirit of the chosen song. He drew his inspiration from the vast & varied repertoire of ragas, as also from the immense resources of our equally rich & varied folklore. These are so deftly interwoven into his creations that each of his compositions acquires a refreshingly new glow & there lies the perennial charm of his music.

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अप्रतिम गीत – संगीत.. जयदेवजींचा नेहमी प्रमाणेच स्वतंत्र प्रतिभाविष्कार. लता मंगेशकर केवळ अप्रतीम. नक्श लायलपुरींच्या शब्द स्त्रीच्या भावना फार सुंदर व्यक्त झाल्या आहेत. लताबाईंचा आवाज वेगळ्याच विश्वात घेऊन जातो. खूप सुंदर सांगितीक अनुभव.

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खरे आहे. माझ्या सर्वात आवडत्या गाण्यांपैकी एक आहे.

ऐकताना इतके सहजसुंदर वाटते, नुसते गुणगुणले तरी कळते, की हे शिवधनुष्य आहे, येरागबाळ्याचे काम नोहे


This song like many others is born for Lataji..
An eternal song very very classic of Jaidev!!🙏🏾
What beautiful lyrics!!!!👌👌👌aha haaa💕
Where are such people now🤔
As you said😅where all will stumble and fall
Lataji goes effortlessly smooth 👌🙏🏾🙏🏾

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True, each composer can be identified by their signature tunes. For me OPN composed songs are easier to identify.
Such a beautiful creation this one is… I think it’s based on Raag Shiv Ranjani.

Beautiful lyrics. Thanks for re-sharing it after 2 years. Worth it!

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Abhinandan !! 2 varsh..
Tumcha blog nehmich navinyapurn mahiti denara asato. Hindi aso va Marathi, english kontyahi ganyachi tumhi chaan mahiti deta. Mann prasaan hote.
Mazya aawdatya ganya paiki he gaan.. Dhanyawad .

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