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Celebrating an undercelebrated genius on World Music Day

I had the unique opportunity of celebrating today’s World Music Day today by presenting a short selection (due to the constraints of time on the most enjoyable – at least for me- series of programs with the gracious and amazing anchor, Kiran Misra ji) of compositions by the undercelebrated composer of our times, Jaidev Verma, known mononymously by his first name simply as Jaidev.

Many composers established their identities through the uniqueness of their compositions alone. They may not have composed music for a very large number of films & many of their films might not have succeeded at the box office.


Jaidev had in his career extending over three decades, composed music for about forty films. The number of film songs to his credit may not be more than three hundred & fifty.

But Jaidev is a name imprinted on the hearts of lovers of vintage Hindi film songs as the genius who gave such fabulous numbers as ‘Kabhi Khud Pe Kabhi Haalaat Pe’, ‘Allah Tero Naam’ & ‘Abhi Na Jao Chhod Kar’. ‘Kabhi Khud Pe Kabhi Haalaat Pe’ is among the best ghazal numbers sung by Rafisaab. There are many who rate the Raag Gara number sung by Latadidi for Jaidev ‘Allah Tero Naam’ as the best prayer song to have emerged from Indian films.


It is possible that an average listener may identify Jaidev as the only music composer from Hindi films to have won the National award thrice but the regrettable fact is that this composer of incomparable songs, winner of many state awards & winner of ‘Sur Singar Samsad’ award for Lifetime Achievement in Music remains relatively unknown to the common man & even to those who love his music.


It was Jaidev who introduced ghazal singer Hariharan to film music in the film Gaman with the song ‘Ajeeb Saaneha’. This is not merely one of Hariharan’s best songs it has become one of the finest ghazals in Hindi film music. It won the U.P. state award & a nomination for National award for Hariharan.

In the film Kinare Kinare, Jaidev brought together three leading singers Rafisaab, Talat Mehmood, Manna Dey to sing a song to be picturised on one character played by Dev Anand. It was something nobody had tried till then.

Jaidev gave Yesudas some of his best Hindi songs that suited the unique pathos that Yesudas carried in his singing style. He even made him sing for Amitabh Bachchan in Aalaap. ‘Zindagi Ko Sawarna Hoga’ & ‘Chand Akela’ with a light classical touch & the lullaby ‘Koi Gata Main So Jata’ in this film, were Yesudas’ very memorable Hindi film songs. Another fine ghazal singer Bhupinder shot to fame with a fabulous Jaidev song from his film Gharonda. Who can forget the depth of feeling that the song ‘Ek Akela Is Shahar Mein’ carried with such conviction? Jaidev’s Gaman also saw the introduction of another important singer, Suresh Wadkar to the world of Hindi films with the classical based ‘Seene Mein Jalan’.

Jaidev Verma began as a child actor, then continued as a singer, blossomed as a good player of Sarod & finally emerged as a composer in a life that meandered through paths not many ventured, in an entirely lonely journey.

Hailing from Punjab, Jaidev was born in Nairobi, Kenya. His father was an employee in the Railways in Kenya. Jaidev showed great interest in music from a very young age. He played his mouth organ with admirable skill. His parents were more interested in ensuring his formal education. The Kenya of those days had limited facilities for education. Therefore, Jaidev was sent to India for schooling. He traveled alone by ship on a month long journey to India playing his mouth organ all the time. His lonely musical journey had started.
After spending a few years in his paternal home in Lahore, Jaidev shifted to his maternal uncle’s home in Ludhiana. His maternal uncle looked after him well. Seeing the boy’s interest in music he sent him to regular classical music classes. Jaidev got to hear & learn from many great exponents of classical & light music at Ludhiana’s famous Harvallabh Mela.

At the age of 14 Jaidev saw a movie for the first time. The film was Alibaba Aur Chalis Chor. That experience fascinated him and he started seeing many films. A great urge to become an actor possessed him. He then ran away from home to Bombay to act in films. But it was not easy for the young boy to find an opportunity to act. It was a time when the film industry had just started to sprout.

Opportunities were few & far in between. Jaidev did not have any money with him. He started living off the streets of Bombay . Luckily, his father who had just come to India searched for & found him in Bombay. He took him back to Punjab & had him admitted to a proper school.

The love of music kept haunting him. He got a few opportunities of singing in local Radio stations. But, even as these chances came by him, he was struck by a severe bout of Asthma. With that, his dreams of making it as a singer got deflated. Now the desire to act came back to haunt him once more. He ran away yet againto the city of dreams, Bombay & joined Wadia Movietone as a stunt actor.

Imagine the wisp of a teen-aged boy afflicted by asthma as a stunt-man! He did act in a few movies with the legendary “Fearless” Nadia. He played the role of Narada in the film Vaman Avatar. He spent a few years in Bombay doing bit roles in films for a living. Dire penury & asthma drove him back to Ludhiana.


He returned to Bombay at the age of 19 but this time he sought opportunities in music. Realizing that he lacked knowledge in saleable skills in music, he joined & quickly learnt the mores of Hindustani classical music from Jawarkar Brothers of Kirana Gharana. Later he went to Almora in Uttar Pradesh to join an organisation called Sangeet Kendra being run by Pandit Uday Shankar & Ustad Akbar Ali Khan. Trust Jaidev’s luck, the Sangeet Kendra closed within a few days of his arrival! He packed his bags & went to Lucknow with Ustad Akbar Ali Khan to learn playing the Sarod. To Ustad Akbar Ali Khan’s wonder, his young disciple was able to master the difficult instrument Sarod within a year.

Lack of opportunities for his creative ambitions, penury & asthma combined to push him to abandon music. He was assailed by depressing thoughts & immersed himself in religion & started frequenting the cottages of sages who offered ‘salvation’ from all problems. But this phase did not last. Realizing that all these people offering instant salvations were frauds, he went back to Ludhiana & spent his days in depressed silence. Jaidev had casually sent an invitation to Ustad Akbar Ali Khan to attend his elder brother’s wedding. But the Ustad unexpectedly turned up for the wedding. On seeing Jaidev’s state of depression, he took him back to Lucknow.


That was how Jaidev came to perform as a Sarod artiste accompanying Ustad Akbar Ali Khan on his concerts. He shifted his residence first to Jodhpur & then to Bombay. In Bombay he became the accredited music artiste of All India Radio & started singing & playing Sarod for All India Radio. Later, he became an assistant to composer Khemchand Prakash who was at the height of his fame with the success of his films like Tansen & Mahal. Khemchand Prakash was the composer of the super-hit song ‘Aayega Aanewala’ in Mahal which was Latadidi’s first super-hit song.


This was the time when Jaidev met & got introduced to young composers like Roshan (Grand father of Hrithik Roshan) & Madan Mohan. This is a great example of the saying ‘genius finds genius’. Roshan invited Jaidev to sing in his very first film. Once, when Roshan & Jaidev were going together to a film company, they saw Madan Mohan. Roshan was reported to have told Jaidev, “I am going to introduce you to a brilliant young composer”. On introduction, Madan Mohan & Jaidev needed no time at all to become the best of friends. Roshan, Madan Mohan & Jaidev had many similarities. They were rare music geniuses. They were unfailingly great human beings too. Their unquenchable thirst ran to music, languages & literature . None of them were given the prominence that they richly deserved but they lived their entire lives as friends & supporters of one other.

Theirs was a rare friendship.


In 1951-52, Ustad Akbar Ali Khan became a film music composer himself (albeit for a very brief period) by scoring music for Navketan films Aandhian & Humsafar. He asked Jaidev to be his assistant for the films but neither the films nor the music met commercial success. With that Ustad Akbar Ali Khan packed his bags & left film music forever but Jaidev was retained by Navketan films as an assistant music director on a monthly salary.


Navketan invited SDB to compose music for their next film Taxi Driver. Burmanda recognized not only Jaidev’s music arrangement but also his enviable command over Hindi & Urdu. Jaidev continued as Burmanda’s assistant for many of his films for a number of years, and continued to help Burmanda even after starting to take on independent projects.

In 1955, Jaidev scored music for his first film. It was a small budget film Joru ka Bhai in which Dev Anand’s brother Vijay Anand was the male lead. The song ‘Subah ka Intezaar Kaun Kare’ in this film is considered a classic today but the film was a big flop. Then came other small budget films like Samundari Daku which had good songs but failed at the box office.


Jaidev earned a reputation of a composer who did not compromise on the quality of songs to earn instant applause. His songs always maintained a high standard . It may be said that the extraordinary attention to details that he brought to arranging & recording intricate compositions kept him away from achieving mass popularity. Many producers considered him a great composer but they thought him fit only for smuUall budget films. Such are the contradictions & ironies of Bollywood!


Navketan finally gave him a big banner film Hum Dono starring the then super star Dev Anand (forced by an illness of Burmanda) All the six songs of the film turned out to be huge hits. The film also went on to become a super hit. Even the light-hearted celebratory number ‘Main Zindagi Ka Sath Nibhata Chala Gaya’ had well-chiseled music arrangement. I have not heard another film song that has used the rare German music instrument Glockenspiel with such extra-ordinary effect. Hum Dono was, undoubtedly the greatest success in Jaidev’s film music career. But that this alone was the highest point of his career is also the saddest part. After drawing a blank in the 50s, Jaidev finally hit a pot of gold with this film for Navketan. A big commercial success, its music is everlasting & one can see the range of Jaidev.


Bollywood has its own inviolable rules. It needs people who can achieve mass popularity in the shortest possible time by the shortest possible route. Its impatience with geniuses is well known. Geniuses like Madan Mohan, Roshan, Vasant Desai & Jaidev failed in this race. They did not have the talent (nor the desire nor- most importantly- the need) to market themselves. True geniuses who blazed their own path overcoming all barriers in our film industry are very few.


Sunil Dutt was a huge Jaidev fan. When he made his dream Reshma Aur Shera into a film he chose Jaidev as its composer, having worked with him earlier on the highly successful Mujhe Jeene Do. But Jaidev’s beautiful songs which brought out the sweetness of Rajasthani folk music sadly sank with the film. Jaidev had the magical touch that could so beautifully blend the Hindustani classical with India’s rich folk music. Reshma Aur Shera won him his first National Award. He went on to win two more National awards for the films Gaman & Ankahee. But none of these won him the commercial success that would have helped heal his wounds.


Commercial success in large dollops always eluded him. But his films like Aalaap, Kinare Kinare, Gaman & Gharonda are remembered even today because of his songs crafted with intricate notes of music which stand out without having to shout about it from the rooftops. Jaidev was able to create classic gems in these films in the company of relatively unknown voices. Jaidev waited patiently for thirty years, for the attention of & recognition from big producers & the general public but he was sadly mercilessly ignored and never given due recognition.


In the cold December of 1986, when Jaidev ascended the stage to receive the award for Lifetime Achievement bestowed by Sur Singar Samsad, he appeared very dispirited & disenchanted by life, it was no surprise that but few months later he passed away, while just 68.


He lived in a simple (too simple, even shabby) one room rented house & drank water from a mud pot & all his life slept on the floor. When he died the only asset he could truly call his own was his harmonium.

Jaidev is a name that is synonymous with brilliant musical scores, yet the world seems to have forgotten this genius. Unduly underrated & purposely forgotten by his peers & the film world alike, his music stands apart from the general sound (noise) & feel of the cacophony of Bollywood. Each of his scores & compositions show the care & grace he put into these melodies. There is not one soundtrack that fits a mould, his compositions were unique, distinct & rhythmically harmonious. He stood strong from a creative perspective but this skillful composer still remained in the shadows of the bigwigs. May be it was his humane persona and helpful nature that allowed these situations but it was never a fault or shortcoming of his music. He left this world heartbroken but gave us gems that embellish our emotional sphere and enriched our lives. His greatest USP was he never “borrowed” a single composition from anyone

Here’s an interesting story about the early days of Jaidev.

On January 26, 1952, Hanwant Singh, the 28-year-old Maharaja of the erstwhile princely state of Jodhpur & his wife, Vidya Rani, got into his Beechcraft Bonanza, a light six-seater plane, for a celebratory ride. The Maharaja, an avid flyer, had been campaigning assiduously for weeks ahead of independent India’s first democratic election, & he believed he was headed for a landslide win. However, the joyride turned into a tragedy as the plane crashed, killing its occupants.

At the time of his death, the Maharaja had apparently been working on plans to open a college of the arts in Jodhpur. Working closely with the Maharaja on this project was Ali Akbar Khan, the sarod maestro who had been appointed Court musician a few years before independence. With the sudden death of his benefactor, Ali Akbar Khan moved to Bombay. Accompanying him was one of his disciples who had learnt Sarod skills, a young man named Jaidev Verma.

Jaidev 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 life was also unconventional as there was something of a maverick about him in his life & his music. It was complex, generally based on classical Raags & often had difficult literary lyrics. His compositions were also a tad too complicated for the ordinary singer


He was the only music director to have won the National Award for Best Music Direction thrice for Reshma Aur Shera , Gaman & Ankahee .

In the late 1970s, Jaidev gave training in Hindustani vocal music to, among others, Anuradha Paudwal, Hariharan, Suresh Wadkar & Kavitha Krishnamurti. AIR featured a daily program based on the Ram Charit Manas, where Jaidev expertly composed the divine musical score & the vocal rendition was by the aforementioned singers.


By the mid-80s our music had already become more noise & less melody. In that milieu Jaidev got Pandit Bhimsen Joshi to sing a traditional bhajan in Ankahee. If you hear the score of Ankahee, you will definitely agree he deserved this National Award for the movie’s music.


Jaidev’s Bollywood career lasted over three decades for some 40 odd films. Besides films, he also 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. He composed several ghazals for Peenaz Masani, Chandan Das & Hariharan in the nascent/ very initial stages of their career. His last recording was for Firaq Gorakhpuri’s ghazals. He passed away soon after, on 6 January 1987. But a few days before his demise he had received the Sur Singar Samsad Award for his music in Ankahi , & prior to that, the Lata Mangeshkar Award for his contribution to the world of music by the Government of Madhya Pradesh. The cheque that accompanied this award was apparently the largest he had received and as the story goes, was never encashed by him.


Jaidev was a true karmayogi. He produced a class of music that is difficult to match irrespective of the stature of banners, actors or artists, without bothering about the success or failure of the films.

I chose to open the presentation with the amazing song from Hum Dono, the first big break that Jaidev got with Navketan (albeit by an illness that struck Sachindev Burmanda low, for SDB was Navketan’s constant – and near exclusive – composer in the 50s). Sahir Ludhianvi’s amazing lyrics, rendered with a carefree cavalier attitude by the great Rafisaab and picturised in similar vein on screen with Dev Anand (one of the two roles he plays in the movie) being dressed up by his batman for the rigours of the day. The film, based around WWII times, has this amazing storyline that is crafted into a timeless classic with great performances by Dev Anand, Sadhana and Nanda and the two mothers, Leela Chitnis, and Lalita Pawar. Based on a story and script written by Vijay Anand (and although the credits list Amar Jeet as the director, Dev Anand claimed it was Vijay Anand who directed the movie as well). Sahir Ludhianvi wrote an amazing piece of poetry which forms the basis for this timeless classic, although Jaidev sahab only used three shers of the ghazal. Composed in the melodious raag Khamaj, it remains as fresh as it was when the movie released more than 60 years ago, a treat to the ears, mind, mood and soul.

The next song was Jab gham-e-ishq satata hai from Kinaare Kinaare . I love the musical score from an otherwise inconsequential movie. The movie has Dev Anand and Meena Kumari as the lead pair, with Meenaji getting one of her rare non-tragic roles, and Chetan Anand, Devsaab’s oldest brother who wasn’t satisfied donning the Directorial Hat, assigned a pivotal role for himself (a mistake , in my honest opinion. He shows that mere good looks aren’t enough for effectively emoting in Bollywood, something many wooden statues proved repeatedly in subsequent decades). Nyaya Sharma was the producer, story writer and dialogue writer and was an exponent of Urdu Shayari wrote all the songs for his home production. The story, together with its own punctuating dialogue & profound lyrics set to brilliant compositions by Jaidev could have been converted into any form of mainstream gripping (social, romance, crime, period) script by a professional writer but the lackadaisical manner in which director Chetan Anand developed it turned out to be a lame duck. It has 12 songs of the highest quality, rated by a number of music critics as being brilliant. Apart from this wonderful soul searching song by Mukesh, Manna Dey has sung the title song Chale jaa rahein hain… Kinaare Kinaare.. brilliantly and Talat Mahmood sang the wonderful Dekh Li Teri Khudaai…

Sunil Dutt was a huge fan of Jaidev’s craft and skills. The two collaborated on two hugely successful projects, Mujhe Jeene Do (Ajanta Arts’ second hugely successful production after the much acclaimed Ye Raaste Hain Pyaar Ke), and Reshma Aur Shera. Reshma Aur Shera won the 1st (of three) National Awards for Music Direction for Jaidev sahab, a unique feat that was not matched in his lifetime. Tu Chanda Main Chandni from the film  had lyrics by Balkavi Bairagi. The film, produced & directed by Sunil Dutt, had Sunil Dutt & Waheeda Rehman in lead roles (a repeat of Mujhe Jeene Do).
The setting of the film is in Rajasthan & Jaidev has composed this song in Raag Mand, the raag reminds me of the sand dunes of Rajasthan- the popular folk song Kesariya Balam has been traditionally sung in this raag. His brilliance is further manifested in his choice of instruments. He has chosen santoor, sarangi & flute & the fusion of the three is absolutely mesmerizing, in complete sync with the setting of a quiet desert night, the backdrop of the brilliant picturisation. The Cinematographer Ramachandra also picked up a National Award for his efforts as did Waheeda Rehman, for her role. Unlike a typical film song, the lyrics are in lines of irregular length and are without a rhyming pattern, but have a lyrical fluency despite this oddity. One wonders how incredibly difficult it would have been for the lyricist to conform to the tune & for the composer to place the words, unusual for film songs, in matras of the taal. There is a huge challenge for a singer to sing in a flow, lines with asymmetrical length & Latadidi shows why she who she is with an awe inspiring unwavering command over the voice without the suggestion of a single false note. There are lines where all the instruments have gone silent & Lata Mangeshkar’s voice comes across as if it is echoing in a soundless, eerily silent desert. The last line in each stanza has been sung three times, each time with a different style, and with a brief instrumental interlude in between. This is the combined brilliance of Balkavi Bairagi, the lyricist & Jaidev. Since Balkavi Bairagi was a poet, not just a made-to-order wordsmith like a typical Bollywood lyricist, the song has all the essential elements of poetry. The diction is suitable for the characters & the setting. The use of metaphors like chandrakiran, chakor, & the imagery – like a life devoid of love likened to a gaon without a sarovar, & thandi chhaon – are absolutely brilliant, a touch of genius.


So, here is a song where every single element, each component, each individual has contributed in making this a brilliant and unforgettable piece of music.


Sadly, Reshma Aur Shera did not do well at the box office. I wonder why, the music was sublime enough but perhaps Waheeda looks a tad old for the role. The youthfulness and seductive charm that she oozes in Mujhe Jeene Do had undoubtedly abated. However its music, particularly this song lives on. Tu Chanda Main Chandni is undoubtedly one of the best songs composed by Jaidev & one of the best sung by Lata Mangeshkar.

Jaidev won his first National Award for the Best Music Director for Reshma Aur Shera. Commercial failure apart, the film was uniformly well received by the critics internationally & was actually nominated for the Golden Bear at the 22nd Berlin International Film Festival. It was also selected as the Indian entry for the Best Foreign Language Film at the 44th Academy Awards but was not accepted as a nominee in the final list. Another amazing song is Ek meethi si chubhan, ek thandi si aggan… again by Latadidi and picturised on the backdrop of latticed sandstone panels and havelis

Raat bhi hai kuchh bheegi bheegi, a song that always gives me an uncontrollable bout of goosebumps despite hearing it maybe a hundred times was my next choice. The movie Mujhe Jeene Do, was Sunil Dutt’s production company’s second project after the very well received Ye Raaste Hain Pyaar Ke, based on the Nanavati case, the first of the many movies made on the same theme (all the way upto the recent Akshay Kumar starrer Rustom)
The lead pair, Waheeda Rehman, Sunil Dutt weave magic in the movie. The humanisation of the dacoits was the biggest feature of the movie. It was shot in a studio in Mumbai as well as on location in the Chambal Ravines, under heavy police protection, given the severity of the dacoits’ presence in the area at the time.

The song, with sublime lyrics by undoubtedly one of the best in Bollywood, Sahir Ludhianvi, has an amazing composition based on Raag Multani Kafi with Arabian music in the second antara, and the song is indescribably emotive and powerful. The great Lachchu Maharaj choreographed it and his skills in depicting mudras & bhavas were very delicate and skilfully reproduced by Waheeda, no mean danseuse herself (in fact she entered Telugu films as a danseuse and was famously spotted by Guru Dutt). The facial expressions were very eloquent & Lata Mangeshkar sang the song with such sensitivity that she made it easy to convey the right tone & though the dance itself is not difficult, the way it has been filmed was technically complicated and an integral part of what makes this song immortal. What I loved about the song is the fantastic use of close ups on both the faces of Sunil Dutt and Waheeda, he totally consumed with lust and raw passion and she reciprocating and giving enough hints that her mother – Manorama is just a few feet away. They just ignore the large gathering and communicate through their eyes very eloquently with one other. Sunil Dutt’s heavily kohled , heavy lidded eyes, big turban and the twin barrelled gun he carries (and uses in the last part of the song) adds to the macho mystique. Waheeda dances on a large mirror which had been painted black but the mirror naturally reflected everything & so lighting the set was very tricky. The end result however created a very interesting, almost surreal effect. One of my top 5 Jaidev compositions of all time, for sure.

The fifth song for today was “Ye Wohi Geet Hai Jisko Maine….” from a movie directed by B R Ishara , Maan Jaiye.. A very interesting storyline dealing with marital discord and a successful attempt at its resolution by the leading man’s (Rakesh Pandey) friend, Jalal Agha. The heroine’s job was taken up B R Ishara’s muse, Rehana Sultan (later on his wife). Sung wonderfully by Kishore Kumar, the lyrics are by Naqsh Lyallpuri. Amazingly this is only one of three movies for which Jaidev used Kishoreda’s voice (the other two are Joru Ka Bhai and Ek Hans Ka Joda)

It is picturised on an unlikely actor, Jalal Agha, ironically with a nonexistent woman in his arms, as he himself has been traumatised by a broken relationship and vows he will do all he can to patch up similar broken / strained relationships as his life’s mission.

For the sixth song, I chose a haunting song Koi gaata main so jaata from Aalaap. A movie directed and coproduced by Hrishikesh Mukherjee, the song features K J Yesudas’s baritone & crystal clear voice & wonderful lyrics by Harivansh Rai Bachchan in his own delightful Hindi that wonderfully combine to produce a classic and unforgettable melody. Jaidev’s music is a class apart & unique as usual in this composition in the raag Bihaag.

The deep connection with grief comes out so well in this song – with lyrics, music & singing. The grief of someone who followed his own calling, despite the challenges and opposition from his very own family. Often this grief needs compassion & comfort, so wonderfully expressed in these words.. Raag Bihaag soothes the mind & restores peace & harmony and induces sound sleep. Raag Bihaag is very commonly used in Classical & semi classical Indian songs.

This movie had Amitabh Bachchan breaking the mould of an angry young man. The ordinary cinegoers’ crowd did not accept him in this really different role & the movie unfortunately flopped at the box office. Harivanshrai Bachchan was a colossus of Hindi literature who had become a legendary poet as early as the 1930s.

The seventh song was from the film which won Jaidev the Second of his three National Awards for Best Music Direction, Gaman. It is Muzaffar Ali’s directorial debut and poignantly captures the pain of the economic migrant (Farooque Shaikh) from a small village to a megalopolis (Mumbai) and his entrapment there, without any hope of redemption. The score is truly sublime with three outstanding songs, – this one by Suresh Wadkar that best describes the pain of the migrants, Hariharan’s debut in Bollywood- Ajeeb Saneha Mujhpar Guzar Gaya Yaaron… arguably one of the finest ghazals in the history of Bollywood music and Chhaya Ganguly, a Jaidev protege singing the gut wrenching “Aap Ki Yaad Aati Rahi Raatbhar” the song that won her the National Award for best female singer. There are two songs by Hiradevi Mishra as well, that includes a traditional piece “Ras ke bhare tore nain...” Muzaffar Ali tried to portray the steady disintegration of the rural social, cultural & economic structure & its crushing impact on one poor family; the helpless rush of migrants pouring into the city & the exacerbating pressure exerted by migration on its fragile texture. He has selected traditional & modern lyrics to communicate this phenomenon as a living experience on celluloid. The modern ghazals are by Makhdoom Mohiuddin of Hyderabad and Shahryar Of Aligarh.

Jaidev’s rich non film compositions set him apart from his peers. He has set the milestone Bachchan creation Madhushala with Manna Dey singing it and the musical form is arguably as popular and famous as the written one. I just could bring myself to wind up a Jaidev program without including at least one non film composition by the great man.

Jaishankar Prasad’s Tumul Kolahal from the epic Kamayani has been sung beautifully by Asha Bhosle. It was one of his many Non- film compositions. Jaishankar Prasad was a foremost exponent of Chhayavaad and shows a well crafted interplay of human emotions, thoughts and actions by using mythological metaphor. Kamayani is an epic based on a background of mythology. Manu, Shraddha, Ida are the protagonists in this poem. The whole meaning of this composition is that when the mind (manu) that has fainted in the darkness meets faith and the sorrow of the sorrowing mind is lost. The presence of faith in the heavy heart lightens the mind like the cool air of the Malay Mountains when the mind is looking for a chance to rest in the turmoil of daily life. When one is immersed in the pitch black darkness, wandering in the forest of darkness with pain, the faith in one’s heart blooms like a flower & is lit up as if by the rays of the morning sun.


Kamayani, the Hindi epic (Mahakavya) by Jaishankar Prasad is considered to be one of the greatest literary works written in modern times in Hindi literature.

I enjoyed myself in the special program based on a special genius on a special day. Hope you liked it too..

Stay safe, folks and stay healthy and happy.

By abchandorkar

Consultant Interventional Cardiologist, Pune, India

16 replies on “Celebrating an undercelebrated genius on World Music Day”

Great insight about jaidevjis journey.True sense unsung Hero.
Thanks Doc you are improving our musical taste buds & history of music of Hindi cinema

Liked by 1 person

Rare info about Jaidevji . Yes he didn’t get many opportunities in cutthroat Hindi film industry , but when he got , he composed some of the best songs .🙏

Liked by 1 person

Another collection of melodious songs. Though I am not a very big music lover, these songs took me back to my school and college days.
Thankyou

Liked by 1 person

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