06/01/2024
#اللہ #تیرو #نام #ابھی #نہ #جاو
Remembering Jaidev
On his death anniversary today
6th January 2024
***
Dost Dost Na Raha — Story of Jaidev & Sahir
Many may not know, but Jaidev started of in Bollywood, playing the role of Narad Muni in Wadia Movietones Vaman Avtar. He continued with small and supporting roles in many movies of Wadia Movitone , including the famous Hunterwali in which Nadia was launched as the stunt Queen.His second career option turned out to be as an Asst Director in a flop movie called Thunder. This was in 1938. Back to his hometown Ludhiana after a few years, due to family circumstances, he was often mobbed by college students. Amongst them was a boy named Sahir Ludhianvi.As Sahir’s popularity as a poet grew in Ludhiana, he and Jaidevsaab became good friends who would often go together to the Jagraon Breidge to steal a smoke.This friendship lasted when both of them turned up into the glitzy world of Bombay around the same time to try their luck. It was around this time that Chetan Anand and Dev Anand parted ways over some commercial differences and Chetan Anand started his production house called ‘Maha Shakti Films’ and started a movie called Joru Ka Bhai
Jaidevsaab was chosen as a music director and Sahir as the lyricist. The stage was set for the first song to be recorded. The music was ready , but there was no sign of the lyrics! And then Sahir dropped the bomb!
‘No Lata Mageshkar!’— said Sahir. There was some animosity which had developed between the two and, and Sahir, without realizing that there can be another lyricist, but there cannot be another Lata refused to budge.Jaidev decided to employ another lyricist [Vishvamita Adil] which enraged Sahir to no end resulting in a lot of bad words and blood between the two. However, Sahir relented and was back to writing lyrics for a song which was performed by Lataji and Talatji.Mujhe Jeene Do — Sunil Dutt’s dream project was in the making. Here too Jaidev handled the music and Sahir the lyrics. 4 songs were recorded and Sahir dropped the second bomb!Why should a lyricist go to the Music Directors studio for the rehersals of the songs? If they wanted the lyrics, the MD should come with the musicians to the Lyricists house! He stopped going to Navketan studios where the recordings were taking place.It came to a point that Jaidev was stuck between Sunil Dutt pushing him for the songs to shoot them and Sahir refusing to talk. Duttsaab could not take it and he conveyed to Jaidevsaab to quit! Finally Jaidevsaab managed to convince Sunil Dutt that a dacoit movie can do with folk songs and he set tune to the folk number Nada nare na jao shaym paiyya padoon. Sahir, realising the film was slipping out of his hands, sweet talked his way back into the film.However the damage was done and Jaidev’s career had stalled. “This dear friend took the lead in destroying my career” — Says Jaidev.Concised and reworded by Vishesh Parekh from Jaidev’s autobiography written in Yeh Un Dino ki Baat hai.
Enjoy a classic song by the combination of Jaidev & Sahir.
***
Sounds of silence
Three national awards and numerous evergreen songs were not enough to save composer Jaidev from rejection by the Hindi film industry
BY ANIRUDHA BHATTACHARJEEBALAJI VITTAL
Success, it is said and believed, is a lonely road. Failure lonelier. Underachievement is probably the loneliest of all.
Hindi film songs have been highly imaginative in plumbing the potential of loneliness. Filmmakers and lyricists have been sold to songs of lonesomeness. For Kidar Sharma, it was the musing Kabhi tanhaiyon mein ( Hamari Yaad Aayegi , 1961) for a lost past. Rajinder Krishan’s Phir wohi shaam, wohi gham, wohi tanhai hai ( Jahan Ara , 1964) forever married the evening with loneliness. Majrooh fused tanha into a suspense romance in Kitni akeli kitni tanha si lagi in Talash (1969). Sahir’s Kiska rasta dekhey... barson hain tanhai ( Joshila , 1973) was nothing short of a su***de note of a depressed man. ‘Tanhai’ was also an opportunity for a naughty getaway, as Hasrat Jaipuri showed beautifully in Ye tanhai hai re hai jaane phir aaye na aaye, thaam lo baahen in Tere Ghar ke Saamne (1963). Gulzar’s philosophy of the loner came forth with the lines Apni tanhai ka auron se na shikwa karna in Kinara (1977) in the antara of Jaane kya sochkar nahi guzra .
At the turn of the ’80s, infidelity discarded its garb of decency as a wife watched her husband walking into a party arm-in-arm with his mistress. Can someone answer Kaifi Azmi’s question Koi ye kaise bataye ke who tanha kyon hain ( Arth , 1982)? Into the mid-’90s, skimpy Urmila Matondkar was anything but tanha as the country swooned to her Tanha tanha yahan pe jeena, set to Mehboob’s (not to be confused with Mehboob Khan, the filmmaker) lyrics in Rangeela (1995).
Javed Akhtar went Tanhayee along the Tasman coast in Dil Chahta Hai (2001) showing that IT or no IT, nobody is above loneliness. Much as ‘tanhai’ is part of the storyline, does it reflect the person writing them? Or the person composing the tune? Anyone who has read or heard of composer Jaidev Varma — better known as just Jaidev — would go with the latter.
Jaidev’s life story reads much like the script of a black-and-white film that tells of a melancholic protagonist, either pining for his love or battling terminal illness or poverty. In a field where success is measured by commerce, and only commerce, Jaidev’s creativity found few takers. His life was not one of penury. But one that lacked appreciation from the very people he worked with yes.
•*”Jaidev remained unmarried and did not even have a house of his own. He spent almost his entire life as a paying guest in a small room which was let out to him by a kind admirer, without any obligation. The room had the typical bachelor’s room look with newspapers, magazines, books and cassettes kept untidily below his bed and the mini-fridge. Wedded to music, he never bothered about worldly comforts. His devotion to music was total and impeccable. His life shows that he was a melancholic protagonist, the one who was fully aware of the transient nature of success he achieved in his career.”*
In an interview with Ameen Sayani, the grand old man of radio, Jaidev explained that he didn’t marry in order to have a proper work-life balance. What he carefully avoided was that he was probably unsure of his capability to sustain a family with the transient nature of success he achieved in his career. 'When he died in 1987, at the age og 68, his body was brought straight to the crematorium from the hospital. Like a destitute’s.
Jaidev’s path to the music industry was chequered. He debuted in films as a child actor, an attempt which did not add value to his career. His training in music was continuous though, culminating in a stint under sarod maestro Ali Akbar Khan. Jaidev assisted Khan in Navketan’s third film, Aandhiyaan (1952). He played the sarod and the surmandal (harp), especially for background scores. When director Chetan Anand left Navketan to go solo with Joru Ka Bhai (1955), Jaidev was his choice for composer. However, Chetan’s films, in spite of brilliant music, especially in the inordinately delayed Kinare Kinare (1963), fared miserably. It is not known whether Jaidev’s decision to assist SD Burman went against him, as Hum Dono (1961), the only project he did independently for Navketan, remained his last film with the Anands — both Chetan and Dev. This despite the undying popularity of the songs from the Dev Anand-Nanda-Sadhna starrer — Abhi na jao chhod kar, ke dil abhi bhara nahin is just one example. His partnership with Sunil Dutt and Ajanta Arts, which started off on a positive note with Mujhe Jeene Do (1963), failed to survive the winds of change as Reshma aur Shera (1971) flopped.
Luck, as always, had a decisive and rather cruel part to play in Jaidev’s story. Ved Rahi’s Pyaasi Aurat , renamed Prem Parvat (1973), which had one of the most well-known songs of the ’70s ( Yeh dil aur unki nigahon ke saaye ) sank without a trace. So did Aalingan (1974), which had the radio favourite Pyaas thi phir bhi takaza na kiya , a film where he was forced to take on Pyarelal as an assistant. Even small-time producers and directors stayed away from Jaidev.
Though he came back to prominence with Bhim Sain’s Gharonda (1977) and Muzzaffar Ali’s Gaman (1978), Jaidev’s associations with Hrishikesh Mukherjee ( Alaap , 1977) or Basu Chatterjee ( Tumhare Liye , 1978) did not bring him much success. He never became the preferred composer for any filmmaker, good or bad, even when the misfortune of films hardly had anything to do with the music. He was the only Hindi film composer of his time to receive three national awards. Curious as it may be, the same is the number of his films which were declared a hit, from a list of 40-odd titles.
Today, the songs for which Jaidev is remembered are steeped in loneliness. Be it Ek akela is sheher mein ( Gharonda ), or Seene mein jalan, aankhon mein toofan sa kyon hai or Aap ki yaad aati rahi raat bhar (both from Gaman ). Maybe his life followed the dichotomy expressed by Sahir Ludhianvi in Kabhi khud pe kabhi halaat pe rona aaya ( Hum Dono ). Jaidev lived and died on the fringes of Bollywood, much like his own composition from Kinare Kinare : Chale ja rahe hain, mohabbat ke maare, kinare kinare, chale ja rahe hain .
(Anirudha Bhattacharjee, a Kolkata-based musician, and Balaji Vittal, a Hyderabad-based professional, are authors of R.D. Burman: The Man, The Music. Their second book, Gata Rahe Mera Dil: 50 classic Hindi film songs, is releasing this month)
***’”* When he suddenly breathed his last in 1987, at the age of 67/68, his body was brought straight to the crematorium from the hospital like that of a destitute (there was no one to look after him). With nearly four decades of continuous struggle as a music director, he left the film industry to grieve for the loss of talent it had consistently underrated. He remains an unsung genius even now after 30 years of his death. His ingenious talent was never fully tapped. Looking back at Jaidev’s career, his struggles, his achievements and setbacks, the heart grieves for the mine of talent that remained underutilized.•.”*
Dost Dost Na Raha — Story of Jaidev & Sahir
By: samar kagalwalla
Many may not know, but Jaidev started of in Bollywood, playing the role of Narad Muni in Wadia Movietones Vaman Avtar. He continued with small and supporting roles in many movies of Wadia Movitone , including the famous Hunterwali in which Nadia was launched as the stunt Queen.��His second career option turned out to be as an Asst Director in a flop movie called Thunder. This was in 1938. Back to his hometown Ludhiana after a few years, due to family circumstances, he was often mobbed by college students. Amongst them was a boy named Sahir Ludhianvi.��As Sahir’s popularity as a poet grew in Ludhiana, he and Jaidevsaab became good friends who would often go together to the Jagraon Breidge to steal a smoke.��This friendship lasted when both of them turned up into the glitzy world of Bombay around the same time to try their luck. It was around this time that Chetan Anand and Dev Anand parted ways over some commercial differences and Chetan Anand started his production house called ‘Maha Shakti Films’ and started a movie called Joru Ka Bhai
Jaidevsaab was chosen as a music director and Sahir as the lyricist. The stage was set for the first song to be recorded. The music was ready , but there was no sign of the lyrics! And then Sahir dropped the bomb!
‘No Lata Mageshkar!’— said Sahir. There was some animosity which had developed between the two and, and Sahir, without realizing that there can be another lyricist, but there cannot be another Lata refused to budge.��Jaidev decided to employ another lyricist [Vishvamita Adil] which enraged Sahir to no end resulting in a lot of bad words and blood between the two. However, Sahir relented and was back to writing lyrics for a song which was performed by Lataji and Talatji.��Mujhe Jeene Do — Sunil Dutt’s dream project was in the making. Here too Jaidev handled the music and Sahir the lyrics. 4 songs were recorded and Sahir dropped the second bomb!��Why should a lyricist go to the Music Directors studio for the rehersals of the songs? If they wanted the lyrics, the MD should come with the musicians to the Lyricists house! He stopped going to Navketan studios where the recordings were taking place.��It came to a point that Jaidev was stuck between Sunil Dutt pushing him for the songs to shoot them and Sahir refusing to talk. Duttsaab could not take it and he conveyed to Jaidevsaab to quit! ��Finally Jaidevsaab managed to convince Sunil Dutt that a dacoit movie can do with folk songs and he set tune to the folk number
“Nadi nare na jao shaym paiyya padoon”.
Sahir, realising the film was slipping out of his hands, sweet talked his way back into the film.��However the damage was done and Jaidev’s career had stalled. “This dear friend took the lead in destroying my career” — Says Jaidev.��Concised and reworded by Vishesh Parekh from Jaidev’s autobiography written in Yeh Un Dino ki Baat hai.
Enjoy a classic song by the combination of Jaidev & Sahir
Sahir Lyrics:
——————
ساحر لدھیانوی
ابھی نہ جاؤ چھوڑ کر
کہ دل ابھی بھرا نہیں
ابھی ابھی تو آئے ہو
بہار بن کے چھائے ہو
ہوا ذرا مہک تو لے
نظر ذرا بہک تو لے
یہ شام ڈھل تو لے ذرا
یہ دل سنبھل تو لے ذرا
میں تھوڑی دیر جی تو لوں
نشے کے گھونٹ پی تو لوں
ابھی تو کچھ کہا نہیں
ابھی تو کچھ سُنا نہیں
ستارے جھلملا اُٹھے
چراغ جگمگا اُٹھے
بس اب نہ مجھ کو ٹوکنا
نہ بڑھ کے راہ روکنا
اگر میں رُک گیا ابھی
تو جا نہ پاؤں گا کبھی
یہی کہو گے تم سدا
کہ دل ابھی نہیں بھرا
جو ختم ہو کسی جگہ
یہ ایسا سلسلہ نہیں
ابھی نہیں , ابھی نہیں
نہیں نہیں.. نہیں نہیں
ابھی نہ جاؤ چھوڑ کر
کہ دل ابھی بھرا نہیں
ادھوری آس چھوڑ کے
جو روز یونہی جاؤ گے
تو کس طرح نبھاؤ گے
کہ زندگی کی راہ میں
جواں دلوں کی چاہ میں
کئی مقام آئیں گے
جو ہم کو آزمائیں گے
بُرا نہ مانو بات کا
یہ پیار ہے، گلہ نہیں
ابھی نہ جاؤ چھوڑ کر
کہ دل ابھی بھرا نہیں
یہی کہو گے تم صدا
کہ دل ابھی بھرا نہیں
ہاں دل ابھی بھرا نہیں
نہیں نہیں.. نہیں نہیں
अभी न जाओ छोड़ कर के दिल अभी भरा नहीं
अभी न जाओ छोड़ कर के दिल अभी भरा नहीं
अभी अभी तो आई हो अभी अभी तो
अभी अभी तो आई हो बहार बनके छाई हो
हवा ज़रा महक तो ले नज़र ज़रा बहक तो ले
ये शाम ढल तो ले ज़रा
ये शाम ढल तो ले ज़रा
ये दिल सम्भल तो ले ज़रा
मैं थोड़ी देर जी तो लूँ नशे के घूँट पी तो लूँ
नशे के घूँट पी तो लूँ
अभी तो कुछ कहाँअहीं अभी तो कुछ सुना नहीं
अभी न जाओ छोड़कर के दिल अभी भरा नहीं
सितारे झिलमिला उठे
सितारे झिलमिला उठे
चराग़ जगमगा उठे
बस अब न मुझको टोकना
बस अब न मुझको टोकना न बढ़के राह रोकना
अगर मैं रुक गई अभी तो जा न पाऊँगी कभी
यही कहोगे तुम सदा के दिल अभी नहीं भरा
जो खत्म हो किसी जगह ये ऐसा सिलसिला नहीं
अभी नहीं अभी नहीं
नहीं नहीं नहीं नहीं
अभी न जाओ छोड़कर के दिल अभी भरा नहीं
अधूरी आस अधूरी आस छोड़के अधूरी प्यास छोड़के
जो रोज़ यूँही जाओगी तो किस तरह निभाओगी
कि ज़िंदगी की राह में जवाँ दिलों की चाह में
कई मुक़ाम आएंगे जो हम को आज़माएंगे
बुरा न मानो बात का ये प्यार है गिला नहीं
हाँ यही कहोगे तुम सदा के दिल अभी नहीं भरा
हाँ दिल अभी भरा नहीं
नहीं नहीं नहीं नहीं
**
Abhi na jao chhod kar
Ke dil abhi bhara nahi
Abhi na jao chhod kar
Ke dil abhi bhara nahi
Abhi abhi to aayi ho abhi abhi to
Abhi abhi to aayi ho
Bahaar banke chhaayi ho
Hawa zara mehak to le
Nazar zara behak to le
Yeh shaam dhal to le zara
Yeh shaam dhal to le zara
Yeh dil sambhal to le zara
Main thodi der jee to loon
Nashe ke ghoont p*e to loon
Nashe ke ghoont p*e to loon
Abhi to kuchh kaha nahi
Abhi to kuchh suna nahi
Abhi na jao chhod kar
Ke dil abhi bhara nahi
Sitaare jhilmila uthe
Sitaare jhilmila uthe
Charaag jagmaga uthe
Bas ab na mujhko tokna
Bas ab na mujhko tokna
Na badh ke raah rokna
Agar main ruk gayi abhi
To ja na paaungi kabhi
Yehi kahoge tum sada
Ke dil abhi nahi bhara
Jo khatm ho kisi jagah
Yeh aisa silsila nahi
Abhi nahi abhi nahi
Nahi nahi nahi nahi
Abhi na jao chhod kar
Ke dil abhi bhara nahi
Adhoori aas
Adhoori aas chhod ke
Adhoori pyas chhod ke
Jo roz yoon hi jaogi
To kis tarah nibhaogi
Ke zindagi ki raah mein
Jawan dilon ki chah mein
Kayi makaam aayenge
Jo humko aazmayenge
Bura na maano baat ka
Yeh pyar hai gila nahi
Haan yehi kahoge tum sada
Ke dil abhi bhara nahi
Haan dil abhi bhara nahi
Nahi nahi nahi nahi
(Sahir Ludhianvi)
Song:2
Allah tero Nam: eeshwar tero Nam
By
Sahir Ludhianvi
***
اللہ تیرو نام ، ایشور تیرو نام
فلم : ہم دونوں (1961)
نغمہ نگار: ساحر لدھیانوی
نغمہ : اللہ تیرو نام ، ایشور تیرو نام
گلوکار : لتا منگیشکر
موسیقار : جےدیو
اداکار : دیوآنند، نندہ، سادھنا
یوٹیوب : Allah Tero Naam
اللہ تیرو نام ، ایشور تیرو نام
سب کو سنمتی دے بھگوان
اس دھرتی کا روپ نہ اجڑے
پیار کی ٹھنڈی دھوپ نہ اجڑے
سب کو ملے سکھ کا وردان
مانگوں کا سیندور نہ چھوٹے
ماں بہنوں کی آس نہ ٹوٹے
دیہہ بنا بھٹکے نہ پران
او سارے جگ کے رکھوالے
نربل کو بل دینے والے
بلوانوں کو دے دے گیان
***
अल्लाह तेरो नाम ईश्वर तेरो नाम
अल्लाह तेरो नाम ईश्वर तेरो नाम
सबको सन्मति दे भगवान
सबको सन्मति दे भगवान
अल्लाह तेरो नाम
आ आ आ आ आ आ आ आ आ
माँगों का सिन्दूर ना छूटे
माँगों का
सिन्दूर ना छूटे
माँ बहनो की आस ना टूटे
माँ बहनो की
आस ना टूटे
देह बिना दाता देह बिना
भटके ना प्राण
सबको सन्मति दे भगवान
अल्लाह तेरो नाम
ओ सारे जग के रखवाले
ओ सारे
जग के रखवाले
निर्बल को बल देने वाले
निर्बल को बल
देने वाले
बलवानो को ओ बलवानो को
देदे ज्ञान
सबको सन्मति दे भगवान
अल्लाह तेरो नाम
ईश्वर तेरो नाम
अल्लाह तेरो नाम
ईश्वर तेरो नाम
अल्लाह तेरो नाम
***
Allah tero naam ishwar tero naam�Allah tero naam Ishwar tero naam�Sabko sanmati de bhagwan�Sabko sanmati de bhagwan�Allah tero naam Ishwar tero naam��Is dharti ka roop na ujde�Is dharti ka roop na ujde�Pyar ki thandi dhoop na ujde�Pyar ki thandi dhoop na ujde�Sabko mile daata sabko mile sukh ka vardan�Sabko sanmati de bhagwan�Allah tero naam Ishwar tero naam��Maangon ka sindoor na chuuTe�Maangon ka sindoor na chuuTe�Maan bahano ki aas na tute�Maa behnon ki aas na toote Deh bina data, deh bina bhatke na pran�Sabko sanmati de bhagwan�Allah tero naam��O saare jag ke rakhwale�O saare jag ke rakhwale�Nirbal ko bal dene wale�Nirbal ko bal dene wale�Balwanon ko, balwano ko dede gyan�Sabko sanmati de bhagwan�Allah tero naam Ishwar tero naam�Allah tero naam Ishwar tero naam�Allah tero naam
