Beautiful presentation, marvelous review/analysis of this iconic song very popular during that era. A wonderful amalgamation of poetry music & honey sweet voices, beyond words to praise. I wonder how these great legends conceived such great creations leaving such a legacy for future generations. The other songs of this movie were also sweet melodious and worth listening. Thanks for such a beautiful presentation.
SDB always choose the best singer whom he could grow up as the song deserved. Actually Hemant Kumar was properly utilized by SDB in films like Jal, Manzil, Solva Sal, Baat Ek Raat Ki - a changed Hemant Kumar.
Jatil vishay ki saral lekin anoothi vyakhya ❤ Kaun-sa saaz kisne bajayaa tha-- log in sub mein uljhe rahte hai. Gaane ki aatma tak nahi pahunchate hain.
Bahut bahut Sundar jankari di hai Aap ne Bahut aachhi taeh S.D.Barman Da and Hemant da gaita ji Film JAL ye rat ye Chandni or tum ho kanha... Sir ji film:Jaal me ek git Lata Mangeshkar didi ji ki aawaj me Rokana hai aagar rok le Chand chhupne se pahele chali jaungi dur hai mera Ghar mujhko Duniya ka Dar.....
Pranaam Piyush SharmaJi ,i loved yr introductory remarks on the greatness of all musicians....all category departments ...they indeed were larger than life ,passionate,dedicated to their art,gift be it voice or lyrics or music,we are gratefully indebted to them for the treasure of their work they have left for.
"This great song, specially the Lata part, has "Personification of Nature" at its best in the magical lyrics of Sahir. By the way, Personification of Nature is a figure of speech in English literature.... Thanks
Wonderful take on a wonderful song. While Burmanda always preferred to compose the tune and have the lyrics written thereafter, I don't believe he always had his way at least with Sahir. It is well documented that Sahir had written तदबीर से बिगडी हुई as a ghazal before he turned aghast on hearing how Dada composed it like a club song. As for Sahir, blending elements of nature into the emotion of the song was quite typical. One can see it even in चुप है धरती or चांद मद्धम है, आसमां चुप है. Even his beautiful कश्ती का खामोश सफर है starts off with two lines depicting nature before it branches into a never-before-never-after unfolding of romance in all of three minutes! While तल्खियां has the brilliance of Sahir written all over it, one must say that Hindi cinema brought out so much of his unexplored genius; perhaps even unbeknownst to him! My most memorable take from your presentation will remain your memories of Hemantda, particularly the discovery of the Bengali counterpart of तुम क्या जानो which is among my most loved songs (though the resemblance ends with the mukhda I think - Anna's antara is just brilliant). In fact when you uttered that you asked him if Dada was his favorite composer it crossed my mind immediately that Anna would rank quite high on his list too, regardless of what he thought of Burmanda. There is a recorded conversation between Hemant Kumar and C Ramchandra available on TH-cam, where you can easily make out the love and regard they have for each other. Burmanda was a master no doubt, but Anna was no less of a magician, sadly forgotten by most today...
thanks for your detailed comments. CR is great and will remain so as long as we have ears for music. Your take on Sahir, in the initial few songs Sahir tried his best to use his pre-written poetry for the situation, as in Taqdeer se bigdi hui, but soon Dada realized what Sahir was up to. Sure, in Pyasa, Guru Dutt accepted some poems from his earlier works to be used in film, but otherwise, Dada knew what exactly Dada wanted, and Sahir had to oblige. As for the first time in his life, he was getting name, fame, dame and money. 17 films that he did with Dada changed his fortune and attitude. It burst out and he became relegated to the 2nd level of music directors (no intention to mean they were inferior in any way) like N Dutta and Ravi
True that a large part of the Sahir-SD repertoire looks to be 'first tune, then lyrics' stuff. But Sahir being relegated to second level of composers is not such an easy conclusion to make. His poetry excelled regardless of the composer and he probably chose the 'not-so-commercially" successful composers consciously as they might have afforded him more freedom. We can only hypothesize, the fact remains that the Sahir-SD partnership was brilliant though short lived. We can take solace from the fact that they worked together at least more than Sahir-OP which promised to be just as promising a combination. Heard in one of your other videos on Hemant Kumar that Ravi was a stickler for Shakeel's lyrics. I had no idea that was the case and always believed that Sahir would be his favorite given how much they worked together. One song I missed when quoting Sahir's nature songs was फैली हुई हैं सपनों की बाहें. After much thought, I have concluded it's my favorite all time song and would love to hear your take on it similar to how you spoke about the jaal song. The lyrics, the composition and how Lata has sung it so effortlessly are all divine. As Sahir writes, it's a song that 'दे दे जो दिल को दिल की पनाहें'!
Enjoying your podcasts on music appreciation and anecdotes, which I, at 80, stumbled upon recently. In my 20 s to 50 s I used to sing Hemant, Talat numbers among friends in college and jobs. SD is my favourite. Two things come to my mind. One a Bengali number which someone sang to me on this tune - Nishi raate jage papiya / ei raat jage bhuliya. I never came across this elsewhere. Any clue? Two, Javed, an admirer of Sahir spoke of this song, saying that Sahir spoke of nature, ‘pedo ke saakho’ ‘Lehrero ke hontho’ like he did in this song, when it’s (like you observed) a plain invitation. Else it isn’t poetic. Just, come - let’s make love. You have to resort to nature. Carry on ❤
thank you so much for your kind words. it is a very special song and i firmly believe that Dada Burman dictated the mood of the song in unison with Guru Dutt. I can not recollect this song, will need to search it out. mI am mquite well versed with Bangla songs though
Nishi raate is sung by Bechu Datta I think as far I remember. It was recorded based on the original Hindi song only. At that time many such hit hindi songs were remade resung by Bengali singers in Bengali lyrics. I have many such songs in my collection.
Ye to clear malum ho jata hai song ko sunny aur dekhne se ki lady involve hovrahi hai rather koi bhi lady involve ho gi hi . Geeta Baali Ji ka expressions fantastic vhai . You are correct that it's too difficult for any other artist to present that expressions expressions what Geeta Ji did .
Excellent show sir.On just one song make such an interesting and informative program is unprecedented.Pls confirm Pandey saheb as to my very little knowledge the Lata version is in nat bhairv(not nat bhairvi).Hemant version is in Kaafi thath raag is Bhimplasi or dhani(as they are very similar at least i cant spot them of my little knowledge.)
Both the versions have same Raagas, only the basic note is different. Whereas Hemant Kumar’s version starts with Scale D, the duet with Lata Ji starts with Scale B. The appearance of Raagas in both the songs is the sequence - Nat Bhairavi, Dhaani & Kaafi. Nat Bhairavi in Hindustani Classical is different from that in Carnatic music. The other name of this Raag is Shuddh Rishabh Bhairavi and has been widely used in Hindi film music, commonly as Mishra Bhairavi. It uses only Ga, Dha, Ni all in Komal forms as compared to Bhairavi which has Re Ga Dha Ni all in Komal forms. Nat Bhairav is an entirely different Raag and has only Dha in Komal form with remaining all Shuddh Swaras. Often it gets associated with Chaarukeshi. Dhaani, Kaafi and Bhimpalasi are quite similar. Whereas Kaafi is Sampoorn- Sampoorn with Komal Ga & Ni, Bheempalasi is Audav Sampoorn with no Re & Dha in Aaroh and Dhaani is Audav - Audav i.e. pentatonic with no Re and Dha both in Aaroh & Avaroh. Kaafi, Bheempalasi and Dhaani are similar as they all have Komal Ga & Ni.
Both the versions have same Raagas, only the basic note is different. Whereas Hemant Kumar’s version starts with Scale D, the duet with Lata Ji starts with Scale B. The appearance of Raagas in both the songs is the sequence - Nat Bhairavi, Dhaani & Kaafi. Nat Bhairavi in Hindustani Classical is different from that in Carnatic music. The other name of this Raag is Shuddh Rishabh Bhairavi and has been widely used in Hindi film music, commonly as Mishra Bhairavi. It uses only Ga, Dha, Ni all in Komal forms as compared to Bhairavi which has Re Ga Dha Ni all in Komal forms. Nat Bhairav is an entirely different Raag and has only Dha in Komal form with remaining all Shuddh Swaras. Often it gets associated with Chaarukeshi. Dhaani, Kaafi and Bhimpalasi are quite similar. Whereas Kaafi is Sampoorn- Sampoorn with Komal Ga & Ni, Bheempalasi is Audav Sampoorn with no Re & Dha in Aaroh and Dhaani is Audav - Audav i.e. pentatonic with no Re and Dha both in Aaroh & Avaroh. Kaafi, Bheempalasi and Dhaani are similar as they all have Komal Ga & Ni.
I feel no other singer could give better expressions to this song other than Hemant Da.
so true
Agreed, and Jaane wo kaise as well.
चरणस्पर्श पीयूष अंकल जी।
संगीतकार कल्याण जी आनंद जी और गीतकार इन्दीवर की जोड़ी पर कार्यक्रम बनाईएगा आप।
Bahut ashirwad, zaroor karunga
Beautiful presentation, marvelous review/analysis of this iconic song very popular during that era. A wonderful amalgamation of poetry music & honey sweet voices, beyond words to praise. I wonder how these great legends conceived such great creations leaving such a legacy for future generations. The other songs of this movie were also sweet melodious and worth listening. Thanks for such a beautiful presentation.
thank you Sir. These are treasures that we must value and honor. Otherwise they will be lost. All songs of Jaal were outstanding
SDB always choose the best singer whom he could grow up as the song deserved. Actually Hemant Kumar was properly utilized by SDB in films like Jal, Manzil, Solva Sal, Baat Ek Raat Ki - a changed Hemant Kumar.
very true
Jatil vishay ki saral lekin anoothi vyakhya ❤
Kaun-sa saaz kisne bajayaa tha-- log in sub mein uljhe rahte hai.
Gaane ki aatma tak nahi pahunchate hain.
Sir, your research, knowledge of literature, poetry & 21:21 these songs are too good. Enjoying the songs along with your excellent talk. 🙏
thanks for appreciating, please keep listening and commenting
Bahut bahut Sundar jankari di hai Aap ne Bahut aachhi taeh S.D.Barman Da and Hemant da gaita ji Film JAL ye rat ye Chandni or tum ho kanha... Sir ji film:Jaal me ek git Lata Mangeshkar didi ji ki aawaj me Rokana hai aagar rok le Chand chhupne se pahele chali jaungi dur hai mera Ghar mujhko Duniya ka Dar.....
thank you very much Prabhakar ji. Rokna hai agar was Lata song on Laxmikant Pyarelal's Jaal 1967, lyrics Raja Mehndi Ali Khan
Pranaam Piyush SharmaJi ,i loved yr introductory remarks on the greatness of all
musicians....all category departments ...they indeed were larger than life ,passionate,dedicated to their art,gift be it voice or lyrics or music,we are gratefully indebted to them for the treasure of their work they have left for.
so true. i feel indebted always and enjoy every one's work
I have seen this movie atleast 10 times .
good
yeh rrat yeh chandani also my favourite song very nice song
yes
No doubt it is
Sir,Very knowledgeable and complete description on the raag, specially nat bhairvi which I had no clue.Thanks
thank you very much
Very intricately explained by you sir as per the songs mood and its lyrics. This has brought me too close to the song that was never so. Thanks.
thank you very much. I am glad you could appreciate it
"This great song, specially the Lata part, has "Personification of Nature" at its best in the magical lyrics of Sahir. By the way, Personification of Nature is a figure of speech in English literature.... Thanks
so true, that was Sahir speciality, and it is done beautifully
Wonderful take on a wonderful song. While Burmanda always preferred to compose the tune and have the lyrics written thereafter, I don't believe he always had his way at least with Sahir. It is well documented that Sahir had written तदबीर से बिगडी हुई as a ghazal before he turned aghast on hearing how Dada composed it like a club song.
As for Sahir, blending elements of nature into the emotion of the song was quite typical. One can see it even in चुप है धरती or चांद मद्धम है, आसमां चुप है. Even his beautiful कश्ती का खामोश सफर है starts off with two lines depicting nature before it branches into a never-before-never-after unfolding of romance in all of three minutes! While तल्खियां has the brilliance of Sahir written all over it, one must say that Hindi cinema brought out so much of his unexplored genius; perhaps even unbeknownst to him!
My most memorable take from your presentation will remain your memories of Hemantda, particularly the discovery of the Bengali counterpart of तुम क्या जानो which is among my most loved songs (though the resemblance ends with the mukhda I think - Anna's antara is just brilliant). In fact when you uttered that you asked him if Dada was his favorite composer it crossed my mind immediately that Anna would rank quite high on his list too, regardless of what he thought of Burmanda. There is a recorded conversation between Hemant Kumar and C Ramchandra available on TH-cam, where you can easily make out the love and regard they have for each other. Burmanda was a master no doubt, but Anna was no less of a magician, sadly forgotten by most today...
thanks for your detailed comments. CR is great and will remain so as long as we have ears for music. Your take on Sahir, in the initial few songs Sahir tried his best to use his pre-written poetry for the situation, as in Taqdeer se bigdi hui, but soon Dada realized what Sahir was up to. Sure, in Pyasa, Guru Dutt accepted some poems from his earlier works to be used in film, but otherwise, Dada knew what exactly Dada wanted, and Sahir had to oblige. As for the first time in his life, he was getting name, fame, dame and money. 17 films that he did with Dada changed his fortune and attitude. It burst out and he became relegated to the 2nd level of music directors (no intention to mean they were inferior in any way) like N Dutta and Ravi
True that a large part of the Sahir-SD repertoire looks to be 'first tune, then lyrics' stuff. But Sahir being relegated to second level of composers is not such an easy conclusion to make. His poetry excelled regardless of the composer and he probably chose the 'not-so-commercially" successful composers consciously as they might have afforded him more freedom. We can only hypothesize, the fact remains that the Sahir-SD partnership was brilliant though short lived. We can take solace from the fact that they worked together at least more than Sahir-OP which promised to be just as promising a combination.
Heard in one of your other videos on Hemant Kumar that Ravi was a stickler for Shakeel's lyrics. I had no idea that was the case and always believed that Sahir would be his favorite given how much they worked together.
One song I missed when quoting Sahir's nature songs was फैली हुई हैं सपनों की बाहें. After much thought, I have concluded it's my favorite all time song and would love to hear your take on it similar to how you spoke about the jaal song. The lyrics, the composition and how Lata has sung it so effortlessly are all divine. As Sahir writes, it's a song that 'दे दे जो दिल को दिल की पनाहें'!
@@sachinsamant8246 yes, it is s beautiful song, love it. I have met and spoken to Ravi, his top favorite was Shakeel. Thanks for your comments
Sahi mansik khoorak apke batanese geet me duba deti hai
thank you very much
Enjoying your podcasts on music appreciation and anecdotes, which I, at 80, stumbled upon recently. In my 20 s to 50 s I used to sing Hemant, Talat numbers among friends in college and jobs. SD is my favourite. Two things come to my mind.
One a Bengali number which someone sang to me on this tune - Nishi raate jage papiya / ei raat jage bhuliya. I never came across this elsewhere. Any clue?
Two, Javed, an admirer of Sahir spoke of this song, saying that Sahir spoke of nature, ‘pedo ke saakho’ ‘Lehrero ke hontho’ like he did in this song, when it’s (like you observed) a plain invitation. Else it isn’t poetic. Just, come - let’s make love. You have to resort to nature. Carry on ❤
thank you so much for your kind words. it is a very special song and i firmly believe that Dada Burman dictated the mood of the song in unison with Guru Dutt. I can not recollect this song, will need to search it out. mI am mquite well versed with Bangla songs though
Nishi raate is sung by Bechu Datta I think as far I remember. It was recorded based on the original Hindi song only. At that time many such hit hindi songs were remade resung by Bengali singers in Bengali lyrics. I have many such songs in my collection.
Very poor version song Bechu Datta@@sautrikbhattacharya
Ye to clear malum ho jata hai song ko sunny aur dekhne se ki lady involve hovrahi hai rather koi bhi lady involve ho gi hi . Geeta Baali Ji ka expressions fantastic vhai . You are correct that it's too difficult for any other artist to present that expressions expressions what Geeta Ji did .
yes, it is so evident and wonderful
Sir, can you throw some light on the composition itself. Was Anthony Gonsalves, the arranger for this song?
may be
Same song 43:50 separate recording
th-cam.com/video/iDc5MDavVUM/w-d-xo.htmlsi=DUnV2ePy7v3iNp6E
th-cam.com/video/iDc5MDavVUM/w-d-xo.htmlsi=DUnV2ePy7v3iNp6E
Very nice talk but Burmanda had no knowledge of Urdu words
Bengali language has many Urdu words and then, once a person understands poetry well it becomes easy to know the spirit of the lyrics
Excellent show sir.On just one song make such an interesting and informative program is unprecedented.Pls confirm Pandey saheb as to my very little knowledge the Lata version is in nat bhairv(not nat bhairvi).Hemant version is in Kaafi thath raag is Bhimplasi or dhani(as they are very similar at least i cant spot them of my little knowledge.)
thanks very much. Let me ask Pandey ji
Both the versions have same Raagas, only the basic note is different. Whereas Hemant Kumar’s version starts with Scale D, the duet with Lata Ji starts with Scale B. The appearance of Raagas in both the songs is the sequence - Nat Bhairavi, Dhaani & Kaafi.
Nat Bhairavi in Hindustani Classical is different from that in Carnatic music. The other name of this Raag is Shuddh Rishabh Bhairavi and has been widely used in Hindi film music, commonly as Mishra Bhairavi. It uses only Ga, Dha, Ni all in Komal forms as compared to Bhairavi which has Re Ga Dha Ni all in Komal forms.
Nat Bhairav is an entirely different Raag and has only Dha in Komal form with remaining all Shuddh Swaras. Often it gets associated with Chaarukeshi.
Dhaani, Kaafi and Bhimpalasi are quite similar. Whereas Kaafi is Sampoorn- Sampoorn with Komal Ga & Ni, Bheempalasi is Audav Sampoorn with no Re & Dha in Aaroh and Dhaani is Audav - Audav i.e. pentatonic with no Re and Dha both in Aaroh & Avaroh.
Kaafi, Bheempalasi and Dhaani are similar as they all have Komal Ga & Ni.
Pandey ji reply attached separately
Both the versions have same Raagas, only the basic note is different. Whereas Hemant Kumar’s version starts with Scale D, the duet with Lata Ji starts with Scale B. The appearance of Raagas in both the songs is the sequence - Nat Bhairavi, Dhaani & Kaafi.
Nat Bhairavi in Hindustani Classical is different from that in Carnatic music. The other name of this Raag is Shuddh Rishabh Bhairavi and has been widely used in Hindi film music, commonly as Mishra Bhairavi. It uses only Ga, Dha, Ni all in Komal forms as compared to Bhairavi which has Re Ga Dha Ni all in Komal forms.
Nat Bhairav is an entirely different Raag and has only Dha in Komal form with remaining all Shuddh Swaras. Often it gets associated with Chaarukeshi.
Dhaani, Kaafi and Bhimpalasi are quite similar. Whereas Kaafi is Sampoorn- Sampoorn with Komal Ga & Ni, Bheempalasi is Audav Sampoorn with no Re & Dha in Aaroh and Dhaani is Audav - Audav i.e. pentatonic with no Re and Dha both in Aaroh & Avaroh.
Kaafi, Bheempalasi and Dhaani are similar as they all have Komal Ga & Ni.
Great work pls keep in touch
of all the DEV movies Jaal ( not of Navketan ) had the best music & songs. Background of GOA is enchanting.
yes, I know many who share same view. Thanks for your comment