egroj world: Shankar Jaikishan & Rais Khan • Raga-Jazz Style

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As many of you may have noticed apart from the Ulozto problem the main Mega account has been suspended, therefore the blog will be temporarily down until we can restructure and normalise the blog. I appreciate all the support you have shown me. Thank you for your understanding.

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Como muchos habrán notado aparte del problema de Ulozto la cuenta principal Mega ha sido suspendida, por consiguiente el blog se verá disminuido temporalmente hasta poder reestructurar y normalizar el blog. Agradezco todas las muestras de apoyo que me han brindado. Gracias por comprender.

Saturday, December 18, 2021

Shankar Jaikishan & Rais Khan • Raga-Jazz Style

Extremely rare 1968 pressing of Ragas performed by a full jazz band...

Shankar Jaikishan, also known as S/J, were a duo of composers in the Hindi film industry who collaborated from 1949–1971. Shankar Singh Raghuvanshi was a native of Rajasthan, while Jaikishan Dayabhai Panchal belonged to Bansda, Gujarat. Shankar Jaikishan, along with other artists, wrote 'everlasting' & 'immortal melodies' in the '50s & '60s. Their best melodies are noted for being raga-based & having both lilt and sonority. Shankar Jaikishan made a major contribution toward the development of jazz music in India and the new genre Indo Jazz. Their 1968 album Raga Jazz Style is the earliest Indo Jazz recording in India and the first to be released in stereo. On this album, considered to be one of the most innovative, S/J created 11 songs based on Indian ragas with sitar by Rais Khan. -From Wikipedia

It would be a travesty to talk about Shankar–Jaikishan and not mention their landmark non-film album Raga Jazz Style (1968). The album was the by-product of a strike by Indian Film Musicians’ Association. With spare time on their hands, Shankar–Jaikishan got together with a number of session musicians— Manohari Singh on saxophone and sitar-player Ustad Rais Khan, prominent among them—to record what was one of the earliest fusion albums. Considering that The Beatles were still experimenting with raga rock and that it was very early days for Indian fusion music (Hariprasad Chaurasia, Shivkumar Sharma and Brij Bhushan Kabra recorded the iconic ‘Call Of The Valley’ in 1967), Shankar–Jaikishan were ahead of their times in conceptualising an album like Raga Jazz Style.

Shankar Jaikishan are probably the most versatile duos that hailed the music of Bollywood during the Golden Age of Indian Cinema, the 40s, 50s and 60s. The golden era of Indian film music can be associated with the musical giants of different capabilities and specialisations.

They had composed music in almost 200 films in a tenure of around 22 years.2 So great was the impact of their creative genius that it had a lasting impact on the music of the Hindi films. Shankar-Jaikishan understood the taste of the masses, were able to cater to them, as well as moulded their tastes. No wonder then that during their tenure as music directors, they were exceedingly popular and 75 per cent of the films for which their scores were everlasting hits – many have celebrated silver jubilees.

The team of Shankar Jaikishan consisted of Shankarsingh Raghuwanshi and Jaikishan Dayabhai Panchal. Shankar (October 15, 1922 – 1987) was born in Punjab and trained under the famous Husnlal Bhagatram. He later settled down in Hyderabad, Andhra Pradesh, India. Jaikishan (1929 – 1971) hails from Panchal, Gujarat, India.

They were honored with the maximum number (nine) of Filmfare awards in the Indian film industry. In 1968, Shankar Jaikishan released an album, “Raga Jazz Style : Shankar Jaikishan with Rais Khan.”

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Extremadamente raro 1968 prensado de Ragas interpretado por una banda de jazz completa....

Shankar Jaikishan, también conocido como S/J, fue un dúo de compositores de la industria cinematográfica hindú que colaboraron entre 1949 y 1971. Shankar Singh Raghuvanshi era nativo de Rajastán, mientras que Jaikishan Dayabhai Panchal pertenecía a Bansda, Gujarat. Shankar Jaikishan, junto con otros artistas, escribió'everlasting' y'immortal melodies' en los años 50 y 60. Sus mejores melodías se caracterizan por ser de base raga y por tener tanto lilt como sonoridad. Shankar Jaikishan hizo una importante contribución al desarrollo de la música de jazz en la India y al nuevo género Indo Jazz. Su álbum Raga Jazz Style de 1968 es la primera grabación de Indo Jazz en la India y la primera en ser lanzada en estéreo. En este álbum, considerado uno de los más innovadores, S/J creó 11 canciones basadas en ragas indias con sitar de Rais Khan. -De Wikipedia

Sería una parodia hablar de Shankar-Jaikishan y no mencionar su histórico álbum de no-film Raga Jazz Style (1968). El álbum fue el resultado de una huelga de la Indian Film Musicians' Association. Con tiempo libre en sus manos, Shankar-Jaikishan se reunió con varios músicos de sesión -Manohari Singh en saxofón y el músico de sitar Ustad Rais Khan, destacado entre ellos- para grabar lo que fue uno de los primeros álbumes de fusión. Teniendo en cuenta que los Beatles seguían experimentando con el raga rock y que era muy temprano para la música de fusión india (Hariprasad Chaurasia, Shivkumar Sharma y Brij Bhushan Kabra grabaron el icónico'Call Of The Valley' en 1967), Shankar-Jaikishan se adelantaron a sus tiempos en la conceptualización de un álbum como Raga Jazz Style.

Shankar Jaikishan son probablemente los dúos más versátiles que aclamaron la música de Bollywood durante la Edad de Oro del Cine Indio, los años 40, 50 y 60. La era dorada de la música cinematográfica india puede asociarse a los gigantes musicales de diferentes capacidades y especialidades.

Habían compuesto música en casi 200 películas en un mandato de unos 22 años.2 Tan grande fue el impacto de su genio creativo que tuvo un impacto duradero en la música de las películas en hindi. Shankar-Jaikishan comprendió el gusto de las masas, fue capaz de atenderlas, así como de moldear sus gustos. No es de extrañar, pues, que durante su mandato como directores de música fueran muy populares y que el 75 por ciento de las películas para las que sus partituras fueron éxitos eternos, muchas de ellas hayan celebrado sus bodas de plata.

El equipo de Shankar Jaikishan estaba formado por Shankarsingh Raghuwanshi y Jaikishan Dayabhai Panchal. Shankar (15 de octubre de 1922 - 1987) nació en Punjab y fue entrenado bajo el famoso Husnlal Bhagatram. Más tarde se estableció en Hyderabad, Andhra Pradesh, India. Jaikishan (1929 - 1971) es originario de Panchal, Gujarat, India.

Fueron honrados con el máximo número (nueve) de premios Filmfare en la industria cinematográfica india. En 1968, Shankar Jaikishan lanzó un álbum, "Raga Jazz Style : Shankar Jaikishan con Rais Khan".

Tracks:
A1 - Raga Todi
A2 - Raga Bhairav
A3 - Raga Malkauns
A4 - Raga Kalavati
A5 - Raga Tilak Kamod
A6 - Raga Miyan Malhar

B1 - Raga Bairagi
B2 - Raga Jaijaiwanti
B3 - Raga Mishra Pilu
B4 - Raga Shivranjani
B5 - Raga Bhairavi

Personnel:
Arranged By – Sebastian D'Souza
Bass – Eddie Travass
Drums – Leslie Godinho
Electric Guitar – Anibal Castro, Dilip Naik
Flute – Suman
Music By – Shankar Jaikishan
Photography By [Front Cover Photo] – Dhiraj Chawda
Piano – Lucilla Pacheco
Saxophone – Manohari Singh
Sitar – Ustad Rais Khan
Tabla – Ramakant
Trumpet – John Pereira

Back cover contains the description of the album, photo of Shankar Raghuvanshi & Jaikishan Panchal and a short description of each composition.

SIDE ONE:

RAGA TODI: This morning melody depicts a serene emotion with a tinge of pathos in it.

RAGA BHAIRAV: This early-morning raga conveys a mood of quiet dignity.

RAGA MALKAUNS: This midnight melody, lively and vivacious in character, is immensely popular in India.

RAGA KALAVATI: This raga, usually expounded towards midnight, conveys a mood of extreme urge.

RAGA TILAK KAMOD: This early-night raga is known for its bright, colourful appeal.

RAGA MIYAN MALHAR: This night melody, conventionally associated with the rainy season, unfolds a serious, profound mood.

SIDE TWO:

RAGA BAIRAGI: This raga is expounded in the early hours of morning. The mood is one of quiet introspection.

RAGA JAIJAIWANTI: This night melody conveys a romantic mood.

RAGA MISHRA PILU: Essentially romantic in appeal, this raga can also lend itself to a variety of moods. It is usually associated with the third quarter of day.

RAGA SHIVRANJANI: This early-night raga evokes an atmosphere of separation and sorrow.

RAGA BHAIRAVI: This is a morning melody. But convention has it that it can be rendered as a concluding piece in a classical recital at any hour of day and night.

Track titles appears slightly different on labels and on a back cover. They are printed as Raga: ... on labels, Raga ... on the back cover and without word "Raga" at all. Also tracks A6 and B4 are titled as "Raga: Mianki-Malhar" and "Raga: Shiv-Ranjani" on LP-labels.