Chhaayaageet #62 - "Jab tak mein na kahun, mera peg repeat karte rehna."
"Driver, Gaylord", the composer instructs the driver of his richly appointed Cadillac. It is 1955. To own a Cadillac in 1955, one must be special. But today is not the day to rest on laurels.
The composer leaves Pannalal Mansion near Opera House in Bombay, and instructs his driver to take him to Gaylord, his favorite restaurant. He has already called Gaylord before leaving to make sure his favorite table in the corner is reserved for him. In the same breath, he has also placed his order, "Black with ice, and soda on the side." He really didn't need to do that, the staff at Gaylord knew their patron well. But this was his customary first sentence upon entering that establishment.
The drive from Opera House to Gaylord is also his favorite. And why not? A left turn brings the Cadillac onto Marine Drive and the Queen's Necklace. The sun is almost ready to set beyond the Arabian Sea. The melancholy hour of dusk brings it's own musical inspirations. Many popular tunes have come to him on such evenings.
Today, the view fails to impress him. The lyrics of a song have been at the back of his mind all day. He feels stuck. Finding a tune has not been easy. He just stares out the window of the Cadillac, looking at the sunset but not seeing it. On drives like these, sometimes, your life flashes before your eyes.
A carpenter by trade, he had come to Mumbai from Gujarat to try his luck in the film industry. He was adept at playing the harmonium and had a passion for music. In Mumbai, he took classical music lessons with Pandit Vinayakrao Tambe. There he met Gajanan Watve. He was mesmerized by Watve. Gajanan Watve had heralded the era of the Marathi "bhaavgeet", by his musical rendition of poems, and ensuring words got as much prominence as the music.
Years flew by. He had joined hands with another musician and the duo had become one of the most popular music composers in the film industry. He remained in touch with Gajanan Watve. He was an unabashed fan of Watve.
That day, having gone to Pannalal Mansion for some work, he happened to hear one of Watve's songs playing on a nearby radio. Watve had composed and recorded that song in 1946. He wondered, how come he had not heard that song before. He practically knew, rather, loved, every single song that Gajanan Watve had composed and sung.
As the Cadillac makes the left turn from Marine Drive towards Churchgate, the scene outside the window changes. But he is still lost in deep thoughts. "Saab, Gaylord", the driver reminds him that they have reached their destination.
He stops for a moment outside the car, wondering if he can take his harmonium inside. The harmonium is a constant companion. It's a busy evening at the restaurant. He decides against it.
He is easily recognized, given his flamboyance, and his penchant for always dressing up in a suit and tie. They are expecting him at the Gaylord. He is ushered to his favorite table in the corner.
"Black with ice, and soda on the side", he says from habit even though he has called in the order before.
"Aaj mujhe koi disturb nahin karega. Aur jab tak mein na kahun, mera peg repeat karte rehna." I shall not be disturbed today. And until I say no, keep repeating my peg. He instructs the wait staff.
After a few hours of sipping scotch, one peg after another, finally the tune of the song starts to come together. He signals the waiter. A boy brings him the bill. He scribbles the date on the back of the bill and signs it, and hurries out of the restaurant.
"Driver, Marine Drive", he instructs the driver.
As the car moves on to Marine Drive, his fingers move on the harmonium. The mukhda and antara of the song are ready.
However, something is missing. He is not happy with the song. He needs something in between the mukhda and antara, something different, something unique to bridge them both. And it turns out Gajanan Watve is also presently not in Bombay. After two days, he finds time to meet with Watve.
"Maine aap ke gaane ki dhun copy ki hai, lekin aap thodi meri madad kijiye. Is mein kuch kami hai," he confesses openly. I have borrowed the tune of your song, but now I need your help. Something is missing.
Watve asks to hear the new song he has composed. He obliges, singing it along on the harmonium. Watve listens to it quietly.
After the harmonium stops, Gajanan Watve proceeds to explain to him the fine line between "copying" and "being creatively inspired". Watve tells him that his creation is beautiful and highly praiseworthy.
"Gaane ki situation kya hai?", Watve asks him. What is the situation of the song?
He explains the situation in the film.
"Arre itni si baat hai? To ismein ye shabd dal do mukhde aur antare ke beech mein". Watve provides the solution to his problem. Is that it? Then insert this word in between the mukhda and antara.
That word? "Hillori".
Shankar Jaikishan composed the song Panchhi banoo udti phiroon for the film Chori Chori (1956), lyrics by Hasrat Jaipuri. Lata Mangeshkar provided the playback for Nargis. The word "hillori" was voiced by Manna Dey.
Shankar Jaikishan won the Filmfare award for Best Music Director for Chori Chori. The duo had a pact that they would never disclose who composed which song and who came up with the tune. The protagonist of this story, however, is Jaikishan.
Chori Chori was the last film of Raj Kapoor and Nargis in lead roles. The film was remade as Dil Hai Ke Manta Nahin with Amir Khan and Pooja Bhatt.
Gajanan Watve mesmerized Marathi audiences with his musical rendition of poems, bringing in the era of the "bhaavgeet". His singing was characterized by a continuous flow of emotions, and his bhaavgeet programs attracted large crowds. Watve's influence on Jaikishan can be seen in few other tunes composed by the latter, particularly, Jane kahan gaye wo din from Mera Naam Joker.
Music: Shankar Jaikishan (inspired from Gajanan Watve)
Lyrics: Hasrat Jaipuri
Singer: Lata Mangeshkar, Manna Dey
*ing: Nargis
Film: Chori Chori (1956)