Greeting the readers on the 71st anniversary of our Republic Day with guest article by Subodh Agrawal
(Subodh Agrawal last wrote his guest article in the series on film songs based on classical music about a year ago. That was on Bhimpalasi and her sisters Dhani, Multani and Patdeep. He again writes on a set of sister ragas Bageshri, Rageshri and Malgunji. Most of us do not know and, therefore, do not care. But we are all familiar with film songs in Bageshri. Subodh acquaints us with songs in Rageshri and Malgunji too, which are our great favourites without knowing their ragas. As usual he also presents some exquisite classical pieces. Subodh’s speciality is that he does not awe us with his knowledge. All in all a great way to celebrate our Republic Day. Looking at how the US democracy crumbled and was about to be overrun at the instance of an unhinged leader on January 6, we realise democracy hangs with a slender thread, and we have to constantly work to preserve it. I thank Subodh and greet all the readers on the 71st anniversary of our Republic. – AK)
This article has been in the making for a long time. I had finalized the list of songs to be included more than a year back. But as it happens, of the seven deadly sins, I happen to be guilty of sloth more than any other. What shook me out of sloth was chancing upon a beautiful composition in Bageshri accompanied by a wonderful dance performance. So, let me share that first:
There is detailed information about the artists in the YouTube description. Thank you, Indian Raga and AIM for Seva for shaking me out of my lethargy.
Bageshri was one of the first ragas I learnt to recognize and appreciate, thanks to my friend Pankaj Sharan. It took me quite some time to learn to distinguish it from Rageshri. The similarity between the two ragas is a little hard to understand because there are several important differences between the two: Rageshri completely omits the fifth note Pancham and it uses shudh gandhar instead of the komal gandhar of Bageshri. I became aware of Malgunji much later. Even today I haven’t developed a feel for it – I assume a composition is in Malgunji if it sounds a bit like both Bageshri and Rageshri, and I am right half the time. Bageshri can also be confused at times with Bhimpalasi.
I won’t go into a discussion of the scales of the three ragas. This information is freely available on the net for those who are interested. The best reference, as always, is www.parrikar.org.
All three ragas are very sweet and pleasant – ideal for shringar rasa. Malgunji is perhaps the sweetest, while Rageshri has a touch of gravity. So, let us begin with the songs in Bageshri.
1. ‘Chah barbaad karegi’ by K L Saigal from Shahjehan (1946), music by Naushad, lyrics by Majrooh Sultanpuri
Although the predominant mood of Bageshri is shringar, like all ragas it can also be used to express a variety of emotions. Naushad uses it to express regret and sadness and Saigal gives life to it in his inimitable style:
2. ‘Jaag dard-e ishq jaag’ by Hemant Kumar and Lata Mangeshkar from Anarkali (1953), music by C Ramachandra, lyrics by Rajendra Krishna
C Ramachandran and Rajinder Krishan gave us a timeless classic in Bageshri. Shringar is very much there, but with more than a touch of pathos. I am intrigued by the choice of Hemant Kumar as a singer for this classically complex song, but I am glad CR went for him. It is hard to imagine the song having the same impact in the voice of Manna Dey or Mohammad Rafi – the two most gifted male singers for classical songs:
3. ‘Radha na bole na bole re’ by Lata Mangeshkar from Azad (1955), music by C Ramachandra, lyrics by Rajendra Krishna
This is an iconic song in Bageshri, something students of music can use to get a feel for the raga. The mood is teasing, romantic and delightful – the key mood of Bageshri:
4. ‘Jao jao Nand ke lala’ by Lata Mangeshkar from Rangoli (1962), music by Shankar Jaikishan, lyrics by Shailendra
A playful and romantic dance number. I forget the classification AK had done of nayikas in his article. What kind of nayika tells the nayak to get lost, although that’s the last thing she wants: (Subodh, you can take a mix of Khandita and Kalahaantarita in some ratio x1 and x2 where x1+x2 = 1. – AK)
5. ‘Bedardi dagabaaz ja’ by Lata Mangeshkar from Bluff Master (1963), music by Kalyanji Anandji, lyrics by Rajendra Krishna
Evolutionary psychology is a subject that fascinates me – how human behaviour is shaped through evolution by the need to get as many copies of one’s genes into the next generation as possible. One book I read recently classifies men into dads and cads: cads have fun with, and impregnate, a lot of women but don’t stick around to take care of the children; dads settle down with one partner, father fewer children but look after them. Eventually the population stabilizes with a large majority of dads and a fair sprinkling of cads.
If film songs are to be believed, women seem to have a special fondness for cads even when they know they would be left holding the baby – literally. It is an interesting topic to explore. Meanwhile let us enjoy this song from an aptly titled film:
6. ‘Kaise kate rajni’ by Ustad Amir Khan and Pratima Banerji from Khudito Pashan (1960), music by Ustad Ali Akbar Khan, lyrics by Pandit Bhushan
A proper classical bandish from the Bengali classic film Khudito Pashan expressing the mood of viyog shringar:
7. ‘Ja re beimaan tujhe jaan liya’ by Manna Dey from Private Secretary (1962), music by D Dilip, lyrics by Prem Dhawan
Another song addressed to a ‘cad,’ this time in a male voice. Like number 5 this one also demonstrates the effectiveness of a false beard as a disguise:
I now come to Rageshri. I have a problem here. I had no difficulty placing the raga for the Bageshri songs, but except for the Mughal-e Azam song I did not easily recognise the raga in the Rageshri list. This was puzzling because I have no difficulty in recognising Rageshri in proper classical pieces. Trying out the sargam of the songs on my flute, despite my limited ability, helped decipher the mystery – the songs at number 9, 10 and 11 have many departures from the standard movement of Rageshri. I don’t understand why film music composers could not come up with songs in the pure version of the raga, when they could do so in Bageshri and so many others.
8. ‘Shubh din aayo’ by Ustad Bade Ghulam Ali Khan from Mughal-e Azam (1960), music by Naushad, lyrics by Shakeel Badayuni
As I said above, this is the only song in the list in pure Rageshri:
9. ‘Kaun aaya mere man ke dware’ by Manna Dey from Dekh Kabira Roya (1957) music by Madan Mohan, lyrics by Rajendra Krishna
This is among the most beautiful classical songs rendered by Manna Dey, who has often been relegated to lending his voice to comedians in films. This one is also filmed on Anup Kumar, but he doesn’t seem to be playing a comic role – I don’t know, as I have not seen the film. This one uses pa and komal ga quite freely – two notes not permitted in Rageshri.
10. ‘Maane na’ by Lata Mangeshkar from Jaagir (1959), music by Madan Mohan, lyrics by Raja Mehdi Ali Khan
The instrumentals in this song appear quite faithful to Rageshri, but not the vocal – particularly in the stanzas:
11. ‘Mere sang ga gunguna’ by Suman Kalyanpur from Janwar (1965), music by Shankar Jaikishan, lyrics by Hasrat Jaipuri
Of the three this one comes closest to the standard movement of Rageshri, but for the occasional use of pa. Good to see Rajshri. We talk of brain drain, but what about beauty drain from India!
I now come to Malgunji. I don’t have a good grasp of this raga, and I have included the songs based on various internet sites. Pardon me if I have included a song not quite in this raga. All the songs, however, have a beauty that is both sensuous and serene.
12. ‘Nain so nain naahi milao’ by Hemant Kumar and Lata Mangeshkar from Jhanak Jhanak Payal Baaje (1955), music by Vasant Desai, lyrics by Hasrat Jaipuri
For a long time I believed this song was in Bageshri. Then I heard it in a radio program that used to do what I try to do through this series of articles – introduce listeners to classical ragas through film songs – and I became aware of Malgunji. The remainder of the list followed:
13. ‘Ghar aa ja ghir aaye’ by Lata Mangeshkar from Chhote Nawab (1961), music by R D Burman, lyrics by Shailendra
This one best presents the serene and sensuous mood of Malgunji. This song marked the arrival of young RD Burman a.k.a. Pancham:
14. ‘Naa jiya lage na’ by Lata Mangeshkar from Anand (1971), music by Salil Chowdhury, lyrics by Yogesh
Salil da used the tune of one of his Bengali originals for this beautiful song. The lyricist Yogesh gave a couple of beautiful songs including ‘Kahin door jab din dhal jaaye’ in this film, but one didn’t hear much from him after this.
Hear the Bengali version in Salil Da’s own voice:
This brings us to the end of the list of film songs. Before I present the classical pieces, I would share this folk song by Surinder Kaur. Bageshri is not a raga associated with folk music, but this song combines the earthiness of folk with the sophistication of classical. Our heroine is calling to her beloved to cross over the pattan (ford) of Jhanaan (Chenab). The obvious reference is to the legend of Sohni Mahiwal. An instrumental version of the sthayee of this song used to be the signature tune of one of the programs on All India Radio – I forget which one.
A friend of mine who comes from a long lineage of classical and devotional singers was not convinced about this song being in Bageshri. He then talked to Dolly Guleria – Surinder Kaur’s daughter – who confirmed it was indeed Bageshri. The composer is credited as K Pannalal:
Bismillah’s Bageshri was the first classical LP I bought when I started building my collection in the seventies as a student of IIT Kanpur. It brings back memories of those carefree days:
Kumar Gandharva loved to experiment. Opinion about him is sharply divided among music lovers. Most of my friends in IIT, where I picked up the rudiments of classical music, loved his ‘Sakhi man laage na’ but there was at least one who strongly disliked it. I have been unable to locate a link to that recording. I am therefore giving a link to another performance of his. Thanks to AK for helping me locate it:
Kishori Amonkar’s ‘Biraha na jala’ is a real gem in Bageshri:
For Rageshri Ustad Bade Ghulam Ali Khan is beyond compare:
Ustad Amir Khan’s Rageshri is almost as good:
Ustad Vilayat Khan’s Rageshri has a playful lightness:
Pandit Ravi Shankar’s Rageshri highlights the gravity of Rageshri in comparison to Bageshri and Malgunji. To fully enjoy it you must connect it to a proper sound system, or use high quality headphones:
For Malgunji let’s hear this short and rare recording from Baba Allauddin Khan:
Before concluding I would like to make brief mentions of four related ragas: two close to Bageshri, and two to Rageshri. Abhogi is to Bageshri what Dhani is to Bhimpalasi – omits some of the notes but retains the feel and mood:
Gorakh Kalyan has nothing to do with Kalyan or Yaman – it is closer to Bageshri. Our music Guruji in IIT used to explain it by saying ‘what else do you expect from something named Gorakh!’ For those unfamiliar with the idiom, ‘Gorakh dhandha’ is something that is not quite straight or above board. This piece by Salamat and Nazakat Ali is delightful:
Bhinna Shadj, also known as Kaushik Dhwani or Hindoli can be described as the basic frame on which Rageshri is built by the addition of re and change of shudh ni to komal. The 2014 film ‘Ankhon Dekhi’ had an outstanding song ‘Dhime re re’ in this raga sung by Mansheel Gujral:
There are several classical pieces on Bhinna Shadj by Kishori Amonkar on YouTube. I present here a short one to whet the reader’s appetite. Amol Palekar has made a film on Kishori Amonkar and chose to title it Bhinna Shadj:
Finally, use of the fifth note pa in Rageshri with some change in movement takes us to Hemant. The 1972 film Bawarchi has this song ‘Tum bin Jeevan kaisa jeevan’ in Manna Dey’s voice:
Hemant suits Nikhil Banerjee’s playing style. I haven’t found a better classical piece in this raga:
That’s all friends. Allow me to go back in hibernation until something like ‘Madhur Madhur Meenakshi’ again stirs me into writing the next article.
Acknowledgement and Disclaimer:
1. The song videos have been embedded from the YouTube only for the listening pleasure of the music lovers. This blog does not claim any copyright over these songs which vests in the respective owners, such as Saregama India Limited and others.
2. The thumbnail picture of paiting of Bageshri has been gratefylly taken from oeom.com.
3. YT links of classical pieces have been left as they are without embedding their video format for ease of lading the page.
Subodh ji,
Many many thanks for a beautiful post.
1) Outstanding written portion;
2) Linking up top quality film songs;
3) Short and crisp explanation of the songs;
4) The dabblers in music will really enjoy everything in this post.
In short: marvellous.
Thanks Mr Tyagi for your appreciation.
Ah, here comes Bageshri. I was wondering when you will get around to writing about it. Its one of my favourites, both in film music as well as classical. Thank you so much for ‘Kaise Kate Rajni’. The best part of being a part of SOY is the discovery of such hidden gems.
I think C.Ramachandra was especially partial to Bageshri.
Another of his composition in Bageshri that I absolutely love – Mohabbat hi na jo samjhen from Parchhaeen (1952) –
https://www.youtube.com/watch?v=mC9eWg4GTCQ
Another beautiful carnatic piece by Bombay Jaishree: Kanden Seethayai Raghava – A Arunaacala Kavi composition, part of his musical Raama NaaTaka Keertanai, written in the 17th century. ‘Kanden’ means ‘I saw’. This line has been taken from ‘Kamba Ramayana’ – the Tamil version of Ramayana. When Hanuman ji gets back from Lanka after meeting Seeta Maiyaa, he first and foremost wants to convey to Shri Ram Ji that he had seen her without any further ado, as he knows that the Lord would be completely distraught. So the first word he utters – “Kanden’ – ‘I saw’, then he follows it up with Sita Maiyaas name. He doesnt want to take her name first because it would have caused pain for a second in the Lord’s mind about whether good or bad news is following the name. I have been lately discovering the beauty of Tamil poetry set to music.
This rendition is absolutely superb.
https://www.youtube.com/watch?v=EUobcV0Cr4M
Thanks so much for all this hard work. Spent some wonderful time listening to these gems. True pleasures of life..
Thanks for your appreciation Malyada, and for the two links. ‘Mohabbat hi na jo samjhe’ is indeed a beautiful example of Bageshree. I don’t know how I missed out on this while making my list. Talat’s silken voice suits the softness of Bageshree and the sitar pieces are wonderful.
Bombay Jayashree has given some superb songs and the one you have linked is no exception. Your writing adds to the pleasure of listening to the song. By the way, is the raag known as Bageshri in Carnatic music also, or does it have another name – like Bhupali-Mohanam, Malkauns-Hindolam etc?
Just splendid.
There could not be better way to celebrate today Republic day than listening songs on this three Ragas.
Subodhji,
Had time only to read through the article. As always, you have done a superlative job! I loved the humour as well :). I will listen to the selections that I am not familiar with and contribute some selections – several interesting ones come to mind – over the course of the week . In the meanwhile, here is one from the classical repertoire:
Carried away- and understandably so – by Kishori Amonkar’s unconventional yet brilliant interpretation of Bageshri, people forget this gem that was recorded by her mother:
Bageshri Tarana by Mogubai Kurdikar
https://www.youtube.com/watch?v=VI0dL3SAAhY
As for other comments, Malyada has beaten me to citing ‘ Mohabbat hi na jo samjhe’ and CR’s soft corner for Bageshri, which CR confesses to in this interview:
https://www.youtube.com/watch?v=ZbM9kwpsme4
Thank you Mayur Vachharajani for your appreciation.
Thanks Ashwin for your appreciation and the links.
I suspect Mogubai would have been more famous than her daughter if the recording industry had been as advanced during her time. She and her contemporaries were forced to restrict themselves to three minute pieces, but what they did is amazing. This Bageshri tarana is new for me and takes its place alongside her Yaman tarana which is my long-time favourite. I am an ardent fan of Kishori, but her voice does have a shrill edge. Her mother’s voice is better balanced.
Thanks also for the CR video. Hearing him sing ‘Mohabbat hi na jo samjhe’ reminds me of a discussion on SoY about a song where Talat was prevented from recording a song and CR aka Chitalkar gave the playback in his voice and style.
Looking forward to hearing more from you, particularly about Rageshri songs – why the composers of Hindi film music shied away from its pure form. Maybe you can locate one on pure Rageshri that escaped my search.
All the best.
Thanks, Subodhji. Before I share the ‘light’ pieces, let me share a well-known and beautiful Carnatic kriti in Bageshri composed by the late M.D.Ramanathan. The composition is ‘Sagara shayana vibho’. Bageshri lends itself so beautifully to the bhakti bhaav of the lyrics. Here is a rendition by Sreevalsan Menon:
https://www.youtube.com/watch?v=jl3jIWHi0-8
Please note the swarakshara for the first 3 syllables of at ‘sama gana’ at 0:53 ie the usage of the swars sa, ma and ga for the corresponding consonants in the lyrics. Similarly, the usage of re for the ‘ra’ of ‘ksheera’ and the usage of ‘sa’ for the ‘sa’ of ‘sagara’ at 1:04. Additionally, there is the usage of the ragamudra in the words ‘Bhagashree’ at 2:29.
Subodh,
Mogubai Kurdikar: Bageshri, Yaman Tarana. There is a reason why you are making this connection. I had her EP, its one side was Bageshri Tarana, and reverse was Yaman Tarana. You, too, might have this.
Subodhji, some lovely songs there. With my limited knowledge of Hindustani Classical music, I do try to identify the ragas. I use a very rudimentary technique of remembering one song for a particular raga as the benchmark and then if I hear a similar tune, I try and correlate with my benchmark song.
A favourite of mine in Raag Malgunji is Unko Yeh Shikaayat Hain from the movie Adalat (1958). Madan Mohan’s music is exceptionally good. https://www.youtube.com/watch?v=SnC5JChLXF8
You may also like to visit my blog post on Music in Hindi film songs. I would love to get your feedback. The link is https://anitamultitasker.wordpress.com/2021/01/10/songs-of-music/
Chitragupta comes up with a blend of Western and Indian orchestration for this lovely song based on Bageshri and picturized on Helen:
‘Deewaane tum, deewaane hum’ by Lata from ‘Bezubaan’ (1962) (MD – Chitragupta, Lyricist – Prem Dhawan)
https://www.youtube.com/watch?v=4H56OrBjhg4
Ashwin@9: ‘Sagara shayana vibho’ is beautiful. I love the voice of Shreevalsan Menon – it has both depth and softness. Interesting to note the correspondence between the lyrics and names of swaras.
AK@10: I remember Mogubai’s Yaman from a 78 rpm from our Mussoorie Academy. The music teacher there allowed me to take it as no one there was using it. Somehow the Bageshri didn’t make much of an impression on me then.
Welcome to SoY Anita Rupavartaram and thanks for the appreciation. ‘Unko yeh shikyat hai’ is a beautiful composition. Another one included in the list of Malgunji songs on some sites is ‘Jeevan se bhari teri aankhen’ from ‘Safar’.
I have bookmarked your blog and will keep visiting it regularly.
Besides lip syncing to Manna Dey’s Rageshri-based ‘Kaun aaya mere ma ke dwaare’, Anup Kumar got to sing this Bageshri-based song in Talat’s voice in ‘Dekh Kabira Roya’:
‘Humse aaya na gaya’ by Talat Mehmood from ‘Dekh Kabira Roya’ (MD – Madan Mohan, Lyricist – Rajendra Krishan)
https://www.youtube.com/watch?v=U5rd4SHvJBs
Ashwin @12: ‘Deewane tum’ is a very interesting blend of Bageshri and western style music. I was not aware of it. Thanks for introducing me to it.
Ashwin@16: This song figured in my longlist, but I thought the raga is not very clear in it, so I left it out as there were many other options for Bageshri. For Rageshri I was short on options.
Interestingly, I could clearly hear Bageshri in the parody of ‘Hum se aaya na gaya’ that has become popular during the lockdown: ‘Ek muddat se mere ghar koi aaya na gaya.’
https://youtu.be/DfS1_nBCZPI
Subodhji @ 13,
Devices like swarakshara, vibhakti and ragamudra are not that uncommon in Carnatic Music compositions – extremely fascinating for folks who enjoy wordplay, puns and the like.
Here is a Tamil song in Bageshri . The hero is MGR.
‘Mayakkum maalai’ by AM Rajah & Jikki from ‘Gul-e-bakavali’ (1955) (MD – Viswanathan-Ramamurthy, Lyricist – Thanjai N. Ramaiah Dass)
https://www.youtube.com/watch?v=gR0o3sQIzNU
The Wikipedia entry for this movie states that the song was composed by K.V.Mahadevan for another film by the same producer, T.R.Ramanna but since the other movie was getting delayed, Ramanna decided to use the song in this movie. The credit was given to Viswanathan-Ramamoorthy though.
Sindhushree Khullar, colleague and friend of AK and me, has sent me this Bageshri by Mukul Shivaputra on WhatsApp. I found it more soothing and soulful than his father’s:
https://youtu.be/Pj4CcBlEGwM
Here is the Beatles’ interpretation of Bageshri:
‘Norwegian Wood’ by The Beatles
https://www.youtube.com/watch?v=Y_V6y1ZCg_8
The wikipedia entry gives some interesting information about the song
https://en.wikipedia.org/wiki/Norwegian_Wood_(This_Bird_Has_Flown)
Thanks Ashwin@22: I am generally not familiar with western music, but a few Beatles song made it to my limited playlist. ‘Norwegian Wood’ entered that list when I read the eponymous novel by Haruki Murakami, but I never noticed the Bageshri element until you pointed it out – Thanks.
Subodh ji,
Thanks for the post explaining the three Ragas to an ignoramus like me. Out of the three Ragas I am familiar with Bhageshree as it is popular in Carnatic music also.(It has the same name there also.) All the songs you have chosen are my favorites, as I love classically oriented songs.
I am posting a song from a Tamil film Ramu:
https://m.youtube.com/watch?v=F0xW0-EfOrQ
P.B.Srinivas in”Ramu”. MD:M.S.Viswanathan. Lyrics: Kannadasan
Thank you Giri. Nilave Ennidam is a beautiful song. Thanks for providing the link.
Subodhji@14 and 15, thanks for taking time out to read. It also gives me immense pleasure to learn that you are a bureaucrat (like me!).
Ashwin @20: Thanks a lot for the link to Mayakkum Maalai, it is a beautiful song. Both voices do full justice to the raga.
I get the feeling that Bageshri songs in South Indian films don’t sound very different from North Indian music. That’s not the case with; say, Mohanam, or Hindolam where the South Indian songs have more of gamak. Would you agree?
Subodhji
I was slowly sinking into a state of torpor all along because of this unusually cold weather which I am facing after a gap of more than 5 years thanks to Kovid. Your post acted like a tonic on me and woke me up. Despite the fact that I squandered opportunities in my young days to learn Hindustani classic music, I had a deep and abiding interest and used to attend concerts in Delhi. Thanks to my violinist son, I have a resurgence now.
I consider you as Tansen of Soy and the post had all your hall mark of professionalism. You had not delved too deep into pyrotechnics of raags and anyone can easily follow the post.
I know CRs penchant for Bagesri. Talat Mahmood song from Parchain is an outstanding example of the raga. All the three antaras are different and there is no repetition at all. I think the song – Aadha hai chandramaa raat addhi is also in Bagesri.
I knew 4 songs in Malgunji. Three of them have been posted already.
I am giving the fourth one from film Safar sung by Kishore Kumar. Lyrics by Indeevar
Jeevan se bari teri ankhen – https://youtu.be/fdtmWaWqyqE?t=35
I also found a link for the song from Mughal-e-azam.
Shub din aayo – https://youtu.be/XwumeWE-ip0?t=35
What about the song – Woh sham kuch ajeeb from Khamoshi
https://youtu.be/MDXFi3avqo0?t=158
I do pray to God to create another miracle for you to write next set of article on this subject.
Subodhji @ 27,
I agree with your observation.
Continuing with the Marathi songs, here is a lovely composition that uses both Gorakh Kalyan and Bageshri:
‘Ketakicha bani tithe’ by Suman Kalyanpur (MD – Ashok Patki, Lyricist – Ashok Paranjape)
https://www.youtube.com/watch?v=Qdjg__Kzmkw
Looks like one of my comments did not get posted. Here is what I had intended to post:
Lata and Hridaynath recorded verses from the Geeta and the Dnyaneshwari in the 60s in what can be considered a magnum opus. The commentary in English was recorded in the golden voice of Zul Velani. The orchestra had Maruti Keer, V.G.Jog and Hariprasad Chaurasiya among others. Here are two of the most popular and well-known songs from the Dnyaneshwari side of the album. The first one is a soft and serene tune based on Gorakh Kalyan and the second one is based on Bageshri, which is apt for the bhakti bhaav of the song/
1. Mogara Phulala
https://www.youtube.com/watch?v=4thXvviBQnk
2. Ghanu vaaze ghuna ghuna
https://www.youtube.com/watch?v=tFYjZ93nl4E
Here is another Gorakh Kalyan masterpiece from the Lata-Hridaynath combo. This one is from the album ‘Lata sings Ghalib’:
‘Phir mujhe deeda-e-tar yaad aaya’
https://www.youtube.com/watch?v=nQCCokHDeVo
Subodh Agrawal ji;
Wonderful post ! And so many songs to listen to ….a great feeling to relax after a good sunshine and getting cozy in the evening listening to raagas based classic songs over a cup of hot tea poured out from hot designer kettle . Yes when ambience is good listening becomes even better .
‘Phir mujhe deeda-e-tar yaad aaya’ by Lata ji is a treat for me . When she sings out of domain of filmi songs her voice becomes even prettier. Among your listed songs MM takes the cake with his song….‘Maane na’ by Lata Mangeshkar from Jaagir (1959) . Its a melody par excellence.
Here are two songs by Rafi saheb that I am guessing to be based on Bageshri with added derivatives…..
Unke Khayal Aaye To | Mohammad Rafi | Lal Patthar…SJ [ The lip singer seems to be G.M. Durani !! ]
https://www.youtube.com/watch?v=YcvssR8B70M
Deewana Keh Ke Aaj Mujhe Phir Pukariye | Mulzim(1963) Mohd. Rafi …Ravi ….
https://www.youtube.com/watch?v=DR6yb-whOik
If the above song qualifies probably song from Gumraha also fits the bill….
Aap Aaye To | Gumrah (1963) | Mahendra Kapoor…Ravi…
https://www.youtube.com/watch?v=Gmlm2Brlmms
….and probably another song do get clearance as a derivative too….
Sambhal To Le Dil Deewan Zara – Lata – Phool Bane Angaarey …KA
https://www.youtube.com/watch?v=3MwbljSTOTs
Subodhji
Ranganji has very rightly said that you have refrained from giving heavy dose of technicalities yet the article instills huge interest for persons like me who do not know ABCD of raagdari.
After listening to Malgunji songs one feels that it is full of languid elegance just like VVS’ strokeplay. Ironically the person who was later on labelled as the chief architect of dhangad dhinga music debuted with a song based on Malgunji ( which is very very sparingly used in HFM)
Today is the birthday of Suman Kalyanpur , Ashwinji has posted a very melodious marathi song rendered by her. Here is another one based on Bageshri
https://youtu.be/rB7GYqfTK68
Re kshanachya sangatine
Abhogi is an import from Carnatic Music. The 2nd song (Jiya laage) in this lovely raagmala composed by Laxmikant-Pyarelal is in Abhogi.
‘Ek ritu aaye ik rut jaaye’ by Lata and Manna Dey from ‘Sau Saal Baad (1966) (MD – Laxmikant-Pyarelal, Lyricist – Anand Bakshi)
https://www.youtube.com/watch?v=UFXMazdxgUE
Subodhji: Here is Bombay Jayashri’s rendition of the Abhogi kriti ‘Sabhapatikku veru deivam’ by Gopalakrishna Bharati :
https://www.youtube.com/watch?v=IKRZhM0osIU
D P Rangan @28: Thanks for the links to ‘Jeevan se bhari teri aankhen’ and ‘Shubh din aayo’. I wonder how someone has got YouTube to remove the original link to the Mughal-e-azam song on copyright grounds. Doesn’t copyright have a life of only 50 years?
‘Woh shaam kuchh ajeeb thi’ is basically Yaman, although at first hearing it is not so easy to place the raga.
Ashwin@29: Thanks a lot for “Ketakichya Bani Tithe.” It is a beautiful song.
Ashwin@30: Thanks for the links, both songs are masterpieces.
Ashwin@31: Masterpiece indeed. Thanks a lot. I never knew so many great songs were available in Gorakh Kalyan.
KS Bhatia@32: Thanks Bhatia ji for your appreciation and the links. The first three songs mentioned by you appear to be Gara – ‘Unke khayal aaye’ is listed as Gara on Chandrakantha.com. Gara is a confusing raga, I would call it the chameleon raga: it sounds like Jaijaiwanti in ‘Tere mere sapne’, like Pilu in ‘Mohe panghat pe’ and God knows how many others. These songs do have the flavour of Bageshri.
I am totally at sea about ‘Sambhal to le zara’. I heard it for the first time thanks to you. It is a beautiful song, irrespective of the raga.
Rahul Bhagwanrao Muli@33: Thanks for your appreciation and the link to the lovely Suman Kalyanpur song. This isn’t pure Bageshri, but sounds beautiful.
Ashwin@34: Thanks for the links. The Abhogi part in the raagmala seems to be Lata and LP’s successful response to a challenge to present the entire beauty of Bageshri while restricting to the notes of Abhogi. Precious!
Bombay Jayashree delights as always. Unlike what we agreed about Bageshri, this Abhogi piece has the proper Carnatic flavour. A treat for the ears.
An Abhogi-Bageshri mix from Bappi Lahiri:
‘Dard ki ragini’ by Lata from ‘Pyaas’ (1983), MD – Baapi Lahiri, Lyricist – Naqsh Lyallpuri
https://www.youtube.com/watch?v=Om4Ahpalk38
Here is a Namdev abhang sung by Bhimsen Joshi. The music was composed by Shrinivas Khale. The base of the tune is Abhogi but Bageshri has exercised her visiting rights at several places.
https://www.youtube.com/watch?v=vZyijRLU5xA
Subodhji: Wrt the Surinder Kaur song in Bageshri, I think that the reason listeners are be thrown off the Bageshri track while listening to the song is because the swars used for ‘Langhe aaja’ are Sa Sa Re Ma, and not Sa Sa Ga Ma.
Subodhji: Here is a song in which the Hridaynath has pushed the Bageshri envelope in a manner akin to that employed by Kishori Amonkar in her iconic Bageshri that you have cited.
‘Barase bundiyaan saawan ki’ by Lata (MD – Hridaynath Mangeshkar, Lyrics by Sant Meerabai
https://www.youtube.com/watch?v=IQyINY7gMRo
Ashwin @ 42&43: Hats off to you to be able to identify two similar ragas in a mix. I would have been confused trying to identify the raga. Both pieces are beautiful.
Subodh @21,
“I found it more soothing and soulful than his father’s”
I had heard a lot about Mukul Shivputra, but thanks to you I am hearing his music carefully for the first time. His singing seems to be gifted, and not because of training. There is no vocal acrobatics, therefore, there is no trace of Kumar Gandharva in his style. His singing is meditative and divine. Even though blasphemous on surface, I understand what you are saying. I had heard he had become a renunciate, and had disappeared. Now I find Wikipedia mentioning alcoholism, deaddiction etc. Whatever, it is sad.
Ashwin @9, 20, 29, 30, 34, 43, 45,
I heard all the gems from Carnatic, to Marathi light classical, Abhangs to Hindustani classical. Thanks a lot. Lata Mangeshkar’s ‘Barse boondiya sawan ki’ is in the style of her classical-based film songs which could have been composed by Madan Mohan or Roshan or C Ramchandra. Beautiful song though, but no Kishori Amonkar.
Subodh, that was an extensive read. Thank you. I’m used to Mr W telling me to ‘listen to this raga’, and ‘Oh, this is …. (insert Raga of the moment)”
but I’m still tone deaf! 🙁
Never mind, I’ll listen to the song and enjoy them differently from Mr W and Ashwin and you. 🙂
Subodh Agrawal ji;
While hearing some songs they appear to be bageshri based songs but always fall short owing to some interludes not compactable to the ragas. I am stuck up with two of Shankar Jaikishan songs …just wanted to know if they get clearance of being based on Bageshri or its derivative…..
Ankhon Ankhon Mein Kisi Se – Lata Mangeshkar, Asha Bhosle ….Janwar…SJ….
https://www.youtube.com/watch?v=m8KeNRRSreU
Aaye Bahar Banke Lubha Kar Chale Gaye…Rajhath…..Rafi…SJ…[ here interlude is waltz based ]
https://www.youtube.com/watch?v=mwTleuzUdis&t=120s
to be contd…..
Subodh Agrawal , Venkatraman ji;
After a hard working day a raga based song or shabad kirtan always unwires and brings tremendous rest to body and soul . Arithmatical progression of notes , beats and rhythms do sum up to a great sigma value ….a great soother and a balm !
Bhai Davinder Partap Singh – Kaale Mainde Kapade Kaala Mainda Ves (Bageshwari)
https://www.youtube.com/watch?v=IbSrdUkS0Vg&t=339s
to be contd….
Subodh Agrawal ji;
Another song on testing platform for approval …..
Kya Hua Ek Baat Par (Teri Kasam / Soundtrack Version)….Amit Kumar…RDB…
https://www.youtube.com/watch?v=mvMsRrttWjc
Anu @49: Please stop calling yourself tone-deaf. You have a fine musical ear and a wonderful style of writing about music. Your writing enhances the pleasure of listening to the same old songs. Not being able to recognize ragas is no handicap.
PS: What would people like me and Ashwin write about if everyone could recognize ragas!
KS Bhatia@50: You got both right Sir! The first one is new for me. I heard the second one after a long time. Both songs are based on Bageshri – although there is some mix, particularly in the Antaras.
KS Bhatia @51: Thanks for this beautiful Shabad.
KS Bhatia@52: The mukhda does have a strong Bageshri flavour, but doesn’t sound like pure Bageshri to me. The stanzas depart a lot.
AK @47: I first heard Mukul Shivputra in a live concert in Chandigarh, and I wasn’t much impressed. He sang Jaijaiwanti in a very different way. For me the key movement of the raga is a glide upward from lower ni that just touches ga and then rests on re. He sang the three notes separately.
A decade later there was a program on Doordarshan by the name of ‘India Alive’ hosted by Gopal Sharman and Jalabala Vaidya of Akshara theatre. One of the episodes featured him after he had renounced the world following a major personal tragedy. Akshara traced him to a small temple in Dewas and recorded him sing a Kabir bhajan ‘Yugan yugan ham yogi.’ The experience was sublime. His pain raised the music to a level that can only be called divine.
I searched for this piece on YouTube and other sites in vain for quite some time. I found the version sung by his father but it failed to move me the same way – the pain was lacking. A few months back I managed to locate the email of Akshara and requested them to make the episode available online. They didn’t put up the whole episode that included commentary and interview, but uploaded the bhajan on their Facebook page:
https://www.facebook.com/AksharaTheatreNewDelhi/videos/3300467640035817
I found a near similar difference in the rendering of Bageshree by the father and son, hence my comment.
Let’s hope Mukul is able to conquer his demons like drug addiction and give is sublime music for many more years.
Subodh
Here are a few links for songs in Ragesri.
A modern one from Bhool Bhulaiyaa with a dance by Vidya Balan.
https://www.youtube.com/watch?v=lL0ULDPCqIA&t=78
Dekh liye tere kudaiyi – Talat Mahmood from Kinare Kinare (Nyay Sarma/Jaidev) – https://youtu.be/_RXIOrxSmCs
Nain mile jain kahan (Lata & Manna Dey from Basant Bahar (Shailendra/Shankar Jaikishan) – https://youtu.be/NGA5XEeeDh4
A working link for the song from Basant Bahar.
https://youtu.be/imPxtgNCtUA?t=6
AK @ 48,
I think you are being unfair to Hridaynath in that comparison with Kishori. In any case, look what happens when both come together:
1. ‘He shyama sundara rajasa’ by Kishori Amonkar (MD – Hridaynath Mangeshkar, Lyrics – Shanta Shelke)
https://www.youtube.com/watch?v=Dm_G1wf3PlA
2. ‘Jaaeina vichaarita raanaphula’ by Kishori Amonkar (MD – Hridaynath Mangeshkar, Lyrics – Shanta Shelke)
https://www.youtube.com/watch?v=CNuvAbUJBE4
DP Rangan @58 & 59: Thanks for these links. Although these songs have a clear mood of Rageshri, I have a suspicion even these don’t follow the rules of the raga as closely as many of the songs in Bageshri do.
Ashwin @60: Both composition sound beautiful, but nightmares for one trying to identify the ragas. Hridaynath seems to have got carried away by the opportunity to work with Ganasaraswati and moved from raga to raga like a young man on a motorbike weaving through traffic lanes.
Ashwin @60,
Yes, I was being unfair, but I was not referring to Hridaynath but to Lata Mangeshkar vis-a-vis Kishori Amonkar. This works in the opposite direction too. I find Kishori’s Geet gaya patharon ne underwhelming even though it is in Durga. I can’t put a finger to it why it is so, because some classical masters sound as good in film format, such as DV Paluskar-Amir Khan’s Aaj gawat man mero jhoom ke from Baiju Bawra
@61
Music directors do mix raags and compose music. It may be next to impossible to confine the song to only one raag and follow it in full. They may adopt a few notes of the raag and venture further so that listeners would listen with avidity. Otherwise we will end up with songs like – shubh din aayo.
D P Rangan ji @ 64 ;
I do feel the same way. Some songs follows raagas but deviate to suit their own created composition. I f there is lilt and melody….. we sail along it forgetting the raag. Sticking to raag however is a divine feeling where we forget the melody but let the song rove over heart and soul.
A post mainly… for the ‘ raaga specialists ‘ .The noble participants have also added so much.It is a great effort to select so many songs and classical links alongwith observations . I liked all the selected songs even without knowledge of ‘raagas’ . All those who know ‘ raagas ‘ may not be MDs and I understand that there can be MDs like OPN who did not study ‘ raagas ‘ . With regard to golden era HFM, I feel the ‘ Raaga’ savvy have scope for discussion on topics like ‘raaga’ leanings of MDs , statistics on use of ‘raagas’ , whether the ‘raaga’ chosen for any song had other possibilities , …
The general public like me enjoys HFM songs without any knowledge of ‘raagas’ and common man does not need to know even details like singer/MD/Lyricist /actor/ movie to enjoy HFM. Since long the MDs/ musicians had maintained a clear distance from the common public . It was their responsibility to popularise ‘raaga’ which unfortunately…. It is ‘us’ and ‘they’ . That practice continues even today as nobody feels a need to mention the ‘raaga’ of any HFM song though some of the other specific details like singer/MD/Lyricist /actor/ movie are loudly mentioned. There are several folk songs across the country of which nobody talks about the details like singer/MD/Lyricist /actor/ movie / ‘raaga’ . Though the concerned knew that the ‘raaga’ is the basic characteristic of any song, yet for some reason it was never considered necessary to let others know this information . If there was any copyrights issue with ‘raagas’ then it would have been mentioned alongwith every song. Popularising the ‘raaga’ of all compositions right from the beginning could certainly have given rise to a larger number of better informed people and perhaps the golden era of HFM would not have died down and there would have been a large and growing following for SOY.
Other major efforts like …if we start to observe something like an ‘ International Raaga fortnight ‘ on the lines of ‘ international Yoga day ‘ or introducing this as part of school curriculum could help in revival .But introducing anything as part of school curriculum is meaningless unless first we know how to motivate the best as ‘ teachers ‘ .
S Joseph @66: Thanks for your appreciation and profound observations on music.
Social media is already doing a lot to popularize classical music. The opening composition in my article ‘Madhura madhura Meenakshi’ is from a YouTube channel IndianRaga, which is doing a lot to promote classical music in an accessible form without compromising on purity of ragas. There are many other channels.
Binna shadaj is also handled in carnatic music. I am not able to get a piece for posting. Here is film song in the raag from the film Bahu Rani, Sahir Ludyanvi/C Ramchandra
Balma anadi manubaiye – https://youtu.be/m6doOa6A9g8
D P Rangan @68: This song is based on the tune of the famous Bade Ghulam Ali Khan thumri ‘Yaad piya ki aaye’. In most references the Thumri is listed as Bhinna Shadj. I, however, thought it could be Hemant, as it uses Pa. The film composition departs even more from Bhinna Shadj.
Interestingly, I heard the thumri live in a private concert by Bade Ghulam Ali’s grandson who said the composition is not Bhinna Shadj, but Punjabi Mand.
Subodh Chandra Agrawal @69;
Came across one song beautifully composed by less known MD . Songs never gathered dust …its us we have to clean vinyl and our ears to enjoy melody.
Chalak rahi boondein – Asha Bhosle….”Maya Machhindra…. Govind-Naresh
https://www.youtube.com/watch?v=ZyJHiXXgRRY
Subodh Chandra Agrawal ji;
I do come across some songs that are very close to main raag but always fall short of its theme . I think Rangan ji also must be feeling so . As an example , here is a song that is purely Jaijaiwanti based song but so close !!!
MAN MOHANA BADE JHUTHE – Lata JI……SEEMA….SJ
https://www.youtube.com/watch?v=uXGMxTTB_Dg
Subodh Chandra Agrawal ji;
Burn a dry leaf and enjoy Ghazals this time…..
Chaman Mein Rang E Bahar – Ghulam Ali….
https://www.youtube.com/watch?v=9v747me-Hi0
Dil Ki Baat Labon Par Jakar (HD) – Mehdi Hassan
https://www.youtube.com/watch?v=P0VTJQtJ6yU
Apni Garaj Pakar Leenee – Raag Rageshree Taal Drut Ek Taal – Jagjit Singh
https://www.youtube.com/watch?v=4_E4llRUaFI
….to be contd…
Subodh Chandra Agrawal ji;
In continuation…..
Mastana Piye Ja | Ghazal Song | Ghulam Ali
https://www.youtube.com/watch?v=8xQap7bgccs
Yeh Na Thi Hamari Qismet – Farida Khanum
https://www.youtube.com/watch?v=J5B8b1EZHmg
Jagjit Singh Live Bandish in Raag bageshree / Rageshri
https://www.youtube.com/watch?v=Tg3-82UeLkA
….to be contd…
KS Bhatia @ 70-73: Thanks for bringing forth these gems, most of them are unfamiliar to me. ‘Man mohana’ is a classic Jaijaiwanti. In fact, it was the first song in my first post in this series.
Special thanks for ‘Apni garaj’ of Jagjit. It is a rare example of popular composition in pure Rageshri.
I have heard many versions of ‘Yeh na thi hamari kismat’. This one by ‘Farida Khanum’ is new for me and a great find.
Subodh Agrawal ji ;
Oceans and emotions never keeps me apart . All these rags are great soul searchers around the universe . Some planet out there must be humming these rags …..a great connection to the human soul. Creating ripples of such kind in the heart are the highest blessings of the Universe .
Got one more soulful rendition by a very young person with amazing tabla player that made my evening a perfect one to see myself at sea.
Raga Rageshwari By Devender Pal Singh
https://www.youtube.com/watch?v=k781E2_WQ2E
….to be contd….
KS Bhatia@75: Very well sung in a mellifluous voice.
A few beautiful Bagesrees are – “Phir Chidee Raat Baat Phoolon Ki” and
https://www.youtube.com/watch?v=h8utRUSnqBU
The above qawwali is by Begum Parveen Sultana and Mohd Dilshad Khan and Sulakshana Pandit. Both compositions are by Khayyam.
Karthik @77,
Long time. Welcome to SOY again. Phir chhidi baat is an excellent song.
@78,
You meant to post the link of the said song?
I meant this qawwali is by Begum Parveen Sultana and Mohd Dilshad Khan and Sulakshana Pandit.
https://www.youtube.com/watch?v=h8utRUSnqBU
Chitrapatsangeet @77&78: ‘Shubh ghadi aayi’ is a beautiful example of classical Bageshree, I had not heard it before, otherwise it would have been in my list. Thanks for introducing me to it.
‘Phir chhidi raat baat phoolon ki’ is one of my favourite ghazals from films. I had not noticed Bageshri in it earlier. Now I listened to it again, but I confess it doesn’t quite strike me as Bageshri.
Great post and thread. Isn’t ‘Aaja re Pardesi’ from Madhumati in Bageshri.
These I believe are a couple of Malgunjis:
1. Unko yeh shikayat hai ke hum kuch nahi kehte – YouTube link
https://m.youtube.com/watch?v=g78X1OMFcb0
2. A Tamil song from the movie Manmadha Leelai. KJY sir is sublime here:
https://m.youtube.com/watch?v=PnijcdEVqAQ
V Ram,
Welcome to SOY. The author of the post would be hopefully replying soon.
Thanks V Ram. ‘Aa ja re pardesi’ doesn’t sound like Bageshri to me. Mr K L Pandey’s Magnum opus says it is a mix of Gaavati and Pahadi.
Unko ye shikayat hai is Malgunji indeed. Thanks for pointing it out.
I am not clear about the Tamil song. It is beautiful. Thanks.
Many thanks Subodh ji and AK.
Subodhji ! Marvelous Article on Ragas . In case of Rageshri I Came to know it from Sangit Sarita Vividh Bharati Radio .In the Episode I heard Mehandi Hasanji s Gazal Gulshan Gulshaan Shola E Gul Ki……. & I became crazy of the Rageshri through or via this Gazal. Actually I dont know HIGHER URDU of the Gazal thoroughly the singing based on Rag Rageshri made me mad for further few days. While Humming Gulshan Gulshan awa Kaun Aaya Mere Man ke dware one day the song KYA KYA HUWA IS BAAT PAR .. Sung by Amitkumarji picturised on Kumar Gouravji spontaneously emerged through my throat . Pl reply me whether the song fits with Rageshri or Else.
Makarand M Kulkarni,
Welcome to SOY. Subodh should be replying to you soon.
Thank you Mr Kulkarni for your appreciation.
As for ‘Kya hua is baat par…’, it doesn’t sound too much like Rageshri to me, but I am not an expert. In cases of doubt I normally consult Mr K L Pandey’s magnum opus, but I happen to be away from home for an extended stay and my copy is lying at home.
Makarand M Kulkarni, Subodh,
I checked up KL Pandey’s ‘Hindi Cine Raag Encyclopaedia’. He has identified the raag of Kya hua ek baat par as Pahadi.
Thank you Subodh ji for this enlightening piece.
I have come across this wonderful website recently and it is like a treasure trove of old hindi songs.
I believe the song kabhi khud pe kabhi halat pe rona aaya from Hum Dono is also based on Malgunji.