Why Jaidev lived and died an unsung genius
EK AKELA ISS SHAHER MEIN…
In 1982, when singer Noor Jehan visited India for the first time since her migration to participate in the mega event, Mortal Men Immortal Melodies, she handpicked Naushad’s Aawaz de kahan hai (Anmol Ghadi) … to enthral audiences. Lata Mangeshkar responded with Jaidev’s seminal Allah tero naam, Ishwar tero naam (Hum Dono) exalting the composer’s name on an honoured podium.
Jaidev’s Abhi na jaao choddh kar, from the same film, dramatically found a million new admirers when superstar Shah Rukh Khan endorsed it as his most romantic duet ever.
And it’s not only Dev Anand, who patronized the song Main zindagi ka saath nibhata chala gaya from Hum Dono. The mood-lifter, both profound ('gham aur khushi mein farq na mehsoos ho jahan') and playful, is no longer just a track. It’s a way of life.
Jaidev’s spectrum traversed classical ragas and folk tunes, verses and ghazals… Sarod was his forte just as was the flute. A minimalist, he was a poet’s dream as he allowed words to take precedence over orchestration. That’s why it’s sad that the music director fell out with Navketan Films and later lyricist Sahir Ludhianvi, who were part of the milestone Hum Dono.
For varied reasons, he also lost out on classics Guide and Umrao Jaan. Unconversant with the machinations of the industry, Jaidev was often short-changed and side-lined. Also, much of his work, though swathed in brilliance, remained unsung being part of small-budget cinema.
Though he lived in Bombay for several years, he couldn’t shake off the sense of alienation. The moving ghazal Seene mein jalan aankh mein toofan sa kyun hai… from Gaman seems to have its genesis in his forlorn heart.
The recipient of three National Awards and several State Awards had no ‘room’ to display his trophies, huddled as he was in a single rented studio. That thwarted dream resonated in the melancholy of Ek akela iss shaher mein aab-o-dana dhoondhta hai (Gharonda).
Despite 40 films and around 250 songs, tags like ‘unsung’ and ‘jinxed’ trailed Jaidev. He passed away as quietly as he lived, incapacitated by asthma… to join the galleria of greats like Salil Chowdhury, Madan Mohan, Roshan, Vasant Desai… revered in retrospect…
Remembering Legend Composer Jaidev on his death anniversary. pic.twitter.com/5tVOxeMs7u
— Nitin Godbole 🇮🇳 (@nitingodbole) January 6, 2016
Jaidev Verma was born in Nairobi, Kenya (East Africa) on August 3, 1919. His father served as a railway official there.
Jaidev’s mother often recited the Ramayana and sang folk songs, memories of which he carried. Incidentally, his composition O pagle der na hogi from Kinare Kinare (1963) was inspired from a song his mother hummed while watering the sacred tulsi. While O mitwa badra chhaaye re from Maan Jaiye (1972) has its origin in his mother’s devotional refrain Bansi kaahe ko bajaaye.
Jaidev’s family returned to India in 1927. At 14, young Jaidev was mesmerized by the film Ali Baba Chalis Chor (1932). He fled to Bombay and did bit roles in Wadia Movietone’s films like Kala Gulab (1934), Miss Frontier Mail (1936). ‘Master Jaidev’ was dubbed the ‘Indian Frankie Darro’ (Hollywood child actor who did stunts) in the credits of Hunterwali (1935).
After his father passed away in 1943, Jaidev arranged his sister, Ved Kumari’s marriage. In 1946, he got his younger brother married. Tragically, his brother died within a year, a grief that hit Jaidev early in life. It also explains his later visits to ashrams in a bid to heal himself.
Eventually, Jaidev trained under sarod maestro Ustad Ali Akbar Khan in Lucknow. He accompanied Khan to Bombay and assisted him for the tracks in Navketan Films’ Aandhiyan (1952) and Humsafar (1953).
Gradually, Jaidev began assisting composer S.D.Burman. Given Jaidev’s grip over Hindi and Urdu, Burmanda gave him a free hand while composing some tracks. These include Hum bekhudi mein tumko (Kala Pani 1958), Janoo janoo re (Insaan Jaag Utha 1959) and Naa main dhan chahun (Kala Bazar 1960) among others. Jaidev’s solo break as a music director came with Chetan Anand’s Joru Ka Bhai (1955). Lata Mangeshkar’s soulful Subah ka intezaar kaun kare impressed listeners.
Navketan’s Hum Dono (1961) was the turning point. Sahir Ludhianvi’s poetry and Jaidev’s tunes resonated the emotional tapestry of the doppelganger narrative. In fact, Lata cites the bhajans, Prabhu tero naam in raag Dhani and Allah tero naam in raag Gaud Sarang, as her favourites.
Evocative of Farida Khanam’s Aaj jaane ki zid na karo, Jaidev’s Abhi na jaao chodh kar tops retro lists, spell binding every generation. The similarly tuned, Jahan mein aisa kaun hai, remains a soothing placation.
Main zindagi ka saath nibhatha chala gaya, using the rare German instrument, Glockenspiel, has transcended generations. The song from Hum Dono betrays an attitude associated not only with protagonist Dev Anand but all life-enthusiasts. What remains an uncanny summation of Jaidev getting a raw deal in life however is the woeful Kabhi khud pe kabhi haalaat pe rona aaya.
After Hum Dono, it was decided that SD Burman and Jaidev would score for Navketan projects alternately. So, SD Burman was given Kala Bazar (1960) and Jaidev Guide (1965). Reportedly, Jaidev even composed the songs Din dhal jaaye and Tere mere sapne ab ek rang hai.
Music Composer #Jaidev was born #OnThisDay. Among the most versatile composers, he distinctly blended folk & classical music. His memorable works include songs like #AbhiNaJaoChhodkar & #Madhushala musical version of poems by #HarivanshRaiBachchan.
He won three #NationalAwards. pic.twitter.com/nnpTVykGUz— NFAI (@NFAIOfficial) August 3, 2018
Apparently, Dev Anand insisted that Jaidev work as Burmanda’s assistant in Guide, something the composer declined. Being out of Guide was a huge setback for Jaidev, something he always rued about with colleagues. Yet, his reverence for Burmanda remained unaltered.
Jaidev’s classical score for Sunil Dutt’s Mujhe Jeene Do (1963), a love story between a dacoit and a courtesan, reiterated his genius. The enticing Raat bhi hai kuch bheegi bheegi, the folk Nadi naare na jao shyam, the chaiti-thumri-dadra blend Maang mein bharle rang sakhi ri, the pensive lullaby Tere bachpan ko jawani ki dua deti hoon and the patriotic Ab koi gulshan na ujde… Jaidev could key in moods of romance, revolt and renaissance.
A sad turn was the fallout between Sahir and Jaidev during the making of Mujhe Jeene Do. The revered poet often remarked, “What good is the music director without the lyricist!” This upset Jaidev, who in fact was a poet’s composer, using minimal arrangement, allowing poetry to take centre-stage.
Recognition came when Sunil Dutt’s Reshma Aur Shera (1971) won Jaidev a National Award. His classical notes blended with the sandy landscape and moonlit desires. Lata Mangeshkar’s folk ballad Tu chanda main chandni (based on Rajasthani maand) and Ek meethi si chubhan and Asha Bhosle’s sprightly, Jab se nazar lagayi... were delectable.
Rajasthan was the backdrop once again in Khwaja Ahmad Abbas’ Do Boond Paani (1971). Asha Bhosle’s Ja re pavaniya, the nuptial song Banni teri bindiya, and the Praveen Sultana-Minu Purshottam duet Peetal ki mori gagari… Jaidev beautifully captured fluid hope vs a parched reality.
Jaidev’s golden period could be dubbed between 1977-79. In Hrishikesh Mukherji’s Alaap (1977), based on the travails of a talented courtesan, Jaidev showcased his command over classical music.
He presented maestro Pt Vishnu Digambar’s Mata Saraswati Sharda in the voices of Lata-Yesudas-Dilraj Kaur-Madhu Rani. Dr Harivansh Rai Bachchan’s poem, Koi gaata main so jaata, was also deftly set to tune. While Aayi ritu saawan ki by Kumari Fayyaz and Bhupinder is a moving piece in raag Desh.
Bhimsen’s Gharonda (1977) owes its timelessness as much to the house-hunting theme as to Jaidev’s score, which strung together dreams and despair in the maximum city.
Runa Laila’s rendering of Naqsh Lyallpuri’s Tumhein ho na ho spoke of nascent love. While Gulzar’s Do deewane shaher mein (Bhupendra-Runa Laila), lyricized the fantasy of possessing a home, dithering between high-rises and ground truths. Gulzar’s brooding nazm, Ek akela iss shaher mein, rendered by Bhupendra, is an eternal requiem of mislaid dreams in an unrelenting city... all aided by Jaidev's scores.
Muzaffar Ali’s Gaman (1978), a story of a migrant taxi driver in Bombay, fetched Jaidev his second National Award. The songs Seene mein jalan (Suresh Wadkar) and Ajeeb saneha (Hariharan), written by Shahryar, capture the angst of alienation in a teeming metro.
While Makhdoom Mohiuddin’s Aapki yaad aati rahi, rendered by newcomer Chhaya Ganguly, sears through the moony night of longing. Hira Devi Mishra’s Aaja sanwariya (originally sung by Gauhar Jan) in raag Bhairvi and Banna badi dhoom gajar se aayo celebrate Jaidev’s ability to deploy traditional jargon to convey collective emotions.
After Gaman, Jaidev was reportedly signed by Muzaffar Ali for Rekha’s Umrao Jaan (1982). Reportedly, Jaidev was suffering from haemorrhoids then. Though in pain, he apparently composed around 10 songs for the film.
He suggested thumri singer Madhurani for playback as the poignancy in her voice would authenticate the character. However, the makers wanted a popular singer for commercial viability. Eventually, the music of Umrao Jaan was scored by Khayyam. Jaidev once again lost a golden opportunity.
Amol Palekar’s numinous Ankahee (1985) included two bhajans by stalwart Bhimsen Joshi, Thumak thumak and Raghuvar tumko meri laaj. Asha Bhosle’s Mujhko bhi Radha bana lo and Kabir’s Kauno thugwa nagariya lootal ho added to the mystical theme of the film. Jaidev won his third National Award.
Besides the laurels, a lot of Jaidev’s work remained uncelebrated, the films doing poorly. Like Lata’s Yeh dil aur unki nigahon ke saaye in Ved Rahi’s Prem Parbat (1973). Sadly, there’s no video of the song, the prints being destroyed over time. Composed in raag Pahadi and written by Jan Nisar Akhtar, the song was recorded with just five musicians. Shivkumar Sharma on santoor and Hariprasad Chaurasia on flute being the key players.
Ye wahi geet hai for BR Ishara’ s film Man Jaiye (1972) and Jaise suraj ki garmi se jaltey huey sung by Sharma Bandhu brothers in Parinay (1974) are other singular achievements.
Jaidev’s last work include the music for Trikon Ka Chautha Kon (1986) and the television serial Ramayan (1987). Among his non-film albums, Jaidev’s composition of Dr Harivansh Rai Bachchan’s Madhushala (Manna Dey) is exemplary.
Despite extraordinary talent, Jaidev remained underpaid and undervalued. A bachelor, he lived in a small room in Lily Court at Churchgate as a paying guest. The studio strewn with newspapers, books and cassettes, betrayed the bedlam in his life.
A nomad at heart Jaidev travelled constantly. The erratic climatic conditions worsened his asthma. Largely a loner, he enjoyed drinking with fellow composer Madan Mohan. The two side-lined virtuosos often shared their professional woes.
Soon after receiving the Lata Mangeshkar Award (Madhya Pradesh) in 1986, Jaidev was evicted from Lily Court, his benevolent landlord having passed away. He shifted to the South Green Hotel. His health began deteriorating. Ironically, towards the end of 1986, he was reportedly allotted a flat by the Government of Maharashtra. But the letter did not reach him as he’d left his old accommodation.
He vomited blood on 3 January, 1987 and was admitted in the Breach Candy Hospital. Jaidev passed away in the early hours of 6 January, 1987. His body was brought straight to the crematorium from the hospital. With no family around, only a trickle from the fraternity paid their last respects.
But today the fraternity of his fans only seems to be growing…
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