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Madhura Jasraj is no more. She kicked the bucket at the age of 86. It would be off-base to call her the girl of the incredible filmmaker V Shantaram or the spouse of Padma Vibhushan Pandit Jasraj. She was an individual of exceptional ability in herself. The credit for bringing the Santoor to film music goes to her to a huge extent.

One conclusion of Madhura Ji’s story is associated with that program, which is from the early days of Pandit Shivkumar Sharma. That story is exceptionally popular in the world of music, but exceptionally few individuals know that Madhura ji was moreover a character in that story. It so happened that there was a prestigious music celebration in Mumbai in the fifties.

Pandit Shivkumar Sharma was 17–18, a long time ancient at that point. He was called to that program to play the santoor, but some time recently playing the santoor, he demanded on playing solo tabla. That as well when huge specialists like Ustad Allarakha Khan Sahab, Pandit Anokha Lal, Pandit Samta Prasad, Pandit Kishan Maharaj, Ustad Habibullah Khan, and Ustad Ahmed Jan Thirakwa were as of now shown to play tabla. Well, that day Pandit Shivkumar Sharma, to begin with, played tabla and, at that point, played santoor. Enormous craftsmen praised him a lot.

Madhura Ji was also tuning in to that program. She was touched by the sound of santoor. Her understanding of music said that this instrument is going to be enjoyed by individuals in film music as well. Some time recently, Santoor was barely utilized in film music. In the beginning, with free time, Madhura ji told her father and popular filmmaker V Shantaram about both the Santoor instrument and Pandit Shivkumar Sharma. At that time, V Shantaram was making a film, Jhanak Jhanak Payal Baaje. It was chosen in the discussion with girl Madhura that Shiv Kumar Sharma ought to be met.

Madhura ji told Pandit Shivkumar Sharma that her father had called him to meet her. Pandit Shivkumar Sharma apologized, citing his exam. Be that as it may, the curious thing is that indeed, after Pandit Shivkumar Sharma got to be a world-renowned craftsman, he accepted that it was his naivety. Luckiness gave Pandit Shivkumar Sharma another chance.

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After the exam, he got a wire from Rajkamal Studio—it was composed in that wire—Come to Bombay. Since the Santoor instrument was modern, it was utilized to begin with time in film music. The film Jhanak Jhanak Payal Baaje had numerous incredible specialists of classical music. The incredible Kathak artist Gopikrishna was the legend in this film. The extraordinary Samata Prasad played the tabla in that film. The title tune of that film, Jhanak Jhanak Payal Baaje, was sung by the incredible classical artist Ustad Amir Khan. Pandit Shivkumar Sharma played the Santoor in the midst of such enormous craftsmen in such a film, and the credit for this goes to Madhura Jasraj.

Once I was meeting Pandit Jasraj. When I inquired him about his interest in film music, he giggled and said, “Brother, I am hitched to the girl of an extraordinary filmmaker like V Shantaram, so why would he not like film music? The coincidence of wedding Madhura ji was, moreover, made through music. She utilized to come to our programs. Our to begin with program was held in Mumbai, around which she listened from individuals that I sang exceptionally well. In the moment’s program, she came herself to tune in to me, so she herself came and praised me. After this, our colleague developed a small. At that point, we got married.”

The values ​​of Pandit Jasraj and Madhura ji were moreover passed on to their children. Their child Sarang Dev and girl Durga Jasraj are moreover related to music. Pandit Jasraj passed absent approximately four a long time prior. A voice that included enhancement to the music world ceased. In spite of this, as fair as Pandit Jasraj’s music still resonates in our ears, spreading sweetness, Madhura Ji’s understanding of music will moreover keep his commitment godlike for a long time to come.