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Archive for June, 2012

Ravi Shankar Sharma

Tuesday, June 26th, 2012

Ravi Shankar Sharma

Ravi Shankar Sharma (3 March 1926 – 7 March 2012), often referred to mononymously as Ravi, was an Indian music director, who had composed music for several Hindi and Malayalam films. After a successful career in Hindi cinema, he took a break from 1970s to 1984, and made a successful comeback under the stage name Bombay Ravi. He died on 7 March 2012 in Mumbai at the age of 86.
Ravi was born in Delhi on March 3, 1926. He had no formal training in classical music; instead he learned music from listening to his father sing bhajans. He taught himself to play harmonium and other classical instruments and worked as an electrician to support his family. In 1950 he decided to shift to Bombay and become a professional singer. At first Ravi was homeless, living on the streets and sleeping in Malad railway station at night.
In 1952, Ravi was discovered by Hemant Kumar who hired him to sing backing vocals in Vande Mataram from the film Anand Math. Ravi gave several hit songs and received Filmfare nominations for these films: Chaudhvin Ka Chand (1960), Do Badan (1966), Humraaz (1967), Ankhen (1968), and Nikaah (1982). He won Filmfare awards for Gharana (1961) and Khandaan (1965). His other successful films include Waqt, Neel Kamal and Gumraah. His songs Aaj mere yaar ki shaadi hai, Babul ki duyaen leti ja and Doli chadh ke dulhan sasural chali became very popular in wedding celebrations.
Ravi was one of the music directors who shaped the career of Asha Bhosle with songs like Tora man darpan. He was also instrumental in making Mahendra Kapoor a popular singer in Bollywood. After a successful career in Hindi films during the 1950s and 1960s, he took a long break after 1970 till 1982. In 1982, he gave music for the Hindi film Nikaah, and one of the film’s songs Dil ke armaan aansooyon main beh gaye sung by Salma Agha won her the Filmfare Best Female Playback Award. His songs Aaj mere yar ki shadi hai (Aadmi Sadak Ka) and Babu Ki Duaen Leti Ja (Neel Kamal), both sung by Mohammad Rafi became popular wedding songs.
In the 1980s, he made a comeback as a music director in Malayalam (and some Hindi) films as Bombay Ravi. During 1986, the Malayalam director Hariharan convinced him to make this comeback[citation needed]. The first movie was Panchagni. The songs Saagarangale and Aa raatri maanju poyi (sung by Yesudas and Chitra) were hits. That same year, Hariharan’s Nakhakshathangal also came out and Chithra won her second National Award for the song Manjalprasaadavum from the same film. All the songs from the Malayalam movie Vaisali released in 1989 were super hits and Chithra won her third National Award for the song “Indupushpam Choodi Nilkum” from the same film. Ravi has composed for many films produced by South Indian banners: Ghoonghat, Gharana Grihasti, Aurat, Samaj ko badal dalo (Gemini), Meherban, Do Kaliyan (AVM), Bharosa, Khandaan (Vasu Films).
Filmography

[edit]Hindi
Albeli (1955)
Vachan (1955)
Ek Saal (1957)
Narsi Bhagat (1957)
Dilli Ka Thug (1958)
Dulhan (1958)
Ghar Sansar (1958)
Mehndi (1958)
Chirag Kahan Roshni Kahan (1959)
Nai Raahen (1959)
Pehli Raat (1959)
Apna Ghar (1960)
Chaudhvin Ka Chand (1960)
Ghunghat (1960)
Tu Nahin Aur Sahi (1960)
Modern Girl (1961)
Gharana (1961)
Nazrana (1961)
Pyaar Ka Saagar (1961)
Wanted (1961)
Salaam Memsaheb (1961)
China Town (1962)
Raakhi (1962)
Tower House (1962)
Bombay Ka Chor (1962)
Aaj Aur Kal (1963)
Gehra Daag (1963)
Gumrah (1963)
Nartaki (1963)
Ustadon Ke Ustaad (1963)
Yeh Raaste Hain Pyaar Ke (1963)
Bharosa (1963)
Mulzim (1963)
Pyar Kiya To Darna Kya (1963)
Grahasthi (1963)-
Kaun Apna Kaun Paraya (1963)
Door Ki Awaaz (1964)
Shehnai (1964)
Kaajal (1965)
Khandaan (1965)
Waqt (1965)
Bahu Beti (1965)
Do Badan (1966)
Dus Lakh (1966)
Phool Aur Patthar (1966)
Sagaai (1966)
Yeh Zindagi Kitni Haseen Hai (1966)
Aurat (1967)
Humraaz (1967)
Meharban (1967)
Nayi Roshni (1967)
Aankhen (1968)
Do Kaliyaan (1968)
Gauri (1968)
Man Ka Meet (1968)
Neel Kamal (1968)
Paisa Ya Pyaar (1969)
Aadmi Aur Insaan (1969)
Anmol Moti (1969)
Badi Didi (1969)
Doli (1969)
Ek Phool Do Mali (1969)
Dharkan (1972)
Dhund (1973)
Mehmaan (1973)
Umeed (1974)
Ek Mahal Ho Sapnon Ka (1975)
Aadmi Sadak Ka (1977)
Nikaah (1982)
Aaj Ki Awaaz (1983)
Tawaif (1984)
Ek Alag Mausam (2003)
[edit]Malayalam (as Bombay Ravi & Ravi Bombay)
Panchagni (1986)
Nakhakshathangal (1986)
Vaishali (1988)
Oru Vadakkan Veeragatha (1989)
Vidhyarambham (1990)
Sargam (1992)
Sukrutham (1992)
Ghazal (1993)
Padheyam (1993)
Parinayam (1994)
Kalivaakku (Film Not Released)(1996)
Five Star Hospital (1997)
Manassil Oru Manjuthulli (2000)
Mayookham (2005)
[edit]Non-movie audio album (Malayalam)
Aavani Kanavukal (1997)

Ravi (Ravishanker Sharma in real life) is one of those few composers in whose compositions, melody, rather than orchestral embellishment, predominates. Having started his career with Goel’s ‘Vachan’ in 1955 Ravi scored music in more than 100 films. After the success of ‘Chaudhvin Ka Chand’ (1960) he was ranked with the major composers of that time. His hummable songs such as ‘Ek woh bhi Diwali thi..’ sung by Mukesh, ‘Wafa jinse ki bewafa ho gaye..’ sung by Mukesh are as much popular as ‘Sub kuchh loota ke hosh men aye to kya kiya..’ sung by Lata, which is profound and steeped in sadness.

Ravi who came to Bombay in 1950 to be a singer had no formal training in classical music. Yet as a music director he composed some of the most memorable classical songs such as ‘Lage na mora jiya, sajana..’sung by Lata and ‘Darshan do Ghanshyam..’ by Hemant Kumar, Sudha and Manna Dey. His song ‘Jeevan jyot jale..’ sung by Asha from ‘Grihasthi’ won him the Sur Singar Samsad award for the best classical song of the year. It is not an exaggeration to say that Ravi’s songs have been beggars’ delight as the latter survive by singing his melodies such as ‘Ek paisa dede o babu..’, (Vachan), ‘Garibon ki suno woh tumhari sunega..’ (Dus Lakh). During the 33 years of his career, Ravi had his share of success. Unlike some of the modern composers he has not become a part of the rat race. Producers who care for sweetness in melodies still come to him.

Ravi gave several hit songs in films like Chaudhvin Ka Chand, Humraaz, Waqt, Neel Kamal and Gumraah. His songs Aaj mere yaar ki shaadi hai, Babul ki duyaen leti ja and Doli chadh ke dulhan sasural chali became very popular in wedding celebrations. He was one of the music directors who shaped the career of Asha Bhosle with songs like Tora man darpan. He was also instrumental in making Mahendra Kapoor a popular singer in Bollywood. He won several Filmfare awards for his music, including for Gharana(1961). After a successful career in Hindi films during 1950s and 1960s, he took a long break after 1970 till 1982. In 1982, he gave music for the Hindi film Nikaah with the song Dil ke armaan aansooyon main beh gaye sung by Salma Agha.

In 1980s, he made a comeback as a music director in Malayalam (and some Hindi) films as Bombay Ravi. During 1984, the famous Malayalam director Hariharan convinced him to start a second innings especially for his lovers in South India. The first movie was Panchagni. The songs saagarangaLE and aa raatri maanju poyi (sung by Yesudas and Chitra) were hits. Ravi released some albums thereafter. Ravi has composed for many films produced by South Indian banners – Ghoonghat, Gharana, Grihasti, Aurat, Samaj ko badal dalo (Gemini), Meherban, Do kaliyan (AVM) Bharosa, Khandaan (Vasu films). So his trips to Madras were frequent. In fact he mentions that he was close to the late Sivaji Ganesan.

Filmography

* Chaudhvin Ka Chand (1960)

* Gharana (1961)

* China Town (1962)

* Do Badan (1965)

* Kaajal (1965)

* Waqt (1965)

* Aurat (1967}

* Humraaz (1967)

* Aankhen (1968)

* Neel Kamal (1968)

* Aadmi Aur Insaan (1969)

* Anmol Moti (1969)

* Badi Didi (1969)

* Doli (1969)

* Ek Phool Do Mali (1969)

* Dharkan (1972)

* Dhund (1973)

* Mehmaan (1973)

* Nikaah (1982)

* Tawaif (1984)

* Do Kaliyaan (1968)

* Gauri (1968)

* Man Ka Meet (1968)

* Aurat (1967)

* Mehrban (1967)

* Dus Lakh (1966)

* Phool Aur Patthar (1966)

* Sagaai (1966)

* Yeh Zindagi Kitni Haseen Hai (1966)

* Khandaan (1965)

* Door Ki Awaaz (1964)

* Shehnai (1964)

* Aaj Aur Kal (1963)

* Bharosa (1963)

* Gehra Daag (1963)

* Gumrah (1963)

* Nartakee (1963)

* Pyar Ka Bandhan (1963)

* Ustadon Ke Ustad (1963)

* Yeh Raaste Hain Pyaar Ke (1963)

* Rakhi (1962)

* Tower House (1962)

* Ummeed (1962)

* Nazrana (1961)

* Pyaar Ka Saagar (1961)

* Wanted (1961)

* Apna Ghar (1960)

* Ghunghat (1960)

* Nai Raahen (1959)

* Pehli Raat (1959)

* Dilli Ka Thug (1958)

* Dulhan (1958)

* Ghar Sansar (1958)

* Mehndi (1958)

* Ek Saal (1957)

* Narsi Bhagat (1957)

* Albeli (1955)

* Ek Alag Mausam (2003)

* Vachan (1955)

* Modern Girl (1961)

* Salaam Memsaheb (1961)

* Bombay Ka Chor (1962)

* Bahu Beti (1965)

* Nai Roshani (1967)

* Ek Mahal Ho Sapnon Ka (1975)

* Paisa Ya Pyaar (1969)

* Chirag Kahan Roshini Kahan (1959)

Looking back on life, Ravi gives credit to music director Hemant Kumar and director Devendra Goel for having shaped his career as a music director and acknowledges grateful thanks to his wife (she died in 1988) for having stood by him when he was a struggling ‘nobody’. When he feels lonely Ravi gets lost in listening to the melodious music of the 40′s. It never fails to rejuvenate him and inspire him to create something worthwhile.

Naushad (Naushad Ali)

Tuesday, June 26th, 2012

Naushad (Naushad Ali)

Naushad Ali (Hindi: नौशाद अली, Urdu: نوشاد علی; December 25, 1919 – May 5, 2006) was an Indian musician. He was one of the foremost music directors for Bollywood films, and is particularly known for popularizing the use of classical music in films.
His first film as an independent music director was Prem Nagar in 1940. His first musical success film was Rattan (1944), following it up with 35 silver jubilee hits, 12 golden jubilee and 3 diamond jubilee mega successes. Naushad was conferred the Dadasaheb Phalke Award in 1982, and the Padma Bhushan in 1992.
Naushad was raised as a Muslim in Lucknow, a city with a long tradition as a center of Muslim culture. His father, Wahid Ali, was a munshi (court clerk). As a child, Naushad would visit the annual fair at the Deva Sharif in Barabanki, 25 km from Lucknow, where all the great qawwals and musicians of those days would perform before the devotees. He studied Hindustani music there under Ustad Ghurbat Ali, Ustad Yusuf Ali, Ustad Babban Saheb, and others. He also repaired harmoniums.
As a lad, he joined a junior theatrical club and was appointed the club’s music maestro for their theatrical presentations. He used to watch silent films at the Royal theatre in Lucknow. Theatre owners would hire a team of musicians to play the tabla, harmonium, sitar and violin. The musicians would watch the film first, make notes, finalise the scales required. When the show began in the evening, they would sit in front of the screen and play music for the scenes. This was a great way to be entertained and learn music at the same time. It made him grasp the nuances required in composing a film’s background music score.
In time Naushad formed his own Windsor Music Entertainers or just Windsor Entertainers, so named because he had seen the word “Windsor” around Lucknow and liked its ring. It led to the Indian Star Theatrical Company in a theatre at Golagunj colony in Lucknow. He was trained under Laddan Khan until he became capable of working independently as a composer. There he also developed the sense to pick rare musical jewels from the folk tradition of Punjab, Rajasthan, Gujarat and Saurashtra during the company’s sojourns in those regions. The traveling players got as far as Viramgam in Gujarat, where they discovered penury, even after selling off theatrical props and musical instruments. The company limped back to Lucknow through the kindness of one of Naushad’s friends.
Naushad had already become a cinema fan in the silent era, and then, in 1931, Indian cinema got voice and music that further fascinated the 13 year old boy. But his family was strict follower of Islamic diktat of prohibition of music and his father gave him ultimatum to leave music if he wanted to stay at home. He ran away to Bombay (now called Mumbai) in the late 1937 to try his luck as a musician.
In Bombay, he initially stayed with an acquaintance from Lucknow (U.P.) at Colaba and after a while, shifted to Dadar opposite the Broadway theater where he would sleep on the footpath. He assisted music director Ustad Jhande Khan who was at the peak of his success those days, at a monthly salary of Rs 40. The producer was a Russian and the studio was at Chembur. The film could not be completed. Naushad was a piano player so he worked as a pianist in composer Ustad Mushtaq Hussain’s orchestra. He then polished off an unfinished film score and got a credit as assistant to Hussain. Then the film company collapsed. Composer Khemchand Prakash took him on as his assistant for the film Kanchan at Ranjit Studio at a salary of Rs 60 per month, for which Naushad remained extremely grateful and, in interviews, had called Khemchand his guru.
His friend, lyricist D N Madhok trusted Naushad’s unusual talent for composing music and introduced him to various film producers. Chandulal Shah, the owner of Ranjit Studios, offered to sign Naushad for one of his forthcoming films. Naushad composed a thumri for this film, ‘Bata de koi kaun gali gaye Shyam’, but the film never got on the floors. He was assistant music director for the Punjabi film ‘Mirza Sahib’ (1939).
He composed for his first independent film Prem Nagar in 1940 that had a story set in Kachchh for which he did a lot of research into the folk music of the area. With A.R. Kardar’s film Nayi Duniya (1942), he got first credit as “music director” and he began to work regularly for Kardar Productions. He however had a flexibility that he could work outside Kardar Productions, and this arrangement continued ever after. He first got noticed with A.R. Kardar’s film Sharda (1942) wherein 13-year-old Suraiya debuted with the song “Panchhi Ja” for the playback for heroine Mehtab. It was Rattan (1944) that took Naushad right to the top and enabled him to charge Rs 25,000 a film then.
But his Lucknow based family remained against music and Naushad had to hide from his family the fact that he composed music. When Naushad got married, the band was playing the tunes of the super hit songs of Naushad’s film Rattan. While Naushad’s father and father-in-law were condemning the musician who had composed these songs, Naushad dared not tell them that it was he who had composed the music.
From 1942 until the late 1960s, he was one of the top music directors in Bollywood. While he did less than a hundred films during his lifetime, 26 of those films celebrated Silver jubilees (25 weeks run) — 8 celebrated golden jubilees (50 weeks run) and 4 celebrated diamond jubilees (60 weeks run). (inclusive count – a diamond jubilee film also celebrated Silver and Golden jubilee)
Naushad worked with several lyricists, including Shakeel Badayuni, Majrooh Sultanpuri, D. N. Madhok, Zia Sarhadi, and Khumar Barabankvi.
Mother India (1957), for which he had composed music, was the first Indian film that got nominated for Oscar.
In 1981, Naushad was awarded the Dadasaheb Phalke Award for his lifetime contribution to Indian cinema.
He composed the tunes of Taj Mahal: An Eternal Love Story (2005) at the age of 86.
Amongst his assistants, Mohammed Shafi, Jerry Amaldev, and Ghulam Mohammed stand out prominently.
Five films have been made on his life and work. Biographical books published are Dastaan-E-Naushad (Marathi) by Shashikant Kinikar; Aaj Gaawat Man Mero (Gujarati); Hindi and Urdu biographical sketches in Shama & Sushma Magazines respectively, titled “Naushad Ki Kahani, Naushad Ki Zubani”; the last one was translated into Marathi by Shashikant Kinikar. Kinikar also came up with a book titled “Notes of Naushad” which puts together some interesting anecdotes of Naushad’s life.
[edit]Last days
Naushad died on 5 May 2006 in Mumbai. He was buried at the Juhu Muslim cemetery.
He is survived by six daughters Zubeda, Fehmida, Farida, Sayeeda, Rashida, and Waheeda, and three sons Rahman Naushad, Raju Naushad & Iqbal Naushad. Rahman Naushad and Raju Naushad had assisted him in some of his films. Also, Naushad composed music for two movies directed by Rahman Naushad, ‘My Friend’ and ‘Teri Payal Mere Geet’.
Naushad had requested the Maharashtra state government to sanction a plot for an institution for promoting Hindustani music. This was sanctioned during his lifetime and the ‘Naushad Academy of Hindustani Sangeet’ was formed.
Naushad was known for his deft adaptation of the classical musical tradition for movies. For some movies like Baiju Bawra, he composed all scores in classical raga modes and arranged for the well-known vocalist Amir Khan to be a music consultant for the film. He could easily work with Western instruments, including the clarinet, the mandolin, and the accordion. He could incorporate Western musical idioms in his compositions, and compose for Western-style orchestras.
During early 1940s, recordings were done in quiet parks and gardens after midnight because the studios did not have sound-proof recording rooms. In the gardens there would be no echo and disturbances, unlike the studios where the sound reverberated because of the tin roofs.
For films like Uran Khatola and Amar, he recorded the voice of a particular artiste on a scale of 90, then recorded it on 70, then on 50 and so on. After the complete recording, it was played for the scene and the impact it created was terrific.
He was one of the first to introduce sound mixing and the separate recording of voice and music tracks in playback singing. He was the first to combine the flute and the clarinet, the sitar and mandolin. He also introduced the accordion to Bollywood film music and was among the first to concentrate on background music to extend characters’ moods and dialogue through music. But perhaps his greatest contribution was to bring Indian classical music into the film medium. Many of his compositions were inspired by ragas and he even used distinguished classical artistes like Amir Khan and D.V. Paluskar in Baiju Bawra (1952) and Bade Ghulam Ali Khan in Mughal-e-Azam (1960). Baiju Bawra (1952) demonstrated Naushad’s grasp of classical music and his ability to bring it to the masses, for which he won the first Filmfare Best Music Director Award in 1954.
For Aan (1952), he was the first to use a 100-piece orchestra, He was the first composer to have developed the system of western notation in India. The notation for the music of the film Aan was published in book form in London.
In Uran Khatola (1955), he recorded an entire song without the use of orchestra, having replaced the sound of musical instruments with choral sound of humming.
For Mughal-e-Azam (1960) song Ae Mohabbat Zindabad, he used a chorus of 100 persons. He asked Lata Mangeshkar to render a part of the song “Pyaar Kiya To Darna Kya” in a bathroom that had glazed tiles and then recorded the music to get the echo effect.
For Ganga Jamuna (1961), he used lyrics in chaste Bhojpuri dialect.
He used just six instruments in the title song of Mere Mehboob (1963).
In 2004, a colorized version of the classic Mughal-e-Azam (1960) was released, for which Naushad had the orchestral music specially re-created (in Dolby Digital) by today’s industry musicians, while maintaining all the solo vocals from the original soundtrack. To elaborate, the playback vocals (though not the chorus) recorded four decades ago are mixed with orchestra tracks created in the present millennium.
As Indian film music gradually assumed a Western bend starting in the late 1960s, Naushad came to be considered old-fashioned. Composers who could compose rock-and-roll and disco-inflected music started getting increasingly popular. Naushad was still esteemed as a maestro, but his talents were sought mostly for historical movies where traditional scores were appropriate.
Naushad’s contribution to the Indian music cannot be quantified. Figures and words may fall miserably short of portrayal of his true genius. Naushad was a phenomenon; someone, who not only harmonized the Indian classical music into filmy style, but was an important part of the movement that has made music an indistinguishable feature of Hindi movies.

Naushad Ali was born in the culturally important city of Lucknow. He got training in music from Ustad Ghurbat Ali, Ustad Yusuf Ali, and Ustad Babban Saheb. In 1930s, Naushad moved to Mumbai, where in the beginning, he struggled very hard to find a foot-hold. Later, he picked up a job in an orchestra. Before playing a second fiddle in many movies, he gave musical score to Prem Nagar (1940) independently. However, Sharda (1942) gave him much needed recognition.

In 1940s, he gave music to many films that included Shahjehan (1946), Dard (1947), Dillagi (1949), Dulari (1949), Anmol Ghadi (1946), Elaan (1947), and Andaaz (1949). Naushad Ali s some of the best works like music of Baiju Bawra (1952) and Mughal-e-Azaam (1960) were steeped heavily in classical music. Mother India (1957), Mughal-e-Azam (1960), Ganga Jamuna (1961) and Mere Mehboob (1963) are some of the other films, whose music was created by Naushad.

Pakeezah (1972) was the last great flick that carries the unmistakable Naushad stamp on its musical notes. However, Akbar Khan’s Taj Mahal: An Eternal Love Story (2005) became the last movie of his illustrious career. Naushad would always be remembered for the fusion of Indian and Western instruments. Naushad was the pioneer of sound mixing and the separate recording of voice and music tracks in playback singing. He was equally fond of the sitar and the flute; the mandolin and clarinet.

In an interview, he had said: “In my 62 years in the film industry, I composed music for 66 films we used to agonise over every tune and phrase in music, spend sleepless nights over a song, and work on it until it was perfected. And I am still looking for perfection.” No other words can succinctly spell the creations and quest of Naushad.

In 1981, Naushad was awarded the Dadasaheb Phalke Award for his lifetime contribution to Indian cinema. Naushad till his end was a vociferous critic of vulgarisation of music. At whatever forum he could speak, Naushad condemned the pop and remix versions of old masterpieces in no unequivocal terms.

In a career spanning over more than six decades, Naushad composed for just 75 films (out of that 65 were Hindi films) but then he was always regarded as the choosiest composer. Taking days to finalize one tune, he was also regarded as the slowest! As the pace of life went on quickening with each passing decade, such perfectionist attitude might have slowly made him redundant, but that very steadfast attitude also helped him compose many a masterpiece.

Beginning his career as an assistant for music directors like Mushtaq Hussain Khan, Khemchand Prakash and Manohar Khanna, a young Naushad composed his first independent movie-score for Prem Nagar in 1940. In the initial years, he relied more on simple yet catchy rhythmic melodies. Listening to scores like Rattan (1943), Shah Jehan (1946) and Anmol Ghadi (1946) this simplistic popular appeal of tunes like Ankhiya Milake Jiya Bharmake, Ghum Diye Mustakil and Jawan Hai Mohabbat is well evident.

1952-film Baiju Bawra marked watershed in his career. From then on he consciously decided to work within the framework of Indian classical and folk-music. Thus he created many milestone raga- based songs like Man Tarpat Hari Darshan Ko (Raga- Malkauns), Madhuban Mein Radhika Naache Re (Raga- Hameer), Mohe Panghat Pe (Raga- Gara) and Mohe Bhool Gaye Sawariya (Raga- Bhairav) and also some brilliant folk-songs like Nain Lad Jai Hain and Dukh Bhare Din Beete Re Bhaiya. This total reliance on indigenous Indian music was Naushad’s strength and later sadly it also proved to be his limitation.

* Naushad Ali (Dec.25, 1919 – May 5, 2006).

* A school-dropout and a runaway entrant into film-music industry, Naushad gave first breaks to many popular singers like Mohammed Rafi, Suraiya, Uma Devi (Tuntun) and Mahendra Kapoor. He also groomed Lata Mangeshkar in her early years.

* Many legendary Indian classical singers sang for his film-songs, notable amongst them being Pt. D.V. Paluskar and Ustad Amir Khan singing Aaj Gawat Man Mero in Baiju Bawra and Bade Ghulam Ali Khan singing Prem Jogan Banke and Shubh Din Aayo in Mughal-e-Azam.

* He is credited for introducing modern recording techniques and for making background music an important integral part of films.

* Some Top scores: Rattan, Anmol Ghadi, Andaz, Aan, Baiju Bawra, Udan Khatola, Shabab, Mother India, Mughal-e-Azam, Ganga-Jumna, Mere Mehboob, Leader, Saathi, Aadmi

Some Top Songs

1. O Jaanewale Balamwa- Rattan – Zohrabai, Shyam Kumar

2. Jab Dil Hi Toot Gaya – Shah Jehan – K.L. Saigal

3. Aawaz De Kahan Hai – Anmol Ghadi – Noor Jehan, Surendra

4. Afsana Likh Rahi Hoon – Dard – Uma Devi

5. Suhani Raat Dhal Chuki- Dulari – Rafi

6. Uthaye Jaa Unke Sitam – Andaz – Lata

7. Tu Ganga Ki Mauj – Baiju Bawra – Rafi, Lata

8. Mera Salam Le Ja – Udan Khatola – Lata

9. Pyar Kiya To Darna Kya – Mughal-e-Azam- Lata

10. Ek Shahenshah Ne- Leader – Rafi, Lata

11. Koi Saagar Dil Ko- Dil Diya Dard Liya – Rafi

12. Kal Ke Sapne Aaj Bhi Aana- Aadmi- Lata

Roshan (Roshanlal Nagrath)

Tuesday, June 26th, 2012

Roshan (Roshanlal Nagrath)

Roshanlal Nagrath (14 July 1917 – 16 November 1967), better known simply by his first name Roshan, was a Bollywood film music composer. He was the father of the actor and film director Rakesh Roshan and music director Rajesh Roshan and paternal grandfather of Hritik Roshan.
Roshan was born in Gujranwala, Punjab, British India (now part of Punjab in Pakistan). He began music lessons at a young age, and later attended Marris College (Bhatkhande College of Music) in Lucknow under the training of Pt. S N Ratanjankar (Principal of the University). In the early 1940s, Khawaja Khurshid Anwar, Programme Producer/Music, AIR Delhi, hired Roshan as Staff Artist for Esraj, the instrument which he used to play.
In 1948, Roshan came to Mumbai to find work as a Bollywood music director and became Assistant of Music Composer Khawaja Khurshid Anwar in film Singaar. He struggled until meeting Kidar Sharma, who gave him the job of composing for his film Neki aur Badi (1949). While this film was a flop, Roshan emerged as a player on the Bollywood music scene with the film Baawre Nain, released the following year.
In the early 1950s, Roshan worked with singers Mukesh and Talat Mahmood. Malhar, Shisham, and Anhonee were some of the movies that he scored during the ’50s. It was during this time that he composed, Aeiri main to prem diwani mera dard na jane koyi sung by Lata Mangeshkar for the movie Naubahaar. He was not always commercially successful. He gave Indeewar and Anand Bakshi their first breaks in the industry as lyricists; these two would later became two of the most sought-after songwriters in Mumbai from late 1960s onwards.
Anand Bakshi was given his first break in 1956 by Nissar Bazmi in the film Bhala Aadmi. Roshan gave Anand Bakshi the film CID Girl (1959), after Anand Bakshi wrote the 4 songs of Bhala Aadmi in 1956. Bhala Aadmi released in 1958. Anand Bakshi and Roshan gave a super hit music film DEVAR (1966).
The 1960s proved to be the golden age for Roshan and his music. His ability to mould folk music with Hindustani classical music became his trademark and resulted in movies scores. During this time Roshan gave hits such as Na to karavan ki talaash hai and Zindagi bhar nahi bhoolegi woh barsaat ki raat (Barsaat Ki Raat, 1960), Ab kya misaal doon and Kabhi to milegi, kahi to milegi (Aarti, 1962), Jo vada kiya vo nibhana padega, Paao chhoon lene do and Jurm-e-ulfat pe (Taj Mahal, 1963), Nigahen milane ko jee chahata hai and Laaga chunari mein daag (Dil Hi To Hai, 1963), Sansaar se bhaage phirte ho and Man re tu kaahe (Chitralekha, 1964), and Oh re taal mile and Khushi khushi kar do vida (Anokhi Raat, 1968). He composed some melodies for the movie Mamta (1966) like ‘Rahen na rahen hum’ and ‘Rehte the kabhi jinke dil mein’. Devar (1966): “Aaya hai mujhe phir yaad woh zalim, guzara zamana bachpan ka”; “Baharon ne mera chaman loot kar”; “Duniya mein aisa kahan sab ka naseeb hai”.
Roshan’s marked speciality was the Qawwali. He was known for the creation of hit qawwalies like “Na to karwaan ki talaash hai”, “Nigahen milane ko jee chahta hai”, “Na khanjar uthega, na Talwar tumse, Yeh baazoo mere aazmaye hue hain”
Roshan had been suffering from chronic heart trouble for over 20 years. He died of a heart attack in Bombay, Maharashtra, India, on 16 November 1967 aged 50, leaving behind a wife, three sons and a daughter. Besides immediate family, Roshan left great admirers of extended family—Nagrath and Khokha family.
Roshan was born as Roshan Lal Nagrath in a village of Gujranwala (Now in Pakistan) on 14 July 1917. He began to learn music from an early age . his first Guru was Manhar Barve. He travelled India with him . He studied music at the Morris College of Music, Lucknow. He took music lessons from Ustaad Allauddin Khan and later he joined the ‘Sarangi King’ Bundu Khan, to learn Sarangi. He got associated with All India Radio (Delhi) as a musician, in the early 40′s, for almost 10 years. He use to compose music for various radio programmes.

He came to Mumbai to pursue his career as a music director ,in 1948. Struggle followed before he met Kidar Sharma. In those days Kidar Sharma was making Neki Aur Badi and whose music was being looked up by music director Snehal Bhatkar. But, Kidar was so impressed by Roshan that he took him for his film after discussing the matter with Snehal Bhatkar. Roshan composed the music for Neki Aur Badi (1949), unfortunately the film was a flop. Inspite of the result Kidar offered Roshan his next venture Baawre Nain (1950). Roshan started freshly with the new assignment, this time he broke through with hits like ‘Khayalon Mein Kisike..’, ‘Sun Bairi Balam..’ and others.

He had a good alliance with Talat Mehmood and Mukesh in the 1950’s. In the 50’s, Roshan gave hits like Malhar, Shisham and Anhonee and some of his songs were amazingly modern in tenor for those times, like, ‘Taare Toote Duniya Dekhe..’ from Malhar. However his low profile approach did not win him great prominence commercially, though he was respected by his colleagues immensely. Roshan also gave major breaks to later big names like Indeevar (Malhar) and Anand Bakshi (Vallah, Kya Baat Hai, Devar etc).

His biggest strength was that he was very comfortable in mixing the folk music with the complex classical tunes. He use to make a fusion of folk and classical music and that too with ease. This was the speciality which belonged to Roshan only. It was his approach which made his music stand out from the others. In the 60’s, Roshan gave hits like,Barsaat Ki Raat, which featured hits like ‘Na To Karavan Ki Talaash Hai..’ and ‘Yeh Hai Ishq Ishq..’, Aarti (‘Ab Kya Misaal Doon..’), Devar (‘Baharon Ne Mera Chaman Lootkar..’), Bheegi Raat (‘Kahin To Milegi..’, ‘Dil Jo Na Kehsaka..’), Chitralekha (‘Sansaar Se Bhaagte Phirte Ho..’, ‘Man Re Tu Kahe Na..’), Taj Mahal (‘Jo Wada Kiya Who Nibhana Padega.’, ‘Paon Choo Lene Do..’), Bahu Begum (‘Hum Intezaar Karenge..’ and ‘Pad Gaye Jhoole..’), Dooj Ka Chand (‘Mehfil Se Uth Jaanewalon..’), Nai Umar Ki Nai Fasal (‘Carvan Guzar Gaya..’ and ‘Dekhti Hi Raho Aaj Tum..’ ), Dil Hi To Hai (‘Nigahen Milane Ko Ji Chahata Hai..’ and ‘Laaga Chunri Me Daag..’ ) and finally his swan song from Anokhi Raat (‘Oh Re Taal Mile..’ and ‘Mere Beri Ke Ber..’).

He had been suffering from chronic heart problem for more than 20 years.He died of a heart attack on 16 November 1967. His untimely demise caused a great loss to the film industry. He left behind his wife and sons Rakesh and Rajesh Roshan. In the 70′s Rakesh made his entry into the film industry as an actor., while, Rajesh is a noticeable music director. In the late 90′s Roshan’s grandson Hrithik Roshan made his successful debut in the film industry with Rakesh Roshan’s Kaho Na Pyar Hai.

Chitragupt Shrivastava (Chitragupta)

Tuesday, June 26th, 2012

Chitragupt Shrivastava (Chitragupta)

Chitragupt Shrivastava, the famous music composer of Bollywood, of Rafi & Mukesh era, of “Chal Ud Ja Re Panchhi Ke.. from (Film Bhabhi)” fame, hailed from Saran.

Chitragupt was born on 16 November 1917, Karmaini village (Gopalganj district), Bihar. He had a double MA, in Economics & in Journalism.He Worked as a lecturer in Patna before he ran away to Bombay to pursue a career as a composer in films.He assisted S.N. Tripathi for some time before he got an independent opportunity with Ramnik Vaidya in 1946. He tasted success after a struggle in 1952 with the Rafi-Shamshad duet, adaa se jhoomate hue (Sindbad the sailor) hit the music charts and was a hit.

S D Burman recommended him to Meiyappan of AVM studios, and he started with a film Shiv Bhakt in 1955. Bhabhi, Barkha, Main Chup Rahoongi and Main bhi ladki hoon were the other notable ventures of this collaboration. He worked with few big name studios or actors – with Mohan Sehgal, Hrishikesh Mukherjee, G P Sippy, Kishore Sahu and AVM being the exceptions.

He parted ways with his mentor, S N Tripathi, due to their difference in their innovative approaches and ideas from popular Western music. His classical roots are seen in songs like Kishore Kumar’s “paayal vaali dekhna” (Ek Raaz), while his modern and light-hearted, foot-tapping music could be sampled in songs like “ham matavale naujavan” (Barkha), “dekho mausam kya bahaar hai” (Opera House). His notable films include Bhabhi, Ek Raaz, Main Chup Rahoongi, Oonche Log, Opera House, Vasna, Zabak etc.

Chitragupt was also a good singer and lyricist. He worked with all the major lyricists of the time – Majrooh, Rajinder Krishan, Anand Bakshi, Prem Dhawan and even Sahir.After Sahir Ludhianvi agreed to write to the tunes Chitragupt composed, they produced some wonderful songs in collaboration for Vasna – ye parbaton ke daayre, itani naazuk na bano. When it came to Bhojpuri films, Chitragupt was the ruling king.He also composed the music for a few Punjabi and Gujarati films, as well as the music for an MGR film dubbed from Tamil.

The songs composed by Chitragupta for some of the AVM classics such as Bhabhi, Barkha and Main Chup Rahungi are unforgettable. We mention some here and you will agree — ‘Chal ud jaa re panchi ki ab ye desh hua begaana…’ sung by Mohd. Rafi, ‘Chali chali re patang meri chali re…’ sung by Mohd. Rafi and Lata Mangeshkar, and ‘Chupakar meri aankhon se…’ again sung by Rafi and Lata. All three songs are from Bhabhi. The first mentioned is a real gem, thanks to the splendid lyrics by Rajendra Krishan and a soulful rendition by Rafi. The songs from Barkha like ‘Ek raat mein do do chaand khile…’ sung by Mukesh and Lata Mangeshkar, ‘Tadpaoge tadpa lo hum tadap tadap kar bhi…’ sung by Lata Mangeshkar, and the song from Main Chup Rahungi, namely ‘Main kaun hoon main kahan hoon…’ sung by Mohd. Rafi and ‘Koi bata de dil hai jahan kyun hota hai dard wahan…’ sung by Lata Mangeshkar and Mohd. Rafi are remembered to date.

Other beautiful compositions of Chitragupta are ‘Agar dil kisise lagaya na hota…’ from Bada Aadmi sung with a lot of depth by Mohd. Rafi, ‘Mujhe dard-e-dil ka pata na tha…’ sung by Mohd. Rafi and ‘Dil ka diya jalake gaya, Ye kaun meri tanhai mein…’ sung by Lata Mangeshkar. The last two songs are from the film Akashdeep. Also, one can’t forget ‘Saathi hai albela phir bhi koi akela…’ sung by Mukesh from Hum Matwale Naujawan, ‘Balma maane na bairi chup na rahe…’ sung by Lata Mangeshkar from Opera House, ‘Kaanha jaa re teri murli ki dhun…’ from a strangely titled film Tel Maalish Boot Polish (but the song was very classical and beautifully sung by Manna Dey and Lata Mangeshkar).

A devotional song composed by Chitragupta ‘Jai Jai he Jagdambe Maata…’ sung by Lata Mangeshkar for Ganga Ki Leheren is among the few good ones. The duet from the same film by Kishore Kumar and Lata Mangeshkar, namely ‘Machalti hui hawa mein chum chum hamare sang sang chale Ganga ki lehren…’ written well by Majrooh Sultanpuri, takes us straight to the banks of the holy Ganga.

Talking of duets, you have some of the best duets coming from Chitragupta like ‘Dekho mausam kya bahar hai, sara alam bekrar hai…’ sung by Mukesh and Lata Mangeshkar from Opera House; ‘Tumne haseen hi haseen mein kyun dil churaya jawab do…’ sung by Mahendra Kapoor and Lata Mangeshkar from Ghar Basake Dekho; ‘Laagi toote na ab to sanam…’ sung by Mohd. Rafi and Lata Mangeshkar from Kali Topi Laal Rumal; ‘Ye parbaton ke daayre ye shaam ka dhuan…’ sung by Mohd Rafi and Lata Mangeshkar from Vaasna; ‘Ajnabi se banke karo na kinara…’ sung by Kishore Kumar and Lata Mangeshkar from Ek Raaz; ‘Teri duniya se door chale hoke majboor humein yaad rakhna…’ sung by Mohd. Rafi and Lata Mangeshkar and ‘Mehlon ne chheen liya bachpan ka pyar mera…’ sung by Mukesh and Lata Mangeshkar, both from Zabak.

Some of Talat Mehmood’s lingering duets composed by Chitragupta are ‘Do dil dhadak rahe hain aur awaaz ek hai…’ sung with Asha Bhosle from Insaaf; ‘Laagi nahi choote Rama…’ from the film with the same name, ‘Mausam ye pukare masti mein lekar…’ from Burmah Road; and ‘Baagon mein khilte hain phool kasam teri aankhon ki…’ from Suhaag Sindoor, all the three duets sung with Lata Mangeshkar. There is a unique feature about the Chitragupta-Majrooh Sultahpuri team – i.e. two different pairs of singers were used for the melodious number ‘Jabse hum tum baharon mein kho baithe…’ from the film Main Shaadi Karne Chala. The first time it was sung by Mukesh and Kamal Barot, and then by Mohd. Rafi and Suman Kalyanpur. Even in one of Chitragupta’s last films, namely Intezar, we have a lovely Kishore solo ‘Chanda ki kirnon se lipti hawaein aake mil jaa…’

He suffered a heart attack in 1968 and a paralytic stroke in 1974. He died on the 14th of January 1991.His children, Anand and Milind (who can forget their song from QSQT, “Papa Kahate hai Bada nam karega…” which lauched Amir Khan into incredible stardom! ), the composer duo, and Sulakshana and Vijayeta Pandit, the singer-actresses have also made an impact on the film world.

Best Of Chitragupt
Song & Movie
Chal Ud Ja Re Panchhi Ke (Bhabhi)
Itni Nazuk Na Bano (Vaasna)
Panghat pe chali sawar gori (Shri Gansh Vivah)
chaand ko dekho ji (Chand Mere Aa Ja)
do dil dhadak rahe hai (Insaaf)
jaane kaisa chaane laga nasha (Zabak)
machalti hui hava mein (Ganga Ki Lahren)
mujhe dard-e-dil ka pata na tha (Akash Deep)
jab se ham tum baharon mein (Main Shaadi Karne Chala)

C Ramchandra

Tuesday, June 26th, 2012

C Ramchandra

Ramchandra Narhar Chitalkar(Marathi: रामचंद्र नरहर चितळकर /सी.रामचंद्र ) (January 12, 1918–January 5, 1982) was a renowned music composer in the movie industry of India. In the composer’s role, he mostly used the name C. Ramachandra, though he also used the names Annasaheb (in the movies Bahadur Pratap, Matwale, and Madadgaar), Ram Chitalkar (in the movies Sukhi Jeevan, Badla, Mr. Jhatpat, Bahadur, and Dosti), and Shyamoo (in the movie Yeh hai duniya). Further, he often sang and acted in Marathi movies under the name R. N. Chitalkar. For his career as an occasional playback singer he used only his surname Chitalkar. Chitalkar sang some renowned and unforgettable duets with Lata such as Kitna haseen hai mausam in film Azad or Shola Jo bhadke in Albela.
Ramachandra was born on January 12 1918 in Puntamba, a small town in Ahmednagar district in Maharashtra, India. He studied music under Vinayakbua Patwardhan at “Gandharva Mahavidyalaya” and also under Shankarrao Sapre of Nagpur where he studied music alongside Vasantrao Deshpande. He joined the movie industry playing the lead role in Y. V. Rao’s movie, Naganand. He also had some small roles at Minerva Movietone in the movies Saeed-e-Havas and Atma Tarang.
Ramachandra provided harmonium accompaniment for Minerva composers Bindu Khan and Habib Khan. He debuted as music director in Tamil movies with Jayakkodi and [[Vana Mohini]]. He received public notice as a good composer in Bhagwan Dada’s “Sukhi Jeevan”, and established a long association that culminated with the musical box office hit “Albela”.
Influenced by Benny Goodman, Ramachandra introduced in his compositions the alto sax in combination with guitar and harmonica. He also included whistling in one of his famous songs, Aana meri jaan Sunday ke Sunday in film Shehnai. He used a combination of a bongo, an oboe, a trumpet, a clarinet and a sax for the song Shola Jo Bhadke in film Albela. He sang the title song “Shin Shinaki Boobla Boo” with Lata Mangeshkar, which included rock rhythms. He provided the musical score for the scat song “Ina mina dika” in “Aasha”.
Perhaps C. Ramachandra’s biggest success as a music composer was the 1953 movie Anarkali starring Beena Roy in the title role and Pradeep Kumar. The songs that he composed for this movie are today legendary. Songs of this movie like “Yeh Zindagi usiki hai”, “Mujhse mat pooch mere ishq main kya rakha hai”, “Mohabbat aise dhadkan hain”, “Jaag dard-e-ishq jaag” etc.. went on to become huge hits and were also highly acclaimed as masterpieces. Anarkali also perhaps saw the famed composer-singer combine of Ramachandra and Lata Mangeshkar at their best ever together. A film critic in London who watched the movie is said to have remarked that the heroine sang like an angel without knowing that the angel was actually Lata giving playback for the actress.
The highly popular patriotic song “Aye Mere Watan Ke Logo”, which was sung by Lata Mangeshkar and penned by poet Pradeep, was a composition of Ramachandra, it was later performed live, by Lata Mangeshkar, in the presence of Jawaharlal Nehru at the Ramlila grounds, in New Delhi on Republic Day, 26 January 1963. Jawaharlal Nehru became so sentimental that tears rolled down his cheeks.[1]
Ramachandra similarly provided a memorable musical score accompanying a competition between two dancers whose roles were played by Padmini and Vyjayanthimala for the song Kannum Kannum Kalanthu lyrics penned by Kothamangalam Subbu, sung by P. Leela and Jikki in the Tamil movie Vanjikottai Valiban. He remade the song in Hindi as “Aaja To Aaja” from Raj Tilak written by P. L. Santoshi where Asha Bhosle and Sudha Malhotra rendered their voice.
Ramachandra provided music compositions for a few Marathi, Telugu, Tamil, and Bhojpuri movies besides Hindi movies. In 1953, he also produced with “New Sai Productions” three Hindi movies: “Jhanjhar”, “Lehren”, “Duniya Gol Hai”.
In the late 1960s, Ramachandra produced two Marathi movies, “Dhananjay” and “Gharkul”. He also acted in them and composed music for them. C. Ramchandra died of acute peptic ulcer on the 5th January 1982 at Breach Candy Hospital, Mumbai.
Ramchandra wrote his autobiography in Marathi in 1977.
Mumbai based troupe Musicolor,which is promoting vintage music, presented an exclusive tribute programmes featuring the gems of C Ramchandra at Dinanath Mangeshkar auditorium on 22 January 2010.

Movies for which Ramachandra provided musical scores are listed below in alphabetical order:

Aanchal
Aazad
Ahinsa
Albela
Amar Rahe Ye Pyar
Amardeep
Anarkali
Asha
Baarish
Bachchon Ka Khel
Badla
Bahadur
Bahadur Pratap
Bahu Rani
Balram Shri Krishna
Bhakt Raaj
Chhatrapati Shivaji
Daal Me Kaala
Devta
Dil Ki Baat
Dosti
Duniya
Duniya Gol Hai
Ghungroo
Girls School
Hanso Hanso Ae Duniya Walo
Hum Diwane [as Annasahib]
Hungama
Insaniyat
Jhaanjhar
Jhamela
Jitne Door Utne Paas
Kaarigar
Kavi
Khazana
Khidki
Labelaa
Lahren
Lalkaar
Leela
Lutera
Madadgaar
Madam Zapazta
Manorama
Matwaale
Meenar
Mera Munna
Mr. Jhatpat
Muskurahat
Naastik
Nadiya Ke Paar
Naghma-e-Sehra
Namoona
Naushervan-e-Dil
Navrang
Nazrana
Nirala
Paayal Ki Jhankar
Paigham
Parchhain
Patangaa
Pehli Jhalak
Raj Tilak
Raunaq
Rootha Na Karo
Roshni
Saajan
Saanwaria
Saaqi
Saavdhan
Saawan
Safar
Sagaai
Samadhi
Samrat Chandragupt
Sangeeta
Sangraam
Sargam
Sarhad
Saudagar
Shabistaan
Shadi Se Pehle
Shagoofa
Sharda
Shatranj
Shehnai
Sher Dil
Shin Shinaki Bublaa Boo
Siphaiya
Stree
Subah Ka Tara
Sukhi Jivan
Talaaq
Talaash
Tasveer
Teerandaaz
Toofani Takkar
Tulsi Vivaah
Ustaad Pedro
Veer Bhimsen
Wahaan Ke Log
Yasmeen
Zabaan
Zindagi Aur Maut

When a railway worker Narhari Chitalkar living in Puntambe – a small town in Maharashtra – got a son on January 12, 1918 and named him Ramchandra, little did he know that his son would never be called by the plain and simple name ‘R.N. Chitalkar’! From the early age young Ramchandra was fascinated by music and drama. He left for Kolhapur after leaving the school in ninth standard and tried his hand at acting. At the age of seventeen he bagged a hero’s role in ‘Naganand’- a film which bombed heavily at the box-office. After this early setback he moved on to Bombay. His training in classical music from Shankar Rao Sapre came in handy to bag a job as a music assistant in Minerva Movietone where he started working with the then leading music directors Mir Sahib and Bundu Khan. Soon, thanks to his ability to write notations of the tunes, he became an important cog in the wheel.
His debut film as a music director was in Tamil films with Jayakkodi and Vanamohini. He got his first Hindi film, Bhagwan’s Sukhi Jiwan, in 1942. Ramchandra’s juvenile songs may be sub-divided into those with highly westernized male and / or female choruses, duets or quawwalis. The mood of these songs was zany, saucy, raucous, irreverent, mischief-laden..joyful noice. The composer’s natural ebullience, boyish vigor and state of camaraderie with the young man of the Hindi cinema are evident here. It was ‘let’s have a good time’ music; on the screen the purveyors of these songs were either the raunchy comedy team of Yakub and Gope (Patanga, Saaqi, etc.) or the funnyman Bhagwan (Albela, Shin Shinaki Bubla Boo, etc.) who was often Ramchandra’s juvenile persona on the screen.
An outstanding feature of many of these songs is their intense curiosity about western mores and manners; they often employed western musical idioms in exaggerated fashion either for satire or irony. These songs mirrored the curiosity of the educated, urbanized Indian youth of British India regarding their colonizers. Popular belief has it that Ramchandra introduced rock ‘n’ roll in India before it became a rage in the west. This is a paltry statement in the face of his numerous experiments in western/Indian and middle-eastern styles. For example, in ‘Meri Jaan..Sunday Ke Sunday..’ (Shehnai) he introduced the Benny Goodman style of jazz clarinet in combination with an Indian melody. The song is infused with hilarious verbal and musical incongruities resulting in a comical effect. Other westernized songs e.g. ‘Shola Jo Bhadke..’ and ‘Ye Diwana Ye Parwana..’ (Albela) employed cabaret type dance feturing bongo drums, oboes, clarinets, trumpets, saxophones, etc. The spirit and atmoshphere of these songs convey much hilarity, exuberance and gaiety of the sort one finds in opera comique of Jacques Offenbach.
Bhagwan – a leading comedian and film maker of that era – spotted Ramchandra’s musical talent and offered him his film ‘Sukhi Jeevan’ as a composer. That year was 1942. At the age of twenty four a glittering career was about to begin. The promise turned into reality with hit soundtracks like ‘Lalkar’, ‘Safar’, ‘Samrat Chandragupta’ and ‘Bhaktaraj’. It was during the making of ‘Bhaktaraj’ he was re-christened ‘C.Ramchandra’ by the film’s producer Jayant Desai. This screen name was to stick permanently. Only when he would sing his own songs the records labeled him as Chitalkar. So as a composer he was C.Ramchandra, as a singer he was Chitalkar and to the near and dear ones he was simply Anna!
The fifties saw him emerge as one of the leading lights of Hindi film music. His music in films like ‘Nastik’, ‘Shagufa’, ‘Sangeeta’, ‘Kaarigar’, ‘Khazana’, ‘Yasmin’, ‘Teerandaz’, ‘Shinshinaki bublaboo’, ‘Parchhai’ and ‘Yasmin’ is still remembered fondly by nostalgic music lovers. But for the common listeners his introduction is through his more popular soundtracks – ‘Anarkali’, ‘Albela’, ‘Aazad’ and ‘Navrang’.
His music had a superb mix of melody and rhythm. Exceptional blending of piano, violins, tabla, dholak and khanjiri gave unique freshness and liveliness to his tunes. If Kishore’s Ina mina dika and Asha’s Mister John o Baba Khan showed his trendiness then Talat’s Mohabbat hi na jo samajhe or Rafi’s Yeh hasrat thi vouched for his mastery over emotional stuff. But his musical association with Lata Mangeshkar was something really special. Their songs are in a league of their own. Even if you haven’t heard hidden gems like Ab woh raaten kahan, Jo mujhe bhulake chale gaye, Bheeni bheeni hai or Tum kya jaano, just take the well-known popular songs like Mohabbat aisi dhadkan hai, Radha na bole re, Dheere se aaja ri ankhiyan mein or Kaise aaoon Jamuna ke teer and the terrific chemistry that they shared is all too apparent!
Even today’s audiences go gaga over ‘Albela’s Lata – Chitalkar duets Shaam dhale khidki tale, Shola jo bhadke and Bholi surat dil ke khotey. Over all these years theatre screens showing these songs have never failed to be showered with coins thrown by the frenzied fans. The jazzy rhythm of this Bholi surat was played by a toilet- cleaner on a tin pot. Can you believe it?
He did many such unbelievable things – like adapting from a Marathi naatya- geet (Murtimant bheeti ubhi) the evergreen ‘Anarkali’ classic Yeh zindaghi usiki hai, converting another naatyageet (Sukhvi Tula) into the Parchhai- delight Naina Lagake Dukh De Gayo, using the maddham from an Islamic qawwali to create that bewitching beauty Dil ki duniya basa ke saawariya and composing the entire soundtrack of ‘Azaad’ studded with sparkling songs like Jaari jaari o kaari badariya, Dekho ji bahar aayi, Kitni jawan hai raat, Kitna haseen hai mausam and Aplam chaplam in just seven days! Lata reckoned him to be the fastest composer she ever came across.
Those who lavish extravagant praise – richly deserved, of course on the filmi ghazals of Madan Mohan and Khaiyyam, forget that C Ramchandra composed some of the most exemplary song in this genre. One need only to point to those sung by Lata or by Talat Mehmood in Parchhain, Yasmin and Kavi. Furthermore, those who simplistically claim that Lata Mangeshkar was at her best under Madan Mohan’s baton engage in cruel, selective memory. Song upon song composed by Ramchandra for Lata Mangeshkar belie those contentions. Moreover, it is conveniently forgotten that Madan Mohan worked under Ramchandra for the songs od Shabistan (1951). No wonder, then, that Madan Mohan’s music has an underlying Ramchandran flavour. The supreme lyricism of their melodies united them; further, their orchestra had similar sound and ambience. Except that Ramchandra’s string section (violin) had a more dancing , ‘waltzing’ sound. In a Madan Mohan song the ‘waltzing’ effect was more muted, to create a more somber sound.
It is noteworthy that although C Ramchandra was most commonly associated with lyricists Rajendra Krishan and Santhoshi. In Anarkali he worked with three lyricists, Krishan, Shailendra, and Hasrat Jaipuri. In his later he employed Noor Lakhnavi (Parchhain), Jan Nissar Akhtar (Yasmin), Pradeep (Nastik), Shakeel Badayuni (Zindagi Aur Maut) and others. The diversity of poetic sources notwithstanding, his style remained intact.
His finest hour came through his non- film composition Aye mere watan ke logon. Composed for an army welfare programme after the Indo – China war (1962) and sung by Lata, this emotional patriotic number even moved the then Prime Minister Pt. Nehru to tears. Such was the impact of this song on Nehru that he embraced the composer on stage!
But soon after that heady success, slowly but surely he lost his ground to the newcomers. His soured personal and professional relationship with Lata definitely contributed to his downfall as he could never really find the same magic with other playback singers. The few soundtracks in this period (Bahurani, Stree and Jitne Door Utne Paas) where he got Lata’s vocals back again, he came up with superb compositions like Main jaagun saari rain, Jhilmil jhilmil, O nirdayi preetam and Humne apna tumhen samjha.
But the decline in the quality of his music was all too evident in most of his ‘sans Lata’ soundtracks. ‘Navrang’ was perhaps the only soundtrack where he could shake off his Lata-fixation and succeeded with Asha – Mahendra Kapoor combine. Songs Aadha hai chandrama, Are jaare hat natkhat and Tu chhupi hai kahan had the same spark as before.
After ‘Rootha na karo’ (1970), he didn’t compose for Hindi films. Last few years of his life were spent in composing music for non-film songs. On January 5, 1982 – a week before his sixty-fourth birthday he left this world.
Now only memories remain!

 

Anil Biswas (Anil Krishna Biswas)

Tuesday, June 26th, 2012

Anil Biswas (Anil Krishna Biswas)

Veteran Music Director Anil Biwas who gave music for memorable films such as Roti (1942), Kismet (1943), Anokha Pyaar (1948), Waaris (1954), Pardesi (1957) and Char Dil Char Raahein (1959) passed away in Delhi on May 31.

He received early musical assignments from Kazi Nazrul Islam at the Megaphone Gramaphone Company. Followed several Calcutta Theatre Stage Productions notably at the Rangmahal Theatre where he scored the music and did some acting as well. He moved to Bombay in 1934 where he was first employed at the Eastern art Syndicate. He then joined Sagar Movietone and then its successor National studio from 1940 – 1942 wherein he gave the music for three outstanding Mehboob Khan films – Aurat (1940), Bahen (1941) and Roti (1942). His recitative prose songs in the last mentioned film helped give the film its parable dimension and came close to an indigenous Brechtian mode. He then shifted to Bombay Talkies where he worked from 1942 – 1946.

His biggest success at Bombay Talkies was Kismet, coming the following year. The film itself was a tremendous success running for over three years at Calcutta. A lost and found crime drama, one of the major reasons for its success was Anilda’s evergreen musical score. By now trained singers were entering the Film Industry giving Music Directors opportunities to try out newer sounds. The songs in Kismet be it the patriotic Door Hato O Duniyawalon Hindustan Humaara hai or the sad Ghar Ghar Mein Diwaali or the soothing lullaby Dheere Dheere Aa sees Anilda make splendid use of Amirbai Karnataki’s full throated voice. The last named song, a duet with Ashok Kumar, often had Anilda jokingly comment that perhaps it was the only song that Dadamoni sang in tune! Some other films that Anilda gave music for at Bombay Talkies include Dilip Kumar’s maiden film Jwar Bhatta (1944) and Milan (1946).

Anil Biswas’s best-known compositions are among the most effective film adaptations of theatrical music with 12 piece orchestras and full-blooded choral effects. In fact Anil Biswas’s contribution to film music is multi-faceted. Beyond all the musical masterpieces that Anilda composed, he was also responsible for being the man behind such voices as Surendranath, Parul Ghosh (his sister married to renowned flutist Pannalal Ghosh), Sitara Devi, Mukesh, Talat Mehmood besides monitoring Lata Mangeshkar’s early career. It was Anilda who taught Lata and other singers the techniques of breath control while singing and putting emphasis on syllables that came on the beat of the song. It was Anilda who not only discovered Mukesh but encouraged him to come out of being a K.L. Saigal clone and it was he who insisted that Talat keep the tremor in his voice which other composers saw as a flaw. As it was, it was this quiver in his voice that made Talat the unique singer he was. This is best illustrated in two outstanding songs among many others that he sang under Anilda’s Baton – Ae dil Mujhe Aisi Jagah Le Chal (Arzoo (1950) and Seene Mein Sulagtein Hain Armaan (with Lata from Tarana (1951)). It is also said that Anilda was responsible for the basic structure of film songs that we know today and was a pioneer in using the counter melody and the use of Raag Maala.

After his stint with Bombay Talkies, Anilda freelanced and his work in the 1950s include Music for films by Filmistan (Heer (1956)), Mahesh Kaul (Abhimaan (1957), Sautela Bhai (1962)) and KA Abbas (Rahi (1952), Munna (1954), Pardesi (1957) and Char Dil Char Rahein (1959)).

Feeling disillusioned with the changing trends and the tragic end of his younger brother and elder son in the year 1961, Anilda shifted base to Delhi. He took charge of Chief Producer (Sugam Sangeet) at AIR, Delhi on 1st March 1963 and served upto June 1975 (though with a break in between). He was also vice-chancellor of Jawaharlal Nehru University for 2 years. In between he did the odd film like Mahesh Kaul’s Sautela Bhai before retiring with Motilal’s Chhoti Chhoti Baatein in 1965. The film although failing at the box office is still remembered for his singer wife Meena Kapoor’s rendering of Kuchh Aur Zamana Kehta Hai. Incidentally Anilda’s one grouse with the Film Iindustry was that it never gave Meena Kapoor (Rasiya re – Pardesi) her due. He always used to say that here was a voice with base, huskiness and sex! But the Film Industry just didn’t know how to use it!

Anilda later scored the music for Doordarshan’s pioneering TV series Hum Log (1984) and a number of documentaries for Films Division.

Some of Anilda’s other prominent films include Gramophone Singer (1938), Jeet (1949), Aaram (1951), Humdard (1953), Faraar (1955) and Angulimal (1961).

The other notable films in which he gave outstanding music were JuarBhaata (Dilip Kumar’s debut making film – 1944). “Pehli Nazar” (1945 – which introduced Mukesh to the Indian public) Milan (1946) Anokha Pyaar (1948) Ladli (1949) and Arzoo (1950). The last one sky-rocketted Talat Melmood’s fame for his Aye Dil Mujhe Aisi Jagah Ley Chal. This was also Talat’s first song recorded in Bombay.

Anil Biswas’s later films were Aaram (1951), Taraana (1951). Doraaha (1952), Hamdard (1953), Waaris (1954), Pardesi (1957), Sautela Bhai (1962) and Chhoti Chhoti Baaten (1965) he last named movie, very sensitively directed and produced by actor-par-excellence, Motilal, turned out to be the swan song for its creator. Motilal died before the film was released and crashed at the box office.

Anil Biswas is not only a music director, he is an institution in himself, an epitome of knowledge and authority on both the classical and the folk music. He is also well versed with the western symphonies which he has used extensively and successfully in his musical scores.Maestro Naushad, has paid glowing tributes to Anil Biswas in a popular TV program in these words- “Anil Biswas, my guru, is the first music director to have introduced the use of melody and counter melody in his songs and his background score, and I and others have greatly benefited from Biswas‘s successful experimentations”

Rattan (1944)

Saturday, June 23rd, 2012

Rattan (1944)

Rattan (Hindi: रतन), released in 1944 was a landmark movie in more than one way. It brought in a new phase of film music where rhythmic beats of Indian folk percussion instruments like Dholak were introduced for the first time. Rattan also catapulted music director Naushad Ali to dizzy heights of fame. In my earlier post on Rattan (1944), I could but just post four of its songs. Here are some of the remaining.
Rattan or Ratan is a 1944 Indian Bollywood film starring Swaran Lata, Karan Dewan and Amir Banu. It was the highest grossing Indian film of 1944 and is cited as an “All Time Blockbuster”.[1] The film is noted as the film which made Naushad one of the top contributors to music in Indian films and enabled him to demand a fee of Rs 25000 a film.
The film Rattan, released in 1944 and starring Amir Banu, Karan Dewan and Swarnalata was a landmark movie in more than one way. First, it catapulted music maestro Naushad to the top and perhaps for the first time the use of folk percussion instruments like dholak etc. instilled a new sense of rhythm into film music which until then was more melody and less rhythm. Rattan was a huge success and it enabled Naushad to charge Rs 25,000 per film, a big amount those days. It also brought singers like Amirbai Karnataki and Zohrabai Ambalawali amongst the top-notch female singers of their time.
CAST
 Swaran Lata as Gauri
 Karan Dewan as Govind
 Amir Banu as Basant Kumar
 Azoorie
 Chanda
 Gulab[disambiguation needed]
 Manju[disambiguation needed]
 Badri Prasad
 Rajkumari Shukla
 Wasti

Rattan (1944)
In an interview, while reminiscing about his first few years in the Hindi cinema industry, Naushad mentioned how, after he had moved to Bombay and become a music director, his parents arranged his wedding. “We have told your future in-laws that you are a tailor,” his mother said. “If we’d said you were into music, you’d never have gotten married!” The irony of the whole thing was, recalled Naushad, that at the wedding, the band that came along was playing all the latest hits – all of which happened to be from Naushad’s first big score.
Which, as you’ve probably guessed by now, was from this film. Naushad came to Bombay from Lucknow in 1937, and though he did get some work over the next few years, it was not until Rattanthat he got a chance to compose the sort of music that catapulted him to the top.
The music of Rattan was the main reason I wanted to see this film. Other than that, I wasn’t especially keen on the film – not inimical to it, but not terribly enthusiastic about it, either.
A few minutes into the film, and I began liking it a lot. The acting is generally good, the dialogue and the story don’t feel dated, and there’s a lot about it that’s very likeable.
The two main characters of the film are Gauri (Swarnlata) and Govind (Karan Dewan). Gauri and Govind live in a village and have been playmates since they were children. Even now that they’ve grown up, they’re the best of friends, with Gauri constantly pulling Govind’s leg, gobbling up the parathas his mother’s made for him, and teasing him. It’s obvious that they’re in love, but not in the syrupy soppy way that seems to be so common in old Hindi films. (Point #1 scored in favour of Rattan!)
Point #2 comes soon after, with one of my favourite songs from this film, Akhiyaan milaake jiya bharmaake chale nahin jaana.
The entire village knows about Gauri and Govind’s romance, though except for a couple of interfering old hags, nobody seems to mind much. This, despite the fact that Govind is a bania while Gauri is a Rajput—in other words, they’re from different castes.
One of the interfering old hags is a woman called Gangu. Gangu has been telling Gauri’s mother (Amir Banu) that now that Gauri has grown up, it’s not seemly for her to be gallivanting around the village with Govind. Gauri’s mother, therefore, ticks Gauri off too.
Govind’s mother (?) is, similarly, not in favour of Govind harbouring any sort of affection for Gauri. She tries repeatedly to tell her husband (Badri Prasad) to check his son, but all to no avail. Govind’s father is a laidback man, who isn’t particularly perturbed by Govind’s friendship with Gauri, or by the fact that Govind, despite being now an adult, doesn’t do much to help his father with their small business.
One somewhat unusual relationship (at least for 40s’ Hindi cinema) here is that of Govind’s parents. He keeps teasing his wife that his marrying her broke the heart of a girl who had long been in love with him. His wife, when teased, immediately grabs her bundle of clothes and threatens to go off to stay with her brother. And whenever she makes that threat, her husband says that since she will leave his home, he will leave too and go off to spend the rest of his days on the banks of the Ganga, where he’ll die – and as soon as he mentions dying, she quickly bustles over, shutting him up, and they hug and make up. Rather cute.
Into this idyllic story Gangu (Who is this actress? I know I’ve seen an older version of her in a lot of films from the 50s and 60s, but I don’t know her name) now throws a spanner in the works. She comes to Gauri’s mother with a proposal for Gauri. The proposed groom is Gangu’s own brother Rattan (Wasti, whom, if you are more familiar with films from the 50s and 60s, you may have seen in Dil Deke Dekho and Phir Wohi Dil Laaya Hoon). Rattan is an editor (with a publishing house, it appears). He is also a widower with a 10-month old baby daughter.
Gauri’s mother, far from consulting Gauri, doesn’t even inform her until it’s time for Gauri’s engagement. A wink and a blink, and before we know it (before even Gauri knows it), she’s married to Rattan and is being helped into the palki which will take her to her husband’s home. Poor Govind is devastated. He manages to smuggle a note to Gauri, and having read his declarations of undying love in the face of her faithlessness, Gauri is reduced to tears as she jolts along in the palki.
Rattan lives in a fashionable house in town, along with his college-going sister Manju (? Manju? Thank you, Mister Jinx, for identifying this actress! Mister Jinx also mentions that she and Karan Dewan met while filming Rattan, and later got married) and his widowed bhabhi (?). The bhabhi has no children of her own, so spends all her time poking her nose into matters that don’t concern her. She isn’t a bad soul, but a busybody who soon makes it her business to ensure that Rattan appreciates what a pretty wife he’s managed to get.

Unfortunately for the bhabhi (and for Gangu, who had given Rattan to understand that the bride she has chosen for him is 28 years old, really long in the tooth and vegetating up there on the shelf!) – Rattan is shattered when he catches a glimpse of Gauri’s face. This is a beautiful young girl, he realises. A mere teenager, not a raggedy old spinster who’d never have got married if it hadn’t been for him.

And now he, Rattan, already a father and a widower more than double Gauri’s age, has tied her to him, ruining her life. He’s eaten up by remorse, and doesn’t know what to do. (A refreshingly un-MCPish attitude for that period and place). At any rate, he decides that he will not consummate the marriage. He can’t; he’ll feel too guilty about it.

Rattan’s resolve is further strengthened by the sudden arrival of an unsolicited manuscript which a writer has sent him. The book, which is named Pati-Patni (Husband-Wife), has been written from the point of view of a 16-year old girl married to a 55-year old man. As Rattan reads aloud through the book, the plight of the young bride – and, by extension, Gauri – becomes more and more heart-rending.
(Oddly enough, in real life Swarnlata fell in love with, and married, an actor named Nazir, who was 20 years older than her).
Meanwhile, back in the village, poor heart-broken Govind has been wandering around in a daze. One day, just before Diwali, Gauri’s mother happens to visit Govind’s father’s shop, to ask if there’s any chance of Govind going to the town to run any errands. When it emerges that Govind does have to go to town to buy some silver coins for the Diwali pooja, Gauri’s mother asks him for a favour: she gives him some money and requests him to buy sweets and drop them off at Gauri’s home.
Gauri’s mother is obviously not the most sensitive of people.

Govind, obedient young man that he is, does turn up at Gauri’s home on Diwali, carrying the sweets he’s bought on her mother’s behalf. His meeting with Gauri threatens to be very awkward, but Rattan’s bhabhi, completely oblivious to the undercurrents right before her very eyes, tides it over. She forces Govind to sit, to partake of some sweets, and to watch a song-and-dance performance that is being staged at their home.

Both Govind and Gauri are painfully aware of each other’s presence, and also of the fact that they shouldn’t be, what with Gauri being married to Rattan.
But the bhabhi hasn’t finished yet. It’s late at night, she says; Govind cannot possibly start out for the village so late; he must stay the night at their home.

In the middle of the night, Govind, unable to control his emotions any longer, comes to talk to Gauri, and to reassure her that he will always love her. A distressed Gauri begs him not to try and see her again; she is, after all, a married woman now.
It is all very upsetting, what with Gauri and Govind pining for each other, while Rattan is having a hard time staying away from his lawfully wedded wife. Where will this impasse end?

Madan Mohan

Friday, June 22nd, 2012

Madan Mohan

Madan Mohan Kohli (Hindi: मदन मोहन) (25 June 1924 – 14 July 1975), better known as Madan Mohan, was a famed Bollywood film music director of the 1950s, 1960s, and 1970s. He is particularly remembered for the ghazals he composed for the film industry, mainly using the voice of Lata Mangeshkar and Talat Mahmood and his favourite singer, Mohammed Rafi.

Born on June 25, 1924, at Baghdad, Iraq, where his father Rai Bahadur Chunilal was working as an Accountant General with the Iraqi Police, Madan Mohan spent the first five years of his life in the Middle East. As a boy of two, Madan Mohan used to spend hours listening to gramophone records and cultivated the uncanny ability to recognize and pick up any record from a pile of hundreds. When his father had guests at home, he would ask Madan Mohan to pick a particular record from a pile and he could do so with unerring precision, leaving the visitors wonder struck as to how a tiny tot, unable to read or write, could accomplish this near impossible feat.[citation needed]
After Iraq won independence from Britain, Rai Bahadur Chunnilal migrated back to India. He took his family to his home town, Chakwal in Jhelum district of Punjab, now in Pakistan, and left them in the care of Madan Mohan’s grandfather, Hakim Yograj- a famous doctor. Rai Bahadur Chunilal left for Mumbai for business opportunities and subsequently became a partner in the Bombay Talkies studio and then in the Filmistan studio.
Madan Mohan attended school there for the next six years. It is said that he inherited his talent for music from his mother, who was a poet and great admirer of music. His father was not very musically inclined, but grandfather Hakim Yograj and his younger brother, Prakash were staunch connoisseurs. They used to discuss the subtleties of music in Madan’s presence.
Later, Madan’s father shifted the whole family to Mumbai and Madan became acquinted with some children of film personalities. These ‘children’ were Raj Kapoor, Nargis & Suraiya.
At the behest of his father, he joined the army and received his first commission (emergency) in 1943. Personal traits like courtesy, endurance, discipline, physical fitness and punctuality were all fostered in him during those years. Though as history would have it, he quit the armed forces and turned to his first love—music. He joined All India Radio in Lucknow, where he brushed shoulders with such ghazal and classical luminaries as Ustad Faiyyaz Khan, Ustad Ali Akbar Khan, Begum Akhtar, and Talat Mahmood. He picked up their influences and carried them with him to Mumbai when he entered Bollywood. Not many know that he aspired to becoming an actor but ended up directing music.

After assisting S.D. Burman and Shyam Sunder for a short time, Madan scored his first big break with the film Aankhen in 1950. His next film was “Adaa”. This film saw the beginning of a long partnership with Lata Mangeshkar; she would sing for him in majority of his future films. Wo Chup Rahen To from the film Jahan Ara (1964) and Maine Rang Li Aaj Chunariya from Dulhan Ek Raat Ki (1966) are just two such examples. Madan was also able to write songs for male singers such as Talat Mahmood (Phir Wohi Saam, Main Teri Nazar Ka Suroor Hoon and Teri Aankh Ke Aansoo from Jahan Ara, and Meri Yaad Mein Tum Na from Madhosh) and Mohammad Rafi (Ek Haseen Shaam Ko from Dulhan Ek Raat Ki, Kisi Ki Yaad Mein from Jahan Ara, Main Nigahen Tere Chehere Se from Aap Ki Parchaiyian, Aap Ke Pehlun Mein Aakar Ro Diye from Mera Saaya, the all-time haunting Meri Awaaz Suno and Tumhare Zulf Ke Sayen from Naunihal, Teri Aankhon Ke Siva Duniya Mein from Chiraag as well. Madan did not usually employ Kishore Kumar, as his tunes were complex classical-based compositions and “Kishoreda” had a singing style that was more pop-oriented. Nonetheless their partnership created songs as well; in this category fall songs such as Simti Si, Sharmai Si from Parwana, Zaroorat Hai, Zaroorat Hai from Manmauji, the title song from Ek Muthi Aasman, Mera Naam Abdul Rehman from Bhai Bhai, and Aai Hasino, Naazanino from Chacha Zindabad.
During his early career Madan Mohan had been mildly criticized for creating songs that suited female voices, especially that of Lata Mangeshkar (who called him Madan Bhaiya or “Brother Madan”). But this is not true all the way; in 1957 he came out with a film named Dekh Kabira Roya in which singer Manna Dey gave his voice to the melodious Kaun Aaya Mere Man Ke Dwaare. In addition to that, he had Lata sing Tu Pyaar Kare Ya Thukraaye and Meri Veena Tum Bin Roye numbers, and he used Talat Mahmood for the song Hum Se Aaya Na Gaya in the same movie. Once in an interview Manna Dey recalled that Madan Mohan “sahab” asked him to take special care when singing Kaun Aaya Mere Man Ke Dwaare.
Madan Mohan’s association with Lataji was so close and Madan Mohan respected Lataji so much, that Madan Mohan had once remarked about Lataji “Kambakth Lataji kabhi besoor hi natin hoti”.
A film scored by Madan was Chetan Anand’s Haqeeqat (1964), starring Balraj Sahni and Dharmendra and based on the Sino-Indian War of 1962. In it, he used Rafi, who sang numbers like Kar Chale Hum Fida, Main Yeh Soch Kar. Lata was used for the song Zara Si Aahat Hoti Hai and the unscreened ” Khelo na mere dilse”. And the same film saw Rafi, Talat, Manna Dey, and Bhupendra singing Hoke Majboor Mujhe Usne Bulaya Hoga. Bhupendra appeared on the screen as well for the first time, much before he established himself as a playback singer. This song is also the only song in which four top-rated male playback singers have put voices together in a song.
Madan Mohan’s most successful venture was Raj Khosla’s Desi version of “Woman in White”, titled “Woh Kaun Thi?”. This film has three Lata solos (‘Naina barse rim jhim rim jhim’, ‘Lag ja gale’ and ‘Jo humne daastaan apni sunaye’) and a Lata duet.
In 1970, during the changing times of western music he gave music based on ragas for Rajinder Singh Bedi’s Dastak and won his only 1971 National Film Award for Best Music Direction. Its songs sung by Lata Mangeshkar are still considered her finest.[1] The late fifties, sixties and the early seventies were the most productive period in Madan Mohan’s career. His songs from those decades include compositions for films like Adalat, Anpadh, Dulhan ek raat ki, Mera Saya, Dastak, Hanste Zakhm, Heer Raanjha, Maharaja, and Mausam, among many others. His second last bow was for a film released five years after his death, Chalbaaz. The last bow this great composer took posthumously was for Veer Zara – that almost made all of us travel down the memory lane when all untouched tunes composed by Madan Mohan were conducted by his son Sanjeev Kohli.
Madan Mohan’s son, Sanjeev Kohli had about 30 unused tunes and the producer/director Yash Chopra selected only 8 of them for Veer Zara. Later on, Sanjeev Kohli brought out an album “Tere Baghair” which contains some of Madan Mohan’s songs.

Madan’s favourite lyricists were Raja Mehdi Ali Khan, Kaifi Azmi, and Rajinder Krishan, but Sahir Ludhianvi and Majrooh Sultanpuri also collaborated with him on a few movies. The Madan-Raja pairing in particular produced the song Aap Ki Nazron Ne Samjha from the movie Anpadh (1962). Among the admirers of the song was the Naushad who reportedly said, “Let me have this ghazal and take all my compositions in return”[cite this quote] upon hearing it. Madan and Raja also came up with the tunes for Mera Saaya in 1966, a film starring Sunil Dutt as the male lead.
meri duniya me na purab hai na paschim koi,
sari duniya simti hai khuli bahon mein,
kal bhatakta tha jin raho me tanha tanha,
kafile kitne mile aaz uni raho me

Lata Mangeshkar christened him “Ghazal ka Shehzadaa”, or the Prince of Ghazals. Even Lata herself stated in a live concert in the late 1990s that she found Madan Mohan’s compositions difficult to master. Most of the top film actors of the day (who were also studio heads) had fallen into a groove with their preferred composers (e.g., Raj Kapoor had Shankar Jaikishan, Dev Anand had the Burmans, Dilip Kumar had Naushad, etc.) Hence, he often had difficulty finding assignments. His 1964 Filmfare Award nomination for Best Music Director for Woh Kaun Thi. In a tightly-contested race, both Madan and Shankar Jaikishan (Sangam) lost to relative newcomers Laxmikant Pyarelal, who scored Dosti.

Madan’s constant struggles took a toll on his life, and he began drinking heavily. He died of liver cirrhosis on 14 July 1975.
In 2004, Madan’s unused tunes were recreated by his son, Sanjeev Kohli, for the Yash Chopra film Veer-Zaara, starring Shahrukh Khan, Preity Zinta, and Rani Mukerji. The lyrics were written by Javed Akhtar, and Lata Mangeshkar was invited to once again sing the majority of the melodies composed by her dear friend

‘Madan Mohan: An Unforgettable Composer – Edited by V M Joshi & Suresh Rao, presents an analytical look at the composer’s work. It includes articles by Sanjeev Kohli, Akshay Kohli, O P Dutta, Uttam Singh, B R Ishara, Dr. Ashok Ranade, Alka Deo Marulkar, Mridula Joshi, Dr. Kirti Shrivastava, Deepak Jeswal and many more; interviews with Lata Mangeshkar, Shreya Ghoshal, Mahalaxmi Iyer & Rehana Sultan, and Madan Mohan’s filmography.

Madan’s music was characterized by his immense ability to meld elements of Indian classical music into a new style of Hindi filmi song. He had a keen and sensitive ear for the nuances of Indian classical tunes, and combined them with elements of Western music such as harmonies to produce a style of music that could be appreciated by both classical music aficionados and the common person alike.

Feroze Nizami

Monday, June 11th, 2012

Feroze Nizami

Feroze Nizami

Feroze Nizami

Feroze Niazmi and Mubarak Begum

Feroze Niazmi and Mubarak Begum

Feroze Nizami was born in Lahore in 1910. He belonged to a family well versed in the art of music. He received his early education in this field from Ustad Abdul Waheed Khan turning him into a very competent classical vocalist of the Kiranagharana.

After completing his graduation, he joined all India Radio and served on Lahore, Delhi and Lakhnaw stations. After some years, he moved to Bombay and got the chance to exhibit his talent as a music composer. Feroze Nizami had enormous amount of range in his compositions, from classical to semi classical, thumris to western music; he had used all of them.

He started his career in 1943, by composing the music of Vishwas with Chhelalal. In 1946, he composed music for D.R.D. Wadiya’s Muslim social film Neik Parveen. It was a flop but some of Feroze Nizami’s compositions were good. In 1947, Noorjehan and her husband Shaukat Hussain had started Shauqat Art Productions in Bombay, and they had started work on their first film. Feroze Nizami was recruited to score the music. The movie was Jugnu, it was a big hit.

After the partition, like numerous other artists, Feroze Nizami also moved to Lahore to support a weak Pakistani film Industry. His first film Hamri Basti (1949) as a music director flopped in Pakistan.

Noor Jehan was back again after a four years break from silver screen, and started her Pakistani film and singing career with a great melodious Punjabi film Chann Vey. In this film, Feroze Nizami’s music reached new heights and almost all the songs created waves in subcontinent. After Jugnu and Chann Vey, In 1952, Dopatta was third hat-trik of success by Feroze Nizami and NoorJehan. “Dopatta” was the only Pakistani film to celebrate an outstanding success in the sub-continent.

Feroze Nizami passed on November 15, 1975, in Lahore, at the age of 59.

The Feroze Nizami I know

By Anis Shakur 

What else can give you so much pleasure now and for years to come? Most definitely the heart felt music of Feroze Nizami. Popular music composer, Feroze Nizami, was born in 1916, in Lahore, to an enlightened family, which was well versed  in various aspects of music and musical instruments.

Feroze Nizami received in-depth music lessons from Ustaad Abdul Waheed Khan and soon mastered the music. Additionally, he graduated from Punjab University and began his working life from Lahore Radio station as a program producer. Due to some unavoidable reasons, he left Lahore and joined Delhi Radio station, where he stayed for fifteen months.

Next, Feroze Nizami migrated  to Bombay and worked for the Bombay film industry as a music composer. He got his start in the 1949 film ‘Wishwas’. It was released under the banner of Wadia Modi Tone. Another musician, by the name of ‘Chailal’, also coordinated with Feroze Nizami to compose songs of ‘Wishwas.’ Director, Homi Wadia, songwriter, Safdar Ah, and Pandit Indira. Cast included Surendar and Himaliya Wala. With the passage of time, Feroze Nizami familiarized himself to classical, semi classical music and thumri.

Readers, treat your soul to his music that enlightens as well as entertains you. In 1944, Feroze Nizami composed songs for the film ‘Bari Baat’, directed by Mazhar Khan, who was also a famous actor and producer during those days.

Soon after which Feroze Nizami made his mark in the film ‘Umang’, in 1944, director K.M. Multani, songwriter, Ratan piya – Rasheed. As a result of his focused concentration, Feroze Nizami soon became a huge success in the entertaining world.

In the year 1944, Feroze Nizami also composed music for the film ‘Us Paar,’ director C.M. Lohar, songwriter, Pandit Madhur. His efforts took on new intensity and Feroze Nizami proved his worth in the music world.

In 1945, Feroze Nizami composed songs with affecting sincerity for the film ‘Piya Milan,’ directed by S.M. Yusuf and released under the banner of Wadia Modi Tone. Songwriters, Tanvir Naqui – S.K. Deepak – Mohammad Naseem – Munshi Shayam. Narmila and Moti Lal played the lead roles.

Listeners feel as if a wave of emotion rises up from their core as they listen to Feroze Nizami’s music. One feels nostalgic as one encompass all those great memories about him. Feroze Nizami composed songs for the film ‘Sharbati Aankhein’, in 1945. It was released under the banner of Wadia Modi Tone, songwriter, Tanvir Naqui – Pandit Indira, directed by R.C. Thakur.

Feroze Nizami was a natural artist who applied himself earnestly to his work, because he considered it his professional duty. He composed songs in the 1946 film ‘Amar Raj.’ It was released under the banner of Wadia Modi Tone. Songwriter, Pandit Fani, director, Homi Wadia.

Feroze Nizami’s fellow musicians did seem to fall under the spell of his musical talents. In 1946, he enthusiastically accepted the offer to compose music for the film, ‘Naik Perveen.’ It was released under the banner of D.R.D. Productions. Songwriter, Waheed Qureshi, director, S.M.Yusuf. Aaho Chasham Raagni played the title role in the film.

Feroze Nizami also composed songs for the film ‘Ali Baba’ in 1946.

Feroze Nizami’s music is full of skillful touches. An accomplished music composer, his many contributions to the movie industry have embedded themselves in the Indo Pakistani psyche. In 1947, Feroze Nizami composed songs in the film ‘Pati Saiwa’, directed by S.M. Yusuf.

Feroze Nizami’s music skills had a resolution and an edge. Apparently, he still has an incredibly enormous loyal following. He composed songs for the film ‘Rangeen Kahani’, in 1947, directed by Anjum Husaini, songwriter, Waheed Qureshi.

His keenly articulate film music and surprisingly tender grasp of human nature remained consistent throughout his show business career. Feroze Nizami composed songs with plenty of zest for the 1947 super hit film ‘Jugnu’, director, Shaukat Husain Rizvi. It was released under the banner of Shaukat Art Productions. Songwriters, Adeeb Saharan puri – Nakhshab Jaar Choi – Faiz Ahmed Faiz – Hafeez. Dilip Kumar and Noor Jehan appeared together for the first and last time in ‘Jugnu’ in lead roles.

Spinning magic with music, Feroze Nizami won the hearts of music buffs with this tragic score, ‘Hamay to shaam – gham mein kaatni hai zindigi apni.’ The film ‘Jugnu.’

Feroze Nizami’s music is at once poignant and admirable. It is a feeling he has passed on to millions of music lovers. Example, ‘Hum bhi bhula dain, tum bhi bhula do piya puranay guzray zamanay,’ the film ‘Jugnu.’

The transporting power of love and gentility were successfully captured by Feroze Nizami in ‘Khatam hoti hai yahan per do diloan ki dastaan,’ the film ‘Jugnu.’

Feroze Nizami’s highly effective composition is fraught with pain and pathos like a haunting melody, which flows and ripples from a flute. Example, ‘Yahan badla wafa ka bay wafai kay siwa kiya hai’, the film ‘Jugnu,’ duet, Rafi – Noor Jehan.

The powerful lyrics and brilliant music kept audiences and critics on their seats edge throughout the film. Example, ‘Aaj ki raat saaz-e-dil per dard na cheir,’ the film ‘Jugnu.’

Feroze Nizami migrated to Pakistan after partition. His first film in Pakistan was ‘Hamari Basti’, in 1949. He became the defining voice for quality music in films. His high expectations influenced more than just those who worked in the film industry. They profoundly affected the moviegoers. He composed songs for the 1951 Punjabi movie, ‘Chan way.’ It was released under the banner of Shah Noor productions.

Basically, Feroze Nizami’s musical work is the essence of the creative spirit, and vital force of the human heart. Two examples below:

 

‘Teray mukhray da kala kala til way, mera kad kay lay gaya dil o mundiya sialkotia’, the film ‘Chan way.’

‘Chan diya tutiyaan tay dilaan diya khotiya.’ The film ‘Chan way.’

All of Feroze Nizami’s music is vivid and powerful but what is most striking about it is its sense of fun. This is music you want to live with. Two examples below:

‘Bachh ja mundiya maur toon mein sadqay teri toar toon.’ The film ‘Chan way.’

‘Changa banayia –e-sanu kharona Aapay banao naa tay Aapay mitao naa.’

Songwriter, Ustaad Daman, tragic lyrics, ‘Chan way.’ Theatrical release was in Jubilee cinema, Karachi and Regent cinema, Lahore. It seems that Feroze Nizami’s music and Noor Jehan’s voice came into being for each other.

Feroze Nizami was not a perfect man but he aimed to be a better one. His songs are as much revered now as when they were first released.  He composed songs for the 1952 mega hit film ‘Dopatta’ in the spirit of those days gone by. Director, Sibtain Fazli, theatrical release was in Eroze cinema, Karachi. Noor Jehan – Ajay Kumar played the lead roles, while Sudhir was smartly dubbed as a loving, devoted doctor. Songwriter, Musheer Kazmi.

Feroze Nizami’s monumental mind brings all that emotion in his music. Example, ‘Tum zindigi ko gham ka fasana bana gaye.’ The film ‘Dopatta.’ He let the music speak and he felt good with that. Example, ‘Sub jag soye hum jaagein taroan say karain baatain.’ The film ‘Dopatta.’

Feroze Nizami combined his unique style while composing songs. Especially his music for this romantic number of ‘Dopatta’, ‘Mein bun patang ur jaa oon gee.’

Feroze Nizami, a prolific composer of numerous hit movies, reaped enormous success with the two romantic scores below:

‘Baat hi baat mein chandni raat mein’ singer, Noor Jehan, the film ‘Dopatta.’

‘ Meray mun kay Raja Aaja.’

There are few parallels to his work in the annals of movie music. Feroze Nizami had a specialty in tragic scores like this one, ‘Jigar ki Aag say is dil ko jalta deikhtay jao.’ Singer, Noor Jehan, the film ‘Dopatta.’

Here is another masterpiece that is well worth remembering, ‘Sanwaria tohay koi pukaray.’

The films ‘Jugnu’ ‘Chanway’ and ‘Dopatta’ were Feroze Nizami’s three most successful films. He really gave his best efforts to compose songs. He fostered a sense of harmony in the music community as well. That said, Feroze Nizami also composed music for the six films below:

‘Shararay’, ‘Sohni’, ‘Intikhab’, ‘Qismat’, ‘Gulshan’ and ‘Zanjeer.’

As Feroze Nizami moved ahead, he passed on his optimism and faith to the next generation. Two of his most renowned students are no other than the legendary music composer, Sohail Rana and the legendary singer, Mohammad Rafi.

Feroze Nizami gained more prominence from songs like the two below:

‘Rotay hain chham chham nain’, the film ‘Sola Aanay.’

‘Chori ho gaya dil matwala.’ The film ‘Sola Aanay.’

Regarding Feroze Nizami’s private life, Pakistani cricket teams opener, Nazar Mohammad, is the real brother of Feroze Nizami. By virtue of this blood relationship, Feroze Nizami happened to be the ‘Taya Abbu’ of Pakistani cricket teams all rounder, Mudassar Nazar.

Reverting to Feroze Nizami’s musical prowess, he just would not permit failure while composing music. His work was sublime and glorious in the 1959 Nigar Award winning film ‘Raaz.’ Below are three songs from ‘Raaz.’

‘Mithi mithi batiyoan say jiya na jala.’ Singer, Zubeida Khanum.

‘Chalak rahi hain mastiyaan.’ Singers, Ahmed Rushdi – Zubeida Khanum.

‘Maan maan maan zamana hai jawaan, sunn, sunn, sunn, jawani ki hai dhun.’ Singers, Ahmed Rushdi – Mubarak Begum.

Feroze Nizami’s music talent was so huge that it simply transcends ones wildest conceptions. He also composed songs for the films ‘Manzil’, in 1960, ‘Mongol’ in 1961, and ‘Saukan’ in 1964.

The 1974 Punjabi film ‘Zan, zer tay zameen’ proved to be the last film Feroze Nizami composed music for. Feroze Nizami passed on November 15, 1975, in Lahore, at the age of 59.

May the beauty of his music remain secure to soothe our soul.