NAUSHAD LIVE INTERVIEW PART - 3

From - W.RANASINGHE Naushad Ali, is probably one of the grand composers of Indian silver screen who had been successful to bring out the Hindustani ragas that were captivated in the darbars of nawabs and feudal lords and simplified them for the common man. Born in 1919, he did spend his childhood in Lucknow, and learned music from Ustad Ghurbat Ali, Ustad Yusuf Ali and Ustad Babban Saheb.

Naushad had shaped the careers of a number of singing legends in the country including Saigal, but his association with Mohammad Rafi had marked the most golden combination which galvanised the outstanding music composed during the golden age in Indian music, the 50s and 60s. His composition in the film Dulari, 1947, for Mohammad Rafi titled suhani raat dhal chuki makes a music lover addicted and it has an appeal even after 60 years of its composition.

Baiju Bawra, with Bharat Bhusha and Meena Kumari, in 1952, marks the best creation possible from any composer, it had bhajans, extraordinary use of Hindustani ragas, folk songs and possibly Naushad had been successful to use the range of Rafi to the fullest extent. Other than woh duniya ke rakhwale, tu ganga ki mauj, there were many songs which explained the relationship of the ragas with rain, the seasons of nature, etc. Naushad received film fare award for the best music composed in that year.

In Uran Khatola, 1955, Naushads composition for Rafi, woh durke musafir, humko bhi saath lele re showed his capability of using chorus with eastern effect. Naushads composition in Son of India, dil torneewale, duet for Rafi and Lata, shows the effective use of instruments in that age when recording was not developed to that extent. In Dilip Kumars Kohinoor, 1960, Rafis songs madhuban me radhika nachere, do sitaron ka zamee par hai Milan aaj ki raat marks Naushads control over bhajans and songs with chorus effects. In Rajender Kumars Mere Mehboob, 1963, Naushad had explained the transformation of nasams into ghazals. His songs mere mehboob tujhe meri mohabbat ki kasam, tumse izhaar-e-haal kar baithe, ai husn zara jag tujhe isq dikhaye enchanted the listeners. Naushads compositions were as outstanding as Shakeel Badayanis lyrics and Rafis golden voice.

Naushad experimented with his classical control in Leader, 1964, where Rafis songs tere husn ki kya tariff karun, ek shahenshah ne banwake haseen tajmahal, apni azaadi ko hum hargeez meeta sakte nahi, had romantic appeal, classical appeal and the symbol of freedom movement embedded in them. Rafi was outstanding in every song in that film. In Dil Diya Dard Liya, 1966, Rafis songs sawan aye ya na aye, dilruba maine tere, koi sagar dil ko behlata nahi, guzre hai were masterpieces which matched Naushads compositions for Lata phir teri kanani yaad ayi. Ram Aur Shayam, 1967, the film where Dilip Kumar acted in double roles, had comedy, dance sequences, action and every element for which filmlovers visit cinema halls. Yet Naushads composition and Rafis songs superseded every other element. The notable songs include aye hai baharen, aaj ki raat mere, etc.

In Aadmi, 1967, Naushads compositions for Rafi including aaj purani raho par, na aadmi ka koi bharosa, showed the depth of thinking of the composer, where the songs matched the sequences of the film where Dilip Kumar amazed the viewers with his performance in wheel chair. Besides, Naushad had used folk songs to a great extent where the subjects in the films required them. For example in the film Ganga Jumna, 1961, his composition for Rafi including nain lar jaihe was created with bhojpuri effect, and Rafi had succeeded in pronouncing it in the manner expected from him. Rafis songs in Rajender Kumars Palki, Ganwar, composed by Naushad were also outstanding.

Besides just like Shankar Jaikishan, Naushad for doing justice to Rafi and Lata, had not done injustice to other singers. He used Bare Ghulam Ali khan in the film Mughal-I-Azam, in 1960, to sing a thumri, the way Shankar Jaikishen asked Bhim Sen Joshi to sing a classical composition in Basant Bahar, 1957. It is tragic that the film industry, could not utilise Naushads talent in 1970s and 80s, but if Shankar Jaikishan had utilised Rafis range in singing westernised compositions, Naushad had used Rafis classical andaz in the best possible manner. He was rightly awarded Dada Saheb Falke for his epic creations in the 40s, 50s, 60s. Rafis archive should contain Naushads compositions, because his career was given the right direction by legendary creations of the versatile genius.

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[banne05]

a deadly singer of the millenieum......

[papakumar]

Thank God for Naushad! His music will live for ever. Baiju Bawara, Shabab, Moghal Azam, to name few. Urdu Zindabad!

Vijay

[sakasus]

@Rohit84up Thats right. All over sub-continent people speak urdu but name it other... In fact Urdu is the only medium of exchanging views right from Afghanistan to Sri Lanka.

[Rohit84up]

Naushad speaks fantastic up-urdu wish we all could speak like him. Eventhough urdu is associated with muslims but as far as i'm concerned i wish all indians could speak this beautiful language.

[shortie0306]

Raag based songs are everlasting

[khanmlb]

NAUSHAD is really great person........koi shak nahin......

[Psyche1954]

India is a namegiven in the 20th century! The geographical area and the language of sanskrit and the people ( Rivers mountains and the fertile plains) have existed b4 the various invaders destroyed the very culture which sheltered them! The culture existed even when Pharos ruled Egypt and Nile valley! every thing is easy when one appproaches Knowledge without preconditions or prejudice

at least human genome studies can now show that there was NO ARYAN invasion so Indian music was NOT imported

[khanmlb]

@Psyche1954 is it really so easy??????/

[Psyche1954]

The Knowledge of Ragas and their relationship to daily life of India is rather complicated! Classical music of India is More ancient than moghuls or any invaders!Naushad's modesty was, he acknowledged that he just presented old wine ( Indian Classical Music) in a new bottle( film music) which every one could hum!

The origin of Indian instruments is ascribed to lord shiva and Rishis and Munis who composed the ancient ragas and the Sama Veda which laid down the grammar of Indian Classical Music!