Shuklas : Musical Maestro-Naushad Naushad Ali (December 25, 1919 - May 5, 2006)
Posted 11 May 2006 - 02:28 PM
Naushad Ali (December 25, 1919 - May 5, 2006) was an Indian musician. He was one of the foremost music
Naushad was raised in Lucknow, a city with a long tradition as a center of refined North Indian culture. He studied classic Hindustani music there, under such teachers as Ustad Ghurbat Ali, Ustad Yusuf Ali, and Ustad Babban Saheb.
He moved to Mumbai in the late 1930s to try his luck as a musician. After initial rebuffs, he got a job as a musician in a studio orchestra. He scored his first film in 1940. From 1942 until the late 1960s, he was one of the top music directors in the Bollywood film business.
He was known for his deft adaptation of the classical musical tradition for filmi uses. In some films, such as Baiju Bawra, all his songs were composed in traditional raga modes. He was also able to work with Western instruments, Western-style orchestras, and adapt Western musical idioms.
Some critics have said that he depended heavily on his assistants (gifted musicians like Ghulam Mohammed, Mohammed Ibrahim and Mohammed Shafi) and that some music credited to Naushad should have been credited to these men. 
He is fondly remembered for his scores to such movies as:
Dil diya Dard Liya (1966)
Ganga Jamuna (1961)
Mother India (1957)
Baiju Bawra (1952)
Anokhi Ada (1948)
Shah Jehan (1946)
Anmol Ghadi (1946)
Lyricists with whom he worked:
D. N. Madhok
Movies as a producer
Uran Khatola (1955)
Later works and life
As Western music changed and filmi music changed with it, Naushad came to be considered old-fashioned. Composers who could pen rock and roll and disco-inflected music were increasingly popular. Naushad was esteemed as a master, but in demand only for historical movies where an old-fashioned, traditional score was considered an asset.
In 1981, Naushad was awarded the Dadasaheb Phalke Award for his lifetime contribution to Indian cinema. In 2004, a colorized version of the classic Mughal-e-Azam was released, with re-recorded music. Naushad was a guest of honor at the premiere .
His last music composition was for the movie Taj Mahal: An Eternal Love Story, directed by Akhbar Khan, which released in 2005.
He passed away on May 5, 2006, in Mumbai. (Source :WKPD)
Posted 20 May 2006 - 06:38 PM
Naushad Ali, the Greatest
One of the finest music composers in Indian cinema, Naushad was equally at ease with both Indian and Western classical music. Awarded the Dadasaheb Phalke Award in 1981, he leaves behind an unforgettable legacy
From day one, Naushad wanted to popularise Indian folk and classical music
Naushad Ali, last monarch of the musical empire, died leaving behind a treasure trove of songs seeped in poetry. Right from Prem Nagar (1940) to Taj Mahal- An Eternal Love Story, he enriched Hindi film music with the timeless intensity of his compositions.
Wahid Ali was a munshi in the court in Lucknow and he wanted his son Naushad Ali to do something similar, but young Naushad's mind was musical. He began his career repairing harmoniums in Lucknow. Wahid Ali felt that his community would not appreciate the fact that his son had taken up music to earn a livelihood. On Divali, he berated Naushad and told him to choose either music or home. Naushad walked out of his home, saying, "Aapko aapka ghar mubarak, mujhe mera sangeet."
After he came to Bombay he had to struggle a lot. He even slept on the footpath in Dadar. He assisted Ustad Jhande Khan and Khem Chand Prakash and became a full-fledged music director with the unremarkable Prem Nagar (1940). However, Akhiyan mila ke jiya bharmake chaley nahin jana and Milke bichad gayee aakhiyan from Kardar Production's Rattan catapulted him to fame. Jawan hai mohabat, Mere bachpan ke saathi mujhe bhool na jana, Aawaz de kahan hai... were chiselled by Naushad for Noorjehan's bass voice in Anmol Ghadi but Suraiya vied with Noorjehan with her Socha tha kya kya hogaya... With the popularity of these numbers, sky was the limit for him.
From day one, while composing for films, Naushad wanted to popularise the Indian folk and classical music. The score of Baiju Bawra was a step towards that end.
Seasoned classical vocalists D.V. Paluskar and Ustad Amir Khan sang along with Mohammed Rafi and Lata Mangeshkar. Lata was so overwhelmed by the tune and lyrics of Mohe bhool gaye sanwariya that she broke down in the middle of the recording.
Who can forget Meena Kumari's embarassed expressions in Tu ganga ki mauj?
Naushad never felt tired of telling one and all that the songs Man tadpat Hari darshan ko aaj, O duniyan ke rakhwale sun dard bhare more naley, Insaan bano karlo bhalayee ka koi kaam were perfect examples of national integration. On the day of premier of Baiju Bawra at the Broadway Theatre in Dadar, the producer asked Naushad how did he feel. Looking to the other side of the footpath where he used to sleep when he came to Bombay, with a lump in throat, he remarked, "Janaab, us footpath se yahan tak aane mein 16 saal lag gaye".
Naushad’s tunes came straight from the heart and he agonised over tunes and phrases, spent sleepless nights and worked until he achieved perfection.
Mukesh went to his house 23 times just to rehearse the Andaaz song Tu kahe agar jeevan bhar...
According to Naushad, his life's best was created in Mughal-e-Azam. The biggest challenge he had to face was to get the audience to tear its transfixed gaze away from Madhubala's ethereal visage and to listen to the songs. Naushad extracted a fine performance from Lata in Mohabat ki jhooti kahani pe roye, Hamein kash tum se mohabbat na hoti, Khuda nigh-e-baan ho tumhara, etc. Inspired by a folk song from eastern Uttar Pradesh, Prem kiya kya chori kari hai.., Naushad created a paramount paen to romantic rebellion Pyar kiya to darna kya, Mohe panghat pe Nandlal ched gayo re.. sung by Anarkali dancing like Meera in the palace of Akbar sends the audience in a trance even now.
Naushad had recorded 20 songs for Mughal-e-Azam, 10 of them no one ever heard including a classical Shamshad Begum-Mubarak Begum-Lata Mangeshkar number Husn ki baraat chali. Prem jogan ban jaoon.. in the voice of Bade Ghulam Ali Khan remains the most sensual song in Hindi cinema.
Situational numbers like Duniyan mein hum aaye hain to jeena hee padega, Nagri nagri dware dware, Umariaya ghati jaye re etc made the music of Mother India a landmark. Ganga-Jamuna tackled a subject from Uttar Pradesh and Naushad infused the score with a folksy rhythm indigenous to the region in Nain lad jaihen toh manva mein kasak hoibe kari, Do hanso ka joda bichad gayo re, Dhoondho re sajana more kaan ka baala, etc.
Naushad proved his staying power by giving hits right from Prem Nagar, Rattan, Anmol Ghadi, Shah Jehan, Amar, Deedar, Andaaz in the 1940s to Ram Aur Shyam, Admi, Saathi, etc in the sixties. In between came films Aan, Baiju Bawra, Mother India, Ganga-Jamuna, Mughal-e-Aazam, Kohi-i-noor, to mention only the best.
A staunch critic of the influences of Western music, Naushad used Indian classical and folk music in about 67 films. Naushad could handle varied genres of music. Nothing was difficult for him. Be it a romantic number Suhani raat dhal chuki, a ghazal Tasveer banata hoon teri khoon-e-jigar se, a bhajan Madhuban mein Radhika nache re or a patriotic song Apni aazadi ko hum hargiz mita sakte nahin or a qawwali Mehlon mein rehne wali humein tere dar se kiya or a tipsy number Mujhe duniya walo sharabi na samjho..
Shakeel Badayuni, Majrooh, Kumar Barabunki, Madhok, etc toiled to give Naushad their best. Among the singers it was primarily Mohammed Rafi and Lata.
From the 1970s, Naushad took a backseat when his scores in Ganwar, Aaina, Dharam Kanta, Teri Payal Mere Geet, Guddu tended to be uncomfortable compromises. The golden melodies that he had created in his heyday endured and remained timeless.
Gham diye mustaqil, Jab dil hee toot gaya, Mera jeewan saathi bichad gaya, Na milta gham to barbadi ke afsane kahan jate, Jane wale se mulagaat na hone payee, Yeh kaun aaya, etc were chartbusters in their eras.
In his last film Taj Mahal-An Eternal Love Story, Naushad spun enchanting melodies like Mumtaz tujhe dekha, Ajnabi thehro zarra, Apne shaane ko etc. They have his stamp as well as a contemporary flavour. Naushad proved that legends never fade away, but reinvent themselves.
Source : The Sunday-Tribune
Posted 16 July 2006 - 12:31 PM
by Ramendra Kumar
On 5th evening, I was watching the nine o’ clock news on my favorite news channel : violence in Vadodara, arson in J&K, shooting in Haryana – so what else is new, I thought reaching for the remote. I wanted to watch something less mundane than the staple fare of aggression - leashed or unleashed. Just then the ticker line caught my attention : Music legend Naushad passes away.
I sat up, Naushad the sartaj of music was dead. I desperately waited for the lead news and after ten minutes of impatient waiting was rewarded. Naushad had left all music lovers orphaned at the ‘ripe old age’ of 86 leaving a legacy of immortal melodies behind. The eulogies and encomiums were poring in. This was of course nothing unusual. What was refreshingly different was the sincerity with which people from different walks of life were paying tribute to the genius.
I sat back and closed my eyes and was lost in a collage of images – each more endearing than the other – Madhubala singing the mesmeric Pyar kiya to darna kya, Dilip Kumar dancing to the earthy beat of Nain lad jayin hai to manwama kasak huibe kari, Bharat Bhushan invoking the lord in the classic O duniya ke rakhwale – the list is endless………
Once again I was struck by something uncanny. I do not belong to the Naushad generation, I wasn’t even existing in the fifties when Naushad’s brilliance had lit up the Bollywood firmament. I belong to the RD Burman and Lakshmikant-Pyarelal generation, yet why did I feel such a sense of loss at the departure of a man who wove his magic much before my musical sensibilities had been honed. There could be only one reason for this - Naushad didn’t merely make music, he made magic. He was not into churning out tunes he was into creating an ambience – an ambience of melody, of tradition and of culture. His music was based on the Indian ethos and was like him - honest and pure. He brought to Bollywood the richness of classical music and using his artistry made it appealing to the hoi polloi. He was probably the only music composer whose tunes were adored by the classes as well as the masses.
Born in Lucknow in 1919, Naushad’s journey from rebellion to rags to riches reads almost like a fairy tale. His father gave the eighteen year old Naushad a choice – either home or music! The callow and immature youth chose the latter and came to Mumbai the city of magnificent dreams and harsh realities. With stars in his eyes, a footpath for a home and a will to win the young genius went about his task of crafting melodies. How could Mumbai ignore this pied piper of Lucknow. Slowly but surely the tinsel town woke up to the tunes of the ‘tunester’. And thus began the era of music and melody at its pristine best. Mahal, Baiju Baawra, Mother India, Mughal-e-Azam, Dard, Mela, Sangharsh, Ram aur Shyam, Mere Mehboob – it reads like a virtual treasure trove of Indian cinema.
But for Naushad we probably wouldn’t have seen the flowering of the two greatest musical geniuses – Lata Mangeshkar and Mohammad Rafi. From the angst filled Mohabbat ki jhooti kahani pe roye (Mughle Aazam) to the playful Dhoondo, dhoondo re saajana (Gunga Jamuna) if there was one music director who best understood the lyrical nuances of the nightingale’s voice it was Naushad.
Rafi’s repertoire includes a mind-boggling array of songs but if you were to pick up his two best renditions they would probably be E duniya ke rakhwale’ and Man tadpat hari darshan ko aaj (Baiju Baawra).
To Naushad, quality was supreme. That is why in his six decade long career he composed music for only 66 films. He was also a perfectionist to the core. When he was composing the score of one movie his full attention would be on it. He would pick up another assignment only after finishing the one at hand. The lyricists too had to adjust to his penchant for perfection. If he didn’t like a line from a song the lyricist had to work on it until the maestro was satisfied.
Doesn’t all this sound strange in this era of Anu Maliks and Himesh Reshammiyas whose idea of music is stringing together a few tunes lifted from old Indian or western hits and passing them off as original. Who ‘decompose’ songs with the alacrity of a vending machine and also resort to the ultimate molestation of music – remix.
Naushad, a purist to the core was saddened by the state of music or what passes off as music today! Plagiarized tunes, inane lyrics, non-existent melody and worst of all vulgarity at its ‘crudesome’ best - this medley of cacophony, deception and cheapness made him yearn for the unspoiled past.
Our greatest tribute to this consummate artist and great humanist would be to bring back the values he stood for – to return to our cultural roots – a culture which epitomizes quality, melody and poetry.
With the passing away of Naushad an era has come to an end – an era of mellifluous melodies, pristine tones and memorable lyrics.
Music will be there – but it will be without a soul. The soul has gone forever with the messiah – the messiah of melody – Naushad
Posted 06 August 2006 - 12:07 PM
- Kaale kaale aaye badarwa - Suraiya
- Dilwaale jal jalkar yunhi mar jaana - Uma Devi
Posted 21 February 2007 - 09:50 AM
Lata Mangeshkar-Mohamad Rafi-Andaz- Music-Naushad
Sun lo dil ka afsana.................
The link is not working!
Posted 01 July 2009 - 07:41 PM
1.bade bhole bhale hai dil lene wale.........surendra
2.bhool gaye kyon deke sahara......mukesh and shamshad
3.bhoolne wale yaad na aa...............mukesh
4.dil ko laga ke humne.......uma devi
5.ho aaj kaha jake nazar takrayee.....shamshad
6.jale na kyon parwana..............surendra
7.kabhi dil dil se takrata to hoga....mukesh
8.kabhi dil dil se takrata to ho hoga........shamshad
9.kahe jiya dole ho kaha nahi jaye.....uma devi
10.kyon unhe dil diya..............shamshad and surendra
11.manzil ki dhun me jhoomte gate chale chalo.......mukesh
12.nazar mil gayee jane kiski nazar se..shamshad
13.ye pyar ki baatein.........mukesh
Posted 01 July 2009 - 07:42 PM
1.sunlo dil ka afsana dunia dil ki basake na bhool jana.(unreleased)
2.kyon teri nazar(not included in film)
Posted 01 July 2009 - 07:45 PM
suhani raat dhal chuki
two duet by rafi-lata:mil mil ke gayenge & raat rangeeli mast nazare
solo by lata:taqdeer jagake aayi hu/ai dil tujhe qasam hai/do din ki bahar/aankhon me aaja/mohabbat hamari/kaun sune faryad/na wo humse juda honge
Ai dil tujhe qasam hai is my fav among lata hits from this film.
solo by shamshad:taqdeer jagake aaye hu
Posted 01 July 2009 - 07:46 PM
Posted 01 July 2009 - 07:47 PM
Posted 01 July 2009 - 07:48 PM
Posted 25 July 2009 - 09:10 PM