ON NAUSHAD : For Naushad Lovers/ Haters
Mokammel Karim
http://www.youtube.com/watch?v=p8mSeQ9S_mw
http://www.youtube.com/watch?v=rowOJ8nJjA8
http://www.youtube.com/watch?v=37lGE75yWF4&feature=related
http://www.youtube.com/watch?v=M6TWr2162Lg&feature=related
http://www.youtube.com/watch?v=8ifDnoOf6UA&feature=related
Naushad’s last interview (audio):
http://icecast.commedia.org.uk:8000/history/naushad.mp3
Naushad’s tribute to anil biswas (starts at 7:00):
http://www.youtube.com/watch?v=tDGmfZbhSmg
Pandit Jasraj on Naushad:
http://www.hinduonnet.com/thehindu/mag/2006/05/14/stories/2006051400170700.htm
Khayyam on Naushad:
http://www.rediff.com/movies/2006/may/10naushad.htm
Manna dey writes about naushad:
http://www.ourhfm.com/index.php?showtopic=3454
(the original Bengali version written by manna dey
http://img142.imageshack.us/img142/8543/anandabazarpatrikasaturdayfeature1ko4.jpg)
Lata on Naushad:
“Hum dono ki awaaz ka acha istemaal Shankar-Jaikishan, Roshan aur L-P
vaghaira ne kiya magar jitna khoobsurat istemal Naushad sahab ne kiya,
jaise geet unhon ne gawa diye woh unhi ka hissa hain. Rafi sahab bhi
Naushad sahab ki bahot respect aur badi qadar karte the. ” (lata after
rafi’s death, 1980)
"People might say I'm old fashioned.. Naushad sahib used to think for
days on end for one song... One song would take 15 days... The tune
changed many times... There was Salil Chowdhury. Today, if Salilda was
around, people would find it difficult to listen to his songs... these
persons would get immersed in music. Shankar-Jaikishen and Lakshmikant
Pyarelal were there. Until they got satisfied, they would be sitting.
We do not find that these days... to what extent is this prevalent
these days, I would not know...", she further added in response to a
question during an exclusive interview with Sanjeev Srivastava, Indian
Editor BBC Hindi. (Tuesday, July 03, 2007).
AR Rahman and Naushad:
ARR became Alla Rakha Rahman from Abdul Rahman on Naushad’s
Suggestion.
http://indianmuslims.in/ar-rahman-the-mozart-of-madras/
“During this period, on one of his trips to Bombay he met the veteran
Hindi music director Naushad Ali who was very impressed by the young
Rahman's work and asked him to try his hand at composing for films.”
http://www.hindilyrix.com/musicians/musician-a-r-rahman.html
“Background music is something that needs ten times more energy than
making songs. You can do songs for four more films in the time you
take for composing a background music score for just one movie! In the
West, they are amazed that in Indian films the same person composes
both the songs and the background score. But over here, whether it was
Naushadsaab in Hindi films, Ilayaraja down here or most other
composers, we have had this tradition almost as a culture”
http://www.bollywoodhungama.com/features/2009/04/06/5051/index.html
“"I love composing the kind of songs I grew up listening in my
younger days. In the Hindi movies, I admired the songs of Madan Mohan,
S D Burman and Naushad in particular."
His respect for Naushad's work in Mughal E Azam is so intense, Rahman
said, that when feelers were sent to him if he would compose a theme
song for the film, he rejected the suggestion outright.
When told that Naushad, while criticising the current state of music,
had also found fault with him, Rahman smiled. The senior composers are
like elderly family members, he said. You hug them, you touch their
feet, and they will welcome you in no time. They are like children, he
added.
He had made several attempts to meet with Naushad late last year, but
something or the other cropped up. Missed opportunities, Rahman said
with a sigh, often fuel misconceptions and misunderstandings.”
http://www.bollywhat-forum.com/index.php?topic=23594.0;wap2
“The songs of Mughal-e-Azam (composed by Naushad) are his all-time
favourite.”
http://www.hindu.com/cp/2009/06/12/stories/2009061250240800.htm
Three Rajiv Vijayakar articles,
http://www.screenindia.com/old/fullstory.php?content_id=9648
http://www.screenindia.com/old/archive/archive_fullstory.php?content_id=11571
http://www.screenindia.com/old/fullstory.php?content_id=17362
Raju bharatan:
http://specials.rediff.com/movies/2006/may/08sl1.htm
Mokammel Karim
> Naushad (video) interview:http://www.youtube.com/watch?v=p8mSeQ9S_mwhttp://www.youtube.com/watch?v=rowOJ8nJjA8http://www.youtube.com/watch?v=37lGE75yWF4&feature=relatedhttp://www.youtube.com/watch?v=M6TWr2162Lg&feature=relatedhttp://www.youtube.com/watch?v=8ifDnoOf6UA&feature=related
> Naushad’s last interview (audio):http://icecast.commedia.org.uk:8000/history/naushad.mp3
> Naushad’s tribute to anil biswas (starts at 7:00):http://www.youtube.com/watch?v=tDGmfZbhSmg
>
> Khayyam on Naushad:http://www.rediff.com/movies/2006/may/10naushad.htm
> Manna dey writes about naushad:http://www.ourhfm.com/index.php?showtopic=3454
> Lata on Naushad:
> “Hum dono ki awaaz ka acha istemaal Shankar-Jaikishan, Roshan aur L-P
> vaghaira ne kiya magar jitna khoobsurat istemal Naushad sahab ne kiya,
> jaise geet unhon ne gawa diye woh unhi ka hissa hain. Rafi sahab bhi
> Naushad sahab ki bahot respect aur badi qadar karte the. ” (lata after
> rafi’s death, 1980)
> "People might say I'm old fashioned.. Naushad sahib used to think for
> days on end for one song... One song would take 15 days... The tune
> changed many times... There was Salil Chowdhury. Today, if Salilda was
> around, people would find it difficult to listen to his songs... these
> persons would get immersed in music. Shankar-Jaikishen and Lakshmikant
> Pyarelal were there. Until they got satisfied, they would be sitting.
> We do not find that these days... to what extent is this prevalent
> these days, I would not know...", she further added in response to a
> question during an exclusive interview with Sanjeev Srivastava, Indian
> Editor BBC Hindi. (Tuesday, July 03, 2007).
>
> AR Rahman and Naushad:
> ARR became Alla Rakha Rahman from Abdul Rahman on Naushad’s
> Raju bharatan:http://specials.rediff.com/movies/2006/may/08sl1.htm
Asha writes about Naushad:
Forgot to include this in my previous post. This is what Asha Bhosle
wrote on Naushad:
"...he had maintained his hold on both the notes and the melody. It
was a commonly held belief those days that any movie which had music
by Naushad would be a big hit. The amazing thing about his music was
that even if the films flopped, his music would definitely be popular.
The main reason for that was that not only did he know his music well,
he also knew the public taste. He was a master at moulding the music
to the mood of a movie. And the wonderful thing was that he never
compromised on the quality of music.
....I think his biggest contribution was that he brought the classical
music so close to the common man and woman. Many stalwarts of
classical music too have appreciated so many of his songs. He used
different raagas, Dhrupad, Khayal and Taraana in such a wonderfully
simple way in his songs that even an ordinary listener could
appreciate the finer nuances. Nowadays, the music directors just make
a tune and then are completely dependent on the arranger - but I never
saw him do any such thing. He would handover the complete tune and
musical score to his assistant and then be present during the complete
recording.....
....He was always particular about using appropriate words in his
songs. He was a complete artist, far above religion or caste. He had
no parallel when it came to encouraging an artist. I remember, he
would pat my cheeks after each recording, and say, "Shaabaash". Not
once, but many a time I heard him say that a great artist is one who
is also a great human being. That was so very apt for him. He was a
total saint."
http://www.outlookindia.com/article.aspx?231248
Mokammel Karim
> On Dec 13, 2:42 pm, Mokammel Karim <mktoufi...@gmail.com> wrote:
>
>
>
I lost the link of the shamshad interview where she remembers her
experience of naushad recording..... but this is worth watching.
Shamsad's (video) interview:
http://www.youtube.com/watch?v=RsYN7xYrj5E&feature=related
AR
Thanks a lot for all these links and posts! Very informative!
Afzal A. Khan
> On Dec 13, 2:42 pm, Mokammel Karim <mktoufi...@gmail.com> wrote:
>> Naushad (video) interview:http://www.youtube.com/watch?v=p8mSeQ9S_mwhttp://www.youtube.com/watch?v=rowOJ8nJjA8http://www.youtube.com/watch?v=37lGE75yWF4&feature=relatedhttp://www.youtube.com/watch?v=M6TWr2162Lg&feature=relatedhttp://www.youtube.com/watch?v=8ifDnoOf6UA&feature=related
>> Naushad�s tribute to anil biswas (starts at 7:00):http://www.youtube.com/watch?v=tDGmfZbhSmg
>>
>> Pandit Jasraj on Naushad:http://www.hinduonnet.com/thehindu/mag/2006/05/14/stories/20060514001...
>> Khayyam on Naushad:http://www.rediff.com/movies/2006/may/10naushad.htm
>> Manna dey writes about naushad:http://www.ourhfm.com/index.php?showtopic=3454
>> (the original Bengali version written by manna deyhttp://img142.imageshack.us/img142/8543/anandabazarpatrikasaturdayfea...)
>> Lata on Naushad:
>> vaghaira ne kiya magar jitna khoobsurat istemal Naushad sahab ne kiya,
>> jaise geet unhon ne gawa diye woh unhi ka hissa hain. Rafi sahab bhi
>> rafi�s death, 1980)
>> "People might say I'm old fashioned.. Naushad sahib used to think for
>> days on end for one song... One song would take 15 days... The tune
>> changed many times... There was Salil Chowdhury. Today, if Salilda was
>> around, people would find it difficult to listen to his songs... these
>> persons would get immersed in music. Shankar-Jaikishen and Lakshmikant
>> Pyarelal were there. Until they got satisfied, they would be sitting.
>> We do not find that these days... to what extent is this prevalent
>> these days, I would not know...", she further added in response to a
>> question during an exclusive interview with Sanjeev Srivastava, Indian
>> Editor BBC Hindi. (Tuesday, July 03, 2007).
>>
>> AR Rahman and Naushad:
>> Suggestion.http://indianmuslims.in/ar-rahman-the-mozart-of-madras/
>> �During this period, on one of his trips to Bombay he met the veteran
>> Hindi music director Naushad Ali who was very impressed by the young
>> �Background music is something that needs ten times more energy than
>> making songs. You can do songs for four more films in the time you
>> take for composing a background music score for just one movie! In the
>> West, they are amazed that in Indian films the same person composes
>> both the songs and the background score. But over here, whether it was
>> Naushadsaab in Hindi films, Ilayaraja down here or most other
>> �"I love composing the kind of songs I grew up listening in my
>> younger days. In the Hindi movies, I admired the songs of Madan Mohan,
>> S D Burman and Naushad in particular."
>>
>> His respect for Naushad's work in Mughal E Azam is so intense, Rahman
>> said, that when feelers were sent to him if he would compose a theme
>> song for the film, he rejected the suggestion outright.
>>
>> When told that Naushad, while criticising the current state of music,
>> had also found fault with him, Rahman smiled. The senior composers are
>> like elderly family members, he said. You hug them, you touch their
>> feet, and they will welcome you in no time. They are like children, he
>> added.
>>
>> He had made several attempts to meet with Naushad late last year, but
>> something or the other cropped up. Missed opportunities, Rahman said
>> �The songs of Mughal-e-Azam (composed by Naushad) are his all-time
>> favourite.�http://www.hindu.com/cp/2009/06/12/stories/2009061250240800.htm
According to a certain RMIMer, I suppose, Asha is either a complete
fool and an ignoramus, or (at best) a sycophant !!
Afzal
Mokammel Karim
> Mokammel Karim wrote:
> > On Dec 13, 2:42 pm, Mokammel Karim <mktoufi...@gmail.com> wrote:
> >> Naushad’s last interview (audio):http://icecast.commedia.org.uk:8000/history/naushad.mp3
> >> Naushad’s tribute to anil biswas (starts at 7:00):http://www.youtube.com/watch?v=tDGmfZbhSmg
>
> >> Pandit Jasraj on Naushad:http://www.hinduonnet.com/thehindu/mag/2006/05/14/stories/20060514001...
> >> Khayyam on Naushad:http://www.rediff.com/movies/2006/may/10naushad.htm
> >> Manna dey writes about naushad:http://www.ourhfm.com/index.php?showtopic=3454
> >> (the original Bengali version written by manna deyhttp://img142.imageshack.us/img142/8543/anandabazarpatrikasaturdayfea...)
> >> Lata on Naushad:
> >> vaghaira ne kiya magar jitna khoobsurat istemal Naushad sahab ne kiya,
> >> jaise geet unhon ne gawa diye woh unhi ka hissa hain. Rafi sahab bhi
> >> rafi’s death, 1980)
> >> "People might say I'm old fashioned.. Naushad sahib used to think for
> >> days on end for one song... One song would take 15 days... The tune
> >> changed many times... There was Salil Chowdhury. Today, if Salilda was
> >> around, people would find it difficult to listen to his songs... these
> >> persons would get immersed in music. Shankar-Jaikishen and Lakshmikant
> >> Pyarelal were there. Until they got satisfied, they would be sitting.
> >> We do not find that these days... to what extent is this prevalent
> >> these days, I would not know...", she further added in response to a
> >> question during an exclusive interview with Sanjeev Srivastava, Indian
> >> Editor BBC Hindi. (Tuesday, July 03, 2007).
>
> >> AR Rahman and Naushad:
> >> Suggestion.http://indianmuslims.in/ar-rahman-the-mozart-of-madras/
> >> “During this period, on one of his trips to Bombay he met the veteran
> >> Hindi music director Naushad Ali who was very impressed by the young
> >> “Background music is something that needs ten times more energy than
> >> making songs. You can do songs for four more films in the time you
> >> take for composing a background music score for just one movie! In the
> >> West, they are amazed that in Indian films the same person composes
> >> both the songs and the background score. But over here, whether it was
> >> Naushadsaab in Hindi films, Ilayaraja down here or most other
> >> “"I love composing the kind of songs I grew up listening in my
> >> younger days. In the Hindi movies, I admired the songs of Madan Mohan,
> >> S D Burman and Naushad in particular."
>
> >> His respect for Naushad's work in Mughal E Azam is so intense, Rahman
> >> said, that when feelers were sent to him if he would compose a theme
> >> song for the film, he rejected the suggestion outright.
>
> >> When told that Naushad, while criticising the current state of music,
> >> had also found fault with him, Rahman smiled. The senior composers are
> >> like elderly family members, he said. You hug them, you touch their
> >> feet, and they will welcome you in no time. They are like children, he
> >> added.
>
> >> He had made several attempts to meet with Naushad late last year, but
> >> something or the other cropped up. Missed opportunities, Rahman said
> >> “The songs of Mughal-e-Azam (composed by Naushad) are his all-time
> >> favourite.”http://www.hindu.com/cp/2009/06/12/stories/2009061250240800.htm
>
> >> Three Rajiv Vijayakar articles,http://www.screenindia.com/old/fullstory.php?content_id=9648http://ww...
May be, but that (i.e, ignoramus) applies to most of our artistes,
given their low level of intellect.
Kalyan
> Mokammel Karim wrote:
> > On Dec 13, 2:42 pm, Mokammel Karim <mktoufi...@gmail.com> wrote:
> >> Naushad’s last interview (audio):http://icecast.commedia.org.uk:8000/history/naushad.mp3
> >> Naushad’s tribute to anil biswas (starts at 7:00):http://www.youtube.com/watch?v=tDGmfZbhSmg
>
> >> Pandit Jasraj on Naushad:http://www.hinduonnet.com/thehindu/mag/2006/05/14/stories/20060514001...
> >> Khayyam on Naushad:http://www.rediff.com/movies/2006/may/10naushad.htm
> >> Manna dey writes about naushad:http://www.ourhfm.com/index.php?showtopic=3454
> >> (the original Bengali version written by manna deyhttp://img142.imageshack.us/img142/8543/anandabazarpatrikasaturdayfea...)
> >> Lata on Naushad:
> >> vaghaira ne kiya magar jitna khoobsurat istemal Naushad sahab ne kiya,
> >> jaise geet unhon ne gawa diye woh unhi ka hissa hain. Rafi sahab bhi
> >> rafi’s death, 1980)
> >> "People might say I'm old fashioned.. Naushad sahib used to think for
> >> days on end for one song... One song would take 15 days... The tune
> >> changed many times... There was Salil Chowdhury. Today, if Salilda was
> >> around, people would find it difficult to listen to his songs... these
> >> persons would get immersed in music. Shankar-Jaikishen and Lakshmikant
> >> Pyarelal were there. Until they got satisfied, they would be sitting.
> >> We do not find that these days... to what extent is this prevalent
> >> these days, I would not know...", she further added in response to a
> >> question during an exclusive interview with Sanjeev Srivastava, Indian
> >> Editor BBC Hindi. (Tuesday, July 03, 2007).
>
> >> AR Rahman and Naushad:
> >> Suggestion.http://indianmuslims.in/ar-rahman-the-mozart-of-madras/
> >> “During this period, on one of his trips to Bombay he met the veteran
> >> Hindi music director Naushad Ali who was very impressed by the young
> >> “Background music is something that needs ten times more energy than
> >> making songs. You can do songs for four more films in the time you
> >> take for composing a background music score for just one movie! In the
> >> West, they are amazed that in Indian films the same person composes
> >> both the songs and the background score. But over here, whether it was
> >> Naushadsaab in Hindi films, Ilayaraja down here or most other
> >> “"I love composing the kind of songs I grew up listening in my
> >> younger days. In the Hindi movies, I admired the songs of Madan Mohan,
> >> S D Burman and Naushad in particular."
>
> >> His respect for Naushad's work in Mughal E Azam is so intense, Rahman
> >> said, that when feelers were sent to him if he would compose a theme
> >> song for the film, he rejected the suggestion outright.
>
> >> When told that Naushad, while criticising the current state of music,
> >> had also found fault with him, Rahman smiled. The senior composers are
> >> like elderly family members, he said. You hug them, you touch their
> >> feet, and they will welcome you in no time. They are like children, he
> >> added.
>
> >> He had made several attempts to meet with Naushad late last year, but
> >> something or the other cropped up. Missed opportunities, Rahman said
> >> “The songs of Mughal-e-Azam (composed by Naushad) are his all-time
> >> favourite.”http://www.hindu.com/cp/2009/06/12/stories/2009061250240800.htm
>
> >> Three Rajiv Vijayakar articles,http://www.screenindia.com/old/fullstory.php?content_id=9648http://ww...
>
> - Show quoted text -
Regardless of how we assess Naushad, Asha does sound rather
disingenuous. He hardly did work with her and did most of his work
with her when he had a fall out with Lata and was also on the decline.
There isn't much that Asha sang for him which is memorable (she
herself can recall only one song) and it is difficult to believe she
menas what she said. Add to that the "bazaarupan" comment he made on
her singing which must hurt her even now and we know that the sisters
don't forgive or forget. Maybe what the article demonstrates is the
Indian tradition of talking only good and nice about someone who has
recently died. The only interesting thing about the tribute is that it
leaves you wondering why it was not done by Lata.
Kalyan
Mokammel Karim
than asha (for naushad), but still he wrote a glowing tribute. after
naushad's death, lata said about naushad in a couple of interviews.
but she did not pay a visit to nanavati/ashiana. may be due to the
incident that happened in early 1980s. but she sang for naushad after
that. also when lata turned 70, naushad wrote a one-page tribute. when
they met at the filmfare in 2003, lata touched naushad's feet. still
lata's reaction was a bit surprising. there may be a couple of
explanations for asha's response.
- the 'indian tradition'
- in mid 1990s, when asha was giving hits after hits, receiving many
(i.e.mtv) awards ... naushad commented that ultimately asha's
achievements can be higher than lata's (not an exact quote). may be
she was grateful for that. manna dey also said something similar. and
asha sends mannadey birthday wishes each year (it may or may not be
related to manna's compliments). however, neither of them said that
asha was better than lata.
- i think, naushad is the only composer for whom all the mangeshkar
siblings sang. so may be sometimes in the 50s they really had good
relations. it can be for that old time's sake.
- the editor/journo asked and asha could not refuse
Jay
Mr Md Karim:
Do not beat around the bush by providing links of singers and
classical singers' comments. Its the the most foolish attempt on your
part.
Believe only in YOURSELF of your listening maturity. AND
As a researcher in the study of the 'art of composing cine music' in
Indian films - which I am doing since1965 and still doing - I firmly
believe in PERFORMANCE(S) OF the MD qualitatively - I do not believe
in popularity or commercial success. How much 'masala exists in your
3.0 to 3.5 mins of the recorded song in question. Is that clear now?
Simply giving a song in raag 'bhairavi' or 'pahadi' etc doesn't
elevate his grandiose or simply penning down articles and statistics
do not either. I am not interested in all that. Maybe your friends on
the forum. I do research - how much Naushad has put in his BRAIN WORK
ALONE in any tune of his.!!
Now I be very fair and also shall give you the opportunity of asking
ME the same question - but don't expect me to answer first.
The research I am doing for so many years - there is not a single
person you will find anywhere. I do it , becoz I LOVE CINE MUSIC - I
do not condemn anyone in the process of my research - I go by
performance oriented results...like the one I put up on BCSP-78 some
days ago in an attempt to draw out delicate features in the respective
songs in terms of rendition as well as the raaga elaboration.
Very soon I shall be posting some songs of Naushad on MELODIC
COMPARISONS .
Jay
14/12
Mokammel Karim
> Mr Md Karim:
Please check my name, i don't have md/mohd in it.
> Do not beat around the bush by providing links of singers and
> classical singers' comments. Its the the most foolish attempt on your
> part.
Links work as resources/references for analysis/research. I expect
some links (evidence) from you too. Its a standard practice that, if
you claim something you have to prove that. Otherwise your claim is
not established.
> Believe only in YOURSELF of your listening maturity. AND
Maturity, in this case, is really problematic. How do you define it?
Until now, I haven't found anyone whom you considered matured. Musical
sense is important. And it can be influenced by a myriad of factors.
> As a researcher in the study of the 'art of composing cine music' in
> Indian films - which I am doing since1965 and still doing - I firmly
I appreciate your effort. But until we see your research output, we
really can't comment on that. In your posts (as far as I have seen),
you haven't given any signal of a sound research.
> believe in PERFORMANCE(S) OF the MD qualitatively - I do not believe
> in popularity or commercial success. How much 'masala exists in your
> 3.0 to 3.5 mins of the recorded song in question. Is that clear now?
> Simply giving a song in raag 'bhairavi' or 'pahadi' etc doesn't
> elevate his grandiose or simply penning down articles and statistics
> do not either. I am not interested in all that. Maybe your friends on
Film is a popular medium. You can't assign a 'zero' weight to
popularity while analyzing film music. Well, you can always do
that....but for me thats not the right way. Quality should be there.
And also you should take account of the significance/influence of the
work. another factor is time. A follower 'can be' better than the
pioneer, but he can never be the pioneer (Applies to GR-Naushad
case).
> the forum. I do research - how much Naushad has put in his BRAIN WORK
> ALONE in any tune of his.!!
>
> Now I be very fair and also shall give you the opportunity of asking
> ME the same question - but don't expect me to answer first.
>
> The research I am doing for so many years - there is not a single
> person you will find anywhere. I do it , becoz I LOVE CINE MUSIC - I
> do not condemn anyone in the process of my research - I go by
> performance oriented results...like the one I put up on BCSP-78 some
> days ago in an attempt to draw out delicate features in the respective
> songs in terms of rendition as well as the raaga elaboration.
>
> Very soon I shall be posting some songs of Naushad on MELODIC
> COMPARISONS .
> Jay
> 14/12
You never answer questions, you never reply directly. You are more
than welcomed to reveal "how much Naushad has put in his BRAIN WORK
ALONE in any tune of his.!!" or to post "some songs of Naushad on
MELODIC COMPARISONS". I hope that, at least this time, your post will
reflect the underlying research of 44 years.
Best wishes!!
Jay
My resarch of cine music that I am doing is purely for my personal
study-n-curiosity into this wonderful subject that I perceive. What
others feel or comment upon it over my posts is irrelevant and stands
diluted UNLESS someone comes up with something extraordinary in
convincing me contrary to my views established.
Just wait for sometime until I locate a few records from my
library..and then all of you can see ( listen and judge) for
yourselves whether its NAUSHAD's CREATION (brainwork) or IMPROVISATION
or PLAGIARISM as some Chanakya's on this forum look at it !!
Personally, I attribute it to improvisation....good or bad...he has
attempted something successfully , but labelled it as HIS OWN
BRAND !! On such topics he will never speak & has never spoken to the
general media and his fans.
Jay
16/12
Mokammel Karim
>
> Just wait for sometime until I locate a few records from my
> library..and then all of you can see ( listen and judge) for
> yourselves whether its NAUSHAD's CREATION (brainwork) or IMPROVISATION
> or PLAGIARISM as some Chanakya's on this forum look at it !!
> Personally, I attribute it to improvisation....good or bad...he has
> attempted something successfully , but labelled it as HIS OWN
> BRAND !! On such topics he will never speak & has never spoken to the
> general media and his fans.
In the video interviews, that I have posted earlier on this thread,
Naushad candidly speaks about that. He said the same in a number of
printed interviews. Actually he is the only MD of that era who has
spoken about his inspirations, who has openly appreciated the works of
his predecessors/contemporaries.
Jay
Remember Karim: you have to see Naushad's performance when when he was
around 25...the youth. At that age, Naushad was just any ordinary MD,
thats prior to the making of RATAN - and prior to that all his film
music was ,bakwas..absolute bakwas. Naushad smelt success in RATAN
('44) due to the LYRICS with TUNES INPUTS or IDEAS on which NAUSHAD-GM
duo provided the HEAVY ORCHESTRATION on catchy lyrics of D.N.Madhok.
This very D N Madhok, you may not be aware of this was signed to
provide lyrics for a film whose music was entrusted to Shyamsunder. As
was his practice, Madhok brought in lyrics along with his tune for SS.
Do you know what SS shot back! Are you the MD or I ??? Even after
getting name and fame, Naushad, who speaks so much to gullible music
lovers about his predecessors, was never domineering. He BOWED DOWN
to Lata's whims during the Tamil recordings of UDAN KHATOLA ('56).
Are you aware of this?? No, you and many are not. On the other hand
MD: SS never did that...he just threw Lata out saying: Don't think you
are the only successful singing voice available. Successful songs can
be weaved EVEN WITHOUT YOU - this was during the making of BHAI BAHEN
('50) following which he did utilzed the voice of Sulochana Kadam
Such a great MD like Naushad on whom you are adoring, he could the
EMERGING VOICE of Lata only from CHANDNI RAAT ('49) and in an ordinary
duet with Durrani...so as not to risk a NEW EMERGING VOICE at that
time WHY?? Further, in his entire career, why did he not RECOGNISE the
ALREADY SUCCESSFUL VOICE of Geeta Roy who was a rage with all other
MDs??
Have you any answer??
Jay
16/12
Pls read the last para as:
....he could not EVALUATE THE EMERGING NEW VOICE of Lata...
Jay
16/12
In short : real creative brained composers who believed in THEMSELVES
are always domineering - don't forget this
Do you need examples - I can give you & you know that for already .
GR was a classic example. During the recordings of ILLARA JOTHI('54) a
five minute solo sung by P.Leela that featured jugalbandi interludes
of 'veena' & 'violin' alternately in the solo...GR made the singer
litterally CRY by making her give her best despite several retakes.
O.P.Nayyar is another domineering example and Pt Govindram. Ask Manna
Dey how was Govindram and he will tell you.
A REALLY CREATIVE MD is always dominating - Naushad wasn't - since he
depended on his accomplices to provide him the best Only the FINAL
PRODUCT bore NAUSHAD's STAMP -----And thats what he has preached to
his gullible fans all over.. by the links you are every now and then
providing.
Jay
16/12
Jay
A Correction:
=========
In my earlier post: aa Remember Karim: aa
Please read the para as :
.....prior to NAMASTE ('41) ..( not RATAN '44 ).....etc
Jay
16/12
Mokammel Karim
> Remember Karim: you have to see Naushad's performance when when he was
> around 25...the youth. At that age, Naushad was just any ordinary MD,
> thats prior to the making of RATAN - and prior to that all his film
> music was ,bakwas..absolute bakwas. Naushad smelt success in RATAN
> ('44) due to the LYRICS with TUNES INPUTS or IDEAS on which NAUSHAD-GM
> duo provided the HEAVY ORCHESTRATION on catchy lyrics of D.N.Madhok.
> This very D N Madhok, you may not be aware of this was signed to
> provide lyrics for a film whose music was entrusted to Shyamsunder. As
> was his practice, Madhok brought in lyrics along with his tune for SS.
> Do you know what SS shot back! Are you the MD or I ???
DN Madhok was the lyricist for films like -
gyan dutta - bhakt surdas, nurse (sunhere din,musafir, beti ? )
khemchand - pardesi, tansen
naushad - sharda, rattan, pehle up, kanoon, jeevan
khurshid - ishara, singaar,
naresh- dak bunglow,
alla rakha - sabak
bulo c rani - bela, bilwamangal
anil - tarana
sajjad - saiyan
sardar malik - maharani padmini
govindram - do dil
They all used DN's tunes. khemchand, sajjad, anil gyan, govindram,
bulo c rani were not domineering, hence not great.
> Even after
> getting name and fame, Naushad, who speaks so much to gullible music
> lovers about his predecessors, was never domineering. He BOWED DOWN
> to Lata's whims during the Tamil recordings of UDAN KHATOLA ('56).
> Are you aware of this?? No, you and many are not.
I heard that.
>On the other hand
> MD: SS never did that...he just threw Lata out saying: Don't think you
> are the only successful singing voice available. Successful songs can
> be weaved EVEN WITHOUT YOU - this was during the making of BHAI BAHEN
> ('50) following which he did utilzed the voice of Sulochana Kadam
Well done SS!!! but where is he now?
> Such a great MD like Naushad on whom you are adoring, he could the
> EMERGING VOICE of Lata only from CHANDNI RAAT ('49) and in an ordinary
> duet with Durrani...so as not to risk a NEW EMERGING VOICE at that
> time WHY?? Further, in his entire career, why did he not RECOGNISE the
> ALREADY SUCCESSFUL VOICE of Geeta Roy who was a rage with all other
> MDs??
I agree, too much lata-rafi ultimately killed him. he had more
variations in the 1940s. and he became the number one composer without
lata-rafi.
>
> GR was a classic example. During the recordings of ILLARA JOTHI('54) a
> five minute solo sung by P.Leela that featured jugalbandi interludes
> of 'veena' & 'violin' alternately in the solo...GR made the singer
> litterally CRY by making her give her best despite several retakes.
> O.P.Nayyar is another domineering example and Pt Govindram. Ask Manna
> Dey how was Govindram and he will tell you.
I asked manna dey. he never mentioned govindram. he always say that
naushad was very rigid and with naushad it was only one way ...
naushad's way. i have posted link where manna wrote on naushad. you
should read it. shamshad said that, so did others.
> .............. Only the FINAL
> PRODUCT bore NAUSHAD's STAMP -----
thats how it works man. all the directors (film/cinematography/music/
firms) work this way. remember, they are directors, they are not
assistants.
By the way, DN Madhok was a Punjabi. Do you think that a Punjabi would
introduce UP folk to the film music? I guess......no.
Jay
You ask Manna Dey and remind him by MY NAME when myself and Late Mr
Moholkar had met him in the evening at his ANAND home and when I had
presented to him a cassette of his rare numbers. You also remind him
how I was the ON LY ONLY PERSON so far to have requested him to 'hum'
that fabulous SS-composed solo for a mythological film and he obliged
- he remembered it fully but he doesn't remember the song from Lahore
('49) under SS. I asked him if I could record the same as he sung: He
refused despite several pleas.
He did speak about Govindram and I played the song for him....Oh Yea!
and he remembered.
This exactly is the difference between Jay & others interviewing any
MD.
Jay
16/12
He will say: Oh that chap will never change his views
Mokammel Karim
> Remember Karim: you have to see Naushad's performance when when he was
> around 25...the youth. At that age, Naushad was just any ordinary MD,
> thats prior to the making of RATAN - and prior to that all his film
> music was ,bakwas..absolute bakwas.
MDs at 25:
Khemchand - 1932 - no output
Sajjad - 1942 - no output
Bulo C Rani - 1945 - nothing significant
Roshan - 1942 - no output
Salil - 1950 - no filmi output
SD Burman - 1931 - nothing
RD Burman - 1964 - chote nawab
Shankar-Jaikishan - 1947,1954 - nothing by 1947. barsat, awara, badal,
aah, daag, patita etc by 1954
AR Rahman - 1991 - no filmi output.
Anil Biswas - 1939 - 15 films including jagirdar, watan etc.
Naushad - 1944 - sharda, stationmaster, sanjog, rattan, pehle up etc.
13 films by 1944, silver jubilee 6, golden jubilee 1. (u don't care
about popularity). but hope you care about contributions - in rattan
he introduced sound mixing and the
separate recording of voice and music tracks in playback singing. also
rattan is remembered for the innovative echo effect and UP-folk
touches.
So, you made another false claim/hypothesis (that we should evaluate
MDs on the basis of what they did when they were around 25 years of
age).
> You ask Manna Dey and remind him by MY NAME when myself and Late Mr
> Moholkar had met him in the evening at his ANAND home and when I had
> presented to him a cassette of his rare numbers. You also remind him
> how I was the ON LY ONLY PERSON so far to have requested him to 'hum'
> that fabulous SS-composed solo for a mythological film and he obliged
> - he remembered it fully but he doesn't remember the song from Lahore
> ('49) under SS. I asked him if I could record the same as he sung: He
> refused despite several pleas.
>
> He did speak about Govindram and I played the song for him....Oh Yea!
> and he remembered.
You asked manna dey specifically about govindram, so he replied. but
he says about naushad that way when he is not even asked.
> This exactly is the difference between Jay & others interviewing any
> He will say: Oh that chap will never change his views
True and that's the problem. You make false claims, you cannot prove
your hypotheses but you go on and on.
Jay
You have not understood me, Karim.
Every MD , in the past, present or future had/has/will have some
output or the other as per their tenure period and the style
prevailing . I do not deny that..never.
The styles / trends kept on changing from 1931 onwards gradually...as
we look back at the events. There have been innumerable no.of MDs in
every language-film..big to small-time. But everyone of those MDs have
contributed their 'bit' ...good or bad...in some form or the other.
That is the PARAMPARA of ICM.
Now I am applying my microscope on Naushad's vast repertoire AFTER
HAVING completed the analyses of his earlier,contemporary as well as
post colleague-MDs.
What do I discover in this so called VAST REPERTOIRE OF the most
adorable MD of the masses: NAUSHAD Ali , who always HAS CLAIMED that
his gurus were Ustad Jhande Khan & Mushtaq Hussain.
Before proceeding further : ONE QUESTION FOR Mr Karim and his friends:
(which you MUST answer )
======================================================
Have you personally ACTUALLY HEARD ( not READ in GKs) the film music
of of the above 2 MDs at any time in your life so far ??
=====================================================================
Answer only in YES or NO.
==a short break here==
Jay
17/12
Mokammel Karim
INCORRIGIBLE !!!!
Jay
Clarify your statement 'openly'
Whats your answer to the songs posted?
Are the songs fake?...More skeletons will be falling...remember
Jay
19/12
Jay
Hey KK:
Though a bit late in answering your above thread:
I wonder if you know / aware that Lata in her first autobiography in
Marathi had laurels and deep respect fro MDs GH; SS and a few others.
This very Shamsunder, like Govindram in temperament are ruthless
persons. If anything goes against their will, they have always
demonstrated responded fiercely. At the recording time of Bhai Bahen
('50) SS had thrown Lata out...rsaying that songs can be popularised
even without LATA and he did prove it?? But the producers of that film
prevailed upon SS to forgive-n-forget..after all she is a lady and
facing hard times thence. And in hs next film KALE BADAL ('51) he
proved his words by engaging Sulochna Kadam for all the songs.
Despite all these events upon Lata, she still has adoration for SS
even now!!
Jay
19/12