Talat Mahmood Duets with Mubarak Begum and Madhubala Jhaveri

In memory of Talat Mahmood’s birth anniversary (24 February, 1924), we have commenced a series of annual articles on Talat Mahmood’s Rare Duets. We commenced with an omnibus overview – Some of the Talat Mahmood Duets receding from the memory – in February, 2017. We had covered one duet per pairing partner and the music director in that article. Then, in February, 2018, we narrowed down to Talat Mahmood’s Duet Combinations with Rare Co-singers. In that article we had covered on Talat Mahmood’s duets with co-singers who can be considered as ‘rare’ combinations.

Now onward, we will further narrow down our focus to Talat Mahmood’s duets with individual co-singers. In the process, we would maintain that either the Talat Mahmood^[1] – Co-singer combination is rare enough or the duet song is relatively less heard one. For the present we will take up Talat Mahood’s duets with Mubarak Begum and those with Madhubala jhaveri.

Talat Mahmood and Mubarak Begum

Mubarak Begum^[2] may not be treated as much ‘front-ranking’ playback singer as Talat Mahmood was, but she has quite a few very well-known solos to her credit. She has some of the very well-known duets to her credit, too. A couple of Talat Mahmood – Mubarak Begum share the top billing of ‘best duets ever’ category. These ‘well-known’ duets can be treated to the rule that the combination of Talat Mahmood – Mubarak Begum remains a ‘rare’ combination.

We have (just) 6 duets and 1 triad from Hindi Film and one NFS At a very first glance, it can be observed that these songs are spread over later part of Talat Mahmood’s mid-career to his end-of-the career years. Whether the Talat-Mubarak duets became hit or remained obscure, the common thread that runs through these songs is that even as none of the films had succeeded on the box office, these songs are the cherished gems for the most of Talat Mahmood or Mubarak Begum fans.

Ghir Ghir Aaye Badarwa Kare… Rang Bhare Ras Bhare Pyare – Dak Babu (1954) – Dhaniram – Prem Dhawan

Here we have a duet, in praise of the gathering clouds of monsoon, set to a semi-classical tune. No wonder that the song is so melodious.

Tera Bachpan Ek Kahani..Bhool Na Jana Balapana Ki Kahaani – Sangam (1954) – Ram Ganguly – S H Bihari

This is a beautifully crafted duet. Talat starts mukhada in a solo, continues with stanza in a solo, while reminiscing those lovely childhood moments, when Mubarak Begum joins him to carry forward those moments to the youth. For that portion of Mubarak Begum solo, the song runs on an altered rhythm, when Talat joins into a complete the stanza in duet. The style repeats in the next two stanza as well.

Aside Trivia:

This ‘Sangam’ is in the middle of the other two ‘Sanagam’s on each side – first one in 1941 and the later one in 1964.

Meri Bhi Dastaan Bhi Kya Dastaan Hai – Taatar Ka Chor (1955) – a triad with Asha Bhosle – Khayyam – Prem Dhawan

From the title, film appears to be based on some folklore of Tatarstan, a small kingdom on the banks of River Volga. The songs begins with recital of ‘shaers’ by Talat Mahmood and Asha Bhosle. Mubarak Begum, then, seamlessly picks up the mukda.

I listened to this song for the first time.

Asides Trivia:

This is the 3^rd film after Khayyam adopted this pseudonym, first two being Footpath (1953) and Dhobi Doctor (1954).

Raat Kitni Hasen, Zindagi Maherbaan, Baat Kuchcha Nahin, Ban Gayee Dataan – Badal Aur Bijli (1956) – Bipin Babul – Anjum Jaipuri

Here is song that is so much poetic, so melodious, so soothing, set to a pleasing mid-eastern tune… and yet placed in an obscure “B’ grade movie, is destined to be consigned as a ‘forgotten gem’.

Chanda Ke Rang Liye, Taaro Ka Sang Liye…Sapno Ki DUniya Mein Aaj Aa – Harihar Bhakti (1556) – K Datta – S P Kalla

The film is a typical mythology drama, however the song is a sheer beauty of romance. Interstingly, Mubarak Begum is so melodious that many listeners mistake her voice as that of Lata Mangeshkar.

Itne Qareeb Aake Bhii Kyaa Jaane Kis Liye Kuchh Ajnabii Se Aap Hain Kuchh Ajnabii Se Hum – Shagoon (1964) – Khayyam – Sahir Ludhyanvi

Theoretically, the song can be said to be belonging to the end of Talat Mahmood’s career, but Talat’s voice has not lost any of his vintage charm. Mubarak Begum also retains her melodious charm in the company of Talat Mahmood.

This is not only one of the most known of Talat-Mubark duets, it is undoubtedly regarded as one of the finest ever duets of Hindi Films.

Zara Keh Do Fizaaon Se Hamein Itna Satae Na.. Tumhi Keh Do Hawaon Se, Tumhaari Yaad Dilaye Na – Gogola (1966) – Roy Frank – Balkavi Bairagi

We again have a B grade movie, a not-much-known music director pair that has one of the most-remembered romantic duet

We will wrap-up Talat Mamood – Mubarak Begum duets with a NFS, which in fact is a Naat, a form folk-style Muslim prayer.

Hum Sunaate Hain Mohammad Mustafa Ki Dastaan

Talat Mahmood – Madhubala Jhaveri

Madhubala Jhaveri (19-1-1935 // 11-9-2013) active singing career in films is just 7 years from 1951 to 1958. She has sang 110 songs – 55 in Hindi, 27 in Marathi and 3 in Gujarati films. Obviously, Madhubal Jhaveri’s vocal skills have been tested in multiple ways in her songs across different languages. For example, here is a Gujarati poem which has been set to a quawalli-style format:

She was also very active on All India Radio as well. However, we do not have access to that wonderful treasure. For such a promising artist, her duets with Talat Mahmood are few in numbers and quite a few of them may be even less-heard-ones. But the paucity of numbers is more than made up by the pleasure of listening to these two unique voices in different moods.

Madhubala Jhaveri’s on-record debut is Rajput, a 1951 film, for which music was composed by Hansrah Behl.

Jao Jao Aa Gaya Bulawa Jang Ka – Rajput (1951) with Manna Dey – Hansraj Behl – Bharat Vyas

Madhubala Jhaveri was just16 when she recorded the songs for Rajput… but she has been able to passion for patriotism with the romantic emotions like a pro.

Tum Kaun Ho Rajkumari, Yeh Chanda Sa Mukhra Idhar To Karo – Rajput (1951) – Hansraj Behl – Bharat Vyas

This seems to be the song for a famous tradition in those days, wherein the bride-to-be would choose her groom in open contest. The song therefore blends a trace of authority that a young daughter of king would manifest during such an occasion.

Pyar Ki Rut Dorangi Saajana Man Mein Holi Ankh Mein Sawan – Apni Izzat (1952) – Hansraj Behl – Asad Bhopali

The song is created to reflect the pensive mood of the couple deep in the emotions of mutual love. Entire song runs on very soft scale.

Dil Mera Tera Diwana.. Bas Itna Mera Fasana – Apni Izzat (1952) – Hansraj Behl – Pandit Phani

We now have a classic styled duet wherein both the players accept the mutual love.

Jabse Maine Dl Lagaya, Dil Kahin Lagata Nahin – Dost (1954) – Hansraj Behl – Asad Bhopali

The song is set to a Punjabi folk rhythm.

Ae Zamaane Bataa Do Dilo Ki Khata Hamko Barbaad Karke Tujhe Kya Mila – Dost (1954) – Hansraj Behl – Asaad Bhopali

The spectrum of moods of Talat Mahmood- Madhubal Jhaveri is now complete with a pure pathos duet.

Kehne Ko Bahot Kuchh Kehna Thaa Takraayi Nazar Sharma Hi Gaye…. – Diwali Ki Raat (1956) – Snehal Bhatkar – Madhukar Rajasthani

Madhubal Jhaveri and Talat Mahmood are deep in the playful romantic mood of the song.

Hafiz Khuda Tumhara Hamein Bhool Na Jaana – Naqabposh (1956) – Dhani Ram – Munir Arzoo Kazmi

The song would have been a mid-eastern setting, befitting the subject of the film. Madhubala Jhaveri now does justice to urdu diction.

As is obvious, we do not have any song today in Mohammad Rafi’s voice. So we will slightly deviate from our main theme and pick up a Rafi-Talat duet to end our present episode –

Kavita Naam Hai Gyaan Ka Ise Likhanewale Gyaani – Kavi (1954) – C. Ramchandra – Rajinder Krishna

Though set to a bhajan-style rhythm, the duet underscores a discourse wherein one protagonist claims superiority of legacy of the race to the artistic prowess of poetry, to which the other one systematically rebuts.

We will take up Talat Mahmood’s less –heard duets with some more co-singers next year…..

We will continue remembering Unforgettable Songs that seem to Fading away from our Memories every second Sunday of the month……..

Disclaimer: All images are sourced from net. All copyrights of the respective image remain with the original owner of the image.

[1] Talat Mahmood – Documentary

[2] A Films Division film on Mubarak Begum

Author: ASHOK M VAISHNAV

In July 2011, I opted to retire from my active career as a practicing management professional. In the 38 years that I pursued this career, I had opportunity to work in diverse capacities, in small-to-medium-to-large engineering companies. Whether I was setting up Greenfield projects or Brownfield projects, nurturing the new start-ups or accelerating the stabilized unit to a next phase growth, I had many more occasions to take the paths uncharted. The life then was so challenging! One of the biggest casualty in that phase was my disregards towards my hobbies - Be with The Family, Enjoy Music form Films of 1940s to mid-1970s period, write on whatever I liked to read, pursue amateur photography and indulge in solving the chess problems. So I commenced my Second Innings to focus on this area of my life as the primary occupation. At the end of four years, I am now quite a regular blogger. I have been able to build a few very strong pen-relationships. I maintain contact with 38-years of my First Innings as freelance trainer and process facilitator. And yet, The woods are lovely, dark and deep. But I have promises to keep, And miles to go before I sleep, And miles to go before I sleep. View all posts by ASHOK M VAISHNAV