Carnival of Blogs on Golden Era of Hindi Film Music – Volume XII – March 2024 Edition

Welcome to March 2024 edition of XII^th Volume of Carnival of Blogs on Golden Era of Hindi Film Music.

Recent celebrations to celebrate birth centenary of Mohammad Rafi (B: Dec 24, 1924 | D: Jul 31, 1980).

In the third show, on 24^th March 2024, to celebrate Mohammed Rafi Birth Centenary Celebrations, playback singer Javed Ali attempts to recreate magic of Rafi Sahab with memorable solos, and duets supported by popular female singers – Sangeeta Melekar and Preethi Warrier.

Rafi’s Centenary Special: 35 songs from 35 years (1946-1980) – If one compares the voice between the first song in this selection Kah ke bhi na aaye tum (1946) to Maine poochha chand se ki (1980) there is hardly any change.

Mohammad Rafi Birth Centenary: Remembering Some Happy Solo Songs of ‘40s – There would be no doubt that recalling Mohammad Rafi’s happy, romantic, solo songs, for the years 1944 – 1950 should be a very unique experience.

Presently we move on to our section on tributes and celebrations for the month –

March is the month of Holi, festival of colours, across India. In RK Studio holi was played with a lot of grandeur.

SN Tripathi – His Music Still Lives On – Anuradha Warrier presents on his 111^th birth anniversary melodies composed by this maverick music director in no particular order.

Happy birthday to veteran actress Wahida Rehmanji on 3rd February, 2024.

My Favourites: Songs by Ravi on his 12^th death anniversary. Here is a selection of Ravi compositions in no particular order.

Hum Tere Bin Jee Na Sakenge Sanam – Remembering Ganesh on his 24^th death anniversary.

The romantic songs of Shashi Kapoorji is remembered for the lovely songs – Meri Nigah Ne Kya Kam Lajawaab Kiya – Mohabbat Isko Kahate Hai (1965) – Mohammad Rafi – Lyrics: Majrooh Sultanpuri – Music: Khayyam

The Elusive Nanda – Nanda’s sweet innocence made her the nation’s favourite. On her 10^th death anniversary, Anuradha Warrier revisits some of her best performances.

Also, to recall from the archives: Jeevan Ka Matlab To Aana Aur Jaana Hai: Remembering Nanda

Female bonding and their duets is a commemoration of the International Women’s Day with female duets.

The Sculptors of Film Songs (13) Ramprasad Sharma & Sons, the saga of contribution that the four generation of Sharma family. The previous Arrangers and Musicians covered in the series are Sebastian D’ Souza, Anthony Gonsalves, Enoch Daniels, Kishore Desai  Manohari Singh, S Hazara Singh, V Balsara, Ramlal , Dattaram, Van Shipley,  Goody Seerwai and “The Lords”

March 2024 episode of IX^th volume of Fading Memories, Unforgettable Songs takes up Ghulam Mohammad and His Singers: 1954. Till now we have covered Ghulam Mohammad’s songs for the year

1943 to 1949 in 2021, and

1950-1952 in 2022.

1953 in 2023

Celebrating cinema through pictures:

We now move on to posts on other subjects –

Are We Accepting Ourselves Better Now Than Ever? – Audiences have begun embracing mindless entertainment, reflecting a cultural shift towards a slow and steady acceptance of our own true choices and ourselves. This acceptance extends to our past, as seen in the resurgence of 90s music and the acknowledgment of B and C grade cinema. Saumya Baijal critiques this emerging trend.

Characters with Books: In English-language cinema – Six years after a post about characters in Hindi cinema shown with book was published, Dusted Off presents post wherein it is with characters in English-language cinema.

The Qalandariyya (reflections on an excellent video by Filip Holm, which I saw just two weeks after the Urs of Lal Shahbaz Qalandar) from Filip Holm’s show, Let’s Talk Religion, entitled “The Counter-Culture, Lawless Muslim Mystics Who Drank Wine? / The Qalandariyya.”

Latent Duets are not distant duets. Both singers have at least one antara each to register their presence. But the second singer enters the fray only after the first antara.

Hindi film qawwalis – Part I  presented the qawwalis from ’40s to ’50 and Part II those from’60s. Now, Part III covers from the 70s and the 80s.

It’s what you wear: Ten songs about attire, songs that make a mention of a particular garment, beyond a list on dupattas/chunaris/odhnis.

Through the Lens, Brightly: Women in Cinema, Women at Work, authored by Shoma A Chatterji, unearths how the ‘working woman’ has been presented in films directed by women. The book is divided into three parts. Part I, which serves as a general introduction to the theme. Part II and Part III of the book analyses nine significant films made by women directors where the author combines scholarly research and critical acumen to contextualize individual directors and the complexity of separating the feminine from the professional.

Here are Bollywood Rewind articles of Samapda Sharma in Indian Express:

• • Muhammad Ali Jinnah was a key figure in the making of India’s first talkie film Alam Ara. – Muhammad Ali Jinnah was the founder of Pakistan, but he was also the lawyer who actually made it possible for Alam Ara to become the first talkie film of India 93 years ago.

In continuation to our tradition of ending the post with a few songs of Mohammad Rafi, this year being the celebration of Mohammad Rafi birth centenary, we will take up what others have said about him:

Pyarelal on Mohammad Rafi

Laxmikant on Mohammad Rafi

I look forward to your inputs to enrich the contents of Carnival of Blogs on Golden Era of Hindi Film Music.

Disclaimer: This monthly series of posts is my best-effort-based compilation of posts on Hindi film songs that I normally visit regularly. As I record my sincere thanks to all the original creators of these posts, any other posts that I have nor covered herein shows my lack of awareness of existence of such posts and is by no means any disrespect to their work. The copyrights to the posts, images and video clips remain the properties of the original creators.

The Sculptors of Film Songs – 13 – Ramprasad Sharma & Sons

Originally in Gujarati, by Piyush M Pandya

Translated by Ashok M Vaishnav

The title of this episode may sound like a typical name we were used to see on the signboards in the markets of any town during ’50 to ‘70s. The signboard with such a name painted on a board of the shops would further read “Wholesale Merchants of Grains” or “Wholesale Cloth merchants” etc. Well, what that has to do with this series about musicians and arrangers? Is the present episode about some such firm which would probably had been associated with ‘selling’ music instruments?

Well, No. Ours is a narrative of three generations of artists who have been the practicing musicians in the world of Hindi film music: Ramprasad Sharma, a complete music director, researcher, composer and arranger with an in-depth knowledge of all known musical instruments, their notations and playing techniques in Indian as well as western styles; his sons: Pyarelal, Gorakhnath, Ganesh, Anand, Naresh; and the grandsons: Monty and Mithun. As is the case with most of the second and third tiers of artists like arrangers and musicians under the label ‘Music Director’, these names would not make some sense with most of us, unless we further qualify Pyarelal with suffix ‘of Laxmikant Pyarelal duo’.

Ramprasad Sharma

Ramprasad Sharma (1900 -1995) belonged to Gorakhpur in the then United Provinces (present day Uttar Pradesh). The band master of Bharatpur State recognised Ramprasad’s flare for instrumental music. Ramprasad played trumpet here.  Ramparasad Sharma then played in Agra Military Band. This groomed him into the art of music arrangement to rise to the position of Band Master in a circus. He toured Delhi, Lahore and Calcutta with the circus. He settled for some time in Calcutta and worked for Columbia and New Theatres. At that stage, he mastered playing ten instruments and had acquired good knowledge of intricacies of classical raags.

He came to Bombay in 1938 and played in many studios. He got his first break as music director for ‘Nayi Baat’ (1947). He composed music for six more films – ‘Shakti’ (1948, with Mohammad Azim Baig as co-music director), ‘Banoo’ (1949), ‘Bedard’ (1949), ‘Anyay’ (1949), ‘Dolti Naiyya’ (1950). Though the music for these films had freshness in compositions, the songs could not attain commercial success. His last film was ‘Magic Carpet’ (1964), by which time his son Pyarelal too had created space as music director with Laxmiikant.

Kali ghatao jao sajan ko samajao | Arman bhara dil baith gaya | Pardesi piya to se lage jiya | Jhan Jhanan baje dil ka sitar – Shakti (1948) – Suraiya – Lyrics: Asad Jafri – Music: Ramprasad / Mohammad Azim Baig

The variety and richness in compositions, rhythm, melody and selection of instruments is remarkable.

Kya sach hai qasam woh bhulaane lage hain  – Bedard (1949) – Lalita Deolkar – Lyricist: Abdul Gaffar Badar – Music: Ramprasad Sharma

Rich orchestration with multiple instruments, different approach for composing both interludes and the corresponding orchestration speak volumes for Ramprasad Sharma’s creativity and depth of knowledge of composting a song.

Samjhe the ke guzrenge din chain aur khushi mein – Baanoo (1949) – Mohammad Rafi – Lyrics: ? –  Music: Ramprasad Sharma

The song truly reflects the mood of introspection. This time the composition is not an easy-to-sing one.

Duniya mein raha aaj nahin koi humara – Dolti Naiya (1950) – Rajkumari Dubey – Lyricist: Prakash – Music: Ramprasad Sharma

One more illustration of Ramprasad Sharma’s composition competence!

Husnwale se na milana ye daga dete haiN – Magic Carpet (1964) – Janibabu Qawwal, Mubarak Begum, chorus – Lyrics: Arsh Farooqui – Music: Ramprasad Sharma

Ramprasad Sharma, even after a gap of fourteen years, has not lost touch with creativity as can be observed in the manner in which he has composed this qawwali.

In the ironical ways of film world, talent and success, like our goddesses Laxmi and Saraswati, invariably are found to take divergent paths. For Ramprasad Sharma, too, the fate had not chosen the path of success. As such, for livelihood, he had to depend on his skills as arranger and trumpet player to work with music directors like Naushad, C Ramchandra and others.

We will take up a couple of samples of songs where trumpet-play of Ramprasad Sharma has added that unique identity to the song.

Awaz de kahaN hai – Anmol Ghadi (1946) – Noorjehan, Surendra – Lyrics: Tanveer Naqvi – Music: Naushad

There would hardly any Hindi music fan who would not be aware of this song. But, the musicians who contribute to the popularity of such songs remain equally unknown until it is specifically informed that the magically poignant notes of trumpet, from 1.37 to 1,52, in the interlude, are being played by Ramprasad Sharma.

Suhani raat dhal chuki na jaane tum kab aaoge- Dulari (1949) – Mohammad Rafi – Lyrics: Shakeel Badayuni – Music: Naushad

Introductory notes (0.06 to 0.09) in the prelude, countermelody note @1.13-1.14 and lead interlude play from 1.48 to 2.02 so soulfully has added to the forlorn state of the mood of the song.

Though Ramprasad Sharma stepped into Mumbai’s film world to make his living as a music director and a trumpet player, intrinsically he was a devoted musician artist. So, he could never get along easily with other commercial musicians and artists, making him a fish out of water. There was a time when the family could get a square meal only when Pyarelal, then hardly in double-figure age, brought some money from the stray work he could get as violin player at different studios. That was also when Ramprasad Sharma took up the challenge of not surrendering to his current fate. He started to teach many of the willing pupils everything they wanted know in music. Ramprasad Sharma has been a guru for an overwhelming number of people ranging from slum dwelling children to great maestros like Hridaynath Mangeshksar, Uttam Singh, Surendra Sodhi, Anu Malik, Zarin Daruwala, Mahavir Prasad, to name a few. Even Naushad, C. Ramachandra, Abdul Halim Zafar Khan and Faiyaz Khan have, to different extents, learnt certain notations/techniques from Ramprasad Sharma.

Above all, he was noble, humble, selfless, extremely caring human being, who always bore a burning fire within himself to impart knowledge to everyone around him without any catch to it.

Pyarelal (Sharma)

As the indivisible half of the Laxmikant-Pyarelal duo, the eldest son of Ramprasad Sharma, Pyarelal (B:1940) neither needs any introduction to himself or his work. He started playing violin as young boy and had attained the status of grade A artist by the time he was midway into his teens. Just one illustration would suffice to demonstrate his skill and status as the violin player.

Main ye soch kar uske dar se chala tha ke wo rok legi mana legi mujhko – Haqueeqat (1964) – Mohammad Rafi – Lyrics: Kaifi Azmi – Music: Madan Mohan

The background narrative of the opportunity that came to Pyarelal is best read in his own words: ’The recording of the song Main Ye Sochkar Uske Dar Se Uthaa Thaa was going on. For the rehearsal, there were eight violins, one piano and one flute. The rehearsal continued for a long time. Rafisaab did the last rehearsal at 8.00 pm. Then Madanji and Chetan Anand discussed something between themselves. Immediately thereafter, Madanji called Master Sonik (of Sonik Omi duo) and said: “Arrange a solo piece for Pyare”. At that time Jerry, Oscar, Anthony, Durado and Narvekar, all very reputed violinists were present, but he chose me. Sonikji prepared a piece within three quarters of an hour that matched the song. Madanji approved of it and then I rehearsed the piece. Robert (Correa) accompanied me on the piano and Sumant Raj played the flute. The arrangements were modified five to six times and the final recording was done. Little did I know that the small piece I played would make history.  …. The credit goes to Madanji who selected me from the eight well established violinists and got the piece played to a specific manner.”

https://youtu.be/2oY-oNtVXuU?si=cPI5MV_oAdOjnxOF

Gorakhnath (Sharma)

Gorakhnath Sharma (28 December 1946 – 26 January 2018), the second son of Ramprasad Sharma’s six sons and two daughters, learnt the basics of music form his father. He mastered the art of reading music notations and the art of playing various string instruments from him. Gorakh Sharma has played the mandolin, mandola, rubab, and numerous types of guitars like the acoustic, jazz, twelve-string, and electric guitar. Not only this, he was the first to have played the Bass guitar in the Indian film industry.

He began his musical career at the age of 14 as a mandolin player, when he got the break as a mandolin player for Chaudahavi ka chand ho ya aftab ho (Chaudahavi Ka Chand, 1960 – Mohammad Rafi – Lyrics: Shakeel Badayuni – Music: Ravi) @0.57 to 1.05, 2.18 to 2.23, 3.26 to 3.32.

https://youtu.be/lJlbhcvUTV4?si=11kzOhbB6cD3qwgd

He then went on to learn guitar from Anibal Castro, who was a known guitarist. Gorakhnath became a trained, unique guitarist whose mandolin playing ability when merged with guitar created the magic. He was initially a part of a small group named Baal Sureel Kala Kendra which would go to small cities to perform. The group consisted of Meena Mangeshkar, Usha Mangeshkar, and Hridaynath Mangeshkar, along with Laxmikant Kudalkar, his brothers Pyarelal, Ganesh, Anand, and others.

During his entire music career spanning over 40 years, Gorakhnath has played various string instruments in more than 1000 songs in over 500 films. Here are few songs that showcase his signature-style guitar play:

Mere mehaboob qayamat hogi – Mr X in Bombay (1964) – Kishore Kumar – Lyrics: Anand Bakshi – Music: Laxmikant Pyarelal

Guitar comes in small strokes in the interludes but does not fail to register its presence.

Nazar na lag jaye kisiki nigahoN pe – Night In London (1968) – Mohammad Rafi – Lyrics:Anand Bakshi – Music: Laxmikant Pyarelal

The song opens with strokes of guitar and continues in lower octaves through the prelude, keeps support in counter melody and then takes the lead during the first prelude to follow violins in the second interlude.

https://youtu.be/Hwhrtp5nDMo?si=eUm3QFAX9J6tqlXl

SaansoN ki jarurat hai jaise – Aashiqui (1990) – Kumar Sanu – Lyrics: Samir – Music: Nadeem Shravan

Gorakh Sharma plays a Guitar solo in climax scene in Aan Milo Sajna 1970

Gorakh Sharma solo clips with other music directors

YT has several clips wherein Gorakh Nath is playing guitar in different live programs. Of these, the one which would mandatorily be included is the theme music of Karz, which has become synonymous with Gorakh Nath’s guitar.

Ganesh (Sharma)

Ganesh, along with Shashikant (the brother of Laxmikant) had assisted LP in their earlier films. Ganesh had good grip over writing the notations. Ganesh also went on to independently compose music for 16 films, of which the one song that has survived the passage of time is Hum tere bin jee na sakenge sanam (Thakur Jarnail Singh, 1966 – Asha Bhosle – Lyrics: Asad Bhopali)

Other Members of Sharma Family

Mahesh paired with another musician, Kishor to compose music for two three films which did not fare well. He too was a good violin player.

Naresh also had created his own space as string instrument player.

In the next generation, Monty, the son of Anand Sharma, is known for composing the music of Sanjay Leela Bhansali’s Sawariya (2007)

Mithun (son of Naresh) Sharma is known for composing music for films like Aashiqui 2, Jism 2 etc.

+                                        +                                       +

We look forward to the saga of contribution that the Sharma family has made to the Hindi film music in the book-in-making by Pyarelal. 

Credits and Disclaimers:

1. 1. 1. The song links have been embedded from the YouTube only for the listening pleasure of music lovers. This blog claims no copyright over these songs, which vests with the respective copyright holders.
      2. The photograph is taken from the internet, duly recognising the full copyrights for the same to the either original creator or the site where they were originally displayed.

References:

https://www.madanmohan.in/html/tribute/collegues/pyarelal_sharma.html

P.S. This is the re-posting of article originally published on Songs of Yore as  The Sculptors of Film Songs (13): Ramprasad Sharma & Sons

Mohammad Rafi Birth Centenary: Remembering Some Happy Solo Songs of ‘40s

That the potential of Mohammad Rafi’s voice was first noticed by none other than the most noticed, and popular, voice of Hindi cinema, K L Saigal, is now a folklore tale that does not any more repetition. Similarly, when we pick up Mohammad Rafi’s songs of ‘40s, it, too, is now not necessary to remind that it was Shyam Sundar who gave the first ever break to Mohammad Rafi in 1942 in a Punjabi film, Gul Baloch. Nor too is any more necessary to remind that his maiden song in a Hindi film – a chorus for Pehle Aap (1944) – recorded by Naushad was to be the seed that was to grow as great Banyan Tree of the future bond of Naushad – Mohammad Rafi.

Mohammad Rafi did sing for around 45-46 music directors during 1944 to 1950. However, when we scroll names of these music directors, we come across names of vintage era music directors like Hafeez Khan, Firoz Nizami, Pt. Govindram, Alla Rakha Queraishi, Bulo C Rani, Hanuman Prasad, Rashid Atre, Datta Devjekar, Khemchand Prakash, Shyam Sunder, Sajjad Hussain and the like more. In a way, that shows early acceptance of playback singing capabilities of Mohammad Rafi. Mohammad Rafi also seems to have developed good rapport with music directors like Hans Raj Behl and Husnlal Bhagatram who went on to contribute notably till well into mid-50s. Another music director, who himself was struggling to make his mark, C Ramchandra, seemed to have found Mohammad Rafi’s voice to suit his style of music compositions. The new stars like S D Burman, Shankar Jaikishan, Madan Mohan, who were to create the compositions styles that was to shape the Hindi film music of the Golden Era, seemed to have test-cased Mohammad rafi with a song or two. It was Mukesh who seemed to be their first-choice male playback singer, with Mohammad Rafi not being seen anywhere near being the automatic choice for the playback of lead actors.

Till 1950, Mohammad Rafi had just a few what can said to be universally popular songs, like YahaN Badla Wafa a Bewafai Ke Siva Kya Hai (Jugnu, 1947, with Noor Jehan – Music: Firoz Nizami), Ek Dil Ke Tukade Hazar Hue (Pyar Ki Jeet, 1948 – Music: Husnlal Bhagatram) and Suhani Raat Dhal Chuki Na Jaane Tum Kab Aaogi (Dulari, 1949 – Music: Naushad). Of course, two of the Hindi Cinema’s all-time great patriotic songs, Suno Suno Aye Duniyawalo Bapu Ki Ye Amar Kahani (NFS – Music: Husnlal Bhagatram) and Watan Ki Raah Mein Watan Ke NaujawaN Shaheed Ho (Shaheed, 1948 – Music: Ghulam Haider) do belong to this period.

There would be no doubt that recalling Mohammad Rafi’s happy, romantic, solo songs, for the years 1944 – 1950 should be a very unique experience.

Pyar Karana Padega Ek Din … Tum Ko Hansana Padega Ek Din – Sharabati Aankhein (1945) – Lyrics: Pt. Indra – Music: Firoz Nizami

The songs wherein one party takes offence and other tries to please has remained a very popular genre in Hindi films. It seems that when the song compositions were still under the shadow of traditional theatre-style music, Mohammad Rafi had already started carrving out his own style for this genre of songs.

Rahe To Kaise Rahe Dil Pe Ikhtyaar Mujhe …. Tum Is Nazar Se Na Dekho Baar Mujhe – Room No. 9 (1946) – Lyrics: Naqshab Zarachvi – Music: Rasheed Atre

The very big name of those years, Shyam, is singing the song on the screen. However, a relatively novice playback singer that Mohammad Rafi was does not seem to overawes by the occasion and seems to be laying the foundation of developing his unique modulation style to mime the acting style of actor enacting the song on the screen.

Ab Wo Hamaare Ho Gaye… Ikraar Karein Ya Na Kareien…. Humko Unhi Se Pyar Hai Wo Pyar Karein Ya Na Karein – Safar (1946) – Lyrics: Gopal Singh (G S) Nepali – Music: C Ramachandra

C Ramchandra belongs to that early class of music directors who arrived on the Hindi film music scene during the vintage era, but has different ideas about the way the would compose the music. His experimental streak did not whither away even after having undergone quite rough weather in the initial years of struggle,

As early as 1947, C Ramchandra seems all at ease creating western styled Aana Meri Jaan Meri Jaan Sunday Ke Sunday and Maari Katari Mar Jaana (Shehnai, 1947). Even in 1950, on one hand he could compose a light, foot-tapping western styled Gore Gore O Banke Chhore (Samadhi, 1950) while simultaneously composing a deeply emotional pathos melody, Mahefil Mein Jal Uthi Shama Parwane Ke Liye ( Nirala, 1950).

Even though C Ramachandra had started tasting success in films like Nadiya Ke Paar (1948, Dilip Kumar, Kamini Kaushal), Patanga, Saanwariya (1949), he can be said to have gained escape velocity only during his association with Master Bhagwan.

So, while C Ramachandra was trying to create a separate trail by experimenting with Mid-eastern, Arabic, Indian folk and Western styled compositions, Mohammad Rafi was also working on developing his own unique style. Songs like Humko Tumhara Hi Aasara (Saajan, 1947 – Lyrics: Moti), O Baabu Aji Baabu Gali Mein Teri Chand Chamka (Saajan, 1947 – Lyrics: Qamar Jalalabadi) or Kis Waade Ka Matlab Kya Karein (Duniya, 1949 – Lyrics: Arzoo Lakhanvi) easily validate this proposition.

Prem Ki Naiyya Dol Rahi Hai Bojh Hriday Ka Taul Rahi Hai – Utho Jago 1947 – Lyrics:? – Music: Azeez Khan

The lyrics of the song seem to deliver the message of changing winds to the traditional mind-set society, in satirical style.

prem mein aisi surat bigadi
sar par jute, paav mein pagdi
izzat ke pat khol rahi hai

aise dhanwalo ke laal
ud gaye jinke sar ke baal
sar ki taat bhi bol rahi hai

prem na aaya tumko raas
kahe ye tumse gappu daas
kya, niyat dawa dol rahi hai

Ham Apne Dil Ka Fasana Unhein Soona Na Sake, Lagi Hai Jo Aag Dil MeinWo Buza Na Sake – Acress (1948) – Lyrics: Naqshab Zarachvi – Music: Shyam Sundar

After a good four years, Shyam Sundar is able to call upon Mohammad Rafi for his compositions. Of course, he now has used Rafi as lead male playback singer,

We can see Rafi so deftly handling one and half octave singing in one line and easily sliding across high-low octaves in the song. Most of the actors found it so hard to match this singing style on the screen.

Nigahein Milane Ko Jee Chahta Hai – Pyar Ki Aag (1948) – Lyrics: Qamar Jalalabadi – Music:  Ghulam Mohammad

The dice of Hind film music so mysteriously choosing to reject a song and place the other (from Dil Hi To Hai, 1963 – Asha Bhosle – Lyrics: Sahir Ludhianvi – Music: Roshan) on peak of popularity even when the lyrics of the initial lines are (almost) same.

Asides:

In the very next year, a twin song composition also was created in Karwat (1949 – Lyrics: Saifuddin Saif – Music: Hans Raj Behl) in the voices of Paro Devi and K  L Saigal styled Satish Batra, to meet the fate of resounding failure.

Dil Lena Hai to Le Lo, Inkar Nahi Hai, KyuN Garm Sard Hote Ho Taqrar Nahi Hai – Chakori (1949) – Lyrics: Mukraj Bhakri – Music: Hans Raj Behl

Hans Raj Behl and Mohammad Rafi first teamed up in a successful failure-of-love solo Sab Kuchh Lutya Hamne Aa Kar Teri Gali Mein (Chunariya, 1948) to build up a very fruitful association.

As it happens, this film also marks another very successful combination of Mohammad Rafi and Bharat Bhushan.

Mehman Ban Ke Aaye The Armaan Ban Gaye – Shohrat (1949) – Lyrics: Khanwar Zamma – Music: Azeez Hindi

The variety and versatility of Mohammad Rafi’s voice can best be appreciated if the duet twin version, with Hamida Banu, of the song is also heard together.

Dil Jawani Ke Nashe Mein Choor Hai Kaun Kaheta Hai Ke Dilli Door Hai – Birha Ki Raat (1950 – Lyrics: Sarshar Shailani – Music: Husnlal Bhagatram

The association of Husnlal Bhagatram with Mohammad Rafi also was quite varied and fruitful, beginning with some best ever sad songs like, Ek Dil Ke Tukde Hazar Hue (Pyar Ki Jeet, 1948), Muhabbat Ke Dhokhe Mein Koi Na Aaye (Badi Behen, 1949).

Mohammad Rafi presents his innovatively embedded harkats style of singing the light mood song.

Akele Mein Wo Gabarate To Honge – Biwi (1950) – Lyrics: Wali Sahab – Music: Sharmaji (a.k.a. Khayyam)

Mohammad Rafi presents the lost-in-deep-thoughts-of-the-loved-one mood.

Asides:

Amin Sayani is reminding Mahendra Kapoor in some programme how the college functions of his time would not conclude till Mahendra Kapoor sings this song. Mahendra Kapoor, too, very fondly sings the opening lines, in his own way.

Recalling Mohammad Rafi;s sad romantic songs should also be such a rich experience. But that it is for some other time…..

Carnival of Quality Management Articles and Blogs – Volume XII – March 2024 Edition

Welcome to March 2024 edition of the XII^th volume of Carnival of Quality Management Articles and Blogs.

The theme for the XII^th volume of our Carnival of Quality Management Articles and Blogs is The Defining Trends of Quality Management – Raising The Bar.

For the present episode, we will take up managing the enterprise risks in the changing environment.

With the implementation of ISO 9001:2015, risks and opportunities have become the cornerstone of ISO standards. These standards define risk as “the effect of uncertainty on objectives, whether positive or negative.” This definition shifts the understanding of risk away from the possibility of a negative outcome and toward the uncertainty itself.

The world today is in the throes of permacrisis – a world in permanent crisis, grappling with profound, persistent, ongoing challenges.[1]

In the present-day world, the uncertainty comes not only from the changes but the rate at which these changes happen. The firms able to effectively deliver change will thrive and are more likely to emerge stronger from these changes. Effective change boils down to directing energy and aligning efforts toward three key elements:[2]

• The strategy and thinking (The Head)

• The people and behaviors (The Heart)

• The underlying infrastructure (The Guts)

The types of risks are normally classified as:

Of these risks, financial, economic and technological risks are the domains of specialists in the respective field. So, we will not include these in the discussions here. We ill take up the other three types – strategic, compliance and operational risks for brief discussion in the next episodes.

And, of course, the one related to climate change risks, too.

Further reading:

• • Risk management – Harvard Business Review
  • Managing risks in changing market landscape
  • Business Resilience – The world is experiencing a level of disruption and business risk not seen in generations. Some companies freeze and fail, while others innovate, advance, and even thrive. The difference is resilience. : Institutional Resilience | Financial Resilience | Operational Resilience | Technological Resilience | Organizational Resilience | Reputational Resilience | Business Model
  • The future of risk: New game, new rules
    • Resilience – When disruptions are ever present, organizations need the ability to respond to and recover from unforeseen challenges to get back to thriving. This resilience has become a key organizational attribute—and a skillset in its own right.
  • Risk management and compliance can do more than mitigate threats and safeguard a company’s operations and reputation—it can create value.
  • Future of Risk
  • Risk Management Forecast for 2024: Defining Trends and Ways to Prepare

We will now turn to our regular sections –

@ ASQ TV, we will listen to 2023 Most Viewed. The top one was Quality Culture.

More Material on the subject @ Culture

Finally, we take up the article Quality Headline: ISO now REQUIRES management to consider “climate change’ in your MSS By Roderick A Munro – Effective immediately, all MSS requirements have added two new statements to organization’s current registration.(These can be found across 35 standards with the notation of “Amd 1:2024 (amendment)” and are free to download..)

The additions are:

4.1 – Add the following sentence at the end of the subclause:

“The organization shall determine whether climate change is a relevant issue.”

4.2 – Add the following note at the end of the subclause:

“NOTE 2 Relevant interested parties can have requirements related to climate change.”

It appears that ISO has also released several free publications talking about how ISO is working with worldwide stakeholders to address climate change. Some of the free downloads include:

PUB100449 Climate change adaptation

PUB100271 Environment Climate Change mitigation

PUB100067 ISO and climate change

ISO Climate Action Toolkit

Climate action toolkit: case studies

I look forward to your views / comments / inputs to further enrich the theme of The Defining Trends of Quality Management – Raising The Bar.

Note: The images or video clips depicted here above are through courtesy of respective websites who have the copyrights for the respective images /videos.

[1] Enterprise Risk Management (ERM) Trends in 2024

[2] Managing change risk – Ramy Farha, Chris DeBrusk, and Antonio Tugores

Fading Memories…. Unforgettable Songs: Volume IX – March 2024 Edition

Ghulam Mohammad and His Singers: 1954

Ghulam Mohammad (1903 – 17 March 1968) was trained as dholak player, but the strength of his natural insight for rhythm ensured he was equally comfortable and proficient with folk percussion instruments like duff or matka.

At the premiere of Mirza Ghalib 1954

He was as plain and unsophisticated as his music apparently appeared. He was the one to have introduce Naushad to Ustad Jhandekhan during the initial struggling days of Naushad. And yet the irony is that he is known more as assistant to Naushad. Even during the twelve years when he was assisting Naushad for nearly 20 of Naushad’s films, Ghulam Mohammad, simultaneously, composed music independently for his 17 (out of 36 films he has scored music in his career) films.

It is to refresh our memories of multi-talented music director Ghulam Mohammad that we commenced the present series in the month of death of Ghulam Mohammad’s songs with special focus on the playback singers he chose to fructify his creations. Till now we have covered Ghulam Mohammad’s songs for the year

1943 to 1949 in 2021, and

1950-1952 in 2022.

1953 in 2023

Presently, we will listen to the relatively less heard songs of his films – Guzara and Mirza Ghalib – in 1954.

Rang Rangeele Pyaare Pyaare Laaye Hum Khilaune – Guzaara (1954) – Lata / Hridaynath Mangeshkar – Lyrics: Raja Mehdi Ali Khan,

The song belongs to promotion of the business by self-employed artisans.

In the second part of the song we get to hear girlish voice of adolescent Hridaynath Mangeshkar at the beginning of the two interludes.

Jhoothi Hai Kahani Teri Jhoothi Teri Shaan … Tu Kar Nahi Sakta Hai Muskil Kabhi Aasan – Asha Bhosle – Lyrics: Munir Lakhanavi

The song seems to be a background song.

Jhoom Jhoom Kar Bahar Nache Pavan Phul Barsaye – Guzara (1954) – Shamshad Begum, Mohammad Rafi – Lyrics: Phauq Jaami

The duet spells out the dreams of the couple’s future life. The orchestration sounds similar to what we are used to listen in Naushad compositions, but the rhythm and percussion arrangement bears Ghulam Mohammad stamp.

I could not find YT links for Rula Rula Ke Pehli Aayi Aur Mili Ye Pagar (Shamshad Begum , Mohammad Rafi) and Zamane Hai Re Zalim Zamane (Shyam Kumar).

Mirza Ghalib (1954) epitomizes the play of fate in Ghulam Mohammad’s career. Ghulam Mohammad not only created hugely successful songs like, Aah Ko Chahiye ek Umr Asar Hone Tak, Nukta Cheen Hai Gam-e-Dil, Rahiye Ab Aisi Jagah Ke JahaaN Koi Na Ho, Ye Na Thi Hamari Kismat (Suraiya solos), Dil-e-Naddan Tujhe Hua Kya Hai (Talat, Suraiya), Ishq Mujhko NahiN Vahsat Hi Sahi, Phir Mujhe Deeda-e-Tar Yaad Aaya (Talat Mahmood solos) and Hai Bas Ke Unke Isharre Pe NishaaN Aur (Mohammad Rafi solo), but also defined the ghazal singing as genre in Hindi films. The film also earned National award for best feature film. What more one needs to put the career on to the seventh heaven! But not the luck of Ghulam Mohammad. Eventhough the films was fourth film in among the Top Earners, the tag of unlucky music director remained stuck to Ghulam Mohammad.

Ganga Ki Reti Pe Bangla Chhawaai De Sainya Teri Khair Ho – Mirza Ghalib (1954)- Sudha Malhotra – Lyrics: Shakeel Badayuni

The song shows the dance peroramnce in Bahdur Shah Zafar’s court. The moment king turns away from the dance, Moti Begum (ChaudahviN) picks up Aah ko chaahiye ik umr asar hone tak  in an apparent effort to present to the king the plight of her (more on the platonic platform) affection for Mirza Ghalib to get his release from the royal goal.

Hamne maana ke tagaaful na karoge lekin, Khaaq Ho Jayege Hum Tumko Khabar Hone Tak – Mirza Ghalib (1954) – Suraiya – Lyrics:  Mirza Ghalib

The picturisation shows Moti Begum dying in the arms of Ghalib). This song, a recital by Suraiya, gets played in the background as Suraiya’s body is being carried for burial.

Asides:

These shers are part of the ghazal  Aah ko chaahiye ik umr asar hone tak. The shers included in the song are marked in italics in the original ghazal reproduced here:

aah ko chāhiye ik umr asar hote tak
kaun jiitā hai tirī zulf ke sar hote tak

dām-e-har-mauj meñ hai halqa-e-sad-kām-e-nahañg
dekheñ kyā guzre hai qatre pe guhar hote tak

āshiqī sabr-talab aur tamannā betāb
dil kā kyā rañg karūñ ḳhūn-e-jigar hote tak

tā-qayāmat shab-e-furqat meñ guzar jā.egī umr
saat din ham pe bhī bhārī haiñ sahar hote tak

ham ne maanā ki taġhāful na karoge lekin
ḳhaak ho jā.eñge ham tum ko ḳhabar hote tak

partav-e-ḳhur se hai shabnam ko fanā kī ta.alīm
maiñ bhī huuñ ek ināyat kī nazar hote tak

yak nazar besh nahīñ fursat-e-hastī ġhāfil
garmī-e-bazm hai ik raqs-e-sharar hote tak

ġham-e-hastī kā ‘asad’ kis se ho juz marg ilaaj
sham.a har rañg meñ jaltī hai sahar hote tak

Note:

The original text of the ghazal has ‘hote tak’ as’ radif[1] but the song versions use ‘hone tak’, possibly for better phonetic effect.

Nigaahen Pher LeeN Sab Ne Lutey HaiN AasKke dere … Deewaane Yahaan Tak Aa Pahunche – Mirza Ghalib (1954) – Banda Hasan, Rafi – Lyrics: Shakeel Badayuni

Here is a qawwali in its truer form and spirit as prayer to The Almighty. The metaphor Deewane YahaN Tak Aa Pahunche refers to Mirza Ghalib’s wife (Nigar Sultana) and his love, Moti Begum (Suraiya) who both have come to seek the relief of Mirza Ghalib from the goal.

Nahin Ishq Mein Is Ka To Ranj Hamen – Mirza Ghalib (1954) – Mohammed Rafi – Lyrics: Bahadur Shah Zafar

This is recital of three couplets from the full ghazal written by Bahdur Shah Zafar

Asides:

Many singers have presented the ghazal in their own styles. Here is one such version by Habib Wali Mohammad

Chali Pi Ke Nagar Ab Kaahe Ka Dar Ho More Baanke Balam Kotwaal – Mirza Ghalib (1954) – Shamshad Begam – Lyrics: Shakeel Badayuni

The song, being a wedding preparation song is also based on folk theme for such situations.

We continue or exploration of Ghulam Mohammad and his singers in the next (year) episode as well….

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 and videos from You Tube. All copyrights of the respective image/ video clip remain with the original owner of the image.

[1] Each coupletpf a ghzal ends on the same word or phrase (the radif), and is preceded by the couplet’s rhyming word (the qafia, which appears twice in the first couplet).

1971 – 1973: My Years @ BITS, Pilani – Onwards To Pilani : Charting the Untrodden Path

Continued From:

1971 – 1973: My Years @ BITS, Pilani – Onwards To Pilani : The Turmoil and The Decision

I had only the call letter as any guide, if one could say so in my the then position, that pointed to the destination of my future course of journey. The postal address of the institute revealed that the mundane destination, Pilani, was situated in the State of Rajasthan. The call letter did further mention that Pilani can be reached by bus from nearest railway stations of Chirawa (from Jaipur) or from Loharu (from Delhi).

I knew that Rajasthan located on the west-northern side of Gujarat, on the basis my knowledge of geography from the school days. However, I had travelled only upto Surat before I came to Navsari that very year. As a result, I was totally blank about how to travel to Jaipur or Delhi. I was even quite new to Navsari too. So, I could not even think out of enquiring with someone or somewhere, there of the whereabouts of these places.

Fortunately, I was aware enough of All India Railway Time Table. So, I hoped that with the help of that time table I should at least be able to locate the two railway stations mentioned in the time table.

It took me around five minutes or so of thinking and some preliminary enquiries at my father’s office to arrive at the decision to head for Navsari railway station and purchase that All India Time Table. Once I reached the railway station I did make enquiries with ticket counter and with the station master to see if I can get any help about reaching Chirawa or Loharu. Their guidance, too, pointed out as time table as the (only) source of information at Navsari station. The other alternative was to go to Surat railway station to get the required information. I purchased the time table and headed straight to home to begin my work of charting out the possible routes.

Once I reached home, I did not lose any more time. and sat down with few papers and pen to chalk out various options available. If Google maps was available then the job of selecting the most optimum route would have been easier. But at that time, it simply was a job to wade through the timetable and arrive at the possible options.

A good few hours of search led me to arrive at two options to reach Chirawa:

• • Navsari – Ahmedabad – Jaipur – Sawai Madhopur – Chirawa route:

My rough calculations showed that the total journey would be close to 850 + 200 KMs and would take anything from 20 to 24 +  around 5 hours of travel, with two breaks at Ahmedabad and Jaipur. On this route going to Sawai Madhopur was not necessary as Sawai Madhopur – Chirawa train was to pass through Jaipur.  Sawai Madhopur to Chirawa distance was around 340 KMs, but if I choose this route, Sawai Madhopur – Jaipur distance of round 130 KMs could be avoided.

• • Navsari – Vadodara – Kota – Sawai Madhopur – Chirawa:

Navsari – Sawai Madhopur leg of journey was on Bombay – Delhi route. This was an over 700 KMs of journey with travel time of around 15 hours (if travelled by Bombay – New Delhi Paschim Express) to 20+ hours (if travelled by Bombay – Dehradun Dehradun Express), in addition to about 7 hours of travel from Sawai Madhopur to Chirawa.

The only logically feasible route to reach Loharu was travelling from Navsari to Delhi and then from Delhi to Loharu.

With this much information available, it did not require any computer (not that anyone was available then) to decide the most preferred route. So, before I went to sleep my next course of actions next day were decided in my mind to book the ticket, from Navsari and if that did not work out, then from Surat for Sawai Madhopur as the first choice.

I was at ticket-booking window of Navsari railway station, first thing next morning. After about a half an hour so wait in the queue, I was all smiles, with my all thirty-two teeth being visible, with a ticket for Paschim Express to Sawai Madhopur for the appointed day. I was also informed that ticket for Sawai Madhopur – Chirawa leg of the journey could be purchased from Sawai Madhopur only.

However, by now, out of knowledge that I had no choice or because of the latent expectation that if luck had favoured me till now I can still bank upon it, I was feeling more confident that I should be able sort out the nuts and bolts ticketing once I reached Sawai Madhopur.

To continue with ……..

The Maiden Journey to Pilani