The Sculptors of Film Songs – 1 – Sebastian D’Souza

Originally in Gujarati, by Piyush M Pandya

Translated by Ashok M Vaishnav

Evolution of Film Music

A school of knowledgeable people believe that the music came into being when an infinitely dense singularity exploded with a Big Bang to bring our universe into existence. That explosion is our primal sound.  The spread of that sound on a wave of radiation brought rhythm into existence. Thus, the two basic elements of music – the note (melody) and the beat (rhythm) – also can be believed to have come into existence simultaneously with the universe coming into being. The blowing of winds, explosions of volcanoes, the thunders of clouds and the strong winds of tornadoes that kept happening throughout the chain of events on the earth brought in them vast range of sounds, The waves of oceans, flowing waters of streams, winds blowing through the woods, the chime of rain drops falling on the leaves blended variety to the diversity of sound.

Then, at some stage of evolution, human beings started recreating this ‘music’ of the nature into the languages that human beings understood. The process has been evolving over the path of millions of years of human evolution and shall continue as long as humans exists.

One of the paths that led to the development of a form is what we now know as film music. In the Indian context, along with the advent of ‘talky’ films, in the third decade of twentieth century, the songs also came into being in the films. That indeed was the dawn of a new era. By 1935, the playback singing also came onto field. The film music gradually, but surely, came out of the shadow of theater style music. New crop of music directors and singers entered the arena. Also came in the then modern recording technology as well.

In consonance with rule of market economy- more the decent returns, more will be the competent players in the market – the virtuous cycle of pull for different forces of the film music started gaining momentum. As such, between the period of second half of ‘40s to ’60s, many outstanding music directors, music arrangers, musicians, sound recordists, lyricists and singers emerged on the stage. As they kept getting favourable circumstances, they boldly tried new experiments that showcased the breadth and depth of their creative competency spectrum.

At this stage, we do have to recognise that an average listener of any form of the music hardly has inclination for the technicalities like raags or scale or rhythm. As such, it should be no surprise if they do not notice the subtleties of different music instruments or the variations in singing styles. For him, what pleases to the ears or what can be easily hummed is a good music. It was this effect that drew that average lay listener to the film music. Along with actor enacting a song on the screen, he could now recognize the singer and perhaps the music director. Some discerning listeners also started giving recognition to the lyricist. It may not be overstatement to note that film music played a very strong, even if unconscious, role in cultivating some rudimentary appreciation of the music per se at the mass appeal level.

But, alas, very critical link in the entire chain of a film song composition, that of music arrangers like Frank Fernand, Antonio Xavier Vaz (a.k.a. Chic Chocolate), Sebastian D’Souza, Anthony Gonsalves, and musicians ranging from ace accordionists Gudi Saravai and Sumit Mitra to classical flutists Pannal Ghosh and Hariprasad Chaurasia.and many other such legendary instrumentalists still remained unrecognised in terms of their contribution to the film music. Even this list would be grossly incomplete if we do not mention names of instrumentalists / arrangers like Dattaram, Basu-Manohari, Sonik-Omi, Babla, Uattam Sigh and the likes who ventured into the field of independent music direction but could not make, so called, successful headway.

To buttress the point of intention, a few examples will better serve the purpose:

    • Who has played that master piece of saxophone just after the line Bhul Koi Na Jo Hamse Ho Jaaye in the famous song Roop Tera Mastana of Aradhana (1969)?
    • Do you remember sweet pieces of flute in Main Piya Teri Tu Maane Ya Na Maane (Basant Bahar, 1956)? Who would have played such enchanting pieces?
    • Or, that harmonium piece in Kajara Mohabbatwala from Kismat (1968)?
    • Have you noticed the pain of loneliness in Tu Chhupi Hai Kahan (Navrang, 1958) being so effectively being accentuated by the Shehnai pitching in the music?

The role of music arranger was to shape the basic idea of the tune that.the music director has composed for the lyrics penned by the lyricist into a full-fledged song. It is the arranger who selects the correct rhythm and corresponding appropriate percussion instrument as well as the other melody music of prelude or interludes or countermelody support and the corresponding instrument(s). Each piece will be designed in detail, which instrument will play exactly when, in what scale and what style, who will play what etc. These details were all codified by the arranger and meticulously explained to each instrumentalist. Then, there would rehearsals to iron out the kinks as well as the need to tune in the different orchestra elements as one unit. Next, the rehearsal would be held with singer, usually, prior to the recording sessions. And when all was set to a level of acceptable standard, the final recording would take place.

Without taking away the due credit to music director for imagining such notes, the lyricist giving it a concrete body and the singer making it come alive, it is the arranger and the instrumentalist concerned who are the unsung cornerstones for that imagination to fructify into the reality of a glorious structure of art that we call a song.

With this prelude, we gear up to commence our present series of The Sculptors of Hindi Film Music, that would introduce us to some of the leading music arrangers and instrumentalists who played great role in shaping the music of the golden era of the Hindi film music.

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As is most timely apt, we commence the series with Sebastian D’Souza (29 January 1906 – 9 March 1998), a successful Goan music arranger in the Bollywood music industry, who is largely credited with changing the entire harmonic structure of the Hindi film song to create an extremely listenable full body of sound behind the voice of the singer

Sebastian D’Souza spent his childhood and adolescence in his native Goa. His natural passion and inborn knack for the musical instruments were nourished in the tradition of Church music there. He easily went on to learn violin, cello and piano. While learning to play these instruments, he also learnt the writing of notations. It was during this time that he very attentively used to listen to the famous symphonies of well-known composers of the western world.

Asides:

At the risk of a little digression, since we would be focusing more on orchestral arrangement of musical instruments in the present series, a word about the violin family of string instruments would be in order.

Quite easily recognised ‘violin’ comes in four different sizes. The violin, which is the smallest, viola, cello, and the biggest, the double bass, sometimes called the contrabass. (Bass is pronounced “base,” as in “baseball.”) The smaller instruments, the violin and viola, make higher-pitched sounds, while the larger cello and double bass produce low rich sounds.

After partition in 1947, Sebastian D’Souza decided to settle in Bombay and pursue his career as violinist in the film industry. Here he would play violin for many of the then stalwarts like Anil Biswas, Ghulam Haider, Sajjad Hussain, Vinod, Husnlal Bhagatram etc. In 1948-49, when O P Nayyar got his first assignment to compose a solo for CH Atma  (Preetam Aan Milo), he assigned its music arrangement to Sebastian D’Souza. When O P Nayyar got his first film – Aasmaan (1952) – he again entrusted Sebastian D’Souza the responsibility of full-fledged music arrangement. O P Nayyar – Sebastian association prospered very well and continued till 1973. Their last film together was Pran Jaye Par Vachan Na Jaye.

Asides:

Incidentally, the Filmfare awarded song of the film, Chain Se Humko Kabhi Aapne Jeene Na Diya, was recorded just before Asha Bhosle – O P Nayyar parted ways.

For our present purpose, listen to the effective the soft instrumental notes accompanying the song as counter melody has been in enhancing the pathos of the song!

In 1952, Sebastian D’Souza’s Sonny Castelino, a Shankar Jaikishan team regular, introduced Sebastian to the SJ duo. Daag (1952) marked the beginning of another unstinted long association in the film industry. Sebastian went on to arrange music for each of SJ film, till 1974, ending the run with Sanyasi., all songs of the film set to raag Bhairavi. As someone trained in western classical music, Sebastian faced the challenge of learning Indian classical raag structure, since both Shankar and Jaikishan markedly preferred their songs to be based on Indian Classical music.

Another major work of Sebastian was with Salil Chowdhury. Salil Chowdhury is well known to recycle his Bengali songs into Hindi films. Here is one illustration wherein the value addition that a music arranger fully entwined with style of the music director can make:

Dhitang Dhitang Bole – Awaz (1956) – Hemant Kumar, Lata Mangeshkar, an unknown singer and chorus – Lyrics: Prem Dhawan – Music Salil Chowdhury | Bengali version – Singer: Hemant Kumar – Music” Salil Chowdhury

The creative use of counter melody, harmony and chorus in the music arrangement seems to make so obvious a difference between the two versions, composed by the same music director. The music arrangement of the Hindi version is by Sebastian D’Souza.

Before we take up some representative songs for a closer view, let us look at some typical songs exemplify the benchmark that Sebastian has set for the role of an ideal music arranger.

Bol Ri Kathputali Boli – Kathputali (1957) – Lata Mangeshkar – Lyrics: Shailendra – Music Shankar Jaikishan

Mera Naam Chin Chin Chu – Howrah Bridge (1958) – Geeta Dutt – Lyrics: Qamar Jalalabadi – Music: O P Nayyar

Ye Bansi Kyun Gaye – Parakh (1960) – Lata Mangeshkar – Lyrics: Shailendra – Music: Salil Chowdhury

https://youtu.be/lGWMi1f8ed0

Mohe Laa De Chunariaya Lal – Char Diwari (1964) – Geeta Dutt, Suman Kalyanpur – Lyrics: Sahir Ludhiyanvi – Music: N Dutta

It can be so easily identified that first one is a SJ composition, second one a OPN composition, the third one a Salil Chowdhury composition and the last one that of folk tune composition of another western music trained music director, N Dutta. But what requires to be noted is the value that Sebastian as a music composer has added, by so intimately blending the musical score with the natural, unique, style of the respective music director. This was the role that a music arranger was expected was to play – addition of such richness that he enshrines in the songs, while remaining totally incognito.

In 1974, when Sebastian D’Souza could no more was intrinsically able to identify himself with the then new trends of song composition, he chose to go back to his native place and spent the rest of life in teaching music to the children.

We will take up a few of the most representative songs that he arranged for Shankar Jaikishan to showcase the versatility of Sebastian’s range of creativity and devotion as a music arranger.

Here are two very well-known YT clips that further demonstrate how seemingly effortlessly Sebastian has enlivened Jaikishan’s vision of long preludes or highly experimental interludes and counters,.which we all know as the signature identification of music of SJ duo!

The magical violins of Shankar Jaikishan – Part I

The magical violins of Shankar Jaikishan – Part II

Asides:

Raj Kapoor was also extremely fond of Sebastian’s work. He, SJ and Sebastian had so matching wavelengths that they could compose off the complete background score of RK’s magnum opus Mera Naam Joker in one week flat.

Normally to describe a piece of art, no words can ever do full justice. So, as we take up these illustrations, it would be better that we put on earphones and listen to the magic of SJ’s compositions and Sebastian’s immortal arrangements.

Aye Mere Dil Kahin Aur Chal – Daag (1952) – Talat Mahmood- fast and slow versions – Lyrics: Shailendra – Music: Shankar Jaikishan

In the first slow paced version, just listen to the soft strumming of guitar giving rhythmic support with so faint instrumentation play of constantly accompanying countermelody, giving the unfathomable depth to the song. In the second fast paced version, simply listen to all the variations that Sebastian has arranged for V Balsara to play on harmonium (which sounds almost like piano accordion). These pieces of countermelody remain the cherished peaks of Mount Everest benchmarks for all the music arrangement practitioners to scale!

Ban Ke Panchhi Gaye Pyar Ka Tarana – Anari (1956) – Lata Mangeshkar, chorus – Lyrics: Hasrat Jaipuri – Music: Shankar Jaikishan

This is the song that has some wonderfully imaginative uses of chorus and choir. After brief prelude (till 0.44) the song begins with fast rhythm of dholak. When the initial lines get repeated at 0.35, chorus seamlessly joins Lata Mangeshkar, with choir supporting as countermelody. Then @1.02, the choir fuses with interlude music. that not only gives the effect of the song filling up the vast open space but also clear idea of the mood that friends have reached in their cycle journey. The choir countermelody comes back with chorus @1.44 again that helps recreates the divine mood that friends have now been enjoying. @1.55 when the line of stanza ends a the opening line closes the stanza in a classical mode of music composition again with soft choir countermelody. This experiment repeats @2.54. The song softly ends with chorus and choir support. Such minutely sculpted details, in an oft-used cycle-riding group of friends’ song situation, is one of the many unique facets of Sebastian’s finely carved music arrangements that can be said to be his own hallmark.

Ajib Dastan Hai Yeh – Dil Apna Aur Preet Parai (196) – Latamngeshkar, chorus – Lyics: Shailendra – Music: Shankar Jaikishan

Waltz rhythm-based song has three interludes, each one being different than the other. The prelude opens with strings of guitar and the choir then joins in the main piece of orchestra, followed by easy strains of piano-accordion and guitar ending with violin ensemble, signalling beginning of opening lines @0.36. The choir, then, accompanies the singing as countermelody @0.39. The first interlude is fine mix of saxophone and choir, with violin ensemble playing its due supportive role. The first stanza plays with mix of guitar and choir as countermelody support. The second interlude, starting @ 2.26 is dominantly a guitar and choir composition. The countermelody support for the second stanza is by very soft saxophone strains with even more soft violin ensemble support to deepen the effect. The third interlude, from 3.40 to 3.58, is again a saxophone-choir orchestration arrangement but set to totally different composition. The last stanza has guitar as countermelody support. As an overall impact, song keeps on playing in your mind the mixed mood of pathos with soothing tranquillity of the serene night, even after it has formally ended.

Shankar Jaikishan’s dance songs had its own style of presentation.

Kar Gaya Re Kar Gaya Mujh Par Jadoo – Basant Bahar (1956) – Lata Mangeshkar, Asha Bhosle – Lyrics: Shailendra – Music: Shankar Jaikishan

Basant Bahar (1956) was the first major challenge the duo had boldly accepted to showcase their versatility. They had even succeeded in roping in no less vocalist than Pt. Bhimsen Joshi for, Ketaki gulab juhi, with Manna Dey – a duet based on raag Basant and Bahar. However in a fim like this too, they had used as much creative liberty they could enjoy in the orchestration of this dance song.

A sad dance sequence – Amrapali (1966)

However, Amrapali (1966), being a pure history-theme based story of a classical dancer, the challenge was even more demanding. The script of the film necessarily gave space for depicting pure classical dance sequences different, intense, moods. However, Sebastian D’Souza has so deftly crafted intricate play of Indian classical string instruments like Sitar and Veena in sync with various classical percussion instruments-based arrangement for such sequences as well as background score.

Tadap Ye Din Raat Ki – Amrapali (1966) – Lata Mangeshkar – Lyrics: Shailendra – Music: Shankar Jaikishan

Weaving intricate multiple instrument-based large orchestra for highly emotional songs for such films is even more demanding. A highly committed and devoted music arranger like Sebastian D’Souza would not compromise a fraction of his own high standards even for such a less practiced field. Careful listening to the song clearly manifests unbearable pians of forced separateness in the form of rapid rhythm-based mix of ensembles of Veena and Sitars, which softly calms down after the outburst by slow-paced Surbahar strokes. Sebastian has used extremely soft violins support in the countermelody to impart the depth to the song but has studiedly used ensemble of Sitar as the lead instrument of the orchestra.

Shankar Jaikishan’s penchant for experimentation and inherent leaning towards Indian classical raags, and by now Sebastian D’Souza high confidence in his ability to do full justice to Indian classical music as much as western classical music fructified in the form of NFS Long Playing record Raag Jazz Style (EMI,1968; ECSD-2377) in collaboration with sitarist Ustad Rais Khan. SJ-Sebastian roped in such top-notch musicians like Bass – Eddie Travass, Drums – Leslie Godinho, Electric Guitar – Anibal Castro, Dilip Naik; Flute – Suman; Piano – Lucilla Pacheco; Saxophone – Manohari Singh; Tabla – Ramakant and Trumpet – John Pereira for the project. The disc had three of SJ’s favourite raags – Jaijivanti, Shivranjini and Bhairavi – along with challenging raags like Todi, Bhairav, Malkauns, Kalavati, Tilak  Kamod, Miyan Malhar, Bairagi and Mishra Pilu.. I have picked up Shivranaini here to showcase the high level of performance by the whole team, and intricate arrangement by Sebastian D’Souza.

One can keep recounting such nuances in each of music arrangements composed by Sebastian. However, we will limit our exploration to one more song that fully depicts the width of Sebastian’s spectrum of creativity, passion, and commitment.

Jhulmi Sang Aankh Ladi – Madhumati (1958) – Lata Mangeshkar, chorus – Lyrics: Shailendra – Music; Salil Chowdhury

The signature Salil Chowdhury composition opens with joyous mood of string and percussion instruments. The pure folk-effect chorus intensifies the mood. Sebastian has carefully crafted intricate pieces of flute ensemble in the entire arrangement thereby making out the entire outcome as unmistakably Salil Chowdhury composition. No wonder Dilip Kumar is shown mesmerised by the charm of the setting with vivacious Vyjayanthimala in the centre. So are we, too. with the magical environment that the entire song sequence creates.

Apart from the breadth and depth of virtuoso of Sebastian. these illustrations also demonstrate the pain and effort that the composer, the lyricist, the singer, the arranger, the musicians and each one associated with song recording used to take for each of the song. In return apart from the relatively paltry monetary rewards, the only recognition that the music arranger would get is small fine print mention in the credit titles of the film. However, in the hindsight, the ageless affection that these creations got that has not abated even after passing through so many generations seem to be the most invaluable rewards for their selfless devotion.

One of the rare photographs of Sebastian D’Souza conducting a live public concert performance speaks volumes for the role of the music arranger in selecting different instruments, selecting the right musician to play notes of particular standards, right positioning of the instruments w. r. t. each other and the microphones so as to yield a perfect harmony, whether in a studio recording or a live public performance.

We end our tribute to one of such great artists, Sebastian D’Souza, by recalling his one of the most iconic compositions that has all the hues of his creativity encapsuled for the future generations to savour –

Aa ab Laut Chale – Jis Desh Mein Ganga Baheti Hai (1960) – Mukesh, Lata Mageshkar, chorus – Lyrics: Shailendra – Music: Shankar Jaikishan

https://youtu.be/H8Fu_O7y-dg

Credits and Disclaimers 

    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 photographs are taken form the internet, duly recognising the full copyrights for the same to the either original creator or the site where they were originally displayed.

The article is originally published on Songs of Yore as The Sculptors of Film Songs (1): Sebastian D’Souza

The Micro View of Songs of 1943 – The Duets – MY Top Duet Songs

The first observation that comes up after the Micro Review of the Duets is that number of duets is large for the year 1943 than the normal. This is corroborated the statistics provided in the overview post of SoY – Duets occupy a 31.44% (172 out of total 547 songs) share of the total songs for which the singers are identified in HFGK.

However, out of these 172 duet songs I have been able to capture only 60 odd songs in the Micro View and SoY has taken note of 27 duets in the Memorable Songs of 1943. This makes it just half of the total population, too less for any meaningful objective study! Moreover, of the 60 duets in the Micro View, two male singers have 8 (Arun Kumar) and 6 (G M Durrani) with two or three other singers having more than one duets. That would leave almost a third of the duets with only by any given pair of singers.

With so larger proportion of one duet per pair, our practice of covering such single songs in the list of the songs that I liked during the first listening would make the list too long, and yet so incomplete. So, I will dispense with this practice for the year.

The rest of the songs that I have chosen here again have my own subjective choice, thereby rendering the entire list as being too inadequate and subjective to be classifies ‘Top Duets’ for year. So, to order some semblance to the content of the present list, I have heavily drawn from the songs included in Special Songs and Best Ten Duets of 1943 from Best songs of 1943: Wrap Up 3

Here are MY choices of duets of 1943, in the alphabetical order of name of te film-

GM Durrani, Sitara – Gori Baanke Nayan Se Chalaaye Jadua – Aabroo (1943) – ‘Hasrat’ Lakhanav – Govind Ram

Anjali and Motilal – Kaanton sa chubhata jata hai – Aage Kadam (1943) – Kailash Matwala – Master Madhav Lal and RC Pal

Master Amritlal, Leela Pawar – Ho Mat Piyo More Chhaila Tambaku ReAage Kadam (1943) – Kailash Matwala- Madholal Master and RC Pal

G M Durrani, Kaushalya – NainoN Mein NainaN Dinho Daal, O Baanke Nainawale – Angoori – Ram Murti – Ghulam Mustafa (G.M.) Durrani

Vishnupant Pagnis, Kaushalya – Jo Hum Bhale Bure Ho Tere – Bhakta Raj – D N Madhok – C Ramchandara

Ishwarlal, Kaushlya – Do Bol Mohabbatwale Koi Bolo ….  – Chirag – D N Madhok – Khemchand Prakash

Arun Kumar (Mukherjee), Suraiya – Bistar bichha diya hai tere ghar ke saamneHamari Baat (1943) – Wali Saheb – Anil Biswas

Arunkumar,  Amirbai Karnataki –  Hum Aisi Kismet Ko Kya Kahein Haye, Jo Ek Din Hansaaye Ek Din Rulaaye – Kismet (1943) – Pradeep – Anil Biswas

Chitalkar and Parul Ghosh – More Raja Ki Oonchi AtariyaMuskurahat (1943) – IC Kapoor – C Ramchandra

Paresh Banerjee and Rajkumari – Dhuein Ki Gaadi Udaye Liya Jaaye – Nai Kahani (1943) – Wali Saheb – Shyam Sundar

Paresh Banerjee and Rajkumari –  Manmandir  Mein Aye Baalam – Nai Kahani (1943) – Wali Saheb – Shyam Sundar

Parul Ghosh, Sitara – Fasle Bahar Gaae Ja Dil Mein Gam Rulae Ja– Najma – Anjum Pilibhiti – Rafiq Gazanavi  B A

S N Tripathi, Rajkumari – Panghat Par Paani Bharane – Panghat – Ramesh Gupta – S N Tripathi

Rafique Ghazanvi, Menka, Chorus – Panchhi Ud Chala Apne Desh, ….  – Prithvi Vallabh – Pt. Sudarshan – Rafique Ghazanvi

Kishore Sahu, Pratima Dasgupta – Niraali Duniya Hamari – Raja – Rammurti – Khan Mastana

Saraswati Rane and Amirbai Karnataki – Aao Ri Suhagan Nari Mangal Gaao Ri – Ram Rajya (1943)- Ramesh Gupta – Shankar Rao Vyas

Kamal Dasgupta and Anima Dasgupta – Saawan mein boondan ki jhalar daaliRani (1943) – Pt. Madhur- Kamal Dasgupta

Noor Mohammad Charlie, Suraiya – Udate Panchhi Kaun Unako Bataye– Sanjog- D N Madhok – Naushad Ali

Jayshree and Zohrabai Ambalewali – Chaand sa nanha aye phoolon sa khil khil jaayeShakuntala (1943)- Ratan Piya – Vasant Desai

Khan Mastana, Zohrabai Amabalewali – Suahaani Suhaani Ho Gayi Suhaani, Sajan Apani Zindgani Ho Gayi Suhaani – Talaash  – A. Karim – Khan Mastana

Asit Baran and Binota Roy(?) – Jeevan Hai Bekaar Bina Tumhare – Wapas (1943) – Pt. Bhushan – RC Boral

Asit Baran and Indrani (?) – Bhool Na Jana Aaj Ki Baatein – Wapas (1943)- Munshi Zakir Hussain – music RC Boral

SoY, in Best songs of 1943: Wrap Up 3,  states that three duets – More Baalapan Ke Saathi Bhul Jaiyo Nahappy and sad versions – (Tansen, K L Saigal, Khursheed – Music – Khemchand Prakash); Dheere Dheere Aa Re Badal Dheere Dheere Aa (Kismet – Arun Kumar (Ashok Kumar), Amirbai Karanatki – Music: Anil Biswas) and Bharat Ke Ek Sannari Ki Katha Sunate Hai (Ram Rajya – Yashwant Bua Joshi and Yaswant Nikam – Music: Shankar Rao Vyas) have stood the test of times and are till so well  remembered even today. I, personally endorse the statement.

The Micro View of Songs of 1943 – The Duets – Female – Female Duets(+) and Triads(+)

Female – Female Duets(+)

Unidentified singers – Tu Ek Suahan Sapana Kismatwala Jis ko Dekhe – Mazaq – Abdul Gulrez – Zahoor Raja

Parul Ghosh, Mumtaz – Bhala Kyun O Bhala Kyun Magar Kyun Kahegi Aisi Baat – Najma – Anjum Pilibhiti – Rafiq Gazanavi  B A

Parul Ghosh, Sitara – Fasle Bahar Gaae Ja Dil Mein Gam Rulae Ja– Najma – Anjum Pilibhiti – Rafiq Gazanavi  B A

Amirbai Karanataki, Mumtaz – Sajan Ke Nain Jadu Baan, Haye Main Vaari Jaaun– Najma – Anjum Pilibhiti – Rafiq Gazanavi  B A

Noor Jehan, Rajkumari – Jhoom… Aye Dil Gul-e-Naubahar Jhoom – Nauker – ? – Rafiq Gazanavi

Rajkumari, Unidentified singer – Panghat Ko Chali Panihari Re – Panghat – Pt. Indra – S N Tripathi

Rajkumari, Unidentified singer –Amma Mori Ho, Mohe Kisan Kunavr Var Deejo – Panghat – Pt. Indra – S N Tripathi

Baby Tara, Rajkumari Shukla – Chachi Ji Mori Chuha Kothe Ke  Beech – Panghat – Ramesh Gupta – S N Tripathi

Amirbai Karanataki, Veenakumari – Ham Kidhar Chale Ri Sakhi – Pratigya – Dr. Sardar ‘Aah’ – Indravadan Bhatt

Triads (+)

Zeenat Begum and Unidentified male and female singer – Main To Lahenga NahiN Pahenungi Laa De Malmal Ki Salwar – Sahara – Nazim Panipati – Pt. Govindram

Amirbai Karanataki, Pahari Sanyal, Unidentied person – Aai Re Aai Re Malin Singapur Se – ? – Ashok Ghosh

Fading Memories…. Unforgettable Songs: Volume VIII : January 2023 Edition

Jaidev: Brilliant, But Underrated, Composer:  1976 – 1977 

Jaidev – B: 3 August 1919 – D: 6 January 1987 – is one music director who had established himself as creator of melodies while basing the compositions in classical or folk styles. From start at the very top with mesmerizing magic touch, as his career went on to take deep dive of the road of loss of popular appeal, he started getting epithet of ‘too niche’ music director. By the beginning of ‘70s, he even had started getting work from only those producers or directors who were stickler to the consciousness of being faithful to the core of their film subject. By this time, these films had developed its own fan following, who was also receptive to Jaidev’s music. Emboldened by such an encouraging response, Jaidev could boldly experiment with new singers as well.

Till now,

In 2018, we listened to his songs from the most successful films phase of 1955 to 1963.

In 2019, we listened to his more remembered songs from his less remembered films for 1964 to 1970,

in 2020, we listened to highly appreciated songs from the films that did not succeed in 1971,

In 2021, we recalled the songs that have faded out because the films flopped in 1972-1973, and

In 2022, we listened to his melodies form relatively not so known films for the years 1974 and 1975

Presently, we will refresh our memories for the songs Jaidev composed for Laila Majnu (1976) and Aalap and Gharaonda (1977)

Laila Majnu (1976)

The love story of Laila and Majnu has always remained an evergreen subject for the Hindi films. From the first film made in 1931, every few years a new version has been made for the Hindi screens. However each version had its own distinct interpretation of the story, which gets reflected in the way the social milieus had been presented in terms of dress, living styles, language and delivery of dialogues etc. One dimension that tended to raise the standard of the film was its music.

My personal association with the present 1976 version goes back to the year 1977, when I was visiting Indore for some official work, along with couple of my colleagues. Once, when we were roaming through the roads of Indore after our dinner, we saw a cinema hall that had a poster of Laila Majnu (1976) as the current movie. We were just in time for the last show. However, we were in dilemma as to whether the film would be worth spending two and half hours. Except for the songs of Ghulam Mohammad’s compositions for the 1956 version, I had no idea how good the other versions were. But, as we saw the names of Madan Mohan and Jaidev as music directors, our initial misgivings thinned out and we bough the tickets.

It was much later that I could know that Madan Mohan had passed away when three or so songs and background score for the film were still incomplete. So, Jaidev was roped in to seamlessly fill the void., even though Sahir Ludhianvi – Jaidev and Sahir had parted ways after some very strong differences while working together for Mujhe Jeene Do (1964) – was the lyricist for the film.

Jaidev has composed four songs, of which the two Lata- Rafi duets – Kahena Ek Diwana Teri Yaad Mein Aahein Bharata Hai and Likh Kar Tera Naam JamiN Par Sajade Karata Hai – seemed to have gained popularity even as soon as the film would have been released, as can be gauged by the response of the viewers during the show.

We will take a closer look at two other songs –

Kaja Jhalim Sahi Ye Jhulm Woh Bhi Kar Nahi Sakati
Jahaan Mein Qais Jinda Hai Tab Tak Laila Mar Nahi Sakati

Ye Dawa Duniya Bhar Se Manavane Ki Khatir Aa
Ye Diwane Ki Jid Hai. ….. – Mohammad Rafi

I liked the song just when I heard it first time on that night, since it had all that one would expect from Jaidev- Mohammad Rafi songs of Jaidev’s early years of career. However, little did I know that we did not have many more years left for Mohammad Rafi to come up with so soulful rendering once again….

Laila Majnu Do Jaan The – Rajkumar Rizvi, Dilraj Kaur, Anuradha Paudwal

Jaidev has readily switched over to experiment with the current generation singers for the credit titles song

Aalap (1977)

Hrishikesh Mukherjee has depicted Amitabh Bachchan, once again as a deceptively calm volcano which is ready to erupt into sizzling hot lava, in this essentially a Bengali background story. When action movies was the order of the day, casting Amitabh Bachchan and Rekha in a serious social drama was certainly a bold experiment. Hrishikesh Mukherjee’s few preceding and succeeding movies had either S D Burman or R D Burman as music directors, However, he has opted for Jaidev for this film.

The credit titles song for the film, Maata Sarasvati Sharda (Yesudas, Lata Mangeshkar Dilraj Kaur, Madhurani and chorus) went on become a prayer at many schools.  Moreover, when Kishore Kumar was already established as Amitabh’s playback voice, Jaidev has boldly, and quite successfully at that, Yesudas for Koi Gaata Main So Jaata (Lyrics: Harivanshray Bachchan).  Other songs of the film, penned by Dr. Rahi Masoom Raja, also are based on classical styles while simultaneously experimenting with normally not heard voices for film songs.

Chand Akela Jaye Re Sakhi …. – Yesudas

The mood of the song presents Amitabh’s character as a poet deeply depicting his imaginative feelings of a poet lost in the thoughts of a lover lost in the thoughts of his love.  Hrishikesh Mukherjee has equally skillfully used the interludes to showcase the inherent angry young man nature of the character by way of emotionally charges light=toned dialogues.

Kahe Manva Nache Hamraa, Sakhi Ri Koi Ise Ab Sanajaye ….. – Lata Mangeshkar

Director has skillfully used the protagonists’ play with a beam of light to express the feelings of her heart when she keeps getting lost in the first ever feelings of her recent love.

Nayi Ri Lagan Aur Meethi BatiyaN, Piya Jaane Aur Mera Jiya – Madhurani (Giazabad), Kumari) Faiyyaz, Yesudas

Apparently, a practice session is also a vicarious medium of expressing mutual feelings between the two young ones. Jaidev has creatively experimented in use of a wel-known gazal exponent Madhurani (Faizabadi), well-known singer of Marathi Dramatics songs genre. (Kumari) Faiyyaz and Yesudas.

Aai Ritu Sawan Ki Piya Mora Jaaye Re – Kumari Faiyyaz, Bhupinder

The lyricist’ choice of pathos of the lovers being away from each other while the onset of season of monsoon showers is captured by the music director in the form of deployment of baritone Bhupinder voice.

Ho Rama Dar Lage Apni Umariya Se – Asrani

Binati Sun Le Tanik Natkhat Gori Binati Sun Le – Asrani

Music director has so creatively deployed Asrani himself to sing these parodies of traditional semi-classical songs. Kudos to the experimentally creative streak of the director as well music director!

Gharaonda (1977)

For someone known for his work in the field of animation films, Bhimsen’s directorial venture into Hindi cinema, Gharaonda, was a novel experiment of presenting an art film in the commercial mode on a subject of the lives of two young middle class youth lovers.

In order to appreciate boldness of the experiment, a brief look at Bhimsen’s core area of competence would not be out of order.

Because of his extensive work in  the field of animation films, Bhimsen has been recognized as the Father of animation film movement in India. He has to his credit a prolific work on trend-setting work in the field of animation films on the subjects of different subjects relating to the social issues. Recipient of numerous awards for his pioneering work, his animation short film for Films Division, Ek, Anek aur Ekta or his longest till now of its kind, 26-episode, TV serial Vartman (1994) are just two illustrations of his exemplary work.

The Filmfare awards for The Best Supporting Actor (Dr. Shriram Lagoo) and Best Lyricist (Gulzar for the song Ek Akela Is Sahar Mein) are two ample manifestations of success and acclaim that Gharaonda got.

The two songs – Do Diwane Shahar Mein (Bhupinder, Runa Laila) and Ek Akela Is Shahar Mein (Bhupinder) – were instant hits and continue to do so even now.

For all practical purposes, the sole credit of class and mass audience of India was introduced to the range of timbre of internationally known Bangladeshi ghazal singer Runa Laila on the strength of the afore-mentioned duet and a twin mood solo song presented her below –

Tumhein Ho Na Ho Mujhko To Itana Yakeen Hai Mujhe Tumse Pyar NahiN NahiN – Runa Laila – Lyrics: Naqsh Lyallpuri

The playfully mischievous tone of the song gives a magical touch to the voice of Runa Laila.

The sad version of the song (beginning from 5.04 of the audio clips of both versions together) presents the depth of Runa Laila’s voice, thereby presenting a wide range of tonal variations and range she so naturally possessed.

As we end the present episode, our curiosity is further aroused to know how many more hues of Jaidev’s creativity still can be expected to unfold in twilight years of his illustrious and courageous career.

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

Mohammad Rafi’s Non-film Hindi Geets and Ghazals – Mere GeetoN Ka Singar Ho Tum

A [belated] tribute to Mohammad Rafi on his 98th Birthday

This is second, and extended, part of the original article Mohammad Rafi’s Non-film Hindi Geets and Ghazals published on SoY

Mohammad Rafi’s (b. December 24, 1924 – d.  July 31, 1980) NFS had charmed me right from my early radio listening days. When I had reached stage of purchasing my own records, every time I would visit Rhythm House (@Kala Ghoda, Mumbai) I would invariably make sure that I skim through at least couple of Mohammad Rafi’s NFS song records, even as my limited budgets in those days forced me to prioritize the purchases from among different genres of records, thereby limiting my collection to a few Mohammad Rafi NFS songs records.

Now the present internet age has opened up the flood gates of availability of the music online. Thanks to more committed Hindi film songs fans on YT, one can find many songs that one would not have got chance to listen to in the radio-listening days.

From that vast treasure, here are some more of Mohammad Rafi’s NFSes that I have liked :

Zikr Us Pariwash Ka Aur Phir BayaaN Apna, Ban Gaya Woh Raqib Aakhir Tha Jo RaazadaaN Apana – Lyrics: Mirza Ghalib – Music: Khayyam

Khayyam and Mohammad Rafi team up to create a perfect rendering of the ghazal, drawing the listener into the depth of the mood that Ghalib would have imagined when he would have conceived this ghazal, even if the chaste Urdu lyrics remains incomprehensible to the average listener. In fact, more ear-friendly composition of the difficult Urdu / Persian poetry went on to become the norm in the later years.

I am not able to resist temptation to add one more of Khayyam – Madhukar Rajasthani compositions –

Mere GeetoN Ka Singaar Ho Tum, Jeevan Ka Pehla Pyar Ho Tum – Lyrics: Madhukar Rajasthani – Music: Khayyam

The poem is about the heart-felt exposition of the first (ever) love in one’s life, which has injected a new-found passion in the poetic expressions of the protagonist. Khayyam has set the tune to reflect the exuberance of that mood, which Rafi incarnates so lively.

Haaye Mehamaan Kahan Yeh Gham-e-Jana Hoga, Khaana-e- Dil To Koi Roz Mein Viraan Hoga – Lyrics: Daagh Dehlvi – Music: Taj Ahmed Khan

This one is a typical Taj Ahmed Khan composition – soft, sweet, with minimum orchestration. Mohammad Rafi is in his natural flow, with clear diction and throw that fully expresses the feelings embedded in the lyrics.

We will take one more instance of Taj Ahmed Khan composition – a Ghalib ghazal.

Diyaa Yeh Dil Agar Usko Bashar Hai Kyaa Kahiye, Hua Raqeeb To Ho Naamabar Hai Kyaa Kahiye – Lyrics: Mirza Ghalib – Music: Taj Ahmed Khan

The composition is relatively in higher octave scale, more in tune with the tone of the lyrics which is in the form of a complaint after once having fallen in love.

The internet is replete with Taj Ahmed Khan’s NFSes – with different singers – to offer separate subject of study and listening pleasure. However, it is time for us to change the tracks.

Keh ke Bhi Na Aaye Mulaaqaat Ko, Chaand Taare HaNse Khoob Kal Raat Ko – Lyrics: Laxman Shahabadi – Music: Shyam Sharma

Mohammad Rafi begins the opening lyrics of mukhada with extra soft touch before settling into the mood the composition.

Ji Na Sakegi Preet Kunwari Meri Saari Raat … Andekhe Dukh Ki Chhaya Mein Gheri Saari Raat – Lyrics: Madhukar Rajashthani – Sunil Kumar

The special accent lent to Ji Na Sakegi… at the very opening of the mukhada rightly raises our inquisitiveness to a higher scale. Of course, the way song proceeds, our heightened appetite is more than satisfied at every stage.

Shaam Ke Dipak Jale Man Ka Diya Bujhne Laga, Chandani To Aa Gayi… Madhuban Mera Jalane Laga – Lyrics: Madhukar Rajasthani – Music: Vinod Chatterji

Pick up any Mohammad Rafi NFS and you will feel a certain minimum level of musical output, irrespective of the lyricist or the music director.

Here is a pensively pathos mood song, composed by almost not known music director. Does it really matter?

Jab Tere Pyar Ka Afasana Likha Hai Maine, Har Jagah Apne Ko Diwana Likha Hai Maine – Lyrics: Ashish Kanwal – Music: Maqbool / Iqbal Hussain

Mohammad Rafi deftly handles quite a difficult composition….

I have a habit of always doing some work when I listen to songs. However, whenever I get to listen to this song, by the time song enters the first stanza, I get so engrossed into the mood of the song that I leave everything that I may be doing!

https://youtu.be/6fEVJDrbc9o

Kisi Ki Yaad Mein Payi Hai Jab Kami Hamne…. To AnsooN Se Jala Di Hai Zindagi Humne – Lyrics: Naqh Lyallpuri – Music: Maqbool / Iqbal Hussain

Naqsh Lyallpuri’s songs normally have difficult lyrics to set to a composition. Here the music director has weaved these lyrics in fully pleasing composition, rendered so smoothly by Mohammad Rafi. As a result, the song remains so easy on ears. Mohammad Rafi’s very unique tone in the song is another feather in the cap of this song.

Main Deep Jalaye Baitha HuN, Dam Tod Gayi Lau TaaroN Ki, Main Nain Bichhaye Baitha HuN – Lyrics: Naqsh Lyallpuri – Music: Rajeshwar Pal

Mohammad Rafi renders the song of eager expectation of visit of the beloved one even when all other mundane signs like star lights seem to have given the hope. The intensity of that feeling is accentuated by the least possible intervention of the instrumental music intervention or support.

The journey of listening to Mohammad Rafi NFs songs continues….

The Micro View of Songs of 1943 – The Duets – Male-Female Duets [5]

Ghulam Haider and Shamshad Begum – Kya Mast Hawaien Hai, Daali Daali Najhuk Si Adayein Hai Poonji -? – Ghulam Haider

HFGK does not mention male singer, but uploader Sadanand Kamath identifies him Ghulam Haider

Mulchand, Rahamatbai – Gajarewali Najariya Miale Ja – Prarthana – Dr. Safdar ‘Aah’ – Saraswati Devi

Rafique Ghazanvi, Menka, Chorus – Tailap Ki Nagri Meing Gaan NahiN Bajana NahiN – Pt. Sudarshan – Rafique Ghazanvi

https://youtu.be/GsSuXKqwrZM

Rafique Ghazanvi, Menka, Chorus –Panchhi Ud Chala Apne Desh, …. – Pt. Sudarshan – Rafique Ghazanvi

Kishore Sahu, Pratima Dasgupta – Niraali Duniya Hamari – Raja – Rammurti – Khan Mastana

Kishore Sahu, Pratima Dasgupta – Naach Naach Kar Thumak Thumak Kar Dekh – Raja -Rammurti – Khan Mastana

Noor Mohammad Charlie, Suraiya – Ek Dilwala Ek Dilwali – Sanjog- D N Madhok – Naushad Ali

Noor Mohammad Charlie, Suraiya – Udate Panchhi Kaun Unako Bataye – Sanjog- D N Madhok – Naushad Ali

Ishwarlal, Kaushalya – Dekha Hai Ek Sapana Suhana – Zaban – D N Madhok – C Ramchandra

Ishwarlal, Kaushalya – Chal Re Chal Ab Aur KahiN Kho Jaayein – Zaban – D N Madhok – C Ramchandra

The Micro View of Songs of 1943 – The Duets – Male-Female Duets [4]

Khan Mastana, Rajkumari, Chorus – Dekho Raar Karo Na, Mil Ke Raho Ji – Nagad Narayan – Kavi Beqal – Shreedhar Parsekar

Khan Mastana, Amirbai Karnataki – KyoN Bas Gayi Aankhein AakhoN Mein – Nagad Narayan – Kavi Beqal – Shreedhar Parsekar

HFGK mentions Rajkumari as the singer.

  1. Banerjee, Rajkumari – DhuyeN Ki Gadi Udaye Liye Jaye – Nai Kahani – Wali Shab – Shyam Sundar

P. Banerjee, Rajkumari – Man Mandir Mein Aaye Balam – Nai Kahani – Wali Shab – Shyam Sundar

Ashok Kumar, Mumtaz – Najhar Kuchh Aaj Aisa Aa Raha Hai – Najma – Anjum Pilibhiti – Rafiq Gazanvi, B A

Surendra, Sadhana Bose – Zindagi…..Paigam Lai Hai – Paigam – ? – Bulo C Rani

S N Tripathi, Sumati – Door Chala Chal Tu, KahiN Door Chala Chal – Panghat – Ramesh Gupta – S N Tripathi

S N Tripathi, Rajkumari – Panghat Par Paani Bharane -Ramesh Gupta – S N Tripathi

S N Tripathi, Rajkumari – Tum Meri Jeevan Naiya Ho  – Pt. Indra – S  N Tripathi

Fading Memories…. Unforgettable Songs : December 2022

Mohammad Rafi’s First Duet Song With The Music Director: 2nd Five-Year Period: Year 1949 – Part II

To commemorate the birth and death anniversaries of Mohamad Rafi [B: 24-12-1924 – D: 31-71980], we have commenced a series on Mohammad Rafi’s first duet with a music director.  We take up the Male-Male or Triad as well as a regular Male-Female duet in the present series because our main purpose to revisit maximum possible duets of Mohammad Rafi.

Our journey began with the 1st Five-Year Period of 1944 to 1948 in the year 2021. We then commenced the 2nd Five-Year Period of 1949-1953 with Part I of the year 1949 in July 2022.

Presently we will take up Part II of the year 1949.

1949 had as many as 16 music directors who had Mohammad Rafi for the first time for a duet. We have covered six music directors – Naushad, Husnlal Bhagatram, Shyam Sundar, Hanuman Prasad, and Snehal Bhatkar – in Part I. Vasant Desai is one of the highly respected music directors who has given innumerable songs to remember forever. However, the two Mohammad Rafi- Lata Mangeshkar duets that seem to have been composed by him for the film Narsimha Avatar are not traceable on internet. Similarly, I could not find the song – Na Thehar Sake, Na Tadap Sake (with Zohrabai Ambalewali; Film – Aakhari Paigam) composed by Abid Hussain Khan)

Presently, we will take up the rest of the eight music directors.

Vinod (a.k.a. Eric Roberts) was known for his catchy tunes one end and melodious compositions on the end had had a very wide creative range. For the year 1949, for Ek Thi Ladki, he has used Mohammad Rafi and Lata Mangeshkar in three duets and two triads(+). Of the triads, Lara Lappa-… Laai Rakhada, Aadi Tappa …. (Lata Mangeshkar, Mohammad Rafi, G M Durrani; Lyrics: Aziz Kashmiri) was an instant raze and continues to remain so even now. The other triad(+) was Hum Chale Door …  Dil Hua Choor (Lata Mangeshkar, Mohammad Rafi, Satish Batra; Lyrics: Aziz Kashmiri)

Ab Hal-e-Dil Ya Hal-e-Jigar Na Puchhiye – Ek Thi Ladki – with Lata Mageshkar – Lyrics: Aziz Kashmiri

Rafi and Lata are so at ease in the conversational tone of this romantic duet. Introduction of catchy yodeling in the first interlude is typical of Vinod’s style of mixing catchy part in a serious composition or vice versa

The other two Rafi- Lata duets were:

Mohammad Shafi was a highly talented and musically trained music director. Two noteworthy records that stand on his name are – Suman Kalyanpur (Hemadi, then) sang her maiden Hindi film song, Koi Pukaare Dheere Se Tujhe (Mangu, 1954) and Hemlata debuted either with Main Jaan Ke Badale Mein or  SadiyoN Ki Nishani Main Ankahi Kahani in Iraada (1971) under his baton.

Fariyaad Na Karna Haye Kahin Fariyaad Na Karna – Gharana – with Shyama Bai – Lyrics: Alam Syahaposh

The song so effectively epitomizes Mohammad Shafi’s musical prowess – soothing opening notes, Shyama’s opening in slightly higher scale and then to settle to pathos, rounding up by Mohammad Rafi in soulful climbing up the scale and reverting to the normal scale, and ending the song with Shyama joining Rafi.

Mohammad Shafi goes onto pair Paro Devi with Mohammad Rafi in the second duet – Tu Kahan Hai Baalam Mere Aaja (Lyrics: Bahzad Lakhnavi).

S Mohinder (a.k.a. Bakshi Mohinder Singh Sarna) composed music for some 50 films, but many of his compositions have achieved the status of evergreen classics. Even though he came from a very strong classical background, he was at ease while composing easy songs that the films demanded.

Chanda Ki God Mein TaaroN Ki Chaanv Mein Ruthe Hue Hum Manaye Re – Jeevan Sathi – with Chand Wirk – Lyrics: Hamid Khumar

S Mohinder has presented with such a lilting melody, even when he has used an almost unknown Chand Wirk to pair Mohammad Rafi in this duet.

The film had one more duet with Amirbai Karanataki – Main Kaise Keh Doon (Lyrics: Surjeet Sethi) and two with Shamshad Begum – Mil Kar Jaayen Hum Preet Ke Deewane and Muhabbat Rog Bankar Dil Ki Har Dhadkan Mein Rehti Hai (Lyrics: Hamid Khumar)

Krishna Dayal is not a well-known name, but he had composed music for five films. Many keen followers of old films songs may well remember Mukesh and Suraiya duet – Badra Ki Chhaon Tale Nanhi Nanhi BundiyaN (Lekh, 1949) – that was composed by Krishna Dayal.

Kar Le Kisi Se Pyar Jawani Do Din Ki – Lekh – with Asha Bhosle – Qamar Jalalabadi

I have heard this song for the first time. The duet is set to lower scale and is difficult to sing.

We have had a triad – Chhoti Si Ek Banaayenge Naiyya… Khud Hi Banenge Us Ke Khewaiya (with Shamshad Begum, Zohrabai) – composed by Pt. Govindram for the film Hamara Sansar (1945) earlier. For the year 1949, he gives a duet of Mohammad Rafi with Shamshad Begum

Taaron Ka Ye Khazana Ye Chaandani Suhani – Nisbat – with Shamshad Begum – Lyrics: Majrooh Sultanpuri

Here is one more song that I got to listen first time. Govindram has presented both singers in quite different than the normal style we are familiar with.

Khemchand Prakash can be attributed to giving a big push to the opening up the space for the Golden Era to get into the center stage, replacing the vintage era, through Lata Mangeshkar’ Ayega Aanewala (Mahal, 1949). We have seen Khemchand Praksh using Mohammad Rafi first time, in a triad, Aji Maat Poochhco Baat Ki College Albeli, Indrapuri Sakshat Colege Albeli, for Samaj Ko Badal Dalo (1947).

Hawa Tu Unse Jaakar Keh De Ek Deewana Aaya Hai – Rim Jhim – with Ramola – Lyrics: Moti B A

Khemchand Prakash composing such a light-toned song should stand up as more noteworthy part of the song.

1949 had one more Mohammad Rafi duet- with Shamshad Begum- under the baton of Khemchand Prakash – Ae Dil Na Mujhe Yaad Dila Baaten Purani (Sawan Aaya Re; Lyrics: Bharat Vyas) – which was heard often on radio at least till ‘60s, when I had  taken up listening to Hindi Film Songs as a conscious hobby.

Khan Mastana was another highly respected music director as well as playback singer of the 40s period.

Tum Ho Jaao Hamare Hum Ho Jaaye Tumhaare – Roop Lekha – with Surinder Kaur – Lyrics: Khumar Barabanqvi

We have here a path breaking composition from Khan Mastana whom we know as a music director steeped in vintage era style music compositions.

Sudhir Phadke brought in Marathi folk composition styles to Hindi Film Music,

Hari Hari Mere To Shri Hari Naahi Dooja – Sant Janabai – with Lalita Deulkar – Lyrics: Narendra Sharma

Mohammad Rafi is all persona dignified as a committed devotee in the duet.

https://youtu.be/Yma4vmzDVzM

Azeez (Khan) Hindvi has had a few films in ‘40s.

Mehaman Banke Aaye The .. Armaan Ban Gaye – Shoharat – with Hamida Banu – Lyrics: Gulshan Zama / Madhup Sharma

The duet also seems to follow the composition style of the solo version. Both versions can be heard in the clip here.

We will continue with listening to Mohammad Rafi’s First Duet Song With The Music Director for the year 1950 of the 2nd Five-Year Time Period of 1949-1953 in the next episode of the series.

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

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


All episodes of the series Fading Memories …  Unforgettable Songs – Volume VII – 2022 can be read /downloaded by clicking on the hype link.

The Micro View of Songs of 1943 – The Duets – Male-Female Duets [3]

Ishwarlal, Kaushlya – Do Bol Mohabbatwale Koi Bolo ….  – Chirag – D N Madhok – Khemchand Prakash

Ishwarlal, Kaushalya – Aao Aao Sajan Tohe Jhula JulauN – Qurbani – Wali Sahab – Khemchand Prakash

B S Nanji, Leela Sawant – Diwani Diwani Ye Duniya Diwani – Duniya Diwani – Arshad Gujarati – K Narayana Rao

Shamim, Brijmala – Jawani Ki BaatoN Mein Aati Hai Tu, Wo Uljhan Mein Dil Fasati Hai Tu – Gauri  – Kedar Sharma – Khemchand Prakash

Shyam Sundar, Ranibala – O Gori, O Gori, Main Tumse Milane Aaunga – Hunterwali Ki Beti – A Karim – Channalal Naik

Shyam, Suraiya – Ek Dil Tera Ek Dil Mera, DonoN Ka Ek Basera – Kanoon – D N Madhok – Naushad Ali

Shyam, Suraiya – Toot Gaya Ek Taara Man Ka – Kanoon – D N Madhok – Naushad Ali

Shyam, Suraiya –Aae Jawani Jaye Jawani, Ja Ke Phir Na Aaye – Kanoon – D N Madhok – Naushad Ali

Yashwant Bhatt, Naseem Bano – Badnaam Na Ho Jaana – Khooni Laash – Shewan Rizvi – K Narayana Rao

The Micro View of Songs of 1943 – The Duets – Male-Female Duets [2]

G M Durrani, Kaushalya – NainoN Mein NainaN Dinho Daal, O Baanke Nainawale – Angoori – Ram Murti – Gulam Mustafa (G.M.) Durrani

G M Durrani, Rajkumari – Nain Se Nain Milaye Aao – Dawat – Tanveer Naqvi – Vasant Kumar Naidu

G M Durrani, Manju – Laayi Ri Laayi Ri Gajre Le Lo – Nayi Kahani – Wali Sahab – Shyam Sundar

G M Durrani, Parul Ghosh – Aan Milo More Shaym Sanware – Namaste – D N Madhok – Naushad Ali

https://youtu.be/CmIICNuGVZE

G M Durrani, Parul Ghosh –Ambua Pe Panchhi Banwara Bole Bole Kya Sunaye Hai – Namaste – D N Madhok – Naushad Ali

https://youtu.be/X3uPYhk_D2M

G M Durrani, Amirbai Karnataki – Man Re Mat Ro Mat Ro Kaise ManuN – Prem Sangeet – Bharat Vyas – S K Pal

Khan Mastana, Amirbai Karanataki – Tu Aaj Koi Sajan Aisa Geet Suna De – Badalati Duniya – Mohan Sinha – Khan Mastana

Khan Mastana, Zohrabai Amabalewali – Suahaani Suhaani Ho Gayi Suhaani, Sajan Apani Zindgani Ho Gayi Suhaani – Talaash  – A. Karim – Khan Mastana

Vishnupant Pagnis, Kaushalya –Jo Hum Bhale Bure Ho Tere – Bhakta Raj – D N Madhok – C Ramchandara

Vishnupant Pagnis, Vasanti– Mat Kar Tu Abhiman, Jhoothi Teri Shaan – Bhakta Raj – D N Madhok – C Ramchandara

Vishnupant Pagnis, Shyama – Bhagwan Tumahri Daya Se Kitane Anajan Pahechane – Mahatam Vidur – Pt. Narottam Vyas – Harishchandra Bali