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Showing posts with label classic. Show all posts
Showing posts with label classic. Show all posts

Monday, 11 December 2017

Khemchand Prakash-The Composer who gave us Immortal Songs

December 11, 2017 0 Comments

A Tribute To Khemchand Prakash on his 110th Birth Anniversary

Born on 12 Dec 1907 was one of the giants of the Hindi film industry. He shaped and defined Hindi film music when it was still in its nascent stages. In a short career spanning just about a decade, he left behind a legacy that exceeded his output as a music director.
Aayega Ane Wala (Mahal, 1949)  from Lata and Sapt Suran Teen Graam (Tansen, 1943) by K L Saigal are few of them.
Khemcand Prakash's father, Pandit Govardhan Prasad, was a musician in the royal court of Jaipur and also taught him music. He worked as a court singer and then tried his hand at acting in films before found his true calling in film music. After assisting composer Timir Baran in a few films, Khemchand Prakash debuted as a music director for the film Meri Aankhen (1939).
Early on in his career Khemchand Prakash showed glimpses of his ability to set trends and his penchant to handle the female voice. 'Pehle Jo Mohabbat…' catapulted singer-actress Khursheed from relative obscurity to becoming one of the leading female artists of the time.
His genius was visible in Tansen a 1943 film.Tansen was possibly the first film to embrace classical music with gusto. Backed by excellent subject matter and KL Saigal’s glorious voice, Khemchand Prakash composed songs that became immortal while retaining their authentic Hindustani classical base. The music of Tansen set the stage for a phase in Hindi films that borrowed heavily from classical music. 
Khemchand Prakash was among the few composers who heard the tremendous potential in Lata’s voice, when most of Bollywood was unsure if the thin voice of young Lata would appeal to the masses. Earlier he gave Lata a song "Chanda re Ja Re" in 1948 film Ziddi which became hit.He gave Lata Mangeshkar the song Aayega Aanewala despite Raaj kumari and Zorabai Ambalewali who were big names.
This was the song that made Lata Mangeshkar a household name, a name that would be at the forefront of Hindi film music for the next 60 years or so.
Very few know that K L Saigal's Devdas(1935) songs were also composed by him but the credit was not given to him.One of his assistant Daan Singh in an interview said that the two main songs of the film weren’t Baran’s compositions but Khemchand’s ‘Balam Aan Baso Mere Mann Mein’ and ‘Dukh Ke Din Ab Bitat Nahin.’ But as he was an assistant composer, the credit went to Baran.”
Unfortunately, Khemchand Prakash did not survive long enough to see the success of Mahal or the shaping of the golden era of the Hindi film music of the 50s. He passed away on August 10, 1950 at the relatively young age of 42. 
Song from Devdas 1935


Song from Shaadi 1941


Song from Tansen 1943


Song from Tansen 1943


Song from Sindoor 1947 


Song from Ziddi 1948


Song from Mahal 1949


Song from Mahal 1949


Wednesday, 29 November 2017

Happy Birthday VANI JAYARAM- Meera of Modern India

November 29, 2017 0 Comments

Vani Jayaram  with her crystal clear voice took the Hindi Films audience to a different world by rendering superhit Hindi numbers such as “Humko Manki Shakthi Dena…” and “Bole Re Papihara…’, both from Jaya Bhadurai-starrer ‘Guddi’.
Vani Jayaram was born(30th Nov 1945) in Vellore in Tamil Nadu, in a family of musicians.She was considered to be a child prodigy,She recognized the different ragas of Indian classical music before the age of five. Her voice was first heard on All India Radio, Madras, at the age of eight.
Vani Jayaram studied Carnatic music under the tutelage of Kadalur Srinivasa Iyengar, T. R. Balasubramanian and R. S. Mani. Her Hindustani classical music guru was Ustad Abdul Rahman Khan.
After her marriage to Jayaram she settled in Mumbai, where she realized her dream.

She got her break in Hindi Films by  music director Vasant Desai in Guddi.She recorded three songs for Guddi, and "Bol Re Papi Hara," a song based on the Hindustani raga "Miyan Malhar", instantly made her an household name in India. For that song she was awarded the Tansen Samman (for best classical-based song in a Hindi film),
She went on to sing a few songs each for music directors of Hindi cinema, including Chitragupt, Naushad (a classical song in Pakeezah and a duet with Asha Bhosle in Aaina), Madan Mohan (a duet with Kishore Kumar in the film Ek Mutthi Aasmaan), O.P. Nayyar (several songs from the film Khoon Ka Badla Khoon including duets with Mohammed Rafi and also with Uttara Kelkar and Pushpa Pagdhare), R. D. Burman (a duet with Mukesh in Chhalia), Kalyanji Anandji, Laxmikant Pyarelal, and Jaidev (a duet with Manna Dey in Parinay and a solo in Solwa Saawan). Her songs in Meera (1979), composed by Pandit Ravi Shankar, won her the Filmfare Award.
Besides Hindi and Tamil, Vani Jayaram has recordings in other languages of India. These include some songs in Gujarati, Marathi, Marwari, Haryanvi, Bengali and Tulu, and a huge repertoire in Malayalam, Kannada, Telugu and Oriya. For her work in some of these languages, she has been awarded many prestigious awards. Vani won the National Film Awards for Best Female Playback Singer three times.
Song from Guddi 1971



Song from Guddi 1971



A Classical Song from Pakeezah (1972)


A Duet with Kishore Kumar  from Ek Mutthi Aasmaan (1973)



A Duet with Mukesh  from  Chhalia (1973)



A lovely Duet with Manna De from Parinay (1974)


The Award Winning Song from Meera (1979) 



Sunday, 19 November 2017

The Story of Babul mora naihar chhooto hi jaye-The Queen of Thomris

November 19, 2017 0 Comments

We all have heard this famous song of K L Sehgal.After close to nearly 80 years of it being released (for the 1938 movie, Street Singer), this still remains a favorite of the discerning listener of vintage Indian film music. This is being one of my favorites of K l Sehgal songs.
A thought came in my mind why not write a blog on this Immortal song.Very few  would know that this Bhairavi thumri, was composed by Wajid Ali Shah,when he was expelled to Calcutta, he wrote the parting song Babul Mora,picturing the mind of a heart broken man. He expressed his pain of parting in the lyrics of ‘Babul mora naihar chhuto jaye’, It has been one of the favorite thumris of many a singers over generations—from Ustad Faiyaz Khan—the most well-known singer of Agra Gharana and arguably one of the best voices on record—to Alisha Chinoy. 
The most famous version of Wajid Ali Khan’s Babul Mora was sung by Kundan Lal Saigal in the movie Street Singer in 1938. The music was composed by Rai Chand Boral, who is considered as a father figure among  cine-music composers.  
The list of luminaries who sang ‘Babul Mora’ includes-  Bhim Sen Joshi, Kesarbai Kerkar, Siddheshwari Devi, Rasoolan Bai, Khadim  Hussain Khan, Mushatq Hussain Khan, Girija Devi, Kishori Amonkar, Jagmohan, Padma Talwalkar, Shanti Vaidyanathan Sharma, Mahender Chopra (son-in-law of K.L.Saigal) and none other than Ghazal queen Begum Akhtar.
Thumri arose in popularity during the 19th century in the Lucknow court of Nawab Wajid Ali Shah. At that time it used to be a sung by courtesans accompanied by dance. It is said that Thumri is a short piece of semi-classical rendition usually sung at the conclusion of a classical music concert. 
The Saigal version is set in Raag Bhairavi – Bhairavi had traditionally been performed in the early morning hours.  However, due to the fact that performances lasted all night, it has now become common to consider Bhairavi to be the finale.
To my readers I have taken the videos of various version of this immortal song sung by the great singers of their time In fact the latest version with modern instruments by Rajesh Panwar at New Jersey in 2015. 

K L Sehgal

Song from Street Singer 1938


Kanan Devi


Song from Street Singer 1938

Kesar Bai Kerkar

                                                 kesarbai kerkar sings 'babul mora' 

MALKA JAAN






                           Babul Mora Naihar Chhooto Jaaye - Beghum Akhtar version


Girija Devi

                                  Jugalbandi babul mora shobha gurtu & girija devi 

Sidheshwari Devi

                                       Babul Mora - Thumri in Bhairavi - Girija Devi

Pandit Bhimsen Joshi

                                 Pt Bhimsen Joshi -Babul Mora Raga Bhairavi, 1960s

Kishori Amonkar

                               Kishori Amonkar - Raag Bhairavi Thumri - Babul Mora Naihar Chhuto Hi Jai


Jagjit Singh and Chitra Singh 

Song from Avishkar




Ruchira Kedar

                                      Ruchira Kedar Live "Babul Mora" Bhairavi Thumri





 Rajesh panwar 



                               Babul mora naihar by Rajesh panwar At New jersey 2015


Wednesday, 15 November 2017

The 11 Emotions of Mohammad Rafi

November 15, 2017 0 Comments

In Indian classical music, each raga is an inspired creation for a specific mood.In Hindi Film music Mohammad Rafi was a superb vocal artist and could bring a range of emotions into the limited time 3 to 4 minutes a song allowed him.As per Indian classical music there are 9 rasas or 9 major basic emotions/expressions.In music rasa is associated with the emotion of a Raga.There are now a total of 11 rasas and all of them go into the making of a good Bollywood masala flick! And guess what - Rafi Saab’s voice has given us a song for every emotion. So without much ado I give you the 11 emotions or Rasas of Rafi.

One element that is common among all performing arts is their ability to express the emotions which make up different slices of life. Rafi Saab’s voice has given us a song for every emotion. 


Bhakti Rasa-Bhajans, Ghazals, Nagmas, Shairi and Sufi Sangeet are part of Bhakti Rasa. Bollywood has properly used these in its music.Mohammad Rafi sang many songs in this Rasa. Some of the popular are
Man Tadpat Hari Darshan ko Aaj
Insaaf ka Mandir hai yeh 
Tere Dar pe aaya hoon kuchh kar ke jaaonga
Song from Baiju Bawra 1952


Vatsalya Rasa
vatsalya is linked to mother but in Bollywood Parental love  is emoted in many songs sung by male singers also.There are many songs sung by Rafi Saheb in this category
Babul ki duaayein leti ja (Neel Kamal)
O Nanhe se farishtey (Ek Phool Do Maali)
So ja baba mere so jaa” from Koshish
Song from Ek Phool Do Maali 1969


Shringara Rasa

This emotion can be used to paint love for any person, be it specifically sweetheart or anybody else. Rafi certainly was a master at expressing romance and the sheer number of his great romantic songs is a testament to that.Some of his popular shringar rasa songs are
Aaj ki raat yeh kaisi raat ke hum ko (Aman)
“Aise toh na dekho” from Teen Deviyaan
Chaudvin Ka Chaand Ho  
Mere Mehboob tujhe meri mohabbat (Mere Mehboob)
Song from Chaudhvin Ka Chaand 1960


 Karuna Rasa

The sympathy and fellow-feeling.The actual Karuna means the sadness,Karuṇarasa  refers to the “pathetic sentiment”There are many popular songs in this emotion
Kahan ja raha hai (Seema, 1955)
“Main gaaoon tum so jaao” (Brahmchaari)
Chahunga main tujhe (Dosti)
Na tu Zameen ke liye (Dastaan)
Song from Dosti 1964

Hasya Rasa

Teasing and laughing with a friend is one face of “Hasya rasa”. Much has been said about Rafi and Johnny Walker  and their superb comedic partnership. But Rafi did great comedy for others too  like Mehmood and Om Prakash
Sar jo tera chakraye ya dil ( Pyasa )
Chhuri ban kaanta ban (Jaali Note, 1960)
Hamein kale hain to kya hua (Gumnaam)
Chakke pe Chakka (Brahmchaari)
Song from Jaali Note, 1960


Roudra Rasa

Raudra Rasa is one of the important rasa in Natyashastra and the dominant emotion or the Sthayi Bhava in this rasa is Krodha or anger. Rafi was especially adept at expressing anger, his voice could slip into the high notes and quick enunciation of the angry man, with extraordinary control and with such great effect. The songs depicting anger where Rafi excelled in this emotion
O Duniya ke rakhwaale (Baiju Bawra)
Mere dushman tu meri dosti ko tarse (Aye din bahar ke)
Yeh mahalon yeh takthon yeh taajon ki duniya(Pyasa)
Yeh Duniya ye mehfil mere kaam ki nahin (Heer Ranjha)

Song from Aye din bahar ke 1966


Vibhatsya Rasa

The bhava it represents is Disgust or aversion.This emotion is evoked by anything that is a symbol of repugnance, nausea  Rafi at its best to render  this rasa more effective 
Yeh Duniya agar mil bhi jaye to kya hai(Pyasa)
Mere Dushman tu meri (Aaye din bahar ke).
Kya miliye aise logon se (Izzat)
Song from Pyaasa 1957

Bhayanak Rasa

The Sthayi Bhava of Bhayanaka rasa is Bhaya or fright. The outcome of Bhayanaka rasa is through the Vibhavas or determinants such as Vikrta Rava or terrific noise, Rafi Saab brings this rasa effortlessly in the following songs which shows sheer disgust and antipathy towards the atrocities of the society
Guzre hain aaj ishq main us maqam se (Dil Diya Dard liya)
Mili khaak main mohabbat (Chaudvin ka Chand)
Dono ne kiya tha pyar magar (Mahua)
Main apne aap se ghabra gaya hoon (Bindiya)
Song from Bindiya 1960


Veera Rasa

 it deals with the exhibition of energy and enthusiasm with persons of high rank. Most of the patriotic songs are in this Rasa.Rafi’s voice quickens with the strength of his emotions and how heroic and sad the high notes sound in veer rasa.
Kar chale hum fida jan-o-tan saathiyo(Haqeeqat)
Apni Azaadi ko hum hargiz mita sakte nahin(Leader)
Zindabad aye Mohabbat zindabad (Mughal-E-Azam)
Mere desh premiyo aapas main prem karo (Desh Premi
Song from Leader 1964


Adbhuta Rasa

It is about the sentiment of wonderment surprise. The Sthayi bhava of the rasa is Vismaya or astonishment. Rafi has many songs in this Rasa.While most if us are lost in the wonder of his voice, Rafi could be vocally lost in the wonder of discovery in other ways – as this song highlights. "Tumne mujhe dekha hokar meherbaan" (you looked kindly on me) – you can hear the joy and the wonder of a man who, contrary to his expectations, finds himself loved by his beloved.Tumne mujhe dekha (Teesri Manzil, 1966
“Yeh duniya patang nit badley yeh rang koi jaane na udaane waala kaun hai”
Maine poocha chand se (Abdullah)
Wadiyan mera daaman, raaste meri bahaen(Abhilasha)
Song from Teesri Manzil, 1966


Shaanta Rasa

Beyond all these emotions lies the emotion of peace and serenity.“Shantha Rasa“ represents complete harmony among mind, body and the universe. This is a state where the mind is in rest, a state of tranquility.One of my all time favourite songs is “Tere Mere Sapne” from Guide. When Rafi Saab says “Tere dukh ab mere, mere sukh ab tere, tere yeh do naina chand aur suraj mere”, he sounds so utterly reassuring and comforting
.Basti basti parvat parvat (Railway Platform, 1955)
Main Zindagi ka saath Nibhata (Hum Dono)
Tere Mere Sapne (Guide)
Song from Guide, 1965

Wednesday, 1 November 2017

S D Burman's Love and Hate for Lata

November 01, 2017 0 Comments

Lataji and Burman Da have done some splendid works and have created marvelous songs.Despite their brief tiff, that had stirred up a huge controversy at the time, both legends got back to working together again after 5 years from 1958 to 1962.These five years SD Burman was none the worse as he continued to give some of the greatest music of his career, now with Geeta Dutt and Asha Bhosle, but he realized he had something beyond, where only Lata Mangeshkar could reach. She also felt that there was something unique in Dada’s music, without which she would remain incomplete. 

Lata Mangeshkar was his ultimate choice. He often said, “Give me a harmonium, give me Lata and I will make music”.
 Lata’s first song for S D Burman was probably in Mashal (1950)

Aankhon se door door hain par dil ke paas jo 

Song from Mashaal 1950

 .The very next year came Naujawan starring Nalini Jaywant and Premnath,the song Thandi hawayein lahraa ke aayein became Super Hit,it remains one of the Lata's immortal song.Same year came Sazaa starring Dev Anand Nimmi and the song "Tum Na Jaane Kis Jahan Mei Kho Gaye" became immortal.
Song from Naujawan 1951


Tum na jane kis jahan me kho gaye..
Song from Sazaa 1951

In 1952 released Dev Anand's Jaal .The music of this film became very popular,Lata's Chandni Raten, Chori Chori Meri Gali Aana Hai Bura and Duet with Hemant Kumar"Yeh Raat Yeh Chandni Phir Kahan" are immortal songs.

Song from Jaal 1952

Song from Jaal 1952

Jayen To Jayen Kahan

Song from Taxi Driver 1954


Song from Devdas 1955


Song from House No.44 1955


Song from Paying Guest 1957

 Their second innings led to another set of great melodies in Bandini, Guide, Tere Mere Sapne, Prem Pujari, Talash, Anurag, Abhiman etc which continued till the very end of his career.
It is said that S D Burman called Lata on phone and requested her to sing a song for his son's first film Chhote Nawab in 1961 which she agreed,later R D Burman mediated between both and removed the misunderstanding between them then S D Burman gave her a song in Dr Vidya  1962,their first song after patch up was ‘Pawan diwani’ 
Song from Dr Vidya 1962


Song from Bandini 1963


Song from Tere Ghar Ke Samne 1963


Song from Guide 1965


Song from Jewel Thief 1967


Song from Talash 1969


Song from Prem Pujari 1970


Song from Sharmilee 1971


Song from Abhiman 1973


Song from Chupke Chupke 1975


Song from Milli 1975








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