Jaane kahan gaye voh din!

ghanerii zulfo.n ke saaye me.n chhup ke jii letaa........the original poetry of sahir and not filimi one of silsila....dont think he could be gay...admi stands for human in urdu and all humanity loving is gay them....

swarrier:

Yes, it is from `Pyaasa`. Strange that I took Sitar for a Western instrument.

swarrier#38:

Sorry for the mistyping. That was the wrong video (Urstruly`s recommendation). The ``jaane ky tu ne kahi`` video is here:

http://www.youtube.com/watch?v=GHfGON2rnhQ

Re: # 39
DM
It`s a lovely song but the instruments are Indian, you can hear the sitar and bansuri in the background as the tabla etc. By the way the person who posted that on youtube says its from Kaagaz ke phool and if my memory serves me right it is from Pyaasa.
Anyway it does not matter if the instruments are Western or not. We have used the violin in Indian music for a long time and the harmonium was borrowed by us from the Portuguese and modified.
It is the manner of use that would distinguish a western tune from an Indian one. Got to go now. Will be back later.
Its a pleasure reading your article and all is not doom and gloom. Our music will survive.

#24 DM-jee

[indeed the term Saqi refers to a boy and not a girl.]

NOW you tell me!

swarrier#34:

I liked the music of Sangdil but am not very familiar with his other work. As for orchestra, the point I was trying to make was that too much of orchestra can drown out the effect of the songs and the melody. Here is my idea of the economical use of orchestra: Jaane kya tu ne kahi (instruments are western, btw):

http://www.youtube.com/watch?v=adBGsnYiaZk

BTW songs can be both fun, playful and melodious. Here is an example: Madhubala in Mr. and Mrs. 55 with music of O.P. Nayar and voice of Geeta Dutt.

http://www.youtube.com/watch?v=H8Wc93YnAaI

Enjoy!

Re: # 36
DM
I think our views differ here. I don`t like the orchestra at all in the `Ranjish hi sahi`` video. The strings are too lush and the music has too much of schmaltz. But to each his own.

I like the one from Mr.and Mrs.55, and Dil par hua aisa jaadoo and Jaane kahan mera jigar gaya jee from the same film would emphasise your point.

My favourite line from the movie is when Lalita Pawar asks Guru Dutt `` Aap socialist hain?`` and he says , ``Nahin, cartoonist hoon``. -)

A superhit by Nisar Bazmi

http://www.youtube.com/watch?v=adBGsnYiaZk

One of the best of Pakistani music world passed away yesterday: May Allah rest his soul in peace.

Nisar Bazmi: Composer of the heart
By Anis Shakur




Nisar Bazmi: Composer of the heart
By Anis Shakur

He was born in 1924 in Khandesh, Naseerabad, Bombay, India, to a religious and God-fearing family.

He did not belonged to an artistic family. Hence he possessed no prior musical background.

Pride of Pakistan, Syed Nisar Ahmed, is the son of Syed Qudrat Ali.

The extraordinary talents of the young prodigy never ringed as true as they did in 1937.

Noted Indian musician of Bombay, Khan Saheb Aman Ali Khan, convinced of Nisar`s musical interest, taught him music.

Equipped with artistic know-how, young Nisar, who was just 13 at the time, quickly mastered the various ragas, the musical instruments and took all music lessons to heart.

The tremendous aptitude of this youth were there, just waiting to be used.

In 1939, the ``All India Radio`` hired him as an artist, which later proved to be a steppingstone for his future aspirations.

The magic moment came in the year 1944.

He composed some songs for a drama, ``Nadir Shah Durrani``, which was broadcast from the Bombay Radio Station.

All the songs of afore mentioned drama were super hits.

A new Indian film producer at that time was moved by Nisar`s composition.

Hence the afore mentioned producer asked Nisar to compose the songs for his film ``Jamana Paar``, which was released in 1946.

Nisar accepted the offer and changed his name to Nisar Bazmi. He dived into his new task with zeal.

Thus a legend was born, whose fabulous music were soon to be heard across the Subcontinent.

Nisar soon achieved maturity and professional recognition.

Before partition, he composed the music for forty films.

Twenty eight films were released during his stay in India. The rest of the movies were released in India after he immigrated to Pakistan.

Mentioned here below are the five films, whose songs were composed by Nisar during his stay in India. These films were released before partition:

``Jamana Paar``, ``Jabe Katra``, ``Dagha baaz dost``, ``Extra girl``, ``Khauf naak Aankhein``.

Nisar migrated to Pakistan on June 21, 1962.

Once permanently settled in Pakistan, he resumed his music career by simultaneously composing songs for two movies:

Director Nazeer Sufi`s film ``Head constable`` (released on September 25, 1964) and director Fazal Ahmed Karim Fazli`s movie ``Aisa bhi hota hai`` (released on February 5, 1965).


With that commenced a resplendent career in which he kept up his initial promise.

Altogether, he brilliantly composed songs for seventy movies during his illustrious movie career.

Nisar is a devout Muslim with a deep- rooted eastern culture. He is a true patriot.

He really is an amazingly humble person.

Furthermore, Nisar is also an accomplished poet. His poetic collection were to be brought to the limelight by his admirer, Shamim Bazil (against his wishes)

Director Raza Mir`s movie ``Lakhoan mein aik`s`` mega hit songs extols the virtues of Nisar`s top rated
Composition:

``Chalo accha hua tum bhool gaye.`` : Noor Jehan.

``Halaat badal naheen saktay``: Noor Jehan.

``Sunn saajna dukhi mun ki pukar``: Noor Jehan.

``Mun mundir kay dyota``.

``Pyar na ho jab dil mein,jeena hai udhura``.

Nisar had literally built a phenomenal career on being cordial. He had fulfilled himself artistically and personally.

His superfluous composition in director S.Sulaiman`s film ``Aag`` brought him to the fore- front of the Pakistani cinema.

``Yoon zindigi ki raha mein``: Mehdi Hasan.

``Mausum haseen hai laykin`` Ahmed Rushdi-Mala.

``Beetay dino ki yaadoan ko``: Noor Jehan.

Pakistan film industry`s visionary musician, Nisar Bazmi, received laurels from his country -men. They are part of his life`s journey.

Spinning magic with sound, he won the hearts of music lovers.

Listeners dare not break the spell that maestro Nisar had woven through his masterpieces in the film ``Anjuman``, directed by Hasan Tariq:

``Aap dil ki Anjuman mein``: Runa Laila.

``Dil dharkay mein tum say``: Runa Laila.

``Izhar bhi mushkil hai``: Noor Jehan.

``Bhabi meri bhabi`` Ahmed Rushdi.

``Lag rahi hai mujhay`` Ahmed Rushdi.

``Yaadash bakhair``: Ahmed Rushdi.

As for the relationship between the listeners and Nisar, there had been an immediate bonding of hearts.

Nisar`s music in director Fareed Ahmed`s film ``Andaleeb``, became the real flame driving his passionate listeners to exalt his prowess:

``Meray dil ki mehfil``: Noor Jehan-Ahmed Rushdi.

``Kuchh loag root kar bhi``: Noor Jehan-Ahmed Rushdi.

``Pyar kar kay hum``:Noor Jehan.

``Geysoowoan kay Aanchal mein``: Ahmed Rushdi.

``Teray jhootay wadoan pay``: Runa Laila.

Director Pervez Malik`s film ``Anmol`` is another instance, where composer Nisar again weaved a spell through his music:

``Pyar insaan ko insaan bana dayta hai``: Mehdi Hasan.

``Mujhay naachh nay do,keh shayad ye ghungru``: Runa Laila.

``Mila kaisa anari sajna``: Runa Laila.

To talk of Nisar is to think of music in a whole new light.

He added visionary revolution to the music for the willing listeners.

Director Pervez Malik`s ``Talaash``:

``Dekha jo mera jalwa``: Naheed Akhtar.

``Pyar ki Aag, nigahoan mein chupaye rakhna``: Naheed Akhtar.

Music buffs continue to enjoy his music until it become second nature to them.

Director Ali Sufyan Aafaqi`s film ``Aas``:

``Boal ri gurya boal zara``: Nayyara Noor.

``Meri marzi mein gaoon gi`` : Runa Laila.

``Humnay deikhay is duniya mein``: Noor Jehan.

Nisar had a magnetic personality.

His highly refined appearance, with a broad smile became one of his great personal strength.

He continued to mesmerize his fans through his compositions:

Director Pervez Malik`s film ``pehchaan``: ``Allah he Allah kya karo``: Naheed Akhtar.

``Mera pyar teray jiwan kay sung rahay ga``: Mehnaz-Mehdi Hasan.

Pakistani audiences were entranced through his compositions for director Hasan Tariq`s film ``Tehzeeb``:

``Laga hai misar ka bazaar deikho``: Mehdi Hasan.

``Aja hum kyon rahein akele``: Runa Laila.

``Tu nay kya shay mujhay pila thee hai``: Runa Laila.

The glowing story of Nisar`s music career was full of surprises.

The Pakistani cine-goers, who have an ear for music and a strong memory of Nisar remember the film ``Wagt ki pukar``(Director: Fazal Ahmed Karim Fazli):

``Jaan-e-mun Aaj tu jo paas nahi hai``: Mehdi Hasan.

``Millat kay jawano ko ye paigham suna do``: Noor Jehan.

``Tum ho haseen,iqraar karo``: Ahmed Rushdi.

Director Raza Mir`s ``Naag muni`` was a great movie in its day, whose songs were composed by Nisar.
``Tun to pay waroon``: Noor Jehan.

``Aaj bhi suraj doob gaya``.

``Saajna ray naina barsay, jeeya tarsay``.

``Mun mein uthi nai tarang``: Noor Jehan.

``Mera imaan mohabbat hai``: Mehdi Hasan.

``Ik albeli see naar`` :Ahmed Rushdi.

``Mein teri yaad ko kaisay dil say bhula doon.

His lilting music in the film ``Jaisay jaantay nahi`` is memorable:

``Aisay bhi hain meherbaan``: Ahmed Rushdi.

Nisar, with a life of dedication, composed songs for director Laeeq Akhtar`s movie: ``Naureen``.
``Haye mera izhar-e-mohabbat``.

``Kitni baar melay hain``: Ahmed Rushdi.

His music appeals to the masses and it is a treasure in real life. He composed every new song with a renewed effort.

Director S.Sulaiman`s film ``Mohabbat``:

``Ranjish he sahi``: Mehdi Hasan.

``ye mehfil jo Aaj saji hai``:Tahira Syed.

``Agar koi puchay baharoan ka mutlab``:Ahmed Rushdi-Runa Laila.

Nisar lend his music for the film ``Saiqa``(producer: Shamim Ara, director: Laeeq Akhtar):

``Ik sitam aur meri jaan``: Mehdi Hasan.

Unforgettable songs like ``Aye baharo gawah rehna``: Ahmed Rushdi-Mala.

``Teray tasawwar mein jo baat hai``

``Jo hum guzaartay hain wo zindigi to nahi`` are still popular today.

Highly revered Nisar confronted every new challenge and enjoyed the exhilaration of victory later.

His superb composition made all the difference in director Shaiwan Rizvi`s film ``Meri zindigi hai naghma``.

``Ik husn ki devi say mujhay pyar hua tha``: Mehdi Hasan.

His music was both convincing and charming in director Iqbal Kaashmiri`s film ``Hum aik hain``:

``Chore meray yaar, koi aur baat kar``

Let us have a glance at his Nigar awards:

Nisar Bazmi won the Nigar award for best composer for the film ``Saiqa`` in 1968.

Nisar Bazmi won the Nigar award for best composer for the film ``Anjuman`` in 1970.

Nisar Bazmi won the Nigar award for best composer for the film ``Meri zindigi hai naghma`` in 1972.

Nisar Bazmi won the Nigar award for best composer for the film ``Khaak aur khoon`` in 1979.

Nisar Bazmi won the Nigar award for best composer for the film ``Hum aik hain`` in 1986.

One of the most astonishing feat of Nisar Bazmi`s life is that in his twilight years, he dedicated himself to memorize the Holy Quran.

All these years later, we now know that he was vehemently desirous to be a Hafiz-e- Quran.

Composers with exceptional qualities like Nisar Bazmi are as scarce as hen`s teeth.

As for his music prowess, it cannot be measured with a yardstick.

swarrier#29:

Guilty as charged. I am referring only to Hindi cinema. My familiarity with South Indian music is limited to a small collection of Carnatic music. Of the new music directors you have mentioned, I have not heard of Shantanu Moitra. I like Bhpen Hazarika a lot and Vanraj Bhatia is also okay.

You are right about Shankar Jaikishan using a large orchestra, as did Naushad also to some extent. But I think that their forte was melodious music and not orchestra. I am personally partial to music directors who are economical in their use of the orchestra, such as Khayam, O. P. Nayyar and S. D. Burman. I find Burman to be especially perfectionist in the use of orchestra.

Re: # 31
DM
You would agree an orchestra is nothing but a vehicle for the music. The real strength of an orchestra lies in providng chordal harmony, a theme that is not exploited by the music of the subcontinent. Our music is monadic and based almost completely on melody and rythm. That may explain the partiality most of us have to more melodic compositions. A large orchestra can negate some of the effect.
In my opinion Salil Chowdhury was the one music director who used an orchestra in a refreshing manner in Hindi films. Often his orchestra does not follow the voice or primary melody but skirts around the main theme This is closer to the western ideal where there are different melodies played by different groups of instruments. Few other music directors have achieved this.
There are other music directors who are out of the public eye like Bhaskar Chandavarkar and Hridayanath Mangeshkar who dabbled in Hindi film music. They are great too.
I am peeved that you did not mention another of my personal favourites, Sajjad Hussain.
Very few compare to him. Listen to the songs of Sangdil, Rustom Sohrab, Hulchul.....

Cheers

ranjit#27:

Reshamiyya seems to be a one-trick pony. His popularity is enhanced by what Khurram (#29) has called the ability to keep fingers from pressing the remote button. His popularity is in no small measure due to the racy videos, generally with Emraan Hashmi in them. But I think that he has now peaked. I understand that he tried to change his style in the music of Benaras (I haven`t seen the film) but it flopped.

@ Dost Mitter

This is a value judgement but my bias is clear from the article. I think that the real edge that is missing in the new music (in the context of film music only) is both meaningful lyrics and soulful melodies. Here, I would like to put in a word or two in defence of the new directors - they are simply responding to the changing tastes of their consumers. I have sometimes seen a really soulful song or two in recent films but they rarely become popular. Khayam is still alive but nobody seems to be interested in using his talents.


Jane Kahan Gaye Wo Din
Kehte Thay Chahe Jo Bhi Ho, Audiance Ki Shan Barrhayein Gay
Only Meaningful Lyrics aur Soulful Melodies K Geet Banayein Gay
Ab To Magar Commercial Hain Din
Jo Thirakna Chahte Hain On Ko Sirf Thirkayein Gay
Meaning Ya Soul Se Hum Ko Kia
Hum To Paisa He Bas Kamayein Gay

What I have understood out of the replies of Dost Mitter Sahib and Ranjit Sahib is that there has been no decline in talent or technology. In many respects, there has been improvement in both these things. But old music is still qualitatively superior. Secondly my understanding of why old music was more meaningful and soulful as compared to modern music is that in old days, there were only few channels of media. That was the age of Cinema and Radio. People used to see full feature film whenever they went to Cinema. They used to see the full story in one sitting. Music was more meaningful because in those days, songs had to be wriiten with the view to fit them in the story of film. Now it is the age of multi-channels. People have been accustomed to using remote control and they do not watch any single program or film in a single sitting. They usually ``stop`` switching channels when they see some exposure or action. The issue before music directors is not to fit the meaning of songs in the story of film because the real issue before them is how to get audiance stayed at the their channel for a while. People now really do not see full feature film in one sitting. Even HBO channel repeats English feature films many time so that audiance may see full film in different sittings. So in this way, age of meaning or soul has gone. Future music shall be more loudy, fast etc.

Regards!

DM
A point, Indian film music is not necessarily limited to Hindi film music. So perhaps you should be talking more about the lack of quality of the music in Bollywood films. While Hindi music languished pretty much in the 70`s there were South Indian films that still carried on with good music through today. Music directors like Illyaraja and Raveendran etc composed excellent music through the 90`s. In fact Ravi Sharma (remember Chaudvin ka chand , Gumraah, Humraaz etc) who stopped composing for Hindi films around 1970 composed and won National awards for his music in Malayalam films.

Perhaps with the coming of Amitabh Bachan and his angry young man image there was less time for introspective music and lyrics in Hindi films . I mean there is some difference between , `` Badi Sooni Sooni hain`` in Mili and ``Khaike Paan banao Rasawala (funnily enough this one is based on Madhma sarang).
Hindi movies during that period did not often explore other avenues. It was usually boy meets girl in the college canteen or angry young man does things for his mother/country/girl/father/....... with the help of a hockey stick. Hardly the stuff to inspire great melodies or lyrics.

Still even in these dark periods we did have good music in decent movies, Gharaonda, Gaman, Ijaazat, Saath Saath.

Things are not so bad today. I`d say there is more decent music now than in the 80`s. We still have Vanraj Bhatia (Sardari Begum), Bhupen Hazarika , Shantanu Moitra (amongst the younger ones) and in my opinion Annu Malik can still compose good music if he were to try, instead of copying. It`s a shame that Border was passed over for the puerile rubbish in Dil to Paagal Hai .

I can go on about orchestration, Shankar Jaikishen used a large orchestra to good effect. It`s not so bad, you just need film makers who understand music and life.

Re:dost-mittar

[..Here, I would like to put in a word or two in defence of the new directors - they are simply responding to the changing tastes of their consumers.....]

DM sahib, that is true. But I really really hope someone does a Bob Woolmer on that idiot Himesh Reshmaiyya. Himesh has single handedly destroyed film music with his obnoxious compositions starting with a nasal ``Ouuuuuuuuuuuuuu``!! Aaaarghhh!!

Re: # 27

Agree with you 100%, except on Bob-Woolmering him. Let BJ find a Gandhian way to deal with him.:)