Jaane kahan gaye voh din!

hassan #5:

My lament is only about film music. I agree that non-film music caters to a wider constituency. Jagjit Singh, Pankaj Udhas, Ghulam Ali, Saabri Brothers and Abida Parveen are providing good old-fashioned ghazals and qawwalis. And there are a few gems in a lot of ``kachra`` being produced in Punjabi music on both sides of the border.

deja_who?#6:

``I bet old foggies in 1960s were also bemoaning the death of music in Indian films at that time.. ``

Yes, but the difference is that even the younger folks are now complaining. When I see some of the popular Indian TV programs like Sa Re Ga Ma, they mostly sing songs from the old films and shun contemporary music.

plats8#7:

I am less familiar with Gulzaar`s work. His songs have a ``nasr`` (free verse) quality which is unique to him, such as his maiden song ``mora gora ang lai lai, mohe shyam rang dai dai``. Personally, I believe he shines today partly because there is hardly any competition.

ranjit#8:

We have a weekly program in Ottawa which also plays lot of old songs and has been quite popular for over 25 years.

Shah2#9:

Kishore Kumar owes a lot to the father-son music directors S.D. Burman and Rahul Burman. Kishore was perhaps less gifted than the other stalwarts of his time, like Rafi, Manna Dey, Hemant and Talat. But he made up for that by his versatility and sincerity. Besides, he was one heck of a showman if you had the chance to see him in a personal performance, which I did.

delhiwala#10:

No, I am back in Canada. I am interested in all types of good music, including film music. In fact, I developed my love for classical music via film music after listening to thumris, dadras and todas of khyals used by talented music directors like Vasant Desai, Naushad and Anil Biswas.

A very nice article Sir. Old Indian music is AMAZING. New Music, with loud bass provides more oppertunities to `expose`. I want to ask a common question. There is huge difference between styles of old and new music. Can it be said with surety that old music is qualitatively superior to new music? What is the real edge of old music which is totally missing in new music? Are new singers incompitent? Given the old instruments and old music directors, can they not sing better than old singers? On other side, what are the positive qualities of new style of music, which were missing in old? Still many big names are part of contemporary music industry. Have they not brought any real advancement in music technologies?

Regards!

#22

[Are new singers incompitent?]

No, but the same can rarely be said of the writing lot.

bjkumar#12,16:

Nice comments.

``One of my most pleasant memories as a college student is to have taken those long train trips in Second Class unreserved compartments and being woken up in the morning by the sound of somebody or other singing a bhajan – mostly a filmy bhajan!``

I too have similar memories - of a crowded train with a beggar and his family singing songs like ``Mehlon mein rehne wale hamein tere dar se kya?``

Regarding Sahir Ludhyanvi, let me try to restore your faith in your hero by the following:
1. He is my hero, too, and I have known about his personal life for a long time.
2. What I said is hearsay and there is no documentary proof for that. However, it is quite credible because Sahir was a Punjabi and, unlike UP which had a Hindi-Urdu composite culture, Punjab was dominated by Urdu-Persian influence. This was true equally of Sikhs and Hindus and not just Muslims; indeed they could be easily seen carrying their ``gutkas`` of Gurbani and Geeta in Urdu rather than Gurmukhi and Devnagri.
3. Sahir was a people`s poet not because he could write Hindi like a Shastri but because he could write songs in people`s language that went straight to the heart.
4. If your disappoint was with his being gay, this is true of several other remarkable artists. You are perhaps unaware that fascination with a boy is very much part of the Persian/Urdu poetry; indeed the term Saqi refers to a boy and not a girl.

khurram#22:

``Can it be said with surety that old music is qualitatively superior to new music? What is the real edge of old music which is totally missing in new music?``

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.

``Are new singers incompitent?``

No, they are amazing. The proliferation of music competition programs on TV show that there is no dearth of talent. More importantly, if you look at the classical music scene, you find new singers coming up all the time and not just from Pune. Once again, there is dearth of appreciation - Khayam introduced a wonderful new singer, Kabban Mirza in his film Razia Sultan (Aayee zanjeer ki jhankaar Khuda khai kare!) but hardly anyone took notice of him and he was never heard from again.

`` On other side, what are the positive qualities of new style of music, which were missing in old? ``

Maybe background music.

Re:khuram

[...Can it be said with surety that old music is qualitatively superior to new music? ...]

The legendary music director Anil Biswas once said about new songs vs. old songs - ``Naye gaanon se pao thiraktey hain, dil nahi dharaktey`` i.e. the new songs have the rhythm to make you dance but they do not have the melody to touch your hearts. That is the key difference. Even today if you listen to the golden oldies, your heart will skip a beat.

When I hear a Talat Mehmood`s - ``Jaye to jaye kahaan`` or Rafi`s - ``Hum bekhudi mein tum ko pukare chale gayen`` or Lata`s - ``Allah tero naam``. or Noor Jehan`s -``Mujhse Pehli si Mohabbat Mere Mehboob na Maang`` even now I get a weird sensation of pure joy although I must have heard these songs hundreds of times.

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!!

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.

@ 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!

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.

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.

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.