Golden Era of Bollywood: NAUSHAD-Once All of India was crazy about his Melodies.

Tuesday 26 December 2017

NAUSHAD-Once All of India was crazy about his Melodies.

Naushad(26 December 1919 – 5 May 2006 )began his career in 1940 with Prem Nagar, but took off in 1944 with Ratan, where he created his own style. All of India was crazy about him. His music had that simplicity. Songs like Jab dil hi toot gaya and Gham diye mustaqil from Shahjehan touch you.
He was one of the first to introduce sound mixing and the separate recording of voice and music tracks in playback singing. He was the first to combine the flute and the clarinet, the sitar and mandolin. He also introduced the accordion to Hindi film music and was among the first to concentrate on background music to extend characters' moods and dialogue through music.
He was the first composer to have developed the system of western notation in India. The notation for the music of the film 'Aan' was published in book form in London.He was the first to use a 100-piece orchestra.for Aan in 1952.

His greatest contribution was to bring Indian classical music into the film medium. Many of his compositions were inspired by ragas and he even used distinguished classical artistes like Amir Khan and D.V. Paluskar in Baiju Bawra (1952) and Bade Ghulam Ali Khan in Mughal-e-Azam (1960). Baiju Bawra (1952) demonstrated Naushad's grasp of classical music and his ability to bring it to the masses, for which he won the first Filmfare Best Music Director Award in 1954.

He was very innovative,in Uran Khatola (1955), he recorded an entire song without the use of orchestra, having replaced the sound of musical instruments with choral sound of humming..For Mughal-e-Azam (1960) song Ae Mohabbat Zindabad, he used a chorus of 100 persons. He asked Lata Mangeshkar to render a part of the song "Pyaar Kiya To Darna Kya" in a bathroom that had glazed tiles and then recorded the music to get the echo effect.
Naushad made Suraiya stand on a stool for the 12-year-old schoolgirl's voice to be able to reach the microphone on her debut, Boot karoon main paalish baaboo (from A R Kardar's Nai Duniya in 1942). It was under him, likewise, in another A R Kardar songathon, Dastan (1950), that Suraiya vocally peaked with Mohabbat badhakar jooda ho gaye.
This master composer first made both Mukesh (Andaz) and Talat Mahmood (Babul) sound surpassingly individualistic on Dilip Kumar He was, near clandestinely, getting Mohammed Rafi ready for the big leap. From his first Anmol Ghadi solo, Tera khilauna toota baalak (1946), to O door ke musafir on Dilip Kumar in Uran Khatola (1955), Rafi came a long, long way, once the Baiju Bawra (above) miracle happened in 1952..

His association with Mohammad Rafi had marked the most golden combination which galvanized the outstanding music composed during the golden age in Indian music, the 50s and 60s. His composition in the film Dulari, 1947, for Mohammad Rafi titled “suhani raat dhal chuki” makes a music lover addicted and it has an appeal even after 60 years of its composition.
Naushad’s composition in Son of India, “dil torneewale”, duet for Rafi and Lata, shows the effective use of instruments in that age when recording was not developed to that extent. In Dilip Kumar’s Kohinoor, 1960, Rafi’s songs “madhuban me radhika nachere”, “do sitaron ka zamee par hai Milan aaj ki raat” marks Naushad’s control over bhajans and songs with chorus effects. In Rajender Kumar’s Mere Mehboob, 1963, Naushad had explained the transformation of nasams into ghazals. His songs “mere mehboob tujhe meri mohabbat ki kasam”, “tumse izhaar-e-haal kar baithe”, “ai husn zara jag tujhe isq dikhaye” enchanted the listeners. Naushad’s compositions were as outstanding as Shakeel Badayani’s lyrics and Rafi’s golden voice.
Naushad had used folk songs to a great extent where the subjects in the films required them. For example in the film Ganga Jumna, 1961, his composition for Rafi including “nain lar jaihe” was created with bhojpuri effect, and Rafi had succeeded in pronouncing it in the manner expected from him. Rafi’s songs in Rajender Kumar’s Palki, Ganwar, composed by Naushad were also outstanding.
It is tragic that the film industry, could not utilise Naushad’s talent in 1970s and 80s,
He gave 35 silver jubilee hits, 12 golden jubilee and 3 diamond jubilee mega successes. Naushad was conferred the Dadasaheb Phalke Award and the Padma Bhushan in 1982 and 1992 respectively for his contribution to the Bollywood film industry.
Some of the Immortal songs of Naushad