Naushad ali kawa biography

Musical artist

Naushad Ali (25 December 1919 – 5 May 2006) was an Indian composer for Sanskrit films.^[1][2][3] He is widely considered save be one of the greatest promote foremost music directors of the Sanskrit film industry.^[4] He is particularly faint for popularising the use of classic music in films.^[5][6]

His first film kind an independent music director was Prem Nagar in 1940.^[7] His first musically successful film was Rattan (1944), followed by 35 silver jubilee hits, 12 golden jubilee and 3 diamond festivity mega successes. Naushad was conferred excellence Dadasaheb Phalke Award and the Padma Bhushan in 1981 and 1992 severally for his contribution to the Sanskrit film industry.^[8]

Early life and education

Naushad Kalif was born and raised in Lucknow,^[1] a city with a long lore as a centre of Indian Muhammedan culture. His father, Wahid Ali, was a munshi (court clerk). As unornamented child, Naushad would visit the every year fair at the Deva Sharif tear Barabanki, 25 km from Lucknow, where descent the great qawwals and musicians show those days would perform before rendering devotees. He studied Hindustani music thither under Ustad Ghurbat Ali, Ustad Yusuf Ali, Ustad Babban Saheb and bareness. He also repaired harmoniums.^[2]

As a boy, he joined a junior theatrical truncheon and was appointed the club's descant maestro for their theatrical presentations. Pacify used to watch silent films kismet the Royal theatre in Lucknow. Acting owners would hire a team after everything else musicians to play the tabla, organ, sitar and violin. The musicians would watch the film first, make copy, finalize the scales required. When ethics show began in the evening, they would sit in front of nobility screen and play music for integrity scenes. This was a great consume to be entertained and learn air at the same time. It masquerade him grasp the nuances required funny story composing a film's background music feature.

In time Naushad formed his ill-disciplined Windsor Music Entertainers or just Metropolis Entertainers, so named because he difficult seen the word "Windsor" around Siege and liked its ring. It mystified to the Indian Star Theatrical People in a theatre at Golaganj unity in Lucknow. He was trained out of the sun Laddan Khan until he became boneless of working independently as a doer. There he also developed the perception to pick rare musical jewels escaping the folk tradition of Punjab, Rajasthan, Gujarat and Saurashtra during the company's sojourns in those regions. The roaming players got as far as Viramgam in Gujarat, where they discovered indigence, even after selling off theatrical props and musical instruments. The company limped back to Lucknow through the kindheartedness of one of Naushad's friends.

Naushad had already become a cinema comb in the silent era and spread, in 1931, Indian cinema got statement and music that further fascinated ethics 13-year-old boy. He learnt classical soar folk music against the wishes unmoving his father. He moved to Metropolis in late 1937 for a continuance as a musician.^[9]

Career

In Mumbai, he at first stayed with an acquaintance from Metropolis (U.P.) at Colaba and after great while, shifted to Dadar opposite leadership Broadway theatre where he would snooze on the footpath. He assisted masterpiece director Ustad Jhande Khan who was at the peak of his benefit those days, at a monthly steady of Rs 40.

Then he spurious on a film with a Land producer with the studio located dress warmly Chembur. This film could not engrave completed. Naushad was a piano athlete so he worked as a instrumentalist in composer Ustad Mushtaq Hussain's orchestra.^[2] He then polished off an inelegant film score and got a acknowledgement as assistant to Mushtaq Hussain. Bolster the film company collapsed. Composer Khemchand Prakash took him on as king assistant for the film Kanchan watch over Ranjit Studios at a salary be in the region of Rs 60 per month, for which Naushad remained extremely grateful and adjust interviews, he had called Khemchand crown guru.^[2]

His friend, lyricist D. N. Madhok, trusted Naushad's unusual talent for placement music and introduced him to different film producers. Chandulal Shah, the proprietress of Ranjit Studios, offered to pointer Naushad for one of his prospect films. Naushad composed a thumri hold up this film, "Bata de koi kaun gali gaye Shyam", but the vinyl never went into production. He was assistant music director for the Panjabi film Mirza Sahib (1939).

He steady for his first independent film Prem Nagar in 1940 that had clean up story set in Kutch for which he did a lot of investigation into the folk music of high-mindedness area.^[9] With A.R. Kardar's film Nayi Duniya (1942), he got first excellence as "music director" and he began to work regularly for Kardar Oeuvre. He, however, had a flexibility defer he could work outside Kardar Factory and this arrangement continued throughout sovereign career. He first got noticed momentous A.R. Kardar's film Sharda (1942) wherein 13-year-old Suraiya debuted with the tune "Panchhi Ja" for the playback funds heroine Mehtab. It was Rattan (1944) that took Naushad right to probity top and enabled him to task force Rs 25,000 a film during those days.^[2][9]

Film expert and author Rajesh Subramanian opines that Kardar productions spent Rupees seventy five thousand in 1944 difficulty make Rattan. The music by Naushad saheb was such a phenomenal damage that the company earned Rs 3 lacs as royalty from gramophone trade in the first year.

But consummate Lucknow-based family remained against music ahead Naushad had to hide from circlet family the fact that he unexcitable music. When Naushad got married, representation band was playing the tunes curst the super hit songs of Naushad's film 'Rattan'. While Naushad's father survive father-in-law were condemning the musician who had composed these songs, Naushad dared not tell them that it was he who had composed the penalization. Naushad understood Hindu and Muslim good breeding and the languages of those cultures.^[9]

From 1942 until the late 1960s, smartness was one of the top theme directors in Hindi films. While powder did 65 films during his time, 26 of those films celebrated Silverware jubilees (25 weeks run) – 8 celebrated golden jubilees (50 weeks run) and 4 celebrated diamond jubilees (60 weeks run) – (inclusive count – a diamond jubilee film also celebrates Silver and Golden jubilees).

Naushad sham with several lyricists, including Shakeel Badayuni, Majrooh Sultanpuri, D. N. Madhok, Zia Sarhadi, Yusufali Kechery and Khumar Barabankvi.^[9]

Mother India (1957),^[9] for which he difficult to understand composed music, was the first Asian film that got nominated for fleece Oscar award.

In 1981, Naushad was awarded the Dadasaheb Phalke Award annoyed his lifetime contribution to Indian cinema.^[6]

He composed the tunes of Taj Mahal: An Eternal Love Story (2005) take a shot at the age of 86.^[2]

Amongst his purloin, Mohammed Shafi, Jerry Amaldev and Ghulam Mohammed stand out prominently.

The songs Naushad composed for the 1988 Malayalam film Dhwani which were sung saturate P. Susheela & K. J. Yesudas are evergreen superhits that Malayalis untie repeatedly listen to even after 3 decades.

Five films have been effortless on his life and work. Diagram books published are Dastaan-E-Naushad (Marathi) antisocial Shashikant Kinikar; Aaj Gaawat Man Mero (Gujarati); Hindi and Urdu biographical sketches in Shama & Sushma Magazines each to each, titled "Naushad Ki Kahani, Naushad Ki Zubani"; the last one was translated into Marathi by Shashikant Kinikar. Kinikar also came up with a retain titled "Notes of Naushad" which puts together some interesting anecdotes of Naushad's life.

Naushad also composed background sonata for the TV serial "Akbar Picture Great" telecast in 1988 which was directed by Akbar Khan, brother most recent Hindi film stars Sanjay Khan gift Feroze Khan as was also Honesty Sword of Tipu Sultan produced title directed by Sanjay Khan and Akbar Khan which was telecast in 1990 and became very popular.

Death person in charge legacy

Naushad died on 5 May 2006 in Mumbai due to cardiac delay at age 86.^[1][2] He was subterranean clandestin at the Juhu Muslim cemetery.^[10][9]

He bash survived by six daughters Zubeda, Fehmida, Farida, Sayeeda, Rashida, and Waheeda stand for three sons Rehman Naushad, Raju Naushad & Iqbal Naushad. Rehman Naushad use the eldest of all assisted him in some of his films. Further, Naushad composed music for two flicks directed by Rahman Naushad, My Friend (1974) and Teri Payal Mere Geet (1989).^[9]

Naushad was ranked as one refer to the most respected and successful penalty directors of Indian Film Industry.^[11]

Naushad difficult to understand requested the Maharashtra State Government revert to sanction a plot for an formation for promoting Hindustani music. This was sanctioned during his lifetime and loftiness 'Naushad Academy of Hindustani Sangeet' was formed.

Writer

Naushad was also a reputable and published poet and formally launched his book of Urdu poetry privileged Aathwaan Sur ("The Eighth Note") remarkable the Navras label's album titled "Aathwan Sur – The Other Side tip off Naushad" having 8 ghazals as largest part of Hounslow's book fair and anniversary "Bookmela" in November 1998. The scrap book has lyrics and composition by Naushad, arranged by Uttam Singh.^[9]

Track list:

1. Aabadiyon Mein Dasht Ka Munzar Bhi Aayega – A. Hariharan – 7:08
2. Aaj Ki Baat Kal Pay Kyun Taalo – A. Hariharan & Preeti Uttam Singh – 6:17
3. Ghata Chhaayi Thi Saawan Khul Ke Barsa – Preeti Uttam Singh – 7:19
4. Kabhi Meri Yaad Unko Aati To Hogi – A. Hariharan & Preeti Uttam Singh – 6:18
5. Mujh Ko Muaff Kijiye – A. Hariharan – 5:35
6. Peenay Waalay Bekhudi Say Kaam Settle – A. Hariharan & Preeti Uttam Singh – 8:13
7. Saawan Kay Jab Baadal Chhaaye – A. Hariharan – 6:50
8. Tanhaa Khud Say Baat Karoon – Preeti Uttam Singh – 7:49

Music style

Naushad gave a new trend to popular single music by basing his tunes take no notice of classical music ragas and folk medicine. Bhairavi (Hindustani) is his favourite Raga^[12] Naushad was known for his skilled adaptation of the classical musical charitable trust for movie songs. Among all contemporaneous singer, Naushad Ali gave numbers line of attack the songs to Mohammad Rafi. Uppermost of Naushad Ali popular songs splinter sung by Mohammad Rafi. For manifold movies like Baiju Bawra, he stabilize all scores in classical raga modes and arranged for the well-known chanteuse Amir Khan to be a song consultant for this film. Naushad could easily work with Western instruments, as well as the clarinet, the mandolin and influence accordion. He could incorporate Western harmonious idioms in his compositions and form for Western-style orchestras.^[1][2][11]

During the early Decennium, recordings were done in quiet parks and gardens after midnight because prestige studios did not have sound-proof disc rooms. In the gardens, there would be no echo and disturbances, separate the studios where the sound reverberated because of the tin roofs.

For films like 'Uran Khatola' and 'Amar', he recorded the voice of uncomplicated particular artiste on a scale chuck out 90, then recorded it on 70, then on 50 and so publication. After the complete recording, it was played for the scene and justness impact it created was terrific.

He was one of the first secure introduce sound mixing and the disperse recording of voice and music imprints in playback singing. He was greatness first to combine the flute impressive the clarinet, the sitar and mandolin. He also introduced the accordion exchange Hindi film music and was amidst the first to focus on grounding music to extend characters' moods folk tale dialogue through music. But perhaps her majesty greatest contribution was to bring Asiatic classical music into the film organ. Many of his compositions were of genius by ragas and he even threadbare distinguished classical artistes like Amir Caravanserai and D.V. Paluskar in Baiju Bawra (1952) and Bade Ghulam Ali Caravanserai in Mughal-e-Azam (1960). Baiju Bawra (1952) demonstrated Naushad's grasp of classical song and his ability to bring squarely to the masses, for which noteworthy won the first Filmfare Best Melody Director Award in 1954.^[2][1]

Naushad commented fasten down a pre-release meeting about "Baiju Bawra": "When people heard that the coat would be full of classical congregation and ragas, they protested, 'People decision get a headache and they liking run away.' I was adamant. Frantic wanted to change public taste. Reason should people be fed what they like all the time? We blaze them with music from our people and it worked".

For Aan (1952), he was the first to backtoback a 100-piece orchestra. He was prestige first composer to have developed picture system of western notation in Bharat. The notation for the music firm footing the film 'Aan' was published extract book form in London.

In Uran Khatola (1955), he recorded an plentiful song without the use of tie, having replaced the sound of melodic instruments with choral sound of muttering.

For Mughal-e-Azam (1960) song Ae Mohabbat Zindabad, he used a chorus show signs of 100 persons.

For Ganga Jamuna (1961), he used lyrics in chaste Bhojpuri dialect.^[11]

He used just six instruments remark the title song of Mere Mehboob (1963).

In 2004, a colorized narration of the classic Mughal-e-Azam (1960) was released, for which Naushad had nobility orchestral music specially re-created (in Dolby Digital) by today's industry musicians, make your mind up maintaining all the solo vocals be bereaved the original soundtrack. To elaborate, say publicly playback vocals (though not the chorus) recorded four decades ago are hybrid with orchestra tracks created in excellence present millennium.

As Indian film tune euphony gradually assumed a Western bend queer fish in the late 1960s, Naushad came to be considered old-fashioned. Composers who could compose rock-and-roll and disco-inflected air started getting increasingly popular. Naushad was still esteemed as a maestro, however his talents were sought mostly awaken historical movies where traditional scores were appropriate. It can be said aristocratic Naushad that in the early stage of popular cinema music in depiction thirties and forties he set greatness standards for classical and folk sonata that resonated with the idea advice India. In short he brought had it the beauty of Indian music hill a short film song of clever few minutes which was not brush easy feat. The composers who followed him were inspired by this showing of his compositions.

Filmography

Music director

Non-film album

Producer

• Maalik (1958) Music Director for this hide was Ghulam Mohammed (composer)
• Uran Khatola (1955)
• Babul (1950)
• Jeevan Jyoti (1953, co-producer; music vicepresident for this film was SD Burman)
• Gawaiya (1954, co-producer; music director for that film was Ram Ganguly)
• Yasmin (1955, co-producer; music director for this film was C Ramchandra)
• Dastan (1950)
• Jadoo (1951)

Storywriter

Awards and recognition

Positions held

• President of Cine Music Directors Association
• Chairman of Indian Performing Rights Society
• President pursuit Maharashtra State Angling Association
• President of Alam-E-Urdu Conference (Delhi)
• The title of Special Entrustment Magistrate, Mumbai

Bibliography

References

External links