Naushad ' The legend Music Composer'

Naushad Ali was born on December 25, 1919 in United Provinces of Agra and Oudh United India. Naushad was raised in Lucknow, a city with a long tradition as a center of refined North Indian culture. He studied classic Hindustani music there, under such teachers as Ustad Ghurbat Ali, Ustad Yusuf Ali, and Ustad Babban Saheb.

Naushad spent several nights on the footpath after moving to Mumbai in the late 1930s to try his luck as a musician.
The composer, who hailed from Lucknow, had cried when his film Baiju Bawra was premiered at Mumbai’s Broadway theatre. When the late producer Vijay Bhat asked him why he was crying, Naushad told him he was sleeping on the footpath opposite the theatre when he had dreamt of seeing his music brought to life here.
His background music and songs have been heard in such influential films as Baiju Bawra, Andaz, and Mela. His soundtracks, however, have been criticized for their overly polished approach. Although his score for 100 chorus singers was a major factor in the commercial success of Mohabbet Zindabad, he was denied an award by the editor of Filmfare for being "too refined and classical."

he went on to score the music for perennial classics - Mother India (1957), Mughal-e-Azam (1960), Ganga Jamuna (1961) and Mere Mehboob (1963). In Mughal-e-Azam, Naushad's musical score was outstanding particularly the two songs by noted classical singer Bade Ghulam Ali Khan (Shubh Din Aayo and Prem Jogan ke Sundari Pio Chali) not to mention the Lata Gems (Mohabbat ki Jhooti Kahani pe Roye, Pyaar Kiya to Darna Kya) and Mohd. Rafi's Ae Mohabbat Zindabad with a chorus of 100! It was indeed shocking that Naushad lost the Filmfare award that year to Shankar-Jaikishen for their populist score in Dil Apna Aur Preet Parayi (1960). With the 1960s and the decline of Dilip Kumar, Naushad who used to compose music for most of the thespian's film also suffered a reversal of fortune as film after film of theirs came unstuck at the box-office. Naushad completed Pakeezah (1972) after Ghulam Mohammed's death and continued doing an occasional film right up to the 1990s but the magic of old was missing. the last film that Naushad composed music for was Akbar Khan's Taj Mahal: An Eternal Love Story (2005).

A winner of the Dadasaheb Phalke Award for his contribution to Indian Cinema, he passed away in Mumbai on May 5, 2006 due to cardiac arrest.   

Abida Parveen 'foremost exponent of Sufi music'

Abida Parveen, a Sindhi, was born in mohalla Ali Goharabad in Larkana (Sindh province, Pakistan).She received her musical training initially from her father, Ustad Ghulam Haider, and later from Ustad Salamat Ali Khan of the Sham Chorasia gharana.          

She sings mainly ghazals, Urdu love songs, and her forte, Kafis, a solo genre accompanied by percussion and harmonium, using a repertoire of songs by Sufi poets.Parveen sings in Urdu, Sindhi, Seraiki, Punjabi and Persian, and together with Nusrat Fateh Ali Khan is considered one of the finest Sufi vocalists of the modern eraAbida Parveen, a Sindhi, was born in mohalla Ali Goharabad in Larkana (Sindh province, Pakistan). She received her musical training initially from her father, Ustad Ghulam Haider, and later from Ustad Salamat Ali Khan of the Sham Chorasia gharana.

Abida Parveen embarked upon her professional career from Radio Pakistan, Hyderabad, in 1973. Her first hit was the Sindhi song “Tuhinje zulfan jay band kamand widha”.

She sings mainly ghazals, Urdu love songs, and her forte, Kafis, a solo genre accompanied by percussion and harmonium, using a repertoire of songs by Sufi poets. Parveen sings in Urdu, Sindhi, Seraiki, Punjabi and Persian, and together with Nusrat Fateh Ali Khan is considered one of the finest Sufi vocalists of the modern era.

Acclaimed folk and ghazal singer Abida Parveen suffered a heart attack (myocardial infarction) Saturday evening while performing in Lahore. She was taken to Lahore’s Doctors Hospital where an angioplasty was performed and a stent installed successfully. The celebrated 56 year old singer in now recovering. Reportedly the doctors treating her say that “she is stable and out of danger.”
Abida Parvee has not only instilled a new spirit into the great Sufi renditions that she has become so famous for but has revived, revitalized and popularized Sufi singing and given it national and international acclaim. Well beyond that, her mastery over ghazal and semi-classical singing places her as a legend within her own times.
As long-time fans of the Larkana-born maestro who has won so many hearts around the globe with her passionate performances and humble demeanor, we at ATP wish Abida Parveen a speedy recovery and the very best of health going forth. We are sure our readers join us in these prayers.

Song that made History in the Hindi Film Music Industry

In the movie  AMAR AKBAR ANTHONY(1977), The romantic duet by Rafi-lata, Kishore-Lata, Mukesh-Lata are the best pills of building a fire of love in any heart.

Humko tumse ho gaya hai pyar kya kare is the song in discussion here.

It was picturized on all the actors in the movie showcasing all the young couples enjoying light moments with each other. With no controversial scenes or movements, we get not only a clean song picturized in tongas or local buses as well as motor boats, the music was equally admirable, with the male singers gelling very well with the sweet voice of Lata Mangeshkar. The images here show the four singers doing the performance together. It just floods one mind with memories. One can go back to the time when these legends must have shared a stage and sang this outstanding song.



Mohd Rafi with Kishore Da, Lata Mangeshkar, Mukesh


The unique thing about this movie was not only the casting, which was also noteworthy and we still remember an Anthony Gonzales or an Akbar Hyderabadi or an inspector Amar but also the playback singers.

This movie witness the union all four legends of music industry, i.e., Kishore Kumar, Mukesh, Mohd Rafi & Lata Mangeshkar. These singers combined their talents to the music of Laxmikant-Pyarelal and the lyrics of Anand Bakshi.It as well the combination of such talented people that the song became historical.
It was not only an eyewash to see these young and lovely couples making the most out of the screen presence but also not diverting from the fact that we absolutely had great music pleasing the souls. It as well the combination of such talented people that the song became historical.

About melody queen LATA JI

   The melody Queen with the god gifted voice. According to the scientists of UK, she has the sweetest voice in world (It is proved by them, as they have recorded and tested her voice with the help of new technology computer devices), the most Admired Indian according to the world web poll, Greatest Songstress ever, Only Asian to have received the Platinum Disc of EMI London, Official Citizen of three Countries including USA & South America, Doctor of Literature by Six Universities including The New York University, Sister of Usha Mangeshkar and Asha Bhosle. Guinness Book of World Records holder for having made the most recordings in the world. (30,000 songs between 1948 and 1987, according to 1987 edition).
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GEETA DUTT 'Melodious Singer of 50's'

   Geeta Dutt was born in 1930 into a rich zamindār's family as Geeta Ghosh Roy Chowdhuri in Faridpur
 

when she was twelve. There, composer/music director Hanumān Prasād once overheard her singing casually, and, feeling impressed, he offered to impart her training in singing. He launched her in a chorus song in Bhakta Prahlād (1946), where she sang only two lines. But her rendering of those two lines stood out.

It was in the year 1946 that Geeta Roy sang for Pandit Hanuman Prasad in a mythological movie, Bhakt Prahlad. The lines AB JAANI RE PEHCHAANI RE; and SUNO SUNO VINTEE HAMAARI were to transform her life from an unknown school girl to that of an established playback singer

Sajjad Hussain who was known for his eccentricity, such as chiding Lata Mangeshkar by saying that his was not a Naushad tune "Aap ko Aur Mehnat Karni Padegi." or calling Talat Mehmood as "Ghalat Mehmood" and who even accused Madan Mohan of plagiarism, had unflagging confidence in Geeta Roy when he gave her five solo songs to sing in the movie called Kasam.

Some unconfirmed sources mention that this film never got released.

Music Director S.D. Burman had heard the song in Bhakt Prahlad and he promptly got hold of her address and met her to use her voice in the film. The music of that film clicked in a big way particularly 'Mera sundar sapna beet gaya.' Geeta Roy had arrived. Disc scales of the song rocketed to new heights. 1947-1949 saw Geeta Roy rule as the number one playback singer in the Mumbai film industry as she moved from strength to strength

Lata went on to become the greatest playback singer the Indian screen has ever seen. Only two singers managed to survive the Lata onslaught in the 1950s. Shamshad Begam and Geeta Roy. Though relegated to the second spot, Geeta managed to hold her own against Lata for more than a decade and she and Lata were the premier two female playback singers of the 1950s.

By 1951, Geeta had become a singer well known for bhajans and weepy weepy sad songs.
But 1951 also saw the release of a film, Baazi. Directed by first time director Guru Dutt,The jazzy musical score revealed a new facet to Geeta's singing. The sex appeal in her voice and the ease with which she went western was marvellous to behold. While every song in the film was a raging hit, one stood out for special appeal. 'Tadbir se bigdi hui taqdeer' a ghazal that was occidentalized into a jazzy seductive song! From then on in the 1950s for a club dance or a seductive song, the first choice was Geeta. The song stood out fo rmore reasons than one. During the recording of the song she met the young director of the film, Guru Dutt. Thus blossomed a romance which culminated in marriage on 26 May,1953. Geeta went on to sing some of her best songs in her husband's films while continuing singing in various outside assignments as well. The couple had two sons Tarun and Arun and a daughter Nina.

Her capacity to be both sensual yet sensitive gives Geeta Dutt's voice a unique ethereal quality.

Lata Mangeshkar used to remain in defensive position while in the Recording studio with GEETA DUTT.

some of the great songs sung by her:

• waqt ne kiya kya haseen sitam           
• mera sunder sapna beet gaya
• aey dil mujhe bata de
• ye lo me haari piya hui teri jeet re
• na jao saiyan shuda ke baiyan
• jane kya tune kahi...
• ae dil muhe bata de
• mera naam chin chin chu
• thandi hawa kaali ghata aa hi gai jhum ke
• babuji dheere chalna........    and many more

Geeta has never won FILMFARE AWARD but Regarded as one of the most successful singers of her time.Ruled the music scene with Lata in 50s & early 60s

Kavita Krishnamurthy.. from dubbing vocalist to a legend singer

  Kavita Krishnamurthy was born in New Delhi. She began her music training with her aunt, Mrs. Bhattacharya, who taught her Rabindra Sangeet. As she completed her training, she began her formal training in Hindustani classical music under the aegis of Sri. Balram Puri, a noted classical singer.

At the young age of eight, Kavita Krishnamurthy won a gold medal at a music competition. Subsequently, she kept winning many such gold medals  Kavita Krishnamurthy married violin maestro Dr. L. Subramaniam in Bangalore on November 11 1999.

Kavita Krishnamurthy has done playback singing for every other Bollywood movie and sold many records.

Kavita Krishnamurthy is considered as one of India's most technically gifted singer--her range of songs includes film music, pop, ghazals, bhajans, traditional Indian Classical music, qawwalis, Rabindra Sangeets and fusion work.

She has sung in over 14 languages including Hindi, Gujarati, Marathi, Punjabi, Bengali, English, Oriya, Assamese, Tamil, Telugu, Malayalam, Kannada, Bhojpuri, Jharkhandi, Rajasthani and Konkani.

Due to her image as a prominent playback singer, Kavita Krishnamurthy has lent her timeless voice for several Nepali and Bangladeshi films.

Awards

2003 : Filmfare Award Best Playback Singer - Female for : Devdas
1997 : Filmfare Award Best Playback Singer - Female for : Khamoshi: The Musical
1996 : Filmfare Award Best Playback Singer - Female for : Yaraana
1995 : Filmfare Award Best Playback Singer - Female for : 1942 : A Love Story
2000 : Popular Award Best Playback Singer Female for : Hum Dil De Chuke Sanam

 

 

In 1971, still a child, Kavita made her first film recording, a Bengali duet with the legendary Lata Mangeshkar that was conducted by singer/composer Hemant Kumar.

In her struggle phase, Laxmikant Pyarelal backed her so strongly that she was billed as a LP- campwalli, and this prevented others from or gave them an excuse to avoid - working with her. The only exception was the late R.D.Burman, who gave her songs in a few films like Boxer (‘Shaadmaani ho’), Hum Hain Lajawab, Raahi Badal Gaye, Farishta, Karishma and a few other films.

Impressed by Krishnamurthy's skills, Laxmikant offered her work as a dubbing vocalist, cutting demos of songs intended for superstar female singers like Lata Mangeshkar and Asha Bhosle.

1980's "Kaahe Ko Byaahi" was the first song to be featured in a film using Krishnamurthy's own vocal, but it took until 1985 for her to land her first major hit, "Tumse Milkar Na Jaane Kyon." This opened up opportunities for Krishnamurthy outside of the Laxmikant/Pyarelal camp, in which she had worked almost exclusively up to that point The early LP films included Ladies Tailor, Raaste Pyar Ke, Jeevan Dhaara, Jeeo Aur Jeene Do, Ghar Ek Mandir, Zakhmee Sher, John Jani Janardhan and Ek Nai Paheli.The hits with LP continued, with chartbusters like ‘Saudagar sauda kar and ‘Ilu Ilu’ (Saudagar), ‘Jumma chumma de de’ (Hum), ‘Nayak nahin’ (Khal Nayak), ‘Ranjha Ranjha’ (Heer Ranjha) and others in films like Prahaar, Khuda Gawah, Roop Ki Rani Choron Ka Raja, Gumrah and Khilaaf.While she broadened her horizons recording songs by other composers (as well as for television), she still continued to work with her early advocates, who provided most of her hits during the '80s. She scored huge hits with the tune "Hawa Hawai" and the Anu Malik composition "Julie Julie," among many others. By the early '90s, the Laxmikant/Pyarelal juggernaut was finally beginning to run out of steam. Krishnamurthy, however, had achieved enough of a reputation that other filmmakers and musicians were eager to work with her.

ANAND BAKSHI... 'The great Indian Poet'

Anand Bakshi was born in Rawalpindi, now in Pakistan, on 21 July 1930.
Before he established himself as a Lyrics writer for Hindi film songs, he served for 2 years in the Royal Indian Navy, (Karachi) and after partition he served 6 years in the Indian Army, based at Jubbalpore, with The Corps of Signals, and later with the E.M.E. , Infantry.

His first published poem appeared in an Army publication, “Sainik Samachar”, and this boosted his morale and gave him confidence to try in Hindi films. (Later on, in the late 90’s, he even wrote a special song for the Indian Military Academy, Dehra Dhun. He even wrote a song for the Corps of Signals, on their invitation. After his death, the Corps of Signals established a “Bakshi Corner” in their Corps Museum.)

He got his real big breakthroughs in 1965 with "Himalay Ki God Mein", and a huge breakthrough again in 1965 with the super hit film "Jab Jab Phool Khile", starring Shashi Kapoor; and once again in 1967 with the super hit movie "Milan" (starring Sunil Dutt). With these two very big successful films, he got the opportunity to write for all star music composers and Producers and Directors, in Indian cinema.

Anand Bakshi’s association in Hindi films with film Music Composers include appox 300 films with Laxmikant & Pyarelal, 97 films with R D Burman, 31 with Kalyanji & Anandji, 26 with Anu Malik, 17 with Rajesh Roshan ans his songs have been sung by singers like Shamshad Begam, Khursheed Bawra, Amirbai Karnataki, Bhushan & Party, Sudha Malhotra and more

he established himself as a versatile lyricist with the song Dum Maro Dum in the movie Hare Rama Hare Krishna (1972).

After this, he wrote memorable lyrics in many movies including Bobby and Amar Prem (1971), Jeena Ki Raah Jitender, Meera Gao Mera Desh Dharmendra, Aye Din Bahar Ke, Aaya Sawan Jhoom Ke, Seeta Aur Geeta Hema Malini, Sholay (1975), Dharam Veer, , Kalicharan, Vishvanath, , Nagina, Mr. India, Hum(1991), Mohra (1994), Dilwale Dulhania Le Jayenge (1995), Heer-Ranjha, Taal (1998), Mohabbatein (2000), Gadar: Ek Prem Katha (2001) and Yaadein (2001).

Bakshi received 40 Filmfare Award nominations, and won four Filmfare awards as best lyricist. The songs awarded the Filmfare award were:

• Aadmi Musafir Hain in Apnapan (1977)
• Tere Mere Beech in Ek Duuje Ke Liye (1981)
• Tujhe Dekha in Dilwale Dulhania Le Jayenge (1995)
• Ishq Bina in Taal (1999).

 

Alka Yagnik.... the uttaradhikari of LATA MANGESHKAR

Alka Yagnik (born March 20, 1966 in Kolkata, West Bengal, India) is an Indian singer who is ranked among the best-known Hindi playback singers of all time. She is a seven-time winner of the Filmfare Best Female Playback Award and has done playback singing for over 700 Indian films.

Alka Yagnik is classically trained and has been one of the leading playback singers in Bollywood since the late 1980's. She began singing bhajans for Calcutta Radio at the age of six. Her first song was for the film Payal Ki Jhankaar in (1979), followed by Laawaris (1981) with the hit song "Mere Angene Mein", followed by the film Hamari Bahu Alka (1982). She got her big break with the song "Ek Do Teen" from the film Tezaab (1988). The song turned her into a star overnight and went on to become a pop hit, also winning her a Filmfare Best Female Playback Award. Qayamat Se Qayamat Tak was also a career maker for her, as she along with Udit Narayan became household names.

In addition, she has been the number one choice for film songs due to the versatility of her voice, in which more film heroines have requested her voice be dubbed over their performance.

Filmfare Awards

• 1988 - Best Female Playback for "Ek Do Teen" for the film Tezaab
• 1993 - Best Female Playback for "Choli Ke Peeche" for the film Khalnayak (shared with Ila Arun)
• 1997 - Best Female Playback for "Zara Tasweer Se Tu" for the film Pardes
• 1999 - Best Female Playback for "Taal Se Taal" for the film Taal
• 2000 - Best Female Playback for "Dil Ne Yeh Kaha Hai Dil Se" for the film Dhadkan
• 2001 - Best Female Playback for "O Re Chhori" for the film Lagaan
• 2004 - Best Female Playback for "Hum Tum" for the film Hum Tum

National Film Awards

• 1994 - Silver Lotus Award for "Ghoongat Ki Aad Se" for the film Hum Hain Rahi Pyar Ke
• 1999 - Silver Lotus Award for "Kuch Kuch Hota Hai" for the film Kuch Kuch Hota Hai

Intersting Nominations

Best Playback Singer - Female for: Laawaris (1981) for the song "Mere Angne mein"