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Rafi Madanmohan Night in Kolkata.

Rafi Madanmohan Night in Kolkata.

To mark music icon Rafi Sahab's, 30th death anniversary, the Rafi Lovers Circle conferred their 6th Mohammed Rafi Award 2010, posthumously, to honour music composer Madan Mohanji, an an event in Kolkata on Sunday, 1st Aug 2010, at The Satyajit Ray Auditorium, Indian Council of Cultural Relations, in Kolkata.

Rafi Sahab, the undisputed music icon and Madanji the legendary composer, created many memorable melodies together....many of them will be remembered forever. Titled Remembering Madan Mohan with Sanjeev Kohli, the concert opened with a video clip of 31st July, 1980, and then panned to some stunnings footage showing Rafi Sahab live, including him singing a few uncommon songs in his inimitable style. Seasoned RLC singers also chipped in with some vintage melodies like Aap ke pehlu mein aa kar ro diye, Ek haseen shaam ko dil mera kho gaya, Yun rootho na haseena meri jaan pe ban aaege, Zameen se hamein aasman tak, Ye maana meri jaan mohabbat saza hai, Rang aur noor ki baraat kise pesh karoon, Main Nigahen tere chehre se hatau kaise, and Tere paas aake mera waqt guzar jata hai.

Preceding the Award presentation, was the screening of a 20 minute exclusive Film Meri Awaaz Suno conceived and produced by by Madanji's illustrious eldest son Mr Sanjeev Kohli, the erstwhile GM of HMV ( EMI India ) and the creator of the popular HMV / Sa Re Ga Ma music Cd's and Cassettes. in the Legends, Golden Collections, Revivals and Anmol Ratan . Connoisseurs of Hindi film sangeet will recognise this as a veritable treasury of timeless music and evergreen songs.

The Rafi Lovers Circle headed by Founder President, Ruhi Khan, instated this award from 2005, and awards it to a music personality who has worked closely with Rafi Saab. Earlier receipients have included composers Ravi and Omi ( of Sonik- Omi ), Singers Sharda, Mubarak Begum and a postumous honour for Mahendra Kapoor, recived by his son Ruhan Kapoor. Considering the fact that Rafi Saab worked closely with Madanji from his 1st film Ankhen to his last unfinished work, Laila Majnu, it was indeed an ardous task of honouring these stalwarts with dignity and honour. The committee rose as one and very soon the 6th Mohammed Rafi Memorial Award
was being recived by Mr Sanjeev Kohli.

Post award, Sanjeev ji spoke from the heart about the recognition denied to Madanji both by the industry - Not a single Filmfare Award -inspite of a string of chart busters, and also from the Govt of India, who did not honour Madanji even with a Padma Shri, perhaps because he was an upright honest man who refused to pamper the egos of the decision makers. He pleaded to music lovers to always give good music composer, or singer his due during his lifetime. He said he was very happty to be in Kolkata with his son, Akshay Kohli and was delighted to receive the award on his behalf of his father, who passed away at the young age of 51. He thanked the circle President for inviting him to Kolkata and requested all music lovers in the audience to support organisations like Rafi Lovers Circle, who are constantly making an endeavour to revive / recreate that golden songs of yesteryears.

The evening ended with a soft ballad wafting in the background, an ode to the titans.
The title number, from the unreleased collection of Madanji songs all in 1 cd / casste, tiltled Tere Baghair.
..........Kaise Kategi Zindagi, Tere Baghair, Tere Baghair.
The awaaz, unmistakeably Mohammed Rafi Saheb.
The music, Madan Mohan Sb all the way,

Hashim Khan
Convenor

Happy birthday to Sunil Dutt.

Happy birthday to Sunil Dutt.

The viewers wish happy birthday to Sunil Dutt on 6th June, 2010. He died few years back, but yet his impressive work is still alive in the minds of the viewers.

Sunil Dutt rose to stardom after his brilliant performance in Mehboob Khan’s classic film Mother India in 1957. He played the role of the son of Nargis Dutt who struggled to rear up her two sons after her husband Raj Kumar’s death. Nargis Dutt married Sunil Dutt in real life after the film. In the 60s Sunil Dutt acted in musical blockbusters like Hindustani. All the songs in the film became hit including Mukesh’s song “hum Hindustani”. He acted in Bimal Roy’s film Sujata opposite Nutan and gave good lips in Talat Mehmood’s song “jalte hai jiske liye”.

His film Mera Saya directed by Raj Khosla bewildered the viewers in the mid-60s. His wife Sadhna died and her sister was used by Prem Chopra to frighten Sunil Dutt. Sunil Dutt gave good lips in Rafi’s song “aapke pehlu me aakar” composed by Madanmohan. In the film Chirag, Rafi’s song “teri aankhon ke siva duniya me rakha kya hai” composed by Madanmohan had flabbergasted the audience in the late 60s and added popularity for Sunil Dutt. Madanmohan’s music in Sunil Dutt’s film Ghazal was equally impressive. Rafi’s song “rang aur nor ki barat” was one of the most landmark ghazals of the 60s.

Sunil Dutt did a great in BR Chopra’s films like Gumraah, Humraaz and Waqt. In all these films the music was composed by Ravi and Mahendra Kapoor sung landmark songs for Sunil Dutt including “chalo ekbar phir se”. From the early 70s, Sunil Dutt switched on to action films like Zakhmee, Pran Jaye Par Vachan Na Jaye, Nagin, etc., most of which were successful.

In the 80s, Sunil Dutt acted in the role of the elder brother of Shashi Kapoor and Big B in Ramesh Sippy’s film Shaan. He was an honest police officer, who was killed by Kulbhushan Kharbanda in the film. His other successful films during that time included Dard Ka Rishta which was related to cancer, the disease with which Nargis Dutt died in early 80s.

Sunil Dutt became MP a number of times and done a lot of social work for India. He was shocked when his son Sanjay Dutt got arrested in TADA case and ill-treated in prison. He produced films for his son like Rockey. He acted in the successful film of his son Lage Raho Munnabhai in a guest role.

The viewers remember Sunil Dutt and expect restoration of his great works that spread over 50s years.

Suman Kalyanpur and Rafi's duets did not get publicity.

Suman Kalyanpur and Rafi’s duets did not get publicity.

The media during the last 60s years had been too kind towards some of the celebrities while remained silent about the others. For example during the golden age 50s, 60s and 70s, other than Lata and Rafi there were other combinations who had given everlasting hits.

Lata Mangeshkar always got the focus of attention and as such her duets with Rafi which covers more than 440 in number always stole the attention. Yet Suman Kalyanpur during the same age of competition had sung almost 170 duets with Rafi most of which became super hit, yet could not get the lime light which they deserved.

The song “ajahu na aye balma” from Saanjh Aur Sawera, picturised on Mehmood and Subha Khote and composed by Shankar Jaikishan showed the compatibility of Rafi with Suman Kalyanpur in classical songs. Rafi could adapt his style of singing with any singer. But Suman Kalyanpur also did a great job with the giant. The song “dil-e-betaab ko seene se lagana hoga” from the film Palki, picturised on Rajender Kumar and Wahida Rehman and composed by Naushad had the ghazal andaz embedded in them and Suman Kalyanpur was unblemmish aside Rafi.

SJ used the same Suman Kalyanpur aside Rafi in fast numbers like “aaj kal tere mere pyar ke charche” from Brahmchari picturised on Shammi Kapoor and Mumtaz, “dil use do jo jaan de de” picturised on Shammi Kapoor and Hema Malini in the film Andaz. The biggest tragedy is that the songs did great business and the films became super hit, yet the message relating to Rafi’s combination with Suman Kalyanpur did not reach most of the viewers and the media too did not play a neutral role in that aspect. Half of the people thought the duets were sung by Rafi and Lata as Suman Kalyanpur’s singing style matched with that of Lata.

Khayyam’s composition “thereiye hosh me aaloon to chale jayiega” from the film Mohabbat is ko kehte hai” picturised on Shashi Kapoor and Nanda had another romantic number of Rafi and Suman. Madan Mohan’s tune “baad muddat se yeh ghari aye” sung by Rafi and Suman stunned many listeners of ghazals, as the urdu words were pronounced in style in the film Jahan –ara. Bharat Bhushan and Mala Sinha were sublime in the film. Rafi as usual was unblemish in respect of ghazals. But Suman too had adapted her style of singing which suited the songs of the Mughal period.

Even the fast numbers composed by LP like “tumse o haseena” sung by Rafi and Suman did not get the hype of media which it deserved inspite of Farz ending up as a run away hit of Jeetender. Roshan’s meritorious composition like “maine aye jaane wafa” from the film Bedaag, “chand takda hai idhar” from the film Doojh Ka Chaand remained unnoticed.

Besides there were other hits like “parbaton ke paron par sham ka basera hai” from the film Shagun composed by Khayyam, “tumne pukara aur hum chale aye” from the film Raj Kumar composed by Shankar Jaikishan, “dil ek mandir hai” from the film Dil Ek Mandir composed by Shankar Jaikishan, “tujhe dekha tujhe chaha” from the film Choti Si Mulakat composed by Shankar Jaikishan, “tujhe pyar karte karte” from the film April Fool composed by Shankar Jaikishan, “mujhe yeh phool na den” from the film Ghazal composed by Madan Mohan.

The factor of Suman Kalyanpur being chosen to sing duets with legendary Rafi Sahab by giant composers like Shankar Jaikishan, Naushad, Madan Mohan, Khayyam, Laxmikant Pyarellal, Kalyanji Anandji, proved another fact that she was not any particular composer’s singer. She did a great job with Rafi, but due to passive attitude of the media the songs got recognition with no information relating to the singer. Even in many films when the names of the singers were written Suman Kalyanpur’s name was mentioned at the end without any particular reason for it.

Rafi had proved in his entire life that he was a greater human being than a singer. That was the reason why he could match his singing style with any fellow female artist including Lata, Geeta Dutt, Sumna Kalyanpur, Sharda, Mubarak Begum, Asha Bhosle, Shamshad Begum, and others.

His combination with Suman Kalyanpur should be preserved and restored.

The nation remembers Rafi on his death anniversary.

The nation remembers Rafi on his death anniversary.

The nation remembers Mohammad Rafi on his death anniversary on 31st july, 2009. It was a very painful experience for most of the music lovers of India and abroad to recollect the experience of 31st July, 1980. 29 years had passed since his death and yet time could not heal the wound inflicted in the hearts of numerous music lovers of the country.

He is still alive in the hearts of millions of Indians with his 26000 songs. He had given expression to almost all the leading stars of bollywood and also the poets and composers of the golden age. He had created such an invaluable treasure of songs most of which can be termed as masterpieces, that the listeners can cherish his work for ever.

Admirers of Naushad can hear Rafi’s “do sitaron ka zameen par hai Milan”, “man tarpat”, “koi sagar dil ko behlata nahi”, “ek shahenshahne banwake haseen tajmahal” thousand times, admirers of Shankar Jaikishan search Rafi in “o mere shahekhuba”, “chalke teri ankhose”, “ehsaan tera hoga mujhpar”, etc., admirers of Roshan find peace in Rafi’s “jo wada kiya ho”, “dil jo na keh saka”, “ab kya misaal doon”, “man re”, etc., admirers of Madan Mohan hear “tumhari zulfonki saye me”, “aap ke pehlu me”, “baad muddat key eh ghari aye”, etc., again and again. Besides Rafi had galvanized the fortunes of Laxmikant Pyarellal, OP Nayyar, SD Burman, Kalyanji Anandji, RD Burman and many other composers of the 50s, 60s, 70s. Articles after articles can be devoted to Rafi’s combination with the musical giants.

On the other hand Rafi had raised the standard of playback singing in the golden age which had become a benchmark which is difficult reach but can be followed by singers of the present day. Rafi had given different types of expressions for Dilip Kumar (madhuban me radhika, aaj purani rahon par), Shammi Kapoor (akele akele, diwana hua badal), Rajender Kumar (mere mehboob tujhe, o priya), Johnny Walker (ay dil mushkil, jangal me mor nacha), Pradeep Kumar (dil jo na keh saka, hum intezar karenge), Guru Dutt (chaudavi ka chand, yeh mahalon), Biswajeet (pukarta chala hoon mai, a gale lag ja) Bharat Bhushan (zindagi bhar nahi, kisiki yaad me), Joy Mukherjee (bahut shukriya, japan love in tokyo, Dharmender (naja kabhi ab na ja, gair tum bhula na doge), Jeetender (dhal gaya din, baar baar din yeh aye) and others. Rafi’s combination with these evergreen stars had been glorified and is still being revisited.

In respect of Rafi lovers all across the world, there is one big challenge to unearth many unheard songs including Rafi’s private albums. A number of songs sung in the regional languages had been preserved, including Bengali songs like songs of Nazrul Islam. Songs like “alga korogo khopar badhon”, “pakhitar buke”, “ekhono biday bolona”, “tomar nil dopati chok”, “e jibone mor”, amused the Bengali audience as well.

The playback singers of the present age like Sonu Nigam, Udit Narayan and others pay immense respect to Mohammad Rafi and still consider him as the legend of legends in the field of music. Sonu Nigam in the program Mohammad Rafi resurrected tried to sing Rafi’s classics in Europe. The listeners realized that the singing of versatile singer Sonu Nigam even could not match Rafi’s level of excellence and as such most of his songs can challenge the leading singers of India and Pakistan even today. With change in demands of music at this present moment with pop, rap, western collections becoming prevalent, Rafi is probably the only legend of the 50s, 60s, and 70s whose songs had still remained young.

The listeners should revisit the songs of Rafi and restore the creations to pay homage to the noble soul who departed the music -lovers 29 years ago.

Remembering Sanjeev Kumar on 9th July, 2009.

Remembering Sanjeev Kumar on 9th July, 2009.

The viewers of bollywood films would remember Sanjeev Kumar on his birthday on 9th July, 2009. He was one of most gifted actors that bollywood films had produced and still remains immortal in his memorable works. He was sublime in the role of a deaf and dumb character in Gulzar’s film Koshish. He received national award for his brilliant performance and also inspired Jaya Bacchan to reach the same level of excellence in the film.

In Sholay he played the epic role of Thakur of north Indian village. His personality in the film amazed the Indian viewers and many aspects he superseded Dharmender and Big in the same film where they were sublime. His personality matched the cruel instincts of Amzad Khan in the role of Gabbar Singh in the same film. Again his role in the film Aandhi opposite Suchitra Sen in 1975, showed his softer side. He could feel the emotions of his wife who was a popular political leader but was corned by many members of the opposition. He received filmfare award for best actor in 1975 for his epic performance in Aandhi.

Gulzar probably had made the best use of the versatile actor. His role in the film Mausam was full of reflections. He recollected his past experience with Sharmila Tagore when his car ascended the roads to his destination in Darjeeling. Bhupinder Singh’s song “dil dhoonta hai phir wohi fursat ke raat din” written by Gulzar and composed by Madan Mohan matched him ideally. Probably Bhupinder Singh’s deep voice suited Sanjeev Kumar better than no other actor in bollywood . He gave elegant lips in the film Parichay in the song “bite na bitai rehna”.

Besides, Sanjeev Kumar kept his mark in comedy films like Seeta Aur Geeta opposite Hema Malini, also Angoor opposite Moushumi Chatterji. He was sublime also in films like Satyakam and Shikar. Critics argue that he was the most versatile actor after Dilip Kumar and Balraj Sahani and he showed his variation in films like Naya Din Nayi Raat. All the nine roles were different and Sanjeev Kumar treated each of the them with separate andaz. His role in Khilouna showed the characteristics of a mad person and was worth mentioning. He gave elegant lips in Rafi’s song “khilouna jaan kar mujhko”.

The works of Sanjeev Kumar should be preserved and actors of the new generation learn from his versatile performances.

Madanmohan and Rafi

Rafi’s pleasant memories with Madanmohan.

If any composer had utilised the ghazal andaz of Mohammad Rafi to the best of his potentiality it is Madanmohan whose name appears in the minds of the lovers of music across the nation. Madanmohan’s father Rai Bahadur chunnilal send his son to Dehradun to join the army. Instead he left the army and joined All India Radio in Lucknow. He came in contact with Ustad Faizz Khan, Ustad Ali Akbar Khan and carried on their legacy in the compositions he made for 30 years which can be classified as masterpieces.

As Madanmohan was not associated with the Big Banners like RK or Navketan, he was not categorised with any star of bollywood during 50s, 60s, 70s. Further he never wanted to balance the popular test of music and excellent class of classical compositions he created. But the compositions were so rich in lyrics and tunes that the musical pandits had no way but to admire them.

The golden age of bollywood music was categorised with the excellence of Mohammad Rafi and as such if any composer neglected Rafi and tried to reach the summit of popularity they have invited their own downfall. Madanmohan did not make such a mistake. He started his career with the film Ankhen in 1950. He also composed music for Raj Kapoor’s film Ashiana in 1952. His notable songs for Rafi in the film Railway Platform, 1956, include “basti basti parbat parbat”. In Gateway of India, 1957, Madanmohan used Mohammad Rafi for the song “do ghari woh jo pass aa baithe” picturised on Bharatbhushan. It was very successful and strengthened the everlasting bond of Rafi with Madanmohan. Rafi’s intoxicating appeal in the song “kabhi na khabhi kahin na kahin koi na koi toi ayega” in the film Sharabi, 1964, composed by Madanmohan can be classified one of the best songs in sombre mood.

The most majestic ghazals of Rafi composed by Madanmohan include “kisiki yaad me apnako hai bhulaye huye” and “baad muddat ke yeh ghari ayi” from the film Jahan ara, 1964, picturised on Bharat Bhushan. Talat Mehmood’s song in the same film “phir wohi sham wohi gham wohi tanhai hai” was also based on ghazal andaz. The classic lyrics were written by Rajinder Kishan. The film titled Ghazal, in 1964, was based on ghazals and Rafi was outstanding by every standard in the song “rang aur noor ki baraat kise pesh karun.” In the same year Rafi’s patriotic flavour was bolstered in the song “kar chale hum fida jan-o-tan sathiyon” in the film Haqeeqat, where Rafi’s ghazal titled “hoke majboor usne bulaya hoga” shared with Bhupinder Singh, Manna Dey and Talat Mehmood was sensational.[1] The majestic lyrics were written by Kaifi Azmi. In the film Neela Akash, 1965, picturised on Dharmender, Rafi’s song “akhri geet muhobbat ka sunayun to chalun” showed the tragic note of Madanmohan. In the film Need Hamari Khwab Tumkhari, all the songs were sung by Rafi including “husn ne jab isq se takraya tha”.

Returning back to ghazals, Rafi’s song “aap ke pehlu me akar” in the film Mera Saya, 1966, was as outstanding as Lata’s title song “tu jahan jahan chalega mera saya saath hoga”. The lyrics were written by Raja Mehendi Ali Kahan. Raj Khosla’s crime thriller ended up becoming a musical blockbuster just like Woh Kaun Thi, in 1964, where Madanmohan’s composition “naina barse,” “lagja gale”, etc. for Lata Mangeshkar was probably the most immortal creation in the history of film music, with Sadhna giving life time performances in ghostly characters in both these films.

The landmark ghazal “tumhari zulf ke saye me sham karlunga” in the film Naunihal, in 1967, is probably one of the five best ghazals Rafi did sing in his life. Experts in music realise that ages will pass, but no second singer can provide blood and flesh in the superlative ghazal of Madanmohan the way Rafi had done in this song. Kaifi Azmi has written sensational lyrics for the abovementioned song. People started thinking that Rafi and Madanmohan were made for each other. The belief was put to action in the next film Dulhan Ek raat ki, in 1967, picturised on Dharmender in the song “ek haseen sham ko dil mera kho gaya. In the film Chirag, 1969, “teri aakhon ke siwa duniya me rakkha kya hai” Madanmohan combined ghazal with light orchestration to try to inspire the common listeners in understanding these type of songs.

In the film Heer Ranjha, 1971, picturised on Rajkumar, Rafi’s song “yeh duniya yeh mehfil” was well acclaimed by music lovers. Rafi was outstanding by every standard in the song “tum jo mil gaye ho” in the film Hanste Zakhm, 1973, where Madanmohan synchronised lightning with his own orchestration. Madanmohan also gave a tremendous break to Bhupinder Singh in the song “dil dhoonta hai, phir wohi, fursat ke raat din” written by Gulzar in Sanjeev Kumar’s Mausam in 1975. Rafi had the song “chari re chari kaise gale me pari.”

Madanmohan’s last performance with Jaidev brought out Rafi’s Himalayan range in the film Laila Majnu in 1977. Rafi’s songs “tere dar pe aya hoon,” “barbad muhobat ka duya saath liye ja”, picturised on Rishi Kapoor showed his master spirit of adapting to tunes of middle east which was the geographical location where the story was based. Madanmohan died in 1975, without even seeing the success of Laila Majnu, it appeared like out of seven sur in every octave one sur had gone, because, the majestic combination of Madanmohan with Rafi cannot be forgotten through ages. Rafi’s archive should restore Madanmohan’s combination to let the next generation know about the high esteem with which Madanmohan addressed Mohammad Rafi during the golden age of film music.

[1] Bhupinder Singh was a great admirer of Rafi. In his interview in DD India, he said, he got a chance of acting and singing in the film Haqeekat and he was supposed to share the microphone with another singer for the song “hoke majboor usne bulaya hoga.” He chose Mohammad Rafi to share the microphone with and as he was taller than Rafi, Rafi was given a tool to balance the voices. Manna Dey and Talat Mehmood shared the other microphone.

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