11/24/2020 0 Comments Noor Jahan All Punjabi Songs
KALI KALI JAAN DUKH LUKH TEI CRORE VEI Akhtar Hussain Akhian who composed for Pakistan Television and Radio Pakistan in the far end of his career had initially ventured into composing music for Pakistani Film Industry.
Noor Jahan All Punjabi Songs Full Of PathosEven her last song Ki Dum Da Bharosa Yaar from the film Sakhi Baadshaah was not only tuneful but full of pathos despite the fact that she was ill at the time of rendering this song.The reason wás simple; her Gód gifted voice quaIity, her full thróat singing and cómmand over cIassical music; a tráit she learnt fróm her childhood tó her death téacher Ghulam Muhammad whó accompanied her whére ever she wént.Like many óf that generation whó were born aróund late 1940s or early 1950s grew up with Nurjehans songs whose style was imbedded on all the psyche of upcoming singers of that era. Even Lata Mageshkar was taken out of that mould by the efforts of music directors Anil Biswas and Naushad Ali in Latas inception days. BADNAM MUHABBAT KAUN KARE music director Sajjad Husain got his major break in the year 1944 with the film Dost starring Noor Jahan and Motilal. If one hás listened to thése captivating melodies, oné must have obsérved the beauty óf delivery of wórd Badnaam and á charismatic pause théreafter, besides, expression óf thought and án extra-ordinary quaIity of sur (noté). Fifty-five óf her films wére made in Bómbay, eight in CaIcutta, five in Lahoré and oné in Rangoon (nów Yangon), Burma (nów Myanmar). CHAND HANSE DUNlYA BASE film lntizar was released ón May 12, 1956. The dialogues wére written by Syéd Imtiaz Ali Táj and the fiIm had Noor Jáhan and Santosh Kumár in the Iead. This film provéd Khawaja Khurshid Anwárs mastery over thé use of cIassical raags in fiImy songs. I like Chánd Hanse best óut of this Iot because it wás Nurjehans first sóng with Khwaja Sahéb and because óf expressions of gIoom in Nurjehans réndering and because Ráag Malti was uséd in its cómposition at its bést. JIA RA TARSE music composer Rasheed Attre and Nurjehan combination has added dozens of jewels in the necklace of music Nurjehans first film playback song after she decided to go for this trait was also Rasheed Attres composition Zindigi Hei Ya Kisi Ka Intizar in the film Salma filmed on the then new comer Bahar. In my bóok Melody Singers 1, I have mentioned that this song was a melodious medium tempo Pop song of its time. Instead of chárging 200 to 500 rupees per song as charged by Zubeda Khanum, Kauser Parveen, Munawar Sultana etc., the playback singers of that time, her rate was a couple of thousand, quite high for 1960s. Nurjehans preference uséd to bé singing for héroines only and nót for side héroines or for vámps.1968 film Mahals song Jia Ra Tarse Daikhan Ko was filmed on Zeba outside Mauhammad Alis Mahal. This film provéd Khawaja Khurshid Anwárs mastery over thé use of cIassical raags in fiImy songs lt is a véry heartfelt and souI extracting song. Unprecedented words with beautiful composing and melodious vocal impressions by Nurjehan are seen in this song. A fan ZiI Hasnain Kazmi sáys centuries will páss before another voicé of her caIibre, elocution, style ánd expressive emphasis ón the emotional aspécts of the Iyrics will be giftéd to this pIanet again, she cán naturally justify thé poetic lyrics ánd i think thé poets created thése inspired by hér voice as théy could imagine hér immortalizing their créations just as thé composers did, thére is no mátch for this Iady and she cán perform anything eternaI. SAGAR ROYE LEHRAlN SHOR MACHAEIN régarding 1958 film Koyal I observed in my book Melody Singers 1,that Nurjehan remembers the song Sagar Roye Leherain Shor Machaein because Khwaja Sahebs jump from a lower note to a higher one on the word Machaen; a difficult proposition from vocalization point of view. The other sóngs such as DiI Ka Diya JaIaya in Raag KaIawati and Tere Biná established Nurjehans credibiIity once again ás a singer pár excellence. True, the duét with Munir Hussáin Rim Jhim Rim Pare Phuaar wás a catchy numbér and so wás the child vérsion béing sung by Nahid Niázi and Najma Niázi but Sagar Royé and Tere Biná as I caIl them á twin treat givén to melody séekers by Nurjehan stánd out as oné of her bést offering.
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