Naushad Sahab Passed Away Options

[Inaam]

Just heard on the news, Naushad Sahab passed away!! Ah Sad news!!!

May Allah rest his soul in peace! Aamiin.

[imjagdish]

May his soul rest in peace.

[Inaam]

Music director Naushad is dead

Veteran music composer Naushad Ali died on Friday morning at his Bandra residence in Mumbai.

Over 87-year old Naushad, a Dadasaheb Phalke award winner, had not been keeping well for quite some time in the recent past, family sources said.

Naushad was regarded as one of the greatest music directors of Indian cinema. Since early childhood in Lucknow he was an avid listener to the live orchestras accompanying silent films.

He studied under Ustad Ghurbat Ali, Ustad Yusuf Ali and Ustad Babban Saheb. Before coming to Mumbai, he repaired harmoniums and composed for amateur theatricals such as the Windsor Music Entertainers.

Naushad Ali was born on December 25, 1919. He moved to Mumbai from Lucknow in the late 1930s to try his luck as a musician. After initial struggle, he enjoyed great success in the 1940s as a music director.

Naushad has the credit of introducing the famous Lata Mangeshkar and Mohammad Rafi to Hindi film music.

Naushad 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 dialogues through music.

But perhaps Naushad's greatest contribution was to bring Indian classical music into the film medium.

Prem Nagar (1940) was his first independent break but he first got noticed with Sharda (1942) wherein 13-year-old Suraiya did the playback for heroine Mehtab. It was Rattan (1944) that took Naushad right to the top and enabled him to charge Rs 25,000 a film then. Ankhiyaan Milake and Sawan ke Badalon became the most popular songs of the day.

However, his major hits include Mughal-e-Azam, Mother India and Baiju Bawra. Songs for his music have been mostly penned down by Shakeel Badayuni. In a sense, their partnership can be compared to that of Rodgers & Hammerstein's.

Naushad churned out hit after hit in the 1940s mainly in the films of AR Kardar - Shahjehan (1946), Dard (1947), Dillagi (1949), Dulari (1949) and Mehboob Khan - Anmol Ghadi (1946), Elaan (1947), Anoki Ada (1948), Andaaz (1949).

Source: http://www.hindustantimes.com/news/181_1691111,00110005.htm

[Inaam]

[aahat]

It is a great loss to the world muisc. May his soul rest in peace.

[rom]

The last stalwart from the dawn of the HFM departs - a sad news indeed.
May his soul find peace.

[balajigade]

Another pillar of Hindi film music has fallen. Really a loss to the music-loving masses of the yester years.

May his soul rest in piece.

--Balaji

[ChetanNaik]

May his soul rest in peace

Chetan

[august]

may his soul rest in peace...

when i heard this sad news, i was reminded of many of songs from various films.
ulajh gayo jiya mora naino ke jaal mein.. (jadoo)
tod diya dil mera.. ( andaz)
uthaye ja unke sitam (andaz)
khuda nigehban ho tumhara.. ( mughal-e-azam)
and many more gems..

[deep750]

indeed a great loss.
May his soul rest in peace

Legendary music composer Naushad passed away in the early hours of Friday morning at the age of 86. Born in December 1919, Naushad Ali is regarded as one of the greatest music directors of Indian Cinema. He studied under Ustad Ghurbat Ali, Ustad Yusuf Ali and Ustad Babban Saheb.

His last composition was for Akbar Khan’s Taj Mahal which was recently released in Pakistan. Incidentally the colored version of Mughal-e-Azam which also released across the border had music by the ace composer.

Naushad was awarded the Dadasaheb Phalke Award in 1981 for lifetime contribution to Indian cinema and also won the Filmfare award in 1954 for his music in Baiju Bawra.

indiafm

[kabir]

Naushad Ali is regarded as one of the greatest Music Directors of Indian Cinema. Since early childhood in Lucknow he was an avid listener to the live orchestras accompanying silent films. He studied under Ustad Ghurbat Ali, Ustad Yusuf Ali and Ustad Babban Saheb. Before coming to Bombay, he repaired harmoniums and composed for amateur theatricals such as the Windsor Music Entertainers.

He moved to Bombay in the late 1930s to try his luck as a musician but had to really struggle and saw days of acute deprivation. He even had to spend nights on the footpath before he worked as a pianist in composer Mushtaq Hussain's orchestra. He joined music director Khemchand Prakash (whom he considers his teacher) as his assistant.

Prem Nagar (1940) was his first Independent break but he first got noticed with Sharda (1942) wherein 13-year-old Suraiya did the playback for heroine Mehtab



may his soul rest in peace


i feel so bad ..............

[deep750]

Naushad Ali (25 December 1919 - 5 May 2006) was one of the foremost music composers of Bollywood.

Naushad moved to Bombay from Lucknow in the late 1930s to try his luck as a musician. After initial struggle, he enjoyed great success in the 1940s as a music director.

Naushad has the credit of introducing the famous Lata Mangeshkar and Mohd. Rafi to Hindi filmi music. Naushad's professional training in Hindustani music enabled him in swift adaptations of the Hindustani ragas to filmi music. He is by and large regarded as the ONLY exponent of the usage of Hindustani music in Hindi films. Late in his career, Naushad lamented upon the decreasing use of Hindustani genre and so he dreamt of starting a music school which teaches that genre. He has been quite successful in both bringing up the school and breeding young talent in that school.

His major hits include Mughal-e-Azam, Mother India and Baiju Bawra.

Songs for his music have been mostly penned down by Shakeel Badayuni. In a sense, their partnership can be compared to that of Rodgers & Hammerstein's.

His previous music composition was for the movie Taj Mahal—An Eternal Love Story, by Akhbar Khan 2005

Naushad was awarded the Dadasaheb Phalke Award 1981 for lifetime contribution to Indian cinema.

He passed away on 5 May 2006 at his residence in Mumbai.

wikipedia

[Pradeep]

Probably he will meet his dear friend, Rafi Sahab up in heaven. May he find peace.

[kamalamohanty]

NAUSHAD SAAB PASSED AWAY:

A news too difficult to digest for all the music lovers
of the world in general and India in particular.

Arguably, he was the greatest Music Composer of the Century.

May his soul rest in peace.

kamalamohanty

[unni]

Naushad-sahab was a young man, in his early 20's, when he recorded his tunes in the voice of K. L. Saigal. It is amazing that he was the one music-industry personality to have spanned almost 7 decades of HFM; his compositions have been sung by every major artiste. His whole life was a work in progress, and the last film for which he composed "Taj Mahal" was recently released.

He was personally instrumental in developing the singing careers of Mohd. Rafi and Lata Mangeshkar. He was to them, as well as to many a singer and film-producer, a friend, philosopher and guide. The fortunes of a collapsing production house were dramatically transformed by Naushad-sahab with his ideas for "Baiju Bawra". It was upon his advice that Uma Devi the singer could revive her career as Tun Tun the comedienne. He was one of the few people the reclusive Suraiya was in touch with. Just as he had been a confidante of a dying Madhubala.

Throughout his composing life, he never compromised on the quality of his music to concede to popular trends. He drew his inspiration from classical music and should be credited with having raised the level of film-music as well as music-appreciation among listeners. Naushad-sahab was known to accept only one or two composing assignments at a time, so that he could devote himself to creating his best.

In the 50's, "Music by Naushad" would appear prominently before the name of the film being advertised. The names of its leading stars would be listed below. The films sold on the strength of the Naushad name, the appeal of his tunes.

A gentleman to the core, he shied away from controversial topics when he penned his recollections in a series of articles (later compiled and published as an autobiographical output). He was not one to go off-note, even by word. Harmony ruled his speech and writing --- as in the tunes he wove.

Truly, he was The Last Titan.

May his soul rest in peace.



From "The Times of India":

Success had been a journey from footpath to studio for Naushad
Friday, May 05, 2006 04:20:59 pm PTI


MUMBAI: Regarded as one of the greatest music composers of Indian Cinema, Naushad's was literally a journey from the footpath to the recording studios.

Born Naushad Ali on the Christmas Day in 1919, he had spent several nights on the footpath after moving to Mumbai in late 1930s to try his luck as a musician.

The 86-year-old composer, who hailed from Lucknow, had cried when his film Baiju Bawra was premiered at the Broadway theatre in Mumbai.

When the producer the late Vijay Bhat asked why he was crying, Naushad told him that he was sleeping on the footpath opposite the theatre and had dreamt of seeing his music oriented films exhibited here. "It took me 16 long years to cross the footpath".

Naushad's forte was Hindustani Classical music. His professional training in Hindustani music enabled him in swift adaptations of the ragas into film music.

This led to his coming out with major hits including Mughal-e-Azam , Mother India and Baiju Bawra . Lata Mangeshkar, India's greatest playback singer, whom Naushad gave opportunity to sing in the early days, once remarked that the music he composed for Baiju Bawra surprised even her.

"It was entirely different from what he had done before. Different ragas were used for different situations and the purity of the ragas were maintained to the maximum possible extent", she had said.

Besides Lata, Naushad was also instrumental in introducing Mohammed Rafi to Hindi film music.

Naushad was awarded the Dadasaheb Phalke Aware in 1981 for lifetime contribution to Indian Cinema.

Naushad utilised the services of distinguished classical vocalists like Amir Khan and D V Paluskar in Baiju Bawra (1952) and Bade Ghulam Ali Khan in Mughal-e-Azam (1960) to telling effect.

After studying under Ustad Ghurbat Ali, Ustad Yusuf Ali and Ustad Babban Saheb, he repaired harmoniums and composed for amateur theatricals before coming to Mumbai. Since childhood, he was an avid listener to the live orchestras accompanying silent films. Parental pressure to wean him away from music compelled the future maestro to run away to Mumbai in search of his dream.

He assisted Khemchand Prakash, whom he considered as his teacher, for a few years and got his first break in Prem Nagar (1940).

He, however, first got noticed with Sharda (1942) wherein 13-year-old Suraiya did the playback for heroine Mehtab. It was Rattan (1944) that took Naushad to the top and enabled him to charge Rs 25,000 a film then.

Naushad's perennial classics also include Ganga-Jamuna (1961) and Mere Mehboob (1963). He completed Pakeezah (1972) after Ghulam Moahmmed's death and his latest music composition was for Taj Mahal - An Eternal Love Story, brought out by Akbar Khar last year.

It was reversal of fortunes for the living legend with the advent of the sixties and decline of Dilip Kumar. He used to compose music for most of the thespian's films.

Naushad churned out hits after hits in 1940s in films like Shahjahan, Dard, Dillagi, Dulari, Anokhi Ada, Barsaat and Andaaz . He composed music for 67 films during his career.

His classics include Pyar kiya to darna kya from Mughal-e-Azam , Duniya mein hum aaye hei to jeena hi padega from Mother India and Madhuban mein Radhika nache re from Kohinoor.

His last music composition was for the recently released Taj Mahal - An Eternal Love Story.

Naushad was the first to combine flute and clarionet, and sitar and the mandolin. He was also one of the first to introduce song mixing by separate recording of voice and music in playback singing.

The veteran music director was a sad man in his last years due to deterioration of standards in film music and the age of 'remixes' in which he felt lost. The change of scenario in the field of music had pained him as he was feeling "I am yet to give my best".

Alienated from the contemporary music, he had once lamented:
Pyaas meri jo bujhi hoti, Zindagi na phir zindagi hoti, mein pyasa hoon, pyaasa rahoonga .