Baiju Bawra
Amir Khan, D. V. Paluskar, Lata Mangeshkar, Mohd. Rafi, Shamshad Begum, Chorus, D V Paluskar
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| Total: 12 Songs |
Customer Reviews
A tribute to legendary Naushad (25 Dec 1919 - 05 May 2006)
This was one of the most successful soundtracks created by the legendary music directory Naushad Ali. This review is in the honor of the great soul who left us today. MUMBAI: A non-compromising votary of the traditional Indian music, veteran music composer Naushad Ali who died on Friday was fondly remembered by the film fraternity as a champion of the country's composite culture. Known for his aversion to the fast-catching 'remix culture', Naushad was a master proponent of the Indian classical music in Hindi films in the 40s and 50s, when the movie industry was at a nascent stage, they said. Javed Akhtar "He was not just a music director, but a symbol of composite culture of the country, who brought dignity, class and refinement to the Indian film music, lyricist and noted script writer Javed Akhtar said. He said Naushad's contribution to the film industry has been awesome. "For years Naushad was the name of Indian film music....We will always remember him with great respect and reverence," he added. Mahesh Bhatt Renowned director Mahesh Bhatt said 86-year-old Naushad was a "symbol of secular India, a man who really lived out what the composite culture was all about in his daily life. His music has a resonance of that composite culture." "When he composed Bhajans it seemed he was a devout Hindu. He had the depth of India and the great civilisation really ran through his veins," he said and recollected that Naushad was heartbroken when the secular fabric of the nation was torn apart during communal riots. Naushad was saddened when the quality of the Indian music deteriorated due to mindless imitation of the West and he used to say that "we must change with the changing times, but should not lose connection with the roots," Bhatt said. Lata Mangeshkar Remembering Naushad, melody queen Lata Mangeshkar said he used to experiment a lot with his music in his films and not only gave new faces a chance but also guided them in shaping their career. "Naushad launched Uma Devi with the hit song afsana likh rahi hoon and later advised her to make a career in films and re-christened her Tuntun, who went on to become very popular as a comedy artist," she said. He predominantly used classical music in his films but the compositions were relatively simple so that the common man could understand and enjoy them, she said. Uttam Singh Music composer Uttam Singh said with Naushad's death curtains have come down on a generation of classical music in film industry. "He was a complete institution in classical music...His last work in Akbar Khan's Taj Mahal is a hit", he said adding Naushad's death was a personal loss to him. Saira Banu Noted actress of yesteryears, Saira Banu said she and her husband Dilip Kumar shared a lovely friendship with Naushad. "We were expecting to take him to Pakistan where two of his classics Taj Mahal and Mughal-e-Azam are being released," she added. Dilip Kumar In Mumbai, thespian Dilip Kumar described Naushad as "a very noble and delightful man" who contributed immensely to the Indian film industry and classical music. "He was very close to me. Unfortunately he was not keeping in good health in the recent past," he told reporters. "Part of Naushad's family was in the US and others were here in India and they took good care of him, providing him treatment by the best doctors in the US and India," he said. Asked if films like Mughal-e-Azam would have been possible without Naushad's music, Dilip Kumar replied in the negative. Pandit Shivkumar Sharma Santoor maestro Pandit Shivkumar Sharma, who visited the late music director's residence in Mumbai to pay his tributes, said, "Naushad was unique in every way. He used western instruments to score music but gave it a Hindustani touch." Source: ToI, 05 May 2006 HPR: 05 May 2006
Music Mughal
On Christmas Day, 2005, Naushad Ali completed a melodic 86. It was in 1940 that Premnagar, his first film, hit the cinema halls, but his mystique hasn’t dimmed – not even when his music went out-of-sync with trends from the late ’60s. Naushad’s name has since acquired a hallowed status, his compositions the burnished gloss of objets d’art that only become more lustrous with time. Honours and awards (from the Dadasaheb Phalke trophy downwards) at home and abroad have added their weight to a distinguished career.  Says Naushad, “It is sad that my music for Taj Mahal – An Eternal Love Story did not get its due from the media and award juries. But the Prime Minister himself wrote me a congratulatory letter, which was like an award! Give me a good subject and a free hand and I would love to work on a film. A respected music critic wanted to know why I gave high-quality music in Taj Mahal when I had not been true-to-form since the ’70s. How could I when the working environment had not been conducive to good work? This time there was no compromise and the results reflected this!” Ever the aficionado of Indian raags and folk, Naushad goes on, “I have nothing against Western music. I was the first to record with a 100-piece orchestra for Aan 54 years ago. Their instruments have variety and there is precision in their notations. But I was not playing the foxtrot or the disco with them! You can play a raag too on a violin. Their music is scientifically precise. And our music is no less scientific. Our 12 surs are related to a 24-hour cycle, as are our raags. The 12 notes are also related to the body and mind. At a place called Reno in USA, there is a music therapy center where our music has shown terrific healing powers. Before he sang for me in Mughal-e-Azam, Ustad Bade Ghulam Ali Khan developed one-sided paralysis of the body and had cured himself completely by playing Raag Purva-Dhanashree with his normal right arm!” He adds, “We are from the land of Krishna and Shiva, from an integrated and infinitely vast treasury of poetry and raag-raaginiyaan. The synthesizer and keyboard have made our traditional musicians and their children die of poverty. One jal-tarang player even uses his instruments as katoris for meals, and they forbid their children to learn, say, a tabla. Accomplished musicians of the pakhawaj, taasha, saranga and shehnai are rare. It is even difficult to get these instruments in shops and very soon we will find them only in museums at this rate. Our government should take urgent steps to search the nooks of the nation for rare instruments and musicians, give them roti and makaan, keep them on their payroll and conserve our culture like we are conserving wildlife.” But then Naushad has always been passion incarnate. The Maharashtra government has granted him prime land to set up an institute that will do just that. Another selfless mission that this legend has taken up for many years now is his fight for the intellectual rights of music directors and lyricists that successfully motivated the Indian Performing Rights’ Society (IPRS) to give the overseas (apart from domestic) royalties to these creators or their families and descendants. “It is satisfying to know that inn paison se kitne ghar chal rahe hain!’ he says with justified pride. Excellent technician Naushad has always been a first-rate technician, as his associates will testify. Way back in the ’40s, he ordered the sound engineer to devise an echo effect for a girl singing in the mountains by placing microphones at different heights so that they would pick up progressively less of the voice as a kind of primitive four-track recording for the film Rattan. When only one microphone was being used for both singers and musicians then, he used separate ‘mikes’ and became the first Indian composer to mix vocal and instrumental tracks. He even packed his regular recording studio with metal roofs with old blankets to prevent the metallic reverberation and used this technique for almost a decade till soundproofing was developed! “But my greatest challenge,” says the composer, “came with the new version of Mughal-e-Azam. We had to add a new yet authentic stereophonic music track to the original voices of Lata Mangeshkar, Mohammed Rafi and Shamshad Begum, and to the background score. “In those days the film and the entire audio would be on one track in the film reel and could not be separated. When we had recorded the original music, there was no click-track that gave the rhythm, and we had to make a new click-track for every change of beat for the musicians. The synchronization had to be to the split-second because the stereo effect had to be generated by an additional track.” It was six months of very hard work, and it is this that affected his health because “we would often work day and night since we had brought in 40 string musicians from the South and budgets had to be kept within limits!”
Biography
Born: April, 1912 in Kalanaur, India
Genre: World
Years Active: '50s, '60s
Top Albums and Songs By Amir Khan
| Name | Album | Time | Price | ||
|---|---|---|---|---|---|
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1 |
Bachpan Ki Mohabbat | Baiju Bawra | 3:30 | $0.99 | View In iTunes |
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2 |
O Duniya Ke Rakhwale | Baiju Bawra | 5:28 | $0.99 | View In iTunes |
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3 |
Mohe Bhool Gaye | Baiju Bawra | 4:17 | $0.99 | View In iTunes |
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4 |
Tu Ganga Ki Mauj | Baiju Bawra | 4:51 | $0.99 | View In iTunes |
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5 |
Man Tarpat Hari Darsan | Baiju Bawra | 5:03 | $0.99 | View In iTunes |
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6 |
Nain Se Nain | Jhanak Jhanak Payal Baje | 5:36 | $0.99 | View In iTunes |
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7 |
Door Koi Gaye | Baiju Bawra | 3:40 | $0.99 | View In iTunes |
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8 |
Aaj Gawat Man Mero | Baiju Bawra | 3:43 | $0.99 | View In iTunes |
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9 |
Jhanak Jhanak Payal | Jhanak Jhanak Payal Baje | 2:53 | $0.99 | View In iTunes |
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10 |
Murli Manohar | Jhanak Jhanak Payal Baje | 5:11 | $0.99 | View In iTunes |
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