[Jaimala was a popular Vividh Bharati program for “Fauji Bhai”s and the
Vishesh Jaimala used to be presented by a famous (usually film) personality.]

Although Rafi Sahab sang under the baton of almost all music directors of the
Hindi film industry, his association with Naushad was special. Naushad was
instrumental in grooming this highly talented singer, although he modestly says
that he “merely showed Rafi the right direction”.

Here’s the special Jaimala program which I have translated into English from
the original Urdu version. The beauty of Naushad’s refined Urdu is certainly
lost in the translation, but I hope you will enjoy reading what the legendary
music director has to say regarding Mohammed Rafi, the singer and the person.
Portions which cud not be translated properly have been left in the original
language. All errors in translation are mine.

The songs played in the program are included in “[….]”.

May Rafi Sahab’s soul rest in peace.

Sami Mohammed (A MOHAMMED RAFI fan)

***** Yaad-e-Rafi (Naushad’s Jaimala) *****

Fauji bhaion ko Naushad ka salaam!

[Unfortunately, the initial statements made by Naushad in the program got
erased from my cassette by mistake. Naushad recollects the moment when Rafi
Sahab had first approached him with a letter of recommendation from someone]

It was recommended that this young man, who possesses a beautiful voice, be
given a chance to sing. I heard the young man sing a song or two and was
highly impressed. I told him that one day he would become a great singer and
asked him to keep in touch. During the initial stages, I let the young man be
a part of a chorus, and I think one such chorus “Hindustan ke hum hain,
Hindustan humara….” might still be embedded in your memories. Later, in the
film Dillagi, I had the opportunity to use his voice exclusively in a solo. As
if it were predestined, this song became immensely popular throughout the
country. This was my first song (solo) with him. With this song, Rafi Sahab
not only carved a niche for himself, but also added a new dimension to my music.

[Tere kooche me armaanon ki duniya leke aaya hun
Tujhi par jaan dene ki tammanna leke aaya hun ]

After that, Rafi Sabab never looked back. He earned respect and his popularity
touched the sky. The magic of his voice enthralled the whole world. His
popularity, respect and wealth all increased tremendously, YET he ALWAYS
remained modest. Like a fruit-bearing tree, the more he fructified, the more
he bent in front of the world. His heart was filled with fear of God and the
love for truth. Generosity and altruism were part of his system. God and truth
were the only sources of inspiration for him. And he always used to say
“Tum yahan jaisa karoge waisa bharoge, ye duniya ek mandir hai”:

[Insaaf ka mandir hai ye, Bhagwan ka ghar hai…..]

Here’s an anecdote which aptly desribes his altruistic nature. My
relationship with him had grown from a professional to an informal one. Once
he had to go to a foreign country for a live performance. He came up to me
to seek advice: “Main bahar se koi aisi cheez lana chata hun jo GHareebon ke
kaam aae”. I suggested that he bring a dialysis machine and donate it to a
hospital for the benefit of poor kidney patients who could not afford the
medical costs. He liked the idea, but the foreign trip did not materialize due
to some reason. However, this incident left a permanent mark of his altruistic
nature on my heart. I cannot describe how great a person Rafi Sahab was. These
are the small things which make a man immortal. For instance, people may forget
Shahjehan, but his legacy of love, the Taj Mahal will be remembered forever.
Log Shahjehan ko bhool sakte hain, lekin uski mohabbat ki nishani, Taj Mahal
ki soorat me quayamat tak zinda rahegi:

[Ek shahenshah ne banwaake hasin Taj Mahal
Saari Duniya ko mohabbat ki nishani di hai
Iske saae me sada pyaar ke charche honge
Quatm jo ho na sakegi woh kahani di hai…]

Rafi Sahab adored Indian music (Bharateey Sangeet). He used to like singing
semi-classical songs in his live programs. He always tried to make an attempt
to propagate Indian music in foreign countries. For instance, whenever he sang
“Madhuban me radhika nache…”, he ALWAYS used to mention that it is based on
Raag Hamir. Similarly, Raag Darbari would be mentioned before singing “O
duniya ke rakhwaale…”. In this manner, irrespective of whether the people
understood the lyrics or not, they always appreciated Indian music. The
following bhajan of his, which is based on Raag Malkaus, was admired throughout
the world:

[Hari Om….
Man tarapat Hari darshan ko aaj
Man tarapat Hari darshan ko aaj…]

Fauji Bhaio, it is your duty to safeguard the security of our country. In a
similar fashion, it is the duty of us sangeetkars, to safeguard our
traditional music and art. Not only that, it is also our duty to entertain you
and raise your morale in times of crisis. In 1962, when our country was
attacked by the enemy, a request was made in the presence of Pandit Jawaharlal
Nehru, that a song be composed in order to boost the morale of our soldiers.
So, Shakeel Badayuni Sahab penned down the lyrics, I composed the tune, and
Rafi Sahab poured his heart out into this song in such a manner that whoever
heard it was filled with patriotic fervour! Later, this song was included
in the film, Leader:

[Apni aazaadi ko hum hargiz miTa sakte nahin
Sar kaTa sakte hain lekin, sar jhuka sakte nahin
Apni aazaadi ko hum hargiz miTa sakte nahin…..]

Once, while Rafi Sahab and I were discussing a song, we were informed that
Mukesh had breathed his last in America. Rafi Sahab was stunned. The only
words which he uttered were: “Hai kitna achha gayak, kitna achha insaan, kitna
pyaara saathi chala gaya” ! Some child switched on the radio at that time, and
can you guess the song which was on then ?:

[Chale aaj tum jahaan se, hui zindagi paraaee
Tumhe mil gaya THikaana, hume maut bhi na aaee

O door ke musafir, humko bhi saath lele re
Humko bhi saath lele, hum reh gae akele……]

Rafi Sahab had gone through a lot of trouble and had made countless sacrifices
on his way to the top. But, alas! He had attained a position at which death
itself envied him and wanted to make him it’s own:

Mushkilen sangeet ki woh muskurakar jhelta
Tairta raagon ki lehron me, suron se khelta
BaRke Ganga jal se bhi pakeezah tar aakar thi
Uski har tarkeeb mausiqui ka ek shahkaar thi
Gayaki me uski beshak ek niraali shaan thi
Saaf pani ki tarah behti hui har taan thi
Dekhkar ye kaamyaabi muskura uTHi ajal (ajal = death)
PaRgae sab raag pheeke, ho gaya funkaar shal (shal = silent, still)
Gir paRa chashm-e-falak se sitara TooT kar
Ek naqsha ranj-o-GHam ka khinch gaya pesh-e-nazar
Bujh gaee phir shamma mehfil me andhera ho gaya
Zindagi ka taar TooTa aur taraana so gaya !!!

One day we received the shocking news of Rafi Sahab’s demise. The sad news
spread like wild fire throughout the country. Songs turned into a dirge.
The angels wept in the sky and tears were shed in the form of raindrops over his
namaaz-e-janaza (funeral prayer). His funeral procession started amid heavy
rain and thunder. People gathered on the top of buildings, trees and in windows
to catch a last glimpse of their favourite singer. The procession reached the
Juhu graveyard. Many famous film personalities were trying their best to
control the crowd which had gathered to pay it’s last respects to the voice
which had warmed their hearts for decades. A voice which had become a part of
their lives. Millions of eyes were watching one single glowing face; eyes which
belonged not to any religion, caste or creed. And perhaps, that glowing face was
saying this:

[Main TooTi hui ek nayya hun, mujhe chahe jidhar le jaao
Ji chaahe dubodo maujon me, ya saahil par le jaao
Main TooTi hui ek nayya hun, mujhe chahe jidhar le jaao..]

Finally, the mortal body was interred in the same dust from which it was
initially made. Log keh rahe the ek achha gayak chala gaya; ek achha insaan
chala gaya. Koi keh raha tha ek achha dost chala gaya, aur main quabrastan
(graveyard) ke ek hisse me sonch raha tha:

Kehta hai koi dil gaya, dilbar chala gaya
Saahil pukarta hai, samundar chala gaya
Lekin jo baat sach hai, woh kehta nahin koi
Duniya se mausiqui ka paembar chala gaya !!! (paembar = messenger)

Dust had returned to dust, and all that we were left with were sweet memories.

Har dil me bhaRakta hua woh saaz hai baaqui
Woh jism nahin hai magar aawaaz hai baaqui !!

[Ohoho, ho ho ho
Aaj puraani raahon se, koi mujhe aawaaz na de
Aaj puraani raahon se, koi mujhe aawaaz na de
Dard me doobe geet na de, GHam ka sisakta saaz na de
Dard me doobe geet na de, GHam ka sisakta saaz na de]

Swargeeya gayak Mohammed Rafi ki yaad me, aaj ka vishesh Jaimala prastut kar
rahe the, film jagat ke suprassidh sangeetkaar, Naushad.

Sami Mohammed (A MOHAMMED RAFI fan)

P.Narayanan

Rafi sang that one. But what made you select Kishore Kumar as your screen voice?
Kishore Kumar got his break as a playback singer for me in Ziddi, which his brother Ashok Kumar produced. And his voice suited mine. I particularly liked its resonance. But there was always this discussion over whom to choose — Rafi or Kishore — till we finally arrived at a rule of thumb: Rafi got the ghazals, and Kishore got the geetsand on SD Burman and the Guide songs etc!

I could go on about Naushad’s music, but rather than that, I will pick 10 songs composed by Naushad that are among my favourites, and showcase Naushad’s capabilities. Not an easy task at all, considering that huge number of his songs were hits. Bear in mind this is not a top 10, just a set of 10 that I like most, in alphabetical order! (The columns are read as song, film, singer(s), raag)

1) Bekas pe karam kijiye sarkar-e-madina, Mughal-e-Azam, Lata Mangeshkar, Kedara

A wonderful tune that beautifully captures the feeling of Anarkali being imprisoned. Lata’s voice is apt here.

2) Ek shahenshah ne banvake haseen Taj Mahal, Leader, Lata/Rafi, Lalit

The tune in this song brilliantly complements the poetic beauty of the Taj. If at all a tune can describe poetry by itself, this has to be it.

3) Guzren hain aaj ishq mein, Dil Diya Dard Liya, Mohd. Rafi, Darvari Kanada

This one ranks in my top three Naushad songs (and top ten of all time). The song is deceptively difficult to sing, mastering all the nuances takes quite some effort. I wonder if anyone other than Rafi could have done justice to this song.

4) Insaaf ka mandir hai yeh, Amar, Mohd. Rafi, Bhairavi

Another Rafi special (as most in this list are). A brilliant example of a Naushad composition, a tune that can appeal to the layman, yet Bhairavi through and through.

5) Madhuban mein radhika nache re, Kohinoor, Mohd. Rafi, Hamir

One of Naushad’s most dificult compositions to sing. Yet Rafi manages this effortlessly, and the rest, as they say, is history. Notice how the lyrics mimic the beats of a tabla (or dhol). The best part is, of course, the sitar rendition at the end of the song.

6) Man tarpat hari darshan, Baiju Bawara, Mohd. Rafi, Malkauns

This is the movie that made Rafi a hit among masses. This song gives a clue why.

7) O duniya ke rakhwale, Baiju Bawara, Mohd. Rafi, Darvari Kanada

One of the more obvious compositions in Darvari Kanada, Rafi’s entire range was called into play while rendering this song. He goes into a very high pitch at the end of each mukhda, and even higher at the end, making you wonder how he does it.

8) Saawan aaye ya na aaye, Dil Diya Dard Liya, Rafi/Asha, Saarang

Naushad made good use of the contrast between voices of Rafi and Asha in this song. Together they create magic.

9) Yaad mein teri jaag jaag ke hum, Mere Mehboob, Lata/Rafi, Darvari Kanada

Words cannot do justice to the feeling this song gives you. So none are given, just listen to it and you will know.

10) Zindaabaad zindaabad aye mohabbat zindaabaad, Mughal-e-Azam, Mohd. Rafi, Kirvani

One amazing song, as it required Rafi to stretch his vocal cords even more than he did for O duniya ke rakhwale. He starts off at a very high pitch, maintains it, and then goes even higher, so much so that even his voice begins to crack. Naushad probably used his full repertoire of musical tricks in composing this song. Sheer genius.

The sheer beatuty of all these songs comes not only from Naushad’s wonderful compositions, but also in the excellence of the singers, who make them seem ridiculously easy to sing. There are many other songs that deserve mention, but I’ll stick to this list for now.
posted by Sailesh Ganesh at 4:12 PM 4 comments

This an article by Manna Dey on why S D Burman considered Rafi Saab as the most versatile singer of all times.

Some of the comments by Manna Dey

It was during that sitting’ when the conversation went for a while, did I first notice that Manna Dey had a love hate relationship with SD. Of course more love than hate as in his music room, one still finds SD’s photograph amongst his near ones. If this was an example of “the love” part then let us see what the other part was like.

After rehearsing the song for days to SD’s satisfaction, there was often a thunder. “Now that you know the song well, guide Rafi to sing the number. I would like him to record it. I already told him that you would contact him!! “.

“Furthermore, did you not time and again say that Rafi as of today happens to be the complete singer in the history of Hindi films ? In such a case where did SD go wrong ? How many times did he replace you with Kishore, Talat or Mukesh ? Even uncle KC Dey did the same with you !!

Years later I chanced to ask the ace Bangladeshi composer Robin Ghosh in one of those coffee chats “Who do you think is the greatest Hindi playback singer”.
“Undoubtedly Rafi” was the answer. “What about Manna Dey” I pressed hard.
“Manna Dey is the perfect singer. A model singer. But we are talking about films and in this media Rafi is the most versatile, he has no match, not even Kishore”. That probably settles the incomparable SDB’s score with the quintessential Manna Dey.

The unforgettable Nutan-Dev Anand chemistry