(Death Anniversary on May 6, 2006)
In the late 1930s, Naushad Ali came to Bombay to be a success as a musician. But he had to struggle to make it to the top. Initially he faced rebuffs, and had to endure periods of utter deprivation. Naushad even spent nights sleeping on footpaths before he finally secured a job as a pianist in composer Mushtaq Hussain ‘s orchestra. Composer Khemchand Prakash took him on as his assistant and taught him, an act for which he remained extremely grateful throughout his life. Soon, Naushad got his break with the film Prem Nagar (1940), but it was only with Sharda (1942) that he got attention. The film Ratan (1944) took him right to the top, and from then on he could produce blockbuster songs for appropriately smash hit films, most notably films made by either Abdul Rashid Kardar or Mehboob Khan.

Naushad’s style was renowned for his ability to incorporate classical rhythms into his symphonies. He based his music upon the “ragas” that formed a basis in Indian classical music, and thus his music took on complex formations and . His taste for classical music was legendary – in the Mughal musical Baiju Bawra (1952), he used actual classical singers to sing his ghazals. In spite of his classical tendencies, he could also keep up with the times and adapt Western techniques and instruments into his music, as heard in the films Jadoo (1951) and Mere Mehboob (1963). Naushad was also among the first to use the techniques of sound mixing, of separate recording of vocal and music tracks in playback singing, and using background scores to enhance characters’ moods and dialogues through music.

Naushad’s career continued at a steady peak throughout the 1950s and 1960s, with some of his melodies being featured in now-perennial classics like the Mughal period films Baiju Bawra (1952) and Mughal-E-Azam (1960) and the epic Mother India (1957). Unfortunately and to his distaste the times were changing and demanded more fast-paced, peppier tunes, and Naushad had to struggle to keep his music pure and classical. In fact for Saathi (1968), he was persuaded, against his will, to re-record two of his songs to pep up their pace and their appeal. It was due to this uncompromising attitude towards his music that he would only compose less than a hundred films in his lifetime.

• Music

  • “Zalim Zamana Mujhko Tumse” by Naushad, Suraiya & Shyam ()

  • • Category

      • Music

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K. Asif (14 June 1922 – 9 March 1971) was a film director, film producer and screenwriter who was famous for his work on the Hindi epic motion picture, Mughal-e-Azam (1960).
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