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Ek Fankaar

, any artist's life, filmography, Suraiya Jamaal Sheikh, S D Burman,

 
> Ek Fankaar, any artist's life, filmography, Suraiya Jamaal Sheikh, S D Burman,
rashmi mehta
post Mar 20 2009, 06:37 PM
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page no : 1
SURAIYAJI
S. D. BURMAN
MADHUBALA
SARASWATI RANE
NUSRAT FATEH ALI KHAN
SHAUKAT DEHELAVI NAASHAD
DEVIKA RANI CHAUDHURY
SUDHA MALHOTRA
RAJKUMARI DUBEY
JATIN LALIT
BULO C RANI

page no : 2

SHARMILA TAGORE
INDEEVAR
SHAKTI SAMANTA
M E E N A K U M A R I
S A N J E E V K U M A R
SRI DEVI
GEETA BALI
MAJRU SULTANPURI
KAIFI AZMI
RAJA MEHDI ALI KHAN

page no : 3

RAJENDRA KRISHAN
TANUJA SAMARTH
MALA SINHA
AAMIR KHAN
KATRINA KAIF



suraiyaji


Born Suraiya Jamaal Sheikh
June 15, 1929 (1929-06-15) (age 79)
Gujranwala, Punjab, now Pakistan
Died January 31, 2004 (aged 75)

Suraiya Jamaal Sheikh (June 15, 1929 - January 31, 2004) was a singer and actress in Indian films, and was popularly known as Suraiya in the film industry. She became a superstar in the 1940s and 50s during the time when actors sang their own songs. IF SHANTA APTE brought spontaneity and refreshing directness in her singing and song-delivery style, Suraiya marked a completely dif­ferent but equally important breakaway from tradition. Born Suraiya Jamal Sheikh in Lahore, she introduced the typical 'adakari' of North Indian Muslims into Hindi films. Expertly combining gestures, music, speech and eloquent eyes, she paved the way for later hearthrobs like Rekha and Madhuri Dixit with her bewitching song delivery. Alhough Noorjehan and Khurshid also brought the same Muslim adakari onscreen with their films, it was Suraiya who shone out as the epitome of that style. Save for her arresting, almond-shaped eyes, Suraiya was not a classic beauty; nor did she trained in classical music. Suraiya , the lovely melody queen created aura with her popular numbers like 'tu mera chaand, main teri chandani' ,'dil-e-nadan, tujhe hua kya hai' and 'woh paas rahe ya door rahe' . Her sultry looks and al­luring eyes matched her melodious voice and distinc­tive style to make her one of the greatest feminine icons of her time, attracting a gen­eration of young women who sought to emulate her and young men who mooned for her.

Early life

Suraiya was born in Gujranwala, Punjab now in Pakistan and was the only child of her parents. She was a dark plain looking girl and was not trained in music, however she went on to become a successful actress and singer.

She had been educated in New Girls' High School in Bombay. Simultaneously she was given religious teachings in Persian at home.

Career

Like many leading ladies of the past, Suraiya's entry into the world of movies was more accidental, than otherwise

Suraiya made her debut as a child artist in Usne Kya Socha (1937). Her films as a child artist ran between 1937 and 1941. She got a break in films with the help of her uncle Zahoor, who was a popular villain of his time. In 1941 during a holiday from school, she accompanied her uncle to Mohan Studios to see the shooting of the film Taj Mahal (1941), a film by Nanubhai Vakil. Vakil noticed the 12-year old girl and chose her to play the role of a young Mumtaz Mahal as they had nobody else to play the role. During her school days she used to participate in "Children Program" on Radio along with Shammi and Rajkapoor. She could sing some popular songs of that time with melody and fidelity . Naushad had heard her voice on the All India Radio where she sang for a children's programme at the insistence of friend Raj Kapoor and neighbour Madan Mohan. From radio, Suraiya moved on to playback singing -- App.reciating her singing talent, a song "Boot karun mein polish" was recorded in her voice by Naushad Sahib in 1942 for the film "Nai-Dunia". In the same year she performed a role in film "Station Master" Other films of her playback singing with music by Naushad Sahib were "Sharda" (Punchi Ja- pechey raha hae bachpan mera), "Qanoon" and "Sanjog"Her singing career soon found a mentor in music maestro Naushad chose her to sing as a 13 year old for Mehtaab in Kardar's Sharda (1942). Suraiya had to stand on a stool to reach the mike to croon Panchi ja, picturised on the much-older heroine, Mehtaab.
She was effectively launched as a singing star in Bombay Talkies Humaari Baat (1943).

She initially started by playing secondary roles in films like K. Asif's Phool (1944) but She made her presence felt in perhaps India's first multi-starrer, played strong supporting second lead roles to Noorjehan in Mehboob Khan's Anmol Ghadi (1946) and Munawar Sultana in Dard (1947). Suraiya had her moments with Socha Tha Kya, Main Dil Mein Dard Basa La Aayee and Man Leta Hai. She got the break as a heroine for the movie Tadbir (1945) at the recommendation of K. L. Saigal who liked her voice during a rehearsal. She went on to co-star with Saigal for two more films Omar Khayyam (1946) and Parwana (1947). More opportunities appeared for Suraiya after reigning actresses Noor Jehan and Khursheed Bano migrated to Pakistan during the 1947 partition. the last remembered for her haunting rendition of Jab Tumhi Nahin Apne.Her pairing with the then superstar Dev Anand was a huge hit and the two went on to star in many successful movies together - Afsar, Shayar and Jeet etal.

Nadira, who later costarred with Suraiya in Waris, says, "My father went repeatedly to the theatre to watch Suraiya sing Socha tha kya. He would walk out the moment the song ended."

Suraiya had an edge over her contemporaries Kamini Kaushal and Nargis because she could sing her own songs. The years 1948-49 were the best of her career - The 1948-49 phase saw her rise to her peak. After three hits Pyar Ki Jeet (1948), Badi Bahen and Dillagi (1949), she became the highest paid female star. At her peak, Suraiya generated hysteria comparable only to Rajesh Khanna in the late 1960s and early 1970s. Shop owners would down their shutters to see her starrers on the first day itself, crowds would throng outside her residence at Marine Drive in Bombay just to get a glimpse of her and actor Dharmendra recalls going to see Dillagi 40 times! Her songs from the above films Tere Nainon Ne Chori Kiya, O Door Jaanewaale (Pyar ki Jeet), Woh Paas Rahe Ya Door Rahe, O Likhnewaale Ne, Bigdi Bananewaale (Badi Bahen) and Tu Mera Chand, Murliwaale Murli Bajaa (Dillagi) were hummed in every nook and corner of the country. Her reign at the top was brief and her films started flopping in the 1950s. She made a comeback with Waaris and Mirza Ghalib (1954) in which she played the role of the married Ghalib's lover.She made a short-lived comeback with Waaris (1954) and Mirza Ghalib (1954). The latter saw her finest dramatic performance as she made alive and vivid the role of the married Ghalib's lover, a courtesan. Ghalib also saw some of her finest singing - Aah ko Chaihiye Ek Umar, Nuktacheen Hai Gham-e-Dil, Dil-e-Nadaan Tujhe Hua Kya Hai, Yeh Na Thi Humari Kismet etc. Her singing is till date regarded as the definitive Ghalib. In fact India's then Prime Minister Jawaharlal Nehru paid her the ultimate compliment by telling her " Tumne Mirza Ghalib ki Rooh ko Zinda Kar Diya" (she had brought Mirza Ghalib to life). In Nitin Bose's Waris (1954), Suraiya costarred with singing star Talat Mehmood (incidentally, she played heroine opposite another singer who tried to be an actor, Mukesh, in 1953's Mashuqa, too). With the sonorous melody, Rahi matwale, Anil Biswas and Suraiya proved their continuing relevance in a new age. Her last film was Rustom Sohrab (1963) following which she kept away from films. A spate of indifferent films followed. Suraiya had grew bulkier but her songs were still exquisite --- Aap se pyar hua jaata hai in Shama (1961), or the serene duet with Talat, Man dheere dheere gaye re in Maalik (1958). In 1963, to the strains of Yeh kaisi ajab dastaan ho gayee hai, the Sajjad jewel from Rustom Sohrab, Suraiya bade farewell to the studios. Suraiya Jamaal Sheikh's legend has endured for over four decades after her retirement post Rustom Sohrab (1963). It is fuelled by her one-time Dev Anand association, her repertoire of lilting songs and an air of mystique.

She stayed at "Krishna Mahal", her Marine Drive residence in Mumbai til her death. The walls and mirrors of Krishna Mahal flat on Marine Drive, are the only objects that set their eyes on this star of yesteryears. But she broke her self-imposed exile when she made a rare appearance at the Screen Videocon awards when Sunil Dutt presented her the Lifetime Achievement award. Radiant in a white salwar kameez she carried herself with the grace of a much younger woman.

The gentle sway of her hips spoke of her delicate style of dancing. The only thing that had remained completely unchanged was her voice. Tremulous with emotion, Suraiya's voice was choked with emotion when she took her award. She spoke of her long association with the film world and she was deeply touched that audiences still remembered her. But when Javed Jaffery pressed her to sing or just hum -- she refused. As a star shestill remembers the meaning of letting a legend live. Heroines are captured forever on the silver screen and the public's memory must never be updated.

Personal life

But her luck did not hold out in her personal life and Suraiya faced her biggestdisappointment. She first met Dev Anand in 1948, when she was just 19 years old. They were co-starring in the film Vidya and on the second day itself cupid struck. During the shooting of a song, a boat capsized and Dev Anand saved Suraiya from drowning. . And when he saved her from drowning during the filming of the song `Kinare Kinare Chale Jayenge', Suraiya was convinced that she had met her cosmic mate. She fell in love with him. Suraiya was romantically involved with actor Dev Anand and the two of them did six films together between 1948 and 1951. but her grandmother opposed the relationship. They were romantically linked and were all set to marry when her strict grandmother put her foot down and broke their relationship. She banned meeting, telephone calls and even talking on the sets. The entire affair was conducted in a clandestine manner with friends like Durga Khote and Kamini Kaushal going out of their way to engineer secret rendezvous. On the sets of the film Jeet, Dev Anand finally proposed to Suraiya and gave her a diamond ring worth Rs 3,000 -- a princely sum for a fledgling star. But even that memento was snatched away from her when her grandmother saw the ring and threw it away into the sea. She also burnt all of Dev Anand's letters in front of Suraiya's eyes. Her objection to the romance: (Dev Anand is a Hindu while Suraiya is a Muslim). A hunt for a Muslim husband began but marriagewas not in Suraiya's fate. In 1951, Dev Anand married Kalpana Kartik -- ending one of the silver screen's greatest romances. The heartbroken Suraiya never married though many leading men of her time were interested in her.Surraiya's idol was Gregory Peck and he visited her by surprise during a night of 1954 while in transit at Mumbai on his way to Srilanka for shooting. He was much impressed by her simplicity.Dev Anand molded himself in postures of Gregory Peck but after long awaiting he married Kaplna Kartak.Suraiya remained unmarried all her life.

Dev Anand accepts his love for Suraiya

the unmarried Suraiya lives alone in her plush Marine Drive apartment. Rarely does one see a bejewelled Suraiya at a party. Even after her strict grandmother, who kept suitors at bay and producers at arm's length, passed away, Suraiya continued to be inaccessible to the hoi polloi.

Her decision to reside in an ivory tower has added to her mystique, while her resolve to shun character roles ensured that she is always remembered as a heroine. Most quaintly, Suraiya also chose not to sing any new film song in the last 40 years.

Death

She died in 2004 of old age at 75. In 2004, during the Sansui Awards, actress Jaya Bhaduri received the Lifetime Achievement Award and while she was on stage, she was disappointed that no one gave a tribute to the legendary actress Suraiya who had passed right around that time.

Suraiya's dastaan, ajeeb but fascinating, continues to thrive on lore, speculation and memories.



http://en.wikipedia.org/wiki/Suraiya

http://www.chakpak.com/celebrity/suraiya/biography/8847

http://www.bollymood.com/biography/suraiya/

http://www.indianmelody.com/suraiyaarticle1.htm


Filmography

Actress:

* 1960s
* 1950s
* 1940s

1. Rustom Sohrab (1963) .... Shehzadi Tehmina
2. Shama (1961) .... Roshan Ara

3. Malik (1958)
4. Trolley Driver (1958)
5. Mr. Lambu (1956)
6. Inaam (1955)
7. Bilwamangal (1954)
8. Mirza Ghalib (1954) .... Chaudvin
9. Shama Parwana (1954) .... Sahebzadi Aalam
10. Waris (1954) .... Shobha ... aka Heir
11. Mashooka (1953)
12. Deewana (1952)
13. Goonj (1952)
14. Khubsurat (1952) ... aka Khubsoorat (India: Hindi title: alternative transliteration)
15. Lal Kunwar (1952)
16. Moti Mahal (1952)
17. Do Sitare (1951)
18. Rajput (1951)
19. Sanam (1951)
20. Afsar (1950) .... Bimala ... aka Officer
21. Badi Bahen (1950) ... aka Elder Sister
22. Dastan (1950) .... Indira
23. Kamal Ke Phool (1950)
24. Khiladi (1950)
25. Nili (1950)
26. Shaan (1950)
27. Jeet (1949) .... Jeet
28. Amar Kahani (1949)
29. Badi Bahen (1949)
30. Balam (1949)
31. Bombay (1949)
32. Char Din (1949)
33. Dillagi (1949) .... Heer ... aka Mischief (International: English title)
34. Duniya (1949)
35. Lekh (1949)
36. Naach (1949)
37. Shair (1949) .... Rani
38. Shayar (1949)
39. Singaar (1949)
40. Aaj Ki Raat (1948)
41. Gajre (1948)
42. Kajal (1948) ... aka Eyes (International: English title)
43. Pyaar Ki Jeet (1948)
44. Rang Mahal (1948)
45. Shakti (1948)
46. Vidya (1948) .... Vidya
47. Bhatakti Maina (1947)
48. Dak Bangla (1947)
49. Dard (1947)
50. Do Dil (1947)
51. Do Naina (1947)
52. Naatak (1947)
53. Parwana (1947) .... Gopi
54. 1857 (1946) ... aka Eighteen Fifty-Seven
55. Anmol Ghadi (1946) .... Basanti ... aka Precious Time
56. Chehra (1946)
57. Jag Biti (1946)
58. Main Kya Karun (1945)
59. Phool (1945)... aka The Flower
60. Tadbir (1945) .... Saguna
61. Hamari Baat (1943)
62. Ishara (1943)
63. Station Master (1942) .... Usha
64. Tamanna (1942)
65. Taj Mahal (1941) .... Child Mumtaz

Music Department:

* 1960s
* 1950s
* 1940s

1. Do Dil (1965) (playback singer)
2. Rustom Sohrab (1963) (playback singer)
3. Shama (1961) (playback singer)
4. Malik (1958) (playback singer)
5. Taqdeer (1958) (playback singer)
6. Trolley Driver (1958) (playback singer)
7. Mr. Lambu (1956) (playback singer)
8. Bilwamangal (1954) (playback singer)
9. Mirza Ghalib (1954) (playback singer)
10. Waris (1954) (playback singer)
... aka Heir
11. Mashooka (1953) (playback singer)
12. Deewana (1952) (playback singer)
13. Goonj (1952) (playback singer)
14. Khubsurat (1952) (playback singer)... aka Khubsoorat (India: Hindi title: alternative transliteration)
15. Lal Kunwar (1952) (playback singer)
16. Moti Mahal (1952) (playback singer)
17. Rajput (1951) (playback singer)
18. Sanam (1951) (playback singer)
19. Afsar (1950) (playback singer)... aka Officer
20. Badi Bahen (1950) (playback singer)... aka Elder Sister
21. Dastan (1950) (playback singer)
22. Kamal Ke Phool (1950) (playback singer)
23. Nili (1950) (playback singer)
24. Shaan (1950) (playback singer)
25. Jeet (1949) (playback singer)
26. Amar Kahani (1949) (playback singer)
27. Badi Bahen (1949) (playback singer)
28. Dillagi (1949) (playback singer)... aka Mischief (International: English title)
29. Duniya (1949) (playback singer)
30. Lekh (1949) (playback singer)
31. Naach (1949) (playback singer)
32. Shair (1949) (playback singer)
33. Singaar (1949) (playback singer)
34. Gajre (1948) (playback singer)
35. Rang Mahal (1948) (playback singer)
36. Shakti (1948) (playback singer)
37. Vidya (1948) (playback singer)
38. Dak Bangla (1947) (playback singer)
39. Dard (1947) (playback singer)
40. Do Dil (1947) (playback singer)
41. Naatak (1947) (playback singer)
42. Anmol Ghadi (1946) (playback singer)
... aka Precious Time
43. Jag Biti (1946) (playback singer)
44. Tadbir (1945) (playback singer)
45. Kanoon (1943) (playback singer)
... aka The Law (International: English title)
46. Sharda (1942) (playback singer)

Soundtrack:

1. Malik (1958) (performer: "Man Dhire Dhire Gaye Re Malum Nahin Kyon")
2. Mirza Ghalib (1954) (performer: "Dil-e-nadan Tujhe", "Aah Ko Chahiye Ek Umar",

"Nukta Cheen Hai", "Jahan Koi Na Ho", "Yeh Na Thi Hamari Qismat")

Producer:

1. Shagoon (1964) (producer) (as Suraiya Mubin)

Thanks:

1. Lorie (1984) (grateful acknowledgment)


songs of suraiyaji movie details n lyrics

1] Anmol Ghadi (1946) starring Amir Banu, Anwari, Leela Mishra, Murad, Noor Jehan, Suraiya, Surendra & Zahoor.
Lyrics composed by Tanvir Naqvi.
Music composed by Naushad Ali.
This movie had some very popular songs sung by Noor Jahan and Suraiya. Here are the Suraiya songs:

[1]mai dil mei dard basaa laayi

lyrics for mai dil mein dard basa laayi, nainon se nain mila aayi, unko apne man ki baatein bina kahe samjha aayi.

[2]man leta hai angdayi jawani chhayi

lyrics for man letaa hai a.Nga.Daaii, jIvan pe javAnI chhaaI.

lyrics in Hindi for man letaa hai a.Nga.Daaii, jIvan pe javAnI chhaaI.

[3]sochaa thaa kyaa, kyaa ho gayaa

lyrics for sochaa thaa kyaa kyaa ho gayaa. apnaa jise samjhe the hum afsos vo apnaa na thaa.

lyrics in Hindi for sochaa thaa kyaa kyaa ho gayaa. apnaa jise samjhe the hum afsos vo apnaa na thaa.

2] Badi Bahan (1949) starring Suraiya, Geeta Bali, Rehman & Pran.
Lyrics composed by Rajinder Krishan.
Music composed by Husnlal Bhagatram.

[1]tum mujhko bhool jaao ab hum na mil

[2]wo paas rahen yaa duur rahen nazron

lyrics for vo paas rahen yaa duur rahen nazaron me.n samaaye rahte hain. itnaa to bataa de koii hame.n, kyaa pyaar isii ko kahate hain.

lyrics in Hindi for vo paas rahen yaa duur rahen nazaron me.n samaaye rahte hain. itnaa to bataa de koii hame.n, kyaa pyaar isii ko kahate hain.

3] Bilwamangal (1954) starring Suraiya, Ulhas, Nirupa Roy & Asha Mathur.
Producer: Minal Movies
Director: D. N. Madhok
Lyrics: D. N. Madhok
Music Director: Bulo C. Rani

[1]hum ishq ke maaron ko do dil diye

[2]parwane se preet seekh li shamaa se

4] Dillagi (1949) starring Suraiya, Shyam, Amar, Amir Banu & Chanda Bai
Producer & Director: Kardar
Lyrics: Shakeel Badayuni
Music Director: Naushad

[1]char din ki thi chandni phir andher

[2]duniyaa kyaa jaane meraa afsaanaa

3]le ke dil chupke se kiyaa majboor

[4]murliwale murli bajaa sun sun murli

[5]niraalaa mohabbat kaa dastoor dekha

[6]tera khayaal dil se bhulaya na jaye

5] Gajre (1948) starring Suraiya, Agha, Geeta Nizami, Maruti, Moti Lal & Sangeeta
Director: RD Mathur
Lyrics: G. S. Nepali
Music Director: Anil Biswas

[1]duur papiha bola raat adhi rah gayi

[2]jalne ke siwaa yahaan kya rakha hai

[3]reh reh kar teraa chaand rulata hai

6] Goonj (1952) starring Suraiya, Suresh, Bhagwan, Madan Puri, Manju, Randhir, Ravikant & Sapru.
Lyrics composed by D. N. Madhok.
Music composed by Sardul Kwatra

[1]chale ja rahe ho jo nazren churaaye

[2]dil me umangen sajan nainon me rang

7] Jeet (1949) starring Suraiya, Dev Anand, Bhagwan, Durga Khote, Habib, Kanhaiya Lal & Madan Puri
Director: Mohan Sinha
Producer: Raj Kirti Chitra
Lyrics: Prem Dhawan
Music Director: Anil Biswas

[1]ban jao hindustani ab kaisi manmani

[2]kaam karo bhai jag me apna naam kar

[3]kuch phool khile armaano ke par jee

[4]tum mann kee peedaa kyaa jaano

[5]tum meet mere tum shyam mere yug ke

8] Mirza Ghalib (1954) starring Suraiya and Bharat Bhushan.
Music composed by Ghulam Mohammad.
The movie was about the legendary poet Mirza Ghalib and his poems have been sung here.

[1]aah ko chaahiye ek umar asar hone

[2]nuktachin hai gam-e-dil usko sunaye

[3]rahiye ab aisi jagah jaha koi na ho

[4]ye na thee hamaari kismat ki wisal

9] Mr. Lambu (1956) starring Suraiya, Minu Mumtaz, Helen, Bhagwan, N. A. Ansari & Sheikh Mukhtar
Director: NA Ansari
Producer : Sheikh Mukhtar Prod.
Lyrics: Jan Nisar Akhtar
Music Director: O. P. Nayyar

[1]yaad karun tori batiyaa ro ro bitau

10] Nayi Duniya (1942)starring Suraiya
Lyrics: Tanveer Naqvi
Music Director: Naushad Ali

[1]boot karun mai polish babu boot


11] Pyar Ki Jeet 1948) starring Suraiya & Rehman.
Lyrics composed by Rajinder Krishan.
Music composed by Husnlal Bhagatram.

[1]o duur jaanewaale wada na bhul jana

lyrics for o duur jaane vaale vaadaa na bhuul jaanaa. raate.n huI andherii tum chaa.Nd ban ke aanaa.

lyrics in Hindi for o duur jaane vaale vaadaa na bhuul jaanaa. raate.n huI andherii tum chaa.Nd ban ke aanaa.

[2]tere naino ne chori kiya mera chota

lyrics for tere naino.n ne chorI kiyA, morA chhoTA sA jiyA paradesiyA.

lyrics in Hindi for tere naino.n ne chorI kiyA, morA chhoTA sA jiyA paradesiyA.

[12] Rustom Sohrab (1963) starred Suraiya as the shehzadi. Prithviraj Kapoor portrayed her husband Rustom & Premnath portrayed her son Sohrab. Mumtaz was also in the movie.

This was Suraiya's last film. After this she retired.
Lyrics composed by Qamar Jalalabadi.
Music composed by Sajjad Hussain.

[1]ye kaisi ajab daastaan ho gayi hai

lyrics for ye kaisi ajab daastaan ho gayi hai, chhupaate chhupaate bayaan ho gayi hai.

13] Shaan (1950)starring Suraiya & Rehman
Lyrics: Rajinder Krishan
Music Director: Hansraj Behl

[1]o pardesi balma ab na tadpa o zalim

[2]tadap ai dil tadapne se zara aarsam

[3]kaho ji kis ki sachchi shaan
majboor hoon mai nashaad hoon mai

14] duets Suraiya sang with Mohammad Rafi in the movie Shaan:

[1]dil ke dhoke mei na aanaa

[2]hum bhee akele tum bhee akele

[3]hum tum se wafa karte tum hum se wafa karte

15] Shama (1961) starring Suraiya, Nimmi, Kumud Tripathi, Leela Mishra & Vijay Dutt
Producer : Tasweeristan
Director: Lekhraj Bhakri
Lyrics: Kaifi Azmi
Music Director: Ghulam Mohammed

[1]mast ankhon mei shararat kabhi aisi

16]Shama Parwana (1954)starring Suraiya & Shammi Kapoor.
Lyrics composed by Majrooh Sultanpuri.
Music composed by Husnlal Bhagatram.

[1]meraa dildaar naa milaayaa

[2]o jaan-e-tamannaa alvidaa alvidaa

17] Vidya (1948) starring Suraiya, Dev Anand, Amirbai Karnataki, Cuckoo & Madan Puri.
Director: G. Tridevi
Producer: Jeet Prod.
Music Director: S. D. Burman
Lyrics: Shanti Swaroop and Y. N. Joshi

[1]aaj meraa dil kisi pe aa gayaa

[2]jhoom rahi khushiyon ki naaow aaj

[3]kinare-2 chale jayenge jeewan naiya

[4]kise maalum tha 2 din me sawan beet

[5]o Krishna Kanhaai aashaon ki duniya

[6]laayi khushi ki duniyaa hanste hue

Suraiya was joined by Mukesh in the above song. One of the few duets they sang together.

18]Waris (1954) starring Suraiya, Talat Mahmood and Nadira.
Lyrics: Qamar Jalalabadi
Music Director: Anil Biswas

Suraiya and Talat Mahmood sang the songs both on and off screen. Please note that the duet version of this song is more popular and can be found at the Suraiya and Talat Mahmood duets page by using the following link.

[1]raahi matwaale tuu aa jaa ek baar

19] Dard (1947) starring Suraiya, Shyam, Badri Prasad, Husn Bano, Munawar Sultana & Nusrat.
Lyrics composed by Shakeel Badayuni.
Music composed by Naushad.

[1]beech bhanvar mei aan phasa hai dil

lyrics for beech bhanvar mein aan phansa hai dil ka safeena shaah-e-madeenaa

[2]chale dil ki duniya jo barbad karke

[3]dil dhadke aankh mori phadke

lyrics for dil dhadke aankh mori phadke. chale jaana na dekho ji bichhad ke.

20] Dastan (1950)starring Suraiya, Raj Kapoor, Murad, Pratima Devi & Veena.
Lyrics composed by Shakeel Badayuni.
Music composed by Naushad.

[1]aayaa mere dil mei tu ban ke dil ki

[2]ai shamma tu bata tera parwana kaun

The song 'ai shamma tu bata tera parwana kaun hai' is preceded by some dialogues. Raj Kapoor's voice seems to be heard here.

[3]mohabbat badhaa ke judaa ho gaye

[4]naam tera hai zubaan par yaad teri

[5]naino mei preet hai hothon pe geet

[6]ye mausam aur ye tanhaai

21]Maalik (1958) starring Talat Mehmood & Suraiya.
Lyrics composed by Shakeel Badayuni.
Music composed by Ghulam Mohammad.
Suraiya and Talat Mehmood sang the song and it was also filmed on them.

[1]mann dhire gaye re malum nahin kyon

lyrics for man dheere dheere gaaye re, maaloom nahi kyon. bin gaaye raha na jaaye re, maaloom nahi kyon.

22] Mirza Ghalib (1954) starring Suraiya and Bharat Bhushan.
Lyrics were composed by Mirza Ghalib in late 18th century.
Music composed by Ghulam Mohammad.
Suraiya sang her own songs and Talat Mehmood was playback singer for Bharat Bhushan.

[1]dil-e-nadan tujhe hua kya hai akhir

lyrics for dil-e-naadaa.n tujhe huaa kyaa hai. aakhir is dard kii davaa kyaa hai

lyrics in Hindi for dil-e-naadaa.n tujhe huaa kyaa hai. aakhir is dard kii davaa kyaa hai

23] Waaris (1954) starring Talat Mehmood With Suraiya & Nadira.
Lyrics composed by Qamar Jalalabadi.
Music composed by Anil Biswas.
There was no playback singing since both Talat Mehmood & Suraiya sang for themselves.

[1]duur hote nahi jo dil me raha karte

[2]ghar tera apna ghar lage jaye kahan

[3]raahi matwaale tu ched ek baar mann

lyrics for raahii matavaale, tuu chhe.D ik baar, man kaa sitaar. jaane kab chorii-chorii aaii hai bahaar chhe.D man kaa sitaar.

lyrics in Hindi for raahii matavaale, tuu chhe.D ik baar, man kaa sitaar. jaane kab chorii-chorii aaii hai bahaar chhe.D man kaa sitaar.


[url=http://suraiya-songs.tripod.com/]http://suraiya-songs.tripod.com/

This post has been edited by rashmi mehta: Jun 1 2011, 08:24 AM


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post Mar 26 2009, 07:48 AM
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Member Rashmi Mehta

If the biographical posts you have been posting for the past few days are not your own writes, make it a point to give the source and courtesy links to the original articles. The authors of these articles may object the reproduction of their works. If such objection is made the same will be removed or deleted from this board.

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respected sir,

will reply in all biography

just give me 2 days plz

as i had collected all informations from many links

thanking u sir.

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Nusrat Fateh Ali Khan

Nusrat Fateh Ali Khan (Urdu: �†صرت Ùتح ع�„�‰ خاں, October 13, 1948 �€“ August 16, 1997), was a Pakistani musician, primarily a singer of Qawwali, the devotional music of the Sufis (a mystical tradition within Islam). He featured in Time magazine's 2006 list of 'Asian Heroes'. Among other honorary titles bestowed upon him, Nusrat was called Shahenshah-e-Qawwali, meaning The Emperor of Qawwali.


Date of Birth 13 October 1948, Lyallpur, Faisalabad, Punjab, Pakistan

Died August 16, 1997 (aged 48) London, England, UK (cardiac arrest)

Genre(s) Qawwali, Ghazal

Occupation(s) Singer

Instrument(s) Harmonium Tabla Vocals

Representative Albums: "Devotional Songs," "Shahbaaz," "Greatest Hits of Nusrat Fateh Ali Khan"

Representative Songs: "Mustt Mustt," "Haq Ali Ali Haq," "My Heart, My Life"

Years active 1965-1997

Holds the world's record (verified by the Guinness Book of World Records) for the biggest recording output by a Qawwali artist (a total of 125 albums of recorded music).

Brother of Farrukh Fateh Ali Khan and uncle of Rahat Ali Khan.

Considered one of the greatest singers ever recorded. He possessed a six-octave vocal range and could perform at a high-level of intensity for several hours.

His family have been musicans and singers of Qawwali (Islamic devotional music) for six centuries. Nusrat's father, himself a singer, died in 1964 when Nusrat was about 16. His father had wanted his son to become a doctor because Qawwali is a very challenging style to learn. Ten days after his father's death, Nusrat had a dream where his father came to him and told him to sing, touching his throat. Nusrat woke up singing, and gave his first public performance at his father's funeral ceremony forty days later.

Category World Music DVDs, Music Video Movies, Pop Music Videos Videos, Live Performances, Live Concerts, World, India/Pakistan

Composer Nusrat Fateh Ali Khan


Without doubt, the most important qawwal is Nusrat Fateh Ali Khan & Party; "party" being a generic term for a qawwali ensemble. Between 1973 and 1993, his recorded output could only be described as prodigious, with more than 50 albums to his ... Full Descriptionname on numerous Pakistani, British, American, European and Japanese labels. This concert was recorded at the height of Khan's career and fully displays his vocal mastery and tremendous power in performance.

Qawwali is the vibrant music of Sufi tradition that has been practiced for over 700 years, and Nusrat Fateh Ali Khan's family has performed it for over 600 of those. The artist is the most prolific and popular contemporary practitioner of the form, and he is shown here in concert at the peak of his career.

Nusrat Fateh Ali Khan was born on October 13, 1948 in the city of Faisalabad, Pakistan. He was the fifth child and first son of Ustad Fateh Ali Khan, a distinguished and legendary musicologist, vocalist, instrumentalist, and Qawwal. Nusrat's family, which included his four older sisters and his younger brother, Farrukh Fateh Ali Khan grew in central Lyallpur, in a small flat which was rented from a local businessman.

Qawwali is a performance art that has traditionally been passed down within families. Nusrat's family has an unbroken tradition of performing Qawwali for approximately 600 years[citation needed]. Nusrat's father was initially reluctant to allow him to enter the family business, instead hoping his son would become a doctor or an engineer, having felt Qawwals had a low social status. However, Nusrat's enthusiasm for Qawwali eventually persuaded his father to train him in the art. Nusrat began by learning to play tabla alongside his father before progressing to learn Raag Vidya and Bolbandish. He then went on to learn to sing within the classical framework of khayal in the Qawwal Bachchon Ka Gharana and was taught dhrupad from the Dagar family.

As a young qawwal, Khan learned his art in the traditional manner, through his family. His father, Ustad Fateh Ali Khan, as well as his uncles, were qawwalis, and they trained Khan in the family tradition of singing in a high register. Khan also received instruction on the tabla, a small hand drum.Khan's training with his father was cut short when his father died in 1964, leaving Nusrat's paternal uncles, Ustad Mubarak Ali Khan and Ustad Salamat Ali Khan, to complete his training.

His first performance was at a traditional graveside ceremony for his father, known as chehlum, which took place forty days after his father's death. In 1971, after the death of Ustad Mubarak Ali Khan, Nusrat became the official leader of the family Qawwali party and the party became known as Nusrat Fateh Ali Khan, Mujahid Mubarak Ali Khan & Party. Nusrat assumed leadership of the party, despite the fact that Mujahid Mubarak Ali Khan, who was Ustad Mubarak Ali Khan's son, was considerably older than him.

Nusrat's first public performance as the leader of the Qawwali party was at a studio recording broadcast as part of an annual music festival organised by Radio Pakistan, known as Jashn-e-Baharan. Nusrat went on to distinguish himself from other Qawwals and became renowned on the Indian subcontinent and in the Muslim world. He sang mainly in Urdu and Punjabi and occasionally in Persian, Brajbhasha and Hindi. His first major hit in Pakistan was the song Haq Ali Ali, which was performed in a traditional style and with traditional instrumentation. The song featured restrained use of Nusrat's sargam improvisations and attracted a large number of listeners.

Early in his career, Nusrat was signed up by Oriental Star Agencies [OSA] of Birmingham UK to their Star Cassette Label. OSA sponsored regular concert tours by Nusrat to the U.K. from the early '80s onwards, and released much of this live material (albeit not always very well recorded) on cassette, CD, videotape and DVD.

The vast majority of Nusrat's qawwali performances that are available today in video format on various labels comes from these OSA-sponsored concert tours.


Nusrat Fateh Ali Khan, internationally recognized for his mastery of a form of Islamic devotional music known as qawwali (pronounced kah-wah-lee), first gained significant attention in the United States in 1989 when he performed at the Brooklyn Academy of Music's Next Wave Festival. Prior to that, the Sabri Brothers had been the United States' significant import of traditional Pakistani music, appearing in the United States during the mid-1970s. Three years after Khan's first U.S. appearance, the singer would spend a year as artist in residence at the University of Washington's music department.

New York Times music critic Jon Pareles places qawwali in an ecstatic musical tradition alongside American gospel, Moroccan joujouka, and even techno music, which tends to create emotional highs through simple melodies and driving beats, gathering "intensity through repetition and improvisational flights." Qawwali is believed to have originated among the Chisti order of Sufis in the tenth century.

Khan's large, almost Buddha-esque body often moves in rapid motion to his music's emotional peaks; his hands jab outward, brushing, as if carving the images of divine spirit from the air. His rapt audience--at least those of Pakistani background, who comprise the greater portion of his listeners--follows with fevered shouts and dancing, afterwards gathering below the stage to shower their beloved singer with money and flowers. Khan seems to almost goad his listeners into musical intoxication, pleading in fierce cries, imitating the rhythmic insistence of the drums, and calling back and forth with other singers in his "party," the favored term for the other singers (qawwalis) and instrumentalists who sit in a group on the stage with the lead qawwal.

The World Music Institute, located in New York City, has been a chief promoter of Khan's work in the West, along with many other important nonwestern folk and classical musicians. For example, in 1993 Khan opened and closed a five-hour "Masters of India and Pakistan" concert that featured music of his region, Hindustani, as well as the work of performers from southern Pakisan.

sing through the whole day or night in religious celebration. "When I had the stamina, I'd sing for 10 hours," he once recalled. But, by age 45, the singer found himself limited to sessions of three or four hours. These shrines, or dargahs, are generally the tombs-- symbolic or otherwise--of saints where the faithful enter musically induced, trance-like states allowing communion with God. Traditionally, qawwalis sat opposite the saint's tomb. In the intervening space would be the audience in a circle formation, and in its center a spiritual leader surrounded by prominent devotees. Such sites are the true home of qawwali, although the music has also been performed at important events such as weddings feasts.

In his introduction to the program for Khan's 1993 World Music Institute performance, Robert Browning wrote, "The qawwal will dwell on certain words ... creating great depth in the apparently simple language of certain Sufi texts. He will often repeat a phrase or sentence indicating both the obvious and hidden content by emphasizing or ruminating upon particular words and syllables ... [so that, for example] a spinning wheel becomes the wheel of life." Qawwali texts are most commonly medieval Persian Sufi poetry, and Khan, like other qawwalis, learns each poem by heart. Although the verses are available in books, it is the manner of performing each text that must be learned from another qawwal. Thus, the music is basically an oral tradition.

Browning stated that "rarely is a complete poem recited--rather the singer will join segments from different poems or add lines from another text." This free association from memorized poems is done to emphasize a certain meaning, or to try a new direction in the effort to move the audience to spiritual awakening. The qawwal must exhibit great sensitivity in noting when a listener is moved to divine ecstasy, and must repeat the same phrase over and over; according to Sufi belief, interruption would threaten the ecstatic with death.

Often, qawwali poetry's apparent subject is romantic love, or even wine intoxication--though liquor is shunned by Islam. These are symbolic subjects, however: romantic love serves as an allegory and facet of divine love, while intoxication refers to the joyous trance induced by qawwali. The oft mentioned "tavern," as in the famous Persian poem "In the Tavern of Ruin," refers to one's spiritual master who houses God's love.

The melodic sources for performing qawwali poems are usually set by trdition. The tunes are North Indian in nature, meaning the octave has seven degrees and the various scales come from light classical ragas. Ragas are a traditional form of Hindu music, calling for improvisation on a theme evoking religious belief, the improvisation generally following prescribed patterns and progressions. Modern qawwali represents a spectrum of influences and geographic territories.

Generally associated with the Sufi religion, qawwali also has Hindu, Sikh, and Muslim followers. Currently, Urdu is the music's "first language," as Ken Hunt noted in his profile of Khan for Folk Roots. However, qawwalis also sing in Hindi, Sindhi, Punjabi, and classical Persian, not to mention local tongues. The literary sources of qawwali range too, though texts are chiefly medieval Persian Sufi poetry. The program for Khan's 1993 tour included, for example, a thirteenth-century Persian poem by the famed Amir Khusrau.


In his article for Folk Roots, Hunt described the scowl that comes over Khan's face when discussing the depiction of qawwali in films. For several years a debased form of qawwali has formed the soundtrack of many movies generated by a prolific Indian film industry. Khan understandably decries this long-standing commercialization of a sacred art form.

Yet, as an artist himself, Khan has embraced nontraditional elements since his 1989 U.S. visit. Western instruments and such big-name musicians as Jan Garbarek and Peter Gabriel have strongly influenced Khan's output in recent years. This Western flavor is evident in the singer's recording Mustt Mustt and numerous remixes, including those by Bally Sagoo in Magic Touch.

Khan defends such breaks with tradition as "experiments" and seems to feel that attracting an audience is important to make people aware of qawwali. The pressures on this revered singer to widen his audience echo those placed on performers of any type of traditional folk music. The artist is pulled in two directions: As a traditionalist, he is entrusted with preserving the music's form, and yet as a musician, he feels the need to discover new forms of self-expression. Noting that many qawwalis have abandoned shrine performance for financial reasons, Khan has expressed that he cannot forego his spiritual and personal links to such sites. Each year, he returns to perform at two dargahs, one in Lahore and one in Pak Patan.

Khan has made numerous recordings over the years, with titles now numbering more than 100. While his works of the early 1990s disappoint some fans of the traditional sound who find in the modern output a weakening of musical and spiritual integrity, such early classical recordings as En Concert a Paris and Traditional Sufi Qawwalis Volumes 1 and 2 form a timeless buffer against loss of the past.

Nusrat reached out to Western audiences through his work with Peter Gabriel on the soundtrack to The Last Temptation of Christ in 1985, his collaborations with Canadian musician Michael Brook (on the albums Mustt Mustt (1990) and Night Song (1996) and his work with Pearl Jam lead singer Eddie Vedder in 1995 on two songs for the soundtrack to Dead Man Walking. He also contributed to the soundtrack of Natural Born Killers. Nusrat was unhappy with the use of his vocals on the Natural Born Killers soundtrack, stating that the nature of the film was contrary to the beliefs and the ideals conveyed in his work.

Peter Gabriel's Real World label later released five albums of Nusrat's traditional Qawwali, together with some of his experimental work which included the albums Mustt Mustt and Star Rise. Nusrat provided vocals for The Prayer Cycle, which was put together by Jonathan Elias, but died before the vocals could be completed. Alanis Morissette was brought in to sing with his unfinished vocals. He also performed traditional Qawwali before international audiences at several WOMAD world music festivals and the single Dam Mast Qalandar was remixed by electronic trip hop group Massive Attack in 1998.

His album Intoxicated Spirit was nominated for a Grammy award in 1997 for best traditional folk album.

When Nusrat toured in foreign countries, he would watch television commercials in order to identify the melodies and chord progressions popular in that country. He would then try to choose similar sounding songs from his repertoire for his performances.[citation needed] After his death, the song "Solemn Prayer", on which Nusrat provided vocals, was used by Peter Gabriel on his album Up and in the soundtrack to the film Blood Diamond.

Nusrat contributed songs to, and performed in, several Pakistani films. Shortly before his death, he recorded a song each for two Bollywood films, Aur Pyaar Ho Gaya (in which he also appeared) and Kachche Dhaage. He also sang the immensely-popular title song of the film, Dhadkan. There was also a song sung by him in the movie Kartoos, starting Sanjay Dutt and Manisha Koirola

Nusrat contributed the song 'Gurus of Peace' to the album 'Vande Mataram', composed by Oscar-winning composer A.R. Rahman, and released to celebrate the 50th anniversary of India's independence.

According to the Guinness Book of World Records, Nusrat Fateh Ali Khan holds the world record for the largest recorded output by a Qawwali artist�€â€a total of 125 albums as of 2001. Since then, many posthumous albums have been released, but an accurate count of the total number of albums is not available.

Nusrat was taken ill with kidney and liver failure on August 11, 1997 in London, England while on the way to Los Angeles in order to receive a kidney transplant. Nusrat died of a sudden cardiac arrest at Cromwell Hospital, London, on Saturday, August 16, 1997, aged 48, at the height of his career. His body was returned to Faisalabad, Pakistan and his funeral was attended by thousands of people.


Nusrat's style of Qawwali

Nusrat is responsible for the modern evolution of Qawwali. Though not the first to do so, he popularized the blending of khayal singing and techniques with Qawwali. This, in short, took the form of improvised solos during the songs using the sargam technique, in which the performer sings the names of the notes he is singing. He also attempted to blend Qawwali music with more western styles such as electronic music.

Nusrat's Qawwali usually follows the standard form. A song begins with a short instrumental prelude played on the harmonium, accompanied by percussion. Then the instruments refrain, and the main singers launch into the alap, which establishes the raag, the tonal structure of the music. At this point, introductory poetic verses are sung. These are usually drawn not from the main song, but from thematically related songs. The melody is improvised within the structure of the raag.

After the introductory verses, the main song starts, and the rhythmic portion of the song begins. The tabla and dholak begin to play, and the chorus aids and abets percussion by clapping their hands. The song proceeds in a "call and response" format. The same song may be sung quite differently by different groups. The lyrics will be essentially the same, but the melody can differ depending on which gharana or lineage the group belongs to. As is traditional in Qawwali, Nusrat and the side-singers will interject alap solos, and fragments of other poems or even improvised lyrics. A song usually has two or three sets of refrains, which can be compared to the verse chorus structure found in western music. Songs last about twenty minutes on average, with a few lasting an hour or more.

Nusrat was noted for introducing other forms of improvisation into the style. From his classical music training, he would interject much more complex alap improvisations, with more vibrato and note bending. He would also interject sargam improvisations.

While it is undoubtedly difficult to put into words what makes Nusrat's music so deeply appealing to so many listeners, many of whom do not understand a single word of the languages he sings in, here is one fan's attempt to explain: "Nusrat's music invites us to eavesdrop on a man communing with his God, ever so eloquently. He makes the act of singing a passionate offering to God. But we do not merely eavesdrop. The deepest part of Nusrat's magic lies in the fact that he is able to bring our hearts to resonate with the music, so deeply, that we ourselves become full partners in that offering. He sings to God, and by listening, we also sing to God".

Without doubt the most important qawwal is Nusrat Fateh Ali Khan & Party -- "Party" is a generic term for a qawwali ensemble but is also used in Sikhism and to describe some classical music ensembles, for example, shehnai maestro Bismillah Khan & Party. Dubbed Shahen-Shah-e-Qawwali (the Brightest Star in Qawwali), he was born on October 13, 1948, in Lyallpur in the Punjab Province of Pakistan. He made his first recording in 1973 in Pakistan and a number of early EMI (Pakistan) albums jointly billed him with his uncle Mubarak Ali Khan. Since these mainly cassette albums were invariably undated and numerous, it is difficult to place them in any more accurate chronological sequence than catalog-number order. Between 1973 and 1993 his recorded output could only be described as prodigious, with more than 50 album releases to his name on numerous Pakistani, British, American, European and Japanese labels. Heavily over-recorded, blighted with a rash of poppy remix albums or albums with Westernized instrumentation or arrangements, his recorded work is a mire to suck in the uninitiated and their money. Converts, however, do not escape scot-free. Although some releases hint at their nature with coded titles such as Volume 4 Punjabi (Oriental Star CD SR013) from 1990 or Ghazals Urdu (Oriental Star CD SR055) from 1992, the chosen language and style is frequently a matter of conjecture or uncertainty. While the Western market is saturated with his work, the Indian market is supersaturated, and his recorded output is in danger of overwhelming any sense of taste.

Real World was the label largely responsible for Khan's breakthrough into a non-Indian audience. It was their marketing skills and the platform provided by the WOMAD organization which introduced him to Westerners. Mustt Mustt (Real World CD RW 15) released in 1990 was a deliberate attempt to target the white market with its non-traditional arrangements, yet it seems positively cherubic beside later abominations. "All these albums are experiments," he told me in 1993. "There are some people who do not understand at all but just like my voice. I add new lyrics and modern instruments to attract the audience. This has been very successful." Success, however, bred indifference to the virtues and values of the original music. Many find the remix albums, the Western and youth-market releases, a source of despair: buyer beware remains the watchword. When singing his traditional work he remains peerless. Many fans regret the dilution of his talent that has occurred with his "experiments." However, in 1994, reportedly tired of unauthorized releases, he took greater control of both his business affairs and his concert and recording activities. With his international renown at an all-time peak, Khan died on August 16, 1997; a seemingly endless procession of posthumous releases appeared in the years to follow.



Nusrat Fateh Ali Khan�€™s first ever biography launched
May 29th, 2008 - 1:59 pm ICT by admin - Send to a friend:

Islamabad , May 29 (ANI): Qawwali Emperor Nusrat Fateh Ali Khans first ever biography was released here by Dr Pierre Alain Baud, a researcher and journalist.

The function organized to present the biography comprised of four presentations, depicting the life and work of late Nusrat Fateh Ali Khan, three short films and a 10-15 panels exhibition, reported the Daily Times

Dr Baud works towards spreading the artistic expressions of the �€œSufis of East�€� to the world, and has worked for many years on Nusrat Fateh Ali Khan, written several books, booklets and research articles on music of Pakistan and Sufism.

Late Nusrat was coined as the �€œQawwali Emperor�€� while his unique voice with rich lyrics of poetry brought ecstatic celebrations.

Speaking on the occasion, French Ambassador Regis de Belenet said that the presentation would revive the unmatched sounds of the voice of this singer that no proper metaphors or comparisons could ever describe the emotions felt by his worldwide audiences. He recalled that Nusrat�€™s first concert at Theatre de la ville in Paris , in autumn 1985 made him one of the best ambassadors of Pakistan and moreover a voice celebrated as a mean to bring people closer.

He appreciated Dr Pierre-Alain Baud for his passion for music and Sufism, which made him well known among the Sufi singers community in Pakistan . (ANI)


Folk Punjab
Punjabi Folk & Sufi Songs

Folk Song
Dhol Mahia Dhol Mahia

Baba Farid
Farida Turia Turia Ja

Folk Song
Heeray Ni Ranjha Jogi Ho Gaya

Folk Song
Ho Jaye Je Pyar Te Sona Bhul Janda

Folk Song
Jadon Da Tu Rus Gayon

Folk Song
Kina Sohna Teenon (Remix)

Folk Song
Kisay Da Yaar Na Vichray (Remix)

Folk Song
Koi Mera Dil Lay Gaya

Folk Song
Loey Loey Aaja Mahi

Shiv Kumar Batalvi
Maye Ni Maye Mere Geetan De Nainan Vich

Folk Song
Menon Teri Dewani Ve (Remix)

Folk Song
Menon Yaadan Terian

Bulleh Shah
Mera Piya Ghar Aaya

Folk Song
Ni Sayyo Asaan Naina De Akhay Lagay

Folk Song
Sanon Rog Laan Walia

Folk Song
Sari Sari Raat

Folk Song
Sun Chakrhay Di Mithi Mithi Kook

Folk Song
Tere Ishq Nachaya

Faiz Ahmad Faiz
Ve Pardesia

Folk Song
Yaadan Vichray Sajan Dian Aayin


Biba Sada Dil Morr Dey

Biba Sada Dil Morr Dey

Dam Mast Qalandar Mast

Dam Mast Qalandar Mast

Kinna Sohna Tenu Rab Ne Banaeya

Kinna Sohna Tenu Rab Ne Banaeya

Mian Muhammad Bakhsh
Saif ul Malook - 1 of 2

Saif ul Malook - 1 of 2

Mian Muhammad Bakhsh
Saif ul Malook - 2 of 2

Saif ul Malook - 2 of 2

Sanu Ik Pal Chain Naa Aavey

Sanu Ik Pal Chain Naa Aavey


Composition of Nusrat's Qawwali Party

The composition of Nusrat's party changed over the twenty-six years that he led the party. Listed below is a snapshot of the party, circa 1983:

1. Mujahid Mubarak Ali Khan: Nusrat's first cousin, vocals

2. Farrukh Fateh Ali Khan: Nusrat's brother, vocals and lead harmonium

3. Rehmat Ali: vocals and second harmonium

4. Maqsood Hussain: vocals

5. Rahat Nusrat Fateh Ali Khan: Nusrat's nephew & pupil, vocals

6. Dildar Hussain: percussion

7. Majawar Abbas: mandolin and guitar/chorus, handclapping

8. Mohammed Iqbal Naqvi: secretary of the party, chorus, handclapping

9. Asad Ali: chorus, handclapping Nusrat's cousin

10. Ghulam Farid: chorus, handclapping

11. Kaukab Ali: chorus, handclapping

TRIBUTES

The late American rock singer Jeff Buckley paid his tribute to Nusrat on the album, Live at Sin-é. In his introduction, he states, "Nusrat, he's my Elvis," before performing the song "Yeh Jo Halka Halka Saroor Hai." The recording generated interest among the audience who were previously unaware of his music. He also stated in an interview, "I idolize Nusrat, he's a god too." Buckley died in May 1997 in Memphis, Tennessee, 3 months before Nusrat. In addition, Nusrat's posthumously released The Supreme Collection Vol. 1 has liner notes written by Buckley, to whom this album is dedicated.

On his death, WBAI-NY in New York aired only his music for 25 hours non-stop.

Eddie Vedder said, "I was lucky to work with Nusrat, a true musician who won't be replaced in my life. There was definitely a spiritual element in his music." Eddie Vedder also incorporated 'Nusrat Fateh Ali Khan' into the lyrics of 'Wishlist' during the 98' Yield tour in Melbourne, Australia.

SPIN magazine listed Nusrat as one of the 50 most influential artists of music in 1998.

Paul Williams picked a concert performance by Nusrat for inclusion in his 2000 book The 20th Century's Greatest Hits: a "top-40" list, in which he devotes a chapter each to what he considers the top 40 artistic achievements of the 20th century in any field (including art, movies, music, fiction, non-fiction, science-fiction).

In 2004, a tribute band called Brooklyn Qawwali Party (formerly Brook's Qawwali Party) was formed in New York City by percussionist Brook Martinez to perform the music of Nusrat. The 13-piece group still performs mostly instrumental jazz versions of Nusrat's qawwalis, using the instruments conventionally associated with jazz rather than those associated with qawwali.

TIME magazine's issue of November 6, 2006, "60 Years of Asian Heroes", lists Nusrat as one of the top 12 Artists and Thinkers in the last 60 years.

The Red Hot Chili Peppers wrote a tribute song about Nusrat, called "Circle of the Noose". It has never been released.

The Derek Trucks Band released "Makki Madni" on their 2002 album Joyful Noise with Rahat Nusrat Fateh Ali Khan singing. In addition they released a studio recorded medley of "Sahib Teri Bandi/Maki Madni" on their 2006 album Songlines, in which Derek Trucks emulates Nusrat's vocals (from the album "The Last Prophet") with his slide guitar playing.

In 2007, London-based producer Gaudi released Dub Qawwali, featuring dub reggae with Nusrat's vocals.

In the British-Asian and South Asia his music was popularised by remixes by various artists the most prominent being Bally Sagoo. He also featured in a song with A.R. Rahman. He was relatively well known in the Far east especilaly in Japan where he was known as "Singing Buddha" plus "Quintessence of the Human singing" in Tunisia, "Voice of Paradise" in USA, "Pavarotti of the East" in France.

Nusrat has been an inspiration to many successful younger singers in India, Pakistan and the Middle East. The most notable among them is Kailash Kher, whose style has often been compared to Nusrat's.

Documentaries

Nusrat has Left the Building... But When? (1997). Directed by Farjad Nabi. (This 20-minute docudrama focuses on Nusrat's early career.)

A Voice from Heaven (1999). Directed by Giuseppe Asaro. (This 75-minute documentary, available on VHS and DVD, provides an excellent introduction to Nusrat's life and work.)

Concert films

The JVC Video Anthology of World Music and Dance (1990). Video 14 (of 30) (South Asia IV). Produced by Ichikawa Katsumori; directed by Nakagawa Kunikiko and Ichihashi Yuji; in collaboration with the National Museum of Ethnology, Osaka. [Tokyo]: JVC, Victor Company of Japan; Cambridge, Massachusetts: distributed by Rounder Records.

Features a studio performance by Nusrat Fateh Ali Khan and Party (two Urdu-language songs: a Hamd (song in praise of Allah), and a Manqabat for Khwaja Mu`inuddin Chishti, a 13th century Sufi saint. Filmed in Tokyo, Japan, September 20, 1987, for Asian Traditional Performing Arts).

Nusrat! Live at Meany (1998). Produced by the University of Washington. (87-minute document of a January 23, 1993 concert at Meany Hall, University of Washington in Seattle, during Nusrat's residency at the Ethnomusicology Program there.)

Live in Concert in the U.K. (DVD, vols. 1-17) [OSA]; recorded between 1983 and 1993; first thirteen listed below:

Live in Concert in UK (DVD vol. 1)

Live in Concert (DVD vol. 2)

Live in Concert (DVD vol. 3)

Live in UK (DVD vol. 4)

Live in UK (DVD vol. 5)

Live in Concert (DVD vol. 6)

Live in UK (DVD vol. 7)

Live in UK (DVD vol. 8)

Live in UK (DVD vol. 9)

Live in UK (DVD vol. 10)

Live in UK (DVD vol. 11)

Digbeth Birmingham 12 November 1983 (DVD vol. 12)

Digbeth 30 October 1983 (DVD vol. 13)

Akhiyan Udeek Diyan (DVD) [Nupur Audio]

Je Tun Rab Nu Manauna (DVD) [Nupur Audio]

Yaadan Vicchre Sajan Diyan Aayiyan (DVD) [Nupur Audio]

Rang-e-Nusrat (DVD, vols. 1-11) [Music Today]; recorded between 1983 and 1993 (same material as the OSA DVDs)

VHS videotapes, vols. 1-21 [OSA]; recorded between 1983 and 1993 (same material as the OSA DVDs)

Luxor Cinema Birmingham (VHS vol. 1, 1979)

Digbeth Birmingham (VHS vol. 2, 1983)

St. Francis Hall Birmingham (VHS vol. 3, 1983)

Royal Oak Birmingham (VHS vol. 4, 1983)

Private Mehfil (Wallace Lawley Centre, Lozells Birmingham, November 1983) (VHS vol. 5)

Private Mehfil (VHS vol. 6, 1983)

Natraj Cinema Leicester (VHS vol. 7, 1983)

Live In Southall (VHS vol. 8)

Live In Bradford (VHS vol. 9, 1983)

Live In Birmingham (VHS vol. 10, 1985)

Allah Ditta Hall (VHS vol. 11, 1985)

Nusrat in popular culture

A hero in the novel "Chapayev and Void" by Viktor Pelevin is listening to a tape by an imaginary band Crimson Jihad which is described as a duo of Nusrat Fateh Ali Khan and Robert Fripp from King Crimson.

In Mira Nair's movie Monsoon Wedding, in one scene when a car drives up to the wedding house, Nusrat's "Allah Hoo" is playing in the car.

HBO's Sex and the City had his rendition Tere Bin Nahin Lagda/Jaania in Episode 9 of Season 2

Natural Born Killers features some pieces by Nusrat Fateh Ali Khan, including "Allah, Mohammed, Char Yaar", as well as "Taboo" with Peter Gabriel. In documentaries, it is said that director Oliver Stone always had Nusrat's music playing on the set in between takes.

Bend It Like Beckham features Tere Bin Nahin Lagda/Jaania playing in the background several times during the movie.

In Shoaib Mansoor's film "Khuda Ke Liye", Nusrat is described as a talented Pakistani musician who introduced Qawwali to the West.


songs in hindi movies

lyrics - music director - singers - lyricist - movie - year - actors
1]baha na aansoo - Anu Malik, Bally Sagoo, Nusrat Fateh Ali Khan [all 3] - Kartoos -1999 [1990..1999] - Jackie Shroff, Sunjay Dutt, Manisha Koirala, Gulsh

2]band lifaafa dil mera - Nusrat Fateh Ali Khan - Anand Bakshi - Kachche Dhaage - 2000 [2000..2009] - Ajay Devgan, Manisha Koirala, Saif Ali Khan

3]dil pardesi - Nusrat Fateh Ali Khan - Anand Bakshi - Kachche Dhaage - 2000 [2000..2009] - Ajay Devgan, Manisha Koirala, Saif Ali Khan

4]ek jawaani - Nusrat Fateh Ali Khan - Anand Bakshi - Kachche Dhaage
2000 [2000..2009] - Ajay Devgan, Manisha Koirala, Saif Ali Khan

5]ek sharaarat hone ko hai - Kavitha Krishnamurthy [+], Kumar Sanu [+] [duet,+] - Nusrat Fateh Ali Khan, Anu Malik [both] - Safdar Aah Sitapuri - Duplicate - 1998
[1990..1999] - Juhi Chawla, Shahrukh Khan

6]
gham hai ya khushi hai tu - Alka Yagnik [+] - Anu Malik, Nusrat Fateh Ali Khan [both] - Majrooh Sultanpuri - Kartoos - 1999-[1990..1999] - Jackie Shroff, Sunjay Dutt, Manisha Koirala

6]ishq da rutba - Anu Malik, Bally Sagoo, Nusrat Fateh Ali Khan [all 3] - Kartoos - 1999
[1990..1999] - Jackie Shroff, Sunjay Dutt, Manisha Koirala

7]khaali dil nahin - Alka Yagnik [+], Hans Raj Hans [+] [duet,+] - Nusrat Fateh Ali Khan - Anand Bakshi - Kachche Dhaage - 2000 [2000..2009] - Ajay Devgan, Manisha Koirala, Saif Ali Khan

8]meri saanson mein basa hain tera hi ek naam - Udit Narayan [+] - Nusrat Fateh Ali Khan - Javed Akhtar - Aur Pyar Ho Gaya

9]o rabba - Anu Malik, Bally Sagoo, Nusrat Fateh Ali Khan [all 3] - Kartoos - 1999
[1990..1999] - Jackie Shroff, Sunjay Dutt, Manisha Koirala

10]oopar khuda - Nusrat Fateh Ali Khan - Anand Bakshi - Kachche Dhaage - 2000
[2000..2009] - Ajay Devgan, Manisha Koirala, Saif Ali Khan

11]pyaar nahin karna - Nusrat Fateh Ali Khan - Anand Bakshi - Kachche Dhaage -
2000 [2000..2009] - Ajay Devgan, Manisha Koirala, Saif Ali Khan

12]tere bin nahin jeena mar jaana dholna - Lata Mangeshkar [+] - Nusrat Fateh Ali Khan - Anand Bakshi - Kachche Dhaage - 2000 [2000..2009] - Ajay Devgan, Manisha Koirala, Saif Ali Khan

13]tere bin nahin jeena mar jaana dholna - Sukhvinder Singh [+] - Nusrat Fateh Ali Khan - Anand Bakshi - Kachche Dhaage - 2000 [2000..2009] - Ajay Devgan, Manisha Koirala, Saif Ali Khan

14]teri yaad - Anu Malik, Bally Sagoo, Nusrat Fateh Ali Khan [all 3] - Kartoos -1999
[1990..1999] - Jackie Shroff, Sunjay Dutt, Manisha Koirala

15]vallaah yeh ladki - Anu Malik, Bally Sagoo, Nusrat Fateh Ali Khan [all 3] - Kartoos - 1999 [1990..1999] - Jackie Shroff, Sunjay Dutt, Manisha Koirala

http://www.answers.com/topic/nusrat-fateh-ali-khan

http://www.earthmusic.net/hindi-film-songs.php?mdid[]=fak&mdmtype=plus

http://en.wikipedia.org/wiki/Nusrat_Fateh_Ali_Khan

http://www.thaindian.com/newsportal/india-...d_10054125.html

http://www.folkpunjab.com/nusrat-fateh-ali-khan/

http://www.apnaavenue.com/2009/biography-o...teh-ali-khan-2/

http://www.rollingstone.com/artists/nusrat...ikhan/biography

Ustad Nusrat Fateh Ali Khan a world-renowned Pakistani musician, was primarily a singer of Qawwali, the devotional music of the Sufis, a mystical offshoot of Islam. Ustad Nusrat is credited with taking this traditional musical art form to an international level and creating a new generation of Qawwali lovers both in Pakistan and around the world. Traditionally, Qawwali has been a family business. Nusrat�€™s family (originally from Afghanistan) has an unbroken tradition of performing qawwali for the last 600 years. Among other honorary titles bestowed upon him, Nusrat was called Shahenshah-e-Qawwali, meaning The Emperor of Qawwals.


This post has been edited by rashmi mehta: Mar 30 2009, 03:11 PM
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