Hi,

I recently bought this album and have become addicted to Nayyara Noor's voice. The poems by Faiz Ahmed Faiz have been presented very well by her (in my opinion) so I thought I would share them with you. Here is some information on Nayyara Noor (and Faiz Ahmed Faiz for those who don't know)

Enjoy.

Jamal

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Nayyara Noor: Talent rises to the top
By Anis Shakur

Teri zameen kay ye chand taray hai jin ki Aankhon mein pyar tera
Sadaqatoan kay deye jala kar barha rahay hain waqar tera gawah rehna
Watan ki matti gawah rehna gawah rehna

The infinite capacity of the human voice is mind- boggling. When it comes to Nayyara, we realize that her voice has literally captivated the hearts and minds of those who enjoy beautiful singing throughout the world.

Sober, reserved, and shy, Nayyara fell into the music business by a fluke. In the early 1970s, she was doing a course with a diploma granted at completion in textile designing from the national college of arts.

At that time, colleges and universities regularly held all Pakistan contests in various subjects, in which Nayyara often participated and won prizes, as well.

A little later, she introduced herself to the relevant people in Pakistani television.

In those days, Rafiq Waraij had been affiliated with an entertainment program. He had heard about Nayyara's talents, and decided to give her an opportunity to sing.

Besides, in the mid-seventies, Nayyara had recorded a lot of geet, and ghazals for Arshad Mehmud for Pakistan television program, 'Such gup', and 'Taal matol'.

Probably, Nayyara's ascent from a textile designer to a reputed singer was propelled more by her own curiosity than ambition.

It seemed that she was perfectly poised for the ghazal below:

'Aye jazba-e-dil gar mein chahoon her cheese muqabil Aaja ye, manzil kay liye do gaam chaloon aur saamnay manzil Aaja ye'. Poet, Bhehzad Lucknavi, originally recorded in the voice of a female Indian singer, for the Indian film 'Anjuman', 1948, and pictured on Indian actress, Nargis.

Rerecorded in Nayyara's voice for Pakistan television's music program, 'Sukhanwar'.

'Jazba-e-dil' sent Nayyara into the stratosphere.

Her initial huge success encouraged budding artists, including young, aspiring Pakistani girls to come forward and try their luck in the music arena.

Nayyara's lilting singing voice is a translation of music through the soul. Here is a more- subtle example of Nayyara's artistic caliber:

'Chalo usko', nazm, poet, Zehra Nigah, composer, Mian Sheheryaar Zaidi, Pakistan television drama'83, 'Daur-e-junoon'.

Her ingenuity is evident perhaps, no where more so than in the presentation below:

'Kabhi hum khubsurat thay'. Poet, Ahmed Shamim, Pakistan television drama serial, 'Teesra kinara'.

Nayyara was the guest in the second episode of Anwar Maqsood's Karachi television stage show, 'Silver Jubilee', in 1983.

In 'Silver Jubilee', she rendered this geet, 'Ghata ghanghor ghor, moar machaway chore, moray sajan Aaja'.

Nayyara received tremendous applause from the audience in general and from Khursheed Banu in particular. Khursheed Banu, originally sang 'Ghata ghanghor', in the Indian film 'Taan Sain'.

Years ago Nayyara was so inspired by Begum Akhtar, that she was fond of listening to Begum Akhtar's ghazals in old fashioned r m p gramophone record players, because audio cassette players were not common then.

This further enhanced Nayyara's aptitude in music. Moreover, in college days, she was accustomed to singing ghazals, which had been originally recorded in Begum Akhtar's voice and she gained a lot of popularity.

In Nayyara's own words, 'ghazal leaves a profound impact on the listener. The effect is rapid and lasting.'

Additionally, the ghazals, which Nayyara recorded for Pakistan television, have virtually immortalized the television's image to the general public.

Below is a ghazal that endured through all those years:

'Rang barsaat nay bharay kuchh to'. Poet, Nasir Kazmi, Nayyara's favorite poet.
Nayyara, who is an embodiment of humility, goes down in the annals of Pakistani show business as a rare singer few could imitate. Below is a fairly obvious example:

'Phir sawan ruth ki pawan chali, tum yaad Aaye.' Poet, Nasir Kazmi.

She stole the hearts of her fans with 'Aye ishq hamay barbaad na kar'. Nazm, poet, Akhtar Shirani, exquisitely composed by Khalil Ahmed.

Additionally, Nayyara believes that Ibn-e-Insha's lyrics carry a unique pathos. Below is an example:

'Jal to jalao gori.' Poet, Ibn-e-Insha.

Below is a national song, which Nayyara sang with inspiring conviction; its composition conveys the loyalty of world listeners. This presence never leaves:
'Watan ki matti gawah rehna, gawah rehna.'

'Watan ki matti' is widely listened from Karachi to Khyber.

While sharing her views with the people, Nayyara had said, 'it is a matter of considerable pleasure and honor for a singer to be praised by a poet.' In her case, she added, 'Ahmed Nadeem Qasmi was all praise for her artistic talents.'

In the richer realm of poetry, there are a myriad of other examples of Nayyara's brilliant rendition.

Nayyara, an unobtrusively intelligent woman, brought us closer to reality in the poetry of Faiz Ahmed Faiz. For instance, the masterpiece below:
'Hum keh tehray ajnabi.'

Similarly, Nayyara recorded 'Panchi bawara' with plenty of zest. Hence, her admirers feel proud, and rightly so.

Likewise, with 'Wo jo hum mein', she endeared herself to the Pakistani public. Below is a nazm to warm your spirit-Pakistani style:

'Lub pay Aati hai dua.'

The following poetry in Nayyara'a voice is still popular with the populace:
'Aaj bazaar mein.'

Through her mellifluous voice, Nayyara brings to her music the sobering sense of a singer's prowess:

'Jano kahan jao.'

In the soft tones of her voice, 'Jhula kinnay dala', sounds fabulous.

Her passion for perfection keeps Nayyara on her toes all the time. Below is an example:

'Mujhay wida kar.'

She brings out all possible emotions through her voice. Below is another example:
'Mujhay apni zabt.'

The melodies and lyrics were learned by Nayyara and applauded by music buffs, like this one:

'Preet nagar say.'

Nayyara increasingly found opportunities to show her dramatic abilities, notably in 'Tuk dair jo Aanay.'

Nayyara is the wife of singer-cum-composer, Mian Sheheryaar Zaidi.

Furthermore, Sheheryaar's two sisters, Yasmeen Wasti and Arjumand Shaheen, used to be the renowned Pakistan television's newscasters.

Both Nayyara and Sheheryaar lent their voice to numerous songs, which were previously recorded in the voice of Kundan Lal Saigal, Khursheed Begum and other prominent singers of the distant past.

Reverting to ghazal, the purpose of ghazal is to celebrate its values in uncorrupted form. Presumably, Pakistani and, to some extent, even non-Pakistani audiences are acquainted with those values.

Nayyara made her professional singing debut in a 1973 movie, 'Gharana', directed by K Khursheed, theatrical release was on March 23, 1973.

Songwriter, Kaleem Usmani, must have written these romantic lyrics with Nayyara in mind!

'Tera saya jahan bhi ho sajna, palkain bicha doon, sari umer bita doon.'
'Tu jo bulaye sajna mein bun patang chali Aaoon.
Chore kay sara zamana teray rang mein he rang jaoon
O meray sajna O meray saathi teray sung sung chali Aaoon.'

It is not all that difficult to succumb to its full-spirited romanticism.

On the strength of her super hit debut song, Nayyara received more offers from other composers in quick succession.

'Chanda kahan guzari raat ray', brought exuberant fun for Nayyara's adorers.
As time passed by, Nayyara developed confidence and exuberance and came up with celebratory songs like 'Tu he bata pagli pawan.' The film 'Phool meray gulshan ka,' and 'Teray ishq nachaya.'

Looking back over her long career in Pakistani entertainment, we come across such mega hits as the one below:

'Meray khayal nay aisa sanam tarasha hai, kabhi hansata hai mujh ko, kabhi rulata hai.' The film 'Subha ka tara.'

Perhaps, her voice never ringed as true as it did in the number below:

'Kuchh loag mohabbat ka sila maang rahay hain.' The film 'Gumrah.'

Small wonder, Nayyara became a musical phenomenon with such favorites as 'Aaj gham hai to kya wo din zuroor Aaye ga, phir tera gham khushi mein badal jaaye ga.' The film 'Mastana.'

She did not confine herself to light music. Hence, the song below proves an enjoyable and sharp surprise to her fans:

'Haye zara meri nabz deikh kar dawa dejeye.' The film 'Ajnabi.'

From the melancholy strains of 'Toot gaya sapna' the film 'Subha ka tara', to a jolly number like 'Dum dama dum mast', the film 'Miss hippi', Nayyara's voice is absolutely exemplary.

It fills ones heart with hope, aspiration and longing as one listens to a soulful Nayyara:

'Is percham kay saye talay.' The film 'Farz aur mamta.'

Below is a romantically charged score, which Nayyara sang under the baton of Robin Ghosh. Who else could have written the lucid poetry other than Kaleem Usmani:

'Rothay ho tum to mein kaisay mana oon piya, bolo na, bolo na.' The super hit film, 'Aa'ena.'

Nayyara is, indeed, a rare combination of brain and brawn in the boisterous ocean of artistic passions. Below is an example:

'Boal ri guriya boal zara, chup rehtay tujhay sadyaan beteen, kano mein ras ghoal.' The film 'Aas', lyrics, Masroor Anwar.

Below is a look back, not a Pakistani look, but a Nayyara look!

'Mausum to deewana hai, bara he deewana hai.' The film 'Do saathi.'

Her industriousness leads to one success after another. Nayyara is most well known for romantic scores like the three below:

'Ruth Aaye, ruth jaaye, piya kyon naheen Aaye.' The film 'Aahut.'

'Aaj dildaar sajh dhaj kay Aaya.' The film'Umang', Nayyara- Akhlaq Ahmed.

'Raat bhar sajna ko yaad kiya hoga.' The film 'Umang', Nayyara- Akhlaq Ahmed.

Nayyara's inimitable voice reminds us of the spirit of renewal and adventure, that touches the core of each and every person's humanity.

Most important of all, the immediate examples of Nayyara's work above, was a group effort by all of those involved with the projects. No one artist could have done all that alone.

The most dizzying stuff from Nayyara's vocal cords are given below:

'Itna bhi na chaho mujhay,' the film 'Parda na uthao.'

'Ik ajnabi chehray say mulaqat huwe hai', the film 'Baaghi haseena.'

'Mera pyar tum he ho sajna' the film 'Farz aur mamta.'

A popular number like 'phool bun ja oon gee', the film 'Qismat', immediately won accolades for nayyara's talents.

She went from proverbial success to success, from glory to glory.

One may recall numerous examples of songs to highlight this point. Below are three such songs:

'Aye jaan-e-wafa', the film 'Shireen Farhad.'

'Mein raqs teray sung karti', the film 'Hesaab.'

'Shore karoan gee, chup na rahoon gee,' the film 'Maum ki guriya.'

Always the innovator, Nayyara went on to record such song as 'Jala deen shamay', the film 'Aabru.'

Equally impressive is the number 'Lovely lovely jhuta', the film 'Aabru,' which concurrently is merry and admirable.

Likewise, the success of the song 'Tera pyar bun kay Aaye hoon', the film 'Bhool', added even more plaudits to Nayyara's eventful career.

Nayyara won the Nigar Award for best singer, in the film 'Gharana', in 1973.

Nayyara won the Nigar Award for best singer in the film 'Dooriyaan', in 1984.

The key to Nayyara's voice is that it is realistic and inspiring at once-an enormous accomplishment, which is seldom seen in modern Pakistani music.

Hers is a voice that demands our surrender-to its energy, to its vocal sway, and, above all, to its wistful presentation.

Her admirers are stunned by the influence of he voice that has been unleashed on them.

Most of all, they have an even greater appreciation for the gracious lady behind music.

A music audience is like an un-sequestered jury. As such, they have come up with the following verdict about Nayyara:

Nayyara Noor's innocent image, her songs, her sweet voice, and, best of all, her flawless character will live in our hearts for years to come.

(http://anisshakur.tripod.com/id45.html)

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Faiz was acknowledged long ago as the greatest Urdu poet after Iqbal. Even those who were critical of his progressive social and political beliefs could not deny him that position, although they always qualified their praise of him by regretting that such a good man should have fallen among the Communists.

He was a keen student of various traditions of classical poetry in Urdu, Punjabi, Hindi, Arabic, Persian, and English among others and had realized at an early age that it was the content and not the form which was basic in the art of poetry, that originality had little to do with formal experimentation and was primarily a matter of a profound understanding of human existence in its totality and wholeness.

His Critical essays, written mostly during his formative years, are a testimony to the fact that he had arrived at, and formulated clearly the essential elements of the poetics necessary for our age, the age of the masses.

Iqbal had sung poems of glory to the fact of revolution and given out a clarion call to the people to rise up against the master-classes and tyrants. Faiz, having joined the people in their rebellion, and having adopted the collective cause as a poet of the revolution, made the transformation of the individual human being and his passage through the infinite variety of situations and moods in this process, the subject of his poetry. He is concerned, above all, with the experience of the individual human soul in the long and arduous journey of revolutionary struggle.

And yet love is the leit motif of his poetry. Faiz is one of the great lyricists who seems, from one point of view, to have sung of nothing with greater passion than love.

Faiz takes Ghalib's plea for a deeply philosophical coordination of the poetic profession as his premise to refute the arguments of the aesthetes of his time for whom poetry was merely peripheral activity. But he goes further and comments that Ghalib's definition of creative vision is incomplete, because the poet is not only required to see the ocean in the drop, but also has to show it to others.

That is why, apart from being a great revolutionary poet, he was a great love poet, and there was no distinction between the two, love and revolution had become identical in him.

(http://www.faiz.com/)
(http://en.wikipedia.org/wiki/Faiz_Ahmed_Faiz)

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(male voice: Shehryar Zaidi)

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Track number 6 on the album is sung by Tina Sani. I don't have much information about her. This is whatever I could find on the web.

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Tina is a gifted artist renowned for her rendering of Urdu Ghazal in the traditional style. Her formal training in classical music was conducted first by Ustad Nizamuddin Khan of Delhi Gharana and later by Ustad Amrohvi.


She sings with ease the semi-classical genres of thumris and khayal; equally competent in the art of singing kafis and arifana kalaam; and is as impressive when singing punjabi and sindhi.She artistically combines knowledge of music with her deep love and understanding of Urdu poetry.

Tina Sani has been singing and working under the able guidance of Saffia Beyg for the last one year improvising her music and giving it a whole new dimension.

(http://www.sampurna.sdnpk.org/tina_sani.htm)

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(Track 6: Tina Sani)

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(male recital: Faiz Ahmed Faiz)

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Track 12 on the album is sung by Malika Pukhraj. Here is some information I found on her.

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Malika Pukhraj of Jammu
By Muhammad Murtaza

Malika Pukhraj was born in village Mirpur 16 miles from Jammu and 55 miles from Akhnoor - over looking Jammu River. She was Malika with the blessings of a "Majzoob" Baba Moti Ram and named Pukhraj by her Aunt. Her father neglected family affairs but mother insisted to get her educated. They shifted to Jammu Town where she learnt Urdu and Persian from a distant uncle Gulzar Hussain Shah. She also read Fasana-e-Azad and Ratan Nath Sarshar. She had melodious voice from childhood. She received music lessons in a Delhi sojourn from very strict Ustads. – arduous "Nirith Bhav". One of her teacher has been quoted as Ustad Mubarik Ali Khan. Father of Bare Ghulam Ali Khan Sahib also nurtured her. At the age of 9 appointed at the Darbar of Maharaja Hari Singh of Kashmir. She remained there for nine years - performed at the coronation ceremony of the Maharaja. Maharaja was also an amateur singer. Once she laughed in Maharaja’s Darbar on some funny happening – This being viewed as contempt and was warned by Janak Singh. Due to some intrigues she left the Kashmir State service. She had never performed publicly before that. Afterwards she was associated with Lahore Radio Station. She has a distinct and clear style of rendering Ghazals. Her tunes matched the theme. Folk singing by her is in most natural style. Her voice is most suitable for Pahari Songs. She also occasionally sings for TV.

At the time of independence there were in all four film studio in Pakistan (all at Lahore) including two studios of Dilsukh Pancholi. One of the Pancholi Studios was initially allotted to Afzal Himaliyawala but the allotment was cancelled in 1954 and the same was re-allotted to Malika Pukhraj.(renamed as Malika Studio).

She lived in old Lahore City at that time. Shabbir Husain Shah a Government Officer very much liked her singing and actually they were in love. They were then married. She continued singing after marriage. She has six children. Malika is considered to be a very harsh teacher of music. Safiea - her eldest daughter with marvelous voice shunned singing under taunts of her schoolmates. One of her daughters (Tasleem) is an anesthesia expert (Wife of S.M Zafar- Advocate and Ex Minister). Daughter of S.M.Zafar used to occasionally sing on TV. Malika’s daughter Tahira (Law Graduate) under strict compulsion has learnt singing. .She re-sung many of her mother’s famous songs. Malika is considered to be too frank in expressing her critical observations about others –

Mr. G.N. Joshi pays tribute “Malika Pukhraj’s silvery rich voice and her superb expressive style were ideally suited for rendering romantic ghazals and dadras; she used to present them in such an arresting manner that listeners were at once held spellbound. She displayed rare virtuosity in diverse types of songs for the recordings for gramophone discs and during radio broadcasts. While the ghazals appealed most to the sensuous, her dadras had a unique charm..”

Her famous songs are listed below:

“Be zubani zaban na ho jae-Raz-e-ulfat aeyan na hojae” Ghazal
“ Zahid na keh buri ke yeh mastane Aadmi hein”
“Wo kehte heih rajish ki batein bhula daen” Ghazal
“Her ek lawa-e-rangeen ki yadgar hun mein”
“Mein jo madhosh hua hun”
“Nigah-e-yar jise ashna-e-yar kare”
“Ajab dastan afreen hae”
“Dil gham mein na behla”
“Hum bhi piyein thumein bhi pilain tamam raat-Jagein tamam raat jagaen tamam raat”
“Taskeen ko hum na roen jo zoq-e-nazar mile”
“Kesa jadoo dara balam matvare” Dadra
“Sooratia raang jui re” Dadra
“Ahein jo mein ne rokein”
“Hal dil wo pochne aane lage”
“Jag soz-e-isq jag”
“Lo phir basant aai” Seasonal Geet
“Aye koi tou beth bhi jae zara si der”
“Shab-e-gham ki sehar nahein hoti”
“Jis ko na taab-e-isq ho uski gali mein jae keun”
“Zulmat kade mein mere shab gham ka josh hae”
“Jalwa tera jis rang mein hae hosh ruba hae”
“Jhoom kar badl uthi aur cha gai”
“Nikat-e-zulf se neendon ko” Ghazal
“Meri sham-e-gham ko” Ghazal
“Abhi tou mein jawan hoon” Naghma
“Ae isq mujhe barbad na kar”
“Ae ishq kahein le chal”
“Hein labrez ahoon se”
“Aayo ke marg soz-e-mohabbat”
“Muhabbat ka soz-e-nihan”
“Ess andaz se kash wo shokh”
“Ahed rangein ki yadgar hun mein”
“ Kia keh gai kisi nazar kuch na poochiye”
“Arey mae gusaro savare savere”
"Woh batein teri who fasaney terey"
"Ne Ka Ne Nam Rakh Dia Kis Ne" Amin Hazeen, Master Inayat
"Lehra ke la Jhoom ke la" Abdul Hamid Adan, Master Inayat
Geet “Mora kaha maan ja”, “ O Ghare wali”
Naats “Ae isq -e-muhammed”
“Hue pehloe amna se haveda”
“Dil jis se zinda hae woh tamana thumi tou ho”
“Zamane mein chamka hae nam-e-mohammed”
“Kamli wale thujh pe”
“Mae ishq-e-nabi hae aur mein hoon”
“Pardesi sanwaria”
“Chali ja mori nayia”
Holi “Holi mein mose”
“Baat chalat chundri rang dali”
Punjabi “phondo majuria nahin lana”
“Chirye ranarahona”
“Nimmi nimmi pendi-e-phuwar”
“Akhian terian chor ni”
“Nimmi nimmi tarian”
“Piplan te pengha paiyan”
Pahari “Toun toun ghar aaja”
“Milne do mouj moya”
“Palpal bahi jana ho”

Films
Do-Kinare -"Dekh lenge duniya", "Chand ansoo chand"

Punjabi Film
Shammi - Urdu Song “Kia sunain majboor zindagi ka afsna”
Urdu/Punjabi Duet with Inayat Bhatti "Dermat dil ki batein kehle- Ek duni duni do duni charey"

Azadiye Watan
“Han O madi jindri” , “Watan Churaio”

Others
“Mein to chokre ko bharti kara ayi re”

After death of her husband she mostly devoted time to embroidery in moghal art style. Now she spends much of her spare time in a mini zoo and garden at her residence.

She is the most senior legendary singer of the whole sub-continent. Writer Ashfaq Ahmed wishes her to live beyond his lifetime. God may bless her with health and happiness.

(http://members.tripod.com/oldies_club/malika_pukhraj.htm)

Malika Pukhraj left this world on Feb 4 2004. May Allah bless her soul

(http://www.tribuneindia.com/2004/20040205/main6.htm)
(http://www.hindu.com/fr/2004/06/04/stories/2004060401970600.htm)

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(Track 12: Mailka Pukhraj)

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... and that finishes the collection. Hope you enjoy it. Please let me know what you think.

Thanks.
Jamal

Wow!!!! This is amazing, Jamal! Thank you so much for contributing this great stuff with all of us. Though I have all the tracks on audio tapes, but I love to get them in CDQ.
Nayyara is my favorite singer & I have almost all f her (non film) work on audio tapes. I also have a lot of her film songs. If you want any particular song by her, please feel free to write me.
Tina is also a very fine singer. I have all of her albums on audio tape (met her last year in musical conference Karchi, she is very kind ).
Infect all the Nayya & Tina songs you have posted are composed by Arshad Mehmood, a very very good (non-film) music director. I like his work very much.
Malika Pukhraj's tracks are bonus for me. Many thanks again

Rerecorded in Nayyara's voice for Pakistan television's music program, 'Sukhanwar'

Jamal...do you have recording of that programme?

Any one having the recording of her singing..ghata ghan ghor bhor..originally
sung by khurshid for tansen(1943)?

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I have both the recordings, Mr Mahesh. Do you want them?

Hi,
I am looking for 'Intisaab/aaj ke naam' by Faiz sung by Nayyara. I am told it is there in the collection 'Requiem for an Unsung Messiah' brought out by Dawn.
Regards,
Vibhendu

Track 12 on the album is sung by Malika Pukhraj. Here is some information I found on her.

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“Her ek lawa-e-rangeen ki yadgar hun mein”

Mixed up mukhdas of two songs:

'har ek jalwaa e rangiin meri nigaah men hai'

' ehd e rangiin ki yaadgaar hoon men'

It is not 'aaj ka gham' but 'aaj ke naam'
I have it on audio tape. I hope Jamal will upload it if it is included on the CD.

Maheshji and Vibhenduji - I don't have any other Nayyar Noor songs on CD unfortunately and I also don't have the Sukhanwar programme.

Akhtar - do you want to do the honours for the remaining requests? (also thanks for upload Jale To Jalao Gori)

- Ghata Ghan Ghor
- Intesaab/Aaj Ke Naam

Thanks for the correction Urzung Sahib.

Also thanks to Inaam bhai for the information on the composer - I had wondered who it was as there is no information on the CD. As always, it is my pleasure to share what I have. Really glad you all enjoyed my post.


Thanks
Jamal