Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs

Archive for the ‘Pankaj Mullick NFS’ Category


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

5028 Post No. : 16936

Today’s song is a Non Film Song (NFS) – for a change ! It is sung by Pankaj Mallick. Lyricist is Fayyaz Hashmi and the song is set to music by Pankaj Mallick himself. It must be a song originally recorded before the Partition, because the Lyricist migrated to Pakistan after that in 1947.

Music in India can be divided into 2 groups.
1) Film Songs and 2) Non Film Songs.

Non Film Songs (NFS) as an all inclusive term and it includes all songs other than film songs – Bhajans, Naats, Geets, Qawalis, Gazals,classical songs and anything and everything that is not a film song. It may include the various folk songs, traditional songs sung in all parts of India on various occasions like Bhai Dooj, Rakhi, Holi, Sankranti, Bidai, Farmers’ songs during harvesting, even songs composed by Saints and songs sung by housewives while operating Home Chakkies, Naag Panchami songs etc.etc.

Music has been an inseparable part of Man’s life in the World. In India music is used whenever things needed to be remembered. I remember, in the 40’s and the 50’s, in our school days, the teachers used to insist on singing Poems from the books, in tune, so that we remembered them. Even the mathematical Tables and Pahades were recited collectively in tune,in classes and we never forgot them. That is why old people, even today, remember the tables of 1/4, 1/2, 3/4, 1 1/2, 1 1/4, 1 3/4, 2 1/2, 3 1/2 etc. etc. For the new generations it is unbelievable because now calculators do all this without investing personal efforts. Great advantages and disadvantages too ! Simple calculations can not be done without calculators these days. Anyway, that is besides this topic.

Great singers and classical experts always had the Royal Patronage and for common people the traditional music and folk songs were there. After the advent of Radio in Bombay (23-7-1927) and Calcutta (26-8-1927), music came to the commoners. But even on Radio, for a long time, only classical music was aired on Bombay Station. However Calcutta station aired songs other than classical because they had plenty of songs which were sung during the Puja season. The origin of NFS was from the East. I used to always wonder as to why NFS singers were mainly from Bengal-Pankaj Mallick, Saigal, Jagmohan, Hemant Kumar, Juthika Roy, Kamla Jharia and even Talat Mehmood sang his NFS from Calcutta.

Famous singer of NFS, Jagmohan Sursagar has written in his Autobiography in 1985, about the Birth of NFS thus- ” In the initial stages Kamal Dasgupta was influenced by Rabindranath Tagore. Tagore’s songs and compositions(Rabindra sangeet) were extremely popular, but were limited to Bangla people only. Ghazal, qawwali, Dadra, Naat, Thumri, Hori, Kajari etc. used to come to market but had a very limited listenership. These never reached the top.

” The fusion of Gazal, Dadra and Qawali with Bangla Geet style gave birth to Hindi Non Film Songs or geets. As such Geet had a known and accepted place in Literature, but not in Music. To establish this new Genre, Kamal babu used lyrics by Pt. Madhur, Pt. Anjum and Faiyaz Hashmi, got them sung by Jagmohan, Hemant, Talat, Juthika etc. Their records were inscribed with ‘ Hindi Geet (Hindustani Song) ‘. What thus started as NFS Geet from 1936 continued up to next 20 years non stop. “

However, in the course of time, almost all Hindi Playback singers like Lata, Asha, Geeta, Shamshad, Talat, Mukesh, Rafi, Nurjahan, Amirbai, Zohrabai etc. sang NFS. Some of their NFS became very popular too. The NFS started to be discussed on this Blog somewhere from late 2011. I remember AK ji and myself were the major vocal supporters of NFS on this Blog. Today there are 245 NFS, sung by various singers on our Blog. There are 75 singers of NFS. Some rare songs by Abhram Bhagat, Ashraf Khan, Master Vasant, Tamancha Jaan, Indurani etc. are also there. I think on the Internet, ours must be the only Blog providing such a feast of popular NFS-so many at ONE place. Thanks ATUL ji.

The contribution of singers, Lyricists and composers from Bengal to the emergence, sustainance, prosperity and decline is notable. Kamal Dasgupta and Fayyaz Hashmi played a pivotal role in the flourishing of NFS in India and were the earliest promoters of NFS. let us know more about Fayyaz Hashmi….

Fayyaz was born on 18-6- 1920 at Calcutta. His father, Syed Muhammad Hussain Hashmi Dilgeer was a very famous poet and writer of stage drama. He was director at the top class theater of that time named “ MADAN THEATER LTD.” He knew 8 languages.

Senior lyricist, Faiyyaz Hashmi, passed away in Karachi on Nov 29 th 2011. He shot to fame after penning lyrics for such non-film songs as ;Ye Raatein Ye Mausam; (Pankaj Mullick), ;Tasveer Teri Dil Mera; (Talat Mehmood), ;Dil Ko Hai Tum Se Pyar Kyun; (Jagmohan), ;Bhala Tha Kitna Apna Bachpan; (Hemant Kumar), and so many more rendered by the likes of Juthika Roy and Feroza Begum.

Mr. Fayyaz Hashmi is a legendary song and dialogue writer and above all a true loving person. He is by himself an institution and a common asset of the Indo-Pakistan film-world. His admirers as ever are not confined in national frontiers. Those fond of Hindi / Urdu songs anywhere in the world have affection for him. The emergence of this bright star was evidenced much before independence of India, when Fayyaz Hashmi, still a teenager wrote the most famous song “Tasveer Teri Dil Mera Behla Na Sakhe Gi”. It was recorded in the voice of Talat Mehmood and music was composed by Kamal Das Gupta. This song brought “Talat” to limelight. Music for most of the Fayyaz Hashmi’s songs recorded at Calcutta was composed by Kamal Das Gupta.

The dynamic achievements of young Fayyaz Hashmi and his clarity of expression by using simple words were greatly appreciated by Qazi Nazrul Islam -“Tum mann main doob kar mann ka bhed nikaltey ho. Aasan shubdoon mein mushkil baat kehna buhut mushkil hay”. His unique combination of Urdu, Hindi and Sanskrit words to produce a harmonious song thus became a guideline for the future poets of geets. The transformation of some traditional Bangla songs was also facilitated. He has also written songs in Brij Bhasa and Purbi. His pre-independence songs total to about 1000.

Fayyaz Hashmi wrote his first verse “Chaman main Ghuncha-o-gul ka tabassum dekhne walo – Kabhi tum ne haseen kalyoon ka murjhana bhi dekha hai” when he was in 7th class. As a student of 9th class, he was participating in regular “mushairas”. He got an assignment in the British owned Gramophone Company at DumDum (now called Jessore Road, Kolkotta) India. He served there during 1943 to 1948 period. At that time the average monthly production of record was only 16. Once all the records (16) issued in a month were written by Mr. Fayyaz Hashmi- a record by itself. Some of the evergreen hit songs of Mr. Fayyaz Hashmi are quoted here:

1- Honton se gulfishan hain who – Aankhoon se ashkbar hum Talat Mahmood
2- Do Kafir Aankhoon ne mara Talat Mahmood
3- Dil ko hai tum se pyar kyoon Jag Mohan
4- Aaj use phir dekha hai Jag Mohan
5- Bhala tha kitna apna bachpan Hemant Kumar
6- Yeh Raaten yeh mausam yeh hansa hansana Pankhaj Mallick
(Also re-sung by Lata Mangeshkar as a tribute to the legendary Pankhaj Mallick)
7- Tasveer teri dil mera behla na sake gi Talat Mehmood
8- Ab yad hamein kyoon aati ho Hemant Kumar
9- Kitna dukh bhulaya tum ne Hemant Kumar
10-Maloom hay mujhko – ban Jao gi tum ek din taqdeer hamari Jag Mohan.

While in India, he wrote 48 songs in 9 Hindi films, namely-Subah Shyam-44, Meghdoot-45, Zameen Aasmaan-46, Pehchan-46, Krishna Leela-46, Arabian Nights-46, Giribala-47, Faisla-47 and Iran ki ek raat-49

He chose to migrate to Pakistan after the Partition.
In 1948, he was posted as recording Manager at Dhaka Center of the Gramophone Company and thereafter in 1951 at Lahore. He promoted many talents like Farida Khanum, Saeen Marna, Saeen Akhtar and Saeen Budha. He diverted towards the writing of film songs in 1956. “Kunwari Bewa” was the first film in Pakistan with his songs. He wrote more than 2000 songs for films and Gramophone Recording Company. He had also written stories, dialogues and scripts of many hit films like AULAD, ZAMAN KIYA KAHE GA, NEHLEY PE DEHLA, INTEKHAB, PEHCHAN, KHUDA AUR MUHABBAT, GHAREEBON KA BADSHAH etc. including “ HUM AIK HAIN” which was also directed by him. It was the first Pakistani film with 5 songs filmed in colour and as such a record in Pakistan film industry.

Every film, songs of which were written by Mr. Fayyaz Hashmi became super hit like SAHELI, AULAD, ASHIANA, SUHAGAN, HONAHAR, PEGHAM, SARTAJ, SHAREEK-E-HAYAT, EID MUBARAK, SHABNAM, LOVE IN JUNGLE, TOBA, SAWAL, LAKHOON MAIN AIK, DEWAR BHABI etc.

He received Graduate Award 3 times and also Nigar award for the best song in 1978 on “Chalo Achha Hua Tum Bhool Gaye” film “Lakhoon Main Aik”. He received International award in 1986 and another Nigar award in 1988 for the best dialogue of film “ Ghareebon Ka Badshah”. In addition to these he recounts about 11 Silver Jubilee Awards and 17 Golden Jubilee**. “Deewane Tere Pyar ke” is the latest film all songs of which have been written Fayyaz Hashmi.

The first compilation of his poetry was published as “ RAG RANG” in 1944 in India. His poems were published in various journals and magazines like Adbi Duniya, Adbe Lateef, Alamgeer, Beesveen Sadi, Shama (Delhi), Chitrali (Dhaka), Nigar (Karachi), Amar Jadeed and Amrit Bazar Patrika (Calcutta, India). He wrote many Naats and Qawwalis. He also wrote many National songs like (Ae Quiad-e-Azam tera ehsan hai ehsan” & “ Suraj Kare Salam – Chanda kare Salam”.

On the publication of his mystic verses, Mr. Raees Amrohi commented that “History of Sufi poets is indicative of a glorious future for them and Mr. Fayyaz.

(Based primarily on the article by Nadeemur Rehman, courtesy shri Rajnikumar Pandya ji and my own notes. )

Today’s NFS is composed and sung by Pankaj Mallick. According to a commenter on you tube, Pankaj Mallick has used the orchestra of Fransisco Casanovas in this song. You can hear many western instruments playing in the background. Similarly, Jagmohan Sursagar had also composed one song ” Kya maze ki baat hai” in his only Hindi films as a composer in 1955, wherein he used Waltz music.


Song- Jab chaand mera nikla (Pankaj Mullick NFS)(1946) Singer- Pankaj Mullick, Lyricist- Faiyyaz Hashmi, MD- Pankaj Mullick
Non Film Song.

Lyrics

Jab chaand mera nikla
??
Jab chaand mera nikla
us raat ki
us raat ke ?? chup thhe
?? bhi sharmaaye
chhaayin thhin ?? ghataayen
Jab chaand mera nikla

un aankhon se kehte thhe
un aankhon se kehte thhe
aankhen meri khushi mein
amar ujaala ho
do din ki zindagi mein
phir kyon na tumhen paa ke
hum bhaag pe itraayen
chaayin ?? ghataayen
Jab chaand mera nikla

aakaash pe jab chhaaye
ghanghor diyaare(??) se
tab man ke gagan mein mere
chhitke huye taare thhey

jaadoo sa mujhpe kiya thha
jaado bhari hawa ne
gham mera mita gaye thhey
un honthhon ke paimaane
ab tak hai wo ?? baaten
hum hosh mein kya aayen
chaayin ?? ghataayen
Jab chaand mera nikla aa aa aa
chaayin ?? ghataayen


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4314 Post No. : 15596

The days were when gramophone instruments and radios used to be a luxury. People could (and would) listen to music and songs either at family functions and weddings where a gramophone player was part of the arrangements, or in cinema halls, or maybe at restaurants and corner shops. But then still, the awareness and popularity of the songs and the artists was evidently widespread. The gramophone records of popular songs would sell out briskly, and there are many cases of a 2nd, and a 3rd edition of records being released by the companies. Word of mouth was a strong method of spreading awareness, and people used to hum and lightly sing the popular songs as they went about their work. One reads about this phenomena in anecdotal references in newspapers and magazines – like such and such song being on the lips of ‘everybody’, or such and such song being played in every street and lane – ‘गली गली में बजता था’.

Just put on the imagination cap and visualize – the songs being hummed by the common people as they go about their work, in streets and market place, singing – “Piya Milan Ko Jaana”, or “Ye Kaun Aaj Aaya Savere Savere”, or “Chale Pawan Ki Chaal”, or “Tere Mandir Ka Hoon Deepak Jal Raha”, and other such wonderful creations – in the voice of one of the very first group of singers in this country that started being recognized and loved across the length and breadth of our land.

Remembering Pankaj Babu today, on the 116th anniversary of birth – 10 May, 1905.

A voice that is so uniquely impressive, a voice that appears to be emanating from the depths of a sublime creativity, the deep resonating bass that defies measure and replication. A voice that is so enmeshed with an equally deep understanding and awareness of what music is, and how it becomes a delight for the listeners.
A voice and creativity that was so genuine, so sincere; a voice that expressed itself with a perceivable authority, understanding and proficiency – so much so that Gurudev Rabindranath Tagore was so verily impressed by the composition and expression of this young artist that he immediately granted the requested permission to use Gurudev’s poetry and compositions for commercial cinema. In that accomplishment, Pankaj Babu is eminently instrumental in giving a unique personification to Rabindra Sangeet, and to take it beyond the borders of Bengal and make it a recognized genre across the entire country.

A career that is not defined by numbers, but more by the quality of his creative genius. Working with RC Boral at New Theatres, Calcutta he was instrumental in introducing to the world of cinema, such delightful sounds of singing – KL Saigal, Kanan Devi, Uma Shashi, Pahadi Sanyal, Suprova Sarkar, and more. Defining and establishing the methodology of off-line recording of music and songs, thus becoming the pioneer of playback singing. He was a music director, a singer, an actor, and a teacher – all rolled into one.

Yes, a career that is not defined by numbers. In that, a couple of days ago, I was almost at the verge of despair, being unable to locate a song by him to post today. Most of his songs in films, including the version songs of the film ‘My Sister’ (1944), and many of his non-film Hindi songs are already showcased here. But yes, I am able to locate another very beautiful non-film Hindi song to present today.

Lyrics of this song are from the pen of Pandit Bhushan. The music composition is by Pankaj Babu himself. Anecdotal information available tells that the orchestration arrangement was done by a musician named Francisco Casanova, who used to lead the band at the Grand Hotel in Calcutta. Here is a brief information about this gentleman, which I am able to locate from an article on Pankaj Babu, written by Shri N Venkatraman on the blog ‘Songs of Yore’. Regulars will know this as AK ji’s blog.

Francisco Casanova was a Spanish musician, conductor and composer. He could play the saxophone, flute and clarinet with equal deftness. He was a well-known performer, and on the occasion of the Olympic Games in 1924, he performed with his orchestra at the Champs-Elysées Theatre in Paris. In 1930 he came to India with his orchestra and performed in many cities. He chose to stay at Calcutta and was appointed the Principal of the Calcutta School of Music. He stayed in India till 1956. He was closely associated with Mehli Mehta, father of Zubin Mehta. In 1952, Casonova and Mehta assisted Yehudi Menuhin, when he came to India to perform. He was also a leading conductor of Calcutta Symphony Orchestra and the conductor of a Spanish band at one of Calcutta’s foremost hotels. Manohari Singh learnt the nuances of playing the key flute from him. It is also said that the orchestration to our National Anthem was by him!

Listen and enjoy this vintage voice, in a recording that surely is 70+ years young. 🙂

 

Song – Yaad Aaye Ke Na Aaye Tunhaari  (NFS – Pankaj Mullick) (1940s) Singer – Pankaj Mullick, Lyrics – Pandit Bhushan, MD – Pankaj Mullick

Lyrics

yaad aaye ke na aaye tumhaari
main tum ko bhool na jaaun
yaad aaye ke na aaye tumhaari
chhin chhin aawat waar tumhare
bin kaaran gaane gaaun
yaad aaye ke na aaye tumhaari

din jaaye chale jab tak jeeta hoon
raah chalte kabhi main aaj to aa pahunchun
din jaaye chale jab tak jeeta hoon
raah chalte kabhi main aaj to aa pahunchun
mukh pe tumhaare sukh ki pyaari
meethi hansi hi paaun
main isi liye bin kaaran gaane gaaun
yaad aaye ke na aaye tumhaari

jhadte hain phool phagun ke
phagun ke mahine mein
main tum se bida hota hoon
ik dard liye seene mein
jhadte hain phool phagun ke
phagun ke mahine mein
main tum se bida hota hoon
ik dard liye seene mein
din beetega aur hoga andhera
geet nahin goonjega
tham jaayegi beena
din beetega aur hoga andhera
geet nahin goonjega
tham jaayegi beena
jab tak tum raho aankhon mein
jam jam jee behlaaun
main isiliye bin kaaran gaane gaaun
yaad aaye ke na aaye tumhaari

——————————————–
Hindi script lyrics (Provided by Sudhir)
———————————————

याद आए के ना आए तुम्हारी
मैं तुमको भूल ना जाऊँ
याद आए के ना आए तुम्हारी
छिन छिन आवत वार तुम्हारी
बिन कारण गाने गाउँ
याद आए के ना आए तुम्हारी

दिन जाये चले जब तक जीता हूँ
राह चलते कभी मैं आज तो आ पहुंचूँ
दिन जाये चले जब तक जीता हूँ
राह चलते कभी मैं आज तो आ पहुंचूँ
मुख पे तुम्हारे सुख की प्यारी
मीठी हंसी ही पाऊँ
मैं इसी लिए बिन कारण गाने गाउँ
याद आए के ना आए तुम्हारी

झड़ते हैं फूल फागुन के
फागुन के महीने में
मैं तुमसे बिदा होता हूँ
इक दर्द लिए सीने में
झड़ते हैं फूल फागुन के
फागुन के महीने में
मैं तुमसे बिदा होता हूँ
इक दर्द लिए सीने में
दिन बीतेगा और होगा अंधेरा
गीत नहीं गूंजेगा
थम जाएगी बीना
दिन बीतेगा और होगा अंधेरा
गीत नहीं गूंजेगा
थम जाएगी बीना
जब तक तुम रहो आँखों में
जम जम जी बहलाऊँ
मैं इसी लिए बिन कारण गाने गाउँ
याद आए के ना आए तुम्हारी


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

I am discussing Pankaj Mullick songs these days and now I find that I have discussed almost all the movie songs composed by him barring a few rare ones. So now I only have his NFS left to discuss.
Read more on this topic…


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

THE JOY OF NFS (Song No. 7)
——————————
The word Non Film Song brings few names to mind immediately, like Jagmohan, Saigal, Kamala Jharia, Juthika Roy, Pankaj Mullick etc. I could never understand the reason and logic behind most NFS singers hailing from the Eastern part of India. Even Talat Mehmood went to Calcutta and sang all his famous NFS.
Read more on this topic…


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

There are some old film and non-filmy songs of 30s and 40s which I was aware of during my childhood not because of the radio or later the internet but by words of mouth. I heard those songs from my parents, relatives and even some friends of our family. During my childhood, I was not very fond of those songs. Later, as a teenager, I had heard some of those songs on Radio Ceylon which gave me a sort of reminder that I had heard those songs earlier. I got 78 RPM records of a few of those songs mostly by accident during early 70s. Since then, I have developed a liking for those type of songs. Later, with the advent of internet, it was a ‘memory recall’ for me when I listened to most of these songs again.
Read more on this topic…


I have mentioned it in the past that I did not like “old” songs when I was young. Those days (1970s), anything more than five years old was old for me. Today, I love listening to songs that are fifty, sixty and sometimes even seventy years old. Things have changed. I would like to believe that I have “matured”. Of course, I will not say that I was wrong as a kid.
Read more on this topic…


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

Presenting an iconic non-film song rendered by Pankaj Babu. The verses are written by Faiyyaaz Hashmi, and the music composition by Pankaj Babu himself. As a music director, there are many pioneering accomplishments that Pankaj Babu has contributed to the cause of music. In this particular song, there are very distinct sounds of piano and guitar. Pankaj Babu was probably the first music director who integrated the sounds of western musical instruments in the music arrangement for this song.
Read more on this topic…


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

Comparatively, the treasure of Hindi songs by Pankaj Babu is limited. In the Hindi/Urdu domain, Pankaj Babu has scored music for about 25 films from 1933 to 1954, some of them in collaboration with RC Boral. He has rendered less than 40 songs in all, in Hindi films. Outside of films, and excluding the live programs and recordings, the non-film Hindi songs number about 20. And so comparatively, his contribution appears to be not as significant (in the Hindi domain) as that of his contemporaries. His musical creations are more prolific in the Bengali film and non-film space. By some accounts, Pankaj Babu has composed over five thousand songs. Simply going by the numbers, it is evident that his major contribution has been in Bengali.
Read more on this topic…


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

An almost sublime piece of music, whose author is not known (as yet). This non film offering by Pankaj Babu is a gem that ensconces within itself, immeasurable depths of emotions. The words are just so beautiful, and the rendering by Pankaj Babu highlights the expressions to the utmost.
Read more on this topic…


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

In the beginning of the 30s, when the talking films made a debut on the Indian silver screen, and Calcutta was the premier center for film making, with a gathering of renowned stalwarts guiding the industry through its infancy. Names like BN Sircar, Nitin Bose, PC Barua, Debaki Bose, Premankur Atorthy, Prafulla Roy, Kidar Sharma, Aga Hashr Kashmiri, RC Boral, Pankaj Mullick and many more come to mind when one thinks of the film industry, Calcutta and 1930s.
Read more on this topic…


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This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song.

This is a labour of love, where “new” songs are added every day, and that has been the case for over THIRTEEN years. This blog has over 16900 song posts by now.

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