RMIM Archive Article "35".
From the RMIM Article Archive maintained by Satish Subramanian
#
# RMIM Archives..
# Subject: YAAD-e-RAFI: Naushad's Jaimala
#
# Posted by: sm0e@Lehigh.EDU (SAMIUDDIN MOHAMMED)
# Source: Jaimala - a popular Vividh Bharati program.
# A special Jaimala presented by Naushad in memory of Rafi.
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YAAD-e-RAFI: Naushad's Jaimala
Today, July 31, is the death anniversary of one the best singers
(the best, acc. to me) ever produced by the Indian film industry:
MOHAMMED RAFI. It's been 14 years since Rafi Sahab left us, and
yet his songs are as popular as they ever were during his life-
time.
As a tribute to my favourite singer, I am posting the typewritten
version of a special Jaimala program presented by the
Shehanshah-e-Mausiqui, Naushad Sahab, in the memory of Mohammed
Rafi.
[Jaimala was a popular Vividh Bharati program for "Fauji Bhai"s
and the Vishesh Jaimala used to be presented by a famous (usually
film) personality.]
Although Rafi Sahab sang under the baton of almost all music
directors of the Hindi film industry, his association with
Naushad was special. Naushad was instrumental in grooming this
highly talented singer, although he modestly says that he "merely
showed Rafi the right direction".
Here's the special Jaimala program which I have translated into
English from the original Urdu version. The beauty of Naushad's
refined Urdu is certainly lost in the translation, but I hope you
will enjoy reading what the legendary music director has to say
regarding Mohammed Rafi, the singer and the person. Portions
which cud not be translated properly have been left in the origi-
nal language. All errors in translation are mine.
The songs played in the program are included in "[....]".
May Rafi Sahab's soul rest in peace.
Sami Mohammed (A MOHAMMED RAFI fan)
***** Yaad-e-Rafi (Naushad's Jaimala) *****
Fauji bhaion ko Naushad ka salaam!
[Unfortunately, the initial statements made by Naushad in the
program got erased from my cassette by mistake. Naushad recol-
lects the moment when Rafi Sahab had first approached him with a
letter of recommendation from someone]
It was recommended that this young man, who possesses a beautiful
voice, be given a chance to sing. I heard the young man sing a
song or two and was highly impressed. I told him that one day he
would become a great singer and asked him to keep in touch. Dur-
ing the initial stages, I let the young man be a part of a
chorus, and I think one such chorus "Hindustan ke hum hain, Hin-
dustan humara...." might still be embedded in your memories.
Later, in the film Dillagi, I had the opportunity to use his
voice exclusively in a solo. As if it were predestined, this song
became immensely popular throughout the country. This was my
first song (solo) with him. With this song, Rafi Sahab not only
carved a niche for himself, but also added a new dimension to my
music.
[Tere kooche me armaanon ki duniya leke aaya hun
Tujhi par jaan dene ki tammanna leke aaya hun ]
After that, Rafi Sabab never looked back. He earned respect and
his popularity touched the sky. The magic of his voice enthralled
the whole world. His popularity, respect and wealth all increased
tremendously, YET he ALWAYS remained modest. Like a fruit-bearing
tree, the more he fructified, the more he bent in front of the
world. His heart was filled with fear of God and the love for
truth. Generosity and altruism were part of his system. God and
truth were the only sources of inspiration for him. And he always
used to say "Tum yahan jaisa karoge waisa bharoge, ye duniya ek
mandir hai":
[Insaaf ka mandir hai ye, Bhagwan ka ghar hai.....]
Here's an anecdote which aptly desribes his altruistic nature. My
relationship with him had grown from a professional to an infor-
mal one. Once he had to go to a foreign country for a live per-
formance. He came up to me to seek advice: "Main bahar se koi
aisi cheez lana chata hun jo GHareebon ke kaam aae". I suggested
that he bring a dialysis machine and donate it to a hospital for
the benefit of poor kidney patients who could not afford the med-
ical costs. He liked the idea, but the foreign trip did not ma-
terialize due to some reason. However, this incident left a per-
manent mark of his altruistic nature on my heart. I cannot
describe how great a person Rafi Sahab was. These are the small
things which make a man immortal. For instance, people may for-
get Shahjehan, but his legacy of love, the Taj Mahal will be
remembered forever. Log Shahjehan ko bhool sakte hain, lekin
uski mohabbat ki nishani, Taj Mahal ki soorat me quayamat tak
zinda rahegi:
[Ek shahenshah ne banwaake hasin Taj Mahal
Saari Duniya ko mohabbat ki nishani di hai
Iske saae me sada pyaar ke charche honge
Quatm jo ho na sakegi woh kahani di hai...]
Rafi Sahab adored Indian music (Bharateey Sangeet). He used to
like singing semi-classical songs in his live programs. He always
tried to make an attempt to propagate Indian music in foreign
countries. For instance, whenever he sang "Madhuban me radhika
nache...", he ALWAYS used to mention that it is based on Raag
Hamir. Similarly, Raag Darbari would be mentioned before singing
"O duniya ke rakhwaale...". In this manner, irrespective of
whether the people understood the lyrics or not, they always ap-
preciated Indian music. The following bhajan of his, which is
based on Raag Malkaus, was admired throughout the world:
[Hari Om....
Man tarapat Hari darshan ko aaj
Man tarapat Hari darshan ko aaj...]
Fauji Bhaio, it is your duty to safeguard the security of our
country. In a similar fashion, it is the duty of us sangeetkars,
to safeguard our traditional music and art. Not only that, it is
also our duty to entertain you and raise your morale in times of
crisis. In 1962, when our country was attacked by the enemy, a
request was made in the presence of Pandit Jawaharlal Nehru, that
a song be composed in order to boost the morale of our soldiers.
So, Shakeel Badayuni Sahab penned down the lyrics, I composed the
tune, and Rafi Sahab poured his heart out into this song in such
a manner that whoever heard it was filled with patriotic fervour!
Later, this song was included in the film, Leader:
[Apni aazaadi ko hum hargiz miTa sakte nahin
Sar kaTa sakte hain lekin, sar jhuka sakte nahin
Apni aazaadi ko hum hargiz miTa sakte nahin.....]
Once, while Rafi Sahab and I were discussing a song, we were in-
formed that Mukesh had breathed his last in America. Rafi Sahab
was stunned. The only words which he uttered were: "Hai kitna
achha gayak, kitna achha insaan, kitna pyaara saathi chala gaya"
! Some child switched on the radio at that time, and can you
guess the song which was on then ?:
[Chale aaj tum jahaan se, hui zindagi paraaee
Tumhe mil gaya THikaana, hume maut bhi na aaee
O door ke musafir, humko bhi saath lele re
Humko bhi saath lele, hum reh gae akele......]
Rafi Sahab had gone through a lot of trouble and had made count-
less sacrifices on his way to the top. But, alas! He had attained
a position at which death itself envied him and wanted to make
him it's own:
Mushkilen sangeet ki woh muskurakar jhelta
Tairta raagon ki lehron me, suron se khelta
BaRke Ganga jal se bhi pakeezah tar aakar thi
Uski har tarkeeb mausiqui ka ek shahkaar thi
Gayaki me uski beshak ek niraali shaan thi
Saaf pani ki tarah behti hui har taan thi
Dekhkar ye kaamyaabi muskura uTHi ajal (ajal = death)
PaRgae sab raag pheeke, ho gaya funkaar shal (shal = silent,still)
Gir paRa chashm-e-falak se sitara TooT kar
Ek naqsha ranj-o-GHam ka khinch gaya pesh-e-nazar
Bujh gaee phir shamma mehfil me andhera ho gaya
Zindagi ka taar TooTa aur taraana so gaya !!!
One day we received the shocking news of Rafi Sahab's demise. The
sad news spread like wild fire throughout the country. Songs
turned into a dirge. The angels wept in the sky and tears were
shed in the form of raindrops over his namaaz-e-janaza (funeral
prayer). His funeral procession started amid heavy rain and
thunder. People gathered on the top of buildings, trees and in
windows to catch a last glimpse of their favourite singer. The
procession reached the Juhu graveyard. Many famous film personal-
ities were trying their best to control the crowd which had gath-
ered to pay it's last respects to the voice which had warmed
their hearts for decades. A voice which had become a part of
their lives. Millions of eyes were watching one single glowing
face; eyes which belonged not to any religion, caste or creed.
And perhaps, that glowing face was saying this:
[Main TooTi hui ek nayya hun, mujhe chahe jidhar le jaao
Ji chaahe dubodo maujon me, ya saahil par le jaao
Main TooTi hui ek nayya hun, mujhe chahe jidhar le jaao..]
Finally, the mortal body was interred in the same dust from which
it was initially made. Log keh rahe the ek achha gayak chala
gaya; ek achha insaan chala gaya. Koi keh raha tha ek achha dost
chala gaya, aur main quabrastan (graveyard) ke ek hisse me sonch
raha tha:
Kehta hai koi dil gaya, dilbar chala gaya
Saahil pukarta hai, samundar chala gaya
Lekin jo baat sach hai, woh kehta nahin koi
Duniya se mausiqui ka paembar chala gaya !!! (paembar = messenger)
Dust had returned to dust, and all that we were left with were
sweet memories.
Har dil me bhaRakta hua woh saaz hai baaqui
Woh jism nahin hai magar aawaaz hai baaqui !!
[Ohoho, ho ho ho
Aaj puraani raahon se, koi mujhe aawaaz na de
Aaj puraani raahon se, koi mujhe aawaaz na de
Dard me doobe geet na de, GHam ka sisakta saaz na de
Dard me doobe geet na de, GHam ka sisakta saaz na de]
Swargeeya gayak Mohammed Rafi ki yaad me, aaj ka vishesh Jaimala
prastut kar rahe the, film jagat ke suprassidh sangeetkaar,
Naushad.
Sami Mohammed (A MOHAMMED RAFI fan)
===
From the RMIM Article Archive maintained by Satish Subramanian