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.
GEMS FROM THE MIGRATORS….song No. 2
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When I was planning this series about composers who opted for Pakistan,I was wondering,why must have people prepared to shift to unknown locations,when obviously there was so much opportunity here in India ?
If one considers the atmosphere during the Partition,it was natural that some people gave weightage to things other than their careers. The First and overpowering reason could be to go to a place which would be exclusively theirs, and where they would be in a majority. Secondly, few must have thought of greater opportunities in a New country where everything had to start from scratch. Thirdly, specially for the composers, they found very keen competition in India, having established composers around, like Khemchand Prakash, Naushad, C.Ramchandra, Pt.Amarnath, Husnlal Bhagatram, Shyamsunder, Bulo C Rani, Vinod etc etc. It was easier to shine and get established in a maiden field. Whatever the reasons, Partition did take away a sizable chunk off the film industry. India being a vast country, there was no dearth of talent here and the void was filled up without delay.
Today we will talk about Master Ghulam Haider, who had changed the face of HFM, with the history making music to Khazanchi-41. Till Khazanchi-41 happened, the Hindi films were under the influence of Marathi, Parsi and Gujarati Natya sangeet and classical singing. Hindi films from Calcutta were heavily influenced by Rabindra Sangeet. People listening to this brand of music for almost a decade were now fed up and they craved for something new. Khazanchi music brought the Punjabi theka and zest into hindi film music and then there was no looking back, because the audience immediately lapped it up.
Master Ghulam Haider was also known for discovring hidden talents, developing them and using them for HFM. Singers like Umrao Zia Begum, Shamshad Begum, Noorjehan, Lata Mangeshkar, Mohd.Rafi and Surinder Kaur are examples of talents discovered, nurtured and presented by him. Though these singers were already singing songs, Masterji gave them All India exposure and helped them establish their careers. Shri Harjaap Singh ji says in his article:
” Born, brought up and trained in Amritsar, Master Ghulam Haider became the first iconic music director of Punjab. Before him Rafiq Ghaznavi and Ustad Jhande Khan entered the field of music direction, but they quickly left Lahore to explore the greener pastures of Bombay. Ghulam Haider established himself as a popular film music director in Lahore between 1934 and 1944 and after attaining stardom he moved to Bombay. Ghulam Haider was considered a great discoverer of vocal musical talent. His first discovery was Umrao-Zia Begum, a singing actress, who later on became his better half. In 1939, Ghulam Haider discovered a child singing sensation Noor Jehan while composing the music of a Punjabi film ‘Gul Bakawli’. He had heard the versatile voice of a radio singer Shamshad Begum and featured her voice in the 1940 blockbuster Punjabi comedy ‘Yamla Jatt’. In 1943, Ghulam Haider spotted two more great voices of Muhammad Rafi and Surinder Kaur. His fame in Lahore took him to Bombay.
But, Ghulam Haider’s biggest discovery of singing sensations was in Lata Mangeshkar, whom he discovered not in Lahore, but in 1947 in Bombay. It was a chance meeting between a future singer and a brilliant talent hunter. Like everyone else high and low, while commuting between one recording studio and another in Bombay’s famous electric railway, Master Ghulam Haider saw a frail and anaemic looking female teenager mumbling something, perhaps in Marathi. The voice appeared to be very shrill and sweet. Ghulam Haider asked her to sing on his tune. He quickly improvised a tune and asked the girl to sing. The girl rendered the raw tune quite proficiently. An obviously elated Ghulam Haider introduced himself as a music director and asked the girl to show up on a given day for an audition in one of the recording studios. The excited girl reached the studio much before time and waited patiently for her turn. The audition went off smoothly and the girl was approved as a playback singer. The teenager was none other than the famous icon Lata Mangeshkar. This is how the honour of discovering India’s most brilliant and most prolific singer Lata Mangeshkar went to a music director from Lahore.
Ghulam Haider shared the news of his new discovery with two other great composers of film music Anil Biswas and Khem Chand Prakash. Soon the word of mouth spread in Tinsel Town and the first set of music directors who came forward to groom Lata as a playback singer included mostly Punjabis, who had migrated to Bombay from Lahore during the 1940s. “
It was Master ji who took Lata to S Mukherjee of Filmistan for songs of Shaheed, but Mukherjee rejected Lata. Master ji told Mukherjee,”one day you and all the industry will run after her,remember this.” From there, going with Lata to Goregaon station to board a train for Malad (to go to Bombay Talkies studios), Master ji used his 555 cigarette tin for tapping and Lata sang a tune on that music. This song was “Dil mera toda” from film Majboor-48.
Many write ups and articles are available on sites and internet about the Biography of Master Ghulam Haider, but I will not use them in this series, instead I will borrow from Pakistani articles and sites,so that we get a different perspective on the personality and also know how they fared in Pakistan, after leaving India.
Master Ghulam Haider was born in 1908 in Hyderabad, Sind, Pakistan. After passing his intermediate examination, Ghulam Haider took admission in the college of dentistry. However, he left his dentistry education incomplete because of his aptitude for music.
Ghulam Haider took music lessons from honorific ustaad, Babu Ganesh Lal. During those days, it was a matter of great honor and privilege for a musician to be hired by a gramophone company. Ghulam Haider landed a job of a harmonium player in the Alfred theatrical company in Calcutta, India.
After a while, Ghulam Haider was hired as a musician in the Alexandra theatrical company. Later, he worked for the Jeno phone recording company as a music composer.
A singing- star by the name of Umra-o-Zia Begum was the talk of the town in those exciting times. In fact, she was renowned for her melodious voice than as a film actress. Further, she earned the title of ‘Bulbul Hazaar Dastaan’ from the music buffs.
Ghulam Haider composed music for Umra-o-Zia Begum and recorded songs and ghazals in her voice. Her name appeared on the gramophone records as well. Perhaps, Umra-o-Zia Begum’s greatest achievement was the recitation of one of the most popular Naat, ‘Yathrib ko janay walay mera paigham lay ja’, composed by Ghulam Haider.
Ghulam Haider debuted as a music composer in a 1935 movie, ‘Swarg ki seedhi’, in which Umra-o-Zia Begum was also cast in a major role. ‘Swarg ki seedhi’ was released under the banner of National Modi Tone, Lahore and directed by Syed Imtiaz Ali Taj.
With the passage of time, Ghulam Haider and Umra-o-Zia Begum developed immense love and understanding for each other, which reached its peak during the movie shoot of ‘Swarg ki seedhi’. Ghulam Haider, who worked for Pancholi Art pictures at that time, soon married Umra-o-Zia Begum.
After marrying Ghulam Haider, Umra-o-Zia Begum said farewell to the show business. She was never seen again even in a public gathering. Reverting to Ghulam Haider’s music, he was more then just a music composer. He was the embodiment of soul and passion in music.
In the year 1935, Ghulam Haider also composed songs for director Roshan Lal Shori’s film ‘Majnu’, which was released under the banner of Kamla Modi Tone.
Ghulam Haider came out distinctly powerful in the song ‘Ray Aaj mein hoash ruba day saaqi khoon kar kay katora pila day’, composer, Ghulam Haider, film, ‘Majnu.’
He contributed wholesomely to each of his musical piece to what is now known as the best of Ghulam Haider.
Ghulam Haider raised the status of fellow music composers in those days. He insisted on huge sum of money for his compositions. The filmmakers agreed to his demand. Ghulam Haider’s big break came in 1939 when he composed songs for D.M.Pancholi’s Punjabi film, ‘Gul Bakawli’, which was released under the banner of Pancholi Art Pictures and directed by Barkat Mehra.
Seth Dilsikh M.Pancholi had invited Syed Shaukat Husain Rizvi from Maiden Theater, Calcutta, to Lahore for the inauguration of ‘Gul Bakawli.’
He also composed songs for Noor Jehan’s 1939 Punjabi film ‘Sassi Pannu.’
Ghulam Haider’s genius in succeeding was largely due to patience, self-discipline, rationality and inner resolve. Ghulam Haider composed songs for the 1940 Punjabi film ‘Yamla Jatt’, which was released under the banner of ‘Pancholi Art Pictures.
Ghulam Haider’s breathtaking command on tempo and rhythm made him the most sought-after composer in the 1940s and early 1950s. As time passed by, Ghulam Haider’s music played more forcefully and energetically.
One of his considerable achievements was the 1941 film ‘Khazanchi’. In reality, ‘Khazanchi’ was the first Indian film in which Ghulam Haider had introduced the sound of ‘Dholak’, which enhanced the quality of the song. ‘Khazanchi’ was also the singing debut of Shamshad Begum. Prior to that, Shamshad Begum had been rendering songs for the gramophone company.
Ghulam Haider was that one composer who excelled at all the attributes. Moreover, he devoted much of his time to invent tunes. Ghulam Haider’s compositions for the 1941 Punjabi film ‘Chaudhry’ was the melody of a grateful heart. With hope and belief in him, Ghulam Haider composed music for the film ‘Chaudhry.’
The first Muslim social film ‘Khandaan’ was released in 1942. Incidentally, ‘Khandaan’ was also the first film of Noor Jehan as lead actress and the directional debut of Syed Shaukat Husain Rizvi.
Ghulam Haider used his skill to invigorate every musician who shared the stage with him. Director Barkat Mehra’s film ‘Sehti Murad’ was released under the banner of ‘Nadiran India Pictures.’ Ghulam Haider composed its music.
The believability and humanity in Ghulam Haider’s music was powerfully manifested in the 1942 film ‘Zamindar’. It was a feeling Ghulam Haider had given to millions of music lovers. ‘Zamindar’ was directed by Moti B. Gadvani and released under the banner of ‘Pancholi Art Pictures.’
It seemed Ghulam Haider knew just how to create magnificent musical masterpieces. He composed songs for the film ‘Bhai’, which was released under the banner of ‘Karavan Pictures’ and directed by K.D.Mehra. For the first time in ‘Bhai,’ Ghulam Haider recorded songs in the voice of Naseem Akhtar. Naseem Akhtar’s two elder sisters, Sardar Akhtar and Bahar Akhtar happened to be the wives of renowned Indian film directors, Mehboob Khan and Kardaar respectively.
Ghulam Haider had the savvy to motivate the singers. Additionally, he reached the pinnacle by following his own instincts. He composed music for director Vishnu Pancholi’s 1943 film, ‘Poonji.’
As a music composer, Ghulam Haider took great interest in his profession. He composed songs for director K. Asif’s 1944 film, ‘Phool.’
The attraction and the lasting effect of Ghulam Haider’s songs are reflected in the sweetness of his music compositions. Included in the list of illustrious films are the four below:
Director Gayan Mukherjee’s 1944 film ‘Chal chal ray naujawan.’
The film ‘Bairam Khan.’
Director Sibtain Fazli’s film ‘Shama’ which was released under the banner of Minerva Modi Tone.
Director Sibtain Fazli’s film ‘Mehendi.’
His efforts took on a new intensity and Ghulam Haider proved his worth in the music scene. The ability of the man and his music really hit home. Ghulam Haider’s music in the three films below can evoke so many memories:
Director M. Sadiq’s film ‘Jag beeti.’
Director Sohrab Modi’s film ‘Manjdhaar’, which was released under the banner of ‘Minerva Modi Tone. Ghulam Haider and Gayan Dutt composed its songs.
Director Afzal Jahangir’s film ‘Buth Tarash.’
Ghulam Haider moved to Bombay in 1944. Later he composed songs for director Mehboob Khan’s 1945 film ‘Humayun’, which was released under the banner of ‘Filmistan limited.’ Ghulam Haider composed the song ‘Naina bhar Aaye naar’ for the film ‘Humayun.’
Lata Mangeshkar’s big break came in director Nazeer Ajmeri’s 1948 film ‘Majboor’, which was released under the banner of ‘Bombay Talkies.’ Ghulam Haider composed the song, ‘Mera dil tora’ in the voice of Lata Mangeshkar for the film ‘Majboor.’ Another popular song from ‘Majboor’ was ‘Angrezi chora chala gaya, wo gora, gora, chala gaya.’
Ghulam Haider also availed Lata Mangeshkar’s voice for the 1948 film ‘Padmini.’
The Listeners were spellbound as sure, poignant strains of Ghulam Haider’s melody emerged in director S. Mukherjee’s 1948 movie, ‘Shaheed.’ It was released under the banner of ‘Filmistan limited.’
Dedicated composer, Ghulam Haider, also composed music for director Krishin Kumar’s 1949 film ‘Kaneez.’
Afterwards, Ghulam Haider returned to Lahore and established ‘Film Saaz’ along with director S. Nazir Ajmeri and actor S. Gul. Also, in Lahore, Ghulam Haider worked with Roshan Lal Shorey and his son, Roop Kishore Shorey.
‘Shahida’ was the first Urdu film of Ghulam Haider in Pakistan, which was released in 1949.
Ghulam Haider also composed songs for the four Pakistani movies, ‘Bay Qarar’, ‘Akeli’, ‘Bheegi Palkain’ and ‘Ghulam.’
After the film ‘Khandaan’, Ghulam Haider and Noor Jehan once again worked together for the film ‘Gulnar.’ Moreover, Noor Jehan also starred in the film ‘Laila.’
Ghulam Haider passed away on November 9, 1953, in Lahore, soon after the release of the film ‘Gulnar.’ He was forty-five years of age.
Umrao Zia Begum was not only a great human but an affectionate mother who possessed enormous foresightedness as well.
Ghulam Haider’s demise happened to be a tremendous setback for his beloved wife, Umrao Zia Begum, who was much younger to her husband. However, she did not lose heart. Instead, she devoted herself wholeheartedly to the upbringing of her children.
She left no stone unturned to provide her children the best possible education available at the time. Consequently, all her children grew up and achieved name and fame in their respective fields.
Most importantly, Umrao Zia Begum thanked God to see her relentless efforts come to fruition.
Years later, Umrao Zia Begum breathed her last in the ‘Stork House,’ Bahawalpur, which was the official residence of her younger son, who was the General Officer Commanding in Bahawalpur in those days. She was laid to rest in the Military Graveyard, Cavalry Ground, Lahore. ” (Thanks to an article on Pakistaniyat).
From 1934 to 1944 master ji was in lahore. After Poonji, he came to Bombay, but met Lata very late. This actually prevented him from using her voice for more films, since he migrated in 1947. Lata sang only 8 songs in 3 films for him- Majboor, Mehandi and Padmini. When Master Ghulam Haider left india 3 of his films were incomplete. Kaneez-49 was completed by hansraj Behl,Putli-50 was completed by Aziz Hindi and Aabshar which was released in 1953-after his death- was completed by Mohd.Shafi and Bhola Shreshtha.
Today’s song, ” Bedard tere dard ko ” from Padmini-48, was actually recorded for ‘ Mehendi ‘- but used in Majboor. This was the last song he recorded for Lata before leaving for Pakistan. Noted writer Harish Bhimani,in his book ‘ In search of Lata Mangeshkar ‘ has written about this song recording, how Lata waited for 8 hours, without food or even a cup of Tea (due to an upset stomach), and how Master ji was shocked to find her there since he had forgotten that he had called her there for recording a song ! This is what Lata herself said about this song:
” In 1947, I received a message from Masterji, Ghulam Haider. “One song needs to be recorded, come as early as possible.”
As it was night, I was accompanied to the studio by my cousin. Masterji was in a hurry as he had to leave for Pakistan. The recording lasted through the night. I was awaiting my turn on a bench in a corner.
Finally, at the stroke of dawn, Masterji called me. He played the tune on the piano. He was a master piano player. Then I sang his song, Bedard tere dard ko. It was past 8:30 AM by that time. Those days one had to sing the entire song with the orchestra without committing a single mistake and hence was a strenuous exercise.
Masterji recommended me for the film Shaheed to Filmistan’s Mukherjee. He rejected me, reasoning that my voice was too thin. Masterji told him that day, “You are rejecting her now, but one day will arrive when the entire industry will spread a red carpet for this girl.”
The prophecy of Masterji turned out to be true. The songs of Andaaz, Barsaat, Badi Behan, Mahal were gaining popularity every passing day.
One day, I received a call from Masterji from Pakistan. He used to refer me as ‘Memsahib’. He said, “Memsahib, I had told you, people will never forget you, and you will not forget me either!”
Then one day, Noorjahan called me, Masterji was suffering from cancer.
The last song that Masterji recorded with me is the one closest to me. “
Let us enjoy this much touted song today,composed by Master Ghulam Haider and sung by an young Lata Mangeshkar. Lyrics are written by Wali Sahab.
Song-Bedard tere dard ko seene se lagaa ke (Padmini)(1948) Singer-Lata, Lyrics-Wali Sahab, MD-Ghulam Haider
Lyrics
Bedard tere dard ko seene se lagaa ke ae
ro lenge tasavvur mein tujhe paas bithhaa ke
bedard tere dard ko seene se lagaa ke ae
ro lenge tasavvur mein tujhe paas bithhaa ke
jab door thhi unse main bahut paas thhi unke
kyun door kiyaa thhaa yoon mujhe paas bulaa ke
bedard tere dard ko seene se lagaa ke ae
ro lenge tasavvur mein tujhe paas bithhaa ke
barbaad bhi hoke na karenge teraa shiqwaa
aa aa aa aa aa
barbaad bhi hoke na karenge teraa shiqwaa aa
hans lenge gaye waqt ko ham saamne laa ke
bedard tere dard ko seene se lagaa ke ae
ro lenge tasavvur mein tujhe paas bithhaa ke
thandak unhen milti hai agar meri jalan se
thandak unhen milti hai agar meri jalan se
dekhoongi tamaasha main bhare ghar ko jalaa ke
bedard tere dard ko seene se lagaa ke ae
ro lege tasavvur mein tujhe paas bithhaa ke
