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| 15.06.1917 - 21.07.1995 |
I had heard Sajjad Hussain's compositions in my childhood without knowing anything about the man behind the lovely songs of Sangdil and Hulchul.
My father's favourite composers were Shankar-Jaikishen, SD Burman and
Madan Mohan. So these were the names I knew. As I grew older, other
composers impinged on my consciousness - Salil Choudhary, Khayyam, OP
Nayyar, Anil Biswas, Jaidev, RD Burman... though I cannot say that even
then I was very conscious of who composed a song. Sajjad, of course,
remained relatively unknown to me. And mostly, songs were remembered by
which film they were in, and who sang them. Music directors and
lyricists remained in the shadowy darkness of my brain, not having much
of an impact on how I listened to Hindi film music.
All
that changed when I got married. Suddenly, listening to film songs was
not as passive an experience as it had been so far. I was thrown into a
world where specific instruments, chords, interludes, ragas (on which the songs were based) were all thrown at me in one sudden swoop. My husband doesn't listen to music as much as experience it. So, 'Can't you hear the cello (or violin or santoor) in the background?' became as common a phrase as 'This is Raag... - can you make out the notes?' Nope, I couldn't. I didn't have his ear. But he introduced me to composers,
not just their songs, and suddenly, there was a new trio of music
directors I was listening to - Salil Choudhary, Madan Mohan and Sajjad
Hussain. I was listening to their compositions not because of the
singers or the lyrics or the films but for the music. Whether I
wanted to or not, I was getting a course in music appreciation. It's
been a long journey since then, and while I still do not have his
penchant for naming the song based on the first three notes of
instrumentation, or naming the raga (correctly!) on which it is
based, or even naming the composer based on the way the music is
arranged, the way I listen to music has definitely changed because of
him.
And over the years, I came to know more about Sajjad Hussain and his incredible music. Briefly then: Sajjad Hussain was born in Sitamau, Madhya Pradesh on June 15, 1917. As a child, he learnt the sitar from his father; he was also very proficient on the mandolin. In addition, he learnt to play a plethora of musical instruments. In 1937, the young lad came to Bombay to try his luck in Hindi films - not as an actor, but as a composer. The Hindi film industry was ruled by studios then, and young Sajjad first found a job in Sohrab Modi's Minerva Movietone. From there, he moved to Wadia Movietone. Thereafter, he worked assisted several music directors, Meer Saheb, Rafiq Ghaznavi and Master Ali Baksh amongst others. It was while he was working as Pandit Hanuman Prasad's assistant that he got his first break, to compose three of the songs for Gaali (1944).
Assignments became fewer and far between for the composer, and his next release was Rukhsana (1955). After this, another long gap intervened before he composed a handfull of wonderful melodies for Rustom Sohrab (1963). Suraiyya's Ye kaisi ajab dastan ho gayi hai would be her swansong. And Lata's Ae dilruba nazrein mila (which
she stated was her favourite Sajjad composition) would be the last
released solo she recorded for this very talented composer.
It was with a sense of shock that I learnt that he had composed for barely a handful of films. Why was such a talented composer so rudely overlooked? Sajjad had worked with all the top artistes of the time, giving them some very complex songs to sing. Lata Mangeshkar states that he was very particular about swar, and took great pains to ensure that everything was as perfect as it could be. There's a story, apocryphal perhaps, that he once told Lata (at a recording): Ye Naushad miya ke gaane nahin hai; thodi aur mehnat karni padegi. He was perhaps the only composer of his age who used no assistants whatsoever. He arranged the orchestration all by himself, and according to Lata Mangeshkar, if even a minor instrument was out of tune, he would stop the recording and start from scratch. His son mentions how Sajjad would even write out the bol for the tabalchi.
As I dug deeper, it became clear that Sajjad was his own worst enemy. A stickler for perfection, he lived life by his own rules, and made enemies of a great many people because of his openly (and often, harshly) stated opinions. Most of his contemporaries knew how to handle the misguided suggestions of musically illiterate producers and directors. Sajjad, however, would walk out of a film, if he felt that he, or his music was being disrespected. Sadly, this meant that Hindi film music was the poorer for it. Here then are my pick of Sajjad compositions that I absolutely love hearing, over and over again. (My husband's notes are in blue.)
And over the years, I came to know more about Sajjad Hussain and his incredible music. Briefly then: Sajjad Hussain was born in Sitamau, Madhya Pradesh on June 15, 1917. As a child, he learnt the sitar from his father; he was also very proficient on the mandolin. In addition, he learnt to play a plethora of musical instruments. In 1937, the young lad came to Bombay to try his luck in Hindi films - not as an actor, but as a composer. The Hindi film industry was ruled by studios then, and young Sajjad first found a job in Sohrab Modi's Minerva Movietone. From there, he moved to Wadia Movietone. Thereafter, he worked assisted several music directors, Meer Saheb, Rafiq Ghaznavi and Master Ali Baksh amongst others. It was while he was working as Pandit Hanuman Prasad's assistant that he got his first break, to compose three of the songs for Gaali (1944).
Soon, he was composing for Dost (1944),
a film made by Syed Shaukat Hussain Rizvi, starring the upcoming
songstress Noor Jehan (Rizvi's wife). This was his first film as an
independent composer. Sajjad's introduction to Lata Mangeshkar came a few years later. According to him, he was recording the songs for 1857 (Gaddar) (1946) when
he ran into Amanat Khan Devaswale, who sang praises of one of his
disciples. Sajjad was intrigued. Amanat Khan, a noted singer himself,
never praised anyone, and certainly never to this extent. Sajjad made up his
mind that he would, one day, ask Amanat Khan's disciple to sing for
him. And so he did, for Hulchul (1951). The first song that Lata Mangeshkar recorded for Sajjad was Aaj mere naseeb ne.* Unfortunately, it was deleted from the film. And Sajjad never completed Hulchul.
(Mohammed Shafi composed the other songs.) But Sajjad retained his fondness
for Lata Mangeshkar, even stipulating that he would compose only if she
sang his songs.
In 1952, he would begin composing for his biggest film yet. Sangdil, an uncredited adaptation of Jane Eyre.
It would be the pinnacle of his career. Unfortunately, despite the
songs becoming hits, and the background score (also by Sajjad) much
appreciated, his career would never reach these heights again. It is
said that the temperamental composer had a falling out with the male
lead, Dilip Kumar, during the making of this film, and swore never to
work with him again.
It was with a sense of shock that I learnt that he had composed for barely a handful of films. Why was such a talented composer so rudely overlooked? Sajjad had worked with all the top artistes of the time, giving them some very complex songs to sing. Lata Mangeshkar states that he was very particular about swar, and took great pains to ensure that everything was as perfect as it could be. There's a story, apocryphal perhaps, that he once told Lata (at a recording): Ye Naushad miya ke gaane nahin hai; thodi aur mehnat karni padegi. He was perhaps the only composer of his age who used no assistants whatsoever. He arranged the orchestration all by himself, and according to Lata Mangeshkar, if even a minor instrument was out of tune, he would stop the recording and start from scratch. His son mentions how Sajjad would even write out the bol for the tabalchi.
As I dug deeper, it became clear that Sajjad was his own worst enemy. A stickler for perfection, he lived life by his own rules, and made enemies of a great many people because of his openly (and often, harshly) stated opinions. Most of his contemporaries knew how to handle the misguided suggestions of musically illiterate producers and directors. Sajjad, however, would walk out of a film, if he felt that he, or his music was being disrespected. Sadly, this meant that Hindi film music was the poorer for it. Here then are my pick of Sajjad compositions that I absolutely love hearing, over and over again. (My husband's notes are in blue.)
Singer: Lata Mangeshkar
Lyrics: Jaan Nisaar Akhtar
A lilting melody with Middle Eastern undertones, Lata Mangeshkar's voice soars into the higher octaves, but with a softness that belies her control over the swar. This, as I mentioned above, was the last released song that Lata Mangeshkar recorded under Sajjad Hussain's baton. The picturisation, set in a Persian tavern, is complemented by the music that calls up that ambience to mind.
Lata's voice in this song is built along the lines of an Iranian dastagah, the lines ending in mid-octave, and circling around a note without quite landing on it using microtones for embellishment. This is somewhat similar to the raga system, but there is a very non-Central Asian western orchestration in the interludes that adds to the slight dissonance. A very nice melding of different styles.
YouTube comments identify the actress on whom it is picturised as Lillian, but she bears no resemblance to the Lillian who acted in Apradhi Kaun; so I wonder if they are one and the same? Someone else identified her to me as 'Yasmin' saying she was the girl in Mr and Mrs 55, but again, this woman bears no resemblance to the dimpled actress to whom Johnny Walker lost his heart to in that film. So if any of my readers can identify her, that would be helpful.
Lata's voice in this song is built along the lines of an Iranian dastagah, the lines ending in mid-octave, and circling around a note without quite landing on it using microtones for embellishment. This is somewhat similar to the raga system, but there is a very non-Central Asian western orchestration in the interludes that adds to the slight dissonance. A very nice melding of different styles.
YouTube comments identify the actress on whom it is picturised as Lillian, but she bears no resemblance to the Lillian who acted in Apradhi Kaun; so I wonder if they are one and the same? Someone else identified her to me as 'Yasmin' saying she was the girl in Mr and Mrs 55, but again, this woman bears no resemblance to the dimpled actress to whom Johnny Walker lost his heart to in that film. So if any of my readers can identify her, that would be helpful.
2. Phir tumhari yaad aayi ae sanam
Singers: Mohammed Rafi, Manna Dey, Saadat Khan
Lyrics: Qamar Jalalabadi
Another song from the same film (which was full of lovely songs, by the way), and one I have liked even before I knew the film or the context, or even the singers (though I identified Mohammed Rafi).
The lyrics are even more poignant when you realise that the song is shot against the background of soldiers going to war. Sohrab (Premnath) has just been informed that his father, of whom he knows nothing - not even his name, was murdered by Rustom (Prithviraj Kapoor). Sohrab of course, is not aware that Rustom is, in fact, his own father. As they settle camp for the night, the soldiers gather around the campfire, singing of their wives and girlfriends whom they have left behind, reminding Sohrab of his own beloved. Again, I love how Sajjad's music complements the singers, never drowning their voices.
The most striking thing here is the voice at the beginning of the song; it is so high it is almost a counter tenor. The tune is lovely and I wonder if it inspired Hoke majboor tujhe and even the less stirring (but still beautiful) Sandese aaate hain.
3. Darshan pyaasi aayi daasi
Singer: Geeta Dutt
Lyrics: Rajinder Krishan
For this (uncredited) adaptation of Jane Eyre, Sajjad Hussain composed a bouquet of melodies, each one a gem in its own right. So much so, I picked two for this post. I'm usually not very fond of bhajans, but I make an exception once in a while. This Geeta Dutt melody is one of them. Until he 'discovered' Lata Mangeshkar, Sajjad had some fine tunes composed for both Geeta Dutt and Shamshad Begum. What I remember most about this song is the sound of bells in the background that mimic the jal tarang. This is one of Geeta's unmatched bhajans, right up there with Pyaasa's Aaj sajan mohe ang laga lo and Jogan's Ae ri main toh prem diwani or Ghungat ke pat khol.
The jaltarang plays circular phrases and supports the cyclic rhythms on the tabla; it is interesting how Geeta Dutt comes back to the main melody after the antara drifts away from it. The vocal phrases in the antara start slightly off the beat before joining it.
4. Dil mein sama gaye sajan
Sangdil (1952)
Singers: Lata Mangeshkar, Talat Mahmood
Lyrics: Rajinder Krishan
Talat Mahmood joins Lata Mangeshkar in the films's only male-female duet. It is one of my favourite Sajjad compositions and one of my favourite Lata-Talat duets. Rajinder Krishan's lyrics are set off by the chemistry that Dilip Kumar and Madhubala bring to the protagonists of Charlotte Brontë's Gothic romance.
This is the first film for which he used Talat Mahmood's voice, and to great effect. Talat's solo Ye hawa ye raat ye chandni will always rank as one of his best. Of course, perfectionist that he was, it took 17 takes before Sajjad was satisfied. Even so, in later years, he complained about an interlude, which he said was not just quite what he had wanted it to be.
The song is in a very fast 3/4 rhythm; the interesting thing is the counter points played by the orchestra, notably the wind instruments behind the voices. The basic rhythm is measured out on the piano, with the drums slightly off. In the interludes, there is a lovely example of a pizzicato (the strings being plucked instead of being bowed). The song does not return to the tonic; instead it climbs into the higher octave symbolically.
5. Aaj mere naseeb ne
Hulchul (1950/1951)*
Singer: Lata Mangeshkar
Lyrics: Khumar Barabankvi
According to Sajjad, the producers gave this song away to another film, and even though he had composed three songs for the film, he walked out of the film halfway because the producers did not pay him. (I haven't been able to find out whether this song was used in any other film, if at all. It was certainly picturised on Nargis.) Strangely enough, Sajjad also mentions listening to Aayega aanewala from Mahal, after he recorded Aaj mere naseeb ne... and thinking to himself that Amanat Khan Devaswale was right - "this girl was bound to be a brilliant singer." I say 'strangely' because Mahal released in 1949, while Hulchul released a year or two later. (There seems to be a confusion over whether Hulchul released in 1950 or 1951.) Sajjad may also have been mistaken about Aaj mere naseeb ne being the first song that Lata sang for him because Khel, which released in 1950, had some beautiful Lata Mangeshkar songs, composed by Sajjad. Besides, the film's songs were composed in 1949.) Be that as it may, he was so impressed with Lata Mangeshkar's purity of voice that he swore only to work with her, unless she was unwell or otherwise busy.
Though this song seems set in a 3/4 rhythm, it is more of a 6 beat cycle. Again, each phrase does not end on a definite note. It either circles around it or moves higher. The orchestration is also interesting. The strings provide interesting counterpoints in short phrases as Lata sings the antara. In the interludes, the main phrases played by the strings and flute seem to terminate but the music seems to fade away gently as other instruments continue a little more in the background. The end again provides a pizzicato with a short piano phrase.
6. Us paar is deewar se jo rehte hain
Saiyyan (1951)
Singer: Mohammed Rafi
Lyrics: DN Madhok
Supposedly an adaptation of the Gregory Peck-Jennifer Jones-Joseph Cotten film Duel in the Sun, Saiyyan starred Sajjan, Madhubala and Ajit as the three angles of a doomed romantic triangle. As always, Sajjad composed a number of melodies for this film, but managed to pick a fight with his lyricist, DN Madhok, after which he never worked with the latter again.
This song, by Mohammed Rafi, is as unlike a usual Sajjad Hussain composition - if there is anything that can be called a 'usual Sajjad Hussain composition. Rafi, whom Sajjad had used for the first time in Rooplekha, gets to sing a song that actually keeps him in the lower registers. Sajjan, known more for his villainous or sidekick roles, is in his element here as he prances around joyfully around a beautiful Madhubala.
Note how this song actually seems to eschew a conventional tune but instead seems to flow like a conversation. It is almost recited, but the unconventional use of instruments which add phrases at the end of each line make it seem like a conventional song.
7. Bhool ja ae dil
Khel (1950)
Singer: Lata Mangeshkar
Lyrics: Shams Azimabadi
There haven't been many films where Dev Anand co-starred with Nargis, so it is unfortunate that we don't have videos of any of the songs, not to mention the film. Lata Mangeshkar sang a total of 14 songs for this talented, perfectionist composer, and of all the composers she worked with, she claimed that she was always apprehensive when she had to sing for Sajjad.
A very different tune, possibly a flute and clarinet providing deep notes against the strings. The song seems to be slow but is in fact set to a very fast rhythm; because each word has many embellishments the notes, all short notes, are sung very quickly. And sometimes within seemingly repetitive phrases, there are more notes to be sung, so they have to be sung faster to remain in the same rhythm. Again, the phrases do not end on a distinctive note but remain microtonal (in between). While the rhythm sounds as if it can fit into a 3/4 style with a gap between successive bards, it actually seems to follow a 14 beat cycle not usually used in popular music.
8. Saajna din bahure hamaare
Khel (1950)
Singer: Geeta Dutt
Lyrics: Aarzoo Lucknowi
It was in 1947 that Sajjad first heard Geeta Dutt, whose voice had added its charms to the world of Hindi film music the year before. He used her quite extensively for both the films he composed for that year - Kasam (5 solos) and Mere Bhagwan (at least 3). Not much is known about either film, though some kind soul has uploaded the songs on YouTube.
By the time Khel rolled around in 1950, Sajjad had transferred his attentions to Lata Mangeshkar, who got to sing two solos in the film. (So did Shamshad Begum.) Sajjad also used GM Durrani and Meena Kapoor for the first time here. But this Geeta Dutt number is so delightful that it takes pride of place in my list.
Rukhsana (1955)
1857 (1946)
Dost (1944)
For this (uncredited) adaptation of Jane Eyre, Sajjad Hussain composed a bouquet of melodies, each one a gem in its own right. So much so, I picked two for this post. I'm usually not very fond of bhajans, but I make an exception once in a while. This Geeta Dutt melody is one of them. Until he 'discovered' Lata Mangeshkar, Sajjad had some fine tunes composed for both Geeta Dutt and Shamshad Begum. What I remember most about this song is the sound of bells in the background that mimic the jal tarang. This is one of Geeta's unmatched bhajans, right up there with Pyaasa's Aaj sajan mohe ang laga lo and Jogan's Ae ri main toh prem diwani or Ghungat ke pat khol.
The jaltarang plays circular phrases and supports the cyclic rhythms on the tabla; it is interesting how Geeta Dutt comes back to the main melody after the antara drifts away from it. The vocal phrases in the antara start slightly off the beat before joining it.
4. Dil mein sama gaye sajan
Singers: Lata Mangeshkar, Talat Mahmood
Lyrics: Rajinder Krishan
Talat Mahmood joins Lata Mangeshkar in the films's only male-female duet. It is one of my favourite Sajjad compositions and one of my favourite Lata-Talat duets. Rajinder Krishan's lyrics are set off by the chemistry that Dilip Kumar and Madhubala bring to the protagonists of Charlotte Brontë's Gothic romance.
This is the first film for which he used Talat Mahmood's voice, and to great effect. Talat's solo Ye hawa ye raat ye chandni will always rank as one of his best. Of course, perfectionist that he was, it took 17 takes before Sajjad was satisfied. Even so, in later years, he complained about an interlude, which he said was not just quite what he had wanted it to be.
The song is in a very fast 3/4 rhythm; the interesting thing is the counter points played by the orchestra, notably the wind instruments behind the voices. The basic rhythm is measured out on the piano, with the drums slightly off. In the interludes, there is a lovely example of a pizzicato (the strings being plucked instead of being bowed). The song does not return to the tonic; instead it climbs into the higher octave symbolically.
5. Aaj mere naseeb ne
Singer: Lata Mangeshkar
Lyrics: Khumar Barabankvi
According to Sajjad, the producers gave this song away to another film, and even though he had composed three songs for the film, he walked out of the film halfway because the producers did not pay him. (I haven't been able to find out whether this song was used in any other film, if at all. It was certainly picturised on Nargis.) Strangely enough, Sajjad also mentions listening to Aayega aanewala from Mahal, after he recorded Aaj mere naseeb ne... and thinking to himself that Amanat Khan Devaswale was right - "this girl was bound to be a brilliant singer." I say 'strangely' because Mahal released in 1949, while Hulchul released a year or two later. (There seems to be a confusion over whether Hulchul released in 1950 or 1951.) Sajjad may also have been mistaken about Aaj mere naseeb ne being the first song that Lata sang for him because Khel, which released in 1950, had some beautiful Lata Mangeshkar songs, composed by Sajjad. Besides, the film's songs were composed in 1949.) Be that as it may, he was so impressed with Lata Mangeshkar's purity of voice that he swore only to work with her, unless she was unwell or otherwise busy.
Though this song seems set in a 3/4 rhythm, it is more of a 6 beat cycle. Again, each phrase does not end on a definite note. It either circles around it or moves higher. The orchestration is also interesting. The strings provide interesting counterpoints in short phrases as Lata sings the antara. In the interludes, the main phrases played by the strings and flute seem to terminate but the music seems to fade away gently as other instruments continue a little more in the background. The end again provides a pizzicato with a short piano phrase.
6. Us paar is deewar se jo rehte hain
Singer: Mohammed Rafi
Lyrics: DN Madhok
Supposedly an adaptation of the Gregory Peck-Jennifer Jones-Joseph Cotten film Duel in the Sun, Saiyyan starred Sajjan, Madhubala and Ajit as the three angles of a doomed romantic triangle. As always, Sajjad composed a number of melodies for this film, but managed to pick a fight with his lyricist, DN Madhok, after which he never worked with the latter again.
This song, by Mohammed Rafi, is as unlike a usual Sajjad Hussain composition - if there is anything that can be called a 'usual Sajjad Hussain composition. Rafi, whom Sajjad had used for the first time in Rooplekha, gets to sing a song that actually keeps him in the lower registers. Sajjan, known more for his villainous or sidekick roles, is in his element here as he prances around joyfully around a beautiful Madhubala.
Note how this song actually seems to eschew a conventional tune but instead seems to flow like a conversation. It is almost recited, but the unconventional use of instruments which add phrases at the end of each line make it seem like a conventional song.
7. Bhool ja ae dil
Singer: Lata Mangeshkar
Lyrics: Shams Azimabadi
There haven't been many films where Dev Anand co-starred with Nargis, so it is unfortunate that we don't have videos of any of the songs, not to mention the film. Lata Mangeshkar sang a total of 14 songs for this talented, perfectionist composer, and of all the composers she worked with, she claimed that she was always apprehensive when she had to sing for Sajjad.
A very different tune, possibly a flute and clarinet providing deep notes against the strings. The song seems to be slow but is in fact set to a very fast rhythm; because each word has many embellishments the notes, all short notes, are sung very quickly. And sometimes within seemingly repetitive phrases, there are more notes to be sung, so they have to be sung faster to remain in the same rhythm. Again, the phrases do not end on a distinctive note but remain microtonal (in between). While the rhythm sounds as if it can fit into a 3/4 style with a gap between successive bards, it actually seems to follow a 14 beat cycle not usually used in popular music.
8. Saajna din bahure hamaare
Singer: Geeta Dutt
Lyrics: Aarzoo Lucknowi
It was in 1947 that Sajjad first heard Geeta Dutt, whose voice had added its charms to the world of Hindi film music the year before. He used her quite extensively for both the films he composed for that year - Kasam (5 solos) and Mere Bhagwan (at least 3). Not much is known about either film, though some kind soul has uploaded the songs on YouTube.
By the time Khel rolled around in 1950, Sajjad had transferred his attentions to Lata Mangeshkar, who got to sing two solos in the film. (So did Shamshad Begum.) Sajjad also used GM Durrani and Meena Kapoor for the first time here. But this Geeta Dutt number is so delightful that it takes pride of place in my list.
Singers: Kishore Kumar, Asha Bhosle
Lyrics: Shakeel Badayuni
For someone who stipulated in his contract that he would only compose for a film if Lata Mangeshkar sang, Lata has only one solo - Tere dard dil mein basa liya - in this film. Asha stepped in for the other songs, including the duets, with Mubarak Begum getting one solo. Interestingly, the male voice is that of Kishore Kumar, whom the composer is said to have denigrated as 'Shor Kumar'. This is the first time Sajjad was using Kishore Kumar, and it is a fact that Kishore only recorded three songs for Sajjad. I know nothing about this film other than it starred Kishore himself and Meena Kumari. The songs are a delight, though.
For someone who stipulated in his contract that he would only compose for a film if Lata Mangeshkar sang, Lata has only one solo - Tere dard dil mein basa liya - in this film. Asha stepped in for the other songs, including the duets, with Mubarak Begum getting one solo. Interestingly, the male voice is that of Kishore Kumar, whom the composer is said to have denigrated as 'Shor Kumar'. This is the first time Sajjad was using Kishore Kumar, and it is a fact that Kishore only recorded three songs for Sajjad. I know nothing about this film other than it starred Kishore himself and Meena Kumari. The songs are a delight, though.
Singer: Suraiyya
Lyricist: Mohan Singh
This was Sajjad's third outing as an independent composer. 1857 was to establish him as a composer worth his name. And in this film, he had two of the biggest singing stars of the era to sing his compositions - Surendra and Suraiyya. Teri nazare mein main rahoon, Suraiyya's duet with Surendra, became a rage when it was released. This composition is as much a favourite for the music, as it is for Suraiyya's voice, filled with pathos.
This film also saw him compose songs for Shamshad Begum and Zohrabai Ambalewali for the first time.
11. Koi prem ka de ke sandesa
This was Sajjad's third outing as an independent composer. 1857 was to establish him as a composer worth his name. And in this film, he had two of the biggest singing stars of the era to sing his compositions - Surendra and Suraiyya. Teri nazare mein main rahoon, Suraiyya's duet with Surendra, became a rage when it was released. This composition is as much a favourite for the music, as it is for Suraiyya's voice, filled with pathos.
This film also saw him compose songs for Shamshad Begum and Zohrabai Ambalewali for the first time.
11. Koi prem ka de ke sandesa
Singer: Noor Jehan
Lyrics: Shams Lucknowi
Dost was Sajjad Hussain's debut film as an independent composer. Noor Jehan was only 18 when she acted in this film, directed by her husband, Shaukat Hussain Rizvi. (Their earlier outings, Khandaan and Nauker (based on a Sadat Hasan Manto novel), had been hits, and the pair had married during the making of Nauker. The songs became a hit, with Noor Jehan not only singing for herself, but also providing playback for Maya Bannerjee, the other heroine. The success of the soundtrack provided a fillip to the careers of both Noor Jehan and Sajjad. Unfortunately, this was the first and last time that Sajjad would compose for Noor Jehan. Rizvi made the unforgivable error of publicly crediting Noor Jehan for the success of the film's music, antagonising his music director. Yet, the maverick composer had only good words to say about the songstress. In his mind, there were only two female singers worthy of any mention - Noor Jehan and Lata Mangeshkar.
Sajjad Hussain died in 1995, forgotten by an industry that only venerated success. However, according to his son, the principled musician had no regrets or bitterness. He had lived life on his own terms, and had been admired as a musician par excellence by his contemporaries. History deals with him kindly as well, recognising the talent that preferred to remain unused but would never compromise. The body of work that he left behind has delighted music connoisseurs for generations, and it will continue to do so for as long as there are people who listen to Hindi film music from the golden age.
Here is the playlist for anyone who just wants to listen to some Sajjad Hussain without interruption.
Dost was Sajjad Hussain's debut film as an independent composer. Noor Jehan was only 18 when she acted in this film, directed by her husband, Shaukat Hussain Rizvi. (Their earlier outings, Khandaan and Nauker (based on a Sadat Hasan Manto novel), had been hits, and the pair had married during the making of Nauker. The songs became a hit, with Noor Jehan not only singing for herself, but also providing playback for Maya Bannerjee, the other heroine. The success of the soundtrack provided a fillip to the careers of both Noor Jehan and Sajjad. Unfortunately, this was the first and last time that Sajjad would compose for Noor Jehan. Rizvi made the unforgivable error of publicly crediting Noor Jehan for the success of the film's music, antagonising his music director. Yet, the maverick composer had only good words to say about the songstress. In his mind, there were only two female singers worthy of any mention - Noor Jehan and Lata Mangeshkar.
Sajjad Hussain died in 1995, forgotten by an industry that only venerated success. However, according to his son, the principled musician had no regrets or bitterness. He had lived life on his own terms, and had been admired as a musician par excellence by his contemporaries. History deals with him kindly as well, recognising the talent that preferred to remain unused but would never compromise. The body of work that he left behind has delighted music connoisseurs for generations, and it will continue to do so for as long as there are people who listen to Hindi film music from the golden age.
Here is the playlist for anyone who just wants to listen to some Sajjad Hussain without interruption.
