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A genius: Sajjad hussain (Page 2)

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Posted: 12 March 2006 at 10:05pm | IP Logged
MS04ji,
Thanks for great post. All perfectionist do not do much in life I guss Even after all that he was never happy with song. Anil Biswas has certified Sajjad as   the "only original music director. Thanks again it was great reading material.

Love ARR

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Posted: 12 March 2006 at 10:09pm | IP Logged
Originally posted by ms04

Originally posted by Bhaskar.T

Yes me too. If such good high grade MD's can go for plagiarism then why blame the ordinary ones. Salilda and SDBurman have done it I knew. Because they used to copy musics from bengali songs. Folk music more.

But Madan Mohan too..... Really surprising. And the interesting thing is Madan Mohan had even accepted this fact saying it was an inspired tune. But, seriously, the fact that Madan Mohan unabashedly accepted this was an inspired tune lifts it above the realm of plagiarism. It would have been a different matter if he had made a lame excuse like "after all, there are only seven notes..."

But now the question arises is when Bappi Lahiri or Annu Malik do it, it is plagiarisation; when Madan Mohan does it, why it is adaptation Wink





A piece of another article...about madan mohan's lift.

Madan Mohan, when confronted with the charge of plagiarism, reportedly told
him, "I take pride in the fact that I lifted your tune, not that of some
second- or third-rater."



So does that mean that if the tune is too good any MD can pick it up and use it. And that will not be considered as plagiarism. Why because it was first rater music. Very funny logic I must say.

 

 

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Posted: 12 March 2006 at 10:16pm | IP Logged
MS04,
good article.. Thanks
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Posted: 12 March 2006 at 10:18pm | IP Logged
Yes it is a funny logic to say the least to defend the plagiarism.
I have read that his contemporaries were better than him in negotiating with producers about the music score. See what others had to say about him.
----------------------------------------
Music historian Raju Bharatan, whose interaction with Sajjad goes back a long way, has a somewhat different insight into the man. "It's true he wouldn't let
musically unqualified people interfere with his work,but the popular perception of him being stubborn is not right," he says. "Sajjad had a rational explanation for every action of his. You had to know him to recognise his
tremendous erudition, the fact that he was far superior to every other music director in the industry."

This erudition, the cornerstone of Sajjad's work, is recalled affectionately by Naushad. "He took pride in his ustaadi," he says. "He'd tell the producer, 'I've created a tune which even Lata can't sing.' And the producer would say, 'If Lata can't sing it, how do you expect the common man to sing it ?' But at the same time he did create simple, yet extraordinary, compositions -- for
example, "Yeh kaisi ajab daastaan ho gayi hai" from 'Rustom Sohraab'."

"He was very particular," recalls Lata Mangeshkar, who was known to be almost apprehensive of a Sajjad recording. "If even a minor instrument went slightly
out of sur, he'd stop the whole recording and begin again." This perfectionism necessitated 17 re-takes for "Yeh hawa yeh raat yeh chandani", but Sajjad still
remained unsatisfied with an interlude piece in the song -- played by a sitar and a sarangi maestro who are among the top names in classical music today.
"Till the day he died, whenever he heard the piece he'd sigh, "They didn't play it like I told them to," recalls his son amusedly.

--------------------------

Clap
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Posted: 12 March 2006 at 10:23pm | IP Logged

Originally posted by ms04

Yes it is a funny logic to say the least to defend the plagiarism.
I have read that his contemporaries were better than him in negotiating with producers about the music score. See what others had to say about him.
----------------------------------------
Music historian Raju Bharatan, whose interaction with Sajjad goes back a long way, has a somewhat different insight into the man. "It's true he wouldn't let
musically unqualified people interfere with his work,but the popular perception of him being stubborn is not right," he says. "Sajjad had a rational explanation for every action of his. You had to know him to recognise his
tremendous erudition, the fact that he was far superior to every other music director in the industry."

This erudition, the cornerstone of Sajjad's work, is recalled affectionately by Naushad. "He took pride in his ustaadi," he says. "He'd tell the producer, 'I've created a tune which even Lata can't sing.' And the producer would say, 'If Lata can't sing it, how do you expect the common man to sing it ?' But at the same time he did create simple, yet extraordinary, compositions -- for
example, "Yeh kaisi ajab daastaan ho gayi hai" from 'Rustom Sohraab'."

"He was very particular," recalls Lata Mangeshkar, who was known to be almost apprehensive of a Sajjad recording. "If even a minor instrument went slightly
out of sur, he'd stop the whole recording and begin again." This perfectionism necessitated 17 re-takes for "Yeh hawa yeh raat yeh chandani", but Sajjad still
remained unsatisfied with an interlude piece in the song -- played by a sitar and a sarangi maestro who are among the top names in classical music today.
"Till the day he died, whenever he heard the piece he'd sigh, "They didn't play it like I told them to," recalls his son amusedly.

--------------------------

Clap

Hmmm seems a perfectionist. But it was that pride of his that actually became his biggest enemy. But he was definitely great Clap

 



Edited by Bhaskar.T - 12 March 2006 at 10:25pm
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Posted: 13 March 2006 at 2:22am | IP Logged
Hey here's another article I found on this unsung MD.


............................................................ .................


They could be apocryphal or they could be true, but two anecdotes about the
late Sajjad Hussain are now virtually part of Hindi film music lore. One: how,
during a recording, he called out tartly to Lata Mangeshkar struggling at the
mike with one of his intricate compositions, "Yeh Naushad miyan ka gaana nahin
hai, aap ko mehnat karni padegi." Two: how at a music directors' meet,
eschewing the customary diplomacy of that era, he walked up to Madan Mohan and
demanded belligerently, "What do you mean by stealing my song ?" ("Yeh hawa yeh
raat yeh chandani" from his 'Sangdil' had just found a new avatar as "Tujhe kya
sunaoon main dilruba" in Madan Mohan's 'Aakhri Dao'.)

These two hallmarks of Sajjad's identity -- his penchant for complex, many--
layered compositions and his singularly forthright nature -- stuck to him like
a second skin throughout his life. And they combined in a rather unfortunate
manner to diminish the potential brilliance of a career that could have ranked
among the most celebrated.

It was not the intricacy of his compositions that put Sajjad at a disadvantage
-- he worked, after all, in an era that belonged to music directors with
erudition and firm classical foundations. Where he lost out was in his handling
of producers and directors, sometimes musical illiterates, who sought to
simplify or alter his tunes -- his contemporaries dealt with such "suggestions"
rather more tactfully than Sajjad, who would immediately [get] up and walk out
of the film. "He was an extremely talented man, very knowledgeable about music,
but his temperament was his undoing," says Naushad. "Even if someone made a
minor suggestion, he'd turn on him and say, 'What do you know about music ?'
He fought with almost everyone. Because of this, he sat at home most of his
life and wasted his talent. But the body of work he has produced, small as it
might be, ranks among the best in Hindi film music."

Music historian Raju Bharatan, whose interaction with Sajjad goes back a long
way, has a somewhat different insight into the man. "It's true he wouldn't let
musically unqualified people interfere with his work,but the popular perception
of him being stubborn is not right," he says. "Sajjad had a rational
explanation for every action of his. You had to know him to recognise his
tremendous erudition, the fact that he was far superior to every other music
director in the industry."

This erudition, the cornerstone of Sajjad's work, is recalled affectionately
by Naushad. "He took pride in his ustaadi," he says. "He'd tell the producer,
'I've created a tune which even Lata can't sing.' And the producer would say,
'If Lata can't sing it, how do you expect the common man to sing it ?' But at
the same time he did create simple, yet extraordinary, compositions -- for
example, "Yeh kaisi ajab daastaan ho gayi hai" from 'Rustom Sohraab'."

Indeed, as far as Sajjad's formidable talent goes, there are no two opinions.
Madan Mohan, when confronted with the charge of plagiarism, reportedly told
him, "I take pride in the fact that I lifted your tune, not that of some
second- or third-rater." Anil Biswas, himself hailed as a creative genius,
declared in an interview that Sajjad was the only original composer in Hindi
films. "All of us, including myself, turned to some source for inspiration,"
he said. "This, Sajjad never needed to do. Each note of the music he composed
was his own."

Sajjad's rather chequered career began in 1944 with Shaukar Husain Rizvi's
'Dost'. Assistant to Master Ali Bux at that time, the young man's tunes were
favoured over those of Bux -- indeed, his "Badnaam mohabbat kaun kare, dil ko
ruswa kaun kare", rendered by Noorjehan, is remembered to this day by
connoisseurs. His range was noteworthy -- if the music of 'Dost' had the
"Punjabiat" that Rizvi demanded, Sajjad could also come up with lilting Arabic
melodies as in 'Rustom Sohraab' or classical Hindustani tunes. All this from a
man whose only formal training in music was a stint on the sitar under his
father.

Sajjad's talent was only matched by his almost compulsive perfectionism. He was
perhaps the only music director who had no assistants and did everything
himself, from the initial tuning of the lyrics to the orchestration. "He would
even write down the bols for the tabla player," says his son Nasir Ahmed. "It
was not like he'd begin the song and accept any theka the tabalchi chose to
strike; everything had to be done according to his dictates."

"He was very particular," recalls Lata Mangeshkar, who was known to be almost
apprehensive of a Sajjad recording. "If even a minor instrument went slightly
out of sur, he'd stop the whole recording and begin again." This perfectionism
necessitated 17 re-takes for "Yeh hawa yeh raat yeh chandani", but Sajjad still
remained unsatisfied with an interlude piece in the song -- played by a sitar
and a sarangi maestro who are among the top names in classical music today.
"Till the day he died, whenever he heard the piece he'd sigh, "They didn't play
it like I told them to," recalls his son amusedly.

This perfectionism extended to his own scores as well. "Sajjad is the only
composer I know who used to rethink his own work," says Bharatan, "and that is
a measure of growth. For instance, he used to say that Lata's "Aaj mere naseeb
mein" from 'Hulchul' was his best work, but later began to feel it could have
been much better. He'd also dismiss his compositions like "Phir tumhari yaad
ayi ay sanam" and "Dil mein sama gaye sajan" out of hand. "They're perfectly
ordinary compositions," he told me. "Why are you making such a big deal of
them ?"

If Sajjad was known primarily for his film scores, there was also another facet
to his art -- he was an accomplished albeit self-taught mandolin player who
could stun even purists with his ability to play Hindustani classical music on
this rather uninspiring western instrument. His performances at concerts
alongside the biggest names in classical music spurred rave reviews, and
connoisseurs would be agog at his ability to coax the meend, for instance, out
of the instrument of play entire ragas with the help of the tuning key. "In the
hands of Ustad Sajjad Husain," said a review of a Madras concert in 1982, "the
mandolin bore the halo of a Ravi Shankar sitar or [an] Ali Akbar sarod. His
playing is that of a mighty maestro."

The genius of the man, however, was destined to remain unsung. His
uncompromising nature and marked indifference to material comforts pushed him
further and further into oblivion. But even in the last years of his life, he
retained his imperial pride -- Lata Mangeshkar, the one person in the film
industry he was very close to, recalls how, when she offered to arrange his
mandolin concerts, he retorted, "If you want to hear the mandolin, I'll come
and play for you at home, but I don't want you arranging anything for me."

On July 21, the 79-year-old composer breathed his last. The leitmotif of his
lifetime, isolation, cast its shadow over his death too, when, with the notable
exception of Khayyam and Pankaj Udhas, nobody else from the film industry
bothered to turn up to pay him their last respects. "It hurt," admits his son,
"but what is far more important is that to the last day of his life, my father
was happy. There was no bitterness, no regrets. He could have been hugely
successful, made piles of money, but the only thing he wanted was to be
acknowledged as a great musician, and to live life on his own terms. And I
think he achieved that."

............................................................ ......


I have only one thing to say here. He was stubborn, arrogant but he was also gifted. Smile

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Posted: 15 March 2006 at 7:13pm | IP Logged
Thanks for the info on Sajjad. Despite his brilliance, his body of work is very small compared to the other music directors of the Golden Era. Also, he was not as versatile as the others in the sense that he could not compose different style of music.

A music director who did everything himself including writing the tabla bols would obviously have limited time and would be giving very little creative freedom to his assistants, maybe that's the reason his body of work is so small.
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Posted: 15 March 2006 at 7:43pm | IP Logged

Originally posted by punjini

Thanks for the info on Sajjad. Despite his brilliance, his body of work is very small compared to the other music directors of the Golden Era. Also, he was not as versatile as the others in the sense that he could not compose different style of music.

A music director who did everything himself including writing the tabla bols would obviously have limited time and would be giving very little creative freedom to his assistants, maybe that's the reason his body of work is so small.

No punjini that was not the exact reason. The main reason for his small body of works was his attitude. He simply just could not put up with anyone in the industry. He was very intollerant. Naushad was one of the best during that time. And he even made comments against Naushad. That actually started his big war against others too in the industry. They just droped him after that.

 

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