Sa Re Ga Ma Pa Singing Superstar


Sa Re Ga Ma Pa Singing Superstar
Sa Re Ga Ma Pa Singing Superstar

A genius: Sajjad hussain (Page 4)

Bhaskar.T IF-Sizzlerz

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Posted: 27 February 2007 at 4:40pm | IP Logged
Thanks a ton for bringing this old thread back and the new articles.

This MD is like a question mark for me always. Can we have few songs of his in the thread.

*dolly* IF-Sizzlerz

Joined: 22 January 2005
Posts: 13663

Posted: 27 February 2007 at 7:47pm | IP Logged

Originally posted by Bhaskar.T

Thanks a ton for bringing this old thread back and the new articles.

This MD is like a question mark for me always. Can we have few songs of his in the thread.

I will upload his songs tommrrow...

this is what I think and offcourse its only my assumption or perception.Just becasue a person has a way of doing be a perfectionist or to do what matters most for him/her.Does that make them arrogent....the answer is "NO"...May be he was satisified in his whatever work he did if you will say that is a pitty that he had only 14 movies I will say he probabaly was happy and satisfied with what he did otherwise he would have changed himself .. you can say its pitty for us becasue we couldnt understand and accept him....and him being a  perfectionist..thats our loss not his...

It all depends how you want to look at it....

Thats what I think

Edited by *dolly* - 27 February 2007 at 7:50pm
*dolly* IF-Sizzlerz

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Posted: 28 February 2007 at 10:31am | IP Logged


Edited by *dolly* - 28 February 2007 at 10:32am
*dolly* IF-Sizzlerz

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Posted: 28 February 2007 at 10:50am | IP Logged

From times of India..

The unsung genius
Radha Rajadhyaksha


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."


Edited by *dolly* - 28 February 2007 at 10:51am

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*dolly* IF-Sizzlerz

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Posted: 28 February 2007 at 10:51am | IP Logged


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."


Edited by *dolly* - 28 February 2007 at 10:52am
*dolly* IF-Sizzlerz

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Posted: 28 February 2007 at 10:55am | IP Logged

another article...

Birth: 1899.
Birthplace: Sitamau, Madhya Pradesh.
Profession: Music Director, Bollywood.
Family: Son Mustafa Sajjad.

Sajjad Hussein was a famous Indian music director who composed many hit Indian film songs. He was also a fantastic mandolin player. He had the honor of being the only musician in the world able to play classical Indian music on the mandolin, an almost impossible task because of its limitations. Sajjad Hussein was a genius . However he never witnessed the glory or fame that he deserved because of his unwillingness to compromise on the smallest of details.

Sajjad Hussein was born at Sitamau, Madhya Pradesh in the year 1899, Sajjad Hussein was born into a musical family. He had mastered the Sitar, Veena, Jaltarang, Accordion, Violin, Spanish and Hawaiian Guitars, Clarinet, Flute, Piano, Banjo and the Harp when he was yet a young man.

When you shock people like Ustad Bade Ghulam Ali Khan, Ahmadjan Thirakawa, Pandit Nikhil Ghosh, Ustad Ali Akbar Khan and the greatest of them all Ustad Baba Allaudin Khan on their home turf, it can be only talent that screamed at them.

He came to Mumbai in 1940 to make a career in music.His debut film was Gali in 1944. Unfortunately Sajjad Hussein dis not tasted success commercially inspite of being an undisputed genius. His body of work might be small, but it ranks as one of the best that Hindi film music has ever produced. What proved his undoing was his inability to accept any suggestion from any quarter.

This inability to accept any 'suggestion', interpreted variously by different musicians was based on the secure knowledge of his musical strength. Anil Biswas, one of the greatest musicians of the film recalls that Sajjad Hussein was the only original composer they had. Every note of his was an original. His compositions were given voices by great singers including Lata Mangeshkar and Talat Mehmood , 'Yeh Hawa Yeh Raat, Yeh Chandni'.

He lived till the age of seventy - nine always sure that some people were never able to understand and some never able 264 to sing his compositions as per his orders. Lata Mangeshkar on her part would never forget his terse commandments and taunts (Yeh Naushad Ka Gana Nahin Hai) or the seventeen takes for a single song 'Yeh Hawa Yeh Raat Yeh Chandni' because one off - key instrument. His son Mustafa Sajjad is the famous international mandolin player .

Edited by *dolly* - 28 February 2007 at 10:59am
*dolly* IF-Sizzlerz

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Posted: 28 February 2007 at 11:04am | IP Logged
I found this statement by sajjid ji.. he has said this about lata ji.. once..

SAJJAD HUSSAIN (composer):
Lata gaati hai, bakhi sab roti hai
*dolly* IF-Sizzlerz

Joined: 22 January 2005
Posts: 13663

Posted: 28 February 2007 at 11:10am | IP Logged
Mohammed Rafi has sung many of the finest melodies for music composer: Sajjad Hussain, in the following movies: Hulchal (1951), Rustam Sohraab (1963) and many other movies.

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