shamshad begum

shamshad begum her time and tryst
FORGOTTEN IDENTITY
One of eight children of Hussein baksh and ghulam fatima,the grand senior of indian playback singing-Shamshad Begum was orn and brought up in atraditional amritsar family.she made a mark much earliar to Lata Mangeshkar and Suriaya.
“passion has long life” the singer proved it right with fortunes of support in family and in laws gramophone at amritsar house encouraged her singing credentials.those were the days ,time passed sitting near the unique instrument repeating lines enthusiasticallyt.revisng songs and marsias based afuture prodigal singing star in shmshad.the talent didn’t went unnoticed.atrue art lover chacha noticed her skils with support of encouragement.passionate skills made shamshadji an identifying voice of masses.then achild only her voice struck symphony of impression.

at 13 uncle guided her Ginophone studios.at studio the relatively new but different vioce became instant Hit,punjabi song ‘hath jod’ offered and recorded.an album content the punjabi number earned grat name for adolescent Shamshad riding on huge response Ginophone offerd shamshad 200 songs in single year.
Ghulam Haider-Renowned musicain Ghulam haider, regular artist of GINOPHONE mentored shamshad ji to singing sensetion.haider saab later migrated pakistan
1937 lahore-1937 shamsahd begum became aregular vioce of Lahore Studios . at 15 in 1939 she enterd into marital knot with Barrister Ganpatlal
Break in films-shashad begum’s first break as playback Singer was-Yamla Jaat (1940)/punjabi films Yamla Jaat and Chaudhari(1941) were filmdom signatures of singer.
Lahore based Khazanchi(1941) is shamshad begum’s Hindi debut .A Panchali Arts production with Ghulam Haider musical score,Khazanchi made to box-office with numbers-sawan ke nazare,mann dheere dheere rona,ek kali nazon se pali.four to five films followed Khazanchi.incrediblE Playback with quality music made the films HIT. 1n 1943 ace director Mehboob called shamshad to sing –daroga ji kaun kasur par for his film Takdir(1943).poona visit cementd her filmy safar
1947 partition-Khazanchi crew DM Pancholi,actress R amola and Shamshad begum shifted their base to Bombay.at Bombay shamshad ji saw suraiya and sensational Lata Mangeshkar.SD burman identified Folk Potentila in siner and offerd shmashad begum to sing folk touch numbers for his film –Shabnam- ‘bajre ke khet me pehli baar mulaqat and ‘tui mahal me rahne wali main kutiyon me.l
Naushad
-shamshad begum made to Naushad as fortunate substitute for Johrabai Ambalewali.He gave her achance to sing for Dilip Kumar-Nargis starrer-Mela.milestone in indian cinema,the film was major success.numners like-‘dharti ko aakash pukare and ‘mohan ki muralia baje sun thes jia pe lage’ are signposts of singer’s contribution to film.for reson unknown Naushad those days kept Lata mangeshlkar at bay.he went for other vioces.Shmashad begum,Johrabai Ambalewali and Uma devi Tuntun were his choices.Mehboob’s Anokhi Ada relesed with no Lata Mangeshkar.Uma Devi and shamshad begum were main playback for the film—‘aaj kahan nazr takrayee’ ‘nazar mil gayee kiski nazar se’ are memorabl shamshad begum nunbres from Anokhi Ada..N aushad innovated shamshad voice as contrast to Lata M nageshkar.film ‘deedar’ marked the beginning of trend—‘bachpan k din bhul na dena-duet from film had shmashad bregum as MALE voice.for Naushad shamshad begm became anecessity.a Place for shamshad numere in many Nuashad musical scores confirms the fact.London based Naushad library has –chandni na ke aayee payar o sajna. ‘chaman me rehkar virana mera dil(deedar) and ‘chod baabul ka ghar (baabul) with ace N auashad sketch a different picture for singer.Itis true shamshad begum did most of her numbers with Naushad and OP naiyar.playback for twenty three Op naiyar musical scores suggest a point that singer worked mostly with Naushad and Opnaiyar saheb. Opnaiyar musical scores has no Lata mangeshkar.shamshad begum and ASHA bhonsle were priorities-‘kabhi aar kabhi paar laga teere nazar’(aar paar) ‘bujh mera kya naam re’ and ‘ kahin pe nighahen kahin pe nisana’(CID) Are remarlkable shamshad begum numbers with the magician.

Make shift playback-shamashad begum hasintersting statistics of sometime male and other time:male disguised as female character singing.she did Playback for Lootera(Dara singh) and Kismat(Viswajeet) ‘patli kamar nazuk umar’ (Lootera1965) ‘kajra mohabbat wala ‘(Kismat 1968) is reference point to this fact.musician C RAMACHNDRAN carried the Naushad move of assignining shamshad as contrast to Lata Mangeshkar musician called her for—Samadhi and Patanga.—‘gore gore banke chhore’ ‘mere piy agaye hain rangoon’ are top numbers of singer in contrast to Lata Mangeshkar .’chali pi ke ghar ab kahe ka darr ‘ (mirza Ghalib) is signature shmashad
Triumvirate-Literaure---Music—Acting witnessed evolution of trend.Literature—jayshankar prasad,suryaknat nirala, sumitranandan pant Acting: raj kapoor, dilip kumar.dev anand Music- mohd rafi,mukesh ,talat mehmood (male palyback singers). Lata mangeshkar,shamshad behum and Geet adutt mde the femlae fator.
ISOLATE D Emotions-Traditional apprences ,camps polarization and rising politics made singer disappeared silently.one time lead singer,shamshad begum was reduced to situational characters and Quwalli chorus –‘teri mehfil me kismat azma(mughal-e-azam) ‘holi aayee re kanhai rang bahr de’ and ‘gadiwali gadi dheere hank re’(mother india) ‘sarma k pardanasin(chaudvin ka chand) speak up the sory for reticent living singer.Musicians who earned shamshad begum name later abandoned professional relations with singer.1970’s mark a clear dip in her playback appearnces.shamshad begum slowly went unnoticed.she remained industry isolated for three decades.she was forced to live an isolated life.Naushad,Madan Mohan,Shankar Jaikisan,Opnaiyar ERASED her from their list.in between years any information on the legendary singer did’d reached any Media.just when fans begun to question-Is she dead? Columist SHISIR SHARMA set to look out for her LOST singer.he succeded in his noble cause.biography on shamshad begum by—CHANDRAKANT MOHAN is another turning point in this regard.both proved a piece of REVIVAL shamshad begum

At 90 The grand Senior of indian playback singing has found communication with fans .Awards like –PADMABHUSAN and PHALKE GOLDEN SINGER AWARD is saving grace.