OP Nayyar...Loss of the Veteran composer - Page 17

I absolutely, completely, wholly agree with this candid though impolite statement about Mahendra Kapoor >>>

"What about Mahendra Kapoor?

"I used him as replacement for Rafi. I used to call him haran Das for he used to touch feet of practically any Tom, Dick and Harry. I found this extra- humility phony. He might have sung quite a few good songs for me but just listen to Do Ustaad title track to know how off-key he could be! Purposely I kept that Besuraa singing so that one day, I could show him how bad he could be!"

I will further add this. Even the few songs of MK's that one would think were 'ok' ('Aa bhi ja, aa bhi ja' and one song from Dharamputra, 'Teri aankhen') would have sounded far better if Rafi had sung it!

OP Nayyar passes away

Music director O P Nayyar, best known for classic songs like Jhumka Gira Re and Pukarta Chala Hoon Mein, died of cardiac arrest at his home in Thane on Sunday. He was 81.

Rani Nakhwa, with whose kin Nayyar was living for over 10 years after being estranged from his family, said, "He was perfectly alright until 3:30 pm, when he went to the toilet and collapsed inside. He was dead before we could summon medical help."

Born on January 16, 1926 in Lahore (now in Pakistan), Omkar Prasad Nayyar got his first break as a music composer in the film Kaneez (1949).

Director Guru Dutt's Aar Paar (1954) was his first major success. This led to his successful partnership with Dutt on films like Mr And Mrs 55 and CID.

As news of his death spread, a pall of gloom descended on Bollywood, where Nayyar was regarded as one of the greatest composers of all time even though he had not been in the limelight for close to three decades.

Filmmaker Mahesh Bhatt described Nayyar, who was always seen in public in white attire and a hat, as "an audacious man who was a king in his time".

"Asha Bhosle owes whatever she is to him. The distinct sensuality that was injected into Asha's singing was the contribution of this extraordinary man," Bhatt said.

Extensive use of the typical Punjabi rhythm was the main characteristic of Nayyar's music, and among his evergreen tunes were Kahin Pe Nigahen Kanhi Pe Nishana from CID, Mang Ke Saath Tumhara from Naya Daur and Ello Main Hari Piyan from Aar Paar

May His soul rest in peace.. He will always remain in our hearts with his music..

omg. this is so sad. may his soul rest in peace

This is a very sad news indeed... India loses another legend!

Veteran composer OP Nayyar dead
CNN-IBN
http://www.ibnlive.com/news/veteran-composer-op-nayyar-dead/ 32249-8.html

Posted Sunday , January 28, 2007 at 17:28Updated Sunday , January 28, 2007 at 18:32
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THE MUSIC STOPS: Nayyar's latest composition was in Deepa Mehta's film Bollywood Hollywood.

Best Of OP Nayyar
Song Movie
Baabuji dhire chalna Aar Paar
Ye Lo Main Hari Piya Aar Paar
Maang Ke Saath Tumhara Naya Daur
Ude Jab Jab Zulfen Teri Naya Daur
Aankhon Hi Aankhon Mein Ishara Ho Gaya C.I.D.
Leke pehla pehla pyaar C.I.D.
Tumsa Nahin Dekha Tumsa Nahi Dekha


New Delhi: Veteran music director OP Nayyar died on Sunday following a massive heart attack.

Known for classic songs like Jhumka Gira Re and Pukarta Chala Hoon Mein, Omkar Prasad Nayyar was born in Lahore and turned 81 on January 16 this year.

Estranged from his family, Nayyar had been living with his kin for the past 10 years. "He was perfectly alright until 1530 hours IST. He went to the toilet and collapsed inside. He was dead before we could summon medical help," Nayyar's relative told PTI.

Described by his contemporaries as a powerhouse of talent, Nayyar enthralled generations of Indians with his lilting romantic numbers featuring a distinctive sound created by the innovative use of the piano, saxophone and rhythms.

Though he did not have a classical background, Nayyar, during his heydays, overtook many of his contemporaries like S D Burman and Madan Mohan in popularity.

Famous for his peppy numbers, he was also known for never having worked with veteran singer Lata Mangeshkar.

He composed for many Guru Dutt films including Mr and Mrs 55 and CID and gained distinction with the music of Mere Sanam.

He saw his peak in the 1970's and his latest composition was in filmmaker Deepa Mehta's film Bollywood Hollywood.

Guru Dutt's Aar Paar was his first success. He has worked extensively with yesteryear's actress Geeta Dutt and singers Asha Bhosle and Mohammed Rafi.


Filmmaker Mahesh Bhatt described Nayyar, who was always seen in public in white attire and a hat, as "an audacious man who was a king in his time".


"Asha Bhosle owes whatever she is to him. The distinct sensuality that was injected into Asha's singing was the contribution of this extraordinary man," Bhatt told PTI.


Nayyar's filmography

Zid (1994)
Howrah Bridge (1958)
Nishchaiy (1992) Kabhi Andhera Kabhi Ujala (1958)
Bin Maa Ke Bachche (1980) Mujrim (1958)
Heera-Moti (1979) Phagun (1958)
Khoon Ka Badla Khoon (1978) Raagini (1958)
Pran Jaye Par Vachan Na Jaye (1974) Sone Ki Chidiya (1958)
Ek Bar Mooskura Do (1972) Johnny Walker (1957)
Sambandh (1969) Mai Baap (1957)
Dil Aur Mohabbat (1968) Naya Daur (1957)
Humsaya (1968) Qaidi (1957)
Kahin Din Kahin Raat (1968) Tumsa Nahin Dekha (1957)
Kismat (1968) Ustad (1957)
CID 909 (1967) Chhoo Mantar (1956)
Baharen Phir Bhi Aayengi (1966) C.I.D. (1956)
Do Dilon Ki Dastaan (1966) Dhake Ki Malmal (1956)
Sawan Ki Ghata (1966) Ham Sab Chor Hain (1956)
Yeh Raat Phir Na Aayegi (1966) Mr. Lambu (1956)
Mere Sanam (1965) Naya Andaz (1956)
Kashmir Ki Kali (1964) Baap Re Baap (1955)
Phir Wohi Dil Laya Hoon (1963) Miss Coca Cola (1955)
Ek Musafir Ek Hasina (1962) Mr. & Mrs. '55 (1955)
Basant (1960) Musafirkhana (1955)
Jaali Note (1960) Aar-Paar (1954)
Kalpana (1960) Mangu (1954)
Do Ustad (1959) Baaz (1953)
12 O'Clock (1958) Aasmaan (1952)
Source: IMDB.com

Jawaniyan Yeh Mast... Tumsa Nahi Dekha

😭😭😭 One era of music is gone 😭


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Face to face with melody king
By Devinder Bir Kaur
Tribune News Service

CHANDIGARH, Nov 13 — Aankhon se jo uttri hai dil mein ..., Jaaiye aap kahan jayenge ..., Aaiye meharbaan, baithiye jaanejaan ..., Ello main hari piya..., Bahut shukriya badi meharbani ..., Mang ke saath tumara ..., Yeh chand sa roshan chehra ..., Yoon to hum ne lakh haseen dekke hain ..., Kahin pe nigahein kahin pe nishana ..., Zara holle holle chalo more saajana ..., Ik tu hai piya jispe dil aa gaya ....

The list is endless. The maker of these and countless other unforgettable melodies, O.P. Nayyar is in town in connection with the Rafi Nite organised by the Yaadgar-e-Rafi Society.

I come face to face with the living legend at a plush hotel here this morning. He is tall and slim with striking looks. The trademark hat is in place. And he is ready to answer any question. ''Hypocrisy is not my religion. I don't believe in falsehood,'' he states.

I begin with what everyone has always wanted to know. ''Why did you never use Lata Mangeshkar's voice for any of your songs?''

''I was successful without Lata's voice. No doubt Lata's voice has a spiritual quality, but it's just that her thin, thread-like voice wasn't suitable for my rich, robust, romantic compositions. Shamshad Begum, Geeta Dutt and Asha Bhosle were my kind of singers," he clarifies. He goes on that though he and Asha together have scaled new heights he regards Lata as the best singer, and Asha the second.

The man responsible for making Asha Bhosle a respectable singer, O.P. Nayyar says earlier she used to sing light, frothy and cabaret numbers. He helped her realise her full potential. Her songs in ''Ek Musafir Ek Haseena,'' ''Naya Daur'', ''Kashmir ki Kali'', ''Mere Sanam'', ''Yeh Raat Phir Na Aayegi'', ''Baharein Phir Bhi Aayegi,'' ''Phagun'', ''Howrah Bridge,'' ''Humsaya,'' ''Mr and Mrs 55,'' ''Kismet'', ''Pran Jaye Par Vachan Na Jaye'' etc will vouch for this statement.

''My inspiration has come from a woman. I was a romantic in my younger days, and good looking too,'' he says with a twinkle in his eyes. His association with Asha lasted about 70 films and together they created magic. Then he realised that time had come for them to part. Besides, Asha was a career-oriented woman. He would always have the second place in her life. He therefore used Krishna Kalle's voice for one of his songs. This infuriated Asha and brought about the end of their relationship. Asha went on to marry R.D. Burman. Ironically, Pancham (R.D.'s nickname) would give his best compositions to Lata and the second-best to Asha.

When Asha won the Filmfare Award for her last number with O.P., Chain se humko kabhi..., she did not go to receive it. "I feel Lata and Asha should have retired gracefully years ago. Their voices don't have the same magic," he opines.

Talking of awards, O.P. himself refused to accept Lata Mangeshkar award in 1990. He explains that he did that because it was a singer's award to a composer, and secondly, awards are always named after dead persons and she's alive, and thirdly, he had never worked with her. Thus, he turned down the Rs 1 lakh award.

He feels his biggest reward is that his music is immortal. Even today there is hardly any marriage in the country where his songs Yeh desh hai veer jawanon ka ..., Mera naam chin chin cho ..., Humdum mere, maan bhi jaao ... etc are not played. His songs are specially popular abroad.

The present era of mixed music has brought out several cassettes of his songs. Kajra mohabbat wala ... being one such song. O.P. is rather pleased about it. He feels it is a feather in his cap. It is a compliment to his genius. ''Andaz Apna Apna'' had music that was blatantly lifted from his tunes O.P. says; "Why just this movie, music directors of the past too had songs based on my tunes!'' He laughs and says Daler Mehndi is the best example of someone making pots of money on his tunes which are vibrant and folksy.

However, O.P. does not blame the present music scene. ''Everything has degenerated. Our emotions, values, lifestyle ... So has music, '' he says. But he at once clarifies that the seven surs can never be cheap. Lyrics, dance movements, picturisation can be vulgar, but not music. He sums up, saying ''It's Kalyug, you see.'' He feels sad that the golden era of music of stalwarts like R.C. Boral, Punkaj Mullick, Khemchand Prakash, Shyam Sunder, Ghulam Haider, Anil Biswas, C. Ramachandra, Vasant Desai, Roshan, Madan Mohan, S.D. Burman, Naushad and O.P. Nayyar can never come back. "What's gone is gone,'' he says in a matter of fact way.

Having given so much to music, O.P. Nayyar has found an alternative vocation. He is a full time homoeopath and treats patients free. He claims he has cured some incurable cases ''by the grace of God and my guru.'' His guru, Dr S.R. Pathak, had taught him this system of medicine after curing him of piles. So while his music was for the soul, his medicine is for the body. "Music director O.P. Nayyar is dead while doctor O.P. Nayyar is living," he says with an air of finality.

O.P. has no regrets. His music has made him immortal. He quotes a couplet written by S.H. Bihari in his honour:

Teri zindagi mohabbat

Tera naam hai deewana,

Tere baad bhi karega

Tera zikr yeh zamana;

Tu wo zindagi nahin hai

Jisse maut khatam kar de

Jisse bhool jaaye duniya

Tu nahin hai woh tarana."

Mystery of melody

BHUMIKA K

Yesteryear Hindi film music composer O.P. Nayyar on Asha Bhonsle, Lata Mangeshkar and why he's turned his back on music.



http://www.hinduonnet.com/thehindu/fr/2006/12/29/stories/200 6122900570400.htm

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Even today I don't listen to any music at all! I don't listen to my own music
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MAGICAL TOUCH O.P. Nayyar


Photo: K. MURALI KUMAR

MAGICAL TOUCH O.P. Nayyar

There's never been any looking back for music director O.P. Nayyar. Not even now when he's 82, sporting a black felt hat and a whole lot of attitude. Whether it is with his success, his music, his directors and singers, his birthplace, the women in his life... he lives on believing in the adage that whatever happens is for the best.

Many will remember his snappy songs, known for their "ghoda gadi" tunes that bore a characteristic clip-clop rhythm, like in "Maang ke saath tumhara" from "Naya Daur"; or the poignant "Yeh hai Bombay meri jaan" from "CID". It was he who made the voices of Geeta Dutt and Asha Bhonsle so synonymous with seduction, giving them iconic hits like "Babuji dheere chalna" and "Aayiye meherban". His unquestioned genius redefined Hindi film music during the 1950s and was an indelible part of the epoch-making Golden Age of Hindi film music.

Having created incandescent music for two decades for the Hindi film industry, one wonders why he stopped suddenly somewhere in the mid-1970s. "I'm 82 now," smiles the wiry man. "I don't feel like composing for today's films. There is a time for everything... there was a time when God made me give music."

God is the answer to most of what we ask Nayyar-saab. He believes that he is blessed. Otherwise how would anyone like him, with no formal training in music, without knowing the "alpha-beta and raag-raaginis of music" as he puts it, be able to compose? No one in the family was a musician and he himself had never listened to music. That's not all. "I never listened to music composed by my contemporaries either as I feared they would influence me. Even today I don't listen to any music at all! I don't listen to my own music. If the world listens to my music, it is God's grace."

How did he manage to compose such unforgettable numbers then? Perhaps a mystery that will go with him.

What he does not keep mysterious, however, is his relationship with singer Asha Bhonsle. Asha's musical career soared when she sang for him for over two decades. But today he openly pans her: "Machine chalti zaroor hai par woh dum nahin hai"(Her singing is like a machine that runs, but without much feeling.)

He insists that Asha sang some of her best songs for him because she was "involved" with him. "Asha's magic came out when she was with me. Now there is no ras in her singing. But Asha is Asha. No one can be her." Love, he says, coloured their music. "Please don't mind my frankness."

Right now he's enjoying life, living in the suburbs of Mumbai. "I drink a bottle of beer in the afternoon and eat my fish or chicken, and have a peg of whisky at night with gobi bhajjias! There is this one film I see and I can see it even 20 times a day — 'Ye Raat Phir Na Aaye'. What a film!"

He now practises homeopathy. "Medicine and music are both healers — one of the body and one of the soul," he says of the switch in profession.

For someone who gave such dynamic music from the heart and laced with Punjabi fervour, it comes as a bolt from the blue when he coolly says it was all a business and what he got at the end of the day from the film industry was money and fame.

It is of course Bollywood legend that he was charging a lakh for a film when such amounts were unheard of. "I used to make a dhun (tune) in five minutes; it never took me more than that. But I would always tell the filmmaker to come back after 15 or 20 days so that it wouldn't look that simple," he laughs. The director, the songwriter and he would sit together and write for the situation. "I couldn't even read Hindi. So anything that was in Urdu, I would say 'wah wah'!"

He has respect for gifted contemporaries like C. Ramachandra, Roshan, Shankar-Jaikishan and Salil Choudhury. "Now machines make even the besura sura!"

Not surprisingly, the film industry saw him as arrogant and temperamental. Did he see himself that way? "Everything is distorted. People who were jealous of me spread such things. Otherwise, would directors have given me work? I was humble and down-to-earth. But I do have my self-respect... "

The fact that the legendary Lata Mangeshkar never sang for him (he felt her voice was not suited for his compositions and didn't bother to conceal his opinion) is raised... yet again. "There was no jhagda. Everyone makes a mountain of a molehill. Asha couldn't be Lata. Lata is Lata. But I was never tempted to work with Lata. And once I turn away from something, I never go back."

Returning to Lahore, his birthplace, is also a nightmare he'd rather not face. "I'll drop down dead at Wagah," he says, the painful memories of Partition brimming in his eyes. "We were forced out of the country when we didn't want to leave home. Politicians have divided nations. That's why I always say humanity is my only religion."

But then he cheers up as you quickly change the subject to his favourite black hat with a spiffy feather, and his black felt coat. "Nazar na lagao... pehle se hi kaala hai! I'm bald, so I wear it," he says tipping his hat charmingly, as his eyes crinkle up behind the lined cheeks. "It adds to my personality, you know. I love black."

This is sad indeed! May his soul rest in peace!