Ustad Bade Ghulam Ali Khan - Page 3

Thanks so much for the post, Qwest da. I heard so much about Ustad Bade Ghulam Ali Khan saheb but unfortunately didn't have much knowledge about his background. Now that you've posted so many nice articles, I'll be able to learn more 😊 .

Originally posted by: charades

Please Enjoy his Interview( Audio) which is of 20 minutes...

Will upload some Audio files of Ustad sahab later

http://d.turboupload.com/d/910751/badeghulamalikhan.intervie w.mp3.html

Vijay, Thank you so much.!!!!

Tributes To Bade Ghulam Ali Khan In Delhi The Department of Culture (Govt. of India) and the central Sangeet Natak Akademi organised a function in New Delhi at Hotel Ashok on 30 June to release a commemorative postage stamp and First Day Cover in memory of Ustad Bade Ghulam Ali Khan as part of his birth centenary celebrations. Jagmohan, Minister of Tourism and Culture, presided over the function. Arun Shourie, Minister of Communications & Information Technology, released the stamp. Later Jagmohan released the Book-- Ustad Bade Ghulam Ali Khan-- His Life & Music, written by the late maestro's disciple Malti Gilani, and Qurratulain Hyder (a Jnanpeeth award-winning Urdu writer). The function began with a brief vocal concert by three grandsons of the Ustad-- Mazhar Ali Khan, Jawad Ali Khan (sons of Karamat Ali Khan) and Raza Ali Khan (son of Munawwar Ali Khan). They rendered a khayal in Megh raga, in tune with the season, and a thumri in Peelu.
(L to R): Vijay Bhushan (Secretary, Department of Post), Arun Shourie, Jagmohan &
Jayakumar (Joint Secretary, Department of Culture) Jagmohan paid glowing tributes to Bade Ghulam's creativity, versatility and catholicity. He made several observations relating to the maestro's life and contributions commending him as a true representative of the composite culture concept that is so relevant to India. An instance he referred to was about the problem the Ustad had in Pakistan where he was living before acquiring Indian citizenship. When he rendered a devotional piece in praise of a Hindu god, the then Director General of Pakistan Radio, Bukhari expressed his unhappiness and exhorted Bade Ghulam to sing about Rahim and not Ram. Ustadji's reaction was a testimony to his strength of convictions. He simply asked the Director General to remove his name from the Radio's roll. Jagmohan also appreciated the fact that the legacy of the great maestro was being perpetuated by his grandsons and felt it would be appropriate to arrange similar concerts in other places which had some special attraction for, and association with, the late Bade Ghulam Ali Khan. In his speech, Arun Shourie referred with admiration, to the dedication of some old artists who, despite their extremely indigent circumstances, continued to impart training with all sincerity. He stressed the urgent need to ensure proper preservation of the precious material available within the archives of All India Radio by using the state-of-the-art technology like digitisation.

MANNA SRINIVASAN

Vocalists

Ustad Bade Ghulam Ali Khan

The family of Ustad Bade Ghulam Ali Khan was born in the year 1902 and belonged to a village called Kasur, near Lahore (in present day Pakistan) . He came from an already renowned family of musicians. His father Ustad Ali Baksh Khan and uncle Ustad Kale Khan were famous vocalists of the time. Ustad Bade Ghulam Ali Khan had three brothers who also grew up to be musicians in their own right . Ustad Bade Ghulam Ali Khan was trained in the Patiala Gharana style.

In his childhood he started taking lessons in music from his uncle Ustad Kale Khan but due to family circumstances he was made to learn an instrument called Sarangi. He continued to practice vocal music as this remained his interest. Later he travelled to Bombay where he began learning Hindustani classical music from Ustad Sindhi Khan. Soon he was performing at concerts all across India. He has given enthralling performances in numerous music conferences. His rendering of each musical note with finesse was the most appealing quality in his singing.

In 1961 he suffered a severe paralytic attack and on the 23rd of April, 1968 he passed away in Hyderabad. In his lifetime he received several honors and awards, amongst which Sangeet Natak Akademi (academy) and the Padmabhushan (one of India's highest civilian awards). A specialist in Thumri and Khayal style of music, he has cut numerous albums which are popular even today.

Thanks Qwest bhai for a wonderful thread

Ok here r some downloadable links to audio's of Bade Ghulam Ali ji. It also has an interview of his. i am not sure if this is the same one tht VJ uploaded so uploading it again.

The interview of Bade Ghulam Ali Khan ji.

http://www.badongo.com/file/1307958

Bhairavi

http://www.badongo.com/file/1307956

Thumri

http://www.badongo.com/file/1307962

Kedar

http://www.badongo.com/file/1307954

Dhun

http://www.badongo.com/file/1307957

Kalingada

http://www.badongo.com/file/1307959

Lalit

http://www.badongo.com/file/1307960

Pahadi

http://www.badongo.com/file/1307961

This is a concert audio (Bhupali)

http://www.badongo.com/file/1307955

WOW !!!!! I was waiting for this....😛

Thank you Qwestda, Vijay bhai & Barnalidi.....

so many to listen to..i just hope i am able to download....😕

Great personality..and great collection here....👏

Originally posted by: Barnali

Ok here r some downloadable links to audio's of Bade Ghulam Ali ji. It also has an interview of his. i am not sure if this is the same one tht VJ uploaded so uploading it again.

The interview of Bade Ghulam Ali Khan ji.

http://www.badongo.com/file/1307958

Bhairavi

http://www.badongo.com/file/1307956

Thumri

http://www.badongo.com/file/1307962

Kedar

http://www.badongo.com/file/1307954

Dhun

http://www.badongo.com/file/1307957

Kalingada

http://www.badongo.com/file/1307959

Lalit

http://www.badongo.com/file/1307960

Pahadi

http://www.badongo.com/file/1307961

This is a concert audio (Bhupali)

http://www.badongo.com/file/1307955

Barnali Didi,
Thanks a lot for your hard work great collection here.

'Music by Naushad'

A sangeet legend, whose marquee value exceeded the stars', now says, Aaj puraani raahon se,/Koi mujhe aawaaz na de...By P. Bhaskar Rao

If Christmas Day has given science its Newton, Indian politics its Atal Bihari Vajpayee, then Hindi cinema has also been blessed by its own Naushad, who needs no introduction to its music lovers. With the passing away of Naushad on May 5, Indian cinema itself has lost its Kohinoor. Born on December 25, 1919 in Lucknow as Naushad Ali, in a court employee's family he was christened into music from the age of seven. But his father, Wahid Ali, insisted on him taking up a court job. A defiant Naushad left for Bombay to eke out a living and pursue a musical career. He would assist Jhande Khan for a salary of Rs 40 and later went to Ranjit Studios to assist Khemchand Prakash. Life was hard in Bombay where he had to live on pavements. Naushad was also annoyed by the treatment meted out to him at Ranjit Studios and decided to branch out on his own. Soon friend and songwriter D.N. Madhok helped him make his debut in 1940 with Premnagar. Though Premnagar didn't do well, a series of films followed like Nayi Duniya, Station Master, Namaste, Pehle Aap and Sharda where he introduced a 13-year-old Suraiya, who in later years gave him some of his best melodies (Tu mera chaand, Leke dil chup ke se; Dillagi). A hit was still a far cry till Rattan (1944) when he instantly found favour with the biggies like Mehboob Khan, A.R. Kardar and Vijay Bhatt. A string of hits followed which made him a household name and became perhaps the first composer whose name was prominently displayed on the film posters. Irrespective of the starcast, "Music by Naushad" drew in the crowds. Vijay Bhatt's Baiju Bawra reaffirmed the fact that Naushad alone could bring out the classical best from a period film of that stature. It also established Mohd Rafi and Lata Mangeshkar as the male singer and the female singer for the next couple of decades. Tu Ganga ki mauj (Rafi-Lata), duniya ke rakhwale, Man tarpat Hari (Rafi) and Bachpan ki mohabbat, Mohe bhool gaye (Lata) rang out in every household irrespective of class and stratum. Mehboob Khan meanwhile performed another directorial feat by making India's first technicolour film, Aan, and repeated Naushad who also became the first to conduct a 100-piece orchestra and organise separate recording of voice and music track in playback singing. This was amply noticeable in Maan mera ehsaan, Dil mein chhupa ke (Rafi), Aaj mere man mein and Tujhe kho liya (Lata). After Aan, Mehboob made Amar, a rather excellent anti-hero based film but didn't meet with much success at the box-office. But here, too, it was Naushad who came to Mehboob's rescue with his excellent score with Insaaf ka mandir (Rafi), Jaanewaale se, Na milta gham (Lata). Here, an interesting fact was that the song, Insaaf ka mandir hai,/Bhagwan ka ghar hai was an all-Muslim affair in a Hindu backdrop. The temple scene shot was directed by Mehboob Khan, enacted by Dilip Kumar and Madhubala, the song written by Shakeel, sung by Mohd Rafi and set to tune by Naushad. Then came the Mehboob magnum opus, Mother India, which among other honours, won an Oscar nomination. Despite an excellent score with songs like Matwaala jiya, Nagri nagri, Duniya mein hum, Gaadiwaale gaadi, Holi aayee re Kanhaai, Naushad was subjected to criticism and quick comparisons were drawn with Anil Biswas' score in Mehboob's Aurat, the original 1940 version of Mother India. But the so-called critics seem to forget that Mother India was made 15 years after Aurat and spread on a national canvas. The folk tunes had to be modified in order to be accepted by the Indian population unlike the Aurat songs in rustic UP dialect which were restricted to the Hindi heartland. Moreover, the Holi song in Mother India is by far the best scored and picturised in Hindi cinema (again an all-Muslim affair with Shamshad giving the female lead). Another interesting fact is, it is the only movie in which all of the Mangeshkar sisters ? Lata, Asha, Usha and Meena participated in different songs. "The music of Mughal-e-Azam is your department," K. Asif told Naushad when he re-did the script in 1950 and Naushad instantly sat down to work with Shakeel Badayuni and Mohd Rafi and discussed for days and nights on end to give a final musical shape to the film. Naushad and Shakeel burnt night oil for several days to finalise Pyar kiya to darna kya in Raga Gara. Many sample compositions that were rejected are still lying in the cans in Roop Tara Studios, and some were adjusted in other films like Dil haarnewaale (Dil Diya Dard Liya) by Asha Bhosle. Had it not been for the persuasive skills of Naushad, a very reluctant Ustad Bade Ghulam Ali Khan couldn't have been heard at all in Mughal-e-Azam. He literally showed the door to Naushad and Asif when approached to sing for Tansen in the film. Then just to scare them away, he quoted an astronomical Rs 25,000 (in early 50s) per song. Asif immediately wrote a cheque for Rs 50,000. Having belled 'the classical cat' Naushad gave us Prem jogan ban ke (in Sohini) and Shubh din aayo. After Mughal-e-Azam, Dilip Kumar was making his first and only home production, Gunga Jamna and the obvious choice for the music was his most trusted composer, Naushad. Having scored for about 15 of the thespian's films, Naushad finished with yet another feather in his musical cap. Apart from Lata's Dhoondho dhoondho re saajna, Do hanson ka joda, we had Rafi singing one of the best Bhojpuri songs, Nain lad jaihen. A little known fact is that Naushad was a poet in his own right and has a collection of poems, Aathwan Sur, to his credit. He was associated with various film and non-film organisations like the Film Society, Indian Performing Rights Society and founded the Naushad Academy in 1998. And all we can say of the maestro is, Jaanewaale tera Khudahafiz.

Bade Ghulam Ali Khan with son, Munawar Ali Khan