Music maestro Feroze Nizami (part 2)

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Music maestro Feroze Nizami (part 2)

By Dr Amjad Parvez

The other songs ‘Terey Long Da Lashkara, Jadu Koi Pa Gaya, Terey Mukhrey Tey Kala Kala Til Wey (Feroze Nizami’s musical work is the essence of the creative spirit, and vital force of the human heart) and Changa Banayai Sanu Khidona’ were also evergreen hits. Songwriter, Ustaad Daman wrote the tragic lyrics of ‘Chan Way.’ Theatrical release was in Jubilee cinema, Karachi and Regent cinema, Lahore. It seems that Feroze Nizami’s music and Noor Jehan’s voice were made for each other. Nurjehan was not to stop there. She also acted and sang for the movie ‘Dopatta’ in 1952. Her natural choice of music director was Feroza Nizami. This movie got acclaim in the subcontinent and the reason was its music. This Sibtain Fazli’s theatrical release was in Eroze Cinema, Karachi. Noor Jehan and Ajay Kumar played the lead roles, while Sudhir was smartly dubbed as a loving, devoted doctor. All the songs such as ‘Baat Hi Baat Mein Ji Chandni Raat Mein’, ‘Main Ban Patang Urh Jaon Re’, ‘Chandni Raaten, Sab Jag Soye Hum Jagein Taron Sei Karein Baatein’, ‘Tum Zindgi Ko Gham Ka Fasana Bana Gaey’, ‘Mere Mann Ke Raja Aja Suratiya Dikha Ja’, ‘Jigar Ki Aag Se Is Dil Ko Jalta Dekhte Jao’ and ‘Sanwaria, Tohe Koi Pukare’ were super hits especially ‘Chandani Raatein’. All the Pakistani female singers in the making even today sing this song at PTV and Stage to prove their worth. Feroze Nizami combined his unique style while composing songs. Especially his music for this romantic number of ‘Dopatta’, ‘Mein Bun Patang Ur Jaaoon Gee’ can be quoted to support this observation. Feroze Nizami’s other films for which he composed music were Shararey, Sohni, Intikhab (1955), Qismet (1956), and Sola Aaney. For the latter, Zubeda Khanum’s song ‘Kaya Hua Dil Peh Sitam Tum Na Samjho Gey Balam’ was an instant hit. It was a romantic cum sad song. The other in a happy tone was ‘Chori Ho Gaya Dil Matwala’ by Zubaida Khanum and ‘Rotay Hain Chham Chham Nain’ again by Zubeda Khanum in sad tune. The movie that bagged him Nigar Film Award in 1959 was ‘Raaz’, a suspense thriller. It was in this movie that he invited Indian singer Mubarak Begum to sing for him. Her duet with Ahmad Rushdi ‘Maan Maan Zamana’, a Western rock and roll inspired song, can be quoted in this regard. However Zubeda Khanum’s song ‘Meethi Meethi Bation Sei Jia Na Jala, Ja Re Balam Tujhey Daikh Liya’ won her kudos. Romance oozed out in his Rushdi-Zubeda’s song ‘Chalak Rahi Hein Mastian, Nashey Mein Jhoom Utha Jahan’. Feroze Nizami composed music for ‘Gulshan’ (with Rashid Attre) in 1959, ‘Zanjeer’ (1960), ‘Manzil’ (1960), ‘Mangol’ (1961) and ‘Soukan’ (1964, Punjabi). ‘Zan, Zar Te Zamin’ (1974, Punjabi). His last movie’s song was ‘Zan, Zar te Zamin Da Jhagra, Duniya Te Einje Hi Rehna A…’ by Masood Rana. I would like especially to mention the soft melodies Feroze Nizami gave for the movie ‘Manzil’. The song ‘Din Dhalte Dhalte Shaam Hui, Tum Aaei Na’ by Nurjehan and then ‘Soi Soi Chandni Hei Mora Man Jagey, Tu Hi Bata Dey Chanda” with African beat used in those days like Bongo drums, stood out. Another song ‘Aa Tu Mera Hei Mein Teri/ Chandni Ho Ya Raat Andheri’ by Madam Nurjehan is a cry from her heart. It feels so because of clarinet and Hawaiian guitar effects used by the composer. All the songs for this movie were written by Mushir Kazmi, an established poet of his time. ‘Mangol’ was a movie Feroze Nizami composed for in 1961. Its happy song ‘Yeh Dil Hei Mera’ oozes out cheerfulness in tune and orchestral support. The problem is that most of very good songs like those mentioned in this Para go unnoticed when the movie does not do well at Box Office. Only ‘Kall Nahin Paaoon Mein’ got noticed at the time of release of the film ‘Manzil’. Feroze Nizami was one of the first people who wrote on music in Pakistan. His book ‘Asraar-e-Mausiqui’ is considered as a masterpiece in the field of music. He also published a booklet giving the details of all Thaaths, Raags, their timings, ‘Arohis’ (ascending notes), ‘Amrohis’ (descending notes), ‘Wadi’ (King) note and ‘Samwadi’ (Minister) note of each Raag. As he was a very competent classical vocalist and a brilliant composer, he must have felt the need with the initiation of the music classes at Alhamra in the sixties, which he was in charge of. I met him in 1963 where my audition for some music competition as arranged by University of Engineering Technology, Lahore. I sang Dagh’s ‘Ghazab Kiya Terey Wa’edey Ka Aitbaar Kiya’, Muhammad Rafi-Khayyam version. Nizami approved me saying that the boy is in tune and in rhythm. What else one needs for approval! His comments are an asset for me. As far as style of Feroze Nizami is concerned, in my humble opinion, it parallels that of Khwaja Khurshid Anwer. Though from pathos and pain to the use of his classical base in his melodies, he never forgot the fun that is sometimes imparted in the situations in the movies His songs ‘Bachh Ja Mundiya Maur Taun Mein Sadqay Teri Tore Taun’ from the film ‘Chan Way’ and ‘Changa Banayai Sanu Khidona Aapay Banana Tay Aapay Mitauna’ vouch for this fact. Feroze Nizami used to sing classical music at Radio Pakistan, Lahore. He also sang for movies. One of his songs I could get hold of was ‘Aaei Saajan Tu Nei Pi Hi Nahin’ sung by Naseem Akhtar and Feroze Nizami. The lines rendered by the latter were ‘Tum Hi Kaho Yeh Angoor Kis Nei Paida Kiya’. Feroze Nizami hailed from Huzro family residing at Red Lght Area. His brother Nazar Muhammad and nephew Mudasar Nazar became international cricketers. Feroze Nizami died in 1975 at the age of 59, but shall be remembered for his gentle behaviour and music.

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Article source: http://www.dailytimes.com.pk/default.asp?page=2011%5C06%5C20%5Cstory_20-6-2011_pg9_11

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