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Talat Mahmood: A voice that soothed damaged hearts

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Talat Mahmood: A voice that soothed damaged hearts

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In occasions when heartache is more and more getting decreased to a scientific situation and melancholy has grow to be an undervalued emotion, allow us to replay the gems of Talat Mahmood (1924-1998) whose delivery centenary is being celebrated internationally.

The tremolo in Talat’s timbre echoes the sensation you get when your coronary heart is damaged and asks ‘Jaaye toh jaaya kahan’ (Taxi Driver, 1954). For these in a blue temper, his velvety voice works just like the wind is to fireplace. Its biggest examples are Jalte hain jiske liye (Sujata, 1959and “Tasveer banata hoon, tasveer nahin banti” (Baradari, 1955) the place the mild allure of his voice regularly strikes you.

To mark the event, his grand-niece Sahar Zaman has penned a heartfelt biography, which mixes journalistic rigour with the aptitude of an professional raconteuse telling the story of her Bambai Nana, as she fondly calls him. The ebook clears a number of misconceptions and brings to gentle some lesser-known info in regards to the singer. He gave up Bimal Roy’s Madhumati in order that his pal Mukesh may tide over a lean part and galvanised playback singers to get a royalty from music corporations.

Talat Mahmood was an actor before he turned a singer.

Talat Mahmood was an actor earlier than he turned a singer.

Talat, the dashing however quiet younger man from Lucknow, impressed by Ok.L. Saigal selected to place all his expressions into his songs. Maybe, that’s why he gave up appearing after working with some high feminine actors in a dozen movies. As ghazal singer, Talat Aziz says within the ebook it’s laborious to outline his voice. “He had a comfortable, rounded voice, but he had a tremolo. When he sang a notice, you would hear the tremolo on that one notice. It’s very tough. You’ll be able to’t do it until it’s a pure tremolo,” explains Aziz

Talat Mahmood discovered preliminary fame underneath the identify of Tapan Kumar singing Bengali songs in Calcutta earlier than shifting base to Bombay. His household confronted the pangs of Partition as his brother Kamal Mahmood shifted to Karachi. Sahar notes when Talat went to see off his brother, he heard voices that mentioned, ‘That’s Talat Mahmood, is he going emigrate? Maintain him again. Don’t let him go.’ He responded to the emotion by singing, ‘Jai Hind, Allah-U-Akbar’ and ‘Bharat mata ke do pehlu.”

Years later, throughout a go to to Pakistan, Talat Mahmood found that Mehdi Hasan was an ardent fan of his. Noor Jahan wished him to shift base to Pakistan however Talat was not for it. However he agreed to carry out there. Aside from Mubarak Begum, he’s the one singer to have sung in Pakistani movies.

Talat Mahmood with music director Madan Mohan

Talat Mahmood with music director Madan Mohan

Found by Pankaj Mullick and nurtured by Anil Biswas, Talat was the favorite of composers who wished to convey deep feelings by way of their tunes. When Ghulam Mohammad was composing for Sohrab Modi’s Mirza Ghalib (1954), Talat was the apparent option to convey alive the bard’s iconic ghazal ‘Dil-e-nadaan tujhe hua kya hai’. Sahar writes, Madan Mohan was prepared to surrender Jahan Ara if Talat was not allowed to sing the three songs that he felt solely Talat may sing. The movie flopped however ‘Phir wohi sham’ stays timeless.

From Raj Kapoor and Dev Anand to Bharat Bhushan and Sunil Dutt, Talat sang for nearly all the highest actors, but it surely was for Dilip Kumar that his voice suited probably the most. It highlighted the melancholy inherent within the characters that the thespian performed within the first half of his profession. Dilip Kumar as soon as admitted that ‘Aye mere dil kahin aur chal’ (Daag, 1952) bared his soul. A yr earlier than, ‘Seene major sulagte hain armaan’ (Tarana, 1951) captured the tempest skilled by two separated lovers, after which ‘Sham-e-gham ki kasam’ (Footpath, 1953) continues to echo the despair of a person deeply in love.

It was not that Talat all the time voiced unhappiness. In Chhaya (1961), he rendered Salil Chowdhury’s sprightly composition ‘Itna tu mujhe se pyaar badha’ and did full justice to a different of Salil’s composition, ‘Raat na kya kya khwab dikhaye” (Ek Gaon Ki Kahani, 1957), a dismal quantity set to a quick tempo. However such alternatives had been few and much between in his wealthy oeuvre.

Singer-actor Suraiya Talat Mahmood (extreme left)

Singer-actor Suraiya Talat Mahmood (excessive left)

Talat, who may sing in 16 languages, launched violin and guitar in his non-film ghazals, which he sang to full homes throughout the globe. Well-liked American discuss present host Joe Franklin launched Talat because the ‘Frank Sinatra of India’.

Talat’s deep understanding of Urdu, and poetry stay unmatched to at the present time. Open to experiments, Talat indulged in Hum Radeef (two ghazals sung as one) ghazals with Mukesh and C.S. Atma.

P. Susheela who sang a duet with Talat in Manorama (1959) remembers his pitch-perfect voice and proper pronunciation of the Telugu lyrics.

Sahar, who’s preserving his reminiscence alive by way of Jashn-e-Talat, a multi-performance platform, says the legendary singer thought-about himself a baby of an period when mild and nostalgic songs dominated. However altering tastes made him quit singing. And he had no regrets about it.

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