The other day, my brother was reminiscing my favorite K L Saigal number, Main Kya Janoo Kya Jaadoo Hain. He said, "As I listen to it again and again, I also understand your tastes in music." His words made me think, and reflect. Yes, indeed, I have some likes in music that have heavy doses of aalaap, thickness, melancholy and modulation. And Saigal was the earliest of those singer-actors who personified all these emotions, and so effortlessly. Who would forget the mornings when the 8 O Clock Saigal number on Radio Ceylon signified "Rush to School!":)
What can I say further about that name, by whom at least four generations of aspiring singers have sworn their inspiration? Saigal undeniably set the tone, the pace for film music to reach the doors of the middle class. His voice, though nasal, added to the charm of many of his renditions. Do Naina Matware, Baabul Mora, Jagamag Jagamag Diya Jalaa from Tansen, Baalam Aan Baso More Man Mein from the P C Baruah version of Devdas, all gems that not only made him a household name, but also gave the industry and the nation a voice to cherish.
Soja Rajkumari will stand out as one his gems; countless singers after him, including Lata Mangeshkar have sung this as a tribute, but Saigal's voice on the original remains inimitable, and I believe many others would agree. It heartened me to hear Saigal being relived down South through the soulful voice of Malayalam Ghazal king, Umbayee - each one has their own Saigal ownership and that is testimony to the power of the original.
It is no secret that the man behind the voice that entertained millions and kept the New Theaters cash registers ringing, led a deeply unhappy life. Attracted to some of his leading ladies, Saigal was that lone ranger, who drank himself to death, craving for that X factor of which he perhaps himself was never fully aware. His untimely end in 1947 just when Shahjehan was running to packed houses, drove crazy fans and cinegoers to theaters to get a last glimpse of their singing hero. Another such instance happened much later in 1971 with Pakeezah, when Meena Kumari breathed her last; a death of cause and effect startlingly similar to Saigal's death. Alcoholism. Loneliness. Depression.
Saigal's golden run remained virtually unchecked from the early 30's till 1947. A phenomenon that can be best described as India's first most successful singing-acting sensation. Pankaj Mullick, a contemporary musician, singer, and K C Dey, were possibly the only singers whose voices could match up to the range of Saigal's voice. For a man, who had not really trained in classical music, Saigal surely set the benchmarks for future aspirants such as Mukesh and Kishore Kumar.
Duniya Rang Rangeeli Baba, from Dhartimata (1935) where Saigal shares singing space with Uma Sashi and Pankaj Mullick is a good case in point. Saigal's entry into an otherwise sombre piece, lightens the mood and turns the Rabindra Sangeet style of the song into something a little more filmi, yet with the classical touch.
The magic is so pure, pristine that makes me wonder what it is all about...Jadoo hain..
Soja Rajkumari will stand out as one his gems; countless singers after him, including Lata Mangeshkar have sung this as a tribute, but Saigal's voice on the original remains inimitable, and I believe many others would agree. It heartened me to hear Saigal being relived down South through the soulful voice of Malayalam Ghazal king, Umbayee - each one has their own Saigal ownership and that is testimony to the power of the original.
It is no secret that the man behind the voice that entertained millions and kept the New Theaters cash registers ringing, led a deeply unhappy life. Attracted to some of his leading ladies, Saigal was that lone ranger, who drank himself to death, craving for that X factor of which he perhaps himself was never fully aware. His untimely end in 1947 just when Shahjehan was running to packed houses, drove crazy fans and cinegoers to theaters to get a last glimpse of their singing hero. Another such instance happened much later in 1971 with Pakeezah, when Meena Kumari breathed her last; a death of cause and effect startlingly similar to Saigal's death. Alcoholism. Loneliness. Depression.
Duniya Rang Rangeeli Baba, from Dhartimata (1935) where Saigal shares singing space with Uma Sashi and Pankaj Mullick is a good case in point. Saigal's entry into an otherwise sombre piece, lightens the mood and turns the Rabindra Sangeet style of the song into something a little more filmi, yet with the classical touch.
The magic is so pure, pristine that makes me wonder what it is all about...Jadoo hain..
i agree
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