Harjap Singh Aujla

MOHAMMAD RAFI, a genius who rose to be the leading most film singer of the Indian subcontinent, had a modest and uneventful beginning. At the time of his arrival in Punjab’s capital city of Lahore, from a small village of neighbouring Amritsar district, Mohammad Rafi had absolutely no idea or for that matter no expectation that some day he can be the leading film playback singer of his time. He was a saintly figure since childhood and was contented with his destiny.

Prior to moving to Lahore, he was married to the daughter of an uncle. Those were the days when child marriages were not uncommon in Northern India. He was less than fifteen when he entered into the wedlock, but he was told by his father-in-law to become self supporting before his wife could join him.

For a couple of years, he was shaving the beards and cutting and dressing the hair of Lahorias. He kept enjoying even this profession thoroughly. He was not earning much money, but whatever he earned was more than enough to keep his soul satisfied and happy. Being a God fearing and honest young man, he had unique patience and bliss to live in whatever condition God desired him to exist. He never aspired to hop from one job to the other for better emoluments. Nature had blessed him with an uncanny unselfishness and utmost satisfaction in life. He never hankered after ill gotten wealth, power and pelf. Light music sprang naturally from his throat and he kept singing for his own pleasure and for the happiness of his customers. But his listeners saw something extraordinary in his sweet, melodious and soul inspiring voice. He was a God fearing person and a regular five times a day “Namazi”, but he was not the least bigoted. He could endear himself to any person who came in his contact even for a short-while.

Jiwan Lal Mattoo of the music department of All India Radio Lahore spotted his musical talent in 1943 and after rigorous audition process, he trained Mohammad Rafi to develop into a folk and country singer. The knowledge, practice and appropriate application of classical music is essential for any singer. Jiwan Lal Mattoo imparted the requisite knowledge of the most commonly used classical Raagas in Punjab’s folk music to Mohammad Rafi. Raga Pahadi was one such raga and Bhairavi was another. Basant and Malhar were some other commonly used ragas in Punjab. In addition to Jiwan Lal Mattoo, Master Inayat Hussain also gave Mohammad Rafi the finer point of folk singing. Mohammad Rafi also got along very well with another music teacher Budh Singh Taan, who also groomed Parkash Kaur and Surinder Kaur. Incidentally both Parkash Kaur and Surinder Kaur were making more money while in Lahore compared to Rafi.

There were several known “Ustad” singers living in Lahore, who in age and years of experience were far more senior to Mohammad Rafi. He never tried to step on their shoes. Budh Singh Taan was also a light singer. Deen Mohammad used to sing as a solo folk singer, in addition to being a leading Qawaal. Agha Faiz of Amritsar was a very sophisticated folk and semi-classical singer. Another product of Amritsar, Shamshad Begum was senior to Mohammad Rafi by six years and born in Kasur child prodigy Noorjehan preceded Mohammad Rafi by four years. Both Umrao-Zia-Begum and Zeenat Begum were also senior to Mohammad Rafi. True to his quality of utter humility, Mohammad Rafi gave a lot of respect to all his seniors in profession. Mohammad Rafi was indeed a great learner. He won’t mind touching the feet of any “Ustad”, who was willing to teach him something new in music. That is why, “Ustad” maestros like Dilip Chander Vedi, a leading Dhrupad exponent of Punjab held Mohammad Rafi in high esteem.

Mohammad Rafi had a lot of regards for Bhai Samund Singh ji of Sri Nankana Sahib and a colleague at All India Radio Lahore. Once he said Bhai Samund Singh is so much at home with classical music that he talks in classical music, which we can’t. About Bhai Santa Singh, he used to say “Bhai Santa Singh’s high-pitched calls to the “Guru” can never go unheard. On Bhai Santa Singh’s 1966 visit to Bombay, Mohammad Rafi made it a point to attend each one of his renditions scheduled at various Gurdwaras in the city Similarly when block-buster Punjabi film “Nanak Naam Jahaz Hai” was made in 1969, both Mohammad Rafi and Bhai Samund Singh were its leading singers.

After Mohammad Rafi’s tough nut father-in-law discovered that his son-in-law has become a radio singer, he sent his daughter to join Mohammad Rafi. The couple was very simple, unassuming and very hospitable. Mohammad Rafi had a vast circle of friends and fans. They used to converge to his home to listen to his silken voice. Mohammad Rafi’s wife was never tired of being the hostess. Most Lahorias were fond of drinking, but Rafi had never touched hard liquor in life. His guests also respected his pious restraints and never insisted to drinking in his and his wife’s presence. His music was enough of an intoxicant to his friends.

Several movies in Hindi and Punjabi were made in Lahore during Mohammad Rafi’s stay in that city, but somehow it did not occur to any of the music directors to feature his velvety voice in a song. The only exception was another genius maestro Shyam Sunder, who gave Mohammad Rafi a Punjabi song to record. This film was “Gul Baloch” made in 1943. However this Punjabi film was poorly made and was not going to be a hit and its songs also sank along with the film.

A great music director Pandit Amar Nath liked Mohammad Rafi’s voice, but he had lined up other singers for his songs. Another great music director Master Ghulam Haider liked him too, but he was moving to Bombay. While packing up to leave for Bombay, he whispered in the ears of Mohammad Rafi to join him later on in Bombay. Ghulam Haider left for Bombay in the end of 1943. In his long and wide entourage were included his well known orchestra as well as Lahore’s famous film singers like Shamshad Begum, Umrao-Zia-Begum and Noorjehan.

On a second call from Master Ghulam Haider, Mohammad Rafi decided to move lock stock and barrel from Lahore to Bombay in 1945. All that he used to earn was mostly spent on entertaining his friends and fans. It should not come as a surprise that Mohammad Rafi had not enough money to buy tickets in economy class for the Frontier Mail to Bombay. On this occasion his long term pampered friends and relatives, including his elder brother, came to his rescue. After an emotional and  tearful send off at Lahore Junction, he dis-embarked in Bombay after two days of monotonous train journey. Bombay was the ultimate city of dreams for everyone connected with movies and it proved extremely fruitful for Mohammad Rafi too.

[harjapaujla@gmail.com]

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