Last updated on: August 12, 2008 at 8:05 am
By
Desh Kapoor
Sajjad Husain was one of the most interesting music director in the Indian Cinema. His contemporaries agreed that he was the best of the best! So great was he that even Madan Mohan lifted a tune from Husain's old song, and that Madan Mohan song went onto to become a great hit! He was no ordinary talent. Such people come rarely and show flashes of genius before they become victims of their own eccentricity. Ghulam Mohammad, Pakeezah's Music Director was another - about him, I will write on another day. The text below is taken from this page, with a view to popularize the story and the genius of Sajjad Husain - the only Original music director that Bollywood ever saw!! Two incidents which best explain Husain's personality and genius: One: how, during a recording, he called out tartly to Lata Mangeshkar struggling at the mike with one of his intricate compositions, "Yeh Naushad miyan ka gaana nahin hai, aap ko mehnat karni padegi." Two: how at a music directors' meet, eschewing the customary diplomacy of that era, he walked up to Madan Mohan and demanded belligerently, "What do you mean by stealing my song ?" ("Yeh hawa yeh raat yeh chandani" from his 'Sangdil' had just found a new avatar as "Tujhe kya sunaoon main dilruba" in Madan Mohan's 'Aakhri Dao'.) These two hallmarks of Sajjad's identity -- his penchant for complex, many-- layered compositions and his singularly forthright nature -- stuck to him like a second skin throughout his life. And they combined in a rather unfortunate manner to diminish the potential brilliance of a career that could have ranked among the most celebrated. It was not the intricacy of his compositions that put Sajjad at a disadvantage -- he worked, after all, in an era that belonged to music directors with erudition and firm classical foundations. Where he lost out was in his handling of producers and directors, sometimes musical illiterates, who sought to simplify or alter his tunes -- his contemporaries dealt with such "suggestions" rather more tactfully than Sajjad, who would immediately [get] up and walk out of the film. "He was an extremely talented man, very knowledgeable about music, but his temperament was his undoing," says Naushad. "Even if someone made a minor suggestion, he'd turn on him and say, 'What do you know about music ?' He fought with almost everyone. Because of this, he sat at home most of his life and wasted his talent. But the body of work he has produced, small as it might be, ranks among the best in Hindi film music." Read more