Madam, as Noor Jehan was referred to with love (and not a little trembling), held a truly Himalayan position in the cultural life of Pakistan. When she died in 2000 the country mourned in the same way Egypt grieved the passing of Umm Kulthum and France, the death of Edith Piaf.
It is easy to draw parallels with Lata Mangeshkar in that they both stood several heads and shoulders above their competition while redefining and almost single-handedly controlling their chosen profession.
But listen to what Lata had to say about her Pakistani counterpart: “Everyone has role models. And I have no qualms in admitting that Noor Jehan was mine. We listened to Noor Jehan in childhood and grew with her notes in mind. Nur Jehan had a mastery over sur and her voice had no vibration in any sort of crescendos. She was nice and blessed by Allah. Noor Jehan's death has created a vacuum in the music of the subcontinent. She treated me as her younger sister and whenever we met she always hugged me…Her death has created a vacuum in the world of music, which cannot be filled.”
Born into a family of professional musicians in the Punjabi city of Kasur in 1926, Noor Jehan, who was born as Allah Wasai, spent time under the tutelage of such greats as Ustad Bade Ghulam Ali Khan and Ustad Ghulam Hussain. Her first experience of public singing was as a young girl, singing songs with her two sisters before and during the intermission of movies in Lahore.
In order to give their children greater opportunities the family moved to Kolkata in the 1930s, where they met the great female singer Mukthar Begum who provided the sisters with introductions to film producers and directors. Soon the girls were given stage names and Allah Wasai debuted as Baby Noor Jehan.
At this stage, the girl was more interested in being an actress and landed several roles, in which she often sang as well. In 1938 she returned to the Lahore film world for a few years before finally making the critical move to Mumbai.
In 1942, Baby was dropped from her name as she moved from juvenile to her first leading lady role in the hit Khandaan. Around this time she sang the songs for another actress and got her first taste of playback singing. In 1945, Noor Jehan acted in a film with two young fresh actresses who would quickly grow to idolise her: Lata Mangeshkar and Asha Bhosle.
Her clear tone, classical-influenced delivery and expressive colouring quickly earned her awards, including the Pride of Performance (1966), Pakistan’s highest arts accolade. Perhaps more precious was the title Malika-e-Tarannum (Queen of Melody) given to her by the people and by which she is referred to even in death.
Karachi Tak Dil Dhadke
Film: Jagga Tax
“All the way to Karachi, via Pindi and Multan, my heart is beating. With anticipation of meeting my new husband. The wedding band’s rousing blasts of encouragement are as loud as the bus’ engine roaring down the highway to Pakistan’s great city by the sea.” Welcome to the world of Madam! A voice, spirit and attitude that could span the entire emotional gamut required of a playback singer: brash to bashful and all points in between.
I’m Very Sorry
Film: Warrant
A raunchy night club number from 1976, the year after ZA Bhutto banned the consumption of alcohol to appease the global puritan lobby. Here, Noor Jehan demonstrates that she could not just keep up with the times and changes in music but shine. Disco beats, English lyrics and a vocalisation that needed to exhibit a not entirely sincerely apology. She nails it.
Awaaz De Kahan Hai
Film: Anmol Ghadi
Anmol Ghadi was the highest grossing film in India in 1946. And no wonder, with music by Naushad and performers of the calibre of Mohammad Rafi (making his first real impact), Suraiyya and of course, the beautiful Noor Jehan. A year later, with the tragic upheavals of Partition, Noor Jehan would leave Mumbai and India, and return home to Punjab but now in the new country of Pakistan. In an early 80s visit to India, Madam mesmerizes her audience with the biggest hit from that iconic film.
Chandni Raatein
Film: Dupatta
A fan’s favorite. In Pakistan, Noor Jehan continued to act and sing but also took a turn behind the camera as well. Like a colossus striding the world, she overshadowed the Pakistani popular music industry until her death. This film is from 1952 and was a huge money spinner. Off the set though, her personal life was unraveling with rumors of amorous liaisons. Divorce soon followed and her new husband, though an actor himself, pressured Madam to give up her on-screen roles. In 1961, she retired as an actor.
Mujhse Pahli si Mohabbat Mere Mehboob na Maang
Ghazal by Faiz Ahmed Faiz
Don't ask me for the love I once gave you, my love
I had thought if I had you, life would shine eternally on me
If I had your sorrows, those of the universe would mean nothing
Your face would bring permanence to every spring
What is there but your eyes to see in the world anyway.
One of the finest Urdu ghazals of Faiz Ahmed Faiz, rendered with exquisiteness by the finest popular female voice of the subcontinent in the past century. She truly could cover the waterfront.
We welcome your comments at
letters@scroll.in.
It is easy to draw parallels with Lata Mangeshkar in that they both stood several heads and shoulders above their competition while redefining and almost single-handedly controlling their chosen profession.
But listen to what Lata had to say about her Pakistani counterpart: “Everyone has role models. And I have no qualms in admitting that Noor Jehan was mine. We listened to Noor Jehan in childhood and grew with her notes in mind. Nur Jehan had a mastery over sur and her voice had no vibration in any sort of crescendos. She was nice and blessed by Allah. Noor Jehan's death has created a vacuum in the music of the subcontinent. She treated me as her younger sister and whenever we met she always hugged me…Her death has created a vacuum in the world of music, which cannot be filled.”
Born into a family of professional musicians in the Punjabi city of Kasur in 1926, Noor Jehan, who was born as Allah Wasai, spent time under the tutelage of such greats as Ustad Bade Ghulam Ali Khan and Ustad Ghulam Hussain. Her first experience of public singing was as a young girl, singing songs with her two sisters before and during the intermission of movies in Lahore.
In order to give their children greater opportunities the family moved to Kolkata in the 1930s, where they met the great female singer Mukthar Begum who provided the sisters with introductions to film producers and directors. Soon the girls were given stage names and Allah Wasai debuted as Baby Noor Jehan.
At this stage, the girl was more interested in being an actress and landed several roles, in which she often sang as well. In 1938 she returned to the Lahore film world for a few years before finally making the critical move to Mumbai.
In 1942, Baby was dropped from her name as she moved from juvenile to her first leading lady role in the hit Khandaan. Around this time she sang the songs for another actress and got her first taste of playback singing. In 1945, Noor Jehan acted in a film with two young fresh actresses who would quickly grow to idolise her: Lata Mangeshkar and Asha Bhosle.
Her clear tone, classical-influenced delivery and expressive colouring quickly earned her awards, including the Pride of Performance (1966), Pakistan’s highest arts accolade. Perhaps more precious was the title Malika-e-Tarannum (Queen of Melody) given to her by the people and by which she is referred to even in death.
Karachi Tak Dil Dhadke
Film: Jagga Tax
“All the way to Karachi, via Pindi and Multan, my heart is beating. With anticipation of meeting my new husband. The wedding band’s rousing blasts of encouragement are as loud as the bus’ engine roaring down the highway to Pakistan’s great city by the sea.” Welcome to the world of Madam! A voice, spirit and attitude that could span the entire emotional gamut required of a playback singer: brash to bashful and all points in between.
I’m Very Sorry
Film: Warrant
A raunchy night club number from 1976, the year after ZA Bhutto banned the consumption of alcohol to appease the global puritan lobby. Here, Noor Jehan demonstrates that she could not just keep up with the times and changes in music but shine. Disco beats, English lyrics and a vocalisation that needed to exhibit a not entirely sincerely apology. She nails it.
Awaaz De Kahan Hai
Film: Anmol Ghadi
Anmol Ghadi was the highest grossing film in India in 1946. And no wonder, with music by Naushad and performers of the calibre of Mohammad Rafi (making his first real impact), Suraiyya and of course, the beautiful Noor Jehan. A year later, with the tragic upheavals of Partition, Noor Jehan would leave Mumbai and India, and return home to Punjab but now in the new country of Pakistan. In an early 80s visit to India, Madam mesmerizes her audience with the biggest hit from that iconic film.
Chandni Raatein
Film: Dupatta
A fan’s favorite. In Pakistan, Noor Jehan continued to act and sing but also took a turn behind the camera as well. Like a colossus striding the world, she overshadowed the Pakistani popular music industry until her death. This film is from 1952 and was a huge money spinner. Off the set though, her personal life was unraveling with rumors of amorous liaisons. Divorce soon followed and her new husband, though an actor himself, pressured Madam to give up her on-screen roles. In 1961, she retired as an actor.
Mujhse Pahli si Mohabbat Mere Mehboob na Maang
Ghazal by Faiz Ahmed Faiz
Don't ask me for the love I once gave you, my love
I had thought if I had you, life would shine eternally on me
If I had your sorrows, those of the universe would mean nothing
Your face would bring permanence to every spring
What is there but your eyes to see in the world anyway.
One of the finest Urdu ghazals of Faiz Ahmed Faiz, rendered with exquisiteness by the finest popular female voice of the subcontinent in the past century. She truly could cover the waterfront.
