To encapsulate the life of a man often described the ‘King of Ghazals’, though he was much more than that, is no easy task. Just for attempting that, Sahar Zaman deserves applause.
Talat Mahmood, born in Lucknow and trained at what was then the Marris College of Music (now Bhatkhande Sanskriti Vishwavidyalaya) was a singer unlike any other. His natural velvet voice bore a slight quiver. It is a quiver which singers take years to cultivate. Musically termed vibrato, this quick and subtle change of voice between notes which are pitched very closely conveys emotions more powerfully than lyrics. When used without dedicated cultivation, a vibrato sounds contrived and the unevenness of breath can be made out by the trained ear; but when it comes naturally, it is as smooth as the wax and wane of emotion. Yet, in his early years in Mumbai, Mahmood strove to hide this unique quality, attempting often to sing in the nasal tones of his idol K.L. Saigal. This would not last long as Anil Biswas, a composer he had worked with for long, angrily walked out of a recording studio asking Mahmood to return only when the real Talat was found.
Esta historia es de la edición February 11, 2024 de THE WEEK India.
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Esta historia es de la edición February 11, 2024 de THE WEEK India.
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Cutting edge
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The smallest cut
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Signalling a revolution
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