Yasmin recounts in the biography that an evening in 1937 in Lahore metamorphosed him. In western music and romantic numbers he evolved a new singing concept, always moulding his voice to assure the best lip synching. Rafi experimented with different singing styles throughout his career (1944 to 1980) to create new and versatile ways of singing Indian classics, ghazals, thumris, qawwalis, bhajana, patriotic numbers and lamentations. Durrani gave him the opportunity to sing for Beqasoor (1950). Before pairing with Naushad, Rafi sang duets with Noor Jehan for Mehboob Khan’s Anmol Ghadi (1946) and Jugnu (1947). In the meanwhile Husnalal–Bhagatram and Rafi’s Meena Bazaar (1950) attained outstanding success.
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Kardar’s movie Pehle Aap (1944), forging a legendary partnership spanning many brilliant songs. Rafi developed a rapport with musician Naushad from the time of A.R. He slept at the nearest railway stations, ate roasted grams to fill his stomach and followed railway tracks to walk to his destination during the days of his struggle.” Often upon reaching at studios he would be told to visit the following day. She talks of his disciplinarian lifestyle, punctuality and sincerity, narrating Rafi in his struggling days: “Without a single penny in his pocket he wandered from one studio to the other for trials. Thirty-two years after Rafi’s death, his daughter-in-law Yasmin Khalid Rafi has written a 190-page biography of the legendary singer, titled Mohammed Rafi: My Abba – A Memoir to bring firsthand glimpses of his life and work to wider audiences. In Hindi cinema, Rafi’s first duet singing break came with G.M Durrani, composed by Shyam Sunder for Gaon Ki Gori (1945), marking the beginning of an unstoppable singing career of four decades. Rafi’s first duet playback singing break came with Zeenat Begum in Shyam Sundar’s Punjabi movie Gul Baloch (1941). When Nizami died on Novemin Lahore, Rafi was at the zenith of success in Bombay. He also took music lessons from AIR Lahore program producer, Feroze Nizami who too joined Bollywood later and witnessed the outstanding success of his meritorious student. Mohammed Rafi with wife Bilquis after performing Umrah Hindustani classical vocalist, Ustad Bade Ghulam Ali Khan of Patiala Gharana nourished him in his early years while Ustad Abdul Wahid Khan of Kirana Gharana taught him the nuances of classical music. Everybody noticed his inimitable singing ability in Lahore’s Noor Mohalla, Bhaati Gate, where he often imitated fakirs’ chants.Īfter Mattoo introduced him to radio, he taught him Raag Shastra and Punjabi folk raagas Pahaadi, Bhairavi, Basant and Malhaar which distinguished Lahore’s musical tradition. In a few years Rafi was a regular at AIR Lahore, and a singing sensation.īorn on 24 December, 1924 to Haji Mohammed Ali and Allahrakhi Bai in British India’s Kotla Sultan Singh village near present-day Amritsar, Rafi was the second of six brothers and two sisters. Mattoo heard him and decided to motivate the boy to sing for a career. Young Rafi sang Waris Shah’s songs in quintessential Amritsari fashion while working as a barber alongside his older brother. In the 1940s All India Radio Lahore’s Pundit Jiwan Lal Mattoo picked Rafi from a salon run by his brother, Mohammed Deen. Young Rafi sang Waris Shah’s songs in quintessential Amritsari fashion Its rich musical tradition facilitated his entry into cinema where he was destined to become an eminent singer within a few years and become an incredible success story. This city nourished Rafi in his adolescence before he entered Bollywood in 1944. On the 90th birth anniversary of the legendary playback singer Mohammed Rafi on December 24, the inseparable connection between him and Lahore is still unknown to many.
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