Jagjit Singh( Hindi- जगजीत सिंह) (Punjabi- ਜਗਜੀਤ ਸਿੰਘ)(Urdu- جگجیت سنگھ) (February 8, 1941) is among the foremost singers of ghazals in Hindi/Urdu and Punjabi, a composer and a playback singer in Bollywood. Jag and Jit (Sanskrit words) mean "World" and "Victory" respectively, thus the meaning of the name is One who has conquered the world.

Family and education

Jagjit Singh was born in Ganganagar (also called "SriGanganager"), Rajasthan. His father Sardar Amar Singh Dhiman, employed with the Government of India, hailed from Dalla village in Ropar district of Punjab and his mother Sardarni Bachchan Kaur came from a deeply religious Sikh family of Ottallan village near Samralla. His siblings include four sisters and two brothers and he is fondly called Jeet by his family members. Although his late father wanted him to become a bureaucrat by joining the Indian Administrative Service, he was later reported to be happy with his son's achievements in the world of music. Jagjit went to Khalsa High School at Ganganagar. He studied Sciences during (after matriculation) from Government College, Ganganagar and went for graduation to DAV College, Jalandhar in Arts stream . He also acquired a P.G. Degree in History from Kurukshetra University, Haryana.

Early years

His association with music goes back to his childhood. He learnt music under Pandit Chaganlal Sharma for two years in Ganganagar, and later devoted six years to learning Khayal, Thumri and Dhrupad forms of Indian Classical Music from Ustad Jamaal Khan of Sainia Gharana. The Vice Chancellor of Punjab and Kurukshetra University, Late Professor Surajbhan encouraged his interest in music. He arrived in Mumbai (then Bombay) in 1965 in search of better opportunities as a career musician and singer. His early struggle in the music industry, though not too harsh by his own account, still had its share of trials and tribulations. He lived as a paying guest and his earlier assignments were singing advertisement jingles or performing at weddings and parties.

Rise of Jagjit Singh

During 1970s, in India, the art of ghazal singing was dominated by well-established names like Noor Jehan, Malika Pukhraj, Begum Akhtar, Kundan Lal Saigal, Talat Mahmood and Mehdi Hassan. However, Jagjit was still able to make his mark and carve out a niche for himself. In 1976, his album The Unforgettables (On HMV LP Records) hit the music stores. Essentially a ghazal album, it's emphasis on melody and Jagjit's fresh voice was a departure from the prevalent style of ghazal rendition, which was heavily based on classical and semi-classical Indian music. Skeptics had their own reservations, purists scorned it but it was widely successful among listeners and the album set new sales records.

In 1967 he met Chitra, also a singer, while doing jingles. After a two year long courtship they got married in 1969. They epitomise the first successful husband-wife singing team. Jagjit Singh, with Chitra, has contributed immensely towards changing the course of this genre of music known as 'Ghazal' making it more ear friendly, melodic and enojoyable by a wider audience.

Later successful releases of the duo include Ecstasies, A Sound Affair and Passions.

While the above-mentioned albums were breezy, Beyond Time released in the opening years of nineties was an experimentation with sounds and conveyed a feeling that was beyond space and time. Around this time the duo was struck by grief as their only son, Vivek, who was twenty-one, met an untimely death in a road accident. Not only Jagjit and Chitra, it was a big shock to his numerous fans also. The album is a tour to the soul, ethereal, conscientious and introspective. The ghazals have a moving quality to them since they express the personal loss of Jagjit and Chitra. 'Someone Somewhere' was the last album containing ghazals sung by both. After that, Chitra quit singing.

Jagjit Singh continued singing his later albums, including Hope, In Search, Insight, Mirage, Visions, Kahkashan (meaning "Galaxy"), Love Is Blind, Chirag (meaning "Lamp"/"Flame") also achieved success. Sajda (an Urdu word meaning "offering"), which has ghazals sung by Jagjit and Lata Mangeshkar was another brilliant release and made its mark as a classic Ghazal album. The combined successes of his many albums made him arguably the number one ghazal singer in India. The audience wanted more and Jagjit Singh obliged with his Punjabi albums. Ebullient, effervescent and bubbly, his Punjabi songs are pleasant as well as joyous. Their enchanting ghazals use the choicest poetry by renowned poets including Mirza Ghalib, Ameer Meenai, Kafeel Aazer, Sudarshan Faakir and Nida Fazli…. and contemporary writers like Zaka Siddiqi, Nazir Bakri, Faiz Ratlami and Rajesh Reddy.

Jagjit also sang (as playback singer) for various songs in Bollywood films including Arth, Saath Saath and Premgeet (all from 1980s). The scores remain popular even today. In fact, all the songs of film Premgeet were composed by Jagjit. His compositions for the TV serial Mirza Ghalib (based on the life of the poet Mirza Ghalib), remain extremely popular among ghazal aficionados. The elusive element of Ghalib's poetry was sensitively and wonderfully brought out in the soulful compositions of Ghalib's ghazals by Jagjit Singh. The album could veritably be called a magnum opus.

Compared to his earlier ghazals (sung during 70s and 80s) his later ghazals have acquired a more soulful and poignant demeanour, as in albums such as Marasim, Face To Face, Aaeena, Cry For Cry. But all through this, romance never took a backseat! The journey to the soul is punctuated by romantic pauses like Dil Kahin Hosh Kahin. A testimony to his popularity is his ghazals in recent Bollywood flicks like Dushman, Sarfarosh, Tum Bin and Tarkeeb.

Most of the earlier albums of Jagjit Singh had English titles. Later, these had Urdu names like Sahar (meaning "Dawn"/"Morning"), Muntazir (meaning "In waiting"), Marasim (meaning "Relation"/"Relationship"/"Affinity" ) "Soz" (Pathos) etc.. The switchover may not be deliberate but marks a milestone in his singing. These new albums show a far better selection of lyrics and yes, even the singing has scaled new peaks.

Besides ghazals, Jagjit Singh has also sung Bhajans and Gurbani (Hindu and Sikh devotional hymns respectively) . Albums such as Maa, Hare Krishna, Hey Ram...Hey Ram, Ichhabal and also Man Jeetai Jagjeet in Punjabi, put him in the league of Bhajan singers such as Mukesh, Hari Om Sharan, Yesudas, Anup Jalota and Purushottam Das Jalota. The soothing effect that Jagjit's voice has on frayed nerves has prompted psychiatrists in metros (as large cities in India are called) to prescribe them as stress relievers.

In addition to cultivating his own successful career, Jagjit Singh has been involved in guiding many new, talented singers such as Talat Aziz, Ghanshyam Vaswani, Ashok Khosla, Siza Roy and Vinod Sehgal. He also lends active support to several philanthropic endeavors such as the Library at St. Mary's (Mumbai), Bombay Hospital, CRY, and ALMA (an organization that adopts under-privileged students for further education and development).

Jagjit Singh lives in Cumballa Hills, Mumbai.

Jagjit Singh is also accredited with bringing the ghazal genre, which was previously restricted to the elite classes, to the masses. His music direction can be seen to be pioneering in changing the sound layout by adding more Western instruments while mostly retaining the traditional orchestra (which includes a tabla, and harmonium, and a couple of string instruments)

Awards

In 2003, he was awarded the Padma Bhushan, India's highest award for performing arts

Discography

Sung for films

• Umar (2006) (playback Singer: "Khumari Chaddh Ke Utar Gayi")
• Baabul (2006) (playback Singer: "Kehta Hai Baabul")
• Kasak (2005) lyrics
• Veer-Zaara (2004) lyrics
• Dhoop (2003) (playback singer: "Benaam Sa Ye Dard", "Har Ek Ghar Mein Diya", "Teri Aankhon Se Hi") lyrics
• Joggers' Park (2003) ("Bari Najuk Hai") lyrics
• Aapko Pehle Bhi Kahin Dekha Hai (2003) ("Aisi Aankhen Nahin Dekhi")
• Leela (2002) ("Dhuan Uttha Hai", "Jaag Ke Kati", "Jabse Kareeb Ho Ke Chale", "Tere Khayal Ki")
• Vadh (2002) ("Bahut Khoobsurat")
• Deham (2001) ("Yun To Guzar Raha Hai")
• Tum Bin (2001) (Koi Fariyaad)
• Tarkieb (2000) (Kiska Chehra ab mai dekhun... Tera chehra dekhkar)
• Shaheed Udham Singh (2000) ()
• Bhopal Express (1999)
• Sarfarosh (1999) ("Hosh Walon Ko")
• Dushman (1998) ("Chhitti Na Koi Sandesh")
• Khudai (1994) ("Din Aa Gaye Shabab Ke", "Ulfat Ka Jab Kisis Ne Liya Naam", "Ye Sheeshe Ye Rishte")
• Mammo (1994) (hazaar baar ruke ham, hazaar baar chale by Gulzar)
• Khal Nayak (1993) ("O Maa Tujhe Salaam")
• Nargis (1992) ("Dono Ke Dil Hai Majboor Pyar Se", Main Kasie Kahoon Janeman)
• Billoo Badshah (1989)
• Aakhri Kahani (1989)
• Doosra Kanoon (1989) (TV)
• Kaanoon Ki Awaaz (1989)
• Mirza Ghalib (1988) (TV) Hit Serial Directed by Gulzar
• Rahi (1987)
• Aashiana (1986) ("Humsafar Ban Ke Hum")
• Long Da Lishkara (1986) ("Ishq Hai Loko", "Main Kandyali Thor Ve" and "Sare Pindch Puare Paye")
• Phir Aayee Barsat (1985) ("Na Mohabbat Na Dosti Ke Liye")
• Ravan (1984) ("Hum to Yun Apni Zindagi Se Mile", "Main Gar Mein Chunariya")
• Bahuroopi (1984)
• Bhavna (1984) ("Mere Dil Mein Tu Hi Tu Hai")
• Kalka (1983)
• Tum Laut Aao (1983)
• Zulf Ke Saye Saye (1983) ("Nashili Raat Mein")
• Arth (1982) ("Jhuki Jhuki Si Nazar", "Koi Yeh Kaise Bataye", "Tere Khushboo Mein Base Khat", "Too Nahin To Zindagi Mein Aur Kya Reha Jayega" and "Tum Itna Jo Muskura Rahe Ho")
• Saath Saath (1982) ("Pyar Mujh Se Jo Kya Tumne", "Tum Ko Dekha To Yeh Khayal Aaya", "Yeh Bata De Mujhe Zindagi", "Yeh Bata De Mujhe Zindagi", "Yeh Tera Ghar Yeh Mera Ghar", "Yun Zindagi Ki Raah Mein")
• Sitam (1982)
• Prem Geet (1981) (Hontho se chhoo lo tum mera geet amar kar do: FIRST HIT FILMY SONG)
• Ek Baar Kaho (1980)
• Griha Pravesh (1979)
• Avishkaar (1973)
• Aankhon Aankhon Mein (1972) (associate camera operator)
• Heena (TV serial) (1999)
• Neem ka pead{"Muunh ki baaten sune har koii"} (TV Serial) (1994)

Music composed for films

1. Leela (2002) lyrics
2. Sarfarosh (1999) lyrics
3. Khudai (1994) lyrics
4. Billoo Badshah (1989)
5. Kaanoon Ki Awaaz (1989)
6. Mirza Ghalib (1988) (TV Seriel directed by Gulzar) HiT Album lyrics
7. Rahi (1987)
8. Long Da Lishkara (1986) lyrics
9. Ravan (1984) lyrics
10. Arth (1982) lyrics
11. Sitam (1982) (as Jagjit-Chitra)
12. Prem Geet (1981)lyrics

Ghazal albums

• The Unforgettables 1976 lyrics
• A Milestone 1980 lyrics
• Main aur Meri Tanhaayee 1981 lyrics
• The Latest 1982 lyrics
• Ecstasies 1984 lyrics
• A Sound Affair 1985 lyrics
• Echoes 1985-86 lyrics
• Beyond Time 1987 lyrics
• Mirza Ghalib (Two Volumes) 1988 TV Serial Directed by Gulzar lyrics
• Passion / Black Magic 1988 lyrics
• Ghazals from Films 1989 lyrics
• Emotions
• Man Jite Jagjit 1990 lyrics
• Memorable Ghazals of Jagjit and Chitra 1990 lyrics
• Someone Somewhere 1990 lyrics
• H O P E 1991 lyrics
• Sajda (Two Volumes with Lata Ji) 1991 lyrics
• Kahkashan (Two Volumes) 1991-92 TV Serial Directed by Jalal Agaa lyrics
• Visions (Two Volumes) 1992 lyrics
• In Search 1992 lyrics
• Rare Gems 1992 lyrics
• Face to face 1993 lyrics
• Your Choice 1993 lyrics
• Chiraag 1993 lyrics
• Desires 1994 lyrics
• Insight 1994 lyrics
• Cry for Cry 1995 lyrics
• Mirage 1995 lyrics
• Unique 1996 lyrics
• Come Alive in a Concert 1998 (CD) lyrics
• Live at the Wembley lyrics
• Love is Blind 1998 lyrics
• Silsilay 1998 (Lyrics by Javed Akhtar) lyrics
• Marasim 1999 (Lyrics by Gulzar) lyrics
• Saher 2000 lyrics
• Samvedna 2002 (Atal Ji's poetry) lyrics
• Soz 2002 (Lyrics by Javed Akhtar) lyrics
• Forget Me Not 2002 lyrics
• Jaam Utha lyrics
• Muntazir (2004) lyrics
• Tum To Nahin Ho (Lyrics by Bashir Badr) (2005) lyrics
• Best of Jagjit & Chitra Singh (includes Mere Darwaaze Se Ab Chand Ko Ruksat Kar do by Ali Sardar Kaffrey)
• Koi Baat Chale - jagjit & Gulzar

Jagjit Singh is one of those entertainers who never pause, who never goes stale. For four decades now he has been conjuring up magic with his music and enthralling audiences. He has come out with innumerable collections of Ghazals and Bhajans, all of them winners. Jagjit Singh sings Ghazals like a human breathes. It comes so naturally to him that one could not be thought of, without the other. His voice is so mystical, full of infinite possibilities. His Ghazals bring out his elegant, urbane, quiet, and educated, yet impressive personality.

Jagjit Singh has made a name for himself by simplifying Ghazals for people who don't understand the traditional lyrics. Today the audience for Ghazals has become worldwide. In addition to listening, his fans have started to learn the Urdu language as well. This only happened because of the simplification of the languages of Ghazals. The credit goes to Jagjit Singh. His voice, a true gift of God, has the pain that an "Ashiq" feels after loosing his beloved, the love that a mother seeks for her child, the tranquility that a "Saaqi" delivers, the willing fear that a boy has when she walks in the room. There is absolutely no doubt that Jagjit Singh with his unique composing and singing style is the torchbearer of the survival of Ghazals in India.

The world of music would not be complete without Ghazals. The world of Ghazals would not be complete without Jagjit Singh. Jagjit Singh’s contribution to the world of music is unique. He is indisputably one of the most talented Ghazal Singers of India.

Beyond Time is more than just a biography; one might say it is part autobiography as well. The principal voice is that of Jgajit Singh- adding depth and a rich dimension to the portrait of himself are all the other voices we hear, those of his wife and former singing partner, Chitra Singh, his family, his friends, musicians, poets, film directors, colleagues in the music industry. All these voices recount rare insights, anecdotes, observations that present both the public and private worlds of a musical phenomenon.

The total authenticity of Beyond Time is derived from two strengths. One, the first person recollections of the individual voices which allow the reader to share the vivid emotions evoked by their words. And two, the candid memories revealed for the first time. The defining moments of his life and musical career, his personal triumphs and heartbreaks, are recounted with the intimacy of an insider. Both Jagjit and Chitra Singh recall the tragic loss of their son with deeply-felt pain and sorrow which the reader cannot help but share. Prickly areas are tackled with remarkable frankness: why , for example, did he not make it in the world of films? What is his response to the criticism that he has made a pop song of the ghazal? To this, he gives a robust response which every ghazal lover should read.

Such an intensely subjective presentation makes for easy reading, even with 150 plus pages, and the text is complemented with pictures from Jagjit Singh's own collection as well as his studio and other sources.

A 'must read' not only for Jagjit Singh's many fans, but all those who love music and musicians.

Music Legends in new Nokia Nseries

okia Nseries, the multimedia sub-brand of Nokia joined hands with the Indian Music Industry (IMI) to announce , ‘Legends of India’, a new initiative by both companies which will provide preloaded music collections on new Nokia Nseries handsets. ‘Legends of India’ was unveiled by ghazal maestro, Jagjit Singh. Subroto Chatopadhyay, Chairman, IMI, Atul Churamani, Vice President, A&R, Publishing and New Media, SaReGaMa India; Rajat Quaker, MD, Universal Music and Kumar Truant, MD, Tips and Vineet Taneja, Multimedia Busines Director, Nokia India attended the event.

Nokia Nseries, Legends of India enabled phones (N70, N73, and N91) will contain a compilation of 100 DRM compliant songs by Indian music legends such as Jagjit Singh, Lata Mangeshkar, Asha Bhonsle, Kishore Kumar, RD Burman and Mohd Rafi. These enhanced variants of Nseries phones will come with expanded in built storage when compared to the older versions. The N70 will now come with 1GB whereas the N73 will come with 2GB and the N91 will be upgraded to provide 8GB of storage and it will also have Windows Media Player for music management.

Music on the move has become an integral part of the consumer mobile experience. “Mobile devices have emerged as preferred way of experiencing music,” said Taneja. These in built tracks will be protected using Digital Rights Management (DRM) . The songs can not be played unless they are unlocked . Transfer of these tracks will also be restricted. If a track is transferred to another phone, the user will be asked to buy the code to unlock that track if they want to listen to it. This technology will reduce the violation of the copyright laws and can reduce piracy by a large extent. Chatopadhyay said, “The party is just starting” and expressed confidence that the fight against piracy is going well.

With memories up to 8GB, 2 to 5 mega pixel cameras, mobile television and surfing using Wi-Fi and GPRS bundled in to one single device; we are coming to an age where PDAs, iPods and digital cameras will be replaced by a single device.

Jagjit Singh and Vineet Taneja of Nokia

Asia Times Online
South Asia                                                                            
Feb 15,2003

A soulful journey
Beyond Time. The Ageless Music of Jagjit Singh by Asharani Mathur

Reviewed by Sreeram Chaulia 

Millions of music connoisseurs and Jagjit Singh fans have been longing to learn more personally and intimately about the man who revolutionized Ghazal (romantic Urdu poetry) composition and singing. What is the story of his rise? What are the trials and tribulations he faced? What is the secret of his longevity at the summit of the Ghazal rendition genre for more than 25 years? How do his peers rate him? What kind of musical and human qualities have made him a household name and such a revered figure all over the Indian subcontinent? 

This pictorial semi-autobiography comes like deliverance to the endless litany of questions and curiosity. It takes readers on a soulful life journey of the ultimate exponent of melody. 

Roots
Jagjit was born in 1941 to simple parents in Sriganganagar, Rajasthan. Actually named Jagmohan at birth, his devout Sikh father rechristened him Jagjit on the advice of his Namdhari guru. Jagjit's early years were spent in Bikaner, where his father was posted as a public works department employee. "We were a lower middle class family, not at all well off ... buying kites was a luxury ... radios too were a luxury ... we used to study by the light of lanterns because there was no electricity in the house ... we had no running water". (pp.17-18) 

The Sikh religion accords a very high place to classical music. On returning to his birthplace in 1948, Jagjit's father got him to train under a blind teacher, Pandit Chhaganlal Sharma, and later, under Ustad Jamal Khan of the Senia gharaana (a school of traditional Hindustani music). Still a child, Jagjit sang shabads (devotional Sikh hymns) in Gurdwaras and processions on birthdays of the Sikh gurus. "From that time, I had a taste for lyrics with the melancholy flavor of parting and separation." Jagjit's first public performance came in the ninth grade. "When I sang there was great excitement! Some gave me five rupees, some two, and called out their encouragement." (p.19) There was no looking back after that. 

At college in Sriganganagar, he sang one night in front of 4,000 people. Suddenly, the electricity went off and the entire arena was plunged into darkness. The sound system was battery-operated and remained live. "I went on singing, nobody moved, nothing stirred ... such incidents and the response from audiences convinced me that I should concentrate on music." (p.22) 

Jagjit listened intently to classical singers of that time on radio - Talat Mehmood, Abdul Karim Khan, Bade Ghulam Ali Khan, Amir Khan et al. Being fond of Urdu poetry, Jagjit developed a preference for bol-pradaan music, where emphasis is on words and expression rather than the instruments. 

Jagjit chose DAV College, Jalandhar, for higher education since the principal of the institution waived hostel and tuition fees for talented musician students. Another reason was that Jalandhar's All India Radio (AIR) station carried programs in classical singing. AIR graded him a "B" class artiste and allowed him six live music segments a year for small payments. In 1962, while in Jalandhar, Jagjit composed a welcome song for the visiting president of India, Rajendra Prasad. 

Inter-university music competitions required his college to send one nominee for classical and one nominee for light music, and since an established senior student already occupied the classical music berth, Jagjit shifted to Geet and Ghazal and won trophy after trophy, "Slowly, I started acquiring fans who would ask for specific song requests ... often a 100 rupee note would be lovingly pressed into my hand." (p.27) 

Struggles
In 1961, Jagjit went to Bombay to scout out prospects for a career in film playback singing. Music director Jaikishen liked his voice but could not offer any big break. Money ran out and a dispirited Jagjit did not have enough to even retrieve his clothes from the laundry or buy a ticket home. "I traveled by train from Bombay to Jalandhar minus a ticket, hiding in the bathroom." (p.28) 

In March 1965, Jagjit decided to have another go at the celluloid singing in Bombay. He lived in a run-down hostel, sleeping on an iron cot surrounded by bedbugs and getting his foot chewed off by rats at night. He was financially in a precarious situation. "Sometimes there was money and sometimes there wasn't." But such was the purity and attraction of Jagjit's voice that he managed to get two Ghazals recorded for an EP (Extended Play, a 1960s gramophone record format) with HMV. When the time came to take a picture for the cover of the album, Jagjit decided to cut his long Sikh turban and hair, reasoning, "It was a matter of identity ... whatever picture was taken, that was how I would have to remain for the rest of my career." (p.42) 

Life in Bombay was hard and Jagjit eked out a living doing small mehfils (musical gatherings) and house concerts. He sang at numerous film parties in the hope that a music director might notice him and give him a chance. But filmdom was run in cliques and newcomers were rarely accepted in a highly competitive environment. Besides, as his brother Kartar Singh recalled, "The musicality of his voice, its depth, its pain, how would it suit a hero who runs around trees?" (p.46) His strong composition skills and conjurer-like control over words, ragas and tunes would have simply been lost had he remained stuck in film playbacks. 

Jagjit increasingly veered toward the Ghazal. Bollywood's loss was the Ghazal's gain, for those were the times when Ghazal music was turning into a forgotten and dying art. The Urdu language itself was in decline in India. Jagjit made the Ghazal his beloved and changed its destiny. Jagjit Singh was successful because he developed his own style and didn't try to be like film singers. He was different from them, several notches above. 

Bonds
In an era when the Ghazal had yet to emerge out of the confines of aristocratic seances to become marketable, Jagjit composed music for radio jingles, ad films, documentaries, etc to earn an income. It was at one such jingle recording that he met Chitra, who was at the tether end of a bad marriage. Her daughter, Monica, remembered hearing Jagjit sing the Punjabi folk song, "Maye-ni-Maye" at a neighbors's home: "As a little kid, I was so moved by that song, I just sat down and wept ... it was the purity and intensity of his voice that touched me." (p.53) 

Jagjit's album recordings were excruciatingly slow in the late 1960s. Between 1965 and 1973, he had three solo EPs, two duet EPs with Chitra, and one "SuperSeven" (a 20-minute format that has disappeared). Most earnings came from live performances at parties and weddings. On one occasion, he was invited to Hong Kong to sing at a marriage and the Hilton Hotel "asked me to perform for half-an-hour each day in return for a room and food - no money." (p.69) In 1969, Jagjit and Chitra also went to East Africa along with an orchestra troupe of light music singers. In 1970, "for the grand sum of 30 rupees", the two got married. "No drama, no reception, no presents. Just two minutes and we were man and wife." 

Vivek, alias Baboo, was born in 1971. When Baboo was brought home from the hospital, "we had very little money, our apartment had just one room ... but there was joy, such joy." To tide over financial hardships, Chitra used to literally hold the sleeping 20-day-old baby in her arms while singing jingles into the mike. Despite the straitened conditions, Jagjit fondly recalls those times: "I felt as if I was the richest man in the world." (p.73) 

Ascent
In 1975, HMV asked Jagjit to compose his first ever LP (Long-Play) album, a signal that he had finally arrived on the scene. "The Unforgettables" featured Jagjit-Chitra Ghazals that sounded totally different from orthodox Ghazals. Modern instruments rubbed shoulders with traditional sarangi and tabla. Jagjit's trademark belief that Ghazal must not be imprisoned in one rigid style raised critics' eyebrows, but as the album grew into a hit beyond expectations, the self-same critics hailed Jagjit for this foresight and innovation. "Unforgettables" brought Jagjit and Chitra Singh to national attention and helped finance the purchase of their modest flat in Bombay. 

The next album Jagjit recorded was the Punjabi "Birha Da Sultan", poems of Shiv Kumar Batalvi. Jagjit's interpretation and mellifluous rendering of Batalvi's sad verses haunted listeners for decades. A quarter of a century after the album was released, hit numbers like "Shikra" (where the beloved is compared to the falcon who won't eat what is offered and "so, I fed it the flesh of my heart") are requested at Jagjit's live concerts. After "Birha Da Sultan", Jagjit and Chitra composed and sang the first-ever double album, "Come Alive", sparking a Ghazal hunger that was unprecedented in South Asia. "Live at Wembley" and "Live at Royal Albert Hall", two more double albums recorded in concert, came out after Jagjit toured England in 1979 and 1982. On the latter trip, two performances in London were scheduled for two consecutive nights in venues with seating capacity of 6,000. Tickets sold out in three hours. 

In 1980, Jagjit agreed to sing Javed Akhtar's poetry for a low-budget film, "Saath Saath", without bothering for financial rewards. Raman Kumar, the director, could not spend much at the recording studio, but Jagjit footed the bills. A similar movie venture, "Arth", in the same year saw Jagjit and Chitra Singh's popularity climb higher and higher. Even now, "Arth" and "Saath Saath" are one of HMV's highest selling combination cassettes ever. 

In 1987, Jagjit crossed another milestone by recording the first purely digital CD album by an Indian musician, "Beyond Time". It was a memorable moment not just for Chitra and him, but for Ghazals as a whole. The year after, Jagjit sealed his name in history by composing the music for Gulzar's epic TV serial, "Mirza Ghalib". Jagjit's soft and serenading voice paid befitting tribute to the greatest 19th century poet of undivided India. 

Despair
In 1990, against the run of professional success, Jagjit and Chitra lost their 18-year-old only son, Vivek, in a motor accident. It was a moment of pure desperation and the biggest tragedy in their lives. Chitra lost her voice and never returned to the stage or to the recording studio. Jagjit groped in darkness and depression for a while, but such were his steely character and dedication to music that he decided "not to let what has happened become a weakness to crush me, instead I should turn it into a strength". (p.109). He began picking up the scrambled pieces by playing the tanpura as a form of meditation. "After Baboo's death, my focus sharpened and I concentrated entirely on singing and composing." (p.114) 

The first album after his son's demise, "Man Jite Jagjit", contained Sikh devotional Gurbani, where "you'll hear the pain ... my mood of acceptance [of fate]". Work did not stop even after the devastating loss, though fans could no longer hear Jagjit's famous duets with Chitra. "Someone Somewhere", "Hope", "Kahkashan", "Visions", "Face to Face", "Silsilay", "Marasim", "Forget me Not" and so on reached a global audience. "Sajda" (1991) with the nightingale of India, Lata Mangeshkar, smashed non-film album records of all time. The caravan has not stopped to this day. The very day his mother died in 2001, after the cremation in the morning, Jagjit went to Calcutta in the afternoon for a scheduled concert. 

After Vivek's death, Jagjit began showing more of his spiritual and philosophical side, mellowing his already sobering voice, singing complicated metaphysical verses and also venturing into classical bhajans (Hindu devotional songs). When poet and associate, Nida Fazli, sees the sonless father figure Jagjit with legions of his youthful fans, "it seems as if he has hundreds and thousands of children who shower love on him". (p.119) 

Tributes
Over the years, Jagjit has promoted young Ghazal singers by lending his name or his music to budding talents. "Nobody helped me like this when I had just arrived in Bombay ... if you help others, it doesn't demean you." (p.123) Jagjit believes he has imbibed his father's generosity and large-heartedness. "These are samskaras [good deeds] which I saw from childhood and learned from them." His acts of kindness, which are showered on accompanying artistes, friends in need and associates, also extend to people he does not know. "He gives you everything before you have to ask for it" said Kuldip Desai, Jagjit's personal assistant. In the 1990s, Jagjit has done albums whose vast royalties have gone to charitable organizations like Child Relief and You, the Aurobindo Ashram and the National Association of the Blind. "One does these things hoping for relief or peace or to see someone happy." (p.154) 

Jagjit came at a time when the stricken Ghazal was about to kick the bucket, but his arrival breathed oxygen into it. For this service, says poet Sudarshan Faakir, Ghazal lovers are forever indebted to him. "He developed a new industry, the Ghazal industry," with its ancillary artistes, sound engineers, studios and poets. Urdu poets owe him a special place in their hearts, for it was Jagjit who made it a practice to pay lyricists a part of his earnings. His latest commitment is to popularize Hindi all over multi-lingual India as a connecting language that the whole country should share. 

The first step was an album with the Hindi poetry of Prime Minister Atal Bihari Vajpayee, "Samvedna" last year. Such is Jagjit's market value and phenomenal presence that like Urdu was resuscitated after "Mirza Ghalib", the more Hindi Geet albums he releases, it will be the turn of shrinking Hindi litterateurs to thank him as their savior too. In recognition of his yeoman contributions to music and literature, Jagjit was awarded the Padma Bhushan title by the government of India last month. 

Today, Jagjit the perfectionist motivates himself to ever-newer musical achievement. For someone who has attained Himalayan heights, "every morning is a new beginning, every album is a new album, every concert is a new test ... to live in your past is a dangerous thing ... whatever you've done, you can do something better, let's try for that". (p.160) 

Jagjit Singh aficionados will concur when I conclude with one of his own immortal couplets as a request to the great singer:

Uthke mehfil se mat chale jaana, 
tum se roshan ye kona kona hain

(Do not ever get up and leave this heart;
it is you who light every corner of it) 

Friday, November 8, 2002

Ageless Music, Timeless Man: Between Covers With Jagjit
Asmita Aggarwal

Very few of the millions who enjoy Jagjit Singh’s ghazals know that horses have been a passion with the maestro for the past 30 years and that his horses even won three races recently. “Different Strokes, my thoroughbred, won a race last week in Pune. For me, being with horses is the ultimate relaxation and a welcome break from my hectic schedule,” says Singh.

All of you who want to know the man behind the music can browse through the soon-to-be-released Beyond Time: The Ageless Music of Jagjit Singh. The 168-page coffee table book, published by Habitat Art’s Pankaj Kodesia, is priced at Rs 2,750. It is based on transcriptions of over 40 hours of interviews with family and friends conducted by Asharani Mathur who has also edited the book.

One of the most touching portions of the book deals with the death of Vivek (Babu), the 19-year-old son of Jagjit and Chitra, in 1990. “About 80 per cent of my life is revealed in the book but 20 per cent is still within me,” admits Singh.

Singh was born in Shri Ganganagar, Rajasthan, into a lower middle class family with 11 children. “Even the radio was a luxury. Kites were a passion but often we didn’t have enough money to indulge in it,” says Singh.

With a foreword by Lata Mangeshkar, the book comes with two CDs of his ghazals. “I have spoken about my music, years of struggle and Chitra, my pillar of strength. These memories have been strung together in my first biography,” he says. Mellow music to memorable lines, Singh is set to leave his mark again.

Birth: Feb 8th, 1941
Birthplace: SriGanganagar, Rajasthan.
Profession: Playback Singer, Bollywood.
Family: Wife Chitra Singh

He is the numero-uno of the ghazal world. His poignant and meaningful lyrics and hauntingly mellow voice stimulates many a thinking mind.Jagjit Singh's articulation of tenderness and exclusive choice of lyrical poetry of renowned Urdu poets has helped him create a fond and firm niche in millions of hearts. The Ghazal maestro Jagjit Singh brings a welcome respite from the raucous Bhangra dhols and the inanity of Indipop.Jagjit Singh is known for imparting sensibility to the declining standards of Indian music. His latest album "Aaeena" is a delectable music treat replete with ghazals and songs of love, longing, pain and separation.

Jagjit Singh was born on 8th February 1941 at SriGanganagar in Rajasthan. His father Sardar AmarSingh Dhiman, a Government servant, originally hailed from Dalla village in Ropar district and his mother Sardarni Bachchan Kaur came from deeply religious Sokhi family of Ottallan village near Samralla. His siblings include four sisters and two brothers and he is fondly called Jeet by his family.Although his late father always wanted him to pursue IAS as a career, he took immense pride in his son's achievements in the world of music today. Schooling was done from Khalsa High School at SriGanganagar. He passed his Inter in Science stream from Government college, SriGanganagar. He graduated in the Arts stream from DAV College, Jalandhar. He also acquired a Post Graduate Degree in history from Kurukshetra University, Haryana.

His association with music goes back to his childhood days when he was twelve years old. He first learnt under Pandit Chaganlal Sharma for two years in SriGanganagar. After which for another six years he learnt under Ustad Jamaal Khan of Sainia Gharana, under whom he learnt all forms of Indian ClassicalMusic - Khayal, Thumri and Drupad and gained early recognition from his recordings at HMV and EMI India. He always had an open mind and was ready to learn from lesser known but talented musicians throughout his college days.

He first learnt under Pandit Chaganlal Sharma for two years in SriGanganagar. After which for another six years he learnt under Ustad Jamaal Khan of Sainia Gharana, under whom he learnt all forms of Indian ClassicalMusic - Khayal, Thumri and Drupad. He always had an open mind and was ready to learn from lesser known but talented musicians throughout his college days.

He reached Bombay in 1965 and his struggle from another wannabe to the pinnacle of Ghazal started. Like any other struggler, he too had his share of trials and tribulations. He never had a god-father and hence it was an uphill task to survive in Mumbai. He lived as a paying guest and accepted every singing assignment that came his way - be it jingles for ad films or performing at weddings and parties.

In 1967 Jagjit met Chitra who hails from a Bengali Shome family of Calcutta. Her mother, Krishna Roy, was a Classical vocalist. Chitra was the only child of her parents. She did her graduation in English Honours and also learnt Classical Music and Rabindra Sangeet in Calcutta. She had a diverse range of interests, ranging from painting to dance forms like Manipuri and Bharat Natyam. They got married in 1969. Jagjit Singh pioneered the ghazal wave in India in 1976, thus creating a new music genre with his debut album "The Unforgettables" with wife Chitra. Against the backdrop of a delectable amalgamation of western and Indian instruments he gave a new form to ghazal and nazm.The love affair that started with 'The Unforgettables' continued well into 'Ecstasies'. It flew high with 'A Sound Affair' and grew passionate with 'Passions'. Needless to say, that all of them disappeared from the shelves like magic. And magic it was, of the duo's voice, of the blissful romance and the utter blithesome quality of their Ghazals.

While the above-mentioned albums were breezy, 'Beyond Time' released in the opening years of nineties was an experimentation with sounds and conveyed a feeling that was beyond space and time. Around this time the duo was struck by grief as their only son Vivek Singh met a car accident, on July 28, 1990.Chitra stopped singing and retired completely from singing after the sudden death of their only son.Shocking, as it was to them, it was as much shocking for the innumerable fans across the world. The album is a tour to the soul, ethereal, conscientious and introspective. Fraught with pain, the album in one word is touching. 'Someone Somewhere' has become the last album by the duo together and subsequently Chitra Singh called it quits.

The towering persona of Jagjit Singh braved the tragedy and continued alone treating the listeners with gems like 'Hope', 'In Search', 'Insight', 'Mirage', 'Visions', 'Kahkashan', 'Love Is Blind', 'Chirag' and a few others. 'Sajda' in collaboration with Lata Mangeshkar was another brilliant release and made its mark as a classic Ghazal album. His evergreen ghazals like "Baat Niglegi To Phir" and "Sarakti Jai Hai Rukh Se" are still hummed for their sheer magic and charm. His musical genius was further exhibited through filmi ghazals for films like "Prem Geet", "Saath Saath" and "Arth". Of his latest release there is an album of his ghazals "Saher" and two compilation albums "Jazbaat" and "Dil Kahin Hosh Kahin" along with singers like Lata Mangeshkar and Asha Bhosle.

Like a true genius, Jagjit Singh did not restrict himself to Ghazals and has also cut a few albums of Bhajans. 'Maa', 'Hare Krishna', 'Hey Ram...Hey Ram', 'Ichhabal' and also 'Man Jeetai Jagjeet' in Punjabi, put him in the league of Bhajan singers Mukesh, Hari Om Sharan, Yesudas, Anup Jalota and Nitin Mukesh.

Of late, there has been a clear shift in the mood of his Ghazals; they have acquired a more soulful and poignant demeanour, as in 'Marasim', 'Face To Face' and the latest 'Aaeena' 'Cmy For Cry'. But all through this romance never took a backseat! The journey to the soul is punctuated by romantic pauses like 'Dil Kahin Hosh Kahin'. A testimony to his popularity is his Ghazals in recent Bollywood flicks like 'Dushman', 'Sarfarosh' and 'Tarkieb'. In addition to cultivating his own successful career, Jagjit Singh has been involved in guiding many new talents such as Talat Aziz and Vinod Sehgal. He is also active in several philanthropic endeavors such as the Library at St.Mary's, Bombay Hospital, CRY, and ALMA, an organization whose focus is to adopt students for further education and development.

His very name invokes the sounds of dulcet, meaningful, soul-nourishing music in a silken, sensuous, moving voice, Jagjit Singh has lived up to his name. With almost 50 music albums to his credit, Jagjit Singh has carved a permanent place for himself in the history of Indian music.

Born in 1941, into a Sikh family from Rajashthan, Jagjit was inspired by his father to sing religious ragas, which later led him to master the art of ghazal singing under the tutorship of Ustad Jamal Khan of Seniya Gharana. After studying at college he moved to Mumbai as a 26-year-old in 1965 and struggled to work as a playback singer.It was then he shifted from pure vocal classical singing to composing ghazals, probably the first to achieve star status as a ghazal singer in the country.

His very name invokes the sounds of dulcet, meaningful, soul-nourishing music in a silken, sensuous, moving voice, Jagjit Singh has lived up to his name. With almost 50 music albums to his credit, Jagjit Singh has carved a permanent place for himself in the history of Indian music.

Born in 1941, into a Sikh family from Rajashthan, Jagjit was inspired by his father to sing religious ragas, which later led him to master the art of ghazal singing under the tutorship of Ustad Jamal Khan of Seniya Gharana. After studying at college he moved to Mumbai as a 26-year-old in 1965 and struggled to work as a playback singer.It was then he shifted from pure vocal classical singing to composing ghazals, probably the first to achieve star status as a ghazal singer in the country.

Published by Habitat Arts Pvt.Ltd.,the book also has Singh speaking for the first time on the trauma that the couple suffered with the death of their son-Vivek.Priced at Rupees two thousand Seven Hundred Fifty , "Beyond Time" is structured in Six chapters ,with a Foreword by Lata Mangeshkar.While the main text follows a chronogical narrative,sub sections capture facets of the man and his music.

Also highlighted are six of his albums,from teh pathbreaking "The Unforgettables" of 1976 to "Samvedna"released in 2002 featuring the poetry of Prime minister Atal Behari Vajapyee.A collector 's item,the book limited edition carries an insert of a double CD album of Jagjit greatest hits over teh last three deacdes ,ghazals and nazams that follows teh musical journey descibed in it.

Jagjit Singh is a musical superstar ,an artiste who has almost single handedly revived the ghazals as an art form for our times.He has broken the barriers of language to endear this poetic form to even those who cannot understand its lyrics but respond intuitively to the emotions of his singing.Not just the ghazals but Urdu poetry a a whole has recived a shot in arm,thanks to his enrmous popularity,which extends to millions of fans around the world.The Godfather of Ghazals has entertained millions for over 35 years with his silky vocals.

ANI,NOVEMBER 10,2002

Jagjit Singh sets up trust to help Pakistani performers

By Anjum Gill

Jagjit Singh is the name of a soul touching voice . 'Jag' means World and 'Jit' means Winning. Like his name, he has won millions of hearts all over the world. His talent of singing Ghazals in unique style, with his own mix of classical and western music have changed the typical way of singing ghazals. He has given the Ghazal singing a new dimension.

Jagjit Singh was born in the City of Ganganagar in Rajasthan, a western state of India on 8 Feb 1941. Being born in a very religious Sikh family; his father inspired him to sing the religious chants in ragas. But as Jagjit grew up he was more drawn towards the modern music and his talents in ragas gave him a chance to master the art of ghazal singing. After receiving a B.A. Degree from D.A.V. College at the City of Jalandhar he came to Mumbai for a playback singing career and then the struggle began. He used to sing at different Marriage parties and functions at that time. During this struggle to survive in such a vast city he meet Chitra Singh; fell in love; and married her.

He got his first LP out in 1976 which was a big hit and his first song in this "The Unforgettable" Album was " Baat Niklegi to Phir door talak jayegi ". So we can say "Baat nikli aur abhi tak goonj rahi hai ".
From there on he has been singing in Hindi, Punjabi films and had big number of albums released which were liked by almost anybody who understood Hindi or Punjabi.

Jagjit Singh went through a painful time when he lost his only son, Vivek to a car accident. In one interview on a Canadian T.V. he mentioned that he could not have survived this pain if there was no music." 'Jag' ne cheena mujhse mujhe jo bhi laga payara....sab 'Jit' gaye mujhse main hardam hi hara", clearly shows the pain Jagjit Singh has encountered in his life.
"I'm a trained musician, and know the language, I first choose the ghazal and then set the tune. After that I select the instruments, the sound, which is suitable for that particular poetry. Selection of a raga is also kept in mind, in the studio I sit for mixing the song also and I try to use new sounds , new technology in my ghazals. Why not? The thought in the poetry is the only muse"-Jagjit Singh Ji

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aadamii aadamii ko kyaa degaa
jo bhii degaa vahii Khudaa degaa

meraa qaatil hii meraa mu.nsib hai
kyaa mere haq me.n faisalaa degaa

zindagii ko kariib se dekho
isakaa cheharaa tumhe.n rulaa degaa

hamse puchho dostii kaa silaa
dushmano.n kaa bhii dil hilaa degaa

ishq kaa zahar pii liyaa 'Faakir'
ab masiihaa bhii kyaa davaa degaa

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dekhaa to meraa saayaa bhii mujhase judaa milaa
sochaa to har kisii se meraa silasilaa milaa

shahar-e-vafaa me.n ab kise ahal-e-vafaa kahe.n
hamase gale milaa to vo hii bevafaa milaa

fursat kise thii jo merii haalaat puuchhataa
har shaKhs apane baare me.n kuchh sochataa milaa

usane to Khair apano se mo.Daa thaa muu.Nh haaye
mai.n ne ye kyaa kiyaa ke mai.n Gairo.n se jaa milaa

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mere dukh kii koii davaa na karo
mujh ko mujh se abhii judaa na karo

naaKhudaa ko Khudaa kahaa hai to phir
Duub jaao, Khudaa Khudaa na karo

ye sikhaayaa hai dostii ne hame.n
dost banakar kabhii wafaa na karo

ishq hai ishq, ye mazaak nahii.n
cha.nd lamho.n me.n faisalaa na karo

ashiqii ho ya ba.ndagii 'faakir'
be-dilli se to ibatidaa na karo