tribute to jagjit singh

Tribute to Jagjit Singh

Tribute to Jagjit Singh – by Taoshobuddha

Production of Taoshobuddha Meditations

hjarae sal nrigs ApnI benUrI pe raetI hE

bfI muiZkl se haeta hE cmn me< dIdavr pEda kae#R



Tribute – Jagjit Singh © 2011, Taoshobuddha

Printed and Published by TAOSHOBUDDHA

MEDITATIONSTM

All rights are reserved. No part of this publication may be reproduced, stored in a

retrieval system or transmitted, in any form or

by any means, mechanical, photocopying, recording or otherwise, without prior written

permission of the original publisher TAOSHOBUDDHA MEDITATIONSTM.

Cover design and graphics: Anand Neelamber



The word Taoshobuddha comes from three words, ‗tao,‘ ‗sho,‘ and ‗Buddha‘. The word Tao

was coined by the Chinese master, Lau Tzu. It means that which is and cannot be put into

words. It is unknown and unknowable. It can only be experienced and not expressed in words.

Its magnanimity cannot be condensed into

finiteness. The word Sho implies, that which is vast like the sky and deep like an ocean carries

within its womb a treasure. It also means one on whom the existence showers its blessings.

And lastly the word Buddha implies the Enlightened One; one who has arrived home.

Thus, Taoshobuddha implies one who is

existential, on whom the existence showers its blessings and one who has arrived home. The

Enlightened One!



@k Aavaj ijske jadU ne hm sbkae salae sal m<Ç muGx

roa 10 AKtUbr 2011 kae sda sda ke il@ AnNt me<

ivlIn hae gyI

iDp gye bae Aaj saje hStI kae Daef Ab tae bs Aavaj

hI Aavaj hE bakI

Jagjit Singh the legendary gazal singer is

no more physically among us. But his

songs, and the melody shall continue to linger in our beings like the dissolving

notes of a sweet melody till eternity lasts.



Just as the river that flows belongs to no country, race or religion and the flying

birds that sour high in the sky belong to no

country or race or religion so too the voice

The voice of Jagjit Singh is the miracle of God‟s Creation.

Taoshobuddha

of Jagjit Singh belongs to no special country, religion, space or time.



Today, when the great artiste is no more, the

soulful song and the melody from his album with Lata Mangeshkar titled „Sajda‟ echoes in

my being,

„Jaa kar jahaan say koi wapas naheen hai

aata, woh kaun si jaga hai, Allah janta hai.. Qismat mein kiya likha hai, Allah jaanta

hai..‟

Gone are gone forever. Verily they return not. Where do they disappear? Only God knows. God knows what is embedded in our fate.



Birth and early life

Jagjit Singh was born in Sri Ganganagar, Rajasthan to Amar Singh Dhiman, a government

employee, a native of Dalla village in Punjab and his mother, Bachan Kaur from Ottallan

village, Samrala in a house that was known as

Pat Ram Ki Chhikari (cluster of six houses). He had four sisters and two brothers and he was

known as Jeet by his family. He was raised as a Sikh by religion.

He went to Khalsa High School in Sri

Ganganagar and then studied science after matriculation at Government College Sri

Ganganagar and went onto graduate in Arts at DAV College, Jalandhar. He holds a post-

graduate degree in history from Kurukshetra

University in Haryana.



Etymological meaning

Jagjit was initially named Jagpreet Singh. He

went to meet his sister at Sahwa in Churu district where a saint of the Namdhari sect, on

hearing him sing hymns, suggested to his brother-in-law Ratan Singh that he be renamed

as Jagjit Singh as he had the ability to win over the world with his golden voice.

The word etymologically comes from two words „Jag‟ meaning world or cosmos; and „Jit‟ – one

who has captured the world. Unlike Alexander who won the world through war. Jagjit captured

and captivated the hearts of the music lovers world over. He will continue to rule over the

hearts and minds of not only connoisseurs but the ordinary as well.



Jagjit and Music

His association with music goes back to his

childhood. He learnt music under Pandit Shaganlal 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 the Sainia Gharana school, a distant relative

of Mehndi Hasan.

The Vice-Chancellor of Panjab University and

Kurukshetra University, Late Professor Suraj Bhan encouraged his interest in music. He

arrived in Mumbai in 1965 in search of better opportunities for being a 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. Singh was first offered to sing in a Gujarati film, Dharati Na

Chhoru produced by Suresh Amin.



Beginning of Ghazal Singing

During 1970s, the art of ghazal singing was dominated by well-established names like Noor

Jehan, Malika Pukhraj, Begum Akhtar, Talat Mahmood and Mehdi Hassan. However,

Jagjit was able to make his mark and carve out a niche for himself.

In 1976, his first album The Unforgetables (On HMV LP Records) hit music stores.

Essentially a ghazal album, its 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, Jagjit met Chitra, also a singer. After a

two year courtship they got married in December 1969. They epitomize the first

successful husband-wife singing team. Jagjit and Chitra Singh have made immense

contributions to ghazal music and the Indian music industry in general.

Successful releases of the duo include

Ecstasies, A Sound Affair and Passions. While these albums were breezy, Beyond Time

released in the opening years of 1990s was

experimentation with sounds. People and music lover waited for the new releases of Jagjit.

Around this time the duo was struck by grief,

when their only son, Vivek who was only 21 then, died in a road accident on 28 July 1990.

Their son was returning late night to A Road, Churchgate residence. A few hours earlier,

someone had crashed into the lampost and darkened the street and a repair truck came to

try to repair it. Vivek accidently drove into the

stationery truck and was killed.

Their subsequent album Someone Somewhere was the last ghazals album sung



by both. After that Chitra Singh quit singing.

Jagjit Singh would often sing „Miti da bawa‟, which was originally sung by Chitra Singh in a

punjabi film, which relates to his own story of losing a loved one at a young age.

Jagjit Singh‘s later albums, including Hope, In Search, Insight, Mirage, Visions,

Kahkashan (meaning ‗Galaxy‘), Love Is Blind, Chirag (meaning also achieved success.

Sajda - meaning ‗prostration‘ had ghazals sung

by Jagjit and Lata Mangeshkar. The combined successes of his many albums made him the

number one ghazal singer in India. The

audience wanted more and Jagjit Singh obliged with his Punjabi albums.

His ghazals were compositions by renowned

poets including Mirza Ghalib, Firaq Gorakhpuri, Qateel Shifai, Shahid Kabir,

Ameer Meenai, Kafeel Aazer, Sudarshan Faakir and Nida Fazli, and contemporary

writers like Zaka Siddiqi, Nazir Bakri, Faiz Ratlami and Rajesh Reddy.



Playback singing

Jagjit Singh also sang (as playback singer) for

various songs in Bollywood films including Arth, Saath Saath, and Premgeet (all from 1980s).

These 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.

Besides ghazals, Jagjit Singh has also sung bhajans and Gurbani 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.



Evolution as Ghazal Singer

Jagjit Singh evolved as a prominent Indian Ghazal singer, composer, music director, activist

and entrepreneur. Popularly known as ‗The

Ghazal King‘, he gained acclaim together with his wife, another renowned Indian Ghazal singer

Chitra Singh in 1970's and 80's as the first ever successful husband-wife duo act in the history

of recorded Indian music. Together, they are considered to be the pioneers of modern Ghazal

singing and regarded as most successful recording artistes outside the realm of Indian

film music.

In 1987 Jagjit Singh did first digital recording of his Ghazal Album along with Chitra Singh. He

has sung in Punjabi, Hindi, Urdu, Bengali, Gujarati, Sindhi and Nepali languages. In 2003



Jagjit was awarded India‘s third highest civilian

honor, the Padma Bhushan.

Widely acclaimed for the revival and popularity of Ghazal, an Indian classical art form, through

his music in landmark films such as Prem Geet (1981), Arth and Saath Saath (1982), and TV

serials Mirza Ghalib (1988) and Kahkashan

(1991), Jagjit Singh is considered to be the most successful ghazal singer and composer of

all time, in terms of both critical acclaim and commercial success.

With a career that lasted over five decades and

a repertoire comprising 80 albums the range and breadth of his work has been regarded as

incredible and trend setter. He is the only composer and singer to have composed and

recorded songs written by the former Prime Minister - Atal Behari Vajpayee, in two albums,

Nayi Disha (1999) and Samvedna (2002). Even the current Indian Prime Minister

Manmohan Singh and his wife Gursharan

Kaur are known to be his avid admirers.



Chitra Singh

His wife Chitra formerly Chitra Dutta was born

in Culcutta in a musical family. She was in one of the Bengali family. Mother of Chitra named as

Krishna Roy was a great classical singer. She did not take any formal training of music but

she learned most of the music from music teacher of her mother. She is Urdu and Hindi

ghazals singer.

When she was came to Mumbai, she moved

towards number of music directors, but no success. She met to Jagjit Singh in 1965. Both

of them together were strugglers in Mumbai.

Chitra learned Rabindra sangit and classical singing in early years of her life. She completed

her degree in English. After completion of degree she shifted to Mumbai in the eager of

becoming playback singer.



Singing Duo

The Duo made Indian and Western tunes for

Ghazals. This is experiment was successful and Chitra Singh and Jagjit Singh was the first

couple to performs this experiment. They perform this experiment to pull the audience of

young generation. They are also the first couple who recorded digitally in the India in 1987.

Together they sang songs for Punjabi, Hindi and Bengali albums. Several hit songs of Chitra

include „Yeh Teraa Ghar, Yeh Meraa Ghar‟, „Aankha Se Aankha Mila‟, „Sare Badan Kaa

Khoon‟ and „Mitti Daa Bawaa‟. Her voice is perfect for ghazals. Her clear and strong voice

provided a perfect match with Jagjit Singh‘s voice. The two voices blended to create a

mucical confluence.



The ghazal maestro Jagjit Singh‘s 70th birthday

was celebrated throughout the country and abroad with a series of performances organized

by Perfect Harmony Productions. Of his seven decades on this earth, the maestro has spent

five of them immersed in the music industry. In 50 years India has changed almost beyond

recognition, not to speak of the music industry.

Music industry hardly behaved like an industry back in the 1960s!

And not only that the manner of rendering

ghazals changed with Jagjit. For this Jagjit is not only a recognized king but also a pioneer in re-

creating in its contemporary musical style. ―With time everything changes,‖ says the maestro in

measured tones. The techniques of recording, broadcasting and listening have all changed.

―Earlier the audience was limited. Now the

audience is unlimited,‖ he points out. Both experience and expedience play a great role in

artistic creation, he notes. The changing scenario has to result in changing musical

trends, since ―the musician has to run his kitchen as well‖.

Certainly, with satellite and cyber technology,

the singer of intimate songs of love and longing and the delicate turns of a relationship is

addressing a global audience. However, each of



us still likes to imagine that voice of molten gold

is singing solely for us. And even if he has moved with the times, there is something about

his music that is typically simple, touching heart v rendering without accelerating the heartbeat

with electronic overkill or mixing up the intellect with confusing musical techniques. However,

being simple is not easy. ―It is very difficult to

make simple music,‖ agrees the Maestro. Words were most important to him. Before singing

Jagjit always looked at the words and then according to the poetry he selected the raga.

Perhaps, it was jagjit‘s training in classical

music — including Khayal, Thumri and Dhrupad — under Pandit Chaganlal Sharma and later

under Ustad Jamaal Khan of the Senia gharana that gave a soft and melodious touch to his

singing that captivated million over five

decades. Films were of course a part of literature in his time. They were often written by

famous writers such as Harishchandra Upadhyaye, Jagjit recalls. Even lyric writers

such as Majrooh Sultanpuri, Gulzar and others were part of literature.

So while the regular radio listener or Internet

fan may not know which raga he has chosen for a particular rendering of Ghalib or Faiz, the

composer-vocalist‘s approach — simultaneously



scientific and intuitive — ensures that the song‘s

meaning and music merge together to create symphony.

If Jagjit did it for the great Urdu poets, he also brought sparkling ghazal pearls into Hindi films.

„Hothon se chhoolo tum,‟ „Kaaghaz ki kishti‟ and „Koi yeh kaise bataye‟ are a few

of his immortal hits. But today‘s films do not seem to have room for the canvas for such

lilting melody or depth of expression. Ghazal is no more part of films anymore, Jagjit lamented.

Jagjit is credited, along with his wife Chitra

Singh, for the resurgence in the popularity of

the ghazal. Across the Hindi-Urdu speaking regions of Indian sub-continent and across the

globe, people love the form, not only for its music but for the cleverness of the words and

the permeating sentiment of romance that flowers in myriad ways in every composition.

Yet we have not seen many successful ghazal

singers beyond the Jagjit-Chitra, Ghulam Ali, Pankaj Udhas, Penaz Masani and a smattering of

others?

‗They do not have proper training, Jagjit

declared without hesitation. Indeed Ghazal singing is serious singing. They think bathroom



singing is enough. Singers of today‘s

generation, he feels, do not want to work hard. For a good ghazal artist basic training in music

is required. In the beginning he learnt only classical singing first and then learned ghazals

Jagjit is known for embracing new technology. And he is the first Indian music composer to use

digital multi-track recording, which eventually revolutionized the industry. Jagjit is anything

but infatuated with the technology that, with voice enhancement and proper editing software,

has, effectively, made singers out of non-singers. Everything is possible now, he says.

You can correct the pitch and repair the rhythm (lapses), before you release the album. One

cannot argue with the veteran on this. But, for all the negatives that technology has brought in

its wake, we can be thankful for one great

positive: it lends permanence to ephemeral moments of creativity.

Jagjit admitted that ―Sometimes I feel that time is running out and there‘s so much more left to be done. At other times I feel well I have

already done so much where the need to do more, all that is enough. And then again you

feel that whatever you have done, you can do something better. Such mixed feelings keep

going through my mind.‖



Jagjit Singh‘s songs made eternal place in our

hearts, and his melodious voice intertwining so beautifully in our lives, a seamless part of our

joys and sorrows.



Tributes

Lyricist Gulzar aptly defines the yawning

vacuum as

„Jagjit ka jaana, ek poori duniya ka uth jaana hai, ik daur kaa uth jaanaa hai…

bahut badi shaksiyat aur bahut badi presence aapke paas se uth ke chali jaaye

to woh khaalipan, usay bayaan karna bada mushkil kaam hai.”

(His death marks the end of an era, because he was an icon of our times, it is very difficult to

define that feeling of loss.‖

His friend and fellow artiste Ghulam Ali says: ―Ours was a friendship, which transcended the

barriers of geography, hostile governments and

hurdles of red-tape. My friend has left for heavenly abode, and I am simply inconsolable. I



feel he will walk up to me and sing the mukhda

of a ghazal for me. I just cannot believe that my friend is gone forever! I was hoping that he will

be alright, and will sing once again with me. After all, we have done more than 30 concerts

all over the world together.

Par mera dildaar yaar chala gaya, janaab!”

(But my lion hearted friend has left me!)

Indeed Jagjit Singh made ghazals accessible for the common man and got rid of its elitist tag in

no uncertain terms. ‗He was a pioneer because he broadened the base for ghazal, took it to lay

music lovers. He did this by bringing in western instruments like the guitar into ghazals,

introducing instrumental interludes, experimenting with non-traditional rhythm

patterns and simplifying the tunes to make them very melodic,‘ says singer Talat Aziz.

Though he sang the verses of almost everybody from Ghalib to Gulzar to Kaifi Azmi, Firaq

Gorakhpuri and Qateel Shifai, Jagjit laid a lot of emphasis on simplicity and clarity. ―I

ensure that first I understand the meaning of the ghazal and then expect the common man to

appreciate it.‖



Impact on Younger ones

Jagjit‘s demise is a colossal loss because Jagjit Singh was instrumental in bringing ghazals to

my generation. When we were younger, we heard the ghazals of Mehdi Hassan and Begum

Akhtar but that was not really our music. It was

in the 1970s that Jagjit Singh took everybody by storm and swept us off our feet, said singer

Tina Sani.

Whether it was a bhajan, a folk song, a ghazal or a filmi song, Jagjit Singh cast a hypnotic spell

on his audiance, because he sang from the heart. Simple tunes with no gimmickry, the

unique timbre and charisma of his voice transcended the lyrics. Who can forget the

elegant beauty of „Hotoon say chulo tum,

mera geet amar kar do.‟

His voice was charisma. Is ki awaz mein chain hai, sakoon hai. His voice would put a balm over

your wounded sensibilities, says lyricist Javed



Akhtar. Indeed, Jagjit Singh gave life to the

stirring lyrics of Ghalib in the TV serial „Mirza Ghalib‟ which took the subcontinent by storm.

According to its director, Gulzar: ―It seems that Ghalib has not only bequeathed him with the

storehouse of his writing instead he blessed him with the temperament of the ghazal singing as

well.‖

Mahesh Bhatt, who directed the

autobiographical and highly acclaimed movie Arth, said, ―My emotional syntax was perhaps

articulated brilliantly by Jagjit Singh. Arth would not have touched the hearts of millions without

his contribution.‖ “Jhuki jhuki si nazar beqarar hai k naheen, daba daba sa saheeh

dil mein pyar hai ya naheen..”



Acknowledging the new Artists

Not only was Jagjit Singh a great artiste, he was

also known for his kindness and generosity to others, less privileged artists as well.

Poet Rana Sahri recounts how Jagjit Singh sang one of his ghazals at a concert at which he was

present.

―When the hall fell silent after the applause, he said: ―The ghazal that I have just sung and that

you have appreciated so openly was written by a poet whose name is Rana Sahri. He is here

today. Wherever he is, I would like him to stand

up.

And please give him a warm welcome. With those words, he gifted me a moment in my life

for which people hunger and thirst for years and



years, to have one‘s work as a poet publicly

acknowledged by music lovers and poetry lovers. That moment was a treasure beyond

value. For an artiste to share success with someone else- that‘s greatness.‖



Loss of his son

At the pinnacle of his life, Jagjit Singh lost his

only son Vivek (Baboo) in a tragic road accident. Shattered beyond measure, he did not sing for 6

months and then he turned for solace to his tanpura. Music became an instrument to heal

and to somehow come to terms with the tragedy in his life. ―I took to heart the words of

poem Nida Fazli‟s:

―Apna gham le ke kahin aur na jaaye jaye,

Ghar mein bikhri hui cheezon ko sajaaya jaye” (Let us not take our anguish elsewhere,

Let us make beautiful the scattered objects at home).

Thus Jagjit Singh poured his pain and suffering into his art and sang the immortal melody.



“Gham ka khazana tera bhi hai, mera bhi,

yeh nazrana tera bhi hai, mera bhi.. apnay gham ko geet bana kay ga lena.”

Poet Nida Fazli recalls that after his son‘s death, he was at a concert where there were

many young people. ―I asked Jagjit, how come in this modern age of jeans and pop music, you

had so many youngsters at the concert for ghazals? He replied,

„It seems as if Baboo has reached heaven

and told the young people to look after his father.‟

Endowed with a beautiful mind and an artiste par excellence, Jagjit Singh lit up our world with

his honeyed voice and charisma. As Nida Fazli puts it,

―Jagjit‘s voice has a strange magic. It is layered.

We feel that he sings with a smile, but within the words he is weeping and making us weep,

this is his amazing art.‖

Today, when he is no more, one realizes anew

the pathos and meaning behind the question he asks in the song immortalized by him:



„Tum itna jo muskarah rahay ho, kiya gham

hai jis ko chupa rahay ho!‟

On May 10, 2007, in a milestone joint session held in the historic Central Hall of India‘s

Parliament (Sansad Bhawan), Jagjit Singh rendered the last Moghul Emperor, Bahadur

Shah Zafar‘s famous ghazal

„Lagta nahin hai dil mera‟

to commemorate the 150th anniversary of

India‘s First War of Independence (1857). President A P J Abdul Kalam, Prime Minister

Manmohan Singh, Vice-President Bhairon Singh Shekhawat, Lok Sabha Speaker Somnath

Chatterjee, Congress President Sonia Gandhi and dignitaries including former Prime Ministers,

Members of Parliament, Foreign Ambassadors and High Commissioners were in attendance.



First Digital Recording

Jagjit Singh was the first Indian composer, and together with his wife Chitra Singh the first

recording artist in the history of Indian music to

use digital multi-track recording for their album, Beyond Time in 1987.

Their combined album on HMV/Saregama

comprising music from Arth and Saath Saath (1982) holds the record of being Indian‘s largest

selling album of all time.

Sajda, Jagjit Singh‘s double album with Lata Mangeshkar holds the same record in non-film

category. He was regarded as one of India‘s most influential artistes. Together with sitar

legend Ravi Shankar and other leading figures of Indian classical music and literature, Singh

voiced his concerns over politicization of arts



and culture in India and lack of support

experienced by the practitioners of India‘s traditional art forms, particularly folk artists and

musicians.

Ever since his first album The Unforgettables

was released in 1976, Jagjit Singh became a soother of frayed nerves, a rebuilder of broken

homes, a fallback for the jilted, and a solace for those agitated by the multiple ironies of the

human condition. His compositions broke music industry records and penetrated listeners‘

hearts.

There are phases in which he leaned towards

one type of ghazal rendition, only to move on to a new terrain with altered emphases. The Jagjit

of the 1980s and the Jagjit of the last decade were radically different, not only in the ageing

of his vintage voice, but also in topical choice and innovation.

He is best remembered as the reviver of the

ghazal from declining mass popularity, Jagjit was a believer in substance rather than form.

He never hesitated to experiment with western

instruments. A ghazal maestro clad in white pumps and jeans sounds incongruous. But Jagjit

pulled it off with élan and dignity.



As Sikh he rose from humble origins and

dazzled pundits and ordinary alike, his creative interpretation of specific words and phrases

came straight from the soil of Punjab. While his contribution to preserving Urdu verse is

obvious, Jagjit was also a peerless exponent of Punjabi as a sweet and hummable language, not

the rough-hewn tongue it is notorious for.

Jagjit epitomized values of decency and

humanity. In his later compositions, he chose poetry that poured scorn on the constraints of

modernity. He did expose the false morality of the „waaiz‟ (preacher) and the „sheikh‟ (cleric)

in keeping with traditional ghazal ideology. But he also sang couplets on everyday realities of

inflation and lying politicians.

Alas, there will be no more soul-tugging

concerts or new albums from Jagjit Singh, but what he has left is enough. As long as the

languages he beautified through music survive, he will remain literally Jagjit, the winner of the

world.



The Final Journey

Jagjit Singh underwent surgery after he suffered

a brain hemorrhage. Doctors at the hospital performed an emergency surgery on Singh. Dr

Ajit Menon, a cardiologist at Lilavati Hospital

said that Singh underwent a surgery to remove clots in his brain. His condition is critical. The

doctors continued to monitor him in the intensive care unit as he was breathing with the

aid of a ventilator. Singh also had a history of heart ailments. In January 1998, he suffered a

heart attack, which led him to quit smoking. In October 2007, he was hospitalized following

blood circulation problems. He died on 10 October, 2011.

Before this illness, his last major concert was

held on 16 September 2011 at Nehru Science Centre in Mumbai. His last concert was held



on 20 September at The Indian Public School

in Dehradun.



Awards and Films

In 2003, Singh was awarded the Padma

Bhushan, India‘s third highest civilian award, by the Government of India

Film

1. Gandhi to Hitler 2011 „Har or tabahi ka

manzar‟

2. Pyar Kare Dis: 2007 Feel The Power of

Love

3. Umar 2006 „Khumari Chaddh Ke

Utar Gayi‟

4. Kasak 2005

5. Veer-Zaara 2004 „Tum paas aa rahe

ho‟

6. Dhoop 2003 ‗Benaam Sa Ye Dard‘,

7. ‗Har Ek Ghar Mein Diya‘,

8. ‗Teri Aankhon Se Hi‘

9. Joggers‘ Park 2003 ‗Bari Nazuk Hai‘

10. Pinjar 2003 ‗Haath choote‘



11. Aapko Pehle Bhi Kahin Dekha Hai 2003

‗Aisi Aankhen Nahin Dekhi‘

12. Leela 2002 ‗Dhuan Uttha Hai‘,

13. ‗Jaag Ke Kati‘,

14. ‗Jabse Kareeb Ho Ke Chale‘,

15. "Tere Khayal Ki‘

16. Vadh 2002 ‗Bahut Khoobsurat‘

17. Deham 2001 ‗Yun To Guzar Raha Hai‘

18. Tum Bin 2001 ‗Koi Fariyaad‘

19. Tarkieb 2000 ‗Kiska Chehra ab mai

dekhun‘

20. Shaheed Udham Singh 2000

21. Bhopal Express 1999 ‗Is duniya mein

rakha kya hai‘

22. Sarfarosh 1999 ‗Hosh Walon Ko‘

23. Heena 1999 TV serial

24. Dushman 1998 ‗Chhitti Na Koi Sandesh‘

25. Hello Zindagi 1995 TV documentary

(‗Hai Lau Zindagi (Title Song)‘)

26. Neem Ka Ped 1994 TV serial (‗Muunh ki

baat sune har koii (Title Song)‘)

27. Khudai 1994 ‗Din Aa Gaye Shabab Ke‘,

28. ‗Ulfat Ka Jab Kisis Ne Liya Naam‘,

29. ‗Ye Sheeshe Ye Rishte‘

30. Mammo 1994 ‗Hazaar baar ruke ham,

hazaar baar chale‘

31. Khalnayak 1993 ‗O Maa Tujhe Salaam‘



32. Nargis 1992 ‗Dono Ke Dil Hai Majboor

Pyar Se‘,

33. ‗Main Kasie Kahoon Janeman‘

34. Billoo Badshah 1989

35. Aakhri Kahani 1989

36. Doosra Kanoon 1989 TV

37. Kaanoon Ki Awaaz 1989

38. Mirza Ghalib 1988 TV serial directed by

Gulzar

39. Rahi 1987

40. Aashiana 1986 ‗Humsafar Ban Ke Hum‘

41. Long Da Lishkara 1986 ‗Ishq Hai

Loko‘,

42. ‗Main Kandyali Thor Ve‘,

43. ‗Sare Pindch Puare Paye‘

44. Phir Aayee Barsat 1985 ‗Na Mohabbat

Na Dosti Ke Liye‘

45. Ravan 1984 ‗Hum to Yun Apni Zindagi

Se Mile‘,

46. ‗Main Gar Mein Chunariya‘

47. Bhavna 1984 ‗Mere Dil Mein Tu Hi Tu

Hai‘

48. Kalka 1983

49. Tum Laut Aao 1983

50. Zulf Ke Saye Saye 1983 ‗Nashili Raat

Mein‘

51. Arth 1982 ‗Jhuki Jhuki Si Nazar‘,

52. ‗Koi Yeh Kaise Bataye‘,



53. ‗Tere Khushboo Mein Base Khat‘,

54. ‗Too Nahin To Zindagi Mein Aur Kya Reha

Jayega‘,

55. ‗Tum Itna Jo Muskura Rahe Ho‘

56. Saath Saath 1982 ‗Pyar Mujh Se Jo

Kiya Tumne‘,

57. ‗Tum Ko Dekha To Yeh Khayal Aaya‘,

58. ‗Yeh Bata De Mujhe Zindagi‘,

59. ‗Yeh Bata De Mujhe Zindagi‘,

60. ‗Yeh Tera Ghar Yeh Mera Ghar‘,

61. ‗Yun Zindagi Ki Raah Mein‘

62. Sitam 1982

63. Prem Geet 1981 ‗Hontho se chhoo lo tum‘

64. Ek Baar Kaho 1980 ‗Raakh Ke Dher Ne‘,

65. ‗Phir Pukara Hai‘

66. Griha Pravesh 1979

67. Avishkaar 1974 ‗Babul Mora Naihar‘

68. Bahuroopi 1966



Discography

1. Beyond Time (1987) with Chitra Singh

2. Someone Somewhere (1994) with Chitra

Singh

3. Face To Face (1996)

4. Sajda with Lata Mangeshkar

5. Unforgettable (2001)

6. Saher (2002)

7. Hare Krishna-Li (2003)

8. Krishna Bhajans (2003) with Chitra

Singh

9. He Ram He Ram (2004)

10. Maa (2004)

11. Salutations To The Divine Mother (2006)

12. Aaeena (2006)

13. Hari Om Tatsat (2006)

14. Phaldata Ganesh:God Who Fufills Wishe

(2006)



15. Life Story (2006)

16. Love Is Blind (2006)

17. Mara Ghatma Shrinathji (2007)

18. Saanwara- Krishna Bhajans & Kirtans

(2007)

19. Insight (2007)

20. In Search (2007)

21. Stolen Moments (2008)

22. Bhajan Uphar (2008)

23. Close To My Heart (2008)

24. Gulzar‘s Mirza Ghalib (2008) with Chitra

Singh

25. Mitr Pyare Nu (2009)

26. Koi Baat Chale (2009)

27. Jazbaat (2009)



Pankaj Udhas



Sonu Nigam



Music Director Shekher Ravjinani



Sonu Nigam



Chitra Singh at the Funeral

tribute to jagjit singh

Documents