Kaun Yaadon Ko Zanjeer Pehnaye Ga is a rare book on the life and works of the legendary music director Nisar Bazmi, published by EMI Pakistan. Penned by a singer and disciple of Nisar Bazmi, Tanvir Ahmed Afridi, the book marks the first publication by the company that has been a part of the music industry since 1948.

Nisar Bazmi`s illustrious career stretched from the 1940s to the close of the 20th century. This biography of the legendary music director is not only a tribute to his life but also a rich guide to the evolution of Pakistani music over the decades. It stands as a testament to an era when films reigned supreme in cinemas and crowds flocked to movie houses. Incidentally, I got my hands on this book on March 22, which also happened to be Bazmi`s 18th death anniversary.

Spanning 30 chapters, the book chronicles Bazmi`s journey from his earliest days to his final moments. Afridi, who had the privilege of being closely associated with his guru, recorded the conversations on a device, which gradually shaped into this compelling narrative.

What sets this book apart is its attention to context.

While most biographical works offer necessary information about the subject, they often overlook the era they aim to portray the political climate, music trends and cinematic atmosphere. Giving the reader a rich sense of time and place, however, Afridi weaves all these elements seamlessly into his story, running them parallel to Bazmi`s life.

If you`ve heard songs such as ½isay bhi hain meherbaan`, `Yun zindagi ki raah mein`, `Dil dharrkay main tum se`, `Ranjish hi sahi`, Allah hi Allah kiya karo`, `Mera pyaar tere jeevan ke sang rahega`, `Pyaar karnay ka irada hai`, `Bol ri gurrya bol zara`, `Jo bacha tha woh lutaanay ke liye`, `Main tere ajnabi shehr mein`, `Bhabi meri bhabi tum jiyo hazaron saal` and `Hum chalein tau hamaray sang sang nazaray chalein`, the name Nisar Bazmi would already have transported you back in time.

Bazmi began his career at All India Radio. He composed music for films in India and played a pivotal role in introducing legendary figures suchas music director-duo Laxmikant-Pyarelal, lyricist Anand Bakshi and singer Suman Kalyanpur. He was a well-respected figure in the music circles of the Subcontinent.

There is a 31-page tribute preceding the main content, which features heartfelt messages, including kind words from Pyarelal of the legendary Laxmikant-Pyarelal team, as well as from veterans such as Ghulam Abbas, Naheed Akhtar and Humera Channa. His protégés M. Arshad, Faisal Latif and the author Tanvir Afridi have also paid homage. It was a revelation to learn that Laxmikant and Pyarelal first met during a recording session for Bazmi.

The first seven chapters of the book are about Bazmi and his struggles in India. His journey of becoming one of the most sought after music directors was no small feat. Born as Syed Nisar Ahmed in Jalgaon near Mumbai, his remarkable talent was recognised quickly by his teachers at school. The events of 100 years ago are described magnificently in the book, which took over a decade in writing.

Bazmi travelled to Mumbai and eventually made connections with a production company. Then a kind-hearted individual introduced him to the famous Yasin Qawwal.

It was during the 1940s that Bazmi crossed paths with Mohammed Rafi, who had only recently arrived from Lahore and was struggling to find his place in the music industry. The two struck a chord and remained lifelong friends. Bazmi was sent to the classical vocalist Ustad Aman Ali Khan for further training. It was later revealed that Lata Mangeshkar had also learned the basics of music from the same esteemed teacher.

The book highlights the significance of radio during the pretelevision era. Bazmi secured a position as a staff artist with All India Radio. In the 1940s, radio held a place in society much like social media does today widespread, influential and accessible to all. T he book provides an in-depth look at how Bazmi shone at radio drama and was selected for films.

Later, the professional compromises he was made to make while working on Band C-grade productions led to his move to Pakistan.His innovative musical techniques and the changes he introduced left a lasting impact on Lahore`s music scene.

Bazmi`s 14-year stay in Lahore produced hundreds of timeless songs, and he nurtured dozens of protégés and transformed talented singers into legends. From Mujeeb Alam, Alamgir, Ghulam Abbas to Tahira Syed, Nayyara Noor and Humera Channa, Bazmi gave a `break` to a wide range of artists. Even the anecdote about Mirza Nazir Baig who managed to sing for the film Sehra and later rose to fame as the actor Nadeem is well-documented in the book.

Bazmi was the most sought-after music director in Pakistan from the late 1960s to the mid-1970s. However, a television interview put him at odds with Madam Noor Jehan, leading to tensions that eventually compelled him to leave Lahore. Madam Noor Jehan, on the other hand, is the most prominently featured singer in the book her presence runs throughout, from the early days of their collaboration to her final moments. Their eventual reconciliation, captured in a heartfelt meeting between `Nisar Bhai` and Noor Jehan, stands out as one of the book`s most memorable highlights.

Bazmi`s legendary collaborations with acclaimed directors such as Farid Ahmed, Hassan Tariq, S. Suleman, Pervez Malik, Raza Mir and even Ali Sufyan Afagi are explored in depth. While production hurdles and creative differences occasionally tested these partnerships, they often resulted in artistic breakthroughs -and, in some cases, marked an end of professional ties. The making of iconic films such as Andaleeb, Umrao Jaan Ada, Anjuman, Ek Gunah Aur Sahi, Anmol, Pehchaan, Talaash, Intezar, Naag Muni, Aas and Namak Haraam is thoroughly documented, shedding light on the creative processes and challenges behind the scenes.

The book goes beyond music, shedding light on how songs influenced a film`s success at the box office. While several films featuring Bazmi`s compositions did not fare well commercially, their songs have stood the test of time and are still cherished.

Conversely, there were hit films that drew audiences in primarily because of a powerful final song, often more memorable than the film itself.

Bazmi was also the creative force behind several iconic milli naghmay for television, including `Khayal rakhna` by Alamgir and the Benjamin Sisters, `Hum zinda gaum hain` featuring Tehseen Javed, Amjad Hussain, Fatima Jafri and the Benjamin Sisters, and `Ae rooh-i-Quaid aaj ke din`, in which Sajjad Ali joined the Sisters along with Sohail Rana`s children.

Among his most enduring patriotic compositions is the timeless `Yeh watan tumhara hai`, rendered soulfully by Mehdi Hassan.

The book also recounts a remarkable incident from Bazmi`s early years when, as a pre-teen, he sang Allama Iqbal`s `Cheen-o-Arab hamara` in the presence of Quaid-i-Azam, who honoured the young singer by putting his own garland around his neck.

The book concludes on Bazmi`s final two films in the 1990s. One remained unreleased while the other, Very Good Dunya Very Bad Loag, was delayed for reasons of its own.

Filled with rare posters, old photographs and memorable other images, this book takes readers back to a time when music touched every heart. It`s a must-read for music fans and history lovers, capturing the essence of a man whose tunes live on.

The reviewer writes on old films and music and loves reading books. X: @suhaybalavi