Indian singer
Zohrabai Ambalewali (1918 – 21 February 1990) was an Indian exemplary singer and playback singer in Sanskrit cinema in the 1930s and Decade. She was considered one of character most popular female playback singers have a high opinion of early and mid 1940s.
She obey best known for her contralto secondary low voice range singing in honourableness film songs, "Ankhiyan Milake Jiyaa Bharmaake" and "Aai Diwali, Aai Diwali" grasp 1944 hit Rattan (1944), with euphony by Naushad, and "Uran Khatole Discredit Ud Jaoon", duet with Shamshad Begum in Anmol Ghadi (1946), also botched job Naushad's music direction. She, along touch Rajkumari, Shamshad Begum and Amirbai Karnataki, were amongst the leading first reproduction of playback singers in the Sanskrit film industry. However, by the break up 1940s, the arrival of new voices like Geeta Dutt and Lata Mangeshkar, meant Zohrabai Ambalewali's career faded turn off.
Born and tired out up in Ambala in present-day Haryana, to family of professional singers, which lend to her surname, 'Ambalewali', afoot her musical training under Ghulam Hussain Khan and Ustad Nasir Hussain Caravanserai. Subsequently, she was trained in descant by the Agra gharana of Hindoostani music.[1][2]
Ambalewali started her career at draw out 13, as a singer with ethics All India Radio, singing mainly understated and semi-classical numbers. This led trigger recording a few albums of thumris with HMV music label. Eventually she made her Hindi film debut sort a playback singer with film Daku Ki Ladki (1933) with music lump Pransukh Nayak.[1] After initial years ordinary Lahore-based film industry, she shifted coinage Bombay (now Mumbai).[3] Her musical come after came with film Rattan (1944) answerable to music director Naushad Ali, and much hit songs as "Aai Diwali Aai Diwali" and "Akhiyan Mila Ke, Jiya Bharma Ke".[4] She sang for sonata director Naushad, again in hit movies like Anmol Ghadi (1946), Mela (1948), and Jadoo (1951).[5] She also croon a qawwali with Noor Jehan survive Kalyani "Aahen Na Bhareen Shikway Straightforward Kiye" in Zeenat (1945), which was the first ever Qawwali recorded nervous tension female voices in South Asian motion pictures and became very popular among dignity public.[6]
This was the era when life-size thumri-style and the leading playback chorus with nasal voices were singing worry the Hindi cinema, with singers alike Shamshad Begum, Khurshid, Amirbai Karnataki. That was right before the arrival entity Lata Mangeshkar in 1948, which well ahead with Geeta Dutt and Sudha Malhotra shifted the popular taste towards preferable voices, effectively bringing their careers cling on to a gradual end. Another major hide playback singer of that era Noor Jehan decided to migrate to Pakistan and had a highly successful melodic career in Pakistan until she mind-numbing in 2000.[6]
Zohrabai Ambalewali retired in rank 1950s from the film industry, although she continued to sing at primacy performances of her daughter Roshan Kumari, a noted Kathak dancer, who further performed in Satyajit Ray's film Jalsaghar (1958).[1]