About Suman K (Repost of an article by Vish K.) *LONG*
Vandana Venkatesan
The following is a writeup about Suman Kalyanpur by Vish Krishnan, it has
already been posted on RMIM once about 2 years back and it sparked off a
discussion about N.Dutta. Vish had responded to that thread also, and had
clarified some of his statements about N.Dutta. So, please don't pounce on
him with corrections before reading the next posting about N. Dutta and other
trivia!
Thanks,
Vandana.
vven...@pcocd2.intel.com
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Hi there,
You may have made a big mistake asking me to think about Suman Kalyanpur's
songs. I was trying to put my thoughts together on creating a list of her
popular and not-so-popular song work. As is usually the case, one thought
led to another and so forth. And it has come to this.
The following rambling notes are only marginally about Suman Kalyanpur songs.
They are mostly about other things. And I never bothered to edit any of the
seemingly irrelevant material. It may have gone out of control in some places.
Here it is anyway.
I recently read an RMIM posting that suggested that our basic standards
of good movie female singing have been set by the 2 Mangeshkar sisters. I
tend to agree with that. It is also true that Lata and Asha have defined
the meaning of voice control and magic for light and somewhat classical
singing, at least for the vast majority of us who were weaned on Hindi movie
music from the '50s and '60s.
For that reason, I would resist the suggestion that Suman's voice resembled
Lata's. Perhaps there is a measure of control in Suman's voice for slow
moving and somewhat linear melodies in the lower keys, and perhaps that led
to the inevitable urge to compare and maybe, confuse the two. But not for long.
A couple of bars, and it is clearly one or the other.
But the comparison was not really the only thing plaguing her rise to success.
Suman, like so many other talented musicians of that era, was recognized and
appreciated, but hardly ever sponsored for commercial stardom.
So I spent some time thinking about MDs who took her under their banner, and
stayed true to that connection for a long time.
Three names come to mind.
Foremost, there was Roshanlal. Let us talk about this genuinely Indian fellow
for a minute. Janaab Roshan was representative of his times. We had honest
genius then. Within his contemporary peer group, there were handicrafters,
lots of them. And for the longest time, there were only handicrafters.
Roshan was still different though.
He was quite well versed in Western discipline, and almost invariably made use
of Western orchestration, but his melody remained Indian. He was also held in
high esteem by all the singers of the age. It was unthinkable that any singer,
however powerful, could muscle him into making vocalist choices against his
better judgment.
His own first break into Hindi filmdom came with NAUBAHAR - a masterpiece of
Lata songs from "Ai Ri Main To Prem Diwani" to "Dekho Ji Mera Jiya Churaye
Liye Jaaye". Although he remained close to Lata and her voice through his
professional life, he always considered using lesser known talents.
Enter Suman Hemadi.
It was the late '50s. The movie HEERA MOTI was based on a Premchand story
by the same name. The music was folksy, and so were the lyrics. I believe
this was the first time Suman sang for Roshan. She teamed up with Sudha
Malhotra for the song "Kaune Rang Mungwa, Kawaane Rang Motiya". The lyrics
are most probably by Shailendra.
HEERA MOTI had another song that I managed to remember. Lata obviously enjoys
singing the following lines:
O Bedardi, Aa Mil Jaldi, Milney Ke Din Aaye
Ke Tere Bin Ab To Rahaa Na Jaaye
The movie was dominated by Lata, and yet, managed to have a good mix of female
voices.
Well before HEERA MOTI, there was RANGEEN RAATEN - a "nautanki" movie
starring Shammi Kapoor and Nalini Jaywant. Roshan is in his element here.
Again, he is seen working with Lata, Shamshad, Sudha Malhotra and Geeta Dutt.
The singers' list on the cassette jacket suggests that the song
Ankhiyon Ko Asnaan Kara Ke, Main Darshan Ko Aayee
is sung by Suman. It is not. Lata's magic is clear right from the beginning.
It also gets me upset that even EMI neglects its responsibility for getting at
least the basic facts right.
Regardless, RANGEEN RAATEN is a key component of any Lata-Roshan collection.
Suman K. continued with her struggle for work. But she had already started to
make her mark in the world of Marathi light music. The dual cassette release
titled "Suman Geete" is a must-have for any serious Suman listener. I have
a particular liking for 2 songs in this collection. One is a beautiful Yaman
(Kalyan) composition ("Deha Shuddha Karuni, Bhajani Bhajaave"), and the other
one is a Bhatiyaar-like Namadeva bhajan ("Chakravaaka Pakshi Viyogi Bahaate").
BARSAAT KI RAAT came along and became perhaps Roshanlal's biggest musical
hit. The title song topped the Binaca pop charts in 1960. And Roshan vented
his preference for truly Indian stuff all over again. With total synergy from
Sahir, he created a Gauda Malhar classic in "Garajat Barasat Saawan Aayo Re".
This was Suman's first opportunity to impress people with her classical
control. She did very well in this song, but I am probably not alone in
being somewhat disappointed. The comparison lay in the subconscious, and it
was admittedly unnecessary. But we couldn't help it. We had already heard
better stuff.
At any rate, Roshan was to go back to Gauda Malhar a good 8 years later, and
he would again ask to work with Suman.
In addition to Suman, BARSAAT KI RAAT featured the voices of Lata, Asha,
Sudha and Kamal Barot. To add to that, we had S.D. Batish, Manna Dey,
Bande Hassan, the qawwaali pair of Shankar-Shambhu, and Rafi, the true hero
of this movie.
Here is where I lose the Roshan chronology just a bit. In the 1963-64 period,
Suman sang "Na Na Na Re Na Na" along with Meenu Purushottam for TAJ MAHAL.
I love this song. Both singers are clearly involved here in spirit. It is more
than just the vocal chords doing the work.
Again, TAJ MAHAL is an example of Roshan's use of several female voices -
Suman, Lata, Asha, Meenu Purushottam AND Meena Kapoor, singer par excellence
who mostly sang for Anil Biswas, but has precious gems with other MDs as well
(e.g. Madan Mohan's "Mori Atariya Pe Kagaa Bolay" from AANKHEN, his very
first song from his very first movie, and Chitalkar's "Aana Meri Jaan Sunday
Ke Sunday" from SHEHNAI).
Stories abound on Roshan's use of Lata's voice in TAJ MAHAL. There is one that
he himself loved to narrate. The song "Paaon Chhoo Lene Do Phoolon Ko Inaayat
Hogi" was running way behind its recording schedule. Roshan himself fell ill
and had to be hospitalized, and just the day before the much awaited recording
session, Lata came down with a bad case of bronchitis. She called up the MD
and suggested postponing the scheduled recording by a couple of weeks. Roshan
was adamant. Then there were pressures from all sources. The one he resisted
the most was the idea that Suman should sing in Lata's place. While Roshan
always enjoyed Suman's singing, he refused to go back on the original decision.
Lata was duly summoned at the hospital. She would not say no to the maestro.
In the hospital ward, they mustered up whatever privacy they could, rehearsed
the song a few times, and under the circumstances, decided that this was the
best they could do. The recording took place the following day, as scheduled.
Now, when I listen to the line "Hum Ko Dar Hai Ke Ye Tauheen-E-Mohabaat Hogi",
the nasal congestion comes clear. The song was a runaway bestseller. The
movie itself thrust Roshan's name back on the pop charts. The song "Jo Wada
Kiya" was the second of the two Roshan songs to top a Binaca annual list ever.
I might add here that this is by far the only case where I momentarily mistook
a Lata song for a Suman song.
While we are on the subject, let me talk about my 2 favourite Lata-Roshan songs
(both from TAJ MAHAL). We have all heard "Jurm-E-Ulfat Pe Hame Log Sazaa Dete
Hain", yet another Gauda Malhar piece from the master. But I am more partial
to the other Lata solo, a lesser known Mian Ki Todi masterpiece. Perhaps it
has vanished from commonly available prints of the movie. It certainly has
from the cassettes and CDs in the market. Sahir excels in
Khuda-E-Bartar Teri Zameen Par, Zameen Ki Khaatir Ye Jung Kyon Hai,
Har Ek Fateh-O-Zafar Ke Daaman Pe Khoon-E-Insaan Ka Rang Kyon Hai
The song flows smoothly. Its beauty goes way beyond just the quality of the
poetry. It shows the perfect understanding between writer and musician. The
division of labour between Sahir and Roshan gets blurry with the meter of the
lines:
Ghareeb Maaon Shareef Behenon Ko Amn-O-Izzat Ki Zindagi De,
Jinhe Ataa Ki Hai Toone Taaqat, Unhe Hidaayat Ki Roshni De
Let us just get back on track with Suman Kalyanpur and Roshan before things
get truly out of hand here.
The movie NAI UMAR KI NAI FASAL also came along in 63-64, and Gopal Das 'Neeraj'
impressed us all with his lyrical genius in 'Caaravaan Gujar Gayaa'. But the
movie had other good songs. Suman pairs up with (I believe) Usha Mangeshkar in
the song
Mero Saiyyaan Gulabiya Ko Phool Hamaaro Rang Kesariya
If it is indeed Usha Mangeshkar singing here, then it must be the only example
of Suman singing with a member of the Mangeshkar family. This is far too
incongruous. I must be wrong. It must be someone like Sudha Malhotra again.
After all, she WAS a good friend of Roshan's (and Sahir's as well !!, but that
story for yet another day).
I vaguely remember a Roshan movie called PILOT OFFICER. It is from the same
time period as TAJ MAHAL. There is a very nice sounding Suman song from PILOT
OFFICER, and it goes something like:
Aa Ja Rasiya, Moray Man Basiya
Chanda Waale Gaaon Mein, Aa do batiyaan karein
Taaron Waali Chhaon Mein
Then, a few Roshan movies followed in quick succession. There was DOOJ KA
CHAAND. Roshan displayed a restrained wildness with his use of Raga Gara, an
already folksy setup. Suman and Rafi excel in the song
Chaand Takta Hai Idhar, Aao Kahin Chhup Jaayen
Kahin Laagey Na Nazar, Aao Kahin Chhup Jaayen
Again, Sahir and Roshan synergized with Rafi's wonderful voice. Rafi's Gara
rendition of "Mere Saaqi Khaali Jaam" is unforgettable.
Then came BEDAAG. Other than Manna Dey's "Hai Re Main To Prem Deewaana", the
only song people remember from this movie is the Rafi-Suman duet
Maine Ai Jaan-E-Wafaa Tum Se Mohabaat Ki Hai
Tumne Ek Dard Mujhe De Ke Qayaamat Ki Hai
DIL HI TO HAI was also from this timeframe. Suman has her place in this movie
among great songs by Asha, Lata, Mukesh and Manna Dey. Her duet with Mukesh
("Chura Le Na Tumko Ye Mausam Suhaana") and her solo ("Yun Hi Dil Ne Chaaha
Thaa") are both quite enjoyable.
BHEEGI RAAT gave us another example of a Rafi-Suman duet ("Aise To Na Dekho
Ke Behek Jaayen Kahin Hum"). I like the songs from this movie, but they are
not in the Roshan class of the late '50s and early '60s.
Perhaps the best Suman song composed by Roshan was the Gauda Malhar masterpiece
"Sharabi Sharabi Ye Saawan Ka Mausam" from NOOR JEHAN. I wonder if this was
the last time they worked together. Roshan lived only a couple of years after
NOOR JEHAN.
In any case, "Sharabi Sharabi..." illustrates Roshan's liking for Jhaptaal
compositions. He himself has done a few. Thinking about it, there are probably
less than 25 Jhaptaal songs in the Hindi movie world. Roshan's early
contributions to the Jhaptaal fund were songs like "Tere Pyaar Ko Is Tarah Se
Bhulaana" (MAINE JEENA SEEKH LIYA) and "Bahaaron Ne Mera Chaman Loot Kar"
(DEWAR). Both songs are by Mukesh, himself no newcomer to the Jhaptaal world
with songs like "Zamaane Ka Dastoor Hai Ye Puraana" (LAAJAWAAB), "Dil Dhoondta
Hai Sahaare Sahaare" (KALA AADMI?) and "Aansoo Bhari Hain Ye Jeewan Ki Raahen"
(Dattaram Naik's PARVARISH) already in the bag.
We leave the Roshan saga, and get to Shankar and Jaikishan, the next
biggest sponsors of Suman's voice. This musical pair has been much maligned
for doing popsy and somewhat non-permanent music. Be that as it may, they were
also on extremely good terms with Lata. Through the '50s, if any MD hogged up
Lata's time on a practically full-time basis, it was SJ. Take a movie like
POONAM. It has only Lata songs. Then you have NAGINA, KALI GHATA, MAYUR PANKH,
KATHPUTLI, HALAKU, BADAL, RAJHATH etc. And then we have the Raj Kapoor
collection.
Given that ambience, an Asha song in an SJ movie would make news in the '50s,
as did "Mud Mud Ke Na Dekh" (SHREE 420), "Aji Chaley Aao" (HALAKU) etc. But
the one that really took the world by surprise was BOOT POLISH. I will also
count AB DILLI DOOR NAHIN as a very similar jolt. This movie was credited to
Dattaram Naik, a lifelong SJ-assistant who did a few movies of his own, but
remained by and large in the shadow of the SJ banner along with extremely
capable musicians like Enoch Daniels and Sebastian. While Daniels and Sebastian
freely worked with other MDs (doing solo instrumentation work as well as
orchestral arrangements), Dattaram stayed true to his benefactors until his
dying day. For the purpose of this SJ discussion, I equate Dattaram with SJ.
Following the complete absence of Lata's voice in BOOT POLISH and an almost
total Asha-Geeta dominance in AB DILLI DOOR NAHIN, it became clear that while
SJ were true Lata devotees from the '40s and '50s, they were not allergic to
other choices. Perhaps they wanted to break it gently, and perhaps that is why
they started with Lata-Asha duets (HALAKU, CHORI CHORI, BASANT BAHAR, PROFESSOR,
JIS DESH MEIN ....), and then slowly drifted into the rare non-Lata solo.
I do not know this for a fact, but DIL EK MANDIR may have been the first time
SJ and Suman K. worked together. The title song (a sort-of Raga Jogiya) and the
wonderful "Juhi Ki Kali Meri Laadli" are by far the most popular Suman Kalyanpursongs ever. The title song (along with Rafi) was No.1 for several Binaca weeks
as I recall. Suman K. never repeated this level of box-office popularity, but I
do believe she has sung much better songs.
JAANWAR came along with Shammi and Rajyashree. The movie does not have even a
single Lata song, and in general, the quality of songs was nothing to remember
SJ by. Suman sings an Abhogi Kanada approximation in "Mere Sang Gaa, Gungunaa
Koi Geet Suhaana". I think she has done well in this song. There is also an
Asha-Usha song in the movie ("Aankhon Aankhon Mein, Kisi Se Baat Hui"), again a
slightly classical structure. I like the Suman song better. Let us also note
here that Usha Mangeshkar also made some SJ songs. Most of the time, she was
paired up with another singer. But among her few solos is an SJ song from Raj
Kapoor's MAIN NASHE MEIN HOON ("Apne Kiye Pe Koi Pashemaan Ho Gayaa"). As I
listen to the song now, I feel that Suman would also done a great job there.
JAANWAR represents a very bold move (even for the hardened eclectic MDs of the
Hindi music world) where an MD simply lifted a Western song with no compunctions
at all. The song "Dekho, Ab to, Kisko Nahin Hai Khabar" is an Indian version
of "I Wanna Hold Your Hand". It is a rare case of a Hindi MD lifting an almost
entire song. Lennon and McCartney were furious, and talked about suing. But
they must have had good legal advice. Fighting the million layers of
international copyright bureaucracy was just not worthwhile for them. Further,
they were getting really busy and really famous. The mid-'60s were the Beatle
years. John and Paul saw the practical side of it, and dropped the whole thing.
I bring up the Beatles' reference for a particular reason. This was also an
age where some private non-film groups got quite interested in making Hindi
songs styled after current pop music. Most notable among them was Mahendra
Kapoor. He went after the Beatles' song that was to later become the biggest
Beatles' hit ever. Get this. The song "A Hard Day's Night" translated in
M. Kapoor's voice to:
Teri Ye Zulfen Niraali, Teri Ye Aankhen Matwaali
Mahendra K. has done other such songs. I just don't recall any at the moment.
Suman K. was not be left behind. Only, she did not go after the Beatles. Does
anyone remember the Billy Vaughn orchestra from the late '50s-early '60s? There
was a mushy love story/musical then called COME SEPTEMBER, and Billy Vaughn did
the music, arrangement and conducting for it. The movie had a few songs, but
two of them (COME SPETEMBER and THE BERLIN MELODY) exploded into popularity in
the small Indian town, thanks in a large part to the local band companies that
made history creating straight-line approximations of otherwise tough Hindi and
English tunes. Only the occasional Indian wedding was spared the onslaught of
these bands. They were always around. Little children would be seen running up
to the bandleader sincerely imploring them to play the despicable tuba pieces
over and over again. Who among us does not remember the perverse and yet
altogether memrorable mutilation of our favourite songs at the hands and mouths
of these harbingers of conjugal bliss !!
Coming back to the two COME SEPTEMBER songs, I don't know the music directors
for the Hindi versions of these tunes, but Suman Kalyanpur did quite well in :
COME SEPTEMBER: Rimjhim rimjhim rimjhim lo barsey moti ke Daaney
Bikhre Khazaane
BERLIN MELODY: Dil Dhak Dhak Dhak Dhak Dhadkey
Ek Uttha Shola Bhadkey
Shankar and Jaikishan were offended. Really, now. It must have made them want
to throw up to see only English originals getting converted to Hindi songs.
So they decided to do the opposite. They took two of their famous songs from the
1966-67 years and got someone to write English lyrics for them. Only, they
could not get a Roger Miller or whoever else from the '60s to sing them. But no
problem. Friend Mohammed Rafi was standing by to oblige.
The same album (EP) that has the M. Kapoor and Suman K. songs listed above also
has two English songs sung by Rafi. I am not making this up. Here they are:
Song 1: Hum Kaaley Hain To Kyaa Hua Dil Waale Hain (GUMNAAM)
English: She is a beautiful, beautiful, beautiful, beautiful dream come-true
Version I love her, love her, love her, love her, so will you
Song 2: Bahaaron Phool Barsaao, Mera Mehboob Aaya Hai (SURAJ)
English: Though we all come from different lands,
Version We share one earth, one moon, one sun,
Remember friends, the world is one
It was easy then as it is now to think of these songs in comic relief. But I
lived through that age, I laughed out loud at these songs (to the point where
my insides were ready to explode), and I survived the experience. Now I am
looking for them. The memories of the late '60s alone makes them precious. In
their own special way, they made history - the sort that few care to remember.
It was also the time when SJ got into jazz, or so they thought. Their 1967-68
album titled RAAGA JAZZ has now been released on a CD. I was never really that
impressed with it.
On with more of SJ and Suman Kalyanpur.
BUDTAMEEZ was yet another Shammi Kapoor movie, this time featuring Sadhana.
Suman sings yet another solo there ("Pehla Pehla Pyaar Hai Ye").
There were a few other Suman songs under SJ's direction. Rafi has sung a few
duets with her in movies like SURAJ, APRIL FOOL, RAJKUMAR, BRAHMACHARI, CHHOTI
SI MULAAQAT etc. And I also remember the dual-versioned title song from the
Shashi Kapoor-Hema megaflop JAHAAN PYAAR MILE. Suman sings one version.
With Sharada's introduction in SURAJ, I am sure some of the prospective Suman
songs went her way. It is just my opinion that the two Sharada songs from
GUMNAAM ("Aayega Kaun Yahaan" and the Rafi duet "Jaane Chaman, Shola Badan)
were just cut out for Suman. As we know, that was not to be.
In parallel, Dattaram was adding to his handful of movie scores. Suman sang
two nice duets with Manna Dey, both for Dattaram's movies. The song "Na Jaane
Kahaan Tum The, Na Jaane Kahaan Hum The" is from ZINDAGI AUR KHWAAB, and then
NEELI AANKHEN gave us "Ye Nashili Phizaa, Aa Rahaa Hai Mazaa". But ZINDAGI AUR
KHWAAB also has a Suman solo if I remember it right (something like "Kehti Hai
Kuch Jhuki Nazar"). And then there were movies like FIRST LOVE, JAB SE TUMHE
DEKHA HAI etc. I think the Suman song "Beete Hue Din Kuch Aise Bhi Hain" is
from one of those two movies.
In 1967, the gang of Dattaram Naik, Enoch Daniels and Sebastian tried something
new. They teamed up under the name SOORAJ, and did music for a little known
movie called STREET SINGER - no, not the old K.L. Saigal masterpiece. This was
about a homeless singer, and a whole cliche was built around it. It featured
Chandrashekhar and God only knows who else. It also had a guest appearance by
Dara Singh (he comes in to dance the twist in a hotel disco). I remember at
least 3 good Rafi songs("Bambai Hamaari Bambai", "Ghar Ki Murghi Daal Baraabar",
and "Binaa Tumhaare Mazaa Kya Hai Aise Jeen Mein"). And I recall a Rafi-Suman
song in it. Or was it Rafi and Sharada?
It sure has been a while!
Enough of Shankar Jaikishan. In summary, they always rememberd Suman K., and
tried hard to bring her into the mainstream. Somehow, they did not go far
enough. And they may have incurred Lata's divine wrath in the bargain.
The third and final sponsor was none other than one of our very few women MDs.
Usha Khanna, in addition to being a professional colleague, was also a good
friend to Suman K. It must have reminded her of her struggle in life. It was
a different battle for her. She was trying to make it in a man's world. But at
a certain level of abstraction, they were both struggling for the same things -
recognition and commercial sponsorship.
I have almost completely forgotten the Suman songs sung for Usha Khanna. It
might have started with RUSTAM KAUN (1962). Then followed EK SAPERA EK LUTERA,
and again, I forget the song. Most definitely, Suman K. has had songs in
movies like FAREB, EK RAAT, LAL BUNGLA, HONEYMOON (again, not the Salil C.
work of art, but just another B-movie for Usha K.), KHOJ,MUNIMJI, SABAK, HAVELI,
DADA etc.
The FAREB song "Ai Zindagi Ke Saathi, Jaana Na Zindagi Se" is quite pleasant.
And perhaps Suman's only sex-symbol song is "Paani Mein Jale" from MUNIMJI.
I also recall a "Rangila Re" sound-alike song from a a movie called CHALAAK.
It went something like "Man Gaaye Ye Taraana". I am not sure if CHALAAK was
Usha Khanna. It might have been another MD from that genre (Ganesh??).
Oddly enough, the few Usha Khanna movies that actually made it do not have any
Suman songs. I am thinking of DIL DEKE DEKHO and AAO PYAAR KAREN (a movie
starring Joy Mukherji and Saira Bano). For DIL DEKE DEKHO, there are many
reasons, not the least of which is the fact that Suman was not around then.
But why not AAO PYAAR KAREN? In many ways, Usha K. may have found herself to
be in competition with Suman. They were both going after the niche song while
leaving the pop-chart hopefuls to Lata and Asha. The title song from AAO
PYAAR KAREN is sung by Rafi and Usha Khanna. Suman would have been fine there.
But then so was Usha Khanna.
In the late '60s, Suman K. became the vocal vehicle for struggling musicians. I
remember Sonik Omi as I remember Sapan Jagmohan. Wasn't it SJ (the new ones)
that featured Suman in CHETNA (who sang "Man Mera Tujhko Maangey"?).
So much for Suman's friends and sponsors. There were others though. Serious
Lata-Asha fans like Chitalkar and Salil Chowdhury, and I might add Madan Mohan
as well. Burman dada was extremely fond of picking the right voices for the
right environment. And Janaab Naushad hardly strayed from a Lata-Asha decision
once Shamshad was no longer a viable option. Khaiyyaam was always out of the
mainstream, and in any case, was infatuated with wife Jagjit Kaur's voice. And
of the old school, Ustaad Ghulam Mohammed was too old and too ill to make a
strong statement. Who else made it into the '60s from the old school? Not
Husnlal Bhagatram, and not Pt. Sham Sunder. Anil Biswas, maybe. But Anil Da's
5 movies of the '60s became a Lata and Meena Kapoor affair, with honorable
performances by Asha. There was no room for Suman there.
It took all sorts. Let us look at them one at a time.
Anna Chiltalkar had the most trouble separating his professional and personal
lives. One of our most talented MDs ever, he also (in my opinion) gets the
prize of composing some of the sweetest songs for Lata. But the late '50s and
early '60s witnessed some rough times between them.
NAVRANG symbolized that strain. But there was another movie, a NAVRANG
contemporary. And that is what I have been building up to. The little heard-of
AANCHAL was probably best known for the beautiful Asha-Mahendra K duet
Gaa Rahi Hai Zindagi, Har Taraf Bahaar Mein, Kis Liye
Chaar Chaand Lag Gaye Hain, Tere Mere Pyaar Mein, Is Liye
But Suman K. sneaked in with a beautiful song, one of her very best. I have
not been able to locate "Saanwariya Re, Apni Meera Ko Bhool Na Jaana". This
may be the only Chitalkar movie with a Suman song.
And how about Salil Da? He was almost completely a Lata fan. There is one
exception though. The Dharmendra-Tanuja movie CHAAND AUR SOORAJ has some
great songs. The Rafi-Suman duet "Tumhe Dil Se Chaaha, Tumhe Dil Diya Hai"
is not among Salil's better creations, but it is noted for Suman's voice. This
movie will also be remembered for Salil Da's balanced treatment of Lata and
Asha. They both get 2 songs each. Lata sings "Jhanana Jhana Na Baaje, Bichhua
Baaje" as well as the immortal "Teri Yaad Na Dil Se Jaa Sakee". Asha chimes in
with the well known "Baag Mein Kali Khili" and the little known Laavani sizzler
"Mumbai Nagari Sabse Pyaari". CHAAND AUR SOORAJ is a Salil great. That is
really not saying much if anything.
Burman Dada's compositions worked well for Suman. We have heard about BAAT EK
RAAT KI and MERI SOORAT TERI AANKHEN. There was also BENAZIR with another Rafi-
Suman duet ("Ai Meri Dilrubaa, Aa Mere Paas Aa"). But Suman is at her best
in the 2 SD flops - KAISE KAHOON and MIYAAN BIWI RAAZI. She sings a good
Adaana rendition in "Manamohana Man Mein Ho Tumhi" with SD Batish and Rafi.
But really, MIYAAN BIWI RAAZI was a Suman Kalyanpur movie. There is hardly a
movie that can be called that. MIYAAN BIWI RAAZI comes close. Her two most
famous songs in it are both clasically biased ("Khwaab Hai Wohi Kaa Wohi" and
the better known "Chhodo Chhodo Mori Baiyyan Saanware").
Speaking of movies dominated by a singer, there WAS actually one for Suman. And
it came from the unlikely Mr. Ghulam Mohammed. The early '60s gave us what
became Ghulam Mohammed's last movie (SHAMAA). I tend to put PAAKEEZAH before
SHAMAA in chronology, at least from a musical standpoint. Of the 10 SHAMAA
songs, 4 are Suman solos, and two just happen to be Suman duets. The three
Surraiyya songs ("Mast Aankhon Mein Shararat", "Aap Se Pyaar Hua Jaata Hai"
and the magnificent "Dhadakte Dil Ki Tamanna Ho") actually became more famous.
And Rafi was not at all shabby in "Woh Saadgi Kahen Ise, Diwaangi Kahen".
However, Suman Kalyanpur also excelled in the songs:
1. Mere Mehboob Tujhe Pyaar Karoon Ya Na Karoon
2. Dil Gham Se Jal Rahaa Hai, Jaley Par Dhuaan Na Ho
3. Insaaf Tera Dekha, Ai Saaqi-E-Maikhaana
Hum Baithe Rahe Pyaase, Chhalka Kiya Paimaana
and my favourite of them all:
4. Ek Jurm Karke Humne, Chaaha Tha Muskuraana
Marne Na De Mohabaat, Jeene Na De Zamaana
SHAMAA also has a couple of Suman K. duets. She sings yet another song with
Rafi ("Yaas Ke Dar Pe Jhuka Jaata Hai Sar Aaj Ki Raat") and a really
satisfying song with Shamshad Begum - a rare combination there ("Dil Gayaa To
Gayaa, Dilrubaa Mil Gayaa").
Madanmohan Kohli rarely used Suman's voice anywhere. There are 2 Rafi duets
and that is all I know of. These belong to the movies JAHAAN ARA and GHAZAL.
You mentioned a song from NEELA AAKASH in one of your earlier lists. The song
"Aap Ko Pyaar Chhupaane Ki Buri Aadat Hai" is by Asha and Rafi.
And now on to my heart-and-soul music director. Janaab Haashmi (Khaiyyaam) was
one for using non-mainstream people. He had, and probably still has a passion
for the ghazal voice (mostly of the North Western singing styles). Needless to
say, he adored the voices of Jagjit Kaur (big surprise there), Meena Kumari,
and even encouraged Shabana Aazmi to sing in a similar style. In fact, the
Shabana songs from Muzzaffar Ali's ANJUMAN are classics already.
Khaiyyaam must also be credited with the introduction of several voices to the
Hindi movie world (Shahida Khan, Runa Prasad, Talat Aziz, Kabban Mirza, Parvati
Khan, Pamela Chopa, and I would suggest, Anwar). And even where he has not
introduced the voices, he has certainly encouraged the niche players with
opportunities. I have examples of Sulakshana Pandit and of course, Suman
Kalyanpur.
There was a brief phase in his life when Khaiyyaam asked Suman to sing
for his movies (SHAGUN and MOHABBAT ISKO KEHTE HAIN). The SHAGUN songs "Bujha
Diye Hain Khud Apne Haathon" and "Zindagi Zulm Sahi, Jabr Sahi" are extremely
well sung. But they are surrounded by Rafi's genius and Jagjit Kaur's molten
gold style of singing, and for that reason, not quite as high profile. However,
the Pahadi duet "Parbaton Ke Pedon Par" made headlines. It was Khaiyyaam's
first Pahadi song, for movies anyway.
MOHABBAT ISKO KEHTE HAIN is one of my favourite Khaiyyaam movies. The Rafi-
Suman duet "Thahariye Hosh Mein Aa Loon" must be the maestro's very best. But
Suman did a couple of other songs for the movie. Her solo song
Jo Hum Pe Guzarti Hai, Tanhaa Kise Samjhaayen,
Tum Bhi To Nahin Milte, Jaayen to Kidhar Jaayen
is very well sung. The backdrop is vintage Khaiyyaam - superb. Suman sings
another song, this time with Mubarak Begum and Jagjit Kaur. It is quite a good
qawwali ("Mehfil Mein Aap Aaye, Jaise Ke Chaand Aaya"), the second of
Khaiyyaam's low-key compositions in a qawwaali style. He would go on to do many
more.
Through her life, Suman Kalyanpur struggled for commercial sponsorship in
Hindi movies. In so doing, she came across MDs who were struggling from time
to time. I would like to mention Pandit S.N. Tripathi and Pandit Shivaram. The
latter did only a couple of movies (KAN KAN MEIN BHAGWAAN and SATI NAARI), and
worked closely with Mahendra Kapoor and Suman K. I forget the songs from
SATI NAARI, but KAN KAN... has a Suman song that goes "Apne Piya Ki Main To
Bani Re Joganiya" - a good song.
Pt. S.N. Tripathi quickly got associated with medieval movies about kings and
poets. His best musical years gave us SAMRAT PRITHVIRAJ CHAUHAN, VEER DURGADAS,
JAI CHITTORE, SANGEET SAMRAT TANSEN, RANI RUPMATI, KAVI KALIDAS, VIDYAPATI,
CHANDRAMUKHI, HAATIMTAI, NADIR SHAH etc. Lata looked forward to singing for
the guru. Some of Lata's (or other people's) best classical songs have come
from not Naushad or Madanmohan or Vasant Desai, but Pandit S. N. Tripathi.
He too had his moment of box-office glory in the 1957 production of JANAM JANAM
KE PHERE. The title song hit Binaca headlines that year. And before I bias
the reader's opinion too much, I should state that he did some non-medieval
movies as well. The one that comes to mind is PIYA MILAN KI AAS.
But as his years faded away, S.N. Tripathi took whatever he could get. In
the mid-'60s, there was PAREEKSHA, perhaps S. N. Tripathi's last movie.
Basically, it was Mahendra Kapoor and Suman K. all the way. I only remember
one song, a duet that goes "Tum Hi Keh Do, Tumse Mujhko Itna Pyaar Kyon".
Snehal Bhatkar was another little known MD whose major claim to fame might have
been Nutan's CHABILI where Nutan herself sings ("Ai Mere Humsafar"). He was
never very well known, and by the early '60s, was almost completely out of
the picture, but not before doing HAMARI YAAD AAYEGI and FARIYAAD. The latter
has 2 Suman songs. She has a solo ("Haal-E-Dil Unko Sunaanaa Tha, Sunaaya Na
Gayaa") and a duet with Mahendra Kapoor ("Papiha Dekho Dekh Rahaa Hai Papiha").
And then there was Satish Bhatia, one of the few MDs that V. Shantaram worked
with for his movies through the '60s. The movie BOOND JO BAN GAYI MOTI was
well above average. In addition to the Mukesh-Suman duet "Haan Maine Bhi Pyar
Kiya", Suman K. has sung a rather nice, and perhaps the only Madhyamaad Sarang
song for Hindi movies. The song
Ankhiyaan Tarasan Laagi
Main To Pi Ke Daras Ki Pyaasi
will make the top-10 list of Suman songs for me.
There was many other MDs who also ran. Memories of those rare songs flash in
and out of my mind.
But for now, I think that is pretty much it.
Let me close by mentioning 2 Suman duets. Both run in a minor progression, and
at least for that reason, stay dear to my musical tastes. One is from Sardar
Malik's BACHPAN ("Tere Hum O Sanam, Tu Jahaan Main Wahaan"). This is quite a
terrific song. By the way, BACHPAN also has a Suman solo ("Ab Main Jaaoon
Kahaan, Kahaan Jaaoon").
Then there is this other favourite MD of mine - N(ikhil) Dutta. This reference
is to a song from MERE ARMAAN MERE SAPNE. The Mukesh-Suman duet
Bahaaron Se Poochho, Mere Pyaar Ko Tum
Tumhare Liye Hum Jiye Jaa Rahen Hain
is an N. Dutta creation. The man had a passion for the slightly Western
movement set to a minor scale. There are many great examples from his limited
set of movies. However, I will be strong, and resist the temptation of
discussing them here.
So much for Suman Kalyanpur's Hindi movie stint. I myself didn't realize how
many MDs she has worked with.
cheers
vish
=============================================================================
Jairaj, Vinod
HI!
Are U sure that BAHAARON SE POOCHO, from MERE ARMAAN MERE SAPNE
is composed by N.Datta? If I remember right, it is composed by Sardar
Malik- heard the song a long time back on Vividh Bharathi!
Vinod
Vandana
In article <Pine.A32.3.91.961008...@green.weeg.uiowa.edu>,
"Jairaj, says...
I am sorry I forgot to mention the correction related to that made by Vish.
"Bahaaron se poocho" is from "MERA GHAR MERE BACHCHE" with music by Sardar
Malik, as you say. The film had 2 Mukesh solos also, one I have not heard -
"Chanda ke des mein rehti ek raani"
and the other which I have heard and is quite nice -
"Wohi oodhi oodhi ghaTaayen hain, ek tum nahin ho toh kuchh nahin".
Another similar sounding movie that you have mentioned, "MERE ARMAAN MERE
SAPNE" is by N.Dutta. Don't recall if I know any songs from this.
There is a third movie with a similar sounding name with music by C.Arjun and
I mention this only because I want to talk about the lovely Mukesh-Asha duet
in it (that I was recently reminded of by a friend) :
"Main abhi ghair hoon mujhko abhi apna na kaho
Haye mar jaayenge miT jaayenge aisa na kaho"
is from "MAIN AUR MERA BHAI".
Vandana.
vven...@pcocd2.intel.com
(Kamlesh)
In his article Vish K wrote:
In the late '60s, Suman K. became the vocal vehicle for struggling musicians.
I remember Sonik Omi as I remember Sapan Jagmohan. Wasn't it SJ (the new
*************************************************************************
The song Man Mera tujhko mangey, aur door door tu bhagey,...is from Film:
PARAS, MD Kalyanji Anandji, *ing, Sanjeevkumar, Rakhee, Shatrughna Sinha,
Mehmood & Farida Jalal, The Lyricist may be Indeewar/Verma Malik/Qamar
Jalalavadi( From the Video sources).
The above song I thought was sung by Lata(You people know that I have
a trouble distinguishing between the two), The reason behind that is another
song, by Mukesh and a Female singer( I thought Suman is singing this one, it
sounds more like suman than Lata to me), the song is Tere hoton ke do phool
pyare pyare, tere pyar ki baharon ke nazare,ab mujhe chaman se kya lena, kya
lena....a beautiful song(I have to say it coz I was a Mukesh fan after all).
May be some knowledgeable RMIMer can confirm it! There are three female
singer credited in the movie credit titles, Lata, Asha, Suman, that is just
for your Information. Lata has another good song in the movie:
Sajna ke Samne Main to Rahungi, Main to Rahungi, Choop, Choop....
Thanks in advance,
Regards,
kamlesh nanavati.