suman kalyanpur hindustan ki koyal

PUNE: Sadly, the name may not ring a bell with the Indipop generation, but Suman Kalyanpur remains one of the best-loved voices of Hindi and Marathi
songs — almost 20 years after she stopped singing full-time.

At a rare and hurriedly convened interaction with reporters here on Wednesday, it was evident why. In the voice that immortalised hits like Ajahuna aye balama, Na tum hame jaano and Keshava Madhava (Marathi), she fielded questions hard and soft, with sweetness and dignity.

Her career, debatably, was believed to have been restricted by the awesome presence of the Mangeshkar sisters on the scene. Was that ever a pressure factor?

“The Manges-hkars were well-established much before I came on the scene. I was still able to carve out a niche for myself. If there had been any such pressure, wouldn’t I have dropped out at the outset?” What does she feel about the remixes era?

“I think they are mostly made by people who don’t like old songs. Or don’t understand them. Or aren’t getting any good new tunes. Only they can explain why they do it. I feel they must at least stop adding those raunchy music videos. It’s embarrassing to watch them on TV at home with children watching. The makers should act more responsibly.”

However, Kalyanpur is no old-fashioned prude. She welcomes technological advances. “Modern-day multitrack recording helps you combine the best takes of all performers. Recording with a live orchestra had its charm. But it often led to re-takes and therefore the best takes of individuals were lost. The orchestra was limited in my days. But that was not essentially good. Today’s orchestra fills up the track like ingredients of a good recipe.”

For youngsters, her word of advice is, “Learn to take care of your voice. Classical and popular singing, training and performing make different demands on your voice. Don’t go flat out and hurt your cords. Watch what you eat.”

When asked if a career in acting or music composition ever tempted her, she made a very important point for the new generation.

“All these fields are very specialised. Think one hundred times before joining a field. Once you have made up your mind, give it your best.”

As they left the venue, Mrs Kalyanpur held her husband’s hand as he had some trouble walking. Together, they made sweet picture. Even then, the lines she sang on popular request were ringing in everyone’s ears: “Keshava, Madhava tuzhya navaat re godava” (O Lord! Your name is sweetness). Actually, it was her voice that was sweetness. Suman Kalyanpur aka Suman Hemadey was born on January 28, 1937 in Dhaka, Bangladesh, (which was then a part of India under British Raj), her maiden name being Hemady. In 1943, her family moved to Mumbai (then Bombay), where she received her musical training[1]. She married Ramanand S. Kalyanpur.

Once Talat Mahmood heard Kalyanpur singing in a musical concert. Highly impressed, he recommended her to his music recording company, HMV. At age 17, she provided her first playback singing for the movie, Mangu (1954), singing the song Koi Pukāre Dheere Se Tujhe.

Kalyanpur provided playback singing for Miyān Bibi Rāzi (1960), Bāt Ek Rāt Ki (1962), Dil Ek Mandir (1963), Dil Hi To Hai (1963), Shagoon (1964), Jahān Āra (1964), Sānjh Aur Sawerā (1964), Noor Jahān (1967), Saathi (1968) and Pakeezāh (1971). She sang for composers Shankar Jaikishan, Roshan, Madan Mohan, S. D. Burman, Hemant Kumar, Chitragupta, Naushad, S. N. Tripathi, and Ghulam Mohammed, singing the most songs for the first two in the list. She has sung over 740 movie and non-movie songs.

Some of Kalyanpur's popular songs include Nā Tum Hamen Jāno (Bāt Ek Rāt Ki), Chhodo, Chhodo Mori Bāiyān (Miyā Biwi Rāzi), Dil Gham Se Jal Rahā (Shamā), Yun Hi Dil Ne Chāhā Thā (Dil Hi To Hai), Bujhā Diye Hain (Shagoon), Mere Sang Gā (Janwar), Mere Mehboob Na Jā (Noor Mahal), Tum Agar Aa Sako To & Zindagi Doob Gai Dard Ke Toofano Mein (Ek Sāl Pehle), Jo Ham Pe Guzarti Hai (Mohabbat Isko Kehten Hain), and Sharābi Sharābi Yeh Sāwan Kā Mausam (Noor Jehān).

Kalyanpur sang with Lata Mangeshkar the duet Kabhi Āj, Kabhi Kal, Kabhi Parason under the direction of composer Hemant Kumar. She recorded some popular duets with male singers Mohammad Rafi, Manna Dey, Mukesh, Talat Mahmood, and Hemant Kumar. Some of her memorable duets with Rafi are Parbaton Ke Petron Par Shaam Ka Basera He, Ājahuna Āye Bālamā, Tumane Pukārā Āur Hum Chale Āye", "Bād Muddat Ke Yeh Ghadi Āyee, Mujhhe Yeh Bhool Nā, Tujhhko Dilbari Ki Kasam and Chānd Takatā Hai Idhar. With Manna Dey, she sang the popular duet Na Jāne Kahān Ham The under the music direction of Dattaram.

Kalyanpur also recorded some memorable songs with a classical base, including Manamohan Man Mein Ho Tumhi, Mere Sang Gā Gungunā, and Gir Gayi Re More Māthe Ki Bindiyā. She received three times the prestigious Sur Sringar Samsad award for the best classical song in a Hindi movie.

Kalyanpur recorded songs for movies in several languages besides Hindi: Marathi, Assamese, Gujarati, Kannada, Bhojpuri, Rajasthani, Bengali, Oriya, and Punjabi. Her recordings include devotional songs, ghazals, and thumris.

In Marathi, Kalyanpur recorded for composers Sudhir Phadke, Dashrath Pujāri, and Ashok Patki. Some of her well-known Marathi songs are Rimjhhim Jharate Shrāwan Dhārā, Shabda Shabda Japun Thhewa, Re Kshanāchyā Sangateene, Jethe Sāgarā Dharanee Milate, Bhaktichyā Phulānchā Goad To Suwās, Nāvikā Re Vara Vahe Re, and Ketakichyā Banee Tethe Nāchalā Ga Mora.