NEW DELHI, APRIL 4. For someone whose singing career spanned over five decades, legendary playback singer Manna Dey comes across as the epitome of modesty.

When asked whether the Padma Bhushan had been bestowed on him a tad too late, the 84-year-old Dey smiles and says, ``At least it came. I am satisfied.''

Dey, who received the coveted award this year for his lifelong contribution to music, has had a successful innings in the annals of Bollywood but says he isn't likely to return to tinseltown soon.

``This is no age for playback singing. I can't sing for a 24-year-old hero. But if a song is made well, I don't mind singing for a character artist,'' says Dey.

At the same time, the adage 'once a singer, always a singer' holds true for him.

``My singing career was quite colourful. I have sung for all artistes - whether hero, villain or comedian,'' says Dey. ``I can't stop singing. I was born to sing and I will do so as long as I live.''

Not many know that Manna Dey was initially groomed to be a music-director. By the time he finished his graduation from Calcutta University in the pre-independence era, Dey was already assisting music directors like Chandraprakash and Anil Biswas and seemed destined to follow in their footsteps.

But lady luck intervened and a song that Dey sang for the film `Ram Rajya' changed everybody's opinion about his vocation.

``They all said I was better off as a singer. Who knows? Maybe they just didn't want me as a rival music composer,'' Dey says. There was no looking back after that. Although he never quite got the kind of success that contemporaries Mohammad Rafi and later Kishore Kumar achieved, Manna Dey went on to record several unforgettable numbers.

Notable among them are evergreen melodies like `Kaun Aaya Mere Man ke Dware', `Aayo Kahan se Ghanshyam', `Tu Pyar ka Sagar Hai' and `Aye Mere Pyare Watan'. And who could forget the `Ek Chatur Naar' duet with Kishore in `Padosan'?

Characteristically, Dey is effusive in his praise of playback singer Mohammed Rafi.

``Rafi, Lata and Asha are my favourite singers. I think of Rafi as the top singer in the world. He was a gift of God just like Lata Mangeshkar. No one can learn to sing like them,'' he says.

But the octogenerian singer is scathing in his criticism of the current generation of music composers.

``All the maestros have gone. Only Naushad is still there. And the younger generation does not know how to make music,'' he says. Dey also feels that composing music today is a trifle compared to the hours of rehearsals required earlier. - PTI

Manna Dey revives Bollywood's glorious music tradition  
- Bhasyam G Iyengar, New York  

September 29, 2005 

It was a lively evening out there in the cozy auditorium of Royal India Palace at 118-08 Atlantic Ave, Richmond Hill on Saturday, 3rd Sept., 2005.  Manna Dey, the maestro, suddenly took the audience to the glorious past of Bollywood music, complete with the lilting melodies of the yesteryears. The atmosphere was nostalgic to say the least. The memories of great music composers like Naushad, Ravi, Madan Mohan, Shanker-Jaikishan, Kalyanji-Anandji among others, flooded the music hall as the mesmerizing voice of Manna Dey filled the grateful ear drums of a rapt audience. The great artist was not just singing - he virtually carried the listeners to an introspective past, cajoling them to become one with the grandeur of soul touching melodies of old Bollywood music. Splendid tunes like, laga chunari mein daag, tuje suraj kahoo ya chanda, pucho na kaise, yari ha iman mera, to name a few, threw the music lovers into a state of near ecstasy.  

Apart from music, Manna Dey charmed the audience with his interludes of knowledgeable remarks and explanations of the songs and their lyrical richness mixed with humorous observations of the show and other related events of the evening. His selections, covering a wide range of musical notes, varying from the melancholic to fast paced ones, were pleasing and got an appreciative nod from the audience. It was surely a sumptuous piece of lively and absorbing music session. His depth and understanding of intricacies of thoughtful and entertaining music is astonishing. He appeals to both the pundits and the common folk. It is impossible to believe he is approaching the eighties! 
 

Romanee captures alive a Manna Dey hit

Manna Dey at his introspective and melancholic best

The other listed artist of the evening, Irin Jhumur lived up to her reputation of an upcoming singer. Irin sang with a lot of composure and she is surely gifted with a beautiful voice. The variations were intact and the songs were sung with much aplomb and melody. She is also gifted with expressive features that make her an effective stage performer. The young lady is surely a talent worth watching. She is destined to go a long way. Good luck to you, Irin. 

There were two special appearances, rather, two pleasant surprises. Zafrin Zakir (Oni), a young and ambitious singer came over with a cheerful smile and sang a few melodious songs. She got the opportunity to sing with Manna Dey and her joy in sharing the stage with the great man was evident and why not? It was indeed a pleasant surprise. At the beginning of the second segment of the charged up evening, there was Nasir Khan who sang Hemant Kumar's ganga aye kahase in his deep voice. Nasir sang with passion, rejoicing in the wonderful lyrics of the song which is touching and sentimental. It was a meaningful interlude.  

And then there was a very graceful and charming lady sitting next to me, thoroughly immersed in Manna Dey magic. Impressed by her intense joy, I said hello to her and wondered whether she could share her happiness with me. She gladly introduced herself as Leela Singh and disclosed an interesting information, that she used to dance for Manna Dey's laga chunri, and incidentally was fondly recognized as laga, consequent to her popular performance of the piece, and that she started dancing as a four year old! Some passion, that.  

Eshri Singh, the renowned broadcaster from Guyana was the Emcee. His rich and resonant voice reverberated through the evening lending a special touch to the occasion. An eternal Indo-Cultural Ambassador serving the cultural needs of the Indians in the Caribbean, Mr. Singh has been recognized by the New York State Assembly for his committed and dedicated service to the cultural aspirations of Indian mass and his influence as a star broadcaster stretches to areas as far as Trinidad and Surinam. He certainly made the evening a rousing one. 

The evening was filled not only with music, but also with citations. Chief guest Dr. Prem Misir, pro-chancellor, University of Guyana, presented a proclamation on behalf of Mr. Brian M McLaughlin, Member of the New York State Assembly, 25th district, County of Queens, honoring Manna Dey. The proclamation lauds the great service of Manna Dey to Indian music, highlighting the quality entertainment he has provided to people across the globe. Another proclamation, also on behalf of Mr. Brian M. McLaughlin, honoring and recognizing the services of Mr. Eshri Singh, while also appreciating the intellectual quality of the work and service of Mr. Singh, was presented by Manna Dey. 

Dilip Nath, a young leader with a new vision, contesting as a city council candidate for District 24th in the ensuing Democratic Primary elections, scheduled to be held on Sept 13th, presented a bouquet to Manna Dey and sought his blessings for success.  

The event was jointly sponsored by Ramesh D Kalicharran and Pritam G.Singh, partners, Kali & Danny and Shoraf Sarker, president, SSNT Real Estate. It was co-sponsored by George Subraj & Bros. of Zara Realty Holding, Bawa Real Estate, Ricky & Bros. Const., among others. While congratulating and interviewing the sponsors and co-sponsors, I was struck by their intensity and zeal. It was apparent that the consideration behind sponsoring was hardly financial. They shared their dreams and visions of being a part and parcel of cultural events. I could sense the smile of satisfaction on their proud faces - a satisfaction that can only arise from something deeper than money and profits. It is very heartening to see such successful people sparing their influence and resources to promote culture. Looking beyond money? Answer seems to be a sure yes. 

Soul-stirring experience

Friday, Nov 25, 2005

K.C. ASOK

Maestros Manna Dey and Balamuralikrishna provided a rare treat for music lovers in Thiruvananthapuram.

SCINTILLATING: Manna Dey took the audience on an unforgettable musical journey.

Manna Dey took his seat by his harmonium and running his fingers over the keys, he began singing his all-time hits like `Aye mere zohar-e-jabeen... ' composed by Ravi Bombay, `Yari he Iman mera... ' from the Amitabh Bachchan starrer `Zanjeer', `Ab kaham jaye hum... ,' `Cham cham bajere payaliya... ' and `Surna Saje... ' tuned by Shankar Jaykishan and the ever favourite `Ee rat beegi beegi... ,' Indeevar - Kalyanji Anandji duo's `Nadiya chale chale... ,' Anand Bakshi-Laxmikant Pyarelal's `Shaam Tale Jamuna Kinare... ,' and Rajendra Kishan-Madhan Mohan team's `Kaun aya mere man ke dware... '. The song `He mere pyare vatan... ,' was the concluding piece.

Be it light, semi-classical or Qawwali, he belted numbers one after another to the enthusiastic applause of the audience.

When Manna Dey crooned `Manasa maine varu... ' it was a trip down memory lane for many, as for Malayalis, the song is synonymous with the singer Manna Dey, whose voice had made this a golden hit some 40 years ago.

The troupe had Mahendra Gokhale on the keyboard, Richard Mitra on the lead guitar, Indranath Mukerjee on tabla, Shyam Prasad on the drums and dolak, and Vaman Koli on special effects.

The simple orchestration jelled well with the songs. K.C. Khurana, who has been with Manna Dey as the master of ceremony for about 45 years, gave the show a touch of laughter with his humorous narrations.

Music has become commercial commodity: 
Manna Dey
Neena Bhandari

Music has become a commercial commodity, where a singer’s popularity is judged by how many CDs he sells and not by the quality of his singing, says veteran Indian singer Manna Dey.

Speaking to newspersons here today, Dey who is here to promote Indian culture, says "Today’s singers have cut-throat competition. Music has become a commercial commodity and the choice of words, thoughts and lyrics no longer matters".

Pop songs have come to the fore even with their pedestrian tunes, unqualified singing prowess and meaningless words because they sell, he says adding "today promotion is the key".

Commending young singers, he says "I was pleasantly surprised to see young talent in ‘Tvs Sa Re Ga Ma’. It means, there is no dearth of talent".

To become a good singer, Dey says, one has to have a good voice, a guru for guidance and dedication. "My uncle K.C. Dey initiated me into music. I religiously performed riyaz for a couple of hours daily. I have been a very strict singer, never lackadaisical about rendition of the songs".

Music lovers in Sydney will have a rare opportunity to attend a workshop on classical and non-classical music to be conducted by the versatile single next week.

Even at 81, Dey, who mesmerised audience at the Bengali songs concert here, says "I enjoy singing for the Bangladeshis because they know each and every song of mine by heart. They have kept Bengali music alive, while in West Bengal there has been an influence of Bollywood".

An eight-minute video presentation "An introduction to Manna Dey" by Sydney-based filmmaker Anita Brar was to introduce the singing legend to the expatriate Indian community at a Hindi concert.

Having sung in almost every Indian language and English, the octogenarian singer says, "I wanted to sing on an all-India basis. I have translated Tagore’s songs in Hindi".

In a singing career spanning 50 years, Manna Dey has seen the growth of music in the country. "We are at a stage where we say no more".

He says "In the film industry one has to be on the guard and not make sweeping statements".

"I have rubbed shoulders with great singers like Rafi, Talat, Lata, Hemant and Kishore, who deserve every accolade. Their singing by any yardstick you measure is great."

While drawing comparisons is healthy, to ask someone of Naushad’s calibre "Why did you ask Rafi to sing and not Manna Dey" is ridiculous. Again, Lata Mangeshkar is an institution, there should be no comparison between her and any other singer, he adds. PTI

Music means so much to our lives. It is indeed an integral part of our system, it is that heavenly creation which infuses a lot of spirit in our otherwise dull existence. Music is a driving force that accelerates our emotions and keeps us happy and cheerful. Just listen to some sweet music at the end of the day and you are surely bound to be lost in a totally different world. Though it exists in different forms, music is basically classical in nature. Classical music is the nucleus around which all forms of songs revolve. Any melodious song soothing to the ears is necessarily an offshoot of the basic seven notes of music.

ust recollect this song from the film Basant Bahar by the great composer - writer duo, Shankar Jaikishen - Shailendra, namely ‘Bhaye bhanjana vandana sun hamari daras tere maange ye tera pujari...’. This is a classic example of perfect rendition of a song. The voice behind this song starts off with the alaap very precisely and leads to a fusion of the raag and melody in the right proportion, thus resulting in a smooth flow till the end of the song. The singer being referred to is Manna Dey. Manna Dey got the initial encouragement from his uncle K.C. Dey, a big singer who was one of the frontline stalwarts responsible for the growth of Hindi film music.

Manna Dey’s plus point was his mastery over Hindustani classical music. In Hindi film industry, Manna Dey is indeed a paragon in the field of classical music and can certainly be considered as a reference point. It comes from him so naturally that even a casual song sung by him sounds classical. Manna Dey has sung varieties of songs, all evergreen hits. His songs are always cherished, listening to his voice makes the atmosphere serene. Manna Dey’s expertise in classical music is evident from his songs like ‘Sapt suran teen gram unanchas koti...’ from the film Sangeet Samrat Tansen doing full justice to the lyrics of Swami Haridas, ‘Mitwa laaut aa...’ from the same film, ‘Ud jaa bhanwar maaya kamal...’ from Rani Roopmati, ‘Sur na saje kya gaoon main...’ from Basant Bahar, ‘Tore naina rasile katile hai Raam...’ from Hamdard, ‘Poocho na kaise man rain bitayee...’ from Meri Soorat Teri Ankhen, ‘Laaga chunri mein daag chupaoon kaise...’ from Dil Hi To Hai, ‘Jhanak jhanak tori baaje payaliya preet ke geet sunaaye payaliya...’ from Mere Huzoor, ‘Lapak jhapak tu aare badarwa...’ from Boot Polish and ‘Phool gendva na maaro na maaro...’ from Dooj Ka Chand.

His genius was brought into play when he was assigned to sing a classical song in the film Basant Bahar along with Pt. Bhimsen Joshi, namely ‘Ketaki gulaab juhi champak banphoole...’ - A real treat for our ears. Talking about classical numbers, a notable feature about Manna Dey is that even in some films which have the major chunk of the songs sung by his co-singers, there is a song reserved for Manna Dey, as the song picturised is a classical one like the ones from the films Mehbooba (‘Gori tori painjaniya...’), Talash(‘Tere naina talash kare...’), Buddha Mil Gaya (‘Aayo kahan se ghanshyam...’) and Jane Anjane (‘Cham cham baaje re payaliya...’).

Some of the finest duets too have come from Manna Dey. Here are a few examples - ‘Dharti kahe pukar ke beej bichale pyar ke mausam beeta jaaye...’ and ‘Hariyala saawan dhol bajaata aaya...’ from the film Do Bigha Zameen, ‘Pyar hua ikrar hua hai pyar se phir kyun darta hai dil...’ from Shree-420, ‘Nain mile chain kahan dil hai wahin tu hai jahan...’ from Basant Bahar, ‘Ye raat bheegi bheegi ye mast fizayen...’ and ‘Aaja sanam madhur chandni mein hum tum...’ from Chori Chori, ‘Chad gayo paapi bichua...’ from Madhumati, ‘Jhoomta mausam mast mahina - yala yala dil le gayi...’ from Ujala, ‘Bheegi chandni chhayi bekhudi aaja daal de bahon mein apni baahein...’ from Suhagan, ‘Dil ki girah khol do chup na baitho koi geet gaao...’ from Raat Aur Din, all these duets with Lata Mangeshkar, ‘Tu chhupi hai kahan main tadapta yahan...’ from Navrang, ‘Mere jeevan mein kiran banke bichadnewale bolo tum kaun ho...’ from Talaq, ‘Saanj dhali dil ki lagi hans chali pukar ke...’ from Boot Polish, ‘Ye hawa ye nadi ka kinara...’ from Ghar Sansar, ‘Re man sur mein gaaye...’ from Lal Pathar. ‘Aan milo aan milo shyam sanware...’ from the Dilip Kumar enacted Devdas and ‘Main tere pyar mein kya kya na bana dilbar...’ from Ziddi with Geeta Dutt. Even in some not-so-familiar films, we have some superb duets from Manna Dey like ‘Zulfon ki ghata lekar sawan ki pari aayi...’ from Reshmi Roomal with Asha Bhonsle, ‘Kanha jaa re... teri murli ki dhun sun sapnon mein...’ from Tel Maalish Boot Polish with Lata Mangeshkar, ‘Aankh mein shoki lab pe tabassum dil mein shararat tauba tauba...’ from Reshmi Roomal, the very pleasing ‘Tum jo aao to pyar aa jaaye zindagi mein bahar aa jaye...’ and ‘Ye din din hai khushi ke aaja re aaja...’ from Jabse Tumhe Dekha Hai with Suman Kalyanpur.

Another speciality about Manna Dey was that he is not identifiable with any particular actor. He was the character’s voice and such songs were utilized to bring out the depth in the particular scene. A splendid example is that of our veteran actor - Pran. The song sung by Manna Dey for him in Manoj Kumar’s Upkar - ‘Kasme waade pyar wafa sab baatein hai baaton ka kya...’ emerged as the turning point in Pran’s career. This song signalled the arrival of Pran in character roles. This was again proved right by the duo a few years later in the film Zanzeer with the Qawwali ‘Yaari hai imaan mera yaar meri zindagi...’. Other songs by Manna Dey which came handy for the directors were the background songs sung by, say a boatman or some other character in the film such as ‘Mat ro mata laal tere bahu tere...’ from the film Bandini, ‘Chali Raadhe rani akhiyonmein paani...’ from Teesri Kasam, ‘Jeevan se lambe hai bandhu...’ from Aashirwad, ‘Nadiya chale chale re dhaara...’ from Safar, ‘Door hai kinara...’ from Rajshri’s Saudagar and the song with Lata Mangeshkar as peaceful as the ocean waters ‘Shaam dhale jamuna kinare kinare...’ from Pushpanjali.

The light songs Manna Dey sang also proved to be quite popular with the masses. ‘Ae meri zohra jabeen tujhe maaloom nahin...’ from Waqt, ‘Kisne chilman se maara nazaara mujhe...’ from Baat Ek Raat Ki, ‘Hato kaahe ko jhooti banao bathiya...’ from Manzil ‘Ye do deewane dil ke chale hain dekho milke...’ from Johar Mehmood In Goa co-sung by Mohd. Rafi, ‘Chunri sambhal gori udi chali jaaye re...’ with Lata from Baharon Ke Sapne, the Mehmood numbers ‘Aao twist karein...’ from Bhoot Bangla, ‘Jodi hamari jamega kaise jaani...’ with Asha Bhonsle from the film Aulad and the all time great comedy number from Padosan - ‘Ek chatur naari badi hoshiyar...’ with Kishore Kumar are few such examples and prove his versatility.

The song from the film Anand - ‘Zindagi kaise hai paheli haaye re kabhi tho hansaaye, kabhi ye rulaaye...’ - sung by Manna Dey, lifts your morale and encourages you take things in the right spirit. It also seems to be the maxim by which he lived his life.