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| Ai
Mere Pyare Watan |
By
Kavita Chhibber |
| At 84, Manna Dey is
fit as a fiddle. |
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He
is perhaps the last of the living legends
among male singers, gifted with a unique
voice no one has managed to ape till now.
While you come across clones of other legendary
singers in the present day world of vocal
music, Manna Dey remains as original and
incomparable through the years. At 84, he
is fit as a fiddle, and recently sang for
four hours to raise funds for the Robin
Raina Foundation in Atlanta, a charity to
aid under privileged children worldwide,
because he deeply believes in the cause.
In an exclusive interview with Little India,
the elegantly clad Dey talks about a life
filled with music, his journey as a singer
and composer and why in spite of the consensus
he never received his due as a singer, he
takes it all in his stride with humor and
humility.
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What are the early
memories of growing up and music?
In my formative years I was surrounded
by music because of my uncle, the famous
singer K.C. Dey, but until he became blind
at the age of 13 and turned to music to
support himself no one in the family was
musically inclined. A benefactor took
him under his wing because he thought
my uncle was a musical genius, which he
was, and made him learn at the feet of
great ustads.
Uncle in turn imparted that knowledge
to my late brother and me, but he made
it very clear that to deserve that kind
of musical education, we had to desire
and work for it.
Other than that I don’t really
come from a family of musicians, though
several legendary musicians like Allauddin
Khan Sahib, Inayat Khan, the late Vilayat
Khan’s father and many other maestros
visited our house, since they were my
uncle’s contemporaries. |
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We lived
in a joint family and still do, in the same
house where my father, uncle and I were
born. Still it was made very clear to me
by my father and my eldest uncle, who was
an engineer and the self appointed decision
maker for every one in the family, that
I had to finish my education first and preferably
do law. When I finished my undergrad studies,
there were two choices before me, to study
law or music. I chose the latter. My father
wasn’t too pleased with my choice,
but I got tremendous support from my uncle
and started learning from him. K.C Dey never
married, so I became the son he never had,
and he was instrumental in helping me realize
my dreams as long as I was willing to make
the necessary sacrifices. Until then I had
no formal musical education.
Having said that I must add that like most
Bengali house holds music was a part of
our upbringing, so I would sleep and wake
up to the sounds of music and subconsciously
and consciously began to imbibe all that
I had heard around me, and later when I
did get into it, uncle did not have to teach
me from scratch.
So did you ever go through the tough
regimen of learning music where the gurus
punished their students-one hears stories
of incessant hours of torturous practice,
scoldings, Ali Akbar Khan was even tied
to a tree!
I’m afraid that is an approach I
don’t think much of. My uncle was
a hard task master, but never unkind or
cruel. He was strict and the day I decided
to become a singer he gave me a tanpura
and expected rigorous practice from me.
I was very fond of outdoor sports like
boxing, wrestling, I used to love flying
kites and had a very cavalier attitude
and so when I should have been practicing
music I would be out playing sports and
in turn he would scold me but never in
the horrible way some people treated their
students. His concern was out of love
and he wanted me to focus and apply my
mind.
He was the pioneer in introducing
sugam sangeet or light music to the masses.
Yes and actually a lot of people didn’t
know that my uncle was a classically trained
singer and used to sing dhrupad, dhamar,
khayal, thumri, tappe and ghazal. He was
very versatile, and in those days when
every one was singing only classical,
my uncle became a pioneer of sugam sangeet
or light music. It was a master stroke.
I can’t fathom how it even dawned
on him that somehow the appreciation for
classical music is very limited and that
simplifying music would garner a much
wider audience for him and it did. He
modeled his music in a way that the common
man could listen and identify with it.
As a result he was worshiped in Bengal.
When he started singing and working in
Hindi movies and theatre, his songs became
a rage all over India. I remember going
to Karachi with him and when my uncle
began singing songs like Baba Man ki Ankhen
Khol and Teri Gathri Mein Laga Chor Musafir,
the entire audience started singing with
him. That was an unforgettable experience
in itself.
You yourself seem to be fonder of
sugam sangeet even though you have amazing
classical range and mastery.
Learning classical music is essential
for a strong foundation, but frankly I
was not cut out for classical singing.
I just don’t appreciate the fact
that you sit there singing the same raga
for 2-3 hours. It is too repetitive and
really tries the patience of the listener.
K.C. Dey was the greatest influence in
my life and my style of singing has been
aligned with his right from the beginning.
I also seem to have this ability to grasp
things quickly, and I could reproduce
what my uncle played on tabla and sang
with great accuracy. My uncle was also
very particular about the company he kept
and wanted me to keep. He didn’t
want me around unsavory people. Good influences
and wholesome friendships were very crucial
and I follow that to this day.
You left Calcutta and went to Bombay
to try your hand at singing there. How
was the journey?
The music in Calcutta was getting on my
nerves. It was nothing but Rabindra sangeet
and so I decided to go to Bombay not realizing
it would be pretty tough. Firstly I was
Bengali and thus an outsider and I would
hear comments like, “Arey Bengali
Babu go back to Bengal and eat your rasgullas,
and stay there.” I went with my
uncle so that made it a bit easier. I
worked as his assistant for 5 years and
was paid the princely sum of Rs 500 in
those days.
I got my first break at the age of 22-23,
when I sang Upar Gagan Vishal for the
film Ram Rajya and was immediately branded
as a singer of religious songs. I was
constantly approached to sing for old
bearded characters in movies and I was
barely in my early twenties. It was a
very trying time for me. I sang the song
Chali Radhey Rani Akhiyon Main Pani for
well known film maker Bimal Roy. It became
a big hit and Bimal Roy said Manna have
you seen the song on screen? I said no,
he said you must go and see for yourself
how deeply it continues to move the audience.
I went and what do I see: another old
man with a beard singing the song and
I got so mad. I was in two minds whether
to return to Calcutta or to stay on and
not give up.
Was it true that there used to be
a clique and music directors stuck with
certain singers and didn’t give
other a chance.
I don’t know about cliques and there
is nothing wrong in struggling. I think
we all had a quota, and it wasn’t
as if I sang everything music directors
composed or others did. Yes there were
favorites but that is part of the game.
You have sung for so many legendary
music directors. Can you share memories
of those times.
Yes I did sing for all of them. S.D Burman
was in a league of his own. I knew him
from the time I was a child as he would
come and study music under my uncle. I
was always attracted to Burman da because
he looked like a chinaman and I used to
sit next to him and watch him sing. I
loved his nasal tone and style of singing
and used to imitate him in college days
and sing like him. The way he sang was
very typical of East Bengal and his accent
remained the same even when he sang in
Hindi. His voice was very distinct and
he became a trendsetter. There is no one
who can sing Wahan Kaun Hai Tera Musafir
like Burman da did. He loved me a lot
and we often played tennis together. He
was kind enough to say that if someone
composes lyrics from his heart, the only
singers who can put soul into those lyrics
are Lata Mangeshkar and Manna Dey. It
was always at the back of my mind to live
up to his expectations. He mentioned some
songs that I had sung with such emotion
Poocho Na Kaise Maine Rain Bitaye and
the song that moved him was the famous
Ai Mere Pyare Watan from the film Kabuli
Wallah.
We were rehearsing the song and a close
friend of mine Mr. Sharma was listening
and came out and said Manna your voice
is sounding very listless. There is no
pizzaz. What are you singing? SD Burman
retorted that on the contrary that was
exactly the way the song was to be sung.
It was being picturized on a man who was
a poor kabuliwallah from Afghanistan who
worked all day and would return to this
crowded home he shared with others and
while others would sleep, he would take
out his rabab and sing yearningly of the
land he left behind. I couldn’t
have sung it in a robust manner. When
music director Salil Chaudhry heard it
he wept.
Salil was a personal friend and not just
a musical genius, he was also a writer
par excellence and his lyrics were in
great demand and are to this day even
though he passed away long ago. He was
an intellectual in the true sense of the
word. Any time you sat down with Salil
you returned enriched on so many other
subjects.
Shankar Jaikishan gave me some amazing
songs to sing. I was closer to Shankar
and he truly appreciated my voice and
for 20 years the duo gave me songs that
will remain evergreen for years to come.
Their diversity and creativity was unbelievable
I remember when Bharat Bhushan had become
a big star, Mohd Rafi used to sing all
his songs, Shankar created a beautiful
song in his film Baiju Bawra which was
being produced by Bharat Bhushan’s
brother Shashi Bhushan. Shashi on finding
out that I was singing the song came over
and protested. He wanted Rafi to sing
it. Shankar persisted and told him it
was either me or he could find another
music director. That s how I came to sing
Sur Na Saje Kya Gaoon Mein which became
a huge hit. After Shashi Bhushan heard
that song he came and hugged me and acknowledged
that no one could have sung it as well
as I had.
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| Shankar also gave you
the opportunity to sing the duet Ketaki
Ghulab Juhi with classical singing legend
Bhimsen Joshi. How tough was that?
My God that was a story in itself. Shankar
told me Manna tighten your belt you are
going to have the time of your life with
the next composition. You are going to sing
a classical duet with someone. They didn’t
tell me who. I said sure and started practicing.
After a few days I was told please come
over, the tune is ready and the singer with
whom I was to sing the duet was none other
than Bhimsen Joshi. The duet was between
the hero and his rival and I was supposed
to sing for the hero and win. I got the
shivers and said I can’t sing against
Bhimsen Joshi and win, its impossible.
So I went home and told my wife, lets abscond
somewhere for a few days and come back when
Shankar Jaikishan have found some one else
and completed the recording. |
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My wife looked at me and said shame on you,
how dare you even suggest something like
that? Besides you are singing for the hero,
you have to make him win. It was a very
difficult song, but I gave it my all and
afterwards Bhinsen Joshi was kind enough
to say Manna Sahib, you sing quite well.
Why don’t you sing classical music
and take it up seriously? I said maybe it
came out well because I was singing before
someone like you and was inspired to give
my best, but that is where it stays!
Anil Biswas also came up some brilliant
compositions for me, but it was Roshan who
really challenged me. You will understand
what I mean if you listen to Na To Caravan
Ki Talash Hai. Roshan warned me, Look Manna,
Rafi is singing for the hero, but you are
singing for the Ustad(maestro). The difference
should show. When I rendered the alaap for
that even Roshan was stunned. He said indeed
you have proved yourself.
Most music directors let me improvise, but
Naushad Sahib was immovable. It was either
his way or no way! C Ramchandra was very
exacting too, but then I learnt a lot from
him. He taught me how important clear diction
and pronunciation were, and would not allow
any word to be mispronounced. As it is,
I’m very particular about pronunciation
and you will see it in all my songs even
the regional ones, but C Ramchandra was
even more meticulous.
Anil Biswas also said that you were
the only singer who took notation for every
song and had it done in one take, and that
you could sing everything Rafi or Kishore
or Mukesh or Talat Mehmood could sing, but
they could not sing everything you sang.
That is very generous of him. He was very
fond of me, but I don’t think there
is anyone to touch Mohd Rafi. It is true
I took notations and got every song right
in one rehearsal. I even tried to teach
Lata and Asha how to take notations, but
these girls after the initial enthusiasm
of wanting to know would not follow through!
Tell me about Rafi. Not too many people
know that you pulled Rafi out of a chorus
line and gave him his break.
Rafi was junior to me and did sing very
often in the chorus when I sang the lead,
but then I found out what a rare talent
he had and knew he would be incomparable
in any field, but especially in the field
of film singing. There were some songs of
mine that were in a league of their own,
but in Raft’s case anything he sang
was incredible. In fact there were times
my uncle K.C Dey would be composing a tune
and I would assist him. Once he was composing
a song for a film called Justice and I was
assisting him. When the tune was ready he
said “Let Rafi know.” I said,
“Know what,” and he said, “That
the tune is ready and he has to sing this
song.” I felt very hurt and said.
“why? Can’t I sing it?”
My uncle said, “No you cannot, only
he can sing this.” I swallowed my
pride and fetched him and then after he
finished recording, I realized that indeed
I could not have sung it as well as he did.
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| Who did you enjoy
singing with more, Lata or Asha?
I have sung more duets with Lata than
I have with any one else. I first met
Lata at a rehearsal with Anil Biswas.
I saw this dark, ill clad girl sitting
nearby and after finishing my rehearsal
, Anil said, “Manna this is the
daughter of Dina Nath Mangeshkar. Have
you heard her sing?” Her father
had passed away and they had come upon
hard times. I sat down to listen to her
and the moment she started singing I realized
this was a prodigy sitting before me.
Both sisters are incomparable, but Asha
is very versatile and singing with her
meant impromptu improvisations, and we
would go back and forth, testing and challenging
ach other. It was a lot of fun. People
say the two sisters wouldn’t let
any one else come into the industry. I
say even if that was true, there was still
no one who could come close to them in
terms of talent and hard work.
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Which
is the song you look back at and say, what
an amazing composition and I have done full
justice to it?
The one I sang for Manoj Kumar’s film
Upkar, Kasme Vaade Pyar Wafa Sab. It was
filmed on Pran who always acted as a villain
in films. This was a sympathetic role for
him and it changed the course of his acting
career. He called me and said, Mannaji I’m
getting an opportunity to have a song filmed
on me for the first time. Manoj will explain
my role to you, please don’t make
it so tough that I can’t do justice
to your rendition on screen. Manoj and I
started rehearsing that song in the morning.
in between he escorted me to a function
where I had to sing and then we returned
and finished the song. Manoj was so dedicated
and the way he would immerse himself when
I sang was very gratifying. What
about Raj Kapoor? Even though he used
Mukesh for most of his songs, he had you
sing some wonderful numbers for him.
I was very fortunate to sing and work
with film makers of his stature. Every
song recording under Raj Kapoor was an
unforgettable event in itself. He left
no stone unturned to make it the best
possible presentation. Often he would
sit with a dholak (Indian percussion instrument)
and would say let’s have fun. During
the recording of Pyar Hua Ikrar Hua from
the film Chori Chori, we were recording
with a full orchestra and kept waiting
for Rajji to show up. He was very late
and arrived just as we were going to pack
up. He was so humble he would touch people’s
feet and beg forgiveness, then ask for
a round of tea, and then we got to it.
As we sang Raj asked for extra space and
took an umbrella and envisioned the scene
as we sang. We started in the morning
and were rehearsing till 10 p.m., because
he was so engrossed in it. I also remember
when I sang the song E Bhai from Mera
Naam Joker which netted me the Filmfare
award. I was away at a program and returned
around 1 p.m. As we started rehearsing
Rajji who had such a keen ear for music,
felt we needed to add a violinist. Five
violinists were rounded up auditioned,
trained and then we started recording.
That was the kind of dedication and meticulous
work that went into film making in those
days.
Mehmood passed away recently. You
have sung some amazing numbers for him,
Ek Chatur Naar with Kishore, Phul Gendwa
Na Maro. Mehmood had become the kind of
actor, where films were written around
him. How was the experience singing for
him?
Absolutely wonderful. Mehmood would sit
down with me and take notes, asking me
how I sang, watching me render the lines
so he could bring all the movements in
my voice, the emotions into his acting
on screen. He was a very kind man and
full of fun.
People cannot stop raving about your
Bengali compositions.
I have sung about 2,500 songs in Bengali
and composed the music for about 95 percent
of them. You won’t believe this,
but every single household in West Bengal
and East Bengal which is now Bangladesh
has those songs. Wherever I perform they
know each and every song of mine. If I
forget the lyrics the audience hums it
for me. It overwhelms me with gratitude.
For me it is wonderful to see the large
number of people that still love my songs.
I sang before 5,000 people recently in
New York. It was some sort of festival
and I said to the organizers, “You
want me to sing here where people are
busy shopping and eating?” They
said you don’t realize the power
of your singing, just start. I did and
people stopped everything and listened
with such attention and in silence.
Does it surprise you that we have not
had a Manna Dey clone till this day while
many people have cloned their voices on
Rafi and Kishore?
Well it’s no fault of mine! The
voice is God given, but I have worked
hard to improve it. I do have to say though
that I recently heard a Maharastrian,
a young man sing my songs, and some very
difficult songs at that with such incredible
beauty that I was totally surprised. He
sang Laga Chunari Mein Daag so well that
even I sat there amazed. I guess my voice
and unusual style of renditions did help
me carve a place for myself and maybe
in general it is difficult to mimic.
What do you think of today’s
music? And why have you eased yourself
away from singing in films?
Can you single out one composer today
who is the caliber of the musicians of
my times or knows what he is doing? Whatever
is happening in the field of music is
very unhealthy. Thanks to music videos
anyone and ever one can become a singer,
so one good thing has happened, even if
they don’t know how to, every one
sings! When there are songs like Main
to seeti baja raha tha, bhelpuri kha raha
tha, tujhe mirchi lagi to main kya karoon,(I
was eating bhelpuri and whistling and
if you thought the chilies were too spicy
what can I do?) what do you expect? Even
regional music is cloning itself on Bollywood
music. I think with the exception of Amir
Khan and Yash Chopra I don’t see
anyone else creating the kind of films
that require good music. I like Sonu Nigam,
Alka Yagnik and Sunidhi Chauhan as singers,
but even they are not getting the kind
of music that can exploit their real talent.
I still sing and do select shows. I’m
in good health, both my daughters are
wonderful singers and chose not to get
into the industry. They saw the cutthroat
competition between Lata and Asha and
that put them off. Both of them are professionals.
In fact my older daughter works for Sun
Microsystems in California. I have a wonderful
wife whom I love dearly and I live a disciplined
life. More than anything else I am grateful
that there are so many people who deeply
appreciate the kind of music I believe
in and show up to hear my songs. And that
is good enough for me.
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