Runa laila: Magic of Bengal

First Previous

Page

Frequent Posters

Bob Chowdhury

@Qwest

Inactive

Posted: 17 years ago

#141

Kumar thanks for sharing such a true article there more to this news that I personally know.

Were Laila to have made India her home, it would have been tough going for them. As a result, producers and directors were served an ultimatum: "It's her or us." Producers trod the path of caution. The opportunities petered out and Laila became history for Indian listeners.

Quote

Kumar

@trishancku

Voyager

Posted: 17 years ago

#142

^^^Bob da, it is a mystery that such a talented singer couldn't get a foothold in the Hindi film industry was it because of her minutely husky voice?. I liked her songs in the film Gharonda especially "Tumhe ho na ho" & the duet with Bhupinder "Do diwane"

Quote

Looks like you are new here. Register for free, learn and contribute.

Bob Chowdhury

@Qwest

Inactive

Posted: 17 years ago

#143

Runa rocks Chennai

That Runa Laila has not lost her touch with her music or her fans was evident at the finale of the November Fest

PHOTO: S. THANTHONI

SILKEN VOICE Bangladeshi crooner Runa Laila "It was wonderful. We just heard 'Damadam Mast Kalandar'," gushed an overwhelmed Runa Laila fan into the cell phone. "Aah, it's over," sighed an old gentleman, bent over with age and eagerness to take in the programme to the full. "Today, I have no eyes for Kamala auntie. I have eyes only for Runa. I'll go over and say hello," said one with a twinkle in the eye, even as a child tugged at someone's sleeve, insisting "I want to go with you," in case he too planned to go up and greet the queen of Kamaraj auditorium on Friday evening. It was the closing evening of The Hindu Friday Review November Fest, when the popular music diva of the 1970s and 1980s performed to a huge crowd that couldn't seem to get over its luck. Entering the stage to tumultuous applause, Runa began with a Bengali folk song that went down well with her audience. Though what would not have gone down well with such a giddy public would be hard to say. The adoration cut across generations. Everyone, from Governor Surjeet Singh Barnala downwards, seemed to be there. And even if there were some smirks at this attempt to recreate the magic of two decades ago, they turned into smiles of admiration soon enough, at the sheer energy, the stamina of this singer, and, yes, the powerful clarity of a voice still versatile, still charmingly silken. The accompanists Jahangir Hayat Khan (keyboard), Mohammed Sadeque Ali (octopad), Milan Bhattacharjee (tabla), Salim Haider (lead guitar), Fouad Naseer (bass guitar) and Mannan Mohammed (keyboard) gave sustained and enthusiastic support. The new world keyboard gave the old world ambience by being set to harmonium tones. Dyed-in-the-wool show woman that she is, Runa dedicated a Punjabi folk song to the Governor. Early in the evening, the radiant vocalist offered to cater to requests. The clamour that ensued, with different types of songs being asked for, made her alternately laugh and sigh. Known for songs she herself referred to as "jhin chuck", Runa admitted to having expected a serious Chennai audience! In the end, she obliged both camps, with a fair sprinkling of the peppy numbers tossed along with the ghazals she is well known for. "Ranjish Hi Sahi" with its longing ache, "Aaye Kuch Abr" of Faiz Ahmad Faiz, "Baat Karni Mujhe Mushkil" of Bahadur Shah Zafar, the composition allowing her to revel in its classical touches... number followed number, some planned, some acquiescing to audience demand. Runa showed she has not lost her touch, either in terms of audience rapport or the sincerity she brings to each rendition. Some of the impromptu snippets, which she said she was singing "off the cuff", were rather beautiful. The line "Main Jaanoon Nahin Prabhu Se Milan Kaise Hoye", sung with no instrumental backing, was particularly haunting, as were the shers she sang later on. Thunderous clapping accompanied the jiving "Hum Bande Pyar ke Maangein Sab Ki Khhair", a song from her album "Super Runa" that was later incorporated as playback for Jayaprada in the Hindi film Sharabi that starred Amitabh Bachchan. Preceding the song with a message of love and peace from the people of Bangladesh, Runa grabbed her mike and got down from the stage, giving audience members a chance to sing the stanzas. Utilising the interval to change her brilliant blue chiffon sari for a black one with silver work, Runa continued with a bhajan. Meanwhile, her black-suited accompanists shed their coats one by one. The heat was mounting, but that didn't mean energy flagged. Old favourites such as "Mera Babu Chhail Chhabila" and "Mujhe Aayi Na Jag Se Laaj" were belted out with occasional bursts of jig that elicited delighted whooping. With "Damadam Mast Kalandar" reverberating through the night, the concert came to a close. There was no need to bring the curtains down. Runa Laila had brought the house down already.

ANJANA RAJAN

Edited by Qwest - 17 years ago

Quote

Bob Chowdhury

@Qwest

Inactive

Posted: 17 years ago

#144

http://www.youtube.com/watch?v=CIyrlTwEuYY

Dama Dam Mast Qalandar

Edited by Qwest - 17 years ago

Quote

Kumar

@trishancku

Voyager

Posted: 17 years ago

#145

Sweet success

Runa Laila, the singing sensation of 1970s, mesmerised her listeners with her sensuous voice

Photo: V. V. Krishnan

Mellifluously yours Bangladeshi singer Runa Laila's voice has stood the ravages of time wonderfully "O Mera babu chhail chhabeela meh to nachoongi…", the melody of the '70s comes wafting through, reviving images of a petite singer who had the youth swinging, as her pop numbers created a new generation of music followers.

Even as the traditionalists felt threatened, she gave a glimpse of her range with an impeccable rendering of "Ranjish hi sahi", immortalised by legends like Mehdi Hasan and Ghulam Ali. She also ventured into playback singing, commanded a loyal fan following, and came to be known as one of the finest voices in the sub-continent.

"Salaam Walekum," she greets you. Her voice melodious as ever; the grace that marked her personality not eroded by time. Runa Laila, the sensation of the 1970s, is fresh and forthcoming as she joins us for lunch.

Runa was a rage when she first visited India in 1974 when her "Dama dum mast kalandar" topped the charts. "Believe me, I have never felt I am not an Indian. The affection and warmth that I have enjoyed from the people of India is my best treasure." "Melody was paramount in our days. We had idols like Lataji and Ashaji to look up to. I would quietly sing their songs and my riyaaz was my most important part of the day. I chose the most difficult songs for my riyaaz. We really had to work hard. There were times when one song would demand three days of training with the artist, lyricist, composer and the musicians engrossed in giving their best."

"I like these talent hunt shows. Some of the youngsters are exceptionally gifted. But I want them to remember that classical training is a must if you want to make a career of it. Classical training provides you a platform that helps you grow as a singer or a composer."

Runa loves her food and as she calls for some more fish, "Music is my passion. I travel a lot for my concerts. I can't live without music. If I don't sing for three days I feel I have become useless."

Before the dessert arrives, one mentions Gharonda, the 1977 movie that featured two gems from Runa. "I enjoyed working with Jaidev saab (the composer). It is sad I couldn't do Hindi movies regularly because there were restrictions on foreign artists performing in India. That is why I feel there should be no borders for artists. We should be allowed to travel freely."

One final question; was she not ahead of times? The rasagolla disappears in her mouth and she now eyes the kulfi. "Maybe yes, maybe not… I enjoyed my work. To some extent I think some of my songs were ahead of times. They were peppy, there was no screaming or shouting. Melody was not lost and there was quality because the competition was tough but very healthy. We had respect for our colleagues. I think we all managed to remain original. I have always believed that it is important to have your own identity. I can never be in the same league as Lataji or Ashaji but I must have my own identity."

Runa Laila surely has her own identity and fans have come to love this charming ambassador from Bangladesh for her voice which has stood the ravages of time so wonderfully. She still leaves you swinging as she hums, "Mera babu chhail chhabeela, mai to nachoongi…"

VIJAY LOKAPALLY

http://www.hindu.com/mp/2007/11/03/stories/2007110351260300. htm

Quote

Kumar

@trishancku

Voyager

Posted: 17 years ago

#146

Q&A: 'Music transcends all boundaries'
9 Nov 2007, 0047 hrs IST

The singing sensation from Bangladesh Runa Laila's recent performance in Delhi was as enchanting as her first in the country in 1974. An overwhelmed Runa tells Narayani Ganesh that she is convinced of the power of music to bring people together:

Why do you say that music knows no borders?

Music reaches out to people even when other ways cannot. Music is not circumscribed by language, it touches peoples' hearts; it is the biggest common denominator that brings together people of all hues. Since music transcends all boundaries, it brings peace, harmony and love. You saw the response. Performing artistes and singers can actually send out the message of love more effectively; people listen to us.

I think in the spirit of SAARC we should do away with visas and let people travel freely and get to know each other. You have many singers from Pakistan coming here. The song that James from Bangladesh did for Bollywood movie Gangster - 'Na jaane koi' - is so popular. This is good. We' re open to integration. More Indian artistes should perform in Bangladesh. These kind of people-to-people connection breaks down barriers.

Was there resistance initially to your interactive style?

Earlier, singers would either sit or stand in one place while performing. I started doing it differently, for the first time in Karachi. In the 1960s, I did a TV show Bazme-Laila, performing five songs in different moods, wearing different hairstyles, clothes and jewellery to suit the mood. I got panned for doing this. But it caught on with youngsters.

When i performed in India, people thought the interactive style was so much more fun. The audience is an integral part of your music, especially when you are on stage. You have to get them involved. People like that. Anything new faces resistance from those who don't like it. I managed to win over them eventually.

What do you think of innovations in music in the subcontinent?

I tend to mix my songs while performing because my audience is a mixed one. But if you are moving with the times, you also need to retain the essence of the original composition. Mera babu chhail chhabila mein to naachoongi has been remixed too. I like fusion. It adds a younger perspective. Asha Bhonsle is amazingly versatile and she's willing to experiment. So she also appeals to the younger generation. It's a rewarding experience to build a rapport with the audience.

You like being called the Damadam girl?

Damadam mast qalandar is an amazing song that is sung at Hazrat Shawaz Qalandar's shrine in Pakistan. Every time I sing that song on stage, something happens to me; i get gooseflesh. Even the audience seems to get transported to another dimension. It is an intense spiritual experience. That's why it has to be the last song in a performance.

Quote

1 ... 11 12 13 14 15

Laila

Runa laila: Magic of Bengal - Page 15

Related Topics

Explore Topics