Down Melody lane

DOWN MELODY LANE

SUMAN KALYANPUR

I always enjoyed Suman Kalyanpur's voice, esp. with her duets with Mukesh (she had quite a good amount!)

You can tell the difference between both voices. Lataji sounds more sharper, while you can hear a tinge of nasal in Sumanji's voice. In her later recordings for films like Badalte Rishte and Nasseb, she slowly began to sound more clearer and less like a Lata clone.

She also has a sister, Shyama Chittar, who sang in two of Manoj Kumar films. She sang the end of the happy version and the sad version of Om Jaya Jagadisa Hare from Purab Aur Paschim (a trio between her, Mahendra Kapoor, and Brij Bhushan). She made a brief cameo as playback for Saira Banu for the song "Purva suhani aayi re" of Purab Aur Paschim. She also sang in the film "Shor" with Manna Dey and Mahendra Kapoor for the song "Jeevan Chalne Ka Naam."

Originally posted by: kishore_bhakta

I always enjoyed Suman Kalyanpur's voice, esp. with her duets with Mukesh (she had quite a good amount!)

You can tell the difference between both voices. Lataji sounds more sharper, while you can hear a tinge of nasal in Sumanji's voice. In her later recordings for films like Badalte Rishte and Nasseb, she slowly began to sound more clearer and less like a Lata clone.

She also has a sister, Shyama Chittar, who sang in two of Manoj Kumar films. She sang the end of the happy version and the sad version of Om Jaya Jagadisa Hare from Purab Aur Paschim (a trio between her, Mahendra Kapoor, and Brij Bhushan). She made a brief cameo as playback for Saira Banu for the song "Purva suhani aayi re" of Purab Aur Paschim. She also sang in the film "Shor" with Manna Dey and Mahendra Kapoor for the song "Jeevan Chalne Ka Naam."

Kishore_bhakta da, Please I will request you to do that for me with your knowledge and expertise it will be a great honor for me and all in the (IF) forum.

Summan Kalyanpur The information I could gather from the through researching Internet and doing reading lot of film magazine.

-- Born on 28th January 1938 in Dacca (now in Bangla Desh). In some place that I find that it is 26^th January 1937 I am not sure which one is correct. Suman Hemadi was her maiden name. Her father was a Bank employee. Her family came in Mumbai during World War II. Mangu was the first Hindi film she sang in. MD was Mohd. Shafi. She was awarded Swarna Kamal in 196a by the Governer of Maharashtra. During the rift between Lata Mangeshkar and Mohd. Rafi, Suman Kalyanpur got so many songs which otherwise would have sung by Lataji. I recall an Interview with MD Khayyam over phone for his views on Suman Kalyanpur. According to Khayaam Saab, she was hardworking and totally devoted to her work. She never mined for as many rehearsals for her songs.

Following songs I enjoy listning os Suman Kalyanpur

(1) Chand Takta Hai Idhar (duet with Rafi Saab in Duj Ka Chand)
(2) Sharabe Sharabe Ye Sawan Ka Mausam (MD again Roshan, film: Nurjahan?)
(3) Jo Hum Pe gujarati Hai (Mohabbat Isko Kahte Hain - MD: Khayyam)
(4) Thaheriye Hosh Men Aa Lu To Chale Jaaiyega (duet with Rafisaab in above movie)
(5) Kaheti Hai Jhuki Jhuki Nazar Dil Ne Dhadakte Di Hai Khabar (Film-?)
(6) Teri Palko Men Kajal Ai Hasina Ham Se Behtar Hai (duet with Rafisaab, Khayaamsaab like music, film unknown)
(7) Tumse O Hasina Muhabbat Na Maine Karni Thi (duet with Rafisaab in Farz)
(8) Aaj Kal Tere Mere Pyar Ke Charche Har Zaban Par (duet with Rafisaab in Brahmachari)
(9) Mere Mehboob Na Jaa Aaj Ki Raat Na Jaa (Nur Mahal, MD: Janibabu)

I personally feel that though Suman Kalyanpur always remained under Lata 's shadow, she has sung so many memorable songs and that her contribution to HFM cannot be ignored. There is a big gap of nearly 13 years between her and Rafisaab but this is never evident in all her songs with Rafisaab. Whom the credit should go for the same Suman Kalyanpur, Rafisaab or both! I hope our forum will be able to give us the correct date and year of birth of Sumnaji's birthday.

I like her duets with Mukeshji.

yeh geet kisne cheda (Meri Surat Teri Aankhen)
Mere Pyaar Bhi Tu Hai (happy+sad from Saathi)
Aaya Na Humko Pyaar Jatana (Pehchaan)
Woh Kahan Se Laaun (w/Sharda in Pehchaan)
Aap Se Humko Bichade Huye (very sentimental song... Manhar duet from Vishwas)
Tu Mera Din Hai Mein Teri Raat (funny song from Sanyasi)
Chura le na tumko yeh (Dil hi to hai)
Dil ne phir yaad kiya (w/ Mohd. Rafi in Dil Ne Phir Yaad Kiya)

Other songs include
Na jaane kaise (w/ Kishore Kumar and Mohd. Rafi in Badalte Rishte)
Zindagi Imtihaan leti hai (the song with ALL clones)
(w/ Dr. Kamlesh Awasthi and Anwar)

Mukesh & Suman Kalyanpur

1. BAHARON SE PUCHHO MERE PYAR MERA GHAR MERE BACHCHAY 1960
2. MANO YA MANO,MERI ZINDAGI KI FIRST LOVE &n bsp; 1961
3. SHAMA SE KOI KAH DE KI TERE JAI BHAWANI   ; 1961
4. YE MOUSAM RANGEEN SHAMA MODERN GIRL &n bsp; 1961
5. SUNO JI EK BAAT TUM HAMARA OMAR QAID &n bsp; 1961
6. TARON KI THANDI CHHAINYA NAAG DEVTA & nbsp; 1962
7. NAJAR KO SAMBHALO YE KYA HO KOBRA GIRL &n bsp; 1963
8. CHURA LE NA TUMKO YE MAUSAM DIL HI TO HAI &nb sp; 1963
9. JA JA JA CHHOOD DE O CHHALIYA KAN KAN MEIN BHAGWAN 1963
10. YE KISNE GEET CHHEDA,YE KISNE MERI SURAT TERI AANKHE 1963
11. PAHLE SE KYUN HAAN NA KI DARA SINGH & nbsp; 1964
12. CHAMKE CHAND POONAM KA CHHALKE MAHASATI BEHULA 1964
13. PARDESI TUM KAUN HO KAHA SE MAHASATI BEHULA 1964
14. DE DE DE MERA DIL PHIR HUMSE JANAM JANAM KE SATHI 1965
15. ANKHIYO KA NOOR HAI TU ANKHIYON JOHAR MEHMOOD IN GOA 1965
16. BAHUT DINO SE BICHHADA MAN KA MAHASATI ANUSUYA 1965
17. BOLO JI BOLO KUCHH BOLO JI BOLO NISHAN 1965
18. AAJA BAAHON MEIN DIL KI RAAHON ALIBABA AUR 40 CHOR 1966
19. DIL NE PHIR YAAD KIYA &n bsp; DIL NE PHIR YAAD KIYA 1966
20. AE BAHARE ZINDAGI TUM MIL GAYI SHER-E-AFGAN 1966
21. HAAN MAINE BHI PYAR KIYA HAI BOOND JO BAN GAYI MOTI 1967
22. KRISHAN AGAR TUM RADHA HOTE MERA NAAM JOHAR 1967
23. AE DILRUBA KAL KI BAAT AB ANJAAM 1968
24. MERA PYAR BHI TU HAI YE BAHAR I SAATHI 1968
25. MERA PYAR BHI TU HAI YE BAHAR II SAATHI 1968
26. AAYA NA HUMKO PYAR JATANA PEHCHAN   ; 1970
27. DILBAR AAJA LAGA LOON TUJHE MAIN CHORI CHORI & nbsp; 1973
28. AE PYAR MUJHE ROLENE DE NAI DYNIYA NAYE LOG 1973
29. TU MERA DIN HAI MEIN TERI RAAT SANYASI   ; 1975
30. MERA DIL KAHTA HAI KI MERI MAILA AANCHAL   ; 1981
31. MERI DUNIYA KO...MANGA THA PYAR RAMU TO DEEWANA HAI ?
32. KITAN SI VACHAN TUNTE BARIYA * PARDESI DHOLA & nbsp; 1962
33. NAIN NAIN MADE JYA CHANA * AKHAND SOBHAGYWATI 1964
34. MORE MAN MITWA SUNA DE O * MORE MAN MITWA 1965

Originally posted by: adwarakanath

Thanks Qwestji and Bhaktada....I actually never enjoyed much of her songs though...but I sure do love her duets with mukesh (being a HUGE mukesh fan) and that song 'Na Tum Humein Jaano'.

Bhaktada, do you have those songs in MP3 format? I have Mera Pyar Bhi Ti, Aaya Na Humko, Chura Lena Tumko and Dil Ne Phir Yaad Kiya (mukesh solo)

Abhi ji,

I really enjoyed her a lot . This one song of her I really love it.

Mere Mehboob Na Jaa Aaj Ki Raat Na Jaa (Nur Mahal, MD: Janibabu)

Suman Kalyanpur: A bitter legacy

Manjulaa Negi

New Delhi, January 28

Sometime having a good voice as a singer can be a bane. And worse will be matters if yours' resembles one of the best in the industry. Not only will you be expected to play second fiddle by the trade and called upon to sing only if the other singer isn't there or has had a fallout with the music director or her co-singer, but you would also be short-changed in terms of getting to playback for songs meant for you. Or a music composer will not work with you simply because he 'prefers' other singers.

Suman Kalyanpur is one such living example. Born on January 28, 1938 in Dacca, Bangladesh, Kalanypur got her first break at the age of 18, in the film Mangu (1956) with the music director Mohammad Shafi. However, the film wasn't destined to kickstart her career yet, for midway through the film, Shafi was replaced with O P Nayyar, who though he didn't have problems with Suman preferred Asha Bhosle and Geeta Dutt for his kind of music. And though he did retain her for one song, he gave the rest away to them. She did lend her voice to Koi pukaare dheere se tujhe…

The song got her work in subsequent films like Darwaza (1957) and a chance to work with the legend Naushad. He allowed her many songs in the film including a duet with Talat Mehmood - Ek dil do hain talabgaar, but the film's music did not register with the audiences. Suman Kalyanpur nee Hemadi waited until her big break came through later the same year, with Miss Bombay (1957). It was the first of her memorable duets with Mohammad Rafi - Din ho ya raat, hum rahen tere saath, yeh hamari marzi, that made the listeners finally tune in.

Despite being short-changed because her voice resembled Lata Mangeskar's too closely, Suman did manage to pick up a lot of work from various composers, including renowned ones like Ghulam Mohammad, Pt. Shivram, SD Burman, Shankar-Jaikishen (who simply loved Lata but made the exception nonetheless), Roshan, Dattaram, Madan Mohan (again, whose love and 'affair' with Lata is rather well documented), Khayyam, Kalyanji-Anandji, C Ramachandra and Laxmikant-Pyarelal.

Films like Pyaase Panchhi (Tumhi mere meet ho - a duet with Hemant Kumar), Shama (Ek jurm karke and Dil gham se jal raha…), Barsaat Ki Raat (Garjat barsaat sawan aayo..), Zindagi aur Khwaab (Na jaane kahan tum the… ), Baat Ek Raat Ki (Na tum hame jaano, na hum tumhe jaane), Dil Ek Mandir (Juhi ki kali meri laadli and the title song Dil ek mandir hai…), Jehan Ara (Baad muddat ke yeh ghadi…), Shagun (Parbaton ke pedhon par and Bujha diya hai khud apne haathon…), Jab Jab Phool Khile (Na, na karte pyar tumhi se), Dil Ne Phir Yaad Kiya (the title song Dil ne phir yaad kiya…), Modern Girl (Yeh mausam rangeen sama…) and several others became huge sensations.

OMG - I always thought that 'Mere mehboob na jaa' was Lata'ji! This is very interesting revelation for me... 😊
QWest'ji - can you enlighten us with Vani Jayram as well...?

Intimations of immortality Two of our national icons have reached significant milestones. Much as it defies belief, Dev Anand has reached 80 years. Wasn't it just the other day he was serenading Mumtaz with Kanchi re kanchi re. It is sobering to think that in Hare Rama Hare Krishna he was very close to his Golden jubilee, not usually a time of life when men go around singing and romancing. Since the mid to late-1970s, when he had a few hits like Amir Garib and, more modestly, Chhupa Rustam, Dev Anand has not made any successful films, but that has not stopped him from regularly churning out movies like Swami Dada and Mein Sola Baras Ki. Then there was that embarrassing turkey: Return of Jewel Thief, a sequel to possibly the best caper film of all time. That too crashed at the box office. Not that failure has stopped him from enthusiastically, and energetically forging ahead with new projects. In the offing are a film based on Nepal's royal family massacre and another on Ravi Shankar and his two daughters. Any other actor would have been ridiculed for turning into a pathetic parody of himself, still believing he has box office draw. But India continues to love Dev Anand and forgives him for his cinematic trespasses; when you have a body of work that includes Johnny Mera Naam, Nau Do Gyarah, Paying Guest, Taxi Driver and Guide, you don't have much left to prove. That oeuvre speaks for itself and, for generations of film goers, Dev Anand will always remain evergreen. No less evergreen is Lata Mangeshkar, who turned 75 this month and whose birthday was celebrated with much more public fanfare that Dev Anand's. Is there any award, accolade or honour left to bestow on the Nightingale of India? She has been an inseparable part of the nation in the last 50-plus years, starting her career when the nation was in the throes of shedding its colonial past, and still around with us when it is emerging as a global cultural presence. She may have cut down her assignments, and may not be a part of the export quality Indipop scene, but is there any young singer who can hold a candle to her? Someday, undoubtedly, there will be a remixed version of Aayega aane wala, but will it last in public memory for as long as the original has? I think not. Longevity is, of course, something that Lata Mangeshkar and Dev Anand share in common. But something else binds them too. Both had to struggle in their initial years, working in films for a pittance and making enough to just get by. Lata Mangeshkar (and Asha Bhonsle, for that matter) has spoken about rushing from one end of Bombay by local trains to another to sing in decrepit studios with old equipment for years after she made her debut. Aayega aane wala was a huge hit even in the late 1940s, but that did not make Lata Mangeshkar a millionaire. The same goes for Dev Anand, who turned producer early on, but barely scraped by to make enough money to pour into his next film. That struggle informed their work and made it richer. Dev Anand made a credible taxi driver in the eponymous film because his life experience was close to the characters. This was true of many actors in Hindi cinema for several decades. From Raj Kapoor to Dharmendra to Naseerudin Shah to Shatrughan Sinha to even Amitabh Bachchan, all of them had come from the school of hard-knocks, struggling to find a place for themselves in a tough world. And when they did, by sheer dint of hard work and talent, it showed in their on-screen presence. This does not imply that an actor must go through the 'sleeping on Marine Drive'€ experience before he does a role. But consider the actual interaction with real life that someone like Abhishek Bachchan has had. Barring his cook and his driver, he must not have had many opportunities to talk to people outside his class, listen to their stories, observe them in their natural habitats and even observe their mannerisms and accents. Could he ever essay a role of a country bumpkin credibly? Indeed, could he bring any depth to a portrayal of suffering? Is it surprising that audiences see through the synthetic acting enveloped in glossy production values and stay away from cinemas? Lata Mangeshkar too had to go through difficult times for years before she established herself as the premier singer in Hindi cinema. We often read about the Mangeshkar monopoly and the alleged games played by her to sabotage young, upcoming singers. The names of Suman Kalyanpur, Sudha Malhotra and Vani Jayram are mentioned the most and there is no dearth of rumours and stories about how Lata short-circuited their careers to ensure that there was no competition. Perhaps some of it is true. Certainly in the 1960s Suman Kalyanpur was being mentioned as a serious threat to Lata. Some music directors whom Lata fought with (and there are several of them) turned to Kalyanpur and created some hit songs. OP Nayyar, who felt snubbed by Lata, vowed never to work with her and gave us scores of memorable numbers with Asha Bhonsle. But could Lata Mangeshkar have survived merely on the strength of petty politicking? One must also remember than when Lata Mangeshkar came on the scene, she was a stripling in a film industry dominated by stalwarts like Noorjehan, Suraiya, Shamshad Begum, Zohra Bai Ambalewali and others. Noorjehan left for Pakistan, but the others were still very much around. Lata was during those days rejected for her thin voice and had to resort to copying Noorjehan to survive in the game. But soon enough, the bhari awaaz€singers began fading away; the new film makers of a newly independent nation realised that they had to make films that appealed to a pan-Indian audience and the hitherto lucrative East Punjab and Sindh markets was no longer freely available. What worked in pre-Partition India would not click in the new India. A new filmi idiom, a new approach, a new set of ideas were needed to reach out to audiences all across the emergent nation. Lata, who worked hard to acquire a Hindustani inflexion and remove all traces of her linguistic and regional background fit the bill: She was truly a republican voice that sang to and for India. And she has continued to do so for nearly six decades. If both Lata Mangeshkar and Dev Anand are still around, still working and still loved by millions of fans, it is because of that early hard work and commitment in the most adverse of conditions which have distilled themselves to reflect in everything they do. They had no TV soaps, no channels with deep pockets, no marketing whiz kids and no music videos to create their images and instantly beam it to millions of people. There were no glossies which gave us manufactured controversies and daily newspapers did not write about Hindi cinema. Weak voices were not jazzed up with the help of technology and 16 track recording equipment and then presented to gullible audiences. It was the real world, not a synthetic and plastic one. Which is why every Indian and lover of Hindi cinema must celebrate these two milestones, which are not mere birthdays but also reminders of how fortunate we have been to live in the same era as these two giants. Who cares if Lata Mangeshkar is not a bit high-pitched or Dev Anand's films have turned into a joke? The question to be asked is: How many of the present-day stars and singers will still be giving us joy 50 years later?

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