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Friday, February 5, 2016

Meeting Greatness - Meeting Vani Jairam


30th November 2015

It is the birthday today of Vani Jairam. Wishing the gifted singer many more years of happiness! Reproducing here a post that I had written exactly one year back, with an account of my rendezvous with her:

* * * *
It was Vani Jairam’s birthday yesterday. This year has been of particular celebration for her fans as the doyenne is back in the limelight- making a comeback in film music after so many years. 2 songs in Malayalam and 2 in Tamil so far this year… .. with Olanjaali Kuruvi topping the charts…

Here are the songs that she has sung this year: 2 in Malayalam and 2 in Tamil:

Olanjali kuruvi –from the movie ‘1983’

http://www.youtube.com/watch?v=9MSxbBWZJn4#t=12

Olichupoyi- from the movie Iniyum Ethra Dhooram

http://www.youtube.com/watch?v=ugDwt9inmnc

Narayana- from the movie Ramanujan:

http://www.youtube.com/watch?v=z10U7VZ7QNM

Thiruppugazh- from the movie Kaaviyathalaivan:



https://www.youtube.com/watch?v=0T5kcPXepVw

More than 10 years back, I was attempting a chronology of Vani Jairam’s songs in tfmpage. The posts evoked animated discussions and pleased reminiscences from well-informed enthusiasts. An ardent Vani Jairam fan, Ameen, who knew Vani on a personal level told her about these posts and Vani apparently expressed her eagerness to meet me. The meeting happened and I can still recall every small detail as if it happened yesterday.

I wrote about the meeting in tfmpage soon after returning to Dubai in several small chapters, in weekly installments.

Meeting Greatness – Part 1

“I have been waiting for your call…” said the voice at the other end—a voice that I have grown up listening and admiring—and I was speechless with joy at the warmth of the tone, and overwhelmed by the thought that I was actually speaking with a legend, and choked with emotion at the thought that she was actually looking forward to my call!

But let me start at the rightful beginning, and the beginning was made by a friend and an ardent Vani fan called Ameen. When he knew that I was going to Chennai, he wrote to me suggesting that I should meet Vani, and before that I should mail her a few extracts from the chronology, as she had heard of it, and was eager to read it. I admit I didn’t take him seriously then, as I wasn’t sure that a celebrity would have time to spend with an ordinary fan, but I did post some extracts from the chronology, and I didn’t think it probable that she may find the chronology very interesting, either. (How wrong I was on both counts I would discover later...)

Some weeks went by, and Ameen wrote to me again, informing me that my post hadn’t reached Vani, and she was disappointed about it. It was then too late for me to send it again, and so I reached Chennai as scheduled on 26th September. I had to travel again for 10 days immediately. Coming back to Chennai, I did call her, but the ring went unanswered. I tried again a few days later, and I heard her pick up the phone, and no sooner than I introduced myself, she uttered those words- words that keep ringing in my ears to this day.

“What took you so long to call” she admonished me gently next. After my stammered explanations, she gave an amused laugh and the said “Jairamji and I are waiting to meet you. Ameen has said so much about you, that we are eagerly looking forward to see you”. This was Thursday, 16th October, and I suggested Saturday, the 18th, and she invited me over at 3 in the afternoon.

Earlier, I had contacted Suresh, another friend and fan of Vani in Chennai. When I mentioned to him that I was going to meet Vani, he too evinced a keen interest to meet her. I was only too happy—though I was jumping with joy at the thought of meeting Vani, I was also a little apprehensive – “What if she starts talking about Tumris and Abangs- won’t she think I’m a frightful ignoramus” was my secret fear. And since Suresh is well versed in all kinds of music, I was secretly relieved.

Finally on Saturday morning, I called up Vani and confirmed that I’ll come at 3 and asked her if a friend called Suresh could come as well. “Of course, please tell Sureshji that I’ll be glad to meet him” was the gracious answer. Within two minutes my cell rang- it was Vani again “Saravanan, I just wanted to tell you not fix any other engagement at 3.30 or something—I would like to have a long, leisurely chat with you” she said!

Earlier I had told Suresh how the extracts that I had mailed never reached her (Vani herself told me this over the phone ). The day before, I asked Suresh if it would be possible for him to take print-outs of some parts of the chronology from the website and bring them along when we meet her, and he agreed. He came, as scheduled, at 2.40 to pick me up. And as soon as I sat in the car, he said “And here’s the Bible” and handed me a beautifully bound book, and I could only gasp in surprise when I saw that he had printed out the entire chronology from the beginning, given it titles, sub-titles and page numbers ( it came to nearly 200 pages!- never realized it was so large!) –it looked so grand, that I was overcome with emotion. Suresh, as is his wont, brushed off my incoherent thanks....

* * * *

Meeting Greatness- Part 2

Vani stays in an Apartment Complex called ‘Heritage’ in Nungambakkam. Suresh and I were so engrossed, as usual, in our conversation, that we didn’t remember until we were halfway in Nungambakkam High Road, (or Uthamar Gandhi Salai, as it is called these days), that we had forgotten all about a bouquet! Suresh assured me that there was bound to be some florist in Haddows Road.

But we couldn’t find any, perhaps there were closed at that time...after all, most of Chennai sleeps in a weekend afternoon. But our search for a florist took us past a place called ‘Marmalade’, and we cheered up and changed our objective from a bouquet to pastries! Marmalade is a quaint little joint, tucked in a cul-de-sac away from the road. And we were delighted when we noticed that it had a florist as well. Suresh gave the flowers exhibited there a searching scrutiny— ‘A bouquet wholly of white roses, please’- he was very particular. And as they were making up the bouquet, we ventured inside the pastry shop. We ordered a good assortment to be made up.

We were soon on our way again. Vani had given such explicit directions (I was to notice this precision and perfection in everything concerning her), that we had no difficulty in locating the complex. The Lift –Attendant asked “Vani Jairaama?” with a disarming smile, when we told him the floor and door number. And in no time...we were ringing the bell.

* * * *

Meeting Greatness- Part 3

" I always feel that flowers, and the affection of the person offering them, must be given immediate respect”, explained Vani with a warm smile, as she placed an exquisite vase filled with the roses we had brought, on a side table close to where I was seated. And I found that warmth stealing into me as well, as I wondered how that spray of white roses could be arranged so daintily, and so quickly at that!

Everything seemed like a dream to me —Vani and Jairamji greeting us with folded hands at the door, Jairamji in his trademark Kurta, Vani looking graceful as always, Suresh and I offering them the bouquet and the pastries, Jairamji’s firm handshake and eyes twinkling behind glasses, both of them asking us to be seated, and Vani politely asking to be excused, almost immediately with the bouquet in her hand, and appearing minutes later with the aforesaid explanation. And our hearts promptly warmed up to this great person, who gives importance to even these small things, and I realized that it was such simple gestures that make up some of life’s finest moments.

Small talk ensued- Jairamji enquired about us, what we do, etc. I was too tongue-tied to talk much initially, and so Suresh, who is always unruffled, started responding in a pleasant casual manner. I looked around the elegantly appointed room - the cozy leather sofas, the handpicked handicrafts that were positioned in appropriate corners lending a chic, ethnic ambience to the room, the matching curtains that swayed gently in the breeze, the paintings adorning the walls--all pointed towards Vani, and her cultured, refined taste...attractive without being ostentatious, just like the person, and just like her songs.

I came back with a start when I found Vani enquiring about the chronology- “Ameen has told me so much about it- he said that it was something that I definitely must read” she was telling me. I got up and presented her with the volume. She looked at it with surprise, and then asked hesitantly “Is this for me? I mean, can I keep it?” I was again speechless by her simple, unassuming attitude, and Suresh hastily assured her that it was for her to keep. I added how Suresh had printed out the entire chronology overnight, and she thanked him with a smile.

Jairamji was in a reminiscing mood—he spoke about the early years of their marriage in the North. He told us about his education (he had acquired a MBA degree, which was to be got only from London in those days), and his job. “Later, as she became busy, I dropped everything and became her secretary!” he said with refreshing candor.

Vani’s glance fell on the pastries, and she let out a sigh of mock horror. “Oh no, I put on weight so easily, and I have completely stopped eating pastries, or for that matter, sweets of any kind. In fact, I wanted to tell you this morning that in case you wish to get something for me, please bring fruits, preferably pomegranates” she said, and then added with a naughty twinkle “But then I also thought what would I do if you asked me “What gave you the idea that I was thinking of bringing you anything” – she said, bursting into muted peals of merriment, making us join in the hearty laughter. Her photographs have never done her justice, I thought with regret, as I watched her eyes continue the smile that her lips began..

I asked “ Perhaps Jairamji likes pastries”?

“ Maybe. But if he knows what is good for him, he wouldn’t”- Vani replied, with the same mischievous smile. Jairam chuckled and listed the austere food that makes up their every day meal. “Age, you know..” he shrugged.

Vani then asked if we would like some tea, and we accepted her offer, she said that she would make some special tea, adding some extra ingredients, and with that she went into the kitchen.
Jairamji then offered to show us around the spacious apartment. Suresh and I got up and followed him…

* * * *

Meeting Greatness- Part 4

Jairamji pointed out some of the prestigious awards that Vani has won, which were displayed on a showcase mounted on the wall. “Jairamji, show him the lower shelf- he’ll be very interested” Vani called from the kitchen. Jairamji smiled and opened two shelves that were below the showcase, and I held my breath- the shelves were filled with EP/ LP records! I looked at them till I could look no more...

The sitting room opens into a large, airy dining room. And as Jairamji took us past the beautiful Pooja room, Vani joined us. As we bowed to those deities polished to perfection, she said “Every morning, I clean them, perform the abishegam, and change the vasthram. Prayers are something that I do whole-heartedly everyday” Both work and worship are whole-hearted activities for her!
Vani continued “ For many years we lived in our own house in Alwarpet, we bought the plot from the owners of “The Hindu” and built our house there.”

“Mayurapriya?” I asked, with an innocent look.

“Yes” she answered, with a surprised smile, “ that was what we named that house”

(I offered Vairamuthu mental thanks (“Mayurapriya- than veetukku mayil endru peyar vaithirukkiradhae oru kuyil endru manathukkuL rasithu koLgiraen” says Vairamuthu in his Kuyilin Kootil Konja Neram)

“But as we were traveling most of the time, we found it increasingly difficult to maintain that large house” added Jairamji. “So we had to take the difficult decision of selling it. Only recently we bought this apartment and came here”

Even as Jairamji was talking to us here, another sound wafted unobtrusively to us—that of Vani humming to herself, as she was busy making tea in the kitchen. She wasn’t even aware that we could hear her, but as her voice went up and down, enjoying itself with the notes of some little known Hindustani Geet, we automatically fell silent and listened in awe, for how many fans could get this opportunity of listening to her at such close quarters?

Meeting Greatness- Part 5:

…And so we returned to the dining room, drawn by that irresistible summons. We found the table invitingly laid with cups of steaming, fragrant tea, and assorted eats. Though Vani & Jairam have a healthy fixation for frugal, nutritious food, they don’t believe in imposing those stringent concepts on people calling on them! Vani was the perfect hostess, earnestly urging us, in regular, thoughtful intervals, to take generous helpings of the eats and dry fruits, as we ensconced ourselves snugly for a leisurely tête-à-tête.

I started off by referring to Kannadasan’s singular tribute to Vani in his ‘Sandhithaen Sindhithaen’ (originally serialized in Kumudam as ‘Indha Vaaram Sandhithaen’). Vani folded her palms in salutation to the greatest bard of our times. ‘That write-up gave me a honor that even a Bharat Ratna cannot equal’ she commented. As memories seem to rush in, she continued musingly, ‘Kannadasan Sir has worked with generations of singers—great singers who have done justice to his lyrics over the decades, yet to think that he chose to single me out for that rare honor, of being the only singer he devoted an episode to, I’m overwhelmed!’ she said humbly, her eyes moist with emotion.

‘That morning, when the Kumudam issue containing his write-up on me hit the stands, he called me up at 6 and said ‘Vani, unna pathi en manasala thonradha ellam ezhudhi irukkaen. Padichu paaru’, she recollected with a smile. She went on to share with us some special memories of Kannadasan. “He looked upon me as a member of his family. Once when he was celebrating his birthday with only his family members, he took Jairamji & me along with his family to Madurai, and we were fortunate to be with them during the special pooja at Meenakshi Amman temple, and share some intimate moments with his family’

Vani and Jairam seemed to be lost in memories of the Kaviyarasar and the special relationship they shared with him- After a pause, she continued ‘Again, another time, when he was contributing to some Annadaanam scheme, he called me and affectionately demanded ‘Vani, neeyum un pangukku rendu mootai arisi kodu’- that was how close he was to us.’

‘A great man. His simplicity, goodness of heart, limitless creativity and humility are qualities that set him apart. I am privileged to have sung so many of his songs, and blessed to have received his good wishes and fatherly affection in abundance’ she said feelingly. ‘I am happy that Kannadasan Sir’s family still continues to shower affection on us. Even last week I had been to Kannadasan Pathippagam –Sir’s son gifted me a book titled ‘Kannan Koyil Paravai’..
.
I couldn’t resist interrupting her flow of thought and said excitedly ‘That’s one of my favorite songs!’ She smiled indulgently, and--- did what I was waiting for with bated breath--she sang the pallavi, and the first charanam of that timeless classic. Oh, the enchantment! Her voice, as sweet as ever, took us briefly to another world, another time, when giants like Kannadasan, MSV & Vani were making magic in Tamil Film Music…

* * * *

Meeting Greatness- Part 6:

I referred to the classic song ‘Kelviyin nayagane’ as an instance of the genius of Kannadasan, how in that song, with brilliant mythological analogies, he managed to succinctly summarize the entire story of ‘Apoorva Ragangal’- Vani nodded in concurrence and went on to sing the charanams of that memorable song, and had some special words of praise for the charanam that begins with ‘‘Thalaivaan Thiruchanoor vandhu vittan, devi dharma darisanathai thedugiraan’’- “Truly, to this day there is none to equal his creativity. What a genius!” she was effusive in her praise.

‘Another song where Kannadasan related the entire story…’I began. ‘Ilakkanam maarutho?’ Vani asked with a teasing smile- I could only nod in amazement at her astute answer! (Remember Watson and Holmes? – “Excellent” cried I. “Elementary” said he!) And yet another moment of enchantment as V began with ‘Maniosai enna idiyosai enna--’ As she rounded off the pallavi with that mesmerizing humming, I reminded her of the lines from another charanam in the same song, where she so fetchingly brought out Kannadasan’s wordplay - ‘Maraithidum thirai thanai vilakki vaippayo, viLakki vaippayo’- just a miniscule deft change in a single syllable, and oh, the difference! She willingly obliged us by singing that charanam as well.

And with Kannadasan so much in our thoughts, can MSV be far behind? Our conversation drifted to the Mellisai Mannar. “ How many wonderful songs, how many memorable recording sessions!” Vani went down memory lane....Time seemed to stand still as she recollected aloud some heartwarming events from those momentous times....

“ Some people in Nemili wanted to honor me, and so they had arranged a small function. I accepted, of course. I had a recording with MSV Sir in the morning for a film directed by K Shankar Sir. I mentioned to them that I would be going to Nemili in the evening and told them about the function. Imagine my feelings when I went to Nemili in the evening- both MSV Sir and Shankar Sir were already there- they had come all the way just to see me being honored!” her voice showing the depth of emotion, as she recalled that special day.

She then said among her ever favorite MSV songs, one song has a special place in her heart, sang ‘Idhayam pesinaal—unnidam ennathaan pesumo’, and she crooned the song of soft allure. Many times during those few hours, Suresh and I had to remind ourselves that we were in Vani’s presence, and she was singing for us, and us alone, and all this was for real!

* * * *

Meeting Greatness- Part 7:

The conversation drifted to Ilaiyaraja. “I have not sung many songs for Raja, somehow…” Vani said matter-of-factly. But before we could ponder over that statement with regret, she continued cheerfully, “However, most of the songs that I sang for him, both in Tamil and in Telugu, became immensely popular.” She went on to list some of her favorite songs like Orey naal, Naane naana, Nitham nitham nelluchoru and En ullil engo yengum geetham.

About Vijayabhaskar “Oh, he was a great composer and a wonderful human being. Though he was a Tamil, he could not make it big here, but in Kannada, he was a prolific composer. He has given me many excellent songs in Kannada. And even in the few Tamil films that he composed music for, I had some memorable numbers. He liked my voice very much.” she recalled nostalgically.

About ARR “I’ve known him since he was a small boy!” she smiled. “I enjoyed singing the Vandicholai Chinrasu song. I sang it separately, and SPB sang it separately. Later listening to the final version, I was struck by the imaginative arrangements. Whenever I happen to meet ARR nowadays, he says “Aunty, I am not making the kind of music that would be appropriate for you” she said candidly.

There was a pause, as we were ruminating on that statement...

* * * *

Meeting Greatness- Part 8:

Vani proceeded to share her thoughts on her non-film albums. She spoke animatedly about her collaboration with the famed Birju Maharaj, and bowed with reverence to the great Kelucharan Mahapatra, and said that she felt honoured that KM played Pakhawaj for her Geeta Govindam album. She spoke about the best selling album ‘Onam’ that was by composed by V. Dakshinamoorti. She said, with endearing humility, that the Murugan Paadalgal album, written, composed and sung by her elicited excellent reviews and also proved a best seller.

We spoke about her songs in the Hindi film ‘Meera’ which had music by Pandit Ravishankar, and asked her experience of singing for Ravishankar. She smiled as memories came flooding in, and enthralled us by recalling a particularly interesting anecdote. Apparently during one recording session, Ravishankar had to be elsewhere, and he requested VJ to take care of the recording. Vani wrote the notations herself, taught the instrumentalists the notes, and executed the recording in just one take, all by herself. When Panditji returned and listened to the recorded song, he placed his hands on her head and blessed her, and was speechless with emotion. She said it was among the finest moments of her life.

Her thoughts then went to so many recording sessions. She said ‘ At one time I used to keep hopping from one flight to another. I would have a recording in Madras in the morning, one in Bombay in the afternoon, and again another song in Madras in the night. But I was very particular about being in time for each session. The woman who used to sweep the floor at AVM studios knew me well- for I used to be seated even before she arrived!’ she laughed as she recalled those heady days.

Jairamji then got up and brought some photo albums and paper cuttings for us to view. We saw so many snaps, starting from Vani’s early days right to the current concerts. The early B & W snaps, with a tinge of sepia, were a joy to behold. I asked ‘Vaniji, why do you look so serious in all your snaps?’ She laughed outright ‘All my nephews pass the same comment. I don’t know…do I really appear too stern?’ she asked in a perplexed air!

Vani read to us some of her poems. She writes extremely well, and her verses are highly imaginative. Though I am not able to recall the lines, two poems stand out in memory- One was a wickedly witty whiplash on the standards of current day film lyrics (‘Pulamaipithan Sir was in splits when I read it out to him’ she chuckled), and the other was a moving complaint to Lord Muruga when cancer snatched away her sister’s husband when he was still very young.

Vani’s incredible talents don’t stop with this. She is also a gifted painter. She showed us some of her works, and they were such alluring images. When I admired them aloud, she took a pencil and sketched a particularly beautiful flower drawing effortlessly, signed her name and presented it to me..
Our hearts filled with happiness at having had such an enjoyable encounter, we rose and got ready to leave. Vani presented us with a set of her devotional albums in various languages. She enquired about our families, and Jairamji urged us to call upon them again.

As Vani & Jairam stood at their doorstep waving at us, we both took our leave. We went silently down the lift, each one lost in his own thoughts, for meeting greatness at such close quarters doesn’t come often in the way of ordinary mortals like us...

* * * *

Met Greatness….

And thus ended our rendezvous with perfection, our tryst with grace, charm and a heart full of goodness. Thinking over the meeting, these are my impressions of Vani— unreserved appreciation for other talented singers, complete absence of rancour towards anyone, grateful for the wonderful songs that came her way, heart-warmingly humble, yet adequately conscious of her achievements and delightfully responsive to the enthusiasm of her ardent fans.

She has never sat sulking when her film opportunities started dwindling- she ventured whole-heartedly into non-film albums like Bhajans, Tamil devotionals, Tumris, Abhangs, Ghazals. She is constantly on tour, giving concerts all over India and also in various places abroad. At the prior invitation of the Devasthaanam, she sang in Thirumalai just one day after Chandrababu Naidu was injured in a bomb blast there. Anyone else would have had second thoughts about it, not Vani. To her, a commitment is a commitment; meant to be honoured at any cost. “But I thought that not many people will turn up, considering the scare and the Police restrictions. You will not believe it--I was astounded to see the hall packed to capacity…there were people even standing in the aisles” she said her eyes widening with surprise.

When we met her, she had just returned from Jaipur, where she had been invited to give a concert in an Inter College Cultural Festival. She is the same gracious Vani Jairam to everyone- right from the august Thirumalai Tirupati Devasthaanam to an unprivileged Lepers’ Home, whose inhabitants she enthralled with a concert sometime back. “They affectionately gave me a beautiful hand-woven bedspread…you can see it covering my bed now” she said happily.

She had also shared her experiences of serving, more than once, in the National Film Awards Jury. She deplored the attitude of some members who lobbied strongly for their own films. “One year, I sincerely felt that MSV Sir’s splendid work in Pathini Penn deserved recognition. But I didn’t suggest it…as a member of the Jury, my conscience wouldn’t permit me to, as I had sung the songs” she said, in another display of unshakeable principles and glittering integrity, such a rare commodity in today’s world.

Subsequent to the meeting, Vani and I spoke over the phone a few times. We spoke about meeting again before I left. Bur unfortunately, due to my pre-occupation with various family obligations, it couldn’t materialise.

A few days after meeting her when I spoke to her over the phone, she opened the conversation by enquiring my exact age. When I answered, she said “Yes, I thought it be around that. You are young enough to be my son! Jairamji and I have just read through the chronology. We are showing it to everyone who’s visiting us...and everyone is highly impressed. We are frankly amazed and at the same time deeply moved by your painstaking work. How was it possible for you? You must have been a toddler when I started singing in Tamil films!”

I didn’t know what to answer--I could only tell her that I had grown up listening to her songs, and I remember the songs that I’d heard on the radio. I spoke of a long forgotten song that I had discovered anew in my collection which was missed out in the chronology- A scintillating VJ solo that goes ‘Olai thaangi selladi’ from an unreleased film Anbu Magal. (Music by veteran CN Pandurangan. Lyrics by Sozhavandhan Rajangam).

There was brief silence, then VJ said musingly that she now found a new meaning in the lines of her song ‘Iraivan ena oruvan, enadhisaiyil mayangida varuvaan, rasigan endra peyaril, indru avan thaan unnai koduthaan’

Friends, my cup of joy runneth over!

-Saravanan Natarajan

Thursday, February 4, 2016

G.K.Venkatesh: A Retrospective

Down Memory Lane with G.K.Venkatesh

Today is the birth anniversary of the great composer G.K. Venkatesh, sadly forgotten in the swirling mists of time. Let us make amends by reminiscing on the life and times of GKV and recalling some of his glittering works.
Gurjada Krishnadas Venkatesh was born in Hyderabad on 21st September 1927. His father Krishnadas Naidu dabbled in amateur theatre and was a good singer. The family moved to Bangalore when GKV was a child. GKV was a born talent- his musical talents were discovered at a very young age—even as a child it is said he was appreciated by the Raja of Bobbili. His elder brother GKS Pathi taught him the Veenai. Along with his brother Raghu, GKV sang in concerts as well.
They moved to Madras and sought opportunities to work in the music troupes of the great composers of the time. As an enthusiastic teenager, GKV played the Veenai for giants like S.V. Venkataraman, S.M. Subbiah Naidu and C.R. Subburaman.
GKV became a close friend of M.S. Viswanthan when they were both part of Subbiah Naidu’s troupe in the late 40s. Later they stayed in the same room in Jupiter Lodge in Madras. And when NSK offered an opportunity to MSV and TKR to compose music for Panam-1952, it was inevitable that GKV became an integral part of their troupe. MSV gave GKV a chance to sing in their very first film ‘Panam’. The song was a lovely waltz number ‘Ezhai nin kovilai naadinen’. Unfazed by the formidable stature of his co-singer- the mighty MLV, GKV rendered his lines with fetching nonchalance.
Singing was nothing new to GKV--after all, he began his career as a singer in Bangalore All India Radio even before entering films, and is also said to have lent his voice to some chorus songs in Meera when he was in SV. Venkataraman’s troupe. GKV went on to sing a few songs in later years, and always did justice to them. His voice had the flexibility to adapt to the varied moods that the situation demanded—the boisterous revelry in ‘Kannodu vin pesum jaadai’ from Kavalai Illatha Manithan, the gloomy intensity in the pathos version of ‘Vandha naal mudhal’ in Paava Mannippu, the comic nuances in ‘Kaalam seitha komalithanathil’ from Padithaal Mattum Podhuma’, the palpable dejection in ‘Kanavae kaathal vaazhvae’ from Senthamarai, the impish romance of ‘Yaen mama kovama’ (Thendral Veesum, with LRE), the irreverent shrug at life in ‘Sondhamumillai oru bandhamum illai’ (Hello Mr.Zamindar), the ebullience of romance in 'Panneer poove' ( Gnayirum Thingalum, with LRE), the rustic uncouthness in the ‘Maanathilae meenirukka’ prelude to SJ’s ‘Udhayam varugindrathae’ (Kavikkuyil)- these are some unforgettable instances where GKV startles you with the breathtaking range of his voice.
Listen to ‘Sondhamumillai oru bandhamuillai’:
GKV thus become a permanent fixture in the troupe of MSV-TKR from their very first film. He was given due credit as their assistant in the titles in their films in those early years. His undeniable talents could not be hidden under wraps for long. Even as early as 1950, GKV composed music independently for the Malayalam film Chechi. The number ‘Kalitha Kalamaya Kailasavasa ‘, sung by Kaviyoor Revamma, with its beautiful classical flourishes was an early indication of GKV’s prodigious talents. The film was later dubbed in Tamil in 1951 as Nadigai.
And though Tamil filmmakers were not yet prepared to entrust him with independent music composition, Kannada filmdom was quick to discover the spark in him, and eagerly harnessed his talents. The titles of the 1955 film Sodari starring Rajkumar (his second film) and Pandaribai had the credit for music being shared by HR Padmanabha Shastry & GKV. The following year saw GKV enjoying a stupendous success with the music of Viswakala Chitra’s Ohileshwara (stg. Rajkumar & Sriranjini). GKV also gave P.B.S rinivas a marvellous break in Kannada. (“GKV was the person who launched me as a successful singer in Kannada”, acknowledged a grateful PBS in many an interview).
GKV soon became a prolific composer in Kannada, and along with TG Lingappa and Vijayabhaskar, set new standards of film music therein. His works in Haribhaktha-1956, Anna Thangi-1958, Jagajyothi Basaveshwara, Dharma Vijaya, Mahishasura Mardini-all 1959, Ranadhira Kanteerava, Dasavathara, Sree Shaila Mahatme-all 1960, Kanntheredu Nodu (he appeared on screen to render the song ‘Kannnadada makkallella’), Kaivaara Mahaatme-both 1961, Bhoodaana, Karuneye Kudumbada Kannu - both 1962, Kanya Ratna, Gowri, Kulavadhu, Malli Madhuve, Kalitaaru Henne- all 1963, won acclaim.
GKV got an opening in Tamil in 1964 to compose music for Thirumagal Films’ Magale Un Samathu. Though the film starring Anandan & Rajasri was sent back to the cans without much ado, GKV’s songs showed the stuff he was made of. While it was the breezy duet ‘Anbil aaduthae’ by P.B. Srinivas & P.Susheela that became popular, my pick is the appealing ‘Kathai ondru naan sollava’, where Susheela’s dulcet tones paint vivid hues on GKV’s ethereal canvas:
The same year, Anandan himself produced a film under the banner Anandan Movies called Naanum Manithan Thaan, with Chandrakantha playing his pair. GKV came up with some lingering numbers like ‘Vaa vaa vaa en thalaiva’ by TA Mothi & S. Janaki and ‘Kaatru varum kaalamondru’ by PBS & S.Janaki.
The following year saw a solitary Tamil film coming GKV’s way, and that too was because it was produced and directed by the renowned GV Iyer, with whom GKV was working in a number of Kannada films. GV Iyer Productions’ Thaayin Karunai starred Kalyankumar and Vandana and was a remake of Iyer’s 1962 Kannada movie Thaayi Karulu. Listen to 'Poonthendral isai paada' sung by PBS, where Mayavanathan’s poetic lines extolling the greatness of Tamil are strung together so enticingly by GKV:
Unfortunately for GKV, these films were not commercial successes, and the merciless gates of Tamil Films were closed once again for this gifted composer. However, he continued creating immortal melodies in Kannada films, where he was much sought after by the top banners of the day. Thumbida Koda, Nanna Kartavya-both 1964, Sarvagyanamoorthi, Sati Savitri-both 1965, Killadi Ranga, Madhumaalathi-both 1966, Parvathi Kalyana, Rajshekhara, Rajadurgada Rahasya, Immadi Pulikeshi-all 1967, Jedare Bale, Manasakshi, Goa Dalli CID 999- all 1968, Operation Jackpot Nalli CID 999- 1969 are all noteworthy albums, each one of which has songs that are repeatedly listened to with pleasure to this day.
GKV pulled off a coup of sorts in 1966, when he roped in none other than the revered Pandit Bhimsen Joshi to sing for the Kannada film Sandhya Raga.
Listen to the 3 lovely versions of ‘Nambide ninna naada devathe’, the first sung by Pandit Bhimsen Joshi, the second one by Balamuralikrishna and the last version by Janaki, each one a tantalizing treat for connoisseurs.. Wondrous compositions that will bespeak of the gifted GKV for times to come…
Here is a scintillating solo by Bhimsen Joshi from the same film:
All this time, the myopic Tamil filmmakers continued to ignore GKV and all he secured was an opportunity to compose for the Malaysian Tamil venture ‘Ratha Pei’, in which he gave an enthusiastic youngster called Malaysia Vasudevan a chance to render a song.
It was only after a long wait in 1971 that Deivanayagi Films’ Sabatham brought GKV back into reckoning in Tamil. The film starring KR Vijaya & Ravichandran was directed by P Madhavan. Listen to ‘Thoduvathenna thendralo malargalo’ sung by SPB. The song showcases GKV in his elements— the riveting prelude consisting of those dainty string bits that are repeated throughout the song, the masterful way in they are seamlessly interwoven into the fascinating interludes, while the interludes themselves are so unpredictable and enticing in their progression-- And SPB brings such a cajoling mood to the lines, that you just have to fall in love with the song- listen to his voice beam in the end, and the longing that he expresses, almost akin to a wistful sigh, in the short humming that leads back to the Pallavi. Class!
By the early 70s, GKV had acquired a cult following in Kannada. Each album of his was awaited with impatience, and every song hastened to capture the airwaves. His works in films like Devara Makkalu, Kasturi Nivasa, Naguva Hoovu- all 1970, Bala Bandhana, Taayi Devaru, Pratidhwani, Thandhe Makkalu- all 1971, Bangarada Manushya, Karmika Kallanalla – both 1972, Doorada Betta, Sampathige Savaal, Bhakta Kumbhara-all 1973, elicited rave reviews.
It was towards the last years of the 60s that GKV took under his patronage a young talented musician called Raja. (Originally Rasiah, later to blossom into Ilaiyaraja) Raja, whose soul was soaked in music, had his skills polished and trained by Dhanraj Master, an acknowledged genius. GKV recognized the innate talents in him, and admitted him in his troupe, where Raja quickly justified the trust that GKV placed in him. Another gifted musician who was assisting GKV during the same period was L. Vaidhiyanathan.
In spite of the popularity of the songs of Sabatham, GKV was not flooded with offers in Tamil. His next opportunity in Tamil came again from P. Madhavan, who had been impressed with GKV’s work in Sabatham. When P. Madhavan turned producer under his banner ‘Arun Prasad Movies’, he called GKV to compose music for his film Ponukku Thanga Manasu-1973. (Directed by Devaraj-Mohan under P Madhavan’s supervision).
The captivating creation ‘Then sindhudhe vaanam’, from this movie written by Kannadasan & sung by SP Balasubramaniam & S.Janaki is a song that ensures forever that GKV will be saluted with awe in the chronicles of Tamil film music. He repeated the tune that he had composed earlier in Kannada- ‘Haayagide ee dhina mana’ from Thaayi Devaru and he reused in again in Telugu as ‘Mrogindi Veena’ in the movie Zamindarugari Ammayi. Every bit, every note, every moment of the song is spellbinding.
With such a bewitching opening line as ‘Then sindhudhe vaanam’, that summons vistas of a rain-drenched evening…where the showers beckon the lovers…where the monsoon waves its magical wand…where the love-stricken hearts are afire with desire within, whilst all is damp and cold without, where few tremulous words of love are shyly whispered:
Nothing succeeds like success, and with the emphatic success of Ponnukku Thanga Manasu, with ‘Thaen sindhudhe vaanam’ reverberating from every corner teashop, GKV found avenues hitherto closed for him in Tamil grudgingly opening up at last. While it wasn’t as though producers were flocking at his gates, he did get some Tamil films in quick succession.
In the following years, GKV composed some noteworthy songs such as ‘Eruthamma eruthamma’ for P.Madhavan’s Murugan Kaatiya Vazhi (1974), ‘Melum Keezhum kodugal podu’ & ‘En kannirandum seitha paavam’ for Cho’s Yarukkum Vetkamillai (1975), ‘Maanikka mamani maalaiyil’ for Kovi Manisekaran’s Thennankeetru (1975), ‘Karunaikadale kaarmugil vanna’ fror L.V.Prasad’s Piriyavidai (1975) & ‘ Malarndhaal vaasam vendum’ for Gopu’s Dhayiriyalakshmi (1979). Of these, Dhairiyalakshmi, starring Jaishankar & Lakshmi and directed by Chitralaya Gopu, was also co-produced by GKV.
None of these films were big successes and GKV’s period of limelight in Tamil proved short-lived. However, it was in these years that he was the monarch of all he surveyed in Kannada. His works in films like Mayura (dubbed in Hindi as well), Dari Tappida Maga, Trimoorti- all 1975, Raja Nanna Raja, Baalu Jenu -both1976, Olavu Geluvu, Galatte Samsara, Sose Thandha Sowbhagya – all 1977, Operation Diamond Rocket-1978 all went on to become super hits.
And it was in 1977 that GKV made history by bringing Ustad Bismillah Khan all the way from Varanasi to play the Shehnai for the film Sanadi Appanna. Anandalakshmi Enterprises’ Sanadi Appanna (Dir: Vijaya Reddy, Stg. Rajkumar & Jayapradha) was based on the story of a Shehnai player, and GKV collaborated with the great Ustad to adorn the film with an alluring album that brought GKV widespread critical commendation. The song ‘karaderu kelade’ has GKV skilfully employing Janaki's vocals and the Ustaad’s Shehnai to create a classical masterpiece the likes of which film music has seldom witnessed.
Again, though he had made a mark in films like Naatakala Raayudu-1969, it was in these intermediate years that GKV made a significant impact in Telugu as well - his songs in films like Zamindarugari Ammayi-1975, America Ammayi-1976 and Tharam Marindi, Chakradhari-both 1977 elicited favourable notice.
We see him venture into Tamil again in 1979 with Pallavi Enterprises’ Malligai Mohini, featuring ‘Julie’ Vikram and Latha in the lead roles. The Mohini has long vanished into the nether world of oblivion, but the entrancing fragrance of her Malligai lingers on to this day, in the form of her songs—indeed GKV had surpassed himself here- each song is a glittering diamond. ‘Megangale ingu vaarungale’ by SP Balasubramaniam was played by Radio Ceylon ever so often, while the elegant S.Janaki- Poornachander duets ‘ Naan ketten deiva gaanam’ & ‘Sringara sangeethame’ found frequent air time as well. The 2 versions of ‘Oru paadalai pala ragathil’ one by S.P.Balasubramaniam and the other by Poorchander remain entrenched in our memories.
Listen to ‘Megangale ingu vaarungale’ by SPB:
GKV was one of the 5 composers for his friend A.L.Raghavan’s 1980 film ‘Kannil Theriyum Kathaigal’, and the song that he composed ‘Naan paartha rathi devi enge’ did his friend proud. Sunrise Enterprises ‘Chinanjiru Kiliye’ was another 1980 film that came out with GKV’s music. The enticing ‘Vaigai neerada’ sung by Malaysia Vasudevan & S. Janaki became popular. ‘Veedu thedi vandhadhu’ and ‘Jankan pon maane’ from Pennin Vazhkkai and ‘Vethalakkiliye solladhe veliye’ from Deiva Thirumanangal were some songs composed by GKV that found mass appeal in 1981.
It was also in 1981 that he composed music for Santosh Art Films’ Nenjil Oru Mul. Inspired from Shakti Samanta’s Kati Patang, Nenjil Oru Mul starred Pratap Pothen & Poornima Jairam and was directed by Mathioli Shanmugam. GKV came out with some memorable numbers. While ‘Neraagave ketkiren’ by Deepan Chakravarthi & Vaini Jairam is a haunting duet ( reworked on GKV’s Ravivarmana Kunchada), my pick is the caressing ‘Ragam pudhu Ragam’ by Deepan Chakravarthi & SP. Shailaja which traces its Kannada origins to GKV’s ‘Raga Anuraga’ from Sanaadhi Appanna.
GKV continued to be in demand in the Kannada circuit in the early 80s and his works in films like Haavina Hede and Hanabalavo Janabalavo-both 1981, Haalu Jenu-1982, Eradu Nakshatragalu-1983 and Adhe Kannu-1985 became popular hits. However, the emergence of newcomers like Hamsalekha and Vijayanand, coupled with the sustained presence of stalwarts like Rajan-Nagendra, Upendrakumar and M.Ranga Rao saw fewer and fewer films coming his way as the decade progressed.
Chitrapriya’s Kashmir Kathali released in 1983 was GKV’s next Tamil Album. Directed by Mathioli Shanmugam, the film had Rajkumar & Rajini Sharma in the lead. ‘Azhagiya sennira vaanam’ by SP. Balasubramaniam & S.Janaki & ‘Sangeethame’ by Jayachandran & P. Susheela were delectable duets composed by GKV. Listen to the lilting ‘Sangeethame’.
1984 saw the belated release of Seshasayee Films’ Azhagu, which was years in the making. The film holds the distinction of being Nadigaiyar Thilagam Savithri’s last film. Its other distinction was, of course, Radio Ceylon’s favourites like ‘Devi vandhaal’ by SP. Balasubramaniam & S. Janaki and ‘Mounamalla mayakkam’ by Jayachandran & S. Janaki.
Listen to the forgotten ‘Mounamalla Mayakkam’, a lovely duet with GKV’s orchestral skills in full flow:
Inaindha Kodugal released in 1985 was GKV’s last film in Tamil. ‘Azhagiya malarkkodi’ sung by Yesudas & Vani Jairam was featured in Radio’s Ceylon’s Mandha Marutham parade in the evenings.
When MSV and Ilaiyaraja came together to make history in AVM’s Mella Thirandhadhu Kadhavu-1986, GKV acted in the role of Mohan’s musician father. Left with no opportunities, in 1987 he made the big blunder of turning producer, and the alarming failure of the Ramarajan-Revathi starrer Gramathu Minnal landed him in debt and despair.
Ilayaraja who had been a member of GKV’s troupe for many years before Annakkili came his way, took his Master into his fold now and GKV remained an essential element of Ilaiaraja’s ensemble till 1993, when years of bacchanalian indulgence finally took their toll. GKV made his final bow on 13 November 1993….‘Kaalam vandhadhu, kadhai mudindhu pogiren’—as the lines of his song go. I can even now remember the images of MSV, TKR, Ilaiyaraja and Gangai Amaran, all looking genuinely grief-stricken, leading the mourners.
GKV used to visit a house in my street where he had relatives. I have met him and spoken to him on a few occasions when I too happened to be at my neighbour’s house during his visits. He was bull of bonhomie, his laughter was infectious and his jokes wicked! He was the life and soul of any party and charmed all those present with his charisma.
As I have said earlier, good friend Sundar wished to celebrate the 25th year of Ragapravaham by presenting a special program. He wanted to present some not so frequently heard composers. He took 3 for himself, and allotted me 3. And in my lot fell Soolamangalam Rajalakshmi, Dakshinamoorthi Swami and G.K. Venkatesh. After I had completed my presentation on GKV, Chief Guest and eminent film historian and music scholar Shri. V.A.K. Ranga Rao was invited to speak. In the course of his speech, he said that it gave him particular pleasure that GKV was among those composers chosen. He recalled his long personal association with GKV, and said simply “He was great!”
Singer…. Music Director… Actor- GKV has left behind his firm footprints in the sands of time. ‘A highly talented composer, dynamic and imaginative in his arrangements’ said PBS, who notched up a significant tally of songs under GKV’s baton. Vani Jairam echoed the same sentiments ‘An unassuming man, he was also a technical wizard- even in his last years in IR’s troupe, he was in charge of ‘balancing’ in which he was an acknowledged expert’ she recalls.
20 odd Tamil films, and save two, all were colossal catastrophes. These were the cards that destiny dealt him, but GKV played his hand to the best of his ability, leaving behind some immortal melodies, incandescent testaments of his unquestioned talents.