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Showing posts with label Vani Jairam. Show all posts
Showing posts with label Vani Jairam. Show all posts

Friday, February 7, 2025

JAYACHANDRAN - VANI JAIRAM

நெஞ்சமொன்றின் நினைவலைகள் # 9

🎵உறங்காத கண்கள்....

உனக்காக ஏங்கும்....

நிலைக்காண நெஞ்சம்....மறுப்பது ஏனோ

மயக்கம் தானோ....🎵

https://youtu.be/_8x8TSZszDA?feature=shared

இன்றோடு வாணிம்மா நம்மை விட்டு பிரிந்து இரண்டு வருடங்கள் பறந்தோடி விட்டன!  அவர் பாடல்களை கேட்டு வளர்ந்தை என்னைப் போல் ஆயிரக்கணக்கான ரசிகர்களுக்கு அவரின் திடீர் மறைவை இன்னும் முழுமையாக ஏற்றுக்கொள்ள முடியவில்லை. அவர் இன்று நம்மிடையே இல்லை என்ற எண்ணம் வரும்போதெல்லாம் இதயத்தில் ஒரு ஈட்டி இறங்குவதுப்போல் ஒரு வலி.

ஒரு சாதாரண ரசிகனான எனக்கு இருபது வருடங்கள் அவருடன் நெருங்கி பழகும் வாய்ப்பு கிடைத்தது. பெரும் பாக்கியசாலி நான். என்னிடம் அவர் காட்டிய பரிவு, வாஞ்சை இதையெல்லாம் எண்ணும்போது கண்களில் நீர் வழிகிறது. அந்த அருமையெல்லாம் தொலைத்துவிட்டு நிற்கிறேன்.

இந்த இரண்டு வருடத்தில் அவரை/ அவரின் பாடல்களை நினைக்காத நாளில்லை. அவருடன் எனது அனுபவங்களை அவ்வப்போது பகிர்ந்து வந்திருக்கிறேன்... இதோ இன்று மீண்டும் ஒரு முறை அந்த நினைவுகளை மீட்டி பார்க்கிறேன்....

என் அபிமான பாடகர் ஜெயச்சந்திரனும் இன்று நம்மிடையே இல்லை. தமிழ் திரையிசையில் A.M. ராஜா-ஜிக்கி, TMS- P. சுசீலா, SPB- S. ஜானகி அந்தந்த காலக்கட்டத்தில் சிறந்த ஜோடிக்குரல்களாக ஆராதிக்கபட்டன.  எனது கணிப்பில் இவர்களுக்கு எந்த தரத்திலும் குறையாமல் எழுபதுகளிலும் எண்பதுகளிலும் வசீகரிக்க ஜோடி ஜெயச்சந்திரன்- வாணி. அப்படியொரு பாந்தமான பொருத்தம் இவர்கள் இணைவில்.  நான் அடிக்கடி முணுமுணுக்கும் பாடல்களில் பல ஜெயச்சந்திரன்- வாணியின் டூயட் பாடல்களே. 

🎵இது அவன் தந்த பது சங்கமே🎵

"You tell this always!" என்றார் சிரித்துக்கொண்டே வாணிம்மா நான் இதை அவரிடம் ஒருமுறை சொன்ன போது. "Perhaps….we were very comfortable working together…he treated me with courteous affection. He had a masculine depth in his voice that was uniquely attractive. And the care he took to ensure that his pronunciation was accurate was particularly endearing….’ Vani ji elaborated. Yes, I thought, their dynamics were in perfect sync. 

"வாணிஜி" என்று ஜெயச்சந்திரன் அன்பாக அழைப்பாராம். பேச்சிலும் செய்கையிலும் மரியாதை கலந்த அன்பு இருக்குமாம். 'A very friendly, simple and affable person.... a gentleman in every way and a singer with whom it was a pleasure to work with!" என்றார். "டேக்" போகும்முன் பாடிப்பார்க்கும் போது ஜெயேட்டனும் வாணிம்மாவும் 'நான் இப்படி பாடுகிறேன், நீங்கள் அதற்கு இப்படி counter கொடுத்தால் நன்றாக இருக்கும்.... இந்த இடத்தில் இப்படி பாடலாம்...." என்று தங்களுக்குள் கலந்தாலோசித்து விட்டு இசையமைப்பாளரிடம் சம்மதம் பெற்று விடுவார்களாம். ' He has a wicked sense of humor and would make me laugh with his spontaneous quips!" என்றார்... பல ஊர்களில் மேடை நிகழ்ச்சிகளில் கலந்துக்கொள்ள ஒன்றாக பயணித்திருக்கார்கள். வானொலி, தொலைக்காட்சி இசை நிகழ்ச்சிகளில் ஒன்றாக பங்குப்பெற்றிருக்கிறார்கள்.

அந்த நாட்களின் இனிமையான ஞாபகங்கள் வாணிம்மாவின் முகத்தில் ஒரு அழகான புன்னகையை வரவழைத்திருந்தது. 

ஜெயச்சந்திரனை சந்தித்த போதும் அவரிடம் வாணிமாவை பற்றி கேட்டேன். அவர் முகத்திலும் உடனே ஒரு புன்னகை. 'ஓ... great artiste! Perfectionist! வாணிஜியோட தான் அதிகமா பாடியிருக்கேன்னு நினைக்கிறேன். பாவம்.... குரல் நல்லா இருக்கும்போதே அவருக்கு திடீர்னு வாய்ப்பு குறைஞ்சு போச்சு. Great injustice!" என்று வருத்தப்பட்டார்.

இதோ சென்னை தொலைக்காட்சிக்காக வைரமுத்து இயற்றி, மெல்லிசை மன்னர் இசையமைப்பில் வாணிம்மாவும் ஜெயேட்டனும் திரையில் தோன்றி பாடிய 'கண்ணுக்கு மை அழகு'. 

https://youtu.be/2bu05Rn_7mw?feature=shared

தமிழைப்போலவே அதே 70, 80 களில் மலையாளத்திலும் கன்னடத்திலும் கூட ஜெயசந்திரன்- வாணி ஜெய்ராம் குரல்களில் பல அருமையான டூயட் பாடல்கள் வந்தன. 

எண்பதுகளில் தென்னகமே இப்படி கொண்டாடிய இந்த பாடக ஜோடியை ஒரு நீண்ட இடைவேளைக்கு பிறகு 2014ஆம் வருடம் மீண்டும் ஒன்று சேர்த்து அழகு பார்த்தார் மலையாள இசையமைப்பாளர் கோபி சுந்தர். படத்தின் பெயர் "1983." எண்பதுகளில் நடப்பது போன்ற கதைக்களம்- அதனால் எண்பதுகளின் சாயலில் மெட்டமைத்து, எண்பதுகளில் கோலோச்சிய ஜெயச்சந்திரனையும் வாணி ஜெயராமையும் ஒரு பாடலை இணைந்து பாடவைத்தார். 2014ல் நான் துபாயில் இருந்த போது இந்த பாடல் மலையாள பண்பலைகளில் ஒலிக்காத நாளில்லை. எல்லோர் உதட்டிலும் ஒட்டிக்கொண்டது இந்த "ஓலஞ்சாலி குருவி"

https://youtu.be/9MSxbBWZJn4?feature=shared

இதற்கு பிறகும் 2018ல் வெளிவந்த 'Captain' படத்திலேயும் கோபி சுந்தர் ஜெயேட்டனையும் வாணிமாவையும் இன்னொரு டூயட் பாட வைத்தார். இந்த "பெய்தலிஞ்ச நிமிஷம்" இவர்கள் இணைந்து பாடிய கடைசி டூயட்டாக அமைந்தது.

https://youtu.be/tkWlVU0Ov7g?feature=shared&sfnsn=wiwspwa

சில வருடங்களுக்கு முன் 'Kairali' சேனலில் ஜெயச்சந்திரனின் ஒரு நீண்ட பேட்டி இடம்பெற்றது. அதில் வாணிமா காணொளியில் தோன்றி ஜெயேட்டனை பற்றி பேசினார். அவர் முகம் திரையில் தோன்றியதும் அதை எதிர்பார்க்காத ஜெயச்சந்திரனின் முகத்தில் தான் எத்தனை சந்தோஷம், உற்சாகம்!

https://youtu.be/q7325nxGxk8?feature=shared

சரி, தமிழுக்கு வருவோம். 1976ல் வந்த "மூன்று முடிச்சு" படத்தில் மெல்லிசை மன்னரின் இசையில் தான் ஜெயச்சந்திரன்- வாணி முதல்முதலில் ஜோடி சேர்ந்தனர். இளம் ஜோடி கமல்- ஸ்ரீதேவிக்கு ஜெயச்சந்திரன்- வாணி குரல் அவ்வளவு பொருத்தமாக அமைந்தது. அதற்கு பிறகும் MSV இசையில் இந்த இருவர் பல இனிமையான டூயட் பாடல்களை பாடினார்கள்.

இளையராஜாவின் இசையில் ஜெயச்சந்திரனும் வாணிமா- இருவருக்கும் முதல் பாடல் 'புவனா ஒரு கேள்விக்குறி' (1977) படத்தின் 'பூந்தென்றலே'. K.V. மகாதேவன், சந்திரபோஸ் போன்றோரின் இசையில் சில டூயட் பாடல்கள் வந்தாலும் ஜெயச்சந்திரன்- வாணிக்கு அதிகமாக டூயட் வாய்ப்புகள் கிடைத்தது சங்கர்- கணேஷிடம். 

ஜெயச்சந்திரன்- வாணி ஜெயராம் இணைந்து பாடிய தமிழ் டூயட் பாடல்கள் ஒரு ஐம்பதாவது பட்டியலிடலாம் என்று உட்கார்ந்தேன். 70 வரை பட்டியல் நீண்டு விட்டது. நிச்சயம் இன்னும் இருக்கும். ஞாபகம் வரும்போது பட்டியலில் சேர்த்து விடுகிறேன்.

1. ஆடிவெள்ளி தேடி உன்னை- மூன்று முடிச்சு- MSV

https://youtu.be/oV5DWfkw9Hs?feature=shared

2. வசந்தகால நதிகளிலே- மூன்று மூடிச்சு-  MSV

https://youtu.be/Ol7uZlWkZrM?feature=shared

3. அன்பே உன் பெயரென்ன ரதியோ- இதயமலர்- MSV

https://youtu.be/9WNbU8Pm0Gg?feature=shared

4. சாமத்தில் பூத்த மல்லி- உங்களில் ஒருத்தி- MSV

https://youtu.be/zeKSJJwaF_E?feature=shared

5. திருமுருகன் அருகினிலே- மேயர் மீனாட்சி- MSV

https://youtu.be/9jOlc9wQezg?feature=shared

6. விழியோ உறங்கவில்லை- நீ வாழவேண்டும்- MSV

https://youtu.be/jt5ZpXcRgx0?feature=shared

7. கண்ணன் முகம் காண- ஆயிரம் ஜென்மங்கள்- MSV

https://youtu.be/ft4Xo0rXuYY?feature=shared

8. அமுதத் தமிழில்- மதுரையை மீட்ட சுந்தரபாண்டியன்- MSV

https://youtu.be/5P04L2dVWuY?feature=shared

9. Swing Swing- வணக்கத்துக்குரிய காதலியே- MSV

https://youtu.be/OQidn6gAhXE?feature=shared

10. நான் ராமனைப்போல்- ஆசைக்கு வயசில்லை- MSV

https://youtu.be/IFgMV_cWSoI?feature=shared

11. பாவை நீ மல்லிகை - தெய்வீக ராகங்கள் - MSV

https://youtu.be/HgHncdzVME0?feature=shared

12. மழைக்காலம் பனிக்காலமும்- சாவித்திரி- MSV

https://youtu.be/uooDbYj98z0?feature=shared

13. மன்மதனின் வீணையிலே- அழைத்தால் வருவேன் - MSV

https://youtu.be/rEs1T7FhKbg?feature=shared

14. ஸ்வரராக- அந்த ஏழு நாட்கள்- MSV

https://youtu.be/bsqUx0Mh7SI?feature=shared

15. ஐயாவுக்கு மனசிருக்கு- தீ- MSV

https://youtu.be/UL1ugXVxVdg?feature=shared

16. கண்கள் பேசும்- உண்மைகள்- MSV

https://youtu.be/vZtByk0ttHI?feature=shared

17. மெய்சிலிர்க்குது- மூக்கணாங்கயிறு- MSV

https://youtu.be/hsIkyJL6W3w?feature=shared

18. கையை தந்தேன் ஒட்டிக்கொள்ள - கதை கதையாம் காரணமாம் - MSzv

https://youtu.be/TsLG0zrHEeY?feature=shared

19. வானும் மண்ணும்- வரம்-  MSV

https://youtu.be/0WGiPqtYaZs?feature=shared- MSV

20.  இந்திர லோகத்து சந்திர ஒளியினில்- தாளம் தவறிய ராகம்- MSV 

https://youtu.be/q_aV2-ehMhM?feature=shared&sfnsn=wiwspwa

21. நெறிஞ்சி முள்ளே- நீலக்கடலின் ஓரத்திலே- MSV 

https://youtu.be/J5x4BgN8_X0?feature=shared

22. உந்தன் காவிய மேடையிலே- முறைப் பொண்ணு- MSV

https://youtu.be/WFN5_BDVHBA?feature=shared

23. இரவினில் பனியினில்- நெருப்பிலே பூத்த மலர்- KVM

https://youtu.be/BXZjQIKcrZ4?feature=shared

24. மாளிகையானாலும்- ஆஷா- KVM

https://youtu.be/MiVvHBDwXXg?feature=shared

25. கண்ணில் வந்தாய்- லாட்டரி டிக்கெட்- L. வைத்தியநாதன்

https://youtu.be/VNAQVlyUWDU?feature=shared

26. பூந்தென்றலே- புவனா ஒரு கேள்விக்குறி- இளையராஜா

https://youtu.be/hsKDC_CwbJ8?feature=shared

27. இன்றைக்கு ஏனிந்த - வைதேகி காத்திருந்தாள் - இளையராஜா

https://youtu.be/dzNAD7oIRhE?feature=shared

28. கவிதை கேளுங்கள்- புன்னகை மன்னன்- இளையராஜா

https://youtu.be/Pv3g762tBnQ?feature=shared

29. கதை சொல்லும் சிலைகள்- கராத்தே கமலா- சங்கர் கணேஷ் 

https://youtu.be/vmGLh1KHpLM?feature=shared

30. உன் விழி சொல்லும்- எத்தனை ஜென்மம் எடுத்தாலும்- சங்கர் கணேஷ் 

https://youtu.be/-_rDnTjeCyA?feature=shared

31. ஸ்ரீரங்கனோ ஸ்ரீதேவியோ- மீனாட்சி குங்குமம் - சங்கர் கணேஷ் 

https://youtu.be/hyCjUiKsYJ8?feature=shared

32. உறங்காத கண்கள்- உறங்காத கண்கள்- சங்கர் கணேஷ் 

https://youtu.be/LKDgvUN-UNU?feature=shared

33. பாடு தென்றலே- நெல்லிக்கனி- சங்கர் கணேஷ் 

https://youtu.be/NcX7Y2AzJNQ?feature=shared

34. முத்துரதமோ- பொன்னகரம் - சங்கர் கணேஷ் 

https://youtu.be/wMT3VZYxPb8?feature=shared

35. காதல் மந்திரத்தில்- நேரம் வந்தாச்சு- சங்கர் கணேஷ் 

https://youtu.be/qMcDRD1azEI?feature=shared

36. வயசுப்பொண்ணு தனியே நின்னு- நெஞ்சமெல்லாம் நீயே- சங்கர் கணேஷ் 

https://youtu.be/_tDmBEVCkGU?feature=shared

37. காற்று நடந்தது- துணை- சங்கர் கணேஷ் 

https://youtu.be/Ma80o8td5Ow?feature=shared

38. தேவி என் தேவி நீதானே- வேலி- சங்கர் கணேஷ் 

https://youtu.be/khGDwaFYC-w?feature=shared

39. தேன் பாயும் வேளை- பவுர்ணமி அலைகள்- சங்கர் கணேஷ் 

https://youtu.be/tgS4D3lV0Nk?feature=shared

40. உன் பார்வை தந்த மயக்கம்- காடு- சங்கர் கணேஷ் 

https://youtu.be/u1kwZafsLxQ?feature=shared

41. கலைமாமணியே- பணம் பெண் பாசம்- சங்கர் கணேஷ் 

https://youtu.be/Dv8L0sFf57o?feature=shared

42. காமதேனு கன்னியாக- பால்காரி- சங்கர் கணேஷ் 

https://youtu.be/brKbeanmwVs?feature=shared

43. ஆயிரம் ஜென்மங்கள்- அந்த வீட்டில் ஒரு கோயில் - சங்கர் கணேஷ்

https://youtu.be/JZk8jiS7mGc?feature=shared

44. அஞ்சாறு நாளாச்சு- குரோதம்- சங்கர் கணேஷ் 

https://youtu.be/aTYGRGM9bYQ?feature=shared

45. வஞ்சிக்கொடி நெஞ்சப்படி- சாந்தி முகூர்த்தம்- சங்கர் கணேஷ்

https://youtu.be/ptEq9UF7PkQ?feature=shared

46. சுகமான நேரம்- அலைபாயும் நெஞ்சங்கள்- சங்கர் கணேஷ்

https://youtu.be/XgRkuX8IJuI?feature=shared

47. பூவே சின்னப்பூபே என்ன சேதி- காகித ஓடம்- சங்கர் கணேஷ்

https://youtu.be/0mWuxy9jU-8?feature=shared

48. வா வா என் தலைவா- நன்றி- சங்கர் கணேஷ்

https://youtu.be/ApPWR5_GFnk?feature=shared

49. யாரோ யாரோ - பணம் பத்தும் செய்யும்- சங்கர் கணேஷ்

https://youtu.be/Ycv6leqliPI?feature=shared

50. இந்த கண்கள் ரெண்டும்- பக்கத்து வீட்டு ரோஜா- சங்கர் கணேஷ்

51. நிலவில் பிறந்த முகம்- மாறுப்பட்ட கோணங்கள்- சங்கர் கணேஷ்

https://youtu.be/tXLQiqcWpOM?feature=shared

52. நீரோடை கண்டு- கருப்புசாசட்டைக்காரன்- சங்கர் கணேஷ்

https://youtu.be/qn1-qbPkUY8?feature=shared

53. குறிஞ்சி மலரொன்று- தூக்கு மேடை- சங்கர் கணேஷ்

https://youtu.be/y4olnmHhPpg?feature=shared

54. என்னதான் இந்த மௌனம்- கடவுளுக்கு ஒரு கடிதம்- சங்கர் கணேஷ்

https://youtu.be/PYHTIahixCA?feature=shared

55. ஏழேழு ஜென்மம் எடுத்தாலும்- மீண்டும் சந்திப்போம்- சங்கர் கணேஷ்

https://youtu.be/WxSvcdDHMqQ?feature=shared

56. மல்லியப்பூவ- நடமாடும் சிலைகள்- சங்கர் கணேஷ்

https://youtu.be/j5MOxl7zGhs?feature=shared

57. காவிரி மீன்விழி- செயின் ஜெயபால்- சங்கர் கணேஷ்

https://youtu.be/Ah6BqRiMYII?feature=shared

58. கார்காலம் இது கார்காலம்- இளையபிறவிகள்- சங்கர் கணேஷ்

https://youtu.be/RL_076_ei3s?feature=shared

59. யோகமிது புது யோகமிது- மாப்பிள்ளை சிங்கம்- சங்கர் கணேஷ்

https://youtu.be/JamHKpv6igs?feature=shared

60. உன் பார்வை சுகமானது- ஒரு திசை- சங்கர் கணேஷ்

https://youtu.be/ndLbZ5AyfzY?feature=shared

61. மலர்கள் பனியில் நனையும்- தாயே வருக- தாராபுரம் சுந்தரராஜன் 

https://youtu.be/s6mbfLNs7f0?feature=shared

62. அம்மி மிதிக்கனும்- இவர்கள் இந்தியர்கள் - மனோஜ் கியான்

https://youtu.be/TtlzATcyxVQ?feature=shared

63. இளமையின் நினைவுகள் ஆயிரம்- செல்வாக்கு- சந்திரபோஸ்

https://youtu.be/rAL4wpJWgHA?feature=shared

64. ஊரெங்கும் உன்னை தேடுதோ- கைநாட்டு- சந்திரபோஸ் 

https://youtu.be/lpAem9lFA5M?feature=shared

65. ஆயிரம் விழிகள்- வாழப்பிறந்த பூக்கள்- சந்திரபோஸ் 

https://youtu.be/V7opvRs7v6c?feature=shared

66. கன்னம் கன்னம்- பூவிரியும் புலரி- ஜெர்ரி அமல்தேவ், குணசிங் 

https://youtu.be/W7i4AaC4YRA?feature=shared

67. பூங்குருவி பூங்குருவி- முதல் மனைவி- ஞானதேவன் 

https://youtu.be/mo8fBfbQjoo?feature=shared

68. துவளும் கொடியிடையாள்- கருமையில் ஓர் அழகு- அகஸ்தியர்

https://youtu.be/09Qq8HToPEk?feature=shared

69. பூ மலரும்- கோடுகள் இல்லாத கோலம்- A. தேவராஜா

https://youtu.be/dKzy7MoWFo4?feature=shared

70. நான் மணமகளே- தம்பி தங்கக் கம்பி- கங்கை அமரன்

https://youtu.be/PpomtjNVkKM?feature=shared

ஜெயச்சந்திரன்- வாணி பாடிய பாடல் வரிப்போல "ராகம் தன்னை மூடி வைத்த வீணை" அவர்களின் சின்னமாக இருவரும் இன்று நம்மிடையே இல்லை. "பாடிவா....  பாடிவா" என்று வாணிம்மா  தன்னுடன் சேர்ந்து விண்ணுலகில் பாட தனது ஜோடிக்குயிலை அழைத்துக்கொண்டு விட்டார் போலும்....

#நினைவாலேசிலைசெய்து 

- நினைவலைகள் தொடரும்....

- Saravanan Natarajan 


https://www.facebook.com/saravanan.natarajan.319/posts/pfbid024noR6qcno4FkJWD7REZcZXM9zydYU6g8D7rK9EK5wsQd64V2Dk2LEsSRzoZCB45Jl

Friday, August 24, 2018

மலர்ந்தும் மலராதவை # 36

Saravanan Natarajan writes:
மலர்ந்தும் மலராதவை # 36

ஏதேதோ கனவு கண்டேனோ.....

Last weekend when OISG, Narayanan, Sivakumar Sir and I met, we talked, among other things, of Ilaiyaraja reusing his tunes in other languages.

My thoughts, this week, were on many such instances, and at the irony of some of the tunes funding their way back to Tamil! Like for instance, ‘சங்கத்தில் பாடாத கவிதை’ (which itself was the Tamil version of the scintillating Malayalam number ‘Thumbi vaa’), enjoying a Telugu sojourn in ‘Aakasham enatido’ and returning to Tamil as ‘நீர்வீழ்ச்சி தீ மூட்டுதே’ when Nireekshana was dubbed into Tamil as கண்ணே கலைமானே. And each of the versions, in Malayalam, Tamil and Telugu featured the vocals of Raja’s Prima Donna. The Hindi version that came much later, was a fun-filled Mano- Preeti Uttam Singh duet, though.

However, there came to memory an instance where a tune sung by Janaki returned to Tamil in the vocals of Vani…serendipity happens when we listen to the same tune in the vocals of the two talented Divas….

Janaki, as we know, was at most times an afterthought in the Tamil albums of the 60s. MSV would send for Janaki only in the rare cases when he wished for a change from his trusted Susheela or protégé Easwari. In a decade that was dominated by these two hugely talented singers, Janaki had to be content with the stray opportunities that came her way. That she gave her best to each one of her songs, few that they may be, revealed why she was celebrated in Malayalam and Kannada.

The 70s, however, was a decade of renaissance. The number of composers, lyricists and singers who found exciting avenues ensured an abundance of variety. MSV was first to acknowledge this change, and along with the young SPB, Yesudas and Jayachandran, a delighted Janaki found frequent summons from the Master coming her way. With the advent of Vani, MSV found a singer who was in perfect sync with his thoughts. Album of album came from the Master with dazzling permutations and combinations of singers.

If Vani was an inevitable presence in the ensembles of MSV, Shankar-Ganesh and Vijayabhaskar, Janaki found her moorings in the music of Ilaiyaraja. The late 70s and the early 80s were the time when the careers of both the singers peaked and most albums featured their vocals.

Janaki and Vani had only a handful of duets, though. It was MSV who brought them together for the first time in the beautifully composed ‘இந்தப் பெண்ணோடு பிறந்தது நடனம்’ (சமையல்காரன்/ 1974). The divas shared the mike four years later when Shyam composed the eternally alluring ‘பொன்னே பூமியடி’ (மனிதரில் இத்தனை நிறங்களா/1978). Ilaiyaraja gave them the jaunty ‘மச்சானை பாரடி’ (தங்கமகன்/1983), and also made them join Malaysia Vasudevan to render the haunting ‘சின்னப்பொண்ணு சின்னப்பொண்ணு’ (அறுவடை நாள்/ 1986). Chandrabose pulled a coup of sorts when he brought together Susheela, Janaki and Vani to sing ‘வந்தாளே தெற்க்குச் சீமையிலே’ ( பொண்டாட்டி சொன்னா கேட்டுக்கணும்/ 1991).

And in the 1978 movie காற்றினிலே வரும் கீதம், Raja sent for Janaki and Vani to render the two versions of the title song. If Janaki’s ‘கண்டேன் எங்கும்’ was the gentle zephyr that caresses one with its pleasant allure, Vani’s was the wild tempest that tantalizes one with eerie enticement.

https://www.youtube.com/watch?v=cl1IbJwXVro

https://www.youtube.com/watch?v=sqDkmF1dLds

* * * * * * *

Jwala, a 1985 Telugu movie, was a potboiler in the standard template of the time. In a movie which
Chiranjeevi essayed a double role, Ilaiyaraja came up with some feet-tapping songs that became popular. Even overshadowing the fast-paced dance numbers, it was the soulful Janaki solo ‘Evevo Kalalu’ that topped the charts.

The tune was so appealing that Raja had to reuse it in Tamil in the following year. ‘மரகத வீணை’, a story revolving around a primary school in a southern village and the love that blossoms between the music teacher Kokila (Revathy) and the sports coach Kannan (Suresh), had a magnificent album. And ‘Evevo Kalalu’ was heard as ‘கண்ணா வா’, again in the voice of Janaki.

Two years later, a production company called ‘Vijay Gowri’ films embarked upon dubbing ‘Jawala’ in Tamil as ‘துடிக்கும் நெஞ்சம்’ and the songs were recorded in Tamil. I doubt if the movie ever made it to the halls, but Vani’s fervent ‘ஏதேதோ கனவு கண்டேனோ’ did feature in the salubrious ‘Mandha marutham’ parade of Radio Ceylon.

Here then are the two songs, the same tune in the voice of the two divas:

Kanna Vaa from Maragatha Veenai (1986)
Sung by S. Janaki
Lyrics by Vairamuthu
Music by Ilaiyaraja

https://www.youtube.com/watch?v=K1ifFkNbJt4&feature=youtu.be

Ethetho from Thudikkum Nenjam (unreleased)
Sung by Vani Jairam
Lyrics by Vaali
Music by Ilaiyaraja

https://www.youtube.com/watch?v=u0w-ulzvJCk&feature=youtu.be

Discussion at:
https://www.facebook.com/groups/1018417744856618/permalink/2154102721288109/

Tuesday, January 2, 2018

மலர்ந்தும் மலராதவை # 14

மலர்ந்தும் மலராதவை # 14:

வானிலே எந்த நாளும் ஆனந்த சூரியோதயம்....

I’ve often wondered about this film 'Anu'. I honestly don’t know if it was ever released, for I have seen it (twice!) on Podhigai TV. And though the certificate of censor showed the year as 1982, I strongly suspect that it was already some years since the film was made. Perhaps it was destined only for a belated TV release (‘திரைக்கே வராத’ in Sun TV jargon)?

The film was produced by T.R.M. Sukumaran, the son of the T.R.Mahalingam, under the banner T.R.M. Creations. (Sukumaran had also jointly produced மற்றவை நேரில்). 'Anu' was scripted by ‘Vietnam Veedu’ Sundaram and directed by P.N. Menon. Jayadevi played the protagonist Anu; the lacklustre cast included a newcomer Raja, Hariprasad (who acted in நட்சத்திரம்), SSR Rajendrakumar, Rani Padmini and Anumanthu.

The story was of the affluent Anu falling in the love with the poor and principled Ramu, and marrying him with her father’s reluctant approval. Ramu’ s large family (numerous siblings, irresponsible father…) looks at her with initial mistrust, but soon enough, she wins them over with her warmth, simplicity and affection. Tragedy strikes early when Ramu succumbs to a sudden illness. Though benumbed by this irredeemable loss, Anu refuses resolutely to return to her father. She stays on in Raja’s house; gently guiding the hapless family find its moorings.

MSV had whipped up a delectable duet, served in style by SPB & Vani: ‘சந்தனக்காட்டினில் மல்லிகைப்பூத்தது’. SPB and Vani have a natty albeit naughty duet as well: ‘நெனச்சது அப்போது’. ‘வானிலே எந்த நாளும்’ has a pathos version beginning with ‘சிரிக்கும் வாழைத்தோட்டங்களில்’ sung by Savitri, the daughter of T.R.Mahalingam. Savitri was earlier heard setting the stage for KJY’s enchantment to commence in the famed ‘காஞ்சிப்பட்டுடுத்தி’ (வயசுப்பொண்ணு) and following Janaki’s lead in the singular classical treat ‘அழகியப்பெண்னொரு சங்கீதம்’ (இவர்கள் வித்தியாசமானவர்கள்).

* * * *

“இந்தப்பாட்டு.... இது எந்தப்படம் ? ” asked a delighted but perplexed Vani ji when I played this song over the phone. And as I teasingly maintained silence, she laughed and added ruminatively: “It is so beautiful…Aahaa….MSV sir’s tune, definitely. It has MSV written all over it!” When I finally told her about the film, she could recollect it. She too felt that it was never released and added that ‘Vietnam Veedu’ Sundaram named it Anu after his daughter.


'வானிலே எந்த நாளும்' was popularised by Radio Ceylon, securing a regular berth in the Pongum Poompunal parade. The song finds place in the aftermath of Anu’s marriage with Ramu, and Kannadasan fills his lines with the euphoric moments of marital bliss. Content with creating a tune that verily serenades the soaring joys of a newly married girl, MSV leaves the rest to Vani. And as for Vani…oh, her singing surges with this rapturous repletion, and then adds on for good measure fervent hopes for this bliss to continue unabated. If she preens herself smugly in 'நாளெல்லாம் மணவிழா, வாழ்வெல்லாம் திருவிழா’, she is a picture of impassioned prayer in ‘அரசன் போன்ற என்ற நாயகன் அதிக காலம் வாழ்வாரென்று இறைவன் அருளைச்சொல்லுங்களேன்’; and if she is the bashful damsel singing of new found pleasures in 'சிவந்த கன்னம் பாலூறவும், கனிந்த வாயில் தேனூறவும் …’ (that hushed ‘சொர்கங்களே’ hints at so many unsaid delights!), she is the serene epitome of domestic happiness in Kannadasan’s wonderful lines 'ஒளியின் மேன்மை தீபத்திலே...தீப மேன்மை தெய்வத்திலே...தெய்வ மேன்மை கோயிலிலே...கோயில் மேன்மை குடும்பத்திலே.....’ .

This song was surely made for a kinder destiny!

Here is the audio link:

https://www.youtube.com/watch?v=xnXrPNj-puQ

And the video (the song is followed by the short pathos version by Savitri):

https://www.youtube.com/watch?v=KIRXOuKJSVc

Discussion at:
https://www.facebook.com/groups/1018417744856618/permalink/1838704609494590/

Wednesday, November 30, 2016

KANNAN KOVIL PARAVAI IDHU - AKKA

Saravanan Natarajan writes:

கண்ண(தாச)ன் கோயில் பறவையிது...

It is the birthday today of the dulcet diva. When I called her to wish her this morning, I just played the opening lines of her own 'ஆயிரம் ஆண்டுகள் ஆயிரம் பிறவிகள் பூமியில் பிறந்திட வேண்டுகிறேன்..'. Vani ji sounded moved and happy “So kind of you, Saravanan!” she exclaimed, filling me with a pleasurable thrill, for I had not spoken a word until then! “I know it is you” was her simple explanation when I asked her how she guessed who the caller was, for I had called her old-fashioned land-line and she had no way of noticing the number. I was at a loss for words, and as if to ease the silence, she went on to enquire pleasantly about the well-being of my family, mentioning my wife and son by name. I could hear her cell phone ringing and even as I tried to end our conversation with my wishes and prayers, she continued unhurriedly talking to me, conveying her blessings and thanks. Blessed I am, truly!

It is my pleasure to celebrate this joyous occasion by posting a song that has remained close to my heart ever since the first listen decades ago- Thanks to Radio Ceylon, an ennui filled afternoon transformed to sheer enchantment as I listened transfixed to Vani ji’s soulful soiree...

The first time I met Vani ji at her home, I started off by referring to Kannadasan’s singular tribute to her in his ‘சந்தித்தேன் சிந்தித்தேன் ’ (originally serialized in குமுதம் as ‘இந்த வாரம் சந்தித்தேன்’). She 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 ‘வாணி, உன்ன பத்தி என் மனசில தோன்றதெல்லாம் எழுதி இருக்கேன். படிச்சு பாரு', 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 Jairam ji and 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’

Vaniji and Jairamji seemed to be lost in memories of the Kaviyarasar and the special relationship they shared with him- After a pause, Vani ji continued ‘Again, another time, when he was contributing to some Annadaanam scheme, he called me and affectionately demanded ‘வாணி, நீயும் உன் பங்குக்கு ரெண்டு மூட்டை அரிசி கொடு ’- 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 ‘கண்ணன் கோயில் பறவை...'

I couldn’t resist interrupting her flow of thought and said excitedly ‘That’s one of my favorite songs!’ Vani ji smiled indulgently, and….did what I was waiting for with bated breath….she sang the pallavi, and the first charanam of that spellbinding classic. Oh, the ageless allure! Her voice, as sweet as ever, took us briefly to another world, another time, when giants like Kannadasan, MSV & Vani Jairam were making magic with Tamil film music….
* * * * *

‘Full many a flower is born to blush unseen,
And waste its sweetness on the desert air’

I can never, never understand why this magnificent composition did not hit the popularity charts.
The movie அக்கா (1976) had K.R. Vijaya in the title role, with Jaiganesh, Vijayakumar and a debutant Vijayabala (who was never heard of since) as her co-actors. The புன்னகை அரசி essayed the role of a vocalist Kamala. Her love for her younger sister and the villainous machinations of her husband formed the crux of the narrative.

The movie opens with a series of mysterious events. Vijaya makes her appearance well into the proceedings as part of the flash back narrated by her sister, and this is the song where we are introduced to the acclaimed vocalist Kamala…

கண்ணன் கோயில் பறவை இது
கருணை மன்னன் தீபம் இது
அண்ணல் கடலின் ஓடமிது
அதுதான் இப்போது பாடுவது...

What a virtuoso performance!! இதில் கண்ணன் கோயில் பறவை யார்- கிருஷ்ணகானம் படைத்த கவியரசரா, அதற்க்கு மெட்டமைத்த மெல்லிசை மன்னரா, இவ்விருவரின் கூடத்தில் அகல்விளக்காய் ஜொலிக்கும் வாணியா....அல்லது மூவருமா? I used to wonder at Vani’s exclusion from the immortal MSV- Kannadasan collaboration ‘Krishna Ganam’, released the same year, wherein all the popular singers of the time found place. I get the answer every time I listen to கண்ணன் கோயில் பறவை இது...perhaps MSV and Kannadasan felt this song equaled if not surpassed that album! The rendition is punctuated by spellbinding and swift Swara sojourns (particularly towards the end) and amazing alaapanais. The brughas are reminiscent of the great S. Varalakshmi in her prime. Also mention must be made of the subtle variations in each repetition of the refrain 'அதுதான் இப்போது பாடுவது'. A wonderful ragamalika, which MSV had masterfully woven in Hamsadhwani, Charukesi, Aarabhi, Dhanyasi, Behaag….

Many may recognise the similarity in structure, which this song shares with the pathos filled தேவியின் கோயில் பறவை இது - (Janaki), from அவளுக்கென்று ஒரு மனம் . Both songs are by Kannadasan and tuned by MSV. While the line ‘அது தான் இப்போது பாடுவது’ recurs at the end of each verse in this song, the corresponding last line in தேவியின் கோயில் is 'கண்ணீர் எழுதும் கவிதை இது'. And most lines end with 'இது' in both songs. However, while தேவியின் கோயில் is an emotional cascade, கண்ணன் கோயில் is a classic, soulful Krishnaganam, which Kannadasan created with poetic lyrics in ode to his favorite God.

I leave you with this song and with Kannadasan’s eloquent tribute to his Vani in his சந்தித்தேன் சிந்தித்தேன் – “முறையான சங்கீதப்பயிற்சி உள்ளதால் எளிய கர்நாடகத்தில் வாணியின் குரல் ஒலிக்கும் போது அதன் சுகமே அலாதி. ஏழு சுரங்களில் பாடலை நான் எங்கே கேட்டாலும் என்னை மெய்மறக்கச் செய்து நிற்கவைக்கிறது. பானுமதி, வரலக்ஷ்மி, சூரியகுமாரி போல் வாணியின் குரலும் தனித்தன்மை வாய்ந்தது. அவர் குரலில் ஒரு குடும்ப சுகம் இருக்கிறது. எல்லா பாஷைகளிலும் அவற்றினுடைய த்வனி தவறாமல் உச்சரிக்கும் வல்லமை பெற்ற வாணி ஒரு ஆயுட்கால பாடகியே. பெயர் பொருத்தம் பலருக்கு அமையாது- வாணிக்கு அமைந்திருக்கிறது. வாணி உண்மையிலேயே ஒரு கலைவாணி தான்!"

To add anything to that would be sheer arrogance!

https://www.youtube.com/watch?v=8mWDq7GbOp0


https://www.facebook.com/groups/1018417744856618/permalink/1403282769703445/

Thursday, September 8, 2016

MUTHU MUTHU THEROTTAM - AANI VER

Saravanan Natarajan writes:
முத்து முத்துத்தேரோட்டம்..

Vivekananda Pictures’ Aaniver (1981) had heartwarming performances by Sivakumar and Saritha, with Poornam Viswanathan playing a riveting cameo.

It is a story of a young girl Arukkani rising high to become an IAS officer from humble beginnings. Her cousin Raman, who had stood steadfast by her and ensured against all odds that she continued her education, goes to jail defending her honour. He comes out now as a grown man. Despite the difference in their current status, her love for him remains intact over all these years. But he is awed at her education and stature. Though they are now man and wife, he labours under a strong feeling that he is no match for her and remains shy, tongue-tied, and even worse…. aloof!

She yearns for his love, waits in vain for his caress, pines with unfulfilled passion…

Pulavar Pulamaipithan’s pen moves with felicity, painting the canvas with pastel hues of delicate longing, stifled frustration and forlorn despair…

Shankar-Ganesh enjoyed a very special rapport with Vani. After escorting her into Tamil cinema with their ஓரிடம் உன்னிடம், they enthroned her as their prima donna and in the next decade ensured that she rendered many of their compositions. True, many of the movies came a cropper at the hustings and the albums, largely nondescript, erased themselves from public memory; yet like silver linings in dark clouds, came a bewitching என் உள்ளம் அழகான வெள்ளித்திரை or the epic ஆயிரம் ஆண்டுகள் ஆயிரம் பிறவிகள், an inspired மேகமே மேகமே or யாரது சொல்லாமல் நெஞ்சள்ளி போனது, which all earned their rightful due, and இளங்குயிலின் இளைய ராகம் or முத்தம்மா சின்னச்சிட்டு or உந்தன் பாதத்தில் or தும்பைப்பூ முகத்தில், which deserved a better destiny.

This song is among Shankar-Ganesh’s best ever creations- the guitar is used so subtly throughout the song and conveys the mood of anguished ache in such a gentle, moving way. The violin and guitar in the prelude, flute in between the Pallavi, the violin and the flute in the interludes---all work in tandem, accentuating the heartfelt love and longing motif of the song… When Vani sings there is just a vamping of the guitar that accompanies her and no percussion support. The confidence that Shankar- Ganesh had in Vani!

And as for Vani, she sparkles, as usual. Her mellifluousness brings to melancholic life all the suppressed longings of the heroine. It is not a coarse or a seductive invitation; it is a gentle and heart-rending reminder to him not to neglect his duties as a husband. Even while remaining decent and dignified, she manages to bring forth the tremulous torture. How fetchingly does this inner torment find a vent in the whimpered இந்த தனிமை கொடுமை!

Female characters in Tamil cinema have generally expressed their unfulfilled desires in a subtle manner that tugs at the heart-strings- Remember Manjula in மறு பிறவி bemoaning her unconsummated marriage in the moving song அலைகளிலே தென்றல் வந்து (P. Susheela)? Or Revathi, lamenting her wretched young, widowed state in வைதேகி காத்திருந்தாள்- அழகு மலராட (S. Janaki)?

Here, she sends the breeze as her emissary to ask of her man when her suffering would find succour- she implores the zephyr to return with a reply….

முத்து முத்துத்தேரோட்டம்
என்னை மோகம் தாலாட்டும்
எந்தன் தாகம்..என்று தீரும்?
இதை நீ கேட்டுவா தென்றலே..



Discussion at:
https://www.facebook.com/groups/1018417744856618/permalink/1314856418546081/

Saturday, May 21, 2016

Ullam Urugaatha - Thisai Maariya Paravaigal

Saravanan  writes:

Presenting a forgotten MSV gem for Vaikasi Visakam today:

Every morning while driving to work, at a particular interchange I observe a flock of white birds that come flying towards the North, but change their course abruptly and veer towards the East. And noticing this unfailing sight day after day, I often wonder what makes them do this at that particular point of their flight—are they obeying a summons that only they could perceive? And it is but inevitable that the poetic title of this Tamil movie comes to mind....


 P.S.V. Pictures’ Thisai Maariya Paravaigal had Saratbabu and Sumalata (debut) essaying the lead roles. It was an engrossing tale that raised caste-related issues in a heartwarming narration. When Ganga (Sumalata) and Rangamani (Saratbabu) are about to get married, the truth comes out that Ganga is not the daughter of the Unchaviruthi Brahmin as supposed, but the child of a low-caste convict.

The subsequent pandemonium that erupts in the orthodox village, Ganga’s voluntary conversion to Christianity and becoming Sister Mary, and how she saves Rangamani’s life in the end while making the supreme sacrifice herself were all told in a befitting manner. The sensitive caste and religious issues needed tight rope walking, and director S. Jagadeesan pulled it off successfully.

Master M.S.Viswanathan’s score was an important ingredient in the film’s success recipe.

Kannadasan narrates the twists and turns in the story in a single song ‘Kizhakku paravai merkku parakkuthu’ and TMS is ideally placed in the role of the raconteur. The wonderful Jayachandran- Janaki (with some kids joining the fun) song ‘Raja vaada singakkutti’ (also by Kannadasan) was a Radio Ceylon favorite. Listening to Abhayambika’s short Sanskrit verse, followed by Balamuralikrishna’s soulful rendition of Vallalaar’s ‘Arutjothi deivam ennai aandukkonda deivam’ is a moving experience. Pulamaipithan’s ‘Adra melathai raja’ (Kovai Soundararajan/LRE) is a bold attempt to expose some of society’s hypocrisies.


The song I choose to present here is the soulful ‘Ullam urugaatha’. The situation of the song presents an arresting irony. The old grandmother of Rangamani, Kaasi Paati (superb cameo by veteran T.V.Kumudini), who had valiantly waged a doomed war for society’s acceptance of Ganga, is now on her deathbed. She expresses her dying wish to her grandson Rangamani – as in earlier, happier times, she wants to listen to Ganga play the Veena and sing a devotional song. Rangamani hesitates, for Ganga is not Ganga of yore, she is now Sister Mary. But when the old woman herself entreats Mary (‘Karthar melae paada vendiyavala, Kandan melae paada solrennu thappa ninaikkadhe’), Mary cannot refuse this request of the beloved Paati.

And so we get to see the remarkable sight of a sister of the seminary singing an emotional paean to Lord Muruga. The maadha koyil mezhuguvarthi goes back to glitter as an agrahaarathu agal vilakku, albeit for a few transitory minutes—and who else but Vani Jairam to enact this definitive moment, investing the lines penned by Kannadasan with the heart and soul that they demand…

The swift movements on the Veena merging so seamlessly into the somber church music bring forth the paradox...and this juxtaposition is interspersed throughout the song.

What a fervent appeal to the Lord—Vani scintillates in this stirring song surcharged with emotion. ‘Kanda…azhagu thirukkumara…Senthil…amudha vadivazhaga’ – what a moving rendition!

Exquisite!

The distant tolling of the Church bells is heard, even as Mary plays the Veena at the ailing matriarch’s bedside. And as she bends over the Veena, the shadow of the cross that hangs from her chain falls on the framed picture of Muruga. The old woman’s eyes brim with tears of serene bliss and as the song ends, her soul is freed from the shackles of human bondage and passes on…her last wish fulfilled. Mary prays for her soul to repose in peace and leaves the house. Love and affection know no restraints of religion or caste…

Song: Ullam Urugaatha
Film: Thisai Maariya Paravaigal (1979)
Singer: Vani Jairam
Lyrics: Kannadasan
Music: M.S. Viswanathan




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Amma unthan kai valaiyaai - Nijangal




While many of Bharathidasan’s verses have become part of Tamil film music history, he also wrote lyrics specifically for a few films in the early years. His first film as a lyricist was Sri Ramanujar (1938/ Yessel Films), though Balamani (or Pakka Thirudan/ 1937/ Sri Shanmugananda Talkies), released a year earlier was the first to carry his lyrics. He wrote both the script and lyrics for Kaalamegam(1940/ Sri Dhandapani Films). He then joined the Modern Theatres and wrote for films like Subadra-1946, Sulochana-1947, Aayiram Thalai Vaangiya Aboorva Chinthamani-1947 and Ponmudi- 1950.

The last film for which Bharathidasan penned lyrics was Valaiyaapathi (1952/ Modern Theatres), for which he wrote the dialogues as well. And when his line ‘Kamizhnthidum poovillelaam’ was altered to ‘Kulungidum poovillellam’ without his consent, Bharathidasan is said to have stormed out in indignation from the Studios, never to return.

Meanwhile, the trend of using verses from Bharathidasan’s poetry collections for film songs had caught on. Or Iravu - 1951(‘Thunbam nergayil yaazheduthu nee’) set the trend. And R. Sudarsanam used Bharathidasan’s lines again in Parasakthi-1952 (‘Vaazhga vaazhga vaazhgave’). Over the years, both while Bharathidasan was alive and afterwards, many MDs have set his verses to tune: MSV-TKR did it in their very first film Panam-1952 (‘Pasiyendru vandhaal oru pidi soru’) and later in among their last films together- Panchavarnakkili –1965 (‘Thamizhukkum amuthendru peyar’); Govindarajulu Naidu (‘Andha vaazhvu thaan endha naal varum’/Andaman Kaidhi / 1952), S.Dakshinamoorthi -of course he was the composer for Valaiyaapathi as well- (‘Adho paaradi avare en kanavar’/ Kalyani/1952), G.Ramanathan (‘Pandian en sollai thaandipponaandi’/ Thirumbippaar/ 1953 & ‘’Neelavaan aadaikkul udal maraithu’ /Gomathiyin Kaadhalan/1955), Aadhi Narayana Rao & M.Ranga Rao (‘Thaayagame vaazhga thaayagame vaazhga’/ Poonkothai/ 1953), T.G.Lingappa (‘Vennilavum vaanum pole’ / Kalyanam Panniyum Bhramachari/ 1954), C.S.Jayaraman (‘Aalaiyin sange nee oodhaayo’ / Rathakkaneer/ 1954), T.R.Papa (‘Thalaivaari poochootti unnai’/ Rangon Radha/ 1956), T.R.Ramnath (‘Aadarkkalaikkazhagu thedappirandhaval’/ Naane Raja/1956), R.Sudarsanam again (Vetkkamillai vetkkamillai’ /Kuladeivam/1956 & ‘Valiyor silar eliyor thamai’ / Manimagudam/1966), S.Rajeswara Rao (‘Paadi paadi paadi vaadi’ & ‘’Orey oru paisa’/ Petra Manam/ 1960), Kunnakkudi Vaithyanathan (‘Engengu kaaninum sakthiyada’/ Namma Veettu Deivam/1970), Shankar-Ganesh (‘Chithira Cholaigale’/ Naan Yaen Pirandhen/1972), Ilayaraja (‘Kaalai ilam parithiyile’/Kannan Oru Kaikkuzhandhai/1978) and Vidyasagar (‘Thoongum puliyai’/ Puratchikkaran/2000). And at times the same song has found place in more than one film: ‘Sange muzhangu’ was heard first in En Magal (1954/ composed by C.N.Pandurangan) and later in Kalangarai Vilakkm (1965/ composed by MSV). ‘Pudhiyadhor ulagam seivom’ was heard first in Chandrodhayam (1966/ composed by MSV) and again in Pallandu Vaazhga (1975/ composed by KVM), though in the earlier song, the lines after the opening were from other works of Bharathidasan.

Tamil film music has thus been gloriously enriched time and again by the immortal verses of the great Paavendhar.
* * * *
Out of all the works of Bharathidasan that were used in Tamil film music, my particular favourite is a forgotten song from a forgotten movie-

Amma unthan kai valaiyaai from Nijangal.

Sung by Vani Jairam. Bharathidasan’s verses set to music by M.B. Srinivasan.

These verses form part of a longer poem by Bharathidasan that was published in a collection of his works called ‘Oru Thaaiyin Ullam Magizhgirathu’.

Nijangal (1982) was directed by K.S Sethumadhavan. I have not seen the film, but recollect reading somewhere that it was an off-beat venture, narrating the events subsequent to the breaking-down of a bus, and the varied experiences/ responses of the passengers therein, punctuated with riveting recapitulations of some of their stories.

I recall watching the song many years ago in OLiyum Oliyum: The sequence is that of Menaka taking care of her mentally deranged mother Anandi. As she lovingly nurses her mother, combs her tresses, feeds her a few morsels, and patiently does all that her mother would have done for her when Menaka was an infant at her bosom, this song is the wondrous backdrop that multiplies manifold the melancholy of this reversal of the mother-daughter roles.

MBS bases his composition largely on Behaag, rightly harnesses Vani’s voice to bring lilting lustre to Bharathidasan’s lines, and as is his wont, intelligently intersperses chorus voices to enhance the poignant emotions that the song evokes.

Vani’s eyes brimmed with cascading memories as I asked her about this song. ‘It was just then that I had lost my mother’ she said softly. ‘And it was a disquieting co-incidence that the first song that I was called to sing after her demise was this one. Though I finished the recording in a single take, I was moved by the lyrics, and had to control myself from breaking down…’

- Saravanan

https://www.facebook.com/groups/1018417744856618/permalink/1239030792795311/

https://www.facebook.com/groups/1018417744856618/permalink/1566405270057860/

Saturday, May 14, 2016

40 Years of Mesmerising Music - A look at Maestro's lesser heard album

Saravanan writes:


🎼‘Ah, happy, happy boughs, that cannot shed your leaves, nor ever bid the Spring adieu;
And, happy melodist, unwearied,
Forever piping songs forever new’ 🎼

May 14th will always be a happy, happy day for us music lovers…for it was on this day 40 years ago that a Tamil movie was released without much fanfare, whose titles simply stated “Music : Ilaiyaraja (Debut)”. With the dawn of the day also dawned a new epoch making era in music… A thousand albums and four decades later the Maestro continues to wave his enchanted baton, and generations of listeners continue to remain spellbound….
And let us rejoice and celebrate today with a priceless little jewel that lies hidden in the Master’s casket.
Nenjilaadum Poo Ondru is one of those ventures that sleeps undisturbed in the cans, never destined to reach the silver screen. The film’s album, thankfully, was released- the sleeve of the LP record proclaims the year of its manufacture as 1979. And displays Vijayakumar in an intimate embrace with Radha Saluja.
‘Thankfully’ I said, because the elusive album cunningly secrets within its seldom explored confines, some bewitching compositions of Ilaiyaraja- compositions that surely warranted a happier destiny, grander commercial and critical acclaim.
‘Kodi inbam meniyengum’ is a magnificent masterpiece in Malayamarutham. Janaki’s cuddlesome humming that establishes the enchanted mood for a joyous revelry of romance, the fantasy-laden pallavi that opens up such spectacular vistas of an unabashed celebration of love, S.P.Balasubramaniam’s unheralded welcome entry as the delirious man’s voice to engulf his beloved Preeti with his amorous edicts, the violin that showers bushels of fragrant flowers upon the lovers, the lilting charanams that are interwoven seamlessly into the magic--surely dreams are made of such precious stuff--Million pleasures indeed!
Listen here and be bewitched:

‘Marudha manjakkizhange’ offers an equally tempting, but a contrasting folksy fare--Vani’s seductive invitation is irresistible, and a mesmerizing flute escorts us right into the midst of a torpid evening in a rustic milieu, where the slanting rays of the setting sun fall upon a pair of lovers rapturously capering across the carpet of greenery. The bashfully uttered lines of the pallavi, SPB’s honeyed humming that follows, the interludes that blend in so masterfully with the rural ambience, the meandering charanams that flow so alluringly into the pallavi—all come together to ensure sheer bliss!

‘Vaanam enge megam enge, oru medai kondu vaa’ is the third duet from the film, and an unforgettable song it is by Jayachandran & Janaki...Janaki soaring over the chorus voices in the prelude, and Jayachandran commencing the high-pitched charanam are glorious moments in this sadly forgotten guitar driven miracle.

‘Heard melodies are sweet, but those unheard
are sweeter; therefore, ye soft pipes, play on…’

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