Manna Dey 'Kabuliwala': Tu Pyar Ka Sagar Hai….

Legendary Manna Dey, as the stalwart of the film music world, enthralled generations with his romantic ballads and fast-paced modern numbers. He rose in the musical horizon as a shining star, singing away an infinite variety of compositions with gay abandon. Steeped in the tradition of classical music, he was a master of a diverse range of genres, from Khayal and Thumris to popular Hindi music with a Western tilt to traditional folk songs and Vaishnav Kirtans and even Rabindrasangeet. His versatility was unparalleled as he could sing a qawwali, a raag, a rock-and-roll number all with equal ease, panache and conviction. His singing could convey the vast gamut of human emotions. His immortal rendition ‘Ae Mere Pyare Watan..’ (Kabuliwallah), still brings gooseflesh to every nationalist Indian. He often added intricately woven flourishes and deflections into his song compositions. His organized approach to singing was probably the smooth elegant transition from notation to rendition. That was the quality of his music and so evolved his erudition that even in a duet ‘Ketaki Gulab Ki..’ (Basant Bahar) with maestro Bhimsen Joshi, his rendition stood out. Adding luster to the original notations in classical scores like ‘Bhaye Bhanjana..’ and ‘Sur Na Saje..’, Manna Dey proved that every composer looked only up to him whenever classical sentiments needed to be nuanced.

Born in a musical family, Manna Dey got the right ambience to hone his creative skills. He could bring the classical texture into light music with felicity and make it palpable for common man. His unique style and unforgettable voice marked him out among his great peers. While his mastery over classical numbers somewhat pigeonholed him, the uniqueness of his voice made it impossible for any singer to replicate him. Not only was he credited with pioneering a new genre by infusing Indian classical music in a pop framework, the legendary singer epitomised the golden period of Hindi cinema with memorable songs like Puchho Na Kaise, Aye Meri Zohara Jabeen and Laga Chunri Mein Daag. The yearning, moving tones of ‘Poocho Na Kaise Maine Rain Beetayi..’, effortlessly transcends its raga circumscribed domain to move into the cosmos of universal sentiment. As a playback singer, Mannadey’s ability to individuate stood out magnificently his voice could still be easily identified, yet magically congruous with the voice of the character on the screen.

Manna Dey was born as Prabodh Chandra Dey on May 1, 1920 to Puran Chandra Dey and Mahamaya Devi. He received his early education from Indu Babur Pathshala and he graduated from Vidyasagar College, Calcutta. He had a variety of interests like wrestling and boxing as well as music. He was under the mesmeric spell of his illustrious uncle K.C. Dey, a music luminary and popular star of New Theaters. He grew up to the soft strains of Baul songs, Rabindra-sangeet, and khayal. In college he frequently participated in music competitions winning the title for three consecutive years. A star in the realm of Indian music was born. Manna, who was contemplating a career in law, but then decided to follow his uncle’s footsteps.

In 1940, he accompanied K.C. Dey and moved to Bombay. He learnt classical music from renowned musicians like Ustad Dabeer Khan, Ghulam Mustafa Khan, Pt. Tulsi Das Sharma and Ustad Abdurrahim Khan. He started off as assistant under H.P. Das then S. D. Burman and other music composers. His first foray into playback singing came with a solemn number Ajab Vidhi Ka Lekh.. ‘Ram Rajya’ (1943). However, Manna had recorded earlier a beggar’s song “Jaago Usha Aayee” with Suraiyya in the film Tamanna(1942).

Thereafter, he sang for films like Kavita, Mahakavi, Vikramaditya, Prabhu Ka Ghar, Balmiki, Geet Govind etc. He was getting typecast as a singer for mythological films. Years of struggle followed, he even thought of coming back to Calcutta and take up his law. However, an uplifting exuberant melody ‘Upar Gagan Vishaal, Neeche Gehraa Pataal’ from Mashal (1950) in Baul tradition, became super-hit. This song set the young Mannadey on path to popularity and success. Soon, a string of hits followed which established his career on a firm footing.

His real break and popularity came with the duets ‘Yeh Raat Bheegi Bheegi’ and ‘Aaja Sanam Madhur Chandni Mein..’ from the film Chori Chori. These were followed by his other super hit songs like ‘Tu Pyar Ka Sagar Hai (Seema), ‘Pyar Hua Iqrar Hua Hai’ (Shree 420) and ‘Nain Milay Chain Kahan’ (Basant Bahar). He was the lead-singer along with Mohammad Rafi in the famous qawwali “Na To Karwan Ki Talash Hai” (Barsat Ki Raat). Three of his semi-classical songs turned out to be one of the best in this genre, viz ‘Kaun Aya Mere Man’ (Dekh Kabira Roya), ‘Laga Chunri Mein Daag’ (Dil Hi To Hai) and ‘Poocho Na Kaise’ (Meri Soorat Teri Ankhen).

Manna Dey was a flawless singer who could sing any type of song. From Qawwalis (Yeh Ishq Ishq Hai) to romantic duets (Pyar Hua Iqraar Hua), fast numbers (Aaoo Twist Karen, Jhoomta Mausam Mast Mahina) to patriotic songs (Aye Mere Pyare Watan) or devotional songs (Tu Pyar Ka Sagar Hai) he was the versatile genius. His mastery over semi-classical songs was something, which even the multi-faceted voice of Rafi could not match. ‘Tere Naina Talaash Karen..’, ‘Aayo Kahan Se Ghanshyam..’, ‘Jhanak Jhanak Tori Baaje Payaliya..’, ‘Phool Gendwa Na Maro..’, ‘Tum Bin Jeevan..’ the list of his semi-classical hits is endless.

Shanker-Jaikishan dared to experiment with his voice by making him sing romantic songs for the hero. Mannadey gave playback to showman Raj Kapoor in Aawara, Shri 420 and Chori Chori. With hits like ‘Kasme Vaade Pyar Wafa..’ and ‘Yaari Hai Imaan’, Manna Dey contributed immensely to actor Pran's transition from negative roles to be a character artiste.

He received both the National Film Award (1971) and the Filmfare Award (1972) for best male playback singer for the his toe-tapping song “Aey Bhai Zara Dekh Ke Chalo” (Mera Naam Joker). Yet the career graph of this great singer never soared dizzy heights. Music lovers who nurse a crush for his dynamic intellectual persona and equally flamboyant voice are few and far between. Even in his home state of West Bengal recognition came late in the mid 60's. His Bengali compositions are all masterpieces: 'Baaje Go Bina', 'Bendhona Phool-o-mala Dore', 'Aami Je Jalsaghare' and of course the immortal "Coffee Houser Shei Addata".

During his live performances, he will ignite the stage with his innumerable compositions. He would navigate the high pitches of the folk songs, his trademark classical songs rendered with masterly touch. The heady rhythms of the qawaalis would pulse up the audience and the applause just wouldn't die down. The pathos laden 'Aye Mere Pyare Watan' 'Kasme Vaade Pyar Wafa Sab' would inspire a lot of clapping from the audience. He would brought intimacy and comfort of a drawing room mehfil to his shows. Somewhere down the line, one realises that the music-director within this singer thrives. He would give sargams to the keyboard player and bols to the tabla player. He would fine-tune their pace and volume. He was not merely singing but also orchestrating.

In addition to film songs, Manna has released several albums of devotional songs of Jagadguru Shree Kripaluji Maharaj. He had also lent his voice to the mellifluous verses of Madhushala by Harivansh Rai Bachchan. He even has the sole distinction of having sung to the words penned by Mahatma Gandhi. “Namrata Ke Samrat”. His Bengali-language autobiography ‘Jiboner Jalsaghorey’ has been published in 2005, which has been translated in English as Memories Come Alive.

Manna Dey married Sulochana Kumaran on 18 December 1953 and it was Rabindra Sangeet that brought them together. They had two daughters Shuroma and Sumita. When Manna Da was initially disinclined to sing ‘Ketaki Gulaab Juhi Champak Ban Phoole’ Basant Bahaar (1956) opposite to Pt. Bhimsen Joshi, Sulochana ji convinced him to take this as a ‘jugalbandi’ opportunity.

His last recorded song was ‘Hamari Hi Mutthi Mein’ for the film Prahaar (1991). Since his debut in 1942, Mannadey has been a river of melody. His repertoire can make any musician around the world envious. He had composed music for 15 films and provided vocals to over 4000 songs in 19 different languages like Bengali, Hindi, Bhojpuri, Magadh, Maithili, Punjabi, Assamese, Odia, Konkani, Sindhi, Gujarati, Marathi, Kannada, Malayalam and Nepali etc. His lilting voice enthralled the audience throughout the world and awards flowed naturally to him. Apart from the numerous honours that he received, Manna Dey is also the recipient of the Padma Bhushan(2005) and he was conferred with the Dada Saheb Phalke award in 2007.

The mimicry was a passion for him he would enact Raj Kapoor and could even sing in Tuntun’s voice. Despite the common belief that no ice creams for singers, Mannadey relished coconut flavoured ice cream. He had a fascination for watches like Omega, Tissot and Favre-Leuba. Perfume ‘Drakkar Noir’ by Guy Laroche was on the top of his list. Sandalwood oil and Mysore sandal soap were a must in his toiletries. Driving at a fairly high speed was another passion. Smoking was a habit he didn’t kick off till he had his bypass surgery. After that day, no one ever saw a 555 between his lips.

An epitom of melody and poetry, Mannadey turned a recluse in the last years of his life. His death in Bangalore, on October 24, 2013 marked the passing away of an era. The voice behind Coffee Houser Sei Addata, the timeless song on youth and their aspirations, has permanently fallen silent. His stance in Indian music vindicates the axiom “The Art outlives the Artist”:

Tu Pyaar Ka Sagar Hai, Teri Ek Boond Ke Pyase Hum….