Suman Kalyanpur and Rafi’s duets did not get publicity.
The media during the last 60s years had been too kind towards some of the celebrities while remained silent about the others. For example during the golden age 50s, 60s and 70s, other than Lata and Rafi there were other combinations who had given everlasting hits.
Lata Mangeshkar always got the focus of attention and as such her duets with Rafi which covers more than 440 in number always stole the attention. Yet Suman Kalyanpur during the same age of competition had sung almost 170 duets with Rafi most of which became super hit, yet could not get the lime light which they deserved.
The song “ajahu na aye balma” from Saanjh Aur Sawera, picturised on Mehmood and Subha Khote and composed by Shankar Jaikishan showed the compatibility of Rafi with Suman Kalyanpur in classical songs. Rafi could adapt his style of singing with any singer. But Suman Kalyanpur also did a great job with the giant. The song “dil-e-betaab ko seene se lagana hoga” from the film Palki, picturised on Rajender Kumar and Wahida Rehman and composed by Naushad had the ghazal andaz embedded in them and Suman Kalyanpur was unblemmish aside Rafi.
SJ used the same Suman Kalyanpur aside Rafi in fast numbers like “aaj kal tere mere pyar ke charche” from Brahmchari picturised on Shammi Kapoor and Mumtaz, “dil use do jo jaan de de” picturised on Shammi Kapoor and Hema Malini in the film Andaz. The biggest tragedy is that the songs did great business and the films became super hit, yet the message relating to Rafi’s combination with Suman Kalyanpur did not reach most of the viewers and the media too did not play a neutral role in that aspect. Half of the people thought the duets were sung by Rafi and Lata as Suman Kalyanpur’s singing style matched with that of Lata.
Khayyam’s composition “thereiye hosh me aaloon to chale jayiega” from the film Mohabbat is ko kehte hai” picturised on Shashi Kapoor and Nanda had another romantic number of Rafi and Suman. Madan Mohan’s tune “baad muddat se yeh ghari aye” sung by Rafi and Suman stunned many listeners of ghazals, as the urdu words were pronounced in style in the film Jahan –ara. Bharat Bhushan and Mala Sinha were sublime in the film. Rafi as usual was unblemish in respect of ghazals. But Suman too had adapted her style of singing which suited the songs of the Mughal period.
Even the fast numbers composed by LP like “tumse o haseena” sung by Rafi and Suman did not get the hype of media which it deserved inspite of Farz ending up as a run away hit of Jeetender. Roshan’s meritorious composition like “maine aye jaane wafa” from the film Bedaag, “chand takda hai idhar” from the film Doojh Ka Chaand remained unnoticed.
Besides there were other hits like “parbaton ke paron par sham ka basera hai” from the film Shagun composed by Khayyam, “tumne pukara aur hum chale aye” from the film Raj Kumar composed by Shankar Jaikishan, “dil ek mandir hai” from the film Dil Ek Mandir composed by Shankar Jaikishan, “tujhe dekha tujhe chaha” from the film Choti Si Mulakat composed by Shankar Jaikishan, “tujhe pyar karte karte” from the film April Fool composed by Shankar Jaikishan, “mujhe yeh phool na den” from the film Ghazal composed by Madan Mohan.
The factor of Suman Kalyanpur being chosen to sing duets with legendary Rafi Sahab by giant composers like Shankar Jaikishan, Naushad, Madan Mohan, Khayyam, Laxmikant Pyarellal, Kalyanji Anandji, proved another fact that she was not any particular composer’s singer. She did a great job with Rafi, but due to passive attitude of the media the songs got recognition with no information relating to the singer. Even in many films when the names of the singers were written Suman Kalyanpur’s name was mentioned at the end without any particular reason for it.
Rafi had proved in his entire life that he was a greater human being than a singer. That was the reason why he could match his singing style with any fellow female artist including Lata, Geeta Dutt, Sumna Kalyanpur, Sharda, Mubarak Begum, Asha Bhosle, Shamshad Begum, and others.
His combination with Suman Kalyanpur should be preserved and restored.
The media during the last 60s years had been too kind towards some of the celebrities while remained silent about the others. For example during the golden age 50s, 60s and 70s, other than Lata and Rafi there were other combinations who had given everlasting hits.
Lata Mangeshkar always got the focus of attention and as such her duets with Rafi which covers more than 440 in number always stole the attention. Yet Suman Kalyanpur during the same age of competition had sung almost 170 duets with Rafi most of which became super hit, yet could not get the lime light which they deserved.
The song “ajahu na aye balma” from Saanjh Aur Sawera, picturised on Mehmood and Subha Khote and composed by Shankar Jaikishan showed the compatibility of Rafi with Suman Kalyanpur in classical songs. Rafi could adapt his style of singing with any singer. But Suman Kalyanpur also did a great job with the giant. The song “dil-e-betaab ko seene se lagana hoga” from the film Palki, picturised on Rajender Kumar and Wahida Rehman and composed by Naushad had the ghazal andaz embedded in them and Suman Kalyanpur was unblemmish aside Rafi.
SJ used the same Suman Kalyanpur aside Rafi in fast numbers like “aaj kal tere mere pyar ke charche” from Brahmchari picturised on Shammi Kapoor and Mumtaz, “dil use do jo jaan de de” picturised on Shammi Kapoor and Hema Malini in the film Andaz. The biggest tragedy is that the songs did great business and the films became super hit, yet the message relating to Rafi’s combination with Suman Kalyanpur did not reach most of the viewers and the media too did not play a neutral role in that aspect. Half of the people thought the duets were sung by Rafi and Lata as Suman Kalyanpur’s singing style matched with that of Lata.
Khayyam’s composition “thereiye hosh me aaloon to chale jayiega” from the film Mohabbat is ko kehte hai” picturised on Shashi Kapoor and Nanda had another romantic number of Rafi and Suman. Madan Mohan’s tune “baad muddat se yeh ghari aye” sung by Rafi and Suman stunned many listeners of ghazals, as the urdu words were pronounced in style in the film Jahan –ara. Bharat Bhushan and Mala Sinha were sublime in the film. Rafi as usual was unblemish in respect of ghazals. But Suman too had adapted her style of singing which suited the songs of the Mughal period.
Even the fast numbers composed by LP like “tumse o haseena” sung by Rafi and Suman did not get the hype of media which it deserved inspite of Farz ending up as a run away hit of Jeetender. Roshan’s meritorious composition like “maine aye jaane wafa” from the film Bedaag, “chand takda hai idhar” from the film Doojh Ka Chaand remained unnoticed.
Besides there were other hits like “parbaton ke paron par sham ka basera hai” from the film Shagun composed by Khayyam, “tumne pukara aur hum chale aye” from the film Raj Kumar composed by Shankar Jaikishan, “dil ek mandir hai” from the film Dil Ek Mandir composed by Shankar Jaikishan, “tujhe dekha tujhe chaha” from the film Choti Si Mulakat composed by Shankar Jaikishan, “tujhe pyar karte karte” from the film April Fool composed by Shankar Jaikishan, “mujhe yeh phool na den” from the film Ghazal composed by Madan Mohan.
The factor of Suman Kalyanpur being chosen to sing duets with legendary Rafi Sahab by giant composers like Shankar Jaikishan, Naushad, Madan Mohan, Khayyam, Laxmikant Pyarellal, Kalyanji Anandji, proved another fact that she was not any particular composer’s singer. She did a great job with Rafi, but due to passive attitude of the media the songs got recognition with no information relating to the singer. Even in many films when the names of the singers were written Suman Kalyanpur’s name was mentioned at the end without any particular reason for it.
Rafi had proved in his entire life that he was a greater human being than a singer. That was the reason why he could match his singing style with any fellow female artist including Lata, Geeta Dutt, Sumna Kalyanpur, Sharda, Mubarak Begum, Asha Bhosle, Shamshad Begum, and others.
His combination with Suman Kalyanpur should be preserved and restored.
