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Vani Jayaram's songs

Topic started by avvaiyar (@ 203.116.61.132) on Wed Jan 27 02:29:28 EST 1999.
All times in EST +10:30 for IST.

I'm a new visitor to this website. I couldn't see anyone discussing about Vani Jayaram's songs.
Let me start this one.(It had been there previously pls. forgive me!)

"Ezhu swarangalukkul ethanai paadal..
Ithaya surangathul ethanai kelvi...
Vaazhum manitharukkul ethanai salanam.."

Wow! Beautiful voice!

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Neel's VJ Songs

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Responses:

• Old responses
  
• From: Vicky (@ 12.89.174.17) on: Sat Sep 28 22:52:08 EDT 2002
  
  Vani Jairam (or is it Jayaram) caught my attention by the song "Ezhu Swarangulukul" in the mid 70s. Though I was aware of her earlier rendition "Bhole Re Papi", a strongly-marked rhythm, if one stresses the effects, recalls the miracle of a hanged man unhung but in less tragic vein. The melody, of primitive type, bears some family likeness to the music of Northern India in its simple rhythm . The song is little long to the music to which it set to catch the audience's attention. This is part of the repertoire of both the street and classical minstrels. When I first heard the song "Ezhu Swarangulukul", it reminded me of a great singer/actress par excellence Smt. P. Bhanumathy from her earlier days of glory "Pilichina Bhiguvatara (composed by S Rajeswara Rao)" from the Telugu Classic "Mallesweri". The movie was a Vijaya-Vauhini banner (starring NTR/Bhanumathy/TG Kamaladevi) and directed by none other than BN Reddy. Then came "Pongum Kadalosai" from the movie "Meenava Nanban" which evoked in the song , and the language used is poetic with its usual idioms and rhythmic combination and refined rhythms, set to varied melodies of diverse forms and origins. Then came "Nane Nana" from the movie "Azhage Unnai Aaradhikiraen". Yes indeed, and also for the enlightenment of all men and women by this glorification of this perfectly obedient maiden, she embodies the ideal dream of the eternal man which the poet (was it Vali?), with perverse ingenuousness, proposes as model to the fair sex, aiming thereby to surpass himself. It is like the galician-portuguese poetic language or the "Cantigas de Santa Maria" (set to music by the musicians of King Alfonso X), and the young composer Ilayaraaja manifests himself with brilliant punctuations. Women's song?. Certainly not. Vani Jairam's voice (prefer to use this last name) embodies that ideal dream of every man. The melody of the verse uses that of the refrain, laying out the cadences diferrently, so that the text could be clearly understood and did not try the attention of the listeners who could then memorize the same. The music was either composed for the song or adapted from an earlier repertoire. Before that came "Veru Idam Thedi Povaloe" from Jayakanthan's "Sila Nerangalil Sila Manidargal", who could have picturized the solemn union of a man and a woman on a stormy rainy day in a subtle way (actress Lakshmi and Sundari Bai...could someone have done justice to that movie.I guess not)...let us try to forward that debate to another day. That song requires vocal qualities of a performer identical with the emotions of the singer, when the ornamentation by Kavignar Kannadasan is very elaborate.
  
  Vani Jairam thus for most of these songs mentioned above, revives a tradition still (or was) common in the south and which still still indicates the sacle or mode which the artist is going to use, and possibly the song's underlying rhythm. Vasni Jairam's achievement is remarkable in all aspects.
  
  Then came "Ennulil Engo Engum Geethum" from the movie 'Rosapoo Ravikaikari" . At the very most, we may think that the above song could not have had so rhythmic and above all so chromatic a character after the infedility , unless the composer Ilayaraaja thought otherwise, which is quite possible. In a sicilian fashion the voice and the music embrace signalling the acceptance of a challenge.
  
  In that case, that would be an example of the falous conviviality or the symbiosis of the culture prevelant at that time or time imemorial regardless of the political and religious requirements of the time.
  
  The song being of the country naturally treat of country (not to say of earthly) matters, principally seduction and sex. Ilayaraaja's settings are unerringly skilful and sympathetic, the colours and contours of his orchestra reflecting those of the "Canteloube-Songs of the Auvergne" landscape. The music is limited to percussion while the wind instruments provides an important decorative element. Wind instruments playing the part they do in folk music, they are prominently featured in this song also.
  
  This is one of Vani Jairam's celebrated songs of the responsorial type. The melody is one of matchless beauty, and in floating it through a transparent texture with percussion filigree and high string harmonics limning an infinity of sky and space both to the composer and the mezzo soprano.
  
  The above mentioned song is a perfect demonstration of Vani's suberb vocal qualities. Her vocals reciprocate a young woman's torment at the establishment of her infedelity portraying her madness and desperation.
  
  Smt P Susheela (see my PSusheela web postings on tfm page) with her silkily beautiful voice and radiant (my first favorite), musically forthcoming personality, she charms the music public whyerever she appears. Vani Jairam is my second mezzo who sings with emotional intensity.
  
  When we come back from an exciting journey, we usually want to share our experiences with our friends: we tell them the haunting voices we heard during our times and tell them all about our discovering new and mesmerising voices and the fascinating journeys we undertook listening to the same.....one such voice is VANI JAIRAM.
  
  Once again, the combinations of words and music indissolubly blended together allows us to glimpse dome deeper truth of Vani Jairam's rendering's all these years as she is second to to PSusheela in her contribution to TFM. This prudence of her choice of repertory and the progress of her career till date will come as no surprise to anyone.
  
  Coupled with the color, clarity and her richness of her mezzo soprano voice and with the dazzling ease with which she surmounts the virtuoso demands, these qualities have placed her at the forefront of her profession and turned her into one of the most TFM's distinguished singers.
  
  To be Contd.....
  
  
  
  
• From: Neel D (@ 24.98.42.169) on: Sun Sep 29 00:44:46 EDT 2002
  
  Naaz, thanks for the writeup. I could not make the rain pour. But I could do and feel everything else. As usual, VJ maintains the mood consistently from start till end. No gimmicks or cEttais. Just magic.
  
  Vicky, that was wonderful. Thank you so much. Please continue.
  
  
• From: outsider (@ 216.236.222.84) on: Sun Sep 29 02:06:46 EDT 2002
  
  Saravanan,
  
  Was "Maro Charitra" (remake: Ik Dooje Ke Liye) made in Taamil as well?
  For further such consultations please send me your e-mail address.
  
  
• From: outsider (@ 216.236.222.84) on: Sun Sep 29 02:12:52 EDT 2002
  
  Saravanan,
  
  Was "Maro Charitra" (remake: Ik Dooje Ke Liye) made in Taamil as well?
  For further such consultations please send me your e-mail address.
  
  
  
  
• From: Naaz (@ 24.76.127.63) on: Sun Sep 29 09:44:22 EDT 2002
  
  Vicky -
  That was an interesting and illuminating post.
  We are glad to have yet another informed and committed member in this "bhajanmandali." Lucky VJ (for drawing such well-versed listeners and writers) and lucky all of us too! I hope to read more of your thoughts here over the months. Thanks again!
  
  
• From: Vicky (@ 12.89.134.254) on: Sun Sep 29 10:52:59 EDT 2002
  
  Naaz/Neel D: Thanks to both for you warm support.
  
  
• From: Cinema Virumbi (@ 210.210.43.113) on: Sun Sep 29 12:11:56 EDT 2002
  
  All friends in this thread,
  
  'vERu idam thEdip pOvaaLo' had lyrics by Jayakanthan himself, I think!
  
  I had written two lines in some other thread about vaNakkaththukkuriya kaathaliye (I think by 'ngE' fame Rajendrakumar!). The song 'swing, swing...' is a beautiful, seamless fusion of English and Tamil! The other song was 'adiyEnaip paarammaa, pidivaatham aEnammaa, vaNakkaththukkuriya....'
  
  The Tamil version of 'Disco Dancer' was 'Paadum vanambaadi'. The title had Music: Bappi Lahiri and Shankar -Ganesh! 'Koi yahaan! ahaa naachE naachE!' was translated (rather sucessfully!) as 'aattaththil naanthaan! ahaa raja raja!'
  
  'MarO charitra' was as good as a Tamil film and there was no question of remaking it! The hero had to be a Tamil, falling in love with a non-Tamil, outside TN! In fact, when Saravanan reaches the list of 1979-80,I was thinking of requesting Kaumudi to translate the VJ number (Vidhi Cheyyu...)! In one stanza, I have heard names like Shakuntala and UrmiLaa (Lakshmanan's wife), persons who were forced by circumstances to lead a life separated from their husbands!
  
  In fact, if Kaumudi has the time (and others the willingness!), he may like to translate the VJ numbers in' SankaraabharaNam' as well!
  
  
• From: Neel D (@ 24.98.42.169) on: Sun Sep 29 21:38:27 EDT 2002
  
  Everyone,
  Three new songs have been uploaded.
  A folk, a pop and a semiclassical. VJ is authentic in all of them.
  adi Aththi adi kaNNu sokki
  kaNNan arugE pAdavENdum
  azagAnavan srIbAlakrishNan
  Happy listening!
  
  
  
• From: Naaz (@ 24.76.127.63) on: Sun Sep 29 23:48:51 EDT 2002
  
  Neel D -
  Thanks for the new additions. I look forward to listening to them soon. The song from Isaikku Oru Kovil - Azhaganavan...Divine - just like Sribalakrishnan!
  
  Given that VJs name and names of posters in this thread (in not so many words) are popping up in completely unrelated threads and contexts, I believe what I am about to add here at least has a direct link to a MD she has worked with.
  I just returned a few minutes ago from a festival screening of a film and would like to share my thoughts on the documentary with you:
  
  Ravi Shankar: Between Two Worlds (USA/France co-production)
  
  There is a more one instance of pussy-footing in Mark Ridel's docu-essay on Ravi Shankar, the best know Indian musician this side of the Mississippi and that side of the Indus. At the ripe old age of 80+ is still a consummate and charming performer. But what the film seems to lose, (caught up in the legendary aura as Ridel evidently is,) the dichotomy the title so confidently declares - Indian tradition (in all forms, with all the baggage) and his dalliance with western music and audiences.
  It begins in the 60s, when Panditji's influence first started to make its way into a western "muscial" consciousness, which peaked with his collaboration with the Beatles. Factually, the film is spot-on, detailing his bohemian leanings and his US/Europe "road trip" with Uday Shankar's Dance troupe, digressing effectively in this chronology to highlight his "shiksha" under the austere eye of Baba Allaudin Khan Saab. The highlight of this bit is the rare (and not so easily accessible) footage of a jugalbandhi with none other than the great Yahudi Menuhin, and a sombre lesson in Indian classical music Panditji offers George Harrison. There is another hilarious (not in the oh-so-funny sense) moment where he watches Jimi Hendrix at the guitar and says it was a "nightmare."
  Yet, for all this cross-cultural toing and froing, the director never gets to the real stuff: What did this iconic status, both in the East and the West, mean to RS? And more importantly, what effect did it have on his personal life?
  We meet his (a lot younger) wife and his beautiful daughter Anoushka (I was hoping for a bit on Norah Jones, the new sensation in jazz these days, who is also RS's daughter, but that didn't happen) - and that's it. It is a known fact that Ravi Shankar quite the philanderer in his hey-and-grey days, but the film does not go there...
  So, what you are left with is a feeling of having been close to a Master (those fingers on those strings call only be called an Act of God) - and yet that nagging sense of unfinishedness stay, for you still don't know what makes the "Man" - and more importantly, what makes him tick.
  
  (Have not proof read the above. So my apologies for typos and other syntactical glitches.)
  
  
  
• From: yvs mani (@ 164.100.11.114) on: Mon Sep 30 07:37:17 EDT 2002
  
  Neel D :
  chk mails reg aala asaththum from kanni raasi.
  
  is chinna ponnu from aruvadai naal - a VJ number?? if so, i will send it tomorrow.
  
  

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