Amirabai Karnataki: A Renowned singer and actress
of 1940s and 1950s
In 1940 and 1950s, there was a songstress-actress who had sung for
almost all major composers during her time. According to Rajkumar, a keen
documenter from Gulbarga has said that she had recorded nearly 250 songs. Many
of her songs were supper hit. Her voice was belonging to the category of
untrained, natural singing talents. Her mother tongue was Kannada and along
with Kannada, she was also very fluent in Hindi, Gujrati and Marathi. And name
of such renowned singer was Amirabai Karnataki.
From Yogesh Gogwekar
Amirabai Karnataki was playback singer in early cinema popularly known
as Kannada kokila. It is being said that Mahatma Gandhi had become her fan
after listening her song Vaishnav Jan To. Amirabai was born in 1906 in Bilgi,
in Bagalkot District, Karnataka into middle-class family. After completion her
matriculation, she with her elder sister Gauharbai came to Mumbai.
Her Gujarati song “Mahre te gamray ek bar aawjo” from the film
RANRAKDEVI which was composed by Anil Vyas became so much popular that HMV
Label Music singed her to sing qawwali for film Zeenat, but real popularity had
been received by her only after the release of film Kismet in 1943 under the
banner of Bombay Talkies whose songs were composed by Anil Biswas. In the
beginning, she was singing star; later on she became a playback singer.
An important feature of her voice was that her vocal lines sound fuller,
at least in some instances. Despite this voice-quality, her voice was quick and
she was able to execute fast-paced musical phrases- with or without words,
irrespective of the placement of initial, medial and final phrases. It is a
great surprise to see her to handle the new musical era of expression of C
Ramchandra when she sung for Shehnai in 1947 under his music composition in
which music is not assertive but persuasive. In such songs, emotional intensity
has been replaced by a kind of playful acceptance. Songs like Mar Katari Mar
Jana in Shehnai in 1947 or Gore Gore, O banke Chhore in Samadhi in 1950 were
different from what Amirabai started her career as a singer. Still she was able
to present these playful and buoyant songs in best musical way.
According to Sangeetacharya Ashok D Ranade, “Amirabai is second to none
of her contemporizes when emotional utterance is concerned. Her musical
explanation marks such as “han”, “haye”, or “ho “ are notable evocative.
Further, in the places, there is a hint of that specifically marked vocal
effect called “register –break”- which points to emotional effect. (Ayee aye
yeh Zindagi, in Ailan 1947, Naushad or in Asso thi Zindagi, Bikhare Moti, 1951,
Gulam Mohamed). He also said. “She has demonstrated one expressive aspect of
controlled emotive pronunciation employed in semi-classical form identified as
Bol Banav Ki thumari. (Chanda Des Priya Ke, Bhartrihari in 1944, Khemchand
Prakash) This composition appears to explore tonal field of raga Marubihag and
Amirabai is able to pronounce words in such a way that shift them slightly from
beats on which they are placed. This subtle lethargy allows musicians critical
time for developing shades of emotions”.
Her song Ghar Ghar me Diwali which was composed by Anil Biswas requites
quick succession of moods of celebration, dejection and protest. At the time of
singing, Amirabai had shown her talent to vocalize effectively this vide
spectrum.
She married with Himalaywala who used to perform villainous roles in
films. He became villain for her in real life. Her life was miserable with him.
Due to this, she went into oblivion. He was an alcoholic and a gambler and used
to spend her money on his addiction. Finally, she decided to leave him but he
cheated on her and ran away with money and car without signing the divorce
papers. Later on she married with journalist Badri Kanchwaala and her married
life continued without any complication.
Her love for Bijapur was much more and she built a theatre “Amir
Talkies” in Bijapur. If anyone is interested to know more about her life, one
must read her biography written by Rahmat Tarikere in Kannada , translated in
Marathi by Pramod Godbole.
She will always be remembered for her raw, clear and expressive voice.
Following are some of her best songs which can be enjoyed today also. I always
enjoy her songs.
1. Gore
Gore , O Banke Chhore- In Samadhi 1950, sung with Lata mangeshkar. Music by C
Ramchandra.
2. Biksha
Dede Maiya Pingala-In Bhatruhari in 1944. Music by Khemchand Prakash
3. Dheere
Dheere Aa re Badal- In Fil Kismet in 1943.Music by Anil Biswas
4. Hamare
Angana Aaj Baje Shehnai-In Shehnai in 1947 with Shamshad Begum. Music by C
Ramchandra
5. Aasoo
Thi MeriZindagi-In Bikhare Moti 1951 with Mohamed Rafi. Music by Akhtar Ul
Iman.
6. Door
Hato Ae Duniyawaloo-In Kismet in 1943 . Music Anil Biswas
7. O
Janewale Baalamwas laut ke Aa-In Rattan 1944. Music Naushad
8. Ghar
Ghar me Diwali -In Kismet 1943-Music by Anil Biswas
Mumbai
23/05/2020
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