Nongmaithem Pahari
Nongmaithem Pahari, the monarch of modern Manipuri songs, has captivated the hearts of thousands of music lovers inside and outside the state since the early sixties. Although romantic and moody songs are his forte, he has displayed the uncanny skill in light and tripping tunes also. The secret of his unparalleled success is the result of meticulous care in the execution of his work and a constant striving for perfection.
He cut disc records in 78 rpm first. With the logo of a country boy playing flute in yellow colour, the shellac disc records of Hindusthan (Calcutta) were soon followed by 45 rpm extended plays. Songs like Pongi chekla, Napam lamdam etc., were instant hits that sold out like hot cakes. There was a peculiar depth and poignancy in songs like Yairipok lamdam, Kunjamala etc., expressing his yearning for poetic justice.
This versatile singer is endowed with a mellifluous voice which can smoothly run the gamut of emotions. Leiman challabi, Ho nongdol leichil etc., are the songs tinged with sadness that express an intense longing for love not satiated with realisation.
Asumna cheina, Khoidaba kanabu yaobano etc., are the songs sung in lusty rhythmic styles. His genre is unique and far from yodelling types (which generally are splintered and warped like a cross between a jackal's cry and a crow's). The pathetic fallacy in him is expressed in songs like Momon noktuna phingou setpi thajana, written by Kh. Prakash.
Before 1972 most of his songs were written by B. Jayantakumar Sharma. Later, Sarat Arambam penned most of the hits like Kellaba samjigi leirangni, Nangna leini etc., that created a ripple among the fans and became instant chartbusters. (A phenomenon by himself, the lyricist Sarat Arambam who died young was then an angry young poet out to burn the town by the consuming flame of unrequited love).
Had there been any threat to Pahari's singing career, it could have perhaps been none other than Tombisana Sharma and Prof. Iboyaima respectively. Tombisana Sharma was more or less as popular as Pahari. But Tombisana slowly faded into the sewer of memory. Iboyaima's was somewhat unique. His songs, though few, were very popular. Nungsijaruba eina was scripted by Jayantakumar and this song was first sung by Pahari. Soon Iboyaima sung it in a different style in slower rhythm with an alap in the antara of the song and his was more popular and recognised by the music lovers. However, people used to call him "Poor man's Pahari".
The list of Pahari's hits is very long indeed. Ahingda khongbi tamna, Meragi thabalda,Ho bansi, Tajmahal, He ima Manipur etc., are the few among them. Apart from being a front rank singer, he also wrote plays and directed music in a number of Manipuri films.
Born on August 28, 1934 in Imphal, Pahari got his training in Hindustani classical music from Ustad Ningthoujam Amubi and Mutum Modhu respectively. Soon he went to the Bhatkhande Music College of Lucknow and became a sangeet visharad. Thereafter he joined AIR Imphal as a staff artiste. Sitting on the pinnacle of fame as a romantic singer, his versatility and continuous hold on the public is even greater today.
Konjengbam Kameshore
(Courtesy; Eastern Panorama, Shillong, August, 1994)
