More from Silumina newspaper of Feb. 07, 2010

Tuan Haroon Lantra almost touching eighty, has been (and is) languishing in penury - a stark tragedy in the Lankan philistine society where if you are an artist you are condemned to live in poverty. Ours is a politics-oriented society, a cricket-oriented society. Currently these are the most lucrative professions and a father, wisely aware of the game of success as it is played now, will warm his art-conscious son: "Don be a nut; take to politics or cricket."

Haroon Lantra now has only his song to keep him company. His golden voice, unsurpassed in the local musical fraternity, will be ringing to relieve him of the anguish he must surely feel in the last years of his life. I remember Haroon in his early youth in Maradana. It was the mid-fourties. At a carnival at the Ananda Balika Vidyalaya Lantra took the microphone kept for urgent announcement and crooned some of the sweetest songs of Talat Mahmud - his favourite and idol, King of Ghazals in India. Everybody stood still at the carnival grounds at the melodious voice came over the loudspeaker.

In the early fifties, Bombay's celebrated film singer Mohammed Rafi came to Sri Lanka (Ceylon then) to sing. He was to sing at the YMBA Hall in Borella. It was the pre-sophisticated electronic age and a solitary loudspeaker hung at the end of the crammed hall. There was also a single microphone on stage. Rafi was visibly unhappy - he was not sure of the acoustics of the hall. He asked the organizers to get someone to sing over the mike. They picked on Haroon Lantra who had come to listen to the famous Hindi Singer.

Lantra sang sweetly one of Talat Mahmud's popular numbers - Rafi was amazed. He went up to Lantra and shook his hands and asked (because he had sung a Talat's song and not his) "Why, don't like my songs?" Lantra replied: "I do, but I like that (Talat Mahmud's song) also." Rafi then said: "Come to India - you'll have a future there!" Haroon Lantra did not go to India. As for his future in Sri Lanka - we all know what has happened.

Lantra's God-given voice (Haroon might say Allah's gift - Inshaah Allah!) which cascades like a murmuring brook touching your very soul, is perhaps in some aberrant form his nemesis too: established and successful singers feared his voice, they were jealous of his voice.

He was cornered. He lacked the skill of one-upmanship; he did not practice the art of servility and did not bum anybody: traits essential to become a successful singer - the voice or the ability to sing did not matter, what mattered was who you bummed and who you knew in order to bum. Lantra lacked all these 'qualities'. Lantra has been singing for almost sixty years and his singing career has hung on his like a sin: he has not been duly rewarded by society or by the State. Rafi may have hinted that the saying was right - ' a prophet is without honour in his own land.' Lantra was also a competent tabla player but singing was his forte. He detested western music and called hilariously the pop variety of local singers as Dunthel Sangeethe. For sometime he sang Islamic songs over the old Radio Ceylon. The enterprising and generous musician and noted violinist Stanley Oumar had some Malay songs recorded by him to his music. The late Maestro Premasiri Khemadasa was one who recognised the talent of Lantra - he got Haroon to sing for his ballets and films. Khemadasa had the unerring eye to discern the mellifluous nuances of Lantra's voice.

Premil RATNAYAKE in Daily News of Jan 13, 2010.

Sri Lanka’s immensely talented screen queen and nightingale, Daisy Rasamma Daniels, renowned as Rukmani Devi, was born with acting skills and a golden voice, two qualities along with her beauty took her on an early path to stardom.

Known as the pioneer actress of the Sinhala cinema, Rukmani breathed life to many heart wrenching roles. She also lent her voice to a number of gramophone numbers while contributing to a number of stage dramas and films.

She was born in Ramboda in the Nuwara Eliya district on January 15, 1923. Her father, John D. Daniels, was employed in the estate while her mother, Helen Rose Daniels, was a teacher at St. Clare’s, Wellawatte, Methodist College, Bambalapitiya and Prince of Wales, Moratuwa. She was the second in a family of six.

She was educated at St. Mathews’ College, Dematagoda and St. Clare’s, Wellawatte while the family was residing in Dematagoda. She showed signs of what was in store for her in her school days as she took part in school plays like Sapaththu Mahannage Birinda (The Shoemaker’s wife).

Her most significant public performance was in Ramayanaya in which she took on the role of Seetha in 1935 at the tender age of 12 years. Walter Abeysinghe spotted the talent in the young lass and soon introduced her to stage plays. Though she took to the field at a time when women were barred from entering the field and female characters were mostly portrayed by men, it did not take long for her to make a name as the most sought after actress on stage.

H.W. Rupasinghe Master, a pioneer of the Sinhala music scene, introduced her to the industry through his duet in the evergreen number Siri Buddha Gaya Vihare in 1939. She carved a niche as a vocalist overnight and the song won her 10 more songs. She later went on to become a reputed gramophone singer in the thirties and early forties. She sang under the H.M.V label while Eddie Jayamanna, who later became her husband, sang gramophone songs under the Colombia label.

Rukmani’s association with the Minerva Drama Troupe, Negombo, was her path to the silver screen and also to marriage for she met Eddie through the founder of the troupe, B.A.W. Jayamanna.

While acting and singing on stage productions, she was offered the duel role of becoming the first heroine and playback singer in Sri Lanka’s maiden talkie Kadawunu Poronduwa (Broken Promise). By then she had done around 800 performances of Kadawunu Poronduwa, the play, which inspired J. Singh into bringing the stage production onto the wide screen. The screening of the talkie took place at Kingsley Theatre in January 21, 1947 with Rukmani starring as Ranjanie as well as singing Jeewithaye Sama Preme Geethe, the song lyrics which were penned by Hugo Fernando Master and music composed by Narayana Iyyer. She played the lead role in 98 movies in a career spanning three decades. She even acted in a Tamil film Kusuma Latha, a movie based on B.A.W. Jayamanna’s Sanguwunu Pilithura in 1951. This was Sri Lanka’s first Tamil film to be screened in India.

Rukmani also contributed in playback singing for films: Sandyave Sriya for Kadawunu Poronduwa, Pinsara Mage Soyura for Kapati Aarakshakaya, Gala Kandeni and Moranawa Preme Hade for Veradunu Kurumanama, Mavila Penavi Rupe for Kela Handa, Pem Sihina Loke Maya for Mathabhedaya, Suwadena Sitha for Ladalu and Doi Doi Puta for Ahasin Polovata.

She emerged the winner at the popular star poll conducted by Dinamina in 1956 while winning the title of best actress at the Deepashika Festival in 1956 for her dual role in Umathu Wishwasaya. She clinched the ANCL award for most popular singer in 1964 before winning the award for best singer at the Presidential Awards for the song Gangata Udin Kokku Giya for Lester James Peries’ Ahasin Polowata in 1978, just after her death. One of her most significant features was though she was not well versed in the Sinhala language; she was able to pronounce the language and even Sanskrit clearly and beautifully. It is known that she even wrote the Sinhala sentences in her films in English and by-hearted them.

There are two stories behind how her widely known name of ‘Rukmani Devi’ originated. One claims that the late Maestro H.W. Rupasinghe created this name while the other states that Jayantha Weerasekara and Michael Sannas Liyanage gave the name. There is also a belief that the name started off as ‘Rukmani Wasundara’ before her father intervened and changed it to ‘Rukmani Devi’.

Though death took her in a fateful accident at Tudella while returning home after a musical show in Matara on October 28, 1978, her intelligence, modesty, dedication and humble manners touched those who knew her and made a lasting impact that transcended beyond death. She was every heart’s delight and will continue to be remembered throughout the years.

By Ruwini Jayawardana Daily News of Jan 20, 2010

The singer is none other than the late C.T. Fernando. C.T. Fernando has made history with the gamut of songs he gifted to this Nation, garlanded by his golden voice.

The Buddhist culture and tradition in the pre and post world war period did not encourage aesthetics like music and singing to the extent of that was done by the Catholic culture. In the earlier days; singers emerged and were nurtured in a Catholic background. Thus we could presume, modern music in Ceylon had emerged from the churches. Church choirs influenced many budding singers who were non-Buddhists to brush up their talents in singing and come to the limelight.

The late Ananda Samarakone, Sunil Shantha, Rukmani Devi , Chitra Somapala, Nevil Fernando, Ivor Dennis, Clarence Wijewardena , Mervin Perera, Vijaya Kumaratunga etc are a few artists who emerged from that background. Amongst all of them, CT Fernando is considered the father of Sri Lankan pop arena, who fused western rhythms with local melodies to create a unique pop culture. He is the one who inspired artists like Clarence Wijewardena to emerge.

Born to a Catholic family in Kadalana Moratuwa in January 28, 1921, Cyril Tudor Fernando studied at St. Mary’s College, Nawalapitiya. He was a good orator in school and had won a gold medal for oratory once. He had also won prizes for elocution, singing and drama. From the childhood, CT was a charismatic presenter.

He was a chorister in his local parish church and this was a blessing in disguise for young CT to get his vocal chords fine-tuned. (He later became the choir master of A.R.P. Messenger service in Colombo, between 1942 to 1965.)

After saying adios to his Alma Mater, young CT had a stint with the Grand Cabaret to entertain the troops involved in the second World War. Entertaining the war-hardened soldiers was altogether a different ball game.

CT boldly took up the challenge and with his persuasive presentation skills and the mesmerizing and melodious voice, he kept the latter at the edge of their seats and in the process, he further polished his musical talents.

CT’s trademark European outfit and the Banjo in one hand started appearing in the cover pages of local magazines but he was yet to record a song to be aired over radio.

The year 1946 was CT’s significant year. He faced auditions at Radio Ceylon and was positioned as a ‘Grade one’ radio artist. Afterwards, he recorded his first song Pin Siduwanne…Aney…Bala Lamunne… the lyrics were by R.N.H. Perera. In 1952, CT emerged as a commercial artist, singing with HMV subsidiary Cargills Company. He recorded many of his popular songs with ‘His Masters Voice’ label including Pin Sidu Wanne , Suwanda Rosa , Barabage , Ambili Mame , Lo Ada Nindey , Kimada Sumihiriye , Amba Ruk Sewanelle , Bilinda Nelawe Ukule etc. C.T. recorded the duet, Punsanda Hinahenne with Rukmani Devi. He teamed up with Lata Walpola to record the evergreen duet Salalihini Kovul Handa. (This song is sung even by today’s youth, when they go on trips) He sang few duets with Chandra de Siva. By this time, CT was a household name and many used to sing and hum his songs. C.T.’s voice echoed in many urban and sub urban get-togethers and parties.

C.T. became the most popular singer in the country, in 1959 and 1960. He was praised by critics for the themes, wordings and powerful voice of his songs; Bilinda Nelawe Ukule , Lo ada Nindey , Piyumehi Peni Bothi Wanabamar. to name a few. His ever-popular “CT Show” was held almost every weekend at the Galle Face green and crowds poured to watch the show and dance with the rhythm.

CT was an entertainer par excellence. He even made guest appearances at plush parties with the trademark outfit and banjo in hand. Local cinema not only wanted CT to sing but also act in films.

Even in Dr. Lester’s debut film Gamperaliya, CT has portrayed a character, let alone other guest appearances in commercial films. His LP ‘The Golden Voice of C.T. Fernando’ which he did with Lewis Brown company, was an instant success. His lyricists were the late Karunaratne Abeysekara, Lalith S. Maithripala, Sarath Wimalaweera and Wimaladasa Perera. Music scores for his songs were done by CT himself, and also by B.S. Perera, Patrick Denipitiya and P.L.A. Somapala.

It is rumored that CT was in love with a female artist, who was a background singer in Sinhala films. CT however could not see the ultimatum of this affair as the latter got married to another popular artist. The agony he derived from this romance made CT to sing Katha Nethe Sinawe.. Lata Mage Giyane.. Ohe Ithin Yanne Giyawe.. Gili Male Tharuwa Eyane.

C.T. Fernando died on October 17 1977 following a heart attack, at the age of 56.

By Channa Bandara Wijekoon
Daily News http://www.dailynews.lk/2010/02/03/art03.asp

The noteworthy feature is that most songs of this audio CD are very rare and even some Jothi fans did not have an opportunity to listen to them because of the unavailability of the songs. Some songs were even unheard of. Fulfilling this long-felt need, Nalin has taken great pains to find these rare assets from various sources and reproduce them in a highly professional manner. Nalin thanks Kalasuri Stanley Omar, Premnath Kodituwakku, Rohan Jayawardena, Sangeeth Wickmarasinghe and Ananda Waidyasekera for their fabulous new music direction.

Please be informed that these songs are not produced to be sold under any circumstance and you are warmly welcome to download the songs totally free through this website. Log onto www.youtube.com under the tag of “nalin Jayawardena” to watch some of the songs in video format.

Please feel free to contact Nalin through this website if you want an original CD delivered to your doorstep by post. Furthermore you are kindly requested to listen to the originals of these songs through www.sinhalajukebox.org and get mesmerized by the melodious voice of this late legend that kept millions of Sri Lankans spellbound with his unique style of singing for four decades and the rich legacy of music he left behind for the new generation after his demise on 7th July, 1987. Visit http://netcd.lakderana.com/ to download this CD in MP3 format