Daily Star, Dhaka, BangladeshSun. July 20, 2003 .....[THIS IS AN ARTICLE WHICH HAD BEEN PUBLISHED IN THIS NEWSPAPER .[..
Kamal Das Gupta
The legend lives on
Shafin Ahmed....[THE SON OF KAMAL DASGUPTA AND FEROZA BEGUM]
During 1930s to '50s it was like a proverb in the music arena that "No matter where and how much you try, in the end you will have to go to
Kamal Das Gupta to find success." Among many artistes who found recognition through Kamal Das Gupta's compositions were Juthika Roy,
Jogonmoy Mitra, Shanta Apté, Hemant Mukherjee, Talat Mahmood,
Shubhalakshmi, K. Mallik, Indubala, Angurbala, Mrinal Kanti, Satya
Chowdhury and of course Feroza Begum, the finest Nazrul Sangeet
artiste. The total number of songs composed by him is an astonishing
number of over 8000 of which about 400 are Nazrul songs.
The 29th death anniversary of the sub-continent's greatest music
composer/director Kamal Das Gupta will be observed today.
Early DaysAt the age of only eighteen, my father joined His Master's
Voice (HMV) as a music director. His full name was Kamalprasanna
Dasgupta. My grandparents were in village Kalia of Jessore district,
although it was in Kuchbihar, when the family had moved there, where
my father was born on 28th of July in the year 1912. His schooling
started in Kuchbihar, and he graduated as an engineer from the Bengal
Engineering College in Shibpur.
My grandparents Taraprasanna Dasgupta and Kaminiranjan Dasgupta were
both well trained in classical music and hence a musical environment
existed at home. My father would say that because of the disciplined
training in music at home five/six out of the ten brothers and sisters
could record songs at HMV at very early ages, and three brothers
excelled as music directors, including his eldest brother Bimal Das
Gupta and his younger brother Shubal Das Gupta, who composed many
memorable songs. The two brothers Kamal and Shubal would sing kawali
in the radio as Chand-Suraj Kawals.
Kamal Das Gupta had his first formal training in music from his elder
brother. Then he devoted three/four years for learning and practicing
mainly Sargam in the company of the famous singer Sri Krishna Chandra
Dey, who was blind. But, it was the renowned Ustad Zamiruddin Khan who
was Kamal Das Gupta's true Guru. Kamal Das Gupta was already getting
busy as a promising music director at HMV. It did not take time for
the Ustadji to notice the extraordinary talents of this young man who
had already mastered the basics. Kamal Das Gupta learned all he could
from the Thumri king Ustad Zamiruddin Khan, and like an expert
craftsman brought out the deepest secrets of Sur to compose his
immortal tunes.
His composition was first released as a record in 1932 in the voice of
Satyaboti.
Music Styles
Kamal Das Gupta has worked with various styles of music.
He composed Geet and Bhajan in Hindi, he did Urdu Naat, Thumri, and
Ghazals. His Raaga based songs were truly wonderful. Bhairabi was
probably one of his favourites, because he composed several hundred
songs in Bhairabi, a few famous ones are Jaani Jaani Akdin
Bhalobeshechilé More; More Na Mitité Aasha Bhangilo Khela; Ami Bhorer
Juthika; Jetha Gaan Theme Jaé; Ghari Ek Na Suhabé Piya.
His unique application of rhythm can be found in many instances. About
four to five hundred of his songs are indeed special in this respect
and could be analysed deeply. Let me mention just a handful of such
songs, which have delighted those who have followed Kamal Das Gupta's
songs Jodi Bhalo Na Lagé to Diona Mon (film: Jogajoge); Ami Chanchol
Jhorna Dhara; Ami Bonophul Go (Kawali rhythm); Shopné Dekhi Ekti Notun
Ghar (Dadra played in half time); More Mon Cholé Jaé Shei Deshe Go
(Dadra mixed with Jhumur).
Geets like O Preet Nivané wali; Kitné Dukh Bhulaya Tumné in the voice
of Hemanta Mukherjee are worth mentioning here.
After the second World War, around the mid-1940s, one would find
expressions of rebellion and protest in some of his songs. An unique
blend of romance and revolution are found in these ever popular songs
Prithibi Amaré Chaé; Jegé Aachhi Eka Jegé Aachi Karagaré; Ami Duronto
Baishakhi Jhor; Jaader Jiban Bhora Shudhu aakhijol; Shotek Borosho
Poré. All of these songs have resonated for years throughout Bengal.
Kazi Nazrul and Kamal Das Gupta
It is a long chapter in the life of Kamal Das Gupta. He is recognised
as the foremost composer of Nazrul songs besides Kazi Nazrul Islam
himself. My father had worked closely with Kobi Nazrul for long eleven
years from 1934 to 1945. It is indeed an important chapter in the
history of Bengali culture.
The two spent many busy mornings, tired afternoons, vibrant evenings
and late nights in the company of each other. Readers might find it
interesting to know how a typical day in the lives of these two great
men was, as narrated by my father himself: "A lot of hard work was put
in by the two of us each day. At 8 in the morning Kazi Da would start
writing lyrics and melody in the HMV rehearsal room for the first
artistes to come. Some lyrics he would pass on to me to tune, while I
would be busy making other songs. By 9 AM the first group of singers
would arrive for their training. One hour was allotted for them. The
second group of singers would then come for their training and so on
until 3 PM. We had no break up to that time. After 3, we would start
preparing songs for the next day, which would end at 6 PM. This
afternoon session was between just the two of us. Sometimes I would be
in his room, sometimes he would be in mine. Kazi Da would leave at 6
PM. Kazi Da and I have spent years and years without having a day-time
meal. Often, food were arranged to be brought from home, but it would
remain untouched. There was no time."
Films and Kamal Das Gupta
A vast expanse of Kamal Das Gupta's glorious career covered films.
He made music for more than forty films during the period 1936 to
1967. Those were in Bangla, Hindi, Tamil, and English documentaries.
Kamal Das Gupta's first film was Pandit Moshai (1936) and the last
one was Bodhubaran (1967). I believe he will always be remembered
for his songs in such movies as Gormil, Shesh Uttar, Jogajog,
Gobindodas, Bhagaban Sri Krishna Choitanyo, Meghdoot (Hindi).
Kamal Das Gupta and Feroza Begum
The finest ever Nazrul Sangeet singer met Kamal Das Gupta as early
as in the 1930s. Feroza Begum's incredible talent took her beyond
the boundaries of Faridpur district to Kolkata at an early age. It
was her strong desire to learn music that brought her in contact
with Kamal Das Gupta. They tied the knot of marriage in 1956. Kamal
Das Gupta took special care in training Feroza Begum realising her
potential to become a great artiste. For correct manifestation and
for exposing Nazrul's songs to the wider world, the Kamal-Feroza
pair's contribution is simply unassailable.
Last Days in Dhaka
My gloriously successful father left us all forever, on the 20th of
July 1974 at the P.G. Hospital in Dhaka. We had moved to Dhaka from
Kolkata in 1967. But the small horizon of Dhaka's music and the
government of the time made the giant feel caged. After the
independence of Bangladesh, my father was given the citizenship of
Bangladesh and was later offered the position of Chief Music Director
of the Transcription Service of Bangladesh Betar. He had lamented that
six years of inactivity had done him a lot of harm and they should
take from him whatever they could. He had planned to develop an
orchestra, a concert hall and teach training methods, short hand
notation and several other projects for the Transcription Service.
My father had a strong personality, but he was polite. He was
generous, he felt for the poor. During the famine of 1950 in Kolkata,
My father fed a hundred people everyday for months. As a growing up
child I used to be thrilled to hear that my famous father owned an
American built gorgeous Buick car in those days in Kolkata.
My father was a big follower of Cricket, perhaps the reason why we
three brothers have always been keen on Cricket. Tahsin and Hamin
actually played top level Cricket, and Hamin had made it to the
Bangladesh National Team. Memories of winter mornings on roof top,
listening to Cricket commentary together on the radio, coming from far
away Australia or England are all so vivid.
I also remember the first time my mother bought us a guitar, which
Hamin and I were trying to play. My father hearing from the next room,
told us how to first tune the six strings of the guitar on EADGBE, and
how if we knew where Sâ was, we could tune the rest of the strings.
Khela Shesh Holo
Shesh Hoy Nai Bela....
Daily Star, Dhaka, Bangladesh
Sun. July 20, 2003
Kamal Das Gupta
The legend lives on
Shafin Ahmed
During 1930s to '50s it was like a proverb in the music arena that "No
matter where and how much you try, in the end you will have to go to
Kamal Das Gupta to find success." Among many artistes who found
recognition through Kamal Das Gupta's compositions were Juthika Roy,
Jogonmoy Mitra, Shanta Apté, Hemant Mukherjee, Talat Mahmood,
Shubhalakshmi, K. Mallik, Indubala, Angurbala, Mrinal Kanti, Satya
Chowdhury and of course Feroza Begum, the finest Nazrul Sangeet
artiste. The total number of songs composed by him is an astonishing
number of over 8000 of which about 400 are Nazrul songs.
The 29th death anniversary of the sub-continent's greatest music
composer/director Kamal Das Gupta will be observed today.
Early DaysAt the age of only eighteen, my father joined His Master's
Voice (HMV) as a music director. His full name was Kamalprasanna
Dasgupta. My grandparents were in village Kalia of Jessore district,
although it was in Kuchbihar, when the family had moved there, where
my father was born on 28th of July in the year 1912. His schooling
started in Kuchbihar, and he graduated as an engineer from the Bengal
Engineering College in Shibpur.
My grandparents Taraprasanna Dasgupta and Kaminiranjan Dasgupta were
both well trained in classical music and hence a musical environment
existed at home. My father would say that because of the disciplined
training in music at home five/six out of the ten brothers and sisters
could record songs at HMV at very early ages, and three brothers
excelled as music directors, including his eldest brother Bimal Das
Gupta and his younger brother Shubal Das Gupta, who composed many
memorable songs. The two brothers Kamal and Shubal would sing kawali
in the radio as Chand-Suraj Kawals.
Kamal Das Gupta had his first formal training in music from his elder
brother. Then he devoted three/four years for learning and practicing
mainly Sargam in the company of the famous singer Sri Krishna Chandra
Dey, who was blind. But, it was the renowned Ustad Zamiruddin Khan who
was Kamal Das Gupta's true Guru. Kamal Das Gupta was already getting
busy as a promising music director at HMV. It did not take time for
the Ustadji to notice the extraordinary talents of this young man who
had already mastered the basics. Kamal Das Gupta learned all he could
from the Thumri king Ustad Zamiruddin Khan, and like an expert
craftsman brought out the deepest secrets of Sur to compose his
immortal tunes.
His composition was first released as a record in 1932 in the voice of
Satyaboti.
Music Styles
Kamal Das Gupta has worked with various styles of music.
He composed Geet and Bhajan in Hindi, he did Urdu Naat, Thumri, and
Ghazals. His Raaga based songs were truly wonderful. Bhairabi was
probably one of his favourites, because he composed several hundred
songs in Bhairabi, a few famous ones are Jaani Jaani Akdin
Bhalobeshechilé More; More Na Mitité Aasha Bhangilo Khela; Ami Bhorer
Juthika; Jetha Gaan Theme Jaé; Ghari Ek Na Suhabé Piya.
His unique application of rhythm can be found in many instances. About
four to five hundred of his songs are indeed special in this respect
and could be analysed deeply. Let me mention just a handful of such
songs, which have delighted those who have followed Kamal Das Gupta's
songs Jodi Bhalo Na Lagé to Diona Mon (film: Jogajoge); Ami Chanchol
Jhorna Dhara; Ami Bonophul Go (Kawali rhythm); Shopné Dekhi Ekti Notun
Ghar (Dadra played in half time); More Mon Cholé Jaé Shei Deshe Go
(Dadra mixed with Jhumur).
Geets like O Preet Nivané wali; Kitné Dukh Bhulaya Tumné in the voice
of Hemanta Mukherjee are worth mentioning here.
After the second World War, around the mid-1940s, one would find
expressions of rebellion and protest in some of his songs. An unique
blend of romance and revolution are found in these ever popular songs
Prithibi Amaré Chaé; Jegé Aachhi Eka Jegé Aachi Karagaré; Ami Duronto
Baishakhi Jhor; Jaader Jiban Bhora Shudhu aakhijol; Shotek Borosho
Poré. All of these songs have resonated for years throughout Bengal.
Kazi Nazrul and Kamal Das Gupta
It is a long chapter in the life of Kamal Das Gupta. He is recognised
as the foremost composer of Nazrul songs besides Kazi Nazrul Islam
himself. My father had worked closely with Kobi Nazrul for long eleven
years from 1934 to 1945. It is indeed an important chapter in the
history of Bengali culture.
The two spent many busy mornings, tired afternoons, vibrant evenings
and late nights in the company of each other. Readers might find it
interesting to know how a typical day in the lives of these two great
men was, as narrated by my father himself: "A lot of hard work was put
in by the two of us each day. At 8 in the morning Kazi Da would start
writing lyrics and melody in the HMV rehearsal room for the first
artistes to come. Some lyrics he would pass on to me to tune, while I
would be busy making other songs. By 9 AM the first group of singers
would arrive for their training. One hour was allotted for them. The
second group of singers would then come for their training and so on
until 3 PM. We had no break up to that time. After 3, we would start
preparing songs for the next day, which would end at 6 PM. This
afternoon session was between just the two of us. Sometimes I would be
in his room, sometimes he would be in mine. Kazi Da would leave at 6
PM. Kazi Da and I have spent years and years without having a day-time
meal. Often, food were arranged to be brought from home, but it would
remain untouched. There was no time."
Films and Kamal Das Gupta
A vast expanse of Kamal Das Gupta's glorious career covered films.
He made music for more than forty films during the period 1936 to
1967. Those were in Bangla, Hindi, Tamil, and English documentaries.
Kamal Das Gupta's first film was Pandit Moshai (1936) and the last
one was Bodhubaran (1967). I believe he will always be remembered
for his songs in such movies as Gormil, Shesh Uttar, Jogajog,
Gobindodas, Bhagaban Sri Krishna Choitanyo, Meghdoot (Hindi).
Kamal Das Gupta and Feroza Begum
The finest ever Nazrul Sangeet singer met Kamal Das Gupta as early
as in the 1930s. Feroza Begum's incredible talent took her beyond
the boundaries of Faridpur district to Kolkata at an early age. It
was her strong desire to learn music that brought her in contact
with Kamal Das Gupta. They tied the knot of marriage in 1956. Kamal
Das Gupta took special care in training Feroza Begum realising her
potential to become a great artiste. For correct manifestation and
for exposing Nazrul's songs to the wider world, the Kamal-Feroza
pair's contribution is simply unassailable.
Last Days in Dhaka
My gloriously successful father left us all forever, on the 20th of
July 1974 at the P.G. Hospital in Dhaka. We had moved to Dhaka from
Kolkata in 1967. But the small horizon of Dhaka's music and the
government of the time made the giant feel caged. After the
independence of Bangladesh, my father was given the citizenship of
Bangladesh and was later offered the position of Chief Music Director
of the Transcription Service of Bangladesh Betar. He had lamented that
six years of inactivity had done him a lot of harm and they should
take from him whatever they could. He had planned to develop an
orchestra, a concert hall and teach training methods, short hand
notation and several other projects for the Transcription Service.
My father had a strong personality, but he was polite. He was
generous, he felt for the poor. During the famine of 1950 in Kolkata,
My father fed a hundred people everyday for months. As a growing up
child I used to be thrilled to hear that my famous father owned an
American built gorgeous Buick car in those days in Kolkata.
My father was a big follower of Cricket, perhaps the reason why we
three brothers have always been keen on Cricket. Tahsin and Hamin
actually played top level Cricket, and Hamin had made it to the
Bangladesh National Team. Memories of winter mornings on roof top,
listening to Cricket commentary together on the radio, coming from far
away Australia or England are all so vivid.
I also remember the first time my mother bought us a guitar, which
Hamin and I were trying to play. My father hearing from the next room,
told us how to first tune the six strings of the guitar on EADGBE, and
how if we knew where Sâ was, we could tune the rest of the strings.
Khela Shesh Holo
Shesh Hoy Nai Bela....
Daily Star, Dhaka, Bangladesh
Sun. July 20, 2003
Kamal Das Gupta
The legend lives on
Shafin Ahmed
During 1930s to '50s it was like a proverb in the music arena that "No
matter where and how much you try, in the end you will have to go to
Kamal Das Gupta to find success." Among many artistes who found
recognition through Kamal Das Gupta's compositions were Juthika Roy,
Jogonmoy Mitra, Shanta Apté, Hemant Mukherjee, Talat Mahmood,
Shubhalakshmi, K. Mallik, Indubala, Angurbala, Mrinal Kanti, Satya
Chowdhury and of course Feroza Begum, the finest Nazrul Sangeet
artiste. The total number of songs composed by him is an astonishing
number of over 8000 of which about 400 are Nazrul songs.
The 29th death anniversary of the sub-continent's greatest music
composer/director Kamal Das Gupta will be observed today.
Early DaysAt the age of only eighteen, my father joined His Master's
Voice (HMV) as a music director. His full name was Kamalprasanna
Dasgupta. My grandparents were in village Kalia of Jessore district,
although it was in Kuchbihar, when the family had moved there, where
my father was born on 28th of July in the year 1912. His schooling
started in Kuchbihar, and he graduated as an engineer from the Bengal
Engineering College in Shibpur.
My grandparents Taraprasanna Dasgupta and Kaminiranjan Dasgupta were
both well trained in classical music and hence a musical environment
existed at home. My father would say that because of the disciplined
training in music at home five/six out of the ten brothers and sisters
could record songs at HMV at very early ages, and three brothers
excelled as music directors, including his eldest brother Bimal Das
Gupta and his younger brother Shubal Das Gupta, who composed many
memorable songs. The two brothers Kamal and Shubal would sing kawali
in the radio as Chand-Suraj Kawals.
Kamal Das Gupta had his first formal training in music from his elder
brother. Then he devoted three/four years for learning and practicing
mainly Sargam in the company of the famous singer Sri Krishna Chandra
Dey, who was blind. But, it was the renowned Ustad Zamiruddin Khan who
was Kamal Das Gupta's true Guru. Kamal Das Gupta was already getting
busy as a promising music director at HMV. It did not take time for
the Ustadji to notice the extraordinary talents of this young man who
had already mastered the basics. Kamal Das Gupta learned all he could
from the Thumri king Ustad Zamiruddin Khan, and like an expert
craftsman brought out the deepest secrets of Sur to compose his
immortal tunes.
His composition was first released as a record in 1932 in the voice of
Satyaboti.
Music Styles
Kamal Das Gupta has worked with various styles of music.
He composed Geet and Bhajan in Hindi, he did Urdu Naat, Thumri, and
Ghazals. His Raaga based songs were truly wonderful. Bhairabi was
probably one of his favourites, because he composed several hundred
songs in Bhairabi, a few famous ones are Jaani Jaani Akdin
Bhalobeshechilé More; More Na Mitité Aasha Bhangilo Khela; Ami Bhorer
Juthika; Jetha Gaan Theme Jaé; Ghari Ek Na Suhabé Piya.
His unique application of rhythm can be found in many instances. About
four to five hundred of his songs are indeed special in this respect
and could be analysed deeply. Let me mention just a handful of such
songs, which have delighted those who have followed Kamal Das Gupta's
songs Jodi Bhalo Na Lagé to Diona Mon (film: Jogajoge); Ami Chanchol
Jhorna Dhara; Ami Bonophul Go (Kawali rhythm); Shopné Dekhi Ekti Notun
Ghar (Dadra played in half time); More Mon Cholé Jaé Shei Deshe Go
(Dadra mixed with Jhumur).
Geets like O Preet Nivané wali; Kitné Dukh Bhulaya Tumné in the voice
of Hemanta Mukherjee are worth mentioning here.
After the second World War, around the mid-1940s, one would find
expressions of rebellion and protest in some of his songs. An unique
blend of romance and revolution are found in these ever popular songs
Prithibi Amaré Chaé; Jegé Aachhi Eka Jegé Aachi Karagaré; Ami Duronto
Baishakhi Jhor; Jaader Jiban Bhora Shudhu aakhijol; Shotek Borosho
Poré. All of these songs have resonated for years throughout Bengal.
Kazi Nazrul and Kamal Das Gupta
It is a long chapter in the life of Kamal Das Gupta. He is recognised
as the foremost composer of Nazrul songs besides Kazi Nazrul Islam
himself. My father had worked closely with Kobi Nazrul for long eleven
years from 1934 to 1945. It is indeed an important chapter in the
history of Bengali culture.
The two spent many busy mornings, tired afternoons, vibrant evenings
and late nights in the company of each other. Readers might find it
interesting to know how a typical day in the lives of these two great
men was, as narrated by my father himself: "A lot of hard work was put
in by the two of us each day. At 8 in the morning Kazi Da would start
writing lyrics and melody in the HMV rehearsal room for the first
artistes to come. Some lyrics he would pass on to me to tune, while I
would be busy making other songs. By 9 AM the first group of singers
would arrive for their training. One hour was allotted for them. The
second group of singers would then come for their training and so on
until 3 PM. We had no break up to that time. After 3, we would start
preparing songs for the next day, which would end at 6 PM. This
afternoon session was between just the two of us. Sometimes I would be
in his room, sometimes he would be in mine. Kazi Da would leave at 6
PM. Kazi Da and I have spent years and years without having a day-time
meal. Often, food were arranged to be brought from home, but it would
remain untouched. There was no time."
Films and Kamal Das Gupta
A vast expanse of Kamal Das Gupta's glorious career covered films.
He made music for more than forty films during the period 1936 to
1967. Those were in Bangla, Hindi, Tamil, and English documentaries.
Kamal Das Gupta's first film was Pandit Moshai (1936) and the last
one was Bodhubaran (1967). I believe he will always be remembered
for his songs in such movies as Gormil, Shesh Uttar, Jogajog,
Gobindodas, Bhagaban Sri Krishna Choitanyo, Meghdoot (Hindi).
Kamal Das Gupta and Feroza Begum
The finest ever Nazrul Sangeet singer met Kamal Das Gupta as early
as in the 1930s. Feroza Begum's incredible talent took her beyond
the boundaries of Faridpur district to Kolkata at an early age. It
was her strong desire to learn music that brought her in contact
with Kamal Das Gupta. They tied the knot of marriage in 1956. Kamal
Das Gupta took special care in training Feroza Begum realising her
potential to become a great artiste. For correct manifestation and
for exposing Nazrul's songs to the wider world, the Kamal-Feroza
pair's contribution is simply unassailable.
Last Days in Dhaka
My gloriously successful father left us all forever, on the 20th of
July 1974 at the P.G. Hospital in Dhaka. We had moved to Dhaka from
Kolkata in 1967. But the small horizon of Dhaka's music and the
government of the time made the giant feel caged. After the
independence of Bangladesh, my father was given the citizenship of
Bangladesh and was later offered the position of Chief Music Director
of the Transcription Service of Bangladesh Betar. He had lamented that
six years of inactivity had done him a lot of harm and they should
take from him whatever they could. He had planned to develop an
orchestra, a concert hall and teach training methods, short hand
notation and several other projects for the Transcription Service.
My father had a strong personality, but he was polite. He was
generous, he felt for the poor. During the famine of 1950 in Kolkata,
My father fed a hundred people everyday for months. As a growing up
child I used to be thrilled to hear that my famous father owned an
American built gorgeous Buick car in those days in Kolkata.
My father was a big follower of Cricket, perhaps the reason why we
three brothers have always been keen on Cricket. Tahsin and Hamin
actually played top level Cricket, and Hamin had made it to the
Bangladesh National Team. Memories of winter mornings on roof top,
listening to Cricket commentary together on the radio, coming from far
away Australia or England are all so vivid.
I also remember the first time my mother bought us a guitar, which
Hamin and I were trying to play. My father hearing from the next room,
told us how to first tune the six strings of the guitar on EADGBE, and
how if we knew where Sâ was, we could tune the rest of the strings.
Khela Shesh Holo
Shesh Hoy Nai Bela....
Daily Star, Dhaka, Bangladesh
Sun. July 20, 2003
Kamal Das Gupta
The legend lives on
Shafin Ahmed
During 1930s to '50s it was like a proverb in the music arena that "No
matter where and how much you try, in the end you will have to go to
Kamal Das Gupta to find success." Among many artistes who found
recognition through Kamal Das Gupta's compositions were Juthika Roy,
Jogonmoy Mitra, Shanta Apté, Hemant Mukherjee, Talat Mahmood,
Shubhalakshmi, K. Mallik, Indubala, Angurbala, Mrinal Kanti, Satya
Chowdhury and of course Feroza Begum, the finest Nazrul Sangeet
artiste. The total number of songs composed by him is an astonishing
number of over 8000 of which about 400 are Nazrul songs.
The 29th death anniversary of the sub-continent's greatest music
composer/director Kamal Das Gupta will be observed today.
Early DaysAt the age of only eighteen, my father joined His Master's
Voice (HMV) as a music director. His full name was Kamalprasanna
Dasgupta. My grandparents were in village Kalia of Jessore district,
although it was in Kuchbihar, when the family had moved there, where
my father was born on 28th of July in the year 1912. His schooling
started in Kuchbihar, and he graduated as an engineer from the Bengal
Engineering College in Shibpur.
My grandparents Taraprasanna Dasgupta and Kaminiranjan Dasgupta were
both well trained in classical music and hence a musical environment
existed at home. My father would say that because of the disciplined
training in music at home five/six out of the ten brothers and sisters
could record songs at HMV at very early ages, and three brothers
excelled as music directors, including his eldest brother Bimal Das
Gupta and his younger brother Shubal Das Gupta, who composed many
memorable songs. The two brothers Kamal and Shubal would sing kawali
in the radio as Chand-Suraj Kawals.
Kamal Das Gupta had his first formal training in music from his elder
brother. Then he devoted three/four years for learning and practicing
mainly Sargam in the company of the famous singer Sri Krishna Chandra
Dey, who was blind. But, it was the renowned Ustad Zamiruddin Khan who
was Kamal Das Gupta's true Guru. Kamal Das Gupta was already getting
busy as a promising music director at HMV. It did not take time for
the Ustadji to notice the extraordinary talents of this young man who
had already mastered the basics. Kamal Das Gupta learned all he could
from the Thumri king Ustad Zamiruddin Khan, and like an expert
craftsman brought out the deepest secrets of Sur to compose his
immortal tunes.
His composition was first released as a record in 1932 in the voice of
Satyaboti.
Music Styles
Kamal Das Gupta has worked with various styles of music.
He composed Geet and Bhajan in Hindi, he did Urdu Naat, Thumri, and
Ghazals. His Raaga based songs were truly wonderful. Bhairabi was
probably one of his favourites, because he composed several hundred
songs in Bhairabi, a few famous ones are Jaani Jaani Akdin
Bhalobeshechilé More; More Na Mitité Aasha Bhangilo Khela; Ami Bhorer
Juthika; Jetha Gaan Theme Jaé; Ghari Ek Na Suhabé Piya.
His unique application of rhythm can be found in many instances. About
four to five hundred of his songs are indeed special in this respect
and could be analysed deeply. Let me mention just a handful of such
songs, which have delighted those who have followed Kamal Das Gupta's
songs Jodi Bhalo Na Lagé to Diona Mon (film: Jogajoge); Ami Chanchol
Jhorna Dhara; Ami Bonophul Go (Kawali rhythm); Shopné Dekhi Ekti Notun
Ghar (Dadra played in half time); More Mon Cholé Jaé Shei Deshe Go
(Dadra mixed with Jhumur).
Geets like O Preet Nivané wali; Kitné Dukh Bhulaya Tumné in the voice
of Hemanta Mukherjee are worth mentioning here.
After the second World War, around the mid-1940s, one would find
expressions of rebellion and protest in some of his songs. An unique
blend of romance and revolution are found in these ever popular songs
Prithibi Amaré Chaé; Jegé Aachhi Eka Jegé Aachi Karagaré; Ami Duronto
Baishakhi Jhor; Jaader Jiban Bhora Shudhu aakhijol; Shotek Borosho
Poré. All of these songs have resonated for years throughout Bengal.
Kazi Nazrul and Kamal Das Gupta
It is a long chapter in the life of Kamal Das Gupta. He is recognised
as the foremost composer of Nazrul songs besides Kazi Nazrul Islam
himself. My father had worked closely with Kobi Nazrul for long eleven
years from 1934 to 1945. It is indeed an important chapter in the
history of Bengali culture.
The two spent many busy mornings, tired afternoons, vibrant evenings
and late nights in the company of each other. Readers might find it
interesting to know how a typical day in the lives of these two great
men was, as narrated by my father himself: "A lot of hard work was put
in by the two of us each day. At 8 in the morning Kazi Da would start
writing lyrics and melody in the HMV rehearsal room for the first
artistes to come. Some lyrics he would pass on to me to tune, while I
would be busy making other songs. By 9 AM the first group of singers
would arrive for their training. One hour was allotted for them. The
second group of singers would then come for their training and so on
until 3 PM. We had no break up to that time. After 3, we would start
preparing songs for the next day, which would end at 6 PM. This
afternoon session was between just the two of us. Sometimes I would be
in his room, sometimes he would be in mine. Kazi Da would leave at 6
PM. Kazi Da and I have spent years and years without having a day-time
meal. Often, food were arranged to be brought from home, but it would
remain untouched. There was no time."
Films and Kamal Das Gupta
A vast expanse of Kamal Das Gupta's glorious career covered films.
He made music for more than forty films during the period 1936 to
1967. Those were in Bangla, Hindi, Tamil, and English documentaries.
Kamal Das Gupta's first film was Pandit Moshai (1936) and the last
one was Bodhubaran (1967). I believe he will always be remembered
for his songs in such movies as Gormil, Shesh Uttar, Jogajog,
Gobindodas, Bhagaban Sri Krishna Choitanyo, Meghdoot (Hindi).
Kamal Das Gupta and Feroza Begum
The finest ever Nazrul Sangeet singer met Kamal Das Gupta as early
as in the 1930s. Feroza Begum's incredible talent took her beyond
the boundaries of Faridpur district to Kolkata at an early age. It
was her strong desire to learn music that brought her in contact
with Kamal Das Gupta. They tied the knot of marriage in 1956. Kamal
Das Gupta took special care in training Feroza Begum realising her
potential to become a great artiste. For correct manifestation and
for exposing Nazrul's songs to the wider world, the Kamal-Feroza
pair's contribution is simply unassailable.
Last Days in Dhaka
My gloriously successful father left us all forever, on the 20th of
July 1974 at the P.G. Hospital in Dhaka. We had moved to Dhaka from
Kolkata in 1967. But the small horizon of Dhaka's music and the
government of the time made the giant feel caged. After the
independence of Bangladesh, my father was given the citizenship of
Bangladesh and was later offered the position of Chief Music Director
of the Transcription Service of Bangladesh Betar. He had lamented that
six years of inactivity had done him a lot of harm and they should
take from him whatever they could. He had planned to develop an
orchestra, a concert hall and teach training methods, short hand
notation and several other projects for the Transcription Service.
My father had a strong personality, but he was polite. He was
generous, he felt for the poor. During the famine of 1950 in Kolkata,
My father fed a hundred people everyday for months. As a growing up
child I used to be thrilled to hear that my famous father owned an
American built gorgeous Buick car in those days in Kolkata.
My father was a big follower of Cricket, perhaps the reason why we
three brothers have always been keen on Cricket. Tahsin and Hamin
actually played top level Cricket, and Hamin had made it to the
Bangladesh National Team. Memories of winter mornings on roof top,
listening to Cricket commentary together on the radio, coming from far
away Australia or England are all so vivid.
I also remember the first time my mother bought us a guitar, which
Hamin and I were trying to play. My father hearing from the next room,
told us how to first tune the six strings of the guitar on EADGBE, and
how if we knew where Sâ was, we could tune the rest of the strings.
Khela Shesh Holo
Shesh Hoy Nai Bela....
[MANY THANKS TO DAILY STAR & SHAFIN AHMED]
Daily Star, Dhaka, BangladeshSun. July 20, 2003 .....[THIS IS AN ARTICLE WHICH HAD BEEN PUBLISHED IN THIS NEWSPAPER .[..
Kamal Das GuptaThe legend lives On
Shafin Ahmed....[THE SON OF KAMAL DASGUPTA AND FEROZA BEGUM]
During 1930s to '50s it was like a proverb in the music arena that "No matter where and how much you try, in the end you will have to go toKamal Das Gupta to find success." Among many artistes who found recognition through Kamal Das Gupta's compositions were Juthika Roy,Jogonmoy Mitra, Shanta Apté, Hemant Mukherjee, Talat Mahmood,Shubhalakshmi, K. Mallik, Indubala, Angurbala, Mrinal Kanti, SatyaChowdhury and of course Feroza Begum, the finest Nazrul Sangeetartiste. The total number of songs composed by him is an astonishingnumber of over 8000 of which about 400 are Nazrul songs.
The 29th death anniversary of the sub-continent's greatest musiccomposer/director Kamal Das Gupta will be observed today.
Early DaysAt the age of only eighteen, my father joined His Master'sVoice (HMV) as a music director. His full name was KamalprasannaDasgupta. My grandparents were in village Kalia of Jessore district,although it was in Kuchbihar, when the family had moved there, wheremy father was born on 28th of July in the year 1912. His schoolingstarted in Kuchbihar, and he graduated as an engineer from the BengalEngineering College in Shibpur.
My grandparents Taraprasanna Dasgupta and Kaminiranjan Dasgupta wereboth well trained in classical music and hence a musical environmentexisted at home. My father would say that because of the disciplinedtraining in music at home five/six out of the ten brothers and sisterscould record songs at HMV at very early ages, and three brothersexcelled as music directors, including his eldest brother Bimal DasGupta and his younger brother Shubal Das Gupta, who composed manymemorable songs. The two brothers Kamal and Shubal would sing kawaliin the radio as Chand-Suraj Kawals.
Kamal Das Gupta had his first formal training in music from his elderbrother. Then he devoted three/four years for learning and practicingmainly Sargam in the company of the famous singer Sri Krishna ChandraDey, who was blind. But, it was the renowned Ustad Zamiruddin Khan whowas Kamal Das Gupta's true Guru. Kamal Das Gupta was already gettingbusy as a promising music director at HMV. It did not take time forthe Ustadji to notice the extraordinary talents of this young man whohad already mastered the basics. Kamal Das Gupta learned all he couldfrom the Thumri king Ustad Zamiruddin Khan, and like an expertcraftsman brought out the deepest secrets of Sur to compose hisimmortal tunes.
His composition was first released as a record in 1932 in the voice ofSatyaboti.
Music Styles
Kamal Das Gupta has worked with various styles of music.He composed Geet and Bhajan in Hindi, he did Urdu Naat, Thumri, andGhazals. His Raaga based songs were truly wonderful. Bhairabi wasprobably one of his favourites, because he composed several hundredsongs in Bhairabi, a few famous ones are Jaani Jaani AkdinBhalobeshechilé More; More Na Mitité Aasha Bhangilo Khela; Ami BhorerJuthika; Jetha Gaan Theme Jaé; Ghari Ek Na Suhabé Piya.
His unique application of rhythm can be found in many instances. Aboutfour to five hundred of his songs are indeed special in this respectand could be analysed deeply. Let me mention just a handful of suchsongs, which have delighted those who have followed Kamal Das Gupta'ssongs Jodi Bhalo Na Lagé to Diona Mon (film: Jogajoge); Ami ChancholJhorna Dhara; Ami Bonophul Go (Kawali rhythm); Shopné Dekhi Ekti NotunGhar (Dadra played in half time); More Mon Cholé Jaé Shei Deshe Go(Dadra mixed with Jhumur).
Geets like O Preet Nivané wali; Kitné Dukh Bhulaya Tumné in the voiceof Hemanta Mukherjee are worth mentioning here.
After the second World War, around the mid-1940s, one would findexpressions of rebellion and protest in some of his songs. An uniqueblend of romance and revolution are found in these ever popular songsPrithibi Amaré Chaé; Jegé Aachhi Eka Jegé Aachi Karagaré; Ami DurontoBaishakhi Jhor; Jaader Jiban Bhora Shudhu aakhijol; Shotek BoroshoPoré. All of these songs have resonated for years throughout Bengal.
Kazi Nazrul and Kamal Das Gupta
It is a long chapter in the life of Kamal Das Gupta. He is recognised as the foremost composer of Nazrul songs besides Kazi Nazrul Islam himself. My father had worked closely with Kobi Nazrul for long eleven years from 1934 to 1945. It is indeed an important chapter in the history of Bengali culture.
The two spent many busy mornings, tired afternoons, vibrant eveningsand late nights in the company of each other. Readers might find itinteresting to know how a typical day in the lives of these two greatmen was, as narrated by my father himself: "A lot of hard work was putin by the two of us each day. At 8 in the morning Kazi Da would startwriting lyrics and melody in the HMV rehearsal room for the firstartistes to come. Some lyrics he would pass on to me to tune, while Iwould be busy making other songs. By 9 AM the first group of singerswould arrive for their training. One hour was allotted for them. Thesecond group of singers would then come for their training and so onuntil 3 PM. We had no break up to that time. After 3, we would startpreparing songs for the next day, which would end at 6 PM. Thisafternoon session was between just the two of us. Sometimes I would bein his room, sometimes he would be in mine. Kazi Da would leave at 6PM. Kazi Da and I have spent years and years without having a day-timemeal. Often, food were arranged to be brought from home, but it wouldremain untouched. There was no time."
Films and Kamal Das Gupta
A vast expanse of Kamal Das Gupta's glorious career covered films. He made music for more than forty films during the period 1936 to 1967. Those were in Bangla, Hindi, Tamil, and English documentaries. Kamal Das Gupta's first film was Pandit Moshai (1936) and the last one was Bodhubaran (1967). I believe he will always be remembered for his songs in such movies as Gormil, Shesh Uttar, Jogajog, Gobindodas, Bhagaban Sri Krishna Choitanyo, Meghdoot (Hindi).
Kamal Das Gupta and Feroza Begum
The finest ever Nazrul Sangeet singer met Kamal Das Gupta as early as in the 1930s. Feroza Begum's incredible talent took her beyond the boundaries of Faridpur district to Kolkata at an early age. It was her strong desire to learn music that brought her in contact with Kamal Das Gupta. They tied the knot of marriage in 1956. Kamal Das Gupta took special care in training Feroza Begum realising her potential to become a great artiste. For correct manifestation and for exposing Nazrul's songs to the wider world, the Kamal-Feroza pair's contribution is simply unassailable.
Last Days in Dhaka
My gloriously successful father left us all forever, on the 20th of July 1974 at the P.G. Hospital in Dhaka. We had moved to Dhaka from Kolkata in 1967. But the small horizon of Dhaka's music and the government of the time made the giant feel caged. After the independence of Bangladesh, my father was given the citizenship ofBangladesh and was later offered the position of Chief Music Directorof the Transcription Service of Bangladesh Betar. He had lamented thatsix years of inactivity had done him a lot of harm and they shouldtake from him whatever they could. He had planned to develop anorchestra, a concert hall and teach training methods, short handnotation and several other projects for the Transcription Service.
My father had a strong personality, but he was polite. He was generous, he felt for the poor. During the famine of 1950 in Kolkata,My father fed a hundred people everyday for months. As a growing upchild I used to be thrilled to hear that my famous father owned anAmerican built gorgeous Buick car in those days in Kolkata.
My father was a big follower of Cricket, perhaps the reason why wethree brothers have always been keen on Cricket. Tahsin and Haminactually played top level Cricket, and Hamin had made it to theBangladesh National Team. Memories of winter mornings on roof top,listening to Cricket commentary together on the radio, coming from faraway Australia or England are all so vivid.
I also remember the first time my mother bought us a guitar, whichHamin and I were trying to play. My father hearing from the next room,told us how to first tune the six strings of the guitar on EADGBE, andhow if we knew where Sâ was, we could tune the rest of the strings.
Khela Shesh HoloShesh Hoy Nai Bela....
[MANY THANKS TO DAILY STAR & SHAFIN AHMED].........
Here is a lovely song by Feroza Begum composed by Kamal Dasgupta. The lyrics are by Fayyaz Hashmi. Please listen and enjoy.
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