Hemesha Jawaan Geet, Tribute to SriLanka Brodcasting Corporation Options

[khawar Sohail]

A rare song from baghi sardaar....khawar

[khawar Sohail]

Josh Malihabadi (Urdu: جوش ملیح آبادی)[size=4] (born as Shabbir Hasan Khan; شبیر حسن خان) (December 5, 1898 – February 22, 1982) was a noted Urdu poet born in British India, who was an Indian citizen until 1958, when he emigrated to Pakistan and became a Pakistani citizen. He wrote ghazals and nazm under the takhallus (Urdu for nom de plume) Josh (جوش) (literally, "Passion" or "Intensity").Josh[size=3] was born in Malihabad, United Provinces, British India. He studied at St Peter's College, Agra and passed his Senior Cambridge examination in 1914. Although Josh subsequently studied Arabic and Persian and, in 1918, spent six months at Tagore's university, Shantiniketan, the death of his father, Bashir Ahmed Khan, in 1916, prevented him from undertaking a college education.

[edit] Career
In 1925, Josh began to supervise translation work at Osmania University, in the princely state of Hyderabad. However, his stay there ended, when he found himself exiled from the state for writing a nazm against the Nizam of Hyderabad, the then ruler of the state.

Soon thereafter, he founded the magazine, Kaleem (literally, "interlocutor" in Urdu), in which he openly wrote articles in favour of independence from the British Raj in India. As his reputation spread, he came to be called Shaayar-e-Inquilaab ("Poet of the Revolution"). Subsequently, he became more actively involved in the freedom struggle (albeit, in an intellectual capacity) and became close to some of the political leaders of that era, especially Jawaharlal Nehru (later to be the first Prime Minister of independent India).

After the end of British Raj in India (1947), Josh became the editor of the publication Aaj-Kal .

[edit] Josh in Pakistan
Josh migrated to Pakistan in 1958 - despite Jawaharlal Nehru's insistence against it - over what is generally believed to be his concern regarding the future of the Urdu language in India, where he thought the Hindu majority would encourage the use of Hindi rather than Urdu. After migration, Josh settled in Karachi and rigorously worked for Anjuman-i-Tarraqi-i-Urdu with Maulvi Abdul Haq.

He remained in Pakistan until he died on February 22, 1982 in Islamabad. Faiz ahmad Faiz and Syed Fakhruddin Balley both were the closest companion and friend of Josh and Sajjad Hyder Kharosh (son of Josh). Faiz ahmad Faiz visited Islamabad during his sikness and Syed Fakhruddin Balley remained entirely angaged with Hazrat Josh and Sajjad Hyder kharosh. Even then , when Josh was on the death bed only Fakhruddin Balley Sajad Hyder Kharosh his son Fawwad and daughter Tabbasum were there. It is reported that he was not entirely well-received in Pakistan where his iconoclastic ideas and socialistic leanings and views were not in tandem with the political and the social set up of the country. In fact, he deeply regretted his decision (as he would tell his close friends and acquaintances) and felt slighted that he was not accorded the respect and importance he had expected on becoming a Pakistani citizen.

[edit] His poetry and publications
Josh is reputed to have had a masterful command over Urdu and was quite strict about respecting the grammar and rules of the language. The first collection of his poetry was published in 1921. The collection of his poetry include Shola-o-Shabnam, Junoon-o-Hikmat, Fikr-o-Nishaat, Sunbal-o-Salaasal, Harf-o-Hikaayat, Sarod-o-Kharosh & "Irfaniyat E Josh" (all Urdu titles). On the advice of film director W.Z.Ahmed, he also wrote songs for Shalimar Pictures. During this time, he was staying in Pune. His autobiography is titled Yaadon ki Baarat.

[edit] Poetic work
Here's a brief list of his contribution to Urdu poetry.

آوازۂ حق
روح ادب
شاعر کی راتیں
جوش کے سو شعر
نقش و نگار
شعلہ و شبنم
پیغمبر اسلام
فکر و نشاط
جنوں و حکمت
حرف و حکایت
حسین اور انقلاب
آیات و نغمات
عرش و فرش، رامش و رنگ
سنبل و سلاسل
سیف و سبو
سرور و خروش
سموم و سبا
طلوع فکر
موجد و مفکر
قطرۂ قلزم
نوادر جوش
الہام و افکار
نجوم و جواہر
جوش کے مرثیے
عروس ادب - حصہ اول و دوم
عرفانیات جوش
محراب و مضراب
دیوان جوش

[edit] Prose work
مقالات جوش
اوراق زریں
جذبات فطرت
اشارات
مقالات جوش
مکالمات جوش
(یادوں کی بارات (خود نوشت سوانح

[edit] Awards
He was honored with the Padma Bhushan in 1954.
Source: WIKIPEDIA
Here I present 4 songs penned by Josh Sahib. 2 before 1947 and 2 post-47.
The 2 before 1947 are from film man ki jeet sung by Sitara. Both are all-time great songs and wonderful music by SK pal. The post 1947 songs are sung by Noor jahan in Film Aag ka Darya. These are also lovely songs. All 4 songs are perfect example of extraordinary poetry+composition and singing.... The Nj songs are courtesy Inaam Nadeem sahib.....khawar

[khawar Sohail]

[khawar Sohail]

Nagri meri kab tak yoonhe barbaad rahe gi, Josh Malahiabadi, Sitara Kanpuri, man ki jeet, SK pal...khawar

[khawar Sohail]

Noor jahan sings Josh in Aag ka darya...khawar

[khawar Sohail]

Lets move onto Parul_Dr Safdar Aah and Anil Biswas combination from Pehli nazar....khawar

[khawar Sohail]

Next song is from film Rekha. Singer is unknown...khawar

[khawar Sohail]

Qamar Jalalabadi (Punjabi: ਕ਼ਮਰ ਜਲਾਲਾਬਾਦੀ, Urdu: قمر جلال آبادی[size=3]), also known as Qamar Jalabadi (1919 - 9 January 2003), was a writer, particularly of soundtracks of Bollywood movies.
Early life
He was born in a Punjabi family in 1917 in Amritsar, in a small town called Jalalabad, and was named Om Prakash. Right from the age of seven he starting writing poetry in Urdu. There was no encouragement from home, but a wandering minstrel poet named Amar met him in his hometown and encouraged him to write, recognizing his immense talent and potential. He also gave him the ‘takhallus’ of ‘Qamar’ which means moon, and Jalalabadi was added for effect because Qamarji hailed from that town. It was the general trend in those days for writers to name themselves after the towns they hailed from. After completing his matriculation from Amritsar, Qamarji embarked on his journalistic career journey by writing for Lahore based newspapers like Daily Milap, DailyPratap, Nirala, Star Sahakar.

Career
The lure of the Film industry brought him to Pune in the early Forties. In 1942, he wrote lyrics for his first film Zameendar which was a Pancholi Pictures production and the songs of this film were very well received, especially the song sung by Shamshad Begum “Duniya me garibonko aaraam nahi milta….rote hain to hasne ka paigaam nahi milta…." which also had a line or two written by writer and poet Behzaad Lucknowi.

Thereafter he shifted to Mumbai with family and thus began an eventful career in the glorious film industry which went on for nearly 4 decades. His songs were elusive wordplays that made you ponder deeply, looking for the hidden depths that were left upon the listener to uncover. Although he wrote what the need of the moment dictated, his gentle personality seeped through his lyrics. Potent love, deep excruciating pain and longing, ecstasy beyond comprehension, also hurt and humiliation that one faces in life through no fault; in other words every itsy bitsy emotion a lover or beloved goes through in the tryst to acquire true love, were portrayed in his effervescent songs. Golden voices of the legendary singers like NoorJehan, G.MDurrani, Zeenath Begum, Manju, Amirbai Karnatqi and many others added mesmeric glitz to Qamarji’s deeply meaningful songs; along with eclectic singers like Mohd. Rafi, Talat Mahmood, Geeta Roy, Suraiya, Shamshad Begum, Mukesh, Manna Dey, Asha Bhonsle, Kishore Kumar and the Nightingale of India Lata Mangeshkar.

Not many people may know that the immortal composer S.D Burman had also rendered a comic song penned by Qamarji in the film Eight Days in 1946. The song was tuned by S.D Burman and the ticklish wordings were as follows…“O babu babu re dil ko bachana bachana, tere dilka banega nishaana…….”. Music composer Sardar Malik had rendered a few soulful songs in his heyday, and Qamarji had written several ballads for him. One memorable song was from the film Renuka in 1947 “sunti nahi duniya kabhi fariyaad kissi ki, Dil rota raha aati rahi yaad kissiki….”. The regal Beauty of her times Naseem Banu sang a heart-wrenching ghazal penned by Qamarji “Dil kis liye rota hai...pyar ki duniya me, aisa hi hota hai” for the film Mulaquat in 1947. Dancing legend Sitara Devi emoted a few of Qamarji’s songs in the film Chand In 1944 and in this film she played a cameo role as the slim and svelte second leading lady along with the charming Begum Para and dashing hero Prem Adib. Chand was one of the earliest of Qamarji’s successful and memorable films.

As a lyricist he handled anything from the ridiculous to the sublime with equal deftness. On one hand he wrote mesmeric duets like “sun mere sajana dekhoji mujhko bhool na jana…” sung by Lata Mangeshkar and Mohd. Rafi (film: Aansoo 1953) and on the other hand he penned comic relief songs like “aaj pahli taarik hai” endured with full throttle gusto by Kishore Kumar (film: Pehli Tarikh-1954). This song turned into veritable anthem and was played on Radio Ceylon on the first if every month for decades, and it probably still is. The film Howrah Bridge (1954) sky-rocketed his career as lyricist to unpredescented heights. Songs like “mera naam Chin Chin Chu” (Geeta Dutt) and “aaiye meherbaan, baithiye janejaan….” (Asha Bhonsle) are still as breathtaking as ever, and are remembered far and wide for their rollicking tunes by Maestro Music composer O.P Nayyar as well as for the succulent lyrics. It is a sad thought though that very few people know who the writer of these songs is.

In his personal life he was a highly principled personality who had his own unique rules and beliefs. He began each day with prayers that consisted of loud chanting of excerpts from The Bhagwad Geeta, The Koran as well as The Bible. He was deeply into transcendental meditation, and was mostly embedded in his writing for most part of the day. A true Karma yogi as well, who took care of his ailing parents as long as they lived, nurtured his brothers and sisters, even gave up a bungalow in Khar in his heyday to one of his married sisters to save her from a difficult marriage, and shifted to simpler accommodation in Juhu with family. He was a benevolent and kind father and fought against all odds to provide for his seven children, and he managed to give us all a pretty decent life and put us all through college. His relationship with his wife was unique in the sense that my mother Smt. Leelawati was the traditional housewife, but also a friend and philosopher to my Father. They shared a rare bond of togetherness, he preferred to sit at home and chat with her over a cuppa, discussing every topic under the sun, instead of blowing his time in some mehfil with friends with a drink in hand.

He had several friends and hundreds of fans whom he lovingly called his “pankhe”. His fan mail came in various languages; Hindi, English, Urdu and many regional languages as well. I remember how meticulously he replied to all his fan mail and judiciously sent an autographed photo as well. Some of his favorite people were poet Qateel Shifai, Ameen Sayani, Kalyanji and Anandji, the elusive O.P Nayyar who visited him some time before Qamarji’s demise, Music Composer S.D. Batish, C.L Kavish, D.D Kashyap and many more. From his past associations he remembered G.Damle of Prabhat Film Company, Dattaram Pai of Filmistan, Babubhai Mitra, Husnlal Bhagatram and S.Mukherji the most as they had been a part of his initial glorious days as a lyricist. It is impossible to equate a man’s lifetime in words. In his long career span he worked for several Film Companies like; Prabhat Film Company, Pancholi Pictures, Filmistan Ltd., Famous Pictures, Minerva Movietone, Prakash Pictures, Wadia Films Ltd., Filmkar Ltd., Sippy Films, N.C Sippy Films, Shri Shakti Films, Mitra Productions and many more.

He was one of the founder Members of prestigious organizations like FILM WRITERS ASSOCIATION & IPRS in Mumbai. The music Composers he worked with were; Ghulaam Haider, G.Damle, Pt.Amarnath, Khemchand Prakash, Husnlal Bhagatram, S.D. Burman, Anil Biswas, Shyam Sunder, Sajjad Hussain, C.Ramchandra, Madan Mohan, Sudhir Phadke, S.D. Batish, Sardar Malik, Ravi, Avinash Vyas and in the latter phase of his career with O.P Nayyar, Kalyanji Anandji, Sonik Omi, Uttam Singh and Laxmikant Pyarelal as well. Most music lovers may not be aware that Qamarji was a polished and highly acclaimed Adabi Shayar as well, and had graced innumerable Mushairas and symposiums related to Urdu Poetry all over India. Some gems of his Shairy are available at www.qamarjalalabadi.com for all the die-hard fans of Vintage music and mystical Poetry.

Extracted from an article at www.qamarjalalabadi.com written by Swar Jalalabadi, the daughter of Qamar Jalalabadi.
Year Name of FIlm Starring Film Director(s)
1942 ZAMEENDAAR Manorama, Gulam Mohd Moti.B.Gidwani
1943 PAGLI Padam, Asha,S.Kapoor Shankar Mehta
1943 SAHAARA Renuka Devi,Narang J.P.Advani
1944 RAM SHASTRI Meenaxi,Jagirdar Gajanan Jagirdar
1944 CHAAND Begum Para\Prem Adib D.D.Kashyap
1946 8 DAYS Veera,Ashok Kumar Dattaram N Pai
1946 GOKUL Kamla Kotnis, Anant Marathe Vasant Painter
1946 NARGIS Nargis,Rehman D.D.Kashyap
1947 MIRZA SAHIBAN Noorjehan,Trilok Kapoor K.Amarnath
1947 SINDOOR Shamim,Kishore Sahu Kishore Sahu
1948 PYAR KI JEET Suraiya\Rehman O.P.Dutta
1948 SHAHEED Kamini Kaushal\Dilip Kumar Ramesh Saigal
1949 BADI BAHEN Suraiya\Geeta Bali\Rehman D.D.Kashyap
1949 BALAM Suraiya\Wasti Homi Wadia
1949 BAZAAR Nigaar, Shyam K.Amarnath
1949 SHABNAM Kamini Kaushal\Dilip Kumar B.Mitra
1950 MEENA BAZAAR Nargis, Shyam Ravindra Dave
1951 SANAM Suraiya.Dev Anand Nandlal Jashwantlal
1951 SHABISTAN Naseem,Shyam B.Mitra
1953 AANSOO Kamini Kaushal\Shekhar Shanti Kumar
1953 FARMAISH Vijay Laxmi, Bharat Bhooshan B.K.Sagar
1953 MASHOOKA Suraiya, Mukesh Shanti Kumar
1954 PEHLI TARIKH Nirupa Roy, Raja Nene Raja Nene
1954 WAARIS Suraiya\Talat Mahmood Nitin Bose
1955 ADAL-E-JAHANGIR Meena Kumari, Pradeep Kumar G.P.Sippy
1956 RAJDHANI Nimmi, Sunil Dutt Naresh Saigal
1957 CHANGEZ KHAN Beena Roy, Premnath Kedar Kapooor
1957 MISS BOMBAY Nalini Jaywant,Ajit Kedar Kapooor
1957 JALTI NISHANI Geeta Bali, Kamal Kapoor Harish
1957 LAKSHMI Roop Mala ,Chandrashekhar G.P.Pawar
1958 FARISHTA Meena Kumari,Ashok Kumar Ravindra Dave
1958 HOWRAH BRIDGE Madhubala\Ashok Kumar Shakti Samanta
1958 RAGINI Padmini, Kishore Kumar Raakhan
1958 PHAGUN Madhubala\Bharat Bhushan B.Mitra
1959 DO USTAD Madhubala,Raj Kapoor Tara Harish
1959 GOKUL KA CHOR Kumkum, Romi Vasant Painter
1959 SAAZISH Nalini Chonkar, Ranjan Surya Kumar
1960 CHHALIA Nutan\Raj Kapoor Manmohan Desai
1960 KALPANA Ragini\Padmini\Ashok Kumar Raakhan
1960 BASANT Nutan,Shammi Kapoor B.Mitra
1961 APSARA Padmini, Pradeep Kumar V.M.Vyas
1961 PYASE PANCHHI Ameeta, mehmood Harsukh Bhatt
1963 RUSTOM SOHRAB Suraiya\Prithviraj Kapoor Vishram Bedekar
1963 SHIKARI Ragini,Ajit Mohammad Hussain
1963 Yeh dil kisko doon Shashi Kapoor\Ragini K.Mishra
1964 BIRJU USTAD Vijaya Choudhury,Chandrasekhar Manu Desai
1965 himalayki god me Manoj Kumar\Mala Sinha Vijay Bhatt
1965 johar meh.in Goa Johar\Mehmood\Sonia Sahni I.S.Johar
1966 Preet Na Jane Reet B.Saroja devi,Shammi Kapoor S.Bannerjee
1966 Hum Kahan Jaa Rahe Hain Neena \ Prakash Nitin Bose
1967 UPKAAR Manoj Kumar\Asha Parekh Manoj Kumar
1967 MERA MUNNA Nutan\Rehman Madhusudan
1968 Suhaag Raat Rajashree\Jeetendra R.Bhattacharya
1968 Haseena Maan jayegi Babita\Shashi kapoor Prakash Mehra
1969 MAHUA Anjana\Shiv Kumar B.Mitra
1970 HOLI AYI RE Mala sinha\Premendra Harsukh Bhatt
1970 Ansoo Aur Muskaan Hema Malini,Ajay Sahani P.Madhavan
1970 SACHHA JHOOTHA Mumtaz\Rajesh Khanna Manmohan Desai
1971 PARAS Rakhee\Sanjeev Kumar C.P.Dixit
Here I present Shamshaad Begum song from his first film Zameendaar. Music by another legend master Ghulam Haider....khawar

[RajanCS]

Khawar Saheb,

Thanks for life and career details of Qamarji.

I found a song - Log Mujhko Khush Samajhte hain - from Zamindar in my collection. As per the tag in my library it is penned by Behzad Lucknavi. I must have taken it from EM. Can you please confirm the lyricist for this song? ALSO, please let me know who the singer of this song ( a male voice which I cannot recognize).

Sincere regards,

Rajan

[khawar Sohail]

Well I do not have Geet Kosh so I can not tell the lyricist of this particular song. However, regarding the male voice I can guess it might be MD Ghulam Haider. However, I have not heard this song. If you can upload the song that might help...khawar

[RajanCS]

Here is the beautiful Zamindar song by unknown male singer.... (Raag Darbari?)

Log Mujhko Khush Samajte Hain
Singer - ?
Film: Zamindar
Year - 1942
Music by Ghulam Haider
Lyrics by Behzad Lucknavi (?)
Bitrate: 128 Kbps
Duration: 00:03:20



-- Rajan

This post has been edited by RajanCS: Aug 23 2010, 04:51 PM

[Aditya Pant]

Here is the beautiful Zamindar song by unknown male singer.... (Raag Darbari?)

Log Mujhko Khush Samajte Hain
Singer - ?
Film: Zamindar
Year - 1942
Music by Ghulam Haider
Lyrics by Behzad Lucknavi (?)
Bitrate: 128 Kbps
Duration: 00:03:20



-- Rajan

The lyricist is indeed Behzad Lakhnawi. Not sure about the singer.

[RajanCS]

Aditya ji,

Thanks for the confirmation about the lyricist. I also tend to agree with Khawar Saheb that it could be the MD himself singing this song. But a confirmation is always awaited.

Sincere regards,

Rajan

This post has been edited by RajanCS: Aug 23 2010, 08:41 PM

[Faraaj73]

Aditya ji,

Thanks for the confirmation about the lyricist. I also tend to agree with Khawar Saheb that it could be the MD himself singing this song. But a confirmation is always awaited.

Sincere regards,

Rajan

Rajan Bhai

Its definitely Ghulam Haider singing. Hear Sawan Ke Nazare (a GH duet with Shamshad) and you can see its clearly the same voice...

[khawar Sohail]

Three forgotten music greats
Khalid Hasan

--------------------------------------------------------------------------------
I met Fayyaz Hashmi[size=3], the great poet and lyricist of the Indian-Pakistani cinema and entertainment industry only once and now regret that I made no attempt to meet him again. It was in Lahore in 1968 or thereabouts and it was at the offices of a company that supplied hydropower plants and components to Wapda. I used to drop in there off and on to see a couple of friends. That day, there he was, a dark thick-set man wearing dark glasses, sitting in a chair quietly drinking tea. What he was doing there I have no idea. “This is Fayyaz Hashmi,” my friend said. I registered nothing. We shook hands. My friend spoke again, “Yes, the Fayyaz Hashmi.” The penny dropped. There in front of me sat one of the all-time greats of the music industry with few, if any, equals. Pakistan did not treat him well, as it did not treat Saadat Hasan Manto or “Prince of Minerva Movietone” Sadiq Ali or Mumtaz Shanti or Rehana or Meena Shorey, the “ lara lappa” girl, well.

What follows about Hashmi and two others is based on the research work of movie encyclopedist extraordinaire, my friend Muhammad Rafiq of Southend-on-Sea in Essex, England.

Fayyaz Hashmi was born in Calcutta in 1920 and it is a shame that his name is never mentioned among those acknowledged to stand in the first rank, nor has the industry to which his contribution is immense, or the state which he chose to become a citizen of, recognised his work. He started life with the Gramophone Company of India and in 1947 on his insistence he was sent to organise the derelict music scene in Pakistan. Lahore, which was the third important EMI centre after Calcutta and Bombay, lay in ruins, so he began to bring together instrumentalists and vocalists of merit, some of whom had come from the other side of the great divide. To him goes the credit for the first recordings made in Lahore after the maelstrom of 1947 and he it was who brought to the fore Munawwar Sultana (not the actress), Farida Khanum and Zeenat Begum, among many others.

His father, a writer and director, worked for Madan Theatre and they lived in Hayat Khan Lane in Calcutta, next to Agha Hashr Kaashmiri, the “Indian Shakespeare”. Fayyaz imbibed the literary and artistic spirit at the gatherings that took place at their home which Agha Hashr attended regularly. At the age of 13 or 14, he wrote a ghazal that was very well received. Then Master Fida Hussain sang another of the boy wonder’s ghazals that also became a hit from one end of India to the other. ( Qadr kisi ki hum ne na jaani: Haa’i mohabbat haa’i jawani).

He was 20 when the Gramophone Company of India employed him as its resident lyricist. The music director of the company was the great Kamal Dasgupta with whom Fayyaz formed a long and memorable creative association. Fayyaz wrote the first song that Talat Mahmood sang in 1941 ( Sab din ek samaan nahin tha) and the runaway hit Tasveer teri dil mera behla na sakay gi. He also wrote the immortal Pankhij Malik song Ye raatain, ye mausam and the first Urdu/Hindi songs for Hemant Kumar, Juthika Roy, Feroza Begum and Jagmohan. In all, he wrote more than 500 non-film songs, each one of which defines a human situation poignantly, romantically. He also wrote lyrics for a large number of movies, both in India and Pakistan. The good news is that he is alive but I am not sure if he lives in Lahore, Karachi or elsewhere. There is time yet to honour him nationally.

The two other greats who remain all but forgotten are the sweet-voiced Bengali singer Feroza Begum, one of the great exponents of Nazrul Geeti. Born in Faridpur district, now in Bangladesh, she showed promise at an early age and was just eight when she won a place on the Children’s Corner programme of All India Radio, Calcutta. Her first record was cut by Columbia when she was barely 12. She received her early training from Chitta Roy who taught her a number of Nazrul Islam songs. She also began to explore other forms, including ghazal and light classical. She reached full flowering under the great Kamal Dasgupta who also set some of Nazrul’s poetry to music. Kamal Dasgupta was born in Jassore district in 1912 and started out with the Gramophone Company of India for which he made music history, writing compositions for such immortals as Pankaj Malik, Juthika Roy and Kanan Devi, Kalyani Das, Jagmohan and Hemant Kumar. His most memorable films as music director were Jawab ( Aye chand chhup na jana by Kanan Devi) and Hospital ( Meri majbooryoon nain mera daaman chaak kar dala by Kanan Devi). Fayyaz Hashmi wrote the lyrics.

Kamal Dasgupta felt ignored in the years after independence. He found it hard to accept the neglect he faced once his great work was done and then forgotten. He and Fayyaz Hashmi earned vast sums of money for the cinema and the record industry, not to mention the pleasure and happiness they brought to the viewing and listening millions, but as time passed, they were thrown on the slag heap and assigned to oblivion as if they had never existed. Forgotten stood the man who had written such undying tunes as the Kanan Devi hits Prabhoo ji, Prabhoo ji tum mano baat hamari, Yeh dunaya Toofan Mail, Ai chand chhup na jana, or Jagmohan’s O varsha ke pehle baadal or Kamla Jharya’s Na tum meray, na dil mera, na jaan-e-na’tawaan meri. He was a man of few words. A faint smile from him meant that the artist’s rendition had pleased him. Juthiki Roy waited all her life to hear a word of praise from him.

Kamal Dasgupta left Calcutta sometime in the 1960s and came to Dhaka where he converted to Islam, taking the name Kamal Islam, before marrying Feroza Begum whom he must have always loved. He did not work or he wrote no music. They had three children. He died in Dhaka in 1974, unsung and unremembered. Feroza Begum, who was younger, lives in Dhaka. In 1971, in a letter to a friend, Kamal Dasgupta wrote in Bengali, “The pictures you see in front, everybody remembers them and praises them. But nobody wants to know the people who work behind the scenes, nor talk about them. That is the nature of the world.”

This entry was posted on Friday, September 26th, 2003 at 11:08 am.
Here is one pvt song by Talat mahmood sung brilliantly and written by Fayyaz Hashmi....khawar