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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs

Aayi jawaani aayi aayi

Posted on: December 20, 2018


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

3807 Post No. : 14802 Movie Count :

4048

I was not aware tat there was a film titled ‘Maya Dor’ (1949) until two days’ back. On a further scrutiny, I drew almost blank on the details of the film other than what was mentioned in HFGK. The film was produced under the banner of Ram Krishna Films Corporation, Calcutta. Names of actors, director and the genre of the film are not known.

According to HFGK, there were six songs in the film which were released on the gramophone records. Name of the lyricist for all the songs are unattributed. Fortunately, singers of all the songs as well as the name of the music director, Chitta Roy have been mentioned. The names of playback singers – Supriti Ghosh, Bechhu Dutta, Rama Devi, Kala Baran, Anima Dutta and Gauri Mitra are new to me. There was one solo song sung by Angurbala which interested me as I was aware of her name as a classical singers specialising in khayal, thumri, dadra, ghazal, naat and devotional songs.

None of the six songs listed in HFGK was available on video sharing platforms. Fortunately, I could outsource mp3 clips of two songs, one of which happened to be the song rendered by Angurbala. An interesting fact about about the singer and the music director of this song was that both Angurbala and music director, Chitta Roy were actively associated with Kazi Nazrul Islam.

Angurbala (real name, Prabhabati Banerjee) was born in the Indas village of Burdwan district (now in Bankura district), West Bengal in C.1896. Her father was an army officer. Angurbala received primary education in her village. Despite being good at study, she had to quit formal education and had to join the stage at an early age for reasons of poverty. Angurbala’s first guide in music was Amulya Majumder. Later, she took training from Ustad Jeet Prasad. She received training in Khayal and Thumri from Pandit Ram Prasad Mishra and Ustad Zamiruddin Khan.

She entered the stage as a child artist under the guidance of dramatist Nripendra Chandra Basu in dancing and singing roles. Her Dance Master was Lalit Mohan Goswami who gave her name ‘Angurbala’ for the stage. She carried on with the same name as a performing artist as well as a singer. In 1912, she entered into her professional career as a singer-actor in a Bengali drama staged by Cornwallis Theatre, Calcutta. Thereafter, she became a regular stage artist in several plays.

The Gramophone Company of India invited her to record songs. ‘Kaala Tor Tarey Kadamtolay Cheye Thaki’ and ‘Bandho Na Torikhani Amar E Nadikuley’ were her first two Bengali non-film songs to be released on records. Thereafter she became a regular with HMV, cutting innumerable discs.

In the year 1923, her first silent film ‘Indrasabha’ was released. Her first talkie was ‘Jamuna Puliney’ (Bengali, 1933) in which she played the role of Brindey. Indubala and Kamala Jharia were her co-stars in this film. Soon she made her presence felt in singing roles in Hindi films like ‘Radha Krishna’ (1933), ‘Char Darvesh’ (1933), ‘Naseeb Ka Chakkar’ (1936), ‘Maa Ki Mamta’ (1936), and some other films in many different Indian languages like Bengali, Urdu, Tamil and Telugu.

Angurbala was the first singer to sing from All India Radio, Calcutta on the very first day when broadcasting was started in 1927. Her immense popularity as a singing artist drew the attention of the Nizam of Hyderabad who specially invited her to sing in his court. In one of the discs during this period, her photo was printed on one side of a record with the photo of Hyderabad’s Nizam on the other. That was the extent she impressed the Nizam with her songs. Her stage performances continued at the same time and her songs were a source of major attraction for all those who queued up for tickets of the plays.

Angurbala’s association with Kazi Nazrul Islam broadened her music field and she recorded several songs of Nazrul gradually achieving the status of a major exponent of such songs. She was appointed as a music trainer of HMV by Kazi Nazrul Islam. She quit acting to concentrate on singing which was her first love.

Angurbala was popularly known as Sangeet Samragyee (Empress of the Music). Indubala was her close personal friend. A documentary film, titled ‘Teen Kanya’ featuring her along with two other artistes namely Indubala and Kamala Jharia was made in 1972. Apart from a Gold disc from HMV, she was awarded the prestigious Sangeet Natak Academy Award in 1983 and a honorary D.Litt from Kalyani University.

Even in advanced age, Angurbala participated in music functions and gave public performances. Sometime in 1982, she suffered a stroke that caused loss of her memory. After about 18 months, she breathed her last on January 7, 1984 leaving behind her foster son, Amal Banerjee, his wife and a treasure of her music.

I was familiar with the name, Chitta Roy, the music director who had composed a few Hindi non-filmy songs in the 1940s. He was one of the first to use Talat Mehmood for a non-filmy ghazal ‘Gham-e-Zindagi ka ya rab na mila koi kinara’ in early 1940s which was re-recorded in 1963.

Chitta (Chittaranjan) Roy was born on March 2, 1912 in Barisal (now in Bangla Desh). He passed B. Sc. (Physics) from Calcutta University with honours. But his interest was in the music. When he first went to HMV office in Calcutta in 1938 to record his maiden songs as a singer and composer, he was not allowed. Subsequently, on a request from Kazi Nazrul Islam, Chitta Roy was allowed to record his songs under the supervision of Kazi Nazrul Islam. These two songs were Bengali non-filmyl songs – ‘Ekla Ghare Dakbo Na.’ (1938) and ‘Ke jaane maa tobo maya’ (1938). With this gratitude, Chitta Roy got attached to Kazi Nazrul Islam and he became personal assistant to him.

With this association, Chitta Roy composed many Nazrul songs along with folks, modern and devotional songs. Kazi Nazrul Islam gave him a pseudonym name ‘Dilawar Hossain’ for his excellent rendition of Islamic songs. Throughout his life, Chitta Roy remained devoted to his mentor.

Chitta Roy was also associated with composing songs for a few Bengali films like ‘Nishir Dak’, ‘Krishna Kaberi,’ ‘Alibaba’ in the 1940s. He also recorded audios for Bengali plays like ‘Padmini’, ‘Chandrabati’, ‘Harishchandra’ etc. He was the visiting professor of music in Rabindra Bharti University and the Bengal Music College affiliated to the University of Calcutta.

During his last days, Chitta Roy suffered from hypertension but he did not give up his first love, the music. On the night of September 12, 1963, he suffered a heart attack. He was admitted to hospital where he breathed his last in the evening of September 13, 1963. He was 51.

The only Hindi film for which Chitta Roy composed songs was ‘Maya Dor’ (1949). I am presenting one of the rarest song ‘aayi jawaani aayi’ sung by Angurbala for the film. The lyricist is unattributed. This song has a typical Bengali music flavour close to the style of another stalwart, Kamal Dasgupta. Probably both were influenced by the music of Kazi Nazrul Islam.

With this song, ‘Maya Dor’ (1949), Angurbala and Chitta Roy make debut in the Blog.

——————————————————————————————————————————————–

Acknowledgements: The information on Angurbala is mainly based on an article written by Dr. Jyoti Prakash Guha which appeared in the Journal of the Society of Indian Record Collectors, Mumbai – Annual TRN 2008. The information on Chitta Roy was based on a Blog ‘ Chitta Roy – A Name in the World of Music’. I could not locate the name of the author of the Blog but Shibani Basu, one of the daughters of Chitta Roy seems to be associated with the Blog as her name appears as one of the contacts for suggesting the improvement on the information on Chitta Roy.

Audio Clip:

Song-Aayi jawaani aayi aayi (Maaya Dor)(1949) Singer-Angoorbala, MD-Chitta Roy

Lyrics

aayi jawaani aayi
aayi jawaani aayi
aayi
aayi jawaani aayi
armaanon ke taar milaati
jeewan swarag basaati ee ee
jeewan swarag basaati
armaanon ke taar milaati
jeewan swarag basaati ee ee
jeewan swarag basaati
dukh se dil ka dard mitaati
dukh se dil ka dard mitaati
bigdi baat banaati ee ee
bigdi baat banaati

hai anmoli(?) ghoonghat ?? ??
hai anmoli(?) ghoonghat ?? ??
aayi jawaani aayi
aayi
aayi jawaani aayi

veeraanon mein phool khilaati
soone mahal basaati ee ee
soone mahal basaati
veeraanon mein phool khilaati
soone mahal basaati ee ee
soone mahal basaati
naye naye sansaar dikhaati
naye naye sansaar dikhaati
jeewan naya banaati re
jeewan naya banaati
laakh maraz ki ek dawaai
laakh maraz ki ek dawaai
aayi jawaani aayi
aayi
aayi jawaani aayi
aayi jawaani aayi
aayi
aayi jawaani aayi

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6 Responses to "Aayi jawaani aayi aayi"

Just to prove that I have read the entire long interesting article, I will point out that the proper Lyrics of the Talat’s song should be “Gham-e-Zindagi ka ya rab na mila koi kinara”.

Thanks for going through the article. I realised the mistake when I read the article after it was posted on the Blog.
.

In a similar vein, the words of the Non-film song in Bangla would be
“Ekla Ghare Dakbo Na..”.

With warm regards

PARTHA CHANDA

Thanks for pointing out the correct caption of the Bangla song..

I request Atulji to make this as well as the correction indicated by Bharat ji in his earlier comments..

Thanks Atul ji.

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This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song.

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