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

Posts Tagged ‘Sutapa Basu


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:

4361 Post No. : 15685

Hindi Songs in Bangla Film – 32
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The folk singer I am discussing here is from Assam. She has no direct or indirect connection to the soils of Bihar, Jharkhand and Uttar Pradesh. Yet her fans from these states has given her the title of ‘Bhojpuri Queen’. It is not that she has consciously chosen to sing in Bhojpuri. The fact is that it is one of the music recording companies who made her to sing Bhojpuri songs.  Again, the title ‘Bhojpuri Queen’ to her would give an impression that she has restricted her singing mainly to Bhojpuri songs. But it is not so. She has been in her professional music scene since 2001 rendering nearly 9000 songs in 30 different languages/dialects of India. She has also done the playback singing in Hindi, Bhojpuri, Bangla, Assamese, Tamil and Marathi films, beside acting in some films. She is a folk musicologist and has done extensive research on the history of folk music especially in the Bhojpuri region.

I am referring to Kalpana Patowary (b. 27/10/1978) who has been endowed with a rich and powerful voice capable of singing in high octaves with ease. She was born in Sorbhog town in Barpeta district of Assam. Her father, Bipin Patowary, a folk singer himself and working for AIR (Aakashvani), Guwahati, gave Kalpana the initial training in Kamrupiya and Gaolporiya folk singing of Assam. She also learnt Baul singing from Naren Das. After completing her graduation in English literature from Cotton College, Guwahati, Kalpana enrolled in Bhatkhande College of Music, Lucknow from where she completed her Sangeet Visharad.

Even though Kalpana Patowary has been performing on the stage since her childhood, her professional music journey started in 2001 when after marrying Pervez Khan, her school-mate and neighbour in Assam, she shifted to Mumbai. She learnt Hindustani classical music from Ustad Ghulam Mustafa Khan of Rampur-Sahaswan Gharana in Mumbai. The first music album recorded by Kalpana Patowary was in 2001 which was a remix of popular Hindi songs. Her first Bhojpuri song album  “Na Hum Se Bhangiya Pisaai’ae Ganesh Ke Papa” released in 2002 made her very popular among the Bhojpuri speaking population. With this popularity, she sang for the first time in a Bhojpuri film, ‘Sasura Bada Paisewala’ (2004) after which she became a regular playback singer of Bhojpuri films. She expanded her command over Bhojpuri songs by singing non-film folk songs in Puria, Pachra, Kajri, Birha, Sohar, Chaita and Nautanki genres. She traveled extensively in Bhojpuri speaking regions to study the folklore of the region. She was the first woman singer to sing and record a Chhapraihiya Purvi folk style song which was hitherto a male preserve.

In June 2012, Kalpana Patowary launched her music cum documentary album ‘The Legacy of Bhikari Thakur’ which was released by a British recording company, Virgin EMI Records. It received popularity all over the world, especially from in those countries having a sizeable Bhojpuri speaking population. It was a sort of Kalpana Patowary’s tribute to Bhikari Thakur who is regarded as ‘Shakespeare of Bhojpuri literature’. In addition, she also recorded documentary musical albums like ‘The Sacred Scriptures of Monikut’ and ‘Anthology of Birha’. She is the first singer to sings a Khadi Birha folk song for Coke Studio.

Kalpana Patowary as a playback singer in Bhojpuri films has faced criticism from some quarters for popularising Bhojpuri film songs with raunchy lyrics. She has defended herself by saying that in the initial period of her career in Bhojpuri film music, she was not well-versed with Bhojpuri dialect and the meanings. Also, she has pointed out that it is the writers of the songs who have to take care of the raunchy wordings. Also, she says that if the song was obscene than how did the Censor Board not take objection?

One of the effects of such criticism on Kalpana Patowary seems to be that she has become more determined to study the folklore of Bhojpuri region and popularise such folk songs not only all over India but also all over the world. Hence, during the last five years or so, she has been devoting much of her time in folklores of not only the Bhojpuri region but also of Bihar, Jharkhand, Uttar Pradesh, West Bengal, and North-Eastern States. She has also started her focus on devotional songs of these states.

It is in this background that Kalpana Patowary seems to have lapped up an opportunity by singing a devotional song “Chain Kahaan Prabhu Bin Manwa” in the film ‘Har Har Byomkesh’ (2015) which is picturised on herself.  The song is written by Sutapa Basu which is set to music by Bickram Ghosh. The song in the video clip is partial as picturised in the film. The audio clip has got the full song.

The details of the film and the story have been given in my earlier article on the song – “Roothe Sajan Kaise Manaawe Ho Rama“.

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Acknowledgements: The profile and other information on Kalpana Patowary is based on her interviews which appeared in some newspapers, magazines and also on Rajya Sabha TV. Information on her musical journey is also based on info from her website, http://singerkalpana.blogspot.com/

 

Video

Audio

Song – Chain Kahaan Prabhu Bin Manwa (Har Har Byomkesh) (2015) Singer – Kalpana Patowary, Lyrics – Sutapa Basu, MD – Bickram Ghosh

Lyrics

chain kahaan prabhu bin manwa
chain kahaan prabhu bin manwa
chain kahaan prabhu bin manwa
chain kahaan prabhu bin manwa
mann ki aankh se aansoo nikle
mann ki aankh se aansoo nikle
tan ki aankh rowe na
tan ki aankh rowe na
chain kahaan prabhu bin manwa
chain kahaan prabhu bin manwa
 
saagar paar kiya bajrangi..ee..ee
bajrangi ee..ee..ee
saagar paar kiya bajrangi
prabhu ke naam sahaayi
naam lewe to door ho peeda
naam lewe to door ho peeda
door howe kathinaayi
door howe kathinaayi
chain kahaan prabhu bin manwa
chain kahaan prabhu bin manwa
 
naam sahaare kaam sawaare..ae
naam sahaare kaam sawaare
mann ho mail kabhi na
main ho mail kabhi na
naam ke upar aur kachhu naahin
naam ke upar aur kachhu naahin
bhoole to ab nahin jeena
bhoole to ab nahin jeena
chain kahaan prabhu bin manwa
chain kahaan prabhu bin manwa

mann ki aankh ke aansoo nikle
tan aankh rowe na
tan aankh rowe na
chain kahaan prabhu bin manwa
chain kahaan prabhu bin manwa
chain kahaan prabhu bin manwa
chain kahaan prabhu bin manwa

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Hindi script lyrics (Provided by Sudhir)
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चैन कहाँ प्रभु बिन मनवा
चैन कहाँ प्रभु बिन मनवा
चैन कहाँ प्रभु बिन मनवा
चैन कहाँ प्रभु बिन मनवा
मन की आँख से आँसू निकले
मन की आँख से आँसू निकले
तन की आँख रोवे ना
तन की आँख रोवे ना
चैन कहाँ प्रभु बिन मनवा
चैन कहाँ प्रभु बिन मनवा

सागर पार किया बजरंगी॰॰ई॰॰ई
बजरंगी॰॰ई॰॰ई॰॰ई
सागर पार किया बजरंगी
प्रभु के नाम सहाई
नाम लेवे तो दूर हो पीड़ा
नाम लेवे तो दूर हो पीड़ा
दूर होवे कठिनाई
दूर होवे कठिनाई
चैन कहाँ प्रभु बिन मनवा
चैन कहाँ प्रभु बिन मनवा

नाम सहारे काम सवारे॰॰ए
नाम सहारे काम सवारे
मन हो मैल कभी ना
मन हो मैल कभी ना
नाम के ऊपर और कछु नाहीं
नाम के ऊपर और कछु नाहीं
भूले तो अब नहीं जीना
भूले तो अब नहीं जीना
चैन कहाँ प्रभु बिन मनवा
चैन कहाँ प्रभु बिन मनवा

मन की आँख से आँसू निकले
तन की आँख रोवे ना
तन की आँख रोवे ना
चैन कहाँ प्रभु बिन मनवा
चैन कहाँ प्रभु बिन मनवा
चैन कहाँ प्रभु बिन मनवा
चैन कहाँ प्रभु बिन मनवा


This article is written by Sadanand Kamath, a fellow enthusaist 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 :

4349 Post No. : 15660 Movie Count :

4313

Hindi Songs in Bangla Film – 29
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I became aware about the stories built around the fictional character of Byomkesh Bakshi, the murder mystery solver when a TV serial based on these stories was telecast on the Doordarhsan’s National channel in early 1990s. The serial was directed by Basu Chatterjee with Rajit Kapoor playing the role of Byomkesh Bakshi and KK Raina as Ajit, his assistant. During those days, the character of Byomkesh Bakshi became known all over India. ‘Byomkesh’ became synonymous with persons having inquisitive nature.

I had watched most of the episodes during those years.  The episodes of this serial were recently re-telecast on the Doordarshan Channel during the Covid-19 lockdown. What I liked about the serial was restrained acting by Rajit Kapur as an investigator in a cool and calm mind, trying to solve the mysteries of murders with ‘much ado about nothing’ manner. In the end, the culprits were mostly the ones who were least suspected by the audience. This made the each and every episode a suspense thriller and the audience were glued to the show till the end.

Sharadindhu Bandopadhyay, the creator of Byomkesh Bakshi had written 32 published stories on his fictional character during 1932-70. He was associated with Bombay Talkies during 1938-40 as a story-writer for the films like ‘Bhabhi’ (1938), ‘Vachan’ (1938), ‘Navjeevan’ (1939), ‘Kangan’ (1939), ‘Durga’ (1939), ‘Punar Milan’ (1940) and ‘Azaad’ (1940). In 1970, he had started writing the 33rd story of Byomkesh Bakshi with ‘Bisupati Badh’ as its title. However, before the completion of the story, he died in 1970.

Some of the stories of Byomkesh Bakshi were made into feature films, mainly in Bengali. I got a list of 20 Bangla films made on Byomkesh Bakshi between 1967-2019. Probably, a few more films may have been made on Byomkesh Bakshi with different titles. One film was made in Hindi titled ‘Detective Byomkesh Bakshy’ (2015) under the banner of Yash Raj Films.

Last week, Partha Chanda, one of the regular visitors to our Blog conveyed to me that the Bangla film, ‘Har Har Byomkesh’ (2015) had 3 Hindi songs. I watched the film on one of the OTT media services with English subtitles. The film is based on one of 32 stories – ‘Banhi Patanga’ (English title: ‘Moth and Flame’). In Urdu, this  story could have got the title of ‘Shama and Parwaana’.  It is directed by Arindam Sil. The story is set in around mid-1940s. The gist of the story of the film is as under:

Byomkesh (Abir Chatterjee), his wife, Satyabati (Sohoni Sarkar) and his friend Ajit (Ritwick Chakraborty) have come from Kolkata on a holiday to Varanasi. They are the guests of DSP Pandey (Harsh Chhaaya). However, in a couple of days, Byomkesh co-incidentally gets involved in solving the murder mystery in Varanasi.

Pandey had received an invitation from Deepnarayan Singh (Adil Hussain), a rich zamindar to attend a party along with his guests in his palace for celebrating his cure from a liver ailment which had made him bed-ridden for about 5 months. In the party, Byomkesh was introduced, among others, to zamindar’s physician, Dr Palit (Dipankar Dey), Debnarayan (Indradip Dasgupta), the ‘good for nothing’ nephew of Deepnarayan, Shakuntala (Nusrat Jahan), the wife of Deepnarayan who is half of his age and whom he had married rather forcefully after the death of his first wife. During the party, Inspector (Shadab Kamal) came to the palace and informed Dr Palit of robbery in his clinic. However, not much monetary loss was reported. What could be the reason for robbery?

On the very next day, Deepnarayan dies soon after Dr. Palit administers injection for his liver problem. DSP Pandey rushes to the palace along with Byomkesh and Ajit. After interrogating those present in the palace including Dr. Palit and other relatives of Deepnarayan, Byomkesh comes to the conclusion that Deepnarayan has been murdered, possibly for one of the two motives – to corner his vast property by the interested relatives and second, to get rid of him due to extra-marital relationship.

As the investigation progresses, the list of suspects grows in the eyes of Byomkesh. The first is Debnarayan, the nephew of the deceased who would be the immediate beneficiary of the vast property as Deepnarayan has no children. Debnarayan’s wife, Chandni could also be a suspect as after the death, Shakuntala, now widow, would lose power in the palace. Chandni would be the de fact owner of the property as her husband, Debnarayan is not a smart person. Third, the Manager of the estate of Deepnarayan who. with his boss Deepnarayan’s death would get more freedom in managing the financial assets with the scope for misappropriation of money for his own benefits.

Even Shankutala, the widow of Deepnarayan is not above suspicion who is now 3-month pregnant. Byomkesh regards this as an illicit pregnancy as she has become pregnant when Deepnarayan had been bedridden for nearly 5 months with 24 hours surveillance from nurses on him because of his serious illness. Of course, Dr Palit is also in suspect’s list as it is only after he administered the injection, Deepnarayan had died. It is possible that he could have been influenced by any one of the suspects with an offer of handsome monetary rewards for administering poison to Deepnarayan.  And lastly, Narmada Shankar (Subrata Dutta) who is from the same native place as Shakuntala has been friendly with her and has an access to meet her in the palace.

Finally, Byomkesh finds the killer and he is not from the above list. He reveals to all those present in the palace as to how he cracked the case. The film ends with Byomkesh, his wife, Satyabati and Ajit taking a stroll over the ghats of Varanasi as their holidays have just now begun.

I was curious about the title of the film, ‘Har Har Byomkesh’. After watching the film, I guess that the director wanted to give an indication that the whole episode took place in Varanasi, the city of Mahadev (Lord Shiva). So salutation, ‘Har Har Mahadev’ became ‘Har Har Byomkesh’. Interestingly, ‘Vyomkesh’ (pronounced in Bangla as ‘Byomkesh) is made up of two words, ‘Vyom’ (Air, space) and ‘Kesh’ (hair or jatta). When Lord Shiva is doing tandav nrutya, his hairs swing into the air. So Vyomkesh is another name for Lord Shiva. This is the interpretation I got on the internet about ‘Vyomkesh’.

‘Har Har Byomkesh’ (2015) has 3 songs – all in the sub-dialects of Hindi. This is not surprising as the story is set in Varanasi (as against Patna in original story). All 3 songs are composed in three different genres of Hindustani semi-classical music – Thumri, Chaiti and Bhajan. I am presenting here a Chaiti song “Roothe Sajan Kaise Manaawe Ho Raama” sung by Sabina Mumtaz Alam, Hindustani classical singer. The song is written by Sutapa Basu and is set to music by Bickram Ghosh, also a Hindustani classical musician and a fusion music director.

It is a mujra song which is being performed by a mujra singer in the midst of her admirers led by Debnarayan (Indradip Dasgupta), Narmada Shankar (Subrta Dutta) and their cronies in a boat sailing in River Ganga near the Varanasi ghats. Ajit (Ritwick Bandopadhyay), Byomkesh’s friend has gone for a stroll on the ghats of Varanasi. He is surprised to find Debnarayan on the boat enjoying the mujra performance just one day after the death of his uncle, Deepnarayan.

Song – Roothe Sajan Kaise Manaawe Ho Raama (Har Har Byomkesh) (2015) Singer – Sabina Mumtaz Alam, Lyrics – Sutapa Basu, MD – Bickram Ghosh

Lyrics

roothe sajan kaise manaawe ho raama. . .

roothe sajan kaise.. manaawe ho raama..aa
un dwaar kaise hum jaibe
un dwaar kaise hum jaibe  
saanjh saverwa..aa..aa
saa..aanjh saverwa
kaate bin sandeswa
saa..njh.. saverwa
kaate bin sandeswaa
ho dikhaike
ho o o dikhaike sapanwa paas na aaibe
dikhaike sapanwa  paas na aaibe
ho raa..aama..

kaise manaawe
roothe sajan kaise manaawe ho raama..
roothe sajan kaise.. manaawe 

———————————————
Hindi script lyrics (Provided by Sudhir)
———————————————

रूठे सजन कैसे मनावे हो रामा॰॰

रूठे सजन कैसे॰॰ मनावे हो रामा॰॰आ
उन द्वार कैसे हम जईबे
उन द्वार कैसे हम जईबे
साँझ सवेरवा॰॰आ॰॰आ
साँ॰॰आँझ सवेरवा
काटे बिन संदेसवा
साँ॰॰आँझ॰॰ सवेरवा
काटे बिन संदेसवा
हो दिखईके
हो ओ ओ दिखईके सपनवा पास ना अइबे
दिखईके सपनवा पास ना अइबे
हो रा॰॰आमा॰॰

कैसे मनावे
रूठे सजन कैसे मनावे हो रामा॰॰
रूठे सजन कैसे॰॰ मनावे


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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.

This is a labour of love, where “new” songs are added every day, and that has been the case for over ELEVEN years. This blog has over 15700 song posts by now.

This blog is active and online for over 4000 days since its beginning on 19 july 2008.

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