Pannalal Bhattacharya and Dhananjay Bhattacharya were the greatest shyamasangeet singers ever

Pannalal Bhattacharya and Dhananjay Bhattacharya sang the best Shyamasangeet. Shyamasangeet is one form of devotional song devoted to Goddess Kali, the Goddess of empowerment. It is called Bhaktigeeti in Bengali. Pannalal Bhattacharya and Dhananjay Bhattacharya were probably the best singers of Shyamasangeet. Dhananjay Bhattacharya was the medjda, the middle brother of Bhattacharya family. He used to be called Samrat, meaning the king of music. He was very handsome and got chance in Bengali films like Pasher Bari, Ladies Seat, Nababidhan to name a few. His basic discs created havoc in 1950s like “shilpi moner”, “jhanana jhanana baje”, “kobir kheyale premomoy tumi samrat shajahan”, etc. Even his songs “e maya proponchomoy” made the viewers spellbound. In recent interview given by his son Dipankar Bhattacharya in Anandabazar Patrika it was said that Lataji requested Dhananjay Bhattacharya to come to Mumbai for hindi songs, which he refused. Composer Salil Choudhury told Dhananjoy that his voice was at par with Rafisahab and Talat Sahab. But beyond modern songs his inclination was towards devotional songs, especially that of Goddess Kali. Pannalal Bhattacharya learned music from Dhananjay Bhattacharya. He also had classical control and sang very well. When he came to that his friends Manabendra Mukherjee, Shyamal Mitra and Sanat Singha acted in the film Sare Chuattor, he wanted to act in the film also. But Dhananjay Bhattacharya stopped him. Sare Chuattor was the first superhit film of Uttam Kumar and Suchitra Sen released in 1953. But Dhananajay Bhattacharya understood that Pannalal had excellent control in Shyamsangeet. So he allowed his brother to concentrate in those songs. Some of her brilliant songs included “amar sadhna mitilo ashana phurilo”, “chai na mago raja hote”, “opar sangsar nahi parabar, ma o ma, ma”. His other hit songs included “de ma pagol kore bhramamaye”, “amar mayer payer jobe hoye”, to name a few. All were devoted to Goddess Kali. Both Dhananjoy Bhattacharya and Pannalal Bhattacharya had the hobby of catching fishes. Whoever had ponds in West Bengal, used to call both the brothers, first for fishing and then in the evening ask them to sing songs. Dhananjoy Bhattacharya’s son Dipankar Bhattacharya had said in Anandabazar Patrika that once Pannalal was travelling in train with friends Manabendra Mukherjee, Nirmala Mishra, Tarun Banerjee. He visualized that in Dakshineshwar Kalibari, the idol of Kali was dressed in Tunte sari. All his friends were shocked. He took them to Dhakineshwar. Everyone saw the truth that yes, Idol of Kali was dressed in tunte saree. Once Pannalal was recording in HMV the song “chai na ami raja hote”. Manobendra Mukherjee waited outside the room. He allowed Pannalal to finish his song and then said he was going to sing the song “ami eto je tomae bhalobesechi” in 1958. Pannalal gave Manabendra Jaba flower which he brought from Kali Temple in Dhakineshwar. He gave the flower to Manabendra saying it was going to give him good luck. Manobendra sang the song and it became a bumper hit. In the later years, Pannalal lost interest in life and only sang devotional songs for Goddess Kali. He committed suicide at the age of 36 years. Music experts feel that Pannalal Bhattacharya and Dhananjay Bhattacharya sang the best shyamasangeet ever in Bengal’s history.

Pannalal Bhattacharya and Dhananjay Bhattacharya sang the best shyamasangeet.

Pannalal Bhattacharya and Dhananjay Bhattacharya sang the best Shyamasangeet. Shyamasangeet is one form of devotional song devoted to Goddess Kali, the Goddess of empowerment. It is called Bhaktigeeti in Bengali. Pannalal Bhattacharya and Dhananjay Bhattacharya were probably the best singers of Shyamasangeet. Dhananjay Bhattacharya was the medjda, the middle brother of Bhattacharya family. He used to be called Samrat, meaning the king of music. He was very handsome and got chance in Bengali films like Pasher Bari, Ladies Seat, Nababidhan to name a few. His basic discs created havoc in 1950s like “shilpi moner”, “jhanana jhanana baje”, “kobir kheyale premomoy tumi samrat shajahan”, etc. Even his songs “e maya proponchomoy” made the viewers spellbound. In recent interview given by his son Dipankar Bhattacharya in Anandabazar Patrika it was said that Lataji requested Dhananjay Bhattacharya to come to Mumbai for hindi songs, which he refused. Composer Salil Choudhury told Dhananjoy that his voice was at par with Rafisahab and Talat Sahab. But beyond modern songs his inclination was towards devotional songs, especially that of Goddess Kali. Pannalal Bhattacharya learned music from Dhananjay Bhattacharya. He also had classical control and sang very well. When he came to that his friends Manabendra Mukherjee, Shyamal Mitra and Sanat Singha acted in the film Sare Chuattor, he wanted to act in the film also. But Dhananjay Bhattacharya stopped him. Sare Chuattor was the first superhit film of Uttam Kumar and Suchitra Sen released in 1953. But Dhananajay Bhattacharya understood that Pannalal had excellent control in Shyamsangeet. So he allowed his brother to concentrate in those songs. Some of her brilliant songs included “amar sadhna mitilo ashana phurilo”, “chai na mago raja hote”, “opar sangsar nahi parabar, ma o ma, ma”. His other hit songs included “de ma pagol kore bhramamaye”, “amar mayer payer jobe hoye”, to name a few. All were devoted to Goddess Kali. Both Dhananjoy Bhattacharya and Pannalal Bhattacharya had the hobby of catching fishes. Whoever had ponds in West Bengal, used to call both the brothers, first for fishing and then in the evening ask them to sing songs. Dhananjoy Bhattacharya’s son Dipankar Bhattacharya had said in Anandabazar Patrika that once Pannalal was travelling in train with friends Manabendra Mukherjee, Nirmala Mishra, Tarun Banerjee. He visualized that in Dakshineshwar Kalibari, the idol of Kali was dressed in Tunte sari. All his friends were shocked. He took them to Dhakineshwar. Everyone saw the truth that yes, Idol of Kali was dressed in tunte saree. Once Pannalal was recording in HMV the song “chai na ami raja hote”. Manobendra Mukherjee waited outside the room. He allowed Pannalal to finish his song and then said he was going to sing the song “ami eto je tomae bhalobesechi” in 1958. Pannalal gave Manabendra Jaba flower which he brought from Kali Temple in Dhakineshwar. He gave the flower to Manabendra saying it was going to give him good luck. Manobendra sang the song and it became a bumper hit. In the later years, Pannalal lost interest in life and only sang devotional songs for Goddess Kali. He committed suicide at the age of 36 years. Music experts feel that Pannalal Bhattacharya and Dhananjay Bhattacharya sang the best shyamasangeet ever in Bengal’s history.

Dhananjoy Bhattacharya and Pannalal Bhattacharya sang the best songs of Goddess Kali.

Pannalal Bhattacharya and Dhananjay Bhattacharya sang the best Shyamasangeet. Shyamasangeet is one form of devotional song devoted to Goddess Kali, the Goddess of empowerment. It is called Bhaktigeeti in Bengali. Pannalal Bhattacharya and Dhananjay Bhattacharya were probably the best singers of Shyamasangeet. Dhananjay Bhattacharya was the medjda, the middle brother of Bhattacharya family. He used to be called Samrat, meaning the king of music. He was very handsome and got chance in Bengali films like Pasher Bari, Ladies Seat, Nababidhan to name a few. His basic discs created havoc in 1950s like “shilpi moner”, “jhanana jhanana baje”, “kobir kheyale premomoy tumi samrat shajahan”, etc. Even his songs “e maya proponchomoy” made the viewers spellbound. In recent interview given by his son Dipankar Bhattacharya in Anandabazar Patrika it was said that Lataji requested Dhananjay Bhattacharya to come to Mumbai for hindi songs, which he refused. Composer Salil Choudhury told Dhananjoy that his voice was at par with Rafisahab and Talat Sahab. But beyond modern songs his inclination was towards devotional songs, especially that of Goddess Kali. Pannalal Bhattacharya learned music from Dhananjay Bhattacharya. He also had classical control and sang very well. When he came to that his friends Manabendra Mukherjee, Shyamal Mitra and Sanat Singha acted in the film Sare Chuattor, he wanted to act in the film also. But Dhananjay Bhattacharya stopped him. Sare Chuattor was the first superhit film of Uttam Kumar and Suchitra Sen released in 1953. But Dhananajay Bhattacharya understood that Pannalal had excellent control in Shyamsangeet. So he allowed his brother to concentrate in those songs. Some of her brilliant songs included “amar sadhna mitilo ashana phurilo”, “chai na mago raja hote”, “opar sangsar nahi parabar, ma o ma, ma”. His other hit songs included “de ma pagol kore bhramamaye”, “amar mayer payer jobe hoye”, to name a few. All were devoted to Goddess Kali. Both Dhananjoy Bhattacharya and Pannalal Bhattacharya had the hobby of catching fishes. Whoever had ponds in West Bengal, used to call both the brothers, first for fishing and then in the evening ask them to sing songs. Dhananjoy Bhattacharya’s son Dipankar Bhattacharya had said in Anandabazar Patrika that once Pannalal was travelling in train with friends Manabendra Mukherjee, Nirmala Mishra, Tarun Banerjee. He visualized that in Dakshineshwar Kalibari, the idol of Kali was dressed in Tunte sari. All his friends were shocked. He took them to Dhakineshwar. Everyone saw the truth that yes, Idol of Kali was dressed in tunte saree. Once Pannalal was recording in HMV the song “chai na ami raja hote”. Manobendra Mukherjee waited outside the room. He allowed Pannalal to finish his song and then said he was going to sing the song “ami eto je tomae bhalobesechi” in 1958. Pannalal gave Manabendra Jaba flower which he brought from Kali Temple in Dhakineshwar. He gave the flower to Manabendra saying it was going to give him good luck. Manobendra sang the song and it became a bumper hit. In the later years, Pannalal lost interest in life and only sang devotional songs for Goddess Kali. He committed suicide at the age of 36 years. Music experts feel that Pannalal Bhattacharya and Dhananjay Bhattacharya sang the best shyamasangeet ever in Bengal’s history.

In Shyamasangeet Pannalal Bhattacharya and Dhananjoy Bhattacharya were the best ever.

Pannalal Bhattacharya and Dhananjay Bhattacharya sang the best Shyamasangeet. Shyamasangeet is one form of devotional song devoted to Goddess Kali, the Goddess of empowerment. It is called Bhaktigeeti in Bengali. Pannalal Bhattacharya and Dhananjay Bhattacharya were probably the best singers of Shyamasangeet. Dhananjay Bhattacharya was the medjda, the middle brother of Bhattacharya family. He used to be called Samrat, meaning the king of music. He was very handsome and got chance in Bengali films like Pasher Bari, Ladies Seat, Nababidhan to name a few. His basic discs created havoc in 1950s like “shilpi moner”, “jhanana jhanana baje”, “kobir kheyale premomoy tumi samrat shajahan”, etc. Even his songs “e maya proponchomoy” made the viewers spellbound. In recent interview given by his son Dipankar Bhattacharya in Anandabazar Patrika it was said that Lataji requested Dhananjay Bhattacharya to come to Mumbai for hindi songs, which he refused. Composer Salil Choudhury told Dhananjoy that his voice was at par with Rafisahab and Talat Sahab. But beyond modern songs his inclination was towards devotional songs, especially that of Goddess Kali. Pannalal Bhattacharya learned music from Dhananjay Bhattacharya. He also had classical control and sang very well. When he came to that his friends Manabendra Mukherjee, Shyamal Mitra and Sanat Singha acted in the film Sare Chuattor, he wanted to act in the film also. But Dhananjay Bhattacharya stopped him. Sare Chuattor was the first superhit film of Uttam Kumar and Suchitra Sen released in 1953. But Dhananajay Bhattacharya understood that Pannalal had excellent control in Shyamsangeet. So he allowed his brother to concentrate in those songs. Some of her brilliant songs included “amar sadhna mitilo ashana phurilo”, “chai na mago raja hote”, “opar sangsar nahi parabar, ma o ma, ma”. His other hit songs included “de ma pagol kore bhramamaye”, “amar mayer payer jobe hoye”, to name a few. All were devoted to Goddess Kali. Both Dhananjoy Bhattacharya and Pannalal Bhattacharya had the hobby of catching fishes. Whoever had ponds in West Bengal, used to call both the brothers, first for fishing and then in the evening ask them to sing songs. Dhananjoy Bhattacharya’s son Dipankar Bhattacharya had said in Anandabazar Patrika that once Pannalal was travelling in train with friends Manabendra Mukherjee, Nirmala Mishra, Tarun Banerjee. He visualized that in Dakshineshwar Kalibari, the idol of Kali was dressed in Tunte sari. All his friends were shocked. He took them to Dhakineshwar. Everyone saw the truth that yes, Idol of Kali was dressed in tunte saree. Once Pannalal was recording in HMV the song “chai na ami raja hote”. Manobendra Mukherjee waited outside the room. He allowed Pannalal to finish his song and then said he was going to sing the song “ami eto je tomae bhalobesechi” in 1958. Pannalal gave Manabendra Jaba flower which he brought from Kali Temple in Dhakineshwar. He gave the flower to Manabendra saying it was going to give him good luck. Manobendra sang the song and it became a bumper hit. In the later years, Pannalal lost interest in life and only sang devotional songs for Goddess Kali. He committed suicide at the age of 36 years. Music experts feel that Pannalal Bhattacharya and Dhananjay Bhattacharya sang the best shyamasangeet ever in Bengal’s history.

Dhananjoy Bhattacharya and Pannalal Bhattacharya ruled the world of Shyamasangeet.

Pannalal Bhattacharya and Dhananjay Bhattacharya sang the best Shyamasangeet. Shyamasangeet is one form of devotional song devoted to Goddess Kali, the Goddess of empowerment. It is called Bhaktigeeti in Bengali. Pannalal Bhattacharya and Dhananjay Bhattacharya were probably the best singers of Shyamasangeet. Dhananjay Bhattacharya was the medjda, the middle brother of Bhattacharya family. He used to be called Samrat, meaning the king of music. He was very handsome and got chance in Bengali films like Pasher Bari, Ladies Seat, Nababidhan to name a few. His basic discs created havoc in 1950s like “shilpi moner”, “jhanana jhanana baje”, “kobir kheyale premomoy tumi samrat shajahan”, etc. Even his songs “e maya proponchomoy” made the viewers spellbound. In recent interview given by his son Dipankar Bhattacharya in Anandabazar Patrika it was said that Lataji requested Dhananjay Bhattacharya to come to Mumbai for hindi songs, which he refused. Composer Salil Choudhury told Dhananjoy that his voice was at par with Rafisahab and Talat Sahab. But beyond modern songs his inclination was towards devotional songs, especially that of Goddess Kali. Pannalal Bhattacharya learned music from Dhananjay Bhattacharya. He also had classical control and sang very well. When he came to that his friends Manabendra Mukherjee, Shyamal Mitra and Sanat Singha acted in the film Sare Chuattor, he wanted to act in the film also. But Dhananjay Bhattacharya stopped him. Sare Chuattor was the first superhit film of Uttam Kumar and Suchitra Sen released in 1953. But Dhananajay Bhattacharya understood that Pannalal had excellent control in Shyamsangeet. So he allowed his brother to concentrate in those songs. Some of her brilliant songs included “amar sadhna mitilo ashana phurilo”, “chai na mago raja hote”, “opar sangsar nahi parabar, ma o ma, ma”. His other hit songs included “de ma pagol kore bhramamaye”, “amar mayer payer jobe hoye”, to name a few. All were devoted to Goddess Kali. Both Dhananjoy Bhattacharya and Pannalal Bhattacharya had the hobby of catching fishes. Whoever had ponds in West Bengal, used to call both the brothers, first for fishing and then in the evening ask them to sing songs. Dhananjoy Bhattacharya’s son Dipankar Bhattacharya had said in Anandabazar Patrika that once Pannalal was travelling in train with friends Manabendra Mukherjee, Nirmala Mishra, Tarun Banerjee. He visualized that in Dakshineshwar Kalibari, the idol of Kali was dressed in Tunte sari. All his friends were shocked. He took them to Dhakineshwar. Everyone saw the truth that yes, Idol of Kali was dressed in tunte saree. Once Pannalal was recording in HMV the song “chai na ami raja hote”. Manobendra Mukherjee waited outside the room. He allowed Pannalal to finish his song and then said he was going to sing the song “ami eto je tomae bhalobesechi” in 1958. Pannalal gave Manabendra Jaba flower which he brought from Kali Temple in Dhakineshwar. He gave the flower to Manabendra saying it was going to give him good luck. Manobendra sang the song and it became a bumper hit. In the later years, Pannalal lost interest in life and only sang devotional songs for Goddess Kali. He committed suicide at the age of 36 years. Music experts feel that Pannalal Bhattacharya and Dhananjay Bhattacharya sang the best shyamasangeet ever in Bengal’s history.

In Shyamasangeet Dhananjay and Pannalal Bhattacharya were the best singers ever.

Pannalal Bhattacharya and Dhananjay Bhattacharya sang the best Shyamasangeet. Shyamasangeet is one form of devotional song devoted to Goddess Kali, the Goddess of empowerment. It is called Bhaktigeeti in Bengali. Pannalal Bhattacharya and Dhananjay Bhattacharya were probably the best singers of Shyamasangeet. Dhananjay Bhattacharya was the medjda, the middle brother of Bhattacharya family. He used to be called Samrat, meaning the king of music. He was very handsome and got chance in Bengali films like Pasher Bari, Ladies Seat, Nababidhan to name a few. His basic discs created havoc in 1950s like “shilpi moner”, “jhanana jhanana baje”, “kobir kheyale premomoy tumi samrat shajahan”, etc. Even his songs “e maya proponchomoy” made the viewers spellbound. In recent interview given by his son Dipankar Bhattacharya in Anandabazar Patrika it was said that Lataji requested Dhananjay Bhattacharya to come to Mumbai for hindi songs, which he refused. Composer Salil Choudhury told Dhananjoy that his voice was at par with Rafisahab and Talat Sahab. But beyond modern songs his inclination was towards devotional songs, especially that of Goddess Kali. Pannalal Bhattacharya learned music from Dhananjay Bhattacharya. He also had classical control and sang very well. When he came to that his friends Manabendra Mukherjee, Shyamal Mitra and Sanat Singha acted in the film Sare Chuattor, he wanted to act in the film also. But Dhananjay Bhattacharya stopped him. Sare Chuattor was the first superhit film of Uttam Kumar and Suchitra Sen released in 1953. But Dhananajay Bhattacharya understood that Pannalal had excellent control in Shyamsangeet. So he allowed his brother to concentrate in those songs. Some of her brilliant songs included “amar sadhna mitilo ashana phurilo”, “chai na mago raja hote”, “opar sangsar nahi parabar, ma o ma, ma”. His other hit songs included “de ma pagol kore bhramamaye”, “amar mayer payer jobe hoye”, to name a few. All were devoted to Goddess Kali. Both Dhananjoy Bhattacharya and Pannalal Bhattacharya had the hobby of catching fishes. Whoever had ponds in West Bengal, used to call both the brothers, first for fishing and then in the evening ask them to sing songs. Dhananjoy Bhattacharya’s son Dipankar Bhattacharya had said in Anandabazar Patrika that once Pannalal was travelling in train with friends Manabendra Mukherjee, Nirmala Mishra, Tarun Banerjee. He visualized that in Dakshineshwar Kalibari, the idol of Kali was dressed in Tunte sari. All his friends were shocked. He took them to Dhakineshwar. Everyone saw the truth that yes, Idol of Kali was dressed in tunte saree. Once Pannalal was recording in HMV the song “chai na ami raja hote”. Manobendra Mukherjee waited outside the room. He allowed Pannalal to finish his song and then said he was going to sing the song “ami eto je tomae bhalobesechi” in 1958. Pannalal gave Manabendra Jaba flower which he brought from Kali Temple in Dhakineshwar. He gave the flower to Manabendra saying it was going to give him good luck. Manobendra sang the song and it became a bumper hit. In the later years, Pannalal lost interest in life and only sang devotional songs for Goddess Kali. He committed suicide at the age of 36 years. Music experts feel that Pannalal Bhattacharya and Dhananjay Bhattacharya sang the best shyamasangeet ever in Bengal’s history.

Nirmala Mishra said Carribean humming gave her song "emon ekta jhinuk khuje pelam na".

Nirmala Mishra.

Nirmala Mishra said Carribean humming gave her song “emon ekta jhinuk khuje pelam na”.

Eminent singer Nirmala Mishra gave an exclusive interview in Anandabazar Patrika on 16th October, 2011. At an age of 73 years she talked about many unknown facts.

She disclosed that her father Mohinimohan Mishra was Pandit, Sangeet Ratna and Sangeet Nayak. He went to Benaras to get those degrees in music. Nirmala Mishra’s second brother who was also a great talented singer was given poison and did not survive, otherwise would have been a great singer.

She was very mischievous during childhood, that was the reason she was called “jhamela”. She got typhoid 6 times, for that reason her eyesight was affected. Everyone prescribed her to sing light songs, but her father was upset as he was an eminent classical singer. Ustad Bade Ghulam Ali Khan had many times given her medicine for voice.


Eminent singer Dhananjoy Bhattacharya had helped her in her initial days of career. When composer Nochiketa Ghosh composed a song and asked her whether she could do Carribean humming, she said yes. Nochiketa Ghosh thought about Lata Mangeshkar for the song. But she did the humming, and got the song “emon ekta jhinuk khuje pellam na”. It became super hit. In the same way she got the song “o tota pakhire” from the brilliant composer Prabir Mojumdar.

She was called by superstar Uttam Kumar a number of times in his own house whenever Supriya Debi cooked a delicacy of prawns. She was asked to sing songs many times. She talked about her husband also who wrote the song “ami je tomar chirodiner hasi kannar saathi” which was later recorded and became a big hit.

Nirmala Mishra said that just as Lata Mangeshkar was called the melody queen of Mumbai, Sandhya Mukherjee the melody queen of Kolkata, similarly she was considered the melody queen of Orissa. She had sung many Oriya songs and majority of them had become hits.

Dhananjoy Bhattacharya sang in the golden age like a King.

Dhanonjoy Bhattacharya sang in the golden age like a King .

Dhanonjoy Bhattacharya sang different songs in Bengali during the golden age, that is the 50s, 60s and 70s like a King. He was the one of the legendary classical singer of Bengal of the 50s and 60s, who showed his excellence in films songs, Bengali modern songs and shyamasangeet. He did not get the recognition he deserved as the major attention of the media was focused only towards Hemant Kumar, the romantic singer of Bengal, but along with Manobendra Mukherjee, Manna Dey, Akhilbondhu Ghosh, Satinath Mukherjee and others, Dhanonjoy’s classical touch inspired the composers to compose pure classical and semi-classical songs.

His film song “jibon parabarer majhi” written by Sailen Roy and composed by Robin Chatterjee is an example of a divine song having words about God. He sang “e maya proponchopmoy” devoted to Goddess Kali in the film Sare Chuattor in 1953, which was composed by Kalipada Sen. His notable basic discs during that period included “andhar ratri” composed by Robin Chatterjee, “bhalobesechinu bhulona”, “chena chena mukh sari sari” composed by Sudhin Dasputa, “mon re krishi kaj janona” composed by Ram Prashad Sen, “ e mon modhur dhoni”, “mukto karo ma muktokeshi” to name a few.

Dhanonjoy’s evergreen modern songs included “matite jonmo nilam” composed by Prabir Mojumdar, “kabir kheyale premomoy tumi samrat shahjahan” composed by himself, “jhanana jhanana baje” composed by Salil Choudhury, “ei jhir jhir jhir batashe” composed by Sudhin Dasgupta, “ruma jhuma jhum” composed by Rotu Mukherjee, “antabihin oi andharater” composed by Salil Choudhury, “shilpi moner bedona”, “tandra elo bolo jaagi kemon kore”, “chameli melona ankhi”, “bashorer deep aaj” to name a few. The song “matite jonmo nilam” was composed by Probir Mojumdar on the background of sacrifice made by Indians during the freedom movement. Dhananjoy Bhattacharya gave able expression in the song.

There were other impressive songs of Dhananjoy Bhattacharya including “hridoye mor rakto jhore”, “hai cholona” and “ogo guni bajao suni”. There were few Bengali version songs sung by Dhananjoy Bhattacharya based on the bollywood songs that were composed in films. Few of them include “shono go priyotama” which was based on Lata Mangeshkar’s epic song “ayega anewala” composed by Khemchand Prakash in the film Mahal. There were other songs like “sono sono kothati sono” based on the song “chori chori”. Dhananjoy Bhattacharya was sublime in songs based on somber mood like “bidae nite ki ele” and “kotodin dekha hoyni dujone”. His bass and classical elegance stands out in these evergreen songs.

Dhanonjoy Bhattacharya acted in Bengali films like Pasher Bari (which was remade in hindi with the title Parosan where Kishore Kumar played his role), nobo bidhan, etc. His brilliant songs in Bengali films included “jagannath swami gamanapathagami bhabatue” sung in the film Nilachole Mahaprobhu, composed by Raichand Boral, “jhir jhir jhir jhir jhir borosha” in the film Pasher Bari, composed by Salil Choudhury, “katharo aghate chinno paye rokto jhare” in Uttam Kumar’s film Sabar Upare, composed by Robin Chatterji, etc. He made major contribution in Uttam Kumar’s film Nabajanmo, Uttam Kumar’s film Shilpi, etc.

Besides, Dhanonjoy Bhattacharya had sung more than 200 shyama sangeet (devotional songs sung for Goddess Kali). Some of his legendary shyama sangeet included “e maya proponchomoy” in the Uttam Kumar’s film Share Chuattor, “gaya ganga prabashadi” in the film Rani Rashmoni, also major songs in the films Sadhok Bamakhepa and Joto Mot Tato Poth. His brother Pannalal Bhattacharya became a legend in the world of Shyama sangeet.

Dhanonjoy died in the early 1990s, after leaving a huge treasure of classical songs and still remains a king (samrat) in the minds of numerous music lovers in the country. His songs and works should be preserved and restored.

Dhanonjoy Bhattacharya and Bengali modern songs.

Dhanonjoy Bhattacharya and Bengali modern songs.

Dhanonjoy Bhattacharya was the one of the legendary classical singer of Bengal of the 50s and 60s, who showed his excellence in films songs, Bengali modern songs and shyamasangeet. He did not get the recognition he deserved as the major attention of the media was focused only towards Hemant Kumar, the romantic singer of Bengal, but along with Manobendra Mukherjee, Manna Dey, Akhilbondhu Ghosh, Satinath Mukherjee and others, Dhanonjoy’s classical touch inspired the composers to compose pure classical and semi-classical songs.

Dhanonjoy’s evergreen modern songs included “matite jonmo nilam” composed by Prabir Mojumdar, “kabir kheyale premomoy tumi samrat shahjahan” composed by himself, “jhanana jhanana baje” composed by Salil Choudhury, “ei jhir jhir jhir batashe” composed by Sudhin Dasgupta, “ruma jhuma jhum” composed by Rotu Mukherjee, “antabihin oi andharater” composed by Salil Choudhury, “shilpi moner bedona”, “tandra elo bolo jaagi kemon kore”, “chameli melona ankhi”, “bashorer deep aaj” to name a few. The song “matite jonmo nilam” was composed by Probir Mojumdar on the background of sacrifice made by Indians during the freedom movement. Dhananjoy Bhattacharya gave able expression in the song.

There were other impressive songs of Dhananjoy Bhattacharya including “hridoye mor rakto jhore”, “hai cholona” and “ogo guni bajao suni”. There were few Bengali version songs sung by Dhananjoy Bhattacharya based on the bollywood songs that were composed in films. Few of them include “shono go priyotama” which was based on Lata Mangeshkar’s epic song “ayega anewala” composed by Khemchand Prakash in the film Mahal. There were other songs like “sono sono kothati sono” based on the song “chori chori”. Dhananjoy Bhattacharya was sublime in songs based on somber mood like “bidae nite ki ele” and “kotodin dekha hoyni dujone”. His bass and classical elegance stands out in these evergreen songs.

Dhanonjoy Bhattacharya acted in Bengali films like Pasher Bari (which was remade in hindi with the title Parosan where Kishore Kumar played his role), nobo bidhan, etc. His brilliant songs in Bengali films included “jagannath swami gamanapathagami bhabatue” sung in the film Nilachole Mahaprobhu, composed by Raichand Boral, “jhir jhir jhir jhir jhir borosha” in the film Pasher Bari, composed by Salil Choudhury, “katharo aghate chinno paye rokto jhare” in Uttam Kumar’s film Sabar Upare, composed by Robin Chatterji, etc. He made major contribution in Uttam Kumar’s film Nabajanmo, Uttam Kumar’s film Shilpi, etc.

Besides, Dhanonjoy Bhattacharya had sung more than 200 shyama sangeet (devotional songs sung for Goddess Kali). Some of his legendary shyama sangeet included “e maya proponchomoy” in the Uttam Kumar’s film Share Chuattor, “gaya ganga prabashadi” in the film Rani Rashmoni, also major songs in the films Sadhok Bamakhepa and Joto Mot Tato Poth. His brother Pannalal Bhattacharya became a legend in the world of Shyama sangeet.

Dhanonjoy died in the early 1990s, after leaving a huge treasure of classical songs and still remains a king (samrat) in the minds of numerous music lovers in the country. His songs and works should be preserved and restored.

Probir Mojundar and Bengali modern songs.

Prabir Mojumdar and Bengali modern songs.

Probir Mojumdar was one of innovative composers of the golden age who had contributed for Bengali modern songs both with innovative lyrics and brilliant tunes during 50s, 60s and 70s. He was associated with Salil Choudhury for some time and learnt the art of music composition from him too. Salil Choudhury was a genious of words and tunes. Probir Mojumdar who developed his skills on the same lines did adequate justice to the words that he had written by giving fruitful music in them.

Born in 1928, Probir Mojumdar created attention in the Bengali arena with his landmark composition for Dhananjoy Bhattacharya titled “matite janmo nilam, mati tai rakte misheche” in the late 50s. The lyrics of the songs were also written by Probir Mojumdar himself. The song was related to the struggle for freedom during the 40s.

Probir Mojumdar, was remembered for one of the most romantic songs sung by classical singer Manobendra Mukherjee, titled “ei nil nil jal sagore, elomelo sure gan gaowa”. The song had very balanced use of the piano and the soft orchestration was as poetic as the romantic presentation of Manobendra Mukherjee.

Other song for Manobendra Mukherjee tilted “ekhono ei raat” was a blank verse having an odd beat. The song became superhit with the charismatic intonation of Manobendra Mukherjee. The other brilliant composition of Prabir Mojumdar included “kanak chapa dhan” sung by Tarun Banerjee.

He created the brilliant song “raat koto ke jane” for Manna Dey which became superhit. His composition for Nirmala Mishra titled “o tota pakhire” became an everlasting hit having folk flavor.

Probir Mojumdar made notable contribution in Bengali film music as well. He composed music for the film Sri Sri Ramkrishna in the mid-50s. He composed music for Rajen Tarafdar’s off-beat film Jibon Kahini in the early 60s.

The other films for which he composed music, included Teen Pari Choy Premik, Surjosakhhi, Karoti, etc., which were released in the 80s. His name is used with the same dignity as the name of other followers of Salil Choudhury like Kanu Ghosh, Abhijit Banerjee, Anal Chatterji. His music and the films should be restored.

Salil Choudhury's Bengali and hindi version of songs.

Salil Choudhury’s Bengali and hindi version of songs.

Salil Choudhury was one of rare class of intellectual who embraced Bengali and films with his eternal treasure of music. His words and tunes matched one another in both the versions.In the 40s, 50s, 60s and 70s he experimented with many songs made both for Bengali modern version and gave the same song with a different version in bollywood films.

His song “jhir jhir jhir jhir jhir borosa” sung by Dhananjoy Bhattacharya composed by Salil Choudhury in the film Pasher Bari who remade in hindi with the title “jhir jhir jhirjhir” sung by Lata Mangeshkar with equal brilliance. Dhananjoy Bhattacharya’s classical touch was balanced by Lata Mangeshkar with her own unique style.

Shyamal Mitra’s brilliant modern song “Jodi kichu amare sudhao” was remade with the title “dil tarpe tarpaye” sung by Rafi in the film Poonam Ki Raat. In Shyamal Mitra’s version Salil Choudhury used music for half part of the song, the rest was blank version. In Rafi’s version chorus was used at the back of Rafi’s solo. If Shyamal Mitra’s pitch was unparallel, Rafi’s romantic rendition with slight classical alaap was outstanding. It was Salil Choudhury’s sheer brilliance that he used the immortal singers in style.

Salil Choudhury’s song “ganga gangar tarange prano paddo bhasailam” sung by Sabita Choudhury in the film Ganga was remade in hindi by Manna Dey. The film Ganga was directed by Rajen Tarafdar and won many awards for its excellence. The rhythm of fishermen sailing in boats was synchronized by Salil Choudhury’s own orchestration. Salil Choudhury’s outstanding music was one of the reasons for the success of the film Ganga. The hindi version sung with the title “ganga” sung by Manna Dey. Manna Dey brought the folk flavor in style. The other song in film Ganga sung by Manna Dey titled “uthali pathali amar book” was remade in the hindi by Hemant Kumar with the title “ganga aye kahan se”. Manna Dey’s version had folk title “bhatiyali” embedded in it.

Salil Choudhury’s song “aye brishti jhepe” sung by Sandhya Mukherjee was remade in hindi titled “bhaiya re bhaiya” sung by Shusma Shresth and others. Salil Choudhury’s song “ei duniyay bhai” sung by Manna Dey and picturised on Bengali actor Chabi Biswas in the film Ekdin Ratre was remade in hindi with the title “humko samajh baithe” sung by Mukesh.

Salil Choudhury’s song “guru guru meghero mondrobahare” sung by Sabita Choudhury was remade as “o sanyasi” sung by Asha Bhosle and Yesudas. Shyamal Mitra’s song “ja jare ja ja pakhi” was remade in hindi by Mukesh with the title “door bahut abadi”. Sabita Choudhury’s song “jhilmil jhiler jole jhikimiki” sung by Sabita Choudhury was remade in hindi with the title “naam mera nimmo” sung by Lata, Manna Dey and Dwijen Mukherjee. The list can go on.

The greatness of Salil Choudhury lies in utilizing all the singing talents in Bengal and India as a whole. Singing talents in Bengal like Manobendra Mukherjee, Manna Dey, Dhananjoy Bhattacharya, Hemant Kumar, Shyamal Mitra, Sandhya Mukherjee, Sabita Choudhury were used as against the giants in Bollywood industry like Mohammad Rafi, Mukesh, Lata Mangeshkar, Asha Bhosle, Talat Mehmood, Yesu Das and others.

Contribution of Prabir Mojumdar in Bengali modern songs.

Contribution of Prabir Mojumdar in Bengali modern songs.

Probir Mojumdar was one of innovative composers of the golden age who had contributed for Bengali modern songs both with innovative lyrics and brilliant tunes during 50s, 60s and 70s. He was associated with Salil Choudhury for some time and learnt the art of music composition from him too.

Born in 1928, Probir Mojumdar created attention in the Bengali arena with his landmark composition for Dhananjoy Bhattacharya titled “matite janmo nilam, mati tai rakte misheche” in the late 50s. The lyrics of the songs were also written by Probir Mojumdar himself. The song was related to the struggle for freedom during the 40s.

Probir Mojumdar, was remembered for one of the most romantic songs sung by classical singer Manobendra Mukherjee, titled “ei nil nil jal sagore, elomelo sure gan gaowa”. The song had very balanced use of the piano and the soft orchestration was as poetic as the romantic presentation of Manobendra Mukherjee.

Other song for Manobendra Mukherjee tilted “ekhono ei raat” was a blank verse having an odd beat. The song became superhit with the charismatic intonation of Manobendra Mukherjee. The other brilliant composition of Prabir Mojumdar included “kanak chapa dhan” sung by Tarun Banerjee.

He created the brilliant song “raat koto ke jane” for Manna Dey which became superhit. His composition for Nirmala Mishra titled “o tota pakhire” became an everlasting hit having folk flavor.

Probir Mojumdar made notable contribution in Bengali film music as well. He composed music for the film Sri Sri Ramkrishna in the mid-50s. He composed music for Rajen Tarafdar’s off-beat film Jibon Kahini in the early 60s.

The other films for which he composed music, included Teen Pari Choy Premik, Surjosakhhi, Karoti, etc., which were released in the 80s. His name is used with the same dignity as the name of other followers of Salil Choudhury like Kanu Ghosh, Abhijit Banerjee, Anal Chatterji. His music and the films should be restored.

Dhananjoy Bhattacharya remained unwept unsung.

Dhananjoy Bhattacharya remained unwept unsung.

Dhananjoy Bhattacharya was one of the classic-best singers of the 50s and the 60s. He was used by most of the leading composers of Bengali films, like Salil Choudhury, Anil Bagchi, Robin Chatterji and other stalwarts.

Dhananjoy Bhattacharya sang the sung “jhir jhir jhir jhir jhir jhir borosa, hay kigo horosha” in the film Pasher Bari. Later the film Pasher Bari was remade in hindi with the name Parosan where Mehmood and Kishore Kumar played cameos. Dhananjoy Bhattacharya also acted in the film Pasher Bari in the role which was later played by Kishore Kumar in Parosan.

Raichand Boral used Dhananjoy Bhattacharya in the film Nilachale Mahaprabhu based on the life of Chaitanya Deb. His song “hari haraye nomokrishna” and “jagannath jagathbandhu” was as brilliant as Manobendra Mukherjee’s “jagannath jagatbandhu”. Anil Bagchi used him in the film Rani Rashmoni in the song “gaya ganga”.

Dhananjoy Bhattacharya continued his dream run with the song “kataro agathe chino paye rakta jhare” in Uttam Kumar’s film Sabar Upare and “bondhure” in Uttam Kumar’s Shilpi which were composed by Robin Chatterji. Shyamal Mitra used Dhananjoy in Uttam Kumar’s film Bhranti Bilas in the song “ahalya”. From the 60s and 70s he devoted time in singing shyamasangeet, the songs for Goddess Kali.

His modern songs in Bengali were sensation by every musical standard. His classically oriented songs and western songs like “jhanana jhanana baje” composed by Salil Choudhury, ““matite jonmo nilam” composed by Prabir Mojumdar, “kabir kheyale premomoy tumi samrat shahjahan” composed by himself, “ogo suchorita” composed by Sudhin Dasgupta, “ei jhir jhir jhir batashe” composed by Sudhin Dasgupta, “ruma jhuma jhum” composed by Rotu Mukherjee, “antabihin oi andharater” composed by Salil Choudhury, “shilpi moner bedona”, “tandra elo bolo jaagi kemon kore”, “chameli melona ankhi”, “bashorer deep aaj”, “Jodi bhule jao more”, to name a few.

He also sang the Bengali version of the song “ayega anewala” sung by Lata in the film Mahal, composed by Khemchand Prakash with the Bengali title “sono go”. He was indispensable figure both in films as well as Bengali modern songs. His songs in Uttam Kumar’s film Nabajanma, religious film Sadhok Bamakhepa, Jotomoth Tatapath require special mention.

Inspite of having huge classical gharana and control, he had remained an unsung singer. But other than Manna Dey and Manobendra Mukherjee, no other Bengali singer had the range and variety of singing like Dhanonjoy Bhattacharya. His songs and films should be preserved.