Sudhin Dasgupta

Sudhin Dasgupta – A creative genius of Golden age of Bengali Modern songs.

In the 50s, 60s and 70s, during the Golden age of Bengali Modern songs, it was very difficult to create a distinct identity in terms of compositions as it was a transition period between use of classical music with westernised effects and incorporation of folk and other rural tunes in the urbanised music base. On one hand the classical legacy created by Legends like Viswadev Chatterji, Ghyanendra Prosad Goswami, Tarapodo Chakraborty were carried forward by Manobendra Mukherjee, Manna Dey, Dhanonjoy Bhattacharya, Satinath Mukherjee, Akhil Bandhu Ghosh and others. Although the noted singers did use pure classical only in certain songs but the classical touch was evident in all their performances. On the other hand the folk singers like SD Burman, Nirmalendu Choudhury inspired Shyamal Mitra and others to maintain the colour, flora, fauna of Bengal’s romantic landscape.[1]



In the golden age, music composers and lyricists in Bengal had reached the zenith of creative compositions. Noted lyricists included Gouriprasanna Mojumdar, Shaymal Gupta, Pronob Roy, Sailen Roy and others. Music composers included Robin Chatterji, Pabitra Chatterji, Anol Chatterji, Anupam Ghatak, Anil Bagchi, Gyanprokash Ghosh, Salil Chowdhury, Nochiketa Ghosh and others. In the same age Sudhin Dasgupta, came up with his westernised compositions and contributed to Bengali modern songs, both with his lyrics and memorable music composition.
He had showed his skills in playing the Piano and with the expertise in a number of musical instruments, his compositions had an identity of his own in an age when every music composer galvanised the horizon of Bengali Modern song with their unique style.[2]

Notable compositions of Sudhin Dasgupta include “Moyurkonthi rater nile” for Manobendra Mukherjee, “Ei Jhirjhirjhir batashe” for Dhanonjoy Bhattacharya, “Akash eto meghla” for Satinath Mukherjee, “keno tumi phire ele” for Shyamal Mitra, etc. The big challenge of Sudhin Dasgupta was to face Robin Chatterji, who was dominating the Bengali film music, and modern song with his versatile creations. Robin Chatterji had introduced Portugese folk song in the film Deeper naam tiya rong, “o amar sat rajari dhon” and “phiriti bosakor kure gi dise” sung by Shyamal Mitra and Bhaisnav angik bhajan “O mon kokhon shuru kokhon je shesh ke jane”in Uttamkumar’s film Kamallata, 1969. Besides he composed prayer song to kirtan to classical song in Lalubhulu, 1958, for Manobendra Mukherjee.

Sudhin Dasgupta changed the horizon of Bengali film song by asking Manna Dey to sing for Uttamkumar whose major songs were previously sung by Hemanta Mukherjee whose voice suited him the most. Sudhin Dasgupta went to Bombay where Manna Dey and Lata Mangeshkar were busy in the recording of songs of film Pakizaa with Gulam Mohammad and Naushad. When Sudhin Dasgupta recorded the song for Uttamkumar’s film Shonkhobela, 1966, titled “Dekechi ke age ke diyeche sara” as a duet song for Manna Dey and Lata Mangeshkar, Naushad said the words could not be understood as it was composed in Bengali, for the tune was excellent.[3]



The film Shonkhobela was a superhit film and Sudhin Dasgupta’s composition for Manna Dey “Ami agantuk” and for Lata Mangeshkar “Aj mon cheche ami hariye jabo” was well acclaimed by music lovers across the nation. Sudhin Dasgupta shaped the career of Legendary singer Manna Dey who was busy in Bombay singing different types of songs under the patronage of Shankar Jaikishan, Roshan, Salil Chowdhury and others. After Shonkobela, Manna Dey formed an immortal combination in playback singing with Uttamkumar, providing sensational performance in films like Antony firingi, 1967, Nishipadda,1970, Stri, 1971, Sanyasi Raja, 1975, and winning national awards and Bengal Film Journalist Association (BFJA) awards one after the other.

Notable Bengali films where Sudhin Dasgupta composed music include Dakharkora, 1958, Shonkhobela, 1966, Choddhobeshi, 1971, Har Mana Har, 1972, Teen Bhubaner Pare, etc. He has used bayul ( a type of folk song in rural Bengal) in “ogo tomar shesh bicharer asay” for Manna Dey, South Indian tune in “bachao ke acho” in Chaddabeshi, rural touch in “rangila ranga dehe bhab jegeche” for Manobendra Mukherjee, Westernised chorus effect in “aro dure cholo jai” for Asha Bhosle. His lyrics were also very colourful like his compositions. He even taught music to established singer like Bonoshri Sengupta.

An archive should be created where Sudhin Dasgupta’s compositions are restored and preserved for future generations to get inspiration from creative music in the Golden age of Bengali modern songs.

[1] My father Chitta Ranjan Chatterji, Ex – Chief Public Prosecutor, Bankshall Court, Kolkata was the Cultural Secretary of Scottish Church College, Kolkata, the same college where Legendary singer Manna Dey, Eminent Film Director Nabyendu Chatterji ( Director of Award winning films like Chopper, Mansur miyar ghora, etc.), Parthoprotim Chowdhury ( Director of Award Winning film Chayasurjo)studied. In 1956, my father conducted the cultural program in Scottish Church College, inviting Manobendra Mukherjee, Shymal Mitra, Satinath Mukherjee to sing in front of huge crowd in North Kolkata. Satinath Mukherjee with his song “Bonopatho majhe” got huge applaud which was even outplayed by Manobendra Mukherjee with his song “Emni kore porbe mone baki jibon dhore”. The same crowd was spellbound with the orchestration of Sudhin Dasgupta in the song “Elo Borosha je sohosa money tai”.

[2] Sudhin Dasgupta played his compositions in Piano in Public function held in DumDum, Kolkata, in 1955, where Classical Singer Sandhya Mukherjee performed her songs of Uttamkumar’s film Sabar Upare. The program was held at a place close to Sudhin Dasgupta’s own house in Kalicharan Ghosh Road, Sinthee, Kolkata.

[3] Manna Dey gave memorable interviews in DD India, where he said Naushad’s remark about Sudhin Dasputa composition was that “awaaz ki ahmiat samajh me nahi aya, lekin sur bahut hi umdah hai”.

Manobendra Mukherjee - The Genius of Bengali Modern songs

Manobendra Mukherjee – the versatile legend of Bengali modern song

The 50s, 60s and 70s constitute the period of time when Bengali modern songs reached its peak of excellence and is called the Golden age of Bengali Adhunik Gaan. Bengal had a very unique collection of Basic discs which inspired composers and lyricists to create innumerable treasure of creative music during the age which were independent creations. Bengali modern songs were in fact more popular than film songs composed in the Bengali cinema which also reached it level of excellence in the 50s and 60s.

Manobendra Mukherjee, the most stylish Classical singer immerged in the golden age, when Bengali modern songs were also glorified by outstanding performance of Dhanonjoy Bhattacharya, Manna Dey, Satinath Mukherjee, Akhil Bandhu Ghosh to name a few. Being inspired by uncle Sidheshwar Mukherjee and Ratneswar Mukherjee, Manobendra shocked the listeners with his first basic disc in 1953, titled “Naichondon Lekha Sriradhar chokhe nai nai shemorai.”[1] It was based on kirtanango andaz, and Manobendra was trained towards Kirtans, Bhajans and Bhaktigeeti from the very early childhood.



Bengali modern song was on the verge of modernisation at that age, when Manobendra came up with his romantic creation “Emni kore porbe mone baki jiban dhore.” The music was composed by Manobendra himself and the lyrics were written by Shyamal Gupta. At the same time Manobendra made a debue in the film arena being the music director for Uttamkumar’s film Chapadangar Bou, 1954, where the songs were written by Tara Shankar Banerjee. Manobendra brought in the flavour of Mahadev’s Gajon, that are sung in villages in Bengal with the song “shibo he shibo he”.

Within short period of time, Manobendra attracted the attention of the leading lyricists and music composers of Bengal , namely Salil Chowdhury, Sudhin Dasgupta, Robin Chatterji, Anol Chatterji, Nochiketa Ghosh, Probir Mojumdar, Gyan Prakash Ghosh, Abhijeet Banerjee, and others. His successful songs include “Ami Parini bijhite parini” composed by Salil Chowdhury, “Mayur Konthi Ratero nile” by Sudhin Dasgupta, “Jodi Amake Dekho Tumi Udashi,” by Abhijit Banerjee, “Ei neel neel jal sagore” by Probir Majumdar, “ birohini chirobirohini” by Himangshu Dutta, “O amar chandro mallika” by Nochiketa Ghosh, “Tomar Pother Prante Moner monideep jele rekhechi”, by Satinath Mukherjee.[2]

In the late 50s, some of Manobendra’s own composition “ami eto je tomay bhalo besechi”, 1958, “Sei bhalo ei bosonto noy”, 1960, “Bhalo lagena tumi na ele” became everlasting hits. Even in Mohishashur Mordini, played in All India Radio, on Mohalaya, every year, Manobendra’s song “tobo achinto” created a Godly atmosphere accompanied by Birendra Bhodro’s Strotyopath.

In 1958, Robin Chatterji composed music for the film Lalu Bhulu, the story of a blind and a handicapped boy. The film stormed the Bengali silver screen, and Manobendra brought tears in the eyes of the audience with the songs “ Jar Hiya akasher nil nilimay”, “Dukho amar Shesh kore dao probhu,” “Surjo tomar Protom toron kholo”, “dukher pothe naali jodi”, “Ei pranjharona jaglo”. The immortal songs were written by Sailen Ray.

Manobendra had expertise in Toppa, thumri, Hindustani classical, bhajans, shyam sangeet, najrul geeti and other types of songs. It helped him to adorn Bengali modern songs with all these flavour. Besides the lyrics in his songs used to have a dynamic dimention, example “seto naam dhore konodin dakeni amay”, “barosha klanto o duti nayan niye”. He did sing pure classical numbers like “Kotoje soyechi betha, abhimanini”, composed by classical singer Chinmoy Lahiri, “Rimjhim baje monjiro kaar” composed by himself, “Bare Bare ke jeno dake”, composed by Sailen Mukherjee.

In the film Nilachole Mahaprobhu, 1958, composer Raichand Boral invited Manobendra to sing kirtans of Lord Chaitanya, the songs “jagannath jagat bandhu” and other songs have made the listeners spellbound. Monbendra also did sing Folk song titled Bhaitayali in Uttamkumar’s film Nabojanmo, 1958, where the noted song include “ore mon majhi”. Manobendra composed music in a number of Bengali films including Mayamrigo, 1960, Badhu, 1962, Jato Mat Tato Path, Joy Jayanti, 1970, Godhuli Belay, 1965, Sudur niharika, 1978, etc.[3]

In the 1970s, also Manobendra had sung notable songs like “Ei Ganga ei Padda’, 1970, “Halka megher palki”, “Hajar jonom dhore”, “ei moushumi mon shudhu rong bodlai”, etc.[4] In the 1980s Manobendra concentrated on Nazrul geeti and Bag bajarer gaan and there also he emerged as one of the greatest singer of all times. Due to Manobendra classical composers showed the courage of composing pure classical numbers in Bengali films like “Rajoni pohale sojoni kothay” by Anil Bagchi in the film Shashibabur Sangsar, 1960, “adhare” by Gyan Prokash Ghosh in the film Basant Bahar, 1958.

It is even difficult to ascertain whether Manobendra was a greater singer or greater music composer as there is hardly Bengali singer who did not sing a song composed by Manobendra, example being “mon bolche aaj sondhay” by Alpona Banerjee, “Gane gane ami je khuji tomay” by Supriti Ghosh, “sonali megher din” by Sandhya Mukherjee, “oi son son geroraj” by Hemanta Mukherjee, “Kemone janabo bolo e pranero bedona” by Shefali Chakraborty, etc.

It is a pity that Manobendra Mukherjee did not go to Bombay like many other Bengali singers and exhibited his versatile class of creativity in the All India arena where musical talents of other giants were exhibited. Manobendra’s immortal creations should be preserved in an archive for new generations to learn lessons relating to Hindustani classical music, innovations in terms of rhythm, taal, loy and grammer of kajri, tappa, nazrulgeeti, kirtans, bhajans, folk music and westernised creations.

[1] My father Ex chief Public Prosecutor, Bankshall Court, (Chief Metropolitan Magistrate’s Court, Kolkata) had interviewed Manobendra Mukherjee, a versatile classical singer having immortal records on bhajans, kirtans, nazrulgeeti, modern bengali songs, film songs and asked him to sing his first Bengali Modern Song “Naichondon Lekha, sriradhar chokhe, nai nai shemorai” before the crowd in a function held in Paikpara, Kolkata where Manobendra said it was his beginning of his musical journey and a song which was a blank verse without musical instruments. If that song could be heard minutely it can be realized that modern music is almost bankrupt. Aroti Mukherjee, the famous Bengali singer, also my father’s witness in a case instituted in Bankshall Court, in the anurodher asor, in all in Radio, said that her teenage was shaken up by Manobendra with the song “Naichondon Lekha” in 1953. In the same interview Manobendra Mukherjee told my father, the real starting point of compositions is classical background.

[2] Abhijeet Benerjee, the composer of the Manobendra’s song “Mukto jharar neiko kanya neiko motir har” was interviewed by my father Chitta Ranjan Chatterji, Ex-chief Public Prosecutor, Bankshall Court, North, where Abhijeet Banerjee said, Manobendra was probably the greatest romantic singer in Bengali modern songs that Bengal ever produced considering even Shyamal Mitra’s brilliance in folk music and Manna Dey’s classical touch. Hemanta Mukherjee was busy with film music as he was associated with Uttamkumar. Manobendra had very stylish pronunciation and his classical touch in the songs and improvisation with the tabla, tal, loy was of superlative class.

[3] Manobendra received Indira Gandhi award for composing best music in the film Joyjayanti, 1970, the Bengali version of Hollywood film Sound of Music.

[4] Manna Dey, the Musical giant of Indian music, said he found Manobendra’s composition in the film Sudur niharika, difficult to sing with its classical orientation. Manna Dey is probably one of India’s greatest classical singer who glorified Bollywood and tollywood music during the golden age.

SD Burman and Rafi.

SD Burman and Mohammad Rafi

Sachin Dev Burman was born in Tripura, where the fields, soil, trees and nature as a whole had shaped the music. There cannot be any music which is sweeter than the compositions that God has created in nature for human beings to cherish generation after generations. What is required is the poetic and musical mind to realise the melodies evident in the breeze, in the rainfall, in the fragrance of flowers blossoming at the arrival of spring. Tripura is situated at the border of East Bengal, and as a landmass has similarity with East Bengal and West Bengal which in Bengali we term as “nodi matric” meaning being fed by a number of rivers.The minds of the people in this part of the world is as soft as the alluvial soil of the Ganges, the Brahmaputra, the Padma and other rivers.

SD Burman came to Kolkata and learned Classical Music from the Giant of Ustadi Gharana named Viswadev Chatterji.Viswadev’s famous song “Nabaruno Rage” used to be played as the first song in All India Radio in the morning, everyday and acted as messanger of dawn.The genius had taught SD Burman, ragas of different origin and created a legacy of Hindustani classical which shaped SD Burman into a grand creator as known by the later generations.



SD Burman had his own basic discs in Bengali, some having flavour of folk songs, others having the orthodox ragas embedded in them.His notable songs include “Paddar dheu re”, “Jhilmil jhilmil jhiler jole dheu kheliya jaire”,”mono dilona badhu”,etc. When he went to Bombay, he took Manna Dey with him, another legendary singer of the Bengali modern era. Manna Dey dominated the BEngali film arena with his tremedous performance in Uttamkumar’s films “shankhobela”, “Antony firingi”,etc in the 60s and 70s.

SD Burman got involved with the Navketan Banner and composed most of his songs for that banner. But he developed an everlasting bond with Mohammad Rafi, the man with the golden voice who had an answer for the different emotions of human being, including happiness, tragedy, comedy,etc.

SD Burman had composed the songs “yeh mahalon ,yeh takhton, yeh tajho ki duniya” in the film Pyasa, 1957 and “Bichre sabhi, bari bari” in the film Kagaz ke phool, 1959, for Gurudutt, with whatever pathos he had in him. Rafi brought tears in the eyes of music lovers with his compassionate andaz.


Manna Dey sometimes had a grievance, that inspite of the classical control being possessed by him SD Burman had preferred Rafi in some of the classical compositions. In the film Meri Surat Teri Ankhen, Manna Dey gave a superlative performance with the song “Pucho na kaise maine rain bitayi.” Rafi had superceded SD Burman himself with the performance of “Tere bin sune” composed in raag Pilu which was the hindi version of SD’s own song”Ami chinu Eka basoroJagaye”.

In the film Tere Ghar ke saamne, 1963, SD Burman’s composition “tu kahan yeh bata”,”tere gharke saamne” “dil ka bhanwar karen pukar”and the rest of the songs combined sweetness of Rafi’s voice with the folk effect in the orchestration. In the film “Teen deviyan” Rafi’s song “aise to na dekho” and “Kahin bekhayal hoker” had Ghazal andaz.Besides Rafi’s preformance in Guide,1965, with the songs “Tere mere sapne”, “din Dhal Jaye”"Kaise kya ho gaya bewafa hogaya tere pyar me” brought out the softer side of SD Burman.

There are other songs like “Hum bekhudi me tumko pukare chale gaye” in the film kalapani,1960, where Rafi matched SD Burman himself (his bengali song was “Ghum bhulechi”) and “yeh di diwana hai” and “mehbooba teri tasveer” in te film “Isqe par zor nahin” where Rafi’s excellence is balanced with SD Burman’s orchestration.In Rajenderkumar’s film Talash, SD Burman brought out his best for Rafi in the song “Palkon ke peeche se.”

The list of songs showing Rafi’s combination with SD Burman can go on. But one thing is common, whenever SD Burman was passionate about the hindi version of his own songs, Rafi appeared in his mind automatically. Rafi’s Archive should contain SD Burman’s creation also to show the background of folk song and hindustani classical, used in the songs composed in 50s, 60s, 70s.


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