Re: Zulmi Kannada Movie Songs Download
Alke Stilwell
As a teenager in school, Chowdhury already had an interest in music, and played the flute, harmonium and esraj. He learnt to play the piano from his elder brother at the age of 6. Once in college, he also began to compose tunes. His first popular song was "Becharpoti tomar bichaar" (lit. the days of new judgement have come because people are now awake), set to a kirtan tune. Chowdhury composed it in 1945 during the Indian National Army trials when the freedom fighters had returned from Andaman jail. Chowdhury shifted to a village in 24 parganas to live with his maternal uncles, when he was witness to a big peasant uprising there in 1943. He got involved with them and began writing songs for the peasant movement. In 1944, while studying for his MA, Chowdhury witnessed people dying on the streets of Calcutta, as 50 lakh Bengalis died during the famine. The famine was man-made as local rice was instead directed to Britain's war effort overseas, leading to scarcity, aggravated by black marketeers and hoarders. This led Chowdhury to become fully involved in the peasant movement, and he became a full-time member of IPTA and the Communist Party. Subsequently, arrest warrants were issued in his name, and he went underground in the Sunderbans, hiding in paddy fields and supported by local peasants. During this time, he continued writing plays and songs.[3]
In 1944, a young Salil came to Calcutta for his graduate studies. He joined the IPTA[1] (Indian Peoples Theater Association) the cultural wing of the Communist Party of India. He started writing songs[1] and setting tunes for them.[1] The IPTA theatrical outfit travelled through the villages and the cities bringing these songs to the common man. Songs like Bicharpati, Runner and Abak prithibi[1] became extremely popular with the general population at the time.
Songs like Gnaayer bodhu (গঁয়র বধূ), which he composed at the age of 20, brought about a new wave of Bengali music.[1] Almost every notable singer at the time from West Bengal had sung at least one of his songs. A few examples are Debabrata Biswas, Manna Dey, Hemanta Mukherjee, Shyamal Mitra, Sandhya Mukherjee, Manabendra Mukherjee, Subir Sen, and Pratima Banerjee.
Here's a rare All India Radio interview with Salil Chowdhury where he talks freely about his inspirations. Some of the songs mentioned by him include 'Itna Na Mujhse Too Pyaar Badha' (Chhaya, 1961) and 'Dharti Kahe Pukaar Ke' (or 'Apni Kahani Chod Ja', from Do Bigha Zamin, 1953).
He also speaks about the music of Madhumati, in the interview. A few of Madhumati's songs were inspired by Indian and subcontinental folk music. Like 'Chadh Gayo Papi Bichhua' was based on Assamese folk music from the tea gardens where he grew up. 'Kancha Le Kanchi Lai Lajo' is based on Nepalese folk music, while Zulmi Sang Ankh Ladi Re is based on Kumaon's folk music.
If you listen to both songs, you'd notice that in the original, 'Raha Hai Aa Bhi Jaa' is repeated thrice, with the 1st and 3rd times with the same tune. Salilda has made a minor variation to this part by bringing in the last line of the original as his shorter mukhda. If I were to map the Hindi song to the original's flow it'd look like,
DISCLAIMER: While Hindustani Classical Raags follow a set pattern of notes, the film songs based on Raags Pahadi may not necessarily follow every rule of this Raag. Composers take liberty to experiment with the notes and may deviate from the set pattern just to enhance the melody of the song.
Same is the case while jotting down the notations of songs. Hence, it is advised that you must not stop experimenting with the basic notations which are given in this website and must continue to improvise as per your convenience.
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