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Ei Pothe Jokhon Ami Jai Mp3 Song 29

Ei Pothe Jokhon Ami Jai Mp3 Song 29 :::

After resigning from All India Radio he joined a clerical post at United Bank of India. Kabir Suman shifted to France temporarily to teach the basics of Indian Classical Music in 1973.[citation needed] It is said in one of his autobiographies, that in France he was first introduced to the songs of Bob Dylan and he claimed Dylan's songs left a great impression and influence on him.[6]

He started working in the Bengali daily Aajkal as a part-timer, and also contributed to the Desh until 1980.[citation needed] He joined a band called "Samatan". However, this band was unsuccessful and the members broke up very soon. Some members of Samatan and some new members, all in their twenties and thirties joined him to establish a new band called 'Nagarik : Anya Katha Anya Gan'. During this time Suman completed his first song (written in 1975) "E Kemon Akash Dekhale Tumi".[8]

Suman returned to Kolkata in early 1985. He bought many instruments, applicable for a complete recording studio, which were sent to Kolkata by ship. After returning to Kolkata, he rejoined with 'Nagarik' with some new vocalists and instrumentalists, and continued writing and composing songs, thinking mainly as group songs.[8]

From early 1986, 'Nagorik' started swinging due to clash of personality. Kabir Suman created some songs at that time like "Hariye Jeo Na", "Tomake Chai" (finally published in 1992), "Aro Balo Aro Katha" (partially published in 1992), "Machhi O Mara Mukher Gan", "Najehal Akashta", "Robbar" (finally published in 1994), "Tumi Gan Gaile (finally sung by Indranil Sen and published in 2002), "Ganahatyar Nam Bhopal", "Tirikshi Mejajer Je Lokta", "Abhibadan" (finally published in 1994) etc. His initial compositions were created keeping the group in mind. The group consisted of amateur singers and their aptitude was limited. Members of Nagorik recorded some of his songs on cassette tape, the entire recording was planned domestically in his home at Baishnabghata. Kabir Suman himself had written, composed, sung and played electronic keyboard on the recording. There were some other vocalists and instrumentalists, instruments included guitar and percussions. The entire recording was done by his four track tape recorder, where live vocals and live instruments were recorded in two tracks by all vocalists, and Kabir Suman himself added more electronic sounds on the rest of the two tracks by playing synthesizer. His book "Mukta Nicaragua" about Sandinista revolution was published by K.P. Bagchi Publication at that time (republished many years later), but another book "Anya America" failed to get published. He also recorded some information and song about Sandinista Revolution at that time. During this time he constructed a recording studio named 'Sing To Live' inside an abandoned factory near Bansdroni.[8]

Kabir Suman was not sure about the future of his created songs, and also not interested to involve in a general job. He thought if he could go to a foreign country as an employee, he could buy many electronic music instruments. Thinking thus, he went to West Germany again in September 1986, and before departure he recorded another album of 'Nagarik', following the procedure just written before, but this time in the new studio he constructed.[8]

After reaching West Germany, he started learning classical guitar. During this time he felt that guitar is a simple instrument, which could be played by a solo musician, and there is no question about any type of multi-instrument orchestra. Also a guitar makes a man moving-minded. Under an Italian teacher, he started learning guitar, with Finger-style, sight-reading, listening many guitarists' records like Andrés Segovia, Julian Bream etc., and also started learning jazz guitar & blues guitar. He then started song creation on guitar, like "Hal Chherho Na Bandhu" (finally published in 1992), "Gan-ola" (finally published in 1994), etc. These guitar based songs started influencing of Baul, Bhawaiya, Kirtan, Folk, Blues and also some Ragas.

After returning to Kolkata, he saw 'Nagarik' has almost disbanded because of ego-clash, and the studio is also in a sinking mood. He decided to be a solo professional singer-songwriter and musician, and thought to work in some advertisement business, but nothing materialized. During this time he wrote some songs like "Tin Shataker Shahar", "Chena Duhkha Chena Sukh" (finally published in 1992), "Pratham Sabkichhu" (finally published in 1994) etc.[8]

In February 1990, a singer named Raju Bal took a gentleman Indranil Gupta to Suman's house. Indranil listened the "Tin Shataker Shahar" and liked it, and told Suman that Kolkata Festival was being held in Yuba Bharati Krirangan remembering the so-called tri-centenary celebration of Kolkata City, and that song relates with this, so he should sing this song at that festival.

Kabir Suman performed his first solo live performance on 5 May 1991 at Shishir Mancha. Many magazines and newspapers were invited, like Aajkal, Desh, Business Standard, The Statesman, and they reviewed it. 'Desh' first labeled his songs as 'Sumaner Gan', which popularized his songs after this time and still now.

But although those reviews were positive, not many invitations other from than his friend circle happened. He performed in some live programs with the help of his friends. All those were very unsure, and Kabir Suman also was not optimistic at that time about his eligibility. Many people of advertisement business got him to do jingles or theme songs including "Lexpo 1991", but some of them either gave him not a single penny, others gave him very little money, despite the fact that Kabir Suman made all this work completely alone with writing, composing, singing, playing instruments, recording, and mixing. Some advised him to go to Mumbai for some professional work, but he refused it.[8]

He went to Doordarshan Kendra Kolkata for some work, but he was refused. He went to Akashbani Bhawan Kolkata, and applied with the help of his friend and famous newsreader Tarun Chakrabarty. Ultimately he sang some of his own songs and some songs of Rabindra Nath Tagore, after 16 years, on the radio. In 1991 he went to film director Tarun Majumdar for some work in soundtrack. Tarun Majumder listened to some of his songs, and selected "Pratham Sabkichhu" to use in one of his upcoming films 'Abhimane Anurage', although he requested Suman to change some of his lyrics to match with the theme of that movie. The song was recorded in February 1992. Kabir Suman himself played guitar, Pratap Roy played synthesizer, and Samir Khasnabis played bass guitar. Unfortunately the film was not completed, and so the song was also not released.[8]

Kabir Suman recorded 12 songs for his first album, named 'Tomake Chai', which was published in April 1992. In many aspects, it was a milestone in the history of Bangla Song. It was the first Bengali Basic Song Album which was entirely written, composed, sung and musical instruments played by the artist himself. It was the first Bengali Basic Song Album which was recorded with the help of a four track tape recorder.

His contemporary urban, socially conscious songs draw upon both Bengali adhunik (modern) and Western folk and protest music. His work has been a major influence in the development of the Bengali songs. It has influenced bands like Chandrabindoo, and has grown to become a major movement in contemporary Bengali music. Most of his songs are played solo with just a Piano, electronic keyboard or a guitar. Like many other Bengali singers, Suman recorded albums of Rabindra Sangeet (Songs of Rabindranath Tagore), starting in the late-1990s.[citation needed]

He released his first solo album, Tomake Chai, on 23 April 1992, which was immensely successful as it redefined Bengali songs. Later Suman stopped making songs for general audience and focused on more political issues.[16]

In April 1992, Suman published his first album 'Tomake Chai', which had twelve songs. He sang, wrote and composed all those songs. Except three songs, all songs were accompanied by either electronic keyboard, or acoustic guitar, or both (mixed by a four track tape recorder and hardware sequencer) by him alone; those three songs were accompanied by tabla and percussion by other artists. The song Tomake Chai is the most famous track of the album.[17] This continued to next album 'Bosey Anko', published in March 1992 along with twelve songs again. Unlike previous album, which was mostly accompanied by electronic keyboard and multi track mixed sound electronically, 'Bosey Anko' was recorded directly without any complex mixing except one song, which was mixed with both guitar and keyboard (and also with tabla and percussion). Most songs were recorded with a simple acoustic guitar, only two songs with an electronic keyboard, and four songs were accompanied by a sarod, tabla and percussion by other artists. This second album was also a big hit, and popularized Suman so much, that he was obliged to record his third album on the same year.[17]

From his third album 'Ichchhe Holo', he started recording his basic albums annually as a 'Puja Album' like other artists during August of each year, until 1999. 'Ichchhe Holo' contained 14 songs, the first of such basic Bengali song albums. Unlike two previous albums, electronic keyboard was completely unused in this album. Most songs were completely accompanied by a simple acoustic guitar, and 4 songs were accompanied by sarod, santur, tabla and percussion by other artists. This fully acoustic music arrangement drew attention to many music-lovers, and it was such an album, which was completely electric or electronic music instrument less almost after 40 years in Bengali music history. It was also his first album which the front cover does not have a picture of himself.[17]

1996 saw a big departure of Suman's music, because, in this year, his 6th album 'Chaichhi Tomar Bondhuta' published. It contained again 15 songs like 'Gan-ola', but the main exception is that it was the first and only basic album of Suman, where a music arranger, named Amit Bandopadhyay, arranged the instrumental part. Only 3 songs were accompanied by Suman's acoustic guitar, but other songs were accompanied by session musicians, with santoor, sarod, violin, tabla, dhol, drum pad, electronic keyboard, guitar and bass guitar. Also for the first time, some male and female background vocalists were used in some songs. Many hardcore Suman fans criticized and disliked this music, which was not alike with his previous albums.[17] 153554b96e


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