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Download popular hit songs and albums of Kabir Suman in MP3 format. You can also listen to Kabir Suman songs online, on Saregama.com. Sep 22, 2014. Download Tomake Chai-Kabir Suman-22092014.mp3 Bangla Song.

Kabir Suman at his childhood Suman was born in a family on 16 March 1950 to Sudhindranath and Uma Chattopadhyay at,. He started his training in classical music at a very young age, under the tutelage of his father. Although he learned and since his childhood, his father did not want Suman to take up professional singing as he believed that the masses never respect a professional singer. His parents were professional singers, and had recorded a number of.

They were accomplished radio artists. Late Sudhindranath Chattopadhay was a generous listener of Indian arists like,,,,,,,,, and, as well as foreign compositions of,,, and, which enriched Suman's childhood.

Suman says that he could have never been able to become a musician, had he not listened to these records since his childhood. Sudhindranath got an opportunity to study music under in his youth although it was not possible for him to afford the costs due to financial constraints. At a very young age, Suman accompanied his Father to where he got the opportunity to observe, and met, a Rabindrasangeet maestro. Suman’s elder brother Anandarup Chatterjee was also an accomplished singer and harmonica player though he never took up singing professional ly.

When Suman was young, Pandit Girin Chakrabarty had suggested his mother to teach him the, although this idea was never materialised. Played an important role in his life at that time. He started playing the and around the early 1960s. For a short period, he also played the. Suman's first public performance wa in 1958, as a child singer, where his father accompanied him with the harmonium.

In the same year he performed at the much revered Shishumahal Auditorium. Around 1959, he learned music under the guidance of Father Pinto, the man responsible for popularising Opera music in India.

He sang in a radio program under the direction of renowned composer Pankaj Kumar Mallik as well. Acharya Kalipada Das & Chinmoy Lahiri taught him the khayal. Suman also idolised and and was greatly influenced by their language form and rhythm. Suman added tune to a poem of Rabindranath Tagore, when he was just fourteen.

That was his first musical creatiom. Along with his continuous learning of, he also listened to western singers like,,,, and. He was deeply inspired. Suman auditioned for Akashbani as a singer and received the ‘B-high’ grade in Rabindrasangeet and Modern Music and‘B’ grade in Nazrulgeeti from Akashbani at the tender age of 16. Youth [ ] When he was seventeen, he started adding tune to lyrics and poems. He graduated with an honours in English Literature from and did a diploma in the and the. He read modern Bengali poems, especially those written by the as well as English poems.

He was highly inspired by the works od, and. Rethinking about Bengali Songs [ ] Around 1968, while learning compositions, he felt that in spite of their compositional strength, they did not represent the contemporary times, lyrically.

He observed that the language and thinking of modern poems, story, novel, essay, journalism, drama, cinema and magazine have started changing, but not Bengali music. At that time the political environment of West Bengal started changing. It was turbulent times in. The was slowly gaining strength. Emergency was imposed. Kolkata witnessed daily bombings, arrests of the common people and police atrocities on those involved in the movement.

The,, and became icons of the Bengali youth, but this did not reflect in contemporary Bengali songs. He felt that he was not satisfied with the music he sang because those songs did not represent his time. He felt that he had to write his own songs if he had to sing. He gave up learning under Kalipada Das. He resigned from Akashbani, stopped recording for and decided to focus on writing his own songs. Early Recordings [ ] Kabir Suman's first studio recording was in 1972. It was a single record, with one song on both sides, written and composed by Rabindranath Tagore.

It was released from. He was accompanied on,, and by other musicians. Helped him in the recording, and this recording was done under the guidance of Sudhindranath Chatterjee.

His second single vinyl record was published in 1973, from the same company, this was also a two-song record of Rabindranath Tagore. Both these records were commercially unsuccessful, but he got some small scale popularity and received the opportunity to perform in live concerts. Influence of Bob Dylan and songwriting [ ] After quiting Akashbani ( ) he joined a clerical post. Kabir Suman shifted to France temporarily to teach the basics of in 1973. It was in Framce that he first listened to ’s ‘A Hard Rain’s agonna Fall’ from the album. Bob’s simple music with an acoustic guitar and harmonica, unconventional voice, and offbeat lyrics, compositions and genre gave him a 'shock'. He also got the opportunity to listen to the compositions of,, and realized that western music has changed a lot, and successfully represents it's time and it's people.

This was when his will to write his own songs strengthed. He started listening to all types of music from the street side accordion to the pipe-organ in the church. He also started playing the. Return to Kolkata [ ] After returning to Kolkata, he stopped professional singing completely to focus on songwriting. He tried writing poems, but it was not satisfactory. His father suggested him to learn some musical instrument, and his parents inspired him not to stop singing completely.

First song [ ] Suman's first songs was a six liner ”E Kemon Akash Dekhale Tumi’’. This song is still unreleased. Soon after, he left for West Germany. 1975—1979: In West Germany [ ] Kabir Suman went to West Germany on 12th May, 1975 to study literature at the age of 26. He started learning the for his convenience at work and worked part-time alongside his studies.

At the end of 1975, opened a Bengali department in, and he applied for a job there. They gave him some translation work, and he gradually became a regular for the Voice of Germany—Bengali division.

In Germany, works of German & Austrian musicians like, inspired him. The stage performance, lyrics and composition of Biermann changed his earlier concept of live performance, which would later have a great impact on his own stage performances. German also taught him some lessons.

He met Bengali poet in Germany. Back in Kolkata [ ] In May 1979, Suman returned to Kolkata, with an order to send at least two articles to Voice of Germany every month.He worked as a teacher of German at, Kolkata and the Max Mueller Bhavan.

He started working in the Bengali daily as a part-timer, and also contributed to the until 1980. 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’. Kamal Sarkar was the main lyricist and composer.

During this time Suman completed his first song (written in 1975) “E Kemon Akash Dekhale Tumi”. He also started playing the Melodica and the Accordion. He wrote his second song “Bhalo Lagchhe Na Asahya Ei Dinkal”, which was highly appreciated by his fellow band members. He started writing songs, breaking the song structure in two or three parts by Counter Point Harmony. After this he wrote another song “Satchallish Noy Swadhinata”, the tune of which was inspired from a movie.

Shahid Kadri’s poem “Rashtra Manei Left Right’’ was transcripted by him as a song “Rashtra’’. After this he wrote “Tomake Bhababoi”(finally released in 1994), and “Manusher Itihas Likhte Habe”, which was a transcription of a ’ poem.

At that time Nagarik performed at two concerts at Ballygunge Science College & Gorky Sadan. Nagarik used the,,. However Suman felt that his musical talent was not being cultivated properly at Nagorik as he received limited opportunities to sing. 1980—1985: In USA [ ] Kabir Suman went USA for a job in, and he decided to join it. He planned with his friend that he will learn western music and buy many musical instruments as much as he can, and after five years he will return in Kolkata, to develop his musical career further. Learning electronic keyboard [ ].

Kabir Suman practicing organ & keyboards After reaching in USA, he bought a when he got the first salary, and started practicing to play in both hands. After two months he bought a in monthly installment and continued practice. At this time he started fully learning keyboard instrument with theory, chord practice, notation reading and writing etc.

With help of many American books and cassettes. He also started playing and during this time. Many songs including “Agun Dekhechhi Ami”(finally published in 1993), “Duchokh Buje Jao”, “Hazar Bachhar Dhare”, “America Prabasi Bangalir Gan”, “Sararat Jwelechhe” (finally published in 1994), “Bandhu Amar Ei Hat Dharo” etc. Was created during this period. During this period Kabir Suman decided to go Nicaragua to feel the environment of Revolution. He started learning Spanish, and also history, politics and literature of Latin America, and also created a song “Jwalbe Agun”(finally published in 2012) about this revolution.

In the mean time he bought two synthesizers, two organ, one keyboard, one four track tape recorder, one master recorder, microphone etc., and started. Met with him in early 1982, when Suman was living in. In this period, he started sending a feature in each month for ’Desh’ magazine under Manab Mitra, and also started writing in ’Frontier’ magazine.

Around 1983 he took some interview of,,,,,,,,,,, &. During this interview period, Kabir Suman made an intimate relation as a friend, philosopher and guide with Pete Seeger. Pete inspired Suman very much about his songwriting, composing etc.

He also helped Suman to go to Nicaragua for knowing details about the revolution. Suman returned in Kolkata in early 1985.

He bought many instruments, applicable for a complete recording studio, which was sent to Kolkata by ship. After returning in Kolkata, he rejoined with ‘Nagarik’ with some new vocalists and instrumentalists, and continued to writing and composing songs, thinking mainly as group songs. After more than five years, ‘Nagarik’ again performed in a concert at Birla Academy Hall, where Kabir Suman played. Other instruments were,,, and.

After seeing the concert, Biman Ghosh, one of the officer of offered ’Nagarik’ to record an album as both and format. He insisted Suman repeatedly to sing some songs on the forthcoming album, along with playing keyboards, but ultimately the recording company not showed much interest about alternative Bengali songs, and the recording was not done.

Breakup of Nagarik [ ] From early 1986, ‘Nagarik’ 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 and published in 2002), “Ganahatyar Nam Bhopal”, “Tirikshi Mejajer Je Lokta”, “Abhibadan” (finally published in 1994) etc. His efforts became mostly useless because most members of ‘Nagarik` were not practicing in home, so complex compositions made them troubled. M Audio Keyrig 49 Windows 7 Drivers. Some old members departed, and some new members arrived. They planned to record some of his songs on cassette tape, the entire recording was planned domestically on his home. Kabir Suman himself 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 rest 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” was failed to publish.

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 of an abandoned factory near. 1986—1989: In West Germany [ ] 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 foreign country as an employee, he can buy many electronic music instruments. Thinking this, he went 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. Learning guitar [ ] After reaching in 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,, listening many guitarists’ records like, etc., and also started learning &. 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,,,, and also some. Suman returned in Kolkata in early 1989.

He bought many instruments like before, this time both keyboard and guitar. Struggling as a newcomer musician [ ] After returning 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 Sabkichu” (finally published in 1994) etc. First public performance with own song [ ] In February 1990, a singer named Raju Bal took a gentleman Indranil Gupta to Suman’s house.

Indranil listened “Tin Shataker Shahar” and liked it, and told Suman that was holding on in remembering so call tri-centenary celebration of Kolkata City, and that song relates with this, so he should sing this song at that festival. Kabir Suman in his rented flat at Bhabanipur He felt nervous because he was performing in stage after 17 years, and he was completely unknown, with his style. He sang “Tin Shataker Shahar” with guitar, then “Tomake Chai” and finally “Amader Janya” - both with electronic keyboard. After three songs, audience was highly appreciated his songs and music, and started applause and encore. Kabir Suman felt very happy to realize that his song got favor to general public, and became optimist.

He started practice his voice with the help of, continued keyboard and guitar playing, and also creating songs with some contemporary incidents. Kabir Suman performed first time as a professional singer in December 1990. He got appreciation from Dr. Barin Roy, Gour Kishor Ghosh, Ashis Chattopadhay etc. Helped him by give him a chance to perform in some concerts. His songs have not impressed rural people, but urban and suburban people appreciated his songs very much. He also sang at some political meetings of.

During this time some controversy arose for one of his song “Anita Dewan”. Solo live performance [ ] Kabir Suman performed his first solo live performance on 5 May 1991 at Shishir Mancha.

Many magazines and newspapers were invited, like,,,, 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 any invitation other than his friend circle happed. 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 done jingles or theme songs including “Lexpo 1991”, but some of them either gave him not a single money, others gave him very little money, despite Kabir Suman made all this works completely alone with writing, composing, singing, playing instruments, and recording, mixing.

Some advised him to go to Mumbai for some professional works, but he refused it. He went to Kendra Kolkata for some work, but he was refused. He went at 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 in radio. In 1991 he went to film director for some works in soundtrack. Tarun Majumder listened some of his songs, and selected “Pratham Sabkichu” to use in one of his upcoming film ‘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, Pratap Roy played, and Samir Khasnabis played. Unfortunately the film was not completed, and so the song was also not released. First solo album [ ] Shubhendu Maity told to Mr. Somnath Chattopadhyay, one of the officials of about the songs of Kabir Suman, and after Shubhendu’s request, Suman sent some songs to Somnath after home recording., the head of the product development division of that company welcomed Suman, and shown interest to record his songs. Kabir suman felt very happy and surprised after listening this, and asked to Ravi about the reason of it, Ravi Kichlu told him - “I will be doing a service to Indian Music”. The recording started after some days in early 1992.

Tomake Chai [ ] 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 on 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. On first pressing, it was not sold well, but after the 2nd pressing, it gained a huge success, and was a big hit. With its offbeat lyric, and instrumentation, it drew a great attention to the listeners, and ultimately it got Platinum Disc. After much deliberation, Suman zeroed in on the name, Kabir Suman. According to him, 'I wanted to keep the name my parents gave me, so I kept Suman.

I took the name Kabir after Sheikh Kabir, a poet who wrote Baishnab Padabali.' Personal life [ ] As of 2016 Suman has been married five times. He is married to, a singer. Musical life [ ]. Main article: Kabir Suman, recorded a number of albums between 1992 and 1999 under the name Suman Chattopaddhyay or Suman Chatterjee. He returned to the recording industry again in 2001, and this time as Kabir Suman.

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, which has influenced bands like, 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 (Songs of ), starting in the late-1990s. [ ] 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.

Concert With Pete Seeger [ ]. Kabir Suman was performned with Pete Seeger at Kolkata in 1996. One of Suman's greatest critical success, was his concert in (in ) with American folk icon, in 1996.

Unfortunately, all evidences of this concert, were removed and no recording was made. Such actions were taken by the then ruling government in Kolkata. This was a measure taken against Suman and was made to limit his popularity, as it was not often that Bengali musicians shared stage, with a universally acclaimed icon. Present Status [ ].

Kabir Suman is one of the very few recent musicians who performs frequently Bangla Khayal on stage. Although he has not recorded any studio album since 2012 (actually his last recording in a professional recording studio occurred in 2008, since when he has recorded his studio albums entirely at his home), he has recently recorded two soundtrack albums in 2014 and 2016. He is continuing live performance on various stages in Kolkata and various towns in West Bengal as of 2017. He also sometimes performs live in some cities outside West Bengal, including both Indian and foreign cities, even outside of Asia. He also teaches songs in his house on weekends.

Despite not being completely physically fit due to some nerve problems, he still performs a three-hour solo live performance, playing electronic keyboard (now simply an acoustic piano). Until recently, he played guitar. He also sometimes plays melodica and harmonica at his concerts. Since 2013, he took some additional musicians in his concerts for playing additional acoustic guitar and electronic percussion/tabla. Wideview Serial Crack. Bangla Khayal [ ] Recently, Kabir Suman is doing some serious works relating Bangla Khayal, which is also written and composed by himself. He has organized some concerts about Bangla Khayal. Influences and legacy [ ] Suman has often been credited with creating a new genre of music in Bengal, which is deceptively simple, with lyrics that reflect common life experiences.

He is sometimes referred to as the Nagorik Kobial (urban troubadour). Some people consider his songs Jibonmukhi (songs facing life), though he doesn't like this title and consider his work as simply adhunik bangla gaan (modern Bengali songs). His music reflects on social mores and is often directly political.

Suman draws from a very long and deep tradition of Bengali music, absorbing multiple genres including pop, light classical, film music and folk. His influences traverses a literal who's who of the Bengali music pantheon. He was also influenced by Western musicians such as,, and. He transcribed (with credits) Dylan's ' as 'Uttoro to Jana' in his album Ichche Holo in 1993 and ' (initially recorded by in 1965) as 'Biday Porichita' in his 1997 album Jatiswar. He transcribed (with credits) 's 'Sounds of Silence' as 'Stobdhothar Gaan'. Also had an influence on his music. Suman had transcribed Pete Seeger's, to his song called 'Kothay Gelo Tara'.

Which he sang at various occasions, but never recorded. He had sung this in his concert with Seeger in Kalamandir 1996, right after Pete sang his original. [ ] His early albums were sparsely arranged, using primarily electronic keyboard, guitar and occasional mouth organ, all played by himself on multitrack recordings. The effect on the Bengali audience was not unlike what Bob Dylan produced on American audiences during the Beat Generation. Later albums were more elaborately arranged with full studio orchestra and often classical Hindustani accompaniment. Suman influenced a generation of singer-songwriters in Bengal after 90s, including,,, and bands like.

[ ] Political activities [ ] Suman was a journalist in Nicaragua during the revolution and wrote Mukto Nicaragua (Liberated Nicaragua) on his experiences. During the, he composed songs in protest against fundamentalism.

He is also noted for his strong declamations against political opponents in public. [ ]Since 2006, when Suman was involved in the, he started aligning himself to (TMC) led. His songs on the Nandigram land issues have been released on two albums, Nandigram and Pratirodh. Suman participated in the agitation & other TMC party programmes on a regular basis. The Trinamoool Congress nominated him for the from in, West Bengal, and won the election, defeating his nearest rival, of the (CPI(M)) by 54,000 votes (by a 10% margin). In November 2009, Suman had a dispute with the Trinamool Congress. He complained that the local leaders of the party were not allowing him to work, and his views were not taken seriously in the party.

However, the issue was resolved amicably in a series of closed door meetings. Suman has also been vocal in his support for the movement of tribals in Lalgarh, and has composed an album called Chatradharer Gaan in support of the mass movement, going against the wishes of the party.

Going against the party position, he has also expressed his protests against 'Operation Green Hunt', the Indian Government's military operation where the Naxalites have some influence. Suman, at the end of March 2010, claimed that he is going to leave Trinamool Congress and also his membership of the Parliament. On the request of he postponed his resignation for seven days. Within a few days, however, he made a u-turn and declared on 7 th April that he does not want to resign to prevent embarrassing the party further.

Currently he conveys his political opinions through his own. Discography [ ] Solo albums with track lists: Tomake Chai (1992) – HMV [ ]. Retrieved 26 July 2014. •, india.gov; retrieved 11 December 2011 • Lockard, Craig A.

University of Hawaii Press. 7 April 2006. Retrieved 16 August 2016. Retrieved 26 June 2017.

Retrieved 25 June 2017. Retrieved 25 June 2017. Retrieved 27 January 2014.

Retrieved 26 June 2017. Retrieved 27 June 2017. • Cohen-Cruz, Jan (1998).. Taylor & Francis Group. • 5 April 2010 at the. Retrieved 27 June 2017.

Retrieved 18 October 2013. • Suman, Kabir (2 September 2007).. Calcutta, India: www.telegraphindia.com. Retrieved 28 January 2013. • ^, kabirsuman.in; retrieved 11 December 2011. •, timesofindia.indiatimes.com; retrieved 17 February 2013. Retrieved 28 June 2017.

Retrieved 26 October 2014. •, kabirsumanonline.com, 29 April 2011; retrieved 11 December 2011 • on user account-onusondhan, retrieved 10 December 2011 •. Retrieved 11 May 2009.

Retrieved 11 May 2009. •, indiaelections.co.in; retrieved 11 December 2011. The Times of India. 18 November 2009. 20 November 2009. Retrieved 9 July 2012. • Goutam Gupta..

Retrieved 9 July 2012. Chennai, India. 20 February 2010. The Times of India. 8 April 2010. The Telegraph.

Calcutta, India. 8 April 2010. Archived from on 20 November 2014. Retrieved 16 August 2016. • Chakraborty, Samir... Retrieved 16 August 2016.

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