| 10 | | musical arrangements for some of Kazi Nazrul Islam’s compositions. His use of orchestration typifies the Nazrul gharana, which he helped popularise in the early years of the gramophone industry. Along with Anupam Ghatak and Anil Bagchi, one of the most popular composers in the interwar years. Worked with Barua (e.g. Shesh Uttar/Jawab, Pehchan) and extensively with Niren Lahiri (Garmil, Jayjatra). Also scored Modhu Bose’s Baraley Bandhu; 1961; Sathi Hara. Tagore-derived Giribala. Worked with Sagar directors Luhar (Bindiya) and Badami (Manmani) and later with Pranab Roy, also producing Roy’s Prarthana. Later years in Bangladesh where he married the singer Feroza Begum. |
| | 10 | musical arrangements for some of [[Kazi Nazrul Islam]]’s compositions. His use of orchestration typifies the Nazrul gharana, which he helped popularise in the early years of the gramophone industry. Along with [[Anupam Ghatak]] and Anil Bagchi, one of the most popular composers in the interwar years. Worked with [[Barua]] (e.g. [[Shesh Uttar]]/[[Jawab]], Pehchan) and extensively with [[Niren Lahiri]] ([[Garmil]], Jayjatra). Also scored [[Modhu Bose]]’s Baraley Bandhu; 1961; Sathi Hara. [[Tagore]]-derived Giribala. Worked with [[Sagar]] directors [[Luhar]] (Bindiya) and [[Badami]] (Manmani) and later with Pranab Roy, also producing Roy’s Prarthana. Later years in Bangladesh where he married the singer Feroza Begum. |