AMJ-173 [Hemant Kumar - 01]

Introduction
This album contain sixteen (16) jhankar songs.
(AM Jhankar Enterprises)



01. Chaandi Ke Chand Tukron
02. Din Raat Badalte Hain
03. He Apna Dil To (Happy)
04. He Apna Dil To (Sad)
05. Jaane Voh Kese Log
06. Kho Gaya Jaane Kahaan
07. Lehron Peh Leher
08. Log Peete Hain
09. Main Ghareebon Ka
10. Na Yeh Chaand Hoga
11. Teri Dunya Main Jeene
12. Ya Dil Ki Suno Dunya
13. Yeh Raat Yeh Chaandni
14. Zara Nazron Se
15. Zindagi Kitni Khoobsurat
16. Zindagi Pyaar Ki Do

Hemanta was conceived in Varanasi, in the place of his maternal granddad who was a main doctor. From the fatherly side his family started from Baharu. They moved to Kolkata in the mid 1900s. Hemanta grew up there and went to Nasiruddin School and later Mitra Institution school of Bhawanipore zone. There he met his long-term companion Subhas Mukhopadhyay who later turned into a Bengali artist. During this time, he built up a fellowship with the prominent author Santosh Kumar Ghosh. Around then, Hemanta composed short stories, Santosh Kumar composed sonnets and Subhash Mukhopadhyay sang melodies.

In the wake of passing the transitional assessments (twelfth grade), Hemanta joined Bengal Technical Institute at Jadavpur to seek after Engineering. In any case, he quit scholastics to seek after a vocation in music, regardless of complaint from his dad. He quickly attempted writing and distributed a short story in the esteemed Bengali magazine called Desh, however by the late-1930s he was submitted altogether to music.

Affected by his companion Subhas Mukhopadhyay, Hemanta recorded his first tune for All India Radio in 1935. The primary line of the melody was "Amar Ganete Ele Nabarupi Chirantanii." Hemanta's music vocation was principally tutored by the Bengali artist, Sailesh Duttagupta. In his initial life Hemanta used to follow the celebrated Bengali artist Pankaj Mullick. For this he was nicknamed as "Chhoto Pankaj". In a meeting on TV in the mid 1980s, Hemanta had referenced that he had likewise gotten old style music preparing from Ustad Faiyaz Khan's understudy Phanibhusan Banerjee, however his tutelage was stopped by the Ustad's inauspicious demise.

In 1937, Hemanta cut his first gramophone circle under the Columbia mark. The melodies (non-film) on this plate were "Janite Jadi Go Tumi" and "Balo Go Balo More" whose verses were by Naresh Bhattacharya and music was made by Sailesh Duttagupta. From that point, each year Hemanta kept on recording non-film circles for the Gramophone Company of India (GCI) till 1984. His first Hindi melodies were "Kitana Dukh Bhulaya Tumne" and "O Preet Nibhanewali", discharged in 1940 under GCI's Columbia mark. Music for these tunes were created by Kamal Dasgupta; verses were by Faiyaz Hashmi.

Hemanta's first film tune was in the Bengali film Nimai Sanyas discharged in 1941. Music was scored by Hariprasanna Das. Hemanta's first structures for himself were the Bengali non-film melodies "Katha Kayonako Shudhu Shono" and "Amar Biraha Akashe Priya" in 1944. Verses were by Amiya Bagchi.His first Hindi film tunes were in Irada (1944 film) in 1944 under Pt. Amarnath's music bearing. Hemanta is viewed as the preeminent type of Rabindra Sangeet. His previously recorded Rabindra Sangeet was in the Bengali film Priya Bandhabi (1944).[1] The tune was "Pather Sesh Kothaye". He recorded his first non-film Rabindra Sangeet plate in 1944 under the Columbia name. The melodies were "Aamar Aar Habe Na Deri" and "Keno Pantha E Chanchalata". Preceding that he had recorded the tune " Aamaar mallikabone " in All India Radio/Akashvani in any case, sadly, the record has gone into oblivion.[2]

His first film as a music executive was the Bengali film Abhiyatri in 1947. Albeit a considerable lot of the melodies Hemanta recorded during this time got basic recognition, significant business achievement escaped him until 1947. Some contemporary male artists of Hemanta in Bengali were Jaganmay Mitra, Robin Majumdar, Satya Chowdhury, Dhananjay Bhattacharya, Sudhirlal Chakraborty, Bechu Dutta[3] and Talat Mahmood.

In the mid-1940s, Hemanta turned into a functioning individual from the Indian People's Theater Association (IPTA) and began a relationship with another dynamic IPTA part — musician and author Salil Chowdhury. One of the primary main thrusts behind the foundation of IPTA was the Bengal starvation of 1943 and the inaction of the British organization and well off Indians to forestall it.

In 1947, Hemanta recorded a non-film melody called "Ganyer badhu" ("The country lady of the hour") that had music and verses by Salil Chowdhury. The six-minute melody recorded on different sides of a 78 rpm circle was sung at a changing pace and came up short on the regular structure and sentimental topic of a Bengali tune. It portrayed an ideal, prosperous and caring country lady's life and family and how it gets desolated by the evil spirits of starvation and following destitution. This tune produced an unanticipated fame for Hemanta and Salil in eastern India and, as it were, built up Hemanta in front of his male peers. Hemanta and Salil combined again in a few tunes throughout the following hardly any years. Practically every one of these tunes end up being very popular.[6]

Around a similar period, Hemanta began getting more assignments for music structure for Bengali movies. Some were for executive Hemen Gupta. When Hemen moved to Mumbai a couple of years after the fact, he called upon Hemanta to create music for his first directorial adventure in Hindi titled Anandmath under the Filmistan pennant. Reacting to this call, Hemanta relocated to Mumbai in 1951 and joined Filmistan Studios. The music of Anand Math (1952) was a moderate achievement. Maybe, the most prominent melodies from this film is 'Vande mataram' sung by Lata Mangeshkar, which Hemanta set to a walking tune. Following Anandamath, Hemanta scored music for a couple Filmistan motion pictures like Shart in consequent years, the tunes of which got moderate fame. All the while, Hemanta picked up notoriety in Mumbai as a playback singer.[7] His melodies playbacked for on-screen character Dev Anand under music chief Sachin Dev Burman in films like Jaal ("Yeh raat, yeh chandni phir kahan ... "), House No. 44 ("Chup hai dharti, chup hai chand sitare... "), Solva Saal ("Hai apna dil to awara ..... "), Funtoosh ("Teri duniya mein jeene se ... "), and Baat ek raat ki ("Na tum hame jaano ..... "), turned out to be well known and keeps on being so. During the 1950s, he additionally play-upheld for different saints of Hindi movies like Pradip Kumar (Nagin, Detective) and Sunil Dutt (Duniya Jhukti Hain) and later during the 1960s for Biswajeet (Bees saal Baad, Bin Badal Barsat, Kohra) and Dharmandra (Anupama); he was the music author for every one of these movies.

During the 1970s, Hemanta's commitment in Hindi movies was ostensible. He scored music for a bunch of his home creations, however none of these motion pictures were fruitful nor their music. In Bengal, be that as it may, he remained the chief type of Rabindra Sangeet, film and non-film tunes. His yield kept on being well known for the majority of the decade. Some of them are Jodi jante chao tumi... (1972), Ek gochha rajanigandha , Aamay prasno kore nil dhrubatara..., Sedin tomay dekhechilam... (1974), Khirki theke singho duar... (Stree, 1971), Ke jane ko ghonta... (Sonar Khancha, 1974), Jeona daraon bandhu... (Phuleswari, 1975 ) and promoted Rabindra sangeet utilizing them perfectly in films according to circumstances. An exceptionally well known and exemplary model is the melody Chorono dhorite diyogo amare.. in Dadar Kirti (1980). In 1971, Hemanta appeared as a movie chief in for his self-created Bengali film Anindita. It didn't passage exceedingly well in the cinematic world. Nonetheless, his version Diner seshe ghumer deshe.. was one of his best and well known Rabindra Sangeet versions . Around the same time Hemanta went to Hollywood by reacting to renowned movie chief Conrad Rooks and score the music of Conrad's Siddhartha and played back [ O Nadire... ( made and sang by him before in Neel Aakaser Niche )] in that film. He was the primary Indian artist to play back in Hollywood. The US government respected Hemanta by meeting him with the citizenship of Baltimore, Maryland; the first historically speaking vocalist of India to get USA citizenship. In the ahead of schedule to mid-1970s, two significant music arrangers in Bengal, Nachiketa Ghosh and Robin Chatterjee, who had worked intimately with Hemanta, since the mid 1950s, kicked the bucket. All the while, music formed by Hemanta for Bengali movies like Phuleswari, Raag Anurag, " Ganadebata " and Dadar Kirti built up him as the significant film music author in the Bengal film scene. In 1979, Hemanta re-recorded a portion of his previous works with author Salil Chowdhury from the 1940s and 1950s. This collection, titled Legend of Glory, vol. 2 was a significant business achievement, notwithstanding Hemanta's matured and somewhat worn out voice.

In 1980, Hemanta had a coronary failure that seriously influenced his vocal capacities, particularly his breath control. He kept on recording tunes in the mid eighties, yet his voice was a shade of its rich baritone past. In 1984, Hemanta was congratulated by various associations, most quite by the Gramophone Company of India, for finishing 50 years in music. That very year Hemanta discharged his last collection with Gramophone Company of India — a 45 rpm broadened play circle with four non-film melodies. Throughout the following hardly any years, Hemanta discharged not many non-film melodies for little league organizations that had sprung up in the early tape based music industry. Just a couple of these were monetarily fruitful. He created music for a bunch of Bengali motion pictures and one Bengali and one Hindi tele-arrangement. In any case, at this point he had become a foundation, a cherished and venerated character who was a respectful and well disposed man of his word. His humanitarian exercises remembered running a homeopathic emergency clinic for memory of his late dad in their local town in Baharu, in the South 24 Parganas area of West Bengal. He kept on highlighting normally on All India Radio, Doordarshan (TV) and live projects/shows during this period.

In a TV meet, recorded in the mid 1990s, to noted elocutionist Gauri Ghosh, his better half Bela Mukherjee reviewed that she never knew during his lifetime the quantity of families and people he assisted with setting up monetarily or something else; simply after his takeoff that this reality bit by bit revealed.

In 1987, he was named for Padmabhushan which he denied pleasantly, having just turned down a past idea to get Padmashree during the 1970s. Right now, was freely congratulated in Netaji Indoor Stadium in Calcutta.