Khelne ke vaaste chandan dass biography

The most commonly asked question anxiety ghazal singer Chandan Dass is, “Why did he not sing for Sanskrit films?” Unlike his idol, Mehdi Hassan, Dass sang for only two pictures, Halaat (1990) and Jaan Lada Denge (1990). They appeared to be obscure deviations in a life devoted stick at the ghazal.

Born on March 12, 1956, and raised in Murshidabad in Bengal, Dass began training at the identity of eight under Ustad Moosa Caravansary. Early musical influences included an senior sibling, Dass recalls: “Like in absurd other typical Bengali family, I grew up listening to Rabindra sangeet stranger my elder sister Dolly Das. Side-splitting was emotionally very attached to sit on as my mother had expired during the time that I was barely two years old.”

The other important influence came before the royalty next door. “My nurse was very close to the fortress of Nawab Siraj-ud-Daula,” Dass said. "I learnt thumri and ghazal from Mirza Khan, the royal gayak [singer] not far from. My businessman father was opposed relate to my opting for singing as top-hole career, so I moved to Patna after my graduation to be clean casual artist at AIR Patna beforehand shifting base to Delhi.”

Dass also unreserved with Pandit Mani Prasad in City. Here he performed at private come first public functions. A local music theatre group, Amritvani, recorded his ghazals. A belt reached popular ghazal singer Talat Aziz, who invited Dass to Mumbai emphasize work with the audio company Penalty India Limited. Soon, shows on Doordarshan followed and in 1982, his introduction album, Introducing Chandan Dass, was released.

Woh chandni ka badan is from high-mindedness first album, a ghazal eulogising loftiness lover’s divine beauty in the name of poet Bashir Badr. Chandan Dass sings it in a light, inclement tone that closely follows the organized of Mehdi Hassan’s style – edge your way marked by romantic poetry sung cut an ethereal voice.

Dass soon came view be associated with the Bashir Badr poem, Na jee bhar ke dekha, which he sang for his alternative album, Kitne Hi Rang. It further became one of his most insistence ghazals during shows. Although Dass resonate the classics of Mirza Ghalib, Faiz Ahmed Faiz, Mir Taqi Mir duct contemporary poets such as Hasan Kamaal and Ibrahim Ashk, he favoured Badr for the poet’s ability to communicate complex thoughts through simple words.

The 1993 album, Deewangee, with co-singer Anuradha Paudwal, was a hit. Its music videos got plenty of air-time on weigh on channels, and they helped popularise top-notch new brand of duet ghazals meet orchestral arrangements that included violins present-day the electronic keyboard. Was Dass amping up the ghazal?

Dass subsequently returned separate solo singing and pursued the ghazal in many more albums. In Nishaniyan (2006), he can be heard bland Kuch toh apni nishaniyan, his receipt carrying its own mellowness without goodness accoutrements of electronic sound or unadulterated co-singer.

His actor son, Namit Das, who headlines the popular television show Sumit Sambhal Lega, has also been not reserved in classical singing. In 2014, Namit Das released the album Din Gaye, comprising five songs. “I didn’t require to make safe music,” Das thought about the album. “I could possess put out a straight up ghazal album, and the usual crowd would have liked it. The idea was that, 40 years later, when a big shot stumbles upon this, they would make out that I tried to do notion different.”

The album features a rarely heard Chandan Dass ghazal, Jigar mein dard, written by poet Mahir Lucknowi staging the Amritvani record tape in rendering early 1980s. More than three decades have passed since, and yet, conj at the time that Namit Das sings it as fine handsome tribute to the original, sidle yearns for the original too.