Bahadur Khan
.


Ustad Bahadur Khan
Ustad Bahadur Khan is considered to be one of India's greatest Sarode maestros of all times.

Bahadur Khan was born in January 19, 1931 in Shibpur, Comillah, Bangladesh, (then British India), and he died on October 3, 1989 in Calcutta India. He is the son of famous Indian classical musician Ustad Hayat Ali Khan, nephew of the father of North Indian Classical Music Baba Allauddin Khan, cousin of the godfather of present Sarode Ustad Ali Akbar Khan and the best living Sitar player Srimati Annapurna Devi, and cousin-in-law of India's most celebrated classical musician Pandit Ravi Shankar.

No one got the instrument to yield with so many nuances like Khan. His style of playing Sarode was distinct and peerless, for he could bring a lump in the throat of connoisseurs as well as the layman. His strokes had unbelieveable control and his tone was amazingly rich and his odd squeaky musical notes a rarity. He was at his best when he revealed the aesthetic profoundity of a given Raga through his scintillating melodies. With a few deftly placed notes, he would sketch out the contours step by step and then gradually bring out the soul of the Raga chosen by him. There was no striving for abstraction by making frequent note clusters at the expense of the central melody as many of today's both vocalists and instrumentalists now do.

Khan was a highly acclaimed performer of his time and won rave popularity all over the Indian subcontinent for his musical genius. He was like a cultural ambassador of the nation at many occasions and his admirers were too many to name, few of them being Indian Prime Ministers Jawaharlal Nehru, Indira Gandhi, Jaipur Royal Gayatri Devi, Chinese Chairman Mao Zedong and Chinese Premier Zhou Enlai. Khan has extensively traveled Europe, Asia, and North America to perform his music; and was an honorary delegate of India to the former USSR and China several times. Whenever he played Sarode duett with Baba Allauddin Khan or Ustad Ali Akbar Khan, he gave out an elusive, mystical quality in the rendering where both erotica and devotion mingle. No wonder, it captivated his audience who, tears rolliing down their cheeks, left with a perennial impression not to be erased in their lifetime. In sum, pathos, poignancy, serenity and layakari or control of rhythms in a Raga were enduring.

Bahadur Khan was one of the most popular regular performers at the All India Radio and Radio Pakistan. He composed and directed music for almost all the films of the legendary Indan filmmaker Ritwik Ghatak. He received the best music director award for Ritwik Ghatak's film Subarnarekha. Other films that brought out his musical virtuosity into celluloid were Meghe Dhaka Tara, Komal Gandhar, Jukti Takko Ar Gappo, Titas Ekti Nodir Naam, Shwet Mayur, Yekhane Dariye, Trisandhyay, Notun Pata, Garam Hawa and Ajantrik to name a few. He also directed music on documentaries on renowned poet Rabindranath Tagore and painter Jamini Roy, and was also a very highly esteemed figure in the film-music industries of Bombay and Calcutta.

Musiclovers of the world did not get what they eminently deserved from this artiste extraordinaire for his introvert, withdrawn and somewhat eremitic nature. But still he remained a legend like to all the connoiseurs of music everywhere in India just like another reclusive legend Srimati Annapurna Devi, who is Bahadur Khan's cousin, and Pandit Ravi Shankar's first wife and teacher. In his untimely death in 1989, India lost a musical virtuoso who had the genius of enriching Indian classical music in no lesser way than his fellow musical legends like Ustad Ali Akbar Khan, Pandit Ravi Shankar Pandit Nikhil Banerjee and Vasant Rai of the Senia Maihar School of Music or Senia Maihar Gharana. Ustad Bahadur Khan used to say " I can beg in streets, but music is my God, and I am never interested in commercially selling my god, my worship in a dishonest way to earn money. " He was a true saint in the family of saintly musicians like his uncles Baba Allauddin Khan, Fakir Aftabuddin and his cousin Srimati Annapurna Devi.

Bahadur Khan created beautiful Ragas like Milanmadhuri, Dayabati, Debapriya, and Bahaduri Kanara (which was first broadcasted from Dhaka Radio Station). Some of his performances are commercially available in India, Europe and North America in the forms of cassettes and discs.

Bahadur Khan has taught music in Calcutta as well as at his cousin Ali Akbar Khan's Ali Akbar College of Music in California, USA. Bahadur Khan's eminent students, Bidyut Khan, Shahdat Hossain Khan, Tejendranarayan Majumdar, and Kalyan Mukherjee in Sarode and Manoj Shankar in Sitar are renowned classical musicians and performers of the present generation who are carrying on with themselves the legacy of Ustad Bahadur Khan.

Every year, a huge music concert takes place in Calcutta commemorating Ustad Bahadur Khan.





____________
"I am a dreamer,I collect all the smiles from My yesterday,
Neatly pack them into words and hide them in my heart,
I call them "MEMORIES" Music has no boundary.

Sitar maestro’s stress on ‘parampara’
Parbina Rashid

Chandigarh, June 10
Eminent sitar player Ustad Kirit Khan, who belongs to the lineage of Sarod Samrat Ustad Alauddin Khan, defies the popular belief that life is all cosy and success comes pouring on those who belong to great musical families. He has a different tale to tell. As a grandson of Ustad Alauddin Khan who started the Mayhar Gharana and son of Ustad Bahadur Khan, Kirit had to struggle for 20 years to come up to the stage for his first performance.

“If people feel we are successful just because we are sons or daughters of so and so then they are wrong. Besides going through a number of years of pure riyaz, we have struggled hard to come up to the highest level, says Kirit, talking about his student days when he and his elder brother Bidyut Khan learned sitar and sarod from their father.

As far as Kirit is concerned, the 20 years of riyaz under his father and guru was just a piece of cake in comparison to what he had gone through to establish himself as a sitar player of repute. The responsibility of carrying the lineage with equal honour was too much and then there was politics to tackle, which is a part of all form of classical art.

“Till my father was alive I had no problem accompanying him in various concerts which to certain extent put me under his shadow and after he died in 1989, I had difficulty in getting offers for along time,” he says. But Kirit is not bitter. He feels lucky that his grandfather chose him to sitar and his father painstakingly taught him all he could, to make him a dedicated artiste.

“Ustad Bahadur Khan was more of a guru to me than my father but there were times when the fatherly affection did enter the guru shishya relationship,” recalls Kirit elaborating how once his father had beaten him up for not getting a note correct and kirit later developed a high fever on that account which affected his father so much that he told Kirit to find himself another guru for it was tough for a father to act as guru as well.

Kirit cherished the memory of each moment he had spent in his father’s company, and not only that he does not wish to go way from the orbit of his father’s teachings to experiment with new trends. So when it comes to playing sitar, Kirit prefers to stick to traditional form. “Keeping the family signature style alive, I give emphasis on the ‘aalap’ part”, he says. But does that mean that Kirit has not evolved his own style? Keeping ‘aalap’ in the forefront, Kirit has excelled in tone quality to create melody which is soothing.

Kirit is in town to perform at Pracheen Kala kendra tomorrow. Kirit has already given recitals all over the world and has received honours like “Suramani” award by Haridas Music Conference and another title “Surajhankar” in Mumbai. As a music director Kirit has worked for films like “Garam Hawa” and a couple of Bengali films like “Natun Pata”, “Jukti Takko Goppo” and “Nilkanya”.

To make the younger generation aware of ‘parampara’ and concept of ‘gharana’, Kirit is presently working on a documentary film called “Gharana and Paramarara” which has been sponsored by Government of India.  








____________
"I am a dreamer,I collect all the smiles from My yesterday,
Neatly pack them into words and hide them in my heart,
I call them "MEMORIES" Music has no boundary.

garam hawa(1973)
Starring
Balraj Sahni, Farouque Sheikh, Gita Siddharth, A.K. Hangal, Shaukat Kaifi

Story
Kaifi Azmi (based on an unpublished short story by Ismat Chugtai)

Screenplay
Shama Zaidi, Kaifi Azmi

Dialogues and Lyrics
Kaifi Azmi

Cinematography
Ishan Arya

Audiography
Allaudin

Editing
S. Chakraborty

Music
Ustad Bahadur Khan

Produced by
Abu Siwani, Ishan Arya, M.S. Sathyu

Directed by
M.S. Sathyu



Synopsis

Mirza Salim (Balraj Sahni) is a middle aged shoe manufacturer in Agra whose family like many other muslim families has been in the leather business for generations. But Partition shatters not only their flourishing business but also their family. Following the exodus of many of their colleagues Mirza Salim's brother, Halim, leaves for Pakistan with his wife and son Kazim with the promise that Kazim would return to marry Salim's daughter Amina (Gita Siddharth) after he had secured a job. Their ancestral house being in the eldest son Halim's name is declared evacuee property and claimed by a Sindhi Refugee. Salim and his family are forced to shift to a much smaller rented house nearby. Kazim gets a Scholarship to go to Canada and sneaks across the border to meet Amina before leaving. Their marriage is arranged but the police get a wind of it and he is whisked off in the middle of the ceremonies. Faced with stiff competition from the Hindu migrant traders who enter the leather Salim's business suffers. His sisters husband, Fakhruddin, is embroiled in a fraudulent transaction and skips across the border to escape his debts. His son, Shamshad (Jalal Agha), who has a soft corner for Amina and wants to marry her, also leaves with his father. Salim is shattered yet refuses to follow his relatives across the border. One day while going to his factory he is embroiled in a fight with a hand cart puller which turns into a minor communal riot. Salim's factory is an easy target and is set on fire and Salim sustains head injuries. Blamed for instigating the riot he is taken to the police station for questioning but released for lack of evidence. Meanwhile news of Shamshad's marriage to a girl in Pakistan drives Amina to suicide. Hounded by the other traders and called a spy Salim finally decides to migrate. But as he is enroute to the station he is stopped by aprocession of young people demanding jobs, bread and better education from the government. Among them is his second son Sikander (Farouque Sheikh) who has just graduated from college. Sikander refuses to give up and leave and Salim turns back and joins the procession of protesters.

The film


Garam Hawa remains today one of the most poignant films ever to be made on India's partition. Although Ritwik Ghatak and other film makers had made films touching on the Bengal Partition, this was the first Hindi film to tackle this sensitive subject in a direct and realistic manner. Although it was released in 1973 in many ways it is a precurser to Ankur and other films of that genre that followed. For first time director M.S. Sathyu it remains today one of his best films. It was a bold attempt to break out of the cliches of mainstream Hindi cinema of those days. Inspired by Satyajit Ray and De Sica among others Sathyu attempted to potray a slice of our history that had effected everyone but had been swept under the carpet in an attempt to hide the pain and trauma. Sathyu's main motivation was to potray the affects the partition had on the ordinary family against the backdrop of the socio-economic changes that were an afternath of the division of the country. It brings home to the viewer not only the emotional trauma of losing your roots but also the complete social and economic devastation that follows. To quote Sathyu,

"What I really wanted to expose in Garam Hawa was the games these politicians play...How many of us in India really wanted the partition. Look at the suffering it caused."

Based on an unpublished story by famous Urdu write Ismat Chugtai, the story was developed and scripted by Kaifi Azmi. The original story centered around a station master who watches the slow exodus of his family and friends to Pakistan. Putting his valuable experience as a union leader with shoe factory workers to use Kaifi Azmi turned the protagonist from being merely an observer into someone whose livelihood and with it his entire world crumbles, thus highlighting and personalising the trauma.

Made with a shoestring budget of eight lakhs the entire film was shot within a paltry sum of two lakhs on location in Agra. Except for Balraj Sahni most of the other cast members had hardly any film acting experience and were drawn from the Indian People's Theatre Association, IPTA. It is Sathyu's superb handling of the actors that ensures that each character however minor hold their own giving the film a lyrical realism never seen before. Dadi Amma, the old matriach of the family who delivers an unforgatable performance as Salim's mother was discoved in the Mohalla where the story was filmed. Balraj Sahni himself agreed to do the film for a pittance and was so enthused that at the conclusion of shooting he organised a strike among the shoe factory workers of Agra demanding better wages. When Satyu was shooting at location in Agra and was being harrassed by bystanders, he diverted them with a fake second unit using an unloaded camera!

Garam Hawa is dominated by Balraj Sahni's remarkable performance in his last major role, perhaps his greatest ever, Do Bhiga Zameen, notwithstanding. Excellent camera work portraying the lyrical quality of the Agra monuments and the Art Direction by Shama Zaidi with careful attention to detailing add authencity to the film, rare in Hindi films of those days. Although the film was shot in the haveli of a Hindu family, certain tiny details in the differences in lifestyle between a Hindu family and a Muslim family were incorporated adding to the originality of the film. Ustad Bahadur Khan evocative music helps lift the film even more.

The film was held up at the censors for eight months due to its politically sensitive theme. However after it was passed it opened to rave reviews and was a commercial success at the box office. Contarry to apprenhensions that the film would create communal tension it was applauded for the empathetic manner in which such a sensitive aspect of India's history had been handled. The Film went on to win a National Award for its contrubution to National Integration. To quote Sunil Sethi in the Junior Statesman dated October 27, 1973,

"The film remains one of the most sensitive and evocative studies without the slightest contrivance of a minority group in India...It is the story simply of what a breaking up of a nation does; not only to human relationships but to individuals themselves, who begin to crumble under the obtuse pressures as things around them begin to fall apart."





____________
"I am a dreamer,I collect all the smiles from My yesterday,
Neatly pack them into words and hide them in my heart,
I call them "MEMORIES" Music has no boundary.

Ustad.Alauddin Khan


Ustad.Bahadur Khan


Pandit.Monoj Shankar
�@About North Indian Classical Music

Hindustani Classical Music[North Indian Classical Music]is an Indian classical music tradition originating in the North of the Indian subcontinent circa the 13th and 14th centuries AD. Developing a strong and diverse tradition over several centuries, it has contemporary traditions established primarily in India, Pakistan and Bangladesh. In contrast to Carnatic music, the other main Indian classical music tradition originating from the South, Hindustani music was not only influenced by ancient Hindu musical traditions, Vedic philosophy and native Indian sounds but also by the Persian performance practices of the Afghan Mughals.Outside India, Hindustani classical music is often associated with Indian music in general, as it is arguably the most popular stream of Indian music outside India.

�@About Maihar Gharana

The Maihar gharana is a new instrumental khyal gharana, born in the early 20th century, but it has had tremendous influence on the Hindustani instrumental music in the last fifty years. It was born inside the Rampur gharana from which the actual forms of musical composition (gat) originate (Masitkhani gat for the slow compositions and Razakhani gat for the fast ones). Thanks to the work of one man that the style and the School of Maihar have taken shape : Baba Allaudin Khan, taught mainly by musicians of the School of Rampur, has developed a particular style and has known how to preserve it, teaching very well (and somehow very brutally) his own instrumental khyal. Most of his disciples have become great masters in the instrument of their choice - Ali Akbar Khan & Bahadur Khan on Sarod and Ravi Shankar on Sitar.





____________
"I am a dreamer,I collect all the smiles from My yesterday,
Neatly pack them into words and hide them in my heart,
I call them "MEMORIES" Music has no boundary.

This small Brahmanbaria (Town). The area of the town is 30.82 sq km. It has a population of 131334; male 51.34%, female 48.66%. Literacy rate among the town people is 52.3%. Brahmanbaria town began to grow from the nineteenth century. The town was turned into a municipality in 1869. The tomb of Hazrat Syed Kazi Mahmud Shah (R) is located at Kazipara of the town. During the invasion of Munipur by the British in 1824. Brahmanbaria town was their military headquarters. The main business centres of the town are Ananda Bazar and Tanbazar. Other notable areas of the town are Jagatbazar, Mahabedab Patti, Kalaishreepara, Madhyapara, Kazipara and Kandhipara.

Brahmanbaria town has a rich tradition of the cultivation of art, education and culture. It is often figuralily called the cultural capital of Bangladesh. To the field of literature the contributions of Adyta Mallavarman, Jotirindra Nandi, Abdul Kadir and Al Mahmud are remarkable. The Town also represents a rich tradition of the cultivation of music. Ustad Ayet Ali Khan established the Alauddin Music College in 1957 and Shilpacharya Joinul Abedin established the Alauddin Sangitayan in 1975. Those who contributed to the development of music in Brahmanbaria town mention may be made of Ustad Fakir (Tapas) Aftab Uddin Khan, Ustad Alauddin Khan, Ustad Ayet Ali Khan, Ustad Ali Akbor Khan, Ustad Bahadur Hussain Khan, Ustad Abed Hussain Khan, Ustad Khadem Hussain Khan, Ustad Raja Hussain Khan, Amar Paul, Ustad Khurshid Khan, Ustad Subal Das and Ustad Afjalur Rahman. And there are so many more legend came from Brahmanbaria.





____________
"I am a dreamer,I collect all the smiles from My yesterday,
Neatly pack them into words and hide them in my heart,
I call them "MEMORIES" Music has no boundary.

Ustad Bahadur Khan

Bahadur Khan as the chief of moguls...Not to assume a family relationship between the subject of this biography, a classical Indian sarod player, and the previously described historical figure, but it is an example of how legendary a name this man was given. In the history of classical Indian music itself, the name Bahadur Khan has also been carved in stone at least a few dozen times. In the later part of the 18th century, famous dhrupad singer Bahadur Khan came to Vishnupur, at that time one of the main cultural centers of India, and made his gharana, or collection, of compositions popular. A different gharana, known as the Senia, was then in full bloom and its reputation was spreading throughout India. Its influence on the music of Vishnupur was grand, but the next Maharaja of Vishnupur, Raghunath Singh Deo II, decided that popularizing Bahadur Khan would be one of his main goals. The performer in question liked this idea, and expressed his desire to settle down in Vishnupur. The Maharaja made all arrangements and he was presented with the position as his court singer. The Maharaja also announced that anyone who had a good voice and was seriously interested in music could learn from Bahadur Khan without any fees. He soon had many disciples. This Bahadur Khan was not only a vocalist but could also wail on such instruments as the veena, rabab, and sursringar. He is also credited with helping create the historic foundation for the sitar's acceptance and popularity as an instrument in this genre. The career of the 20th century may seem a bit pale in comparison, with hardly a Maharaja around to toss a poor boy a house gig. The nephew of Indian music genius Allaudin Khan, Bahadur was a disciple of reclusive sarod performer and instructor Annapurna Devi. He in turn spent much of his career teaching, including an 18-year relationship with sarod player Tejendra Narayan Majumdar. His recording career included releases in India on labels such as Atlantis, on the company's Classic Collection, but he did not have the discography of internationally released recordings that the much better known Ali Akbhr Khan established. Bahadur was also involved in Indian film music, creating the soundtracks for films such as Suvarnarekha and Titas Ekti Nadir Naam. From basically the same generation of musicians comes another Bahadur Khan, this one a sarangi player from Northern India, who is the father of classical vocalist Atta Hussain.





____________
"I am a dreamer,I collect all the smiles from My yesterday,
Neatly pack them into words and hide them in my heart,
I call them "MEMORIES" Music has no boundary.

subarnarekha (1965)
Starring
Abhi Bhattacharya, Madhabi Mukherjee, Satindra Bhattacharya, Gita De

Story
Radheyshyam

Screenplay
Ritwik Ghatak

Cinematography
Dilipranjan Mukherjee

Editing
Ramesh Joshi

Sound
Satyen Chatterjee, Shyam Sundar Ghosh

Art Direction
Rabi Chatterjee

Music
Bahadur Khan

Produced by
J.J. Films Corporation

Directed by
Ritwik Ghatak



Synopsis
Iswar (Abhi Bhattacharya) and his younger kid sister Sita, victims of the partition of Bengal stay in Nabajeeban Colony in Calcutta. While fighting for their individual survival, Iswar and his friend Haraprasad also look into the problems of the suffering refugees. A little boy Abhiram is left alone when his mother is abducted. Iswar takes him under his wing. A college friend of Ishwar offers him a job as cashier for his iron foundry in Chhatimpur on the Subarnarekha. Iswar accepts and goes there with Abhiram and Sita. Haraprasad calls Ishwar a deserter. At Chhatimpur across their house, the children discover an abandoned airstrip and find it a most attractive playground. When the manager of the foundry becomes insane since his daughter deserted him, Iswar is promoted to the post. Abhiram (Satindra Bhattacharya) comes home after his B.A. exams and Sita, a young woman now (Madhabi Mukherjee) and he fall in love. Iswar gets the news that Haraprasad's wife has committed suicide due to the suffering of their children. She implores Iswar to take care of them but Haraprasad refuses to hand them over to a deserter. Iswar wants Abhiram to go to Germany but he wants to settle down in Calcutta and write. Sita convinces Abhiram to stick to his convictions. Iswar's friend wants to make him a partner but he is not happy with Abhiram's presence and his unknown caste origins. That same day Abhiram discovers his mother, a dying low-caste woman. He now has to bear the burden of his caste identity. Iswar snubs him and looks for a match for Sita. Sita and Abhiram elope to Calcutta. They struggle to make ends meet there and have a five year old son, Binu. Abhiram unable to get a publisher for his writings, gets a bus driver's job. Haraprasad meets Iswar and in their defeat and despair the two decide to go to Calcutta and lose themselves in pleasure. Abhiram is beaten up and killed following an accident. In search for further pleasures Iswar comes to Sita's house who is waiting for her first customer. Without glasses he doesn't recognize her but on seeing him, she kills herself. Iswar recognizes her as her blood splashes on him. Two years later Iswar is released as it is proved that it was suicide rather than murder as he claimed. Haraprasad brings Binu to him but leaves without meeting Iswar. Binu and Iswar get down at Chhatimpur. Iswar is told he is fired and has lost the house as well. Binu calls him uncle and Iswar picks him up, overcome by emotion. The two trudge together on the sandy, rocky track...

The film

Subarnarekha, made in 1962 but released in 1965 is the last in a trilogy examining the socio-economic implications of partition, the other two being Meghe Dhaka Tara (1960) and Komal Ghandhar (1961). It is also perhaps Ritwik Ghatak's most complex film.

In the film Ghatak depicts the great economic and socio-political crisis eating up the very entrails of the existence of Bengal from 1948 - 1962; How the crisis has first and foremost left one bereft of one's conscience, one's moral sense. In the film, the problem of homelessness or rootlessness no more remains confined to the refugees from the partition. Ghatak extends it further as an important concept for the modern man, uprooted from his traditional moorings. The geographical sphere is thus merged into a wider generality.

The basic texture of the film is highly melodramatic. Episodes after episodes have been joined together in a dense story of fateful coincidences. To quote Ghatak himself...

"I agree that coincidences virtually overflow in Subarnarekha. And yet the logic of the biggest coincidence , the brother arriving at his sister's house provoked me to orchestrate coincidence per se in the very structuring of the film. It is a tricky but fascinating form verging on the epic. This coincidence is forceful in its logic as the brother going to any woman amounts to his going to somebody else's sister."

Ghatak endows virtually every sequence with a wealth of historical overtones through an iconography of violation, destruction, industrialism and the disasters of famine and partition. Most of the dialogues and the visuals are a patchwork of literary and cinematic quotations enhanced by Ghatak's characteristic redemptive use of music. A famous example is the sequence set on an abandoned airstrip with the wreck of a WW2 airplane where the children playfully reconstruct its violence until they come up against the frightening image of the goddess Kali (who turns out to be a rather pathetic traveling performer). Later, in dappled light, the older Sita sings a dawn raga on the airstrip. In a classic dissolve, the old Iswar throws a newspaper showing Yuri Gagarin's Space Exploration into the foundry where it bursts into flames, which then dissolve into the rainwater outside Sita's hovel. Haraprasad, who had earlier rescued Iswar from committing suicide by quoting from Tagore's Shishu Tirtha, later in the nightclub parodies an episode from the Upanishads using an East Bengal dialect. Other quotes from this extraordinary sequence includes Eliot's The Waste Land (1922) and, through the music, Fellini's La Dolce Vita (1960). Fellini had used the 'Patricia' music in La Dolce Vita to lash out at a degenerate, decadent western civilization. Ghatak passes a similar judgement on Bengal by using the same music for the orgy in the bar. A torn and tattered Bengal enhances the grimness of Sita and her prostitution as it is a powerful metaphor of its inner degradation.

The film is aided with fine performances from Madhabi Mukherjee and Abhi Bhattacharya and special mention must be made of Bahadur Khan's evocatively haunting musical score.





____________
"I am a dreamer,I collect all the smiles from My yesterday,
Neatly pack them into words and hide them in my heart,
I call them "MEMORIES" Music has no boundary.

Ustad Bahadur Khan
Sometimes Credited As:
Ustaad Bahadur Khan  


Filmography as: Composer, Miscellaneous Crew

Composer - filmography
(1970s) (1960s)

Garam Hawa (1973)
... aka Hot Winds
Titash Ekti Nadir Naam (1973)
... aka A River Called Titas (UK: subtitle)
... aka A River Called Titash
... aka A River Named Titash


Subarnarekha (1965)
... aka The Golden Thread (International: English title)



Filmography as: Composer, Miscellaneous Crew

Miscellaneous Crew - filmography

Komal Gandhar (1961) (musician: sarod) (as Ustaad Bahadur Khan)
... aka A Soft Note on a Sharp Scale (International: English title)
... aka E-Flat (UK)





____________
"I am a dreamer,I collect all the smiles from My yesterday,
Neatly pack them into words and hide them in my heart,
I call them "MEMORIES" Music has no boundary.