The man of indomitable spirits
Everyone seemed in a jovial mood. Abdul Latif, Papya Sarwar, Jewel Aich, Khairul Alam Shobuj, Nawazish Ali Khan, KS Firoze, Latifa Helen and myself could barely conceal our excitement as we boarded the ship. Chandradweep, an organisation of Barisal, had arranged this memorable programme. That trip now seems all the more significant as this was the last time I had the opportunity to interact with Abdul Latif, whom we affectionately called Latif bhai.
When I first met him it was sometime around the 1960s. The then-president of Pakistan, Ayub Khan was to pay a visit to the Dhaka radio station at Shahbagh. Massive preparations were underway to put up an impressive show. As the youngest group of artistes at the station, we were also preparing for a live performance and would train under Latif bhai. The ever-jovial Latif bhai was to teach us rhymes and spiritual songs.
For all latest news, follow The Daily Star's Google News channel. On weekends we used to rehearse at the big studio no. 6 at Shahbagh. Eminent composers Abdul Ahad, Samar Das and Latif bhai would also train us for the final show.
The spirited Latif bhai was a wizard with children's songs. It was a familiar sight to see him in his white pyjama and punjabi, a cigarette at the corner of his mouth, riding his Vespa to work. Tora chashney kichhu karo kachhey Khodaar rohom chhara (Depend on no one but God), Imaan ekota srinkhola ei niye shudhu potho chola, the rhythmic songs Ek shiyaley randhey barey, Laal jhuti kakatua, Jhor elo elo jhar, Ailo deya nishaley and many more were composed in the most simple form to match the spirit of the young singers.
His onstage performances never failed to captivate us. He sang as he spoke, with a booming voice, and in high spirits. He was equally emotional, pious and sensitive. His tunes were varied but always had a touch of the folk element. He was also a master in Puthi paath, the traditional art of reciting folk tales--hardly heard nowadays.
He had the amazing ability to write lyrics and compose tunes at a moment's notice. The story runs that one of his timeless songs was written in a similar fashion. While on his way to office he had a sudden inspiration to write a song on the Language Movement. He hurriedly came back home. With a piece of paper, he scribbled the words Ora Amaar Mukher Kotha Kaira Nitey Chaay (They want to snatch away the language of my forefathers). This was in the year 1952. The song was soon on everyone's lips, the message of the song forthright and strong.
Rathindranath Roy would often sing the song at the programmes of Ekushey. The emotionally packed song would evoke passion amongst the audience every time. Abdul Alim's most popular numbers Duarey aishachhey palki, Porer jaga porer jomin, and many more incomparable songs were composed by Abdul Latif. On the whole Abdul Latif composed over 1500 songs.
He was also a mentor to eminent artistes such as Ferdousi Rahman, Nina Hamid, Indramohon Rajbansi, Rawshan Ara Masud, Mina Borua and many more.
Latif bhai denied the Tamghay title the Pakistan government had bestowed on him. He was honoured with Ekushey Padak in 1979 and the Swadhinota Padak in 2002.
Latif bhai met with an accident sometime back. Later on his health started failing. His voice choking with emotion, he would tearfully glance at the harmonium, unable to sing his favourite songs.
On the whole, however, Latif bhai was a content man. He was bestowed with numerous awards for his outstanding contribution to music, but through it all, he managed to secure the most prized award of all--a place in the hearts of his countrymen.