Tora Sang, Raja Jamnia’s Dar, Ray Chewna in a gold plate, fill it with gold! Mora Jobania Base Ganga Par, Re Sone Ka Gadwa Ganga Jal Paaun, Re Mora Sephiya Base Jumna Par, Re Tore Sang, Raja Jamnia Ki Dar, Re … !!! PS: Malik’a-E-Mauseeqi, Ba’i Jee Roshanara Begum, Vocalizes A Band’ish Composed In Raag Kham’aj, Matchless In Every Aspect & Respect, Exactly Like Her Stature In The Field Of Indian Classical Music. She Was Born In Kolkata, India, Around 1916. Her Mother, Chand’a Ba’i, Was A Renowned Vocalist Of Her Times. She Received Her Initial Training With Ust’aad Mumtaz Hussain & Ust’aad Ladd’an Khan Of KOLKATA. She Started To Sing For Public, In Musical Concerts, In Late 1920s. These Concerts Brought Her Marvelously Mellifluous Voice Into Immediate Recognition Within The Art Circles. Born With Exceptional Vocal Charms, She Reigned The Stage From Her Early Days Till Her Very Last Like None Other. It Was In Late 1920s, That After The Success Of Her Concerts, She Started To Cut Shellac records With The Most Prominent Gramophone Companies Of Her Era Of British India. It Was During The Same Era That She Started To Sing For All India Radio. Her Voice, Carried On Radio Waves, Ultimately Landed Her In Mumbai, India, Where She Permanently Settled And Was Known As Rosh’an-Ar’aa Ba’i Bomb’ay Wali. It Was During This Stage Of Her Life, That Her Voice Came Into Notice Of Ustad Abdul Karim Khan Of Kirana Ghar’aana, Who Took Her Under His Mentorship, Totally Out Of His Norm, As He Was Averse To Taking Muslim Girls Under His Tutelage , Being Of Opinion, That After Marriage They Stop Singing & An Era Of Hard Work Is Totally Wasted. Moved By Her Immensely Mellow Vocals & A Supreme Command Of Hers Over Intricacies Of Hindustani Classical Music, Ust’aad Abdul-Karim Khan, Not Only Took Her As A Disciple, Of His Own Wish, But Also Took Her Along With Him, Under His Wing, During His Tours Of Courts & Cities, He Made For His Concerts. This Education Of Mere Few Years, Polished The Gold Of Rosh’an-Ar’aa Bai To A Glare, That Surpassed Every Other Exponent Of Kir’aana Ghar’aana Of Her Era, Including Gangubai Hangal, Sureshbabu Mane, Saraswati Rane, Hirabai Barodekar & Bhimsen Joshi. If Someone Could Be Compared To Her Mastery Over Hindustani Classical Mauseeqi, That Would Be Another Disciple Of Abdul-Karim Khan, Surashri Kesarbai Kerkar (सुरश्री कॆसरबाई कॆरकर). Married To An Officer Of Indian Civil Service Of Punjabi Origin, She Moved To Pakistan In 1948 & Settled In Lalamusa With Him. Though She Continued To Sing For Radio Pakistan Lahore & PTV Corporation Till Her Very Last Days, Her Appearances Became Far & Few With Every Passing Year. With The Vanishing Zeal & Zest For Classical Music In Pakistan, She Neither Transferred Her Singing Talents To Any Of Her Children Nor Did She Accepted A Disciple Under Her Tutelage. Though Her Talents Were Recognized By Government of Pakistan, Through Various Awards, The Support For Her Genre Of Art, Rarely Exceeded Beyond Words, & She Died In Relative Obscurity At The End. End Of A Magical Charm Like Hers, Obscured By Changing Trends, Was A Loss To The Genre Of Classical Music In Pakistan, That Could Not Be Overcome By Any Of Her Contemporaries, Of Patiala Ghar’ana, Shamchaurasi Ghar’ana, Gwalior Ghar ‘ ana Or Delhi Gharana, Practicing In Pakistan. This Track, On An His Master’s Voice Disc, Was Cut Down In 1933 In Bomb’ay. The Supremely Ecstatic Vocals, That Are Able To Move Between The Most Difficult Of The Notes With Utmost Ease & Have The Capacity To Channel The Beauties Of Folk Hindustani Language Over The Delicate Flow Of Sur & Taan, Are More Then Sufficient To Enchant the Listeners, After All This Time Too & Off Course Like None Other.[Though Jadd’an Ba’i (Mother Of The Super Famed Star Of Hindi Cinema, Nargis) Also Rendered The Same Band’ish, But I Am Very Partial To This One By Rosh’an-Aar’a Ba’i, Due To Obvious Reasons Off Course.