Lyricist Joban Ali, known for folk song Prem-er Manush Ghumaile, dies at 85

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Renowned folk lyricist and baul artist Jaban Ali, whose poignant compositions captured the hearts of millions, passed away on Tuesday evening at his residence in Sunamganj. He was 91. According to his son-in-law, poet Obaidul Munshi, the songwriter had been battling complications related to his lungs and throat for the past year. He is survived by his wife, four sons, and five daughters.

Born into a lineage of musicians, Jaban Ali dedicated his life entirely to the craft of songwriting, penning over 700 tracks throughout his career. His work, which he often signed under the moniker “Pollibaul,” was noted for its profound simplicity, touching upon themes of human emotion, spiritual devotion, and social commentary. In 2009, the Shahid Bir Bikram Jagadjoyti Public Library published his anthology titled “Dorpone Dorshon,” which features 70 of his selected songs.

Jaban Ali achieved widespread national acclaim when celebrated artist Kumar Bishwajit recorded his song “Premer Manush Ghumailay Chaiya Thake.” The track, which explores the deep, restless attachment inherent in love, resonated deeply with listeners and cemented Ali’s reputation as a master of folk lyricism. Bishwajit, who also recorded Ali’s song “Amar Mathata Ghuray,” once lauded the late lyricist, noting that the richness and sweetness of the nation’s music were owed to artists of his caliber.

The songwriter’s journey into music began early in life, influenced by his father, Abdul Motlib Fakir, and grandfather, Abdul Gani Fakir, both of whom were also practitioners of the art. Despite leaving school in the seventh grade due to family hardship, Jaban Ali found his true purpose in the rural jalsas (musical gatherings) of his youth. His songs were subsequently performed by a host of contemporary artists, including Baby Naznin, Monir Khan, Alok Bappa, and Kazi Shuvo.

Beyond the themes of romance, Ali’s body of work addressed the human condition, the duality of religious duty and labor, and the lingering ache of separation. He often expressed that his songs were an attempt to translate the sleepless, all-consuming nature of love into verses that anyone could understand.

Despite his declining health, the folk icon remained committed to his art until his final days. He had been preparing a manuscript for a second collection of his songs, a project that remains unfinished. His departure marks the end of a prolific era for Sunamganj’s traditional musical landscape, leaving behind a legacy of verses that continue to define the essence of Bengali folk sentiment.