I smiled at the sly reference to Lalan Fakir in the first cycle; after all, Tagore got sufficient exposure to Lalan's songs and his music in his Shilaidaha Kuthibari; there was every opportunity to do so, as Lalan Shah was himself a resident of Kushtia most of his recorded life.
Nirmalendu Chaudhuri sang a lot of Lalan compositions, although he naturally favoured Hason Raja, from his own part of the world; one can take a Sylheti out of Sylhet, one cannot take Sylhet out of a Sylheti, after all. It was beautiful to hear him shift effortlessly between these different composers; singing at home in family surroundings with us, he did not feel the constant pressure to sing popular numbers that he did at concerts, and those were really beautiful occasions.
Tagore composed Jodi Tor Dak Shune Keu Na Aashe in a very specific context. Perhaps that might be worth a specific mention later.