Residence of Somjit Dasgupta Prof. Sanjoy Bandopadhyay, 3/1/1D, Padmapukur Road, Kolkata 700092
About Somjit Dasgupta
Disciple of Pt. Radhika Mohan Maitra. Preserving rare musical instruments including the instruments belonged to Pt. Radhika Mohan Maitra. He plays different instruments like Sarod, Surshringar, Mohan Veena, etc.
Tags
Rathin Chattopadhyay, Ata Hussein Khan, 1950, LIC, Thakur Jaidev Singh, Raja Chhatrapati Singh, Chhaya Bihag, Radhika Mohan Maitra, Krishnarao Shankar Pandit, Paresh Bhattacharjee.
Residence of Somjit Dasgupta Prof. Sanjoy Bandopadhyay, 3/1/1D, Padmapukur Road, Kolkata 700092
About Somjit Dasgupta
Disciple of Pt. Radhika Mohan Maitra. Preserving rare musical instruments including the instruments belonged to Pt. Radhika Mohan Maitra. He plays different instruments like Sarod, Surshringar, Mohan Veena, etc.
Tags
1940, Brojendra Mohan Maitra, court musician, Md. Amir Khan, Ustd. Enayet Khan, Rajshahi, 15 Sagruddin Lane, Kalabagan, Badal Khan, Birendra Kishore Roy Chaudhury, Park Circus, Raja Bazar, Dhruvatara Joshi, Fayyaz Khan, Garg, Mahishadal Rajbari,
Residence of Prof. Sanjoy Bandopadhyay, 3/1/1D, Padmapukur Road, Kolkata 700092
About Somjit Dasgupta
Disciple of Pt. Radhika Mohan Maitra. Preserving rare musical instruments including the instruments belonged to Pt. Radhika Mohan Maitra. He plays different instruments like Sarod, Surshringar, Mohan Veena, etc.
Tags
Jnanendra Prakash Goswami, Paresh Chandra Bhattacharjee, Fayyaz Khan, Megaphone, Programme Director, 1932-38, Asit Baran, Clerk cum Tabaljee, Abhoy Pada Mallick,
Residence of Somjit Dasgupta Prof. Sanjoy Bandopadhyay, 3/1/1D, Padmapukur Road, Kolkata 700092
About Somjit Dasgupta
Disciple of Pt. Radhika Mohan Maitra. Preserving rare musical instruments including the instruments belonged to Pt. Radhika Mohan Maitra. He plays different instruments like Sarod, Surshringar, Mohan Veena, etc.
Tags
Jnanendra Prasad Goswami, 1934-38, Radhika Mohan Maitra, Suresh Chakraborty, Bhismadev, Vishmadev Chatterjee, Amiya Nath Sanyal, Deba Prasad Garg, Vishnupur, Mallick Bazar Telephone Exchange, Atta Hussein Khan, Fayyaz Khan, Rathin Chattopadhyay,
Kazi Nazrul Islam or that period which is 1935, 1936, 1940 that time. The work period of Jnanendra Prasad Goswami was before the year 1938. Means 1934 -1938 around that time. Also stating the reason that is around 1938 he had developed a feeling that he is not doing good music anymore. And if he wants to improve his music then he has to do it with God. In the manner, just joining hands in front of the people wearing shawl and silk Punjabi is not enough and nothing is happening in his life. This he said to Radha babu and Suresh babu, Suresh Chakraborty, both of them …..
Radha babu means here Radhika Mohan Moitra?
Radhika Mohan Moitra and Suresh Chakraborty ……
Which Suresh Chakraborty is this?
Suresh Chakraborty about whom I am saying, he is not the musicologist Suresh Chakraborty. He was the disciple of Viswadeb Chattopadhyay and Amionath Sanyal , Suresh Chakraborty. He went to these two people at Debiprasad Garg’s house , he did not enter the house – “ See, I don’t like to enter such houses and do music” and he started crying. He said , “ When did I sing in my life? I could not do music”.
After that in 1938 he said, “ I will not return to Kolkata anymore. I am moving to Bishnupur, I will stay there.” And everyone in that temple were members of the royal family of Bishnupur. He said,
“ I will stay there and sing to Radha Madhav .” He did not return anymore.
Where was the house of Debiprasad Garg?
The house of Debiprasad Garg was at the behest of Mallick bazaar. Now, it is the telephone exchange. Ata Hussain Kha was of same age at that time. And Faiyaaz Khan used to stay. Ata Hussain Khan and Radha babu then developed themselves as artists by taking training. At that time Rathin Chattopadhyay were good friends with Ata Hussain and Radha babu. They used to stay there at that time. He used to call Rathin babu his ‘son’ and he used to also call Ataa Hussain ‘son’ .
Who?
Ustad faiyaz Khan
Faiyaaz Khan sahab. His recording, helping voice everything were Rathin Chattopadhyay and Ata Hussain, both. And for tabla he would always say that Aye Bhattacharya played a lot with his name Jnanbabu, Nimai Bhattacharya’s father… so when this was said it was the year 1938. Then he had left and used tocome to Kolkata only once a year, where Bishnupur kings had a monument in Bagbazar, he used to sing in that house. In Gokul Chandra Mitra’s house. He used to sing in that place only on the day of Saraswati Puja and never came to Kolkata for the rest of the year. He died in 1945. And from 1938 – 1944, he used to come to Kolkata once a year during Saraswati Puja. Jnan babu was the director of Gramophone Company during that time.
Residence of Somjit Dasgupta Prof. Sanjoy Bandopadhyay, 3/1/1D, Padmapukur Road, Kolkata 700092
About Somjit Dasgupta
Disciple of Pt. Radhika Mohan Maitra. Preserving rare musical instruments including the instruments belonged to Pt. Radhika Mohan Maitra. He plays different instruments like Sarod, Surshringar, Mohan Veena, etc.
Tags
Kaji Nazrul Islam, record company, Jamiruddin Khan, HMV, Programme Director, 1930, Bhismadev, Vishmadev Chattopadhyay, Jamiruddin Khan, Radhika Mohan Maitra, Masid Khan, Mushtaq Ali Khan, Buik, Brojen Maitra, Haromoti Devi, Achchhan Maharaj, Thumri, Hathibagan Tol, Harmonium, sarod, Md. Amir Khan, 1934, Pahade, Kafi, Baithaks
This is the story of Kazi Nazrul Islam, who had returned just from First World War. He decided to work on something related to music. His guru Jamiruddin Khan was retiring from HMV and he wanted Nazrul to take his place as programme director. HMV had already produced some of his songs. It was in 1930s when Kazi Nazrul Islam joined HMV as a programme director.
Pt Radhika Mohan Maitra
Radhikamohan Maitra, the renowned Sarod player, Mustak Ali Khan, the famous sitar player, Vismadeb Chattopadhyay, the great Vocalist- they were all young and promising musicians. They used to roam around Calcutta. Keramatulla Khan just came to Calcutta and his father didn’t let him go with them. Radhubabu used to quarrel with Masid Khan to let his son go with the lot. But he wouldn’t let him. So, these people used to wander in a buick which Radhubabu’s father imported. He had a blue and a red coloured Buick which had an in-built radio. Sometimes when his father needed one they used the other one and crammed inside. They attended to many functions which featured music. They learnt the name of Harimoti Debi from Achhan Maharaj. He said that, she was young and he taught her Kathak Dance and she just consumed the style of Thumri from him. There was a two storied house near Hatibagan where Harimoti Debi used to sing. There was ticket of Rs. 2, 3, 4 and people had to pay that sum to listen to her. In one such programme Vismadeb Chattopadhyay played harmonium and it was recorded by the sheer enthusiasm of Kazi Nazrul Islam. The super heavy recording machine, the big gramophone cone was all set up in that room and two small discs were released. The songs of Harimoti Debi were recorded through his endeavour.
We see a famous Nazrul portrait with a Sarod, it belonged to Radhubabu. He insisted that it must be kept in the recording studio. Once he requested Amir Khan Saheb to record his music for posterity. But he didn’t agree, he said he didn’t believe in such things as it did not contain the music well. He was not ready to play anything without his instrument. So, Nazrul requested him to play with his disciple’s instrument. He agreed grudgingly and recorded two ragas. One Kafi and the other Pahari, and this was the only available record
Sati Sadan, 41, Harish Mukherjee Road, Bhowanipur, Kolkata 700025
About Maharaj Banerjee
Son and disciple of Pt. Montu Banerjee [Tabla, Sarod, Harmonium]. Disciple of Pt. Muneshwar Dayal [Harmonium], Ustd. Ahmedjan Thirakawa. [Tabla], Sati Sadan.
Sati Sadan, 41, Harish Mukherjee Road, Bhowanipur, Kolkata 700025
About Maharaj Banerjee
Son and disciple of Pt. Montu Banerjee [Tabla, Sarod, Harmonium]. Disciple of Pt. Muneshwar Dayal [Harmonium], Ustd. Ahmedjan Thirakawa [Tabla]. He is also a legal practitioner.
Tags
Vilayet Khan, 1944-46, Ghulam Ali Khan, Kashinath Chattopadhyay, Keramatullah Khan, Sati Sadan, Desi Todi, Masood Khan Saheb, Bade Mian, Ahmedjan Thirakawa
Language
Bengali
Maharaj Banerjee speaks :
Verbatim:
Vilayet Khan lived in this house from 1944–46.
Ustad Vilayat khan
He was quite young. I was a child. There are photos of Vilayet Khan’s visit to our home in 1945. My father, Vilayet Khan, and I were in the house. Vilayet Khan stayed here. He would practice. And because of him, or maybe it was to my father’s credit, that other maestros like Faiyaz Khan would also visit this place. A very remarkable programme was organised here which carried the name of my grandfather. Shri Kashinath Chattopadhyay was an accomplished Bengali who used to sing. He had trained under Mustaq Hussain and Ashfaq Hussain of Rampur gharana. In that programme, Keramat Khan was playing the table, Ghulam Ali Khan was singing. It is a famous programme. I still remember, Khan sahib had sung the deshi todi. And many people, including Ray babu and Pahari Sanyal had come to hear.
In this house?
Ustad Bade Ghulam Ali KhanYes. And all the maestros and stalwarts had come. Ghulam Ali is unforgettable. There was another time when three sarod players performed in a programme held in the hallWhy do you feel that Ghulam Ali Khan is unforgettable?
I haven’t seen that kind of style in anyone else. Such finesse! Each octave seemed wasy to him. He’d sit in one place and travel to three octaves. He would sing common raagas, not unfamiliar ones. In the mornings, he would sing todi, deshi todi etc. Then he would sing shuddha sarang, jaunpuri and other famous ragaas og his. At night, he would sometimes sing marwa. Or else, he would sing bhupali; later into the night he would sing malkosh, darbari, behaag, kamod, kaushikdhwani. Nothing can be compared to that. And most importantly, he sang effortlessly. That is what mesmerised us. How can a person sit in one place like that and sing!
This was in 1945?
No. That was Vilayet Khan sahib. He was here for three years. Ghulam Ali Khan sahib…since I have been a part of music…I became more mature, I went to see him, and hear him, I got to know him. Then he rented a house in Park Circus. Then he was paralysed, he came to Kolkata and gave several performances. I had accompanied him on the tabla on some of these occassions.
You also played with Khan Sahib?
Yes, I became Therakuya Khan Sahib’s disciple in 1957. There wasn’t a single Bengali or Muslim who wasn’t here on that day. Ghulam Ali Khan was the chief guest. They referred to each other as Bade Miyan. Ghulam Ali Khan sahib said to Therakuya Khan, “Oh Bade Miya, this Maharaj is an exact copy of you!” And everyone else was saying, how can they be compared! But such was his affection towards me! He stressed on the weight ofthe music in accordance with the ragaa.
All India Radio, Karamatullah Khan, Shyamal Bose, 1980’s, theka, change over, handing over, accompanaiment, tabla
Language
English
Samir Chatterjee speaks:
Handing Over
Told by : Samir Chatterjee
This is a beautiful episode, the essence of this could be admiration, love affection and the expression of that is very strange. So, Ustad Karamatullah Khan Sahab was designated for a duty at the All India Radio for a recording session.
Ustad Karamatullah Khan
He was suppose to play with a singer and Khan Sahab for some reason was late and the singer waited…waited…waited and waited….then finally everyone was ready- other accompanists over there- everything in tune. Pandit Shyamal Bose Ji was around, he was also one of the staffs of that time and when things were heating up a little bit, the musician was almost angry and upset waiting for such a long time, Pandit Shyamal Bose Ji said them,” May I please? Then when Khan Sahab comes he will take over”. So Shyamal Bose Ji tuned the tabla and he started playing. Halfway through the vilambit, Khan Sahab appears. He comes and sees through the glass window and says, ”Oh! Shyamal is already started playing – may I go in please?” [He asked the persons who was recording]. The recordist says, ”Yeah, but we have to shut all doors and so that there is no noise and you have to go and catch up immediately “. ShyamalJi; his nature was if he starts, the music starts, he gets into the music and his eyes were closed. Khan Sahab went in so surreptitiously that Shyamal Bose Ji did not even know this Khansahab coming in, walking through all the floor, which is studio number – 9, which is quite a large studio, designated for Western Music recording, at least one piano I remebre, one or two pianos.
Pt. Shyamal Bose
So he walked through the bare area of the floor onto the carpet, standing right behind Shyamal Bose Ji and ShyamalJi didn’t even noticed that Khan Sahab was standing behind him. So Khan Sahab’s only option was to make a physical alert and he chose to stick his big toe inside ShyamalJi’s butt. ShyamalJi woke up and how they transfer the theka from ShyamalJi to Khan Sahab. There was not a single note missing.
With such affection… its rare, very rare. ShyamalJi enjoyed that episode and told us this episode with reverence , that you know…..
Prof. SanjoyBandopadhyay : Do you remember around which time it might happen?
Samir Chatterjee: Definitely not before I joined All India Radio ….I came to Calcutta in 1981…so it was early 80’s.
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Verbatim by: Mousumi Das
Picture Courtesy: Pt Dilip Mukherejee, Renowned Tabla Exponent and Google
Audience, Tansen Music Conference, Kishen maharaj, Darbari Kanada, Dhamar, Lady sarod player, 1970’s
Language
English
Samir Chatterjee speaks:
Rebuking Audience
Told By: Samir Chatterjee
Text Version :
This is about how compromising Calcutta audience were when it comes to real good music. You remember ‘Tansen Music Conference’ – right? We would all eagerly wait (for) year around when the festival come about and people would gather to listen some of the most renowned and able musicians. I would refrain from mention the name of the musician but she was a Sarod player and she came with one of the most renowned Tabla player from Benaras Gharana (Pandit Kishan Maharaj Ji) . They were on the stage. She started playing raga Darbari Kanada.
She was young to handle the raga and it sounded like, she used the alap section only to introduce the raga and went straight into Dhamar.
Pt. Kishan Maharaj
After a couple of rounds of Dhamar, brilliant Dhamar from Pandit Kishan Maharaj; few members of the audience actually walked up to the stage and asked her to stop and remind her that if you have chosen raga Darbari Kanada you should do proper justice by doing a proper alap, we can wait for the Dhamar.
It was such a strong message and for us as young students of music to see that happening in front of ours it was educable. In those days in the first couple of rows would be filled up with musicians and they had the time, they had the interest and the patience to listen to other musicians they would come. Today we don’t see that happens at all. Musicians just come for their own item, they would play and leave. They would not even wait for or stay on for next performance. But, in those days (whether) they had no performance they would still come and listen and first 3 or few rows, you know and remember, when Ustad Vilayat Khan Sahab played, half of the auditorium was always filled up with musicians. So this was one of such learning lessons.
Another occasion you remember what kind of embarrassment was it when the organizer decided to do a zugalbandi with Ustad Bismillah Khan sahib.
Prof. Sanjoy Bandopadhyay : But it was a good example of Rebuking Audience. Raga Darbari Kanada; this is never a fighting ground. Thank you for the wonderful story.
