Category Archives: Others

North, Performance, 1900-1920, Others

Marwa made it difficult!

Told by Ustd. Irfan Muhammad Khan
Obtained by Prof. Sanjoy Bandopadhyay and Troilee Dutta
Date 27 September, 2016
Place Residence of Prof. Sanjoy Bandopadhyay, 3/1/1D, Padmapukur Road, Kolkata 700092
On Irfan Muhammad Khan Irfan Md. Khan is an established Sarod Player. The scion of Lucknow Shahjanpur Gharana Sarod player. He represents the Lucknow-Shahjahanpur Gharana which has produced eminent Sarod players like Ustad Enayet Khan (1790-1883), Ustad Asadullah Khan Kaukab (1852-1919), Ustad Karamatuilah Khan (1848-1933), Prof. Sakhawat Hussain Khan (1875-1955), also his illustrious father Ustad Umar Khan (1916-1982) and his uncle Ustad Ilyas Khan (1924-1989) the famous Sitar player of Lucknow.
Key-words Imdad Khan, Tarab strings, taraf, Puriya, haren Sheel, Sil, Kaukab Khan, Kaukabh, Marwa, Mand, Surbahar, 1910, Marwari Hospital, Jorasanko
Language Hindi [also include some English and Bengali sentences.]

Ustd. Irfan Muhammad Khan speaks:

Paraphrase:

This is an embarrassing story, a tongue in cheek situation that happened in the house of Haren Sil. It was probably 1910 or 1912. Haren Sil’s house was on Chitpur Road, near Jorasankho Thakurbari that is now famously known as Rabindra Bharati University. Haren Sil’s house was like a sanctum where legendary musicians regularly visited, so almost every day Baithakis took place.

In this Sil house, once an incident happened with Imdad Khan, the legendary Sitar and Surbahar player. Imdad khan used to tune his Surbahar in all 12 notes so that he could randomly access any Raga in a bit moment. Actually he had a very rare power to start from any note. If he could take Tibra Madhyam as his first note, then Bhairavi would come very naturally. He always in a very modest way asked his audiences to request him any Raga of their will. Then he could immediately start that Raga very effortlessly. That was his unique technique, his charisma to mesmerize listeners.

One day in a very casual mood Imdad Khan was playing Puriya and asked his audiences for any raga. Kaukabh Khan, the legendary Sarode player was present at that time before Imdad Khan in Sil house. He told Haren to request him for Marwa. Now that was the most difficult situation for Imdad to turn on Marwa from Puriya. So he very calmly started playing Maand. Kaukabh Khan felt very insulted and began to scream on him that he had asked for Marwa and not Maand. He also scolded Imdad Khan that he should not brag of playing any Raga instantly when he could not do such things in reality. But Imdad Khan went for a tricky answer. He politely stated Khan Saheb that Maand came as his heart’s choice. Kaukabh Khan was very short tempered person. He immediately ordered Haren Sil to snatch his Surbahar and Haren Sil silently obeyed his order. Kaukabh Khan kept that Surbahar for three to four days and after he calmed down he asked Haren to return back that one to Imdad Khan.

This is one of the several stories that buried in Haren Sil’s house, North Kolkata which is now a Marwari hospital.

Paraphrased by: Dr. Suranjita Paul

 

Data processed at SAP-DRS Lab, Department of Instrumental Music, Rabindra Bharati University.
North, Production & Archiving, Others, 1975-2000

Remembering HMV days—Rajeev Goenka

Told by Sri Rajeev Goenka
Obtained by Prof Sanjoy Bandopadhyay

Rajeswary Ganguly Banerjee
Date 27th September, 2016
Place Ashoka Road,Alipore,Kolkata -700027
About the speaker Rajeev Goenka is a noted connoisseur of Indian Classical Music and is a passionate music collector. He is the founder and protector of The Rajeev Goenka Music Academy at Dundlod, Jhunjhunu, Rajasthan.  He is closely attached to Kolkata’s music scenario.
Tags HMV,Gramaphone,  Evening Raga,Casset , Godhuli, Morning Raaga, 1990-92, Darbari,Yaman, Bageshree, Long Playing Records, Kishori Amankar, Roshanara Begum, Records, Shyam Ganguly, Rasoolan Bai, Sidhweswari Devi, Bismillah Khan, Extended Play Record,  EP,  Ravishankar, Ali Akbar, Nikhil Banerjee, Indian Classical Music
Language English

Sri  Rajeev Goenka  Speaks :

A small video clip

Text Version:

 

I was associated with the gramophone company. They took me as an adviser of classical music, so I gave them various concepts, like I asked them to take evening Ragas and we titled the cassette, at that time there were cassettes, there were four cassettes in one box, so I titled the compilation ‘Godhuli’, and on the box we wrote the details, that what is ‘Godhuli’ and what are the Ragas of Godhuli, then I made a cassette called morning Ragas, then I made the cassette of evening Ragas.

 

The approximate time frame if you could also mention of the release of these cassettes of ‘Godhuli’ and the morning ragas and others?

Yes, ‘Godhuli’ is the evening time.

No when did you produce it? The publishing year? Approximately?

It would be 1991-92, then I took the major Ragas, like Darbari, Yaman, Bageshree, in which I gave all old long playing records, because when I took over, long playing records were off, and cassettes had come, and H.M.V have not published the LPs  into cassettes. So the conversion also took place, and the artists of 1940’S, and 50’S, came on the cassettes, so like when I did Bageshree, I gave the Kishori Amankar’s LP in that cassette, I gave Roshanara Begum’s Bageshree in that cassette, so like that the four cassettes pack would have eight pieces, a two cassettes pack would have four pieces, then I made, I mean in my personal collection, I had those Eps, those extended play records, which played for seven minutes each side, so those extended play records,

I took  my own records to H.M.V and transferred them to tape, so like Shyam Ganguly of Kolkata, Rasoolan Bai, Sidhweswari Devi these extended records were not on the roster of H.M.V, so they got those seven minutes recordings, Bismillah Khan Sahab, Ravishankar ji, Ali Akbar they had also made, Nikhil Banerjee they had also made these seven minutes records, which were not there in the market, in the publicity domain, I mean the old connoisseurs who had these records but that by then those record players were been extinct. So therefore those records were not available, so I brought it in cassette so my library also became up to date, and preservation of those extended play and 78rpm records came to good use and revival of classical music happened.

Verbatim: Rajeswary Ganguly Banerjee

Picture Courtesy: Google

 https://www.google.co.in/search?q=extended+play+record+label+indian+classical+music&tbm=isch&tbs=rimg:CRxyyeN35ArFIjgHe6QKybl6ALNtph9niTltJlS-CbtmFl1RHWtmjVxvxlqgPSE0mDATH4xGTyINiXeYKZ5bjoUciSoSCQd7pArJuXoAEZqlZWxYucr-KhIJs22mH2eJOW0RHDJEaRZoLZwqEgkmVL4Ju2YWXRF1eVjdBdlpLioSCVEda2aNXG_1GEeZQltTaiM-HKhIJWqA9ITSYMBMRAgiWA07D6hMqEgkfjEZPIg2JdxGjeaJfieJ24CoSCZgpnluOhRyJEatrAooVQzcl&tbo=u&sa=X&ved=2ahUKEwjMqOnQ3fbaAhXJKY8KHb5tBQIQ9C96BAgBEBs&biw=1440&bih=826&dpr=1#imgrc=B3ukCsm5egARyM:

https://www.google.co.in/search?biw=1440&bih=781&tbm=isch&sa=1&ei=MO3xWqjaJYnkvgSxhaoo&q=cassettes+of+Ravishankar+hmv&oq=cassettes+of+Ravishankar+hmv&gs_l=img.3…69972.80682.0.81656.28.26.1.0.0.0.349.4319.0j20j2j1.23.0….0…1c.1.64.img..8.0.0….0.yTQs_Nbbyos#imgrc=56a8WY7rNbvhrM:

Edited & Designed: Ms. Rajeswary Ganguly Banerjee

 

 

 

 

 

 

 

 

Data processed at SAP-DRS Lab, Department of Instrumental Music, Rabindra Bharati University.
North, Production & Archiving, Others, 1975-2000

One lakh untouched stampers at HMV godown—Huge Musical Treasures still to be unveiled!

Told by Sri Rajeev Goenka
Obtained by Prof Sanjoy Bandopadhyay and Rajeswary Ganguly Banerjee
Date 27th September, 2016
Place Ashoka Road, Alipore, Kolkata -700027
About the speaker Rajeev Goenka is a noted connoisseur of Indian Classical Music and is a passionate music collector. He is the founder and protector of The Rajeev Goenka Music Academy at Dundlod, Jhunjhunu, Rajasthan.  He is closely attached to Kolkata’s music scenario.
Tags Discography, Wire Recording,  Dumdum, 1989, Stamper,  78 Rpm Record, 1933, Gauhar Jaan
Language English

Sri  Rajeev Goenka  Speaks :

Verbatim:

 Well I will put it in this way that I came to know there was one, what do you call that, Discographer, His name wasMichaelKinnear,he was from Australia, now he is no more, he expired, so I came to know that he was researching on the mother shells which was the origin of those 78rpm shellac records. Now before shellac there were wire recordings, and those recordings were of two or two and half minutes. So he gave me his book on discography, I just tried to find out what happened to these records, so I accidentally entered a godown in the Dumdum factory.

Which year approximately?

1989, I asked my senior, what was that? Because I didn’t know what mother shell is? So I was explained, that these are all metal pieces, they call it stamper, now that stamper is hooked on some machine and hereby the engraving gets engraved in other side, it’s like photo printing kind of thing, and then that imprinted thing is put on shellac and that is how the 78rpm record is made, and it was God’s grace that he said that ’come I’ll show you a demonstration’.

Gauhar-Jan

So he prepared that whole thing, and he made one record, and after making that he played that record and that record was 1933 GauharJaan. So when I heard that I said “MrMaitra this is GauharJaan!” So MrMaitra looked at me and said Mr Goenka how do you know that this is GauharJaan? I said my brain and my ears are telling me. He said let me check. He went to his book, register-‘ja main tose nahin boloon’, and he said you are dam right. He said this whole godown is full of this, which means they have hundred thousand, one lakh stampers in that godown.

Verbatim: RajeswaryGanguly Banerjee

Picture Courtesy: Google

 https://www.google.co.in/search?rlz=1C5CHFA_enIN769IN769&biw=1440&bih=826&tbm=isch&sa=1&ei=-f7xWu7fLIfnvgTEtJXYCQ&q=gauharjan+records&oq=gauharjan+records&gs_l=img.3…1029.4882.0.5169.8.8.0.0.0.0.302.1363.0j7j0j1.8.0….0…1c.1.64.img..0.0.0….0.yTT2FtZN2CM#imgdii=OT9gLyyC3VepxM:&imgrc=qKsYMkFRodtREM:

https://www.google.co.in/search?rlz=1C5CHFA_enIN769IN769&biw=1440&bih=826&tbm=isch&sa=1&ei=-f7xWu7fLIfnvgTEtJXYCQ&q=gauharjan+records&oq=gauharjan+records&gs_l=img.3…1029.4882.0.5169.8.8.0.0.0.0.302.1363.0j7j0j1.8.0….0…1c.1.64.img..0.0.0….0.yTT2FtZN2CM#imgrc=C6AEqK5PGay56M:

Edited & Designed: Ms. Rajeswary Ganguly Banerjee

 

 

Data processed at SAP-DRS Lab, Department of Instrumental Music, Rabindra Bharati University.
Central, 1961-1974, Others

All India Radio, Kolkata—A few Inner Stories

Told by Pt. Anindya Banerjee
Obtained by Sukanya Sarkar
Date  9th March 2015
Place 50/1A Purnadas Road, Kolkata-700029
About the speaker Pt. Anindya Banerjee is an eminent Sarod and Sursringar player from Maihar gharana
Tags Radio, Karamatulla Khan, Instrument, Baya Tabla, Puti, Torch, Batteries, Chhot, Recording Room, Recordist, Recording tape, Magnetic tape, Mother (Aradhana banerjee), Studio, Manager, Calcutta AIR, Garstin Place, Ghost, Book, experience, People
Language Bengali

Pt. Anindya Banerjee speaks:

 

Patronisation, South, Others, 1975-2000

Organizing Music Concerts—Money Matters!

Told by Pt. Anindya Banerjee
Obtained by Sukanya Sarkar
Date 9th March 2015
Place 50/1A Purnadas Road, Kolkata-700029
About the speaker Pt. Anindya Banerjee is an eminent Sarod and Sursringar player of Maihar gharana
Tags Ramakrishna Mission, Golpark,  M.S. Gopalakrishnan, 18000/-, 19000/-, Artist, Organiser, Ulhash Kashalkar, 5000/-, 8000/-, vocalist, Tabla player, United States, Concert, Samta Prasad, Reception, Lahara, Disciple, 1977, Audiences, All night concert, Ali Akbar khan, Vilayat Khan, Duet, Girija Debi, Nikhil Banerjee, Netaji Indoor Stadium, Allauddin Music Circle, Stage
Language Bengali

Pt. Anindya Banerjee speaks:

Verbatim:

I had a very odd experience while organizing concerts for Ramkirishna Mission, two or three I’ll mention, one is, it’s basically based on monetary things,

M.S.Gopalkrishnan

Once M.S.Gopalkrishnan refused to take some extra money, what happened, he was suppose get rupees eighteen thousand  or rupees nineteen thousand or  something, but instead in order to make it round off  and we wanted to pay him rupees twenty thousand, but  he refused to take that, and we said that we have  made this voucher so we can’t cancel it,  but he said no no, he was adamant, he said you make a new voucher and then I’ll accept it. So we had to give him the exact amount. Which is a very rare thing because in most of the time the artists want to grab as much as money from the organizers.

Second thing happened also with Pt. Ulhas Kashalkar. He agreed to sing with five thousand rupees, but he we had fund so gave gave him,eight thousand rupees, three thousand rupees extra, which he also refused, he said “no, I can’t take that extra money and on top of that this is a very religious institution, I can’t take extra money from them”. So there were two other musicians, one very famous vocalist, who took first class air fare, he did not come and he used the ticket, and he never talked about that thing and never returned that money, which is very bad. Same thing also happened with one very famous Tabla player who resides in U.S.A. He didn’t come and next time he said last year while coming to this concert I had to pay so much extra money, so please give me that money. But actually he didn’t come and didn’t spent any kind of money but we had to sent because he was such famous artist. So in organizing concerts, this kind of things happens.

It happened with Samta Prasad ji also, we organized a concert with three very famous Tabla player’s solo, again in Ramkrishna Mission, so Samta Prasad ji came two years earlier than the concert and he stayed at Ramkrishna Mission guest house, he thought that this guest house is like a hotel, So he used to call at the reception at a very late night and asked for Paratha and Boti Kabab or something like that, and though it was prohibited but he used to have drinks there, then one day he fell sick, actually he fell sick after playing his Lahara, then we found that he consumed almost two k.g.s of Kaju Badam ( Cashew Nuts) and we came to know that from his disciples that their Guruji consumed that amount of Cashew Nuts, so we had a big problem in cleaning the room and so these things also happens organizing concert.

Ustad Ali Akbar Khan and Ustad Vilayet Khan

We also had a big fighting with the audience in 1977. We organized a night long concert of Ali Akbar Khan Sahab and Vilayat Khan Sahab duet, and also Girija Devi and Nikhil Banerjee at Netaji Indoor Stadium. We had a music circle called Allauddin Music Circle, on behalf of that we organized that concert. You know that the stage there is oval shaped and so everyone could not seat in front, because all tickets were sold out so many people were seating at the back side of the artists, which they didn’t like, and they kept on shouting that ‘you have to turn, you have to turn’, which couldn’t be possible and as we were the part of organizers wearing batches so people can find us and they started abusing us and somehow we have announced on the stage that it is not possible so please bear with us and just listen them playing but they kept on shouting that no we want to see them too and not only listening we also want to see their face and mood and expressions of the artists, so we were almost beaten up by the audience but somehow we were rescued so this is another part of organizing a concert.

Verbatim by: Rajeswary Ganguly Banerjee

Picture Courtesy: Google

http://www.sruti.com/index.php?route=product/product&path=6&product_id=339

 : https://www.google.com/search?q=Ali+Akbar+Khan+Vilayat+Khan&client=firefox-b-ab&tbm=isch&tbs=rimg:Cc7PoWHJDf43IjisxNeXoRJK-scTnfMi3xDjcqTilByHbevErH3XcVCY4Hx5hAb8JJvF6Aymb1zhdVcxwY7jGJMg1ioSCazE15ehEkr6EZ9Ui4oVctaXKhIJxxOd8yLfEOMR1Zbu4tUeh5kqEglypOKUHIdt6xEEzOLUczC0yioSCcSsfddxUJjgEfJ5W2UkAI53KhIJfHmEBvwkm8URbh308-pNm3oqEgnoDKZvXOF1VxGthIdLisaoqCoSCTHBjuMYkyDWEZqWrJZtciwv&tbo=u&sa=X&ved=2ahUKEwjy2ay0wr7bAhVDfisKHaBDAukQ9C96BAgBEBs&biw=1366&bih=631&dpr=1#imgrc=zs-hYckN_jdZlM:

Edited & Designed: Ms. Rajeswary Ganguly Banerjee 

Data processed at SAP-DRS Lab, Department of Instrumental Music, Rabindra Bharati University

 

 

Performance, Central, Others, 1975-2000

Music wins over Electrical Failure : Ustd. Amjad Ali Khan at Rabindra Sadan

Told by Ashim Kanti Karmakar
Obtained by Suranjita Paul
Date 25th August 2016
Place 183E, Nabarun Co-op Housing society, Thakurpukur, Kolkata -63
About the speaker Sri Ashim Kanti Karmakar is a hardcore listener of Indian Classical Music and a regular visitor of Musical Concerts of Kolkata
Tags Rabindra Sadan, Amjad Ali Khan, Sarod, Zakir Hussain, Tabla, 3 hours, 1980, Stage, auditorium, silence, Break, amplification off, elctrical failure
Language Bengali

Ashim Kanti Karmakar speaks:

South, Others, 1975-2000

Thoughts of Asit Banerjee – Music and its Natural and Super-natural Impacts

Told by Pt. Asit Kumar Banerjee
Obtained by Suranjita Paul
Date 27th August 2016
Place 62/36/1 Hari Pada Dutta Lane, Kolkata- 700033
About the speaker Pt. Asit Kumar Banerjee is an eminent Rudra veena player and representative of Dagarbani Dhrupad in Kolkata
Tags Joykrishna Sanyal, Space, Voice training, Mallar, Tansen, Haridas Swami, Brahma, magnetic electron, cell, Behat, Gwalior, Tansen Festival, Kirtana, Parampara, Baiju Bawra, Music Therapy
Language Bengali

Pt. Asit Kumar Banerjee speaks:

Some part of this recording gives us an opportunity to listen to a musician’s thoughts those are far from common. So, we thought to share these rare reflections generated from a highly dedicated musician’s mind. – Editor

Performance, Kolkata, 1948-1960, Others

Two legends on stage but he could only pray for one!

Told by Dilip Mukherjee
Obtained by Rajeswary Ganguly Banerjee
Date 19th August, 2016
Place S.A.P. Lab, Instrumental Music Department , Rabindra Bharati University , B.T. Road Campus.
About the speaker Renowned Tabla Player, Accompanist Department of Instrumental Music, Rabindra Bharati University
Tags performance, Shyamal Bose, 1960, Amir Khan, Bade Ghulam Ali Khan, Vocal, Accompanist, Vilayat Khan, Begum Akhtar, Raag Lalit,    Audience
Language Bengali

Dilip Mukherjee speaks :

 

Performance, Central, 1961-1974, Others

No Amplification in Kalamandir : Pt. A. Kanan sings

Told by Rajyasree Ghosh
Obtained by Rajeswary Ganguly Banerjee
Date 19th August, 2016
Place S.A.P. Lab, Department of Instrumental Music, Rabindra Bharati University ,B.T.Road Campus.
About the speaker Renowned   Vocalist, Assistant Professor , Rabindra Sangeet Department , Rabindra Bharati University
Tags 1975, Kalamandir, Performance, Jnan Prakash Ghosh, Prasun Bandyopadhyay, A.T. Kanan , Malabika Kanan, Buddhadeb Dasgupta, 1974, Music Conference, Bageshree,Taar Saptak Sa, Sam, Sagird, Bandish.
Language Bengali

Smt Rajyasree Ghosh Speaks :

Verbatim:

???? ???? ?????????? ???? ???? ???? ??? ???? ???? ????????? ?? ???????????? ????? ??????????? ??? ?????, ???????? ????????, ???? ??????????????, ?????? ??????????????, ???? ?????, ??????? ??, ??????? ?????

???? ????? ???? ? ?? ?????

?????, ????? ??????? ??? ???????, ??? ??? ????? ???? ???, ??? ???? ????? ????? ??? ??? ???? ???? ???? ????? ??????? ????????? ????, ?? ????? ?????????? ??? ??????????? ??? ??? ?? ???????? ?????? ????? ???? ???????? ???? ?????????? ??? ??????? ?????? ??????? ????? ??? ??? ???? ????? ??????,

Pt. A.T.Kanan

?????? ????? ?????? ???? ???? ????? ?????, ???????? ??????, ‘??? ?? ????’ ????? ????? ???? ??????? ????? ?? ????? ????? ?????? ??? ??? ????? ??? ???? ??? ?????????? ??????????  ????? ??? ??????????, ???? ???? ???, ????? ??? ???? ?????? ?? ???? ?? ???????? ?? ???? ?? ??? ????, ??? ??? ??????? ?????? ?? ???? ??? ?????, ??????????, ?????????? ??? ??? ????? ?????, ?? ????? ?? ??????? ??? ??? ????????, ???? ????? ???? ?? ??? ???, ?????? ‘??? ?? ??” (?????????)??? ????? ?? ?? ??? ?????????? ??? ???? ??????? ??? ????? ??????, ?? ???????? ????,?????? ????????????? ?? ??? ???????? ?? ???? ???? ??? ???? ???? ?????, ?? ???, ??? ???, ??? ???? ???? ??? ??????? ???????????? ??? ????

Verbatim: Rajeswary Ganguly Banerjee

 Translation

This is an incident from the year 1975 which took place at Kalamandir. At the program, there was present Jnan Prakash Ghosh, A.T. Kanan, Prasun Bandyopadhyay, Budhadeb Dasgupta and Malabika Kanan. At that time, I was in eighth standard in school, and this was an incident from the year 1984 and I had just begun my journey in the musical world through experiencing whole night conferences. The first performance that I remember was a duet by Jnan Prakash Ghosh and V Balsara. It was a different kind of experience altogether- the duet of harmonium and piano. Though I wasn’t able to appreciate much, but I really liked it. After one more performance, Kanan Saheb went on stage. He sang the Bageshree Raga- “Sakhi Man Laagi” with the Sa into the Sam. Ten minutes after he began, there was a power cut, which lasted for 45 minutes. I remember, the crowd was totally silent, and Kanan Saheb went on with his performance uninterrupted. Can there be anything more technical than this?

Kalamandir, A renowned auditorium of Kolkata

I had a balcony seat, which used to cost ten rupees back in those days, and I listened to him. I don’t remember the names of his companion, who was excellent as well. I felt Kanan Saheb’s voice was like an arrow, from my balcony seat. If it would have taken place today, even I would have stopped singing in the power cut. This incident has been imprinted in my mind since then.

 

 

Translated by: AnkanaDas 

Picture Courtesy: Google

https://www.google.com/search?client=firefox-b&biw=1366&bih=631&tbm=isch&sa=1&ei=EerqWpr-NMOm0ATYtpXoAQ&q=a+t+kanan+&oq=a+t+kanan+&gs_l=psy-ab.12..0i24k1l2.4002.4002.0.8182.1.1.0.0.0.0.214.214.2-1.1.0….0…1c.1.64.psy-ab..0.1.212….0.75f1YnGp9eE#imgrc=RxMfldkxIeyhWM:

 

https://www.google.com/search?client=firefox-b&biw=1366&bih=631&tbm=isch&sa=1&ei=EerqWpr-NMOm0ATYtpXoAQ&q=kalamandir+auditorium+kolkata&oq=kalamandir+a&gs_l=psy-ab.1.2.0l5j0i24k1l5.2230.6090.0.8894.12.11.0.1.1.0.274.1718.2-8.8.0….0…1c.1.64.psy-ab..3.9.1736…0i67k1j0i10k1.0.cKotr9mY_8c#imgrc=1sxg_O79A0tahM:

Edited & Designed: Ms. Rajeswary Ganguly Banerjee

Data processed at SAP-DRS Lab, Department of Instrumental Music, Rabindra Bharati University

 

 

 

South, Others, 1975-2000

Bridged with silence – Ali Akbar & Ravi Shankar

Told by Dr. Rajeeb Chakraborty
Obtained by Sukanya Sarkar
Date 11 July, 2014
Place Kolkata residence of Dr. Rajib Chakraborty, Swinhoe Street, Kolkata 700019
About Dr. Rajeeb Chakraborty Dr. Rajeeb Chakraborty is a renowned sarod player, a music composer, and also involved in a large number of experimental projects internationally. He received several awards for his experimental work in music.
Tags 1982, Golpark Ramakrishna Mission Institute of Culture, Ali Akbar Khan, ravi Shankar, silence
Language Bengali

Dr. Rajeeb Chakraborty speaks :