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.
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1982, Golpark Ramakrishna Mission Institute of Culture, Ali Akbar Khan, ravi Shankar, silence
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.
During such a time, Borda Kaku, that is Prasun Banerjee, Pratyush’s father, started an organisation called Aritra in a large British-era house on Bishop Lefroy Road. The hall was a hundred feet in length and forty feet in breadth. Private music programmes were held in Aritra for fifteen years – at least once or twice a month. I don’t think I have missed a single programme at Aritra if I was in Kolkata at the time. We were always eager to go to such places, we wanted to perform, but weren’t getting the chance, it became a meeting place with friends. We would go there to vicariously satisfy our desire to be associated with music. But actually we couldn’t do anything, I can’t do anything even now, but Aritra occupies a special place in my youth. Those performances, that atmosphere of music held a special place for me.
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
Rajeeb Chakraborty, Kaushic Sen, sarod, tabla, Rupak, Jhaptal
Kolkata residence of Dr. Rajib Chakraborty, Swinhoe Stree, 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
Kala Mandir, Ali Akbar Khan, sarod, Shankar Ghosh, tabla, over-packed, Jog, ethereal experience, ecstasy
Pt. Swaraj Bhattacharya, belongs to Lucknow Gharana, a disciple of Ustd. Afaq Hussain Khan, an eminent table player and thinker.
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Ahmedjan Thirakawa, All India radio, Mahesh Mishra, tabla, sarengi, Keramatullah Khan, Shyamal Bose, Amir Khan, Lalit, Muhammad Ali Parj, Sarba Bharatiya Sangeet Sammelan, 1970’s
At Kolkata residence of Jon Barlow 91/1B Bondel Road, Kolkata 700019 [Ballygunge Phari]
About Jon Barlow
A man in pursuit of Indian Classical Music for more than fifty years. Learnt sarod, vocal music, music collector, music craftsman, photographer, artist, music theorist.
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Vilayet Khan, Yaman, Hafiz Ali Khan Memorial Festival, Park Circus, 1978,
It was a morning programme. All Bengal Music Conference.
Where was this?
This was the one hosted by Lal babu. All India. This one was held at Mahajati Sadan.
When was this approximately?
Kesarbai Kerkar
This was around 1940/41-42. Kesar Bai was singing in the morning. She was a very sombre kind of a woman. She was the only disciple of Alladiya Khan. In the morning, she was singing varieties of Raga Bilawal. Bilawal is a very difficult raga. There are many variations – kukuv bilawal and so on and so forth. Keshar Bai was singing. In the heat of the moment she said, “Bade Miyan, this is very difficult. To acquire the Bilawal and to be able to sing it is very difficult. This is Bade Miya’s training.” Bade Miya means Alladiya Khan.
That to Faiyaz Khan!
Yes, Faiyaz Khan. She said it in front of everyone. Faiyaz Khan was very upset. She was singing and speaking. No one sings the Vilaval usually. Not Ghulam Ali Khan sahib, not Amir Khan – no one. And among those of us who play instruments, Vilayet Khan used to play Imni Vilaval. Alaiya, Imni – three or four Vilavals. And they were not trained under Alladiya Khan. Keshar Bai was a league apart.
Faiyaz Khan was to perform that night. He sang the Darbari. He said, “Begum sahiba, this Dhaibat is very difficult.” Dhaibat and Gandhar. This was the nature of competitions during that time. That volume, that voice, that ‘kharaj’. There’ll never be another Faiyaz Khan again.
