| Told by | Anindya Banerjee |
| Obtained by | Sukanya Sarkar |
| Date | 14 July, 2015 |
| Place | Residence of Anindya Banerjee, 50/1A,Purna Das Road, Kolkata |
| About Anindya Banerjee | Disciple of Ustd.Ali Akbar Khan, Ustd. Dhyanesh Khan and other gurus. He plays Sarod and Surshringar. He is a well-known writer on Indian Music with several publications to his credit. |
| Tags | Ali Akbar Khan, Ali Akbar College of Music, 1968, Dhyanesh Ghan, Nikhil Banerjee, Lake Market area, South Calcutta, Annapurna Devi, ang, vocal music, dhamar, tarana, practicing, |
| Language | English |
Category Archives: Music
In Proximity of Ustd. Ahmedjan Thirakawa
| Told by | Maharaj Banerjee |
| Obtained by | Sanjoy Bandopadhyay and Dilip Mukherjee |
| Date | 05 July, 2015 |
| Place | 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. |
| Tags | Mantu Banerjee, 1943, Muneshwar Dayal, harmonium, Maharaj Banerjee, tabla, 1937, 1957, Sati Sadan, Ustd. Ahmedjan Thirakawa, |
| Language | Bengali |
Maharaj Banerjee speaks :
‘Ganda bandhan’ and Montu Banerjee
| Told by | Maharaj Banerjee |
| Obtained by | Sanjoy Bandopadhyay and Dilip Mukherjee |
| Date | 05 July, 2015 |
| Place | 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]. |
| Tags | 1935, Patuatala, Abid Hussein Khan, Mantu Banerjee, Hiru Ganguli, Rai Chand Boral, Raichand, Baral, Masid Khan, Nara Bandha (Ganda bandhan), Muneshwar Dayal, harmonium, tabla. |
| Language | Bengali |
Maharaj Banerjee speaks :
Verbatim:
???? ???? ??? ???? ???????? ???? ???? ???? ?????????? ?????? ???? ????? ??? ??????? ?????
-?? ??????? ?? ?????? ?? ?????
– ?? ?????? ?? ???????? ???? ?????????? ?????? ???? ??? ??????? ?????? ???? ?????-?? ???? ????? ???? ????? ????????, ???????????? ????????????? ???? ???? ??? ????? ???? ???? ???????? ????????? ??? ????????? ????????? ????? ??????
– ???? ????? ???? ?????? ????? ???????????
-?????? ????? ?? ?????? ????? ??????????? ???? ????? ????? ????????? ???? ??? ??? ??? ??–????? ?? ????? ??, ?????, ???? ???? ????????? ???? ???? ????? ????? ??? ???????? ???? ?????, ?????? ????? ??????? ???? ????? ??????-???? ???? ???, ??? ???, ????? ??? ??????? ?? ??? ?????? ???? ????? ??? ??????? ???? ???? ???? ?????? ?? -???? ???, ????? ??? ???? ???????? ?????? ???????? ????? ??????? ???? ????-?? ???? ?????????? ???? ???? ?? ??????? ??? ????? ?????? ??? ????? ??? ?? ?????? ???? ??? ????? ?? ????? ???? ??????? ?????? ???? ????? ???? ????? ????? ????? ??? ???? ??? ??????? ???? ???? ??? ?????? ????????? ????? ?????????? ??????? ???? ????? ???? ??? ???? ?????? ? ?? ????? ???????? ???? ??????? ??????? ????? ??? ??? ???? ???? ????? ????? ????? ?????? ?????? ????? ?? ??? ?? ????? ?? ????????? ?????????, ???? ??? ?? ?????, ???,? ?????? ??, ??? ??? ???? ??? ???????? ???? ??? ????????????? ?????? ???? ????? ????????? ??????? ???? ? ???????? ???????????
Verbatim: Dr. Suranjita Paul
Translation:
Earlier, my father used to play the tabla. In 1935, he became the disciple of Ustad Abid Hussain Khan sahib.
-Did that happen in this house?
– No, we used to live in our original house in Potuatolla at that time. The first person to tie the nara with Ustad Abid Hussain Khan was Hirubabu – Hirendranath Gangopadhyay. His father was a great fan of the tabla. Manmath nath Ganguly was his name. He used to work at the High Court.
– Your father is Pandit Montu Banerjee.
– Yes. We were all very close to Hiru babu’s family. Father was quite small then. Hiru babu said to my father that since he is such a fan of the tabla, he should become a disciple of his ustad. In those days, masters would not take on more than thirty to forty students. The masters would teach tabla or any other instrument or singing only to those who would become their gandabandh disciples. So my father learn from Ustad Abid Hussain Khan for two to two-and-a-half years. Then, Ustad Abid Hussain Khan passed away. Our family was close to Mr. Raichand Baral. He was a friend of one of my uncles. He said, “Ustad Masid Khan sahib is currently staying at my house. Why don’t you train under him.” So, he learn from Ustad Masid Khan. Then, my father ran into Munneshwar Dayalji. Father found him to be a great man. He was attained enlightenment in the world of music. He had a fantastic memory, and a singing style to match. He said to my father, “No one plays the classical harmonium. You should do it”. That was the time father left the tabla and took up the harmonium. The first time he played the harmonium was at the conference at Allahabad in 1937.
Translated by Sarbajaya Bhattacharya
Picture Courtesy:
Kamalaksha Mukhopadhyay, Harmonium player, AIR
Edited & Designed: Dr. Suranjita Paul
Data processed at SAP-DRS Lab, Department of Instrumental Music, RabindraBharati University
Music at Sati Sadan – 1
| Told by | Maharaj Banerjee |
| Obtained by | Sanjoy Bandopadhyay and Dilip Mukherjee |
| Date | 05 July, 2015 |
| Place | 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.
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?
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.
Translated by: Sarbajaya Bhattacharya
Picture Courtesy: Google
https://scroll.in/article/803073/they-lack-logic-hindustani-maestro-bade-ghulam-ali-khan-explains-why-he-doesnt-like-new-raags
Edited & Designed: Ms. Rajeswary Ganguly Banerjee
Data processed at SAP-DRS Lab, Department of Instrumental Music, Rabindra Bharati University
Ox Intervention
| Told by | Gurudas Ghosh |
| Obtained by | Aloke Narayan Mitra |
| Date | 29 January, 2015 |
| Place | Santragachhi, Howrah |
| On Gurudas Ghosh | Well-known Pakhawaj Player. |
| Key-words | Durlabh Chandra Bhattacharya, conservative, tabla, pakhawaj, profane instrument, Bramhin, baijee, entertainers, khyal, Kana Keshto, Krishna Chandra Dey, Ox play to stop Dhrupad concert. 1940’s. |
| Language | Bengali |
Note: Sri Ghosh later informed us to note that he talked about Krishna Chandra Dey and NOT Krishnadhan Bandyopadhyay.
Gurudas Ghosh speaks:
Keramatullah Khan’s Sitar and the Peacock
| Told by | Gurudas Ghosh |
| Obtained by | Aloke Narayan Mitra |
| Date | 29 January, 2015 |
| Place | Santragachhi, Howrah |
| On Gurudas Ghosh | Well-known Pakhawaj Player. |
| Key-words | Mallick-bari, Pathuriaghata, Bengal Music Conference, Keramatullah Khan sitar player, jhala, speed-competition, Peacock intervention, 1940’s |
| Language | Bengali |
Gurudas Ghosh speaks:
Some Glimpses of the late 19th century Pakhawaj Players : In and Around Calcutta
| Told by | Gurudas Ghosh |
| Obtained by | Aloke Narayan Mitra |
| Date | 29 January, 2015 |
| Place | Santragachhi, Howrah |
| On Gurudas Ghosh | Well-known Pakhawaj Player. |
| Key-words | Hari Shankar Ghosh, Mridanga, Durlabh Chandra Bhattacharya, Collapsible Howrah Bridge, zamindar, rich people, baithak, yatra style, jatra style, male singer in female voice, 1885-86, 1890’s, Pyari Mohan Das, |
| Language | Bengali |
Gurudas Ghosh speaks:
Verbatim:
?????? ????? ???? ???? ?????? ???? ???? ????? ???? ????????? ???????? ??? ??? ???? ??????? ?????????? ?????? ??????? ??????? ?????????????? ?????? ?????? ???????????? ??????? ???? ??? ??? ??? ????? ?????? ??????? ?? ?????? ??? ?????? ??? ?????? ??????? ??????? ???????? ???? ???? ??????, ????? ?????? ???? ?????? ?????? ??? ?????? ??????? ??????? ????? ?? ??????? ??????? ?????? ??? ???? ????????? ????? ????? ????? ????? ?? ?????? ?? ?????? ????? ????????? ?? ???????? ???? ???? ??? ???? ???????? ???? ?????? ???? ?????? ?????? ???? ???? ???? ???? ??? ???????? ??-??? ???? ????? ???? ???? ????? ??, ???? ????? ??? ???? ???? ??? ??? ?????? ??????? ??????? ????? ?????? ?????? ??????? ???????? ???? ????? ????? ???? ??? ??? ???? ???? ???, ??? ????? ??? ???? ????? ????? ???? ?????? ???? ???? ???? ???? ????????? ???? ????? ????? ?? ?????? ???? ???? ???? ??? ???? ??? ??? ??????? ???? ????????????? ?? ?????? ??????, ???? ??????? ???? ????? ???? ????? ???? ????? ??? ?? ??? ???? ???? ????
???? ????? ??????? ?? ????? ??? ????? ??, ?????? ??? ???? ???????? ??? ??? ??? ??????? ??? ?????? ??????? ??????? ?????? ???? ????????? ??? ???? ??????? ???????? ??? ????? ??, ?????? ???? ????????? ???? ????? ??? ????? ???, ????? ??? ???? ???????? ????????? ??? ?? ???? ??? ??? ???? ???? ?????? ????? ??? ??????? ???? ?????? ??? ?????? ???? ?? ????????? ??? ???? ????? ???, Actually ???? ???? ????? ???? ?? ?????, ?????? ??? ???? ??? ??????? ???? ???? ????? ????????? ???????? ???, ???? ??? ??? ????? ?? ??? ?????? ???? ?????? ??? ????? ????? ???? ???? ??? ???? ???? ?????? ???? ???? ????????? ?????? ??????? ???? ??????? ?????? ?????? ??? ????? ??? ?????? ?????? ??????? ???? ??????? ??? ??, ????????? ???, ????? ??? ???? ????? ???, ???????? ???????? ??? ???? ??????? ??????? ??? ???? ??????? ??? ???????? ??? ???? ???? ????? ???? ???? ????? ?????? ?????? ???? ??????? ????? ?????? ??????, ??? ???????? ????? ?????? ????? ??? ?? ?? ????? ??????? ??? ??, ??????? ??????? ????? ???? ??? ?????? ???? ????? ????? ?????
??? ?? ???? ??? ??????
?? ??????
????? ?? ?????…?
?? ??, ??? ???? ????? ??? ??? ???? ????? ???? ???? – ?? ??? ???? ???? – ?? ? ??? ????? ???? ??? ???, ????? ?? ?????? ?????? ??? ???? ???? ???? ??? ?????? ????? ?????? ?? ??? ?? ???? ???? ????? ?? ?????? ???? ??????? ???? ?????? ?? ??? ???? ???? ??????? ??? ?? ??? ????? ???? ??? ??????? ????? ???? ?? ?????? ???? ??? ??????? ????? ???? ???? ???? ?????? ?????? ??? ??? ????? ??? ??? ?????? ???? ?????? ???? ?????? ????? ?? ?????? ????? ??? ?? – ‘??? ??? ????? ??? ??? ??? ???? ???? ??? ??? ???’? ????? ????? ??? ??????
????? ?????? ???? ?????? ????????????-?? ???? ?????? ????? ??? ??? ??? ?????????? ???? ??? ??? ?????? ???????? ??? ???? ?????? ???, ??? ???????? ?????? ?????? ????? ??????, ?????? ????????? ?????? ???? ?????? ?????? ???? ???? ???? ??? ??? ?? ????? ???? ???? ????? ????? ?????? ??? ????? ?? ??? ?????? ?????????, ???? ???? ???? ???? ?? ??????, ??????? ??? ??? ???? ???? ????? ???? ????? ????? ????? ????? ???? ???? ???? ??? ???? ????? ?? ??? ????? ?????? ??????? ?? ???? ??? ??????? ???, ????????
??? ??? ???? ???? ??????????
?????? ????????????-?? ?????? ????? ?????????? ????
???? ????? ?? ??? ?? ??? ???? ???? ??????? ???????? ?? ?? ???? ???? ????? ????? ???? ??????? ??? ??????? ???? ??? ???? ????? ?? ??? ??????? ???????? ?????? ???? ??? ???? ?? ??? ??? ???? ??????? ?????? ?? ??? ?????? ???????????? ????? ??? ??? ?????? ?????????????? ???? ????? ?? –‘??? ???? ????? ?????, ?????????? ???? ??? ?? ?? ????? ????? ??, ??? ?? ?????
??? ?????? ???????????? ???? ???? ?? ???? ??? ???????? ??? ????? – ‘???? ???? ???? ???, ??? ????? ??????? ??????? ???? ?????? ????????????-?? ???? ??? ??? ??????? ???? ????? ??? ??????????? ??? ??????????? ???? ?????? ???? ?????? ???? ????? ??????, ??? ????????????? ????, ???? ??? ???? ?? ??????? ??????? ?????????? ??? ????? ?????? ??? ????? ???? ??? ??? ?????? ?????????????? ???? ????? ?????? ??? ??? ??????? ????? ???? ????? ??????? ??? ???? ? ??? ?????? ??????? ???? ????? ? ?????? ???? ??????? ?
??? ????? ????? ???? ???? ????? ???? ?????????? ???, ??? ?????????? ????? ????? ??????? ????????? ?????, ???? ?????????, ??? ????? ????? ??????? ???????? ??? ??? ??????? ?????????? ????? ?????????? ????, ???????? ?????? ?? ????, ???? ?????? ????? ????? ????? ??? ??????? ????? ?????? ????? ???????? ?????? ??? ?????? ???? ?????? ??????? ?????? ?? ?? ?????? ??? ???? ????? ?? ?????? ????? ???? ??? ??? ??? ???, ???? ?????? ????? ?????? ???? ???? ??? ???? ???? ???????? ?????, ?????? ????? ???????? ??? ????? ????? ?????? ???, ?? ?????? ??? ?? ??? ???, ???????? ??? ????? ???? ???? ???? ??? ??? ?????? ??? ???? ???? ???? ??? ??? ???? ????? ?? ???? ??????, ??? ???? ??????? ??? ???, ?????? ????? ??? ??? ????? ??? ??????? ???? ???? ??????? ???? ??????, ???? ???? ????? ??? ??????????? ????? ??? ????? ????? ????
??? ??? ???? ??????? ?????????? ?????, ?????? ?????????????? ????? ????????? ??? ??? ??? ??????????? ???????????? ???? ???? ??????? ???????? ?????? ??????????? ??????????? ?????? ?????????????? ??????? ??? ???? ?????? ??????? ???????? ???? ???? ????? ???? ?????? ??? ??????????? ?????????????? ????? ???? ?????? ????? ??????? ???? ??? ?????? ????? ??? ????? ???? ??????? ?? ??? ??? ????? ????? ????? ???? ??? ??? ?? ???? ???? ?????? ?????? ?????- ????? ????? ??? ??? ???? ???? ??? ???? ?? ???? ??? ???? ???? ?????? ?????????????? ?? ??????? ?????, ????? ????? ??? ?????, ??? ????? ???? ???? ???? ?????? ???????????? ??? ???? ??? ????? ?? ??????? ??? ?????? ?????? ???? ?? ??? ??????????
Verbatim by: Dr. Suranjita Paul
Translation:
Our Howrah district is on either side of the Ganges. My grandfather Harishankar Ghosh was an important mridanga player. He trained under the well-known mridangacharya Durlabh Chandra Bhattacharya for almost twenty years. At that time, the only thing connecting Howrah and Kolkata was the old Rabindra Setu, on that side of the Howrah Station. But the people from Howrah to Kolkata could only cross at a particular time and same was the case for those who were travelling in the opposite direction because, unline the concrete bridge that exists today, this bridge, I’ve heard my grandfather say, was a floating bridge. Such a bridge still exists at the Kidderpore docks. This bridge is opened to let ships pass, and then closed again. This bridge would open after 11pm and let the ships pass. Then it would close again early in the morning at around 4 or 5. So, the music-lovers who went to Kolkata from Howrah would have to return by a particular hour, or else they’d get stuck.
It is my belief that the music scene in Kolkata was not like this before. Earlier, a programme would be organised every week at the house of some rich zamindar. Many talented persons would come to hear. In such programmes, the performer sat in the middle, and the audience sat around the performer – an arrangement similar to the jatra. My grandfather (I called him dadu although this term is usually reserved for the maternal grandfather, but I am used to calling my paternal grandfather Harishankar Ghosh by this term) had been attracted to this music from a very young age. He was associated with an ameteur jatra troupe since he was a boy. In those days, at the beginning of every play, there would be a song by bibek (the conscience). A Pakhwaj, then some on the tabla, and kirtan if need be. My grandfather played female characters in the plays when he was fourteen or fifteen years old. In those days, the men would play the part of the female characters because women couldn’t participate in such performances themselves.
How long ago was this?
The year?
Yes, which year?
Well, my grandfather was around twelve or fourteen. 1885-86 maybe. 1315-16 BS. Anyway, grandfather developed an interest in music through his participation in these plays. He didn’t learn the tabla, but he was fascinated by the instrument. If he ever got the opportunity, he could play along with some other member of the troupe, but he was not trained. The leader of the troupe advised my grandfather, “You have a good sense of rhythm. You learn the tabla. It’ll do you good.” Grandfather liked what he said.
One of the main disciples of Durlabh Bhattacharya was Pyareemohan Das. He was a timber merchant in Posta. Even now if you go in that direction, you’ll see timer merchants all in a row. Anyway, my grandfather got in touch with him and began to train. After training for some time, the master said, :Our gharana doesn’t use the tabla for too long, we have the pakhwaj.
Who did he learn from?
From Pyareemohan Das – the main disciple of Durlabh Bhattacharya. After that, he trained under him for ten years to learn the pakhwaj. After that, he passed away. Before that, grandfatherhad trained for ten years. But he felt like he had a lot left to learn. Durlabh Bhattacharya was still there. So he went to Durlabh Bhattacharya and said, “I was a student of Pyareemohan Das. Now, I have no one to train under. What will I do? Durlabh Bhattacharya was very impressed with my grandfather. He said, “You come to me. I will teach you.” Grandgfather trained under him for twenty years – for as long as he was alive. After passing his Entrance Examination, my grandfather also worked at several companies in Kolkata. He went to learn after work. That is why, he developed a close relationship with Kolkata and began to attend different programmes and hear performances.
When grandfather’s first guru Pyareemohan Das was still alive, he would go to many programmes with Pyareemohan Das. The latter would perform, and he would sit and listen. At that time, there would be arrangement of food not only for those who performed, but also for the audience in all the private performances. Grandfather used to be there. But he also had to keep in mind that he’d have to reach Howrah Station before 11, although the train was at 11:30, because the bridge was to open for the ships to pass. It happened many a times that he slept all night on what is now known as Jagannath Ghat (where there is a wholesale flower market). Sometimes, if he was accompanied by a friend, the friend would go with him.
At that time, there was another famous mridanga player, a contemporary of Durlabh Bhattacharya. His name was Nagendranath Mukhopadhyay. He was a famous ‘pakhwaji’. He could be called the ‘guru bhai’ of Durlabh Bhattacharya. However, his style was slightly different. Anyway, his daughter lived in Shibpur. So he often returned with grandfather. And if by chance the bridge would open, then the two of them would spend time chatting. He used to say to grandfather, “You play well, you should learn a bol or two from me.” Grandfather respected Durlabh Bhattacharya, revered him, but was also afraid of him. He was afraid that if he took the bol without Durlabh Bhattacharya’s permission, he would get angry and refuse to teach him. But he loved grandfather very much.
Translated by: Sarbajaya Bhattacharya
Picture courtesy: Google
http://umeandfilms.blogspot.com/2014/07/july-blind-spot-jalsagharthe-music-room.html
http://nishaantsingh.blogspot.com/
Edited & Designed: Dr. Suranjita Paul
Data processed at SAP-DRS Lab, Department of Instrumental Music, Rabindra Bharati University
Lal Chand Boral: Pakhawaj to Vocal
| Told by | Nayak Chand Baral |
| Obtained by | Sanjoy Bandopadhyay |
| Date | 13 January 2015 |
| Place | Sangeet Bhavan, Rabindra Bharati Unievrsity, 56A, B.T. Road Campus, Kolkata 700050 |
| About Subrata Roy Chaudhury | Dhrupad singer, attached to Rabindra Bharati University |
| Key words | Lal Chand Boral, Baral, Pakhawaj, vocal, Bowbazar Street, late 19th century |
| Language | English |
Nayak Chand Baral speaks:
Verbatim:
??? ???? ?????? ????,???? ?????? ???? ????? ???? ????, ?? ???? ???? ????? ????????, ????? ?? ????????? ???? ???, ??? ????????? ?????? ??????? ?? ??? ?????? ???, ??? ??? ???????? ??? ???? ?? ???????? ???? ????, ???? ????? ??????? ???? ????????????????? ???? ???, ????? ????? ??????? ?????? ????? ?????? ??????? ???? ??????? ???? ?????? ????, ??????? ???? ????? ????? ??? ??????? ???????, ??? ?????? ?? ????? ???? ???, ?? ????? ?????? ??? ??? ??????? ???? ?? ????? ?? ?????????? ????? ????????
- ??? ??????
- ???? ????? ????????? ?????, ?? ?????????? ????? ??? ??????????????????? ??????
- ????? ??? ????
- ????? ??? ???? ???? ??? ??? ????? ???? ?????? ??? ?????, ?? ??? ?????? ??? ????? ???? ???? ??? ???, ???? ???? ???? ???, ?? ??? ???? ????????? ????, ????????? ??? ???? ??? ??? ??? ??? ????? ???????, ?? ??? ?? ?? ????? ???, ??? ????? ?????? ????, ??? ???? ?????? ???? ???? ??? ???? ????? ?? ?????? ??? ????? ??? ????? – “ ????? ????? ??? ??? ?? ????? ???? ‘
??????? ????, ??? ??????????? ?? ???? ???? ???? ???, ???? ?? ?? ??????? ?????? ????? ????, ?????? ????? ?????? ????? ?????? ?????? ??, ?? ?????? ??????? ??? ?????? – ‘ ????? ????? ??” ?? “ ??? ?? ???? ???? ????”, ‘ ????? ????? ??? ??? ?? ????? ????‘, ‘????? ??? ???’ ???? ??? ???? ?????, ?? ??????? ???? ??????, ??????? ??????? ?????? ??? ??????????? ?????? ??? ?? ??, ???? ??? ????????? ????, ???? ???? ???? ??? ???????? ???? ???? ???? ??????, ??? ??? ????????? ?????? ???? ??? ?? ?? ???? ???? ??? ???? ?? ??????, ?? ?????? ???? ???? ??? ????? ???? ??? ???? ???????? ???? ????? ??? ???? ???? ??? ????????? ???? ??????? ?? ??????? ???????? ?????? ?????? ???? ????? ??? ?????? ???? ???? ?????? ?????? ??????? ???? ???? ???? ??????? ??? ???? ?????? ???? ???????????? ????? ???? ???? ?? ?????? ?? ????????? ?? ?? ???? ?? ?????? ???? ???
Verbatim: Rajeswary Ganguly Banerjee
Translation:
- My old house is the Boral House in Bowbazar. Opposite to the Medical College is a Shiva temple. There is a lane next to the temple. Upon entering the lane, immediately to the right is a house with a portico – that is Lalchand Baral’s house. He used to live there. As far as we know, in his early years, he used to play the pakhwaj. He would travel with his instrument in our horse-drawn carriage and play with renowned Dhrupad singers.
- Who were they?
- There was one very famous Dhrupad singer. He accompanied that artiste.
- Do you remember the name?
- I’ll find out and tell you. He would often go to these performances. Then one day the singer said, “I’m not in the mood to sing today, so you can go back.” This irritared him. After returning, he sent word to the singer saying, “You are such a great singer and you turned me away, I’ll show you that I can also sing!” That is when he first sang. The song was – “Amare ashite bole keno eto opoman kora” (“Why do you insult me so after calling me”).
There are many other incidents involving Lalchand Baral. Jatras would be performed in the courtyard of their old house in Bowbazar where they’d sing songs such as the one mentioned and others like “Kader kuler bou”, “Dhin ta dhina paka nona”, “Anugoto jone keno”. That is how we have received the songs. Later, HMV gave him an offer to record his songs which he accepted. I’ve heard from others that HMV gained a lot during that time through these records. After that, they had come to present him with a car at the Bowbazar house. But unfortunately, Lalchand Baral passed away on that very day. That is why my uncles and others who were present decided to decline the gift.
Translation: Sarbajaya Bhattacharya
Picture Courtesy: Sri Nayak Chand Baral, Dhrupad singer, attached to Rabindra Bharati University
Edited & Designed: Ms. Rajeswary Ganguly Banerjee
Data processed at SAP-DRS Lab, Department of Instrumental Music, Rabindra Bharati University
Ustad Amir Khan’s Introductory Concert in Calcutta
| Told by | Subrata Roy Chaudhury |
| Obtained by | Sanjoy Bandopadhyay |
| Date | 14 December 2014 |
| Place | At Kolkata residence of Pt. Subrata Roy Chaudhury 6, Canal Street, Kolkata 700014 |
| About Subrata Roy Chaudhury | Well-known sitar player, scholar |
| Key words | Amir Khan, Jhankar, Pradyumna Mukherjee, Purabi Mukherjee, A. Kanan, Vasant Bahar, Ramdasi Malhar, Dixon Lane, 1950’s |
| Language | English |
Subrata Roy Chaudhury speaks:
Text Version:
As for example, Amir Khan Sahib’s introductory concert. It is said that Amir Khan Sahib used to visit Jnan babu every day. Every day because he didn’t get a chance to perform and one day Amir Khan Sahib decided to leave Calcutta. He had problem in Vilayat Khan’s household because there would be a divorce between Vilayat Khan’s sister and Amir Khan Sahib, they were married. And then Amir Khan Sahib to get out of Calcutta was accumulating money. He only gave tutorial to two or three. Pradyumna Mukherjee, he taught, he taught Purabi Mukherjee and someone else. And he used to save this money every time so that he could go to Bombay. And one day decided – I will leave for Bombay. So he went to Jnan babu. This was told to me by A. Kananji who also Amir Khan’s oldest disciple. So he went to Jnanbabu and said- ‘Jnan babu, apke Ghar aate aate to mera chappal tut gaya. Ab to mujhe gawaiye conference main’ .(Jnanbabu, literally I torned my chappals after visiting your house regularly. Please give me a chance to perform in a conference). Jnanbabu said – Ha ha, yeh to karna hi padega’ (yes yes, of course this is surely needed to be arranged.) ab kab ja rahe hai? (When are you going?).
– So did the concert happen in Jhankar?
(He) Make shift within fifteen days one concert was arranged. And Amir Khan Sahib…I have that recording, not here but abroad. I got hold of that recording, Vasant Bahar. People didn’t hear Amir Khan in concert normally. Vasant Bahar and a brilliant Ramdasi Malhar, that was his introductory concert then he went to Bombay and then he signed for Baiju Bawra after which he never looked back, he became over night famous.
– Yes, in Dixon Lane, 20 or 25 Dixon Lane. I don’t remember the number but after Prachi Cinema I have to go into Dixon Lane, the first house with a gate.
– So what would be the period, what time and in which year?
– I went to Jhankar regularly when I started learning Sitar 56, 57, 58.
– Then it should be 50’s.
– Yes, then of course then it shifted from Jnanbabu’s house. It became much smaller. Mukul Chakraborty looked after it some time. And I played there also in 1978 or something.
– I just wanted to know that in this Amir Khan Sahib’s Concert that Jnan Babu arranged didn’t happened around 1950s?
– You can find out two years before Baiju Bawra.
– Ok. Good good. That’s sorted out. It’s Wonderful. Thank you very much.
Verbatim: Dr. Suranjita Paul
Picture courtesy: Google
https://www.youtube.com/watch?v=e70Py6kgEsc
http://www.abhijitbanerjee.com/legacy.php
Edited & Designed: Dr. Suranjita Paul
Data processed at SAP-DRS Lab, Department of Instrumental Music, Rabindra Bharati University
Ustd. Hafiz Ali Khan: A Longer Piece
| Told by | Subrata Roy Chaudhury |
| Obtained by | Sanjoy Bandopadhyay |
| Date | 14 December 2014 |
| Place | At Kolkata residence of Pt. Subrata Roy Chaudhury 6, Canal Street, Kolkata 700014 |
| About Subrata Roy Chaudhury | Well-known sitar player, scholar |
| Key words | 1961, Hafiz Ali Khan, Khoka Maharaj, Birendra Kishore Roy Chaudhury, sarod, Amjad Ali Khan, Bageshree, southern Kolkata, Kesarbai Kerkar, Ahmedjan Thirakwa, Dover Lane, Alla Rakha. |
| Language | English |
Subrata Roy Chaudhury speaks:
Verbatim :
In the year 1961, that was my first waking up all night, and not staying at home all night. In 1961 I was eighteen years old, I was born in 1943 and I think in our conservative household, I wouldn’t say conservative, because we were quite liberal but staying out for the night was out of the question. They were all angry with me but this was my first staying out, and I didn’t have money as a student to buy the ticket, Birendra Krishna Roy Chaudhury told me you wear the volunteer’s batch and attend the concert. Help the people to sit and chase and you get a free ticket and you can hear all the maestros.
I remember he purposely told me to focus your attention to Ustad Hafiz Ali Khan Sahab. He rarely gives concerts and doesn’t play for more than five seven minutes. But we shall compel him to play more, and Birendra Kishore Roy Chaudhury whom Hafiz Ali Khan Sahab fondly call ‘khoka maharaj’ told him that you’ll have to play and he said “yes yes yes, I would play Bageshree” . I remember that since it was Birendra Kishore Roy Chaudhury’s conference, Hafif Ali Khan Sahab sat on the stage, tuned a sarod, Amjad Ali Khan Sahab sat beside, and I was playing the Tanpura probably, because I forgot about it, but recently I saw something few days ago, Hafif Ali Khan Sahab’s documentary with Amjad Ali Khan Sahab and I found my picture playing Tanpura, with the father and the son and Hafiz Ali khan Sahab first said that “I am playing on the request of Khoka Maharaj, and khoka Maharaj was such a knowledgeable person, that many great ustads came to teach him, but actually didn’t teach him but learnt from him. By various questions and answers they actually learnt acchyubh Ragas, unknown ragas from him.
- Where was the concert?
- This was 1969, I don’t remember, mysore hall or some big place, kalamandir was not there, Rabindra Sadan was not there, so concerts were usually held on Cinema Halls, Basishree, or Bhawani or Indira . But this was held in a small budget hall because..
- In southern part of Calcutta?
- It was near the lakes. Kalighat or Lake, Mysore Hall I think. Mysore Hall It had almost six hundred chairs. And I remember that Hafiz Ali Khan said this that khoka Maharaj was the fountain of knowledge, even his ustads in the pretext of teaching they learnt from him and began his beautiful Bageshree. He played twenty minutes of Bageshree, which he usually never played at that time and he played alone and the Gat started and Amjad Ali Khan took over. Kesarbai at this time got up and said ‘ Janab Main to apko sunne aya, aapka beta kiun baja raha hay, main to concert mein nehi jati hun, mainto aap hi ko sunne aya”( Janab I have come to listen to you, why your son is taking over, I usually do not attend any concerts, but I have made this effort to listen to you)
But Hafiz Ali Khan Sahab immediately replied – “ key yeh to main hi hoon” ( This is me and nothing but me). Then kesarbai said no we would like to like to listen to you. Then Thirakwa sahib stood up and said I also came to listen to you , “ Main bhi aaphi ko sunne aya, aap bajaiye’. So Hafiz Ali Khan Sahab looked at Thirakwa Khan Sahab and winked and said – “ Arey main to bajaunga “ ( I will most definitely play.) is you come to stage and play table with me. And Thirakwa sahib immediately went back stage and told the secretary that if I get my item money I will play. I will go and adjusting my budget that is not possible, and then Amjad Ali Khan Sahab took over and played. He was born on 1945 o in 1961 he was just sixteen years old. But what brilliance, ‘Ekhara Taan” and brilliant Sarod, sparkling Sarod, and that was time when he became famous. He was immediately booked for Dover Lane and once later where he played with Ustad Alla Rakha Khan and created a sensation. All pretty girls were there looking out for him to sign their autographs because such handsome musician is very rarely seen on the stage playing classical instruments.
- Wonderful, Thank You.
Verbatim by : Rajeswary Ganguly Banerjee
Picture Courtesy: Google
http://swaratala.blogspot.com/2015/08/ustad-hafiz-ali-khan-last-interview.html
Edited & Designed: Ms. Rajeswary Ganguly Banerjee
Data processed at SAP-DRS Lab, Department of Instrumental Music, Rabindra Bharati University