He was very young at that time- maybe 25 or 26 years old. He used to live at Dhumdhumar at Dhaka, where he used to work at the Radio also. At that time, the Chief Producer was Suresh Chandra Chakraborty, whose son later became the editor for Ananda Bazar Patrika. Suresh Babu had become a very important figure in the career of my father. He had helped my father with a lot of things including taking him to venues, organizing events for him, etc. It happened once that a person belittled my father’s Laykari and said that it was not a big deal to perform.
So he asked the audience to pick up their hands one by one in any random matra and he would take tehai, instantly from that specific matra. I still am getting Goosebumps thinking about that.
Pt. Chinmoy Lahiri
Everyone was ready to entrap him, and was raising their hands now and then and father kept on doing the Tehai accordingly. So this raged on like a storm for a long time. At that time, in our Khayal and also Bangladeshi Khayal, there was a mid part, right after the Bistar, it was rarely to be found on that time, there was bolbani in Dhrupadi style. I remember him doing it with Bol Bani (words), which together comprised of the Laykari. This too comprised of a number of Tehai and a number of improvisation Laykari in derhigun,dwigun, and chow gun. He attempted several of these Laykari and used to reach at the ‘Shom’ in an incredible way. This whole procedure was a unique one. You can’t imagine, I can still see it in front of my eyes while talking about it. He would do it with such ease. Players who were not accustomed with playing with him never got a chance in these times. So this was his style of singing. And later in life, he himself started to change and alter his style. During this time, people used to say that he acquired this style from Dilip Chandra Bedi. I have never met Dilip Chandra Bedi, though I have listened to his records and seen him at places. I remembered that he too did a variety of Palta. My father also worked with Palta and he also did a lot of Taana too. For example, he did the Gadda Ghashit Taana, Tehara Sapat,ChoukhaSapat, etc. All these experiments and innovations that father used to do were his brain child.
Note: Pt. Chinmoy Lahiri was born in 1916. His son pt. Shyamal Lahiri is telling about the incidents when Chinmoy Lahiri was 25 or 26 years old. So the year should be around 1941-42. – Editor
Data processed at SAP-DRS Lab, Department of Instrumental Music, Rabindra Bharati University
Pt. Santosh Banerjee’s Residence , Kali Temple Road, Kolkata
About the speaker
Renowned Sitar Player, Formerly attached to the Department of Instrumental Music, Rabindra Bharati University as a faculty member. One of the prime disciples of Ustad Dabir Khan.
Tags
Green Room, Riyaz, Vilayat Khan, Binkar, Volunteer, Tansen Music Conference, Ravi Shankar, 1954, 1955, Bharati Hall
Pt. Santosh Banerjee’s Residence , Kali Temple Road, Kolkata.
About the speaker
Renowned Sitar Player, Formerly attached to the Department of Instrumental Music, Rabindra Bharati University as a faculty member. One of the prime disciples of Ustad Dabir Khan.
Tags
Vocal, Kashinath Chattopadhyay, Raag, Rampur Sahaswan Gharana, Tarapada Chakrabarty, Chinmoy Lahiri, Chanu Ganguly, Taan, 1951, Alam Bajar
60/2/7 Kabi Bharati Sarani, Lake Road. Kolkata- 700029
About the speaker
Swapna Mukherji is a well-known Sitar Player. She is the daughter as well as a disciple of Sri Amiya Bhushan Chattopadhyay [disciple of Pt. Lakshman Bhattacharya]. She was a graded Staff artist of All India Radio, served both in Raipur and Calcutta Station of All India Radio.
My father, Amiyabhushan Chattopadhyay, was one of Lakshmanda’s, that is, Lakshman Bhattacharya’s favourite students. I remember the names of a few others because they used to visit my father. For instance, there was Sukumar Basu. There was someone called Aparesh Chattrjee – I had only heard of him, never seen him. There was someone called Badal Das who could play the sitar and the sarod. He was born in 1921 and passed away in 2012.
Shri Lakshman Bhattacharya
Lakshman da was an incredible artist. He was very moody and somewhat apathetic towards worldly interests. He was dead against self-publicity and avoided it at all costs. He had a tendency of disappearing, so his students would take turns to make sure that he stayed put.
In those days, programmes on the radio used to be broadcast live. My father used to keep an eye on him. Our house was very close to the Akashbani Bhavan. My father would bring him to our house and make him stay there. He would get angry and say, “Why are you following me like this? Don’t keep me under surveillance!” Father would change the subject and say, “We are so fortunate to ahve found a guru like you. The more time we can spend with you, the better it is for us.” And he would make him perform for the radio.
It had happened a few times that Lakkhan da had a programme, but he was nowhere to be found. This happened a few times during the Chetla conference. These are all stories I’ve heard from father. They’d find him at the crematorium. He used to go and sit there. He seemed indifferent about the world. Maybe he liked it att he creamatorium, that’s why he sat there. He was extremely genial and pleasant. He called my grandmother ‘mother’, and referred to my mother as ‘bouma’ or daughter-in-law. He had a tender disposition. I’ve never heard from father anything about his rage. He was like this, but he was also very, very moody. The students would take turns to keep an eye on him.
Anyway, such measures did not prove preventive in the end. He passed away when he was just 39. He was unmarried. He was at his brother’s house in Shyambazar. I don’t know the exact address. He passed away in that house. His nephew came to our house, dressed in mourning. My father was the first person he informed. Father was shocked when he saw him and asked, “What has happened?” Then he said, “Uncle passed away. He had fever for a couple of days!” He paased away at a very young age. I wonder what would have happened had he lived. He had attained such fame at such an young age that even now his name is heard in certain corners. For instance, you have come to ask me about him!
Translated by: Sarbajaya Bhattacharya
Picture Courtesy:
Smt. Swapna Mukherji, Renowned Sitarist and graded Staff artist of AIR
Note: Shri Amiya Bhushan Chattopadhyay is the father of Smt. Swapna Mukherji – Editor
Edited & Designed: Dr. Suranjita Paul
Data processed at SAP-DRS Lab, Department of Instrumental Music, Rabindra Bharati University
60/2/7 Kabi Bharati Sarani, Lake Road. Kolkata- 700029
About the speaker
Swapna Mukherji is a well-known Sitar Player. She is the daughter as well as a disciple of Sri Amiya Bhushan Chattopadhyay [disciple of Pt. Lakshman Bhattacharya]. She was a graded Staff artist of All India Radio, served both in Raipur and Calcutta Station of All India Radio.
Tags
Lakshman Bhattacharya, moody, Amjad Ali Khan, Hafiz Ali Khan, Amiya Bhushan Chattopadhyay, Raga, Puriya,
60/2/7 Kabi Bharati Sarani, Lake Road. Kolkata- 700029
About the speaker
Swapna Mukherji is a well-known Sitar Player. She is the daughter as well as a disciple of Sri Amiya Bhushan Chattopadhyay [disciple of Pt. Lakshman Bhattacharya]. She was a graded Staff artist of All India Radio, served both in Raipur and Calcutta Station of All India Radio.
Tags
Sitar, Swapna Mukherjee, Amiya Bhushan Chattopadhyay, Lakshan Bhattacharya, Gharana, Moody, 1915, 1954, Lucknow, Omrao Khan, Ghulam Mohammad Khan, Tazish Khan, Surbahar, Bamacharan Bhatttacharya, Jitendra Mohan bhattacharya, Kolkata, Dhrupada Anga,
Pandit Abhijit Banerjee is a renowned Tabla player of Kolkata. He is a prime disciple of Pandit Jnan Prakash Ghosh. He has also learned Vocal from Pandit Ajay Chakraborty
Tags
Ravi Shankar, Riyaz, Sitar, Discipline, Nikhil Banerjee, Guruji, Jnan Praksh Ghosh, Samta Prasad, Tabla, Ali Akbar Khan, Raga, Tala, Ajay Chakraborty, Sapaat Taan, Prasun Banerjee, Tarapada Chakraborty, Viswadev Chattopadhyay , Arup Chatterjee, Anindo Chatterjee, Kumar Bose, Kushal Das
Language
Bengali
Abhijit Banerjee speaks:
Data processed at SAP-DRS Lab, Department of Instrumental Music, Rabindra Bharati University
Among the elders, I have heard about Pt Ravishankarji, I have not seen his Riyaz (practise) personally. I heard that at the age of ninety-three, he still bathed in the morning and started his practise from 9a.m. to 11 a.m. He had that discipline throughout his life. I have seen Nikhil Banerjee also, every day he had to practise. I remembered one incident. His domestic help had committed suicide inside his residence. He, as usual, had completed his morning walk and while entering his house saw the body hanging under the stairs. He was a little bit short sighted and he touched the body to ascertain. Then the police came and all the hustle bustle started. Meanwhile Nikhil Banerjee had started his Riyaz at eight a.m. To him, ‘the police are doing their job, I am doing mine’. From eight a.m. to twelve -thirty he used to practise. It was a lesson in itself to hear him practise- as my Guruji advised us about tabla practise (bolparanta) to carry on in one tempo (laya) for minimum half an hour.
Other elders like Shamta Prasadji used to practise hard, I have heard the tales. Nikhil Banerjee as I knew him and played with him, practised vigorously. Just before the day of his death, in fact, even the day he died he practised. That very day, he returned from Dover Lane, he was feeling ill, but he kept practising. Then he said he was not feeling well and needed some rest. We had a feast, we had to go there. Then I returned home. In the evening a phone call came that he was no more. I have rarely seen such a riyaji person in my life.
Pt. Ajay Chakraborty
Another person, I can recall, is Pt. Ajay Chakraborty. When he was practicing sapa?t ta?na, he was doing three thousand sapa?t ta?na and told us to keep count. He would do this and started sweating by the sheer effort. He is the first Bengali classical singer, I can say this with much pride, whom the rest of India accepted wholly. Yes, there were others earlier, the very best of singers, but they did not get accepted in classical brotherhood. Before Ajayda, there were Prasun Banerjee, a great singer, Tarapada babu was excellent, Pt.Vismadeb Chattopadhyay was unbelievably good. I will tell you anecdote about Pt.Vismadeb Chattopadhyay later.
Another Riyazi person was Arup Chatterjee, the tabla player who is also my friend. Another senior tabla player is Anindya da, who is very sincere about Riyaz. Kumar Bose is among other Riyazi players. Another tabla player, a little senior to me, is Kushalda, we toured together a lot and I know that Riyaz is his life. I have seen Nikhil Banerjee as well as Kushalda practising simple sargam. So, one day I asked him about it, I was very young then, and I used to ask such foolish things and he didn’t mind. So, I asked away, ‘why do you have to practice sargam very day?’ He answered that your Guruji Jnanbabu did not ask you to practice such simple things in the morning? ‘Yes’ I answered truthfully, ‘but why should you do it regularly? You are a master, I am a learner.’ So, he smilingly answered ‘Why? Am I out of this world?’
Pt. Nikhil Banerjee
He had some grievances against Pt. Ravishankar but whenever I recalled his name, Nikhil babu was agitated and started grumbling. He used to tell me, “Don’t you talk about Robuda in front of me, I know you amused yourself by hearing such anecdotes. But you should know one thing for sure that if you want to listen to shudhhara?ga, if there would be a bakra?chalan even (in a ra?ga) he would maintain that. Neither me nor Pt. Ali Akbar (whom he used to call Dada) did maintain this. There is no doubt, no second thoughts about it that if you want to listen to pure Ra?ga, pure tempo (ta?la), he is the master (Pundit). I may have my personal grievances against him but do not mix these up.”So he taught me these things, but still we used to amuse ourselves sometimes.
