Category Archives: Uncategorized



It does matter. Try harder.
My dear musician friends, dont lose hope so easily. When you are low, rant well but keep holding on to hope. Everyone is going through their share of upheavels, but giving up on life, cannot be your choice alone. There are so many out there who love you and need you. Reach out to them. Why waste it on something/someone that/who doesnt care.
Find a larger purpose in life besides money. We all need money but that can’t be the end. Keep a plan B ready and going.
Any life is precious. So many who want it but lose it due to illness and accidents. Then How Dare u just give it up. Someone needs you… badly. Your family, friends, fans, so many far off who dont know you but have a need of someone like you. They love you. We love you. I love you for the simple reason that you are born on this planet. Love yourself the most. Please dont give up so easily.

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Posted by on July 20, 2017 in Uncategorized


Like share subscribe

For all negative posts, hate posts, we have so many people jumping in commenting crying foul but for their good work we have just few likes and shares. This is my observation over a period of time from fellow musicians’ posts where if they mention they are upset due to non payment they get about 100+ likes and 500 advices and 5000 shares (exaggerated) but if they post about their gigs or achievements there are hardly a dozen views.
Can we promote some love too. For every 1 rant 3 good things ( at least 1 to offset that pain)

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Posted by on July 17, 2017 in Uncategorized


Tamaso Ma Jyotirgamaya

IMG_9777.JPGतिमिर से प्रभा तक
परास्त से अजेय तक
क्षति से कीर्ति तक
विभत्स से अप्रतिम तक
मूक से सबल तक
रौद्र से क्षमा तक
भय से पौरुष तक
अचेत से सबल तक
विरक्ति से सानिध्य तक
मैं से तुम तक
हाथ थामे चलना



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Posted by on June 11, 2017 in Uncategorized


A Death in the Gunj movie review

#Adeathinthegunj #konkonasensharma
My questions here are
1.What should someone do sitting the whole length of movie if they already guessed from the initial car scene that Shutu is the Dead in Gunj
2. If Shutu turns ghost, why does he not stay at the house after death and come all the way to the hospital to go back all the way.
3. If at all he had to be declared dead at the hospital, why didnt he fly back. I mean, do ghosts really need a car ride back home ( my primitive knowledge of ghosts in Vikram aur Vetal say ghosts can fly)
4. Would Konkona consider few scripts of my 9 year old who plays games like ‘Chudail-Chandali’ with her friends scripted impromptu by friends which has some unpredictable storylines.

Some very good actors – Vikrant Massey, Kalki Kochelin, Ranveer Shourie, Gulshan Devaiya, Jim Sarbh, Tilottama Shome, Tanuja, Om Puri- in a very predictable storyline. It is clearly mentioned from the beginning that the story is set in 1979 so please don’t expect a 2017 subject.

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Posted by on June 5, 2017 in Uncategorized


Covfefe dhinchakpooja tharoor trump famous June words

All this media ” #CovFeFe ” of ” #DhinchakPooja ” is nothing but #ExasperatingFarragoOfDistortions and #CampaignOfCalumny to ” #Tharoor ise “and ” #Trump le” the spirit of good musicians.


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Posted by on June 2, 2017 in Uncategorized


Sahela Re – Abke mile to bichud na Jayen – Tribute to GaanaSaraswati Kishori Amonkar


All this written here was just a report of what I saw and heard there. I did not want to miss out on a single detail so I kept taking my notes throughout. One reason for this was, I have been a late starter in the field of music. Luckily I had the technology that gave me lot of information for guiding me in this journey. I wanted to be able to preserve and pass on some of these memoirs of these stalwarts through my writings for others to get inspired and keep faith and keep going on in spreading the joy of music. Today Kishori Ji is definitely rejoicing with her “Sahela”. This time she is there to stay.

This evening was very special for me. It was an evening of many firsts. For the first time I was hearing my Idol Ashwini Bhide ji live. I had an opportunity of hearing Devki Pandit ji live too. And for the first time I got a first hand narration from people very close to Kishori ji on her life and Music and her contribution to a world of which I am also a part of. Though I am a late entrant but I am definitely here to stay. And while writing I was constantly listening to Sahela Re on a loop. It was my way of seeking permission from Kishori ji to write this tribute. My Shradhhanjali!!!


The agenda of Chaupal, Bhavan’s Cultural Association’s monthly program,  is never known till Shekhar Sen ji takes over the podium to announce. I was wondering what would be the agenda this time but while leaving my home I was hoping to hear Ashwini Bhide ji live. As I entered from the rear side of the hall, Shekhar Sen ji finished his welcome speech and Devki Pandit ji took to the stage. So I missed the information on what was today’s theme.

Devki ji introduced her first composition in Yaman “Mo Man Lagan Lagi” a composition by Kishori Amonkar ji. She said that Kishori ji as a guru had given her a lot but whatever she could gain from her guru’s teachings were never enough and would always miss her.  And just then the side door to the hall opened and I saw Ashwini Bhide ji enter. She took the front row seat for few minutes and got up and left. It took me a while to believe that Ashwini ji was seated just few rows ahead of me and also left as quickly as she entered. Since I was over 1/2 hour late I thought may be she finished singing before I came. While the Yaman coated swars of Devki ji was falling on my ears but I was constantly thinking of missing out on Ashwini Jis performance. And then suddenly Devki ji caught my attention by her swift paltas. Niranjan Lele ji beautifully accompanied her on the harmonium. Almost a 2 minute taan on the harmonium was so encapsulating. Mandar Puranik was accompanying on tabla with equal dexterity.

She melodiously transitioned to Eri Ali Piya Bin. It was very different from the ones I have heard or sung. After the khyal she sang a yaman tarana. Just as she finished, Shekhar Sen ji came up to the Podium and said, “I am very jealous that you got an opportunity to train under Kishori Amonkar ji, and I did not. Since this is a “smriti samaroh” for Kishori ji, please share with us some memories of how she would teach you as a student, how she would hone you, especially how she would scold you all if you made mistakes.”

“OH!” I almost exclaimed aloud. This was a tribute program for Gaana Saraswati Kishori Tai Amonkar, the rare old gem of Indian Classical Music, who left to the heavenly abode on the 3rd of April. I must admit here that I had never heard Kishori Ji. For someone who has learnt Indian classical from very renowned gurus, has never heard any recordings of Kishori ji is a very surprising (read shocking with exclamation marks) thing.


A very soft spoken Devki ji had a bout of cold bothering her and was constantly clearing her throat while singing too but  shared so many incidents of Kishori Ji’ being a hard taskmaster.  Things like once when Devki ji was down with cold and fever  and wanted to skip her class, Kishori Tai insisted that she should attend as she could still hear music even if she can’t sing. When Devki ji would want to go out for a movie with friends, Kishori ji would herself take her to the movies, whereas she would want to go with her friends and not a teacher. But these gestures, reminisced Devki ji, was also the love of the Guru towards her students. Kishori ji would want to have her students always around her and do everything so that they focussed on the art. Remembering one incident, Devki ji said that even in a crowd of 2000-3000 people, if Devki ji made a mistake as her Samvadini on stage, she would be checked immediately. Kishori Ji never minced words and was very forthright with her thoughts.” She said that as learners they would keep chasing her speed of creation. It was beyond their comprehension of what Kishori ji sang and would keep trying to imitate as young learner. But Kishori ji always broke down longer phrases into pieces and explained how it works. She would always know what she was singing and would emphasise on thorough preparation before singing. Kishori ji would explain to them various shades of each note in different Ragas. Like the Kainkini Nishad which was a shade of Nishad that would be so teevra (sharp) that it would almost touch Taar shadaj. Use of Madhyam in Nanad and Bhinna Shadaj, or use of Komal Nishad in Bhimpalasi and Malkauns, the treatments were practically explained with clear distinction to her students. once Devki ji said Kishori ji met her and said I heard you are doing lots of programs and asked her what she sang in the latest one. When Devki ji said Todi, Kishori ji asked her whether she used the Moorchana she had taught. Devki ji said she had forgotten. Kishori ji said “See I teach you all so many things but you don’t remember. You should plan in advance.” Such was her thought process.

On this Shekhar ji asked Devki ji what her thought on the divine connect Kishori ji had with her music. For this Devki ji said Kishori ji always said think beyond your raag. “Raag se upar socho. Pehle khel lo suron se uske baad tumhare program ki asli shuruwat hai. Uske baad kya kehna chahte ho uspar vichar karo.” Play with all the combinations first but your performance starts after all the demonstration of ‘ragdari’. That should be the real element of your performance.

What I remembered most out of her memories was an incident in which Devki ji said that as a teenager, she would always dress up with new, different clothes every class. Once Kishori ji looked at her and said ” nice, every time something new, why doesn’t that happen with your music” Such a deep thought. As a student you may take this as hurtful to your physical appearance or take it as the biggest learning for your artistic growth.

Just as Devki ji finished, Shekhar ji invited Shashi Vyas ji to share his experiences with Kishori ji, who always treated Shashi ji like his son. Shashi ji is the son of late Pt. C R Vyas. His older siblings Suhas Vyas and Satish Vyas took over classical vocals like their father, unlike Shashi ji who practised Chartered Accountancy for 24 years and now is at the service of Music through his Pancham Nishad Creatives. Shashi ji had so many stories. It just kept flowing. Starting from his being the ‘black sheep’ of his family who from childhood had no inclination to music as opposed to his other siblings, he was drawn to Kishori Ji and Bhimsen ji’s music. Once when someone wanted to locate him for some financial advisory and Shashi ji was unreachable, they picked up the morning paper and checked the Kishori ji’s concert details and found him at that venue.

Reminiscing his initial visits to Kishori Ji’s concert (which he would always go sans his family members as he would prefer watching shows his own way) he said he always found her very restless in the first 15-20 minutes of soundcheck. She would complain about everything being not OK. But once she started, her Shadaj would be so strong that the audience would be transported to a different plateau and witness divinity through her. When he asked her she said in her style “Shasya tumhala kay. Tumhi kya gaan hote” (Shashi, why is it your concern. are you going to sing?) But on insisting further she said “That Shadaj which you are talking of makes me restless. The anxiety that whether I will be able to sing that Shadaj properly makes me check everything thoroughly.”  Shashi ji said that Kishori ji took it as her responsibility to give the audience the experience of the divine connect hence ensured everything was in perfect order. In his words “Suron ke sath ekagr hokar apna astitva kho dete hai, ye karne ki baat Kishori Ji ke paa thi”. She had the power to become one with the vibrance of the notes.

When asked about her moody nature he said “Na milta Gam to barbadi ke afsane  kahan jate. Har kirdar me achayi burayi hoti hai”. Having said that he narrated the story of Dronacharya asking for Eklavyas thumb as Gurudakshina from Mahabharata and said Dronacharya’s logic was since the Eklavya acquired the knowledge by wrong means (secretly observing and learning against guru’s wishes) he would utilise it also for wrong purpose hence the penalty. Thereby justifying the straightforwardness of Kishori ji that there was a purpose behind her being so firm.

Another instance when he had organised Kishori ji’s program, she had clearly stated that she will finish by 12. But her turn came just about midnight, due to other’s starting late. From the stage she pointed the time to Shashi ji “Just 10 min to 12”. Shashi ji said, “you just start. What happens later is between you and the audience” She started with Shankara raag and  her Shadaj (Sa) was so powerful and she went on with it till 2.30am. Such is her strength to hold the audience. Post the show when Shashi ji went to drop her she asked him to come over for dinner and asked him about the performance. He just casually said it wasn’t her best. She started explaining that it was because she had too many shows back to back and travelling back and forth had an adverse impact on her performance. Shashi ji said she completely valued constructive criticism so there was not much truth in her rumoured moodiness.

Shashi ji said that when he did his first show, he wanted Kishori Tai’s program in the lineup but when he went to ask her she said “Why do you want my program?” to which Shashi ji said “How does that matter to you. You cant question why. If you are not interested you say no”. She was taken aback by his response and said “How can you talk to me like that”. Shashi ji explained to us in his own funny way “Does any child while speaking to his mom think about logic, NO. When you have to say something to your wife you will plan it, time it, word it appropriately and still if it is not ok at the moment, avoid it. ” Everyone burst out laughing. “That was the relationship I had with Kishori ji. I never answered straight to her and she would jokingly keep saying I allow you here because you are CRVyas jis son.” Said Shashi ji. He said that it was a ritual that everytime he approached her for a show, she would say no, but very next morning call up to ask if he seriously meant that she had to sing and would check the details.

But as he said Kishori Ji always said she would want to pass away quietly without any troubles for others, in the service of Music. And that’s the way it was. She quietly passed away in her sleep after her Riyaz.


After a short break, Ashwini ji was invited to the stage. Ashwini ji’s mother Manik Bhide ji was trained with Kishori ji and Kishori ji always insisted Manik Bhide ji to accompany her in concerts. Ashwini ji mentioned that once Kishori ji went to just listen to a late night concert and Manik ji did not go along for some reason. In the middle of the concert Kishori ji wanted to sing and organisers were more than happy to oblige. But her only condition was that Manik will have to be sent for. So at 1.30 am , Manik ji was woken from her sleep and taken to the venue. Ashwini Bhide ji said one very important thing about Kishori Ji was that she never repeated her compositions in her concerts. “She sang Mharo Pranam and left it there for others to sing and improvise. No one came closer to what she created though. She created footprints and moved to create more for others to follow.” Said Ashwini ji.

Ashwini Bhide ji presented Raag Bhupali. The first one was a compositon by Kishori ji ‘Pratham Sur Sadhe’ which she said she will not elaborate but next one in Matta Taal (9 matras) was completely meditative.

‘Prabhu Tum Data Suran Ke

Tori Kripa Se Hum Gawat hai

Nit Tero Dhyan Dharat Hu

Deho Ashish Deho’

This was followed by the Tarana- Ni ta re dare dani . She said she deliberately did not sing “Sahela Re” because it just wasn’t her time and place and calibre to attempt it. I was wondering how humble are these stalwarts.

Siddhesh Bicholkar on harmonium was in complete sync with Ashwini ji’s style. His fingers were gently gliding over the keys and

A very interesting offering she made to Kishori Ji’s memorial concert was a medley of Kishori Ji’s compositions in Ektaal beginning with Nand “Aja Re balamwa” going to Miyan Malhar “Umad Ghumad Garjat Hai” and ending with Khambavati ” ”


The concert concluded with a duet by Ashwini Ji and Devki Ji’s  Mharo Pranam. What a beautiful composition by Kishori ji and what a beautiful rendition by the duo.




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Dhrupad by Gundecha Brothers – Spiritual Morning – Review


Today‘s program was so divine from the moment it started. It was dark and cold and beautifully landscaped with Gateway of India as the backdrop. Both Padmashri Umakant ji and Padmashri Ramakant ji started with ‘Jai Shiva Shankar’ a Dhruvapad in Raag Lalit. Ramakant ji deftly touching ati kharaj (mandra saptak ) notes in his powerful baritone voice in the initial alap and Umakant ji merging it with mandra and taar saptak with equal strength with nom tom and suddenly #SukhadMunde ji joining in with Pakhawaj in 3/4th rhythm cycle suddenly connected us to the divine in the very beginning even before the Dhruvapad started. The Dhruvapad was in Sooltal and sounded like lord Shiva’s tandav in the heavens. With the drut improvisations of dugun, tigun, chaugun, tihais (mathematical fractions of double, third, fourth, triplets), the audience simply couldn’t stop vowing. Wah! wah! wah! went on throughout the performance.
Next they presented a poem by Jaishankar prasad dwivedi – Ashok ki Chinta. It is a description of King Asoka’s feelings just after the Kalinga war. We did study about it in our literature and history class as kids but never thought of poetry in Dhruvapad in this way. This was again composed in Raag Lalit. With pakhawaj in 16 beats was a treat to the music lovers present in this morning who deeply could connect to lyrics

‘ जलता है यह जीवन पतंग जीवन कितना?
अति लघु क्षण,
ये शलभ पुंज-से कण-कण,
तृष्णा वह अनलशिखा बन
दिखलाती रक्तिम यौवन।
जलने की क्यों न उठे उमंग?

We were so mesmerised when suddenly Umakant ji said ‘5 aur minute aapka lenge, ek gurjari todi me choti si prastuti’. The audience was so dissapointed to hear it is about to end. With the sun rising on the horizon, this composition in drut Teevra taal Dhruvapad suddenly paced up our energies with its divine lyrics.
Katat vikar naam uchhar
Jo nar sumire naam

Jagatido pe sab sansar
Dharm adhar vidya par.

It was indeed a Spiritual Morning in every way. #ShashiVyas ji gave a vote of thanks to the artists and couldn’t stop himself in reciting these verses of a poet manish
“Suraj ki tapan asman me hoti hai
Tadapna dharti ko padta hai
Pyar ankho se hota hai
Tadapna dil ko padta hai ” leaving the audience in peals of laughter as the sun was now getting hotter. He rightly said that Gundecha brothers kept the pace very well “Dhrupad ki gati Shant se drut”, just the way it should be. “Is Behtareen mehfil ke liye shukriya”. Mangala ji and amol accompanied on tanpura.

Gundecha brothers, Padmashri Umakant Gundecha ji and Padmashri Ramakant Gundecha , are one of the leading exponents of Dagarhani Dhruvapad gharana. For those who don’t know, just like Khayal Gayaki, Dhruvapad Gayan is an ancient traditional form of Hindustani singing. It was prevalent even during the vedanta era. The Samagana system of Samaveda (verses with tunes ) evolved into Chanda-Prabandha which had verses with a specific oragnisation(taal). This later came to improvise as the Dhruvapad.

Dhrupad music is spiritual and divine while Khayal gayaki is more of demonstration of a dialogue between the notes, interval and mood of the raag. Dhruvapad is performed with Pakhawaj as percussion as opposed to tabla in Khayal gayaki. Besides this, Dhruvapad instruments are the Surbahar and Rudraveena. This renders even more depth and fuller tonality to the ambience of Dhruvpad performance. A Dhruvpad has four sections –
Sthayi- That ranges from Kharaj to Mandra Saptak ( lower octaves to the middle octave)
Antara- That ranges from Mandra to taar Saptak (Middle to higher octaves)
Sanchari- The third part (absent in Khayal Gayaki) improvises upon the first section and second section ranging from kharaj to taar saptak.
Abhog-The concluding part( absent in Khayal Gayaki) that winds up the whole presentation.

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Posted by on January 29, 2017 in Uncategorized