Pandit Taranath, anecdotes, and the Meghandbar Paran. There is an interesting tabla group at yahoo, and having presented myself and my site there, an interesting discussion and some anecdotes about my tabla guru Pandit Taranath started. It also contains some discussions about a famous tabla composition, The Meghandbar Paran, that you can hear in a couple of versions on my guru page. Pandit Nayan Ghosh also gives the story behind the JAIGURU salute. I have been given permission to include some of that discussion here.
Dear Bengt, A warm welcome to you. At the outset, let me tell you how deeply touched and moved I was on going through your wonderful website. Perhaps on impulse, I feel like sharing a few information with you. My name is Nayan Ghosh, and happen to play a little bit of tabla and also sitar. My father and guru was Pandit Nikhil Ghosh, maybe you have heard of him. He played a very important role in the 20th century, as a tabla player, composer and most of all as a teacher and thinker and a philosopher ( also as a pedagogue and author). He was a very close friend (almost like a brother) to your great Guru Taranath-ji. Both were almost of the same age (my father a shade younger, born 1918). My association was also very close to the great man. Met him just a couple of times, after I grew up, (many times in my childhood) in Mumbai, and twice in USA(1980 and 1985). I am now almost 50 (just about developing my website). You may be glad to know that as a child I did see, very closely, your great grand-guru, Ustad Shamsuddin Khan, who lived in Andheri, Mumbai. I received his blessings on reciting a composition sitting on his lap. I also remember the day, when I read the news of his unusual passing away, (I think in 1967/68) in the newspapers. He was returning from his Haj trip by sea, and was given a burial in the sea itself. My father was very close to him, also because my father was the chief disciple of Ustad Thirakwa. Both the Ustads were born in 1880, and both hailed from Moradabad, near Farrukhabad. Both were disciples of Ustad Munir Khan. Both also learnt under Thirakwa's paternal uncle Ustad Sher Khan and both practised together for years in their younger days. Ustad Shamsuddin Khan was also one on the ideals my father chose for himself, especially when it came to accompanying vocal music. His tabla just "sang". My late father derived immense inspiration from his accompaniments and to a great extent followed the same spirit especially while accompanying vocal music of the Kirana style. One hears Shamsuddin Khansahab's accompaniment in all the recordings of the legendary vocalist Ustad Abdul Karim Khan and also his daughter Hirabai Barodekar. In fact, Shamsuddin Khansahab was extremely fond of my elder uncle Pannalal Ghosh (1911-1960), the father-figure in Hindustani Flute Khansahab accompaying my uncle. And then of course, every Gurubhai of yours is a gem, everyone of them are such beautiful, lovable and deep human beings. I know almost all of them, right from the seniors Shashiji-Raviji down to Omkar Gulwadi, Sadanand and Jeff. I was taken aback to read of Raviji's sad demise on April 16. I had last met him in 1999, in Los Angeles at one of my concerts there. I was equally sad to learn from your website of the sad demise of Chandrashekhar Naringrekar, a good senior friend of mine and also a fantastic human being and musician. One little information, off the point. I was very glad to read "Jai-Guru". You might want to know how this greeting became, over the years, a part of the Ghosh-Taranath-Maihar-Gharanas. It started as a family greeting by my uncle and father in their younger days, having borrowed the greeting from a special community of folk singers in Bengal called "Baul-s". Ustad Allauddin Khan, the guru of Ravi-Shankarji and the father of Ali Akbar Khan, was also my uncle's guru. He welcomed the idea of incorporating it among all his disciples and friends. Even today every member of the Maihar Gharana utters it. Taranathji was very close to my uncle, my father and Ustad Allauddin Khan, and so it rubbed off on all his acquaintances and disciples. Even today, my little 5-year-old son and 1.6 year-old daughter utter it naturally when they wake up, when they go to bed and when they say bye to go out. Hope to be in touch with you always.
JAIGURU. Nayan Ghosh.
(June 17,2005)
Dear Nayanji and Bengtji,
It was very, very nice (and exciting) to read your post on Taranathji. Many are simply unaware of the sheer magnitude that was Pandit Taranath Rao, a unbeleivably rare stalwart like your late father Pandit Nikhil Ghosh. There are SO many stories to tell about Taranathji -- I sincerely hope they are printed some day. (I talked earlier about Taranathji, too).
Once at a Bombay gathering the Patiala master Bade Ghulam Ali Khan
Saheb summoned young Taranath out of a group of anxious tabla players.
Trying to (lovingly) indimidate Taranathji, Ghulam Ali Khan
Saheb admonished that the khayal would be sung at an extremely slow
speed -- and that Taranath better play very, very slow. Well,
Taranathji obliged -- in fact, he played so slow that Ustadji
eventually lost the sam! Of course, they both laughed it off and
remained friends since.
Before he was to perform with a Lucknow dancer, Ustad Azim Baksh Khan
was having difficulty figuring out one of the bols. His son,
Nizamuddin Khan, couldn't solve it, and neither could anoyone else, so
Azimji eventually came to Pandit Taranathji. Taranathji recognized
the artistry of Kathak dancers, but because of social reasons did not
want to participate in the affair. After great requests, Taranathji
softened and himself became too curious about the bol. He and his
disciples marched down to the dance hall. Taranathji never once
touched the tabla; he observed the dancer a single time, and
transcribed the composition as requested.
All the greats gave Taranathji their salaams, and numerous tabla masters especially sought council or blessings.
Although Thirakwa Khan Saheb was Taranathji's guru-uncle, and the
greatest tabla player of India, he respected Taranathji very much.
Sometimes after late night programs, if he had some doubts about a
composition that he had wanted play, Khan Saheb would come to
Taranthji's Marine Drive home to resolve them. He would call Panditji "Taranath," and Panditji would call him "Ustad." No matter how late
it was, Taranathji would try to help his idol. What an honor!
If not as a performer (although I have heard some miraculous recordings of Pandit Taranath on tabla), we must definately remember Taranathji as an curator and authority on tabla. Hundreds of rare talas; thousands of old, esquitite parans and gats; hundreds of things like bols in Khereva or Dadra. A influential proponent of tabla jugalbandi, Taranathji was also an innovator, and his own compositions (especially the shloka oriented ones) are magnifient when rendered by able musicans. I feel so humbled when I think of people like Taranathji or Ustad Ahmedjan Thirakwa Khan Saheb. Nowadays tricky and speedy techniques are eclisping the substantial tabla advocated by Taranathji, Ustad Amir Hussain Khan, Ustad Afaq Hussain Khan, etc. Perhaps it is too difficult. Nayanji, I salute you as a great musician proudly dedicated to authenicity and quality in innovation.
Nayanji, this next anecdote might be of interest to you. Taranathji had a very deep relationship with Pandit Ravi Shankar, for whom he was an original saathidaar. But Taranathji had the greatest admiration for the saint-like Baba Allaudin Khan. Although Taranathji had many gurus and close contacts, he only kept two pictures in his room: a portrait of Haji Ustad Shamsuddin Khan, and a photo of Ustad Allaudin of Maihar. As for the last anecdote, I myself have never been to
Taranathji's place in Bombay. Could someone verify?
BTW -- I have a question for you! (One of many, but I will get to those with time). In your video, you play a powerful composition which you refer to as a gat ("dharan na kita dha dhirakitadhirakita dha, dharan...) On Bengtji's website, Pandit Taranathji and Ravi Bellareji refer to this as the Meghandabar Paran by Kudow Singh Maharaj. Did I mishear your video -- can you help resolve the discrepancy?
JAI GURU!!! Purabi Lal Singh (June 17, 2005)
Dear Nayan Ghosh,
Thanks for your elaborate, emotional and factfilled response. It moves me a lot
to find
such respect and love for my guru. One easily gets the feeling that the old
maestros are on
the way to become forgotten, so it is great that contemporary masters like
yourself let the
younger players get a glimpse of their greatness.
When I met Taranathji in 1964-65 I did not meet Shamsuddin and when I came back
in 67
for my long stay, he was no more, but I heard so much about him. One such story
was that
he used to take bets as to how many strokes of his hathody that would be needed
to tune
a tabla. I also heard about him and Thirakwa's practising together that you
wrote about.
Luckily I was able to hear and meet Thirakwa and though he was quite old it was
a real
treat to hear his peshkara. Perhaps we will be able to see the picture of
Shamsuddin and
Pannalal Ghosh on your site in the near future. I'm happy to tell you that I had
the good
fortune to hear your father in Mumbai as well.
Your generous praise of my ghurubhais is wonderful to see. It was really sad
that Ravibhai
left us, he was a really deep man. When guruji left to teach in the states he
taught me
some wonderful things and I have some good recordings with him that I hope to
make
available for tabla lovers in the near future.
If you don't know it already I'm happy to inform you and everybody else in the
tabla group
that the book on tabla that Sadanand Naimpalli has been working on for some
years is out.
I will have to get back with info about it because I only saw it in manuscript
the last time I
was in India, but he recently told me that it is now available.
As you might have seen on my site late Chandrashekar Naringrekar was my first
and
closest friend in India and the one to introduce me to my guru as well as to his
own guru
Ustad Z.M. Dagar and the other members of that illustrious family as well as to
so many of
the contemporary musicians at that time. It makes me happy to see him
appreciated by
you since he is not that well known. While serving as head of department at Kala
Arts
Academy in Panjim he had a stroke and his last years were darkened by his
disease. His
sitar and surbahar playing was really good and there is a recording of his
favourite raag,
Marwa that he was very satisfied with and that should be released. I intend to
try to do
that. In that recording he is accompanied by Maruti Kurdekar whom he brought to
Goa as
head of the tabla teaching. Maruti is still there doing a great job.
It was very illuminating to read your explanation on the phrase Jai Guru. I had
no idéa that
this greeting that we also use all the time, came from the Bauls or indeed was
starting to
be used the way you describe it. I thought it was a very old thing. Thanks for
telling about
it.
Incidentally, I reacted just like Purabilalji when I saw your video, I thought "ah, he also
plays the Meghandabar Paran". You didn't give the name, but it was, wasn't it?
Dear Purabilalji!
Thank you so much for sharing these anecdotes about Taranathji with us. It is
wonderful
reading. Don't hesitate to give us more. It is much appreciated and also good
for
everybody to read.
JAI GURU
Sopandev (June 19, 2005)
Dear Purabilalji, Very briefly, Yes, I agree that Taranathji and Ravi Shankarji
were extremely close. In fact for many of Ravi Shankarji's early concerts in the
40's, Taranathji provided accompaniment and soon my father made great friends
with RS-ji and they performed together for many years, after which there was
Chaturlalji and then Kanai Dutt and finally Ustad Alla Rakha. Taranath-ji was
also instrumental in featuring Baba Allauddin Khan's early Mumbai concerts, when
RS-ji brought the maestro down to Mumbai from Maihar. About the photos in
Taranathji's home, I have no idea. Thanks NAYAN GHOSH. (July 2, 2005)
Dear Bengt,
Sorry for the delayed reply. Many thanks for the kind compliments, I wonder if I
deserve all that. Unfortunately life is too crazy and hectic for me, especially
with a double-performing-career, besides teaching, research and
(worst)administration of a fairly large music academy…..But I don’t know what
makes me find time to reply to anybody’s queries on Tabla, or compositions, or
history or masters….Maybe I’m too passionate about it….OK, now about the “Meghandabar Paran” yourself and I think Purabilalji was referring to, I am glad
to know it is also known by this name…..(by the way, I have still to figure out
the meaning of andabar, or is it andar-bahar? Since Megh means clouds and this
composition has to do with maybe depicting the “thunder-now-n-then” maybe it is
akin to the word “Megh-Garjan”, i.e. roaring/thundering….)…..Are we discussing
the Dhadanna kita Dha ghedenaga diganaga…..If so, in the video of my SRA-Kolkata
concert, I have announced it the way my late father taught me,
i.e. “Do-Muhi Gath”, meaning a Gath with two mouths/faces/heads, coz you see
the same Dhadanna Kita Dha ghedenaga diga….coming once again at the very end. It
is also an Aakaal/Aasam (certainly awesome) Gath, i.e. those which finish with a
sharp sense of surprise just before the Sam. About it’s origin being from Kudau
Singhji, I’m not quite sure. KS-ji(1815-1910) considered the greatest Pakhawaj
player ever, may have composed this for Tabla, as good old Pakhawaj players had
a very sound knowledge of Tabla too and vice-versa. Like the great Beenkars
composed great Sitar compositions, and so on…Especially since the bols…Dheredhereketetak…which is prominent in this composition is actually from
the Tabla repertoire and not from the Pakhawaj repertoire…. A rose is a rose,
whatever name you call it….However, it was really lovely corresponding with
wonderful friends like you, dear Bengt and Purabilalji. Regards. Bye. NAYAN
GHOSH. (July 2, 2005)
It has been a long time since I was in Tardeo, learning from Guruji, and I
frankly I don't
remember a picture of Alauddin, I will ask my gurubhais about it and will come
back with
info about it. Of course the big portrait of Shamsuddin was there, always with a
garland.
The picture of Taranathji on my site is actually taken in his house so there
you see the
portrait behind him.
As for the Meghandabar Paran or Do-Muhi Gath as you call it, Nayanji, I am
fairly sure as
to the originator being Kudow Singh, or at least I have been told so from
several sources.
As you say the bols indicate that it was written for the tabla, unless it has
been
transformed or modified at a later date. I will enquire about this as well as
that of the
meaning of the name and get back here with news about it if I get some. We
called it the
Thunder Paran so I thought that Meghandabar simply meant thunderclouds. It would
be
interesting to know if you have any more information as to where it came from
with the
name Do-Muhi Gath.Anyway, as you put it so well, a rose is a rose, and this awesome composition
sure has a
wonderful scent.
Bengt (July 10, 2005)
Do-Muhi means two faces or two mouths. In this
composition, (as I have learnt it) the phrase in the beginning comes exactly the
same way at the very end. Hence Do-Muhi. The phrase: "Dhadanna kita Dha
ghidanaga diganaga dheredhereketetak takete dha". Also, while keeping my mind
open about Kudao Singhji being the composer and accepting it if that is the
opinion of other maestros, my only point was the phrase Dheredhereketetak" being
of tabla repertoire. Therefore, the possibilities are that if this is the
original structure, maybe Kudao Singhji brought in Tabla elements to it, or made
it for the tabla, OR the composition underwent change subsequently in the
process of interpretation by other masters. The scent remained. Yes, the scent
is awesome.
Regards. NAYAN GHOSH. (July 11, 2005)
Concerning these topics I wrote ty my gurubhai Sadanand Naimpally and this is
his
answer:
"I have this to say about "Meghandbar Paran"
This Paran is a composition of the legendary pakhawaji Kudow Singh
Maharaj & is
supposed to depict the effects of thunder & lightning.Just as one hears a clap
of thunder
2-3 seconds after a flash of lightning,this compositoin has passages which
replicate the
above effect. For eg.The bol "DHAD'N' comes after "DIRIDIRIKIT'T'K'TthKIT'DHA
which is
played rapidly also, the bols"T'K'TEEN T'K'TA KID'N'K' TIN'KIN'TAKETIRIKIT'
TINNA KIN'
shows the way lightning flashes in a zigzag manner & of course the bol starts
with "DHAD'N' because its a powerful bol & is suitable for "Sum".
This composition is also called "Du Mukhi G'th" because it starts &
ends with the
same phrases. In fact in our younger days we also used to play this G'th
mentioning it as a "Du Mukhi G'th". Only after listeneing to Ravi Bellares rendition of the same
with his
inimitable "Padhant"or recitation did I venture to present it in the manner I do
now.
Regarding the portraits in Gurujis house, I do remember the one of
Ustad
Shamshuddin Khan, but I also remember seeing a framed photo of Ustad Allauddin
Khan
of Maihar. There is no doubt whatsoever that Guruji regarded Allauddin Khan very
highly &
always spoke about him with a sense of awe. In fact he has taught me a few
compositions
of the legendary Ustad (of course Tabla compositions.)"
So I guess that settles everything except wheather it was originally composed
for tabla or pakhawaj.Jai Guru. Bengt Berger (July 13, 2005)
Dear Nayanji, bengtji & Purabilalji,
As far as I know this do-muhi gat is from Ustad Modu
Khansaheb. In this gat the other sequence which comes
in between the gat..tak tin tak ta kit taka dhinaghina dhagetita tuna kata..is also of tabla repertoire and
particularly dhinaghina dhagetita tuna kat is purely
from Lucknow & Farukhabad style, which has been used a
lot by Ustad Haji Vilayat Hussain Khansaheb and Ustad
Modu Khansaheb. My father Ustad Shaik Dawood Saheb use to play this
gat
a lot, he told me about this gat that his Guru Ustad
Alladiya Khansaheb of Hyderabad taught this gat to him
in early 1940's.
With respect and regards to all of you.
Shabbir Nisar (July 15, 2005)
My dear Shabbir Bhai, That was very nice hearing from you. Hope u r fine. I was
very glad to know also of Chacha-jaan's website that you have so successfully
created. I have always valued the blessing I got from him and the love that you
have so kindly showered on me and organised my solo at your revered father's
memorial concert a few years ago. I should tell all our friends here, that
Shabbir Bhai is a very deeply knowledgeable tabla player, and a wonderful human
being. He too like a very few others have and are battling to keep the purity of
the priceless works of great masters intact. By the way, I should tell all my
friends, that very recently I checked from a very reliable source, my late
father's notes too, and found this to be a Purab (Lucknow/Farrukhabad)
composition, with a question mark and two names Ustad Modu Khan and Mia Bakshuji
(Both were brothers, anyway). However, we all know that there are a hundred
other compositions which are credited to composers that are often
debated about. That is because somehow, somewhere down the line some slip takes
place in the passing and receiving of information, and it is wisest normally not
to debate over it, but salute the composer, whoever he was for giving us that
gem. Also another thing that happens is when Bols change slightly here and there
in the course of transmission. I would say even that doesn't really matter so
much, as long as the spirit or the correct sentiment is contained in the
composition. (The way I had learnt the Khali portion was Tak tin tak ta kedenak
trakatinakena taake terekete). However, to a very great extent I find the logic
of Shabbir Bhai valid, that the language is precisely of Farrukhabad or Lucknow.
If and when I am able to find the source of this composition, I would be glad to
share it with all. However, that does not mean I would disagree with dear
Bengtji and Sadanand-bhai about the origin. My respect for the composition, the
composer and all my brothers and colleagues,
remains intact.
NAYAN GHOSH. (July 16, 2005)
Dear all,
I agree with Nayanji here. I think it is perhaps too
difficult to pinpoint or even infer the composer of
this piece, as it is with many other old pieces.
Still, it would be invaluable to hear Taranathji or
Ravi Bellare's explanation of its origin, but sadly
they have both passed on. As we all know, Pandit
Taranath and Ravi Bellare were also considered
pakhavaj greats, and so I don't think it is too
productive to rule out that is not a Kudow Singh
Maharaj piece just because it contains tabla bols.
There could be various
reasons for this (such as deliberate composition, or
adaptation over time), and most obviously Taranathji
and Raviji were aware of these distinct stylistic
elements.Perhaps one of Taranathji's living disciples has the
answer to why it is attriubted to Kudow Singh Maharaj,
and knows from whom Taranathji learned this peice. It
could have been Haji Shamsuddin Khan, Subbarao
Ankoleker (d/Munir Khan), Ustad Fayaz Khan of Kanpur
(d/Ghulam Hussain), Layabhaskarji, Thirakwa Khan
Saheb, or even one of his Pakhavaj gurus such as
Shankarao Alkutar. Who knows?! It would be very interesting and important to hear.
As for the purab origins, the relationship between and
chronology of Bakshuji, Modu Khan, Makku Khan, Zahid
Khan isn't entirely clear. I know some gats as Modu
Khan which a disciple of Ud. Afaq Hussain said were
probably actually Makku Khan. Some say that Modu Khan
came much later than Bakshuji, and were not brothers,
but even at the extreme I doubt that he was a
contermpory of Kudow Singh. Anyway, Kudow Singh
Maharaj could have rendered tabla stuff of the
Pakhavaj, or created such a composition himself (I
think he did play tabla, too), or one of his pakhavaj
style compositions style could have been changed
down the line by a purab maestro. Or maybe the Kudow
Singh thing is erroneous. I think the longer you could back in time the more
nebulous things get, as maestros were experimenting,
and as our history is so inexact. Then there is also the problem when masters play a
certain piece so often that it becomes attributed to
them. People, for example, say "yeh Thirakwa Khan
Saheb hai," simply because he played it a lot, and
then others assume he was the composer.There is a chance that both Modu Khan and Kudow Singh
Maharaj contributed to this piece (perhaps two became
one), or that neither of them did. It is just so
hard to guess. With Taranathji and Ravi Bellare on
one side, and Nikhil Ghosh and Ud. Sheikh Dawood on
the other, why even come to a conclusion?! We should
wait and see until we get all the info.
Best,
Purabi (July 17, 2005)
Dear Friends, It is great to see how kindly these great master of Indian tabla talk to each
other. Love to all, Peyman,
Hand Drummer (Tonbak, Ghaval & Daf) (July 18, 2005)
In fact, I recently heard
Pandit Nikhilji's rendition of the Do-Muhi Gat aka
Meghandabar paran from an old recording. Great! What
was even neat to read was that the perfomance was set
in "trital," which was also Taranathji's preferred
term for "Teental."
Jai Guru, Purabi Lal (July 19, 2005)
My Dear Nayanji, Peymanji & Purabilalji,
I respect you all and thank you for the kind words for
me and my father. My father always says "THE VALUE OF AN ACCOMPLISHED
TABLA PLAYER LIES IN HIS ABILITY TO MANAGE WITH AND
SUPPORT YOUNGER AND UPCOMING MUSICIANS." --USTAD SHAIK
DAWOOD.
And dear Nayanji thats what you and me are doing in
the music world and what Respected Pandit Nikhil
Ghoshji has done to preserve the purity of the
priceless works of masters intact, he devoted all his
life for this. M elder brother still talks with me
about the work Panditji was doing in the 1970's when
he was in constant contact with my father in
writinghis book. These two great Stalwarts woked
togather for around four years and my father was
travelling to Bombay frequently for this project. I
Salute your father fo preserving the recoding and
literature of Great Ustads and Pandits.
Nayanji about the do muhi gat, as you said A ROSE IS A
ROSE and this awsome composition sure has a wonderful
Scent, why to worry about who is the composer...just
enjoy it.
With Regards,
Shabbir Nisar (July 18, 2005)
Yes, rose is rose and enjoyable, but who is the creator of rose? In the sense of
enjoyment, yes, you are right that rose is rose and you can enjoy, makes no
difference who its creator is, but when you like to write an encyclopedia, like
what our dear Nayaji is doing, then from historical points, it really matters
whom its creator is. All the best, Peyman, (July 19, 2005)
Well,Peyman its nice to know who creates what? But there is a time limitation on
knowing who created what for the first time.Example:If someone plays a certain
music in 1970's ;older generation of the 1960's can tell that it was first
played or created by someone else in the 1950's.Who knows that the same music
may have been played in the 1930's or 1940's or even before.There always has to
be a generation who has to speak about it and who has heard it maybe in public.
If a piece of music has been heard by a select group and one of them propogates
it publicly without acknowledging about the creater,its difficult to know about
the creater.After all creativity distincts ne rose from another.If a new hybrid
rose comes into being ,everyone is more concerned about it that the original
rose. Thats creativity in the true sense.
regards, Jaywant Naidu (July 23, 2005)