Feedback 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. Dear Nayan Ghosh, Dear all, I agree with Nayanji here. I think it is perhaps too
difficult to pinpoint or even infer the composer of Dear Friends, It is great to see how kindly these great master of Indian tabla talk to each 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." 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.
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