‘Layadaari (command over tempi) and taaldaari (expertise in handling different talas) are no less important than raagdaari (art of raga delineation).’ This is an oft-repeated statement of Pandit Kumar Bose. The real import of this statement stands out on its own whenever he plays – whether in accompaniment to dance, instruments, vocals or as a soloist.
Prior to his longish concert tour to the US, Canada and West Indies, he was in Varanasi’s famed Sankat Mochan Music Festival 2019 to strike an inspired tribandi (trio) with his disciple Kunal Patil (pakhawaj) and Hetal Mehta (daughter-disciple of Nandan Mehta).
This pulsated with the khuli chant and pakhawaj-mnemonics based dialogue following the characteristics of their Banaras Gharana. Similarly, two back-to-back tabla duets with Pandit Anindo Chatterjee in Kolkata and Ranaghat stood out for their sheer aesthetic appeal immersed in the sensibilities of two diversely different Schools (Banaras and Farrukhabad).
Casting a spell
As a dance accompanist, Bose’s inspiring tabla cast its spell on Kathak maestro Rajendra Gangani during Swami Vivekananda’s birthday celebration at Kolkata as both got engaged in its sparkling on-stage dangal (literally: duel). This, a rare phenomenon now due to predetermined safe-play, was electric; because such impromptu upaj (innovations)-based designs emerge out only when both the artistes are of the same calibre.
During the SaMaPa Sangeet Sammelan, santoor maestro while Bhajan Sopori’s striking qalams and fingers were bent upon exploring all possible techniques of the instrument through melody and rhythm, Bose stylishly worked on the dynamics of tabla’s tonality which looked beyond the forceful ‘Banarasi’ gharana-lingo where both his tabla and bayan (the base drum) explored soft melody as well. Albeit a wizard of rhythmic designs, the magic of his art is its sheer musicality.
But, as in the case of these events, in the absence of a well-balanced sound, the connoisseurs have to strain their ears to savour these finely nuanced and aesthetically designed aural delights. This raised a pertinent question: how important is the role of the microphone in helping instrumental music emerge out from behind the vocalists’ shadows and arrive in the arena of solo renderings?
The master caught the question by the ear! “Very important, obviously,” he quipped; “and why only instruments? Microphones have changed the entire panorama of vocal music as well. Indian string-instruments, generally categorised as veena, are almost inaudible. These got a new lease of life when they became audible without the extra punch of powerful strums, plucks or strokes; ditto with vocalists who ventured out to delve deep in the lower octave. Musicians could work on the finer nuances. Tabla solo-playing is an extra-product. I have no problem in accepting the fact that tabla and pakhawaj were and still are basically accompanying instruments. As an accompanist, I get to see ethereal music being made by legends from close quarters. I get carried away by soulful music even during live concerts. This art of supporting musicians of different personalities and temperaments is extremely challenging.”
Going by his track record, he loves to rise against challenges. Born to musician parents, brought up with musician-composer siblings, married to a devoted musician, he, apparently, was destined to fall in love with music and remain absorbed in it 24x7. His only daughter Trisha is deeply immersed in spiritual Bangla Kirtan while young Rohen, his nephew (son of youngest brother, sarod virtuoso Debojyoti Bose), is shaping up as a brilliant tabla exponent under his loving care.
Robust baaj
Regarding his own taalim he admits, “I am fortunate that both my gurus, father Pandit Biswanath Bose and Guruji, Pandit Kishan Maharaj chiseled me essentially as an accompanist. They advised me: ‘forget your ego completely’.
“An accompanist is like a soldier, allows no chinks in his armour; needs to be all ears during music-making and rises to the need of the hour and inspires the artiste in the middle through perceptive accompaniment. Guruji would always insist, ‘Dha ko dekho, pehchaano.’ I was not able to gauge the depth of that statement initially. The realisation dawned with experience. Just as the application of Shadaj establishes a raga, Dha actually represents the language and the entire gamut of tabla-playing wherein changed dimensions of the same mnemonics churn out different colours of emotions.”
Bose says his gharana’s baaj is as “robust” as that of pakhawaj. But there are certain things that are not possible on the pakhawaj because of its “horizontal placement”; whereas tabla gives a wider horizon by allowing a “relaxed placement” of the hands. “The same power-packed bols can be toned down to loving whispers. I love these dynamics and work on them constantly. When you can win a point with a soft touch, why slap? And, that is when, microphones help to give my best. Despite my personality’s unintended authoritative exterior, ei muhurte artiste ki chaay (what do the artiste wants now) remains my first priority and I change the texture of Dha according to his mood, style and personality.”
The paradox
This was sheer paradox coming from a strikingly handsome, well-built, six-footer who, at 67, continues to look like a Greek God and is known for his ‘fiery temper’, ‘authoritative nature’ and ‘showmanship’. On the question of showmanship, he was visibly uncomfortable. One noticed that he has a habit of rubbing his right ear absent-mindedly while facing prickly questions.
“As I said, this is unintended; beyond me!” He said thoughtfully while scratching his ear, “I started my journey as a teenager and went out on my first foreign tour when 17, exactly fifty years back! Success brings its share of burdens too, I suppose. I love to be with my family and friends even when I go out on concert tours. (I, therefore, try to avoid foreign tours.) But, while shadowing Guruji I had noticed that a particular image gets associated with certain standards. So, now I too need to wear stylish gowns and slippers meant for the carpeted floors of the five-star hotels while welcoming visitors! These fans are familiar with the artiste’s attitude which, very naturally gets associated with showmanship.
He goes on to add what you see as showmanship is actually an immediate, natural reaction of his “inner soul” to the music and the “perceptive sound” produced by my tabla. “I enjoy the vibrant colours and moods of the bols which inject confidence; springing out of love for the subject. Gradually with experience, the depth of this love alters the personality and brings it to shape. Then it becomes an attitude, automatically and naturally. Due to this inner love, it reaches out to touch hearts of the musicians and audiences alike. Not even a fresher can blame that I overshadowed him during the recital.”
‘Bosensation’
His two younger brothers admit that they always enjoyed the tabla accompaniment offered by their star-sibling that helped them create several shows titled ‘Bosensation’ to the delight of connoisseurs. Of course, all the three brothers are well-trained harmonium and tabla-players and prolific composers as well. But accompaniment is a subject Kumar Bose loves.
“How can I forget that due to this ‘ilm’ (knowledge) I shared the stage and played with such great instrumentalists like Pandit Ravi Shankar, Ustad Vilayat Khan, Pandit Nikhil Banerjee, Ustad Amjad Ali Khan and several others,” he mused fondly. “Among the vocalists, I enjoy the company of Pandits Rajanand Sajan Mishra; maybe because of our time-tested friendship spanning decades and also due to the Banaras connection, with its music, compositions, language and philosophy of life.”
The musical success of their world-wide tour with ‘Bhairav se Bhairavi tak’ proves this point. In vocals there are lyrics that create rasa. Bose, also well-versed with the classical music’s Hindustani dialects, enjoys the sahitya and, therefore, the tonality of his theka modulates accordingly.
Musicians Pt. Rajan - Sajan Misra with and Tabla legend Pt. Kumar Bose
Sometimes, to offer unimpeded peace to the vocalist, he plays the theka of the tala only, unobtrusively; while in instrumental music he quietly shadows the innate persona of the instrument and its exponent unless and until invited to join in the rhythm-play or reply to a specially crafted laya-chhanda (rhythmic variants). ‘Heart to heart’ is the core of his art.
The guru
The music fraternity is well aware of the fact that Kumar Bose is a very emotional person, whose heart rules his head. He likes to be at peace without the hassles of mundane chores. Under duress he blurts out things which he should not. Since his younger days, physical exercises, pooja, riyaz, sports/games and teaching keep him happily occupied on a normal day. That is why, far from the madding crowd and his three-storied independent house in North Kolkata, he has chosen a place for his Gurukul in Madhyamgram, where he grooms a few deserving disciples at peace; following the norms of the traditional Guru Shishya Parampara.
“At times the language of tabla becomes our mode of communication,” he chirps like a young boy, “I remember I have discussed this subject: ‘syllables of tabla’ at length in a TV series on classical music. However, the right drum (in my case the left, as I play the tabla with my left hand) has a few syllables; the base drum or banya produces two syllables, Ga (slightly suppressed tone) and Gha (a little open than Ga). After combining some of the syllables, the pair of tabla produces mnemonics like Tere-kete, Dhraan, Dhin. All inclusive, there are 15-16 syllables only; but able musicians created innumerable talas and compositions with these - complimenting all forms, genres and styles of music-making that are diversely different from one another.”
As explained by Bose, there are four popularly known talas having 14-beat cycles Dhamar, Jhumra, Adachautal and Dipchandi. Played on the pakhawaj, Dhamar, a tala belonging to dhrupad, produces power infused exuberance, predominantly associated with manly expressions. Jhumra, as employed by Ustad Amir Khan for vilambit badhat, helps create an introspective mood. Deepchandi’s swaying gait is best exploited in thumris’ femininity while Adachautal blooms at a faster tempo and goes well with medium-fast paced khayal renditions. Medium tempo suits Jhaptal (10 beats) and Rupak (7 beats) while Tilwada (16 beats) and Jhumra lose their character at medium-fast pace. The list is endless and with amazing variety, based on each beat’s placement within a cycle, its accent and the pauses in between!
Midas touch
Bose infuses melodic appeal in simple thekas. Albeit reluctant to divulge details, it is apparent that his Midas touch makes the tabla sing like a tanpura – perfectly tuned to the tonic of the musician; and depending on the raga chosen, his bayan changes its melodic hues. He insists that he does not tune up the base drum to any particular note; instead allows it to be an assortment of several notes, ready to be discovered by the pressure of his palm.
Talking about his favourite tala, Bose admitted frankly that as an accompanist he had to master all. “These days it is fashionable to select talas with a half-beat tail; for example six-and-a-half, eight-and-a-half, etc! But for one who has understood Teental well, the rest come easily. My Guruji would say, ‘Ek saadhe sabsadhe’. Within Teental one can incorporate all kinds of numerical permutations and combinations. For solo recitals I usually prefer Teental; but swaad badlaanor janye (for variety’s sake) I play any tala that inspires me at that moment.
“There are two categories of percussion-players – layadaar (gifted with an immaculate grip on varied tempi) and layakaar (creator of rhythmic patterns). The first is a gift of God. It can be polished for better results but a ‘taal-kaana’ (person sans any rhythm-sense) is like a ‘besuro gayak’ (tune-deaf singer), no matter however competent he may be as a layakaar, the technique which can be learnt with diligence. By the grace of God and Gurus, I am layadaar, and would like to be remembered as one.”
