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My Musical Lensography Part 8 by Sangeet Acharya Chandrachur Mukherjee
Stringing Taraf -E- Tarif
Many beginners would fear and steer away from learning tough fretless instruments as they aren’t sure of accessing and strumming the exact visible fret or position to get a perfect pitch and sound. Sarod is one of them.
Through years of proper tutelage under a proper guru, technical and deep Vocal/hand-ear co-ordination skills are required to handle and master these totally imaginary fretless instruments. To name a few…. Vocal Timbre, Violin, Viola, Cello, Ftetless Bass, Sarangi, etc.
Sarod initially evoked from an Iranian style Rabab(13 the century) and later Chitra Veena(Indian Sarod Aka Seniya Rabab)
The word ‘Sarod’ is so rightly named because the word itself means ‘Beautiful Sound’ or Melody in the Persian language.
Our most beloved Kaushik Mukherjee, the only child of a Music lover and singer Late Mr. Joydeb Mukherjee and Late Mrs. Jayashree Mukherjee had a niche towards loving this instrument Since a tender age as he heard lots of rare Records of Maestros from his fathers’ big Record collection library.
Mr. Mukherjee had a late start of basic learning from famous Sarodiya Pt. Tejendra Narayan Mazumdar(Maihar Gharana), but in no time Kaushik struck high and blossom like a ‘Pro’ with his sheer talent and skill under his Guru Tejen da.
Mr. Kaushik Mukherjee is performing professionally on stage (Shows), in workshops, and offstage(Recordings) since he was 30. Many famous Personas rely upon respect to Kaushik’s abilities during professional recordings and concerts too.
I still remember the very first time in a South Kolkata studio I heard Kaushik. He was present there as a session musician.
I liked his tone and style (Most Probably in 2006). He had been working very hard with his Technicalities over the years. Now his tone is more authentic, Genuine, profound, round, and deep. I fell in love with his dedication and perseverance as he sped up to his upgraded skills.
What attracts me most is Kaushik’s behavior, composure, Mix of Classical and Commercialism, Perfect Pitching, Alaap on any chosen Raaga, Jor, Jhala, Laykari, etc. Though they are directly lifted from the school of Maihar Gharana (Ustaad Bahadur Khan Ji), but recently topping up noticeably with a fade-in touch of Ustad Ali Akbar Khan Ji is also present pretty often mostly due to his hard-core listening over decades now.
Apart from his Guru, Late Pt Subhankar Banerjee is the name he would remember forever for the departed Maestros support and inspiration on Kaushik’s life, Professionalism, Music, Taal, and Lay, calculating Micro beats, Jatis(Multiplication and division), and tempo variation tutelage for years.
To me, Kaushik Mukherjee is another gifted and upgraded matrix in the upcoming Hindustani Classical music history to come.
