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"No music is bad if justice is done to the symphonic pieces" - Tanmoy Bose"
Guru-Shishya tradition holds a lot of significance and contributes to teaching the ultimate ethics of the bond,feels the tabla maestro who recently became a Gandabandh, Shagrid of Pt Shankar Ghosh
Courtesy: Somitra Ghosh, IANS : Sun Mar 26 2017,

Music is all about rhythmic col¬laboration, and no music - even fusion - is bad if justice is done to the symphonic pieces by the performers, Tabla maestro Tan-moy Bose believes.

"Good music in any form will serve its purpose of preserving our heritage. Fusion music is a melange of sounds from different genres as it exposes the audience to different forms of music which they are not aware of," Bose told in an interview. Bose, who lives in Kolkata, was recently in the national capital to perform at the HCL Concerts.

Stressing on the fact that every kind of music has its own uniqueness, Bose said that one needs to develop a sense of using alphabets before loving and digging into fusion music. "A musician should master the fun¬damental form of music he or she is working with:' he stressed.

A practitioner of Farrukhabad Gharana, Bose began his journey in the world of classical music under the shadow of his Guru Pandit Maharaj Banerjee from whom he learned vocal music. Tidbits of harmonium were taught to him by Pandit Mantu Banerjee.

Later, under the guidance of Pandit Kanai Dutta, Bose began his serious training of classical music in the traditional Guru Shishya Parampara.

"Guru-Shishya tradition holds a lot of significance and contributes to teaching the ulti-mate ethics of the bond. You will learn to surrender self to your guru. Tehzeeb-e-Mausiki is a beautiful term:' the 53-year¬old musician said. Following the untimely death of his guru, Bose became a Gandabandh Shagrid of Pt Shankar Ghosh to whom he paid a tribute recently at the musical event.

"Gandabandh is a traditional ceremony in which guru gives his blessings to his students by tying a thread and accepting him to be his representative," he explained. Sharing some of his memorable moments, Bose rec-ollected an incident which, for him, will always be cherished.

"It was when guruji tied the sacred thread on my hand legiti-mising me to be the representa-tive of his style," he remembered. Though he belongs to Farukk¬abad Gharana, he prefers to call it "Kolkata Gharana" because of his guruji's own style and com-positions, which has amalgam-ated and evolved in the Gharana for so many years.

"A musician's is a lifelong journey to grow and learn. Whatever little I have learnt under guruji's guidance, I feel there is a lot more to be done and to achieve the command which is required to contrib¬ute to take his style forward. I sincerely wish I could achieve what is expected out of me, which eventually time will tell," he noted.

Bose has been a globetrotter, taking classical music and its fusion to the world. He has shared the stage along with Ustad Munawar Ali Khan, Pandit VG Jog, Ustad Imrat Khan, Ustad Amjad Ali Khan and Pandit Ravi Shankar with whom he has got a special bond.

"Playing with Pandit Ravi Shankar was actually a dream come true. In my growing years, I attended several of his performances and concerts accompanied by legendary tabla masters. I have been extremely lucky to have received his love and blessings throughout the 10 years with him," Bose said.

He, however, expressed disappointment at the younger generation being detached from any form of classical learning mostly because of the availability of "too many options" in terms of entertainment.

 
 
"Don't judge music, enjoy it"
For veteran tabla player Tanmoy Bose, stage is sacred and riyaz an essential part of life
S. Ravi : Fri Mar 10 2017,

Paying tribute to his guru Pandit Shankar Ghosh at the HCL Concerts re-cently, Tanmoy Bose the well known tabia player did not fail his teacher or the listeners. More than regaling the audience it was an expression of sincere gratitude for his Guru. So concerned was Bose about the concert that despite landing late he insisted on riyaz for the concert.

"Performing on the stage is sacred. Apart from regular riyaz, before shows I always put in extra effort to help set the tempo. It is not undue anxiety but concern for my singing. This S necessary because as an artiste one needs to be true to audience, music and self. For this specially riyaz was essential since it is in memory of my beloved teacher", explains Bose. Coming from an artiste enthralling listeners for over three decades this is significant.

Bose Is no stranger to the stage, having started very young as accompanist to musicians like Pandit Ravi Shankar, Ustad Munawar All Khan, Pandit V.G. Jog, Ustad lmrat Khan and Ustad Amjad All Khan. "All of them were a repository of musical wisdom and their company proved really beneficial", avers Bose. Bose remembers playing with Amjad All when he still in col-lege. "He taught many things. Initially playing with him I would keep looking at his face. He then softly told me to look at his fingers instead, to watch their movements and understand the drift of the music. That is the essence of sangat. Expressing his debt to Ravi scar for the opportunity to play with him during his foreign tours, Bose Says, "Panditji taught many specific specific aspects of music like instructing me how to play uneven beats and construct uneven cycles."

Even though globetrotting kept Bose away from family, it opened him to multiple music genres and musicians. °But for these tours, I would have probably never heard them. This imbibed in me a deep respect for all forms of music irrespective of place and language.

For me music is either good or bad and nothing more. Touting one's genre as superior than others is an insult to that creation and creativity. Also every form has its own audience without which it cannot sustain and grow." It is not mere appreciation but more that Bose picked up from others.

"I learnt to play frame drum from Andres Wiser of Germany and have performed together many times." The influence of this wide exp,,sure is evident from his creations like Chaturang Moksh.

Beyond Borders and Taalyagna based on Indian rhythmic nuances. Likewise, Taaltantra his world music project since 2002 brings to people familiar sounds through different mediums, rhythms and instruments. In fact he is credited to have initiated folk songs and tribal drumming in band format. "Fusion is coming together of different styles and there is no compromise in playing one's genre. Among successful fusion endeavours is "Shakti" which had legendary names like John McLaughlin, L. Shankar. Zakir Hussain, Ramnad Raghavan and and T.H. Vikku Vinayakram associated with it. Their music was heart touching. Do not judge music, enjoy it." Besides concerts and collaborations, composing for films, plays and documentaries too have kept Bose busy. "I view it as a natural progression for any musician. These have been great experiences as I learnt importance of harmony and structure. They also helped in challenging self exerting one to make an effort to push the envelope of creativity more." he explains before signing off.

In praise of guru

I was Pandit Shankar Ghosh's ganda bandh shagird that is he tied a thread on my hand in guru shishya parampara making me his representative to carry forward the musical legacy. He taught his son Bickram Ghosh and me together and was impartial. That left an indelible impression on me and I too teach all my students equally. Rebuke and praise were based purely on performance. While performing, if Guruji didn't approve he would make you doit again.

 
ALL FOR CHARITY

CALCUTTA TIMES : Mon Jun 08 2015,
 
 
   

 
  MUSIC FOR A NOBEL CAUSE

Sudipta Chanda : Kolkata, Sat Mar 28 2015,

Report on a cultural event hosted by the Bishwa Bandhan Foundation for Cerebral Palsy

THE Bishwa Bandhu Foundation (India) for Cerebral Palsy recently organised its first medical symposium on “Possible Preventive Measures of Cerebral Palsy” at Crystal Hall, Tai Bengal which was inaugurated by West Bengal governor Keshari Nath Tripathi in the presence of Bengal governor M K Narayanan, former governor Shekhar Dutt and actress Rituparna Sengupta. This was followed by a gala performance from tabla maestro Tanmoy Bose and his troupe and Kathak by Sharmishtha Mukherjee and her troupe.

Bose created musical magic with an amazing performance that featured ace musicians like Shankar (mridangam), Subhash (duggi), Mona (khol). Gokul Das (Bangla dhak) and Ratul Shankar (cajon). A most enjoyable moment was when all of them jammed to create a variety of rhythms.

On the other hand, Forest of Bliss portrayed a few inseparable elements of Benaras through soulful choreography done by Sharmistha Mukherjee, daughter of President Pranab Mukherjee. Be it a tribute to the musical legends of Benaras, the story behind the ghats all came through. Some of the group dances besides a few solo performances that she created produced magic on stage. Traditional art forms and some contemporary ideas added a new dimension.

Goutam Mitra founder-director of Bishwa Bandhu Foundation (India) for Cerebral Palsy, said. "I lost only son, Abhishek due to a lack of medical awareness. This is why we are working with this objective to save the life of every other Abhishek"

 
A maestro’s beatmaster Tanmoy Bose, a fixture in Pt Ravi Shankar’s concerts for two decades, talks about playing a Grammy-winning set in the maestro’s living room

Suanshu Khurana : Mumbai/ New Delhi, Fri Mar 29 2013,

The last album that tabla exponent Tanmoy Bose played on, won a Grammy this year. The album titled Living Room Sessions Part 1 (EMW Music), comprises Pt. Ravi Shankar's informal music sessions with Bose. Two other Grammy-winning albums, Full Circle and Concert for George, had Bose accompanying Ravi and his daughter Anoushka Shankar, respectively. But even as fans discussed the brilliance of these albums, Bose was not even spotted at the award ceremony or, like most musicians, did not talk about his role in these works. "It is Raviji's brilliance that makes the albums great. I am glad that he considered me worthy enough," he says.

Bose, unlike most percussionists, is not a whimsical tabla player. His percussive flashes in the concerts of Ustad Amjad Ali Khan and Shankar have dazzled many in the past, but Bose has never gone overboard with any of this, knowing when to retreat and allow the other musicians to take over. So when he played a set at Shankar's memorial service in India last week, it seemed like time for a much-needed replay. "He would lovingly call me ghoda," says Bose.

Bose comes from a family of musicians and was taught by gurus Tanai Dutta and Shankar Ghosh. But back in the '70s, when he was a young boy learning the ropes of percussion, meeting Shankar was a dream. "His music was something else. He had become so popular by then, that it was difficult to meet him after concerts. The Beatles mania had been going on for a while," says Bose. Then, the dream came true. Bose participated in Kolkata's famous Dover Lane Music Conference and won the first prize. "Shankar was the chief guest and gave me the award. Many years later, when I showed him that photograph, guruji was really surprised," says Bose, who went on to accompany Shankar on his international tours for almost two decades.

It was a little over a year ago that Bose was invited to Shankar's home in Encinitas, California, for an informal music session. The sitar maestro wasn't keeping very well and was too frail to play at concerts. "But it was hard to keep him away from his music," says Bose. So Shankar's living room was converted into a makeshift studio for the next four days and the sitar maestro played with Bose everyday, recording seven ragas in the middle of "lots of laughter, great food and rounds of coffee".

"I wanted Tanmoy to be around at that time because he would always make Raviji laugh, and keep him in a good mood," said Shankar's wife, Sukanya, at the memorial service. The resulting music was a more mellow and reflective style than the two usually followed. The passion with which Shankar and Bose have created this album comes across in the musical experience. Shankar may have been 91 during the recording, but one can't spot any fuzzy twangs as the two blended moods and pace at the sessions. The seven ragas played include a pensive Malgunaji, the sensuous Manj Khamaj, the upbeat Kedar and raga Satyajit, an ode to Shankar's long-time associate and friend, the late film director Satyajit Ray. "For someone who was in his tenth decade, it was striking to see such technical virtuosity. Doctors had told him to not play beyond 45 minutes, but he would just go on for long hours, immersed in his music," says Bose. "If he liked a particular theka, he would say 'wah' and 'kya baat hai' (which have been retained in the recording). For me, it was a beautiful experience to be a part of these meditative travels with him and his final musical journey," he says.

 
Ceylon Today-The Tantra Of Taal.15th march 2012

By Thulasi Muttulingam
The Lionel Wendt reverberated to a wide array of beats from across the world, last Friday. A local audience exposed to both eastern drums and western percussion were treated to a beautiful synthesis of both, under one roof.

It was Taal Tantra, the internationally famous ensemble from India, founded by classical tabla player, Pandit Tanmoy Bose. The tabla is a hand drum used as an accompanying instrument in Hindustani classical music. As a rising star on the tabla, Bose was called upon first by the famed sarod player Ustad Amjad Ali Khan and then by India’s most famous ambassador of culture, Pandit Ravi Shankar, to be the tabla accompanist at their concerts.

Thus, began his international exposure where he was treated to a wide array of beats and rhythm from across the world. Different cultures have spawned different musical instruments but the drum is almost universal. The only difference being the slight (or significant, as the case may be) variations in the making, look and rhythm of the percussion instruments.

Fascination for rhythm and beat

A drummer with a fascination for rhythm and beat could not fail to be fascinated. Bose however went a bit further. He assimilated all those beats and came up with Taal Tantra, an ensemble that is ‘New Age’ in its repertoire of sounds. They can’t be constrained by one label such as Hindustani Classical, or Western Jazz or Rock. They are all of it while at the same time being none of it – exclusively anyway.

They are a prime example of music and artistes keeping up with the times. The audiences are now globalized with global tastes and thus, so is the palette offered to them by artistes such as Taal Tantra.

Shades of Bollywood, shades of Michael Jackson, shades of Latin American beats were all smoothly blended in, into a holistic whole. They were deeply familiar at the same time as being new and fresh to the Colombo audience.

Before each piece, Bose helpfully explained what the music was about and what the inspiration was. One piece for example, was reminiscent he said of the ballads sung by Rajasthani women in their folk tunes; songs that spelled out their longing and pangs of separation from their beloveds because they came from a culture where the men would be away, travelling through the desert for long stretches of time.

He sang it too, as he played the tabla, accompanied by various other artistes on flute, western percussion, keyboard and guitar. The tune was indeed hauntingly familiar but if not for him, one would have thought it was inspired by Bollywood instead of the deserts of Rajasthan. Apparently the Bollywood film industry was inspired by the same source. That haunting ballads in deep female voice that arises as a background score whenever bereavement of a woman is portrayed on screen? That was the tune.

Another piece which had many recognizable melodies from Bollywood was Anurag which the maestro said meant ‘Love’. That particular piece he explained showcased love in all its forms.

Reminiscence

It started with a mellow melody reminiscent of early morning birds chirruping, moved on to something more upbeat and exciting (love picking up and in full flow?), to the highly melodramatic (think Bollywood background score as a couple are eloping) to an explosion of the melodramatic to finally temper into something deeply haunting, albeit vibrantly so (funeral dirge?).

Being rather plebeian in my exposure to the arts, I supposed I have Bollywood to thank for my understanding of that piece. All the background scores they employed to showcase mellow, melodramatic and bereaved love came into play.

The last piece for the evening, the maestro called ‘filigree’ because it was an artistic fusion of several different cultures and their percussion beats. “We titled it Filigree because it is an intricate design of several different percussions, connecting one to the other,” he noted.

That proved the most popular act of the evening by far, rousing the audience to an enervated high, as the various different rhythms pounded through their blood. Music is an international language with the drum being one of the connecting features of that lingua franca. Not everyone will like all types of music but everyone gets percussion, whether Eastern, Western or Latin American – or as in the case here, a brilliant blend of everything.

The world is now a global village, and so music while being familiar has to keep up with that trend too. Tanmoy Bose, one of the international ambassadors of that New Age Culture, brought it to Colombo as well – and found the audience ready and waiting. Sri Lankans with their papare’ bands and their love of drums from time immemorial are not going to be left behind on this particular stride forward.

 
Delhi pays musical tribute to sitar maestro

Times of india-11.3.2013

NEW DELHI: "To know him was to love him... And to know his music was to love him also." These lines by Anoushka Shankar about Pandit Ravi Shankar, Baba, Panditji, or just 'Robuji', summed up the feelings of those present at a memorial service for the Indian composer and musician in Nehru Park on Sunday evening.

Three months after the death of the great sitar maestro, Delhi paid its tribute to the legend who touched hearts everywhere he went. Shankar's son-in-law, British film director Joe Wright, account of how an old blind bass player in Congo was reduced to tears when he heard of the musician's death is just one example of how Shankar's magnetic aura. "Baba's music touched every corner of the world. It wasn't just East meets West, but north, south, et al," Wright told an emotional audience. "He taught me many lessons, most notably how to never put anyone on a pedestal. It is easy to think of him like that but he is human, and allows us to aspire to that level of humanity because to be truly human is the greatest aspiration there is, and he taught me to love the average in people."

The memorial service saw Panditji's friends, family, students and collaborators expressing their love for him and their personal experiences with him that made him real to them. "Not a single day on a tour would go by without him coming up with a new tihai," recounted percussionist Tanmoy Bose, who spent over a decade travelling with Ravi Shankar for various concerts, and performed with him in his final concert in California last year. Family members remembered how his fingers would always be moving, a raga going on in his head, even during his final days. A graphic novel on his life, written at his wife Sukanya's special request, was also released on Sunday. An emotional Sukanya told the assembly that Ravi Shankar would thank people all through the day, every day.

A documentary on Shankar's life, 'Sangeetratna', made by cinematographer Alan Kozlowski, showed Shankar's many experiences and collaborations across the globe. Legendary musician Vishwa Mohan Bhatt performed in the memorial service. Students of the Ravi Shankar music academy also paid their tribute.
 

 
Ravi Shankar's Living Room Sessions for autumn release (The Indian EXPRESS) 19 Feb, 2013
Pt Ravi Shankar's Living Room Sessions for autumn release (DNA India) 19 Feb, 2013
Ravi Shankar's Living Room Sessions for autumn release (Deccan Chronicle) 19 Feb, 2013
Ravi Shankar's Living Room Sessions for release (Press Trust of India) 19 Feb, 2013
Pt Ravi Shankar's Living Room Sessions for autumn release (Times of Oman) 19 Feb, 2013
Ravi Shankar's Living Room Sessions for autumn release (Deccan Herald) 19 Feb, 2013
Ravi Shankar's Latest Album To Be Released Year End (Bernama) 19 Feb, 2013
Late sitar maestro Ravi Shankar`s ‘Living Room Sessions’ for autumn release (ZEENEWS) 19 Feb, 2013
   
Kolkata to host its own Woodstock festival from next year (moneycontrol.com) 11 Feb, 2013
Kolkata to host its own Woodstock festival from next year (Business Standard) 11 Feb, 2013
Kolkata to host its own Woodstock festival from next year (I Finance Everyday) 11 Feb, 2013
Kolkata to host its own Woodstock festival from next year (Samachar.com) 11 Feb, 2013

The Times of India (Calcutta Times) - 13.02.2013 Pg-01
 
 
   
   


   
   
   
   
   
 
   

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