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Swarasampada Entertainment, Mumbai (2026)

01/07/2022

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04/11/2021

Happy Diwali! 🪔🎁🧨🏮🎇✨🙏🏼💥🪄🎆

22/01/2021

Post 15
We conclude our series of bandishes by Pt. Satyasheel Deshpande with this very special last episode. Satyasheelji's friend and colleague of over forty years, Pt. Raja Kale, renders two of Satyasheelji's bandishes in his inimitable style:

1. राग सावनी

न भाए दरस एक
निरखूँ रूप अनेक ।

लुभाए मन बहुरूप
बहुरूपीनी धुन नेक
निरखूँ रूप अनेक ।।

In Satyasheelji's perennial quest for new and diverse beauty, he has often composed bandishes such as this one - in his vast repertoire of traditional compositions, he couldn't find one that began its mukhada from the fifth beat of Jhaptal. This uthaan, the launch from this point in the cycle, gives this bandish a truly unique character, and its open structure allows the singer to interpret this bahurupini dhun in various, myriad ways. The text of the bandish is complementary and speaks of Satyasheelji's restless search for diverse beauty. Accompanied by Shyam Joshi on Tabla, Pt. Raja Kale brings his characteristic emotionality to this bandish, creating a moving, passionate rendition.

2. राग सोहनी

रंग होरी और न डारो
अब मोहे न भाए रस की बरसात
ना सुहावे ।

भीगे तन से, भीगे मन से
पैयाँ परूँ और बिनती करूँ
अब मोहे न भाए रस की बरसात
ना सुहावे ।।

With its text reminiscent of Kumarji's 'Thaaki re main piya', this bandish speaks of the weariness that overwhelming joy brings, of being unable to bear any more. Inspired by the traditional two-madhyam Sohoni bandish 'Karam Kijiye', this bandish challenges the borders of the raga and creates an intricate dhun that needs a consummate musician like Pt. Raja Kale to bring it to full bloom. Accompanied by Shyam Joshi on Tabla.

On the occasion of Pt. Satyasheel Deshpande's 70th birthday, we bring to you the first in a series of events: renditions of Satyasheelji's unique compositions by his disciples and admirers. Watch this space at 9am every day from 9th Jan 2021 onwards.

22/01/2021

Post 15
In this special episode, Satyasheelji's wife Usha Deshpande speaks about the text of Satyasheelji's bandishes. Ushaji first met Satyasheelji as his disciple and has continued to participate in all of his musical endeavours as a dedicated, involved rasik over thirty-seven years of their marriage. She has also continued to pursue her passions of Rajasthani folk music and Hindi poetry and literature, not to mention a successful professional career as a garden landscape designer. Always sensitive to the poetry of Satyasheelji's compositions, she presents here the text of some of her favourite bandishes and sheds light on their meaning.

On the occasion of Pt. Satyasheel Deshpande's 70th birthday, we bring to you the first in a series of events: renditions of Satyasheelji's unique compositions by his disciples and admirers. Watch this space at 9am every day from 9th Jan 2021 onwards.

22/01/2021

Post 15
In this special episode, Satyasheelji's wife Usha Deshpande speaks about the text of Satyasheelji's bandishes. Ushaji first met Satyasheelji as his disciple and has continued to participate in all of his musical endeavours as a dedicated, involved rasik over thirty-seven years of their marriage. She has also continued to pursue her passions of Rajasthani folk music and Hindi poetry and literature, not to mention a successful professional career as a garden landscape designer. Always sensitive to the poetry of Satyasheelji's compositions, she presents here the text of some of her favourite bandishes and sheds light on their meaning.

On the occasion of Pt. Satyasheel Deshpande's 70th birthday, we bring to you the first in a series of events: renditions of Satyasheelji's unique compositions by his disciples and admirers. Watch this space at 9am every day from 9th Jan 2021 onwards.

21/01/2021

Post 14
राग चारुकेशी

सुंदर सुरजनवा ठाड़ों री माई
नैनन नित घरी घरी, पल, छिन, दिन माई ।

छाय रहत गोपियन देवन मन
ध्यान धरत नित अमर सोहत माई ।।

In his years building up the archives at Samvaad Foundation, Satyasheelji acted as more than just an archivist. His work in documenting the traditions of Khayal was a means for him to enrich and deepen his own understanding of them. One of the musicians he documented was Pt. Ramesh Nadkarni - senior Bhendibazar Gharana vocalist and disciple of the Gharana's founder Ustad Aman Ali Khan. Rameshji kept saying in the recording session that there was a lovely bandish in Charukeshi that Khansaheb had composed, that he couldn't remember. In response, Satyasheelji managed to inhabit the aesthetic of the gharana and composed the present bandish (and inserted the Ustad's name, 'Amar' in it) - on hearing it, Rameshji said "This is the one! This is the bandish Khansaheb taught me!". This bandish, through its madhyalay lilt and its resonant, alliterative syllables wears the garb of Bhendibazar and presents a different facet of Satyasheelji's musicality. Sanjeev Chimmalgi presents it here with Tejovrush Joshi on tabla, Om Vedant on vocal support and Neha Gurav on Swarmandal.

On the occasion of Pt. Satyasheel Deshpande's 70th birthday, we bring to you the first in a series of events: renditions of Satyasheelji's unique compositions by his disciples and admirers. Watch this space at 9am every day from 9th Jan 2021 onwards.

21/01/2021

Post 14
राग चारुकेशी

सुंदर सुरजनवा ठाड़ों री माई
नैनन नित घरी घरी, पल, छिन, दिन माई ।

छाय रहत गोपियन देवन मन
ध्यान धरत नित अमर सोहत माई ।।

In his years building up the archives at Samvaad Foundation, Satyasheelji acted as more than just an archivist. His work in documenting the traditions of Khayal was a means for him to enrich and deepen his own understanding of them. One of the musicians he documented was Pt. Ramesh Nadkarni - senior Bhendibazar Gharana vocalist and disciple of the Gharana's founder Ustad Aman Ali Khan. Rameshji kept saying in the recording session that there was a lovely bandish in Charukeshi that Khansaheb had composed, that he couldn't remember. In response, Satyasheelji managed to inhabit the aesthetic of the gharana and composed the present bandish (and inserted the Ustad's name, 'Amar' in it) - on hearing it, Rameshji said "This is the one! This is the bandish Khansaheb taught me!". This bandish, through its madhyalay lilt and its resonant, alliterative syllables wears the garb of Bhendibazar and presents a different facet of Satyasheelji's musicality. Sanjeev Chimmalgi presents it here with Tejovrush Joshi on tabla, Om Vedant on vocal support and Neha Gurav on Swarmandal.

On the occasion of Pt. Satyasheel Deshpande's 70th birthday, we bring to you the first in a series of events: renditions of Satyasheelji's unique compositions by his disciples and admirers. Watch this space at 9am every day from 9th Jan 2021 onwards.

20/01/2021

Post 13
राग मुलतानी

जाने नाही बलमवा
नारी मन सलज नैन
एक ही सिंगरवा ।

का हो गुनीदास अब
प्राणपिया बिन कैसे गुज़ारी
सगरी उमरिया ।

Satyasheelji has had a long and fruitful friendship with Tabla maestro Pt. Suresh Talwalkar, and this is another bandish borne of their association. Sureshji needed a bandish that was composed in the vein of master composer Pt. Jagannathbuwa Purohit and requested Satyasheelji to flesh out the structure he had in mind - a two-and-a-half matra mukhada, with the sam on an 'aakaar' on the high Sa. Satyasheelji's felicity with language allowed him to turn this structure into a moving composition. In the antara, Satyasheelji references the famous relationship Jagannathbuwa (Gunidaas) had with his teacher Ustad Vilayat Hussain Khan (Pranpiya) and wonders how Gunidas survived the years after his teacher's passing; but in the asking of this question, (Kaa ho Gunidaas?) Satyasheelji uses Jagannathbuwa's characteristic 'ho' and manages to capture the passion the latter brought to his music. Sameer Dublay presents it here accompanied by Charudatta Phadke on Tabla.

On the occasion of Pt. Satyasheel Deshpande's 70th birthday, we bring to you the first in a series of events: renditions of Satyasheelji's unique compositions by his disciples and admirers. Watch this space at 9am every day from 9th Jan 2021 onwards.

20/01/2021

Post 12
राग यमनकल्याण

आनंद आया, मन भाया
छंदमय सारा, मन गाया
सुर की आस नाद की छैया ।

गुनगुनाया, पवन मन धुनाया
सबद सुर मिल दोऊ लेहूँ बलैया
मन गाया ।

In and around Dewas in Madhya Pradesh where Satyasheelji's personality is rooted in so many important ways, the Malvi folk express their contentment after a good mehfil (or a good meal!) by saying 'भाई, आनंद आया!'. It is the particular inflection of this statement that finds place in the mukhada of this bandish. 'Anand' and the state of being 'Chhandamay' are also important ideas in Buddhist thought that Satyasheelji encountered in his eclectic reading, and wove into this composition, as he did the intriguing idea that the resonance of sur is the shadow of sound. Pavan Ade presents a rendition of it for our series.

On the occasion of Pt. Satyasheel Deshpande's 70th birthday, we bring to you the first in a series of events: renditions of Satyasheelji's unique compositions by his disciples and admirers. Watch this space at 9am every day from 9th Jan 2021 onwards.

20/01/2021

Post 12
राग यमनकल्याण

आनंद आया, मन भाया
छंदमय सारा, मन गाया
सुर की आस नाद की छैया ।

गुनगुनाया, पवन मन धुनाया
सबद सुर मिल दोऊ लेहूँ बलैया
मन गाया ।

In and around Dewas in Madhya Pradesh where Satyasheelji's personality is rooted in so many important ways, the Malvi folk express their contentment after a good mehfil (or a good meal!) by saying 'भाई, आनंद आया!'. It is the particular inflection of this statement that finds place in the mukhada of this bandish. 'Anand' and the state of being 'Chhandamay' are also important ideas in Buddhist thought that Satyasheelji encountered in his eclectic reading, and wove into this composition, as he did the intriguing idea that the resonance of sur is the shadow of sound. Pavan Ade presents a rendition of it for our series.

On the occasion of Pt. Satyasheel Deshpande's 70th birthday, we bring to you the first in a series of events: renditions of Satyasheelji's unique compositions by his disciples and admirers. Watch this space at 9am every day from 9th Jan 2021 onwards.

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