"Sandipan Samajpati impresses with his  style of gayaki"

...... The day began with a vocal recital by Sandipan Samajpati, a young musician from Bengal.

    Sandipan hails from a family with the world of art, academics and sports. He has received training in music from Pt. Manas Chakroborty and illustrious guru by late Pt. Tarapada Chakroborty.Though Sandipan has assimilated the gayaki of Gwalior, Vishnupur, Sahasvan and Kirana, it appeared that Kirana way of presentation of Khayal has left a deep impact on his style.

    Samajpati began the recital with a khyal in Raga Marubihag, a melody popularised by late Ustad Aladiyakhan with a bandish Rsiya hun na ja in vilambitlaya.

    The raga has pleasing main theme - ma ga re sa (sharp ma with meed) ne, sa ga, sa ga ma pa, pa-ma ga (meed), ma ga re sa. Sandipan seems to have acquired the artistic elements of presentation of Kirana gharana.

   He delivers the swarvistar with a melodious voice and exhibits a lot of imagination while picking the mukhada of the khayal. He also rendered a composition Aayi re basanti pavan, composed by Manas Chakroborti in teental. He unfolded the composition in tuneful voice emphasizing the lyrical aspect of the composition.

    His melodious way badhata , the echoes of the Gwalior Fanda, the Kiran Merukhand, and Sapat or Ekkas spoke of his ability in the art of performing the music.

    Sandipan concluded the recital with a thumari - Shyama bina bitata Sham - in the swara configuration of Tilang. Rajal Shah was good on the tabla while Kantaprasad Mishra helped the vocalist with his skilful harmonium accompaniment.



"Scintillating recitals by young Sandipan Samajpati...."

"Footprints on the sands of time"--what a pregnant expression that stirs one's imagination to activity  and makes it search for and see the  signs  and symbols  of  great   human endeavors and achievements ! Say not the past is dead and gone and has no relevance to the present. For, it continues to echo, guide and illuminate our paths.

    A month or so ago I heard a very young, thin lean vocalist from Calcutta, Sandipan Samajpati by name, whose music brought back memories  of Bengal's most loved ,most revered musician of yore, the late Tarapada Chakravarty.The uplifting  music  of this elder musician   heard  some  40 years back still warms the cockles of one's heart. His music carried a quiet dignity and a strange spiritual cadence about it. I vividly recall a charming exposition of raga Marwa put up by him at a Delhi concert.

    In an intimate interview with him later I was able to acquaint myself with his views on music and philosophy of art. Tarapada Babu's soulfulness may have been at the back of his deep infatuation with Abdul Karim Khan some of the pathos and poignancy of whose music Tarapada conveyed in his own musical utterance. He sang to himself and in complete self-absorption,unmindful of his listeners. I remember him for the unbroken unison with he inner creative spirit he established while singing.

    It gave me great joy to hear the echoes of the highly intuitive Tarapada Chakravarty in the vocalism of Sandipan Samajpati who made his debut in the Capital in the Vishnu Digambar Jayanti Samaroha  at the Kamani Auditorium which opened on the same day as  the Swarna Samaroha marking  50  years of  India's Independence .Less than a month later Sandipan was again invited to perform in Delhi, this  time by India International Centre. To say the least, the 26-year-old has potential germs  of   sentient expression in him.To hear the replicatios, however feeble or remote of   the  soul-stirring  strains of  Abdul karim Khan gives one ineffable   joy as well as  hope.Perhaps all is yet  not lost . There are stray   rays of hope.Thus the past takes birth in new crops .

  Sandipan Samajpati has   had his training from Manas Chakravarty, son of the Late Tarapada Chakravarty. In keeping with the season Sandipan sang the monsoon mode Megh Mallar which strangely enough has the same scale and notes as the popular Sarang. Hindusthani music has quite a few similar parallels such as Bhupali and Deshkar. Marwa, Puriya and Sohini. And yet they differ in their treatment., method and mode of movement, notes of accent  rest and by virtue of that in their impact and atmosphere. The rendering of each of these has to warily avoid trudging on the footsteps of the other.

    The technical posture of Sandipan's Megh was unimpeachably correct. The Rishabha in both the octaves received the attention it deserves. The note imbibes a peculiar aura in this raga and that too entirely from the artiste's psychic grip and comprehension of it. A singularly beautiful illustration of Megh may be found in an old-time favourite "Barso re , Karey badurwa" sung by Khurshid in the 50 year - old Film "Tansen" in which she sang and acted as Tani while K. L. Saigal played Tansen. Sandipan's systematic swaravistar and graceful and gliding 'Sur lagav' tended to align him with the Kirana style as expounded by Abdul Karim Khan. But it also bore the influence of the other and more contemporary stream of the Kirana represented by Amir Khan which is marked by greater austerity, restraint and method in slow exposition.

  One also felt that Sandipan's musical  training seems to have rightly  encouraged independent thinking instead of  projecting received ideas.This was evident as much from his exposition of Meghas from that of Puriya Dhanasri heard from him a few days  later at   the I I C.The grace ,suppleness and other  allurements of expression as borne out in  Sandipan's lovely meends and  tonal elongations in his engrossing vilambit leave nothing to be desired. Especially in his Puriya Dhansari, his vocal modulations, pruning of voice on the higher pitches, the superb pitching of the Tar Shadja and a quick flourish over Dha Ni Ri Ga on the Tar was patently in the style of Abdul Karim Khan.



"Getting vocal"

BEMOANING the dewindling popularity of Hindusthani classical music may be common refrain among those who frown on the MTV generation, but exponents maintain there's enough talent to carry India's musical heritage forward. Sandipan Samajpati can definitely rank as one such musician.

    A classical vocalist, music runs in Sandipan's family, and his father, Sukumar Samajpati, though known more for his skills in football, is a singer too. The 28-year-old vocalist started his training at the age of five under Pandit Manas Chakravarty, son of legendary singer the late Tarapada Chakravarty. Specializing in Khayal and Thumri , Sandipan has assimilated various styles in his music, though he tends to align with Kirana gharana.

    Winner of the 1999 Surendra Paul Award, Sandipan has performed in various prestigious music conferences, toured Europe and was awarded a talent scholarship by the Indian Government's Department of Culture.



SAWAI GANDARBHA MUSIC FESTIVAL "Captivating 2nd day thrills audience"

.......... Sandeepan Samajpathy from Calcutta made his appearance for the first time at Sawai Gandharva festival. The 27 -year-old Sandeepan belongs to a family of musicians. He received training from Manas Chakrovarty. At 16 years , he gave his maiden recital. He has been featured by AIR, Doordarshan and Star TV.

He chose to sing Raga Bageshree and was thoroughly enjoying himself. The deep and powerful voice belied his small frame. At the crack of dawn, Sandeepan started Raga Lalit . He was accompanied by Sharat Kamat on the tabla.








"A promising fare by generation next"

........Sandeepan Samajpati, an upcoming Calcutta-based vocalist and disciple of Pandit Manas Chakravarty started with raag Baageshri and ushered in the dawn with raag Lalat sung in a deep baritone.....









"Balanced Blend"

The Vishnu Digamber Jayanti Sangeet Samaroh held last week had its usual mix of the unfledged, middle level and top-notch artists from both the Karnataka and Hindusthani streams, presenting a balanced blend of vocal and instrumental music.....

.....  Young Sandeepan Samajpati aired a strong, forceful and tuneful voice. He opted for Raga Megh , not a common selection, but did justice to its gravity. Badhat was imaginative, with the entire song elaborated with balance. Shambhunath Bhattacharya on the tabla accompanied by the right degree of punch required for a vocal recital, and Mehmood Dholpuri on the harmonium was imaginatively supportive.






...... Sandipan Samajpati's rendition also thrilled the audiences . Sandipan's wonderful rendition in Raga 'Yaman' and a dhun based on'Mishra Maand' epitomised and elevated  level of music depicting a highly imaginative "Raagdari" , skill & craft ,expected only of the Ustaads of great virtuosity......







".....Sandipan's recital mesmerizes audiences"

This Sunday evening, audiences present at the Rabindra Manch got their money's worth and more, as they sat mute in their sits, as internationally acclaimed Sitar maestro Sahid Parvez and Calcutta's young classical vocalist Sandipan Samajpati where at their individual best, mesmerizing the audiences.

....... Among the participating classical vocalist this year, Sandipan Samajpati's dimension was all pervading & casted charming spell on the listeners. He performed "Diya ra main baroongi" based on Raga "Yaman"  in vilambit laya - ek tal. He also performed "Peherwa main to jagat re mora piya ke angaan mein" in drut laya- teen tal .His crisp & efficient rendition of the variety  bols mingled with  different Gamak , Murki and Sargam coupled with an unceasing tenderness thrills the audiences. Finally he presented a pleasing dhun "Mora suna pan lagein piya bin", based on Raga Mishra Mand in tal "Deep Chandi " , leaving the audiences gasping for more to their already fulfilled souls. .....






"Sandipan Samajpati ."

Sandipan Samajpati showed exemplary craft in his rendition in Puria Dhanashri with his voice ranging effortlessly in all the three octaves. The taans, crisp and fast, easily swayed the audience .........









"Sandipan Samajpati's triumphant tour abroad"

While returning from his tour of  Europe in 1999,little could Sandipan imagine the surprise that was in store for him from the music lovers of  his countrymen. He was adjudged the most talented among the performing musicians of Hindusthani Classical Vocal Music, simultaneously holding out promise to be a star in the offing in the century 2000. The basis of the award was principally , for his contribution to Indian Classical Vocal Music in the decade of nineties.The presentation of the award was held in the recent past  at  the Madhusudan Manch  auditorium before a very large and respectable gathering. In the absence of Sandipan was away at the time for a performance in Jaipur, his father, Sukumar Samajipati, also a performing musician himself and a football star of yester year, received the award on his behalf.

    A disciple of   Pandit Manas Chakroborty, Sandipan's music characterises a rare originality, though imbibing the principle features of different gharanas of Indian Classical Music. It is this originality of his music that attracted the attention of  the connoisseurs abroad through his rendition on the Star Plus Channel  of the Star TV  Network.

    So impressed were the listeners with Sandipan's music in Zurich and Basel, in Switzerland  that quite a few of them participated and took lessons in the musical workshop conducted by him there. Of Sandipan's many performances held in Europe the concerts at the Rietberg Museum in Zurich and the Ali Akbar College of Music in Basel and the once in Stuttgart and Munich disserve special mention. The verifact that he has gain been invited to visit both the countries in September - October 2000, speaks volumes of the tremendous success his music achieved as well interest generated among the listeners there.





"Sandipan Samajpati "

A Panel of jury comprising of number of luminaries from the various disciplines of art and culture recently at the instance of Apeejay Group of Calcutta , awarded Sandipan Samajpati with the Surendra Pal award identifying him as the best classical vocalist of the decade nineties. Such conferment of the award not only   inspired Sandipan but will also hold out the beckon of  light to a number of   other upcoming musicians.

    Also, Sandipan's has not stopped at making lasting impressions on the countries listeners only, but it has equally cast a spell on the listeners abroad when he toured Europe, Switzerland and Germany in particular in the year 1999. Sandiapn on his part as well could not but be moved at the tremendous interest and enthusiasm his music  had generated amongst the listeners there.




"Sandipan heirs three successive generations of  cultural heritage"

The cultural progressiveness of the Samajpati's of Calcutta whose preserves cut across the various activities of life comprising mainly sports, music and music has more than amply found its expression in Sandipan Samajpati who has already  made a niche for himself as a vocalist of Hindustani Classical Music.

    Sandipan has had very rigourous training from the vocal Maestro Pt. Manas Chakroborty for more than two decades and since the day he performed in public he never had to lookback simultaneously. He graduated with Honours in Economics, finally completing his Master's degree in Vocal Music securing a First Class. Sandipan is an A grade artist of  AIR , Doordarshan   ( India's National TV Network) and his music mainly manifests the various facets of the Kirana, Gwalior, Rangeeda, Khurja, Bishnupur and Benaras with the predominance of Kirana Gharana.  His Kheyal and Thumri rendition has overwhelmed the music lovers of connoisseurs throughout India at the various reputed music conference like the Dover Lane Music Conference , Sawai Gandharv Music Festival (Pune), Sangeet Research Academy (ITC) Annual conference, to name a few. Also his music equally cast a spell on the listeners during his extensive tour of Europe.

    The latest amongst his achievements conferment on him the First Surendra Pal Award  in October 1999 for his contribution to Indian Classical Vocal Music in the decade of  Nineties.




















"Three days at the Uttarpara Sangeet Chakra"

The second day's session featured among others, Pandit Hariprasad Chaurasia and Sandeepan Samajpati. Sandeepan's rendition on the Raga Puriya Dhanashri, bore testimony to the fact that he is fast catching up with the front-ranking artists of vocal music. He concluded his recital with a Thumri. He was accompanied on the Tabla by Abhijeet Banerjee and on the harmonium by Ranjan Mukherjee.









"Sandipan climbing steps of success"

The rendition of  Khayal in the raga Puria Dhanashri by a young musician in this year's Dover Lane Music Conference made the listeners sit up. The young musician was none other than Sandipan Samajpati, a new entrant into the world of Indian Classical Music. One becomes instantly inquisitive after hearing his surname, reminding one of the soccer maestros of sixties , Sukumar Samajpati, who was later seen to be equally adapt in the realm of classical music, also, and more importantly the father of Sandipan. Music, as a matter of fact was, therefore, a matter of inheritance for Sandipan. Sandipan's great grand father Late Nibaran Chandra Samajpati had been noted Dhrupad and Kirtan maestro. His grandfather, the late Kalipada Samajpati, apart from being footballer, was equally skillful in the matter of painting and playing of tabla. Having been brought up in an atmosphere of music, it was but natural for Sandipan that he would grow into musician. In fact, in his initial days as a musician, and even at a later stage, he used to be accompanied on the harmonium by his mother, Smt. Soma Samajpati, who in a number of musical soirees also provided accompaniment, she herself being a fairly   good Rabindrasangeet singer and also being a learner of Indian Classical Music in her teens. Thus, all other things apart, this was a tremendous psychological boost to Sandipan.

Sandiapn, quite naturally, found interest in football and cricket in his school days, though he could ultimately discover that it was music only from which he derived derived pleasure the most. He, therefore, overcame the conflict within as to whether to pursue music or sports and resolved that music only he would pursue from then onwards. There was no looking back since then. Meanwhile, he had started learning classical music under the tutelage of Pandit Manas Chakroborty since his childhood days. Years of hard paractice and learning culminated in his debut rendition at the age of sixteen at the birthday celebration of his guru. It was followed by a tale of many more performances at the conferences all India level, the notable amongst which were the Dover Lane Music Conference, Arambh Music Festival of Bhopal, Tarapada Music Conference and many others. He is a regular performer in the All India Radio and Doordarshan (Indian National T.V.). Sandiapn has already hit the limelight in a big way and looks forward to bringing many more laurels in the not-too-distant a future and feels confident that he will aptly represent West Bengal , his home state, in the firmament of India's Classical Music. Determined, as he is, his voice echoes and exudes that confidence when he says, "Music is my aim and object in life and I will go on pursuing nothing but music only".

















"Sandipan Samajpati conferred Surendra Pal award."

Yet another feather has been added recently to the crown of the talented classical vocalist Sandiapn Samajpati. The First Surendra Pal Award has been given to him on 13th October 1999 at the Madhusudan Manch Auditorium, Calcutta. A Disciple of Pt, Manas Chakroborty Sandipan has had the distinction of perform in at a number of reputed music conferences through out India . The predominance amongst which are Dover Lane Music Conference, Calcutta - Annual Conference of the West Bengal State Music Academy Sawai Gandharv Music Festival Pune, Vishnu Digambar Jayanti Sangeet Samaroho (Delhi), Salt   Lake City Music Conference (Calcutta) etc. The style of his music sharply imbibes   the different facets of the Kirana, Gwalior, Bishnupur and Benaras Gharanas ,   with the Kirana mostly overflowing and being the main stay and characteristics of his music. Incidentally Sandipan has provided his voice to the main character of the tele serial named after the legendary  musician 'Jadubhatta'.



It indeed was a memorable experience to listen to Sandipan's rendition of the Raga Kedar, recently, at the Auditorium of the Bhowanipur Sangeet Sammilani.

The delineation of the raga and the spontaneity of the expression displayed in his music simply charmed the listeners.

His dexterity in improvising sargams and the speed and clarity of his taans earned Sandipan an ecstatic applause from the connoisseurs,


"Sandipan's music"

Picked up as the find of the Millennium in Hindustani Vocal Music by a group of distinguished personalities of the cultural arena only evidenced that Sandipan's choice of  pursuing musical profession was  more than true to what he had one day visualised. Given the right atmosphere that he was brought up in  he utilized every inch of that towards shaping himself as a musician par excellence .

His excellent rendition on the STAR TV Network helped him immensely to make himself  known to even the connoisseurs abroad , and the reward was instant in the the form of invitations coming forth from the various countries of Europe. And gratefully, he regaled the audiences there with there scintillating music. 


"Music has been the mainstay of my existence- Sandipan Samajpati"

There s now no end to the discussion and gossips as to who will fill the void left by the stalwarts of the  yesteryear .  Of the very few vocalists of the present day generation who hold the promise of enchanting the connoisseurs , Sandipan is definitely at the forefront amongst them , providing an answer to such gossips.

The tremendous promise that was exhibited by Sandipan in his music in the beginning of the Nineties has , over these years, found its fruition and fulfillment , enough to carry the listeners to the ecstatic world of melody. His innocent bearing hardly gives an inkling to the listener of the tremendous willpower and determination  that he otherwise exudes to reach to the top of the musical  firmament. 


"A Garden of sounds"

Lively "Night of Indian Music" in the City Museum..

The opening was initiated by Sandipan Samajpati ,born in 1971 in Kolkata , who carried away his audience... with the  close embrace of his warm and spontaneous baritone : Buzzing at first.. like Eric Dolphy's bass clarionet , and the in so called "taansingh " (verbatim : notes  hurrying through in raid tempo) with an extravagant tremolo , rich in modulation , he sustained his audience crating a "Garden of Sounds". In this art he excelled in making a bridge between  the Indian Classical    Music and both the European concert music and the modern art of juzz.



"Young man of music"

DAD was a football icon, a talented singer and also a high-ranking officer in a bank. But Sandipan Samajpati chose just one: music.

The soft- spoken son of Sukumar Samajpati , who started giving concerts from the age of 16 , has never failed to strike an easy rapport  with the audience. He has performed in several cities in Europe ,twice over , enthralling the listeners. The staple of major music conferences in the country, this Hindustani classical vocalist has cut an album , released by HMV, to the great delight  of  connoisseurs. His inspiration his teacher , Manas Chakraborty .But the single-minded dedication of his own students moves him like no other .

And this young man of music is not 30 yet ! 





"Hopes fulfilled at Dover Lane"

Speaking of vocalists first,...Sandipan Samajpati, who gave a good account of......Sandipan's choice was Ragas Maru Bihag and Kedar in which he sang khayal  and a Mishra Tilang thumri...the accompanists... with Sandipan  Ranjan Mukherjee and ArupChatterjee provided harmonium and tabla sangat.




"Convincing Dhrupadia"

Sandipan Samajpati's recital was a pleasant surprise . The youngster's of sweetness of voice and musical ideas carried the tear soaked message of  "Mian Ki Malhar". The Vishnupur gharana ran smoothly through three octaves , but there was a streak of the Kirana school as well . It was evident in the treatment of the muted "gandhar". If "Mian Ki Malhar" revealed the pathos of the nayika , the following "Durga of his expertise in the bold depiction of staccato notes.



"Beauty and brilliance in Indian vocal music"

Over the years we have heard some very fine Indian musicians in Canberra, ....,last Tuesday night's presentation by the Bengali Cultural Association of Canberra of a program by the visiting master ogf Indian vocal Classical music. Sandipan Samajpati, was entirely different and of very special interest. ... The melismatic quality of the vocal line induced a somewhat hypnotic feeling on the listener, specially in the long and slowly developed first item- a song that started with a slow introduction for solo voice, into which the tabla added a refined rhythmatic element which in itself was finally developed in association with the voice into a fast nadspirited concluding section. This piece lasted 45 minutes and took up the first half of the program. The second half offered two shorter pieces, both ragas realised in pure vocalisation in which the voice is utilised to instrumental effect with bitonal inflections and a wide expressive range.








"Pure Commitment"

This is a herculean task to maintain the "Gurumukhi Vidya" in any field, especially music, perhaps the most demanding of all art forms. Sandipan Samajpati, a young exponent of what might be termed the TArapada Chakraborty Gharana, has shown commendable dedications i n his riyaz and talim. Amusical evening was arranged by Uttaran at G.D.Birla Sabhagar in which Sandipan was the sole artiste. He was supported on Tabla and Harmoneum by Two veterans, Anindo Chatterjee &Purushottam Walawalekar. The occasion was launching of an audio cassette and CD of Sandipan's........The recital began a "note by note" exposition of Raga Puriadhanesree (Kheyal). The Vilambit bandish was the traditional "Ab to rut maan ayee" in Ektal Vilambit. Every crevice ofthe raga was emphasied....The drut ektaal bandish was refreshingly modern and executed brilliantly.After the intermission Sandipan rendered a adhyalaya teental "cheez" composed by his guru, Manas Chakrabotry in Raaga Shuddh Kalyan . the meends from ssa to pa and pa to ga with nished and tivra madhyam as touch notes only were correctly rendered....











"Resonant Voice"

Uttarsuri presented by Jalsaghar at the GD Birla Sabhagar demonstrated Sandipan Samajpati's self assurance in no uncertain terms. Those was evidence of seriosus riwaz but the main attraction lay in his handling of the Vishnupur Gharana's stylised expressions. the result was compelling..Snadipan's recital embraced bpth the "dhrupadi" and "madhur" moods and cast a charming spell on audience. His main asset is aresonant voice and a wide range of execution. Hee was aware of the weight of Chayanat nad designed raga movements with thoughtful applications. He was firm in gamak which is rare.... this ws equally true of the emotional of "Jhanan jhanan".






"Unusual mix of Serenity & Romance"

As the clouds gathered on the horizon, Sandipan Samajpati launched into Raga Megh, as Tansen did long ago...Sandipan was unable to make the heavens open up. For all that, it was a thoroughly entertaining recital, as one has come to expect from the vocalist.

The programme organised by Seagull Arts and Media Resource Centre.....Though Sandipan, a disciple of Pandit Manas Chakraborty, identifies himself with the Kirana gharana, his gayaki also bears shades of other gharanas like the Sahaswan. As Amit Chaudhuri, who introduced him to the audience, pointed out, "Though Sandipan allies himself with the Kirana gharana, he has cultivated an individual style. He displays the rigours of the gharana, but also has the romantic fervour diplayed by Ustaad Aamir Khan, which is at odds with the serenity associated with the Kirana Gharana"....Sandipan followed up Megh with Raga Kedar and a thumri in Misra Tilang, Shyam Bina Beetata Sham.








"Magical Evening of Classical Music"

SANDIPAN WHO amply justified the name he has made for himself,preceded the soporis.Staring with the much performed (and taught) raga Yaman, he went on to a short bandish in Hameer.The usual passion in his voice secmed magnified courtesy his inspired tankari and effervescent tihais.

His meends were precise yet delicate, the mood mellow and the tone devotional. More than many other ragas the beauty of Yaman depends heavily on the execution of meends. And Considering that the teevra madhyam is often elongated during the elaboration of the alaap, it can often turn into a weakness in an unskilled performer. Given Sandipan’s experise, the teevra madhyam became his strength , as did the Ni Re Ga and Ma’Dha Ni clusters.







"Nightlong attractions at Dover Lane"

Sandipan Samajpati has emerged as a competent vocalist with great hopes for the future.He sang khayals vilambit and drut in his favourite raag Bageshree , and drut ektaal kheyal in raag Chandrakosh. Ashok Mukherje (table), and Parthapratim Chakraborty (harmonium) were his accompanist.









"sandipan charms with polished performance"

A COUPLE of years ago,The Gramophone Company of India released a cassette and CD by Sandipan Samajpati called Rising Star.The rpomise displayed by the young singer in that album was abundantly fulfilled at a performance at GD Birla Sabhagar last week as the son of renowned former footballer Sukumar Samajpati held listeners spellbound with renditions of ragas Puriya Dhanashree and Shudh Kalyan superbly assisted on the table and harmonium by Pt Anindo Chatterjee and Pt Purushottam Wala valkar respectively.

The evening organized by Uttaran, began with the release of Sandipan’s new ablum (cassettes and CDs on Sagarika) featuring raga Malkauns. Formalities done the music took over. Puriya Dhanashree, the first raga of the Purvi that that makes great demands on any performer hiniging as it does on the correct usage of tivra madhyam since it is so similar to raga Purvi which uses both madhyams.

However Sandipan,a disciple of Pt. Manas Chakraborth and the late Pt Tarapada Chakraborty, proved more than equal to the task displaying the strong ind\fluence of the Kirana gharana in his gayaki that has become his tradermark though he has also imbibed the gayaki of the Gwalior Vishnupur and Sahaswan gharanas.

In his swar vistaar and his highly skilful returns to the mukhda this Economics graduate with a Masters Degree in vocal music displayed an imagination that cannot be matter who the guru. The tans too were empeccably exceuted with out a single false note sopiling the mood. Sandipan also expertly re-emphasised the ma re ga and re ni dha pa combinations that so strongly characterize the raga.

With Shudh Kalyan Sandipan let his melodious voice lull listeners into a softer mood. Of the kalyan thaat, this raga uses tivra madhyam in its avaroha and does not use madhyam and nishad in its aroha. For the uninitiated, it does bear a general resemblance to raga Bhupali though it makes greater use of the mandra saptak. And though the avaroha uses the tivra madhyam experts geveally avoid it and stress more on the pa ga combination.and what different iates it from Bhupali is the strong nishad in its avaroha. All this and more was in evidence during Sandipan’s wonderful performance, where he made skilful use of the beautiful pa re combination , laying less stress on dhaivat.

Finally, one saw quite a few young men at the gates, asking whether their fellow membersof the audience could spare “extra passes”. In Kolkata there is no surer sign that a performer has arrived.









"Hardly a crowd of Stars "

The most remarkable thing about Uttarpara Sangeet Chakra's annual music conferences at the Jaikrishna Public Library ground is that the organizers never cram too many artistes in on night, nor run after masters past their prime. Add to this a discerning audience that has perfected the art of music appreciation over the last 47 years. It's a musician's heaven……It was Sandipan Samajpati who left the audience craving for more even after 100 minutes. This Manas Chakraborty disciple chose raga Jog to contemplate on the midnight blues. The 44 - min - long bada khayal in vilambit ektal was a thing of beauty. Establishing the raga with the shortest of aochars the youngster went into the bandish and started developing the somber raga through a meticulously articulated bol-alaap segment. It amply demonstrated how Samajpati has acquired a certain level of poise that makes him stand out among his peers.May he stay clear from vocal jugglery. In the chhota kheyal, he went on producing some captivating tonic variations besides very competent tankari. His repertoire includes some serene items, not often encountered in the conferences.






" Commendable tan-sargam by Sandipan "

The evening of classical music presented by Uttaran featured Sabdipan Samajpati’s solo vocal recital in accompaniment with Pandit Anindo Chatterjee and Pandit P.Walavalkar on the tabla and harmonium respectively. The musical environment created in that the listeners will remember evening long. Sandipan’s initial presentation was raga Puria Dhanasri, followed by Sudh Kalyan and Saraswati, concluding with a Thumri in Mishra Khamaj. The depiction of the three ragas was perfect with the subtle blend of melody and powerful and bold tans and sargams, while the thumri was full of romanticism perfectly depicted.





" Sandipan's view "

How does one make Indian Classical music one’s vocation?

First of all he should have no ambitions at all. He should be driven by a passion for hos pursuit to master the craft. He should not start out with a view to making a career of it.

As for me at a certain point of time I realized that because of my preoccupation with classical music there was nothing else I could concentrate on or do full justice to. One should start performing professionally only after he is sure of his abilities . Lack of proper guidance is a major cause for the loss of a lot of otential talent.

How does a classical vocalist or Instrumentalist achieve fame and how can he ensure that it lasts?

Unfortunately the future of classical performers in West Bengal looks rather bleak. Determination and effort are important factors in building one’s career and popularity, but it,s dufficult to go on if there is no financial support in the early years. The lack of patronage and sponsorships for promising new vocalists and instrumentalists is a problem.

What about the prospects of performing abroad?

This enables and artiste to reach out to a large number of people and adds to his experience. But the major reasons for performing abroad is to earn money.

But again Ustad Bade Ghulam Ali Khan and Tarapada Chakraborty had never been abroad and who can questin their greatness?Those who perform abroad are not necessarily the best of artistes. Therefore , if, in a particular year I am not able to go abroad but have the opportunity to give some really good performances within the country, that is good enough for me although I may not earn the same amount of money.

How can a classical singer or musician build up a systematic routine of riyaaz that he can methodically follow?

It happens as one’s love for Hindustani classical music increases. Music is something that should be ruminated upon to reach and advanced stage.This may lead to a one track mind of sorts but there is a positive connotation to it . To get the right guru is very important and that totally depends on your luck. I have been singularly fortunate in being blessed with the appropriate gugu at a very early age. There are certain nuances which you can never learn by listening to records of Hindustani classical music. As I would sit with my guruji Manas Chakraborty on stage I would observe how the dealt with constraints a raga expertly within a short span of time. These have considerably benefited me.

The Established artistes tend to take a very professional approach when it comes to teaching disciples. What are your views on this matter?

Established artistes have a duty towards the next generation but they cannot always devote time enough for teaching with full sincerity nor can they afford to strain their voices to do so. A disciple has to have the ability to absorb all that he or she is being taught. He should also have immense faith in and a deep commitment to his or her guru.Only then can both the guru and the disciple be successful in their respective roles.






" Solo performance of Sandipan Samajpati "

Sandipan Samajpati's solo recital at the G.D. Birla Sabhaghar proved beyond doubt the cerebrality and sheer musicality of his music and also the tremendous and rigorous talim that has gone into his music. The melody that flows from his bold and tuneful voice was simply charming. He made the listeners feel, in no uncertain terms that he was destined to reach the pinnacle by music in the very near future.