'They Always Praise Him As A Maharastrian'

Nearly 47 years-ago (April 1961) Gururaja Joshi, the father ofBhimsen Joshi, wrote a longish biographical essay in Kannada for an anthologytitled Nadedu Banda Dari, published by Manohara Grantamala in Dharwad.Bhimsen Joshi (born 1922 in Ron of Karnataka on the Rathasapthami day) was justabout 40-years-old when this essay was written, but had already made a big namefor himself in the Hindustani classical music circuit. Excerpts 

Conception
I got wild about certain family matters and once again went on a tourof north India. Although I wanted to enjoy the experience of my exile andanonymity, I hesitated to completely forsake my duties as a family man, so Itook my wife along and set up a home in Gaya. In the light of my guru'sphilosophical instruction; the joy of my wife's company and due to the proximityof nature, our minds, which were stirred, attained a certain stillness. Anunusual peace and serenity was established inside us. On the sand-banks of the Falguriver, our hearts met and felt the edge of eternity. Although the apparel was of 'sringara'our souls were transferred onto the wings of divinity and while they rested onit, they viewed the world with a meditative glance. Why should one besurprised if this strange communion with truth and the ecstatic experience ofbeauty found expression in [Bhimsen's] music? 

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Prayer Line
There was a mosque near our house. During the Ramzan month, onecould hear prayers being said in the sunset hours. Once or twice Bhimasena[that is how the father uses the name we have come to see spelt as Bhimsen]asked his mother what it was. "They are saying mantras andpraying," she told him. It appears he became very curious and whenshe was involved in household chores, gave her a slip, came out of thehouse and went to the mosque. He saw people praying peacefullyand joined one of their prayer lines plugging his fingers to his ears.After a while, when my wife realised that the child was not around,she panicked. She looked in every corner of the house and did notfind him anywhere. Our landlord Hanumantha Rao was also not at home at thattime. But his wife, Tungabai, came to our help and sent one oftheir servants to look for the child. The servant peeped into themosque and found the child standing alongside others in the prayer line. Hequietly lifted him and brought him back home.

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Late Comer
Everyday, Bhimasena would come home late from school. Nomatter how much I asked him for a reason, he evaded a reply. Iwas concerned and seriously wanted to probe what his activities were after schoolhours. Unfortunately, I did not find the time to conduct my probe formany months. One day, in the bazaar, when I was passing by the gramaphone record shop,its owner, Sri. Bhoosadara, called me. He said: "Master, your boysings very well. Haven't you heard him? The moment his school getsover he comes and sits in my shop and I play him the Aadisidaleshodarecord. He has now heard it so many times that he sings exactlythe way it is sung in the record." Even as his praise for my son'stalent continued, the mystery about his coming home late had been solved inmy mind. Not only was the mystery solved, but I had also realised his enormouslove for music.

Beginning
In 1932, Bhimasena was 10-years-old. With an ambition to give himtraining in classical music I purchased a harmonium. I also fixed a sum ofRs. 4 as fees every month and asked Agasara Chennappa, who hailed from Kurtukoti,to teach my boy. His music education started with Raag Bhimpalasi. It isneedless to say that Bhimasena took to classical music like a fish would take towater. Many a times, when he repeated the lessons he had been taught, Chennappawould be stunned by his student's  grasp. This training continued without hitches for seven or eight months.We felt that music had entered our house like a new bride. I had discoverednew happiness in life.

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Guru
After we had had betel leaves and nuts, Ramabhavu [Sawai Gandharva] askedBhimasena to pick up the tamburi. The moment he said that, my heart startedfluttering like never before. I just calmed myself and sat down. Bhimasenawithout any hesitation picked up the tamburi and gave it to the guru. Aftermaking enquiries about his pitch, the guru tuned the tamburi and gaveit back to him with a command to sing. It had been less than fiveminutes since Bhimasena had begun singing, the guru stopped him and said:"If you are prepared to unlearn all that you have learnt so far, Iwill teach you." I felt very happy. We quickly left the guru'splace after speaking some business matters. I made arrangements forhis food in Kundagol and put him up in Hariyappa Master's house. HariyappaMaster was also a great connoisseur of classical music and happily agreedto oversee Bhimasena's progress. 

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Fever
Once I went to Kundagol (where Bhimasena had become a disciple of SawaiGandharva) to see Bhimasena and enquire about the progress he wasmaking. I saw my boy carrying a huge pot of water. His eyes werered; the nerves on the temples were throbbing; he was breathing from hismouth and he had eaten nothing. Yet, he was continuously engaged infetching water. When I asked him what was wrong, he whispered:"I am running a fever." I could not contain my anger. I wentstraight to Ramabhavu [Sawai Gandharva] and said: "He is running a feverand you have sent him to fetch water." The guru wasquiet for a while and then said: "I do what is right. If you have a problemwith my method, you are welcome to take your son back home." Meanwhile,Bhimasena called me aside: "I am happy here; you don't worry and don'traise questions," he said. And he ensured that I quickly left theplace.

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Reclamation 
Bhimasena Joshi's name is taken with a lot of respect in music circles acrossthe country. Although this artiste is a pure Kannadaiga, since he happened tosettle down in Pune and performed at musical festivals in Calcutta, Delhi,Bombay and other places, he is praised as a Maharastrian. The other reason forhis appropriation is perhaps the newspapers of Maharastra. When they review hisconcerts, they always praise him as a Maharastrian.