History of tutoring to tele-cinema and recording contributions

Pankaj Kumar Mallick’s father, Monimohan Mallick, worked at Berkmyer Brothers. It was going well. But he had to leave his post because the company’s situation was becoming fragile. The responsibility of a large family falls on Pankaj. By capitalizing on her voice at a young age, she did her best to keep the wheels of the world turning. Courses to teach music from house to house.

Almost every day it was midnight to go home after music lessons. Mother Manomohini Devi is waiting for him at home with food. It was his daily life. Even then, it is not possible to support the family. He looked forward to regular work.

One day in September 1927. a lot of rain Pankaj is on his way. First took refuge under a porch. When the crowd at the balcony increased, he went to the balcony of a Doctor Babu’s dispensary and stood up. Music filled his mind. he sang. While reminiscing, he couldn’t remember for sure what song he was singing.

However, Pankaj was singing in a soft voice. Hearing this, a handsomely dressed gentleman came and took him inside the dispensary. In the conversation, Pankaj learns that he is Doctor Babu. south indian The name is Ramaswami Iyengar and he is the owner of the dispensary.

At Doctor Babu’s request, he sang the song again. Doctor Babu gets excited after hearing the song. He said, ‘Do you like broadcasting?’

Pankaj knew there was a wireless center in Kolkata a few months ago. People were in awe of wireless or radio. There was immense curiosity. At that time, people’s interest in radio broadcasts was boundless. Getting the chance to sing on the radio is a huge deal. Dr. Pulkit Pankaj happily accepted the proposal. Betar’s office and workshop were in the house of Temple Chambers. Doctor Babu took him there in a few days. Introduced program director Nirpen Majumder.

September 26, 1927. Pankaj sang on the radio for the first time. He first sang ‘On a such day it can be said, in so heavy rain’ by Kabiguru. Then he sang ‘Ekda tumi priye amare e tarumule’. Nirpen Majumdar liked Pankaj in the chat. Offered to join wireless. Pankaj happily joins the Betar.

From September 1927, he was associated with radio until almost the end of 1975, that is nearly half a century! Besides Nirpen Majumder, Pankaj Kumar Mallick, there was Raichand Baral, Rajen Sen, Yogesh Bose in this early era of Betar. Vanikumar and Virendrakrishna Bhadra joined after some time.

Pankaj had the opportunity to organize Betar with a few others in the early stages of Betar’s journey into the subcontinent. Along with this good fortune, he had other accomplishments. Among which the main achievement is the responsibility of conducting and transmitting music education in the wireless “Sangeet Vishkaran Asar”. Pankaj’s specialty in conducting “Music Education Sessions” was exceptional teaching methods. Thanks to which he was able to manage the program while maintaining its popularity for a long time.

In September 1929, the first “music education session” was launched on the radio. Right from the start, Pankaj took the program to the next level with his talent and creativity. Alok started the event with a song written by Gangopadhyay to his own tune. The second song he taught was “Mor Ghum Ghore Ele Manohar” by Nazrul.

For forty-six years he led this event, taught music. No one could have imagined that it would be possible for one person to run a program for so many years across any campaign in the subcontinent. By making the impossible possible, Pankaj has created a new type of record. He would have been unforgettable in the world of music if only for the way he assumed the important responsibility of music education for so many years with dedication, skill and reputation.

In this very successful program he taught Rabindra Sangeet for much of the time. For this, Rabindranath’s permission had to be obtained. Rabindranath gave permission, but there was also an instruction that the use of tabla in the song should be soft, the sound should not overpower the melody.

Tabla was not used in Rabindra Sangeet for some time. Pankaj writes, Tabla was not used in Rabindra Sangeet until the end of the second decade of the 20th century. Pankaj had been thinking about the subject ever since he had become interested in Rabindra Sangeet. He felt the tabla’s lack of softness and softness in all those wonderful songs. He found no reason for Aniha’s reluctance about the tabla. So he set to work to get permission to use the tabla at Rabindra Sangeet. And he took the easy way, caught Dinendranath. The ice slowly melted.

Finally, said Rabindranath, there is no objection to using tabla if there is no loss of vocals. Pankaj was the first to get permission to use tabla in Rabindranath through Dinendranath. Gradually the use of the tabla increased and Rabindra’s teaching music with the wireless tabla accelerated this trend.

By bringing Rabindra Sangeet to the masses, the ‘Sangeet Vishkaran Asar’ i.e. Pankaj had a huge contribution. Additionally, he used Rabindra Sangeet in the film. He also sang regularly. Much of her musical career has been devoted to Rabindra Sangeet. Besides Rabindra Sangeet, Nazrul Geeti, Dwijendra Geeti, Atul Prasad Songs, Padakirtan, Palligeet, Patriotic Songs, Hindi Bhajans etc. were taught in “Music Education Asar”.

Pankaj, Raichand, Vanikumar etc. were active in planning and organizing new programs on the radio. New programs such as Kathika Asar, village festivals with music, etc. were gradually added to the radio. The theater was one of the popular programs on the radio. The cultural organization called ‘Chitra Sangsad’ is credited with performing the first play. Pankaj, Vanikumar and Birendrakrishna were involved in this cultural organization.

The name of the play played by ‘Chitra Sangsad’ was ‘Chikitsa Sankat’. This piece which was heard on the radio caused a huge response all around. Due to which several dramas were performed successively, including “Aleekbabu” by Jyotirindranath. At that time, the main aspiration of singers was to release their own records. Pankaj also dreamed of recording music. In 1927, after playing his own songs on the radio, his desire to record music intensified. Gramophone Company performers learned and rehearsed at Vishnu Bhavan on Chitpur Road in North Kolkata.

Bhagwati Babu was an officer of Gramophone Company. Pankaj went to Vishnubhaban with the desire to record songs. He met Bhagwati Babu. He asked to meet the Gramophone Company teachers. Bimal Dasgupta, K Mallick, Zamiruddin Khan and Dhiren Das served as music teachers at the Gramophone Company. Pankaj met all the teachers one by one. He was playing music. But under a pretext, they avoided. Then Pankajai started avoiding Vishnubhavan.

A few months after the completion of the Vishnubhavan chapter, a record company called “Violaphone Company” recorded and released his songs. Pankaj sang two monsoon songs. The lyrics were written by Vanikumar. The first song was “Nemche Aaj Navin Badal Pachiar Guruvare”, which was Pankaj’s first recorded song. Neither he nor the lyricist received any money for the song. This record label has been in business for a very short time.

In 1933, the Columbia Gramophone Company opened an office in Calcutta. Pankaj had by then become known to the general public as a music teacher and singer. Columbia Company offered Pankaj to take over as teacher. The same offer was made to Tulsi Lahiri.

The job of the teacher is to select the artists and to give appropriate training to the selected artists so that they can contribute their best to the musical record. At that time, this teaching position was also called trainer.

The Columbia Company began to succeed. Around this time, Bhagwati Babu from the Gramophone Company came to Columbia’s rehearsal room one day and offered Pankaj to join his company as a teacher and regular performer! Now it’s Pankaj’s turn. He declined Bhagwati Babu’s offer vividly recalling Vishnubhavan’s experience in 1927. Vanikumar wrote the songs for Pankaj’s first record in Colombia. The song was “Namo Namo Hey Rudra Sannyasi”. On the other side of the record was a bowl song.

Chandicharan Saha of Hindusthan Records graduated from Germany with a higher diploma in recording. He was quick to put his education to good use. He decided to try recording in the modern matrix system with microphones, asking Pankaj and Raichand for help. Both agreed to cooperate and started going to Chandibabu’s studio in the evenings after work.

Sitting on a floor, Pankaj played the organ and sang, Raichand was at the tabla. Chandi Babu used to record on Matrix while sitting in the basement. The practice of tape recording had not yet emerged. Hard drives were produced from wax die casts. Pankaj used to sing different types of songs. And Chandi Babu would apply the knowledge acquired in Germany and verify the results.

During the last days of the regular trial, Pankaj sang Rabindranath’s song ‘Pralaya Nachon Nachle Jain Apan Bule Hey Nataraj’. Chandibabu told Pankaj that the recording and performance of this song was very good. So he didn’t do anything with this song, the matrix is ​​intact. A disc recording requires two songs. He asked Pankaj to lend his voice to another Rabindranath song. In order to release a record with the song ‘Proloy Nachan’. Pankaj agreed and recorded the song “Tomar Aasan Zhoon Aji”. Both songs are songs from the play ‘Tapati’ by Rabindranath. The disc is out. This disc release was the first work of Hindustan Record Company, the serial number of the disc was – 9. The disc was well received.

It may be mentioned here that recordings from other companies could not be released if they were under contract with a company at the time. Pankaj was not contracted with anyone to sing. That’s why his records have been released by different companies.

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