When : 12 February 2012, 5.30 pm

Where : At Swatantyaveer Savarkar Seva Kendra, Mumbai

Swatantyaveer Savarkar Seva Kendra is opposite  Suncity Multiplex, M G Road Ext, Vile Parle (East), Mumbai.

Suncity Multiplex on Google Maps.

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According to the press release  by Arya Sangeet Prasarak Mandal to the national media,  there are lot of exciting moments to look forward to, this year. One of the main highlights would be Pt Ronu Majumdar (flute) and Kadri Gopalnath (saxophone) performing Hindustani and Carnatic together onstage.

As usual, the official Website is hardly in sync with the program, and has yet to upload the details and highlights of the 58th Mahotsav, for starters. I hope they bring it up-to-date soon.

Meanwhile here is  a broad outline of the 59th Sawai Gandharv Music festival, courtesy DNA India, Pune Edition.

December 7, 2011.

Performances by Tukaram Daithankar (shehnai), Sanjay Garud (vocal), Pt Satish Vyas (santoor), Pandita Ashwini Bhide Deshpande (vocal) and Pt Ajay Pohankar (vocal).

December 8, 2011.

Starts with the performance of Mahesh Kale (vocal) followed by Shaila Datar (vocal). Pt Ronu Majumdar (flute) and Kadri Gopalnath (saxophone) performing Hindustani and Carnatic together is one of the important highlights. At the end of the day, connoisseurs of music will get to hear veteran vocalist Dr Balmuralikrishna. He was a close friend of Panditji and will be performing at Sawai after a long gap.

December 9, 2011.

Features  Kumar Mardur (vocal), Kartik Seshadri (sitar), Shankar Mahadevan (Carnatic classical) and Pt Jasraj (vocal).

December 10, 2011.

The day would present artistes like Yojana Shivanand (vocal), Shrinivas Joshi (vocal) and Pandita Malini Rajurkar (vocal). This will be followed by  unique dance performances by the organisation Nritya Niketan (Udipi) in Bharatnatyam style and the special Sakar-Nirakar Kathak performance by Shama Bhate’s Nadroop, who will pay a tribute to Panditji. It will end with the performance of sarod maestro Ustad Amjad Ali Khan.

December 11, 2011.

The final day will feature Omkar Dadarkar (vocal), Padma Deshpande (vocal), Nagaraj Rao Hawaldar (vocal), Smt N Rajam (violin) with her daughter Sangeeta Shankar and two granddaughters followed by Pt Venkatesh Kumar (vocal). As per the tradition, the fest will conclude with the performance of veteran vocalist from the Kirana Gharana Prabha Atre.

Programme timings of all days would be between 4 pm and10 pm except the first and fourth day, when it will start at 3:30pm.

I’m so looking forward to it.

Pt. Shivkumar Sharma & Ustad Zakir Hussain live at Sawai Gandharva Music Festival.

Click here to view the embedded video.

Words sometimes do not carry the evocation and the love that can be equated with the great teacher, friend, philosopher and guide. He was fond of saying, “In order to understand a culture you need to understand its music, and in order to understand the music you need to understand its culture – This is Ethnomusicology!” These are a few of the pictures taken that i have selected from a huge repository of my personal collection taken on 20th January, 2008, during the celebrations of his 70th birthday, here in Pune. The accompanying quotes were some his favorites and his most popular ones, and I have tried to present it in a way that I felt would be a meaningful way of remembering a soul who touched so many lives through his profound love for music.

“Someone asked me what do you want to be? I said if at all I want to be something, then it would a bridge between huge traditions.”

“It is very risky to say in a country like India that I am doing something Original, a country with thousands of years of cultural history has already someone who has done what you are doing now, much much before.”

“All originality is  hidden plagiarism”

Dr Ashok Ranade.
Loved and Remembered. Forever.

We knew he was ailing; we knew he was wearing out; we knew he was showing signs of withdrawal and we were pained that there was little or nothing we could do to comfort him. Like the proverbial elephant he had undertaken to do the last walk alone. Yet we hoped against hope that the end would not be so near; he would get at least another five years or so to complete the projects in hand of which he always had one too many. Perhaps he had summoned up all energy reserves for the NCPA performance of Baithakichi Lavani- another Ranade-brand innovative venture to uncover the inherent, dignified beauty of a much abused form of Marathi folk music. That done, Ranade had already taken the last bow.

Standing near the mortal remains of the friend of over three decades the above lines of Auden came back to me. To do justice to the meticulous precision of Ranade, a change would be in order; the day was dark alright but wet and not cold! Monsoon was pouring in Bombay; the roads, the trees, the birds, the flowers brought to pay the last homage were wet—so were the eyes of those who passed by— relations, friends, peers, colleagues, writers, actors, media persons and importantly, young wide eyed students of music who had found a modern Guru in Ranade- who never asked for anything and never stopped giving. In true Ranade tradition, the emotions were controlled; there was poise in the pathos. The day was wet but not clammy; unspoken warmth for Hemangini Ranade who had walked with him so far filled the air – bonding all present in a sense of loss too great for words.

Ranade had a richly fulfilling life of 74 years of which, it is safe to claim, he was in music for over 60 years. Like the fallen yogi in the Gita who is rewarded with rebirth in a family of rich spiritual heritage Ranade was born to middle class parents in Girgaum in a home where Pandit Gajananrao Joshi was a frequent visitor. Suffice it to say that Gajananrao was the greatest maverick Hindustani Musician not only of his time but probably of all times; there was not a single gate Gajananrao had not opened and strode in. Both a vocalist and instrumentalist, Gajanarao’s versatility had crossed the barriers of both gharanas and musical forms and developed a liberal approach which later manifested into Ranade’s musicology. Gajananrao, candid as he always was, remained in search of creative novelty and absorbed wherever he found it or stumbled upon it—the attitude that later marked Ranade’s tireless efforts at documentation of musicians and their music.

Ranade was doubly fortunate because he grew up in the milieu of a Bombay that had awakened to the rich cultural heritage of the country and was coming out of the rather bland label of a business centre. Though Pune continued to dominate the cultural scene of Maharashtra its influence was confined to literature and politics; Bombay was emerging as the hub of music, theatre, film and other fine arts. Hindustani Classical Music in Ranade’s childhood was under the spell of three music missionaries. Vishnu Digambar Paluskar had revived devotional music for the masses and added the colour of patriotism to it. Vishnu Narayan Bhatkhande’s missionary zeal at the documentation of Hindustani Sangeet had created a large pantheon of ragas and bandishes in their (at that time) authentic forms. The volumes of Hindustani Shastriya Sangeet Paddhati were unique in that the vagaries and inauthentic variations in classical music were on decline. Dinkar Balkrishna Deodhar had started his own school of music where the traditional was treated with the methodological rigour of European musicology. All three greats were dedicated, proud and extremely industrious in their pursuits. It was but natural that Ranade’s musical sensibility later developed into a holistic, scientific methodology of music where blind adherence to the tradition was abhorred and replaced by an open, scientific approach which strived to examine the tradition within the boundary of warm respect and attempted to relocate (nor remix) it in the fast changing music and culture of India and the world.

Music was in his blood (genes?) and yet Ranade chose not to become a performer. Nostalgic hearsay has it that an uncle of his, after listening to him, commented , “Ashok, one has to have a fine, sweet voice to become a singer.” And Ranade got the message. But a glance at his later endeavours and accomplishments is enough to realize that the decision must have been his own. As a young listener he had the enviable opportunity to listen to all the great Indian vocalists and instrumentalists; gifted with a sharp analytical mind he wanted to unlock the creative process of those greats. He also wanted to fathom the depth of tradition which had become like a morass because of the gharana fanaticism and guru idolatry. Gajananrao had possibly condensed for his benefit the essence of each gharana and the secret of every musician who mattered; Ranade wanted to do a scrutiny of the Hindustani music around him in the light of Gajananrao’s insights and with the help of his own analytical tools.

Ranade had to separate livelihood from music- at least initially. He has reminisced that he took Economics because it was more promising for a job-seeker. But that seems to be the temporary and not permanent reason as he also offered English Literature so as not to lose touch with the likes of Shakespeare. Born in a family of rich Brahminical heritage he was fairly acquainted with indian philosophy; he supplemented that with reading of western philosophy and aesthetics; helped considerably by the late Dr R B Patankar. The grain of his later treatise An Aesthetics of Music must have first appeared during this period of widening his perception of life and art. Not allergic to modern methodology Ranade launched himself on his lifelong yatra of developing a cultural sociology of art in general and music in particular -without fear and favour!

And how well he did it !

- Vinay Hardikar
Pune, 2 Aug 2011.

About the Author.
A prominent presence in the intellectual milieu of Maharashtra, Vinay Hardikar is known for his versatility, analytical ability and socio-political activism with strong commitment. Mr. Hardikar has been a school and post-graduate teacher, political worker, voluntary activist, journalist, editor, writer and public speaker during the last four decades. He also works as industrial consultant and is an accomplished trekker and motorcyclist and music-critic. Mr. Hardikar is currently a faculty member at the FLAME University in Pune. He speaks regularly on current affairs and on ideology, and writes regularly in respected Marathi journals like Antarnaad and Sadhana.An author of four books and editor of several, he is stationed in Poona with his working wife, son and daughter. Know more about his perspectives and inspirational philosophy at SearchforSolutionsIndia. Write to him at vinay.freedom@gmail.com.

The ‘Official’ Photographs of the 58th Sawai Sangeeth Mahotsave is going to take a long time to see the light of day, going by the state of how things are moving post-production. These are a set of photographs captured by Arati Kulkarni during my debut performance onstage, and which she has been generous enough to share with me. Thank you so much, Arati.

Do anyone of you remember this beautiful rendition as a duel between Manna Dey and Guruji in Basant Bahar (1956) ? I think it was a coup of sorts, bringing two of them together for playback singing together, by Shankar – Jai Kishen. I don’t think an event of this nature ever appeared again.

I came across this article where Manna Dey fondly recollects the entire process that brought about such an event.  He recalls about Guruji,

He also convinced me to play with my vocal chords by raising my pitch to a certain octave and bringing it down like the motion of a painter’s brush which softly colours a panoramic canvas. While singing with him, I noticed he did not even bat an eyelid and was so involved that he was not even aware a recording was going on.

You can read the complete article here.

‘Ketaki, Juhi, Gulab’ from Basant Bahar (1956) where Guruji and Manna Dey duel against each other !

Click here to view the embedded video.

Photo Courtesy : PTI

I came across this beautiful article about Guruji in The Hindu, by Gautam Chatterjee which I felt I should share with you. It includes his last telephonic interview to the media, back in 2008, his reminscing on his warm relationships amongst the stalwarts that included Pandit Kishan Maharaj and Samta Prasad.

He recalls about his Benares experiences,

Sur lagaane ka tareeqa alag hai. Aur ye sur laga tha Banaras me.

You can read the entire article here.

Here is Guruji with one of his best-loved bhajans, ‘Jo Bhaje Hari ko Sada’. It is divinity personified.

Click here to view the embedded video.

After a prolonged illness and despite our prayers,

Guruji has left us for a place where Music stays eternal.

Your memories, and the legacy you left, Guruji will live on.

My heartfelt condolences to the bereaved family.

My prayers are with you.

-  Sameer Dublay

Please click here for the Marathi Version of the article.

It rarely happens, that you have the same title for the articles – both in English and Marathi!

Finally the waiting game was over and it was decided that I will be performing in this years’s Sawai Gandharva festival 2010 in Pune. Today I heard the recording after more than 3 weeks and a surge of emotions, thoughts came to my mind!! This in short is reflection on self in Sawai!

It has been 33 years since I started learning Music. At least for the last 15 years I aspired and wished to perform in Sawai. So my preparation was always on and for last ten odd years I also continuously made a formal request to the organizers as well. In the year 2000, Professor Satish Alekar organized my concert for Times Music. We were extremely fortunate to have Pandit Bhimsen Joshi ji in the audience. He sat through the complete concert and gave blessings thereafter. I thought, now that Bhimsen ji heard me today and has blessed me , nothing else matters. The performance in Sawai, it will happen in its time, I am in no hurry. As it is, it is of no use to do things in a hurry especially in the field of Music!

Thousands of eyes looking at you was a new experience for me. The stare had an element of expectation, joy, and “ let’s see what he does today” in them. What was happening inside my mind? It would be rather difficult to put it in words but let me try. It was clear in my mind that this performance is not the ultimate/ last thing in my life. In fact, this could be a new beginning for me. I was very well composed and stable in mind but I must admit that there was some pressure and tension about the performance. My first Guru, Pandit Ram Mate was in audience to support me, Abhisheki bua’s blessings always are with me and so are the blessings of Dr. Ranade providing me with much needed strength.

The really chilly weather, the lingering sweet taste of the drink which was just like tea, gradually filling audience, the drop of sweat that ran down my face even during that cold weather, the encouragement from Bharat and Chaitu, the good and bad of the new sound system put up by Pradeep Mali – with all these around me, accompanying me, I started singing.

Bilaskhani Todi happens to be my favorite Raag. I sang the new Bandish by Pandit Ramashreya Jha Raamrang, “Dhan Dahn Bhaag….” There was a tremor in my voice for a few minutes but after that I was settled and started singing with much more ease and comfort. After Bilaskhani, I wanted to start raag Shuddha Dhaivat Bibhas, but Milind ji informed me that I had just 5 more minutes.

So I declared to the audience that  because of the lack of time, I would sing a Bhajan instead of a raag. To my great surprise, people started shouting that we want to listen to Shuddha Dhaivat Bibhas! It was an overwhelming moment for me. Lastly I sang the bhajan and concluded my concert. There was a huge applause… I got down from the stage with head firmly on shoulder and a warning in mind “ Don’t get carried away…”

So, what did I get in that one hour?

Everybody appreciated my performance and blessed me with good wishes. Many misgivings were settled on their own! I got a huge amount of confidence and also it became very clear to me that I do not become a great singer just because I sang in Sawai. So many of them come and go. What happens to them in the performing tradition? I have reached an important milestone in the performing tradition, that’s all.  So what?  Now what? What next?

Keeping a whip in your hand while analyzing once own performance is an old habit of mine. That really helps to keep you grounded. So how do I feel about it then? At the outset   it occurred to me that whatever I sang today was the minimum I should be doing, so no big deal. The elaboration of the Raag must happen in a much better way. Imaginative element was not freely at work while I was singing.  The  thought that “ I have to sing well today” became overpowering to the extent that my whole presentation became aggressive, unnecessarily. I have to understand more about the nuances of voice modulation and its effect. Bilaskhani  was a bit lengthy and could have been crisp.  But on the whole whatever I sang had a very good impact on the audience and people liked it very much. Listening to all the accolades made me feel good too!

After my performance, many people met me and expressed their appreciation. All my classmates, friends from childhood like Yogesh Pawashe ,  Kishor Kulkarni, one of my contemporaries and a very sensitive musician all expressed their happiness. Kishor said “ You sang very well but  the kind of music I  had expected from you was something more than what you did today.”  Some people said that you reminded us of Abhisheki bua, some said “ you have a different style…”. In all this onslaught of different reactions and feed back, I was starting to get a bit exhausted.  I felt “ It’s ok, I should become a better singer now, I should sing better and better ”

To get an opportunity to perform in Sawai in itself is a matter of great fortune, and so a difficult one. In those 4 days we get a chance to witness the performances of not more than 25 Artists. Out of these 25 some slots are reserved for various reasons and when does one gets a chance to perform there is a matter known to nobody! There are generally 4 to 5 artists who perform for the first time in Sawai. I was just one of them.

I also got a peek view of the kind of complexities involved in such an event. In spite of his ill health, Shrikant dada was always busy talking to people. It would be a miracle if Shriniwas’ phone did not ring during those days. I had a fair idea of the issues involved when you organize such a mega event, but this year I could feel the pressure first hand.

I salute Pandit Bhimsen Joshiji. 58 years ago he started this festival and organized it successfully for more than 50 years. This is a tremendous work. Unconditional devotion towards the Guru, and unconditional love and support of the discerning audience has made Sawai Gandharv festival an epic event in every sense of the term. I was fortunate to be a part of it!

Pt.Jitendra Abhisheki -Savai Gandharva Music Festival – Pune 1992

Click here to view the embedded video.

होणार होणार म्हणता म्हणता खरोखरी सवाई गंधर्व संगीत महोत्सवात माझे गाणे झाले…आज जवळ जवळ तीन आठवड्याने रेकोर्डिंग ऐकले आणि मनात अनेक गोष्टी आल्या…

गाणे शिकायला लागून आता ३३ वर्षे झाली.. सवाई मध्ये गावे अशी इच्छा, महत्वाकांक्षा साधारणपणे १५ वर्षे तरी मनात होती. त्यामुळे तयारी तर एका बाजूला चालूच होती आणि गेली निदान १० एक वर्षे नियमितपणे विनंती करणे पण चालू होते… २००० साली आळेकर सरांच्यामुळे टाईम्स म्युझिक साठी माझे गाणे झाले होते तेंव्हा पंडित भीमसेनजी गाणे ऐकायला समोर बसले होते… त्यांनी माझे संपूर्ण गाणे ऐकून मला आशीर्वाद दिले होते…  तेंव्हा असा विचार केला होता कि भीमसेनजींनी गाणे ऐकले आणि आशीर्वाद दिले, आता प्रत्यक्ष सवाईत जेंव्हा संधी मिळेल तेंव्हा गाऊ… त्याची आता घाई नाही… आणि तसेही गाण्याबजावण्याच्या क्षेत्रात घाई करून चालत नाही हे पक्के ठाऊक होते…

आज सवाईमध्ये गायलो तेंव्हा समोर साधारणपणे दहा हजार डोळे आपल्याकडे एकदम बघताहेत हा अनुभव नवा होता… अपेक्षा, आनंद , तटस्थता , “बघू तरी काय गातोय हा” असा भाव अशा अनेक प्रकारच्या नजरा माझ्याकडे बघत होत्या… माझी मनस्थिती कशी होती? शब्दात  सांगणे जरा कठीण आहे पण हा कार्यक्रम म्हणजे जीवनातली  अंतिम गोष्ट नाही हे मनात स्पष्ट होते… आता खरी सुरुवात होणार आहे अशी पण एक भावना मनात खूप स्पष्टपणे आली होती…. तसा शांत होतो पण ताण आला होता हे देखील खरे… माझे माटे गुरुजी गाणे ऐकायला स्वतः आले होते त्यानी खूप आधार वाटला.. अभिषेकीबुआंची पुण्याई पाठीशी होतीच आणि रानडे सरांचे आशीर्वादही बळ देत होते… हवेतला गारठा, प्यायलेल्या चहा सदृश पेयातला गोडवा, हळू हळू भरणारा मंडप, तानपुरे लावताना तितक्या गारठ्यातही मला आलेला घाम, भरत आणि चैतू या दोघांचे मनापासून मिळणारे प्रोत्साहन…माळीबुवा ने नवीन सिस्टीम लावली होती असे ऐकले होते तिचे नवेपणाचे भले बुरे अनुभव.. या सगळ्या गोष्टीना बरोबर घेऊन गायला सुरुवात केली…

राग बिलासखानी तोडी माझा आवडता राग… रामाश्रेय झा “रामरंग” यांची नवी बंदिश गायला लागलो” धन धन भाग..” आवाज जरासा थरथरत होता.. पण एक दोन तीन मिनिटांमध्ये माझा आधीचा ताण कमी झाला होता आणि मी आणखी आरामात गायला लागलो… बिलासखानी संपल्यावर शुद्ध धैवत बिभास सुरु करणार तेवढ्यात मिलिंद जी नी मला ५ मिनिटे आहेत असे सांगितले… म्हणून मी तसे लोकांना सांगितले आणि भजन ऐकवतो असे म्हणताच लोकांमधून “नाही नाही शुद्ध धैवत बिभास ऐकवा.. असा जोरदार आवाज आला… माझ्यासाठी हा अनुभव पण खूपच नवीन होता… शेवटी भजन गाऊन गाणे संपवले तेंव्हा टाळ्यांचा गजर झाला आणि मी मनात ” अहंकाराचा वारा न लागो राजसा…. ” असं म्हणत रंगमंचावरून खाली आलो…

काय काय मिळाले मला त्या तासाभरात??

खूप मनापासून ते हातचे राखून का होईना अशी दाद मिळाली… अनेक लोकांना परस्पर अनेक प्रश्नांची उत्तरे मिळाली… मला आत्मविश्वास मोठ्या प्रमाणात मिळाला… आणि केवळ सवाईत गायलोय म्हणून मी सॉलिड गायक आहे असं अजिबात मानायचे कारण नाही हे पण लक्षात आले… असे अनेक गायक येतात आणि जातात… प्रयोग परंपरेत त्यांचे पुढे काय होते? प्रयोग परंपरेत अत्यंत महत्वाचा असं मैलाचा दगड आपण गाठला आता पुढे काय?? आणि फार पूर्वी प्रबोधिनीत शिकलेल्या पद्याची ओळ आठवली कि ततः किं?? हे सगळे झाले म्हणून काय झाले ??

स्वतः स्वतःशी विचार करताना चाबूक हातात ठेऊन विचार करायची सवय फार उपयोगी पडते… स्वतःच्या गाण्याचा विचार करताना तर फार बरे पडते हातात चाबूक ठेवणे… तसा विचार केला आणि मला जाणवले कि मी आज जे गायलो इतपत मी गायलाच पाहिजे… त्यामुळे त्यात  फार कौतुक करावे असे काही नाही… रागविचार अधिक सुघड आणि सुसूत्रपणे सुचायला हवा असे वाटले… कुठेतरी मनात मला आज चांगले गाणे गाऊन दाखवलेच पाहिजे अशी इर्षा असल्याने गाणे जास्त आक्रमक झाले कि काय असेही वाटले… स्वराचा परिणाम असतो तसाच आवाजाच्या लगावातून परिणाम साधता येतो आणि त्याचा मला अधिक विचार करायला हवा हे पण जाणवले… विलंबित बिलासखानी जरा लांबला, तो थोडा आटोपशीर ठेवता आले असते… पण गाण्याच्या नादात तिकडे लक्ष राहिले नाही… बाकी जे गायलो त्याचा बर्यापैकी परिणाम झाला आणि लोकांना गाणे आवडले अशा असंख्य प्रतिक्रिया आल्या हे पण झाले… त्याने मला बरेही वाटत राहिले…

गाणे झाल्यानंतर अनेक लोक अनेक प्रकारे भेटत राहिले. माझे सगळे वर्गमित्र आणि योग्या पावशे हा माझा बाल मित्र… सगळे भेटून गेले… माझ्या मनात मात्र तेंव्हा  “आता पुढे काय? ” हा प्रश्न अगदी स्पष्ट होता… आनंद व्यक्त करावा काय? आणि कसा करावा? हे पण प्रश्न होते… किशोर कुलकर्णी “तू चांगला गायलास पण मला जे अपेक्षित गाणे आहे ते काय हे मी तुला येऊन सांगेन” असं म्हणला… काही जणांनी बुवांची  आठवण झाली असं सांगितले.. तर काही लोक म्हणाले कि तुम्ही जरा वेगळे गाता… प्रतिक्रियांच्या या गदारोळात मी जरासा कंटाळून पण गेलो होतो.. असं वाटत होतं कि “ठीक आहे हो…आता आणखी चांगले गायला पाहिजे.. ”

सवाई गंधर्व महोत्सवात गाणे सादर करायला मिळणे हे मोठी भाग्याची म्हणूनच अतिशय अवघड गोष्ट आहे असेही लक्षात आले… ४ दिवसात साधारणपणे २५ कलाकार आपली कला सादर करतात… आता ह्या २५ पैकी काही जागा राखीव… विविध कारणांनी राखीव असतात… त्यात आपला नंबर केंव्हा लागेल याचा काही पत्ता लागू शकत नाही… प्रथमच सवाईत गाणारे साधारण पणे ४ ते ५ कलाकार असतात… त्यातला मी एक… एवढ्या मोठ्या आयोजनामागे किती व्याप असतो ते पण जरा जवळून पाहता आले… श्रीकान्तदादा त्यांची तब्येत बरी नसताना किती धावपळ करीत होते…. श्रीनिवास चा फोन  वाजला नाही असा त्या काळात क्षण विरळाच… आयोजक म्हणून किती आणि कुठले कुठले व्याप हे लोक सांभाळत होते त्याची जराशी कल्पना होती पण जवळून पहायला मिळाले…

भीमसेन जींच्या द्रष्टेपणाची दाद द्यायला हवी… ५८ वर्षांपूर्वी असा कार्यक्रम सुरु करणे आणि तो ५०हून अधिक वर्षे स्वतः चालवणे हे प्रचंड काम आहे… गुरुप्रती असीम श्रद्धा आणि रसिकांचे अलोट प्रेम यामुळे हा महोत्सव आज जगात , संगीत जगात अढळपदी विराजमान आहे… मी त्यात सहभागी झालो हे माझे भाग्य…

समीर दुबळे, ४ जानेवारी २०११

Pt.Jitendra Abhisheki -Savai Gandharva Music Festival – Pune 1992

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