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Samta Prasad

Pandit Samta Prasad (also known as Gudai Maharaj; 20 July 1921 – 31 May 1994) was an eminent Indian classical musician and tabla player belonging to the Benares gharana of Hindustani music, widely regarded as the "Tabla Samrat" for his mastery of the instrument and innovative rhythmic compositions.^[1]^[2] Born in Kabir Chaura, Varanasi, into a lineage of musicians, he was the son of Pandit Hari Sundar Mishra and grandson of Pandit Jagannath Mishra, receiving initial training from his father before continuing under Pandit Bikku Maharaj after his father's death when Samta was seven years old.^[1]^[2] His career began with a debut performance at the Allahabad Sangeet Sammelan in 1942, after which he became a celebrated accompanist to leading vocalists and instrumentalists, as well as a soloist known for intricate taals like Roopak and Teentaal.^[1]^[2] Prasad's influence extended beyond classical concerts, as he performed internationally in countries including Russia, France, and at the Edinburgh Festival, and contributed tabla accompaniment to numerous Hindi films such as Sholay and Jhanak Jhanak Payal Baje, collaborating with composers like Rahul Dev Burman.^[1]^[2] Renowned for blending the Poorab baaj style of the Benares gharana with creative improvisation, he trained several disciples, including his son Pandit Kumar Lal Mishra, Shashanka Bakshi, and others like Chandrakant Kamat and Nabakumar Panda, ensuring the perpetuation of his lineage.^[1]^[2] Throughout his life, Prasad received prestigious accolades, including the Padma Shri in 1972, the Sangeet Natak Akademi Award in 1979, the President's Scholarship in 1987, and the Padma Bhushan in 1991, recognizing his profound impact on Indian classical percussion music.^[1]^[2] A devotee of Goddess Kali, he passed away in Pune, leaving a legacy preserved through recordings, archival performances, and the enduring Benares gharana tradition.^[2]

Early life and training

Birth and family background

Samta Prasad was born on July 20, 1921, in Kabir Chaura, Varanasi, Uttar Pradesh, into a family of musicians deeply rooted in the traditions of percussion instruments.^[3]^[4] His lineage traced back several generations of percussionists associated with the Benares gharana, including his grandfather Pandit Jagannath Mishra and great-grandfather Pandit Pratap Maharaj, who were known for their expertise in tabla and pakhawaj.^[5]^[4] His father, Pandit Hari Sundar Mishra—also known as Bacha Mishra—was a skilled tabla and pakhawaj player who introduced Samta Prasad to the basics of rhythm and percussion at a young age, providing his initial musical guidance.^[3]^[5]^[4] This early exposure within the family fostered his developing sense of taal (rhythmic cycles), though tragedy struck when his father died prematurely, leaving Samta Prasad without his father at the age of seven.^[3]^[5]^[4] Growing up in Varanasi, a historic center of Hindustani classical music renowned for its gharana traditions and cultural vibrancy, Samta Prasad was immersed in an environment rich with rhythmic influences from temple performances, musical gatherings, and the city's percussion heritage, which naturally honed his innate affinity for complex taals.^[3]^[5] This familial and locale-based foundation marked a pivotal phase, shaping his trajectory before he sought further formal instruction elsewhere.^[4]

Initial musical education

Following the death of his father, Pandit Hari Sundar Mishra (also known as Bacha Mishra), when Samta Prasad was just seven years old, his rigorous musical training commenced under the guidance of his uncle, Pandit Kanthe Maharaj, a prominent disciple of Pandit Baldev Sahai in the Benares gharana.^[5] This early phase built on the foundational lessons he had begun receiving from his father, immersing him in the family's longstanding tradition of percussion music.^[1] Samta Prasad's primary guru was Pandit Bikku Maharaj (also referred to as Bikku Mishra), a direct disciple of Pandit Baldev Sahai, who imparted advanced tabla techniques central to the Benares gharana, including intricate bol patterns and rhythmic variations.^[5] Under Bikku Maharaj's tutelage, he also drew influences from other Benares gharana masters, such as Pandit Anokhelal Mishra, and expanded his studies to include pakhawaj and other percussion instruments, deepening his understanding of the gharana's percussive heritage that originated from pakhawaj adaptations.^[5]^[1] His formative years involved intense practice routines, with daily sessions often lasting 16 to 18 hours, focused on mastering complex elements like taals, kaydas, and relas specific to the Benares style, where emphasis was placed on open-handed strokes and dynamic rhythmic phrasing.^[5] These disciplined riyaz sessions, sometimes so vigorous that sweat seeped under the door, honed his technical precision and improvisational skills.^[5] Samta Prasad gained his first public exposure through local performances in Varanasi, accompanying family elders and participating in community musical gatherings, which served as practical applications of his training.^[5]

Career

Classical performances and tours

Samta Prasad made his debut as a tabla player at the Allahabad Sangeet Sammelan in 1942, where his performance as both a soloist and accompanist impressed the assembled musicians.^[3] Following his debut, he undertook extensive tours across India from the 1940s onward, with regular appearances at major music festivals and events in cities including Kolkata, Mumbai, Chennai, and Lucknow, where his rhythmic precision captivated audiences.^[3]^[2] On the international stage, Samta Prasad represented the Indian cultural delegation during performances in France, in Russia—where he notably adapted to local experiences while showcasing tabla artistry—and at the Edinburgh Festival, helping to promote Indian classical rhythms globally.^[2]^[6] Throughout his career, he engaged in notable collaborations with prominent classical artists, including jugalbandis and accompaniments alongside vocalists such as Pandit Bhimsen Joshi and instrumentalists like Pandit Ravi Shankar, enhancing the prominence of tabla in ensemble settings.^[7] In his later years, Samta Prasad focused on education through workshops, including a significant coaching session organized by Naad Roop in Pune in 1994, where he shared Benares gharana techniques with aspiring musicians shortly before his passing.^[3]

Film and recording contributions

Samta Prasad entered the realm of Hindi film music in the 1950s, providing tabla accompaniment for numerous Bollywood productions during the genre's golden era.^[8] His work spanned over several decades, including notable films such as Jhanak Jhanak Payal Baje (1955), Basant Bahar (1956), Meri Surat Teri Ankhen (1963), and Sholay (1975).^[9]^[8] He forged key associations with prominent composers, including Naushad for Jhanak Jhanak Payal Baje, S.D. Burman for Meri Surat Teri Ankhen, and R.D. Burman for Sholay, where his rhythmic expertise formed the backbone of many iconic songs.^[8]^[2] In particular, S.D. Burman specifically requested Prasad's presence for the recording of "Naache Man Mora Magan Ti Dhigi Dhigi" in Meri Surat Teri Ankhen, delaying the session until the tabla maestro arrived from Banaras to handle the complex rhythmic patterns.^[9] Prasad's contributions often featured tabla solos and ensemble playing in dance sequences, such as the qawwali-infused tracks in Jhanak Jhanak Payal Baje, enhancing the film's classical dance narratives with intricate Benares gharana bols and taals.^[8] Beyond films, Prasad released several commercial recordings that showcased his solo tabla prowess, including albums featuring improvisations in Teentaal and Keherwa, issued by labels like Alurkar Audio. These works highlighted his ability to blend traditional Hindustani rhythms with accessible formats, helping to popularize the tabla in mainstream media and bridge classical music with broader audiences.^[10]

Musical style and contributions

Benares gharana techniques

Samta Prasad was a distinguished exponent of the Benares gharana, a lineage of tabla playing deeply influenced by pakhawaj traditions, characterized by a strong emphasis on duggi (bass drum) sounds produced through resonant bayan strokes and intricate bol combinations that blend melodic phrasing with rhythmic depth.^[11] This gharana, founded by Pandit Ram Sahai in the late 18th century, prioritizes powerful, grounded expressions rooted in Varanasi's musical heritage, where tabla is treated as an extension of the larger pakhawaj for both solo and accompaniment roles.^[12] Prasad's mastery of these elements showcased the gharana's focus on earthy, resonant tones achieved via the full application of the hand and claw for bass-heavy syllables like dha and dhin.^[13] Central to the Benares gharana's techniques are open-hand strokes that generate sharp, crisp, and powerful sounds, enabling performers to explore a wide dynamic range and complex rhythmic architectures.^[14] Intricate kayda patterns form the foundation of compositions, systematically expanding through paltas (variations) while preserving core phrases such as dhenagina, tenakina, and tunakittitaka, often rendered in taals like Teentaal (16 beats, divided 4/4/4/4) and Jhaptaal (10 beats, divided 2/3/2/3).^[11] For instance, a typical Teentaal kayda might begin with Dhagatette tagatette to establish rhythmic flow before delving into layered variations.^[11] Rela patterns further highlight dexterity, unfolding as fast, torrential sequences at chaugun (quadruple speed) laya, incorporating bol motifs like dhirakitta and tunakata to mimic natural phenomena such as buzzing bees or flowing streams, with an emphasis on speed and precision in Teentaal and Jhaptaal.^[11] These techniques demand meticulous fingering—utilizing all five fingers—and a balance of lav (open) and syahi (black paste) applications for tonal variety.^[11] The gharana seamlessly integrates pakhawaj-derived elements into tabla, elevating its expressive potential through devices like tihai—triple repetitions of a rhythmic phrase concluding precisely on the sam (cycle's first beat)—and laggi, rapid cyclic patterns that build dramatic tension in interludes.^[11] Special compositions such as fard gates underscore the style's robust bass focus, employing full-claw techniques for "manly" songs and parans that evoke poetic meters (chhands) or deities, like Gaj paran for elephantine power or Siddha paran for mystical rasa.^[13] Performances typically commence with an uthan (prelude) followed by peshkar-like bant expositions, transitioning through layakari (tempo divisions like dugun and tigun) to showcase versatility in vilambit (slow) to drut (fast) tempos.^[11] In embodying the Benares gharana, Samta Prasad exemplified its performance style through masterful dynamic volume control, evolving from subtle gat builds to explosive solos that captured the tradition's theatrical flair and audience-engaging nikaas (sound projection).^[11] This approach highlights the gharana's bold purab baj (eastern style), incorporating laggi-infused energy and pakhawaj-like drama in forms like tukra, paran, and chakradar.^[12] Distinct from the Lucknow gharana's lighter, fluid finesse—marked by delicate, open-handed (khula baj) strokes, lyrical gat, and Kathak-inspired rhythmic flexibility—the Benares style delivers a robust, earthy tone with aggressive relas, parans, and cutting (kat) sounds for heightened intensity.^[15]

Innovations and compositions

Samta Prasad significantly expanded the tabla's classical repertoire through his original compositions, which emphasized intricate rhythmic structures and innovative sound production techniques. He developed advanced relas and chalans that highlighted the Benares gharana's khula baaj style, often incorporating extended patterns to demonstrate speed and precision in taals like teentaal and jhaptaal. These works, featured in his solo recordings such as those in The Magic of Indian Classical Music Tabla, included peshkars, qaidas, tukdas, and relas that pushed the boundaries of traditional forms, allowing for greater improvisational depth.^[16] A key innovation in his playing was the focus on sound balancing through specific bol motifs, treating the dayan and bayan as complementary elements that blended distinct timbres while maintaining rhythmic harmony. For instance, he employed patterns like "Dhagedhe Degin Dhagedhe Degin" to achieve a balanced resonance, enabling more nuanced expression in complex compositions. This approach represented path-breaking experiments in tabla acoustics and was evident in his path-breaking explorations of the instrument's sonic dimensions.^[17] In film music, Prasad adapted classical rhythms for popular cinema, creating custom patterns that merged Benares gharana techniques with cinematic pacing. Notably, he provided the tabla for the high-energy chase scene in Sholay (1975), under composer R.D. Burman, infusing the sequence with dynamic, precise bols that enhanced the film's dramatic tension. His contributions to recordings like Jhanak Jhanak Payal Baje further demonstrated his ability to innovate rhythmic frameworks for non-classical contexts while preserving artistic integrity.^[18]^[17] Prasad's compositional legacy influenced the evolution of modern tabla playing, particularly in solo presentations where he composed original kaydas and tukdas that prioritized versatility across rare taals, such as the 14-beat Deepchandi. These pieces, performed and recorded during his international tours—including a mesmerizing recital at a May Day event in Moscow—showcased his role in elevating the tabla as a solo instrument capable of conveying profound emotional and technical range.^[11]

Awards and honors

National awards

Samta Prasad received the Padma Shri in 1972, India's fourth-highest civilian honor, recognizing his excellence as a tabla player and his contributions to Hindustani classical music through widespread performances.^[19] This accolade underscored his role in promoting the Benares gharana on national platforms during a period of active touring and accompaniment in the 1960s and early 1970s.^[1] In 1979, he was conferred the Sangeet Natak Akademi Award for Hindustani Instrumental Music, the premier honor from India's National Academy of Music, Dance, and Drama, for his eminence in tabla playing and significant enrichment of the art form.^[20] The award acknowledged his decades-long dedication to performance and teaching, having trained numerous disciples in the intricacies of Benares gharana techniques.^[2] In 1987, Samta Prasad received the President's Scholarship, a prestigious national recognition for his outstanding contributions to Indian classical music and percussion traditions.^[1] Samta Prasad was awarded the Padma Bhushan in 1991, elevating his recognition to India's third-highest civilian honor for lifetime achievements in classical percussion and overall impact on Hindustani music.^[21] Presented by the President of India, the citation praised his masterful representation of the Benares gharana and enduring contributions to the nation's cultural heritage.^[10]

Other recognitions

In addition to his major national honors, Samta Prasad received several specialized recognitions that highlighted his contributions to tabla education, performance, and cultural promotion. In 1972, he was awarded by the Uttar Pradesh Sangeet Natak Akademi, acknowledging his role in advancing Hindustani instrumental music within the state.^[20] He also earned accolades from prominent music institutions, including the Haridas Sangeet Sammelan in Bombay in 1952, the Lalit Kala Akademi in Allahabad in 1966, the Prayag Sangeet Samiti in Allahabad in 1967, the Surdas Sangeet Sammelan in Calcutta in 1970, and the Sur Singar Samsad in Bombay in 1974, each recognizing his innovative techniques and mastery in the Benares gharana style.^[20] Samta Prasad was frequently invited to esteemed music conferences, such as the Dover Lane Music Conference in Kolkata, where he participated in numerous sessions as a leading percussionist, contributing to the event's legacy of showcasing classical excellence.^[22] His international efforts were noted for promoting Indian music abroad, where he thrilled audiences with performances that exemplified the rhythmic depth of tabla traditions.^[20] These engagements, including cultural exchanges in countries like Russia and France, underscored his role as a cultural ambassador, fostering global appreciation for Indian classical percussion.

Legacy

Disciples and influence

Samta Prasad's teaching legacy was profound, as he mentored a wide array of disciples who carried forward the Benares gharana's rhythmic traditions. Among his most prominent students was his son, the late Pandit Kumar Lal Mishra (d. 2019), a distinguished tabla exponent who specialized in the gharana's intricate bol patterns and compositions. Other notable disciples included tabla maestros such as Shashanka Bakshi, Nitin Chatterjee, Naba Kumar Panda, and Pandit Bhola Prasad Singh, each of whom performed extensively in classical concerts and recordings. Additionally, the renowned film composers Rahul Dev Burman and Bappi Lahiri trained under him, absorbing foundational tabla techniques that informed their innovative rhythmic structures in Bollywood music.^[1]^[10]^[23]^[24] His pedagogical approach adhered to the gharana's time-honored oral transmission, emphasizing hands-on demonstration, repetitive practice, and intuitive mastery over formal notation, which allowed students to internalize the style's nuanced phrasing and speed variations. From the 1960s through the 1990s, Prasad conducted informal teaching sessions and workshops in Varanasi, his lifelong base, as well as in Pune, where he shared advanced kaydas and relas with aspiring musicians during organized camps like those by Naad Roop. This method not only preserved the Benares gharana's emphasis on melodic tabla solos but also adapted it for contemporary contexts.^[5]^[25]^[26] Through his disciples, Prasad exerted significant influence on Bollywood, bridging classical percussion with popular cinema; for instance, Rahul Dev Burman's incorporation of Benares-style rhythms into iconic tracks like those in Yaadon Ki Baaraat (1973) and Sholay (1975) popularized complex taals in mainstream soundtracks, while Bappi Lahiri drew on similar foundations for his fusion scores in films such as Disco Dancer (1982). On a broader scale, he guided over dozens of students—estimates suggest more than 50 across his career—many of whom established independent teaching lineages or performed internationally, thus expanding the gharana's reach. His mentorship inspired modern virtuosos like Zakir Hussain, who acknowledged Prasad as part of the "trinity" of tabla legends alongside his father Alla Rakha and Kishan Maharaj, crediting their collective innovations for elevating the instrument's global prominence.^[27]^[28]^[29] Biographies and scholarly articles have extensively credited Prasad's instructional role in safeguarding the Benares gharana's purity amid modernization, highlighting how his emphasis on expressive layakari (tempo manipulation) influenced subsequent generations' interpretations of traditional forms. Works such as detailed profiles in music archives underscore his contributions to the gharana's continuity, portraying him as a pivotal custodian whose oral legacy ensured the style's vitality into the late 20th century.^[2]^[4]^[5]

Death and posthumous recognition

Samta Prasad died on May 31, 1994, in Pune, Maharashtra, at the age of 72, from a heart attack while on a visit to conduct a coaching workshop organized by Naad Roop.^[30]^[2]^[4] Following his death, Prasad's contributions to tabla and Indian classical music received ongoing recognition through scholarly works and archival preservation. Biographies such as Padmabhushan Pt. Samata Prasad "Gudai Maharaj": Vyaktitva Evam Krititva by Renu Jouhari, published after 1994, detail his life and artistic legacy.^[31] His recordings and techniques are included in the collections of the Sangeet Natak Akademi, India's national academy for music, dance, and drama. In contemporary scholarship on Indian percussion, Prasad is frequently cited as a pivotal figure who bridged traditional Benares gharana styles with film music applications. Academic analyses, such as the 2013 paper "Bol Motifs based on sound balancing in the tabla playing of Padma Bhushan Pt. Samta Prasad," highlight his innovative sound production and rhythmic innovations.^[17] Similarly, Renu Johri's 2010 study "Great Tabla Maestro: Padma Bhushan Pt. Samta Prasad" emphasizes his enduring influence on tabla pedagogy and performance. These references underscore his role in elevating the tabla from accompaniment to a solo instrument in modern contexts.^[32]

References

[1]
Samta Prasad - Rajan Parrikar Music Archive
Shamta Prasad Misra (Gudai Maharaj b. 1924), the 'Tabla Samrat' is a world-famous Tabla player. In addition to his family elders he studied also under Bikkuji ...
[2]
Pt. Samta Prasad - Mysticamusic
Pandit Samta Prasad was an Indian classical musician and Tabla player from the Benares gharana. He also played tabla in many Hindi films.
[3]
Pandit Samta Prasad: Reviving the Rhythm of The Tabla Maestro
Pandit Samta Prasad is among the few esteemed personalities in Indian Classical Music. Born on 20th July 1921 in Kabir Chaura, Banaras ( Varanasi), Uttar ...
[4]
we remember the 20th death anniversary of tabla wizzard Pandit ...
May 31, 2014 · Pandit Samta Prasad was born on 20 July 1921, in Kabir chaura, Banaras (Varanasi), Uttar Pradesh into a family steeped in the tradition of tabla ...
[5]
Samta Prasad Biography In English Pdf Life Story 1921 -1994
Feb 22, 2023 · Pandit Samta Prasad was born in a family steeped in the tradition of tabla and pakhavaj of the Banaras gharana, sometimes called the Purab Baj ...
[6]
Benares Gharana Lineage Chart and Tabla Player Biographies
Pandit Samta Prasad (also known as Godai Maharaj) is a legend in the realm of Indian classical music. Born on July 20, 1921 in Benaras, into a family steeped in ...Missing: background | Show results with:background
[7]
Food melds with music in 'The Sixth String of Vilayat Khan' - The Hindu
Dec 8, 2018 · The other story was about tabla maestro Samta Prasad. During a trip to Russia, he swallowed a bowl of caviar, thinking it was boondi, “and ...
[8]
Famous Tabla Players - Peyman Nasehpour
Throughout his career, he performed with many legendary musicians, including Pandit Ravi Shankar, Ustad Amjad Ali Khan, and Pandit Bhimsen Joshi. He also ...
[9]
The Classical Music Giants Contribute to Hindi Cinema – V
Aug 24, 2019 · Pandit Samta Prasad – He soon established himself as a solo Tabla player and as an accompanist in classical music concerts. He performed in ...Missing: 1950s | Show results with:1950s
[10]
Classical Artists in Hindi Film Music - Apnaarchive - WordPress.com
Oct 24, 2012 · Samta Prasad played the tabla in song 'Naache Man Mora..' in film 'MERI SURAT TERI AANKHEN' and not Ustad Alla Rakhkha.He gave music in many ...
[11]
https://ia800904.us.archive.org/3/items/artscienceofplay00misr/artscienceofplay00misr.pdf
[12]
[PDF] Art and science of playing tabla - Internet Archive
Kishan Maharaj and Samta Prasad. Tragically, he was stricken with paralysis at about the age of. 30-32. He thus had to stay away from the stage for a long ...
[13]
The Six Major Gharanas | DigiTabla.com
There are six commonly recognized gharanas in classical Indian tabla: Dilli, Lucknow, Farrukhabad, Ajrara, Punjab, and Benares.Missing: earthy tone
[14]
[PDF] Contribution Of Pandit Ram Sahay In The Lineage And Disciple ...
In the tabla playing style of Banaras Gharana, a special type of gates named 'Fard' is the main feature of this gharana. 6. Manly songs of the Gharana in the ...
[15]
Twelve Days of Tabla: A primer on the world's most versatile drum
His style is notoriously powerful, utilising the full range of the Benares gharana's open-hand striking techniques. Outside of music, he is an avid player ...
[16]
Understanding the Different Gharanas of Tabla
Apr 16, 2025 · Each gharana represents a unique philosophy of rhythm, from Delhi's structured elegance to Punjab's explosive energy.Missing: earthy tone
[17]
The Magic of Indian Classical Music Tabla : Pt. Samta Prasad
The Magic of Indian Classical Music Tabla ; 1. Jhaptaal - Pt Samta Prasad. 03:36 ; 2. Roopaktaal - Kumar Bose. Kumar Bose. 09:08 ; 3. Tabla Solo-Teentaal-(Peshkar- ...
[18]
Bol Motifs based on sound balancing in the tabla playing of padma ...
Nov 18, 2021 · Pt Samta Prasad was an eminent tabla artist with phenomenal energy, great strength of practice, artistic qualities, devotion & dedication.Missing: Benares gharana style duggi complex
[19]
'R D Burman And Sholay Still Rule Our Hearts' - Rediff.com
Aug 7, 2025 · Panchamda got his guru, Sangeet Natak Akademi Award winner and Padma Bhushan recipient Pandit Samta Prasad, to play for him during that scene.
[20]
Pandit Samta Prasad - IndiaNetzone
Pandit Samta Prasad was awarded with Padma Shri in 1972. In the year 1979 and 1987 he received Sangeet Natak Akademi Award and the President Scholarship ...Missing: tours | Show results with:tours
[21]
None
### Summary of Samta Prasad's Sangeet Natak Akademi Award
[22]
Varanasi has no clue about two of its Padma awardees
Aug 28, 2010 · In the list, the names of Pt Kishan Maharaj (Padma Vibhushan in 2002), Pt Samta Prasad Mishra `Gudai Maharaj' (Padma Bhushan in 1991), Prof ...<|control11|><|separator|>
[23]
About Us - Dover Lane Music Conference
To name a few Percussionists who participated in various music sessions in the conference are: Samta Prasad, Keramatullah Khan, Anokhilal, Kanthe Maharaj ...Missing: 1980s | Show results with:1980s
[24]
Remembering Pandit SAMTA PRASAD also known as Gudai ...
May 30, 2025 · Remembering Pandit SAMTA PRASAD also known as Gudai Maharaj (Born 20 July 1921, – Died 31 May 1994) eminent Indian Hindustani Classical ...
[25]
Bappi Lahiri - Wikipedia
Bappi showed talent as a child playing the tabla and studied with Samta Prasad on the advice of Lata Mangeshkar. Since childhood, he idolised American ...
[26]
RD Burman - Upperstall.com
Jun 27, 2020 · As he grew up in Bombay, RD trained under sarod maestro, Ustad Ali Akbar Khan, and tabla player par excellence, Pandit Samta Prasad. He entered ...
[27]
Remembering Indian classical musician and tabla player on his ...
May 30, 2025 · Pandit Samta Prasad (20 July 1921 – 31 May 1994) also known as Gudai Maharaj, was an Indian classical musician and tabla player from the Benares gharana.
[28]
Pandit Samta Prasad - Miles Shrewsbery III - WordPress.com
Dec 29, 2015 · A tabla master of the highest order, Pandit Samta Prasad Ji's music continues to inspire tabla players, hindustani musicians, and music lovers alike to this ...
[29]
The charm of Bappi Lahiri - Marcellus
Lata Mangeshkar apparently suggested that Bappi Lahiri train under the tabla maestro Samta Prasad. He composed his first song at the age of 11 and at 14 he ...
[30]
The Rhythms of Zakir Hussain - Forbes India
May 9, 2013 · ... Samta Prasad—were getting on in years. And Zakir Hussain, as he would have you believe, “just happened to be there”. According to the Ustad ...
[31]
Zakir Hussain: Legacy of a Global Music Revolutionary - Frontline
Dec 18, 2024 · If Allarakha, along with his two great contemporaries, Samta Prasad ... collaborations with Ravi Shankar. | Photo Credit: PTI. But there was ...
[32]
Tabla maestro Pandit Samata Prasad passes away - India Today
Pandit Samata Prasad, 74, tabla maestro and a Padma Bhushan recipient, died following a heart attack in Pune. Popularly known as Godai Maharaj, Prasad played a ...Missing: cause | Show results with:cause
[33]
Padambhusan P. Samta Prasad Gudyi Maharaj Vyaktitva Evam ...
Padambhusan P. Samta Prasad Gudyi Maharaj Vyaktitva Evam Kratitava ; ₹1,218 ; Buy for ₹1,218 + cashback ; Quantity:1 ; Delivered by. Amazon ; Sold by. Nanhi Shop.Missing: Pandit Krititva
[34]
Poetry In Percussion - The Indian Express
... Samta Prasad, Pandit Kishan Maharaj, and of course Hussain himself. Pandit Swapan Chaudhury says, “The tabla has been enjoyed as a solo act for centuries.Missing: tours | Show results with:tours