Vani Sateesh - Wikipedia
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Among the new breed of singers which emerged afterManna Dey's duets with Suman Kalyanpur were popular making them a celebrated team.
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Bali and since then have sung around 45 songs together. Dey recorded popular duets with Mohd. With Asha Bhosle, Manna recorded around Hindi songs from — though their duets kept releasing till and their last song sung together was in Teri Maang Sitaaron Se Bhar Doon Dey sang around 27 Hindi duets with Geeta Dutt from with the last being from Ziddi in Tripati is noted for Manna Dey yodeling and singing in a style which is known as forte of Kishore. Burman brought them together for "Ek Chatur Naar" in Padosan.
Reportedly the song "Ek Chatur Naar" a duet by Kishore Kumar and Manna Dey from Padosan was partly improvised by Kishore Kumar at the time of recording and Manna Dey, determined to show Kishore Kumar how he would sing the duet better since Kishore had not been trained classicallygot into the mood of the song and immortalised "Ek Chatur Naar".
Dey recorded around 31 songs with Kishore from to and all of them became chartbusters. Fromafter release of Aradhana, the highest in demand playback singer was Kishore Kumar, so careers of Mukesh, Rafi and Manna Dey were affected and they got lesser number of songs to sing. His song "Sawan Ki Rimjhim Main" was aired in non-film program section in Vividh Bharati and became popular on the radio. He received a fresh lease of life in his playback singing career from after Rajesh Khanna allowed music directors to picturise or feature songs sung by Dey in films with Khanna in lead role beginning with Anand, composed by Salil Chowdahry.
Later in a interview, Dey said, "I loved the way he picturised music. The success of a song depends upon how an actor picturises it. He was the number one in picturising songs. I will be ever indebted to him. Thereafter he became selective of the kinds of songs he sings and chose to do less work in Hindi.
The demand for Kishore-Manna Dey combination only grew after Salil Chowdhry compositions rendered by Dey from films like Ananad and Anadatta became popular as well. Lata and Manna Dey recorded fusion songs, which used both Indian and western instruments.
InDey sang along with Lata-Kishore in the song "Goyakechu Nanche" from Manoranjan which became a chartbuster in However, offers for him to sing solo songs in Hindi films reduced since gradually and rarely songs sung by him was picturised in the hero. He sang "Bohey Nirontaro Ananto Anandadhara" from the album Rabindra Sudha inand then went on to sing 14 songs composed by Rabindranath Tagore until in Hindi.
His first song with S. D and with P. He also performed Rabindra Sangeet and recorded over songs till In addition to film songs, Dey released several albums of devotional songs of Jagadguru Shree Kripaluji Maharaj.
But he continued to sing in Bengali movies, bhajans and gazals in different languages and appeared in live performances during to His last live performance was in in Mumbai. He worked with more than music directors in Hindi film industry from working with Krishna Chandra Dey in Tamanna in to music composer Shamir Tandon in She was originally from KannurKerala.
Together they had two daughters — Shuroma b. Sulochana died in Bengaluru in January She had been suffering from cancer for some time.
After her death Dey moved to Kalyan Nagar in Bengaluru after spending more than fifty years in Mumbai. He was hospitalized again in the first week of Octoberand died of a cardiac arrest at 3: Jibaner Jalsaghore, a documentary on Dey's life, was released in A devout Lingayat in his lifestyle, he chose to live close to the Murugah Math all his life.
He was born and died in Dharwad.
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Rajguru also hailed from the Lingayat community. After having trained in Carnatic music at a very young age, he was an active part of the local Kannada theatre troupes.
His training from Panchakshari Gawai and later Sawai Gandharva, established him as one of the greatest singers from Dharwad region. Born in a traditional family of artistes, she began her early training in music from her mother Ambabai.
Her rigorous training as his disciple made her one of the finest female vocalists of the 20th century in Kairana Gharana. She lived in Hubli and led a successful musical life.
These great Gurus trained scores of students. Among the next generation of vocalists worth mentioning include Sangameshwar Gurav and Gururao Deshpande. Somnath Mardur and Parameshwar Hegde were students of Rajguru. Some more women musicians have taken to an active teaching life. Among the most promising youngsters in Hindustani vocal music, a big batch of them, hail from or have connection to Karnataka.
Each of them has excelled in their music, some better than their predecessors and Gurus. They keep the musical flag of Hindustani music from south India, flying high. The Hindustani instrumental music and musicians from Karnataka deserve a different article altogether. Let us not confuse that set with this.
What is it about the soil Hubli-Dharwad and its surroundings that bring out so many musicians? If one were to look at the history of music from a geographic point of study in South India, after the Thanjavur region in Tamil Nadu, the Hubli-Dharwad zone in Karnataka stands out as a shining gem. Karnataka is probably the only state in India that has successfully been a home to both Hindustani and Carnatic genres of music.
Veejay Sai is an award-winning writer, editor and a culture critic.