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Anand Murdeshwar
David Philipson
Devendra Murdeshwar
Harshawardhan Kaulgi
K.L. Ginde
Lyon Leifer
Naresh Kumta
Nityanand Haldipur
Rasbihari Desai
S.N. Purohit
Vishvas Kulkarni
V.G. Karnad
About the Style
Anecdotes
An Appeal
Profile >> Naresh Kumata
    
Background


Naresh Kumta, who belongs to Dharwad in Karnataka, inherits his love of music from his parents, more specially his father and brothers, late Rajaram S. Kumta and late Dr. Umesh S. Kumta. Both encouraged him in his pursuit of music, specially flute. He took to playing the flute during his college days, as a joyous hobby. The impressionable youngster was so fascinated by the flute music of Pt. Pannalal Ghosh that he began to cherish the ambition of seeking Panditji’s tutelage. When he expressed his desire to the late Pt. Taranath Rao, the celebrated percussion maestro, and Pt. Prithvi Ranjan Dey, the veteran Sitarist and teacher, they decided to introduce the youngster to the maestro. As Pannababu had to leave Bombay on a long term assignment as a conductor, AIR Vadya – Vrinda at Delhi, he assigned the youngster to the care of Shri V.G. Karnad, one of his senior disciples, to help him to pursue flute playing on systematic, professional lines.

Naresh Kumta’s quest for excellence led him to the veteran vocalist, the late Lakshman Prasad Jaipurwale, and the versatile vocalist and composer, Pt. Murli Manohar Shukla. While the former gave him a keen insight into the significance of gayaki ang and it’s adoption to woodwind music, the latter shared with him his extensive repertoire of ragas and bandishes and encouraged him to render them in their flute version. He still continues to seek guidance from Pt. Shukla. In between he also benefited from the guidance of Pt. Devendra Murdeshwar, the eminent disciple of Pannababu and a veteran in his own right and learned the intricacies of flute playing for ten years.

Style


An earnest seeker, Naresh Kumta is an artiste who keeps absorbing and assimilating all that is subtle and beautiful in Hindustani music. The line-up of artistes like Ustad Bale Khan of Dharwad with whom he has been associated and profited from their music is quite impressive- and rather too long to permit individual mention. Suffice it to say that what he plays strikes the listener for its distinctive individuality, revealing a charming fusion of pure, elevating music and the equally incisive and trenchant sense of rhythm.

Achievements


Naresh Kumta has been a broadcaster from the Bombay station of All India Radio and has also appeared on the concert platform. He had an opportunity to visit the USSR in 1986 and during this tour he played for a documentary titled “Soviet Desh: Aaj Aur Kal” produced by Mr. Gopal Gupta of Delhi. The places where he gave his concerts included Leningrad, Tashkent, and other cities.

Excerpts from Press Reviews


The Times of India August 2, 1970

“Surprisingly, young Naresh Kumta, who preceded Thakar, gave a good account of himself. His Puriya exposition in vilambit and drut showed delightful design and proportion and a methodical approach. The scheme of improvisation revealed many well conceived musical ideas.”

The Times of India July 30, 1970

“Vora’s delineation of Shree, marked by linear grace, tonal vigour, and lucidity, effectively projected the eerie character of the evening raga, while the equally profound Marwa heard next from Naresh Kumta showed his refined sense of design and perceptive approach.”

Mid-Day Jan 31, 1987

“ Now he (Nityanand Haldipur) pooled his talents with his gurubandhu Naresh Kumta to present a jugalbandi. They presented Raga Marwa in a spirit of musical brotherhood and methodically built up the raga, perfectly complimenting each other.”

Contact Details


B-308, Avishkar,
36/A, Sleater Road,
Grant Road (W),
Mumbai – 400 007.