Legendary flautist Padma Vibhushan Pt Hari Prasad Chaurasia has made the world swoon over his sweet-sounding tunes for decades. But not many know that as a young man he was made to sweat out in ‘akhada’ for hours rather than practising his passion — flute.
His father was a famous ‘pehelwan’ (wrestler) and wanted his son to be one too. He was made to wake up early in the morning and train with his brothers in ‘akahda’. Though he trained for many years, but didn’t like it. In fact he hated it, but didn’t have the courage to stand up to his father. He learnt flute ‘chori-chori’….
This and many more anecdotes are part of a new book ‘Hari Prasad Chaurasia: Breath of Gold’ written by Sathya Saran that has hit the shelves recently.
“There are many more. His entry in film industry happened when Sonik, assistant to music director Madan Mohan, called him to the studio in Mumbai for the song ‘Phir wohi shaam’ in ‘Jahanaara’…. There are stories on how he made Amitabh (Bachchan) sing in ‘Silsila’ and Sridevi in ‘Chandini’… Once he was coming from Chandigarh to Lucknow to perform when his car met with an accident and he dislocated his shoulder. Yet, he performed with his dislocated shoulder,” shares Saran during a telephonic conversation with HT.
Saran has been behind several biographies like ‘Baat Niklegi Toh Phir: The Life and Music of Jagjit Singh’, ‘Sun Mere Bandhu Re: The Musical World of SD Burman’ and ‘Ten Years with Guru Dutt: Abrar Alvi’s Journey’.
On how did writing about Chaurasia happen?
“I was at an event at Hariji’s gurukul where I saw him and thought his life must have been very exciting – he is such a big name and talent – one should not forget him and future generations must remember his work. I texted his son (Rajeev Chaurasia) and was happy to know that he too was thinking on the same lines. I suggested some authors but Rajeev instead asked me to write it since they had seen my book on SD Burman and wanted a similar format,” she says.
Initially she was little reluctant to write as she felt she was not qualified for it.
“He is classical musician of the highest order and I have hardly learnt music. When they asked they want more about the man than the ‘bandish’, ‘ragas’ and ‘talas’ I agreed to do it. With my little knowledge of music, I was able to navigate through it,” she says and adds that the format is simple with small-small stories.
Talking about her experience with the legend, she says: “He is very humble and spiritual in his own way. He does not run after materialistic things. It’s just about his music and students. A few days back I went to give him the first copy and he came out casually dressed in a T-shirt and lungi. He is happy at his Vrindavan Gurukuls (Mumbai and Bhubneshwar) with students.”
She feels the maestro has no plans to do films again.
“He has introduced his nephew Rakesh Chaurasia to music directors and he is the one who is taking things forward. I don’t think he will do it now. He is 83 years old now but if something exciting comes his way he is very much capable of taking it up,” she says.
Giving another insight about the book she says, “Every Janmasthmi, since 15 years or so, he does an akhand (round the clock) flute playing. Initially, he used to play full time (except daily chores breaks) and now his disciples also play taking turns. That is his gurudakshina to Lord Krishna for giving him the flute.”
Summing it all she says, “Just like SD Burman, Chaurasia is a simple soul and music is his world. He is saintly in his own ways.”
Prasanta Patnaik