A Benarsi from Bengal

Pandit Chhotelal Misra was born in Bengal in 1940. His family had close ties to the classical Indian community, including with some Benares musicians such as Anokhelal Misra, who was regularly in Kolkata around this time.

Through this fortunate connection, Chhotelal began studying tabla with Anokhelal at the age of 6. Soon after, Chhotelal came to study with Anokhelal in Benares, and continued studying with him until Anokhelal’s death in 1958.

Chhotelal began performing professionally around the age of 19. He went on to become a highly accomplished and respected performer, well known for his exceptional accompaniment. He was equally respected, and sought after, as both an instrumental and vocal accompanist.

Over his career, Chhotelal performed with a long list of artists. Some of the most prominent include Bade Ghulam Ali Khan, Nissar Hussain Khan, Salamat Ali Khan, Kishori Amonkar, Rajan and Sajan Mishra, Pandit Jasraj, Ravi Shankar, V.G. Jog, Bismillah Khan, Hari Prasad Chaurasia, N. Rajam, Lal Mani Mishra, Buddhadev Das Gupta, Shahid Pravez, Buddhaditya Mukherjee, Vishwamohan Bhatt, and many others.

N. Rajam and Chhotelal Misra, late 1970s (courtesy Patrick Moutal’s Site)

Lalmani Misra and Chhotelal Misra, California, 1978

During the 1970s, Chhotelal travelled abroad extensively, including performances in Europe, Japan, Canada, and the U.S. He held teaching positions at institutes in London, Sweden, Denmark, and the U.S. (University of Pennsylvania).

Chhotelal was also a dedicated educator and became one of the most respected and knowledgeable teachers in Benares. Many came to study with him in private, but he also taught for many years at Benares Hindu University, where he gained the position of Reader in the Faculty of Performing Arts. He retired in 2000.

An Uncommon Benares Tabla Player

Chhotelal Misra, private tabla solo, Kathmandu, 1986

Among Benares tabla players, Chhotelal was unusual. As a performer, he was both traditional and modern. While his base of material remained Benares, he also chose to play and teach material from other gharanas.

This modern approach to tabla was already common outside of Benares, but during Chhotelal’s time, most Benarsi players would not play non-Benares material, or play in a non-Benares style. In such a conservative environment, it took some courage for Chhotelal to follow his own preferences for material and style.

Chhotelal’s sound on the tabla was also not typical of Benares tabla players. He was not loud or aggressive as so many Benares players are. Quite the opposite, his technique, and his style, were very refined, even delicate at times.

This sensibility explains his attraction to non-Benares material, such as peshkar and Dilli kaydas, both of which he regularly performed in his solos.

An Uncommon Teacher

Chhotelal Misra teaching at home, 2003

As a teacher, Chhotelal was equally exceptional among Benarsis. Though he gave all his students a foundation in Benares tabla, he also taught them according to their own strengths and preferences for material, rather than forcing them to learn one style, or limiting them to Benares material.

While most Benares tabla players continue to keep their material secret, Chhotelal felt it was important to share traditional material. This is clear from his decision to publish three major volumes of traditional material (discussed below).

Chhotelal’s reasons for publishing were not only about sharing material. He was also very concerned with both the quality of teaching, and the quality of tabla players, in Benares. Both of these, he felt, had declined greatly in his lifetime.

Books of Chhotelal Misra

Chhotelal published three books on classical tabla, all in Hindi. One of these was later published in English.

His first book Tal Prasoon (ताल प्रसून), published in 2004, presents a foundation of traditional Benares tabla material, with basic definitions and theory. I personally learned most of the compositions in this book from Chhotelal, and have included them on this website.

In 2007, Chhotelal published an English version of Tal Prasoon titled Playing Techniques of Tabla: Benares Gharana. Although not an exact translation, the two books contain mostly the same material.

Tal Prasoon, 2004; Playing Techniques of Tabla: Benares Gharana, 2007

In 2006, Chhotelal published Tabla Granth (तबला ग्रन्थ), a collection of advanced compositions. It is a sequel to Tal Prasoon.

Tabla Granth, 2006

Tal Prabandh ( ताल प्रबन्ध) is a theory book which accompanies Tabla Granth. Originally, the two books were part of one volume but, due to the length, were separated into two.

Tal Prabandh, 2006

Another significant volume of Chhotelal’s material was compiled by his student Dr. Prem Narayan Singh, titled Banares Gharana ke Tabla-Vadan me Mukhra (बनारस घराने के तबला-वादन में मुखड़ा) or "Tabla-Playing Mukhra of the Benares Gharana".

Tabla-Playing Mukhra of the Benares Gharana, 2009

This book is a large collection of mukhra (cadential phrases) in eight common tals. Each mukhra is used to compose a variety of standard forms (tihai, bedam tihai, nauhakka, simple chakradar, farmaishi chakradar, etc.). The Common Tihais sections are based on this approach.

This collection is significant because it presents a systematic approach to composing performance-style pieces, through model-examples in a traditional style. While there are many books of compositions, this kind of material is quite rare, especially from a recognized master.

Continuing Chhotelal’s Efforts

This website is, in part, a continuation of Chhotelal’s efforts to share traditional material, and to help explain classical tabla for students and listeners. Without Chhotelal’s openness, his extensive publications, and his approval of the project, I would not have created the website.

My hope is that Chhotelal’s work will inspire more masters to share their knowledge in open, multimedia formats, and to help make this remarkable drumming tradition less mysterious to the rest of the world.

References