Delhi has become home of many musicians and dancers who feel the city will offer greater opportunities for visibility. Banaras-based Pt Ram Kumar Mishra too has made Delhi his home for the last 10 years. One of the finest tabla players of his generation, he is hugely popular with his peers too, his mop of graying hair and ever ready grin a familiar sight on concert platforms.
Ram Kumar Mishra rues that he never knew his legendary grandfather Pt Anokhe Lal ji, (1914-1958) but he knows his “baaj” through his mother. He recalls “Aaj tak unka “na dhin dhin dha” on the tabla is unparalleled. His several disciples included Pt Mahapurush Mishra, Chote Lal Mishra ji, Ishwar Lal, my mama Ramji Mishra. My mother would stand at the window and listen to her father teaching his students, and thus absorbed a lot; after the students left in the evening, she would perform for her father who would correct any mistakes. I started learning music from my father, Pt Channulal Mishra and even sang on stage with him in youth but rhythm was always very dominant for me. I remember I would play tabla impromptu on 2 old ghee tins. My mother observed this and started teaching me formally. All my grandfather’s students were like family and used to stay in the house, so even after him the links were strong and I learnt from all of them.”
Continuing this train of thought, Ram Kumar continued “I feel anything good should be absorbed. Even today I take things from Nayan dada (Pt Nayan Ghosh), Anindo dada. (Pt Anindo Chatterji). My father always says “ek hee gulab kee khushoo loge, to itna mazaa nahin aayega. Har phul ko lo, ek guldasta banaao apni sangeet ka”.
I was 11 when I first played at Sankat Mochan Sangeet Samaroh, a solo and then accompanying my father. I first played with Pt Jasraj around 28 years ago there, also with Shiv ji, (Pt Shiv Kumar Sharma) Hari ji (Pt Hari Prasad Chaurasia), Vishwamohan ji (Pt Vishwamohan Bhatt). Even today I play regularly with these 5 great senior musicians.”
Talking about his inspirations, Ram Kumar said “I learnt one very important thing observing Ustad Zakir Hussain; he is totally tuned to the artist he is accompanying, his attention never wavers. That total focus is needed for an accompanyist. I feel the connection between an artist and his accompanyist starts from the green room itself. Also, though what I am saying is controversial, tabla is essentially an accompanying instrument, not a solo instrument, so it’s my duty to adjust my playing style according to those I am accompanying.
I disagree that an accompanist needs to play long solo pieces to get audience attention; even while doing a simple accompanying “theka” you can get noticed.”
Speaking of his life as a musician, Ram Kumar admitted it’s tough, he is on the road around 20-25 days a month about 10 months every year. In his words “It’s a taxing life, frequently one does not sleep all night to catch early morning flights. For a healthy lifestyle I try to eat as simply as possible, do yoga. I cannot fit in an early morning walk or jog every day. I cannot do my practice every day, there is no time. So one tries to fit it in wherever one can.” (I recalled hearing him playing the tabla at 1 am one night in the adjoining hotel room, after attending a wedding in Vrindavan; as he knew he had a car journey back to Delhi the next day, leaving less time for riyaaz)
Ram shared “Today after a lifetime in tabla, I feel “riyaaz” plays a greater role than “taalim”. Unless you can execute what is in your mind well, what’s the use of the knowledge. Also, one has to keep improving.
I try to record each concert of mine, and later go home and analyse how I played, and where to improve. Having learnt music too helps as one becomes more sensitive as an accompanyist.”
No wonder Durga Jasraj calls him “Raj Kumar” (Prince) not Ram Kumar.
