‘A miser like me is playing for free, and you’re saying you can’t play?’: Flute maestro Pandit Ronu Majumdar on how Kishore Kumar helped him find humour in music and life

In an interview with indianexpress.com, the maestro shares insights into his musical journey, spiritual connection with the flute, and his vision for the future of Indian classical music. Read the edited excerpts below:

You grew up in Varanasi, a city known for its rich musical heritage. How did that environment shape your early musical journey?

Pandit Ronu Majumdar: Growing up in Varanasi was an incredibly immersive musical and spiritual experience. From the age of eight, I had the privilege of visiting the homes of great maestros like Arat Ratnam and Ustad Bismillah Khan. I also spent time with legends such as Pandit Kishan Maharaj and Girija Devi, which deeply influenced my musical journey. My father, though a homoeopathic doctor and an accomplished oil painter, played the flute as a hobby. At the age of six, I took his flute and began playing. By 1973, I moved to Mumbai to continue my musical pursuits.

Learning Indian classical music requires immense discipline and dedication. Who were your earliest gurus and how did their teachings shape your foundation as a flautist and musician?

Pandit Ronu Majumdar: My first guru was my father, who taught me the basics of technique and instilled a deep sense of discipline. After moving to Mumbai, I learned under Pandit Vijay Raghav Rao, one of the greatest masters of the Mansuri Gharana. In 1981, I had the honour of playing a welcome song when Indira Gandhi was the Prime Minister. That moment led me to my grand guru, Pandit Ravi Shankar, who profoundly shaped my music. He was my idol and mentor. Under his guidance, I developed my own unique style, which people often describe as “style-making”.

Pandit Ronu Majumdar (extreme left) with his guru Pandit Ravi Shankar

Speaking of Pandit Ravi Shankar, can you share an anecdote or a fond memory you shared with him?

Pandit Ronu Majumdar: One memory that will always stay with me is from the Moscow Festival of India, where we performed at the closing ceremony. During the rehearsal, the Moscow Chamber Orchestra faced difficulty playing our ragas. The conductor, somewhat frustrated, asked if our piece could be performed by “your guru”.

I was only 24 then, but my confidence in my music led me to step forward. Panditji, seeing my determination, told me to go to the conductor and play for them. I played with full conviction, and the result was a standing ovation from the audience, even though it was a rehearsal. Panditji later told me, “You made India proud”. That moment remains one of the most unforgettable moments of my life.

Your father Dr Bhanu Majumdar was also a musician. How did his influence guide your musical journey, and what values did he instil in you as an artist?

Pandit Ronu Majumdar: My father was my first guru, and he imparted invaluable lessons. He was a disciple of the pioneering bansuri maestro, Pandit Pannala, and shared with me the importance of honesty in music and relationships. He taught me that shortcuts never lead to true mastery. His advice was always to work hard, practice consistently, and never imitate other musicians. He encouraged me to find my voice and style and let my music reflect my character. These values shaped who I am as an artist today.

Your recent achievement of leading the largest Hindustani classical band earned you a Guinness World Record. Can you share the story behind this remarkable feat?

Pandit Ronu Majumdar: It means a great deal to me, especially after a previous attempt nearly succeeded a decade ago but fell short due to some technicalities. This time, we had the support of Mr Krishan from Karnal, who came from the Guinness World Records team to witness the event in Gwalior on December 15th. My music was based on the ragas of the legendary Sangeet Samrat, Tansen.

Combining three ragas — Miyan Bhairav, Miyan Ki Todi, and Raga Darbari — into a symphonic structure was no easy task. Today’s technology helped us coordinate with musicians across distances, and the result was historic: the largest Indian instrument orchestra, led by me, created a record that will be remembered.

You are now being conferred with Padma Shri. How does that make you feel?

Pandit Ronu Majumdar: Honestly, I was surprised when I received the news. I had no prior knowledge that I would be awarded Padma Shri. I was at IIM Bangalore, preparing for a performance with the legendary tabla maestro Pandit Anindo Chatterjee when he congratulated me. His words were deeply moving: “This Padma Shri will inspire many musicians to be true to themselves, not mere copies of others.”

Initially, I felt a bit sad that I had perhaps deserved it earlier, but I have come to accept this honour with humility. The Padma Shri is not just an Indian accolade; it’s recognised worldwide. I’ve received messages from all over the globe — America, the Middle East, Russia — expressing their congratulations. It’s a milestone, and I am deeply grateful.

You recently performed at the NMACC. Can you share what that performance was like and how you approached music on such a prestigious stage?

Pandit Ronu Majumdar: I presented a Flute Symphony tribute to Mozart, a project that was never done with the Indian flute before. I was grateful to Nita Mukesh Ambani and the NMACC team, particularly Leena Ji, for believing in my vision. The performance involved a collaboration with a symphony orchestra, blending Indian classical music with Western instruments like violin, viola, cello, and tabla.

This was not fusion music but an original composition inspired by Mozart’s work. I also saw it as a tribute to our own musical legend, Tansen, as Mozart and Tansen were contemporaries. I look forward to taking this project across India, as it bridges two great musical traditions.

“Zakir bhai was a true ambassador of Indian music, and I lost a colleague and a brother,” said the flautist.

You’ve also collaborated with Ustad Zakir Hussain, who recently passed away. Can you reflect on some memorable experiences working with the maestro?

Pandit Ronu Majumdar: Zakir bhai was not just a virtuoso but someone whose musicianship transcended music itself. I had the honour of working with him on several projects, and his approach was nothing short of divine. One memorable experience was when we recorded my second album in San Francisco. We were in separate rooms, and I could hear his tabla from the floor below, yet it felt as though we were playing in perfect harmony.

There was something beyond his technical brilliance, a divine presence in his music. His passing is a monumental loss, not just to the music industry but to our culture. Zakir bhai was a true ambassador of Indian music, and I lost a colleague and a brother.

Can you share a memorable behind-the-scenes moment or story from your collaborations with Bollywood legends like Asha Bhosle, RD Burman, Kishore Kumar, and Lata Mangeshkar ?

Pandit Ronu Majumdar: One incident with Kishore Kumar is both hilarious and memorable. I was at a film centre, preparing for a new track for RD Burman. The film was still in production, and Kishore entered and came straight to me. Normally, he would go directly to the singer’s booth to practise his song. But this time, he approached me and asked, “Can you play for me at the Bengal Club concert?”

I told him, “Dada, I don’t play in orchestras.” To which he responded, “A miser like me is playing for free, and you’re saying you can’t play?” I couldn’t help but laugh and said, “Dada, I’ll play.”

So, there I was, playing on stage while he sang Chingari Koi Badke. His voice was so divine, almost as if it was a gift from the gods. It was impossible not to get lost in it. Kishore Kumar had a unique, irreplaceable voice, and I found myself so engrossed in his singing that I completely forgot my part. He noticed and said, “Oh, you forgot? No, no, I’ll sing it again.” And, in front of all the people, he sang the antara again. This was Kishore Kumar, a genius with a hilariously endearing personality. I’ve had so many such moments with him.

Another unforgettable moment was with Asha Bhosle. She was recording Khali Haath Shaam Aayi Hai, and my flute was almost like a jugalbandi with her voice. It wasn’t just accompaniment — we were both at the same level, feeding off each other’s energy. When I played, the entire studio fell into pin-drop silence. Asha ji came out of her booth and asked, “Are you a classical musician?” I said, “Yes, Didi, I am.” She smiled and said, “That’s why you play so beautifully. Come home sometime, meet Lata ji and me, and we’ll cook for you.”

That moment led me to become very close to the Mangeshkar family. I remember their home fondly, where they made fish for me; it was such a special and intimate experience.

Your project Passages with Philip Glass is considered groundbreaking. What was it like blending Hindustani classical music with his minimalistic compositions?

Pandit Ronu Majumdar: Passages was truly a unique and transformative experience. Working with Philip Glass, a pioneer of minimalist music, was an incredible challenge but also deeply inspiring. This collaboration’s beauty was in finding common ground between the structured, intricate nature of Hindustani classical music and the repetitiveness and simplicity of minimalism. It was like two worlds coming together in a harmonious blend.

Philip Glass had a deep understanding of music from all cultures, and he respected the richness of Indian classical music. We didn’t try to merge the two traditions in a way that would lose their essence; instead, we allowed each style to speak for itself while intertwining them naturally. This was a groundbreaking project because it was one of the first times that Hindustani classical music and minimalist Western music were so seamlessly fused. It helped me learn a lot about the nuances of minimalism and how simplicity could create depth. The result was special— fresh and respectful of our traditions.

Pandit Ronu Majumdar became very close to the Mangeshkar family after his collaboration with Asha Bhosle.

What advice would you give to young musicians who aspire to follow in your footsteps and create their unique legacy?

Pandit Ronu Majumdar: My advice to young musicians would be to stay true to your roots and never stop learning. Music is a journey, and every experience contributes to your growth as an artist. Never be afraid to explore and find your own voice, but always do so with respect for the traditions and the great masters before you. Also, I believe discipline is the key. Practicing relentlessly and with passion, understanding the deeper meaning of what you play, and connecting with the emotional core of your music are essential.

Most importantly, remember that the world of music is vast, and there is no single path to success. Focus on building your identity, and don’t compare yourself to others. Find your style and your sound, and nurture it. Above all, always remember that music is not just a profession; it is a lifelong journey of learning, sharing, and connecting with people. Stay humble, and let the music guide you.