It’s been some time since a guest post, but I am very happy to present a terrific selection by Toronto-based collector Chandan Narayan – enjoy! – JW
The mystery of this record rests in the biography of the singer. The late 19th and early 20th century Hindustani recording and performance circuit was rife with baiji-s[i], most notably, Kesarbai Kerkar (check out Ian Nagoski’s recent release of some of her classic 78s), Moghubai Kurdikar, Laxmibai Jadhav, and Gangubai Hanagal. While “Saraswatibai” would have not been an uncommon name at the time, the two Saraswatibai-s I encounter most often that were active around the time of this recording are the daughter of Abdul Karim Khan, Saraswatibai Rane, and his last wife, Saraswatibai Mirajkar. Given that these Saraswatibai-s were rather well-known singers, I concluded that Faterpekar was an alias of the better known Saraswatibai-s. However, a quick comparison with recordings of Rane and Mirajkar led me to conclude otherwise. So who was she?
The recorded output of Saraswatibai Faterpekar is likely scant given her relative obscurity in the literature. She’s never mentioned in the most common sources. There is one reference to a singer with the same name in K.P. Mukerji’s memoir The Lost World of Hindustani Music, which suggests that a Saraswatibai Faterpekar was a student of Ustad Khadim Hussain Khan of Bombay’s Bhendibazaar Gharana (school). Curiously, no histories of the Bhendibazaar cite her as being Khadim Hussain Khan’s student.
Suresh Chandvankar (from the Society of Indian Record Collectors) suggests that Saraswatibai was Goan (like Kesarbai and Moghubai), from the village of Fatarpe and arrived in Bombay, the hub of the burgeoning entertainment industry in the 1920s to seek fame and fortune in the big city. She must have been well-regarded at the time, as she was able to secure high-profile concerts. Micheal Kinnear’s Bio-Discography of Abdul Karim Khan has a reproduction of a 1938 concert poster where she headlines a show the day before the matchless Abdul Wahid Khan (Abdul Karim’s cousin!). This is about all I know about Saraswatibai Faterpekar’s biography. Perhaps readers of this blog will fill in the glaring gaps, giving us a better picture of the woman behind the voice.
The present recording, from the Columbia “Special Western Indian Recording” GE-1500 series, was likely recorded around 1933. Saraswatibai’s voice is ripe with rasa (literally the “juice” of aesthetic expression), a rich tone and articulation. Her taan-s (rapid vocalic passages) towards the end of this track rivals the best singers of her time. Basant is a late evening raga, so bask in Saraswatibai’s performance after 9pm!
[i] “Bai” was a common suffix added to women’s names in western India, especially those in the performing (singer/dancer) communities.
Issue Number: GE 1518
Matrix Number: WEI 2584-1
Additionally, Suresh Chandvankar of the Society of Indian Record Collectors has graciously given us some additional scans from a catalog: