www.gajananbuwa.com Why and How?

It is a long story. Let me make it short. The year was 1939. Gajananbuwa and Durgatai with their young family moved to Pune. Their Address – Gokhale Wada, Opposite Maharashtra Sahitya Parishad, Tilak Road, Pune. Buwa and Durgatai had rented a flatlet. The size of each room was about 12 by 10 feet. The landlord had turned the original flat of four rooms into two small flatlets. The two flatlets were separated by closing the doors adjoining the rooms. You lock the doors on both sides and you have two flatlets! Easy!! Stand near the adjoining door and you could hear the next door conversation if it was somewhat loud or your ears were sharp!! Buwa’s neighbours were Bhaskarrao and Ramabai. The eldest sons of Gajananbuwa and Bhaskarrao -Bacchu and Datta -were about four years old. They became instant mates in their very first meeting. The ground opposite the flatlets had many uses. It was a playground for children. It was a parking space for cycles. It was an after dinner meeting place for the women folk to chat and gossip. In hot summer evenings part of the ground became sleeping ground for some residents. Bacchu, Madhu and Malu addressed Gajananbuwa as Nana. And Gajananbuwa became ‘Nana’ for Datta as well! Bacchu and Datta with their other friends used to play cricket with tennis ball in the ground. The ball would hit the doors and the windows of some residents. Some time the ball would enter with some force the front room of some residents. Children then had to wait to get the ball back- some times for a day or two! Bacchu and Datta were enrolled in the same class in the nearby primary school. They would go to the school and return home together. They were more or less inseparable! Gajananbuwa’s front room was his multipurpose room. It was a living room, a bed room, a guest room, a play room for children but above all it was Gajananbuwa’s Music Room. In this room Nana taught music, he did his RIYAZ and also had small private concerts. Except when Nana slept his front room was filled with his music making, in particular his RIYAZ. The perfume of that musical sound flowed freely in the front room of Bhaskarrao’s flatlet as well. Young Datta was thus showered with Buwa’s music without being aware or conscious of the intense musical environment he was growing in. Nana lived in Gokhale Wada for five years. This was the most receptive and impressionable age for Datta. His mind was absorbing all the musical sounds like a blotting paper without knowing anything whatsoever about the grammar of that music. It was only in later years Datta realised the huge impact of getting soaked in that wonderful music making for five years from the age of four. The sensitivity of his ears to the music was deeply conditioned by Gajananbuwa’s music making and his RIYAZ. His ears thus got tuned to feel the perfectly tuneful (SUREL) notes (SWARAS). Nana, Durgatai, Bacchu and the whole family left Pune for Kolaphur in 1944. Gajananbuwa kept in touch with Bhaskarrao whenever he visited Pune. In one of his visits to Bhaskarrao and Ramabai he asked Datta who was now in his early teens if Datta would like to go to Aundh. It was the month of May. The schools were closed for summer holidays. Datta’s parents were happy for him to go to Aundh. Datta was over the moon! The three to four weeks stay in Aundh was the most exciting time in Datta’s life. He experienced and was a passive but intense participant in Gajananbuwa’s rigorous daily life devoted to Music. And what an extraordinary daily life it was! Nana would get up early in the morning say at 5.00 am. He would wake up Bacchu, Malu and Madhu as well. The tuition to the children would start at this early hour. Listening to these tuitions every morning was a joyous feast for Datta! The mystical sound of that early morning Tanpura still rings in his ears! After the morning session there would be a mid morning period of Nana’s Riyaz. Afternoon would witness Violin Riyaz and Tabla practise-a padanth. The two sessions in the evening and late evening were reserved for vocal riyaz. Datta also accompanied Madhu to Antubuwa’s residence in DUTT MANDIR on some mornings. Madhu was taking lessons from Baba. Baba was teaching Raga Bhatiyar to Madhu! Looking back Datta cannot believe that he actually witnessed one to one tuitions given by Baba the Great Antubuwa to his grandson Madhu who now in his own right is a Guru and the carrier of Nana’s Gayaki! . Bacchu came to Pune to study further at S P College. Datta and Bacchu’s early friendship began to flourish further. Music continued to rule their life. One evening Bacchu with some excitement asked Datta to accompany him to a concert. This was a surprise gift to Datta. The concert was taking place in the N M V School. The cost of the ticket was Rs10.00. That was a lot of money in the early 50s. “Where did you get this money to spend on a concert?” asked Datta. “Never mind about money and the ticket price. Kumar Gandharva has recovered from his long illness. He is giving a concert arranged privately and we are attending it” said Bacchu. It was an intimate concert. May be few dozen people were in the audience. Among the listeners were the great Govindrao Tembe, the famous novelist N C Phadake, Music critic professor Mangrulakar and Bacchu and Datta! After the concert was over Bacchu and Datta left N M V School walking on the clouds! Bacchu explained to Datta the intricacies of Kumar’s Gayaki and the history of Kumar’s growth as a vocalist of exceptional talent. “Tell me, where you got the money from”asked Datta.”Twenty Rupees was part of my fund for college fees that Nana had given me” said Bacchu. Another memorable musical evening also came about as a very pleasant surprise. Bacchu being the son of Gajananbuwa was in touch with most musical events that took place in Pune. Datta was simply lucky to attend many such events because of Bacchu. One fine summer evening Bacchu called on Datta in Gokhale Wada with a face beaming with joy. “What’s on?” asked Datta. “Get ready quickly and come with me” was the reply. A keen music lover Dr Pabalkar had organised a concert in his house of none other than the legendary Bal Gandharva. Datta could not believe his luck! Bal Gandharva was old. But that evening his voice was in good shape. Bal Gandharva sang many of his famous songs and bhajans for may be three hours in Dr Pabalkar’s living room! This was without doubt the finest musical experience in Datta’s life. Both Bacchu and Datta could not bear the ecstasy of the intense joy! They came out of Dr Pabalkar’s house floating in the air!!The pleasure centres in their brains were overwhelmed with the joy! So much excessive joy was in fact painful!! Gajananbuwa was Master Krishnarao’s fan. Buwa used to refer to Master Krishnarao as ‘Master’. Master’s 60th Birthday was planned to be celebrated in Pune on a grand scale. Bacchu was involved as a helper and Datta as Bacchu’s assistant in the three day festival of music in the N M V School in Pune. Number of great musicians joined the birthday celebration of Master Krishnarao- musicians like Ustad Bade Gulam Ali khan Saheb, Ustad Ajmat Hussain Khansaheb, Ustad Thirakhwa Khan Saheb, Pandit Gajananbuwa and many others. Buwa’s turn came to perform. This was going to be a violin recital. Nana asked Datta to carry his violin case. Bacchu was carrying tanpura. Datta and Bacchu entered the stage. It was almost a dramatic entry! Buwa and Thirakhaw Khansaheb entered the stage with a loud applause from the audience. Here was a major musical extravaganza taking place. So many luminaries of the Hindustani Art Music were present to celebrate the Music and the 60th Birthday of Master. Master Krishnarao made a request (Farmaish) to Buwa to play the landmark song “Narwar Krishna Saman”. And to witness this extraordinary event Datta was on the stage a feet or two away from Buwa watching Master and other musicians in the audience responding ‘Wow’, ‘Bahot Acche’,’ Kya Baat Hai’to the music making of Buwa and Khansaheb! How can this once in a life time astounding experience be expressed in any language? Until Datta left India Bacchu and he had a great time in attending concerts of the many greats in the Hindustani Classical Music Tradition. Greats like Pandit Bhimsen, Pandit Mallikarjun, Pandit Ravishankar, Ustad Bismlla Khan Saheb, Pandit Kumar Gandharva, Heerabai Badodekar, Gangubai Hangal, Sarswati Rane, Manik Varma, Vasantrao Deshpande , Pandit Ram Marathe, Chhota Gandharva and many others. Of course they never missed any concert of Nana! The deep influence of such concentrated exposure to music had an inevitable result for Datta. Music became an integral part of his body-mind! Now Datta was living abroad and Bacchu was in India. But they were in touch and Datta’s every trip to India would include at least one visit to Dombivali. On one such trip Datta and his family had gone to Dombivali to spend a day. After Nana’s afternoon nap he asked Datta what he would like to hear. “Nana, I have fallen in love with Jaipur Gharana Gayaki. Anything from Jaipur Gayaki would be great” said Datta. Nana could not hide the affectionate smile on his face. He sang Raga Khat. In the audience were Datta and his family. Narayan accompanied Nana on Dagga, and Bacchu on Tanpura. There could not be a more intimate and private concert than this, could there? What an honour for Datta and family? How can Datta express his deeply felt gratitude to Nana, convey his warmest thanks to Bacchu, and pay his respects to Narayan? Narayan was Datta’s Guru for couple of years teaching Datta the Art of playing Tabla. How could Datta forget that awesome experience when Narayan introduced Datta as his disciple to his Guru the great Ustad Thirakhaw Khan Saheb. The experience of meeting and talking with his Guru’s Guru the emperor of Tabla was spellbinding to Datta. For Datta, one way to say a ‘big thank you’ to Joshi Gharana was to help Bacchu to open the treasure of Nana’s music and his life in music to the world at large. Thanks to the modern technology that has given us the Internet and the World Wide Web! Many more thanks to Bacchu’s amazing hard work of four decades to record Nana’s performances, collect and preserve his tuition recordings, and collect and preserve the literature about Nana. He has also preserved several hundred photos of Nana and people in his life. Datta was already posting Gajananbuwa’s recordings on ‘You Tube’ and ‘Audiofarm’. Bacchu was slowly recovering from his unfortunate long illness. The contact between Bacchu and Datta resumed. A joint decision was taken to create Nana’s Website and put on it all the vocal and violin performances of Nana together with his tuition series. Fortunately Bacchu and Datta came to know the I T professionals Nandu and Mukul. Nandu and Mukul already had a Website devoted to Hindustani Classical Music. In addition they are also musicians. Who better to take care of the I T aspect of the Website? With renewed zest and enthusiasm Bacchu and Datta have been working for the creation of Buwa’s website. The work done so far is appreciated and applauded by many music lovers and fans of Buwa. Bacchu and Datta are confident that in due course Nana’s Website and his Music will be one of the popular music websites on WWW. Nana’s own mission of ‘VIDYA DAAN’ (Giving away knowledge) will truly be fulfilled For Datta, working with Bacchu to create Nana’s Website is a fitting tribute to Nana who gave him a gift of unending lifelong thirst for MUSIC! Datta is completely drowned in the infinite ocean of MUSIC and is miraculously still alive!! There is a lovely Chinese proverb: "Let a tree grow in your heart and a songbird may come and live there" Gajananbuwa- Nana -planted a seed of Musical Sound in Datta’s heart and that seed has grown into a magnificent and beautiful tree. Thanks to Bacchu for providing the right food and fertilisers for the nourishment of the tree in the beginning. Now there are many songbirds on this tree singing songs from many musical traditions across the countries in the world! WEBSITES : http://www.youtube.com/user/TheSangeetveda?feature=mhee http://www.youtube.com/user/dattaji?feature=mhee http://audiofarm.org/dattaji The three websites above contain many recordings of Gajananbuwa and some of the great musicians he was fan of and he admired. The ‘Audiofarm’ website is an audio only website and so far has received over twelve lakh hits! -- Dattaji and Bacchubhai

गजाननबुवांची वेबसाईट अशी तयार झाली

असं म्हणतात कि जेव्हा तुम्हाला एखादं चांगलं कार्य करायची तीव्र इच्छा होते, तेव्हा सारं विश्वच तुमची साथ द्यायला तयार होतं. गजाननबुवांच्या वेबसाईटच्या बाबतीत काहीसं असच घडलं. बुवांचे सुपुत्र मनोहर (बच्चूभाई) जोशी यांच्या मनात असं आलं, की बुवांचा संगीताचा वारसा जगातल्या सर्व संगीतप्रेमींपर्यंत पोचवायचा, आणि त्यांनी त्यांच्या आयुष्यभराच्या योगदानातून निर्माण केलेला संगीताचा ठेवा सर्व रसिकांसमोर मुक्त करून द्यायचा. ह्या गोष्टीचा त्यांनी जणुकाही ध्यासच घेतला, आणि वर म्हटल्याप्रमाणे सर्व गोष्टी आपोआप घडायला लागल्या! गजाननबुवांनी आपल्या ६५ वर्षांच्या कारकिर्दीत भारतभर अनेक व्यासपिठांवरून गाण्याच्या व व्हायोलिन वादनाच्या मैफिली केल्या, ज्यामध्ये त्यांना साथ करायला उ. अहमद्जान तिरखवासाहेबांसारखे दिग्गज कलाकार लाभले. गायक व व्हायोलिन वादक म्हणून तर बुवा थोर होतेच, परंतू ते एक महान गुरू देखिल होते हे आपल्या सर्वांना माहित आहेच. त्यांनी अनेक शिष्यांना अतिशय तळमळीने, शिस्तीची तालीम देऊन तयार केले, आणि यातल्या काही कलाकारांची नावे आज हिन्दुस्थानी संगीताच्या क्षेत्रांत आघाडीची म्हणून गणली जातात. आपल्या सुदैवाने यातल्या खूपश्या मैफलींची रेकॉर्डिंग आज अस्तित्वात आहेत. याशिवाय, आपल्या शिष्यांना शिकवत असताना बुवांच्या काही सूज्ञ चाहत्यांनी अतिशय दूरदृष्टीने त्या शिकवण्या कॅसेट वर ध्वनीमुद्रित करून ठेवलेल्या आहेत. उदा० नाशिक मध्ये श्री. थत्तेंच्या घरी राहून बुवांनी पं. उल्हास कशाळकरांना शिकवलं, त्या सर्व शिकवण्या श्री. थत्त्यांनी रेकॉर्ड करून सर्व कॅसेट्स जतन करून ठेवल्या होत्या. या शिकवण्या हिन्दुस्थानी संगीताच्या कुठल्याही विद्यार्थ्यासाठी अमूल्य आहेत. झालच तर बुवांच्या आयुष्यात घडलेले अनेक रोचक किस्से काही जणांनी नमूद करून ठेवलेले आहेत. या सर्व गोष्टी रसिकांना व संगीताच्या अभ्यासकांना खूप मोलाच्या आहेत, आणि त्या कुठल्याही मार्गाने त्यांच्यापर्यंत पोचवायच्या, असा ध्यासच बच्चूभाईंनी घेतला. बच्चूभाईंनी त्यांचे एक स्नेही, संगीतप्रेमी, व बुवांचे मनापासूनचे चाहते, श्री. दत्ता गुमास्ते यांच्याशी चर्चा केली, आणि ठरवलं, की बुवांची वेबसाईट तयार करायची, आणि त्याद्वारे हा ठेवा सर्व जगातल्या रसिकांना विनामूल्य उपलब्ध करून द्यायचा. बच्चूभाई व दत्ता गुमास्ते हे शाळेत असल्यापासुनचे पुण्यातले शेजारी आणि मित्र, त्यामुळे दत्ताजी गजाननबुवांचं व्हायोलिन व गाणं ऐकतच लहानाचे मोठे झालेले. गेले ५० एक वर्ष दत्ताजी लंडन मध्ये स्थायिक असून सुद्धा त्यांनी हिन्दुस्थानी संगीताशी, आणि विशेष करून बुवांच्या संगीताशी व त्यांच्या परिवाराशी संपर्क ठेवलेला आहे. ते इंटरनेट वरून हिन्दुस्थानी व पाश्चात्य संगीताची रेकॉर्डिंग ऐकणं, डाउनलोड करणं, इत्यादि अनेक वर्ष करत आले आहेत, आणि त्यामुळे इंटरनेट माध्यमाशी ते पूर्णपणे परिचित आहेत. आता गजाननबुवांच्या वेबसाईटच्या थोड्याश्या तांत्रिक तपशीलात जाऊया, म्हणजे मग हा प्रकल्प यशस्वी होण्यासाठी किती गोष्टी एकत्र जमून येणं आवश्यक होतं, आणि किती लोकांचा सहभाग आवश्यक होता, हे वाचकांच्या लक्षात येईल. इंटरनेट हे “डिजिटल” माध्यम असल्यामुळे, जुनी ऑडियो व व्हीडियो रेकॉर्डिंग, जी “आनलॉग” असतात, त्यांचं डिजिटल फॉर्मॅट मध्ये रुपांतर करावं लागतं. हे करण्यासाठी आधुनिक स्टूडियो, काही विशेष इलेक्ट्रॉनिक यंत्र, कंप्यूटर व विशेष सॉफ्टवेअर या सर्व गोष्टी लागतात. शिवाय, हे करण्यासाठी अनुभवी तंत्रज्ञ, खूप वेळ आणि कष्ट देखिल लागतात. बच्चूभाईंनी हे काम मृदुला साठे, या मधुकरराव जोशी (बुवांचे सुपुत्र) यांच्या एका विद्यार्थिनीवर सोपवलं. मृदुला साठे, व त्यांच्या एक सहकारी मनिषा घारपुरे या सृजन स्टुडियो चालवितात. त्यांनी आपल्या स्टुडियो मध्ये अनेक दिवस खपून बुवांच्या ६० तासांच्या रेकॉर्डिंगचं, ॲनलॉग मधून डिजिटल फॉर्मॅट मध्ये रुपांतर केलं, आणि त्या सर्व सी.डी. बच्चूभाईंना सुपूर्द केल्या. हा झाला पहिला टप्पा. बुवांच्या वेबसाईट वरून त्यांच्या आयुष्याची, आणि विशेष करून त्यांनी संगीतात केलेल्या प्रचंड योगदानाची समग्र आणि संपूर्ण कल्पना वाचकांना आणून देणं, हे एक मोठं काम होतं. बुवांचे हे योगदान समजण्यासाठी त्यांना त्यांचे वडील पं. अनंत मनोहर जोशी यांच्याकडून मिळालेला संगीताचा वारसा, नंतर ग्वाल्हेर सोडुन इतर घराण्यातल्या गुरूंकडून मिळलेलं शिक्षण, त्यांचं व्हायोलिन वादन, त्यांनी गाजवलेल्या अनेक मैफिली, आणि त्यांनी तयार केलेले शिष्य या सर्वांचा इतिहास समजणे आवश्यक आहे. आणि हे काम करण्यासाठी आधी उल्लेख केलेले बुवांचे चाहते, नव्हे भक्तच म्हणाना, दत्ता गुमास्ते हे तयार होतेच! वेबसाईट सर्व जगातल्या संगीत प्रेमीपर्यंत पोचवायची असेल, तर ती मराठीत न करता, इंग्रजीतच करणे आवश्यक होते. दत्ताजींना अतिशय सुंदर इंग्रजी मधे लिहिण्याची हातोटी आहे, आणि त्यांनी खूपच आत्मीयतेने आणि परिश्रमाने बुवांबद्दलची सर्व माहिती लिहून काढली. एक आणखी महत्वाची गोष्टं म्हणजे, त्यांना कंप्यूटर वापरायची सवय असल्यामुळे, त्यानी सर्व काही कम्प्यूटर वरच लिहिलं, त्यामुळे पुढचं काम अधिकच सोपं झालं. सुदैवाने बुवांच्या मैफलींचे, त्यांना मिळालेल्या काही पुरस्कारांचे फोटो व पेपरमधील कात्रणे बच्चूभाईंनी प्रेमानी जतन करून ठेवलेली होती. त्याचा देखिल बुवांच्या आयुष्याचे दर्शन घडवण्यासाठी खूपच उपयोग झाला. हा झाला दुसरा टप्पा. वेबसाईटचं “डिझाईन” व “प्रोग्रॅमिंग” करणे व ती चालवणे, यासाठी काही तांत्रिक माहिती व अनुभव असावा लागतो, आणि हे काम करणाऱ्या काही कंपन्या आहेत. परंतू हे काम संगीताशी निगडित असलेल्या आणि संगीतावर प्रेम असणाऱ्या लोकांनी करावं, म्हणजे ते जास्तं आत्मियतेने होईल, अशी बच्चूभाई आणि दत्ताजींची भावना होती. शिवानंद प्रतिष्ठानचे एक विश्वस्त, पं. अरुण कशाळकर, ह्यांचा “षड्जमध्यम” ह्या संस्थेच्या कामाशी, आणि संस्था चालवणाऱ्या लोकांशी (म्हणजे आमच्याशी!) परिचय होता. आता या ठिकाणी षड्जमध्यम (www.ShadjaMadhyam.com) या वेबसाईट बद्दल थोडी माहिती सांगणं योग्य ठरेल. षड्जमध्यम हे हिन्दुस्तानी संगीताला वाहिलेले “वेब पोर्टल” आहे, ज्यामध्ये हिन्दुस्थानी संगीताचे गुरू, विद्यार्थी, व अभिजात संगीत रसिक या सर्वांसाठी हिन्दुस्तानी संगीतासंबंधी सर्व काही एके ठिकाणी उपलब्ध आहे. भारताबाहेर राहणाऱ्या अनेक विद्यार्थ्यांना संगीत शिक्षणासाठी तिथे चांगले गुरू मिळणे कठिण असते. अश्या विद्यार्थ्यांना i-Gurukul द्वारे भारतातून काही दिग्गज गुरु इंटरनेटवर संगीत शिकवतात. षड्जमध्यम वर “तरंग” नावाचा इंटरनेट रेडियो आहे, ज्याच्यावर २४ तास हिन्दुस्थानी शास्त्रीय संगीत चालू असते. याची आणखी एक विशेषता म्हणजे सर्व जगातल्या लोकांना त्यांच्या वेळेला अनुसरून राग ऐकता यावेत म्हणून अमेरिका, युरोप, आणि भारतातल्या वेळेप्रमाणे चालणारी तीन स्टेशन्स आहेत. याशिवाय षड्जमध्यम वर “साहित्य” या सदराखाली संगीताच्या विद्यार्थ्यांसाठी मल्टीमीडिया फॉर्मॅट मध्ये अभिजात संगीतासंबंधी खूप माहिती आहे. झालच तर षड्जमध्यम च्या “कॅलेंडर” मध्ये जगभरातील संगीताच्या कार्यक्रमांबद्दल माहिती असते. “फोरम” या सदरामध्ये संगीताबद्दल अनेक प्रकारच्या चर्चा घडत असतात. षड्जमध्यमनेच २००८ सालच्या शिवानंद संगीत महोत्सवाचं इंटरनेट वरून “वेबकास्टिंग” करून, ते सर्व कार्यक्रम जगापर्यंत पोचवले होते. पं. अरुण कशाळकरांना षड्जमध्यमच्या या सर्व उपक्रमांची कल्पना असल्यामुळे, त्यांनी व शिवानंदच्या सर्व विश्वस्तांनी बुवांच्या वेबसाईटची तांत्रिक जबाबदारी आमच्यावर सोपवायचे ठरवले. आता आपण गजाननबुवांच्या वेबसाईटच्या तयारीतल्या तिसर्‍या टप्प्याकडे वळूया. आधी नमूद केलेली सर्व “सामग्री” (ऑडियो आणि व्हीडियो रेकॉर्डिंग, फोटो, आणि माहिती) जगभरातील सर्व संगीत रसिकांपर्यंत कशी पोचवली जाते हे थोडक्यात पाहू. सर्वप्रथम, वेबसाईटचे नाव (www.Gajananbuwajoshi.com) ठरल्यानंतर त्या नावाचं “डोमेन रेजिस्ट्रेशन” षड्जमध्यमनी केलं. डोमेन नेम म्हणजे प्रत्येक वेबसाईटचा इंटरनेट वरचा पत्ता असंच समजा. ह्या पत्त्याची इंटरनेट वर नोंद होण्यासाठी वेबसाईटच्या मालकानी दरमहा भाडं द्यावं लागतं. शिवाय वेबसाईट साठी सर्व्हर वरती सर्व रेकॉर्डिंग, फोटो इ. ठेवण्यासाठी जागा पुरवणाऱ्या कंपन्या असतात, त्यांच्याकडून “स्पेस” घेतली जाते. म्हणजे असं समजा की वेबसाईट म्हणजे तुमचं घर, सर्व्हर वरची “स्पेस” म्हणजे तुम्ही ज्याच्यावर घर बांधणार आहात तो प्लॉट, आणि डोमेन नेम म्हणजे तुमच्या घराचा पत्ता आहे. षड्जमध्यमच्या नंदू कुलकर्णी व मुकुल कुलकर्णी यांनी श्री. दत्ता गुमास्ते, श्री. बच्चूभाई जोशी, व पं. अरुण कशाळकरांच्या सतत संपर्कात राहून ही तांत्रिक कामं पूर्ण करून वेबसाईट उभी केली. आता एका महत्वाच्या मुद्द्याबद्दल सांगायला हवं, आणि तो म्हणजे आर्थिक तजविजीचा. कुठल्याही कार्याला आर्थिक सहाय्य आवश्यक असतं, आणि त्यासाठी बच्चूभाई औंधच्या श्रीमती गायत्रीदेवी पंतप्रतिनिधी यांना भेटले. सांगायची गोष्टं म्हणजे या प्रकल्पाचं महत्व समजावून सांगताच गायत्रीदेवी एक क्षणभर देखिल विचार न करता लागलीच अनुदान द्यायला तयार झाल्या. अशा रितीने, वर म्हटल्या प्रमाणे बच्चूभाई व दत्ताजींचे हे स्वप्न पूर्ण करण्यासाठी सर्व गोष्टी जणुकाही आपोआपच घडत गेल्या, आणि गजाननबुवांची वेबसाईट तयार झाली. तर सर्वं संगीतरसिकांनी व गजाननबुवांच्या सर्व चाहत्यांनी www.Gajananbuwajoshi.com चा लाभ जरूर घ्यावा, त्यावरचं संगीत ऐकावं, व बुवांच्या बद्दलची माहिती वाचावी. -- Article from Riyaaz 2012 by Shri Nandkumar Kulkarni (Founder, ShadjaMadhyam.com)