Misplaced Pages

Revision as of 22:56, 23 October 2006

Chembai Vaidyanatha Bhagavatar was a leading practitioner of Carnatic music in the 20th century. Popularly known by his village name Chembai, or simply as Bhagavatar, he took to classical vocal music at the age of three, with his own father assuming the role of guru to lay his musical foundation. His first public performance was in 1904, when he was nine. Chembai was noted for his powerful voice and majestic singing, which catapulted him to instant fame and popularity at an early age. He maintained his fame throughout his long career spanning about 70 years, perhaps the longest of any famous musician from India.Noted music critic "Aeolus" (pseudonym) describes him as "the musician who has meant the most to Carnatic Music in the first fifty years of the 20th century"

Early Life

This article contains weasel words: vague phrasing that often accompanies biased or unverifiable information. Such statements should be clarified or removed.

It is said that for more than five centuries the Chembai family had been involved in music. Vaidyanatha Bhagavatar's great-grandfather, 'Ghanachakratana' Subbier, was a highly respected musician. Subbier's grandson Ananta Bhagavatar was a talented vocalist and violinist. He was a deeply religious man and led a very respectable life marked by self-discipline and dignity.

Vaidyanatha Bhagavatar was born to Anantha Bhagavatar and Parvati Ammal in September 1895. Music training started at the age of three, and it was imparted in the customary guru-sishya tradition as a part of overall Vedic learning. The foundations that were to serve Chembai solidly throughout his career were thus laid at this time. He acquired the ability to sing in unison with sruti always and to handle the swarasthanas accurately.

Ananta Bhagavatar was himself a musician of some repute. Naturally, several musical celebrities used to call his residence. Then there were artists visiting the area for concerts in and around Chembai who made Ananta Bhagavatar's house their lodging for the duration of the visit. The house was thus full of music and of talk of music and musicians. Sometimes the visiting musicians would themselves join the children in singing or as accompanists, with the result that the practice sessions became mini-concerts as it were. This helped Chembai and his brother to develop self-confidence.

Arangetram & First Paid Concerts (1904)

The boys had their arangetram or debut, a concert of two hours' duration, in 1904 when Chembai was only eight years old. Following the debut, there was a flood of requests for the brothers to sing at various functions.

The Chembai brothers had their first paid concert in 1905 at a temple festival in a town called Ottapalam. A little later, there was another noteworthy concert at Kandalurkoil, again at a temple festival. Ananta Bhagavatar himself provided the violin accompaniment, while mridanga support was given by well-known stage actor Chokkanathapuram Ayya Bhagavatar. The brothers had become fairly well-known by now as good vocalists. But neither they nor their father wanted to rest on the laurels already won. Ananta Bhagavatar took the boys with him to his own concert engagements and to attend concerts by some other musicians, providing valuable listening opportunities to the youngsters. He would even send the boys alone to concerts of some musicians to which he had himself not been invited, so that they would not miss the opportunity. This continual exposure to good music by various artists helped the young musicians improve their knowledge and their understanding of what concert music involved.

Vaikom & Guruvayur Performances (1907)

One of the landmarks in the early career of the brothers was their concert at the temple festival in Vaikom, renowned for the annual musical feast it provided. At this concert in 1907, the father again provided violin support. This concert turned out to be a remarkable one, bringing to light new qualities in the music of the brothers. As it happened, Chembai thereafter made it a practice to sing at the Vaikom festival every year. Soon after the Vaikom concert, Ananta Bhagavatar took the boys to Guruvayur, another important temple town where again they had a successful concert. Guruvayur too became a regular part of the Chembai's concert programme every year. Thus Vaidyanathan and Subrahmaniam imbibed from an early age not only the knowledge of music that their father had but also the tradition of a religious life which had marked the family for generations.

A year with Kaliakudi Natesa Sastry

When Kaliakudi Natesa Sastry of Tiruvarur, a noted exponent of the art of Harikatha (musical discourse), came to Chembai, Ananta Bhagavatar and his family attended all his programmes. Invited to Bhagavatar's home, Sastrigal had the opportunity to listen to the lads singing. One thing led to another and the boys ended up joining Sastri's troupe. They had chances to display their talents at various places. Their concert in Tiruvarur (in Tanjavur district) at a guru pooja festival at which Natesa Sastrigal gave a discourse was specially notable, because it was at this concert that the boys were heard for the first time by Pudukkottai Dakshinamurthy Pillai. Natesa Sastrigal told Pillai about how he had met the boys and about their abilities and requested Pillai to do what he could to help them. Pillai had no hesitation in agreeing to this. The brothers travelled with Natesa Sastry for a full year. In the beginning of each discourse, they would be asked to sing for a little while. Later, Sastrigal hit upon the idea of featuring them in mini-concerts as part of his Harikatha presentation. The arrangement was mutually beneficial. For the brothers, it gave the experience of singing to vastly different audiences and wide exposure too. During their sojourn with Natesa Sastrigal, they had not only been singing at various places, they had also taken every possible opportunity of listening to famous musicians whenever they performed, such as Namakkal Narasimha lyengar, Kallidaikurichi Vedanta Bhagavatar, Ramanathapuram Srinivasa lyengar, Konerirajapuram Vaidyanatha lyer, Harikesanallur Muthiah Bhagavatar, Madurai Pushpavanam, Tirukodikaval Krishna lyer, Malaikkotai Covindaswamy Pillai and Pudukkotai Dakshinamurthy Pillai. This learning by listening was a valuable facet of the brothers' training. Indeed, when they returned to Chembai, their musical knowledge and ability had significantly improved, much to their father's delight. After about a year's absence, the brothers returned to Chembai, to a warm welcome from their parents. This was in 1910, when young Vaidyanathan was all of 14 years old.

Ascent in the world of music

Accolades from Palghat Anantarama Bhagavatar (1911)

The quality of the musicianship of the youngsters was testified to by none other than the famous musician Palghat Anantharama Bhagavatar who was present at a concert in Sekharipuram in 1911. Particularly complimenting Vaidyanatha Bhagavatar's voice, he predicted a bright future for him. When he was only 16, Chembai took on the role of teacher, in order to help out his father. He wanted all his students to learn all that they could from him. And he was an able teacher, whose teaching sessions were pleasant and enjoyable. No wonder that his disciples ultimately numbered a legion.

Violin and Flute training (1912)

Chembai had a turn of misfortune at this time. His adolescent voice 'broke' and he could not sing at all. Chembai in fact thought he could never sing again. But instead of succumbing to a feeling of despair, he turned to learning to play the violin, something with which he was already familiar, his father being also a violinist. Within a short period he attained considerable proficiency. For about a year he in fact accompanied flautist Ananta Bhagavatar, who was his sister Narayani's husband. He was also bitten by the flute bug now and learnt to play it well enough to perform a few concerts on this instrument! But fortunately for music, Chembai regained his voice, so that he could resume his singing career.

Karur Concert (1913)

A rich man and a patron of the arts and artists named Pethachi Chettiar lived in this Karur (near Trichy). He used to conduct a festival featuring music concerts by the leading musical lights of the day. The arrangements of this music test were the responsibility of none other than the celebrated musician and vaggeyakara Harikesanallur Muthiah Bhagavatar. Chembai wanted to attend this festival and partake of the feast of music and so he and his brother proceeded to Karur. Once he reached the town, he had another wish that he should sing for this choice audience, consisting of not only ordinary rasikas but also a cross section of leading musicians themselves. He met Muthiah Bhagavatar and made his desire known. But the reply was disappointing. Muthiah Bhagavatar told him that only leading artists could expect to perform there and a youngster like him might get a chance at some future date if he made good. To Chembai's continued importuning, Muthiah Bhagavatar's response was that, at the most, the lad might be given a chance the following year, as all the arrangements for the current festival had already been completed. Chembai was keenly disappointed. But now destiny took a hand. The violin accompanist for a jalatarangam concert failed to arrive. Chembai persuaded the soloist to avail of his own services and she agreed. The concert turned out well and, as was customary, Chembai was handed over his payment for the part he had played. He, however, expressed a wish not to be paid in cash, saying that he had actually wanted only to sing. He explained he was building up a career as a vocalist, though he also knew how to play the violin; and that he would prize a different kind of payment, that of a chance to sing before such a distinguished audience. Muthiah Bhagavatar and Pethachi Chettiar were persuaded by this reasoning and promised Chembai the stage for the following day, where he proved his calibre to the appreciation of all.

Ernakulam Concert (1915)

Chembai secured a similar opportunity of significance in 1915. A leading citizen of Ernakulam, named T.A.Duraiswami lyer was conducting an annual Tyagaraja festival which attracted all the important performers of the day and a throng of listeners. It was considered a privilege to sing at the festival. Chembai went to Ernakulam and requested Duraiswami lyer a chance for him also to sing. Duraiswami lyer agreed. As customary at such festivals, Chembai sang for the limited time allotted to him and was about to get up, when there was a chorus of requests for one more number and he had to oblige!

Pondicherry Concert (1916)

Very soon Chembai had an opportunity to spread his wings wider, when he received an invitation to sing at a wedding in the family of one Jnanaprakasa Mudaliar in Pondicherry. Until then the brothers had given full-fledged concerts mostly in and around Chembai. True, they had been to several places with Natesa Sastrigal and sung at his discourses, but these mini-concerts were more in the nature of interludes, of subsidiary performances. The performance in Pondicherry made Chembai known over a wider area leading later to more concert opportunities.

Thiruvavaduthurai Concert (1916)

A testimony to Chembai's determination is the manner he got to have an audience with Sreelasree Ambalavana Desikar, head of the Tiruvavaduturai matha and a revered spiritual leader. Chembai had heard about the pontiff's interest in music and his discriminating knowledge of music. He wanted to have a chance to sing before him and proceeded to Tiruvavaduturai with his brother. But having reached the town, the lads were disheartened to learn about the high level of security and about the formalities that made access to the pontiff difficult. Chembai expressed his desire to an official of the matha. The brothers were courteously received and provided with boarding and lodging as guests of the math and a promise of action. But time passed, five days in fact, without any news of the requested appointment with the pontiff. The brothers were deeply disappointed and were preparing to return home. While Subrahmaniam was attending to the packing, Chembai was restlessly walking about, ruing the failure of their mission. Suddenly he noticed that he had reached the entrance to the math and discovered, from the activities that were going on, that the pontiff was about to proceed to the temple for worship. When the latter walked out, Chembai too emerged from where he was hiding and went and stood in front of Sreelasree Ambalavana Desikar. The latter was taken aback but, fortunately for Chembai, he was in a placid mood and gently asked the young man who he was and what he wanted. Chembai told him courageously, but not without trepidation, about his keen desire for the privilege of singing before the pontiff and obtaining his blessings. Desikar observed that Chembai might have learnt music all right but apparently had not learnt manners as he would otherwise not have made this kind of brazen approach. Chembai made bold to explain that it was far from his intention to thrust himself forward unceremoniously but that he had been patiently waiting for days for some response to his request for an audience. Desikar was somewhat mollified and told Chembai to wait at the premises till he returned from the temple. After an hour, he came back and spoke to Chembai and this time gathered details about his family and about his musical background and qualifications. Then, at his suggestion, Chembai rendered in viruttam form the verse 'Kanduka madakkariyai vasamai nadattalam. Desikar went on prompting Chembai about the ragas he should sing and the youngster responded enthusiastically. Greatly impressed by the performance, Desikar ordered that a katcheri (concert) by Chembai be held the next day. Chembai's ardent wish was thus fulfilled. A highlight of the concert was that the mridanga accompaniment was provided by the great Azhagunambi Pillai.

Palakkad Ramanavami Concert (1916)

Another significant event in Chembai's career was his concert at the Ramanavami festival in Palakkad in 1916. Among those who attended the concert was Pudukkotai Dakshinamurthy Pillai. Pillai had listened to Chembai on an earlier occasion and been impressed. Hearing him again, he was fully convinced of his exceptional talent. After the festival, Pillai returned to Trichy to meet the famous violin maestro Govindaswamy Pillai and told him of the calibre of Chembai's music. Dakshinamurthy Pillai was not a man given to easy praise. That he himself should speak so highly of Chembai greatly impressed Govindaswamy Pillai who promptly made arrangements for a kutcheri by Vaidyanatha Bhagavatar in Tiruchi. Govindaswamy Pillai himself provided the violin accompaniment while Dakshinamurthy Pillai played the mridanga. The concert met Govindaswamy Pillai's expectations fully and, thanks to his efforts and Dakshinamurthy Pillai's, Vaidyanatha Bhagavatar had the opportunity to sing at various places, with the two Pillais themselves playing the accompaniment in most of the concerts.

First concert in Madras (1918)

Chembai's first concert in Madras was in 1918, at the Triplcane Sangeeta Sabha. Rasikas who had heard about the young vidwan were keenly looking forward to the event and the sale of tickets was very brisk. As the concert was about to begin, the hall was filled to capacity, with a large number listeners who could not gain entrance milling around outside. There was a demand that the doors of the hall should be opened. This rose to a clamour as the concert started and the organisers had finally to keep the entrance doors open to mollify the restless crowd of listeners. The concert, featuring as sidemen Govindaswamy Pillai on the violin, Azhagunambi Pillai on the mridanga and Dakshinamurthy Pillai on the kanjira, was as usual an impressive effort. Chembai's concert career took a further upswing after this concert. He gave performances all over the South. This was the era of giants. By the time he reached 30 years of age, Chembai began to be considered one of them.

Teaming up with Chowdiah (1924)

Mysore Chowdiah, was a violinist who invented the seven-stringed violin and became a very popular exponent in it. Chembai met him in 1924 at the house of a common friend, and soon became good friends. Chembai had been discussing about carnatic music avidly with him at their first meeting when it developed into a musical challenge between them, at the end of which both recognized the other's proficiency. This was the beginning of a friendship that spanned 4 decades, and together they had performed in 2000+ concerts in the next 40 years.

Founding the Madras Music Academy (1927)

The annual meeting of the Indian National Congress was held in a different city every year. In 1927, it was held in Madras. Music concerts were arranged in the sidelines of the meeting, where it was decided that an institution to promote classical music in south India should be started in Madras. Thus the Madras Music Academy was born, and Chembai was one of the popular singers who were invited to give the inagural concerts. It was in this concert that Chembai had introduced young Palghat Mani Iyer to the discerning audience. At a similar concert, he had also introduced Palani Subramaniam Pillai, disciple of Pudukottai Dakshinamurthi Pillai. Both these mridangists were to become the two most famous mridangists of their time, the former belonging to the Thanjavur school and the latter, the Pudukkottai school, of mridangam playing.

Release of recordings

Between 1932 and 1946, Chembai's music was captured on several phonograph discs. Many of them turned out to be hits and served to extend Chembai's popularity, leading to more concert opportunities. And Chembai was one artist for whom almost all katcheris were successful. The secret was that he put in the same devotion and effort into every performance. Those were the days before the advent of the microphone and a singer was entirely dependent on the timbre and reach of his voice for a successful concert. Chembai was uniquely blessed in this respect, for his voice which had great depth, was a special attraction. When he was 30, he was considered to have a voice that had no parallel then. There was one occasion when he had to sing at a wedding 'competing" with the nagaswara ensemble. He did it successfully, and held the attention of the audience till the end of the performance.

Settling down in Madras & Lalita Dasar Kritis (1945)

Chembai had an old friend called T.G.Krishna Iyer in Tripunithura, who had by this time settled in Madras and offered a house to Chembai on Palace Road near Santhome, in a locality called 'Lalita Nagar' he had himself developed. He had composed some 155 kritis in Telugu, Tamil and Sanskrit under the mudra 'Lalita dasar' and requested Chembai to set them to music and popularise them. Chembai gladly accepted the invitation and set the kritis to classical music, and got them published under the name Lalita Dasar Keertanaigal. He made it a practise to sing these kritis in most of his concerts. The kriti Pavana Guru in the raga Hamsanandi is one that is now famous. He also released a record containing selected kritis from Lalita Dasar's kritis like Evariki Telusunamma (Dhanyasi), Ennil Kaninda (Shankarabharanam), Pavana Guru (Hamsanandi), Varijadala Lochani (Arabhi), among others.

Awards and Honours

Sangeetha Samrat (1935)

The people of Trichy held Chembai in special esteem. In 1935, when he was invited to perform there, they had decided to honour him with a title, under the leadership of Kalki Krishnamurthy. Swami Sivananda who was then camping at Trichy, was invited to honour Chembai and bestow the title of Sangeeta Samrat (Emperor of Music) on him.

Honours from Mysore Maharaja (1937)

Chembai visited Mysore at the invitation of Krishnarajendra Wodeyar, its then Maharaja, and gave a command performance there. But he declined another invitation that followed, to serve as an asthana vidwan of the Mysore Royal Court, since he felt he would not be able to stay in Mysore for the entire duration of Navaratri since he was conducting an annual Navaratri music festival in his own village (Chembai). Far from being offended, the Maharaja appreciated his sense of priorities, and rewarded him for his sincerety.

Gayana Gandharva (1940)

His popular recognition found further expression in 1940 when his old friend T.D.Narayana lyer, about to retire as a senior postal official, arranged a function to raise funds for the War effort and for activities promoting the welfare of the employees of the postal department. He decided to invite Chembai to give a performance on the occasion and to honour the Bhagavatar. Harikesanallur Muthiah Bhagavatar presided over the function, of which the highlight was the awarding of the title of Gayana Gandharva ("musician among musicians") to Chembai.

Sangeetha Kalanidhi (1951)

The recognition most coveted by Carnatic musicians, is the invitation to preside over the annual conference of the Music Academy of Madras. The title of Sangeetha Kalanidhi goes to the person presiding over the conference.

Chembai Vaidyanatha Bhagavatar received the invitation and the title in 1951. Chembai accepted it graciously though others who belonged to his era, and considered junior to him, like Musiri Subramania lyer, Maharajapuram Viswanatha lyer and Semmangudi Srinivasa lyer had been given the title much before him.

That he was not fully happy with the way the establishment of the Academy ran its affairs was, however, known. When Musiri had been selected for the honour, Chembai had been asked to second the nomination formally. While fulfilling this responsibility, Chembai let it be known that he resented what he considered to be the favouritism shown to Musiri by the Academy. He said, the sarcasm in his speech evident, that it was but right that the Academy should honour Musiri; and that it should honour him not once but again and again, as recalled by late vidwan Calcutta K.S. Krishnamurti.

His presidential address after accepting the award, was as noteworthy as it was brief, touching upon concepts of advaita philosophy and its connections with music. Among other things, he said:

Music has an individual, innate beauty, different from other fine arts. Originating in the air, it dissolves into the air, giving `Nirgunabrahmam' - which fills all space - the form of `Nadabrahmam'. Practice of music is, therefore, worship of `Nirgunabrahmam', and sangita is a yoga by itself. ... I have no doubt that the art and practice of Carnatic music will flourish and grow with good cooperation between vidwans and rasikas.

Sangeet Natak Akademi Award (1958)

Chembai received the 'Sangeet Natak Akademi Award' in 1958, from the President of India Dr. S.Radhakrishnan, at Delhi before an invited audience of eminent Hindustani and Carnatic musicians and rasikas. This was a national recognition for his fame, which had by this time spread throughout India. He came to be called the Bade Ghulam Ali Khan of South India.

Suvarna Mudra

The Suvarna Mudra (gold medal) was awarded by Kerala Kalamandalam (an well-known institution of arts) to Chembai in recognition of his fame as the best known Indian musician from Kerala. His eminence is guaged by the fact that he has remained the first and only recipient of this honour.

Padma Bhushan (1973)

The Padma Bhushan is a national award bestowed by the President of India on select musicians and other eminent people. Chembai was selected to receive the award in 1973 from the then president V.V.Giri. He was the tenth awardee to receive it after it was established in 1954.

Honours from other princely states

Honours were also bestowed on him by the rulers of Cochin, Mysore, Baroda, Vijayanagaram, Bobbili and Jaipur.

Stamp Release (1996)

The Department of Posts, Govt of India has released a special issue stamp on Chembai's birth centenary year (1996) as a national recognition in his honour.

Performing ability and style

As a performer his creative ability was astonishing, and he could do a niraval and swaraprastara from any given point, which bespoke of mental alertness from the word "go", in a concert. His abiding sympathy for his accompanists and disciples was noteworthy and he would go to any length to encourage them by giving them full scope to develop and display their talent. His closed left fist gently swaying up and down, the joy of pure nada when he held on to single notes, his very own kathri swaras, his stupendous stamina, his great sense of humour, his closed mouth singing of ragas etc., endeared him to connoisseurs and critics alike.

With his rich vibrant voice and a ringing tone, Chembai's music had a direct appeal to his listeners. Mr. B.V.K.Sastri, musicologist says, "The deep solid tone seeming to illuminate such model figure in his singing and the joy of the pure nada when he held on to single notes are something not easily forgotten." Special mention must also be made of Chembai's total mastery over his voice, achieved from rigorous practice of the techniques of rendition such as namitham, dhavala sadhakam, vaiji sadhakam, sukla paksha sadhakam - to be able to sing in all kalas with equal facility. To Chembai, the main factors that contributed to the development of a musical personality were the intuition of the musician, his sound knowledge of ragas and swaras and firm control of śruti and laya and the capacity to evolve an individual style of expression suited to one's voice and aptitude and ideas distilled through the variegated experience behind him.

Disciples

He was above caste and communal prejudices ruling the roost in contemporary music world, especially in his relation with his disciples, allowing any aspiring and talented youngster to learn from him. His disciples and others who consider him their guru, include noted musicians like L.Subramanian, M.S.Gopalakrishnan, T.N.Krishnan, Palghat Mani Iyer, Palani Subramaniam Pillai, Trichy Shankaran, T.V.Gopalakrishnan, V.V.Subramanian, K.J.Yesudas among others.

Death

He performed his last concert on 16th October 1974, at a temple in Ottapalam, which had been the venue of his first concert. He had finished his concert with his favourite song "Karunai Cheivan Endu Thamasam Krishna" (why is there so much delay in conferring your bliss, Krishna?) and passed away shortly thereafter. Even after his demise, Chembai continues to inspire countless musicians who participate in his memorial concerts. He enjoys a cult-like following among his large network of disciples and admirers throughout India and abroad.

Music Festivals

At Chembai village

Chembai had been conducting a music festival in his native village right from 1924 onwards. This is now continued by his disciples and others in his memory. The concerts are called Chembai Smaraka Concerts and held annually in February-March in the same village.

At Trivandrum

Yet another memorial music festival is conducted by Chembai Memorial Trust at Trivandrum in his honour in September every year.

At Guruvayur

Chembai had also been conducting a Sangeetholsavam (Music Festival) on Guruvayur Ekadasi Day (mid November) at Guruvayur every year. This festival, now called Chembai Sangeetholsavam in his honour, is now being conducted officially by the Guruvayur temple Devaswom Board. It has steadily become more and more popular, and what was once a 3 day festival now spans 12-15 days with about 2000 musicians participating.

Discography

The following is a list of the recordings of Chembai Vaidyanatha Bhagavatar available in the market.

Live Concert 1

Title: Sri Chembai Vaidyanatha Bagavathar - Live Concert 1
Accompanists: Lalgudi Jayaraman (Violin), Palani Subramaniam Pillai (Mridangam), Alangudi Ramachandran (Ghatam)
Release Date: January 1, 1987
Label: Inreco

Classical Live Concert

Title: Sri Chembai Vaidyanatha Bagavathar - Classical Live Concert
Label: Inreco

Live Concert

Title: Sri Chembai Vaidyanatha Bagavathar - Live Concert
Label: Gitaa

References

1. Chembai's first concert in a long career
2. One of the longest careers
3. A tribute to Chembai - by Aoelus
4. Five centuries of Music in the family
5. Musicians visit
6. First paid-concert
7. Vaikom and Guruvayur performances
8. Time with Kaliakudi Natesa Sastri
9. Accolades from Palakkad Anantharama Bhagavatar
10. Violin and flute training
11. Karur Music Festival
12. Ernakulam Thyagaraja Music Festival
13. Pondicherry Concert
14. Meeting Ambalavana Desikar
15. In Trichy with Govindaswamy Pillai and Dakshinamurthy Pillai
16. First Madras Concert
17. Between 1932 and 1948
18. Mysore Maharaja's honour
19. Gayana Gandharva Award
20. Comments on favouritism shown to Musiri Subramania Iyer
21. The Hindu dated 22 Dec 1951.
22. Sangeet Natak Akademi Award
23. Suvarna Mudra Award from Kerala Kalamandalam
24. Awards from rulers of princely states
25. [Postage Stamp special issue for birth centenary of Chembai
26. Chembai Sangeetholsavam

See Also

• Carnatic Music
• Chembai Sangeetholsavam
• List_of_Carnatic_singers
• K. J. Yesudas

External links

• Chembai Vaidyanatha Bhagavatar Website
• Chembai Smruthi Gana Sabha
• Chembai Sangeetholsavam
• Discography of Chembai
• Article on Chembai at Guruvayur Devaswom Website
• A Book on popular carnatic musicians (includes Chembai)
• Chembai fan group on YahooGroups
• Recordings of Chembai
• Chembai's music on MusicIndiaOnline
• Chembai Google Group

• Carnatic music
• 1895 births
• 1974 deaths
• Carnatic musicians
• Carnatic singers
• People from Kerala