Pandit Keshav Ginde was taught to play the mridangam by his grandfather, Pandit Damodar Ginde to accompany him in bhajans at a tender age of 6. Enamored by his cousins playing Violin, Sitar, Dilruba and Tabla, young Ginde laid his small hands on these instruments. However, financial constraints prevented him from pursuing his thirst for the music using these instruments. His mother brought a small flute in line with the family worship of "Lord Krishna with flute". The cheapest, tiny small instrument flute was not taken by other family members. His mother envisioned that her son will become a Flute Maestro. During the schooling years, his colleagues and teachers were quite fond of Ginde and encouraged him playing "Jana, Gana, Mana", Vande Mataram on various occasions like 15th August, 1947. On completing his Higher Secondary, he came to Fergusson College, Pune and took general music lessons from Pt. Borkar (Organ player who accompanied Balgandharva and Master Dinanath Mangeshkar in their private drama company)
Advanced Training
He took advanced learning under Late Pt. Haripad Choudhari, the first disciple and friend of Pt. Pannalal Ghosh and Late Pt. Devendra Murdeshwar, disciple & son-in-law of Pt. Pannalal Ghosh . Pt. K.L. Ginde was very much under the influence of Pannababuji style. Pt. Ginde's rendering of flute resembles us in Pannababuji in Gayaki (vocalist) style. More so, he is at home equally in Tantkari (Beenkari) style like string instrument while rendering Ragas in Dhrupad - Been style.
Pt. Ginde is a versatile flutist and an innovator par excellence. He has designed and developed a new flute christened 'Keshav Venu' that has surpassed the limitations of all extant flutes since the vedic age -- about 10,000 years ago.
The technical superiority of Pt. Ginde's flute lies in dispensing off the necessity of second or third base or tweeter flute that is used by all flutists. Keshav Venu can be played in the complete span of 3.5 (+) octaves, as against a range of 2 - 2.5 octaves being achieved by other flutists using a bamboo flute.
The engineering background of Pt. Ginde assisted him in comprehending the limitations of traditional flute - compulsion of using two/three flutes, limitation on production of octaves, loss of matching of tonal quality of two/three flutes, aesthetic limitation of ragas rendered in 2.5 octaves etc. 40 years of relentless research provided him with the final fruit.
Features Of Keshav Venu (Video Demo)
It can be played in the entire span of 3.5 (+) octaves rendering musical quality as close as possible to the vocal as well as string instrument renditions.
Tonal quality of notes remains unaltered. Using traditional flutes, switching over from one flute to the other introduces this difference.
Artists can render ragas more effectively using a larger range of notes available. 3.5 octaves provide an additional 12 - 18 notes in the armory of the flutist. Monotony & repetition can be avoided. Ragas can be played like Maestro Vocalist vanquishing the distance between vocalist & instrumentalist. For example, the Ragas can be played on high note with a sudden fall to even base note or a medium note, without an interval or change of flute. Permutations & combinations of several notes with 12 - 18 additional notes available at the disposal of the flutist make the raga more effective, deep and enjoyable in its presentation.
In view of infinitely variable notes potential, sliding of notes (Meend, Gamak, Ghaseet, etc.) can be articulated.
The player has freedom to play in "cut notes" like keyed flute (Tans, Khatka, Murki etc. can be easily played).
The Aarohi / Awarohi Meend upto Panchama - "Pa" is possible i.e. maximum upto 1.5 octaves possible against less than one octave range of Traditional flute. Hence, even simple ragas like 'Kalawati', 'Hansadhwani', 'Shankara', 'Bhoopali', 'Durga' etc. can be played more effectively, unlike traditional flute.
It is possible to play "Taan" in 3.5 octaves continuously which is otherwise impossible by change of flutes in various octaves.