BV Raman:

We used to meet (with Vinjamuri) quite often. As Appa used to travel a lot, we will meet when he comes back to Madras. I used to meet him often when he lived close to Edward Eliott's Road, on the first floor of a building. We always talk about our teacher (Tiger) how he used to teach us and other things.

When Tiger starts teaching, it is a little difficult to learn. He will start something today and the next day his imagination will change. To decipher and decode it and learn is very difficult. But, once you get used to him (Tiger), we will come to know how much we can assimilate, we not only will be able to follow him but we also can understand what his grip (Gamakam) is too. Because, Tiger's music is mostly Gamakam oriented. If he sings even a bit, the raga's chaya comes out. That great he was! We often used to see Vinjamuri with Tiger. Not too often though, as he (Vinjamuri) was a professional too. He was in Hyderabad as a Producer for sometime too. But, when he comes to Madras, we won't be without seeing him. Afterwards, when he was in Mylapore, we used to see him often.

Tiger used to like him (Vinjamuri) very much. Tiger would joke with him a lot. He (Vinjamuri) also had a great respect for Sir (Tiger), like a Devatha Viswasam. We have to say that. He had no other avocation, just Music or the Teacher. His Guru Bhakthi is not usual GuruBhakthi. It is extreme GuruBhakthi. It is an implicit obedience. If the teacher says "do this", he will immediately do it. He won't hesitate. He won't even think. He was like that in learning songs too. We learn songs. His (Vinjamuri's) receptiveness was very great. He will learn the song the same day that it is taught. We cannot do that and we ask him (Vinjamuri). He would teach us. As he had exposure to music even before (that time) he was able to grasp much easier. We are all late comers. Even then, he was well advanced (in Music). We were youngsters; we are 6 years younger than he is. By the time we came to this music field, he was already in that. He was very well versed and as he also had the knowledge of the languages, he was able to conquer the audiences. He had this quality. He would know the audience as soon as he starts. He would assess the Audiences within the first two songs and decide proper recipe for the concert. It is very important. Some people will keep singing like dragging. Why I say this is every concert (of Vinjamuri), there is no failure. For some people it will be (a success) and for some it will not (be a success), sometimes it will be a great success. But, for him (Vinjamuri) it is not like that (but always a success). I haven't heard too many times, may be 10 to 15 times. He would go out of town and we too used to go for concerts. Being in the same profession, we were not able to meet too often. But still, he would sing the first 2 or 3 songs what he sets up (plans) and then he deciphers and finds out exactly (measures the audiences) what needs to be sung. So much so, the concert as such will be a tremendous success.

He also teaches. What ever we ask, without hesitation, he teaches. A lot of people do not do that not because they do not want to but, they cannot teach. Singing itself is an art, definitely. Teaching is much more difficult. In that case, they should have the recipe, as they say hit the iron when it is hot, if the student is receptive today, he has to be given more and he is not tomorrow, it has to be reduced. They have to consider a lot of things as a tutor. I learnt 2 or 3 songs (from Vinjamuri). As the teacher is the same (for both of us), we learnt the same songs. In Mukhari, Enthani Ne, how nicely he (Vinjamuri) used to sing?

I listened to Appa's Kutcheries in Madras itself; I listened to 2 or 3 concerts. As I said before, particular songs, Aarabhi "Sundari Ninnu Varnimpa Brahmadulakaina Tharama", he would sing very well. (Raman sings the Pallavi of Sundari Ninnu) He would sing Dharbar very well too. He would sing "Mundu Venuka" in Darbaru and also he would sing "Endundi Vedalithivo, Emo". He sings Varali very well; "Ne PogadaKunte" and "Seshachala Nayakam". Also, Poorna Chandrika, "Thelisi Rama Chintanatho". Once, we were talking about Poornachandrika; why I tell you this is; how he did not distinguish between big and small when it came to his interest in learning. That's why I am telling you this otherwise, it is not necessary to tell you this. He asked me "What do you know Ramu (in Poorna Chandrika)"? I told him that I know a Deekshitar Keertana. He said, " I did not learn that, will you teach me"? Then I sang the song, a beautiful kriti on Thirupathi Perumal in Roopaka Talam. Why I say is, he immediately stayed back and asked me to sing a couple of times and made a note of the song. His had such interest to learn that he did not care where it is or from whom it is, such was his character. He had that anxiety to listen and to learn new songs. "Sankachakra Gadha Pani" is the song. Very beautiful kriti this is. He would sing "Manasaguruguha", "O' jagadamba", "Marivere" in Anandabhairavi very beautifully. Yes, "Sri Subrahmanyaya Namasthe" he would sing in the "stamped" way, the way elders set it and sang. If you talk of Kambhoji, "Sri Subrahmanyaya" and "O, Rangasayi" with the raga's weight and raga swaroopam; if you know two or three songs like that, one would know Kambhoji fully. That's how the elders set them. These people (like Vinjamuri) followed and sang in the same way, with out misusing it. We have to say that too.

He (Vinjamuri) was a very good friend of mine. I should say that. He had personal interest. He was a much senior Vidwan than me, but he used to come down to our level and teach us. That is very difficult. Even if one knows, it is difficult to come down in level. He would also teach very sincerely. It is not like today's wishy-washy type, very sincere teaching. He is very uncompromising.