Vinjamuri continued travelling with Tiger where-ever he went; to Annamalai University at Chidambaram and to Trivandrum etc. spending all his time and energy in learning from the Guru and accompanying him for his performances, while he himself was flooded with concerts of his own. Vinjamuri was known to have spent almost 15 to 18 hours a day in singing Music, whenever possible. He practiced a couple of hours of "Mouna Vratam" per day; he did "Akaara Saadhana" every day to strengthen his Gamakam, and would sing a single ragam for hours together to master its complete Swaroopam. Such was his devotion to Music and obsession for perfection. It is no wonder that his Nadam was described as "Nabhi Hrith Kanta Rasana Naadam".


Many lovers and patrons of Music noticed Vinjamuri's extraordinary talent. He performed at the celebration of the coronation of the Maharaja of Mysore, Late Jayachamarajendra Wodayar; he also performed at the wedding of the Maharaja of Vijayanagaram. Even, from mid thirties, Vinjamuri started giving Radio broadcasts as a top rank artist and also broadcast lectures on Music and Musicology. He joined hands with leading Musicians and Music lovers to promote Music and contributed his time and talent towards starting Music Sabhas in Madras and elsewhere. He was instrumental in establishing the Madras Sangeetha Vidwat Samajam in Mylapore. He supported many Gurukulams with his own money (even, at times, selling his gold medals and gold Rings!) until they obtained aid from the Central Government.


Vinjamuri was one of the first Musicians to perform abroad. Even in 1940s and early 1950s, he performed in places like Rangoon, Kaulalampur, Singapore, Colombo, Jafna and Candy. He visited USA in 1964, 1984 and in 1986, and he was honoured by various music associations of the country.


In 1945, famous Cine Director, Y. V. Rao decided to produce a Tamil Picture called "Lavangi" - Jagannatha Panditha Raya Charitram. Papanasam Sivan was appointed to write dialogues and songs, and also to produce Music. M. K. Thyagaraja Bhagavatar was to play the hero's role. But, MKT and YVR had a difference of opinion and Thyagaraja Bhagavatar backed off in the last minute. By the recommendation of Papanasam Sivan, Vinjamuri was given the hero's role, the role of Jagannatha Panditha Rayalu. In that movie, Vinjamuri sang "Pavana Yamuna Theeram" in Behag and a Slokam "Eyam Sustha Neemastha…. - Lavangi, Kurangi, Drugangi Karothu" in Anandabhairavi. Though, Vinjamuri did not leave the friendship of Papanasam Sivan until his death, he left the movie industry, as he was afraid of the culture and habits of the industry.


At one time, Vinjamuri was to perform at Madras with Palani Subbudu on the Mridangam and Mysore Chowdiah on the Violin. For some unavoidable circumstance, Chowdiah could not reach the Kutcheri in time. It was getting late and the audiences were impatient. Noting the situation, Flute Mali, who was in the audience, asked Vinjamuri whether he would sing to the support of flute instead of Violin. Vinjamuri agreed most willingly and the concert was a grand success.


Flute Mali was a great admirer of Vinjamuri's Music. He stated many times that he had learnt a lot from Vinjamuri's Kutcheries. Once, Mali was to give a Radio concert. In those days, Radio concerts were broadcast Live and were not taped. The night before the concert, around mid night, Mali came to Vinjamuri's house and knocked on the door. Vinjamuri was surprised to see him at that hour. But, knowing Mali well, he invited him and asked him for the reason for his visit at that hour. Mali told him about his concert the next morning and said "Vinjamurival, you sing "Appaduduku lonaithini" in Khamas very well. I have that song as a piece to play tomorrow. I did not get to come to you before, could you please teach me now?" Vinjamuri was more than willing to teach him but expressed his doubt about his learning it and repeating it the very next morning. Vinjamuri was afraid that the Bhavam might not be reflected without adequate Saadhana. But, Mali insisted on learning; learnt that night, and, to everyone's surprise, reproduced the next morning, as exactly and as beautifully as Vinjamuri would have sung.


Vinjamuri was a very close friend of GNB. GNB and Vinjamuri often met and walked to the Marina beach together. At the beach, they would practice Music and exchange repertoire. When they talk of Vilamba Kala Kritis, GNB would comment "Vinjamuri, you could sing in both Vilamba Kala and Madhyama Kala with ease, but, I cannot sing in Vilamba Kala as well". Though, Vinjamuri was more than 5 years younger than him-self, GNB had the large heart to compliment Vinjamuri and learn from him. Such were the days!


Not just GNB; Musiri, Chittoor, Maharajapuram (Viswanatha Iyer), Mysore Vasudevachar, Harikesanallur, Madurai Mani and Ariyakudi, all the stalwarts of the time, who were (mostly) much older than Vinjamuri in age, respected him and treated him as their equal in Vidvat and encouraged him as a youngster, whenever necessary.


Vinjamuri could be called the personification of the definition of "Uttama Gayaka Lakshnam". He was a tall, fair and very handsome man with a prominent Nanam (Thiruchoorna namam) on his broad forehead. He was always well dressed in the traditional white or pattu cloths. He would wear almost a dozen rings on his eight fingers. He not only was a great Vidwan but also was a great platform singer. Added to his astonishing virtuosity, his natural feel for being on the stage made his concerts a lot more desirable. He had a certain glow about himself, a reflection of his Vidwat and confidence that, people often thought or mistook him to be a Maharaja of some Samsthanam or a Zamindar of some place. He had the Saareeram (voice) and Sarirum (body and looks) suitable for an outstanding Musician. He was also very affectionate, polite and pleasing in his conversations. His command over various languages made him all the more approachable to people from various parts of the country. He was especially respectful to ladies. One could not hear Vinjamuri call any lady with her name without adding "Amma" either in front of the name or at the back, including his own daughters.


They say, "Aakaara Pradrushya Pragnyaha; Pragnyaa Pradrushya Aagamanaha". That is, one should possess the talent suitable to looks and should possess the ability to exhibit that talent.


Vinjamuri had both Aakaram and Pragnya and he was capable of presenting it too. Added to that, he also had a great sense of humour.


Once, in a Kutcheri at Madras, Marungapuri Gopalakrishna Iyer was playing on the violin. Vinjamuri started singing Saint Thyagaraja's composition, "Sree kantha NeeYeda" in the ragam Bhavapriya in Madhyamakala, in an unusually fast tempo. Marungapuri tried to follow him and after a few seconds gave up. He silently put his violin down and started preparing his betel leaves and nuts in a very elaborate manner, not minding what was going on around him, as if he was not a part of the group. Vinjamuri finished the song and looked at Marungapuri in a manner, as if he was asking him, why he did not play to his singing. Marungapuri, who was very much older than Vinjamuri in age, replied, complaining like a child, "do you want me to play or not? You can twist your mouth so fast but I cannot twist my fingers at That speed". The audiences and the artists including Marungapuri burst into laughter.


Once, Vinjamuri attended a Kutcheri at Hyderabad. The program was anything but good; the artist was not good at all. Watching Vinjamuri sit through the program until the end, and, knowing Vinjamuri's standard in Music, a rasika asked him how "He" could tolerate the program. Vinjamuri replied, "He is my Guru, how could I not attend?" The rasika was confused as to how such a young man of questionable talent could become his Guru. Vinjamuri replied, "he is teaching me how NOT TO SING by singing and showing. That's why he is my Guru."


Vinjamuri continued giving performances at all major Sabhas and Samsthanams all through India, "Aa Sethu Himachalam". He continued giving lectures and broadcasts. He continued listening to the music of the Stalwarts of the time, learning all that was special and good in them. The commulative effect of listening so much to such refined music noticeably reflected in his own Music and Bani. Vinjamuri was one of very few who maintained the same high standard through out. Vinjamuri, like his Gurus, was a pure classicist. His RTPs were of outstanding quality. His rendering of Ragam Tanam Pallavi was a model to promising musicians. AIR often invited him for this type of programs. He was a master in Pallavi singing, in Rakthi Ragas like Bhairavi, Thodi, Shankarabharanam, Kambhoji, Kalyani, and also ragas like Bhavapriya, Varali, Saveri, Begada etc. To quote Vinjamuri from his essay on "The Art of Pallavi Singing", "Pallavi singing is the yard stick to gauge the depth of knowledge one possesses in the Ocean of Music. Be it vocal or stringed instrument, it is by itself a separate art in the whole." His RTP singing in Tiger's bani, full of vigour and rigour, and his inimitable style of Tanam singing, earned him the title "Kutti Tiger". When Vinjamuri sang, he was accompanied by some of the greatest artists like Kumbakkonam Rajamanikyam Pillai, Mysore T Chowdiah, and Parur Sundaram Iyer on the Violin, Phalghat Mani Iyer, Dakshinamurti Pilllai on the Mridangam and Bilvadri Iyer, Alangudi Ramachandran and others on the Ghatam. Being a graduate in Mathematics, Vinjamuri's calculations in Swarakalpana and in Pallavi singing were intricate and perfect. His RTPs were always a challenge to the accompanying artists. It was quite common that the accompanying artist would visit Vinjamuri's house before the concert to go over the list of items to sing and have a little practice session.


Vinjamuri's Music was known for its weighty classicism. He imbibed the best from the old masters. Endowed with a rich and clear voice, which effortlessly maneuvered in three octaves, he enthralled the audiences with his Manodharma Sangeetham with 4 to 5 hour performances. His rendering of any kriti in any raga had a lasting effect on the audiences. It is not an exaggeration to say that, if someone listened to Vinjamuri for once in his lifetime he would never forget it. Such was the power of his Music. His Music was full of brilliant creations. He had a vast repertoire that contained many kritis that became popular after his rendering them for the first time. Thyagaraja's "Sada Madin Thalathugadara" in Gambhiravani, "Kadalevadu Kaade, Ramudu" in Narayana Gowla, "Undedi Ramudokadu" in Harikambhoji are examples.


Vinjamuri was well versed in 8 languages that he could speak, read and write. (English, Telugu, Tamil, Sanskrit, Kannada, Malayalam, Urdu and Hindi). He studied Western Classical, Eastern Classical and also North Indian Classical Music systems but never adulterated his own Music with the other systems. Late Bade Gulam Ali Khan, Pandit Omkarnath Thakur, Hirabai Barodeka, giants of Hindusthani Music, were his friends with whom he corresponded regularly. He had a vast collection of manuscripts and material on all forms of Music. He possessed a collection of rare and ancient musical instruments that included a Tambura from Manambuchavadi Paramapara and a Veena of the late Bangalore Nagaratnamma. He had instruments from other countries too. He also could play Veena, Mridangam and Kanjeera. Vinjamuri performed weekly Aaradhana functions at home and encouraged youngsters' singing. Musicians, who visited the place for their public concerts, would also participate in them. On one such occasion, Flute Mali played at Vinjamuri's house for a Saturday Aaraadhana function and Vinjamuri accompanied him on the Kanjeera.