Today, that very same person, Upendra Bhat, has grown to be a familiar name with Indian classical music aficionados. Not only is he recognised as his master's disciple, but also acclaimed as an individual exponent of the Kirana gharana style of music.

His dedication has proved that music is in his blood, even if it's not in his genes. Bhat grew up in Mangalore, listening to Panditji's renditions being played at the local temple. ``I belong to a family of priests and music or singing was just not accepted. Somehow I developed a fascination for the subject, especially drawn to guruji's (Pandit Bhimsen Joshi) voice, singing some of his Kannada songs like Murali Dhwania Moh Maya,'' remembers Bhat.

...And that evening in 1962 proved to be a turning point for Bhat. ``I heard him sing at our temple, and so much did it affect me that I wished to touch his feet. The elders around did not let me, but I did get to meet him,'' and the satisfaction of that meeting is still evident.

That moment giving him his objective, the ensuing years were spent working towards that end. He began by accompanying guruji on the tambora during his tours to Mangalore and neighbouring cities, and then spent five years from 1965 learning from Pandit Narayan Pai, also of the Kirana gharana. Later at a programme in Mangalore to felicitate Bhimsen Joshi for receiving the Padmashree, Bhat voiced his desire to learn from him.

``Guruji in turn directed me to his patta-shisha Madhav Gudi, and from 1972-77, I trained under him,'' he says. Some years later, Bhat presented the Geet Ramayan in London, and repeated the performance in Pune, with Bhimsen Joshi presiding over the function.

Eventually, in 1980, these years of efforts bore fruit. Upendra Bhat packed his bags, bid adieu to his life in Mangalore, and arrived at his guru's doorstep in Pune. Leaving behind not only his work at the temple, but also all the music he had learnt in the past years! ``Yes, guruji asked me to forget all that I had learnt! We began with the first notes of music and the aaroh and auroh of the Bhairav raag.'' Those initial lessons furnished Bhat with a confidence in himself. For six months he trained in different raags like Bhairav, Pooriya, Minya ki Todi, and till date he visits his master's home daily; each day proving a new lesson.

Gratitude for his teacher writ large, he gushes, ``I may not know all about the Kirana gharana, but I definitely know about Bhimsen gharana. His strong principles, concentration and simplicity are worth emulating. Whatever people may think, his patience as a teacher is amazing. A man of quiet and serious disposition - that's what he is.'' But Bhat is not blind in his veneration. Listening to various classical singers, he has also learnt some unusual raags from Pandit Jitendra Abhishekhi. From 1985, Bhat began his solo recitals, annually touring Amritsar, Benares; also visiting London, Bahrain, Dubai and giving television shows like Chaitraban. Now he even guides a couple of students. Yet his thirst for knowledge remains unquenched; convinced as he is that he has absorbed only about a fraction of all that there is to be learnt. ``Every performance sets off yet another journey towards perfection. Somehow, I am not satisfied, at times frustrated too. Especially when I learn a new raag, it reinforces the feelingthat I know so little...'' he muses.

But doesn't it bother him that his identity is so closely connected to his teacher's? ``See, I can only sing in his style, I cannot imitate him. There's that difference between dhang and nakkal.'' And though critics may herald the development of Bhat's individual style of rendition, he believes it's too early for that. ``What I want to achieve is versatility. Even if I sing what the music-lover wants me to, eventually I must leave my mark...'' ...The destination is in sight, the road ahead still a long one.