"Even though I was abroad for a long period, not a day passed by that I did not wish I was back home!" say Debu.

Debu's debut (excuse the pun) on the screen started when he was in college. In the documentary Muktir Gaan, he was often seen at the back of the run-down truck that the troupe used to crisscross the war-torn country. When the musical troupe visited the camps, the young Debu with ruffled hair accompanied them with a madol or khol slung across his neck. Even at an early age, he was widely admired for his style and skill as an accompanist. That was only the beginning.

"As the Liberation War broke out, we crossed over to India from Chittagong. There we came in contact with the artistes and organisers of Swadhin Bangla Betar Kendra and the Liberation Council of Intelligentsia. A nostalgic Debu says, "Master filmmaker Satyajit Ray, novelist Tarasankar Bandyo-padhyay and other prominent personalities would often come over to boost the morale of the freedom fighters.

"Once in Kolkata I trained under Pandit Radhakanta Nandi, the unrivalled accompanist of the '70s and '80s in Bengali songs. For six years I trained under him. His masterstrokes, his permutations and combinations, never failed to fascinate the listeners. The unique tehais interspersed with variations inspired me greatly. That was what I tried to emulate."

After the Liberation War, he soon settled in Dhaka and joined the cultural circuit.

During his stellar career, Debu has not only worked under eminent music directors but also performed with legends such as Hemanta Mukherjee, Manna De, Satinath Mukhopadhyay and noted artistes such as Hoimanti Shukla to name a few. For over 15 years he worked almost exclusively with Runa Laila during her performances across India, Middle East and Europe. He has also performed extensively in UAE, USA and Canada with renowned musicians. A deputy director of Little Orchestra, he organised several music concerts, headed by Ustad Mir Kasem Khan.

A recipient of several international accolades, such as the Asian Film Academy Award and the 9th North American Bangladesh Conference, he has also performed for the Queen Mother of England on the 250th anniversary of London Hospital, and for the Belgian Royalty at the Kings Palace.

"It will not be an exaggeration to say that during 1974-86, I was 'fairly busy,' I believe, I recorded 8 out of every 10 of the playbacks at that time," smiles Debu.

According to him, music works in an amazing range of rhythm and fascination. The main features of a tabla performance is to express creativity to enhance the pleasure and joy in music. The legendary players always seemed to have this passion embedded deep within their souls. It is rhythm, which adds to a new dimension to music.

"After my long absence from the local music scene, it is heartening to see that numerous channels have lit up the screen.

"But there has been a drastic reduction in the number of good tabla players. At present there are not more than six to seven top grade commercial tabla players in our country. Low budget and use of synthesisers and keyboard have a 'synthetic' effect, distancing it from the natural lyrical tunes. Our music demands soothing tonal effects of flute, sarod, sitaar etc. How can the electric instruments compliment that?" questions the talented player.

Maintaining a ritual of practicing two hours on the tabla every morning before recording sessions, Debu finds no alternative to commitment, practice and diligence. He goes to great lengths to choose his instrument carefully for each performance. At his home, his set of tablas customised for different concerts and scales simply bear testimony to his level of commitment.

His one wish is that the current trend of revitalising our culture once more sparks interest in the younger generation into his world of tabla. Once more may the country appreciate and sway to the tune of the fascinating rhythm.