I am glad you like them. I am also sorry for the delayed response.
To respond to your many queries one by one.
I do not have recordings of Pandit Mazumdar but I do have recordings of Pandit Jnanendra Prasad Goswami. All in 78 RPM but absolutely blissful music. You can access some of them here: http://www.mediafire.com/?sharekey=866366292aab5b477069484bded33bcdf2fcd59403e6d33e
I do not have such knowledge that I can speak on the subjects raised by you. I will try to answer as far as I can. There were four main centres of classical music in Bihar - (a) Bettiah Gharana, mainly known for Dhrupad but has been in obscurity for a long time which has helped to keep them away from modernistic influences and maintain age-old purity; (b) Gaya Gharana, famous for thumris and tappas. In fact it is living exponent, Govardhan Mishra, is considered by some as the finest tappa singer in the country; (c) Darbhanga Gharana made famous by Mallicks who are mainly dhrupad exponents; and (d) Champanagar Banaili, where Kumar Shyamanand Singh (not any more with us), arguably the most able disciple of Ustad Vishmadev Chattopadhyaya, was the finest exponent.
I do not think that either Ustad Vishmadev Chatterjee or Kumar Saheb had any direct Paluskar influence. Ustadji had his initial talim from Shri Nagendranath Datta. Later, Ustad Badal Khan of Sonipat adopted him as a disciple and took him away from his father to teach him music. He learnt from Ustad Badal Khan for 14 years. Many years later, Ustadji was enticed by a Barwa composition of Ustad Faiyaz Khan and went to Baroda to learn from him. Both Badal Khan and Faiyaz khan were his Gandabandh guru.
As for Kumar Saheb, his only gandabandh guru was Ustad Vishmadev Chattopadhyaya. He also learnt for more than 20 years from Ustad Bachu Khan, son of Ustad Badal Khan. He also obtained a few cheez from the Pandit Bholanath Bhatt of Allahabad, Ustad Altaf Hussain Khan of Khurja (who used to live with Kumar Saheb in Champanagar for many years), Ustad Muzaffar Khan sahib, Mahaveerand Jaduveer Mullick of Darbhanga, and some others. His singing style was very much on the lines of Agra Gharana beginning with a nomtom alap, rendition of a vilambit bandish as learnt from the guru followed by innovations, layakari, and taankari and then a drut composition.
All of them may be influenced by the Gwalior Gharana only to the extent that all major gharanas, including Agra, were influenced by the Gwalior Gharana.
A common factor with Paluskar (and I can only compare with D V Paluskar whose recordings are available) is the quality of bhajans. Both Ustad Vishmadev Chatterjee and Kumar SahebÃƒÂ¢Ã¢â€šÂ¬Ã¢â€žÂ¢s bhajans were exquisite and perhaps incomparable with any that we have in public domain. In fact, the story goes that Kesarbai Kerkar was so enthused by Kumar SahebÃƒÂ¢Ã¢â€šÂ¬Ã¢â€žÂ¢s rendition of "Bin Kaj Aaj Maharaj Laaj Gayi meri, dukh haro dwarikanath sharan me teri"