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Ajoy Chakrabarty's contribution to Indian classical music is unparalleled in modern times. His music is a perfect marriageof innovation and tradition reaching out and touching the hearts of listeners worldwide, effectively bridging cultural gaps with a natural ease. His live performances, consummate lessons in creative music making, are a product of deep thought and contemplation and at the same time highly spontaneous. Born in Calcutta in 1952, his parents reminisce that he could sing before he could talk.Despite having fallen on hard times, they spared no pains in fulfilling the great potential their child exhibited. His father Shri Ajit Chakrabarty walked him through his first musical course, before handing over this most prodigious musical talent to some remarkable teachers including Late Kanaidas Bairagi, Pandit Jnan Prakash Ghosh and the Late Munawar Ali Khan. Though groomed in all the details and intricacies of the Patiala gharana of vocal music, immortalised by Bade Ghulam Ali Khan, Ajoy's music is an innovative blend of styles making his music distinctive and truly his own. As well as a performer enjoying a sustained creative peak that looks likely to continue for some time yet, Ajoy is also a tireless and committed teacher and caring Guru. He has demonstrated a remarkable ability to communicate the true spirit of his music to his many devoted students all over the world. The key to Ajoy's creativity is his own appetite for learning and discovery, like all great masters he views himself humbly as a mere student of this vast, limitless and beautiful subject. Panditji, as Ajoy Chakrabarty his affectionately and reverently known to his many admirers, friends and students, is the founder of 'Srutinandan', a school of music, located in Kolkata, India. The aim of Shrutinandan is to impart practical knowledge of the basics of all forms of Indian vocal music to musically gifted young children in order that they may realise their potential as worthy artists who will perpetuate the rich musical tradition of India. The mark of any great artist is an ability to bring something fresh into each and every recital, no small feat when performing a genre that has a tradition stretching back thousands of years. Yet this Ajoy Chakrabarty manages to achieve, much to the delight of more than one thousand listeners at the Saptak Festival in Ahmedabad, Gujarat, on the morning of the 2nd January 2005. Over twenty five years the Saptak festival has developed into the largest and highest profile music festival in India, showcasing the very best of India's classical music for a full twelve days at the beginning of each year. In this performance Ajoy Chakrabarty presented himself in a totally new direction with an elaborate and descriptive picture of the morning melody, Raga Gunkali. Khayal, meaning imagination, is the most popular genre of Hindustani, or North Indian Classical vocal music, designed to give the singer optimum scope for improvisation and elaboration within the framework of the raga. Originating in the courts of the Moghul Emperors as a less rigid alternative to the ancient Dhrupad style, Khayal has evolved into a remarkably flexible form that allows an artist's individuality considerable rein. Even within recent decades the form has undergone many changes, and the tradition of innovation has been significantly influenced by the pioneering work of Ajoy Chakrabarty.Throughout this recital, Ajoy has skilfully drawn on the flavours of many of the famous gharanas. Complete grip of the raga, its correct position of the notes (swaras) combined with confidence in control over the rhythmic concepts of tala, laya and chhand were just some of the highlights. Improvised phrases using the words of the composition (bol-taan) and the actual notes (sargams) are employed to create a rich melodic embroidery. All the possible alankars of Dhrupad and Khayal styles of Indian music presentation like vistar, meend, khatka, suth, gamak, pukar, sargam, taan, boltaan have been imaginatively incorporated in this recital. Yogesh Samsi offers graceful and sensitive tabla playing throughout. A favourite accompanist of Ajoy Chakrabarty, Yogesh is one of those rare tabla players whose reputation has been built on his consummate artistry in both fields of accompaniment and solo playing. The son of the renowned vocalist Dinkar Kaikini, Yogesh Samsi was initiated into tabla by his father at the tender age of six, and later received guidance under Pt. H. Taranath Rao and later the legendary Ustad Alla Rakha Khan, with whom he studied for a period of twenty three years. Yogesh has given numerous memorable solo performances as well as accompanied a large number of India's top musicians, including Shivkumar Sharma, Vilayat Khan, Ajoy Chakrabarty and Rashid Khan. He has also accompanied his teacher Ustad Allah Rakha and Ustad Zakir Hussain in their solo performances. CD 1 - Track 1 - Raga Gunkali - Alap Ascent: SA (C) RE (D flat) MA (F) PA (G) DHA (A flat) SA (C) Descent: SA (C) DHA (A flat) PA (G) MA (F) RE (D flat) SA (C) The recital opens with a calm, serene and systematic unfolding of the raga through an extended alap in the dhrupad style introducing khayal alankars (note patterns) to beautify the characteristics of the raga. Track 2 - Alap 'Nom-tom' Dhrupad style This is the equivalent of the jhalla section of the alap as presented in instrumental music. At this point the rhythmic element comes to dominate over the melody, with increasingly complex phrases, ornamentation and rhythmic patterns in contrast to the elegant calm and simplicity of the beginning alap. Nom and tom are two of the syllables often recited in this part of the improvisation. These syllables have no literal meaning. Track 3 - Khayal "He Kartar, Puri Karo, Manakee Incha Kartero. Kahe Chinta Lagitohe Sabrang Kaj Samharo Hartero", -'Oh Almighty kindly fulfil all my dreams now and always. Please relieve me (Sabrang) from all tensions and anxieties and make all my things done.’ This khayal was made famous by Ustad Bade Ghulam Ali Khan. The composition is set to teentaal, a popular rhythmic cycle of 16 beats but in a rare chhand (rhythmic lilt) called ‘Ekwai, played eloquently by tabla accompanist Yogesh Samsi. Track 4 - Khayal Composition "Gao Gunkeli Guniyanme. Gunki baat Samjhaata Jaata Chal Chalee Manchalee. Praata Samay Soodh Bhao Laganson, Taja Singaar Ralee Sa Re Ma Pa Dha Ma Pa Ma Re Re Sa Reet Bani Bhalee." -'Sing Raag Gunkali among the learned musicians and listeners. Express your talents in this raag and sing so beautifully that everybody enjoys. Avoid facial make-up etc in the morning and sing this raag peacefully. Sa Re Ma Pa Dha Ma Pa Ma Re Re Sa..ing this combination of notes correctly.’ This composition belongs to Ajoy's beloved Guruji Guru Jnan Prakash Ghosh. This was specially composed by him for Ajoy, a student whom he holds dear to his heart. It is set to the rhythm Teentaal, a cycle of sixteen beats. Towards the end of the presentation of Gunkali, Ajoyji took the listeners by surprise by shifting his keynote "Sa" to Re and Ma, a special treat for the discerning listeners. Although first employed by Ustad Bade Ghulam Ali Khan, it is Ajoy Chakrabarty who has brought this technique of transposition to the fore and made it one the trademarks of his live performance. Dr M. Balamuralikrishnaji, celebrated Carnatic vocalist and present Guru of Ajoyji as well, describes Ajoy Chakrabarty as a master of swara presentation and one of the greatest vocalists India has ever produced. CD 2 - Track 1 - Raga Jaunpuri Khayal Ascent: SA (C) RE (D) MA (F) PA (G) DHA (A flat) NE (B flat) SA (C) Descent: SA (C) NE (B flat) DHA (A flat) PA (G) MA (F) GA (E flat) RE (D) SA (C) "Anganawaame Dharatanaapaag Kantha Bina. Patiya Naa Bhejee Sabranga-Piya, Abke Beeta Gaye Phagunawaa" -I don't like to step in my own place as Lord Krishna has left. I didn't receive any letter from my beloved Lord Krishna even till the end of Spring Performed in traditional khayal style and inclined to the style of Ustad Bade Ghulam Ali Khan. The first composition is set to Madhya Vilambit (medium slow tempo) laya in tala Jhumra, an ancient fourteen beat rhythmic cycle. In the beginning Ajoy sings a small auchar alap (introduction) before launching into the main (bada) khayal composition. After that he sings the detailed vistar (description) of raga. The vilambit performance also incorporates some inspired boltaan and sargams. Track 2 Three compositions are sung here all in Teentaal, a popular rhythmic cycle of sixteen beats. The improvisations switch between boltaan and sargam types, incorporating a full three octave range. "Prabhu Mohe Bharasaa Ek Tihaaro, Kaaro Pakarhata Mohe Aap Ubaaro, Kirpa Kee Aas Lagee Hay Nisdina, ibrahim Ko Koina Sahaaro.†-Oh God you are the only one I can rely on. Please save me from all dangers. I always long for your blessings. Oh Almighty I, Ibrahim, have none except you. "Pariye Paayanawa Ke Sajani, Jo Naa Maane Guniyana Kee Sikhsa. Haath Jor Phir Nyaro Howe, Aise Narake Paasa Na Jaiye, Darasa Kahe Waa So Nita Dariye." -Who doesn't listen to the masters can't do anything. Oh my friends always be afraid of doing wrong things and stand with folded hands to the knowledgeable person. "Ab Paayela Baajana Laagire, Kaise Kar Aaoon Tumhara Paas. Saas Nanada Mori Janama Ki Bayrana, Sabaranga Piya Hoon Tori Daas." -I can't come to you silently because my ankle bells are making sounds. Sabrang (myself) is your slave, but my in-laws are totally against you. Track 3 Raga Bhairavi is one of the most loved ragas in North Indian classical music and a favourite with audiences and artists alike. There is considerable flexibility in the performance rules for Bhairavi allowing the artist the opportunity to skilfully introduce phrases of other ragas. "Kaisee Bajaayeeri Shyam Bansuria. Shyam Sundara Kadam Ki Chhaye, Mohata Brij Baam." -How beautifully Shyam (Lord Krishna) is playing his flute, sitting under the Kadam tree! Everybody in the Brij Dham is mesmerised with his beautiful music.The morning performance was concluded with a uniquely serene alapfollowed by a very beautiful and rarely sung Thumri. Bhairavi is an auspicious raga traditionally performed to conclude a recital. Thumri is the most poetic form of Indian classical music, expressing the emotions of devotion, mystical love and viraha, the pain of separation. The language of the text is usually brij bhasha, spoken in a particular area of Uttar Pradesh and associated with the legends of Lord Krishna. There are specific ragas suitable for thumri, like Pilu, Khamaj and Bhairavi. These ragas encourage the artist to express the romantic nature of the art form while giving scope for elaborate ornamentations which characterise the style. Track List: 1. Raga Gunkali Alap 2. Raga Gunkali 'Nom-Tom' Alap 3. Raga Gunkali Khayal 'He Kartar, Puri Karo' 4. Raga Gunkali Khayal 'Gao Gunkali Guniyanme' 5. Raga Jaunpuri Khayal 'Anganawaame Dharatanaapaag Kantha Bina' 6. Raga Jaunpuri 'Prabhu Mohe Bharasaa Ek Tihaaro' 'Pariye Paayanaw 7. Raga Bhairavi Thumri - ‘Kaisee Bajaayeeri Shyam Bansuria' Pt1 8. Raga Bhairavi Thumri - ‘Kaisee Bajaayeeri Shyam Bansuria' Pt2 Suggested CDs:Other Genres:
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