Ajoy Chakrabarty 1

Pandit Ajoy Chakrabarty

Tambura Player
Loveleena Labroo
Tabla Player
Samar Saha
Harmonium Player
Biresh Roy
Sarangi Player
Ustad Sultan Khan

About this album

Ajoy Chakrabarty was born in 1953 and he received his first lessons in vocal music at the age of three from his father, Shri Ajit Chakrabarty. He subsequently learnt from Shri Pannalal Samanta, Shri Kanai Das Bairagi and Pandit Jnan Prakash Ghosh. In
1969, he became a disciple of Ustad Munnawar Ali Khan, who was the son of maestro Ustad Bade Ghulam Ali Khan. Ajoy's training took a decisive turn thereafter, in that his singing was cast in the gaikee (vocal) style of the legendary Ustad Bade Ghulam Ali Khan, the doyen of the Patiala gharana (music school)

Ajoy graduated in Music from the Rabindra Bharti University, Culcutta. He won the National Scholarship in music from the Government of India. In 1977, he joined the Sangeet Research Academy in Culcutta as a scholar and established himself as an outstanding performing artist. Today, Ajoy can be regarded as an authentic and a leading exponent of Ustad Bade Ghulam Ali Khan's vocal style.

Ajoy is constantly learning and while retaining the basic colour and character of this vocal style, he has added his own expression to it. He is considered to be one of the finest vocalists of his generation in India.

Raga Bageshri

Raga Bageshri is a derivative of the Kafi That (group). It takes six notes in ascendance (aroha) and seven in descendence (avroha). Ajoy has sung the composition in this raga clearly. It is therefore a real pleasure to be able to hear the words of the composition with such clarity. Ajoy then gradually explores the ragas full potentialities keeping within the well-defined limits of the melody. Ajoy's raga expanse (aakaar) is beautiful. He has developed the khayal systematically with an impressive voice range of three and half octaves effortlessly.

Raga Malkauns

Is a late night melody of a pentatonic structure. It belongs to Bhairavi That and the notes Rishabh (Re) and Pancham (Pa) are omitted. The raga is deep, sublime and peaceful in character. Its Vadi notes are F (Ma) and Samvadi (Sa).

Madhyam is the focal point of this melody. Ustad Bade Ghulam Ali Khan often used this note as an anchor and he cleverly exploited the resources of other ragas. Ajoy in this live recording very ably displayed this technique which until recently was the preserve of the great masters of established Gharanas. Ajoy is a true representative of the Patiala Gharana. His training with Ustad Munnawar Ali Khan his guru has given him a deep insight into the musical idiom.


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