Shuklas :Ustad Amirkhan

Memorable Evenings With Ustad Amir Khan Saheb Vol.4→

4-01 Raga Jog - Khayal - Vilambit - Roopak - O Balma & Raga Jog - Khayal - Drut - Teentaal - Saajan More Ghar Aye

4-02 Raga Darbari - Khayal - Vilambit - Jhaptaal - Mori Aali Ri Jab Se Bhanak & Raga Darbari - Khayal - Drut - Teentaal - Kin

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#20 Shuklas

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Posted 09 February 2012 - 05:15 PM

Ustad Amir Khan - Rare Collection Vol II

Amir Khan was born in a family of musicians in Indore, India. His father, Shahmir Khan, a sarangi and veena player of the Bhendibazaar gharana, served at the court of the Holkars of Indore. His grandfather, Change Khan, was a singer in the court of Bahadurshah Zafar. Amir Ali’s mother died when he was nine years old. He had a younger brother, Bashir, who became a sarangi player at the Indore station of All India Radio.He was initially trained in the sarangi by his father. However, seeing his interest in vocal music, his father gradually devoted more time to vocal training, focusing on the Merukhand technique. Amir Ali was exposed at an early age to many different styles, since just about every musician who visited Indore would come to their house, and there would be mehfils at their place on a regular basis. Also, he learnt the basics of tabla playing from one of his maternal uncles, who was a tabla player. Amir Khan developed his own singing style, influenced by the styles of Abdul Waheed Khan (vilambit tempo), Rajab Ali Khan (taans) and Aman Ali Khan (merukhand). This unique style, known as the Indore Gharana, blends the spiritual flavor and grandeur of dhrupad with the ornate vividness of khyal. He presented an aesthetically detailed badhat (progression) in ati-vilambit laya (very slow tempo) using bol-alap, followed by gradually speeding up sargams with various ornamentations, taans and bol-taans, including Merukhandi patterns, and finally a madhyalaya or drut laya (medium or fast tempo) chhota khyal or a ruba’idar tarana. He had a rich baritone voice with a three-octave range. His performances had an understated elegance, reverence, restrained passion and an utter lack of showmanship that both moved and awed listeners. According to Mohan Nadkarni’s book “Great Masters: Profiles in Hindustani Classical Vocal Music”, Bade Ghulam Ali Khan’s music was extroverted and exuberant, whereas Amir Khan’s was an introverted, dignified ‘darbar’ style. Amir Khansahib believed that poetry was important in khyal compositions, and with his pen name, Sur Rang (“colored in swara”), he has left several compositions. Amir Khan helped popularize the tarana, as well as khyalnuma compositions in Persian. He often used the taals Jhoomra and Ektaal, and generally preferred a simple theka (basic tabla strokes that define the taal) from the tabla accompanist. As in the case of Bade Ghulam Ali Khan, Amir Khan’s initial sarangi training was important in establishing him as a great singer. Even though he had been trained in the sarangi, he generally performed khyals and taranas with only a tanpura and tabla for accompaniment. Sometimes he had a subdued harmonium accompaniment, but he almost never used the sarangi.

01 Raag Ahir Bhairav - Vilambit Jhoomra - Drut Teentaal

02 Raag Bageshree - Vilambit Jhoomra - Tarana Teentaal

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