Jainul Abedin follows his guru Ustad Latafat Hussain Khan’s model but holds his personal in each side of music

Jainul Abedin follows his guru Ustad Latafat Hussain Khan’s model but holds his personal in each side of music

Exponents of the Agra gharana are few in comparison with different ‘gayakis’. As such one seemed ahead to the vocal live performance by Jainul Abedin from Kolkata, organised by Sanskriti Foundation and the India International Centre, in Delhi.

In his 50s, Jainul has by no means been lively within the music circuit, regardless of his expertise. One puzzled why, particularly after listening to his well-rounded and well-honed voice. He had his preliminary coaching underneath Ustad Latafat Hussain Khan, (nephew of the enduring ‘Aftab e Mousiqi’ Ustad Faiyaz Khan, indisputably the best singer of his era) and Pt. Sunil Bose (disciple of Pt. S.N. Ratanjankar and Ustad Ata Hussain Khan). After Ustad Latafat Hussain Khan’s demise in 1986, Jainul got here underneath the tutelage of Pt. Vijay Kichlu, additionally a disciple of Ustad Latafat Hussain Khan.

Beginning his live performance with raag Megh Malhar, Jainul essayed a formidable 30-minute alap in dhrupad model, he quickly reached the rishab within the decrease octave, exhibiting his riyaaz. One is used to male singers of the Agra gharana trying to sound like Ustad Faiyaz Khan, probably the most recognisable voice of the gharana, Jainul’s gravelly voice has a definite texture.

When requested about it, he recounted his guru Ustad Latafat Hussain Khan’s recommendation:  apni awaaz mein gaao, nakal matt karoHum to unke pyaar mein maare gaye, unki parchayi se nikal hee nahin paye (Sing in your personal pure voice, don’t copy. Our era had been overawed by him and tried to repeat him a lot that we by no means emerged from his shadow).

Jainul’s alap was a real delight — an genuine dhrupad model ‘nom tom’ alap. A bonus was the muted pakhawaj model accompaniment throughout the ‘jor’ place by Bibhash Sanghai. This great custom is a rarity today even with exponents of dhrupad. Slowly growing the tempo, Jainul ended the alap with clear enunciation of ‘Anant Hari Narayan’. The total live performance was marked by his clear diction. Vinay Mishra’s harmonium accompaniment was extraordinary, seamlessly sustaining the dhrupad model of word rendition, which isn’t straightforward for somebody educated within the khayal custom.

The madhya laya jhaptal bandish ‘Garaj ghataa ghan’ was mentioned to have been composed by Sadarang, (aka) Niamat Khan (the profusion of extant vocal compositions attributed to him makes one surprise if he was primarily a ‘beenkar’ and, not a vocalist). The subsequent composition was Ustad Faiyaz Khan’s, set to Ek taal, ‘Aaye re ati dhoom dhaam’, the place the Agra gharana signature ‘bol baant’ was dominant.

Showing his mastery over raags, Jainul subsequent rendered a Malhar and a Surdasi Malhar. Since each the raags have considerably comparable sides, with glimpses of Vrindavani Sarang, (the standard model of the raag has solely ‘uttri Ni’) he highlighted the variations in a formidable method. The first teen taal bandish was the favored ‘Baadarwa barasan ko aaye’, he sang this with a gentleness not often related to it.

His full and full singing of the prolonged ‘antara’ was laudable; many fashionable exponents forsake this. The drut teen taal bandish of Ustad Latafat Hussain Khan additionally had the ‘sum’ on the ‘teep sa’. This composition was sung with flourish.

The doyen of Agra gharana Ustad Khadim Hussain Khan is believed to have mentioned,  har bandish  ka ek alag mijaaz hai (each bandish has a personality of its personal ), and Jainul demonstrated this completely. His total live performance was pure Agra ‘gayaki’, with the ‘layakaari’, and fullness of exposition of the ‘bandish.’

The gharana is thought for sure raags. One such is Barwa, which on request Jainul sang subsequent, ending the live performance within the Agra custom with a thumri. However his rendition was considerably prosaic.

Talking about his affiliation with Ustad Latafat Hussain Khan, Jainul recalled he was seven when he first heard the maestro sing in Kolkata, and needed to be taught from him. But this appeared inconceivable as Ustad Latafat then lived in Bombay. Two years later, Jainul gained an ITC scholarship and to his delight discovered Ustad Latafat Hussain had joined ITC SRA as a guru, and was to be his trainer. His live performance confirmed how he has saved the distinctive Agra gharana ‘gayaki’ alive.

The Delhi-based creator writes on Hindustani music and musicians.

. .