The Imdakhani style is based on vocal music and thus is known as “gayaki ang”. Budhaditya considers his sitar to be an extension of the singing voice, expressive of its ornamental subtleties of emotional mood. According to Budhaditya, in this gharana, string deflections were enlarged to the full capacity of the instrument. “Khatkas and jhatkas form the language of the sitar and fullest exploitation of the aas becomes an important aspect of the raga development in this gharana.” Budhaditya’s role model is the modern colossus of the lmdadkhani style, Ustad Vilayat Khan. In a conversation with the critic Amarendra Dhaneshwar, he says “Ustad Vilayat Khansaheb has been my idol. I have been brought up in the same tradition. The first time I heard Ustad Vilayat Khan saheb was when I was ten. I can never forget that experience. His music was a tremendous source of inspiration. Larer on, I could rationalize what I felt. Khansaab was executing the very things I was learning, with a degree of perfection which got permanently imprinted on my subconscious.” Today, Budhaditya’s own level of mastery in this style is brilliant and dizzying.
|1||Raga Kalawati - Alaap, Jor & Jhala||Budhaditya Mukherjee|
|2||Raga Kalawati - Vilambit & Drut Teental||Budhaditya Mukherjee|
|3||Raga Mishra Khamaj - Teental||Budhaditya Mukherjee|