Sanjeev is an artist of international acclaim today. With tours in USA, Canada, Europe, Australia and several countries around the world, performances in more than 150 cities and in almost all prestigious conferences in India, he has established himself as a master and a torch-bearer of the Mewati Gharana.
Sanjeev has been in music from a very tender age. He was groomed by Pandit Gangadharbuwa Pimplkhare and his mother Mrs. Shobha Abhyankar in the earlier stage. Later he underwent a rigorous training under the watchful eyes of Padmabhushan, Sangeet Martand Pandit Jasaraj-ji. For the last few years, listeners know him as the perfect musical image of Pandit Jasraj. Amidst young singers of
Hindustani Classical music from Maharashtra, Sanjeev doubtlessly assumes the leading position. A seasoned, sonorous voice, highly aesthetic approach and mastery of a large repertoire of Ragas make each of his performance a memorable one. This programme, the latest by Alurkar music House, brings out the maturity of his singing very effectively.
This programme can be described as the essence of Sanjeev Abhyankar's maturity and qualitative excellence. In the initial stage of development and success, an artist has an obvious tendency towards showing off his mastery over different musical ornaments and techniques. As the years roll by, the artist finds himself in a state of repose. He becomes more selective and begins to reflect the thought behind the scheme of presentation. Whether he is allowed ten minutes or an hour for the exposition of a Raga becomes immaterial; within that limited space of time, he builds the perfect structure. There seems to be no hurrying from one phase to another, no hasty jumping to the 'sum'. One notices that the artist is making no deliberate attempt to present a Raga, Music is naturally Rowing out of his being. Such is the kind of maturity Sanjeev's singing displays here. The piece in Raga Durga is a beautiful piece notable for the serenity in Aalaps in the slow tempo. Durga is a pentatonic
night melody with a very pleasant mood. Occasional leaps from Ma to Dha (Form the fourth note to the sixth) bring in a trace of the Raga Bhavani, which is very pleasing on the ear. The next piece in Raga Bahar, a springtime melody, heightens the feeling of joy through its vigorous taans. Nayaki Kanada is a serene midnight melody peculiar on account of its evasion of the sixth note (Dha) from the Darbari Kanada Scale. Then there is the characteristic 'chalan' (movement or system of exposition) that differentiates it from other kanadas. Sanjeev has rendered it with the composure it demands.
The final Bhajan in Bhairavi has been enriched by its emotive quality and philosophical content. Sanjeev has succeeded in bringing out these elements through his singing. Tabla accompaniment by Harshad Kanetkar is notable for clarity and sweet tone. Pramod Marathe's harmonium accompaniment displays mastery coupled with maturity and understanding.


Artists: Pandit Vasantrao Deshpande (Vocal), Pandit Suryakant Gokhale (Tabla), Shri Bal Mate (Harmonium), Shri Mhalagi (Tanpura), Shri Sudheer Datar (Tanpura)

Tracks:
1. Raga Jait - Pandit Vasantrao Deshpande (Vocal), Pandit Suryakant Gokhale (Tabla), Shri Bal Mate (Harmonium), Shri Mhalagi (Tanpura), Shri Sudheer Datar (Tanpura)
2. Raga Barwa - Pandit Vasantrao Deshpande (Vocal), Pandit Suryakant Gokhale (Tabla), Shri Bal Mate (Harmonium), Shri Mhalagi (Tanpura), Shri Sudheer Datar (Tanpura)
3. Raga Barwa - Pandit Vasantrao Deshpande (Vocal), Pandit Suryakant Gokhale (Tabla), Shri Bal Mate (Harmonium), Shri Mhalagi (Tanpura), Shri Sudheer Datar (Tanpura)