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Accidental death in 1974 hushed forever the voice of Ustad Amir Khan. It was indeed a grievous loss to our traditional music, coming as it did at a time when the long line of our celebrities was fast thinning out.

 Although he was in his early sixties, Ustad Amir Khan was still a force to contend within the North Indian tradition. So tremendous, in fact, has been the impact of his distinctive “gayaki” on the rising generation of Hindustani vocalists, as much as on connoisseurs, that it would be no exaggeration to say that Amir Khan was one maestro who commanded the largest following among the present day classical singers.

 Born in Indore in 1912, Amir Khan received his initial grooming from his father, Ustad Shamir Khan, a noted sarangi player attached to the court of the erstwhile princely state. The family home was a veritable rendezvous of many great maestros of the time. The impressionable youngster thus came face to face with several exponents of contemporary “gharanas”.

 The style of Ustad Abdul Waheed Khan, the Kirana maestro, however, seemed to have exerted the greatest influence on his singing. Yet it would be true to say that Amir Khan was virtually a self-taught vocalist who blended talent with imagination, intellect with emotion and technique with temperament as few masters could.

Amir Khan’s concerts were always an experience to cherish. The tall, handsome Ustad, in flowing Sherwani invariably made a lasting impact on the audience by his very presence on the concert platform. His dignity of bearing and his yogic posture, while performing on the stage, struck a perfect accord with the serene grandeur of his music. It was as though his musical thought was in tune with some high ideal of beauty and he was striving to communicate it to his charmed audience. It was a style that carried that typically individualistic “punch” which delighted the ear but battle the mind!

 Amir Khan’s vocalism was marked by classical purity. It revealed a leisurely pace and a meticulous unfolding of the musical mode. He never displayed virtuosity for its own sake but concentrated on the spirit of his raga. The quiet unhurried progression, punctuated by soft “swar-alaps”, showed his fine sense of the subtle and the beautiful. What finally stood out was the very architectonics of a master builder, a grand edifice in sculptured sound, immense in proposition yet ornate in structure, with a variety of “gamak”, “boltaan”, “sargam” and “taan” patterns in exquisite design – all perfectly integrated.

Name and fame came naturally to Ustad Amir Khan. He was recipient of the Padma Bhushan and also President’s award for Hindustani vocal music. The Films Division of the Government of India brought out a documentary film on his life in recognition of his great contribution to music. He had also given concerts in many world capitals. He also lent his music in several films. Yet he refused to be swept away from his classical moorings by the lure of the show business.

 The two melodies heard in this disc present the very quintessence of the great “gayaki” or Ustad Amir Khan in all its haunting charm.

SIDE ONE

 RAGA BILASKHANI TODI

This is a morning raga presenting a blend of the ragas Asavari and Todi. It has a complete (sampurna) scale with “dhaivata” as the “vadi” and “Gandhara” as the “samvadi” swaras. The raga unfolds a pensive melancholy mood.

 SIDE TWO

 RAGA ABHOGI

This is a raga adopted from the Karnatak tradition. Rendered in the second quarter of the night, the melody is pentatonic in character omitting “Panchama” and “nishada” from its scale. It takes “shadja” as the “samvadi” swaras. Known for its profound import, the raga also carries with it a tinge of pathos.

Artists:

Ustad Amir Khan (Vocal)

Tracks:

SIDE ONE:

Raga Bilaskhani Todi        Khayal in Taal Jhumra          - Bairagi Roop Dhare

Raga Bilaskhani Todi        Khayal in  Teentaal                - Baje Niki Ghungariya

SIDE TWO:

Raga Abhogi                 Khayal in Jhaptaal                 - Charan Dhar Aaye