THIS IS A RARE AND USED ITEM. IT IS
NOT MANUFACTURED ANYMORE. NO
RETURNS WILL BE ACCEPTED.

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