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Ameer Khan unquestionably is one of the foremost figures on the Indian classical scene today. In the matter of technique, he has few equals amongst living classical singers.

 Born at Indore in Central India in 1912 in a family of rich musical ancestry, Ameer Khan’s talent was noticed early in his childhood. He has his initial training and grooming at the hands of his father Shahmeer Khan, a noted Sarangi and Veena player of his time, but it will be true to say that he has reached the top rung of the ladder of fame largely by dint of hard work and an unbounded determination to make good.

 Today, Ammer Khan stands out as one who has brought about a revolutionary change in the presentation of vocal classical music. In the course of the last few years he has developed a style unique and peculiarly individualist in respect of voice-production and interpretation of the Ragas. His performances invariably give evidence of a very conscious effort at bringing out the essence of a Raga by a subtle and judicious use of its notes. His “taan” patterns or movements from note to note are at once picturesque, intricate and rhythmic, and it is an experience worth having to listen to his voice moving through a span of 3 octaves with utter ease. Indeed, it is the grandeur of his voice coupled with its great emotional depth that make his music a thing of sterling beauty.

 Ameer Khan is a frequent broadcaster from the network of All India Radio stations and has a large following amongst Radio listeners in India and overseas. He is also a very popular concert singer and there is hardly a representative music conference or concert in the big cities of India where he is not called upon to perform to the huge delight of the discerning audiences.

THE MUSIC

 SIDE ONE

 On this side Ustad Ameer Khan expounds Raga Marwa. This is essentially an evening melody and its most interesting characteristics is that throughout the exposition the key note, barring aa few places, is deliberately ignored. It is this by-passing of the key note that makes a performance in this Raga very difficult and yet very interesting. The performance starts with a slow-moving improvisation in what is called ‘Jhoomra’, which is a 14 beat rhythm divided into two equal groups. Moving from note to note with the help of ‘Alaps’ or invocations in slow tempo, he draws a beautiful picture of the Raga and then embellishes it with the artistry of intricate “taan” patterns or quicker movements. He then switches on to a faster composition of his own creation. This he renders in a rhythmic cycle of 16 beats consisting of 4 symmetrical groups of 4 beats know as “Tin Tala’.

 SIDE TWO

 For the reverse side, Ameer Khan offers an outstanding performance in Raga Darbari Kanada. It is said that this Raga was specially evolved for performance in the Courts (Darbars) of kings and is hence called ‘Darbari Kananda’. In keeping with the environment for which it is intended, the Raga symbolizes the mood of majesty and high dignity. Only those who have a voice rich in volume and depth can aspire to expound this melody in a fitting manner. Darbari Kanada is a variety of the Kanada Raga and is intended for demonstration during the hours from late in the evening to midnight.

 Ameer Khan starts the performance with a short ‘Alap’ or invocation in slow tempo again in ‘Jhoomra’, a 14 beat rhythm consisting of two equal groups. The artiste gradually unfolds the characteristic features of the Raga and as he goes forward, he reveals its different facets through subtly improvised ‘Alaps’ and ‘Taans’. This interpretation is followed by a performance in a faster tempo again in ‘Tin Tala’.

Artists:

Ustad Amir Khan (Vocal)

 Tracks:

SIDE ONE

Raga Yaman              Taal Jhoomra                   - Piya Mohe Anat Des

Raga Yaman              Drut Teentaal                  - Guru Bin Gyan Na Pave

SIDE TWO

Raga Darbari Kanada          Taal Jhoomra                - Eri Bir Ri Bilampat

Raga Darbari Kanada          Drut  Teentaal              - Kin Bairan Kaan Bhare