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Ustad Alladiya Khan, who pioneered what has now come to be
known as the “Atrauli gharana” was a many-sided genius. He set a new and
significant trend in classicism which marked a radical departure from several
“khayal gharanas” then in vogue. With its equi-proportional fusion of “swara”
and “lays” the style displayed an immaculate sense of construction and
architectonics reminiscent of Himalayan grandeur. The intractable vocalism was
equally notable for its rich and varied repertory of well-known and rare melodies
and their complex “bandishes”. Kesarbai Kerkar, Moghubai Kurdikar, Ustad Manji
Khan, Lakshmibai Jadhav and Bhurji Khan, to name but a few, are among the
celebrities of this hallowed tradition.

 Pandit Mallikarjun Mansur, who presents two of the most
complex melodies of the “gharana”, is its reigning maestro today – and its only
performing exponent from the older generation.

 Panditji, who was born at Mansur, a village in Dharwar
District, Karnataka State, had his initial training in vocal music from Pandit
Neelakanth Buva Alurmath, a disciple of Pandit Balkrishna Buva Ichalkaranjikar,
a maestro of the Gwalior tradition. Later, after six years, Mansur had the
benefit of further guidance from Ustad Manji Khan and Ustad Bhurji Khan, the
illustrious sons of Ustad Alladiya Khan. They gave the talented youngster a
winsome command of technique and excellence of presentation. To these virtues
he added his own rigorous practice and indomitable determination.

 The result is the emergence of a musical personality whose
unquenchable urge for self expression, at 67, symbolizes the triumph of the
spirit over the body. The “Khayals” in “khat” and “Nat-Bihag”, heard in this
disc, come as an emphatic re-affirmation of Panditji’s pre-eminence in the
field. His vibrant voice, accurate intonation, amazing breath-control, uncanny
“layakari” and his fervid expression, at his age, are something which put him
in a class by himself an unrivalled master.

 Which is why Pandit Mansur still continues to enjoy a large
following all over the country. Even today, no major musical event is complete
without his participation. He has also been a regular broadcaster for the last
several decades. He has also lent his services to All India Radio as music
adviser for ten years.

 The President of India has honoured him with the National
Award for Hindustani vocal music, while the University of Karnataka has
conferred on him the honorary degree of D. Litt. In recognition of his
distinguished services to the cause of music. He is currently honorary director
of the Institute Music and Faculty of Fine Arts of the university.

 Rajashekhar Mansur, who provides vocal support in this disc,
is Panditji’s son. Young Rajashekhar, who teaches English at Karnataka
University, reveals himself as an up-and-coming performer in his own right.

THE MUSIC

 SIDE ONE: Raga Khat

This is one of the most difficult and controversial morning
ragas, representing a unique blend of six “ragas”. It takes “Panchama” as its
“vadi sware and “shadja” as the “samvadi swara”, and is “sampurna” in
character.

 The maestro renders this “raga” in “vilambit”, set to
“jhaptaal”, a rhythmic cycle of 10 “matras”.

 SIDE TWO: Raga Nat-Bihag

This is a night melody difficult of delineation but known
for its bright, vivacious mood. It embodies a subtle fusion of two “ragas”,
namely “Nat” and “Bihag”. It takes “Panchama” and “shadja” as its “vadi” and
samvadi swaras”, respectively.

 The “raga” is rendered here in “vilambit”, set to “tritaal”
in 16 “matras”.

 Artists:

 Pandit Mallikarjun Mansur (Vocal), Pandit
Mallikarjun Mansur (Vocal), Rajashekhar Mansur (Vocal), Baban Manjrekar
(Harmonium), D. R. Nerurkar (Tabla)

Tracks:

SIDE ONE

Raga Khat                       Khayal Vilambit Jhaptaal       - Vidyadhar Guniyan

 SIDE TWO