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Pandit Mallikarjun Mansur who, at 68, continues to rule
supreme as the greatest performing maestro of the Atrauli “gharana” of Ustad
Alladiya Khan, presents in this disc two masterpieces in sculptured sound to be
sheer delight of connoisseurs of highbrow music.

 To lovers of form, unity and design in music, his
“khayals” in Deshkar” and Yaman-Kalyan” provide an unforgettable treat. His
crushing sonority of voice, his immaculate intonation; his phenomenal
breath-control, his marvelous “layakari” and his typical ardor and fervor are
such as to pose a combined challenge to “khayal” singers half his age.

 Born at Mansur, in Dharwar district, Karnataka State,
Mallikarjun Mansur was initiated into the mysteries of Hindustani music by
Pandit Neelakant Buva Alurmath, a disciple of the Gwalior maestro, Pandit
Balkrishna Buva Ichalkaranjikar. After six years of rigorous studentship with
this veteran, he sought further training from Ustad Manji Khan and Ustad Bhurji
Khan, the gifted sons of Alladiya Khan. Rigorous discipline and patient
practice under the guidance of the two ustads groomed young Mansur to become one
of the ablest exponents of a difficult singing style, noted for its “dhrupad” –
like massiveness of form, robustness of structure, the felicitous emphasis on
“layakari” and the unending variety of ingenious, odd-shaped “phirat”.

 In his eventful professional career, many prized
laurels, awards and honors have come his way. Besides being a recipient of the
President’s Award for Hindustani vocal music, Panditji has worked as music
adviser with All India Radio for a decade. The University of Karnataka has
honored him with a D. Litt (Honoris causa). Presently, he is honorary director
of the Institute of Music and the Faculty of Fine Arts of that University, at
Dharwar.

Panditji receives valued vocal support in this disc from his
young talented son, Rajashekar. A chip of the old block, Rajashekhar is an
academician, teaching English at Karnataka University. His “sangat” reveals
sound musical grounding from his illustrious father.

THE MUSIC

 SIDE ONE: Raga Deshkar

 This charming morning melody, derived from the Bilawal
“that”, is “odava” (Pentatonic) in character. It omits “Madhyama” and
“nishadha” from its”saptaka”. “Dhaivata” and “dandhara” are, respectively, its
“vadi” and “samvadi” ‘”swaras”. The use of “dhaivata” calls for great skil on
the part of the performer.

 The “Raga” is rendered here in “vilambit”, set to
“tritaal”, a rhythmic cycle of 6 “matras”.

SIDE TWO: Raga Yaman Kalyan

 This pernennially beautiful evening melody is a
“sampurna raga”, having all the seven “swaras” of the “saptaka”. It makes use
of “Gandhara” and “nishada” as “vadi” and “samvadi” “swaras”, respectively. The
judicious application (“prayoga”) of “Shuddha Madhyama” gives it a color subtly
district from “Yaman” The “raga” is rendered here in “vilambit”, set to
“tritaal”, in 16 “matras”.

Artists:

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

Tracks:

Side One:

 Raga Deshkar                  Khayal Vilambit Teentaasl             - Hun To Tore Karan

Side Two:

Raga Yaman-Kalyan      Khayal Vilambit Tritaal                   - Pat Tore Kavan