It is a great challenge to be the son of a great artist. People have great expectations aboutyou and fulfilling them is not easy. It is indeed creditable for Shaunak, that he is proving his merit independently. Late Pandit Jitendra Abhisheki, Shaunak's father and Guru, trained him in a very strict and disciplined manner since his childhood. Smt. Kamal Tambe of Jaipur Gharana has also provided instruction to him. Shaunak today has a large repertoire of Khayals in different Ragas along with Thumris, Tappas, Dadras, Marathi Theatre-Songs and Hindi-Marathi Bhajans. He is showing total devotion to music. Even on the day of his father's demise; after the cremation rites were over, Shaunak kept his schedule in a pre-planned programme and sung a Bhajan as the parting tribute to his father. So sensitively, it brought tears to the eyes of the listeners. Another notable fact is that he is not just immitating his father. With sensitivity and imagination, he is presenting his programmes wherein his individuality stands out. Over the last decade, he has given a number of programmes in India and abroad, proving himselfan able torch-bearer of his father's musical legacy. This program, being released around the first death-anniversary of Pandit Jitendra Abhisheki can be regarded as an assurance from an aspiring son to an inspiring father. This program reflecting Shaunak's maturity has many notable aspects to it. It includes a traditional (Dhani) and a modern Raga (Madhu-Rranjani) together with a light-musical variety (Dadra). Out of the three compositions in Dhani, the first two compositions have been written and set to music by Pt. Jitendra Abhisheki. The third (in Punjabi) is a traditional one. Raga Madhu-Ranjani has been discovered by the sitar maestro Pt. Ravishankar. Both the compositions in it are by Pt. Jitendra Abhisheki again. The Dadra in Manz-Khamaj (or Mishra Tilak Kamod) is a traditional one. All through these compositions, we notice Shaunak's systematic approach to development of the Raga. His seasoned voice, powerful taans, gamaks, bol-aalaps, sargam and expressive vocalization add a lot to listener's enjoyment. Dhani : This is a pentatonic midnight melody that employs Sa, Ga (Komal), Ma, Pa and Ni (Komal). It is basically a folk melody associated with the harvest season. It has been sophisticated into a Raga structure and thus provides ample scope for systematic exposition. Shaunak has rendered each of three compositions in a very effective manner. Madhu-Ranjani : Listeners would notice, this is somewhat similar to Raga Patadeep without the 'Dha'. The ascent uses Sa, Ga (Kornai), Ma, Pa and Ni, the descent has Shudha Re is addition. Dadra : The traditional Dadra, rendered here in a very expressive style, describes the pangs of separation experienced, 1py ayoung girl, in the month of 'Saawan'.

Artists: Shaunak Abhisheki (Vocal), Bharat Kamat (Tabla), Pramod Marathe (Harmonium)

Tracks:
1. Raga Dhani: Vilambit Jhumra - E Bamanaa Sagun Bicharo (ए बमना सगुन बिचारो) - Shaunak Abhisheki (Vocal), Bharat Kamat (Tabla), Pramod Marathe (Harmonium)
2. Raga Dhani: Drut Teental - Langarva Chhand Mori Baiyaa (लंगरवा छाँड़ मोरी बैया) - Shaunak Abhisheki (Vocal), Bharat Kamat (Tabla), Pramod Marathe (Harmonium)
3. Raga Dhani: Drut Teental - Sade Nal Ve Miyan, Dilvariya (साडे नाल वे मियाँ, दिलवारिया) - Shaunak Abhisheki (Vocal), Bharat Kamat (Tabla), Pramod Marathe (Harmonium)