Page 24 - Seniors Today
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was in her training with her mother. Late have become immortal in her voice. Some
Alladiya Khan Saheb’s younger brother very difficult and prosaic Jaipur Gharana
Haidar Khan Saheb must get much credit Raags sounded magically poetic in Taai’s
for bringing beauty and emotional appeal to voice. Creating beautiful patters with just 3
Jaipur’s structured style. Maai had trained main notes, Sa, Ga and Pa in Jait Kalyan is
under Haidar Khan Saheb for many years a very difficult task. With her unbelievable
which is why her music was aesthetically creativity and skill, her rendition of a Meend
very appealing. Naturally, Taai inherited while just touching Teevra Ma and Dha
that legacy from Maai. She took this aesthetic in Jait Kalyan sounded divine. Another
brilliance to a much higher level. Her career example is Maru Bihag. In my opinion this
can be divided into two time periods. From Raag can only be sung accurately in Jaipur
1955-1980 and from 1980 to the end. In the Gharana. A lesser known fact of this Raag is
first time period, her music was beautiful yet that it is a combination of Raagas Maru and
heavily leaning towards the strict discipline Bihag and shades of each Raag have to be
of Jaipur Gharana. Later her emphasis was shown seamlessly in singing it. Surashree
on soulful exploration of notes and not so Kesarbai Kerkar’s short 78 rpm recording of
much on the rules and strict grammar of the this Raag is an excellent example of it. Taai’s
Jaipur tradition. Jaipur Gharana was still the Maru Bihag likewise was also very unique.
core of her music. For instance, she always Unfortunately, in her entire career, she sang
used a clear Aakar. However, practices this Raag in public concerts just a couple of
such as slight deviations from adhering to times.
composition of Asthati- Antara, using words Along with notes, she paid close attention to
of the Bandish in the Aalapi (called Bol- the words of the Bandish. She never followed
Aalap), using straight, fast Taans with less her Guru’s Bandish teaching blindly. She
emphasis on long Taans with convoluted made appropriate changes in the Bandish
Gamaks, using very slow rhythmic pace to words to make better sense of the meaning of
explore the melodic content of the Raag, etc., the Bandish. Various emotions intended in
were deviations from the traditional Jaipur the words of Bandishes such as joy, devotion,
Gharana discipline. Taai had a God-given romance, pain of separation (“Viraha”), etc.
gift of tonal accuracy. She further devoted were depicted very expressively by caressing
herself to study microtones called Shrutis. words and notes appropriate to the emotion
She had ascertained “Swayambhoo” Gandhar (“Bhava”). She had complete mastery in the
so accurately, that any Raagas with Shuddha pronunciation of the words of the lyrics to
Gandhar in her voice would surely bring tears express the intended emotions. In Raag Bihari,
to listeners’ eyes. Yaman and Bhoop in her the Bandish “Ye Ho Neend Na Aayi” describes
voice were always divine. Other notes had the pain felt by a separated lover. The urge
equally a magical impact. Rishabh, Dhaivat in “Ab to Aao”, the yearning in the word
and Gandhar in Todi, Dhaivat in Bibhas, two “Sajile” were always heart rending in Taai’s
Komal Gandhars and Komal Nishads with Bihari. She always told me, “Notes are like
different Shrutis in Kausi Kanada are some delicate flowers in your hand. Handle them
examples. “One must surrender to notes”, she gently. Sing with the careful attention to the
used to say. Raagas such as Bhoop, Jaunpuri, notes. Don’t just pay attention to the syntax
Bhimpalas, Shuddha Nat, Khem Kalyan and Taans. Consider poetry and beauty in
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