Innovative and enjoyable

By MOHAN NADKARNI
The Economic Times, September 18, 1988

Representatives of four main khayal gharanas were enlisted for presenting their own versions of what is known as taan in Hindustani music.

The artistes were Neela Bhagwat (Gwalior gharana Shruti Sadolikar-Katkar (Atrauli-Jaipurgharana, Milind Chittal (Kirana gharana and last, but by no means the least, Pandit Dinkar Kaikini (Agra gharana.

Keeping with the variety of style exemplified by the four main gharanas, he listed various types of taans associated with each of them. This was most effectively demonstrated by the various singers through their brief presentations of khayal bandishes.

The recitals began with Milind Chittal who chose a theme in Yaman Kalyan and embellished it with sappat and bol-typetaans characteristic of the Kirana gharana, Neela Bhagwat, who came next, presented Kafi in a brief bandish, embellishing it with not only sapaat taans but also those of tappa type, now whirling, now skidding and now taking unpredictable twists and turns. These are an integral part of the Gwalior gharanas way of khayal presentation.

Shruti Sadolikar-Katkar’s Nat-Kamod bristled with a variety of difficults odd-shaped taans which can be properly described as vakra and also alamkarik (ornate) patterns, for which the Atrauli-Jaipurgharana is famous. Archana Kanhere lent variety to the proceedings when she rendered a popular Mand based Marathi stage song “Khara to Prema” with a taan prakar which goes with the raga based Marathi natya sangeet.

Pandit Kaikini, who came last, is one of the most eminent representatives of the Agra gharana today. Choosing a khayal bandish in Puriya Danashree, he gave many shining glimpses into the taan varieties of the gharana, which are popularly known as by aficionados as meend oriented taan, daanedar taan and bol oriented taan. All these presentations made an abiding impact on the audience. They drove home, once again, the validity of the adage “Example is better than precept”.

Mention must also be made of the splendid instrumental sangat that came from the veteran harmonist and vocalist, Gurudatt Heble and the young percussionist, Omkar Gulwady.