Ustad Amir Khan, known as Khansaheb, is celebrated as a master of Hindustani music, revered for his unique vocal techniques and profound understanding of ragas.
Few musicians in the world achieve the gold standard for their respective genres, and Hindustani music is no exception. Each master within this tradition possesses distinct strengths, and discerning listeners can appreciate the unique qualities of their voice, culture, technique, and artistic development.
When a master fully embodies the raga they are performing, demonstrating exceptional skill in the various vocal techniques required in Hindustani music, it sets a benchmark—a gold standard—of how to showcase a particular raga.
One such genius was Ustad Amir Khan, affectionately known as Khansaheb.
As I began my journey into Hindustani music, my gurus and peers often referred to Ustadji as perhaps the greatest exponent of classical music in history. At the time, I struggled to understand what made his music so extraordinary. Was it his voice, his cultural background, his style, or his presentation? In my naivety, I simply categorized him as an old master.
However, after revisiting Ustadji’s music, my perspective has shifted. By immersing myself in his vilambit khyal (slow compositions) across various ragas, I have developed a deeper appreciation for the nuances of Amir Khansaheb’s musicianship, as revealed through his recordings.
Morning ragas, which are considered suitable for the early hours of the day, evoke specific emotions and resonate with both performers and listeners. Khansaheb’s interpretation of morning ragas, particularly his rendition of the well-known raga Bilaskhani Todi, showcases his exceptional talent.
In his performance, Ustadji begins with a vilambit khayal in the taal (beat cycle) Jhoomra, singing ‘hē bairāgi rūpa dharē.’ His mastery is evident as he develops the raga, displaying unwavering control over his lower vocal range. Ragas like Bilaskhani Todi often carry a grave and contemplative quality, and Ustadji’s deep bass voice reaches the lower rishabh (re) with the same gravity and volume as the rest of the scale. Unlike many musicians who soften their voices in the lower range, Ustadji glides seamlessly between the main and lower saptak (octave) without losing intensity.
As he continues to develop the raga, his phrasing becomes increasingly clear. Each time he explores a new swara (note), he does not abandon the rest of the scale. Instead, he incorporates the surrounding notes to illustrate how they fit within the overall structure of the raga. This approach creates a cohesive picture that leaves the listener with a sense of fulfillment once the vilambit khayal concludes.
As the day transitions to dusk, Khansaheb’s voice remains unwavering. One of his most celebrated performances is his rendition of raag Marwa.
He begins with another vilambit khayal in Jhoomra, singing ‘rē jaga bāwarē.’ Notably, the swaroop (framework) of Marwa does not emphasize the lower saptak as much as Bilaskhani Todi. Understanding this nuance, Ustadji spends less time in the lower register, instead relating it to the swinging dhaivat (dha) and rishabh around the shadja (sa). Each avartan concludes with a delicate touch on the shadja, a key characteristic of Marwa that Ustadji skillfully explores.
The relative scope of these two ragas is significant. In Hindustani classical music, a phrase-based raga like Bilaskhani Todi typically limits the extent of unique development, while the developmentally-based Marwa allows for greater exploration. In both instances, Ustadji leaves the listener with a feeling of completeness, having thoroughly explored the raga without leaving any jaga (‘room’ or ‘idea’) unaddressed.
This recording exemplifies why Khansaheb is often referred to as a ‘musician’s musician.’ His use of various techniques, such as sargam, layakari, and taan, is not formulaic. Instead, his presentation of these elements evolves dynamically as he progresses through the raga. Although there are clearly defined phases in his performance, they flow seamlessly from one to the next.
Khansaheb concludes the vilambit khayal and transitions into his renowned presentation of a bandish (a smaller piece), ‘guru bina gyān nā pāvē.’ After introducing the words of this bandish, he effortlessly launches into intricate sargam and taan patterns. His style remains fresh and innovative, avoiding repetition of the phrases from the vilambit. One after another, he employs the merukhand style to elaborate on these taans.
Merukhand, a concept largely popularized by Khansaheb, utilizes mathematical permutations and combinations of note sets within a raga to create complex taan patterns. In an interview, Khansaheb noted that there are 5040 different combinations mathematically, but only a select few are musically viable. By incorporating his entire vocal range and artistic vision, Khansaheb delivers a powerful conclusion to his performance.
As a mentor, Khansaheb profoundly influenced disciples like Pandit Amarnath, his foremost student in Indian classical music. Panditji’s music reflects the themes and styles of Ustad Amir Khansaheb, albeit with a smoother and softer voice quality.
Ustad Amir Khan dedicated his life to perfecting his craft, earning respect for his artistry. He remains a classical performer whose work continues to inspire and fascinate artists today, celebrated for his innovative ideas and creativity within Hindustani classical music.
Source: Original article