Download Ustad Vilayat Khan mp3

Artist: Ustad Vilayat Khan: mp3 download    Genre(s):  Other     Discography:      Raga Enayetkhani Kanada    Year:     Tracks: 2 Vilayat Khan, one of the sterling Hindustani musicians of the 20th century, was born in Gouripur in East Bengal (later Bangladesh) in August 1922. (Various early dates ar strewn throughout the literature but that is the appointment that he confirmed in 1993.) His granddad, Imdad Khan (1848-1920) and his sire Enayat Khan (1894-1938) -- Vilayat Khan gives the spelling Inayat Khan -- were renowned musicians in their lifetimes and Vilayat and his jr. brother Imrat Khan transmissible their musicalness. Their gharana is known as the Imdadkhani gharana subsequently their gramps. He studied initially with his father. On his father's demise in 1938 his preparation became the province of his mother, Bashiran Begum, his nan, Bande Hussain Khan, and his parental uncle, Wahid Khan. Around the like menstruum Vilayat Khan began recording 78s. Peculiarly it is reported that he had to cope with abominable comparisons with his sire. Gradually he developed a style which, while acknowledging his kinsfolk's contribution, spoke with his own distinctive voice. His most outstanding contribution to his gharana's tradition is the development of what is known as a vocal style or gayaki aNG on sitar. To some degree this is a term of convenience. Other contemporary musicians were pains to modernize subservient styles which more closely resembled the human voice -- it was after all the finish of all instrumentalists to mimicker as far as possible the human voice -- and Vilayat Khan did not have a monopoly in this effort any some commentators claimed. That is not to take away from his accomplishment which was considerable and caused a sensation. Vilayat Khan's strides in compensating for the sitar's shortcomings were huge. His career was marked by a regally consistent musical quality. An outspoken critic of low standards, he maintained levels of personal integrity that on occasion earned him the disapproval of the governance. Little of his function was in whatsoever context other than the rigorously classical one although he worked with Satyajit Ray on the soundtrack to the film Jalsaghar and the Ismail Merchant/James Ivory film The Guru. He might be summed up as a keeper -- not a quencher -- of the flame.