PRIYAANKAA MATHUR
We dive into the
Musical Journey
and Repertoire of
Sangeet Marthand
P andit
J asraj
The words 'Jas' and ‘Raj’ makes him the ‘King of Fame’ and
Undoubtedly, Pt.Jasraj is one of the most iconic and world
renowned figures of the Hindustani classical vocal music
today. Sangeet Marthand Pt.Jasraj who is indeed a 'Rasraj' an
enchanter, capable of evoking the “Bhakti Rasa” (Devotional
Mood), through his renditions, that transcends the barriers
of time and age. Be it ‘Mata Kalika’ or ‘ Om Namo Bhagvate
Vasudevay ’his renditions soaks you in the divine mood taking
you close to the almighty, that’s according to him is nothing but
a blessing of Lord Krishna himself, who once came in his dream
and said you must sing for me!
His ‘Darbari’ is as majestic as a King himself, that moves with
its deep royal poise, taking you to the grandeur of the royal
courts, from where the raga emerged, while his ‘Bihag’ makes
you aware of the tender embellishments, that constitutes to the
depiction of the Shringar Rasa (romantic mood), that portrays
the very feel of the raga, while his ‘Adana’ makes you feel the
power of ‘Shakti’ as he renders ‘Mata Kalika’ with a divine
power, embellished with ‘Vakra’ high pitch Taans, that gives
this sister raga of Darbari its very own unique form.
Born on 28 January 1930, in Pili Mandori, a village in the Hisar
District of Haryana, this master craftsman of notes belongs to
the Mewati Gharana of Hindustani Classical Music, and is the
son of Pt. Motiram who was a classical singer. Young Jasraj was
initiated into vocal music by his father, but was also trained
in Tabla to accompany vocal performances of his brother
Pt.Maniram, unfortunately life had its own turns for him and at
the tender age of 4 Jasraj lost his father.
Success doesn't come easy in the field of Hindustani
classical music or for any field of art for that matter. Those were
the times when Sarangi and Tabla players were considered
as minor artists. By the time Jasraj reached the age of 14, he
refused to take that treatment from his fellow musicians and
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vowed not to cut his hair, until he mastered the vocal art form to
perfection.
Thus, at the age of 15 began his vocal training under
Pt.Maniram, and later with the vocalist Jaywant Singh Waghela
and Ustad Gulam Kadar Khan of Mewati Gharana. It was
his first AIR Radio performance, where he sang Raga Kaunsi
Kanada that is indeed a complex raga, after which he resolved to
cut his hair, thus showcasing impeccable grit and determination
at that very age!
Today at the age of 85, known for his precision, diction and deep
timbre, the maestro has a vocal range that extends across three
and a half octaves. Although following the Mewati Gharana
repertoire, Panditji incorporated his traditional khayals with
some delicate nuances of semi classical forms like ‘Thumri’
bringing flexibility in his khayals, thereby enhancing their
aesthetic appeal. He did extensive research on the ancient
temple music "Haveli Sangeet and "Kirtan" music and included
many ‘Krishna’ compositions in his classical repertoire.
A virtuoso in himself Panditji is an excellent composer, which
is evident from his novel innovation called the "Jasrangi
Jugalbandi", based on the ancient system of ‘Moorchhana’,
between a male and a female vocalist, who simultaneously sing
two different ragas at the same time, but in two different scales.
From popular ragas to a wide variety of rare ragas such as Abir
Todi and Patdeepki that he performs with his dedicated students
learning at his Gurukuls, where they gain deeper appreciation of
the Gayaki of Mewati Gharana and other aspects of Hindustani
music and tradition, helping them shape as future artists.
Panditji believes that classical Music belongs to everyone
and has taken several initiatives in conducting lecture-
demonstrations for the understanding of the commoners.
Recipient of many awards, Panditji's, greatest achievement is
the adulation and love of his connoisseurs, which has inspired a
whole new generation of Hindustani classical vocalists.