Rajab Ali & Aamir Khan

A closer inquiry towards Indore Gharana only points towards one fact. Like the exponents of the Kirana or Patiala Gharanas, the vocalists from Indore were also influenced by instrumental music. Apart from this, it is difficult to attribute any indidualistic hue and character to Indore Gharana. We can examine two vocalists who claim to represent Indore Gharana. First is Rajab Ali Khan born in 1874. Rajab Ali’s father Mugal Khan was a disciple of Bade Mohhamed Khan of Rewa and his illegitimate son Mubarak Ali, both were early pioneers of Kawwal Bachha Gharana. (Alla-Diya has spoken about same Mubarak Ali in his autobiography.) Rajab Ali himself learnt from Bande ali, Chunna Bai (from Kirana ) and also had an influence of Alla-Diya. He with his sharp intellect and a razor sharp voice went on to create an individualistic Gayki which was amalgam of all the then contemporary Gayakis. If one listens to his renderings, one comes across mellifluous voice, exuberance of vigorous and intricate Taan patterns which leave listeners breathless. His Ragas and renderings of his Bandish(es) and manner of his unfoldment was punctuated with a remarkable Layakari . And all this had an amazing verve. The khyal presentations were brief, neat and tidy. In all his renderings which are recorded, one comes across extraordinary creative urge which was a hallmark of his Gayaki. He always claimed that he was the true representative of Indore Gharana. It was said that Alla-Diya had advised Manji-Khan to keep listening to Rajab Ali in order to improve his music. On the other hand, Amir Khan, who is always portrayed as another representative of Indore Gharana had prima-facie nothing common with Rajab Ali’s Gayki. (though a closer look would entitle us for a different opinion). His gayki till today has been a subject of much animated discussion in the musical milieu. Amir Khan was virtually a self taught musician. He always vehemently claimed to represent the ancient Merukhand Gayki. However as his large no. of recorded renderings are available, one might conclude that what he sought to project through his Gayki was an uncanny assimilation of such lineaments of the then contemporary Gaykis which were in perfect accord with the natural quality of his voice and his aesthetic ideas. These deeper dimensions of his Gayki made it suis generis. Perhaps it could be said that the contemplative effect of his vilambit (bilampat ) was his distinctive contribution to Khyal Gayki.(which was conjured by those brief spells of silence.) Aamir Khan’s Gayki also kept evolving in the later years. He always acknowledged influence of Abdul Wahid Khan on his Gayki .But all his later renderings, one can find that his gayki began to assimilate some of the salient features of Rajab Ali’s Gayki .(who was for many years a resident of Indore ) and that of Aman Ali’s Gayki (who was a frequent visitor to Indore ).