Here goes one off-beat documentary on Ustad Amir Khan.
One of the most un-celebrated legends of Hindustani classical – Ustad Amir Khan. I am a long time fan of Ustadji. Recently, during a late night work, playing Vilambit Tarana in the background – I rediscovered Amir Khan. In the pin-drop silence of night, Ustadji’s voice drowned me in a ocean of mixed emotions – the feeling of melancholy, but I was enjoying that, his voice was deep – touching my soul – but I felt lighter too at the same time.
He is considered to be one of the most influential figures in Hindustani classical music during the 20th century, together with Bade Ghulam Ali Khan.
Raga Abhogi – Tarana/Khyal In Drut Teental
He developed his own singing style and helped popularise taranas, as well as compositions in Farsi language. Besides singing in concerts, he also sang film songs based on ragas, most notably for the films Baiju Bawra, Kshudhita Pashan, and Shabaab. He died a premature death in a car accident in Calcutta on February 13, 1974.
The death of Ustad Amir Khan in a tragic motor accident in Calcutta in 1974 has created a void in the world of Hindustani classical music. At the present time, when there is a dearth of such gifted artists, his death is an irreparable loss. Had he lived longer he would have had, at least, a number of able and talented disciples to carry on the tradition of his gharana.
In the last 25 years some artists have, by their revolutionary spirit, progressive outlook and creative faculties brought about radical changes in the style of presentation of classcal music. Ustad Amir Khan was such an artist. Like Kumar Gandharva. Amir Khan disregarded the age-old, conventional traditions, and with his intelligence and talent evolved an entirely original style of presentation. He also succeeded in gaining the approval and recognition of critics and connoisseurs.