Ahoy Ajoy!

Ajoy Chakraborty's music is as unique as the musician himself

Ajoy Chakraborty: 'There are few compositions that can actually carry the weight and demands of a raga.' — Photo: K. Gajendran

ONE SELDOM associates Pandit Ajoy Chakraborty with designer kurtas or with a carefully constructed mystique. His music does not need the props of eccentricity or affectation to legitimise itself. Neither does he boast about his performances.

Despite being one of the finest Hindustani classical vocalists, he feels that the division between light music and classical music is a false one. "Why can't we openly and enthusiastically say that Ashaji (Asha Bhosle) is one of our greatest musicians?" he asks. His answer to the question is equally candid: "Most classical singers cannot say that Ashaji is one of the greatest because many of them cannot sing as well as her." Ajoy Chakraborty is an unusual musician.

He was taught by such illustrious gurus as Ajit Chakraborty (his father), Pannalal Samanta, Kanaidas Bairagi, Pandit Gyan Prakash Ghosh, and by Ustad Munawar Ali Khan (son of the legendry Bade Gulam Ali Khan). But today he says he feels like learning from everyone. "There is no end to the extent to which I learn from youngsters," says Panditji, and goes on to illustrate his point.

Word quibble

He once heard Zainul, a young scholar in the ITC Sangeet Academy, who had been taught by Ustad Latafat Khan, singing a composition in Yaman. "Zainul, teach me this bandish," requested Panditji. Zainul protested saying why use the word 'teach'. "I said, whether one uses the word 'take' or 'teach', in the end it is learning. Whatever touches the mind and the heart and if one yearns for it, never mind what word you use, it is still learning," says the maestro.

There was a time when Ajoy Chakrabarty sang exactly like Munawar Ali Khan. One day his father said to him, "Where is your own singing? I want to hear your own music. Khan saheb's legacy, his food, his biryani, his notes, his father — none of that is yours. You must sing whatever you have learnt in your own way." This comment made the young Ajoy think and work towards creating a style of his own.

A postgraduate, he feels that education is crucial to becoming a good musician. Why? Because a good education is like an inner guardian, an inner police, an internal critic. It gives the inspiration and impetus to develop a sense of limits, a sense of modesty, and an impulse to contribute.

Panditji contributes to music education today through his school of music, Shrutinandan, where he has simplified the instruction and rationalised musical education. His inspiration comes from an extraordinary insight into the structure of ragas. "No artiste can sing a raga. All you can do is to surrender yourself to a raga, and, then the raga will tell you what you must do," he says emphatically.

Having said this, he springs a surprise. "If you are Zakir Hussain and you sit in a Mercedes, you will look nice and can carry it off." He pauses. "Similarly, there are few compositions that can actually carry the weight and demands of a raga. Everyone sings Darbari, but where are the compositions that do justice to the raga?"

Raga Darbari

What about the famous Darbari renditions by legends like Bade Ghulam Ali Khan and Amir Khan? "Their focus was on the rendition, the gayaki, not on the composition. There are few compositions that bring out the character of a raga."

On being complimented for his impeccable rendition of Raga Jaijaiwanti, he gives the credit for it to the earlier interpretations of the same by great masters.

We return to the question of a musician being an eternal student. "We have before us the great masters," he says, and then adds to the illustrious list with his characteristic generosity the names of young and popular musicians. "Listen to them, and take what you want from them. But sing in your own way."

What happens if you manage to develop your own individuality and style?

"Even if you become a lion or a tiger, you will still not get a place at Saraswati's feet. You have to be a swan to be at her feet: drink the milk like a swan and leave the water out."

JYOTIRMAYA SHARMA

Source: The Hindu, Saturday, Mar 19, 2005

Article credited to Adi

Ajoy Chakraborty
Live on the BBC

Image of Ajoy In 1997, the BBC hosted a series of concerts to commemorate the 50th anniversary of India's independence from Britain. These concerts were hosted by Mark Tully, at the time the New Delhi station chief for the BBC. Included in the series are two performances that appear here: this vocal recital by Ajoy Chakraborty and a recital by Ustad Amjad Ali Khan and his two sons.

Pandit Ajoy Chakraborty is one of the rising stars in the world of North Indian classical vocal music. He is joined in this performance by Samar Saha on tablas and Sanjoy Chakraborty on harmonium. The recital consisted of two pieces. The first was described as a light classical thumri kajri, and the second a full khyal using the South Indian raga Hamsadhwani. Included here is also a brief excerpt of an interview with the host Mark Tully.

These pieces were recorded from a radio broadcast in mono. They were encoded at 96 kbps mono, which is the rough equivalent of 192 kbps stereo. They appear here by the kind permission of the BBC.

* http://www.asianclassicalmp3.org/Ajoy_Chakraborty_-_Thumri_Kajri.mp3
* http://www.asianclassicalmp3.org/Ajoy_Chakraborty_-_Hamsadhwani.mp3
* http://www.asianclassicalmp3.org/Ajoy_Chakraborty_Talks_with_Mark_Tully.mp3

Article Credited to Adi

A bengali song of Pt.Ajay Chakroborty

http://www.musicindiaonline.com/p/x/PUOr.Vbns9.As1NMvHdW/

Article Credited to Adi

The Times of India November 07, 2003

Legends born and bred in a classical tradition



Ratnottama Sengupta

When Sangeet Research Academy was set up in 1978, it offered a new home to legends of Hindustani music like Nissar Husain Khan, Hirabai Barodekar, Latafat Hussain Khan, Nivruttibua Sarnaik and Girija Devi. Twenty five years later it is home to today's legends, such as Ajoy Chakraborty, Ulhas Kashalkar, Rashid Khan, and Girija Devi. This continuity reflects our classical heritage and Chief Minister Buddhadeb Bhattacharya will salute this celebration of heritage by inaugurating the three-day festival on Friday.

Significantly, Ajoy Chakraborty was a scholar when the earlier gurus taught at SRA. Today, the master boasts a star shishya in daughter Kaushiki. Ulhas Kashalkar, who joined 10 years ago, claims the largest number of disciples. Girija Devi, who receives the ITC Award, returns to the fold after years. And Shruti Shadolikar joins the academy where Rashid Khan was raised by Nissar Hussain of Rampur Saheswan gharana.

The interim years have seen the academy renowned for its vocalists, bring instrumental music within its fold. "The appeal of sitar and sarod have grown tremendously, so we introduced Buddhadev Dasgupta," informs director Amit Mukherjee. The present concerts build on this with santoor by Bhajan Sopori and flute by Ronu Majumdar being crowned by sitar by Vilayat Khan, Tabla by Nayan Ghosh and recitals by Devashis Dey and Manjiri Kelkar are other highlights.

"SRA's most noteworthy contribution is that it turns out performers," says Kashalkar, a Gwalior-Jaipur voice. "It has no stipulated course nor confers any degree, but it turns out Kalakars in a way no music school or university does." And this is possible only because the gurus and disciples share several years of their life, along with cultural values and devotion to music.

There's just one regret: "Our students come to us only after graduation. At age 22, their voice has matured, often under another guru, and that can be a handicap," explains Kashalkar.

"Classical music is not a course you can finish in months and launch on a lucrative career," Mukherjee points out another hurdle to the continuity. "Nor is it relevant to the masses. So, even talented exponents go through periods of insecurity." This is heightened when sponsors, the new patrons of the arts, seek only young-and-voluminous-audience.

This is precisely where SRA has scripted a success story. "We'd started with maestros who'd peaked in the concert circuit," says Mukherjee. "These gurus were happy to trade their traditional homes for an assured income and an opportunity to teach their art." Today, when Kashalkar and Mashkoor Ali Khan boast of students like Onkar Dadarkar and Arshad Ali, they know their art will live in the future.

Article credited to Bob

Vocals



Pandit Ajoy Chakrabartyis one of the most talented and versatile vocalists in India. His career flourished under the guidance of Pandit Gyan Prakash Ghosh, and in 1971 he became a disciple of Ustad Munawar Ali Khan.

He has continued to prove his excellence in various genres of music, and was the first Indian classical vocalist invited to perform in Pakistan. The vocal style or Gayaki of Ustad Bade Ghulam Ali Khan suited Ajoy admirably and fitted into his musical frame and personality.

In 1977 he joined the Sangeet Research Academy SRA as a scholar where he made a significant contribution to the vocal tradition both as a teacher and as a performer. He emerged as a true inspiration to many young aspirants of this art.

Ajoy has also established Shrutinandan, an institution for imparting practical knowledge of Indian vocals to musically gifted children and music lovers.

Article Credited to Bob

In honour of Bade Khansaheb

JYOTIRMAYA SHARMA


Ajoy Chakrabarty's concert was in tune with the spirit of Ustad Bade Gulam Ali Khan's soulful works.

Pandit Ajoy Chakrabarty chose Raga Bhupali to commence the concert organised by Surmandal on the eve of Ustad Bade Gulam Ali Khan Saheb's death anniversary. A direct disciple of Khansaheb's son, Ustad Munnawar Ali Khan, Panditji has imbibed the best that Bade Khansaheb's style had to offer. In choosing Bhupali, a raga on which Bade Khansaheb had left his own imprint, Panditji opened with a vilambit composition dear to his musical mentors, Prabhu Rang Bina.

This raga is an early night raga, and its central idea is expressed eloquently in texts such as Raga Kalpa-druma, Sangita Darpan and Shiva-Tatva-Ratnakar: 'High-breasted, her radiant white body reddened with saffron, her face a heart-entrancing moon. When all is still, with bitter grief Bhupali remembers her absent Lord'. Yet, in the process of development of the khayal form, and the composition mentioned above, this sentiment, while retaining the quality of the oppressiveness of the night, transforms itself into one of cosmic and spiritual longing, as well as reluctant detachment. So, the movement from prabhu bina to mohe sab sukh dina exemplifies this mood.

A few questions


While Pandit Chakrabarty remained faithful to all the elements of Bade Khansaheb's singing in the vilambit, whether it be the harkats of the Punjabi style, or the bol-anga or the taans, preceded by a leisurely aalapi, his choice of the drut composition, Torey Nainon Ne, was a surprise. Abandoning the majestic Deva Maheshwar Mahadev piece in favour of eyes, however alluring, left questions unanswered. Panditji has often said that many compositions are unable, often, to carry the weight of a raga. Was this an instance of this inability to carry the movement of Bhupali? Are we so enchanted by this composition only because of the quality of Bade Khansaheb's rendition, rather than the composition's fidelity to the raga? If this be so, why did Panditji himself render the more popular drut bandish in a recent recording? The tarana in the end was a fitting finale to the spirit Bade Khansaheb brought to this raga, but the absence of the more popular Deva Maheshwar rankled.

The second raga Ajoy Chakrabarty sang was Bihag. Again, in the choice of the vilambit composition, Panditji paid his musical debt to Bade Khansaheb by singing Kano mein Karna Phool. If one goes to several recordings of Bade Khansaheb, of which I am partial to a 1956 Bombay recording at a live concert, and if one compares these to Pandit Chakravarty's rendition, one is forced to concede that Ajoy Chakravarty brought something distinctive to the vilambit composition while remaining faithful to his musical lineage. This was inherent in his leisurely and unhurried treatment of the development of the raga, especially the purvanga or the lower half of the scale.

The treatment of the pa ni sa ga cluster of notes along with pa ma (tivra) ga ma ga phrase was as it ought to be in Bihag to bring out its distinctiveness.

'Drut' compositions


As if to consolidate his unique treatment of Bihag, Panditji sang four drut compositions in this raga. The Kirana Gharana inspired Chinta Na Kar Re was followed Neha Chhal-chhal Bihag Ka Naina. Then, the Bade Khansaheb favourite, Ab To Lat Laagi Mohe, and finally, Jhoom Jham Dhoom Dham.

While musical aficionados swear by Bade Khansaheb's thumri renditions, my ears have never been able to transcend the Banaras-Lucknow axis in thumri in favour of the Lahore-Patiala axis. Moreover, one has always wondered whether men, with the exception of Birju Maharaj, can really ever bring to fore the delicacy and tenderness of a thumri composition. Panditji presented two signature thumris that are inextricably associated with Bade Khansaheb, the Pilu thumri, Kate Na Biraha Ki Raat, and Aaye Na Baalam in Bhairavi. Neither Ajoy Chakravarty's outstanding voice, nor his musical genius, nor this musical thoughtfulness could bring the delicate soul of thumri to life.

The rendition served well as a sliver of nostalgia, but remained just that.

The concert was rounded off by Panditji singing Hari Om Tatsat, a bhajan immortalised by Bade Khansaheb.

Article Credited to Bob

"Great geniuses have the shortest biographies, their cousin can tell you nothing about them". This observation of Emerson is particularly pertinent if the genius and achievement of Pandit Ajoy Chakrabarty are sought to be explained by a reference to his biography. If we describe him as an Indian Classical Vocalist only we might just as well say that the Moon is just a satellite of earth, nothing more.



An Indian classical vocalist though he is, his presentation of the traditional music of India reverberates human emotions with all their nuances which makes a universal and perennial music of mankind possible. Genius does what it must, so Ajoy would sing before he could talk. His parents had fallen on hard times when he was born in 1952, but spared no pains for fulfilling the great expectation the child raised. His father Mr. Ajit Chakrabarty walked him first through a musical course of life, and oversaw afterwards his training under great teachers like Late Kanaidas Bairagi, Pandit Jnan Prakash and Late Munawar Ali Khan who could not help bequeathing to their numerous students could preserve the rationality of the tradition purging it of foul accretions.

Paul Valery once remarked - "Talent without genius is not much, but genius without talent is nothing whatever". Genius combined with exceptional talent earned young Ajoy Gold Medals in B.A. Honours and M.A. examinations of Rabindra Bharati University, Calcutta, and the singular distinction as the first elected Fellow to receive gold medal from the Sangeet Research Academy, Calcutta, a premier music institution of India devoted to the promotion of classical music in India and abroad, where Ajoy joined as a Scholar but was in a few years assigned the rank of Guru and member of the Expert Committee, in recognition of his extraordinary expertise in the field of music.

Ajoy has had many more "first" and "best" besides. He was the first Indian Classical Vocalist who was invited to perform in Pakistan.

He was the first recipient of the Kumar Gandharva Award the most prestigious National Award for the best musician of India under forty five years of age.

As the musical genius prompts him to respect and cultivate all kinds of good music he has been proving his unique excellence in various genres of Indian music. Hence he received the President's Award for the best male playback singer in 37th National Film Festival 1990 and many State Awards of note.

Since 1981, when he was in twenties, Pandit Ajoy Chakrabarty has been spanning the cultural gulf between India and the West through his extensive musical tours in Europe and America by transmuting Indian vocal classical music in a universal idiom of feeling. Numerous albums, records and CDs of his classical songs published in India and abroad endear him even to those listeners who do not know the language of the lyrics. This has been possible only because his style of singing embodies all the elements of classicism which have stood the test of time. The discography will reveal the facts.

In the annals of Indian culture the achievements of geniuses have been found to be relevant not only to their own people and times, but to the posterity as well. The mission to which Pandit Ajoy Chakrabarty has addressed himself illustrates this truth. He has conceived and founded a music institution first of its kind in India, nay in the world. The name of his institution is "Shrutinandan" which has been designed for imparting practical knowledge of the basics of vocal music to musically gifted children in order that they may realize their potentialities as worthy artistes by adapting themselves to further training and thus perpetuate a valuable tradition by imbibing the good elements of musical styles from different sources. It is meant for musically talented children and genuine music lovers from all section of society, and does not address itself to an elitist patronage. Here people with genuine interest in music will be educated to appreciate Indian classical music. Such an institution was founded never before. Pandit Ajoy Chakrabarty, at this young age has broken new grounds and devoted himself to the noble cause of music at the expense of his professional and personal gains. A genius alone can see beyond the ken defined by self-interest.

http://www.ajoychakrabart.blogspot.com/

Pandit Ajoy Chakrabarty's voice conveys the spiritual and peaceful message of Indian

Raga music, the music of the human soul, the abode of the divine.

Vocal - Pandit Ajoy Chakrabarty

Tabla accompanist - Shiv Shankar Roy

Harmonium accompanist - Chiranjib Chakraborty

Tanpura accompanists - Ranjana and Chandra

'A Chapel or any place of worship is a house of God. People assemble there for a blissful awareness of their relation to the Creator and Preserver. This awareness is a pressing need of the present, as violence and destruction of a global magnitude imperil human civilization and culture.' Pandit Ajoy Chakrabarty.



Vocal music remains at the heart of classical music in India, where the human voice is considered a divine musical instrument, expressing the most intimate secrets of the soul.

Pandit Ajoy Chakrabarty is one of the most popular and influential vocal musicians from the Indian sub-continent today. It is said that the young Ajoy could sing before he could talk. At a time when a career in music was not looked at favourably in the aspiring social circles of Calcutta, his father Mr Ajit Chakrabarty recognised the potential of a musical genius in the making, enduring hardship rather than sacrificing his son's music training.

Initially, Ajoy was sent to study with Pandit Gnan Prakash Ghosh, the most influential Bengali music teacher of the twentieth century. His rigorous training with Ustad Munawar Ali Khan, introduced him to the distinctive Patiala style of singing made famous by the legendary Bade Ghulam Ali Khan. The Patiala gharana, developed in the state of Punjab in the nineteenth century, is characterised by the use of a full-bodied, resonant voice over three octaves.

This cd features a full-length live performance recorded at Union Chapel, London on 25th May 2002. It demonstrates Pandit Ajoy Chakrabarty's consummate vocal skills and his command of several genres of Indian music including Khayal, Thumri, Bhajan and Bengali light music, capturing the true spirit of both the ancient and the modern. Shib Shankar Ray is the most sought after UK based tabla accompanist, and a fellow disciple of Gnan Prakash Ghosh.



CD 1

Raga Shudh Kalyan - Khayal (track 1-2)

Composition: Gnan Prakash Ghosh

Lyric (Hindi)

Ajki ghadi subha ho

Sakala karam ho suphala sukhadai

Guni yo ke guni jiyo sau barasa

badhe dina dina tihari adhikai

Translation:

May the day and the hour be auspicious

May all efforts be crowned with success

May the learned and servant live one hunderd years

May he prosper evermore

Khayal is the most popular vocal style in Indian classical music offering the artist great flexibility for improvisation. India's classical music seeks to establish a close correlation with natural cycles and phenomena and evoke the emotions associated with them. Ragas are classified according to the times of the day and the seasons of the year, and are rendered according to the moods that are considered aesthetically compatible to them. Raga Shudh Kalyan is associated with the early evening, and strives to induce a serene and devotional state of mind.

The performance begins with a short alap, introspective in nature, gently introducing the notes and characteristic phrases of the raga.

The composition is accompanied by a slow tempo rhythmic cycle of twelve beats (ektaal). Through this part of the performance the soloist explores the raga in depth, initially creating combinations centred on the lower notes of the octave, gradually incorporating higher notes. After establishing the mood, the singer develops more complex and demanding permutations, exploring limitless musical possibilities using the syllables (Sa,Re,Ga,Ma,Pa,Dha,Ni,Sa) with apparent ease.

Track 2 is a traditional composition in the faster tempo 'tintaal', comprising of sixteen beats.

Lyrics (track2)

Bajore bajo mandilara

Sughara sughara nara nari mila karahu

Ananda rahasa rasa gave hu mangalara

Ika sama dhana sanga caunka puravo

Ika sama dhana gara darohi harava

Ikahasa hasa ghisa lavo sandalara



Translation:

'Now is the moment of rejoicing as our beloved and god is now in our midst. Beat the drums and cymbals, garland him, anoint him with sandal paste'.

Raga Jog -Tarana (track 3-4)

'This raga expresses and evokes a joyful albeit quiet perception of the union with the Absolute'

Tarana incorporates nonsensical syllables and phrases like 'na, ta, dhum, tirakita and dhiredhire', borrowed from the repertoire of the tabla and pakhawaj drums, and the kathak dance rhythms. Track 3 features a Tarana composed by Gnan Prakash Ghosh set to Jhaptaal, a ten beat rhythmic cycle. Raga Jog is a relatively recent raga, which has become increasingly popular in latter part of the twentieth century.


lyric (track 4)

composed by Gnan Prakash Ghosh

Dhana Jovana nadi nao sanjoga

Kahata guni gyani jagame saba karata apani

Apani karani ka bhoga

Ae hasen saba jaye to roye

Inuhi bhugata saba loga

Translation:

'The relation of youth and wealth are like that between the river and the boat. The sages say that people suffer and enjoy according to their deserts. Coming into being and passing away bring joy and sorrow respectively'.


CD 2

'Paiyan Padu Tore Shyam'- Thumri. (track 1)

Thumri in Raga Desh composed by Darasha Piya alias Mehboob Khan

'Desh is generally considered a Raga of the rainy season, but ideally it expresses and evokes emotions caused by the separation and distance from the beloved. The beloved one may be God Himself.'

The composition is sung in a rhythmic cycle of eight beats called Yat (or Jat), which is used mostly to accompany Thumri. This musical style often portrays the various romantic episodes from the lives of the divine lovers Lord Krishna and Radha.

Lyric:

Paiyan padu tore Shyam

Kaheko chalbhaliya karata

Darasa piya se vinati karata

Manata nahi hama vatiya

Kahe satao dina ratiya

Kabhi to ao hamare dham

Translation:

I fall on your feet in prayer

Why are you playing fast and loose?

Darasha Piya entreats you, but you are not

Paying heed to his entreaties

Why do you give me pain day and night?



Thumri (track 2)

'Ke Sang Kheloon Mein Bhag' (trans. 'Who should I play with')

This a thumri based on Raga Sohini made famous by Bade Ghulam Ali Khan. Sohini is traditionally a popular raga in the Punjab area of India and Pakistan. This track features two compositions, the second 'Aur Mari Abir Gulal' is a celebration of the throwing of colours at the Festival of Holi.

'Aye Na Balam' (track 3)

Dadra composed by Bade Ghulam Ali Khan (taal - Keherva 8 beats)

The rendition of this song reveals elements of Arabian music along with those of Jazz music. Moreover, elements of a number of Indian Ragas have been happily synthesized here to express and evoke the urge for union with the supreme object of love and devotion.

Lyric:

Ka karu sajani aye na balam

Tadapata viti mori unavina ratiya

Sajana tuma mat jani o ke tuma bichude ham caina

Jaise vanki gili lakdi sulagata dina raina

Rovata rovata kala nahi aye

Tadapa tadapa mohe kala nahi aye

Nisadina mohe viraha satave

Yad avata jab unaki vatiya



Translation:

What shall I do, my beloved has not come

My nights are spent yearning for him

The pangs of his seperation is ever burning my heart

like fire in wet logs of wood

Incessant weeping does not let me sleep

Pining gives me pain night and day

Whenever his thoughts occur to my mind



'Ghum Ashey na' (track 4)

A Bengali modern song composed by Shri Amalendu Bikash Kar Chowdhury. The song is not predominated by any Raga. There are elements of folk music in it.

Lyrics:

Ghum ase na du cokhe amar

Acho kena nayana jude

Ami kamone katai e rat jani na

Kata katha bhid kore ase mone

Kata chabini dhara du nayane

Smritir buke kena kate santar

Andhare balo na



Translation:

'Sleep does not visit my eyes as you are constantly in my vision. I do not know how shall I spend this night.

Memories crowd in my mind, visions of days gone by throng in my sleepless eyes. In the dark they swim in the stream of memory'.

Bhajan (track 5)

Bhajan is a popular Hindu devotional song type. This composition was written by Kabir, a saint of India.

Lyric:

Moko kahan dhundo re vande

Mai to tere pasame

Na tiratha me na muratame

Na ekanta nivasa me

Na mandira me na masjid me

Na kashi kailas me

Mai to tere pasa me

Na mai jap me na mai tapa me

Namai vrata upavasa me

Na mai kriya karma me rahata

Na mai yag sannyasa me

Khonji hoye to turata mil jaun

Expalahi ki talas me

Kahe Kabir suno bhai sadho

Mai to hun visvasa me

Meaning: Where are you seeking me, O devotee,

I am always with you.

I do not live in a temple or mosque

Neither in pilgrimage nor in idols do I live.

Neither in Kashi (Benares) nor in Kailash.

I am always with you.

'You will not find me by turning rosaries nor by penance, nor by sacred vows, nor through fasting, you will not get me through rituals and sacrifices, nor through renunciation'.

If your quest is sincere then you will find me in a moment. Kabir says " Oh saints hear me" - God is to be found only in the unwavering faith in Him.

The song ends with incantation of Sanskrit verses signifying the unity of all religions truths and the most vital role of preceptors including one's mother in leading the aspirant from darkness to light.

Kabir here stresses the syncretic spirit of Indian religion. There are many sects and cults, but God is One. Therefore, religious difference which is the cause of so much violence should not blur the truly spiritual vision of man.'


Notes: John Ball

Quotes and Translations: Pandit Ajoy Chakrabarty

http://cdbaby.com/cd/ajoychakrabarty2

Some songs to hear:

http://ww.smashits.com/associates/bollywoodworld/index.cfm?P%20age=Audio&SubPage=ShowTracks&AlbumID=5818