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Kirana Heritage: Khayal singers are generally classified according to gharanas, established schools or styles of singing with distinct approaches to repertoire, aesthetics and vocal technique. Gharana is derived from the hindi word ghar, meaning home, each getting its name from the name of the place to which the founder musician belonged. The Kirana gharana derives its name from the place Kirana near Saharanpur in Uttar Pradesh, with its foundations laid by Abdul Wahid Khan and Abdul Karim Khan in the early twentieth century. Today, Pandit Bhimsen Joshi is universally acknowledged as the chief exponent of this style. Melodious and soothing are amongst the most common adjectives used to describe the impact created by musicians of the Kirana gharana. The effectiveness of sur, the perfection of tone, pitch and tune, is considered a very important aspect. Due to this, the Kirana gayaki reaches the hearts of those who may not have the technical awareness of raags as well as the more discerning listeners. Amongst other features are its use of highly intricate and ornate sargam taans.
Anand Bhate: The popularity and critical acclaim enjoyed by vocalist Anand Bhate in his native state of Maharashtra is now deservedly spreading to further shores. His evocative renditions of lighter classical forms such as thumri, bhajan and natyasangeet as well as his assured command of the art of khayal have been the basis of his worthy successes to date. Anand was considered a child prodigy born of a family well versed in Indian classical music as well as Marathi drama. His great-grandfather, Bhatebuva, was known for his prowess in rendering thumri and natyasangeet. Chandrashekhar Deshpande - his teacher's efforts led to a remarkable debut concert performance by Anand in 1981 at the age of just 10. His renderings of Balgandharva's gayaki drew spontaneous rave reviews, leading his peers to bestow on him the title of 'Anand Gandharva'. In Hindu theology, Gandharvas act as messengers between the gods and humans. In 1988 a long standing dream was realised when he committed himself to exhaustive training under the guidance of the legendary Pandit Bhimsen Joshi, a move which has made a huge impact on his approach to both the technical and aesthetic aspects of his music. In this excellent First of the two albums Anand is accompanied by Bharat Kamat on tabla, Dnyaneshwar (Mauli) Takalkar, now in his eighties playing Tal or Zanj, a type of cymbal commonly used in Marathi music and Suyog Kundalkar on harmonium.
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