Kolkata, WEST BENGAL:
Ustad Jainul Abedin’s talent is indisputable but is yet toget his due.
The coveted “Sangeet Bharati” title was bestowed on Ustad Jainul Abedin, in a devotionally charged ambience at Sree Satyananda Devayatan on the final day of the 115th birth anniversary of Thakur Satayananda. “Sur-yoga is the easiest way to reach God,” was the philosophy of Thakur who groomed Archana Puri Maa, his spiritual daughter, to lead the way through her divine creativity in the arena of music and literature. She, as the beacon of the Devayatan, converted it as the haven of music where eminent musicians offer their music and receive blessings; Abedin being one of them who also encourages his disciples to begin their melodic journey with divine sanctions.
An ardent admirer of the young Ustad, Maa did the honours and listened to his melodious renderings that once again proved that he remains a devout devotee of his Ustad, the late Latafat Hussain Khan and his unalloyed Agra Gharana tradition replete with the elaborate alap. The latter’s intangible beauty, carefully avoided now by almost all Agra exponents, pulsates with piety in Abedin’s musically rich voice and lingering notes which have no trace of the gruff utterances associated with the gharana. All this makes the slow segment of his alap a real treat!
But Agra is far away from the modern abstract-ism a la Indore gharana. Conversely, it is incorrigibly tangible. Abedin’s warm persona unfurls petal by petal during his typically gharana-based “extrovert” style of handling the jod segment of the alap, the bol-baant (lyrics-based rhythmic divisions), the bol-banav (melodic improvisation of the lyrics), the bold and powerful taans, the varied patterns of rhythm-play, the saath-sangat (simultaneous improvisation) and sawal-jawab (dialogue) with the tabla and make his presentations remarkably charming.
Despite being blessed with all the virtues of a great musician, what keeps him under-rated and out of star-studded concert stages; so much so that at a recent all India congregation of Agra gharana representatives in Bhopal did not see him participating while many pedestrians found entry.
Abedin refuses to be despondent and gracefully accepts all as his “destiny”. His attitude reminds one of a sportsman’s spirit or a farmer’s resilience. Curiously, he is both! Born at Bashirhat, far away from Kolkata, he belongs to a family of well to do landlords; loves fishing and is passionate about cricket. Inspired by his latent talent, several eminent musicians groomed him. Hailed as a child prodigy, he started performing successfully in concerts and competitions since the early age of 9. He stood first at a talent search contest organised by the ITC Sangeet Research Academy in 1978.
This was destiny which saw him as one of SRA’s earliest scholars at the tender age of 11. Away from home rigorous taaleem in the true guru-shishya tradition from the legendary Ustad Latafat Hussain Khan, followed by training under Pandits Vijay Kichlu and Sunil Bose after the Ustad’s demise, ensured that he learn the true nuances of the Agra gharana gayaki. Growing up in an enviable musical atmosphere amidst some of the greatest luminaries of music world, Abedin also received invaluable guidance from Pandit K G Ginde and Vidushi Dipali Nag.
But destiny prolonged the usual change of voice of the starry-eyed young teen and there came a plateau in his ascending career which, due to the unprecedented success of SRA’s ‘first flush’, placed him in the second row. Though he featured in almost all the major festivals and various ITC Sammelans in India; toured Canada, USA and Bangladesh; successfully conducted workshops in India and various cities in Bangladesh, worked with the prefect’s department of his Alma Mater, the stigma of the ‘second best’ never left him; even if requests came solely for Jainul Abedin’s recitals, they would get spurned for mysterious reasons! When he started enjoying teaching, some of his brilliant disciples were placed under other ‘seniors’!
Destiny it is; especially because Abedin still remains a village-boy at heart and refuses to fight the system by maligning names of his ‘elders’or ‘friends’. Instead, he is blissfully devoted to his music, independently giving taaleem to innumerable students, giving concerts regularly and conducting successful workshops both in India and Bangladesh. He is also an examiner for Hindustani classical music of various universities. His social organisation “South Kolkata Music and Art Foundation” whose primary activities are to help aged musicians, is presently working on building an old-age home for distressed artistes. The divine blessings in the form of “Sangeet Bharati” will see him through ultimately, he knows!
source: http://www.thehindu.com / The Hindu / Home> Friday Review / by Meena Banerjee / March 11th, 2016