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 JAINUL
ABEDIN comes from a family having hardly any history or background
of music. At an early age of four, Jainul starded showing signs
of inherent gift and talent and his father promptly put him
under the training of Shri Govinda Basu. After a couple of years
Shri Arun Kumar Chaterjee, a disciple of Sri A. Kanan took him
under the tutelage. Jainul soon started blooming and showed
signs of great promise.
Jainul’s
first stage appearance was in 1977’s Bashirhat District Competition
and he stood first. Again in 1978 Sangeet Research Academy had
launched a talent contest, and it was here that nine year old
Jainul performed and proved his mettle by coming first amongst
eighteen other finalist. He was selected for scholarship and
placed under the tutelage of Ustad Latafat Hussain Khan, the
maestro of the Agra Gharana attached to the academy. Within
a short while Jainul surprised the music world with a charming
grip of the rich and weighty Agra Gayakee. Jainul was invited
to perform before an August gathering at Rajbahavan on the 18th
December’78, soon after the Gharana Sammelan in Bombay saw him
performing. In 1980 Jainul gave a scintillating performance
under ITC’s banner at Delhi. Allahabad’s ‘KAL KE KALAKAR’ followed
next.
There
came a long period of lull in his training as Jainul’s voice
started undergoing the normal change during puberty which lasted
four years. It was during this phase that Ustad Latafat Hussain
Khan suddenly passed away and a period of extreme pain and resettlement
started. However he was able to overcome this setback with the
help of Sri Vijay Kichlu’s love and care. Sri Kichlu took his
case as a challenge and Jainul continued to learn under his
guidance along with that of Sri Sunil Bose – a very senior Guru
belonging to the Agra Gharana. Jainul slowly blossemed into
an effective performer, his forte being non-tom Allapchari typical
after the Agra Gayakee, a keen sense of Layakari and powerful
taans.
In
India and in the USA, he has given a very good account of his ability as a
performer and left a lasting impression on his audience. He is able to maintain
a very clear and authentic concept of the overall Agra Gharana Gayakee and does
not show any flair of inclination for gimmicks. His Alaapchari in particular is
deeply spiritual and maintains the purity of Dhrupad whereas his Khayal
treatment clearly portrays the Rangila character of the Agra tradition. His
recent workshops and performances in Chattagram and Dhaka, Bangladesh had been
highly appreciated by both the listeners and the students of the country.
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