On one occasion, when I remarked about his viral fever, he jocularly answered that the presence of such distinguished music lovers and our enthusiasm had made his discomfort vanish.īorn in Hisar, Panditji traversed a long distance in his life from various traditions, imbibing the essentials of different styles of singing. On no occasion did I find him irritated, complaining of either an inattentive audience or any transient illness. His magnanimity, indulgence and equanimity were unique to him. However, there are some characteristics which were exclusive to him. Given my passion for Indian music, I was privileged to share a personal bond with all of them. He was the last of the great quartet in our classical vocal tradition comprising Pandit Bhimsen Joshi, an exponent of the Kirana Gharana Kishori Amonkar, an exponent of the Jaipur Gharana Girija Devi, an exponent of the Seniya and Banaras gharanas and Pandit Jasraj, an exponent of the Mewati Gharana. I do not recall of any auspicious occasion, from my house-warming to the marriage of my son, which were not blessed by his magical voice. Pandit Martand Jasraj was deeply embedded in India’s national psyche and was an inimitable part of its cultural ethos.
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