Sa Re Ga Ma Pa Singing Superstar


Sa Re Ga Ma Pa Singing Superstar
Sa Re Ga Ma Pa Singing Superstar

GHAZALS (Page 4)

vinnie-thepooh IF-Rockerz

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Posted: 12 June 2006 at 8:57am | IP Logged
Begum Akhtar

Akhtaribai Faizabadi, or Begum Akhtar as she was more popularly known, was born on 7th October, 1914 in the small town of Faizabad, Uttar Pradesh in northern India. She was born in a high class family that was not musically inclined. However, at her uncle's insistence, she was sent to train under Ustad Imdad Khan, the great sarangi exponent, and later under Ata Mohammed Khan. Later she travelled to Calcutta with her mother and started learning music from classical stalwarts like Mohammad Khan, Abdul Waheed Khan and finally she became the disciple of Ustad Jhande Khan Saheb.

Her first public peformance was at the tender age of fifteen. She took the music world by storm. The famous poetess Smt. Sarojini Naidu appreciated her singing during a concert which was organised in the aid of victims of Bihar earthquake. This encouraged her to continue singing ghazals with more enthusiasm. She also cut her first disc for the Megaphone Record Company at that time. A number of gramophone records were released carrying her ghazals, dadras, thumris, etc.

With the advent of talkie era in India, Begum Akhtar acted in a few Hindi movies in thirties. East India Film Company of Calcutta approached her to act in KING FOR A DAY (alias Ek Din Ka Badshah) and NAL DAMAYANTI in the year 1933. Like others of that era, she sang her songs herself in all her films. She continued acting in the following years. The movies she acted in are: Ameena (1934), Mumtaz Begum (1934), Jawaani Ka Nasha (1935), Naseeb Ka Chakkar (1935).

Subsequently Begum Akhtar moved back to Lucknow where she was approached by the famous producer-director Mehboob Khan, as a result of which she acted in ROTI which was released in 1942 and whose music was composed by maestro Anil Biswas. ROTI contained six of her ghazals but unfortunately due to some trouble between producer and director, Mehboob Khan subsequently deleted 3-4 ghazals from the film. All the ghazals are available on Megaphone gramophone records. Begum Akhtar, meanwhile, left Bombay and returned to Lucknow.

In 1945, Begum AKhtar was married to barrister Ishtiaq Ahmed Abbasi and became known as Begum Akhtar. However, after marriage, due to her husband's restrictions, she could not sing almost 5 years, and subsequently, she fell ill. Music was prescribed as the only remedy! In 1949, she returned to the recording studios. She sang three ghazals and a dadra at Lucknow Radio Station. She wept aferwards and returned to singing in concerts, a practice which lasted until her death.

Begum Akhtar's involvement with films was not yet over. Music Director Madan Mohan persuaded her to sing in two Hindi movies viz. DAANA PAANI (1953 - ai ishq mujhe aur to kuchh yaad nahii.n hai) and EHSAAN (1954 - hame.n dil me.n basaa bhi lo). Satyajit Ray's Bengali film 'JALSA GHAR' (1958) was her last role where she played the role of a classical singer.

She acted on stage as well. However, the theatre required for her to raise her voice so that she could be heard in "the pit class" at the back. Her voice was adversely affected by it. So, she had to give it up.

Begum Akhtar is almost synonymous with the concept of ghazal gaayaki. She immortalized her own definitive style of singing - a style that few have been able to match. She is rightly known as Mallika-e-Ghazal.

Her voice matured with time, adding richness and depth. She sang ghazals and other light classical pieces, singing them in her inimitable style. She has nearly four hundred songs to her credit. She was a regular performer on All India Radio. She usually composed her own ghazals and most of her compositions were raag based.

During her last concert which was held in Ahmedabad, she had raised the pitch of her voice as she felt that her singing that day had not been as good as she had wanted it to be. She had not been feeling well that day to begin with. The additional demand and stress she put herself under resulted in her falling ill and being rushed to the hospital. She passed away on 30th of October, 1974 leaving a big void in ghazal lovers' hearts.

She was posthumously awarded the Padmabhushan. Just eight days before her death, she recorded Kaifi Azmi's ghazal:

sunaa karo merii jaan un se un ke afsaane
sab ajanabii hai.n yahaa.N kaun kis ko pahachaane

Swar_Raj IF-Dazzler

Joined: 18 February 2006
Posts: 2628

Posted: 12 June 2006 at 8:58am | IP Logged
Vinnie you also write what a artist we have. Clap Thanks dear Big smile
vinnie-thepooh IF-Rockerz

Joined: 21 December 2005
Posts: 9351

Posted: 12 June 2006 at 8:59am | IP Logged
Begum Akhtar
The Ghazal Queen

One of the most popular musicians in the Indian subcontinent, Begum Akhtar was an eminent ghazal, thumri, dadra and bhajan singer. She had a distinctive, easily identifiable style of singing. The notes which she produced were so limpid, so hauntingly sweet, that the audience was immediately captivated. She would render it so endearingly that her every note would grip the hearts of the audience. During her recitals, whenever she reached a high note her voice would crack, considered by connoisseurs the highlight of her recital. The audience would wait eagerly for that pleasing crack in her voice!

   Begum Akhtar, called the Queen of Ghazals, has also composed some ghazals. She gave her first performance at a charity show in aid of Bihar flood victims in 1921. Though only seven years old at that time, she sang continuously for six hours. Begum Akhtar possessed all the qualities that are so vital for a good ghazal singer. She had the uncanny ability of choosing the right kind of ghazal and adorning it with a befitting tune.

Begum Akhtar was born in 1914 in Faizabad in Uttar Pradesh. Her musical training began under Atta Ahmed Khan of Patiala. She was not very keen on learning classical music but learnt it in order to sing the lighter forms, like ghazals, bhajans, thumris and dadras. Her art was a vivid portrayal of the pure Lucknowi traditions of the nawabs dating back to the 18th and 19th centuries. She died in August 1974.

Begum Akhtar acknowledged Ramzan Khan, Ata Mohammad Khan, Abdul Wahid Khan and Barkat Ali as her gurus.

She was honoured with the Sangeet Natak Academy Award in 1972.

vinnie-thepooh IF-Rockerz

Joined: 21 December 2005
Posts: 9351

Posted: 12 June 2006 at 9:01am | IP Logged


Birth: April 3rd , 1955
Birthplace: Mumbai
Profession: Playback Singer, Bollywood.
Family: Wife Lalita , sons Akshay and Karan

Born in Bombay on April 3rd, 1955, Hariharan has bachelors degrees in science and law. The son of renowned Carnatic vocalists, the late Ananthasubramani ("H. A. S. Mani") from Trivandrum and Shrimati Alamelu, Hariharan naturally inherited his parents' musical talents.Hariharan's mother was his first guruji. From her he picked up Carnatic music skills. Hariharan's parents were musically open-minded and the young Hariharan was encouraged to listen to Hindustani music. Later, in his teens, inspired by the songs of Mehdi Hassan, Hariharan developed a passion for ghazals and started training in Hindustani music from Ustad Ghulam Mustafa Khan. He used to put in nine hours of singing practice everyday. Hariharan's affinity for ghazals lies in the fact that ghazals offer, in his words, "immense scope for innovation". The committed Hariharan also put heart and soul into learning Urdu when he decided to become a ghazal singer. He has perfected his Urdu diction to such standards that even his audiences in Lucknow, the heartland of the language, have been wowed over.

It was in 1977 that he bagged the top prize in the All-India Sur Singaar competition and was promptly signed on by the late music director Jaidev to sing for the Hindi film 'Gaman'. His ghazal 'Ajeeb saane he mujh par qarar' in that movie became such a hit that it won Hariharan an Uttar Pradesh state award, after which his career as a vocalist spiraled upward.

In his early years Hariharan did the concert circuit and also performed on TV. He sang for a number of TV serials, e.g., "Junoon". In addition, he cut several successful ghazal albums. He wrote the scores himself for most of these ghazal albums. One of Hariharan's first ghazal albums was "Abshaar-e-Ghazal" with Asha Bhosle, which scored Gold in sales. Another outstanding ghazal album was "Gulfam", which not only hit Double Platinum in sales but also fetched Hariharan the Diva Award for the Best Album of the Year in 1994. Meanwhile, Hariharan sang in a number of Hindi movies such as "Sahibaan", "Lamhe", "Raam Nagari", "Dard Ke Rishte", Zamana" and "Sindoor".

The Bombay-based Hariharan made his debut in the Tamil singing world in 1993 with the patriotic hit song "Thamizha thamizha" in "Roja" under the baton of A R Rehman. Two years later, Hariharan was adjudged "Best Male Playback Singer" in the Tamilnadu State Government Film Awards for 1995. It was teasing manner in which he sang "Konjanaal poru thalaivaa" (Aasai) that won Hariharan this honour. Subsequently, Tamil singing assignments began pouring in for Hariharan, and today there is no doubt that he is the most sought-after singer in South India.

The year 1996 was a milestone in Hariharan's career, when the release of the Indian-English fusion album "Colonial Cousins" skyrocketed him to unprecedented fame. A collaborative effort with Bombay-based composer/singer Leslie Lewis, "Colonial Cousins" became the first Indian act to be featured on MTV Unplugged and also won the pair a string of national and international awards, including the MTV Indian Viewers' Choice award and US Billboards award. In this album, Hariharan has proven his boundless virtuosity. He has also co-written the musical scores for some of the pieces. One very powerful song in the album is "Let me see the love", in which Hariharan scales through Hamsathwani raga in three octaves, hitting the lowest and highest notes with equal facility. Another interesting piece is "Feel Alright", in which Hariharan sings the English lyrics in typical Indian folk style, complete with gamaks. In "Rain" and "Tere mere aankhon", the ghazal singer comes to the fore subtly, while in "Krishna" and "It's gonna be alright", the Carnatic singer in Hariharan surfaces. The other songs in the album are equally melodious and showcase Hariharan's hitherto little-known versatility.

Another milestone year was 1998, when the patriotic song "Mere dushman mere bhai" from the Hindi movie "Border" won Hariharan the coveted National Award for "Best Male Playback Singer". That award capped a quest for excellence that started 20 years earlier when "Ajeeb saane he mujh par qarar" from "Gaman" won Hariharan a nomination for the National Award. Hariharan has developed a distinctive style of his own even though he admires the late Mohd Rafi and Kishore Kumar as well as S P Balasubramaniam and K J Jesudas. The long-underrated singer has finally arrived and will remain a permanent fixture on the Indian musical scene for a long time to come.

An only child, Hariharan lost his father when he was seven, and life could not have been entirely smooth. But his optimistic approach to life and jovial nature, coupled with a staunch love for music and his perseverance, must have stood him in good stead and brought him to the pinnacle of success today. He also came across as a little idealistic and guileless, the type who only sees the good in people, the type who is willing to oblige all. Yet, he does have set ideas about certain things and can be firm when he wants to.

Hariharan's wife Lalita petite and attractive,hardly looks 35 and a mother of two boys (11-year old Akshay and 5-year old Karan). She is no sari-clad mami. Her gentle and demure demeanour belies a strong will. Raised in Calcutta, the cartographer by training says her husband considers her Bengali in many ways, from the socialist leanings to the non-conformism. Her simplicity in dressing -- which stands in stark contrast to her husband's flashier dress sense -- probably spawns from those socialist leanings. And, she is certainly a lady with a mind of her own. And a broad mind, too. She believes in the need for individual space, even between husbands and wives, and is often cool about Hari's appeal to women -- clearly a sign of trust. Nonetheless, once or twice, I could detect a healthy glimmer of concern about the expanding train of female fans and admirers ogling at her man. (For his part, in spite of the charm he oozes aplenty, Hari comes across as a devoted husband and father.) An easy-going person, Lalita can be bubbly and charming with some and reserved with others. She does not suffer fools gladly.

The lady has a remarkable talent for managing ter husband's career. She looks after his interests unobtrusively but with an eagle eye, ever concerned that none should exploit his amiable nature and short-change him. She is also something of a handywoman at home: while he was shopping for a portable cassette recorder for mum, it was she who was picking up cables, plugs and switches.

Husband and wife complement each other perfectly in a number of ways: while he is the indulgent parent, she plays the voice of authority with the kids (perhaps a legacy of her school-teacher days). While he appears to make decisions by intuition, she is the one who rationalises. While he splurges, she is the one more mindful of the bottomline.

Awards And Honors :
Award Song - Movie
Uttar Pradesh State Award - 1977 'Ajeeb Saane He Mujh Par Qaraar'- Gaman
Diva Award 'The Best Album Of The Year' - 1994 'Abshaar-e-Ghazal'
Tamil Nadu State Government Film Awards 'Best Male Playback Singer' - 1995
National Award 'Best Male Playback Singer' - 1998 "Mere dushman mere bhai" - Border
MTV Viewers Choice Award Colonial Cousins
US Billboard Award Colonial Cousins
Best Of Hariharan:
Song Movie
'bhaarat hamako jaan se pyaaraa hai' Roja
'O Hansini' Dil Vil Pyaar Vyar
'Roja Roja' Roja

vinnie-thepooh IF-Rockerz

Joined: 21 December 2005
Posts: 9351

Posted: 12 June 2006 at 9:03am | IP Logged

Kiran Ahluwalia Pursues the Beloved:
The Nexus of Ghazal Love Poetry

It took many years for Kiran Ahluwalia to find one of the last living masters of ghazal—a form of sung poetry that originated in Persia 1000 years ago and reached India 400 years later. When she met Vithal Rao—her teacher—she was exposed to a bygone era, a time before Indian independence when princes and kings employed court musicians to put music to poetry. In an odd twist of fate, Kiran is now a bridge to this colorful past and—as featured on her new self-titled CD (released May 31, 2005 on Triloka Records)—may be one of the only composers of contemporary ghazals in Canada and even the Western Hemisphere.

Rao—her maestro—entered the palace of the King of Hyderabad as a young boy and, now in his seventies, carries rich memories of those days; memories that he has passed onto Kiran along with the techniques and intricacies of ghazal performance and composition. Because there is such a vast repertoire of this music today, there are very few ghazal composers, even in India. Singers usually stick to the true classics. But Kiran has long been on a path to mastery so that she could one day compose for the sensual and highly literary poetic form.

It started with learning songs from her parents, both ghazals as well as Punjabi folk songs. "When I was growing up in India, very few people had recordings of any kind," Kiran recalls. "There were state sponsored concerts that people from all over would walk to and crowd into. While some children would get bored, I was perfectly content taking it in, even if I had to stand up the whole time. We had lived in New Zealand for a time and on the way back to India my father bought a reel-to-reel tape player in Hong Kong. We would listen to tapes of Indian music. We would also listen to Bollywood on the radio, and when a song came on that I wanted to learn, my mother would quickly write down the lyrics for me."

Kiran studied classical Indian music from the time she was seven, first in India and then in Canada where she immigrated with her parents. After getting an MBA and launching a career as a bond trader in Toronto, she decided to quit her job and become a full time student of music; her parents were dismayed. "Doors were slammed and tears were shed," says Kiran. "But they saw that I was adamant about it and this was something I needed to do. And before I boarded the plane for India, I had their support."

Kiran spent many years in Bombay studying Indian classical music. She finally discovered the ghazal maestro Vithal Rao and made plans to study with him. "The next time I went to India I planned to study with my classical teacher for one month and then ask permission to leave and learn from this ghazal master. In India, your teacher has a higher status than a music teacher here would have. There are certain social rules you must follow. I was so afraid of what my teacher would say that I waited four months before I had the courage to ask her. I thought she would say, 'Fine, but never come back through these doors again.' Instead she was very supportive, knowing that this was important to me."

"It was monsoon season in Bombay when I called Vithal Rao," Kiran recalls. "I went into a phone booth—it was noisy with all the rain pouring down as I dialed. I spent three minutes explaining who I was, where I'd come from, and that I wanted to come and learn from him. To this, he simply replied, 'Well, then when are you coming?' And within a couple of days I was on a train from Bombay to Hyderabad."

Kiran also spent much time in her native Punjab, traveling into villages, digging around, trying to find folk musicians who had never been recorded. "I was familiar with Punjabi music from the club scene, bhangra and all of that. But I was more interested in the acoustic roots Punjabi music. And I always had my eyes out for poetry books and scholars for new material that I could compose."

With all of this traveling and searching, quite a surprise was in store for Kiran much closer to home in Toronto. "One day a poet friend of my mother invited us to a recital of various poets belonging to an organization called Punjabi Kalma da Kafla (Caravan of Punjabi Pens)," says Kiran. "This turned into an immensely important night. Imagine how ecstatic I felt; I sing in a genre that emerged in Persia in the 10th century and traveled to India in the 14th century, and here we were in the present day. I was composing music in this genre and I found poets writing beautiful lyrics in this poetic form of ghazals right here in Canada. A huge door opened up for me." Kiran composed for one of the poems she heard that night and she and this circle of poets became a part of the evolution of ghazals, thousands of miles away from the song forms origins.

Kiran's bi-cultural life experience has made her adept at reaching new audiences—something evident in her thoughtful and modern explanations when on stage. To one recent audience, she explained that ghazals explore the many moods of love, from the ecstatic to the despondent, from pursuing the beloved to feeling the restlessness of unrequited love, and summarized by describing a ghazal as a "highly-literate pick up line." Kiran earned a Juno Award in 2004 (the Canadian equivalent of a Grammy). And on her latest CD, Kiran Ahluwalia, she further cements her Canadian roots on two previously unreleased collaborations with Cape Breton Celtic fiddler Natalie MacMaster. "What a thrill to be brought into Kiran's world of Indian music," Natalie says. "Her voice is beautiful, natural and so capable and she is a great talent and a wonderful person. It was a pleasure to have the opportunity and I think we created some very special music together."
vinnie-thepooh IF-Rockerz

Joined: 21 December 2005
Posts: 9351

Posted: 12 June 2006 at 9:05am | IP Logged

Penaz Masani



Dreams in platinum and gold for you.

She's cool, she's flip.... lives in tights and sweat-shirts and swears on Whitney Houston. She is the antithesis of what a ghazal singer's image is supposed to be. Yet she sings pure Urdu ghazals and is the most saleable star of the genre in this art.

Ghazal lovers in many parts of the world have listened spellbound to the silken sounds of magic that have flowed from the throat of Penaz Masani - a name that is well established in the world of Indian music today.

It was in 1981 that she took her first steps into the arena of ghazal music - the domain of veterans. And since then she has cut over 20 discs and sung in over 10 languages ! Today she stands like an enchanting Indian melody carved in the golden
tableau of ghazals. She has truly embarked onto the fast track of success and the horizon glows with more promise.......

A graduate of Mumbai University, Penaz has also firmly established herself as a playback singer for the Indian Cinema. She has to date performed under the banner of music directors like Jaidev, R D Burman, Usha Khanna, Chand Pardesi, Nadeem Shravan, Raaj Kamal, Rajesh Roshan and Anu Malik. She has sung for over 50 hindi films and has been privileged to perform with renowned south Indian music virtuoso Dr Balamurali Krishnan in a Tamil film.

Swinging with the times, Penaz has shaped her repertoire to include the mod beat. Her versatility can be judged by the fact that she entered the realm of Pop Music with her album "Tu Dil De De" which topped the charts on the Asian Television's Channel V and Mtv Channels !! Music for this highly succesful album (which has placed Penaz among the top-ranking Pop artistes of today) was composed by Canada- based composer Rehman Rajan and the album was recorded in Toronto.

Away from the arena of TV appearances and disc recordings, Penaz has taken stage in a glorious manner before audiences both at home and abroad. The world is literally Penaz's stage : Mumbai, Calcutta, Delhi, Chennai, Ahmedabad, Indore, Bhopal, Bangalore, Huderabad, Pune, Jaipur, Jodhpur, Baroda, Rajkot, Lucknow and many countries of the Middle East, Latin America and the U.S., Australia, Bhutan, Mauritius, Seychelles, Nepal, Sri Lanka, Fiji and the U.K. She is the first female artiste who has held solo performances running into a record 500 in India alone.

Each performance witnesses a new richness in Penaz's renditions that leaves an appreciative audience utterly charmed.
In 1996 the state government of Uttar Pradesh - India's largest state - conferred the unique title of "Shehzadi Tarunnam" on Penaz, in recognition of being the best ghazal singer in the country.

Penaz is today one of the first ghazal singers to have been awarded a Platinum disc. This is in addition to three Gold Discs that she has already received. Not an unexpected cache for a magnificiant and vibrant performer !


Penaz was born into a family that had paternal roots in classical music : her father was a discpile of Ustad Faiyaz Khansahab of the Agra gharana : a classical singer in the court of Sayaji Rao Gaekwad of Baroda in the 1930's, where he performed to an audience of royals and courtiers. Penaz had her first lessons in the same tradition under the tutelage of Ustad Amanat Hussein Khan and later became a disciple of India's famed and most revered ghazal exponent Madhurani. The beginnings of a true artiste were carved into the Indian classical music scenario.

The melodious promise of a rich blossoming singer was noticed by famous composer late Jaidev after she won the Sur Singar Samsad contest in 1978. He took a keen interest in the young artiste and encouraged her to perform with a rare confidence which was the raison d'etre that culminated in Penaz's maiden success on TV. Viewed on screen by millions of TV viewers was a young exponent of this Urdu art form, who had stepped effortlessly into a revered domain, leaving viewers utterly spellbound.

Since the glorious introduction, Penaz has sung and participated in countless prestigious programs on Doordarshan, Star TV, and Zee TV.

List Of Albums

1. Aap Ki Bazm Mein
2. A Dream Come True
3. Dilruba
4. Khazana - '82, '84, '85, '87 & '88
5. Saugaat
6. Mehakte Nagme
7. A Gift Of Song
8. Khahkashan
9. Tishnagi
10. Best Of Penaz
11. Bansi Bajaiya
12. Nasha - Double LP
13. Dhadkan
14. Dil Ke Kareeb
15. Pooja Ke Phool
16. Tu Hi Mera Dil-Tu Hi Meri Jaan
17. Mohabbat Ke Sagar
18. Dil Mein Ankhon Mein
19. Tu Dl De De (Pop)
20. Channel Hits II (Pop)

She then moved over to Magnasound where she took on a new avatar as an artiste : cutting an album where the music was western while the lyrics retained the traditional form of the ghazal but in a younger, racier mood for the new generation afficionados. The album is labelled " Dil Mein Ankohn Mein". It was widely acclaimed and accepted and has graced the shelves of every music outlet across the country and overseas with success.
vinnie-thepooh IF-Rockerz

Joined: 21 December 2005
Posts: 9351

Posted: 12 June 2006 at 9:07am | IP Logged

Pankaj Udhas mainly sings Ghazal music in Hindi.

Homepage :
Description: Pankaj Udhas Albums     Pankaj Udhas Songs
If you have more information about this singer, or something is wrong ( formatting ) please let us know on our message boards.

Pankaj Udhas is one of the first singers to put his feet into Ghazal music. His silky voice has a special charm that enchants the listeners when he sings some simple tune of love. Being a young and successful musician, he contemplated the psychology of aspiring ghazal singers, and started a talent search show on the T.V., Aadaab Arz Hai to offer a platform to young ghazal singers all over the globe.

Pankaj Udhas was born at Jedpur, where he did his schooling at Vidya Vihar School. After coming to Mumbai, he studied at Wilson College and at Xavier's. His father, a Central Government employee, is known for playing the dilruba.

Pankaj needed no initiation into the world of music. He became aware of his singing skills right when he was less than five years old and gave his first performance in 1962 when he was all of eight years. The time he appeared on the ghazal scene, the masses had started to lose interest in this form of singing. His arrival not only brought ghazals back from dead but also made people have another thought about ghazals. His beautiful voice, combined with good lyrics and melodious music is capable of making anyone fall in love, with ghazals, again and again.
vinnie-thepooh IF-Rockerz

Joined: 21 December 2005
Posts: 9351

Posted: 12 June 2006 at 9:13am | IP Logged


Rajkumar, the world-renowned ghazal singer/composer from Bombay, India represents one of the most profound vocal talents on the Indian cultural scene today. He has taken the music world by storm, setting new standards for the ghazal, India's most popular musical form.

Rajkumar grew up singing under the tutelage of his father Ustad Noor Mohammed in the desert land of Rajasthan.

It was here that he learnt the niceties of the Kalavant Gharana, which included a family of singers, composers and raga creators who performed for the royal courts. Later, Rajkumar learned to play the sitar form Ustad Jamaluddin Bharatiya, a disciple of Pandit Ravi Shankar. His musical affections, however, lay with the romantic couplets, ghazals.

Rajkumar showed sparks of brilliance in handling this most popular form of vocal music with sensitivity. His style has retained its classical timbre, and over the years his fan following has increased, while his tantalizing romantic ghazals have become more and more popular. He made his first trip abroad as part of the Indian delegation to Hong Kong in 1969. Since then he has travelled extensively in the U.S.A., Canada, all over Europe and the far east and has performed on many stages and television programs. He has also been the recipient of many prestigious awards.

His latest CD Aaina-E-Zindagi bears testimony to the depths of Rajkumar's virtuosity. He spends major portion of his time giving perofromance all over the world and conductiong workshops for aspiring artists at Disha Arts Academy in Toronto, Canada.

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