Sitar Samrat Nikhil Banerjee: Raga Sindhura: Tabla Abhijit Banerjee: Zurich: 1984

This performance in Zurich by Nikhilda has to be heard, especially in the alap section to understand his Samarat, unparalleled 'King status' in the realm of the Sitar. This is a live recording, and audience sound is evident.

it was the evening of November 13 1984. It is alive even today.

Abhijit Banerjee

He started learning Tabla at the age of four. He received his first instruction from Tushar Kanti Bose and later from Manik Pal. He is a leading disciple of Pt. Jnan Prakash Ghosh, a doyen of Indian Classical Music. Abhijit also learned vocal from Pandit Ajoy Chakrabarty and violin from Smt Sisir Kana Dhar Chowdhury and Guru Ma Annapurna Devi.

He has accompanied maestros such as Pt.Ravi Shankar, late Pt. Nikhil Banerjee, Begum Parveen Sultana, Pt. Jasraj, Pt. Shiv Kumar Sharma, Dr. Balamurali Krishnan. Abhijit has established himself as major solo tabla player and has performed in major festivals in India. Abijit has toured extensively in United States, Canada, U.K., Europe, Japan, Australia, South Africa, South East Asia and Mexico.

Sitar Samrat Nikhil Banerjee does not need introductions. He has taken his place in the heart of Sitar Lovers across the world.


This is a light flittering melody with resemblance to Raag Kafi. In this Raag, Gandhar and Nishad is Varjya in Aaroh (S R m P D S') however sometimes Nishad Shuddha is used and Tar Shadj (S') is approached like m P N N S', which also differentiates this from Raag Kafi. Also m P g R are the Raag Vachak notes of Raag Kafi, whereas in Sindhura m P ; m g R ; m g R S illustrates the Raag.

This Raag is best suited for Thumri, Tappa, Hori etc. This is a Uttarang Pradhan Raag. The following combinations bring out the melody fully:
S R m P ; D P m P D P m g R ; m g R S ; g R m P D S' ; S' R' S' ; S' n D P ; m P D P m g R ; m g R S ; m P N N S' ; g' R' n D S' ; m P D S' R' g' R' S' ; n D P m g R ; m g R S;


Base Raga Family Kafi

Kafi comes in several flavours – Sindh Kafi (a touch of komal dhaivat), Zilla Kafi (seasoned with shuddha gandhar), De-Kafi (with sugar and cream) and Bengali Kafi (who cares?).   We shall forego these finer distinctions since most musicians today peddle variations simply under the “Mishra Kafi” roof.   Horis, thumris and dadras set to talas such as Deepchandi, Dhamar, Jat, Dhumali and Keherwa abound.