He then goes on to sing the Vilambit Khayal in a manner that is marked by restraint and a deep meditative repose. With perfect tunefulness and velvety timbre of voice Fateh Ali Khan unravels the carefully balanced symmetries of melodic phrasing which make this the king of ragas. He follows the vilambit with a sparkling tarana where he displays his astonishing command over technique by unleashing a volley of fast spiraling tanas.
A close cousin of Darbari the Adana in comparison is mercurial in temperament. A veer rasa raga of the late night it is both complicated in structure and difficult in rendintion which perhaps accounts for its comparative rarity. For Fateh Ali Khan however it is a family specially. Not only has Meherbaan (a noted composer of the Patiala school) immoralised the raga in a eulogy to his teacher Fateh Ali Senior in the form of the drut khayal Taan Kaptaan but also somehow the raga seems to flower best in the dazzling acrobatic treatment that it receives at the hands of the Patiala singers. Fateh Ali’s rendering here epitomizes this heritage.
Fateh Ali Khan Undoubtedly a master of our times Ustad Fateh Ali Khan of Pakistan is a direct descendant of the Patiala Gharana of Hindustani music. It is a lofty tradition which goes back to the legendry duo Ali Baksh and Fateh Ali (nicknamed Alia-Fattu) in the late 19th and early 20th century. History records the contribution of masters of this Gharana including the inimitable Bade Ghulam Ali Khan who took the gayaki of the Patiala court across the country.
Fateh Ali Khan the grandson of the original Fateh Ali is endowed with a mellifluous wide ranging voice and breathtaking virtuosity. He brings an emotional element to his large repertoire of khayals taranas with an artistry that makes a deep impact on the lay and initiated listener alike.
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