Vocal music at Dover Lane Music Conference was rounded off with the elaborate recital of Pandit Jasraj of Mewati gharana. His exposition of sudh sarang was quite in form for sustaining the mood of kalyan that. Apart from his training from his elder brother Pandit Maniram, the spiritual inspiration of Maharaj of Sanand, added charm to his recital.
The gradual development of the melody balanced application of two madhyams picturised the familiar melodic structure of the raga. The use of rekhab and pancham in bistar and tankiri was endowed with artistry. Quite in tune was the treatment of the following madhu madhabi sarang. Panditji concluded with Bhairabi, the sensitive approach of which was touching. He was accompanied in his interpretation by Tripti Mukherjee and Ratanmohan Sharma.
Ajoy Chakravorty’s Abhogi was in his own lofty standard. The touch of komolgandhar among the suddha swara was evocative of sweetness. Next his thumri was lovable for romantic mystery. Chakravorty concluded with bhajan.
Ustad Rashid Khan’s Bhairab drew appreciation for the mature treatment of the raga with tuneful Swarabistar and balanced Tankiri.
Apurba Gokahali, the youngster of Gwaliar gharana impressed for her next demonstration of chayanot. The gradual expansion from slow to swift tempo revealed her sound training under supervision of her guru and uncle Pandit Madhukar Rao Joshi.
Ashwini Bhide of Jaipur Straili Gharana faithfully represented the tradition in her demonstration of Sadhana Kanada in Vilambit and Sutha Kanara in Chote Khayal. Marked by Bhide’s basical training from Pandit Narayan Patar strengthen and polished by the thorough tutelage of her mother and guru Srimati Manik Bhide acquired the stylised structure of the Atraulig Khayalk, gayaki in Bhide’s interpretation. All the aspects of surabistar reflected Bhide's thorough grasp resulting in authentic form of Jaipur gayaki. The recital was academic indeed. Rashid Khan's Bhairo was quite in tune with dawn’s sky. His recital was compact both from the point of view of ragdari and tankiri. Rashid’s technical brilliance was adeptly felt both in the vilambit and sargam. The touches of Rampur Sahaswan style added to the charm of the raga.
Agra gharana was represented by Shakat Ali Khan in his delineation of jog and choto khayal. Enjoyable was his creative variety with the dhut of rudraveena and vocal by Bahauddin Dagar and Nirmalya Dey in the melody of jog was good. This scribe regrets the missing presence of Rajan, Sajan, Kaiballya Kumar and Sudha Raghunath.