Das bridges the different styles of the Senia Maihar and Etawah gharanas providing a unique hybrid style. His rendering the popular afternoon Raag Bhimpalasi reflects his intense use of phrases interwoven to the strict raga framework which comes to a steady climax through speed and dexterity of taans with young dynamic tabla accompaniment by Satyajit Talwalkar to a standing ovation.

The recital starts with a Gat (composition) set to Teentaal or 16 beat rhythmic cycle in slow tempo called vilambit laya. Here, Das develops the raga with his own sensibility with supportive tabla accompaniment by Talwalkar. This is followed by another composition, also set to Teentaal but in a higher tempo or drut laya.

Das’s father, Shri Sailen Das, was a disciple of Pandit Ravi Shankar. His uncle, Shri Shantanu Das was also a Sitar player and a disciple of Ustad Ali Akbar Khan. For some years, he even trained in the Etawah gharana style under Pandit Sanjoy Banerjee. A job transfer of the latter resulted in a vacuum which later was filled by the tutelage of Pandit Ajoy Sinha Roy, a disciple of Baba Alauddin Khan. Das therefore, retracted to the Senia Maihar style of playing, not sacrificing the strong influences of the Etawah Gharana. Another stalwart who has deeply influenced him is Pandit Nikhil Banerjee. However, he later went on to develop a signature style of his own.

Blessed with an exceptional talent and charisma, Satyajit Talwalkar stands true to his training from his father, Pandit Suresh Talwalkar, as he demonstrates the ability to play resounding solos and also play an amiable accompanist to most of the leading classical musicians from India. Satyajit delivers a traditional concert with as much sensibility and dexterity as his cross-over projects where he regularly collaborates with Jazz and electronic musicians.

Kushal Das (sitar)
Satyajit Talwalkar (tabla)
Raag Bhimpalasi