About Khayal
Khayal is a studio album of Hindustani classical vocal music performed by Sanjeev Abhyankar. Released in 2008 under the Saregama label, the album presents three extended khayal compositions in the traditional gayaki (vocal) style of the Mewati gharana, to which Abhyankar belongs. The recording format is a commercial audio CD.
The album features three raga performances. Raga Maru Bihag opens the collection, characterized by its evening (sandhi prakash) timing and the use of komal re (flattened second) and komal dha (flattened sixth) in descent. The second track, Raga Megh Malhar, belongs to the Malhar family of monsoon-themed ragas and employs a pentatonic ascent with shuddha ma (pure fourth). The final track, Raga Ramdasi Malhar, shares structural similarities with Megh Malhar but incorporates distinct melodic phrases attributed to the 16th-century poet-saint Swami Ramdas.
Abhyankar performs each raga in the khayal format, adhering to the three-part structure: a slow (vilambit>) alaap-like introduction, a medium-tempo (madhyalaya) composition with rhythmic accompaniment, and a fast (drut) concluding section. The recordings include tabla accompaniment, though the specific artist remains uncredited in available sources. The album’s production emphasizes minimal post-processing to retain the acoustic qualities of live classical performance.
The 2008 release coincided with Abhyankar’s established career as a disciple of Pandit Jasraj, a prominent exponent of the Mewati gharana. Saregama, the album’s label, distributed the CD through its classical music division, targeting audiences of North Indian classical vocal traditions. No live release event or tour details are documented in connection with this studio recording. The total runtime spans approximately 120 minutes across the three tracks.
Critical reception and commercial performance metrics for Khayal are not publicly documented. The album serves as a representative example of Abhyankar’s interpretive approach to khayal in the early 21st century, focusing on raga elaboration and traditional bandish (composition) renditions.