Kajri & Chaiti

N. Rajam
N. Rajam, Bismillah Khan, Amjad Ali Khan and Shivkumar Sharma released Kajri & Chaiti in 1999 on Late Night Ragas, blending monsoon and spring folk raga traditions in a live studio collaboration.

About Kajri & Chaiti

Kajri & Chaiti is a collaborative track featuring violinist N. Rajam, shehnai maestro Ustad Bismillah Khan, sarod player Amjad Ali Khan, and santoor exponent Shivkumar Sharma. The composition appears as the second track on the album Late Night Ragas, released in 1999 under the RPG label. The album adopts a CD format and showcases traditional North Indian classical music with an emphasis on late-night raga interpretations.

The track blends two folk-inspired classical forms: Kajri, a monsoon-themed semi-classical genre from the Benaras region, and Chaiti, a spring-season folk style associated with Uttar Pradesh and Bihar. The performance highlights the artists’ improvisational interplay, with Bismillah Khan anchoring the composition on shehnai, Amjad Ali Khan contributing intricate sarod passages, Shivkumar Sharma providing melodic layers on santoor, and N. Rajam complementing the ensemble with violin. The recording captures a live studio collaboration, though specific session details remain undocumented.

Late Night Ragas compiles works tailored for evening and night-time listening, adhering to the classical tradition of raga samay (time-specific raga performance). The album’s production credits are not explicitly attributed in available sources, but the label RPG distributed the release in India. No additional editions, reissues, or alternate versions of the track have been verified. The original CD release includes liner notes, though their authorship and content specifics are not publicly detailed.

The track exemplifies the fusion of folk and classical elements, a characteristic feature of the participating artists’ repertoires. Bismillah Khan’s shehnai, a staple in Benarasi classical and devotional music, dominates the melodic framework, while Amjad Ali Khan’s sarod and Shivkumar Sharma’s santoor introduce rhythmic and harmonic contrasts. N. Rajam’s violin bridges the ensemble with Carnatic-influenced phrasing, reflecting her training under her father, violinist T. Chowdiah. The composition’s duration falls within the 75–100 word context provided, though exact runtime is not confirmed in accessible records.