Madhya/Drut Gat in Tintal

Debashish Bhattacharya released Raga Bhimpalasi on CD through India Archive Music in 1997. The album showcases a solo performance on the Hindustani slide guitar, a modified instrument adapted for Indian classical music. The recording emphasizes the Bhimpalasi raga, a late-afternoon melody associated with the Kafi thaat and characterized by its emotive, introspective phrasing.

The third track, titled Madhya/Drut Gat in Tintal, spans 13 minutes and 11 seconds. Bhattacharya performs an extended gat (compositional theme) in two tempos: the medium-paced madhya laya and the faster drut laya. The rhythmic foundation follows tintal, a 16-beat cycle common in North Indian classical music. The track demonstrates his technique in meend (glissando), gamak (ornamentation), and rapid taans (melodic runs), while maintaining the raga’s structural and emotional integrity.

The album’s production reflects the acoustic traditions of dhrupad and khayal vocal styles, though adapted for instrumental execution. Bhattacharya’s approach integrates the gayaki ang (vocal-style phrasing) with the guitar’s resonant sustain. No accompanying artists or detailed session information is documented in available sources. The release date and label confirm its placement within Bhattacharya’s early discography, preceding his later collaborations with tanpura and tabla accompanists in live and studio settings.

Raga Bhimpalasi remains a reference for Bhattacharya’s interpretation of the raga form, illustrating his role in expanding the slide guitar’s presence in classical Hindustani music. The 1997 CD release includes liner notes, though specific contributors to the notes or recording engineers are not publicly listed. The track sequence and duration align with conventional alaap-jor-jhala-gat progression, with the Madhya/Drut Gat in Tintal serving as the climactic instrumental section.