Rāg Jhiñjoṭī

Rāg Jhiñjoṭī is a performance of the Hindustani classical raga Jhiñjoṭī by sitarist Budhaditya Mukherjee. The recording spans 32 minutes and 16 seconds and showcases Mukherjee’s interpretation of the raga in the vilambit (slow) and drut (fast) sections, accompanied by traditional ālāp-jor-jhālā and gat-tān structures.

The performance adheres to the Kharaj pancham jati of the raga, characterized by the omission of ma (the fourth note) in ascent and the use of komal ni (flattened seventh) in descent. Mukherjee employs the Etawah gharana style, marked by intricate tāns (melodic phrases) and a balanced use of meend (glissando) and gamak (ornamentation). The recording likely follows the conventional teen tāl (16-beat cycle) in the gat sections, though specific rhythmic accompaniment details remain undocumented.

The release format and label are not explicitly stated in available sources. The recording date and production context are also unspecified, but Mukherjee’s active period suggests it originates from his later career, possibly between the 1990s and early 2000s. No track-by-track breakdown exists, as the performance is a continuous rendition of Rāg Jhiñjoṭī without segmented movements.

Budhaditya Mukherjee (1955–2010) was a disciple of Mushtaq Ali Khan and a prominent exponent of the Etawah-Imdadkhani gharana. His recordings often emphasize technical precision and emotional depth, with Rāg Jhiñjoṭī serving as an example of his command over rare and complex ragas. Further details on session musicians, recording location, or commercial release status are not publicly accessible.