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Despite having such pure classical “taleem” in the Dhrupad-Khyal genre, he is amazingly adroit and a trend setter, in rendering all the lighter forms like Thumri, Tappa, Geet, Bhajan, Keertan, Folk, Film/Non-Film and modern songs, in several different languages, like Hindi, Urdu, Bengali, Tamil, Telegu, Persian and even in English, which all together, has given him the single distinguished recognition of being an absolutely one-of-a-kind musical personality, in the music scene of India today.

Balamuralikrishna, that kept enriching his musical expression and repertoire. Nibruttibua Sarnaik, Vidushi Hirabai Barodekar and in Carnatic styles from Professor, Dr. His training was then continued under Ustad Munawar Ali Khan (son of Ustad Bade Ghulam Ali Khan).īesides that, he had learnt from several other maestros like Ustad Latafat Hussain Khan, Pt. His father, late Shri Ajit Kumar Chakraborty, Shri Pannalal Samanta and Shri Kanaidas Baigari were the ones, with whom his initial orientation happened, before he was warmly accepted by the ultimate and the greatest Guru of all times, Padmabhushan Pandit Jnan Prakash Ghosh. This is perhaps because of his wide exposure to various genres and their maestros and musicologists besides his own gurus. Although considered a scion and doyen of the Patiala-Kasur Gharana (style), primarily representing Ustad Bade Ghulam Ali Khan Sahib’s gayaki, he can equally portray even the most subtle features of other major classical gharanas of India like Indor, Delhi, Jaipur, Gwalior, Agra, Kirana, Rampur and even Carnatic music of South India. Pandit Ajoy Chakrabarty is poised nearly as a cult figure among all the legendary Indian Classical Vocalists of today.

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