"Kankana Banerjee has admirably imbibed almost all the abstractions and mannerisms of Ustad Amir Khan to a degree where his Gayaki tends to become an integral part of her musical being. Added to this a refreshingly mellow voice with a finesse for elegant, streamlined presentation. There is also a good awareness of the aesthetic purpose in her singing and one is happy to find her recital free from pretense and gimcrackery. She embellished her themes with well defined alaps, clever boltans, relaxed sargams and racy taans - all very much reminiscent of her Ustad's vocalism."
The star of the evening was Kankana Banerjee, the popular vocalist and a direct disciple of Ustad Amir Khan. She sang a composition in the raag Bagheshree set to taal Jhumra. Singing in a sweet voice, Kankana Banerjee captivated the hearts of the listeners with her charming exposition of the melody. The build-up was gradual. An atmosphere of solemnity and tranquility pervaded her presentation. The 'bandish' and its interpretation were a little importance to the singer. She concentrated on the elaboration of the raag. Banerjee also sang short khayals in Hansadhawani and Shahana. The composition in Shahana was particularly was particularly delightful. It evoked the spirit of the Late Ustad.
The Ustad Amir Khan Memorial Committee set up by some of his ardent admirers pays homage to his memory every year by holding programmes at different centres.
It was fitting therefore, that Kankana Banerjee, a city vocalist and a disciple of the Late Ustad, was featured as the last artist to perform on the opening day of the three-day musical tribune. Kankana has a sweet sonorous voice. An outstanding feature of her recital is her total involvement in the art of singing and establishing a quick rapport with her accompanists and the audience. Her Bageshree which lasted almost an hour was a typical example of her Ustad's gayaki. The artist spent time leisurely unfolding the musical modes, with lilting phrases in 'vilambit'. Set to "Jhoomra taal', she slowly built up the structure. Her intricate weaving of 'sargams' and 'taans', her tantalising approach, her well balanced taans and tarana in drut were some of the highlights of her exposition.
Her short 'Hansadhawani' in fast 'ektaal' and 'Shahana' in 'tritaal' presented without 'antara' carried the hallmark of the Late Ustad's singing.
It was one fine evening at my friend's house in Ottawa. As usual, we were talking about music. "Hold on," my friend said. He walked to his music system and put on an LP record. What I heard, I'll never forget in my life. I kept listening.
Voices like these only come from heaven, I thought to myself. The beautiful flawless voice was that of Kankana Banerjee, as he told me afterwards. The evening ended. But I did not come home 'empty handed'. On every opportunity, I made sure that I fill my soul with this voice. It is sweet. It is enchanting. It is provocative. It is sensuous. It is emotional. It is philosophical. It is miraculous. It is heavenly. And yet it is so earthly. And yet it is so much within our reach.
Few years later, I heard that Kankana Banerjee was performing with Pandat Pratap Narain in Toronto. Him I had also heard in the past. I went to hear them both. A remarkable unforgettable evening this was too.
On Friday, the 30th July 1999, Kankana Ji performed in Toronto again. What can I say? One had to be there to appreciate what she did that evening. Her smooth voice, her mannerism, her appreciation for her accompanying musicians, her smiling face, her extreme desire to please her audience is so well apparent.
But who is Kankana Banerjee? A loaded question. Her art and her personality are equally beautiful. This combination puts her in the most enviable position when it comes to singing art. One comes home with a clear conclusion that there is nobody her equal and like her in the heaven sent art of music and singing.
At the age of seven, Kankana Ji entered the pupilship of the late great Ustad Amir Khan of Indore Gharana. At the age of fourteen she appeared in her first public performance. She has never looked back. After the sudden, and untimely death of Ustad Amir Khan, Kankana kept her musical training under Pandat Pratap Narain of Mewati Gharana. This is again, a beautiful combination. Now what she does with this blend of two musical schools of thought is even more remarkable.
In my opinion one is an artist only when one creates art from one's own mind. It is obvious that Kankana does it so fluently, naturally, flawlessly, effortlessly, sweetly, and beautifully.