Pandit Manas Chakraborty, the reigning maestro of international repute of Kotali Gharana is an outstanding luminary in the stardom of the musical-galaxy of India. Born in a highly traditional and illustrious family of sanskritologists and musicians, he could have no better Guru than his father Sangeetacharya Tarapada Chakraborty, the pioneer of this Kotali Gyaki.
Pt. Manas Chakraborty, the devout pursuer of various sources and streams of Indian Classical Music is enriched by his keen interest in Indian Philosophical traditions of all the existing Gharanas and Gayakies. The musical phenomenon of Pt. Manas Chakraborty has attained a new altitude which is his very own and individual and has initiated a new dynamics of allegiance to the human efforts towards life and its values. He sets his Khayal Gayaki in accordance with the character of Raga. The Maestro boldly makes the manifold moves of his style to achieve an integrated oneness of the eternal Indian ethos, to enrich the dimensions of a particular raga. His Thumris have created a landmark in the evolution of Hindustani-Music. The abstract soul of the Artist comes out with musical expressions by bol-banana and unfolds his fecund mind with delicacy in his delineation.
Manas is a versatile genius who has unsurpassed mastery of all languages of Khayal, Thumri and various other semi-classical styles of music such as Tappa, Bhajan, Ragpradhan etc. Most of his own created bandishes can be noted by his pseudonym ‘Sadasant’ and he is distinctively adored among the music-lovers while rendering these for his emotional expression essentially romantic, with a great control over his voice with which he can pass-over whatever message he likes to attribute.
His recitals have earned an enviable distinction as an’ “Artist of Artists ”, in various concerts in both at home and abroad. ‘Talim’, ‘tabiat’ and ‘taiari’ with inborn artistry, profound knowledge, intellectuality and cerebral ability has given a new dimension to his unique style of rendition which is now being followed by many artists along with his own disciples. Thus presenting the obscure reality of music in a tangibly graceful elocutionary form with his kalabant gayaki, nayaki and majestic mizaaj has made him an institution by himself in the international realm of Hindustani Shastriya Sangeet. His contribution towards the Hindustani Classical Music for the last fifty years is undoubtedly worth-mentioning. As a ‘Guru’ his contribution is extremely profound. The schooling of Indian Classical Music through the mentors of his family and the torchbearers, established around the globe has already entered the seventh- generation and now the new trend of ‘Kotali Gayaki’ is his single handed orchestration, which with the synthesis of diversities has finally created and defined the ultimate shape of ‘Kotali Gayaki’. His highly technical and eclectic approach though different from his father’s individuality, is finally convergent to the philosophical end of the essence of ‘Kotali Gharana’.