The Chakraborty family of Kotalipara, Faridpur, of the then East Bengal (now in Bangladesh), is believed to have been originated from Kanauj (U.P.). They were Mishra Brahmins and later migrated to Kotalipara and settled there for about thousand years. Somehow they inherited with them a musical trend specially oriented by Prabandha geeti, Saam gaan and some folk tradition. One of the ancestors of the family, Acharya Biswambhar Chakraborty was drawn towards the mainstream of Indian Classical Music long time ago. He was initiated to Seni Gharana and brought the trend. Tarapada Chakraborty’s father Late Pandit Kulachandra Chakraborty and his uncle Late Pandit Ramchandra Chakraborty had their training from Ustad Jahur Khan of Khurja gharana. Ramchandra had the honour of being the Dwarpandit (court scholar) and the distinguished musician at the court of Maharaja of Natore. Thus, both the brothers had a wide contact with many leading musicians of their time and had a phenomenal collection of musical wealth. Having moved to Calcutta with this rich inheritance, Tarapada Chakraborty first took lessons from Late Pandit Satkari Malakar of Gwalior and Betia gharana especially in Khayal and Tappa. Later, under the guidance of the Great Maestro Late Sangeetacharya Girija Sankar Chakraborty he acquired the distinguished features of various Ragas, styles and traditional Dhrupad, Dhamar and Khayal Bandishes of different gharanas, mainly Seni, Vishnupur, Betia, Delhi, Gwalior, Rampur, Agra, Rangila, Jaipur and Kirana. Girijashankar being a pioneer of Thumri style of singing at that time gave Tarapada Chakraborty an intensive training on the Thumri style of mainly Banaras and Kirana as well. In fact, it is quite discernibly evident that Khayal received a rare authenticity and completeness in the heralding Gayaki of Tarapada Chakraborty in his own way. Sangeetacharya Tarapada Chakraborty, the pioneer of this Kotali Gayaki is the legend adored all over India for his contribution towards Hindustani Classical Music.
His worthy son 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. Exposure to the corresponding confluences of his family’s assertively partisan art of music has focused his attention on the necessity of discarding in order to select and the necessity of differentiating in order to unite. 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. 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 kalawant 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 and as a ‘Guru’ he is great. 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’.