"I, painting from myself and to myself Know what I do, am unmoved by men's blame or their praise either".

Thus wrote Browning. Pandit Jitendra Abhisheki, the veteran Hindustani classical vocalist who passed away a fortnight ago believed in this philosophy. Abhisheki, an introvert performer basically sang for himself. If others were drawn towards his music they were welcome as onlookers.

When he performed, he presented a picture of concentration and he came across as a singer making an earnest invocation to the Goddess of music. P. L. Deshpande, writer and aesthete divides singers into different categories. In the first are those singers who are out to prove their talent. In the second fall those who either want to flaunt their mastery of laya or authenticity of talim.

Some singers are intent on exhibiting the tremendous practice they have put in. There are only a handful of singers who merely intend to sing. Abhisheki belonged to the latter and rare breed of singers.

Acknowledged by the most difficult-to-please critics, admired by the most common concert-goers, and imitated by the musicians of the younger generation, Abhisheki was fondly called `Buwa' by his innumerable disciples. He had the capacity to strike an emotional chord with the lay listener which he combined with the ability to impress the knowledgeable.

It was this unique combination which lent him a certain stature even when he was comparatively young. Born in the sylvan surroundings of Goa in the early Thirties, Abhisheki inherited his talent in music from his father. Goa has thrown up phenomenal talent in music ranging from Kesrabai Kerkar to Kishori Amonkar on the one hand and Dinanath Mangeshkar to Asha Bhonsle on the other hand.

Abhisheki's formative influence was Dinanath Mangeshkar who shone like a bright meteor on the Marathi stage.

Musically speaking, he was one of the most well-educated vocalists of his time. Narharbuwa Patankar, Yashwantbuwa Marathe, Girijabai Kelekar, Azmat Hussain Khan, Gulubhai Jasdanwala, Gunidas Jagannathbuwa, Ratnakant Ramnathkar and Ratnakar Pai were among his gurus.

It is not the number of gurus that matters here. It is the variety of influences that shaped his inborn talent and enhanced his repertoire.

Jitendra Abhisheki had a voice which was powerful but it defied all conventional logic. It was husky and must have been initially highly inflexible. His greatness lay in the fact that he overcame these hereditary obstacles with a determination and dedication that few can summon.

It is easy to become a successful singer when one is endowed with a sweet and flowing voice. However, despite his problematic voice, he could make an impact and move the audience to tears, which speaks volumes for his industry and sense of purpose.

Jitendra Abhisheki earned a name for himself as a singer, in the Sixties. He exerted a compelling fascination in the minds of listeners. He attracted capacity audiences at all the major concert venues such as the Dadar Matunga Cultural Centre, Bramhin Sabha and Vileparle Music Circle. His raga renditions had an intensity which was difficult to resist.

His energetic interaction with rhythm had one entranced. One certainly treasures memories of his spirited performances in the city of Bombay which gave him the necessary break as a singer and a composer. One recalls his `Malkauns' which was sung lustily at the Chhabildas High school Hall. The haunting notes travelled down the adjacent road in the stillness of a winter night.

It was music that was as melancholic as it was appealing. His hour-long `Gawati' at the prestigious Jan-Fest hosted by the Indian Music Group of the St. Xavier's College was a splendidly sculpted piece which few musicians can produce. The listeners felt that they were recipients of a revelation.

Jitendra Abhisheki's enormous contribution to the stage music in Maharashtra would by itself assure him a place in the hall of fame. In the post balgandharva/ Dinanath era, stage music was facing a veritable crisis of identity. Abhisheki revived this dying form of music with his highly innovative tunes. Novelty can only grow as a new shoot out of a tradition.

Having realised this Abhisheki drew upon traditional ragas such as `Multani', `Sarang' and `Yaman'. When called upon to compose music for a humorous opera concentrating on contemporary themes like family planning, Abhisheki came up with lively tunes based on pop music. His ``Sarvatmaka Sarveshwara'' which is an evocative invocation to the maker of this world based on the raga `Gunakri' has reached such unsurpassed heights that it has been adopted as a school prayer by the Government of Maharashtra.

The deeper the wells, the sweeter the water. Abhisheki could produce such memorable tunes because he had imbibed the tradition with sincerity.

Abhisheki trained a number of young musicians and moulded them into accomplished performers. Towards the end of his life he settled in Pune. One remembers the last encounter with him when he complained about the lack of real respect for the professional musician.

While a handful stars earn their millions, hundreds of talented musicians are engaged in a struggle for survival, he lamented. Jitendra Abhisheki is no more. However, his khayals and natyageets which transcend the confines of time and space live on.