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One of the leading female vocalists of the country, with a rare and extraordinary voice, Smt. Vasundhara Komkali is the true representative and heir to the Gayaki of the Late Kumar Gandharva.

She was born in Calcutta and encouraged to learn music from her very childhood. In 1946, she came down to Mumbai and initially trained under Professor Deodhar, a doyen of Gwalior Gharana and disciple of Pandit Paluskar, for more than a decade.

Thereafter she was trained by her husband Pandit Kumar Gandharva. She helped Kumarji in the conception and execution of some specially prepared theme concerts such as Geet – Varsha, Geet – Hemant, Geet – Vasant, Rituraj – Mehfil, Triveni, Surdas, Tulsidas – Darshan, Mala – Umajilela – Balgandharva.

Vasundharaji was not only the silent force behind the success of Pandit Kumar Gandharva’s musical career, but also lent able support and contribution to the success of his concerts.

Vasundharaji is a regular broadcaster of AIR and Doordarshan and is a leading soloist in her own right. She has solo albums released in her name, which have established her stature as an able torch bearer of the glorious tradition of the music of Pandit Kumar Gandharva.

Pandit Jitendra Abhisheki was popular musician who strode the classical and the Marathi stage music with equal ease. Born in 1932 in Mangeshi, Goa, as a son of the head priest, he received his classical training under Pandit Jagannath Purohit. Influenced intensely by both the immense traditions inherent in Indian Classical Music as well as the scope it provided for modern innovations, Pandit Abhisheki gave full rein to his creative abilities by blending traditional ragas with new compositions and introducing the western operatic style to the Marathi theatre. He received several awards including Padmashri and the Sanger Natak Akademi Award.

Pandit Abhisheki absorbed several ideas from all his teachers to from his own style of Hindustani classical. He was a doyen of Agra – Jaipur Gharana and one of the greatest Maestros of Indian Classical Music. He believed in improvisation and developing ones own style rather than sticking with the style of the guru or a Gharana and encouraged his students to do the same, as exemplified by the innovative style of is student Shubha Mudgal.