Nikhil Banerjee
[2] Ustad Allauddin Khan was passing on not only playing technique but the musical knowledge and approach of the Maihar gharana (school); yet there was a definite trend in his teaching to infuse the sitar and sarod with the been-baj aesthetic of the Rudra veena, surbahar and sursringar—long, elaborate alaap (unaccompanied improvisation) built on intricate meend work (bending of the note).His usage of a completely "bandh" or "closed" jawari in the Maihar style sitar allowed for a much greater amount of sustain (since the strings are not buzzing against the bridge as much) as can be heard in his unique sound.In an obituary the New York Times wrote "the extraordinary fluidity and assurance of his rhythmic ideas and phrasing set a standard that would have left the more international 'stars' of Indian music behind.The ease of it, highlighted by atypical (for Indian music) bits of literal reiteration create a kind of euphoric effect.One could spot a Banerjee performance on a radio broadcast or tape, a thing of great difficulty among Oriental musicians.