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IAM 1001

Ustad Vilayat Khan - Sitar
Raga Bhairavi,
morning raga - about 6 - 10 a.m.
Alap - 36:23
Jod - 23:28
Ustad Vilayat Khan offers an extraordinary performance of Raga Bhairavi. Beautiful and bittersweet, Bhairavi is often pictured as a woman longing for the return of her absent lover. Usually played in the light thumri style, Vilayat Khan explores this raga´s more serious side in an extended alap and jod.
Sample of Jod (5:17 - 6:34) · 608 kB
=> all Samples in mp3, mono, 44100 Hz, 64 kbps

IAM 1002

Prof. Debu Chaudhuri - Sitar
Shafaat Ahmed Khan - Tabla
Raga Desh,
night raga - about 7:30 - 9:30 p.m.
Alap & Jod - 34:50
Vilambit & Drut Gats in Tintal - 40:24
Prof. Debu Chaudhuri plays sitar in the Jaipur-Senia tradition of his guru, Ustad Mushtaq Ali Khan, and is noted for his "sweet, singing, ringing tone". Raga Desh is a very "sweet" raga associated with the monsoon season, reflecting the joyful spirits as the rains bring relief from the hot, dry summer.

IAM 1003

Rashid Khan - Vocal
Samar Saha - Tabla
Jyoti Goho - Harmonium
Raga Yaman,
evening raga - about 5:30 - 7 p.m.
Vilambit Bandish in Ektal - 45:35
Drut Bandish in Tintal - 15:30
Raga Kirwani (about 6 - 11 p.m.)
Thumri in Ektal - 15:50
Rashid Khan offers a serene rendition of raga Yaman. Traditionally the first raga taught, abundant in creative potential, some artists have devoted a lifetime to it. The thumri in raga Kirwani is about the separation of the lovers Radha and Krishna and Rashid's lyricism perfectly conveys the sad, but beautiful sentiments.
Sample of Raga Kirwani (6:52 - 7:50) · 458 kB

IAM 1004

Ajoy Chakrabarty - Vocal
Samar Saha - Tabla
Jyoti Goho - Harmonium
Raga Malkauns,
late night raga - about 9 - 11 p.m.
Vilambit Bandish in Ektal - 34:55
Drut Bandish in Tintal - 18:54
Raga Mishra Bhairavi (about 6 - 10 a.m.)
Thumri in Dadra Tal - 16:16
Ajoy Chakrabarty sings the poignant and majestic raga Malkauns, "perfect in its marriage of the masculine and feminine qualities of the human condition." A thumri in raga Bhairavi is the traditional end to any concert. Ajoy, using all twelve notes and summoning up shades of other ragas, fully reveals the bittersweet qualities of the song.

IAM 1005

Ustad Imrat Khan - Surbahar/Sitar
Shafaatullah Khan - Tabla
Raga Puriya Dhanashri,
night raga - about 6 - 8 p.m.
Alap & Jod (Surbahar) - 44:43
Alap & Drut Gat in Tintal (Sitar) - 27:27
Ustad Imrat Khan, the great sitar and surbahar (bass sitar) player, offers raga Puriya Dhanashri. It is played just after sunset: the alap and jor on surbahar evokes the unsettled eeriness of the day's change mixed with a certain tranquility; while the sitar rendering transforms the mood into a joyful, embrace of the evening's arrival.
Sample of Surbahar-Alap (19:02 - 20:28) · 674 kB

IAM 1006

Buddhadev Das Gupta - Sarode
Samar Saha - Tabla
Raga Jhinjhoti,
night raga - about 6:30 - 9 p.m.
Alap, Jod, Jhala - 24:05
Vilambit & Drut Gats in Tintal - 50:35
Buddhadev Das Gupta learned from the venerable Radhika Mohan Moitra and is often thought of as a "musician´s musician", for his depth of understanding; knowledge of rare ragas; fascinating and complex layakiri (polyrhythmic improvisation) and the intricacy and mathematical virtuosity of his "machine-gun" bursts of notes.

IAM 1007

Debashis Bhattacharya - Guitar
Samir Chatterjee - Tabla
Raga Ahir Bhairav,
morning raga - about 6:30 - 8:30 a.m.
Alap & Jod - 31:40
Vilambit Gat in Tintal - 14:25
Madhya Gat in Ektal - 8:10
Drut Gat in Tintal - 11:20
Raga Bhairavi (about 6 - 10 a.m.)
Thumri - 9:05
Debashis Bhattacharya plays the early-morning raga, Ahir Bhairav, which combines elements of the profound raga Bhairav with the romance and sorrow of Ahiri folk melodies. Debashis concludes with a bittersweet thumri in raga Bhairavi.

IAM 1008
Sale: EUR 15.-

Tejendra Narayan Majumdar - Sarode
Kumar Bose - Tabla
Raga Bageshri,
late night raga - about 9 - 11 p.m.
Alap, Jod, & Jhala - 39:04
Raga Zilla Kafi, night raga - about 6:30 - 9:30 p.m.
Alap, Vilambit & Drut Gats in Tintal - 33:40
Tejendra Narayan Majumdar performs raga Bageshri - romantic love is the mood, but the lover is absent and the mood is tinged with sadness. Tejendra concludes with raga Zilla Kafi, a specialty of the Maihar gharana, which shares Bageshri´s romantic mood, but not its pathos.
Sample of Gat (18:54 - 20:30) · 754 kB

IAM 1009

Shujaat Khan - Sitar
Shyam Kane - Tabla
Raga Shahana Kanada,
late night raga - about 8 - 11 p.m.
Alap, Jod, & Jhala - 29:47
Vilambit Gat in Ektal - 11:46
Drut Gat in Tintal - 14:48
Raga Pahari (about 7 - 10:30 p.m.)
Dhun in Keharwa Tal - 17:01
Shujaat Khan plays raga Shahana reflecting the romance and beauty that enlivened the Mughal court´s grandeur. Shujaat then plays a dhun in raga Pahari and also sings the lyrics about the mischievous and flirtatious Krishna teasing an outwardly upset, but inwardly pleased, girl.

IAM 1010

Ustad Vilayat Khan - Sitar
Akram Khan - Tabla
Raga Jaijaivanti,
night raga - about 6 - 8 p.m.
Alap - 29:46
Vilambit Gat in Tintal - 26:01
Drut Gat in Tintal - 18:13
Ustad Vilayat Khan plays raga Jaijaivanti, expressive of romantic love, full of tenderness and yearning. Vilayat Khan´s exuberant development is full of abandon and the bright lyrical quality of his sitar, and is a striking example of his absolute mastery of the classical idiom.
Sample of Alap (11:44 - 12:56) · 566 kB

IAM 1011

Vijay Kichlu - Vocal
A.G. Bandopadhyay - Tabla
Raga Bhairav,
morning raga - about 6:30 - 8:30 a.m.
Alap - 24:02
Jod - 21:17
Madhya Bandish in Teental - 30:22
Vijay Kichlu studied dhrupad with the Dagar Brothers and khayal with Latafat Hussein Khan, whose style had a strong connection with dhrupad. Vijay Kichlu offers an impassioned performance of raga Bhairav, an early-morning raga with a devotional, contempaltive and compassionate mood.

IAM 1012

Ustad Abdul Halim Jaffar Khan - Sitar; Vidyadhar Vyas - Vocal; Rajeev Taranath - Sarode; Dhruba Ghosh - Sarangi; Ajoy Chakrabarty - Vocal; Debashis Bhattacharya - Guitar, a.o.
Thumri - Vocal and Instrumental,
THUMRI is the predominant light-classical genre of North India. Initially cultivated and practiced by courtesans into the early 20th century, thumri managed a transition to the urban concert hall, shedding its disrepute and acquiring a more classicized sophistication.

IAM 1013

Tarun Bhattacharya - Santoor
Abhijit Banerjee - Tabla
Raga Gujari Todi,
morning raga - about 6 - 10 a.m.
Alap, Jod & Jhala - 32:16
Vilambit Gat in Tintal - 21:48
Drut Gat in Tintal - 11:54
Raga Bhairavi (about 6 - 10 a.m.)
Thumri in Dadra Tal - 10:57
Tarun Bhattacharya plays santur with superb technique and a disciplined exuberance in melodic and rhythmic interplay. Raga Gujari Todi, is a morning melody with a unique, rather transcendental quality, and is known for its devotional and serious, yet gentle, emotive power.
Sample of Alap of Raga Gujari Todi (2:03 - 3:24) · 641 kB

IAM 1014

Ustad Nizamuddin Khan - Tabla

Vilambit Laya - 45:41
Madhya Laya - 15:57
Drut Laya - 15:01
Ustad Nizammuddin Khan is one of the great tabla stylists, renowned for his solo performances and his sensitive and inspired accompaniment. In this exploration of the sixteen-beat cycle, Tintal, Nizamuddin gives a fascinating performance which conveys the charm and beauty of solo drumming.

IAM 1015

Prabhakar Karekar - Vocal
Subhash Kamat - Tabla
Raya Bidaye - Harmonium
Raga Bilaskhani Todi,
morning raga - aabout 6 - 9 a.m.
Vilambit Bandish In Ektal - 38:26
Drut Bandish In Tintal - 7:51
Raga Chandrakauns, late night raga - about 9 - 11 p.m.
Vilambit Bandish In RupakTal - 22:32
Drut Bandish In Tintal - 7:46
Prabhakar Karekar has an energetic and soulful vocal style which mingles features of the Agra and Gwalior gharanas. Prabhakar presents an intense and haunting vision of two ragas: Bilaskhani Todi, a raga steeped in legend, emphasizing a sense of bairag or spiritual "non-attachment" and Chandrakauns, evoking the vision of a serene moonlit night, is elegant and meditative in nature.

IAM 1016

Ajoy Chakrabarty - Vocal
Ustad Sultan Khan - Sarangi
Samar Saha - Tabla
Raga Khamaj,
night raga - about 7 - 10 p.m.
Vilambit Bandish in Ektal - 33:27
Madhya Bandish in Jhaptal - 18:05
Drut Bandish in Tintal - 10:37
Drut Bandish in Tintal - 10:28
Ajoy Chakrabarty, with a powerful and mellifluous voice, is India´s foremost vocalist of the Patiala style. Here, Ajoy has applied a high level of creative talent by singing a khayal in raga Khamaj, a raga usually sung in the light thumri style, and offers an inspired rendering, bringing out raga Khamaj´s gay mood of love.

IAM 1017

Vidyadhar Vyas - Vocal
Pandit Bhai Gaitonde - Tabla
Anant Kunte - Sarangi
Raga Malgunji,
night raga - about 7:30 - 9 p.m.
Vilambit Bandish in Ektal - 43:50
Drut Bandish in Tintal -12:18
Tarana in Tintal - 7:37
Raga Bhairavi (about 6 - 10 a.m.)
Surdas Bhajan in Dipchandi Tal -11:20
Vidyadhar Vyas is an eminent vocalist of the Gwalior style, with a warm, round tone extending into a sweet and ringing tenor region. Vidyadhar Vyas offers a buoyant, well-structured rendering of the sweetly romantic raga Malgunji and a Surdas bhajan set to the bittersweet raga Bhairavi.

IAM 1018

Ustad Sultan Khan - Sarangi
Anuradha Pal - Tabla
Raga Marwa,
evening raga - about 5 - 9 p.m.
Alap & Jod - 26:25
Vilambit Gat in Tintal - 13:34
Madhya Gat in Tintal - 11:15
Drut Gat in Ektal - 6:17
Raga Bhairavi (about 6 - 10 a.m.)
Dhun in Dadra Tal - 12:52
Ustad Sultan Khan is a maestro on the sarangi, a bowed instrument with a unique viola-like, harmonically complex tone due to 35 to 40 sympathetic strings running under the three playing strings. Raga Marwa is played at dusk and conjures up the introverted calm and contemplative mood of that hour.

IAM 1019

Amjad Ali Khan - Sarode
Abhijit Banerjee - Tabla
Raga Bhimpalasi,
late afternoon raga - about 2:30 - 4:30 p.m.
Alap, Jod & Jhala - 29:16
Vilambit Gat in Rupak Tal -11:33
Drut Gat in Tintal - 12:35
Raga "Tribute to America"
Alap & Gat in Tintal - 16:15
Amjad Ali Khan, one of the most celebrated of sarode artists, here explores many facets of his traditional heritage and innovative genius. Bhimpalasi is a late afternoon raga, calm, yet majestic, suiting a dhrupad-based approach; Tribute to America, Amjad Ali´s creation, has a lyrical early-morning mood.

IAM 1020

Prof. Debu Chaudhuri - Sitar
Anup Ghosh - Tabla
Raga Lalit,
early morning raga - about 3:30 - 6:30 a.m.
Alap & Jod - 46:00
Vilambit Gat in Tintal -18:12
Drut Gat in Tintal - 12:16
Prof. Debu Chaudhuri is the most prominent exponent of the Jaipur-Senia style as learned from his guru Ustad Mushtaq Ali Khan. Prof. Chaudhuri performs a measured and contemplative exposition of Lalit, an early morning raga with a serious and meditative mood.


1021-1040 / 1041-1060 / 1061-1080 / 1081-1086
© Texts by Lyle Wachovsky, New York

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