I n d i a   A r c h i v e   M u s i c

 

IAM 1021

Dhruba Ghosh - Sarangi
Nayan Ghosh - Tabla
Raga Yaman,
evening raga - about 5:30 - 7 p.m.
Alap, Vilambit Gat in Ektal - 32:44
Drut Gat in Tintal - 19:33
Raga Hemant, night raga - about 7 - 10 p.m.
Alap, Gat in Tintal - 18:50
 
Dhruba Ghosh plays sarangi with a sweet and lyrical style, at once traditional, yet individual and innovative. Raga Yaman has a relaxed, soothing mood suitable for extensive rendering. Raga Hemant, a creation of Allauddin Khan, is evocative of the wistful, pensive mood of the Hemant (winter) season.
 
Sample of transition Alap to Gat Raga Yaman (3:38 - 4:48) · 549 kB
 

IAM 1022

Rajeev Taranath - Sarode
Nayan Ghosh - Tabla
Raga Ahir Bhairav,
morning raga - about 6:30 - 8:30 a.m.
Alap & Jod - 25:20
Vilambit Gat in Tintal - 25:00
Drut Gat in Tintal - 14:00
Raga Charukeshi, morning raga - about 7 - 11 a.m.
Gat in Rupak Tal - 9:40
 
Rajeev Taranath is one of the most prominent exponents of the Maihar style of sarode playing, combining a sophisticated thoughtfulness in raga development with a lyrical presentation and a luminous tonal quality. Raga Ahir Bhairav is an early morning melody combining the devotional aspect of Bhairav with the warmth and longing of Ahiri folk tunes.
 

IAM 1023

Irshad Khan - Surbahar
Raga Jansanmohini,
night raga - about 7 - 9 p.m.
Alap - 34:04
Jod & Jhala - 33:43
 
Irshad Khan is, today, the leading young performer on the surbahar (bass sitar and, after his father and Guru, the great Ustad Imrat Khan, the world´s most accomplished active player on the surbahar. Raga Jansanmohini is adopted from South India and in Irshad Khan´s interpretation creates a lively mood embued with the playful atmosphere of two lovers.
 

IAM 1024

Nishat Khan - Sitar
Samir Chatterjee - Tabla
Raga Miyan ki Malhar,
monsoon raga - for rain
(or about 6:30 - 9:30 p.m.)
Alap, Jod & Jhala - 34:06
Madhya Gat in Tintal - 23:33
Raga Dhanasri, night raga - about 6 - 8 p.m.
Alap - 7:21
 
Nishat Khan, the irrepressible and virtuosic sitarist, is endowed with an obsessive musical creativity that pushes him to define new musical boundaries - as in this performance of raga Mian ki Malhar, the most august, intense and complex of the rainy season ragas, a creation of Tansen, the legendary musician at the court of Emperor Akbar.
 

IAM 1025

Shujaat Khan - Sitar
Tejendra Narayan Majumdar - Sarode
Tanmoy Bose - Tabla
Raga Charukeshi,
morning raga - about 7 - 11 a.m.
Alap, Jod & Jhala - 45:18
Madhya & Drut Gat in Sitarkhani Tal & Tintal - 24:19
 
Shujaat Khan and Tejendra Narayan Majumdar bring together, perhaps for the first time on a CD, artists of the Vilayatkhani Gharana and the Maihar Gharana. Shujaat and Tejendra, two of the finest young exponents of their respective gharanas and instruments, combine efforts to create an evocative performance of raga Charukeshi.
 
Sample of Gat (11:04 - 12:13) · 547 kB
 

IAM 1026

Debashish Bhattacharya - Guitar
Samir Chatterjee - Tabla
Raga Bhimpalasi,
late afternoon raga - about 2:30 - 4:30 p.m.
Alap, Jod & Jhala - 48:24
Vilambit Gat in Rupak Tal - 16:42
Drut Gat in Tintal - 13:11
 
Debashish Bhattacharya´s imaginative renderings and innovative extensions of playing technique and instrument design reveal the kind of provocative re-thinking that has always been at the vanguard of Indian classical music. Raga Bhimpalasi is played in the afternoon, evoking a contemplative sense of peace and the majestic grandeur of creation.
 

IAM 1027

Tejendra Narayan Majumdar - Sarode
Tanmoy Bose - Tabla
Raga Hem Behag,
late night raga - about 9 - 11 p.m.
Alap & Jod - 31:54
Vilambit in Chartal ki Sawari - 21:12
Madhya/Drut Gat in Tintal - 12:47
Raga Mishra Shivaranjani (about 7 - 11 p.m.)
Dhun in Rupak Tal - 12:42
 
Tejendra Narayan Majumdar has evolved a delightful lively style featuring deep tones alternating with soft ones, meends spanning over two octaves, dhrupad-style gamak taans and clusters of notes in one stroke. Raga Hem Behag has a gentle, peaceful ambiance; raga Mishra Shivaranjani is a bittersweet mixture of sadness and compassion.
 

IAM 1028

Samir Chatterjee - Tabla
Tintal,

Vilambit Laya - 44:33
Madhya Laya - 8:45
Drut Laya - 17:40
 
Samir Chatterjee is one of India´s (and the U.S.A.´s) finest tabla players. Samir plays tabla in the style of the Farrukhabad Gharana and here plays an extended exploration of the classic sixteen-beat rhythm cycle, tintal, that offers a fascinating blend of traditional, contemporary and personal approaches and compositions.
 

IAM 1029

Shujaat Khan - Sitar
Shyam Kane - Tabla
Raga Charukeshi - 12:13,
morning raga - about 7 - 11 a.m.
Raga Kamod - 12:05, night raga - about 6 - 7:30 p.m.
Raga Jhinjhoti - 14:42, night raga - about 6:30 - 9 p.m.
Raga Manjh Khamaj - 12:28, night raga - about 7:30 - 10 p.m.
Raga Piloo - 12:18, night raga - about 6 - 10 p.m.
Raga Bhairavi - 9:37, morning raga - about 6 - 10 a.m.
 
Shujaat Khan presents six ragas with six different moods, three played in the khayal style, three in the thumri style. In Shujaat´s words, "...when I am playing the composition, which was originally composed for presenting poetry, I also sing. Just as I often do at concerts. I want the listener to enjoy the beauty of the poetry along with the melody."
 

IAM 1030

Ustad Vilayat Khan - Sitar
Akram Khan - Tabla
Raga Bhankar,
morning raga - about 7 - 9 a.m.
Alap - 38:08
Madhya/Drut Gat in Tintal - 35:38
 
Ustad Vilayat Khan is a maestro whose synonymy with the sitar is now a fact which the musical world naturally takes for granted. Here, Ustad Vilayat Khan offers his unique interpretation of the rare raga Bhankar, creating a modal spectacle, incorporating fleeting glances of many other related and unrelated ragas.
 

IAM 1031

Rashid Khan - Vocal
A.G. Bandopadhyay - Tabla
Jyoti Goho - Harmonium
Raga Bageshri,
late night raga - about 9 - 11 p.m.
Vilambit Bandish in Ektal - 40:07
Drut Bandish in Tintal - 8:00
Drut Bandish in Ektal - 4:00
Raga Desh, night raga - about 7:30 - 9:30 p.m. (and for rain)
Bandish in Tintal - 14:36
Tarana in Tintal - 9:05
 
Rashid Khan presents raga Bageshri, a popular night raga with moods ranging from devotional serenity to exhuberant romanticism. The romantic raga Desh is presented in a bandish with a strong devotional theme and ends in a virtuosic tarana.
 

IAM 1032

Subhra Guha - Vocal
Samar Saha - Tabla
Jyoti Goho - Harmonium
Raga Devgiri Bilawal,
morning raga - about 8 - 10:30 a.m.
Vilambit Bandish in Tintal - 37:20
Drut Bandish in Tintal - 12:20
Raga Mishra Khamaj (about 7 - 10 p.m.)
Thumri in Deepchandi Tal - 17:30
Raga Pilu (about 6 - 10 p.m.)
Kajri in Keharwa Tal - 11:46
 
Subhra Guha brings an elegance and romantic flavor to the Agra Gharana style. She presents raga Devgiri Bilawal, evoking a peaceful, loving atmosphere and two light compositions by D.T. Joshi, including the classic "Ghir Ghir Aayi."
 

IAM 1033

Nancy Lesh - Cello
Peter Fagiola - Pakhawaj
Raga Multani,
late afternoon raga - about 2 - 4 p.m.
Alap, Jod & Jhala - 34:37
Dhrupad in Chautal - 9:21
Raga Bhupali, night raga - about 6 - 8 p.m.
Alap, Jod & Jhala - 20:04
Dhrupad in Jhaptal - 5:50
 
Nancy Lesh studied with rudra vina maestro Ustad Z.M. Dagar.Nancy presents a forceful reading of raga Multani, exploring its mixture of calm and passion. Raga Bhupali, sweet and soothing, is presented with a sprightly dance-like quality.
 

IAM 1034

Bhai Gaitonde - Tabla
Tintal,

Vilambit Laya - 42:34
Drut Laya - 3:00
Jhaptal,
Drut Laya - 29:45
 
Bhai Gaitonde is respected for his technical prowess and intellectual approach to the tabla and is distinguished for his systematic treatment of compositions and thorough exploration of their potential for improvisation.
 

IAM 1035

Ustad Vilayat Khan - Sitar
Akram Khan - Tabla
Raga Shree,
evening raga - about 5:30 - 7 p.m.
Alap - 34:39
Drur Gat in Tintal - 40:55
 
Ustad Vilayat Khan is one of the greatest sitar players of the century, noted for his trademark sitar sound and inimitable "vocal playing style". This recording of raga Shree by Ustad Vilayat Khan is an event of major importance, in the presentation of a definitive performance of a "major" raga by one of the visionary Indian classical artists of the century - mature, thought-provoking and played with the lyrical virtuosity that has made Vilayat Khan legendary.
 

IAM 1036

Ramesh Mishra - Sarangi
Samir Chatterjee - Tabla
Raga Jog,
night raga - about 7 - 9:30 p.m.
Alap - 9:32
Vilambit Gat in Ektal - 26:58
Drut Gat in Tintal - 11:40
Raga Mishra Shivaranjani (about 7 - 11 p.m.)
Thumri in Sitarkhani Tal - 21:15
Raga Mishra Khamaj (about 7 - 10 p.m.)
Bhajan in Sitarkhani Tal - 7:50
 
Ramesh Mishra plays the bowed sarangi - its three main strings and forty sympathetic strings give it a rich and complex sound. Ramesh comes from a stylistic tradition associated with musicians of the ancient city of Benares and is now a disciple of Pandit Ravi Shankar. Ramesh Mishra plays raga Jog which has a moody, bluesy kind of feel, followed by a bittersweet raga Mishra Shivaranjani and the bhajan "Vaishnava Jana To", a favorite of Gandhi.
 

IAM 1037

Shujaat Khan - Sitar
Shyam Kane - Tabla
Raga Malkauns,
late night raga - about 9 - 11 p.m.
Vilambit Gat in Tintal - 40:40
Madhya Gat in Tintal - 11:25
Drut Gat in Ektal - 7:06
Drut Gat in Tintal - 14:44
 
Shujaat Khan is a brilliant sitar player,the seventh generation of father to son musicians in his family. Shujaat is noted for the individuality of his style, the sweetness of his tone and the emotional involvement and communication which he brings to his performances. Shujaat Khan performs raga Malkauns, a well-loved and "important" raga of the late night, in an enchanting rendition that ranges from seductive lyricism to rhythmic exhilaration.
 

IAM 1038

Buddhadev Das Gupta - Sarode
Samir Chatterjee - Tabla
Raga Chhaya,
night raga - about 7 - 8:30 p.m.
Alap, Jod & Ladant - 34:53
Vilambit Gat in Tintal - 30:58
Drut Gat in Tintal - 11:24
 
Buddhadev Das Gupta, one of India´s greatest sarod artists, plays in a style emphasizing the sarode´s rhythmic and percussive aspects. Das Gupta is noted for his understanding of ragas; the intelligence with which he creates endless variations; and the sophistication and virtuosity of his music. Buddhadev Das Gupta performs raga Chhaya, emphasizing the distinctive aspects of his style, while developing the contemplative and playful moods of the raga.
 

IAM 1039

Dhruba Ghosh - Sarangi
Nayan Ghosh - Tabla
Raga Kaushi Kanada,
midnight raga - about 10 p.m. - 0:30 a.m.
Vilambit Gat in Ektal - 37:57
Drut Gat in Ektal - 18:12
Kajri
Kajri in Dadra Tal - 15:36
 
Dhruba Ghosh presents a rendition of raga Kaushi Kanada, a mix of ragas Malkauns and Darbari Kanada, whose grandeur and majesty are now tinged with pathos and urgency. Dhruba´s lyrical style and the sarangi's natural affinity for dramatic and heart-rending music make this an intense and captivating performance. Dhruba concludes with a light kajri.
 

IAM 1040

Ustad Vilayat Khan - Sitar
Akram Khan - Tabla
Raga Sanjh Saravali,
night raga - about 7 - 9 p.m.
Vilambit Gat in Tintal - 78:23
 
Ustad Vilayat Khan performs his own creation, delightful and romantic, raga Sanjh Saravali, literally an "evening melody". Ustad Vilayat Khan presents this in a slow, lyrical development typical of a khyal vocal rendering, and brings to bear all his creativity and technical prowess to make this performance an enchanting vision of love and beauty.
 

 

 
1001-1020 / 1041-1060 / 1061-1080 / 1081-1086
 
© Texts by Lyle Wachovsky, New York
 

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