I n d i a   A r c h i v e   M u s i c

 

IAM 1061

Ali Ahad Hussain Khan - Shehnai
Samar Saha - Tabla
Raga Gorakh Kalyan,
night raga - about 7 - 9:30 p.m.
Raga Manjh Khamaj (about 7:30 - 10 p.m.)
Raga Bhairavi (about 6 - 10 a.m.)
 
Ali Ahad Hussain Khan might well be the last of the great shehnai players. His stature and popularity rest on his equal mastery over art-music and the traditional semi-classical and folk music repertoire of the shehnai. Ali Ahmad presents raga Gorakh Kalyan, a night raga of romantic mood, and maintains the mood of romance with semi-classical pieces in ragas Manjh Khamaj and Bhairavi.
 

IAM 1062

Kalyan Mukherjea - Sarode
A.G. Bandopadhyay - Tabla
Raga Shuddh Kalyan,
night raga - about 6 - 8 p.m.
Raga Shukla Bilawal, morning raga - about 7 - 9:30 a.m.
 
Kalyan Mukherjea, a Professor of Mathematics, is an unusual member of the Radhu Babu stylistic lineage, which emphasizes the sarod´s rhythmic/percussive aspects - an enhancer and modernizer of the traditional idiom. While influenced by the modern vocal style of sitarist Vilayat Khan, he plays a sarod with a rather banjo-like tone, which belonged to his Guru´s Guru, Mohammed Amir Khan. Here he plays ragas Shuddh Kalyan and Shukla Bilawal, both of which have a peaceful, calming ambience.
 

IAM 1063

Sugata Marjit - Vocal
Samir Chatterjee - Tabla
Ramesh Mishra - Sarangi
Raga Gunakri,
morning raga
Raga Lalit, early morning raga - about 3:30 - 6:30 a.m.
Raga Bilaskhani Todi, morning raga - about 6 - 9 a.m.
Raga Bhatiyar, morning raga - about 6 - 9 a.m.
Raga Deshkar, morning raga - about 7:30 - 9:30 a.m.
 
Sugata Marjit, a Professor of Economics, makes music that reflects the diversity of his grooming, and the stylistically diffused musical environment of post-independence India. It is vibrant, gripping, and explicitly enjoyable music that invites an animated, rather than a cerebral or emotional response - music that "makes people dance" (Sugata´s words), rather than sit still in their seats with eyes closed. Sugata presents five classic sunrise/morning ragas: Gunakri, Lalit, Bilaskhani Todi, Bhatiyar and Deshkar.
 

IAM 1064

Shujaat Khan - Sitar
Sandeep Das - Tabla
Raga Shuddh Kalyan,
night raga - about 6 - 8 p.m.
Vilambit Gat in Tintal - 42:26
Madhya/Drut Gat in Tintal - 21:30
Raga Tilak Kamod, night raga - about 6 - 9 p.m.
Phagun in Rupak Tal - 13:38
 
Shujaat Khan presents a unique and powerful performance of raga Shuddh Kalyan, which carries forward, in a very eloquent manner, the "vocalization" and "khayalization" of sitar music. Shuddh Kalyan has a soothing, uplifting ambiance, radiating a sense of contentment and confident well-being. Shujaat follows with a folk-music oriented version of raga Tilak Kamod, based on a springtime Phagun wedding song.
 

IAM 1065

Ustad Vilayat Khan - Sitar
Raga Khamaj,
night raga - about 7 - 10 p.m.
Alap - 32:26
Mini-Jod - 4:38
Mini Ati-Jod - 2:38
Interlude - 8:39
Ati-Jod & Ulta Jhala - 25:21
Epilogue - 2:44
 
Ustad Vilayat Khan performs an extensive alap/jod/jhala in the light-hearted and romantic raga Khamaj. The performance is a masterpiece of spontaneous composition providing a comprehensive overview of the raga´s melodic themes and potential, as well as a perspective on Vilayat Khan's own contributions to raga development, and sitar technique and playing-style.
 

IAM 1066

Tejendra Narayan Majumdar - Sarode
Tanmoy Bose - Tabla
Raga Kafi Kanada,
late night raga - about 9:30 - 11:30 p.m.
Alap & Jod - 23:04
Madhya Gat in Dhamar Tal - 17:30
Raga Manjh Khamaj, night raga - about 7:30 - 10 p.m.
Madhya Gat in Tintal - 28:00
 
Tejendra Narayan Majumdar presents the afternoon raga Kafi Kanada, blending the romance of raga Kafi and the high-seriousness of the Kanada ragas, in a performance redolent of associations with springtime, highlighted by a composition in dhamar tal. Tejendra concludes with the playful and romantic raga Manj Khamaj.
 

IAM 1067

Shujaat Khan - Sitar
Tejendra Narayan Majumdar - Sarode
Sandeep Das - Tabla
Raga Jog,
night raga - about 7 - 9:30 p.m.
Alap, Jod & Jhala - 39:00
Madhya/Drut Gat in Tintal - 33:19
 
Shujaat Khan and Tejendra Narayan Majumdar present a sitar/sarode duet in the late evening raga Jog, which has a contemplative and poignant mood. With a growing understanding of each other´s musical instincts, they transform their in dividual musicianship into a vehicle for an engrossing aural experience, and have begun to break new ground in the evolution of the duet as an art form in North Indian classical music.
 

IAM 1068

Purnima Sen - Vocal
Samir Chatterjee - Tabla
Ramesh Mishra - Sarangi
Raga Khem Kalyan,
night raga - about 6 - 8 p.m.
Vilambit Bandish in Tintal - 32:22
Drut Bandish in Ektal - 17:19
Raga Megh Malhar, monsoon raga - for rain (or about 6:30 - 9 p.m.)
Vilambit Bandish in Tintal - 11:06
Raga Khamaj (about 7 - 10 p.m.)
Bandish ki Thumri in Tintal - 13:21
 
Purnima Sen´s music is meticulously crafted, having an esthetic coherence and maturity, with all the elements - poetic, melodic, rhythmic - in balance. Its vintage quality has a freshness and allure, presents Agra vocalism, shorn of its ruggedness. Khem Kalyan is a rare and "precious" Kalyan variant. Megh Malhar is a mature raga associated with the rainy season. Khamaj is romantic and playful, one of the pillars of the thumri genre.
 

IAM 1069

Mashkoor Ali Khan - Vocal
Samir Chatterjee - Tabla
Jyoti Goho - Harmonium
Raga Lalit,
early moring raga - about 3:30 - 6:30 a.m.
Vilambit Bandish in Jhumra Tal - 43:44
Drut Bandish in Tintal - 7:06
Raga Miyan ki Todi, morning raga - about 7 - 10:30 a.m.
Vilambit Bandish in Jhumra Tal - 23:06
Drut Bandish in Tintal -4:58
 
Mashkoor Ali Khan sings in the Kirana Gharana style, which has a melody-dominant approach to music-making. Kirana vocalists specialise in the systematic and encyclopedic exploration of a raga, and the delivery of each note in all its subtlety and emotive power. Raga Lalit and Miyan ki Todi are classic early morning ragas conveying feelings of awe and devotion infused with a certain sadness.
 

IAM 1070

Ashwini Bhide-Deshpand - Vocal
Vishwanath Shirodkar - Tabla
Seema Shirodkar - Harmonium
Raga Bageshri,
late night raga - about 9 - 11 p.m.
Vilambit Bandish in Tintal - 34:57
Madhya Bandish in Tintal - 5:36
Drut Bandish in Tintal - 5:46
Raga Kedar, night raga - about 6 - 8:30 p.m.
Vilambit Bandish in Tintal - 15:13
Madhya Bandish in Tintal - 4:10
Raga Jog (about 7 - 9:30 p.m.)
Mira Bhajan in Tintal - 10:12
 
Ashwini Bhide-Deshpand is a brilliant original interpreting her Jaipur-Atrauli Gharana legacy. Ashwini is noted for her systematic deployment of musical ideas and the emotional intensity and friendly warmth of her delivery. Raga Bageshri conveys an even-tempered romanticism; Kedar has developed an up-beat and romantic personality; Jog has a pensive character imbued with a wistful tenderness.
 

IAM 1071

Ulhas Kashalkar - Vocal
Suresh Talwalkar - Tabla
Hrishikesh Gangurde - Tabla
Purushottam Walawalkar - Harmonium
Aravind Thaate - Harmonium
Raga Shankara,
night raga - about 7 - 8:30 p.m.
Vilambit Bandish in Tintal - 26:10
Drut Bandish in Tintal - 6:03
Raga Sanjh Saravali, night raga - about 6 - 9 p.m.
Vilambit Bandish in Tintal - 19:49
Drut Bandish in Tintal - 6:06
Raga Bhairavi (about 6 - 10 a.m.)
Thumri in Rupak Tal - 13:15
Raga Bhatiyar, morning raga - about 6 - 9 a.m.
Vilambit Bandish in Ektal Tal - 14:54
Drut Bandish in Tintal - 6:56
Raga Deshkar (about 7:30 - 9:30 a.m.)
Drut Bandish in Tintal - 8:33
 
Ulhas Kashalkar´s music is a blend of stylistic influences, having structural soundness, melodic richness, rhythmic dexterity, and a transparency of communicative intent. This CD of live concert recordings, dedicated to sitarist Vilayat Khan, features raga Shankara, an aggressive sound-picture of Shiva; raga Sanjh Saravali, a sweet "night melody" created by Vilayat Khan; and raga Bhairavi reflecting the sadness of lovers´ separation.
 

IAM 1072

Buddhadev Das Gupta - Sarode
Samir Chatterjee - Tabla
Raga Kafi,
night raga - about 7 - 9 p.m.
Alap & Jod - 14:16
Vilambit Gat in Dhamar Tal - 24:21
Madhya Gat in Jhaptal - 9:35
Madhya Gat in Tintal - 8:51
Drut Gat in Tintal - 7:50
Drut Gat in Tintal - 2:16
Drut Gat in Tintal - 2:09
Raga Zilla, night raga - about 7:30 - 9:30 p.m.
Drut Gat in Tintal - 6:30

 
Buddhadev Das Gupta presents raga Kafi through seven different gats, each with a distinctive mood and character. Melodically and rhythmically intriguing gats are the hallmark of the Md. Amir Khan lineage, and each gat presents a different facet of this flexible raga. As a result, we are treated to a panoramic, if not encyclopedic, exposition of raga Kafi.
 

IAM 1073

Malini Rajurkar - Vocal
Shunhash Kamat - Tabla
Aravind Thaate - Harmonium
Raga Charukeshi,
morning raga - about 7 - 11 a.m.
Vilambit Bandish in Tintal - 48:06
Drut Bandish in Tintal - 9:48
Raga Bhairavi (about 6 - 10 a.m.)
Mira Bhajan in Tintal - 19:00
 
Malini Rajurkar´s style, based in the Gwalior approach, has been influenced by vocalists of the Agra Gharana and by her fondness for the idiosyncratic vocalism of Kumar Gandharva. Malini offers an impassioned rendition of raga Charukeshi and a playful rendering of a bandish ki thumri in raga Bhairavi.
 

IAM 1074

Ustad Sultan Khan - Sarangi
Raga Basant Mukhari,
morning raga - about 6 - 9:30 a.m.
Alap - 18:05
Raga Lalit, early morning raga - about 3:30 - 6:30 a.m.
Alap - 19:08
Raga Shuddh Sarang, afternoon raga - about 12 a.m. - 2 p.m.
Alap - 19:14
Raga Bhimpalasi, late afternoon raga - about 2:30 - 4:30 p.m.
Alap - 20:56
 
Ustad Sultan Khan plays unaccompanied alaps in early morning ragas Basant Mukhari and Lalit and afternoon ragas Shuddh Sarang and Bhimpalasi. He has avoided the pyrotechnics which usually distinguish his performances, offering a sober and peaceful glimpse into the melodic essence of each raga.
 

IAM 1075

Ustad Vilayat Khan - Sitar
Akram Khan - Tabla
Raga Marwa,
night raga - about 5 - 9 p.m.
Alap - 32:06
Raga Puriya, evening raga - about 5:30 - 7 p.m.
Madhya Gat in Tintal - 22:21
Raga Sohini, midnight raga - about 2:30 - 4 a.m.
Drut Gat in Tintal - 19:32

 
Ustad Vilayat Khan presents ragas Marwa, Puriya and Sohini in a masterly demonstration of raga differentiation under the constraints of identical tone material. Marwa, played at sunset, has a meditative character; Puriya, played in the evening, has a somewhat more upbeat, aggressive character; Sohini, a late night raga has a sprightly character.
 

IAM 1076

Girija Devi - Vocal
Subhen Chatterjee - Tabla
Ramesh Mishra - Sarangi
Raga Bihag
(about 9 - 11 p.m.)
Thumri in Tintal - 16:06 Raga Mishra Kafi (about 7 - 9 p.m.)
Hori in Jat Tal - 21:59
Raga Desh (about 7:30 - 9:30 p.m. - or for rain)
Thumri in Jat Tal - 14:53
Raga Bhairavi (about 6 - 10 a.m.)
Tappa in Tintal - 7:41
Raga Bhairavi (about 6 - 10 a.m.)
Thumri in Tintal - 13:39
 
Girija Devi is the foremost traditional exponent of thumri in India today, representing the rich musical culture of Benares. Girija Devi sings three romantic thumris in ragas Behag, Desh and Bhairavi, a springtime-inspired hori in raga Mishra Kafi, and a vivacious and virtuosic tappa in raga Bhairavi.
 

IAM 1077

Bahauddin Dagar - Rudra Bin
Manik Munde - Pakhawaj
Raga Puriya Kalyan,
evening raga - about 5 - 6:30 p.m.
Alap, Jod & Jhala - 51:56
Dhrupad in Chautal - 18:29

 
Bahauddin Dagar plays the rudra bin with the gentle meditativeness, sweet, rounded tone, and polished presentation that are hallmarks of the Dagar dhrupad style. At the same time, he allows his own temperament to guide him in creating a music that revitalizes the genre after several generations of aesthetic stasis. Puriya Kalyan is amongst the most popular evening ragas of the Hindustani tradition.
 

IAM 1078

Shamsuddin Faridi Desai - Rudra Bin
S. B. Pathak - Pakhawaj
Raga Puriya,
evening raga - about 5:30 - 7 p.m.
Alap, Jod & Jhala - 58:53
Dhrupad in Chautal - 15:44

 
Shamsuddin Faridi Desai plays rudra bin in the Gauhar Bani dhrupad style believed to have been developed by Tansen, the legendary musician at Akbar´s court. Shamsuddin's technique is a treasure of the bin idiom, and the music is emotionally charged and passionate. Puriya is a popular and profound evening raga, and Shamsuddin displays a compelling mastery over the raga´s aesthetic grammar.
 

IAM 1079

Indrakishore Mishra - Vocal
Manik Munde - Pakhawaj
Raga Chandrakauns,
night raga - about 7 - 10 p.m.
Alap & Jod - 28:13
Dhrupad in Chautal - 11:38
Dhrupad in Sulatal - 14:13
Tillana in Tintal - 8:21
Raga Megh, monsoon raga - for rain (or about 6:30 - 9 p.m.)
Alap & Jod - 6:57
Dhrupad in Sulatal - 8:18

 
Indrakishore Mishra is a dhrupad vocalist of the Bettiah Gharana founded by his ancestors, who served the court of Shahjehan, and migrated to Bettiah on the India-Nepal border. His art is sparse on artifice, rich in emotional energy: a forceful melodic style with a transparent sincerity. Chandrakauns is a late evening raga sung on the night of the full moon; Megh is associated with the rainy season.
 

IAM 1080

Ustad Asad Ali Khan - Rudra Bin
Mohan Shyam Sharma - Pakhawaj
Raga Miyan Ki Todi,
morning raga - about 7 - 10:30 a.m.
Alap, Jod & Jhala - 49:31
Dhrupad in Sulatal - 25:31

 
Ustad Asad Ali Khan plays rudra bin in the aggressive and forceful Khandhar Bani style of dhrupad. Asad Ali´s music reflects several formative influences, including the Jaipur binkar tradition, the bin style of Rampur, the modern sitar idiom, and the Carnatic vina style. Asad Ali performs a creation of the legendary Tansen, Miiyan ki Todi, a profound and popular early morning raga.
 

 

 
1001-1020 / 1021-1040 / 1041-1060 / 1081-1086
 
© Texts by Lyle Wachovsky, New York
 

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