Shuklas : Jugalbandis Unheard Jugalbandis-III - AAVISHKAAR
Posted 16 December 2010 - 11:18 PM
Purbayan Chatterjee is one of the most promising sitar players in India; and this sumptuous duet with the superb Kala Ramnath on violin is emotionally expressive, vibrant and delightfully exciting... everything a good Indian classical duet should be.
Purbayan Chatterjee gave his first sensational performance at the age of 5 at the India Festival in Basel in 1982. He is accepted as the most gifted torch bearer of the Senia Maihar Gharana (school) of Baba Alauddin Khan and has become a powerful force in the Indian Classical Music scenario. At the very age of 3, he surprised his family and friends with his extraordinary capacity of annotating every single song that he heard at that tender age. He was initiated to Sitar at 4 by his father Shri Parthapratim Chatterjee, a disciple of Pt. Nikhil Bannerjee and Ustad Ali Akbar Khan and a distinguished sitar player in his own right, having established himself as a highly respected teacher and performer in Europe, USA as well as in India. Purbayan now takes lessons with Ustad Ali Akbar Khan.
From a very young age, Purbayan had already begun to display an uncanny skill for all the virtuous and artistic dimensions of the Sitar. He plays the aesthetically satisfying style of Pt. Nikhil Bannerjee, whom he considers his God. Although a Sitar player by profession, he still remains to this day, an astonishing vocalist with a God gifted voice that has been acknowledged by the topmost maestros in India.
Along with the rigorous honing of his talent by his father, Purbayan remained a topper throughout his academic career in school and the prestigious Presidency College, Kolkata. But his decision to take up Indian Classical Music as a profession became firm at the age of 14, when he received the most coveted honor, the President of India Award, for being the best instrumentalist of the country.
Kala Ramnath has won the acclaim of discerning audiences and critics worldwide. Besides being a household name in India, She has performed in some of the most prestigious international festivals internationally which also feature some of the most famous musicians of the world. Some selected ones are: World Music Festival in Montreal Canada, Rhythms of India in Ottawa- Canada presented by the Canadian Arts Council, Festival of India presented by Government of India in Dhaka Bangladesh, Celebrations of India’s fiftieth year of Independence in Europe by ICCR, North Sea Jazz Festival in Cape Town, South Africa, Bath Festival in Bath, England and the South Asian Heritage Festival in Toronto, Canada. She has also extensively toured the United States, Canada, UK, Western and Eastern Europe, Russia, South Africa, Seychelles, Middle East, Far East, Trinidad, Kenya, Tanzania, Australia, Nepal, Bangladesh, Mauritius etc. Some other concerts have been in some of the most prestigious venues like Queen Elizabeth Hall London, Sydney Opera House, Carnegie hall etc.
Her lecture demonstrations and workshops all over the world particularly at the Rotterdam Conservatory of Music in Netherlands and University of Geissen in Germany. She has also been associated with teaching in schools in Derbyshire and Nottingham, England and the Weill Music Institute in the US.
She has also been experimenting with several types of genres of music - both within the traditions of Indian Classical music and also crossovers to other types of music. Her duets with Sanjeev Abhyankar and Purbayan Chatterjee have taken the music world by storm and have been highly acclaimed by critics and connoisseurs. Her recent forays into fusion and world music have been a very great success. After having worked and experimented with some world famous musicians like Ustad Zakir Hussain, Ray Manzarek of the Doors, Eduardo Niebla who plays Spanish Flamenco music on the Guitar, with Eyvind Kang and his new age music, with the classical orchestra in Bologna, Kala performs for a unique group called "Raga Afrika" which is a collaboration with some world famous South African musicians - among them are jazz guitarists Odutayo Kunle and Lucas Khumalo and percussionists John Hassan and Frank Paco.
She, along with the Bay area Saxophonist George Brooks, has a band called Global Conversation performing raga influenced jazz and jazz inflected raga. She also has performed with the likes of Edgar Meyer, Bela Fleck, Terry Bozzio, Giovanni Hidalgo, Ayrto Moriera, Steve Smith and Eric Harland etc.
1. Raag Kedar - Alap
2. Raag Kedar - Gat In Vilambit aka Slow Jhaptaal
3. Raag Kedar - Gat In Madhyalaya aka Medium Teentaal
4. Raag Bageshri - Tarana In Drut aka Teentaal
Purbayan Chatterjee (Sitar)
Kala Ramanath (Violin)
Shubhankar Banerjee (Tabla)
Posted 22 December 2010 - 10:13 PM
Vishwa Mohan Bhatt, Salil Bhatt & Sandeep Das - Mohan's Veena
The Indian classical tradition of Jugalbandi, or duet playing, where two musicians perform one raga together, is a challenge demanding a high level of mutual respect and understanding. At its height it demonstrates two musical souls united, perfectly tuned into each others aesthetic vision. Father and son, Vishwa Mohan Bhatt and Salil Bhatt epitomise the true spirit of Jugalbandi in this live performance recorded at the 2002 Saptak Music Festival.
Historically, the relationship between father and son has played a key role in the development of Indian music. Over hundreds of years, several family dynasties have built up vast volumes of musical knowledge which has been carefully nurtured and orally passed onto the next generation. It has always been generally accepted that the most in-depth teaching is passed on to the son, who then bears the responsibility to carve out new musical paths, ensuring a healthy future for a music culture which has so far survived and flourished over centuries.
The young Salil Bhatt represents the eighth generation in a family of musicians which hails from Jaipur in Rajasthan. In this vibrant centre of traditional music, his father and mentor, Viswa Mohan Bhatt started his musical training with his eldest brother Pandit Shashi Mohan Bhatt, a renowned vocalist, before taking musical guidance from the legendary Sitarist, Pandit Ravi Shankar. Not only has Viswa Mohan Bhatt successfully imbibed a rich musical legacy, he has made one of the most significant contributions to Indian music in modern times.
His creation, the 'Mohan Veena' is a radical transformation of the western Hawaiian guitar, adapted to express the subtlest nuances required in Indian classical music.
The Mohan Veena consists of 3 melodic strings, 5 drone strings and a further 12 sympathetic strings and has been designed to ingeniously assimilate the sounds of the ancient Veena, Sitar and Sarod. The tuning of the instrument varies according to the particular raga being played.
Vishwa Mohan Bhatt is universally acknowledged as one of the most innovative Indian musicians today. He has successfully managed to incorporate both vocal and instrumental styles of playing into his music, and his versatility as an artist is reflected in scores of successful musical collaborations with top musicians from over the world. His capacity for invention and assimilation was globally recognised by the award of the coveted Grammy in 1994, for his recording with American slide guitarist Ry Cooder.
This performance captures father and son playing a musical set which reflects the variety of musical styles found in the Indian sub-continent. Raga Bageshri is one of the most popular ragas performed in Indian classical music. It is romantic in character, and its structure makes it suitable for extended improvisations.
The performance begins with the traditional alap (track 1), a slow, improvised elaboration of the main notes and melodic phrases of the raga, reflective and meditative in character. A gentle lilting tempo is introduced for the 'jod' section (track 2), which gradually gains pace as the phrases become more intense and exciting.
The first composition (track 3) is set to a slow rhythmic cycle of sixteen beats called 'teental'. Here, the tabla accompanist, Sandeep Das, is given the opportunity to demonstrate his virtuosity in a short solo which explores the colourful range of tonal qualities of his instrument. Sandeep Das is one the most exciting young percussionists in India, a disciple of Pandit Kishan Maharaj, and represents the Benares school of tabla playing.
The second composition (track 4) uses the same sixteen beat rhythmic framework in a much faster tempo. As the recital gathers pace, the three musicians skilfully echo the other's improvised phrases in expressions of spontaneity that can only be captured in live performance.
Indian classical musicians have always been able to draw on a vast, rich stock of regi
As a lover of, but not necessarily a student of Northern Indian Classical music, I find Pundit Bhatt's original instrument, his technical skills, and lyrical ability to interpret and create a masterful album in all its parts. He learned well from Pundit Shankar who wears many "feathers in his cap.
1.Raga Bageshri (Alap)
2.Raga Bageshri (Jod and Jhalla)
3.Raga Bageshri (Composition in Vilambit Teental)
4.Raga Bageshri (Composition in Madhya and Drut Teeental)
1.Lori Based in Raga Tilak Kamod in Deepchandi (14 Beats)
2.Rajasthani Folk Tune in Raga Mand in Dadra (6 Beats)
3.Raga Bhairavi in Dadra
Pandit Vishwa Mohan Bhatt, Salil Bhatt & Sandeep Das
Live at Saptak Festival 2002, Ahmedabad, India
Posted 19 February 2011 - 12:13 AM
Vasant Rai played some of the freshest and most rewarding music in his short life of 47 years. Acclaimed as a robust player with a resonant sound producing consistent liquid sound and interesting development of ideas, he was an accomplished virtuoso of Sarod, his favored instrument, although he performed on flute and guitar as well. His concerts and records have featured traditional Ragas as well as contemporary Jazz.
Ustad Alla Rakha needs no introduction to music lovers all over the world. H e has performed extensively traveled all over the world accompanying great Artists like Ravi Shankar, Ali Akbar Khan, to mention a few. He is the proud father and teacher of Zakir Hussain the tabla wizard.
(01) [Vasant Rai & Ustad Alla Rakha] Raga Goud Sarang - Teental
(02) [Vasant Rai & Ustad Alla Rakha] Raga Jaijaivanthi - Deepchandi
(03) [Vasant Rai & Ustad Alla Rakha] Dhun Misra Sivaranjini
Vasant Rai - Sarod
Alla Rakha - Tabla
FLAC (EAC Rip): 260 MB | MP3 - 320 kbs: 120 MB | Booklet Scanshttp://rapidshare.co...SRMP.rar|129034
Posted 28 April 2012 - 11:39 PM
This British release of their violin and shehnai jugalbandi is worth seeking out. Bismillah Khan is the leading virtuoso of the shehnai, an oboe-like instrument of Northern India.
01 Raga Yaman - Composition In Teentaal (16 Beats)
02 Raga Yaman - Composition In Fast Teentaal (16 Beats
Posted 21 May 2012 - 04:35 PM
Back in 1965 i.e. nearly 47 years back, when this album was recorded and released it become an important step in Indian Classical Jugalbandi performances. Predominately, Sitar, Rudra Veena, Sarangi, Carnatic Veena etc were dominating musical instruments of Indian Classical genre. Almost singlehandedly Ustad Bismillah Khan & Pandit V.G. Jog established the Shehnai & Violin instruments as an integral part of North Indian Classical Music. This album's success is directly influenced the variety of vivid collaborations including the amazing Jugalbandi albums of 'Ustad Bismillah Khan & Ustad Vilayat Khan', Shivkumar Sharma & Hariprasad Chaurasia etc. Coming to this particular album, it starts with 'Raga Jaijaiwanti', (A late evening raga) with nearly 7 minutes of alap and then proceeds to two compositions of slow & Fast set in 16 beat teentaals. Next comes 'Raga Bahar' a midnight romantic raga played in 16 beat Teentaal. The album closes with heartfelt and haunting renditon of "Vaishnav Jan To" played in 8 beat Kaharwa Taal set in "Raga Mishra Khamaj". The great tabla master "Pandit Mahapurush Mishra" accompanied on all three tracks. Thanks to HMV/Saregama for restoring this very great historic document but it deserves the better treatment. As usual, they haven't furnished any kind of details about this very important historic album.
1. Raga Jaijaiwanti - Alap, Gat In Vilambit & Drut Teentaal
2. Raga Bahar - Short Alap & Gat In Teentaal
3. Raga Mishra Khamaj - Kaharwa Taal
Ustad Bismillah Khan & Pandit V.G. Jog
Jugalbandi: Shehnai & Violin
Accompanied: Pandit Mahapurush Mishra (Tabla
Posted 25 May 2012 - 01:21 PM
Purbayan Chatterjee (Sitar) Kala Ramanath (Violin) Shubhankar Banerjee (Tabla). Purbayan Chatterjee is one of the most promising sitar players in India. This sumptuous duet with the superb Kala Ramnath on violin is emotionally expressive, vibrant and delightfully exciting… everything a good Indian classical duet should be.
01 Raag Kedar - Alap
02 Raag Kedar - Composition In Vilambit Slow Jhaptaal
03 Raag Kedar - Composition In Madhyalaya Medium Teentaal
04 Raag Bageshri - Tarana
Posted 26 May 2012 - 03:14 PM
The six selections in this album are a beautiful mix of the traditional and the Dhun-based ragas. Thus the music connoisseur gets a complete feel of the light as well as the classical, especially on the guitar which is a rarity! Raga Chandranandan is a speciality of the Maihar Gharana. Zakirji’s versatility with the various Taals such as Deepchandi, Dara and Teental enhances the folk flavor of this album. Panditji’s skill over the guitar in the world of classical music is indeed laudable.
01 Raga Aasa Mand - Gat In Vilambit & Drut Teentaal
02 Raga Chandranandan - Gat In Vilambit Teentaal
03 Raga Manj Khamaj - Gat In Teentaal
04 Dhun - Pahandi - Taal Deepchandi
05 Raga Mishra Piloo - Taal Dadra
06 Raga Ghara - Taal Dadra
Posted 30 May 2012 - 12:02 PM
This volume features the great legends Bismillah Khan and Rais Khan as they interfaced for the first time at Swar Utsavs inaugural night. The opening item at the concert was the magical shehnai-sitar duet as the maestros rendered the ever auspicious raga Yaman Kalyan in all its celebratory splendour. The raga opens with the masters rendering the free flowing introduction, the auchaar and then they move on to two compositions set to teen tala. The volume concludes with a lilting folk tune called the Dhun. Pandit Vijay Ghate (Tabla), Farhan Khan (Sitar, son of Ustad Rais Khan) & Bismillah Khan & Party Including Ustad Nazim Hussain On Tabla.
01 Raga Yaman Kalyan
Posted 24 July 2012 - 09:38 PM
Bundu Khan was born in Delhi in 1880 as a worthy inheritor of the musical traditions of the Delhi gharana. He was trained by his grandfather Saungi Khan and his maternal uncle, Mamman Khan, one of the highly respected singers of his time. Born with a deep-rooted passion for music, it seemed evident that little else besides music interested him from a very early age. All his relatives and dear ones were closely involved with music. Being from an essentially sarangi gharana, it comes as no surprise that Bundu Khan took to the instrument at an early age. Bundu Khan was an exceedingly engrossed man of riyaz and went ahead to make numerous innovations in the instrument, such that it became the eloquent companion of his soul. Needless to say, he soon rose to fame in his youth and manhood and was appointed court musician in the princely states of Rampur and Indore, where he served for several years. Soon, he returned to his beloved Delhi as a staff artist in AIR and remained there until the time he left for Pakistan. Source: http://www.indianetz...
Ustad Nathoo Khan was one of the most celebrated sarangi players of his time. A pupil of the late Ustad Ahmedi Khan, he served Radio Pakistan and the PIA Arts Academy as a composer and instrumentalist. His style of playing the sarangi was akin to that of the Delhi gharana. He composed a number of popular hits for radio, TV and films. He died in 1971. Source: http://cineplot.com
Ustad Bundoo Khan - Adana - Tabla Ustad Khurshid Ali Khan
Ustad Bundoo Khan - Bageshri - Tabla Ustad Khurshid Ali Khan
Ustad Bundoo Khan - Bilas Khani Todi - Tabla Ustad Khurshid Ali Khan
Ustad Bundoo Khan - Des - Tabla Ustad Khursid Ali Khan
Ustad Bundoo Khan - Janupuri - Tabla Ustad Khursid Ali Khan
Ustad Bundoo Khan - Sampooran Chandr Kauns - Tabla Ustad Khurshid Ali Khan
Ustad Nathoo Khan - Madh Kauns - Tabla Ustad Shaukar Hussain
Ustad Nathoo Khan - Multani - Tabla Ustad Talib Hussain
Ustad Nathoo Khan - Pat Deep - Tabla Ustad Talib Hussain
Ustad Nathoo Khan - Shudh Sarang - Tabla Ustad Talib Hussain
Posted 20 September 2012 - 11:51 PM
The word jugalbandi, Iiterally meaning ‘entwined twins’, is a style in Indian classical music whereby two solo musicians render a performance together. Such performances demand a lot of versatility and virtuosity, and are testimony to the greatness of the maestros of music. This CD presents a collection of the finest and rarest jugalbandis between maestros of Indian classical music.
01 Raga Shree - Alap, Jor, Jhala & Gat In Jhaptaal - Pandit Ravi Sankar (Sitar) & Ustad Ali Akbar Khan (Sarod) - Ustad Alla Rakha (Tabla)
02 Raga Jai Jaiwanti - Teental - Ustad Bismillah Khan (Shehnai) & V. G. Jog (Violin) - Mahapurush Mishra (Tabla)
03 Raga Mishra Pilu - Alap, Gat In Adha Tala & Teental - Pandit Shiv Kumar Sharma (Santoor) & Pandit Hari Prasad Chaurasia (Flute) - Krishnath Mishra (Tabla