Shuklas : Hindustani Classical Instrumental- Santoor, Raga -Mishra Mand- Pandit Shivkumar Sharma Options

[Shuklas]

Debu Chaudhuri
Raga Desh
India Archives Music IAM 1002, 1989



1. Desh - Alap & Jor
2. Desh - Vilambit & Drut Gat, Tintal

Devabrata "Debu" Chaudhuri - sitar
Shafaat Ahmed Khan - tabla



http://rapidshare.com/files/107762116/DC-D.part1.rar
http://rapidshare.com/files/107768079/DC-D.part2.rar
http://rapidshare.com/files/107773342/DC-D.part3.rar
http://rapidshare.com/files/107777171/DC-D.part4.rar

[Shuklas]

L. Shankar
Raga Aberi


1.-8. Ragam Aberi

L. Shankar - violin
Zakir Hussain - tabla
T.H. "Vikku" Vinayakaram – ghatam


http://rapidshare.com/files/112779967/LS-RA.part1.rar
http://rapidshare.com/files/112784462/LS-RA.part2.rar
http://rapidshare.com/files/112787738/LS-RA.part3.rar

[Shuklas]

Shivkumar Sharma & Rahul Sharma
Two Generations - Santoor Duet Live






1. Announcement
2. Raag Chandrakauns - Alaap, Jor & Jhala
3. Raag Chandrakauns - Gat (Rupaktal) & Gat (Teental)

Shivkumar Sharma - Santoor
Rahul Sharma - Santoor
Shafaat Ahmed Khan - Tabla

320 kbps mp3, including full booklet scans



http://rapidshare.com/files/72980274/SS_RS-TG.SDL.part1.rar
http://rapidshare.com/files/72988534/SS_RS

[Shuklas]

Ustad Wajahat Khan
Quintet for Sarod and String Quartet
Koch Schwann 3-6996-2, 2000





Quintet for Sarod and String Quartet - Raga Desh
Medici String Quartet
1. I. Prayers of Love
2. II. Monsoon Memories
3. III. Romantic Journey
4. IV. Celebrations
Raga Shivranjani - Sarod Solo
5. I. Alap
6. II. Jor & Jhala



Ustad Wajahat Khan is an accomplished composer and has led numerous successful world music collaborations in Indian classical, jazz, flamenco, rock, and Western classical. He has written orchestral and chamber scores for Western as well as Indian instruments working with renowned soloists and ensembles including two sarod concertos and an award winning quintet for sarod and string quartet.
This extraordinary collaboration of Indian and Western Classical music is written and performed by Wajahat Khan. The highly acclaimed work was premiered at a sold out Wigmore Hall in London to a standing ovation with the one of the UK's leading international ensembles, the Medici String Quartet. It has also been performed with other renowned international quartets such as the Ciurlionis Quartet. Wajahat Khan has performed this work at prestigious venues and festivals including the Megaron (Athens), the Sage Gateshead (UK) and the festivals of Bath (UK), Vilnius (Lithuania), Geneva (Switzerland) and Istanbul (Turkey). The recording release has also received rave reviews globally.

256 kbps mp3, including full booklet scans


http://rapidshare.com/files/113697624/WK-QfSaSQ.part1.rar
http://rapidshare.com/files/113698002/WK-QfSaSQ.part2.rar



http://www.wajahatkhan.com/records.htm

[Shuklas]

Tarana in Bhimpalasri [Sat Sangat Style)

Get this widget | Track details | eSnips Social DNA

[Shuklas]

Pt. Radhika Mohan Maitra



60min BAGESHRI rendition
A beautiful 60min redition of Raga Bageshri by Radhu babu, who has been accompanied on tabla by 'Shakaruwa' (Pt. Shankar Ghosh) ... at the end of the track Radhu babu introduces Pt. Ghosh.

You may download the track from http://andyzfiles.4shared.com ...

Download, Listen, Enjoy !!!


http://www.4shared.com/file/13508430/15e5d...a_Bageshri.html



http://www.4shared.com/dir/1924597/21aa58c..._classical.html



Uploaded bu Arindam/Orkut.com

[Shuklas]

Call of the valley (1995)



A Legendary Indian Classical Album !

Instrumental impressions of dawn to dusk in a Kashmiri valley on santoor (hammered dulcimer), bansuri (flute) and acoustic guitar.

From the review :

"If the newcomer buys only one Indian classical recording, it should be Call of the Valley"

01 - Ahir Bhairav / Nat Bhairav

02 - Rag Piloo

03 - Bhoop

04 - Rag Des

05 - Rag Pahadi

06 - Ghara - Dadra (bonus)

07 - Dhun - Mishra Kirwani (bonus)

08 - Bageshwari (bonus)

Shivkumar Sharma, the guitarist Brijbhushan Kabra, and flutist Hariprasad Chaurasia were all aged about 30 when they made Call of the Valley. Shivkumar Sharma, who had made his first solo album in 1960, was responsible for establishing and popularizing the instrument in Hindustani classical circles. Kabra was also having to prove himself because of the guitar's Western and Indian popular music associations Chaurasia's problem was the wide popularity of the bansuri -- a bamboo transverse flute -- and his need to establish himself with the instrument. In 1967, the concept behind this album was as revolutionary as it was traditional. Conceived as a suite, they used their instruments to tell the story of a day in the life of a shepherd in Kashmir using ragas associated with various times of the day to advance the dramatic narrative. If the newcomer buys only one Indian classical recording, it should be Call of the Valley.

http://mihd.net/01el62

[Shuklas]

Pt.Tejendra Narayan Majumdar


Kafi Kanada and Manj Khamaj
Tabla: Tanmoy Bose

IAM CD 1066 (2003)

http://files.filefront.com/Tejendra+Majumd...;/fileinfo.html



Tejendra Majumdar & Yogesh Samsi - A Light from the East

1 Raag Bilaskhani Todi - Alap.mp3
http://www.mediafire.com/download.php?1znfj9gqdsm
2 Raag Bilaskhani Todi - Jor & Jhalla.mp3
http://www.mediafire.com/download.php?gm3dyrdmtwa


Uploaded by Anand/Orkut.com
3 Raag Basant Mukhari - Gat in Vilambit Teental.mp3
http://www.mediafire.com/download.php?jridzk0yt45
4 Raag Basant Mukhari - Gat in Drut Teental.mp3
http://www.mediafire.com/download.php?yzgwaz3exmd
5 Misra Mand .mp3
http://www.mediafire.com/download.php?usqk8zje3fw

[Shuklas]

Santoor
Pandit Shivkumar Sharma




http://music.punjabcentral.com/album/?album=6937

[Shuklas]

Antariksh
Rahul Sharma


http://music.punjabcentral.com/album/?album=7115

[Shuklas]

Pandit Tarun Bhattacharya & Pandit Ronu Majumdar



Imaginations - Instrumental
Imaginations - Instrumental
Pandit Tarun Bhattacharya & Pandit Ronu Majumdar
Music composed by : Pandit Tarun Bhattacharya
Orchestral arrangements by : Pandit Ronu Majumdar
Santoor: Pandit Tarun Bhattacharya
Flute : Pandit Ronu Majumdar
Acoustic Guitar : Bapu Biwalkar
Vibrophone : Iqbal
Tabla : Hira Pandit
Side Rhythm : Prashant & Pratik
Keyboards : Atul Raninga
Tracks list
01 Lover's Call
02 Worship
03 Rain
04 Remembrance
05 Setting Sun
06 By the Countryside
07 Colours of Love
08 Meghdoot
09 Union (Joy)

http://www.mediafire.com/?aymfb2jm2ymhttp:...om/?adntxmyzjlz

[Shuklas]

Pt Shivkumar Sharma Santoor Wadan Vol 2
Pandit Shivkumar Sharma

http://music.punjabcentral.com/album/?album=4837

[Shuklas]

Pt. Shiv Kumar Sharma - Valleys Of Kashmir CD - 1


http://www.fmw11.net/browser/category/view...-kashmir-cd---1

Pt. Shiv Kumar Sharma - Valleys Of Kashmir CD - 2

http://www.fmw11.net/browser/category/view...-kashmir-cd---2

[Shuklas]

Shahid Parvez - Intimations of the Goddess - 01 - Devi - Bhimpalasri.mp3 (36.42 MB)

http://www.mediafire.com/?ndhnneqzqz5

[Shuklas]

Ustad Abdul Halim Jaffer Khan
Sadashiv Pawar-tabla

Raga_Sindhi Bhairavi

this video is from the "Raga" documentary hosted by Yehudi Menuhin

http://www.mediafire.com/?sharekey=4385cbd...3b9eee26d2cd96a


Uploaded by Raju/Orkut.com

[Shuklas]

Shivkumar Sharma & Zakir Hussain - Raga Kedar


In his early years, Pandit Shiv Kumar Sharma learnt both the tabla and the santoor. In addition he was also a vocalist. But it was after 1955 that he decided to reflect his true personality through an instrument that is meant to be played percussively – the santoor. Once in a long while is born a man whose efforts change the face of reality, whose conviction forces destiny to rewrite itself, whose genius has an impact across centuries. To state that Pandit Shivkumar Sharma has created history in the world of music, is an understatement, an inadequate attempt to capture the maestro’s achievements and contributions. After all how many musicians can boast of single handedly bringing forth an obscure, almost unknown instrument to the level of being “indispensable” on the concert platform! Musicians and their instruments do become synonyms, but how often does an instrument acquire an identity because of a musician! Santoor, which was used in Soofi music in the velley of Kashmir, owes its classical status to Pandit Shivkumar Sharma. In the early decades of the twentieth century, Santoor or Shata-Tantri Veena as it was called in the ancient times, was used as an accompaniment to a specific type of singing called Sufiana Mausiqi. When Pandit Uma Dutt Sharma, a renowned vocalist from Jammu, and a disciple of Pt. Bade Ramdasji of Benaras spotted it, he was convinced of the potentialities of the instrument. After extensive research on the instrument he bestowed the responsibility of establishing it on the concert platform on his only son Shivkumar. The rest, as they say, is history. However, the road to success was far from smooth. After several radio broadcasts and performances he appeared for his national level concert in Mumbai in 1955. This was a turning point in his life where he received applause as well as was severely criticized by the orthodox sections of musicians and listeners. Santoor according to them was not a complete instrument on which one could play classical music. Instead of getting disheartened or discouraged, in his characteristic manner he took these criticisms as a challenge. After in-depth research, he made some important modifications on this hundred stringed instrument, like a new chromatic arrangement of notes and increased the range to cover full three octaves. Besides, he also created a new technique of playing with which he could sustain notes and maintain sound continuity. Today Santoor is at par with any classical instrument, well established not just all over India, but across the globe. With his creative genius, Pt. Shivkumar Sharma has created a new genre of instrumental music. Through his performance career of over a half century, he has created millions of new listeners and ardent fans of Indian classical music. His performances are such a brilliant combination of rich knowledge, perfect skill and abundant spontaneous creativity, that all the sections of listeners feel enriched. Little surprise that his concerts are awaited by connoisseurs, music students, musicians and lay listeners alike. He believes in the immortality of this great heritage of Indian classical music and wishes to leave no stone unturned to make it so. With this aim in mind, he has been imparting his knowledge to the next generation of musicians. So deep is his conviction that despite no institutional or government support, he has been teaching in the Guru Shishya tradition, without charging a fee from his students, who come to him from all the corners of India as well as different parts of the world like Japan, Germany, Australia and America. While he never compromises on the purity of music, Pt. Sharma’s open minded approach has resulted in some of the most popular, innovative experimental albums like Call of the Valley, Feelings, Mountains, etc. In fact he is among those rare musicians who have been able to create successfully in the world of film music as well. Now for over forty years Santoor is an indispensable part of Indian film music. His compositions for blockbusters like Silsila, Lamhe, Chandni, Darr, etc. are all time favourites across the country. Music, he believes, is food for the soul. Naturally, his music is meditative and soothing at the same time. His immense faith in the ancient wisdom of Vedanta has resulted in creation of music for Shlokas from the Upanishads and a new raag called Antardhwani. Various recording companies from India and overseas have tried to capture Pt. Sharma’s genius for the last forty years. Today he has over 100 recordings to his credit in LPs, CDs, audio cassettes and even DVDs. In fact he is the only classical musician who has agreed to do a music video in order to appeal to the young generation. Naturally, a musician with such a vast spectrum of achievements has a long list of National and International awards conferred upon him like the Honorary Citizen for the City of Baltimore, USA (1985), Sangeet Natak Academy Award (1986), Maharashtra Gaurav Puraskar (1990), Honorary Doctorate from the University of Jammu (1991) Padmashree (1991), Ustad Hafiz Ali Khan Award (1998), and Padma Vibhushan (2001), to name a few. Born in 1938, Pandit Shivkumar Sharma, a musician par excellence, a great composer, an understanding, kind guru, a sensitive and aware citizen, this living legend is truly a personification of the Indian ethos and values. The world of music will forever be indebted to him for his incredible contribution.




Linx:
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http://lix.in/-3de8a1

Shivkumar Sharma & Zakir Hussain - The Flow of Time


Linx:
http://lix.in/-3de8d3
http://lix.in/-440357
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http://lix.in/-4ba47c
Enjoy!




Enjoy!

Posted by Nada Brahma

[Shuklas]

Pandit Satish Vyas-Dhani


http://www.filestube.com/a6aa46b7ec7f8d7b03ea/go.html

[Shuklas]

Sarod - Tejendra Narayan Majumdar
Tabla - Yogesh Samsi

The Sarod is the most majestic sounding of all India's musical instruments. Its natural reverb and deep, resonant tone creates an air of grandeur and mystery. The history of the Sarod is a matter of historical debate, but what we do know reveals India's artistic connections with its neighbours Afghanistan and the Middle East. Its predecessor, the Afghan Robab is an ancient instrument which according to literary archives was already being used in India in the 16th century. Since then, the Sarod has undergone many modifications in the hands of musical geniuses who through the centuries, have strived to create an instrument to suit each generation's aesthetic needs. Today's Sarod has retained many of the characteristics of its ancient predecessor, being made from one piece of carved wood, with a fretless metal fingerboard, and a skin stretched over the body of the instrument. The strings are strummed with a plectrum made of coconut shell, and the distinctive ringing sound is created by the musician stopping the string with the nail.

Tejendra Narayan Majumdar is one of the most influential and well-respected musicians in India today. He is one of the leading exponents of the Senia Maihar gharana, a musical 'family' which has produced giants such as Ravi Shankar and Ali Akbar Khan. Like so many of India's musicians, his training started at home from an early age. His grandfather, Bhibuti Ranjan Majumdar, and father Ranjan Majumdar provided early inspiration and guided the young prodigy through the initial part of his learning. Later, he became the disciple of the distinguished Sarod maestro Ustad Bahadur Khan and embarked on a path of rigorous training that was to last for eighteen years. All great Indian musicians share a seemingly unlimited appetite for learning and self improvement, which continues throughout their career. After the death of his guru, although by then a popular performing artist in his own right, Tejendra has pursued musical training and guidance under the tutelage of the most revered Sarod legend, Ali Akbar Khan.

Through his own endeavours and practice and with the benefit of all these influences, Tejendra has successfully developed a unique style of playing incorporating the dynamic instrumental approach, tantrakari with the melodic, lyrical vocal style known as gayaki. His success in blending these two styles has made him one of the most sought after performing artists in India and abroad today.

This recording consists of two classical ragas and one semi-classical piece.

Raga Bilaskhani Todi is a very popular and powerful morning melody belonging to the Bhairavi group of ragas. It was created more than four hundred years ago by Bilas Khan, the son of India's greatest musician Mia Tansen, the legendary court musician of Emperor Akbar.

The alap is a slow, gentle elaboration of the raga in which the musician skilfully and accurately explores subtle melodic nuances, careful not to cause any ambiguity or confusion with other ragas which use the same notes. For a raga is more than just a set of notes or a scale. It incorporates particular key phrases that help to assert its own unique identity.

The gradual unfolding of the ascending tones serves to enhance the serene mood of the music. Tejendra's alap incorporates three octaves, exploring the entire tonal range of the Sarod. The second part of the alap, known as jorh (track 2), is played in the ancient vocal style of dhrupad, starting from a very slow tempo gradually increasing in pace towards a crescendo. The intricate combinations of improvised passages played in a lively rhythmic style are typical of the Maihar style of presentation.

Basant Mukhari is also a morning melody which is a perfect blend of two other ragas, Bhairav and Bhairavi. It begins with a short alap, which serves to establish the flavour of the raga. The first composition (track 3) is set to teental, a slow rhythmic cycle of sixteen beats.

Tabla accompaniment is provided by the highly accomplished Yogesh Samsi, son of the renowned vocalist Dinkar Kaikini. Yogesh is a respected artist of the younger generation and one of the foremost disciples of the late tabla virtuoso Alla Rakha Khan. He has built a fine reputation on his ability to accompany instrumental soloists as well as vocalists, a rare quality in modern tabla players.

The final offering in this recording is a very sweet and melodious rendition based on Raga Mand. The composition is a light classical piece, set to Dadra, a rhythmic cycle of 6 beats. In light classical music the soloist is given more scope to take aesthetic liberties with the structure of the raga, a musical license that Tejendra exploits to great effect


http://lix.in/-31362b


http://lix.in/-32bccc

[Shuklas]

Megh-Pandit Shivkumar Sharma-Megh Malhar.mp3



http://www.4shared.com/file/95465762/82992...egh_Malhar.html

[Shuklas]

Shivkumar Sharma & Zakir Hussain - Raga Purya Kalyan


TRACK INFORMATION

(01) [Shivkumar Sharma & Zakir Hussain] Dadra
(02) [Shivkumar Sharma & Zakir Hussain] Raga Purya Kalyan



http://rapidshare.com/files/284044140/ShaZakHRPKMP.part1.rar


http://rapidshare.com/files/284065042/ShaZakHRPKMP.part2.rar