[Shuklas]

Pandit Falguni Mitra-Music For The Soul



Brilliance blended with beauty- is the essence of Falguni Mitra’s music. Gifted with a deep, melodious voice, he started training at the age of five under his father, Sangeetacharya Shib Mitra, imbibing the best of Betia Gharana and the Dagar Gharana Alaapchari (Raga development). A foremost exponent of Alaap, Dhrupad and Dhamaar, Falguni Mitra has brought about a reformation in this art-form through successful innovations in its melodic structure, rhythmic variations and apposite tone-colour. Unwavering purity of the Raga, imaginative phrases loaded with emotions and nuances, majestic compositions, intricate laykari (rhythmic patterns) maintaining the literary text and an extraordinary sense of proportion, giving an overall effect of great completeness - are the hallmarks of Falguni Mitra’s music. An aesthetic charm permeates throughout his renderings with a distinctive stamp of his artistic personality. An erudite musician, he is presenting and propagating this great art-form in such a way as to bring back its glory and grace. His lecture-demoustrations and articles in various journals are highly appreciated by one and all.

01 Raag Bageshree - Alaap & Dhrupad (Choutaal)

02 Raag Adana - Dhrupad (Jhaptaal)

03 Raag Shankara - Dhamaar





http://www.mediafire.../?is8h5ur49o83k

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[Shuklas]

COMPILATIONS-HORI KE RANG

Enchanting Horis by Smt. GirIja Devi, Smt. Shobha Gurtu, Pt. Ajoy Chakraborty, Dr. Soma Ghosh.

Holi is a festival that truly accentuates the beauty of the enchanting spring season. The world waits for it every year but the court of the king of Benaras waited for Holi for a different reason. It was at this time that they heard the various new songs prepared for Holi by the ‘Baijis’ of Bebaras. Hori compositions described the spring season and were usually based on the love pranks of Radha – Krishna. The mood of these compositions was joyous and playful and illustrated the divine Leela of Lord Krishna. The sages of colour throwing, Radha Krishna Holi episodes, tales from folklore and the mythological references were meshed together to create colourful melodies that enhanced the magic of Holi. Though Horis are supposed to be about the love pranks of Krishna and Radha, there exist some delightful exceptions too.

Taking off the old tradition, Girija Devi, Shobha Gurtu and Ajoy Chakraborty made Hori popular in concert circuits. Dr. Soma Ghosh too has taken this form of singing to new heights with her melodic renditions. Source: www.exoticartindia.com

1. Udat Abir Gulal – Raag Mishra Gara: Girija Devi
2. Kaa Sang Khelun Main Phaag – Raag Sohni: Ajoy Chakraborty
3. Hori Khelan Kaise Jaaun – Raag Pilu: Shobha Gurtu
4. Rang Darungi – Raag Mishra Yamani: Dr. Soma Ghosh
5. Hori Khelan Kaise Jaaun – Raag Mishra Khamaj: Dr. Soma Ghosh
6. Savre Ne Gaari Dayee – Raag Kafi: Dr. Soma Ghosh




http://www.mediafire.../?ucn88hugefu3e

[Shuklas]

Arti Ankalikar Tikekar and Devki Pandit-TANA RIRI-Malhar Compositions


Arti Ankalikar Tikekar and Devki Pandit are disciples of the same gurus - disciples of Late Pandit Vasantrao Kulkarni of the Agra Gwalior and Kishori Amonkar of the Jaipur Atrauli Gharanas - and the harmonious blend of the two voices singing in tandem was proof of this fact.

According to historical references there happen to arise various schools of thought as to the origin of Tana and Riri. One such school of thought has been given below:

Tansen, the famous courtier of Mughal Emperor Akbar, was indubitably the greatest classical vocalist and musicologist in history. He was also one among the nine gems of Akbar’s court. His voice, creativity and understanding of raga brought him very close to the emperor. Akbar adored his skill and style of singing. This also happened to be a reason of jealousy against him by others who were envious of this conjugation between the Emperor and the courtier.

So one fine day, one of the envious ones requested the emperor to entreat Tansen to sing Raaga Deepak, The Raaga of Lights, in the court. Although it seemed like a request, it really wasn’t one since; it had come from the Emperor himself. Tansen had no reason to deny and chose to comply. The effect of Raaga Deepak was such that, it could cause extreme heat in the mind, body and soul of the singer, and so similar effects started to show. Suddenly, lights had lit up in the court, all those present in the court could feel the heat rising and so did Tansen, who by now felt sick and feverish since, he was the one singing the Raaga which had him completely exhausted with extreme heat and thirst.

Tansen fell ill as the effect of the Raaga refused to subside, since Tansen had sung a soulful rendition so expressively. Akbar was worried about Tansen’s health and so he invited medics and doctors from all-over the province to try and cure his illness, but to no avail.

After being ill for weeks, Tansen felt that the real cure for his illness was for someone else to sing Raag Malhaar - The Raaga of Rain.

So, Tansen left on a journey in search of the one who could cure him by singing Raag Malhaar for him. This journey brought him to Vadnagar, where he came across two young girls, who were sisters and had come to the river to fetch fresh water. The girls were singing notes of Malhaar, and Tansen was moved by their melodious voice. Tansen asked for some water to quench his thirst. The girls offered him water and quenched his thirst. Moved by their hospitality Tansen asked them what their names were and he came to know that the elder one was named Tana and the younger one was named Riri. When Tansen implored them to sing for him, the sisters immediately complied and started singing Raaga Malhaar. No sooner had they begun singing, the effects of the Raaga began to show. There was a slight drizzle from the sky down upon the earth, which as the sisters sung, grew to a downpour of rain. There was rain and relief, outside, for the earth and all the living beings and inside Tansen’s mind, body and soul, who by now had started feeling better. He was cured by the end of the Song of Rain that the sisters Tana & Riri sang for him.

Tansen blessed both the sisters and returned to Akbar completely cured of his ailment. When Akbar heard about Tansen’s ‘musical cure’, he as well called for Tana and Riri to have them perform in his royal court.

When Tana & Riri came to know about Akbar’s proposal they politely denied it since, they believed in singing only for God and were against singing for any king or Emperor.

Akbar war infuriated by Tana Riri’s incompliance to his request and sent his forces to invade Vadnagar and forcefully seek Tana Riri. The land of Vadnagar was invaded and destroyed completely by Akbar’s forces in pursuit of Tana and Riri. The sisters realized what had happened and blamed themselves for all of it. Sad and depressed they went to the well and jumped in it to end their lives and so the melody was lost forever. Text Source: http://www.exoticind...

01 Raag Megh Malhar - Taal Jhaptaal - Magan Raho Re (AA & DP)

02 Raag Ramdasi Malhar - Taal Roopak Teentaal - Saras Shyaam Ghan Boondan Barse (AA)

03 Raag Gaud Malhar - Taal Teentaal - Yadupati Suran Vimal Yash Gaayo (DP)

04 Raag Miyan Malhar - Taal Chautaal - Sakal Bhoomandalkaa (AA & DP)

05 Raag Jayant Malhar -Taal Teentaal - Lakhi Ghanroop Shyam (DP)

06 Raag Sur Malhar - Taal Ektaal - Ghor Ghor Kaare Badra (AA)

07 Raag Nat Malhar -Taal Dhamaar - Umad Ghumad Aaye Ghan Barsan (AA & DP)

08 Tribute - Raagmala of Malhars With Taalmala - Naadbrahma Parameshwar (AA & DP




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[Shuklas]

Hindu Gymkhana, Karachi

Picture Source: http://farm4.static....

KARACHI: It was an evening suffused with pure melody and pulsating beats. The two-day Tahzeeb Music Festival 2009 kicked off with great fanfare at Hindu Gymkhana on Friday.

The first act began with a delightful performance by a young sarangi-nawaz Zoheb Hasan. The artist, who hails from the Amritsari gharana and lives in Lahore, played raag madh kauns and was appreciated by the discerning audience.

This was followed by Ustad Zafar Ali Khan’s performance. He was accompanied by Zoheb Hasan (sarangi), Khurshid Husain (tabla) and Pervaiz Paras (harmonium). The ustad comes from the renowned Gwaliar gharana and specialises in blending the Punjabi tappa with Sindhi kaafi. He presented raag aiman and told the audience about the importance of khayal gaeki in which the thought (content) plays as important a role as the melody. However, it was his brief thumri that caused many to snap their fingers and tap their feet.

Sitar player Akhlaq Husain had especially flown in from the US to take part in the show. He is the son of the illustrious Imdad Husain and has learnt the sitar from, among others, the incomparable Pandit Ravi Shankar. Akhlaq Husain’s rendition was noteworthy as he looked completely immersed in his act, and played the sitar in an impassioned manner. In the beginning of the piece, his notes created a melancholic atmosphere which then segued into a frenzied progression.

After Akhlaq Husain a known and relatively young vocalist Fahim Mazhar appeared on stage. He learnt his art from a legend like Chhotey Ghulam Ali Khan and has himself taught music at Birmingham University for four years. Fahim is one to watch out for in the future. He has tremendous control over his vocal cords and with a great singing range. His note-perfect performance, using remarkable tonal sustenance, kept even those glued to their seats (or the chandni) who don’t have a fair understanding of classical music.

But the highlight of the evening was Ustad Abul Sattar Tari’s astounding tabla playing. He was accompanied on stage by sitar player Nafis Ahmed Khan. The ustad these days lives in the US and is a pupil of Shaukat Husain. Attired in a bejewelled dress, looking every inch an artist, his rendition was an audio-visual treat. The nimble-fingered Tari’s hands moved at a rate of knots yet his tabla sounded clear and rhythmic, and even played half- and quarter-notes with such mastery that it made the attendees put their hands together every time he finished a routine for a breather. Only if the PA (sound) system had been a tad better, his performance would have been doubly enjoyable.

Another marked feature of Ustad Abdul Sattar Tari’s piece was that intermittently he verbally explained the beat progression (da dinn dinn na, da dinn dinn na, etc) and then played it on his tabla without a decibel of difference. A rare pleasure!

The first day’s last act was Ustad Fateh Ali Khan of the Gwaliar gharana. Those who performed along side him were Bashir Khan (tabla) and Afzal Khan (harmonium). Source: Dawn Newspaper

1-01 Raag Kafi Kanhra - Kheyal (Bilampit Ektala Drut Teentaal) - Faheem Mazar

1-02 Sufi Kalam Shah Lateef Bhitai - Zulfiqar Ali & Mazhar Hussain

1-03 Raag Dakshni Paraj - Gat In Teentaal (Sitar-Violin Jugalbandi) - Nafees Khan & Raees Khan

1-04 Raag Malkauns - Kheyal (Bilampit Ektala Drut Tarana Teentaal) - Ustad Fateh Ali Khan (Gawalior)

2-01 Raag Hameer - Kheyal (Bilampit Jhaptall, Drut Ektala) - Ustad Raza Ali Khan

2-02 Thumri (Yaad Piya Ki Aaye) - Ustad Raza Ali Khan

2-03 Raag Bageshri - Ikhlaq Khan

2-04 Raag Raam Saakh (Bilampit Ektala, Madh-ley Jhaptaal, Tarana Teentaal) - Rustam Fateh Ali Khan



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[Shuklas]

Compilation - Morning Ragas



The musical morning begins long before sunrise. The dark hour just before dawn has always been associated with prayer and meditation. In a different context, this hour also witnesses the pain of parting from the beloved. Early morning ragas are therefore sombre and devotional for the most part, while some also carry a feeling of universal sorrow and longing.

The first raga of the morning is Lalit. The gravity and pathos of sandhi prakash ragas, or ragas of the time when darkness meets light, emanate from the use of the flattened komal rishabh and the komal dhaivat. The major morning ragas such as Bhairav and Todi also exhibit this feature.

As the sun rises and begins to light up the sky, ragas derived from the Asavari group, for instance Jaunpuri, enter the field. In these, the flat rishabh is abandoned and gives place to its sharp counterpart. However, the dhaivat remains flat and continues to impart a quality of wistfulness to these ragas, which are generally more luminous and less inward.

The most important group of ragas assigned to late morning when the sky is fully lit up is the Bilawal family. These ragas use the major scale where all the notes are sharp. There is now a distinct change of mood, a feeling of coming out of oneself into a pleasing world. All Bilawals exude self-confidence, stability and tenderness. Source: http://www.exoticind...

01 - Lalit - Rajan & Sajan Mishra (Vocal); Ramzan Khan (Tabla); Mehmood Dholpuri (Harmonium)

02 - Bhairav - Shahid Parvez (Sitar); Vijay Ghate (Tabla)

03 - Ahir Bhairav - Shruti Sadolikar (Vocal); Mangesh Mulye (Tabla); Anant Kunte (Sarangi); Kiran Lele (Harmonium)

01 - Bhatiyar - Jasraj (Vocal); Kedar Pandit (Tabla); Appa Jalgaonkar (Harmonium)

02 - Bibhas - Shruti Sadolikar (Vocal); Mangesh Mulye (Tabla); Anant Kunte (Sarangi); Kiran Lele (Harmonium)

03 - Mian-Ki-Todi - Amjad Ali Khan (Sarod); Shafaat Ahmed Khan (Tabla)

01 - Jaunpuri - Padma Talwalkar (Vocal); Omkar Gulvady (Tabla); Govind Patwardhan (Harmonium)

02 - Bilaskhani Todi - Amjad Ali Khan (Sarod); Shafaat Ahmed Khan (Tabla)

03 - Desi Todi - Hariprasad Chaurasia (Flute); Rupak Kulkarni (Flute support); Anindo Chatterjee (Tabla)

01 - Kukubh Bilawal - Mallikarjun Mansur (Vocal); Rajshekhar Mansur (Vocal support); Balkrishna Iyer (Tabla); Tulsidas Borkar (Harmonium)

02 - Deshkar - Shahid Parvez (Sitar); Vijay Ghate (Tabla)

03 - Bhairavi - Padma Talwalkar (Vocal); Omkar Gulvady (Tabla); Govind Patwardhan (Harmonium



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[Shuklas]

Compilation - Afternoon Ragas

The mid-day sun ushers in the Sarang group of ragas which are all bright, vivid and lively. The pathos and gravity of the early morning ragas is quite dispelled by the bright sunshine, and the earlier introspectiveness seems to give place to a more direct view of life and nature. There is a wide variety of moods and flavours in the Sarangs as they are derived from different scales, but the common characteristic is the strong shuddh rishabh as an important resting place. The brilliant interval it forms in combination with the shadaja or tonic suggests control, stability, contentment and exuberance. As the heat of the day becomes more intense, late afternoon ragas like Multani and Patdeep take centre stage. These are busy ragas, full of energy and tension, comparatively more restless and frenzied. It is interesting to note that when the day’s activity is at its peak, the number of ragas is at its thinnest, and begins to increase as the sun dips towards the horizon and the day’s labours subside.

The images that the afternoon ragas as a whole evoke are of sunlight shimmering through bright green leaves, of fields full of yellow flowers basking in the sun, the burning desert sands and the plaintive sound of human expression. Source: http://www.exoticind...

5-01 Raga Shuddh Sarang - Amjad Ali Khan (Sarod)

5-02 Raga Sughrai - Mallikarjun Mansur (Vocal)

5-03 Raga Gaud Sarang - Padma Talwalkar (Vocal)

6-01 Raga Brindabani Sarang - Hariprasad Chaurasia (Flute)

6-02 Raga Madhmad Sarang - Jasraj (Vocal)

6-03 Raga Dhani (Sitar) - Shahid Parvez (Sitar)

7-01 Raga Bhimpalasi - Mallikarjun Mansur (Vocal)

7-02 Raga Patdeep - Shruti Sadolikar (Vocal)

7-03 Raga Mand - Shahid Parvez (Sitar)

8-01 Raga Multani - Rajan & Sajan Mishra (Vocal)

8-02 Raga Madhuvanti - Hariprasad Chaurasia (Flute)

8-03 Raga Pilu - Amjad Ali Khan (Sarod)


http://www.mediafire.../?a6yub6quc962a

[Shuklas]

Compilation - Evening Ragas


As the sun sets, we have another set of sandhi prakash ragas,the evening counterparts of the pre-dawn ragas. But this time it is a meeting of light and darkness, instead of darkness and light as at dawn, and the difference is reflected in the swaras used. The rishabh and dhaivat are komal as in the corresponding ragas of the morning but these are used in combination with a strong teevra madhyam which signifies great tension waiting for resolution normally provided by the pancham. Marwa and Pooriya are two important examples. The sunset ragas are once again sombre and introspective. Sandhya, or twilight, is also a time for prayer and meditation.

As twilight deepens into night, the serene and tranquil ragas of the Kalyan family appear. Their calm and reposefulness owe a great deal to the sounding of the shuddh gandhar which is for them an important resting place. The life span of the Kalyans is very long, and one may play or sing Yaman, for instance, at any time between seven or even eleven in the evening. As a result, there is considerable overlapping between evening and night ragas. The tranquil mood of the Kalyans gradually but briefly gives place to lyrical and romantic ragas like Anandi, Durga, Tilang and Kedar, ragas suitable alike for late evening or early night. Source: http://www.exoticind...

9-01 Raga Marwa - Jasraj (Vocal), Kedar Pandit (Tabla) & Appa Jalgaonkar (Harmonium)

9-02 Raga Shree - Shruti Sadolikar (Vocal), Mangesh Mulye (Tabla), Anant Kunte (Sarangi) & Kiran Lele (Harmonium)

9-03 Raga Hamsadhwani - Shahid Parvez (Sitar) & Vijay Ghate (Tabla)

10-01 Raga Pooriya - Rajan & Sajan Mishra (Vocal), Ramzan Khan (Tabla) & Mehmood Dholpuri (Harmonium)

10-02 Raga Shyam Kalyan - Amjad Ali Khan (Sarod) & Shafaat Ahmed Khan (Tabla)

10-03 Raga Nand - Mallikarjun Mansur (Vocal), Rajshekhar Mansur (Vocal Support), Balkrishna Iyer (Tabla) & Tulsidas Borkar (Harmonium)

11-01 Raga Shuddh Kalyan - Padma Talwalkar (Vocal); Omkar Gulvady (Tabla); Govind Patwardhan (Harmonium)

11-02 Raga Manjh Khammaj - Hariprasad Chaurasia (Flute); Rupak Kulkarni (Flute support); Anindo Chatterjee (Tabla)

11-03 Raga Durga - Rajan & Sajan Mishra (Vocal); Ramzan Khan (Tabla); Mehmood Dholpuri (Harmonium)

12-01 Raga Yaman - Shahid Parvez (Sitar); Vijay Ghate (Tabla)

12-02 Raga Shankara - Jasraj (Vocal); Kedar Pandit (Tabla); Appa Jalgaonkar (Harmonium)

12-03 Raga Mishra Ghara - Shruti Sadolikar (Vocal); Mangesh Mulye (Tabla); Anant Kunte (Sarangi); Kiran Lele (Harmonium





http://www.mediafire.../?4x5zyilba77ru

[Shuklas]

Abdul Waheed Khan - Raga Darbari Kanada





During his lifetime, Sufi Abdul Wahid Khan Chisti Sabri was the acknowledged master of the Kirana style. His revival of Khayal at the turn of the 19th century stands, in itself, as a virtually unparalleled contribution to the recent history of Indian Classical music. Abdul Wahid Khan began his studies at an early age with his father, Abdul Majid Khan, learning vocal and sarangi. Around age 12 he was sent to Kolhapur to study with Haider Baksh Khan, who was a disciple of the reknowned master of the beenkar (vina) and voice, Mian Bande Ali Khan.
“The King of Music”

Although a youthful prodigy of the Kolhapur court, remaining unchallenged after his public debut there at age 18, Abdul Wahid Khan had no inclination to spend time singing in the courts. Instead he lived a devout, reclusive life, singing in the presence of holy men and at the tombs of Sufi saints and only occasionally sang in public. The most striking fact on his performance was apparently his alap. The time he took, the care, to elaborate the raga was exceptional among khayal singers: he might take hours on one raga. When Salamat Ali Khan was asked by one of his disciples for a description of Abdul Wahid Khan, he replied, “He would begin to improvise in Lahore and you could travel to Delhi and back, and he would still be improvising. More than that you don’t ask.” Ustad Ali Akbar Khan said that when most musicians came to the radio station, they sang their raga and went home. When Abdul Wahid Khan would come, however, he would sing his scheduled broadcast and then just continue for 20 hours or so. People would come and go, and he would still be singing.

His command of the art was such that no other musician ever performed in his presence. Abdul Wahid Khan practiced Todi and Darbari day in and day out. When asked why he limited himself to only two ragas, his response was that he would have dropped the second one also if morning time could last forever. One lifetime, according to him, was not enough to do justice to any raga. He was forced to change from Todi to something else only because of the setting sun and the gathering darkness. Born in Kirana, he later moved to Lahore where he made an independent career until his death in Saharanpur in 1949. Ustad Abdul Wahid Khan was inferred the title of “Sirtaaj-e-Mousiki” the Crown of All Musicians, The King of Music. He had a most religious and pious attitude to life, paying homage throughout his life to his pir the Sufi, Khwaja Ali Ahmed Nafi Alam, a saint living in Multan in the Punjab, now Pakistan. Requiring rigorous discipline and fierce devotion, Abdul Wahid Khan accepted very few disciples, among them Pandit Pran Nath who became one of the most important disciples through his ceaseless practice, natural talent and extraordinary ability to serve his master. For almost 20 years he served his Guru and in 1970 came to the USA where he has many disciples in New York, California and Oregon including the American composers La Monte Young and Terry Riley.

01. Raga Darbari Kanada

Download Link Here


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[Shuklas]

Pandit Pran Nath - 21 VIII 76 NYC Raga Malkauns


Recorded by Tom Duffy at Big Apple Recording Studios, Ltd., New York City, August 21, 1976.

[Shuklas]

Arati Ankalikar & Devaki Pandit - Tana Riri - Tansen’s Malhar Composition Interpreted



Arti Ankalikar Tikekar and Devki Pandit are disciples of the same gurus - disciples of Late Pandit Vasantrao Kulkarni of the Agra Gwalior and Kishori Amonkar of the Jaipur Atrauli Gharanas - and the harmonious blend of the two voices singing in tandem was proof of this fact.

According to historical references there happen to arise various schools of thought as to the origin of Tana and Riri. One such school of thought has been given below:

Tansen, the famous courtier of Mughal Emperor Akbar, was indubitably the greatest classical vocalist and musicologist in history. He was also one among the nine gems of Akbar’s court. His voice, creativity and understanding of raga brought him very close to the emperor. Akbar adored his skill and style of singing. This also happened to be a reason of jealousy against him by others who were envious of this conjugation between the Emperor and the courtier.

So one fine day, one of the envious ones requested the emperor to entreat Tansen to sing Raaga Deepak, The Raaga of Lights, in the court. Although it seemed like a request, it really wasn’t one since; it had come from the Emperor himself. Tansen had no reason to deny and chose to comply. The effect of Raaga Deepak was such that, it could cause extreme heat in the mind, body and soul of the singer, and so similar effects started to show. Suddenly, lights had lit up in the court, all those present in the court could feel the heat rising and so did Tansen, who by now felt sick and feverish since, he was the one singing the Raaga which had him completely exhausted with extreme heat and thirst.

Tansen fell ill as the effect of the Raaga refused to subside, since Tansen had sung a soulful rendition so expressively. Akbar was worried about Tansen’s health and so he invited medics and doctors from all-over the province to try and cure his illness, but to no avail.

After being ill for weeks, Tansen felt that the real cure for his illness was for someone else to sing Raag Malhaar - The Raaga of Rain.

So, Tansen left on a journey in search of the one who could cure him by singing Raag Malhaar for him. This journey brought him to Vadnagar, where he came across two young girls, who were sisters and had come to the river to fetch fresh water. The girls were singing notes of Malhaar, and Tansen was moved by their melodious voice. Tansen asked for some water to quench his thirst. The girls offered him water and quenched his thirst. Moved by their hospitality Tansen asked them what their names were and he came to know that the elder one was named Tana and the younger one was named Riri. When Tansen implored them to sing for him, the sisters immediately complied and started singing Raaga Malhaar. No sooner had they begun singing, the effects of the Raaga began to show. There was a slight drizzle from the sky down upon the earth, which as the sisters sung, grew to a downpour of rain. There was rain and relief, outside, for the earth and all the living beings and inside Tansen’s mind, body and soul, who by now had started feeling better. He was cured by the end of the Song of Rain that the sisters Tana & Riri sang for him.

Tansen blessed both the sisters and returned to Akbar completely cured of his ailment. When Akbar heard about Tansen’s ‘musical cure’, he as well called for Tana and Riri to have them perform in his royal court.

When Tana & Riri came to know about Akbar’s proposal they politely denied it since, they believed in singing only for God and were against singing for any king or Emperor.

Akbar war infuriated by Tana Riri’s incompliance to his request and sent his forces to invade Vadnagar and forcefully seek Tana Riri. The land of Vadnagar was invaded and destroyed completely by Akbar’s forces in pursuit of Tana and Riri. The sisters realized what had happened and blamed themselves for all of it. Sad and depressed they went to the well and jumped in it to end their lives and so the melody was lost forever. Text Source: http://www.exoticind...

01 Raag Megh Malhar - Taal Jhaptaal - Magan Raho Re (AA & DP)

02 Raag Ramdasi Malhar - Taal Roopak Teentaal - Saras Shyaam Ghan Boondan Barse (AA)

03 Raag Gaud Malhar - Taal Teentaal - Yadupati Suran Vimal Yash Gaayo (DP)

04 Raag Miyan Malhar - Taal Chautaal - Sakal Bhoomandalkaa (AA & DP)

05 Raag Jayant Malhar -Taal Teentaal - Lakhi Ghanroop Shyam (DP)

06 Raag Sur Malhar - Taal Ektaal - Ghor Ghor Kaare Badra (AA)

07 Raag Nat Malhar -Taal Dhamaar - Umad Ghumad Aaye Ghan Barsan (AA & DP)

08 Tribute - Raagmala of Malhars With Taalmala - Naadbrahma Parameshwar (AA & DP



http://www.mediafire.../?ailzgkb3flci7

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[Shuklas]

Pandith Pran Nath - Ragas of Morning & Night




Pandit Pran Nath was one of the leading exponents of the Kirana style of northern Indian singing, his influence extending far into the Western genres of jazz, contemporary classical and rock. Musicians from Don Cherry and Lee Konitz to La Monte Young and Terry Riley to David Byrne and Brian Eno studied with Pran Nath or paid him great respect. This recording contains two lengthy ragas, "Raga Todi" and "Raga Darbari," one for morning and one for evening. Pran Nath's exquisite control between microscopically fine degrees of pitch can be easily heard in the former. The first two thirds of the piece is performed slowly and delicately, each sinuous line being given careful weight and consideration. When, in the final few minutes, the pace quickens there is a startling sense of unfolding possibilities, almost an embarrassment of riches after the earlier rigor. The second raga follows a similar structure but the tonal center is entirely different; instead of the plaintive almost keening quality of the morning raga, we hear a calmer, more accepting feeling, as though the singer has graciously acceded to what has occurred that day. This time when the tempo picks up it's as if the singer has gotten a second wind late in the day and is suddenly full of joyous energy. The effect of Pran Nath's quivering lines and immensely complicated vocal arabesques is liberating enough. When he goes head to head with the tabla player for some intricate sparring, ones jaw tends to drop. Ragas of Morning and Night is a wonderful recording and would serve as a fine introduction both to this musician and to this particular style of singing as well. Additionally, excellent and detailed liners notes by La Monte Young are included.

1. Raga Todi
2. Raga Darbari

https://rapidshare.c....rar|183827|0|0

[Shuklas]

Amanat Ali Khan & Fateh Ali Khan - Raag Se Ghazal Tak


The two brothers as a duo had neatly dividing their singing by specialisation. Amanat Ali Khan had a gifted voice and he embellished his singing in broad sweeps by lagao, and blossoming out in the upper register while Fateh Ali engaged in intricacies of the countless behlawas and complex taans, in a much lower and gravelly voice, respectively drawing inspiration from two elders of their gharana, Ustad Bade Ghulam Ali Khan and Ustad Ashiq Ali Khan. Life changed dramatically for the budding stars when India was partitioned in 1947, and the family opted to migrate to Pakistan. Overcoming destitution in their new home, the duo swung back, while still in their teens, to earn their rightful place amongst the foremost vocalists of the subcontinent. Fateh Ali was dealt a devastating blow with the demise of his brother Amanat Ali in 1974. Fateh Ali is reported to have suffered a deep depression for over a year and a half, following which he joined Radio Pakistan. Source: http://en.wikipedia....

01 Raag Aeman

02 Aaja Aaja Na Ja Pardes

03 Meri Dastan-E-Hasrat

04 Raag Maalkoos

05 Kab Aaoge Tum Aaoge

06 Kaise Guzar Gai Hai Jawani



http://www.mediafire.../?4eca8k54b2ayc

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[Shuklas]

vocal recital by Manjiri Asnare-Kelkar - Raga Jaunpuri

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Sanjeev Abhyankar raag Jaunpuri.

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Raag Jaunpuri - Ustad Bade Ghulam Ali Khan

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Shweta Jhaveri - Hindustani Classical






With her “soft, silky, mellow” voice, Shweta Jhaveri has become of Northern India’s best known singers of classical music. The first female vocalist from Gujarat to achieve international attention, Jhaveri continues to awe audiences with her mastery of the highly elegant, technically-difficult, vocal style of khayal. Jhaveri has increasingly branched out to musical cultures from around the globe.

The first two pieces on this CD clock in at about a half-hour each and are excellent demonstrations of Shweta Jhaveri’s ability to develop extended pieces in an intelligent and always very musical, very pleasing fashion. Ms. Jhaveri’s voice has been described as “smooth, pure, silky, mellow, etc.” and those qualities are certainly in evidence here and are why her music works so well. Given her obvious ability and the beauty of her voice.

01 Bhatiyaar - Khayal

02 Madhuvanti - Khayal

03 Sugharai - Khayal Bandeesh

04 Manz Khamaz - Baat Niharu

05 Bhaivari - Tappa



http://www.mediafire.../?xzs0bdy9bc5w2

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[Shuklas]

Compilations - Raga Darbari Volume 1-4

There can be no doubt that Darbari Kanada is one of the most popular rags in the entire North Indian system of classical music. It is said to have been invented by Tansen who sang in the durbar (royal court) of the Emperor Akbar, hence the name Darbari Kanada. Darbari Kanada has some interesting musical characteristics. It is a night time rag. It is said to be sampurna - sampurna, but it must be presented in a vakra (twisted) fashion to distinguish it from related rags such as Jaunpuri, Asawari, or Adana. It is especially important to emphasize the lower register (mandra saptak) and the lower tetrachord (i.e., purvang) to distinguish this rag from Adana. Source: http://chandrakantha...

1-01 Aur Nahin Kachhu Kamke - Khayal Vilambit In Ektaal - Pt. Bhimsen Joshi

1-02 Jhanak Jhanakva Bole - Khayal - Pt. Bhimsen Joshi

1-03 Vilambit In Ektaal - Madhyalaya In Teentaal - Dr. N. Rajam

Download Link Here

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2-01 Gat Vilambit & Drut In Ektaal - Pandit Pannalal Ghosh

2-02 Eri Bir Ri - Khayal Vilambit In Jhoombra Taal Kin Bairan - Ustad Amir Khan

2-03 Khanak Jhanakva - More Khayal - Ustad Abdul Karim Khan


http://www.mediafire...



3-01 Ram Ko Sumir Kar - Khayal Vilambit In Ektaal & Maan Ja More Piya - Pandit Jasraj

3-02 Gat - Vilambit Ektaal & Drut Teentaal - Ustad Amjad Ali Khan

http://www.mediafire...

4-01 Gat - Drut Teentaal - Ustad Vilayat Khan

4-02 Suagar Madha Peevan Re - Khayal Vilambit In Ektaal & Anokha Ladala - Khayal Drut In Teentaal & Bhaj Re Har Naam - Khayal Drut In Teentaal - Ustad Bade Ghulam Ali Khan

4-03 Khayal - Ustad Faiyaz Khan


http://www.mediafire.../?7c71w9475yxpg

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[Shuklas]

Compilation - Gharaon Ki Gaiki - School Of Music Patiala


The Patiala Gharana is one of the most prominent gharanas of vocal Hindustani classical music. It was initially sponsored by the Maharaja of Patiala, Punjab, which was famous for ghazal, thumri, and khayal. The Patiala Gharana was founded by Ustad Fateh Ali Khan and Ustad Ali Baksh Khan. This school of music has had a number of famous musicians, many of whom came to be patronised by the royal family of Patiala after the disintegration of the Mughal Empire at Delhi in the 18th century. The Patiala gharana tends to favor pentatonic ragas for their ornamentation and execution of intricate taans. Ektaal and Teentaal are the most common taals chosen by members of this gharana. Besides khyal, thumri singing is emphasized.This gharana has been criticized by purists, who say it overuses ornaments and graces without considering the basic nature and mood of the raga, as exemplified by Bade Ghulam Ali Khan’s quick ascent through the octave in his rendering of Darbari. Source: http://en.wikipedia.org

School Of Music Patiala - Hameed Ali Khan & Asad Amanat Ali Khan - Behag

School Of Music Patiala - Hameed Ali Khan & Asad Amanat Ali Khan - Marva

School Of Music Patiala - Hameed Ali Khan & Asad Amanat Ali Khan - Melkaus

School Of Music Patiala - Hameed Ali Khan & Asad Amanat Ali Khan - Puria Dhanasri

School Of Music Patiala - Ustad Fateh Ali Khan - Bageshri

School Of Music Patiala - Ustad Fateh Ali Khan - Bheempalasi

School Of Music Patiala - Ustad Fateh Ali Khan - Madhmad Sarang

School Of Music Patiala - Ustad Fateh Ali Khan - Megh

School Of Music Patiala - Ustad Fateh Ali Khan - Multani

School Of Music Patiala - Ustad Fateh Ali Khan - Naraini

School Of Music Patiala - Ustad Fateh Ali Khan - Shahana

School Of Music Patiala - Ustad Fateh Ali Khan - Shyam Kalyan



http://www.mediafire.../?lfg7ef8t1lffl

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Ustad Fateh Ali Khan & Amjad Amanat Ali Khan - Rare Classical

01 Mora Piya Mosey Bole Na - Thumri

02 Yeh Arzoo Thi Tujhe Gul Ke - Haider Ali Aatish

03 Pyar Nahin Hai Sur Se Jisko - Bandish - Raga Malkauns

04 Tujhko Dekhun To Nigahen Na

05 Insha Ji Utho Ab Kooch Karo - Ibn-E-Insha

06 Kidda Changa Lagne Mere Dholna - Thumri











http://www.mediafire.../?juhmw78i7c2qm

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Compilations - Rare Voices - Music Pakistan - Classical & Light Classical - Box Set



Classical music of Pakistan is based on Hindustani classical music, tracing its roots to India before Partition. The classical music of Pakistan has two main principles, ‘sur’ (musical note) and ‘lai’ (rhythm). The systematic organization of musical notes into a scale is known as a raag. The arrangement of rhythm (lai) in a cycle is known as taal. Improvisation plays a major role during a performance. The major genres of classical music in Pakistan are dhrupad and khayal. Dhrupad is approaching extinction in Pakistan despite vocalists like Ustad Badar uz Zaman, Ustad Hafeez Khan and Ustad Afzal Khan have managed to keep this art form alive. Khayal is the most popular genre of classical music in North India and Pakistan.

8-01 Basant Bahar - Ek Tala - Des Des Ki Thi Jung - Salamat Ali Khan (Age 11)

8-02 Behag - Hai Sajjan Bar Bar Mohe Rokat - Amanat Ali Khan & Fateh Ali Khan (Age 13)

8-03 Darbari - Nain Say Nain Milaye Rakhnayko - Amanat Ali Khan & Fateh Ali Khan (Age 13)

8-04 Sindhi Kafi - Jadoo Daria - Ustad Ashiq Ali Khan & Umeed Ali Khan

8-05 Darbari - Bandi Hokum Ki - Ustad Ashiq Ali Khan & Umeed Ali Khan

8-06 Pooria Dhansri - Khush Rahay - Ustad Ashiq Ali Khan & Umeed Ali Khan

8-07 Lalit (Part 1) - Rain Ka Sapna - Ustad Ashiq Ali Khan & Umeed Ali Khan

8-08 Lalit (Part 2) - Peeoo Peeoo Karat - Ustad Ashiq Ali Khan & Umeed Ali Khan

8-09 Sham Kalyan - Sawan Ki Saanjh - Ustad Ashiq Ali Khan & Umeed Ali Khan

8-10 Peelo - Kasay Jaoon - Ustad Ashiq Ali Khan & Umeed Ali Khan

8-11 Hindol Bahar - Kerva Sakhi Champa - Ustad Beebay Khan

8-12 Suha Taraha - Dir Dir Ta Na - Ustad Beebay Khan

8-13 Jait Kalyan - Payel Baajay - Ustad Bhai Lal Amritsari




http://www.mediafire.../?ac3frghje1de9

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