Gunidas Sangeet Sammelan, 12 February 2012

Gunidas Sangeet Sammelan, 12 February 2012, Day 2

My third experience with Ashwini Tai. She started with a recital of Maru Bihag. She sang the most popular Vilambit bandish, Rasiya Ho Na Jaa. Started with a short Alaap, Ashwini ji created an aura of Maru Bihag all around, gradually. The Sam of this bandish lies on Pancham. For the first ten minutes or so, she sang it the normal way. Then, she changed the position of the Sam for more than 15 minutes and the pre-Sam phrase instead of being Sa Ma Ga, Sa, Ga ma Pa ma Pa was like Pa Ma Ga Re Sa, Re Re Sa Sa. So, the Sam for this bandish was shifted to Shadaj. The beauty of Maru Bihag was not compromised by this experiment of hers. Rather, it was enhanced. It was a one hour rendition of Maru Bihag by Ashwini Tai. I had thought about requesting her to sing Prateeksha, which is a very unique Raaga. Her own composition Kaari Badariya Piya Nahin Paas, haunts me till now. This Raaga is same as Mehdi Hassan Sahab has used in his famous Ab Ke Hum Bichhre To Shaayad Kabhi Khwabon Mein Milein. It seems that if the Nishad and Madhham of Charukeshi are eliminated, hence Prateeksha.

Ashwini Bhide Deshpande

Anyways, I didn’t request her to sing that. She had already started tuning for her next rendition of a Hori in Mishra Gara, Main To Khelungi Un Hi Sang Hori Guiyaan set to Deepchandi Taal. I, somehow, love it when a hardcore Khayal/Dhrupad vocalist recites a Hori, Thumri, Dadra or something of that sort. After this concert, one could only infer that Ashwini ji is equally adept at all the forms of Hindustani music. Here’s the Mishra Gara Hori from last night,

http://www.mediafire.com/?vh536a6rwozag2b

Here’s the lyric,

http://bandishein.wordpress.com/2011/08/03/main-to-khelungi-unhi-sang-hori-re-guiyaan/

The second performer was Pandit Satish Vyas. I had heard him on CD’s and believed that he was a fine player of Santoor. I, personally, didn’t like the Bageshree that he was playing yesterday. Anyhow, I couldn’t wait for the performance to complete. I watched him perform for half an hour and then left the auditorium. But I have to say that he did a good job in organizing this festival successfully. Will be waiting for next years’ Gunidas Sangeet Sammelan.

P.S. - I have been extensively listening to Maru Bihag for the last few years; Based on the position of Sam, I’ve heard a variety of bandishes. Take a Vilambit Rachana from Pandit Ajoy Chakraborty for example; the bandish is set to Vilambit Ek Taal, Bairan Ratiyan Hamaar and it’s Sam lies on the Nishad of the Mandra Saptak. The pre-Sam phrase goes something like this, ma Ga ma Pe ma Ga Re Sa, Sa Re Ni. Vidushi Prabha Atre’s version, Jaagun Main Saari Raina Balma has it’s sam on the Nishad of Madhya Saptak. There is a whole lot of bandishes in which the Sam is on Pancham of Madhya Saptak such as http://wp.me/pQ9hi-4J, http://wp.me/pQ9hi-88 and  http://wp.me/pQ9hi-4x; And then there are those whose Sam is on Shadaj of the Madhya Saptak; bandishes such as http://wp.me/pQ9hi-4y, http://wp.me/pQ9hi-4z and http://wp.me/pQ9hi-4s

Gunidas Sangeet Sammelan, 11 February 2012

Gunidas Sangeet Sammelan, 11 February 2012, Day 1

Honestly, I was there to watch Pandit Ulhas Kashalkar perform. I had never heard of the sitarist Manju Mehta before. Hers was going to be the inaugurating performance of the two day Gunidas Sangeet Sammelan at Kamani Auditorium in Delhi, but we were notified that she was sick and her brother Pandit Vishwa Mohan Bhatt was going to fill in for her. Not a bad deal, eh? I wish Manju ji good health and get back on track for her performances. Will look forward to listen to her for the first time.

Listening to Pandit Vishwa Mohan Bhatt has always been a great pleasure. This time around, he was accompanied by Pandit Ram Kumar Mishra of Banaras Gharana.  He started his recital with an Alaap in Puriya Kalyan. The Mohan Veena virtuoso demoed the play of his instrument, while the listeners were spellbound. Pandit Vishwa Mohan Bhatt is a very keen improviser unlike many musicians, who try to go by the book. After a beautiful Alaap in Puriya Kalyan, he started playing a Gat in Shyam Kalyan. As soon as the performance of Shyam Kalyan ended, the audience started shouting ‘Des’, ‘Bageshree’ and so on. Panditji fulfilled two of those requests and also rendered his Grammy winning track. He always does that. The recital that stood out of all was in Des when he recited Vande Mataram. One of the best recitals of Vande Mataram I’ve heard. Pandit Vishwa Mohan Bhatt got a standing ovation from the audience.

Accompanying Pandit Vishwa Mohan Bhatt was the grandson of legendary Pandit Anokhelal Mishra. Accompanying an instrument is no joke either. A percussionist has all the freedom accompanying an instrumentalist but still has to be within the framework, the mood of the composition. Pandit Ram Kumar Mishra was flawless in his performance. He is the next Na Dhin Dhin Na exponent after his grandfather.

After a short break in the course of music, Pandit Ulhas Kashalkar arrived on stage. Panditji started his recital with Jogkauns. He addressed the audience and told them that Jogkauns was created by Pandit Jagannath Buwa Purohit ‘Gunidas’. He started with a composition of ‘Gunidas’, Sughara Bara Paaya in Vilambit Teen Taal with a brief Alaap and then demonstrated what ‘Khayal’ really is. Elaborating Jogkauns, he showed his Tayyari while he rendered Taans; and the occasional gamak while returning to Sam was brilliantly executed and is a trademark. I had never heard a more crystallized and awe-inspiring rendition of Jogkauns. The beauty of his voice captures you. It captivates you, entraps you. The audiences were, without a doubt, mesmerized by his recital of Sughara Bara Paaya in praise of Qutubuddin Ganj-e-Shakhar. After the Vilambit bandish, Panditji recited one of my favorite bandishes, also by ‘Gunidas’, Peer Paraayi Jaane Nahin Baalamwa, in Drut Teen Taal. This might be the most famous bandish rendered in Jogkauns. Here’s the lyric to that bandish, http://bandishein.wordpress.com/2012/02/12/peer-paraayi-jaane-nahin-baalamwa/

Vinay Mishra, Pandit Ulhas Kashalkar, Madhup Mudgal

Panditji decided to sing Basant. Started with a bandish, Kaanha Rangwa Na Daaro set in Madhyala Teen Taal. His Basant rendition was clean and mesmerizing. The next bandish was another awesome rendition. I had heard Ye Drum Drum Lata Lata from Veena Tai in a recording of hers. This bandish excites me. Panditji said that the thing about this bandish was that every word was said twice. And the amazing thing about the bandish is that is makes perfect sense. The bandish is more than just lyric to a musical rendition. It is poetry.

Yeh Drum Drum Lata Lata

Patta Patta Beli Beli Naveli

Albeli Chavi Ki Chhata Chhata

Ghata Ghata Suhaayi Suhaayi

Rang Rang Saun Rang Rang Saun

And finally a request from the audience for a Thumri was fulfilled by Pandit Ulhas Kashalkar. He sang a Bandish ki Thumri in Khammaj, Koyaliya Kook Sunaawe. Khammaj defined. Pandit Ulhas Kashalkar rocks and he is just 57. Imagine what he will be offering to the young India in the years to come. Panditji was accompanied by Ramdas Palsule on the Tabla, who also, I think, did a very good job. It Accompanying Pandit Ulhas Kashalkar was Delhi’s own Vinay Mishra. He is one of the few harmonium players in India who are on their way to becoming the next Walwalkar’s and Dhaulpuri’s. And, of course, him accompanying Pandit Ulhas Kalshalkar says a lot in itself. This is the music of the highest quality.

P.S. – I always wonder what Khayal really means. If we simply translate the word into English, it might translate to ‘Thought’ or ‘Imagination’; but, I end up inferring that it is far more complex, enlightening and spiritual that just an ‘imagination’ or a stream of ‘thoughts’. The essence of Khayal can never be expressed in words. So, this blog of mine is practically of ‘non-entity’ status. It doesn’t exist even if it exists. So, stop reading it! Just go and listen to Ustad Salamat Ali Khan & Ustad Nazakat Ali Khan Sahab for some sanity in this insane time in human history. Because that’s what I am going to do now!

Tansen Festival, 21 February 1960

With a broken and fagged voice in his late sixties, the genius of Pandit Krishnarao Shankar Pandit recites a Tappa in Bhairavi. This is Tappa reference material. Pandit Krishnarao Shankar Pandit is considered to be one of the greatest vocalists among of the 20th century. His tradition is being carried forward by his son Pandit Lakshman Krisharao Pandit and granddaughter Meeta Pandit. In fact, apart from the Khayal traditions, Gwalior is famous for its Tappa Gayaki. Shori Miyan introduced this form of singing in the late 18th century under the reign of Nawab of Awadh at that time, Asad-ud-Daula. This style was adopted by the singers of Gwalior Gharana into their Khayal Gayaki. Some say that the concept of a Taan was conceived by Ustad Bade Mohammad Khan of Gwalior Gharana.

Listening to a recording of Balasaheb Poonchwale, a Tappa and bandish in Tilang, I infer that his style was very close to Pandit Krishnarao Shankar Pandit. Being from the same Gharana doesn’t always guarantee that the vocalists follow strictly the same style. As a musician grows, he is influenced by many other styles and incorporates those styles into his own. Shafqat Salamat Ali Khan of Sham Chaurasi Gharana while addressing Ustad Fateh Ali Khan of Patiala said while rendering Taans in the lower octave, Bade logon ki cheezein hain leni chahiye … Ustad Fateh Ali Khan ne yeh darja bahut dekha hai.’; Anyhow, I am gradually becoming more interested in listening to Bhaiyya Sahab Poonchwale and a few other greats of the likes of Ustad Rajab Ali Khan, Bhai Lal Amritsari, Ustad Abdul Karim Khan and so on.

 I remember watching the interview of Pandit Krishnarao Shankar Pandit with Pandit Dinkar Kaikini on the Doordarshan releases. I saw Panditji for the first time in that video. And I wish more of such videos are released by Doordarshan, for they are a treasure. Not to mention that I have been a huge fan of Pandit Lakshman Krishnarao Pandit for a long time. But, I’ve got only one chance to listen to him live at the Delhi Classical Music Festival 2011. I Will be listening to Pandit LK Pandit perform on the 17th of February 2012 at IICC, Delhi. 

Shastriya Sangeet Sandhya, Akashwani Rohtak, 7 February 2012

A real treat for a rather non-musical city of Rohtak. I personally thanked the artists and Akashwani Rohtak for organizing such an event. I’d listened to Pandit Nirmalya Dey on Tape and CDs but never saw him perform live. So, it was a wonderful opportunity for a student of music to just imbibe what Dey Saab had to offer. Being a student of Khayal, I do also listen to Dhrupad a lot; and the reason is that Khayal is a derivative of Dhrupad. Without the elements of Dhrupad such as Meend, Gamak and Layakaari, Khayal cannot exist. In fact, until the advent of 18th century, Dhrupad was the official music of most princely states in Hindustan. It is when Miyan Niyamat Khan and Miyan Feroze Khan ( better known as Sadarang & Adarang ) transformed the music scene in India forever. 

Pandit Nirmalya Dey started his performance with Shree, which happens to be one of the oldest Raagas in Indian Classical Music. In fact, Ustad Wasifuddin Dagar stated in an interview of his that Shree was one of the Six Raagas that have been mentioned in the Vedas. I’ve been lucky enough to have heeded the most beautiful renditions of Shree by several giants of the music world. I’d count this one amongst one of them. Panditji’s recital stirred my subconscious. My mind is still lingering in that mood of Shree that was created by Panditji. After watching him perform live for the first time, it will be very difficult for me to miss any of his performances in and around the capital city. Accompanying Panditji on Pakhawaj was Pandit Mohan Shyam Sharma who is probably the most sought after Pakhawaj player in the galaxy. I had heard him before, accompanying Ustad Wasifuddin Dagar. Here’s the link to lyrics to a few bandishes in Shree. You’d notice that oftentimes Shree has been in praise of Bhagwan Shiva. http://bandishein.wordpress.com/tag/shree/ !!!

The second part of the performance was a Hori Dhamaar in Des, Saanware Rang Daar Diyo Main To Bauraayi … ; While listening to this bandish, I finally concluded that Dhrupad Gayaki is not only about being thunderous. Pandit Nirmalya Dey is equally adept at those subtleties that were one explained by Ustad Wasifuddin Dagar in a Radio Programme in the city of  Austin, Texas. In that interview, Ustad Wasifuddin Dagar explained the importance of silence, the beautiful silence in Dhrupad. I never heard somebody say that ‘there is a sound in silence’. Pandit Nirmalya Dey, in his concert, demonstrated the beauty of silence and the dread of gamaks in his brilliant rendition.

Here’s the recording of Dhamaar in Des,

http://www.mediafire.com/?ucp8a2eov78lbeo ( Excuse the poor quality, for SuperHD mail me! )

I was very excited about my first ever Dhrupad Mela experience, but now it seems I might have to wait for one long year. The Dhrupad Mela is in Banaras from 18th February to 20th February. Instead, I’ll be attending the Gharana Parampara Festival organized by Sursagar Society of Delhi Gharana and ICCR at India Islamic Cultural Center, Delhi.

Vasantotsav, 5th February 2012, Kalashram

I can never express what I saw; I am not that religious but I think I saw a silhouette of Lord Krishna in Maharaj ji. Those who have seen Maharaj ji perform might agree with me. This was my first encounter with Maharaj ji. As crazy as it might sound, I was so excited about the performance that I reached the auditorium at 4 pm. The performance was to start at 6.30 pm. The wait continued. There were four full length performances of various forms of classical dances before Maharaj ji actually arrived on stage. It was one of those out-of-world experiences that I will cherish all my life. 

After a few performances by a younger lot of Kathak and Bihu dancers, Pandit Rajan & Sajan Mishra arrived at the stage and commenced their solo recital with Chhayanat. The first bandish was set to Madhyalaya Punjabi Taal, Nazar Nahin Aanda Ve. The second bandish was set to Drut Teen Taal, Bhari Gagari Mori Lurkaayi Chail. The lyric of this bandish is one of the best I’ve heard, ever. Here is the link to the lyric, http://wp.me/pQ9hi-WZ.

A brief pause and Pandit Birju Maharaj finally blessed us all with his grandiloquent presence on the stage. The stage, the witnesses and the musicians were literally blessed. He addressed the audience with his lovely voice. He is not just a dancer; his imagination, his thoughts, the way he see nature is just brilliant. He made me believe that he is a painter. He paints with his dance. He is a storyteller. He tells the story in the form of his dance. I was so overwhelmed when I saw his favorite Tihaayi, Ti tak ti tak ti tak tai tak and so on; brought me in tears. Cannot put to words. His solo lasted for more than half an hour.

Subsequently, Pandit Rajan & Sajan Mishra started their recital of Basant Bahaar with a very beautiful and divine bandish, Maa Basant Aayo Ri in Drut Teen Taal, followed by a Tarana in Drut Teen Taal in Basant. I was, of course, not expecting Pandit Birju Maharaj to dance on hardcore Khayal Gayaki. But, as I said, his imaginative powers are far from our understanding; he danced to the bandishes in Basant Bahaar and Bahaar.

Here’s a little gift for you guys,

http://www.mediafire.com/?hanga1stuvhkmp4 ( This is a compressed version, for 5.1 Dolby, Contact me and be ready to download 700 MB of Flac for a 30 minute audio! )

May we all continue to be blessed with Birju Maharaj’s presence in decades to come.

Aadi-Anant by NCPA, Day 2, Kamani Auditorium, Delhi

 26 January 2012, Kamani Auditorium

Arrived at the venue almost an hour before the concert was supposed to start, I met three young-old fellows. I, usually, bump into one of them before or after a concert. They are amazing company. Believe me, when three people in their sixties or seventies sit with a guy in his early twenties and talk about Begum Akhtar and how they never again heard a real Ghazal by anyone else except for, maybe, Mehdi Hassan, it is magical. This was a pre-concert, long and recurring conversation about different artists from the past.

The concert started with Pandit Sanjeev Abhyankar introducing the concept of Jasrangi to the audiences. He was very forthright in telling that the concept of Jasrangi was very old; it was based on Moorchhana. After a brief intro, Panditji and Ashwini Tai started their recital with a combination of Nat Bhairav and Madhuwanti. Pandit Sanjeev Abhyankar sang Madhuwanti and Ashwini Tai sang Nat Bhairav. Enamored by the idea of two people singing two different Raagas, in their respective scales, keeping the notes same, I was on an adrenaline rush.

Madhuwanti and Nat Bhairav: Started with a vilambit bandish Mehmaanan Se Ka Lariye. The first recital went on for more than 50 minutes. It was followed by a drut bandish Kaahe Maan Karo Sakhi Ri. The first few moments were very perturbing for someone like me. I found this kind of Jugalbandi very difficult to actualize. I couldn’t gather how one could prevent themselves from the other Raag being sung and, of course, the parallel scale. I kept thinking about it while listening to the concert.

I have been an ardent follower of Ashwini Tai for the last few years. I saw her for the first time perform live at the Swami Haridas Tansen Samaroh 2010 in Delhi. This Jasrangi performance was my second experience. This was my first experience listening to Pandit Sanjeev Abhyankar perform live. I have been listening to him also for a few years now. He is adept at Khayal Gayaki. He has amazing control over his voice. There is not a scintilla of doubt in that. But, the softness in his voice acts as an obstruction in executing certain phrases clearly. I’ve always felt that way about him. He, definitely, has some of the charm possessed by Pandit Jasraj but what he doesn’t have is that crisp voice of Pandit Jasraj. Anyways, for me, it has always been about the connection one makes with the audience and also if the artist is true to the form of music they are singing. In this performance, both of the artists had their moments of grandeur. Ashwini Tai, being older than Pandjitji, delivered a bit more mature performance.

Later on, the twosome sang a combination of Durga and Bhopali, followed by a Meera Bhajan by Ashwini Tai, which was mesmerizing. The last performance was in Sindh Bhairavi. The leap out performance of the four, was the first one. It was enjoyed. Now, I am looking forward to listening to them next time. I hope they perform the Shuddh Dhaivat ki Lalit & Puriya Dhanashree. I’ve been watching that YouTube video for a long time and I’ve been wondering what and how they are doing it!

P.S. – I’ll be attaching audio recordings for this concert, soon. Alas! No broadband for now!

1st Death Anniversary: Pandit Bhimsen Joshi

I guess, while I am writing about him, he is singing Brindabani Sarang somewhere in the heavens. I vaguely remember that Doordarshan program with all those singers, mile sur mera tumhara. We’ve all lived that song, at one point or the other. I never got a chance to see him perform live. For me, it all started with his masterpieces like Paayaliya Jhankaar Mori in Puriya Dhanashree. I remember when I first heard of that bandish in a fusion album by Pandit Ajay Pohankar; it was on my mind 24×7. In the coming years, I got around recordings of the same composition by Pandit Bhimsen Joshi. I have around three hours of Puriya Dhanashree by Panditji. I am always looking for more.

I have been listening to a recording of his at the Harballabh Sangeet Sammelan of 1956. He recited Multani’s famous bandish Nainan Mein Aan Baan Kaun Si Pari. Multani was probably amongst his favorites. The renditions of Multani have been extraordinary. In fact, his recitals of Raagas like Puriya Dhanashree, Brindabani Sarang, Kalashree, Darbari Kanada, Marwa, Puriya, Bhairav, Ramkali, Jog, Puriya Kalyan, Miyan Ki Malhar, Komal Rishab Asavari, Jaunpuri and Madhuwanti should be treated as reference material for the ages to come. These recordings are ‘pure musical pleasure’ for the people who listen to Hindustani Music. And for the people who learn Hindustani Music, these recordings are treasure.

Again coming back, I always wonder what it would have been like to listen to him live. How lucky those people were who got a glimpse of him performing! This always haunts my mind. Anyways, nothing can be done about it. So, I just stick to the YouTube for new videos of him performing. I’ve collected a few videos released by Doordarshan and Navras; and also tens of hours of audio recordings. I am always on the lookout.

He was one of the three persons awarded the Bharat Ratna during the last decade. With all due respect, I believe that the award itself was lucky to be given to such a man. I’ve been lucky to listen to him on an everyday basis. In my view, he is up there with all those big-ones of the likes of Ustad Bade Ghulam Ali Khan, Ustad Amir Khan, Ustad Faiyaz Khan and so on. Panditji was one of the few classical vocalists who brought back the charm and popularity in Khayal. His style was an amalgamation of various Gharanas. Hailing from Kirana Gharana, he would still incorporate styles of Indore, Jaipur and other Gharanas also.

Take a moment, make a conscious effort and understand how lucky we people are to have been born in a age where Pandit Bhimsen Joshi sang.

Here’s the compilation of a few bandishes sung by him; http://bandishein.wordpress.com/tag/pandit-bhimsen-joshi/

National School Intensive, 26 December 2011, Delhi Public School, Pune

SPIC MACAY National School Intensive, 26 December 2011, Pune

Pandit Rajan & Sajan Mishra have been on my favorites list for quite a few years now. I had the chance of listening to them in Kamani Auditorium in Delhi last year at the Shriram Shankarlal Music Festival organized by Shri Ram Kala Kendra of Delhi. Pandit Rajan & Sajan Mishra, then, sang an hour-long Raag Jaunpuri with beautiful bandishes, especially the drut bandishes in Jaunpuri. Pyaare Kanhaayi Na Maaro Kankariya. Anyways, that was an year ago. This is January 2012 and I am watching the concert via the webcast on the organizers website.

Pandit Rajan & Sajan Mishra started their concert by explaining a few things about Raag Shree, and how it is one of the oldest and ancient Raagas; they, then told the audiences about the mood and feel of the Raaga and requested the audiences to just close their eyes for the first 10 minutes and just feel the aura created by the Raaga. Pandit Rajan & Sajan Mishra started their recital with a very prayerful bandish in Madhyalaya Jhap Taal, Prabhu Ke Charan Kamal Nis Din; I’ve been listening to Shree quite frequently for a few months, and I’ve not been able to decipher the aura that it creates. It is majestic; it’s difficult to describe what I feel about this Raag. It’s just divine, even for a pragmatic agnostic and agnostic theist like me. I experience such feeling when I listen to Pandit Rajan & Sajan Mishra’s Shree. I’ve heard them before on a recording singing Shree; the recording was under the name Live at Osho Center. Here are the bandishes they sung there; http://bandishein.wordpress.com/2011/02/03/maliniya-goond-laawo/ and http://bandishein.wordpress.com/2011/02/03/ab-mori-baahien-gaho/;

After almost 35-40 odd minutes of reciting the bandish in Jhap Taal, Pandit Rajan Mishra speaks out and says Yeh sab Dhurpad ka Raag hai!, and initiates his chest exercise in the form of hardcore Dhrupad gamaks. Pandit Sajan Mishra follows. Quickly moving from the gamaks, Panditji moved to sargam inprovizations. Little games of sargam improvization finally started, the tabla player and the harmonium player responded. Pandit Rajan Mishra was lost in Raag Shree and told the audiences and I quote,’We are getting such a nice vibe from you’. The tempo, laya was gradually increasing and creating a mood for a drut bandish with all the taans. I’ve noticed this with Girija Devi ji also, the taans of Banaras Gharana are unlike anywhere else. Or rather, and more aptly, their execution is very different which makes them Banarasi.

After a 45-50 minute recital of the vilambit rachana, Panditji began their drut recital with a very beautiful bandish with deep meanings to it, Ab Mori Baahien Gaho, Deenanaath Jagat Paalanhaar Daya Prabhu. I’ve already provided the lyrics to this bandish earlier. Pandit Rajan & Sajan Mishra elaborate their bandish and Raag Shree with enthralling gamaks, saptak meends, aadi taans, and little games with the tabla player. After a few minutes of magic, Pandit Rajan Mishra explained how silence or gap is used in classical music, and how it beautifies the rendition.

Moving on to the next drut rendition. I heard this bandish for the first time. This bandish was in praise of Lord Shankara with bols that go Shankar Bhole Maheshwara. This rendition was full of khatarnaak improvizations, especially by Pandit Sajan Mishra when he goes upto the Dhaivat of the Taar Saptak in his natural voice. The recital of Raag Shree last for about 70 odd minutes. And I must say that this was the probably one of best recitals of Shree I have heard till date.

The next recital was of Chhayanat. First, a composition was vilambit Roopak taal and was a short recital. The madhayala recital was set to Teen Taal with a beautiful bandish, Bhari Gagari Mori Lurkaayi Chail; here are the lyrics to that bandish, http://bandishein.wordpress.com/2012/01/21/bhari-gagari-mori-lurkaayi-chail/. After a short recital of this bandish, Panditji recited the classic in Chhayanat, Jhanana Jhanana. Panditjis recited this bandish in their own style and not to mention that it was great with all the musical games with the tabla. Almost the perfect ending to an amazing concert.

Tabla – Arvind Kumar

Harmonium – Prakash Marathe

P.S. -Listening to a concert via a webcast sounds quite nerdish but it isn’t. Here’s a link to the webcast. Enjoy!

http://vimeo.com/34289525

Sumadhur Hansadhwani @ India Habitat Center, 25th November 2011

Amaltas, India Habitat Center, 25 November 2011

On his birthday, Ustad Iqbal Ahmed Khan of Delhi performed at India Habitat Center in a program, Sumadhur Hansadhwani. Supported by Saad Iqbal Khan, Shahnawaz Khan and Tanveer Ahmed Khan on vocals, Ustad Iqbal Ahmed Khan started his recital with yet another rarely heard Raag called Lankeshree. Khan Sahab started his recital with a 5-6 minute Alaap and then a composition Dhan Dhan Bhaag Lagaawo. The bandish has been set to Vilambit Teen Taal; lyrics to this bandish, https://bandishein.wordpress.com/2011/05/20/dhan-dhan-mangal-gaawo/. In the beginning of the recital, while introducing the Raag to everyone, he told that it was, in structure, very close to Raagas like Malgunji and Patmanjari. He didn’t explain the difference, though. It seems that I would have to wait for that.

Ustad Iqbal Ahmed Khan never flaunts his par 3-octave scale. He is one of very few vocalists who have the ability to do that and still don’t overdo it. I noticed that he went as low as Dhaivat of the Ati-Mandra Saptak. Anyways, the composition in Lankeshree was jam-packed with excitement; the lower octave excavation by the Ustad often intrigues people. The people who are familiar with the nuances of Khayal music know that how difficult it is to even touch the Mandra Saptak Shadaj. So, when Ustad Iqbal Ahmed Khan keeps on sliding down the octaves, the only question you can ask yourself is ‘How can he do that?’. Goosebumps.

The Lankeshree recital carried on for about 35 minutes and then a Drut composition of Ustad Chand Khan in Rageshree was recited; the lyrics to that bandish, http://bandishein.wordpress.com/2011/05/22/un-bin-mohe-kal-naahin-aawe/. Tanveer Ahmed Khan, the son of the stalwart of Dilli Gharana Ustad Naseer Ahmed Khan, accompanied Ustad Iqbal Ahmed Khan in this rendition. Despite the fact that the bandish is set in Drut Laya, the pining, the love in this bandish remained intact. This recital lasted for 10 odd minutes and then Khan sahab moved on to a rather divine subject of Sufi music. He recited a composition by Hazrat Amir Khusrau in praise of Hazrat Khwaja Nizamuddin Auliya.

For the first time, I heard Do Rangi Bhairavi. Ustad Iqbal Ahmed Khan explained how Ustad Bundoo Khan used to play it many times. This prakaar of Bhairavi was introduced in Dilli Gharana. Like every other mishrit Bhairavi, this Bhairavi also contains all the twelve but has a different movement and aura. Ustad Iqbal Ahmed Khan recited a composition in praise of Hazrat Nizamuddin Auliya; Main To Tore Daaman Laagi Maharaaj. The people who have have been blessed enough to listen to Ustad Iqbal Ahmed Khan have, I am sure, realized that he is amongst the most sought after classical musicians of the modern-day.

P.S. - On Tabla, accompanying the Khan sahab was Akbar Latif Khan, son of the great Ustad Latif Ahmed Khan of Dilli Gharana. On harmonium, Irshad Ahmed Khan; and on Sarangi was a really talented artiste Ghulam Ali who represents the traditions of Sonepat in the field of Sarangi playing. Amongst the audiences were Ustad Ghulam Sadiq Khan, Bhajan Sopori, Abhay Rustam Sopori, Chhaya Ganguly and so on. My photographer hero, Avinash Pasricha, who had came with his wife, left early. 

After the concert:

Ustad Iqbal Ahmed Khan & Pandit Bhajan Sopori, 25 November 2011

Day 3, Svanubhava, Gandharva Mahavidyalaya

Everyday is an adventure. I never run so fast. I got to Gandharva Mahavidyalaya just in time. It was around 11:50 a.m.; I got there and what I saw was that Pandit Ajay Pohankar had just taken stage and hadn’t started his recital. I was so damn happy to be there in time before the starting of his recital. He started his recital with a very beautiful Raaga, which happens to be one of my favorites, Bilaskhani Todi. The first bandish was a very popular one, ‘Ni Ki Ghoonghariya’ set to Vilambit Ek Taal. And later on, Panditji sang one of his mother’s composition ‘Koyaliya Kaahe Karat Pukaar’ set to Drut Teen Taal.

Pandit Ajay Pohankar is an amalgamation of different styles of singing. He has been hugely influenced by Patiala, Sham Chaurasi, Kirana and Gwalior. I could see different styles in his singing. He himself admitted that he believed that the Gharana is not known on its own. The artist is the identity of a Gharana. I hadn’t heard such a thing earlier. Of course, Pandit Ulhas Kashalkar and many more have been trained by different people from different Gharanas. Pandit Ajay Pohankar believes that Sur and Taal are the biggest Gharanas of all.

Photo By : Kovid Rathee

The Bilaskhani Todi recital lasted for about 35 minutes in total. The next recital was Raag Bhatiyar, which he sang for about 15 minutes. He finished his recital with two very beautiful Thumris. The first one was in Pahadi, ‘Saiyaan Gaye Pardesawa’. In this rendition of Pahadi, there was a lot of Sham Chaurasi and Patiala. Of course, when I say Sham Chaurasi, only the name of Ustad Salamat Ali Khan & Ustad Nazakat Ali Khan comes to mind. It shows in his rendition of thumris like ‘Sajanawa Tum Kya Jaano Preet’, ‘Chala Gaya Pardes’ and so on, how much he is actually influenced by the Gayaki of Sham Chaurasi. The second thumri was one of the compositions of Khan Sahab Bade Ghulam Ali Khan of Qasur-Patiala Gharana. ‘Baajuband Khul Khul Jaaye’ is one of the most popular thumri in Bhairavi. Pandit Ajay Pohankars’ rendition of Bhairavi is always captivating, and so was the todays rendition!

I would like to congratulate the organizers of this event. Very well organized. Very few people, but very intelligent ones. A very special thanks to Kshitij Mathur who told me about the concerts. Otherwise, I would have never found out.