Ustad Vilayat Khan
(https://i.imgur.com/iwaXbDD.jpeg)
(https://i.imgur.com/zVSeQRt.jpeg)
(https://i.imgur.com/qWvn3aH.jpeg)
This is a recording of classical music from southern India, a musical style called "Carnatic) that differs from that usually associated with music from India, so-called Hindustani or music from northern India.
It is a bit more difficult for untrained ears and may be less accessible.
The distinct differences between Hindustani and Carnatic music lie in their origins, languages, styles, rhythms, and instruments. While Hindustani music emphasizes improvisation and melodic exploration within the framework of ragas, Carnatic music follows a structured approach with fixed compositions.
(https://i.imgur.com/63acKli.jpeg)
(https://i.imgur.com/YdVI10V.jpeg)
(https://i.imgur.com/5y5lr1D.jpeg)
Quote from: Traverso on May 02, 2024, 05:16:15 AMThis is a recording of classical music from southern India, a musical style called "Carnatic) that differs from that usually associated with music from India, so-called Hindustani or music from northern India.
It is a bit more difficult for untrained ears and may be less accessible.
The distinct differences between Hindustani and Carnatic music lie in their origins, languages, styles, rhythms, and instruments. While Hindustani music emphasizes improvisation and melodic exploration within the framework of ragas, Carnatic music follows a structured approach with fixed compositions.
(https://i.imgur.com/63acKli.jpeg)
(https://i.imgur.com/YdVI10V.jpeg)
(https://i.imgur.com/5y5lr1D.jpeg)
I thought that I had an extensive collection of music from that region, but you surprise me time and time again with CD's of which I had no knowledge. I have close to 300 recordings, but you must have much more, or simply recordings I missed totally.
Quote from: Harry on May 02, 2024, 06:22:54 AMI thought that I had an extensive collection of music from that region, but you surprise me time and time again with CD's of which I had no knowledge. I have close to 300 recordings, but you must have much more, or simply recordings I missed totally.
I have no 300 CD's with Classical Indian Music.... :)
Quote from: Traverso on May 02, 2024, 06:24:45 AMI have no 300 CD's with Classical Indian Music.... :)
Well you bought items I missed then. I had a friend living in Bombay, now deceased, when he traveled to Europe he always took a bundle of CD's with him, but non of them you post, so please put me in your testament, and may you live long! ;D ;D ;D ;D ;D ;D ;D ;D
Girija Devi is one of those female vocalists who immediately find their way to my heart
(https://i.imgur.com/cB8jciE.jpeg)
(https://i.imgur.com/Ska4rh7.jpeg)
Quote from: Traverso on May 02, 2024, 05:16:15 AMThis is a recording of classical music from southern India, a musical style called "Carnatic) that differs from that usually associated with music from India, so-called Hindustani or music from northern India.
It is a bit more difficult for untrained ears and may be less accessible.
The distinct differences between Hindustani and Carnatic music lie in their origins, languages, styles, rhythms, and instruments. While Hindustani music emphasizes improvisation and melodic exploration within the framework of ragas, Carnatic music follows a structured approach with fixed compositions.
(https://i.imgur.com/63acKli.jpeg)
(https://i.imgur.com/YdVI10V.jpeg)
(https://i.imgur.com/5y5lr1D.jpeg)
The vichitra veena, one of the most expressive instruments I've ever heard. I have a few CDs with vichitra veena masters, I should dig them out.
Quote from: Traverso on May 02, 2024, 05:16:15 AMThis is a recording of classical music from southern India, a musical style called "Carnatic) that differs from that usually associated with music from India, so-called Hindustani or music from northern India.
It is a bit more difficult for untrained ears and may be less accessible.
The distinct differences between Hindustani and Carnatic music lie in their origins, languages, styles, rhythms, and instruments. While Hindustani music emphasizes improvisation and melodic exploration within the framework of ragas, Carnatic music follows a structured approach with fixed compositions.
I don't think Carnatic music is more difficult than North Indian music. Rather the opposite. There are many examples of combining the Carnatic tradition with Western music. A well-known example is John McLaughlin's band Shakti. Shakti featured the famous violinist L.Shankar, who has also recorded with Peter Gabriel and on ECM albums. Just a few names from long list of notable musicians in the Carnatic tradition: vocalists M.S.Subbulakshmi, Aruna Sairam, Sudha Ragunathan; instrumentalists L.Subramaniam, Kadri Gopalnath, Lalgudi Jayaraman. The early demised U.Srinivas, who played electric mandolin, recorded notably on Gabriel's Real World label.
Quote from: AnotherSpin on May 02, 2024, 11:13:03 AMI don't think Carnatic music is more difficult than North Indian music. Rather the opposite. There are many examples of combining the Carnatic tradition with Western music. A well-known example is John McLaughlin's band Shakti. Shakti featured the famous violinist L.Shankar, who has also recorded with Peter Gabriel and on ECM albums. Just a few names from long list of notable musicians in the Carnatic tradition: vocalists M.S.Subbulakshmi, Aruna Sairam, Sudha Ragunathan; instrumentalists L.Subramaniam, Kadri Gopalnath, Lalgudi Jayaraman. The early demised U.Srinivas, who played electric mandolin, recorded notably on Gabriel's Real World label.
Subramaniam is of course a great violinist with a breathtaking technique and an inspiringly high artistic quality. I don't listen to crossover music, so I can't say anything meaningful about that. The more melodic character of the Persian-influenced Hindustani style makes it an easier entrance for me.
Quote from: Traverso on May 02, 2024, 11:51:26 AMSubramaniam is of course a great violinist with a breathtaking technique and an inspiringly high artistic quality. I don't listen to crossover music, so I can't say anything meaningful about that. The more melodic character of the Persian-influenced Hindustani style makes it an easier entrance for me.
I have named a few very famous South Indian performers whom I like, and whom I would recommend. And, additionally, crossover examples like Shakti which demonstrate that Carnatic music may be not difficult at all.
Of course, I like North Indian music as well, in many different formats too, from complex lengthy ragas to Dhrupad, or Ghazal, or Qawwali, or baul music.
While a couple decades ago I used to listen more often to sitar and other instruments, now I am more often attracted to vocalists, from both North and South.
Question to the moderators;
There's a good deal of substantive information in these posts on Indian music; it would be a shame to lose them in the general flow of this thread.
Is there a dedicated Indian music thread they can be transferred to? Or use them to open a dedicated thread if one does not currently exist?
Quote from: AnotherSpin on May 02, 2024, 12:18:33 PMI have named a few very famous South Indian performers whom I like, and whom I would recommend. And, additionally, crossover examples like Shakti which demonstrate that Carnatic music may be not difficult at all.
Of course, I like North Indian music as well, in many different formats too, from complex lengthy ragas to Dhrupad, or Ghazal, or Qawwali, or baul music.
While a couple decades ago I used to listen more often to sitar and other instruments, now I am more often attracted to vocalists, from both North and South.
This is one of my first LP's,I still have it,are you familiar with this recording?
He would be 100 years now
(https://i.postimg.cc/NGXZcDy0/kumar-gandharva-d-eclp-2408-laminated-lp-cover-1-jpg.webp) (https://postimages.org/)
Quote from: JBS on May 02, 2024, 12:38:54 PMQuestion to the moderators;
There's a good deal of substantive information in these posts on Indian music; it would be a shame to lose them in the general flow of this thread.
Is there a dedicated Indian music thread they can be transferred to? Or use them to open a dedicated thread if one does not currently exist?
I made this topics with the posts I could easily find from the past couple days. It's a manual process, so I may have missed some.
Quote from: Traverso on May 02, 2024, 01:19:39 PMThis is one of my first LP's,I still have it,are you familiar with this recording?
He would be 100 years now
(https://i.postimg.cc/NGXZcDy0/kumar-gandharva-d-eclp-2408-laminated-lp-cover-1-jpg.webp) (https://postimages.org/)
No, I haven't listened to that album. My familiarity with Kumar Gandharva is minimal, I'll pay more attention - thanks for the mention! His voice is magical.
(https://static.qobuz.com/images/covers/lc/v0/aq38yozdmv0lc_600.jpg)
Quote from: Traverso on May 01, 2024, 04:37:06 AMUstad Vilayat Khan
(https://i.imgur.com/iwaXbDD.jpeg)
Great to have an Indian Music topic here.In London in the '70s I saw
Imrat Khan perform a couple of times. Once I was in the 2nd row of the audience, wow, what a sense of connection. Imrat Khan was (I think) the son of Vilayat Khan and like him was a sitarist, but he also often performed on the surbahar, which is a larger instrument with a deeper tone and slower action, most suited to the Alap.
(https://www.wyastone.co.uk/media/catalog/product/cache/33eb7ef45da51b42ca4d0e3480c1dae8/N/I/NI5356_inlay.jpg)
Imrat Khan, surbahar - Rag Marwa
Quote from: AnotherSpin on May 02, 2024, 09:12:13 PMNo, I haven't listened to that album. My familiarity with Kumar Gandharva is minimal, I'll pay more attention - thanks for the mention! His voice is magical.
Yesterday I found a copy of this LP from a seller from India and they ask more than 200 euros for it.In fact all what is available is expensive so what left is YouTube.It is as you say,his voice is magical and he was popular from a very young age.
I would like to bring this LP to your attention, which is part of my early introduction to this enchanting music.
https://archive.org/details/classicalmusicofindia
(https://i.imgur.com/GnlRuKt.jpeg)
One of those artists from India, in this case from South India, who immediately overwhelms you at the first encounter is L Subramaniam. Not the usual Sarangi is played here, but a Western violin that is held in a different way with the neck. down. A beautiful soothing sound and astonishing ingenuity. Subramaniam has a son who has followed in his father's footsteps and also perform together on occasion.
How wonderful to communicate with your father in this way.
This Nimbus recording is an absolute must for all those who care about this music.
Many CDs from the past are not for sale or are very expensive, one of the reasons is that the CD market has collapsed.
(https://i.imgur.com/3mPoPXz.jpeg)
(https://i.imgur.com/8ocMp5k.jpeg)
Quote from: Traverso on May 03, 2024, 01:56:51 AMYesterday I found a copy of this LP from a seller from India and they ask more than 200 euros for it.In fact all what is available is expensive so what left is YouTube.It is as you say,his voice is magical and he was popular from a very young age.
I can't imagine how much an LP from India could cost. Several times I have seen huge piles of old dusty LPs in Kolkata that were sold for next to nothing. This is probably due to the fact that Kolkata is where Indian LPs were produced first of all. CDs are cheap compared to prices in the West. The peculiarity is that the sales of music on media in India is very scarce. There is very little information and you have to dig it out from under the ground. There is no marketing as such. In my years of travelling in India I have seen a few relatively extensive CD shops in Varanasi, and that was more of an exception. In big cities like Mumbai or Chennai or New Delhi I've never seen a serious CDs shop, let alone a LPs shop. Could be it just didn't happen. With all that said, the 200 euro price seems strange at least. Kumar Gandharva's recordings are well represented on Qobuz, though far from being complete.
Quote from: AnotherSpin on May 03, 2024, 07:30:01 AMI can't imagine how much an LP from India could cost. Several times I have seen huge piles of old dusty LPs in Kolkata that were sold for next to nothing. This is probably due to the fact that Kolkata is where Indian LPs were produced first of all. CDs are cheap compared to prices in the West. The peculiarity is that the sales of music on media in India is very scarce. There is very little information and you have to dig it out from under the ground. There is no marketing as such. In my years of travelling in India I have seen a few relatively extensive CD shops in Varanasi, and that was more of an exception. In big cities like Mumbai or Chennai or New Delhi I've never seen a serious CDs shop, let alone a LPs shop. Could be it just didn't happen. With all that said, the 200 euro price seems strange at least. Kumar Gandharva's recordings are well represented on Qobuz, though far from being complete.
I found this on Ebay, the so-called Bollywoodshop
https://www.ebay.nl/itm/404444122145?itmmeta=01HWZN8F2RBKPSVK08C2V900HV&hash=item5e2abf8c21:g:za4AAOSw2gZk3TUV&itmprp=enc%3AAQAJAAAA4NHmRX0zsfx7gtZunKRbmnxEYQBrMSuCdDdHgTwajE0m3o0LxaX7KZlkegLFVSIIK1EP8DYwo0nLv%2B91VshGX%2BKVooEaKitgCF1vRiJUR6iHbu55rWOE4jPCm38%2BNX9blHt9n4RVnCUmtNIonTdHnUMtsxQ5ZA3ww1Wn25YfFfiio%2FCcGu676CXc8Tw6IF8ck6ihG7pbnFeT7eKhE6SRKy%2BdFBS%2FRxHzPvTn9PEt6YSUI90LrebkqT7kU7nVbkp9RfIatqyA1cXJruzoeZIXwx5GUHhzy%2FUYG6gy9teCET5Q%7Ctkp%3ABFBMuvGh9edj
You would almost think that the hunger for good classical music from India is greater in the West than in India itself.
Quote from: Traverso on May 03, 2024, 09:10:43 AMI found this on Ebay, the so-called Bollywoodshop
https://www.ebay.nl/itm/404444122145?itmmeta=01HWZN8F2RBKPSVK08C2V900HV&hash=item5e2abf8c21:g:za4AAOSw2gZk3TUV&itmprp=enc%3AAQAJAAAA4NHmRX0zsfx7gtZunKRbmnxEYQBrMSuCdDdHgTwajE0m3o0LxaX7KZlkegLFVSIIK1EP8DYwo0nLv%2B91VshGX%2BKVooEaKitgCF1vRiJUR6iHbu55rWOE4jPCm38%2BNX9blHt9n4RVnCUmtNIonTdHnUMtsxQ5ZA3ww1Wn25YfFfiio%2FCcGu676CXc8Tw6IF8ck6ihG7pbnFeT7eKhE6SRKy%2BdFBS%2FRxHzPvTn9PEt6YSUI90LrebkqT7kU7nVbkp9RfIatqyA1cXJruzoeZIXwx5GUHhzy%2FUYG6gy9teCET5Q%7Ctkp%3ABFBMuvGh9edj
You would almost think that the hunger for good classical music from India is greater in the West than in India itself.
Unfortunately, this may be true. In pursuit of an anonymous future, India is discarding as unnecessary its great traditions, which seem to interest mostly foreigners.
Quote from: aukhawk on May 03, 2024, 12:22:47 AMGreat to have an Indian Music topic here.
In London in the '70s I saw Imrat Khan perform a couple of times. Once I was in the 2nd row of the audience, wow, what a sense of connection. Imrat Khan was (I think) the son of Vilayat Khan and like him was a sitarist, but he also often performed on the surbahar, which is a larger instrument with a deeper tone and slower action, most suited to the Alap.
Younger brother of Vilayat, I believe. Yes, there's no comparison between the live and recorded experiences - I saw him and his sons at a late-night Indian Prom in the early '90s, and theirs, among all the other performances, is still the one that sticks in my mind. That Nimbus series was invaluable!
Quote from: DaveF on May 03, 2024, 10:37:00 PMYounger brother of Vilayat, I believe. Yes, there's no comparison between the live and recorded experiences - I saw him and his sons at a late-night Indian Prom in the early '90s, and theirs, among all the other performances, is still the one that sticks in my mind. That Nimbus series was invaluable!
Wikipedia confirms that Imrat was Vilayat's younger brother. What is important is that they belonged to the same
gharana or family style, that is, a tradition preserved through generations.
I sit corrected, thanks.
Before Nimbus there was the EMI Music from India Series, which were issued as LPs in the late '60s. I had most of these and have needledropped most of the ones I had.
1. Vilayat Khan & Bismillah Khan (Shehnai) (HMV ASD 2295)
Duets: Chaiti-Dhun, Bhairavi-Thumree
2. Ravi Shankar & Ali Akbar Khan (Sarod) (HMV ASD 2304)
Duets: Raga Shree, Raga Sindhu Bhairavi
3. Bismillah Khan & Prof. V. G. Jog (Violin) (HMV ASD 2312)
Duets: Raga Jai Jaiwanti, Raga Bahar, Dhun in Mishra Khamaj
4. Ravi Shankar (HMV ASD 2341)
Raga Khamaj, Raga Lalit
5. Ali Akbar Khan (HMV ASD 2367)
Raga Durga; Dhun in Khamaj
6. Nikhil Banerjee (HMV ASD 2394)
Raga Lalit, Raga Sindhu Bhairavi, Raga Puriya Kalyan
7. Vilayat Khan (HMV ASD 2425)
Raga Yaman
8. Ravi Shankar (HMV ASD 2418)
Raga Nata Bhairav, Raga Mishra Piloo
9. Bismillah Khan (HMV ASD 2446)
Raga Sarang, Raga Dadra, Raga Chandra Kauns, Raga Kajaree
10. Imrat Khan (Surbahar) (HMV ASD 2461)
Raga Marva, Raga Suddha Saranga
11. Vilayat Khan (EMI ASD 2460)
Ragas Jaijaiwanti, Rageshree
Alongside these I also had the very fine Inde du Nord LP by Ram Narayan (Sarangi)
Ragas Bairagi-Bhairav, Kirvani, Madhuvanti
which had far better, more informative sleevenotes than either the EMI or Nimbus issues.
I saw Ram Narayan live too (weirdly, performing in a CofE church) - very lovely but that instrument looks so painful to play!
Quote from: DaveF on May 03, 2024, 10:37:00 PMYounger brother of Vilayat, I believe. Yes, there's no comparison between the live and recorded experiences - I saw him and his sons at a late-night Indian Prom in the early '90s, and theirs, among all the other performances, is still the one that sticks in my mind. That Nimbus series was invaluable!
I fully agree on that
I saw Ram Narayan in a very informal setting during a Sunday morning concert. It was there that I bought an LP afterwards "Sarangi/the voice of a hundred Voices". It was at the time that when I listened to a Sarangi LP my landlady often thought that her children were crying. As already noted, the instrument is very difficult to play, the fingers are not on the string but the nail slides along the string.
Not only is there the loss of Nimbus and their many valuable recordings of so-called world music, but Chhanda Dhare has also been of great importance in keeping the music from India alive.
Nonesuch also has its share, although it is a shame that I have seen very few reissues on CD.
(https://i.imgur.com/PkaRhk0.jpeg)
https://www.atlasensemble.nl/news.html
India Instruments EN » Network » Texts » Chhanda Dhara - Label Discontinued
CHHANDA DHARA - LABEL DISCONTINUED
By Yogendra
(June 2009)
Renowned Indian music label Chhanda Dhara has been discontinued from July 18th onwards. The owners, Bengali couple Gopi and Shefali Nag, retire and move back to India. Chhanda Dhara has been a leading producer of classical Indian music recordings for more than 30 years. In the end they had a backlist of more than 65 titles with masters like Ravi Shankar, Ali Akbar Khan, Vilayat Khan, Nikhil Banerjee, Hariprasad Chaurasia, Shivkumar Sharma and many other greats.
IThe story of Chhanda Dhara began in 1971 with the founding of a school for Indian dance in Stuttgart - and the vision of making the best of Indian music and dance available to the public. Hence Chhanda Dhara started organising concerts with great masters and produced the first studio LP recordings. When live recording technology evolved and the CD allowed for longer uninterupted recordings in the 1980s, Chhanda Dhara became a trendsetter by publishing full live recordings. A real highlight of Gopi and Shefali Nag's work were several all-night-concerts between the late 1980s and 2001. Fans from all over Europe streamed to these unique events, which presented one top artist after the other from early evening throughout the whole night until early morning, much like in major festivals in India. In the new millenium Chhanda Dhara stopped organising concerts, but completed another historical task by publishing a series of 11 previously unreleased live recordings of legendary sitar master Nikhil Banerjee, who had passed away prematurely in 1986. The Indian classical music community owes a lot to Gopi and Shefali Nag for their accomplishments.
I start listening now to this recording.
(https://i.imgur.com/8YK3jV8.jpeg)
(https://i.imgur.com/q7BTJ7n.jpeg)
Quote from: aukhawk on May 04, 2024, 12:58:43 AMI sit corrected, thanks.
Before Nimbus there was the EMI Music from India Series, which were issued as LPs in the late '60s. I had most of these and have needledropped most of the ones I had.
1. Vilayat Khan & Bismillah Khan (Shehnai) (HMV ASD 2295)
Duets: Chaiti-Dhun, Bhairavi-Thumree
2. Ravi Shankar & Ali Akbar Khan (Sarod) (HMV ASD 2304)
Duets: Raga Shree, Raga Sindhu Bhairavi
3. Bismillah Khan & Prof. V. G. Jog (Violin) (HMV ASD 2312)
Duets: Raga Jai Jaiwanti, Raga Bahar, Dhun in Mishra Khamaj
4. Ravi Shankar (HMV ASD 2341)
Raga Khamaj, Raga Lalit
5. Ali Akbar Khan (HMV ASD 2367)
Raga Durga; Dhun in Khamaj
6. Nikhil Banerjee (HMV ASD 2394)
Raga Lalit, Raga Sindhu Bhairavi, Raga Puriya Kalyan
7. Vilayat Khan (HMV ASD 2425)
Raga Yaman
8. Ravi Shankar (HMV ASD 2418)
Raga Nata Bhairav, Raga Mishra Piloo
9. Bismillah Khan (HMV ASD 2446)
Raga Sarang, Raga Dadra, Raga Chandra Kauns, Raga Kajaree
10. Imrat Khan (Surbahar) (HMV ASD 2461)
Raga Marva, Raga Suddha Saranga
11. Vilayat Khan (EMI ASD 2460)
Ragas Jaijaiwanti, Rageshree
Alongside these I also had the very fine Inde du Nord LP by Ram Narayan (Sarangi)
Ragas Bairagi-Bhairav, Kirvani, Madhuvanti
which had far better, more informative sleevenotes than either the EMI or Nimbus issues.
I saw Ram Narayan live too (weirdly, performing in a CofE church) - very lovely but that instrument looks so painful to play!
The largest and most important LPs production in India was organised by HMV at the Dum Dum factory in Calcutta in the very late 50s. I have owned quite a few HMV Dum Dum LPs over the years. By the way, not only with Indian music, they also published Wester popular music, I remember a Beatles Abbey Road LP made at the Dum Dum factory. About 7 or 8 years ago I went to the suburbs of Calcutta where the factory was located, I was curious to see the place. It turned out that factory no longer existed. Saregama seems to be the main publisher in India lately.
Here are three links regarding the Indian division of EMI
(https://i.imgur.com/W7nsdJX.png) (https://i.imgur.com/ypLBfvD.png)
(https://i.imgur.com/sGXURZ9.png) (https://i.imgur.com/iEjP0gN.png)
https://grammophon-platten.de/page.php?577
https://www.livemint.com/Leisure/7CfWBoy2w5ezqPB5f4ndzM/The-house-of-vinyl.html
https://bajakhana.com.au/discographies/
Vilayat Khan assisted by his son Hidayat Khan also on Sitar
Raag Bhairo Bahar
(https://i.imgur.com/nNWQJCv.jpeg)
(https://i.imgur.com/oiSHTMS.jpeg)
(https://i.imgur.com/fyYOARB.jpeg)
(https://i.imgur.com/3zEAQhB.jpeg)
Some information about Girija Devi
It was a time when girls going and singing on stage was not appreciated. But who would Girija fear! Her father himself was with her. He had brought her up like a son. Not just music, he also tried to give her the training of horse riding, swimming and self defence. Studies would not interest Girija but her father kept Hindi, Urdu and English teachers. Music is embedded in holy city of devotion and spirituality, Banaras. Musical gatherings have been a part of Banaras temples since when even radio was not functional. In those days singers like Pandit Omkarnath Thakur, Faiyyaz Khan, Mushtaq Ali Khan, Krishna Rao were dominant. Music was played in temples all night. Living in Banaras, Girija Devi got a chance to listen to many great singers.
Once in Kashi's Mankameshwar temple Ustad Faiyyaz Khan was rehearsing raga Lalit at 3:30 am. Seven year old Girija Devi had gone to listen to Khan Sahab with her father. Girija Devi says that listening to the alaap sung by him, tears rolled down her cheeks. Faiyyaz Khan saw her and asked whose daughter she was. Ramdev Rai came forward with folded hands. Faiyyaz Khan said to the father that a great artist was born in his family. She had such a great sense of music at this tender age, what would she do when she grew up!
Khan Sahab had said the right thing. Girija Devi did not take time to gather fame. In 1949 she got a call from The Allahabad Radio. Girija Devi says that the station director listened to Khayal in raga Desi for 45 minutes, Thumri for 15 minutes and Tappa briefly for 5-7 minutes. The audition went on for about an hour and a half. After that she got the letter of the first programme with Rs. 90 as remuneration for it, along with first class travel fare. At that time, in radio, there were no grades for artists. With the remuneration offered, Girija Devi realized that she was in the list of the topmost artists, because 90 rupees was what senior artists like Bismillah Khan, Siddheshwari Devi, Rasulan Bai, Kanthe Maharaj were also getting.
(https://i.imgur.com/E0xNwhN.jpeg) (https://i.imgur.com/QrBWoY1.png)
(https://i.imgur.com/bpegPyA.jpeg) (https://i.imgur.com/VRE1XaO.jpeg)
(https://i.imgur.com/w6Z8W2C.jpeg) (https://i.imgur.com/C5PyTfk.jpeg)
(https://i.imgur.com/rcE73e7.jpeg)
"When I heard that the legendary singer Girija Devi of Banaras has passed away, I was filled with sorrow. She was in Kolkata. It's a great loss for the world of music especially Thumri style of singing. She became an institution during her lifetime. She was the only lady in my life who tied rakhi on my wrist every Raksha Bandhan," said Amjad Ali Khan.
https://feminisminindia.com/2018/08/17/girija-devi-thumri-biography/
This recording contains the raga Hemavati,
Hemavati (pronounced hēmavati) is a ragam in Carnatic music (musical scale of South Indian classical music). It is the 58th Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music.
It is beloved especially of nadaswaram vidwans. It is said to be borrowed into Hindustani music from Carnatic music, especially with instrumentalists
"I find nothing more inspiring than the music making of my very great colleague Subramaniam. Each time I listen to him, I am carried away in wonderment," said Lord Yehudi Menuhin.
Since 1973, Dr. Subramaniam has made historic collaborations and recordings with people like George Harrison of the Beatles, Stevie Wonder, Yehudi Menuhin, Stephane Grappelli, Jean-Pierre Rampal, Steven Seagal, Ruggiero Ricci, Herbie Hancock, Anne Sophie Mutter, Pt. Ravi Shankar, Ustad Bismillah Khan, Ustad Ali Akbar Khan, Pt. Jasraj, Ilaiyaraaja, A.R. Rahman, amongst others.
(https://i.imgur.com/RPON8IA.png)
Nadaswaram ( not on this recording )
(https://i.imgur.com/M8Idevn.png)
(https://i.imgur.com/0PMGYQG.jpeg)
(https://i.imgur.com/QpAkmX7.jpeg)
Tavil of southern India is one of the barrel shaped percussion instruments. It is commonly used in folk music as well as in classical music with nagaswaram. It is an important instrument of an ensemble of a wind instrument band, known as periya melam.
Tavil drum
(https://i.imgur.com/YFYsAZt.png)
The drum consists of a barrel-shaped solid shell, which is made out of a large cylindrical block of jackwood, about sixteen inches long and in the centre it is thirteen-and-a-half inches in diameter and less than half a centimetre in thickness. Both the faces of the instrument are almost of the same diameter. The left face of the drum is loaded with a paste on the inside of the drum face to a circular area of two inches. The skins, often in layers, are stretched and stitched over both the faces in a very peculiar manner. The rings or the hoops, fixed over the parchment, consist of a set of six or seven bundled bamboo sticks, bent and tied together with the help of hemp. These hemps are stitched with the skins stretched over both the faces. These hemps are connected with the leather braces. A separate band of leather braces also goes around the middle portion of the drum to tighten the membrane in order to produce the desired pitch. The right head is played by the right hand, wrist and fingers, and the left head is struck with a stick held in the left hand. Occasionally the player wears thumb caps on all the fingers of the right hand.
Pandit Nityanand Haldipur on Indian bamboo flute in nice sound quality on Qobuz.
He learned from Ma Annapurna Devi (pictured in the middle of the cover), famous surbahar player.
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More from Qobuz, a master of sarod Pandit Basant Kabra, another disciple of Annapurna Devi within Maihar Gharana tradition.
By the way, Annapurna Devi was Ustad Ali Akbar Khan's sister, her first husband was Pandit Ravi Shankar.
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It has a long tubular body made of wood or bamboo with a length between 54 and 62 inches. Two large, round resonators, made of dried and hollowed gourds, are attached under the tube. Twenty-four brass-fitted raised wooden frets are fixed on the tube with the help of wax. There are 4 main strings and 3 chikari strings.
As Rudra is a name for the Hindu god Shiva, rudra vina literally means "the veena dear to Shiva".
Further information
https://worldmusiccentral.org/2023/08/23/the-ancient-rudra-veena-of-india/
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A similar instrument is played by Zia Mohiuddin Dagar on two Nimbus CDs, recorded shortly before his death in 1990. He starts his Alap by slowly exploring the Raga downwards until, after a few minutes, reaching the lowest notes that the instrument can sound - that is, lower than for example a double bass - more like a contrabassoon. In Raga Shuddha Todi, after about 3 minutes my sub starts purring like a well-fed tiger cub.
Quote from: aukhawk on May 08, 2024, 08:33:54 AMA similar instrument is played by Zia Mohiuddin Dagar on two Nimbus CDs, recorded shortly before his death in 1990. He starts his Alap by slowly exploring the Raga downwards until, after a few minutes, reaching the lowest notes that the instrument can sound - that is, lower than for example a double bass - more like a contrabassoon. In Raga Shuddha Todi, after about 3 minutes my sub starts purring like a well-fed tiger cub.
Of the Dagar family, I'm closer to the vocalists.
Speaking of the Dhrupad style, the bright representatives today are the Gundecha Brothers:
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Quote from: aukhawk on May 08, 2024, 08:33:54 AMA similar instrument is played by Zia Mohiuddin Dagar on two Nimbus CDs, recorded shortly before his death in 1990. He starts his Alap by slowly exploring the Raga downwards until, after a few minutes, reaching the lowest notes that the instrument can sound - that is, lower than for example a double bass - more like a contrabassoon. In Raga Shuddha Todi, after about 3 minutes my sub starts purring like a well-fed tiger cub.
My first LP with this instrument :)
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Pandit Hariprasad Chaurasia's concert at the Osho Commune. Many Indian musicians quite often take part in events held at the famous ashrams of great gurus. Attended some of them. Spirituality (can't find a better word) and music in India still go hand in hand.
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"The Flow Of Time"
Shivkumar Sharma, who has died aged 84 (2022), was one of the great innovators of Indian music, a virtuoso instrumentalist and composer who was known both for his Bollywood film music and for his classical work, and who succeeded in introducing a new instrument, the santoor, to Indian classical music.
He single-handedly elevated a 100-string instrument little known outside Kashmir into a prominent component of Hindustani classical music.
The santoor, a trapezoidal wooden instrument whose strings stretch over 25 wooden bridges, is played with slim wooden mallets. On the santoor, in contrast with the sitar, sarod or sarangi — the string instruments traditionally used in Hindustani classical music — it is difficult to sustain notes and perform the meends, or glides from one note to another, which are essential to the Hindustani musical tradition.
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Raga Marwa
Alap
Jor
Jhala
Raga Hameer
Gat In Teentaal
Raga Kamod
Gat In Jhaptaal
Raga Kedar
Gat In Ektaal
Raga Kaushik Dhwani
Alap
Gat In Matta Tal
Gat In Teentaal
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Shahid Parvez
His musical prowess lies in the vocalistic phrasing and quality of his raga improvisations, known as "Gayaki Ang," which translates to "Singing branch/limb." This style was resurrected and popularized by his uncle, the legendary sitarist Ustad Vilayat Khan. Shahid Parvez has continued this tradition and is celebrated for his expressive sitar performances1.
Shahid Parvez Khan is widely recognized as one of the greatest sitar players of the world. The recipient of numerous prestigious awards, including the Government of India's Padma Shri and the Sangeet Natak Academy Award, Shahid Parvez Khan regularly tours across India, Europe, North America, Asia and Australia, enthralling audiences everywhere.
Shahid Parvez's music is both novel and evolving. His unique tone and astute artistic sense have become his hallmark as a respected performer and composer. The power of his music emanates from the highly charged sound he conjures on stage. He emphasizes the unique capabilities of this sitar itself while drawing upon numerous musical influences easily recognizable to a knowing ear. He has achieved success in not only preserving tradition, but also pushing its boundaries to even greater heights of aesthetic beauty.
Shahid Parvez Khan represents the seventh generation of the sitar's first family, the Etawah Gharana. A very young Shahid Parvez was initiated into the rich traditions of the Gharana by his father and guru, Ustad Aziz Khan - the famous musician and son of legendary sitar and surbahar virtuoso Ustad Waheed Khan. His family has produced the most revered and influential figures in Hindustani Classical Music including Ustad Sahabdad Khan, Ustad Imdad Khan, Ustad Enayet Khan, and Ustad Vilayat Khan.
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Ravi Shankar the Master
CD 1
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A lovely recording !
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Ragas to Riches
Vilayat Khan and his son Hidayat Khan
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Classical Music of North India
Sitar and Tabla I
Sri Manilal Nag Sitar
Pandit Mahaprush Misra Tabla
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Sri Manilal Nag
From an interview:
A life time of work, yes! My idea is: as a musician, I will not follow the money, but money will follow me! Am I right or wrong? Now many musicians think, "I need money, money, too much money!" I don't want to name any names but here at this time many great musicians are snatching the students, like robbery, like dakkoos [dacoits: thieves]. I hate this, but students don't realize this. "Guru-ji, guru-ji, guru-ji, guru-ji, guru-ji!" But I'm not that type of man.
I don't know, people are not getting the time-especially in Calcutta, maybe throughout India-to practice, no patience. They love the music but have no patience, and they don't practice hard enough. For that reason they can't play nicely. Always stay with the guru-in ancient times was 'guru shishya parampara' [teacher-disciple lineage] and the students had to stay at the residence of the guru, and at all times had to listen to the guru. After the guru's practice the student had to practice like this. Nowadays it's not possible-the guru has no house so how can he accommodate his students like the rajas or maharajas? Allauddin Khan-Maihar State! So many students all over India came to Maihar and stayed with their guru, in this room, in that room, in this room, in that room and Allauddin Khan, "Is he practicing? Yes, OK. Is she practicing? Oh, yes. Ah, you are sleeping, get up! Practice!" My father was like this: very early in the morning, "Manilal, get up, get up! Take your sitar!" I remember. Without a guardian, if you are left alone, "Later, later. I will practice later." Strict administration by guru or guardian.
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Amjad Ali Khan
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I learnt only recently (since my stroke) that my friend Phil Scarff studied Indian music:
Quote from: Karl Henning on May 18, 2024, 07:22:08 AMI learnt only recently (since my stroke) that my friend Phil Scarff studied Indian music:
It is understandable that if you love Indian Classical music you want to play it yourself....
That was very enjoyable. The straight soprano sax does have some resemblance in sound to the Indian shenhai, an 'eastern' vibe so well exploited by John Coltrane when he struck modal gold with My Favourite Things in the early '60s. The sound here is unlike Coltrane though, who was more direct and ascerbic. The wavering tone here is very reminiscent of the British sax man Don Rendell, who, influenced by Coltrane and Miles, also recorded several 'eastern' numbers with his quintet in the '60s.
I have records of Bismillah Khan playing the shenhai, an oboe-like instrument which is clearly quite difficult to play at length, so he has a couple of supporting players also on shenhai who periodically take over with simple expositions of the Raga while the star player pauses to rest his chops before taking his explorations to new heights.
A small local venue regularly presents Indian classical concerts, usually duos or solos.
I saw these 2 performers last night and purchased a CD from the "merch table". The concert was over 3 hours long, including a solo Indian classical dance performance by Mallick's wife.
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Ghulam Mustafa Khan
Padma Vibhushan Awardee
Ustad Ghulam Mustafa Khan the eminent Classical Vocalist,
is a living embodiment of the continuity of Indian musical tradition through heritage. – Legendary Musician
A rare Combination of academic proficiency and musical excellence, Ustad Ghulam Mustafa Khan belongs to an illustrious school of music known as SAHASWAN RAMPUR GWALIOR GHARANA which owes its allegiance to SENIYA tradition represented by great Ustads like UstadWazir Khan, Ustad Bahadur Hussain Khan, Ustad Inayat Hussain Khan, Ustad Fida Hussain Khan, Ustad Mushtaq Hussain Khan and Ustad Nissar Hussain Khan.
Ustad Ghulam Mustafa Khan is the grandson of Ustad Inayat Hussain Khan of SAHASWAN Gharana, who is the Son-in-law of the pioneer of Gwalior Gharana Ustad Haddu Khan Sahib, who was the court musician during the reign of king Wajid Ali Shah
By fortuitous Coincidence, Ustad Ji's wife too is the grand daughter of Padma Bhushan Ustad Mushtaq Husssain Khan.
Born over seven decades ago on March 3, 1931 in Badayun, Uttar Pradesh, Ustad Ghulam Mustafa Khan was initiated into music by his father Ustad Waris Hussain Khan.
He was groomed by Ustad Fida Hussain Khan, Father of the famous Maestro Ustad Nissar Hussain Khan. Later, Nissar Hussain Khan himself took him over under his wings. The Traditional Styles of Rampur, Gwalior and Sahaswan "Gharana'" are therefore distinctly to be observed in his performance Ustad Ghulam Mustafa Khan evinced particular interest in the history of Indian music and studied ancient Indian Music (JatiGayan) with Acharya K.C Brahaspati, besides doing research work with him.
He sang compositions derived from Natyashastra and Brihat Deshi written by Matang Rishi and from sharing Dev's Sangeet Ratnakar Based on Jati -Gayan. These had never been dung by any musician in recent times and for the first time after 700 years.
Ustad Ghulam Mustafa Khan Saheb brought to life this Ancient Indian Classical Music from the hoary era. Seven of his records of 30 minutes each are preserved in the Sangeet Natak Academy, New Delhi.
Gifted with a melodious voice he has cultivated it in such a manner that he moves with comfortable ease throughout the span of four octaves. He is versatile singer who can perform both classical and light music with great virtuosity.
While his raga renditions show his refined sense of time, style and rhythm, his Thumri's, as also other lighter varieties are suffused with sensitivity and feeling.
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Le Chant de Parveen Sultana & Dilshad Khan
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I rather doubt this belongs here, but ...
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Nusrat Fateh Ali Khan, Shahen-Shah so good...
Quote from: vers la flamme on May 25, 2024, 08:21:13 AMI rather doubt this belongs here, but ...
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Nusrat Fateh Ali Khan, Shahen-Shah so good...
Ah...that's devotional Sufi music... :)
Pandit Pran Nath was Indian classical singer. His disciples were Terry Riley, La Monte Young, Don Cherry, among others.
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Last week I attended an outstanding concert by Vinay Desai (santoor - a hammered dulcimer) and Sandip Ghosh (tabla). One of the best I've seen.
The performers I see locally are not well-known via hit recordings, but are generally very good.
Indian classical music is a treasure trove waiting to be discovered by western classical music fans. Here are some of my favorite albums so far:
Hariprasad Chaurasia - Raga Darbari Kanada - Dhun in Raga Mishra Pilu
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Ustad Zia Mohiuddin Dagar - Ragas Abhogi & Vardhani
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Zia Mohiuddin Dagar - Raga Yaman / Raga Shuddha Todi
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Ustad Rahim Fahimuddin Khan Dagar / Ustad Allabande Rahimuddin Khan Dagar - The Dhrupad of the Dagar Bani
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Allauddin Khan Saheb
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Mallikarjun Mansur - The Legend Lives On
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L. Subramaniam - Le violon de l'Inde du Sud
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