I n d i a A r c h i v e M u s i c
Debashish Bhattycharya - Hindustani Slide Guitar
Swapan Chaudhuri - Tabla
Raga Pahadi Jhinjhoti, night raga - about 6:30 - 9 p.m.
Alap & Jod - 34:34
Madhya Gat in Jhaptal - 16:12
Drut Gat in Tintal - 18:51
Debashish Bhattacharya plays the Hindustani Slide Guitar. In a display of dazzling artistry and technique, he presents an extensive exploration of raga Pahadi Jhinjhoti. A combination of the light raga Pahadi based on folk melodies of Himalayan hill tribes, and the raga Jhinjhoti in its light, semi-classical guise, Pahadi Jhinjhoti is sprightly in character and is associated with the shringara rasa (romantic sentiment).
Arati Ankalikar Tikekar - Vocal
Ramdas Palsule - Tabla
Ramesh Mishra - Sarangi
Raga Ahir Bhairav, morning raga - about 6:30 - 8:30 a.m.
Vilambit Bandish in Ektal - 46:10
Drut Bandish in Tintal - 10:43
Raga Mand - Mira Bai Bhajan (about 6:30 - 9 p.m.)
Bhajan in Dipchandi Tal - 11:48
Arati Ankalikar-Tikekar presents a lyrical, plaintive vocal rendition of the early morning raga Ahir Bhairav, which mixes the austerity of raga Bhairav with the tender sadness of Ahiri folk songs. Arati concludes with a bhajan (devotional song) by Mira Bai, a medieval saint-poetess, set in one of the Mand family of Rajasthani folk songs.
Dhruba Ghosh - Sarangi
Kashinath Mishra - Tabla
Raga Komal Rishab Asavari, early morning raga - about 5 - 7 a.m.
Vilambit Bandish in Ektal - 43:42
Madhya Bandish in Jhaptal - 13:47
Drut Bandish in Tintal - 9:50
Raga Jogiya (about 6 - 8 a.m.)
Thumri in Sitarkhani Tal - 11:28
Dhruba Ghosh plays the bowed sarangi, with a sweet, refined tonal quality, in a lyrical style very much inspired by the khayal vocal style. Dhruba presents a deeply emotional and affecting performance of raga Komal Rishab Asavari, a morning raga, which generates a feeling of intense but warm and attractive pathos. He concludes with a swaying, dance-like thumri in the sweet, early-morning raga Jogiya.
Anand Badamikar - Tabla
Vilambit, Madhya, and Drut Laya - 74:40
Anand Badamikar presents a loosely structured, relaxed, and informal performance on the tabla of the rhythm cycle tintal, as if he were playing for a group of close friends rather than a formal audience. It is through this kind of intimate recording that one is able to gain insights into the tabla aesthetic that are rarely available on other recordings. Anand Badamikar´s performance demonstrates a singular aesthetic vision, yet also reflects the breadth of compositional influences to which his teacher, Taranath Rao, was exposed.
Shujaat Khan - Sitar
Samir Chatterjee - Tabla
Raga Bairagi, morning raga - about 6 - 8 a.m.
Alap, Jod & Jhala - 23:09
Vilambit Gat in Tintal - 9:41
Drut Gat in Tintal - 10:19
Raga Bhairavi (about 6 - 10 a.m.)
Alap - 6:24
Gat in Dadra Tal - 11:24
Shujaat Khan presents ragas Bairagi and Bhairavi. Bairagi suggests progressive detachment from the material world and a tendency towards spiritual pursuits, and the aural experience of raga Bairagi, is characterized by tonal austerity, a melodic structure strongly suggestive of supplication, and a profound sense of peace and tranquility. Bhairavi is played and sung, with an alap inspired by the famous devotional bandish Bhavani Dayani, in praise of the Mother Goddess, while the gat is a soulful rendition of a devotional song.
Tejendra Narayan Majumdar - Sarode
Samar Saha - Tabla
Raga Alhaiya Bilawal, morning raga - about 7:30 - 10:30 a.m.
Alap & Jod - 18:02
Madhya Gat in Tintal - 23:40
Aochar & Madhya Gat in Jhaptal - 16:14
Drut Gat in Tintal - 16:14
Tejendra Narayan Majumdar presents mesmerizing renditions of ragas Alhaiya Bilawal and Shankara, bearing ample testimony to the workings of a rare musical mind. Raga Alhaiya Bilawal expresses the viraha rasa (erotic desire tinged with the pathos of separation from the beloved), and a longing for reunion, and lends itself to erotic and devotional expressions. Raga Shankara, played with bold, staccato melodic execution, and an extensive use of rhythmic and acoustic devices, is associated with veer rasa (the sentiment of valour and heroism).
IAM SP 5501
Shujaat Khan - Sitar, Vocal
Ramesh Mishra - Sarangi
Samir Chatterjee - Tabla
Light Classical & Folk Songs
Bahut Din Bheetey - 12:08
Aaja Re Piya Mora - 17:36
Tum Kaha Gayey More Saiya - 11:45
Terey Bina Sajana - 19:05
Aaja Re Piya Mora (short version) - 6:25
Shujaat Khan sings and plays four songs in a light and lyrical mood, blending a personal approach to light-classical and folk music with bouncey dance rhythms and a soulful sarangi accompaniment.
© Texts by Lyle Wachovsky, New York
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