Indian Classical Music - New Releases
IndiaArcMu
Subject: India Archive New Releases
From: india...@aol.com (IndiaArcMu)
Date: Mon, Feb 9, 1998 4:48 PM
Message-id: <19980209214...@ladder02.news.aol.com>
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•IAM CD/CS 1001 -- 60 min.
USTAD VILAYAT KHAN
SITAR
Raga Bhairavi
Alap & Jor - 60 min.
Ustad Vilayat Khan offers an extraordinary performance of Raga Bhairavi.
Beautiful and bittersweet, Bhairavi is often pictured as a woman longing for
the return of her absent lover. Usually played in the light thumri style,
Vilayat Khan explores this raga’s more serious side in an extended alap and
jor.
•IAM CD/CS 1002 -- 75:30 min.
PROF. DEBU CHAUDHURI
SITAR
Shafaat Ahmed Khan - Tabla
Raga Desh
Alap & Jor - 34:50
Slow & Fast Gats in Tintal - 40:24
Prof. Debu Chaudhuri plays sitar in the Jaipur-Senia tradition of his guru,
Ustad Mushtaq Ali Khan, and is noted for his “sweet, singing, ringing tone.”
Raga Desh is a very “sweet” raga associated with the monsoon season, reflecting
the joyful spirits as the rains bring relief from the hoh in Ektal - 45:35
Drut Bandish in Tintal - 15:30
Raga Kirwani
Thumri in Ektal - 15:50
Rashid Khan offers a serene rendition of raga Yaman. Traditionally the first
raga taught, abundant in creative potential, some artists have devoted a
lifetime to it. The thumri in raga Kirwani is about the separation of the
lovers Radha and Krishna and Rashid’s lyricism perfectly conveys the sad, but
beautiful sentiments.
•IAM CD/CS 1004 -- 70 min.
AJOY CHAKRABARTY -- VOCAL
Samar Saha - Tabla
Raga Malkauns
Vilambit Bandish in Ektal - 34:55
Drut Bandish in Tintal - 18:54
Raga Mishra Bhairavi
Thumri in Dadra Tal - 16:16
Ajoy Chakrabarty sings the poignant and majestic raga Malkauns, “perfect in its
marriage of the masculine and feminine qualities of the human condition.” A
thumri in raga Bhairavi is the traditional end to any concert. Ajoy, using all
twelve notes and summoning up shades of other ragas, fully reveals the
bittersweet qualities of the song.
•IAM CD/CS 1005 -- 72 min.
USTAD IMRAT KHAN
SURBAHAR/SITAR
Shafaatullah Khan - Tabla
Raga Puriya Dhanashri
Alap & Jor (Surbahar) - 44:43
Raga Puriya Dhanashri
Alap & Drut Gat in Tintal
(Sitar) - 27:27
Ustad Imrat Khan, the great sitar and surbahar (bass sitar) player, offers raga
Puriya Dhanashri. It is played just after sunset: the alap and jor on surbahar
evokes the unsettled eeriness of the day’s change mixed with a certain
tranquility; while the sitar rendering transforms the mood into a joyful,
embrace of the evening’s arrival.
•IAM CD/CS 1006 -- 74:30 min.
BUDDHADEV DAS GUPTA
SAROD
Samar Saha - Tabla
Raga Jhinjhoti
Alap, Jor, Jhala - 24:05
Vilambit & Drut Gats
in Tintal - 50:35
Buddhadev Das Gupta learned from the venerable Radhika Mohan Moitra and is
often thought of as a “musician’s musician,” for his depth of understanding;
knowledge of rare ragas; fascinating and complex layakiri (polyrhythmic
improvisation) and the intricacy and mathematical virtuosity of his
“machine-gun” bursts of notes.
•IAM CD1007 -- 75 min.
DEBASHIS BHATTACHARYA
GUITAR
Samir Chatterjee - Tabla
Raga Ahir Bhairav
Alap & Jor - 31:40
Vilambit Gat in Tintal - 14:25
Madhya Gat in Ektal - 8:10
Drut Gat in Tintal - 11:20
Raga Bhairavi Thumri - 9:05
Debashis Bhattacharya plays the early-morning raga, Ahir Bhairav, which
combines elements of the profound raga Bhairav with the romance and sorrow of
Ahiri folk melodies. Debashis concludes with a bittersweet thumri in raga
Bhairavi.
•IAM CD I008 -- 73 min.
TEJENDRA NARAYAN MAJUMDAR
SAROD
Kumar Bose - Tabla
Raga Bageshri
Alap, Jor, & Jhala - 39:04
Raga Zilla Kafi
Alap; Vilambit & Drut Gats in Tintal - 33:40
Tejendra NARAYAN Majumdar performs raga Bageshri - romantic love is the mood,
but the lover is absent and the mood is tinged with sadness. Tejendra concludes
with raga Zilla Kafi, a specialty of the Maihar gharana, which shares
Bageshri’s romantic mood, but not its pathos.
•IAM CD 1009 -- 73:30 min.
SHUJAAT KHAN -- SITAR
Shyam Kane - Tabla
Raga Shahana Kanada
Alap, Jor, & Jhala - 29:47
Vilambit Gat in Ektal - 11:46
Drut Gat in Tintal - 14:48
Raga Pahari
Dhun in Keharwa Tal - 17:01
SHUJAAT KHAN plays raga Shahana reflecting the romance and beauty that
enlivened the Mughal court’s grandeur. Shujaat then plays a dhun in raga Pahari
and also sings the lyrics about the mischievous and flirtatious Krishna teasing
an outwardly upset, but inwardly pleased, girl.
•IAM CD 1010 -- 74 min.
USTAD VILAYAT KHAN -- SITAR
Akram Khan - Tabla
Raga Jaijaivanti
Alap - 29:46
Vilambit Gat in Tintal - 26:01
Drut Gat in Tintal - 18:13
USTAD VILAYAT KHAN plays raga Jaijaivanti, expressive of romantic love, full of
tenderness and yearning. Vilayat Khan’s exuberant development is full of
abandon and the bright lyrical quality of his sitar, and is a striking example
of his absolute mastery of the classical idiom.
•IAM CD1011 – 75 min.
VIJAY KICHLU – VOCAL
A.G. Bandopadhyay - Tabla
Raga Bhairav
Alap - 24:02
Jor - 21:17
Madhya Bandish in Tintal - 30:22
Vijay Kichlu studied dhrupad with the Dagar Brothers and khayal with Latafat
Hussein Khan, whose style had a strong connection with dhrupad. Vijay Kichlu
offers an impassioned performance of raga Bhairav, an early-morning raga with a
devotional, contempaltive and compassionate mood.
•IAM CD1012 -- 77:30 min.
THUMRI - VOCAL AND INSTRUMENTAL LIGHT CLASSICAL MUSIC OF NORTH INDIA
Incl: Ud. Halim Jaffar Khan, sitar; Vidyadhar Vyas, vocal; Rajeev Taranath,
sarod; Dhruba Ghosh, sarangi; Ajoy Chakrabarty, vocal; Debashis Bhattacharya,
guitar.
THUMRI is the predominant light-classical genre of North India. Initially
cultivated and practiced by courtesans into the early 20th century, thumri
managed a transition to the urban concert hall, shedding its disrepute and
acquiring a more classicized sophistication.
•IAM CD1013 -- 77 min.
TARUN BHATTACHARYA
SANTUR
Abhijit Banerjee - Tabla
Raga Gujari Todi
Alap, Jor & Jhala - 32:16
Vilambit Gat in Tintal - 21:48
Drut Gat in Tintal - 11:54
Raga Bhairavi
Thumri in Dadra Tal - 10:57
TARUN BHATTACHARYA plays santur with superb technique and a disciplined
exuberance in melodic and rhythmic interplay. Raga Gujari Todi, is a morning
melody with a unique, rather transcendental quality, and is known for its
devotional and serious, yet gentle, emotive power.
•IAM CD1014 -- 76:30 min.
USTAD NIZAMUDDIN KHAN
TABLA
Tintal
Vilambit Laya - 45:41
Madhya Laya - 15:57
Drut Laya - 15:01
USTAD NIZAMUDDIN KHAN is one of the great tabla stylists, renowned for his solo
performances and his sensitive and inspired accompaniment. In this exploration
of the sixteen-beat cycle, Tintal, Nizamuddin gives a fascinating performance
which conveys the charm and beauty of solo drumming.
•IAM CD1015 -- 76:30 min.
PRABHAKAR KAREKAR – VOCAL
Subhash Kamat - Tabla
Raya Bidaye - Harmonium
Raga Bilaskhani Todi
Vilambit Bandish In Ektal - 38:26
Drut Bandish In Tintal - 7:51
Raga Chandrakauns
Vilambit Bandish In RupakTal - 22:32
Drut Bandish In Tintal - 7:46
PRABHAKAR KAREKAR has an energetic and soulful vocal style which mingles
features of the Agra and Gwalior gharanas. Prabhakar presents an intense and
haunting vision of two ragas: Bilaskhani Todi, a raga steeped in legend,
emphasizing a sense of bairag or spiritual "non-attachment" and Chandrakauns,
evoking the vision of a serene moonlit night, is elegant and meditative in
nature.
•IAM CD 1016 – 74 min.
AJOY CHAKRABARTY – VOCAL
Ustad Sultan Khan - Sarangi
Samar Saha - Tabla
Raga Khamaj
Vilambit Bandish in Ektal - 33:27
Madhya Bandish in Jhaptal - 18:05
Drut Bandish in Tintal - 10:37
Drut Bandish in Tintal - 10:28
AJOY CHAKRABARTY, with a powerful and mellifluous voice, is India's foremost
vocalist of the Patiala style. Here, Ajoy has applied a high level of creative
talent by singing a khayal in raga Khamaj, a raga usually sung in the light
thumri style, and offers an inspired rendering, bringing out raga Khamaj's gay
mood of love.
•IAM CD1017 – 75 min.
VIDYADHAR VYAS – VOCAL
Pandit Bhai Gaitonde - Tabla
Anant Kunte - Sarangi
Raga Malgunji
Vilambit Bandish in Ektal - 43:50
Drut Bandish in Tintal -12:18
Tarana in Tintal - 7:37
Raga Bhairavi
Surdas Bhajan in Dipchandi Tal -11:20
Vidyadhar Vyas is an eminent vocalist of the Gwalior style, with a warm, round
tone extending into a sweet and ringing tenor region. Vidyadhar Vyas offers a
buoyant, well-structured rendering of the sweetly romantic raga Malgunji and a
Surdas bhajan set to the bittersweet raga Bhairavi.
•IAM CD1018 – 70:30 min.
USTAD SULTAN KHAN – SARANGI
Anuradha Pal - Tabla
Raga Marwa
Alap & Jor - 26:25
Vilambit Gat in Tintal - 13:34
Madhya Gat in Tintal - 11:15
Drut Gat in Ektal - 6:17
Raga Bhairavi
Dhun in Dadra Tal - 12:52
USTAD SULTAN KHAN is a maestro on the sarangi, a bowed instrument with a unique
viola-like, harmonically complex tone due to 35 to 40 sympathetic strings
running under the three playing strings. Raga Marwa is played at dusk and
conjures up the introverted calm and contemplative mood of that hour.
•IAM CD1019 – 69:30 min.
AMJAD ALI KHAN – SAROD
Abhijit Banerjee - Tabla
Raga Bhimpalasi
Alap, Jor & Jhala - 29:16
Vilambit Gat in Rupak Tal -11:33
Drut Gat in Tintal - 12:35
Raga “Tribute to America”
Alap & Gat in Tintal - 16:15
Amjad Ali Khan, one of the most celebrated of sarod artists, here explores many
facets of his traditional heritage and innovative genius. Bhimpalasi is a late
afternoon raga, calm, yet majestic, suiting a dhrupad-based approach; Tribute
to America, Amjad Ali's creation, has a lyrical early-morning mood.
•IAM CD1020 – 76:30 min.
PROF. DEBU CHAUDHURI
SITAR
Anup Ghosh - Tabla
Raga Lalit
Alap & Jor - 46:00
Vilambit Gat in Tintal -18:12
Drut Gat in Tintal - 12:16
Prof. Debu Chaudhuri is the most prominent exponent of the Jaipur-Senia style
as learned from his guru Ustad Mushtaq Ali Khan. Prof. Chaudhuri performs a
measured and contemplative exposition of Lalit, an early morning raga with a
serious and meditative mood.
•IAM CD1021 – 71 min.
DHRUBA GHOSH – SARANGI
Nayan Ghosh - Tabla
Raga Yaman
Alap; Vilambit Gat in Ektal - 32:44
Drut Gat in Tintal - 19:33
Raga Hemant
Gat in Tintal - 18:50
Dhruba Ghosh plays sarangi with a sweet and lyrical style, at once traditional,
yet individual and innovative. Raga Yaman has a relaxed, soothing mood suitable
for extensive rendering. Raga Hemant, a creation of Allauddin Khan, is
evocative of the wistful, pensive mood of the Hemant (winter) season.
•IAM CD 1022 – 74 min.
RAJEEV TARANATH – SAROD
Nayan Ghosh - Tabla
Raga Ahir Bhairav
Alap & Jor - 25:20
Vilambit Gat in Tintal - 25:00
Drut Gat in Tintal - 14:00
Raga Charukeshi
Gat in Rupak Tal - 9:40
Rajeev Taranath is one of the most prominent exponents of the Maihar style of
sarod playing, combining a sophisticated thoughtfulness in raga development
with a lyrical presentation and a luminous tonal quality. Raga Ahir Bhairav is
an early morning melody combining the devotional aspect of Bhairav with the
warmth and longing of Ahiri folk tunes.
•IAM CD1023 – 68 min.
IRSHAD KHAN – SURBAHAR
Raga Jansanmohini
Alap - 34:04
Jor & Jhala - 33:43
Irshad Khan is, today, the leading young performer on the surbahar (bass sitar)
and, after his father and guru, the great Ustad Imrat Khan, the world's most
accomplished active player on the surbahar. Raga Jansanmohini is adopted from
South India and in Irshad Khan's interpretation creates a lively mood embued
with the playful atmosphere of two lovers.
•IAM CD1024 – 65 min.
NISHAT KHAN – SITAR
Samir Chatterjee - Tabla
Raga Miyan ki Malhar
Alap, Jor & Jhala - 34:06
Madhya Gat in Tintal - 23:33
Raga Dhanasri
Alap - 7:21
Nishat Khan, the irrepressible and virtuosic sitarist, is endowed with an
obsessive musical creativity that pushes him to define new musical boundaries -
as in this performance of raga Mian ki Malhar, the most august, intense and
complex of the rainy season ragas, a creation of Tansen, the legendary musician
at the court of Emperor Akbar.
•IAM CD1025 – 70 min.
SHUJAAT KHAN – SITAR
TEJENDRA NARAYAN MAJUMDAR – SAROD
Tanmoy Bose - Tabla
Raga Charukeshi
Alap, Jor & Jhala - 45:18
Madhya/Drut Gat in Sitarkhani Tal & Tintal - 24:19
SHUJAAT KHAN and TEJENDRA NARAYAN MAJUMDAR bring together, perhaps for the
first time on a CD, artists of the Vilayatkhani Gharana and the Maihar Gharana.
Shujaat and Tejendra, two of the finest young exponents of their respective
gharanas and instruments, combine efforts to create an evocative performance of
raga Charukeshi.
•IAM CD1026 – 78:30 min.
DEBASHISH BHATTACHARYA
HINDUSTANI SLIDE GUITAR
Samir Chatterjee - Tabla
Raga Bhimpalasi
Alap, Jor & Jhala - 48:24
Vilambit Gat in Rupak Tal - 16:42
Drut Gat in Tintal - 13:11
DEBASHISH BHATTACHARYA's imaginative renderings and innovative extensions of
playing technique and instrument design reveal the kind of provocative
re-thinking that has always been at the vanguard of Indian classical music.
Raga Bhimpalasi is played in the afternoon, evoking a contemplative sense of
peace and the majestic grandeur of creation.
•IAM CD1027 – 78 min.
TEJENDRA NARAYAN MAJUMDAR
SAROD
Tanmoy Bose - Tabla
Raga Hem Behag
Alap & Jor - 31:54
Vilambit in Chartal ki Sawari - 21:12
Madhya/Drut Gat in Tintal - 12:47
Raga Mishra Shivaranjani
Dhun in Rupak Tal - 12:42
TEJENDRA NARAYAN MAJUMDAR has evolved a delightful lively style featuring deep
tones alternating with soft ones, meends spanning over two octaves,
dhrupad-style gamak taans and clusters of notes in one stroke. Raga Hem Behag
has a gentle, peaceful ambiance; raga Mishra Shivaranjani is a bittersweet
mixture of sadness and compassion.
•IAM CD1028 – 71 min.
SAMIR CHATTERJEE – TABLA
Tintal
Vilambit Laya - 44:33
Madhya Laya - 8:45
Drut Laya - 17:40
SAMIR CHATTERJEE is one of India's (and the U.S.A.'s) finest tabla players.
Samir plays tabla in the style of the Farrukhabad Gharana and here plays an
extended exploration of the classic sixteen-beat rhythm cycle, tintal, that
offers a fascinating blend of traditional, contemporary and personal approaches
and compositions.
•IAM CD1029 – 73:30 min.
SHUJAAT KHAN – SITAR
Shyam Kane - Tabla
Raga Charukeshi - 12:13
Raga Kamod - 12:05
Raga Jhinjhoti - 14:42
Raga Manjh Khamaj - 12:28
Raga Piloo - 12:18
Raga Bhairavi - 9:37
SHUJAAT KHAN presents six ragas with six different moods, three played in the
khayal style, three in the thumri style. In Shujaat's words, "...when I am
playing the composition, which was originally composed for presenting poetry, I
also sing. Just as I often do at concerts. I want the listener to enjoy the
beauty of the poetry along with the melody."
•IAM CD1030 – 74 min.
USTAD VILAYAT KHAN – SITAR
Akram Khan - Tabla
Raga Bhankar
Alap - 38:08
Madhya/Drut Gat in Tintal - 35:38
USTAD VILAYAT KHAN is a maestro whose synonymy with the sitar is now a fact
which the musical world naturally takes for granted. Here, Ustad Vilayat Khan
offers his unique interpretation of the rare raga Bhankar, creating a modal
spectacle, incorporating fleeting glances of many other related and unrelated
ragas.