Shruti Sadolikar - Sydney morning concert 11th June 07
John Wright
Mulye in Sydney. Here are my personal impressions, as a listener.
She started with Todi - a vilambit teen taal, then a roopak madhya laya and
then a drut theen taal "Langari ka kariye". It was OK, she started the alaap
well but the voice took a while to warm up. Very little time was given to
anthara or to the taans we expect from her. One got the impression she
hadn't discussed the bandishes she was singing with Mangesh - she needed to
tell him to play roopak when she started the composition when he went off
another way ... this happened again in the next Ramakali too. Anant Kunte
accompanied ably on sarangi mostly, but was sometimes slightly off key, and
once was a step or two ahead of Shruti in the vistar during the Todi
vilambit - she made it rather obvious with a little stare. I thought his
approach leading up to the sam was rather loose. In Ramakali she sang a
madhya laya in roopak, and a teen taal drut "Manjhariya" - very nicely sung,
but the drut was also mostly akaar alaap, missed the fast flying taans. A
little too short too. Then interval. The first half was shorter.
Her voice was much better and crisp after the interval, when she resumed her
recital with a Bahaduri Todi - "He Mahadev" vilambit in teen taal was well
done, followed by drut theen taal "Shiv Shankar Mahadev". Then Khat -
Jhaptaal "Eri Ma". Then a Shuddha Sarang - vilambit theen taal, then drut
theen taal "Ab mori baat". Ending with Bhairavi "Rasa ke bhare tore naina"
thumri.
All quite enjoyable, but perhaps just a tad short of my expectations, she
seemed unprepared. She also spent some 15 minutes talking about her project
she is working on (on memoirs of Alladiya Khan and her gharana) and a 12
minute video was played, promoting and seeking funds for the project.
Two days ago she gave a Natya Sangeet concert for the Marathi group. Some of
my friends who attended were a little displeased with "nearly half the time"
she devoted to talking about the history of natya sangeet and other things.
While what she sang in both concerts was enjoyable, the impression was left
lingering that she has not placed due care for her audience.
Regards - JW
Sushama
same as the one I learnt as "langar kankariye jin(a) maro".
Regards,
Sushama
asi...@gmail.com
Thanks for that crisp review John. :)
A couple of questions...
Could you tell us what bada khayals she sang in Todi, Ramkali, and
Shuddha Sarang?
(The Ramkali drut she sang was probably 'Maachhariya mendi suno' - a
Sadarang bandish, an excellent rendition of which is available by D V
Paluskar.)
Also what was your take on the Alladiya video?
Regards,
Abhishek
arpi...@gmail.com
>
> - Show quoted text -
I am also really eager to know how the Alladiya video is progressing.
While I did not have the oppoprtunity to be present at the concerts
mentioned in this thread, reading it I felt I had to point out that
sometimes when one is deeply involved in something, it takes over
one's life. Seems Shrutiji is letting the video take precedence over
everything else!
Arpita
John Wright
> A couple of questions...
> Could you tell us what bada khayals she sang in Todi, Ramkali, and
> Shuddha Sarang?
From what I can recollect -
Todi Vilambit Theentaal -> "Baaje Re Baaj" or something sounding like that
Todi Madhyalaya Roopak -> "Eri Mayi Aaaj Bana"
Shruti ji spoke out the words of the folllowing two bandishes clearly before
she sang them -
Ramakali Vilambit Theentaal -> "Aaaj Radhe Tore Badan Par Shyam Milegi
Chori..."
Shuddha Sarang Vilambit Theentaal -> "Tapan Laagi Gehari So Balama More, Aaj
Ehi Rahi ..."
> (The Ramkali drut she sang was probably 'Maachhariya mendi suno' - a
> Sadarang bandish ...
Indeed it was. I don't think she sang the "mendi suno" more than once - just
the "'Maachhariya" word takes up full 16 beats of an avartha, so she dwellt
on that..
> Also what was your take on the Alladiya video?
The video had stills of Ustad Alladiya, his grandson, several still photoes
of Alladiya and his sons, and a short interview by Shruti explaining the
project, etc ..
Regards - JW
Sanjeev Ramabhadran
> I attended today's 10 AM concert by Shruti Sadolikar/Anant Kunte/Mangesh
> Mulye in Sydney. Here are my personal impressions, as a listener.
>
> She started with Todi - a vilambit teen taal, then a roopak madhya laya and
> then a drut theen taal "Langari ka kariye". It was OK, she started the alaap
> well but the voice took a while to warm up. Very little time was given to
> anthara or to the taans we expect from her. One got the impression she
> hadn't discussed the bandishes she was singing with Mangesh - she needed to
> tell him to play roopak when she started the composition when he went off
> another way ... this happened again in the next Ramakali too.
While she seems to work with Mangesh Mulye fairly regularly, I have
never been a big fan of his playing. Shruti Sadolikar's is not
inherently a high-voltage style, but MM's own lack of voltage further
aggravates the situation (e.g. the Music Today stuff recorded a while
back including Shree, Bibhas, Nayaki, et. al.). The recordings of SS I
have most enjoyed (e.g. Bihagda, Gawati, etc.) had Omkar Gulwadi on
tabla - I wonder if his playing may have had a halo on the singing, as
SS sounded more energized in this recording.
>
> Two days ago she gave a Natya Sangeet concert for the Marathi group. Some of
> my friends who attended were a little displeased with "nearly half the time"
> she devoted to talking about the history of natya sangeet and other things.
> While what she sang in both concerts was enjoyable, the impression was left
> lingering that she has not placed due care for her audience.
I would be curious to hear this...given the preponderance of
"taankaari" in Natya Sangeet, I wonder how well SS would take to it,
given that her overall mobility is limited compared to many other
prominent singers of her generation.
Sanjeev
dn.usenet
"Sanjeev Ramabhadran" wrote :
>
> Shruti Sadolikar's is not inherently a high-voltage style ...
>
I don't disagree with it and I am not suggesting that your
remark implies any criticism, but I am curious whether
you would associate 'high-voltage' with Amir Khan or
D V Paluskar or K G Ginde.
>
> I would be curious to hear this...given the preponderance of
> "taankaari" in Natya Sangeet, I wonder how well SS would take to it,
> given that her overall mobility is limited compared to many other
> prominent singers of her generation.
>
For the sake of argument, can we think of Natya Sangeet
performers who do less 'taankari'? Bal Gandharva, Dinanath,
Vasantrao, Abhisheki, Asha (not Khadilkar) don't fit the bill.
Even Manik Verma, Ramdas Kamat, Prasad Savkar don't.
How about Chhota Gandharva? I hardly ever listen to him
but his name can make the list. There are a couple of songs
in Matsyagandha ('gard sabhotii raan' and 'arth-shuunya
bhaase maJ haa'), sung by Ashalata Wabgaonkar, with
very little taankaari. But it is said that Abhisheki was
hampered by the lack of good female artist when composing
them. Still, he wanted to compose songs for her, and the
character played by her demands prominent stage presence.
So she got to sing two songs. I wonder whether Rajni
Joshi wasn't available to act in Matsyagandha. While she
was certainly not in Vasantrao Deshpande or Abhisheki's
league, her few available songs are very nicely sung ('mii
jaayaa dharmamayaa' and 'lalanaa manaa' come to mind)
and feature excellent taankaari.
- dn
Town Crier
<sanjeev.ramabhad...@gmail.com> wrote:
> given that (Shruti Sadolikar-Katkar's) overall mobility is limited compared to many other
> prominent singers of her generation.
You must mean the mobility of her _voice_ (as nani has assumed).
Shrutitai herself appears to be mobile enough, given that ITC-SRA said
in December 2006 that she was a "visiting guru" there. They (http://
www.itcsra.org/panelists.htm) also mention that "She has been a
visiting professor to Rotterdam Conservatorium (in Europe)", and now
she is in Australia.
Whatever the voltage and other characteristics of her voice, I like
what she does with it in khyal singing. Besides, her father Wamanrao
was a prominent actor of the Marathi musical stage in his time, so I
expect Shrutitai has a "khas" take on Natyasangeet. Like you I am
curious to hear it.
dn.usenet
"Town Crier" wrote :
>
> I expect Shrutitai has a "khas" take on Natyasangeet.
>
Shruti Sadolikar is a fairly competent Natyageet singer.
In Feb 1988, she and BJ had presented a 2-3 hour
long Natyageet concert in Delhi. Shruti sang for the first
hour or so, and then Bhimsen took over. He was in
good mood IIRC and sang quite well, much much better
than his horrible late-1980s lifeless norm.
- dn
dn.usenet
"Town Crier" wrote :
>
> > (Shruti Sadolikar-Katkar's) overall mobility is limited ...
>
> You must mean the mobility of her _voice_ (as nani
> has assumed).
> Shrutitai herself appears to be mobile enough, given
> that ITC-SRA said
> in December 2006 that she was a "visiting guru" there.
>
When taankari and mobility are mentioned in the same
sentence, it is inevitable, rather than just an assumption,
to associate the discussion with her voice rather than
her touring schedule.
- dn
Archisman Mozumder
<sanjeev.ramabhad...@gmail.com> wrote:
>
> While she seems to work with Mangesh Mulye fairly regularly, I have
> never been a big fan of his playing. Shruti Sadolikar's is not
> inherently a high-voltage style, but MM's own lack of voltage further
> aggravates the situation (e.g. the Music Today stuff recorded a while
> back including Shree, Bibhas, Nayaki, et. al.). The recordings of SS I
> have most enjoyed (e.g. Bihagda, Gawati, etc.) had Omkar Gulwadi on
> tabla - I wonder if his playing may have had a halo on the singing, as
> SS sounded more energized in this recording.
>
I really used to adore Omkar Gulvady's playing style in the mid & late
90-s in Bombay-concerts. Especially while accompanying Jaipur artists
like Shruti Sadolikar or Jayashree Patnekar or Vijaya Jadhav Gatlewar
(where is she these days?), his steady and energetic but unpretentious
style of madhyalaya (and drut) sangat was exemplary. In my books, he
was/is a notch above Balkrishna Iyer as well.
Regards.
Chetan Vinchhi
>
> I really used to adore Omkar Gulvady's playing style in the mid & late
> 90-s in Bombay-concerts. Especially while accompanying Jaipur artists
> like Shruti Sadolikar or Jayashree Patnekar or Vijaya Jadhav Gatlewar
> (where is she these days?), his steady and energetic but unpretentious
> style of madhyalaya (and drut) sangat was exemplary. In my books, he
> was/is a notch above Balkrishna Iyer as well.
Actually, Omkar G's sangat is wonderful with Gwalior folks as well. I
remember an informal sitting in New Jersy with him and Shri Madhav
Bhatki (a disciple of Paradkarbua and then C.R.Vyas). The tabla sangat
added great value to the performance. A couple of recordings of
Yashwantbua Joshi have also been enhanced by his tabla playing.
(aside: I find Balkrisha Iyer's playing to be below par. He even makes
some fundamental mistakes).
C
Town Crier
> Actually, Omkar G's sangat is wonderful ...
After his near-fatal accident in 1998 (http://groups.google.com/group/
rec.music.indian.classical/browse_thread/thread/b6d5c8baa009c93e/
16706a8194cfab21?lnk=gst&q=vishwanath
+pendharkar&rnum=6#16706a8194cfab21) Omkarji has apparently lost his
sense of smell. While this may not seem like a big problem, it is,
since it makes it hard for him to judge whether the food in front of
him is unsafe to eat. Consequently he has to be very careful in his
travels.
It is quite possible that this has reduced his visibility outside
Mumbai. Luckily his hands are not affected, so he continues to play
as well as before.
DG
Sanjeev Ramabhadran
> "Sanjeev Ramabhadran" wrote :
>
>
>
> > Shruti Sadolikar's is not inherently a high-voltage style ...
>
> I don't disagree with it and I am not suggesting that your
> remark implies any criticism, but I am curious whether
> you would associate 'high-voltage' with Amir Khan or
> D V Paluskar or K G Ginde.
>
The first two, yes, at least in flashes (e.g. some very powerful drut
taans of AK and most of DVP's drut stuff, like the taans in his Gaud
Sarang or Miyan Malhar among others). I have not heard enough of KGG,
but what I have heard would not incline me towards a "high-voltage"
description. In the pieces I've heard of SS, there isn't *any* part of
the singing that I would describe as "high-voltage". Another
qualitative way to describe such music for me: it "grabs me by the
collar", often without any warning.
Sanjeev
Sanjeev Ramabhadran
Hmm...I've never raved about Balkrishna Iyer, but can you define/
describe his "fundamental mistakes"?
Sanjeev
Chetan Vinchhi
<sanjeev.ramabhad...@gmail.com> wrote:
>
> Hmm...I've never raved about Balkrishna Iyer, but can you define/
> describe his "fundamental mistakes"?
There was a concert (a long time - more than a decade - back) where he
played 3 matras out of 4 in slow teentaal a few times and was
blissfully unaware of it until the main artist (Aruna Kalle) gave him
an indication. This was the most glaring example I can think of. I
swear I have heard him make mistakes while playing with Kishori but
cannot place the recording(s).
C
Shree
I heard one 'Vijaya Jadhav' last year (2006) on radio - the AIR
Sangeet Sammelan. Could she be the one you are referring to?. I even
have a recording of that broadcast.
--Shree
Archisman Mozumder
>
> I heard one 'Vijaya Jadhav' last year (2006) on radio - the AIR
> Sangeet Sammelan. Could she be the one you are referring to?. I even
> have a recording of that broadcast.
>
Her maiden surname was Jadhav (now Gatlewar). She was one of the first
SRA scholars (with Rashid Khan, etc) & learned at SRA under the
tutelage of the great Nivrittibuwa Sarnaik. I think she has been
married for over 10 years now, and used to live in a place called
Vashi (or Belapur) in a Bombay-suburb called New Bombay.
I had heard her several times in the late 90-s in Bombay & her style &
skills were excellent. It is a pity that we do not get to hear much of
her.
What raags to you have of hers? Perhaps, that may be an indication of
whether this Vijaya Jadhav is the same as the one we are referring to
or not.
Thanks for your feedback.
Regards.
Sanjeev Ramabhadran
Okay...I guess it depends on how often it happens. Wasn't he also a
regular accompanist for Mallikarjun Mansur in his later days?
If I remember correctly, even Omkar Gulwady has at least one slip-up
on the record...in Veena Sahasrabuddhe's first Rhythm House release,
he's inexplicably "eaten" one matra of the madhyalaya Roopak in the
Hamsadhwani (I believe it's right before the first round of taans).
You can hear the harmonium player reach sam one beat later before the
team moves on with only the slightest moment's hesitation. For that
matter, one of Rajan Parrikar's audio clips of MM also includes a rare
spot where he (MM) mistakes another matra of Teentaal for the "sam".
Sanjeev
Warren
These sorts of mistakes are very common, even among high-calibre
players. When you go down a few levels it gets pretty painful; I
remember hearing a concert by one of AAK's shagirds (who shall
remain nameless to protect the innocent) accompanied by a local guy
(who shall remain nameless to protect the guilty). Sometimes
17-matras, sometimes 14, sometimes 11, sometimes 8, sometimes
20. Occasionally an irrational number. For the sarodiya it was
excruciating, as no sooner would he commence one of those long
multi-cycle tukdas than the ground would start to shift under him.
To me the real test of excellence is not whether the musicians make
no mistakes, but in how they compensate for the mistakes they
DO make. If Mallikarjun lands in the wrong place it doesn't faze him
for an instant; he just moves on. A lesser singer would allow the
error to affect at least the next several cycles, which would be spent
in attempting to regain balance, rather than continuing the badhat.
WS
dn.usenet
"Sanjeev Ramabhadran" wrote :
>
> If I remember correctly, even Omkar Gulwady has at least one slip-up
> on the record...in Veena Sahasrabuddhe's first Rhythm House release,
> he's inexplicably "eaten" one matra of the madhyalaya Roopak in the
> Hamsadhwani (I believe it's right before the first round of taans).
>
Your recall is correct about one matra getting gobbled up,
but I think it was the singer's mistake. How do you remember
it? Did he miss one matra with an alert singer adjusting
accordingly? As I remember it, Veenatai landed abruptly
on the sam on 7th matra (instead of 7+1 = 8th maatraa).
If at all Gulwadi skipped one beat, he was probably
trying to make up for it, because he seems to have
made hasty adjustment in landing on the sam instead of
being unaware of one matra having been skipped by him.
One more instance is in Abhisheki's Alhaiya Bilawal clip
posted by Rajan on SAWF where the table player takes
off with a lovely tihai, except that he is wrong about where
the sam should be. Abhisheki plays along for the first
minute but then points out the correct sam later.
Balkrishna Iyet once started playing Jhaptaal quite inexplicably
when Mansur sang his pet Gara Bageshree cheez : 'mai.n
saajan bolii'. Inexplicably because Iyer must have played
teentaal to it dozens of times. More often than not, Mansur
would sing this cheez for a 5-minute breeze. His son
Rajshekhar rolled his eyes and Mansur actually stopped
singing while R audibly said : 'teentaal'. Then MM started
the rendition all over again.
I also have recordings of Kishori and Limaye-buwa
speaking out Jhalptaal bols to a confused tabla-player.
It feels nice even to listen to these singers speaking
them out in an attractive manner.
There is no need to make too much of an occasional slip-up.
Once Padma Talwalkar came to sam on maatraa #2 with
Shantilal Shah on tabla. Everybody noticed it and Padmatai
just smiled about it. Then she jocularly went about it in
a very conscious manner from the next teentaal aavartan's
maatra #12 upto the next sam, and everybody shared
in the fun. Such slip-ups are very rare but they do happen.
- dn
Abhay
(snip)
> but his name can make the list. There are a couple of songs
> in Matsyagandha ('gard sabhotii raan' and 'arth-shuunya
> bhaase maJ haa'), sung by Ashalata Wabgaonkar, with
> very little taankaari. But it is said that Abhisheki was
> hampered by the lack of good female artist when composing
> them. Still, he wanted to compose songs for her, and the
> character played by her demands prominent stage presence.
> So she got to sing two songs.
Three - 'tava bhaas antaraa jhaalaa' was the third (IMO the best of
the lot).
> I wonder whether Rajni
> Joshi wasn't available to act in Matsyagandha.
Ashalata W was in those days a fixture in the plays produced by
Chandralekha Productions (IIRC, she, Mohan Wagh, and Madhukar Toradmal
owned the company) so there was no question of another actress coming
in. After Ashalata moved on from the play, Faiyaz took over and did a
much better job of the singing.
Warm regards,
Abhay
Sushama
really makes things more enjoyable for everyone. I faintly remember
witnessing a similar event by Amjad Ali-ji perhaps 20 yrs ago and that
made a deep mark of regard for the man which remains even when I have
long stopped listening to his recent nonsense music. It does not mean
the person would be sensible in all ways, but better than getting
embarrassed or upset about it and spoiling the rest of the event or
later relationship between co-artists.