Here a box of four cassettes with wonderful recordings from a private collection. These recordings were also released the same year as four LPs. Our dear blogger friend Bolingo posted them in mp3 format in 2010.
Showing posts with label Raga Darbari. Show all posts
Showing posts with label Raga Darbari. Show all posts
Tuesday, 25 December 2018
Sunday, 6 May 2018
Nikhil Banerjee - Shriram Shankarlal Music Festival - Copy of a rare CD published in India
The Shriram Shankarlal Music Festival in Delhi is one of the oldest festivals of classical Indian music in India. Many of the concerts the visitors of the festival can later buy as a CD, produced by the festival itself. These CDs can only be bought during the festival and are often sold out quite fast. There is no other way to obtain them. That is the reason why they are very rare and very little known.
Here we present exceptionally a rare CD by Nikhil Banerjee published by the festival. In the future we might post some more of these CDs, but this one is the only one by Nikhil Banerjee we have. Since quite a number of years this CD or any others by Nikhil Banerjee are no longer offered for sale at the festival. Our friend KF made for us a copy of the CD he had bought years ago at the festival. Many thanks to him.
1. Raga Darbari (46:19)
2. Raga Kirvani (24:54)
Thursday, 26 April 2018
Asad Ali Khan (1937-2011) - Rudra Veena - Echoes of Ancient Music - Cassette published in India in 1990
Here a beautiful cassette by the artist, shared generously by our friend Werner Durand. Many thanks.
Tuesday, 20 March 2018
Ram Chatur Mallik & Abhay Narayan Mallik - Vrindavan Dhrupad Samaroh, 1983 - Private CD
Here another great recording of Ram Chatur Mallik and his disciple Abhay Narayan Mallik.
This is another private CD, not a commercial one. It seems that an Indian collector made out of these recordings a private CD and created covers for it. This person seems to take a great pleasure in creating covers and to let them look like real ultra rare releases. Which is sort of funny and sympathetic. And looks nice.
I received these recordings from an Indian collector based in the US. Many many thanks to him for his kindness to share these. I received the music of the two CDs as one file, which is probably the original version.
Friday, 16 March 2018
Darbhanga - Pandit Abhay Narayan Mallik - Dhrupad - Live in Concert
We present here some more beautiful recordings by Pandit Abhay Narayan Mallik. This CD probably was never published. I even don't know if this label ever existed. It seems that an Indian collector made out of these recordings from unknown sources a private CD and created covers for it. This person seems to take a great pleasure in creating covers and to let them look like real ultra rare releases. Which is sort of funny and sympathetic. And looks nice.
I received these recordings from an Indian collector based in the US. Many many thanks to him for his kindness to share these.
Saturday, 7 October 2017
Krishnarao Shankar Pandit (1893-1989) - Darbari Kanada & Basant - Broadcasted by All India Radio
Here we offer - as promised in our last post - a recording by the fascinating Pandit Krishnarao Shankar Pandit from Raagam, an internet channel of All India Radio. This channel offers 24 hours a day, seven days a week recordings of classical Indian music from the archives of All India Radio.
Monday, 22 May 2017
Bundo Khan (1880-1955) - Sarangi Nawaz - LP released in Pakistan in 1974
Bundo (Bundu) Khan was one of or perhaps the greatest Sarangi player of 20th century. He had a very particular style and played also on a very particular Sarangi.
We posted in 2012 a broadcast on him:
The same year we also posted some more recordings:
Interesting information on the artist you can find under the first of these links.
Thursday, 5 May 2016
2 Ragas - LP published 1969 in Sweden
Here the promised LP with another side by Damodarlal Kabra and Manju Bhatt. See the one before here. Recorded in Jodhpur, India, in 1968 by Deben Bhattacharya. About the flutist on side 2 I don't know anything.
Monday, 16 March 2015
Sunday, 11 May 2014
Mohammad Shareef Khan Poonchwale (1926-1980) - Some Vichitra Veena Recordings
As the great Sitar and Vichitra Veena master Ustad Mohammad Shareef Khan Poonchwale (1926-1980) has still not got the attention by music lovers he deserves and especially his mastery over the difficult and rare Vichitra Veena is very little known, we post here some recordings, orginally posted by Dr. Ashfaq Ali Khan (Holistic Khan) in his wonderful treasure troves on esnips and mediafire. The original folders don't seem to be available anymore in the internet. Earlier we posted the only Vichitra Veena LP by the artist here.
1. Raga Aimen (31:23)
2. Raga Darbari (18:16)
3. Pilu Thumri (13:05)
On the artist see our earlier posts:
and also:
http://www.thefridaytimes.com/15042011/page25.shtml
See also our earlier Vichitra Veena posts:
http://oriental-traditional-music.blogspot.de/search/label/Vichitra%20Veena
See also our earlier Vichitra Veena posts:
http://oriental-traditional-music.blogspot.de/search/label/Vichitra%20Veena
Tuesday, 26 February 2013
Aslam Khan - Darbari, Todi, Sohni - Cassette from India
Ustad Aslam Khan is one of the most interesting and refined singers of recent decades. He comes from a musically extremely rich background (see below), which is very manfest in his singing. We had already posted some recordings by one of his teachers, his uncle the legendary Altaf Hussain Khan (see here).
Thanks to Ambrose Bierce for sharing this cassette.
| Ustad Aslam Hussain Khan (A Living Legend) |
 Introduction
Ustad Aslam Khan is one of the top and most senior musicians at present. Ustad Aslam Hussain Khan has descended from the Hapur Gharana (Meerut U.P.) of Shaadi Khan and Murad Khan whose achievements sound legendary. Ustad Shaadi Khan and Ustad Murad Khan were the court musicians of the Mughal Emperor Bahadur Shah Zafar. Ustad Aslam Khan, has completed 50 years of dedicated service to Indian music this year, and on this occasion, his disciples, students and fans congratulate him for this great achievement. Born on 14th April 1940.
"Music runs in my blood" as he replies during an interview. Ustad Aslam Khan, is the representative of 500 year old traditional Musician's family of the prestigious Khurja Gharana, Atrauli (Jaipur) Gharana, Agra Gharanas and the Delhi Tanras Khan Gharana. These Gharanas have given India such giants as Haji Ustad Altaf Hussain Khan, Gayan Samrat Ustad Azmat Hussain Khan, Sangeet Samrat Ustad Allahdiya Khan, Gayan Acharya Ustad Vilayat Hussain Khan, Aaftab-e-Mausiqui Ustad Fayyaz Khan and many others. The contribution of these music stalwarts, to the enrichment, promotion and popularity of Indian Music is monumental.
"I was initially trained in music by my maternal uncle Haji Ustad Altaf Hussain Khan of Khurja Gharana." "Later around 1950, I came to Bombay permanently, to stay with my brother-in-law, Gayan Samrat Ustad Azmat Hussain Khan, who not only became my Guru but also mentor and benefactor". "My Guru Ustad Azmat Hussain Khan, belonged to the Atrauli (Jaipur) Gharana, and was one of the greatest musicians India has ever produced". "He was a performer, musicologist, poet as well as a perfect teacher". "He not only taught me music but also urdu and Arabic". "I owe most of what I am today, as a musician and as a social being to my Guru". "I also had a golden opportunity of learning music under the great Ustad Vilayat Hussain Khan of Agra Gharana, and also Ustad Khadim Hussain Khan." Aslam Khan was a child prodigy who gave his first stage performance at the age of twelve years. He is a khandani Musician belonging to the near extinct world of "Guru Shishya Parampara". This gem of purest ray serene, happily vegetates, in the dark unfathomed caves of sincere dedication and unalloyed devotion to music, blissfully unmindful of the honours like Padmabhushan, Sangeet Natak Academy Awards, Cultural Awards or Gaurav Puraskars, that should have come his way long ago but have not.
Ustad Aslam Khan's inborn genius enabled him to blend the diverse speciality of each respective Gharana into an individual style which has tremendous aesthetic appeal, his khayal singing is marked by a leisurely development (badath) of the "Vilambit" while the "Drut" is embellished by a spectacular variation of "Layakari" and breath takingly "tayyar taans".
Aslam Khan has recorded not less than four hundred bandishes (compositions) in rare ragas with the ITC SRA, SAPTAK (Ahmedabad), SNA (New Delhi), AIR (Mumbai & Delhi), Goa Academy Samvad foundation & NCPA Mumbai. He has recorded 300 rare ragas with SRA and fifty Ragas with Saptak. In recent times Aslam Khan Sahab has been declared as one of the greatest exponents of khayal gayaki & the senior most representative of the legendary Khurja, Atrauli (Jaipur) & Agra Gharanas.
|
Tuesday, 29 January 2013
Ustad Fateh Ali Khan - Vol. 1 - Lok Virsa GM-7 - Cassette from Pakistan
Recently Bosmart had posted on his blog a couple of beautiful cassettes from Pakistan by some of the masters of the Patiala Gharana under the title "Maitres de Patiala". Here a small contibution: a cassette by the great Ustad Fateh Ali Khan, a grandson of one of the two founders of the Patiala Gharana. See about him:
http://en.wikipedia.org/wiki/Bade_Fateh_Ali_Khan
Ustad Fateh Ali Khan (born 1935) - Vocal
Amjad Amanat Ali Khan (1953-2002) - Vocal Support
Nazim Ali Khan (died 1999) - Sarangi
Mian Shaukat Hussain Khan (1930-1996) - Tabla
Side A:
1. Raag Megh (Vilambit) (Interview & Demonstration) (4:13)
2. Baat Geet (12:13)
3. Raag Shub Kalyan (Khyal & Tarana) (13:19)
Side B:
Raag Darbari (Khayal & Tarana) (29:48)
Thursday, 12 April 2012
Ustad Ummeed Ali Khan (1910-1979) - Tirvan, Bairagi, Darbari, Malkauns - A Radio Pakistan Production - LP LKDR-12 (1973)
A legendary singer of the Gwalior Gharana in Pakistan
Recordings from the archives of Radio Pakistan
Side 1:
1. Raag Darbari (14:36)
Sarangi: Zahid Hussain
Tabla: Allah Ditta Khan
2. Raag Tirvan (11:00)
Sarangi: Nathu Khan
Tabla: Ashiq Hussain
Side 2:
1. Raag Malkauns (13:21)
Sarangi: Nathu Khan
Tabla: Ashiq Hussain
2. Raag Bairagi Bhairon (12:14)
Sarangi: Abdul Hameed
Tabla: Talib Hussain
"Naushad Firdausi, wrote this in the Usenet newsgroup rec.music.indian.classical (RMIC):
Ustad Ummeed Ali Khan was a true blue Gwalior. His father Ustad Meeran Baksh was the son of Ustad Boorey Khan, who was nephew of Ustad Banney Khan whose sons Ustads Jamal Khan, Misri Khan and Saindhey Khan were all renowned gharanedar Gwalior khayaliyas. Ustad Haddu Khan was the grand Uncle of Ustad Banney Khan who incorporated many traditional punjabi folk compositions into khayal bandishes. Ustad Ummeed Ali’s only connection with Patiala Gharana was that he sometimes used to perform in jugalbandi with Ustad Ashiq Ali Khan. Many anecdotes of their friendly rivalry but I’ll leave them for later.
In his later years Ustad Ummeed Ali had lost his eyesight (it seams that this is incorrect, he rather lost his hearing) completely. Yours truly saw him travelling in a tonga many times along with Ustad Natthu Khan sarangiya to the Lahore radio station. That’s where I heard him singing all those wonderful raags like Tirvan, Champak and Neelambari (mitwa baalamwa — still rings in my ears ! ) etc. One only can hope that those recordings exist in radio archives somewhere !! For recordings try your luck with some firanghs who manage to slither into the radio archives one way or another !!"
http://www.parrikar.org/vpl/?page_id=487
Addeded in February 2019:
Addeded in February 2019:
Remembering Ustad Umeed Ali Khan
SAEED MALIK JUL 16TH, 2005
WEEKEND MAGAZINE
From late 1930s to the middle of 1970s, Ustad Umeed Ali Khan ranked high in the hierarchy of classical vocalists of the sub-continent. He was known for his passion and ability for promoting and popularising the Gwalior gharana style of kheyal singing.
A large number of votaries of art music were drawn to his style of kheyal singing and progressive delineation of the thematic structures of the ragas. Not many even among senior citizens fully know about the achievements of that one-time great vocalist. Only on rare occasions, do we hear his recorded music broadcast by the second channel of Radio Pakistan, Lahore.
The kheyal style of singing has, with the passage of time, proliferated and metamorphosed into several schools or gharanas of professional musicians, differing in intonation, musical idioms, aesthetics and quality of music.
The oldest school of kheyal singing, the Gowaliar gharana, is distinguished by open-throat singing, formal simplicity and straight, linear transition from one note to another.
The descendents of Mian Taan Sen (who is reportedly buried in Gowaliar) are reputed to have perfected this mode of classical melodic _expression. Born in village Jandiala Guru in the district of Amritsar (East Punjab) in 1914, in a family of professional musicians, Umeed Ali grew up under the commanding shadow of his father Ustad Piyare Khan from whom he received initial training in the art of kheyal singing.
Ustad Piyare Khan had been groomed by his father Meeraan Bakhsh, a follower of Gowaliar gharana kheyal traditions. Later, the late Piyare Khan reportedly also benefited from the melodic wisdom of Jarnail Ali Bakhsh Khan, the co-founder of the Patiala gharana of kheyal singers. Like his father, Umeed Ali Khan was also gifted with sweet, rich, lively and forceful voice, which he dexterously used in the promotion of Gowaliar style of classical singing. Years of hard training under the supervision of his father made Umeed Ali Khan's style highly sophisticated and refined.
His performances brimmed with short, sparkling melodic phrases and vigorous taans, which were drenched in the tunefulness of his vocals. Like his father, Ustad Umeed Ali Khan was a tall, well-built and handsome musician.
His father was employed as a court musician in the princely State of Khairpur in Sindh, where he spent the better part of his life winning much public acclaim.
Likewise, Ustad Umeed Ali Khan remained in that province for better part of his life, both before and after partition of the sub-continent, where his music was widely appreciated. His skill in rendering Sindhi kafis, kheyals, thumris, taranas and dadras was lauded by music lovers of the province, whose love for music needs no elaboration.
His deep musical understanding equipped him with all the fine attributes of an accomplished classical vocalist. Few surviving senior denizens of Lahore, who were lucky to have enjoyed the many pre-partition days music concerts at Takia Meeraasian, or at privately sponsored soirees inside the Walled City, remember with nostalgic fondness the impromptu musical contests between Ustad Umeed Ali Khan and Ustad Bade Ghulam Ali Khan. Both were master musicians, endowed with mellifluous voices and opulent melodic wisdom.
On a number of occasions, both crossed musical swords between them, setting new traditions in healthy and productive competition. One such 'dual' took place during the early 40s at the residence of a connoisseur at Takia Saadooan inside Mochi Gate, Lahore.
His baithak had earned fame for holding regular musical soirees and get-togethers of classical musicians and discerning connoisseurs. On one occasion, he had invited Ustad Umeed Ali Khan and Ustad Bade Ghulam Ali Khan, along with a number of other melodists, including such luminary as Pandit Jeevan Lal Mattoo. It was on that night that the two musical heavyweights demonstrated their melodic prowess.
Both of them kept on singing for extended periods of time as none would accept 'defeat', or showed any sign of fatigue. Consequently, the soiree continued till dawn, when Pandit Jeevan Lal Mattoo, an accomplished vocalist in his own right, intervened and succeeded in separating "the warring" musicians.
The honours were, therefore, shared equally by the two musical giants. Similar episodes were reported to have taken place at Takia Meeraasian and the residence of Chun Peer in Mohalla Peer Gilaanian inside Mochi Gate, Lahore.
The "rivalry" between Ustad Umeed Ali Khan and Ustad Bade Ghulam Ali Khan at one time or the other during their eventful careers assumed legendary importance as both tried to outclass each other by demonstrating the best of their melodic prowess. Of course, the beneficiaries of their "tug-of-war" were cultivated listeners, professional musicians of lesser abilities and connoisseurs.
The late Ustad Umeed Ali Khan, after completing a period of apprenticeship and training with his father, acquired much facility over difficult form, style, technique and modalities of kheyal singing. His voice - pliant, malleable and forceful - was vibrant and radiated such embellishments and ornamentation as murkis and zamzamas.
Like those of his frontline contemporaries, his melodies attracted the attention of professional musicians, connoisseurs as well as critic and votaries of classical music. His method of progressive delineation of ragas bore the imprint of his father and the long and hard training he had had under his tutelage.
Until his death, Ustad Umeed Ali Khan remained a faithful exponent of the Gowaliar gharana of kheyal singing, a trait which he also passed on to his disciples, including the classical duo of Fateh Ali Khan-Hameed Ali Khan of Hyderabad, Sindh. Another follower of the Gowaliar clan of musicians is composer Master Manzoor Husain.
During his prime, the late Ustad Umeed Ali Khan excelled a number of his contemporaries in the rendition of taranas, thumris and dadras. His mature and deep musical insight were augmented by his refined melodic thinking and acute sensitivity. Handsome vocalist late Ustad Umeed Ali Khan developed a good taste for clothing and living in a style.
On his tall and handsome figure, all kinds of clothings fitted attractively. He looked as charming in sherwani and churidar pajama as when he was attired in a Western style suit. A cultured gentleman, he gave the impression of having been caught in the midst of philistines, but did not protest much. Although he spent the better part of his life in Sindh, the late Ustad Umeed Ali Khan returned to Lahore shortly before his death in 1979, where he was laid to rest.
from: https://fp.brecorder.com/2005/07/20050716297934/
See here some other beautiful recordings by him:
The two sides of an EP published in 1971.
and there the first link:
A CD released in Pakistan in 2002 with recordings from the archives of Pakistan Broadcasting Corporation. Unfortunately one track is missing. We plan to post the complete series in flac and mp3 files somewhere in the future, inshaAllah.
Monday, 12 September 2011
Pannalal Ghosh - Flute Recital - LP EALP 1367 (1971) - The Gramophone Company of India
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Published by permission of All India Radio
Side 1:
1. Raga Piloo: Gat (13:56)
2. Raga Bhairavi: Thumree (9:01)
Side 2:
Raga Darbari: Gat (22:41)
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Thanks to Zwan for sharing this LP.
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