Padmavati Shaligram - An All India Radio Release - Cassette released in India in 1994

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Krishnarao Shankar Pandit (1893-1989) - LP published in 1970 in India & some shorter AIR recordings

Here we post the only LP - to our knowledge - released during the lifetime of the artist. I don't have this LP and I even never saw it in the shops, not even in the 1970s. Our friend KF has it and made many years ago this CD out of it, adding some shorter recordings from AIR broadcasts and one from a compilation on LP. He also created the covers. Many thanks to him.

In 1992 another LP (PMLP 3080) was published with recordings from the archives from AIR, which unfortunately we also don't have.

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D.V. Paluskar (1921-1955) - Morning Melodies - An All India Radio Release - LP published in India in 1988

D.V. Paluskar (1921-1955) was one of the greatest and most popular singers of the Gwalior Gharana in mid 20th century. He passed away quite young.

On the artist see:

https://en.wikipedia.org/wiki/D._V._Paluskar

https://sites.google.com/site/dvpaluskar/

http://www.chembur.com/anecdotes/dvpaluskar.htm

http://swaratala.blogspot.de/2011/04/pandit-dv-paluskar-and-paluskarite.html

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There are quite a number of CDs by the artist: two by Akashvani from the archives of All India Radio, a series of five CDs by Meera Music and a couple of others. As always, they can be obtained from info@raga-maqam-dastgah.com

Gharanon Ki Gaiki - Vol. 3 - Ustad Salamat Ali Khan (1934-2001) - Vol. 3 - Sham Chorasi Gharana

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Munir Khan - Indian Classical Music - LP published in the Netherlands in 1974

The first LP by the great Sarangi master. See also our earlier post here.

Side 1:

Raga Desi

Side 2:

Raga Purya Dhanashri

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Older Masters of Rudra Veena (Been) - Part III - Ustad Abid Hussain Khan (1907-1978)

Born in 1907 Abid Hussain Khan was an accomplished vocalist and also a Beenkar (a Rudra-Veena player). He traced his musical heritage from Shri Mishri Singh Rajput of Jaipur who once accompanied Miyan Tansen on Rudra Veena before emperor Akbar. As a child, Abid Hussain Khan had been initiated in music by his father Late Ustad Jamaluddin Khan of Bidar state during the twenties and thirties of last century.

Here  we present four Ragas on two CDs. Only one Raga - Raga Darbari Kanada - is played on Rudra Veena. The others are vocal: the two Ragas on the first CD are sung in Dhrupad style and the second Raga on CD 2 is in Khyal style. The recordings are probably from All India Radio.

Download CD 1 & Scans

Download CD 2

We are very grateful to KF, the original compiler of these recordings, who created these two CDs for his own collection and shared them generously.

Here is another Rudra Veena program by Abid Hussain Khan from AIR, with Bhimpalasi and Desh, uploaded by Povster:

http://www.mediafire.com/?li5jbezl2qw

Ustad Abid Hussain Khan: The Maestro Par Excellence

By Roop Narayan Dixit
(Roop Narayan Dixit is a retired professor of English who became a Ganda-baddh disciple of Ustad Abid Hussain Khan in 1963)

Late Ustad Abid Hussain Khan of Indore hailed from Baroda and the court of the erstwhile state of the Nawab of Jinjira but had settled down at Indore during forties and fifties of the last century.

Born in 1907 this grandson of Raza Ali Beenkar was an accomplished vocalist and also a Beenkar (a Rudra-Veena player). He traced his musical heritage from Shri Mishri Singh Rajput of Jaipur who once accompanied Miyan Tansen on Rudra Veena before emperor Akbar. As a child, Abid Hussain Khan had been initiated in music by his father Late Ustad Jamaluddin Khan of Bidar state during the twenties and thirties of last century.

In prime of his youth, he became the court-musician of the Nawab of Jinjira, a Muslim state in the coastal area of Maharashtra where he lived in a cottage facing the rolling waves of the Arabian Sea. Perhaps the resonance of his voice, and his own style of Alap and taking Taans reflecting the elegance and grace of an ocean, was due to this.

A versatile genius, Ustad Abid Hussain Khan could sing Dhrupad and Dhamar, Khayal, Tarana, Tappa with competence. His singing enamoured the audience while reaching rare heights. The manner of Alap came to be recognized as Bidar ang with its distinctive development by gliding from Mandra Saptak to pause at Shadja and gradually ascending toward Madhya Saptak where he stayed considerably. The swara-s he applied were graced with nuances (Kana) and Meend. After a relaxed immersion in the lower and middle octaves, Khan Saheb touched the Tar Saptak, yet plunging back to Mandra and Madhya at times. The Alap in Dhrupad and Dhamar was given ample time to establish notes and relationships. The Alap done in a pleasing and interesting manner, it never tired the patience of the audience. His pronunciations established his Dhrupad lineage from Khandarbani explaining his use of Nom Tom for alap.

When he sang a Khayal or Tarana his Alap was brief, yet he continued to be dynamic and graceful in compositions; in Bol-s and Bol-taan-s, he applied Gamak with force of thunder and lightning. In his Tan-s he was equally graceful, elegant and forceful.

Not only the style but his very persona underwent a change when he sang a Thumri, a Dadara or Hori. Invariably each performance was totally subjective and its intense intimacy touched the hearts of each member of the audience.

Khan Saheb preferred common and well-known Raga-s in his concerts. Mostly, the Raga-s were Bilawal, Malhar, Todi, Malkauns, Megh, Darbari, Kaphi and Chhayanat. His compositions were mostly in Teen-tal, Tilwada, Jhoomara and Ada Chautal. He also gave a few memorable concerts singing less common Raga-s like Barwa, Khat, Durga, Shankara and Jhinjhoti.

Shri Vimal (Bimal) Mukherji (Sitar-player), chief among his illustrious disciples is the foremost representative of the Gharana. His prominent representative for vocal style is Bhavyanand Bhatt of Indore who has retained the charm and uniqueness of His Ustad’s Khandarbani style. His accompanists were Late Ustad Alladiya Khan in Sarangi, Pt. Ambadas Agle Pant on Pakhawaj and Ustad Dhulji Khan on Tabla. Among the living generation, Ustad Moinuddin Khan had accompanied him on Sarangi and Ustad Yusuf Khan on Tabla.

from: http://www.omenad.net/page.php?goPage=%2Farticles%2Fabidhussain.htm

About Jamaluddin Khan
Jamaluddin Khan was the son of Reza Ali Beenkar of Jaipur. The family traces its root to the Seni Gharana. Descendents of Tansen selected Rudra Veena for members of the family; to other disciples they taught Surbahar and Sitar. Jamaluddin had mastered the art and became a court musician at Baroda. His performance at Music Conference held in Baroda in 1916 was excellent and remained in memory of listeners. He trained his son Abid Hussain in Been as well as vocal music.

from: http://en.wikipedia.org/wiki/User:Ghanonmatta/Musicians

For more information on the Rudra Veena, its masters and its history see:
http://www.rudravina.com/

Ravi Shankar - A Sitar Recital - LP TRA 182 (1968)

My very first Ravi Shankar LP.

Side 1:

1. Raga Desi (13:06)

2. Raga Sudh Sarang (6:10)

Side 2:

Raga Yaman Manj (19:59)

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Ustad Faiyaz Khan Sahib (1886-1950) - Raga Desi & Raga Gour Malhar - An All India Radio Release - HMV STC 04B 7525 (1991) - Cassette from India

Side A:

Raga Desi: Alap (14:26)

Raga Desi: Dhamar (6:38)

Side B:

Raga Desi: Drut Khayal (6:37)

Raga Gour Malhar: Khayal (13:33)

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